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Autore: Grafiati
Pubblicato: 26 luglio 2024
Ultima modifica: 27 luglio 2024

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Articoli di riviste sul tema "Olympian odes (Pindar)"

1

Instone, S. "Pindar I: Olympian Odes, Pythian Odes; Pindar II: Nemean Odes, Isthmian Odes, Fragments. W H Race (ed., trans.)". Classical Review 48, n. 2 (1 febbraio 1998): 264–65. http://dx.doi.org/10.1093/cr/48.2.264.

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2

De Decker, Filip. "The augment use in the five oldest Odes of Pindar". Humanitas, n. 77 (28 giugno 2021): 9–24. http://dx.doi.org/10.14195/2183-1718_77_1.

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Abstract (sommario):
In this short article I discuss the augment use in Pindar's five oldest Odes (based on the text of the editions by Snell & Maehler' in the Teubner and Race in the Loeb), namely Pythian 10 (498 BC), Pythian 6 (490), Pythian 12 (490), Olympian 14 (488, if correctly dated) and Pythian 7 (486). As the augment use in Pindar has never been studied in detail before and commentaries often do not mention it, I use the observations made for epic Greek as basis, more specifically that the augment is used to refer to foregrounded actions and actions in the recent past, and that it remains absent when actions in a remote or mythical past are related. I start by outlining these observations, then I determine which (un)augmented forms in Pindar are secured by the metre (the transmission of Pindar's Odes has not been unproblematic) and at the end apply the epic observation to the metrically secure forms of these five Odes. My investigation will show that the verb forms referring to the near-deixis (the victor's deeds, his origins and those of his city and the mythical characters with whom he is compared), are augmented, whereas the forms referring to other (mythical) actions remain unaugmented, but, as was the case with epic Greek, there are nevertheless also exceptions.
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Pfeijffer, I. "Pindar: Selected Odes: Olympian One, Pythian Nine, Nemeans Two & Three, Isthmian One. S Instone". Classical Review 48, n. 2 (1 febbraio 1998): 262–63. http://dx.doi.org/10.1093/cr/48.2.262.

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4

Gerber, Douglas E. "Commentaries on Pindar - W. J. Verdenius: Commentaries on Pindar, Vol. 1: Olympian Odes 3, 7, 12, 14. (Mnemosyne, Suppl. 97.) Pp. xii+132. Leiden: Brill, 1987. Paper, fl. 54." Classical Review 38, n. 2 (ottobre 1988): 203–5. http://dx.doi.org/10.1017/s0009840x00121109.

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5

Robbins, E. "The Broken Wall, the Burning Roof and Tower: Pindar, Ol. 8.31–46". Classical Quarterly 36, n. 2 (dicembre 1986): 317–21. http://dx.doi.org/10.1017/s0009838800012076.

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Abstract (sommario):
In the Eighth Olympian, for Alcimedon of Aegina, Pindar recounts a story (31–46) that, according to a notice in the scholia, is not found in earlier Greek literature. Aeacus was summoned from Aegina to Troy by Apollo and Poseidon to help in the construction of the city's fortifications. Smoke, says the poet, would one day rise from the very battlements Aeacus built. The wall newly completed, a portent appeared: three snakes tried to scale the ramparts but two fell to earth while one succeeded in entering the city. Apollo immediately interpreted this sign: Troy would be taken ‘owing to the work of Aeacus’ hand' and would, moreover, be taken ‘by the first and the fourth generations’.If there is literary invention here, it would seem that Pindar has drawn inspiration from three passages of our Iliad: (i) 7.452–3, Apollo and Poseidon toiled to build a wall for Laomedon; (ii) 6.433–4, there was one spot in the wall of Troy that was especially vulnerable; (iii) 2.308–29, the seer Calchas declares an omen involving a snake to signify the eventual destruction of Ilium.The general import of the passage is clear enough — descendants of Aeacus play a prominent part in the Trojan war and in the capture of the city. But the details of the portent and of the prophecy have caused much perplexity, for they cannot easily be made to correspond to the history they prefigure. It is the numbers in Pindar's account that are the chief source of confusion.On the model of the omen interpreted by Calchas (where a snake eating nine birds represents a lapse of nine years before the sack of the city) the three snakes in the Pindaric story might reasonably be expected to represent the lapse of three generations before Aeacus' great-grandson Neoptolemus played his conspicuous part in the final agony of Troy. But this interpretation of the portent forces us to explain away the fact that Troy was also destroyed by Aeacus' son, Telamon, as Pindar repeatedly insists in his Aeginetan odes (Nem. 3.37, 4.25; Isth. 6.26–31): if the snakes are taken to represent generations, one of the unsuccessful snakes in fact represents a successful conqueror. This is a disturbing inconcinnity.
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Carey, Christopher. "Commentary on Pindar - W. J. Verdenius: Commentaries on Pindar, vol. II: Olympian Odes 1, 10, 11, Nemean 11, Isthmian 2. (Mnemosyne Suppl. 101.) Pp. xi + 154. Leiden, New York, Copenhagen and Cologne: Brill, 1988. Paper, fl. 62." Classical Review 40, n. 2 (ottobre 1990): 216–17. http://dx.doi.org/10.1017/s0009840x00253328.

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7

Instone, Stephen. "Pindar. Commentaries on Pindar. By W. J. Verdenius. 1. Olympian odes 3, 7, 12, 14. (Mnemosyne, supp., 97.) Leiden: Brill, 1987. Pp. xi + 132. Fl. 54/$24.50. - (G.) Bonelli Il mondo poetico di Pindaro. Turin: G. Giappichelli, 1987. Pp. 171, [I] plate. L 16.000." Journal of Hellenic Studies 109 (novembre 1989): 213–14. http://dx.doi.org/10.2307/632060.

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8

Agócs, Peter. "A COMMENTARY ON SELECTED ODES OF PINDAR - E. Krummen Cult, Myth, and Occasion in Pindar's Victory Odes. A Study of Isthmian 4, Pythian 5, Olympian 1, and Olympian 3. English translation by J.G. Howie . (Arca 52.) Pp. x + 346. Prenton: Francis Cairns, 2014 (originally published as Pyrsos Hymnon: festliche Gegenwart und mythisch-rituelle Tradition als Voraussetzung einer Pindarinterpretation, Isthmie 4, Pythie 5, Olympie 1 und 3, 1990). Cased, £75, US$150. ISBN: 978-0-905205-56-4." Classical Review 65, n. 1 (14 gennaio 2015): 13–15. http://dx.doi.org/10.1017/s0009840x14003035.

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de Jong, Irene. "Herakles als ‘stichter’ van de Olympische Spelen bij Pindarus". Lampas 54, n. 2 (1 gennaio 2021): 194–212. http://dx.doi.org/10.5117/lam2021.2.002.jong.

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Abstract The origin of the Olympics is a topic much researched by historians and archaeologists, who are eager to reconstruct ‘wie es eigentlich gewesen’. An ancient poet like Pindar had a very different take on this issue: he constructs a past that is attractive to the victors in the games, and does so by modelling the mythic past closely after the historic present. This phenomenon of invented tradition is illustrated in detail for the two odes in which Heracles is portrayed as inventor of the Olympic Games.
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Foster, Margaret. "Hagesias as Sunoikistêr". Classical Antiquity 32, n. 2 (1 ottobre 2013): 283–321. http://dx.doi.org/10.1525/ca.2013.32.2.283.

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In positioning his laudandus Hagesias as the co-founder of Syracuse, Pindar considers the larger ideological implications of including a seer in a colonial foundation. The poet begins Olympian 6 by praising Hagesias as an athletic victor, seer, and sunoikistêr (co-founder) and therefore as a figure of enormous ritual power. This portrayal, however, introduces an element of competition into Hagesias' relationship with his patron Hieron, the founder of Aitna. In response, the ode's subsequent mythic portions circumscribe Hagesias' status so as to mitigate any challenge the seer might present to Hieron's own political authority. An intertextual reading of Olympian 6's myth with the myth of Pelops in Olympian 1 highlights Pindar's careful negotiation of Hagesias' position in this colonial context. Despite the resulting need to affirm Hagesias' subordination to Hieron, Pindar joins together the seemingly incompatible roles of seer and co-founder because, as an intertextual reading of Nemean 1 helps to illustrate, Hagesias embodies and symbolically enacts in the ode Hieron's synoikism of Aitna.
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Tesi sul tema "Olympian odes (Pindar)"

1

Araujo, Alisson Alexandre de. "7ª Ode Olímpica de Píndaro: tradução e notas". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-23082007-121817/.

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Abstract (sommario):
A finalidade deste trabalho é realizar um comentário à 7ª Ode Olímpica de Píndaro. Adicionalmente, procura demonstrar a maneira como a obra desse autor foi citada ou aludida no mundo de língua grega, até a publicação, em 1515, da edição de Zacarias Calierges, e como se formou a crítica pindárica nos séculos XIX e XX.
This work aims to present a comment to Pindar\'s 7th Olympian Ode. Additionally, it intents not only to demonstrate the way Pindar\'s work was mentioned or referred to in Greek language until the publication of Zacarias Calierges\' edition, in 1515, but also show how the pindaric criticism of XIX and XX centuries was shaped.
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2

Goode, L. J. "Three odes of Pindar : a commentary on Olympians 7, 9, and 13". Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317792.

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3

Silva, Tiago Bentivoglio da. "Tradução e comentário à 13ª Olímpica de Píndaro". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-15032016-154636/.

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O objetivo deste trabalho é apresentar uma tradução e um comentário textual à 13ª Olímpica de Píndaro, com base nas mais recentes edições e trabalhos críticos acerca do poeta e do gênero desse poema, o epinício. Também foi composto um ensaio interpretativo que tenta abarcar os temas mais importantes da ode e relacioná-los com o todo da obra de Píndaro. As imagens do poema desenvolvem a contraposição entre medida e excesso, representada tanto nas referências mitológicas (Têmis e as Horas contra a Soberba e Insolência; Belerofonte encilhando Pégaso) quanto nas reflexões da primeira pessoa (que não deve exceder-se no elogio para não errar o alvo, assim como um arqueiro disparando suas flechas; nem deve tentar relatar todas as vitórias da família, pois são tão numerosas quanto os grãos de areia etc.). Em anexo, há a tradução dos escólios relativos a essa ode para permitir a consulta direta a essa fonte, que não se acha traduzida.
The objective of this study is to present a translation and a textual commentary of Pindar\'s Olympian 13, based on the most recent editions and critical works about the poet and the genre of this poem, the epinician. An interpretative essay was composed in order to cover the most important themes of this ode and articulate them with Pindar\'s other works. The poetical imagens of the poem develop the central theme, the opposition between measure and excess, represented by the mithological references (Themis and the Hours against the Excess and the Satiety; Bellerophon taming Pegasus etc.) and by the first-person\'s reflections on the laudatory art (the first-person should not exceed in praise in order to not miss the target, as an archer with his arrows; nor should try to enumerate all the victories of this family, for they are greater than the grains of sand from the sea). There is a translation of the scholia to this ode attached, allowing direct consultation, once there is no other version of this text.
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Libri sul tema "Olympian odes (Pindar)"

1

Society, Greek Font. Pindar: Olympian odes. Athens: Greek Font Society, 2004.

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2

Gildersleeve, Basil L., a cura di. Pindar: Olympian and Pythian Odes. Cambridge: Cambridge University Press, 2010. http://dx.doi.org/10.1017/cbo9780511698002.

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Pindar, a cura di. A commentary on Pindar Olympian nine. Stuttgart: Franz Steiner, 2002.

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4

Pindar. The odes of Pindar. New York: S. Albahari, 21st, 2007.

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5

Hornblower, Simon. Thucydides and Pindar: Historical narrative and the world of Epinikian poetry. Oxford: Oxford University Press, 2004.

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6

Mader, Walter. Die Psaumis-Oden Pindars (O. 4 und O. 5): Ein Kommentar. Innsbruck: Universitätsverlag Wagner, 1990.

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7

Drakōnakē-Kazantzakē, Euanthia. Nikē kai politikos vios ston Pindaro: Olympionikos 12. : Ergotelei Himeraiō dolichodromō : philologikos hypomnēmatismos kai historikē epopsē tēs Ōdēs. Athēna: Ekdoseis Papazēsē, 2011.

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8

Gildersleeve, Basil L., e Pindar. Pindar: The Olympian and Pythian Odes. Franklin Classics Trade Press, 2018.

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9

Gildersleeve, Basil L., e Pindar Pindar. Pindar. the Olympian and Pythian Odes. Franklin Classics Trade Press, 2018.

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10

Fennell, Charles August Maude, e Pindar. Pindar: The Olympian and Pythian Odes. Creative Media Partners, LLC, 2018.

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Più fonti

Capitoli di libri sul tema "Olympian odes (Pindar)"

1

"General Introduction". In Pindar: Selected Odes, a cura di Stephen Instone, 1–31. Liverpool University Press, 1996. http://dx.doi.org/10.3828/liverpool/9780856686689.003.0001.

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This chapter introduces the Ancient Greek lyric poet Pindar and reviews surviving short biographies, biographical notes, and anecdotes that purport to give information about his life. It reviews Pindar's Odes, which includes five victory poems: Olympian One, Phythian Nine, Nemean Two, Nemean Three, and Isthmian One. It also details Olympian One, which celebrates the victory of Hieron in the horse race at the Olympic Games of 476 BC and Pythian Nine, which talks about Telesicrates's life. The chapter discusses Nemean Two, which was composed for the victor in the pancration at the Nemean Games that were in honour of Zeus and Nemean Three, which was composed for Arlstocleidas, another victor in the pancration. It analyses Isthmian One, which was composed for the victor Herodotus, who competed at the chariot event.
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2

Lefkowitz, Mary R. "The First Person in Pindar". In First-Person Fictions: Pindar’s Poetic ‘I’, 1–71. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198146865.003.0001.

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Abstract The victory ode is a curious and somewhat paradoxical form of art. As we know it, from the extant works of Pindar and Bacchylides, it appears to be in the tradition of the songs of the bards and the lyric poets, that is, an address by a single poet to his audience. For example, in the opening lines of Pindar’s Second Olympian Ode (‘Hymns that rule the lyre I which god, which hero, which man shall we sing?’) the ‘we’ is clearly Pindar, since the invocation to ‘hymns’ and the first person verb ‘we shall sing’ indicate that the speaker is concerned with the composition of song, in other words, that he is a poet. But 0. 2 and most of Pindar’s other odes were not presented (or so scholars have always assumed) by the poet himself, as were the songs of the Homeric bards, but by choruses, like the dithyramb and the choral odes of tragedy.
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"Olympian 7". In Oxford World's Classics: Pindar: The Complete Odes. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00296226.

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"Olympian 10". In Oxford World's Classics: Pindar: The Complete Odes. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00296229.

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"Olympian 6". In Oxford World's Classics: Pindar: The Complete Odes. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00296225.

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"Olympian 5". In Oxford World's Classics: Pindar: The Complete Odes. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00296224.

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"Olympian 12". In Oxford World's Classics: Pindar: The Complete Odes. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00296231.

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"Olympian 2". In Oxford World's Classics: Pindar: The Complete Odes. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00296221.

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"Olympian 1". In Oxford World's Classics: Pindar: The Complete Odes. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00296220.

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"Olympian 13". In Oxford World's Classics: Pindar: The Complete Odes. Oxford University Press, 2008. http://dx.doi.org/10.1093/oseo/instance.00296232.

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