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Data publikacji: 26 lipca 2024

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1

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

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2

Galeta, R. M. Author, text and context: Epistemology, poetry and criticality with reference to works of Aristotle, Plato, Pindar and Callimachus. Norwich: University of East Anglia, 1987.

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3

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

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4

Siscar, Gregorio Mayans y. Arte de pintar. Madrid: Universidad de Huelva, 1996.

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5

B, Henry W., red. Pindar's Nemeans: A selection. München: K.G. Saur, 2005.

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6

J, Nisetich Frank, red. Pindar's Victory songs. Baltimore: Johns Hopkins University Press, 1990.

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7

Alcover, Wilfredo. De San Antonio a Maisí: Pinar del Río, Habana, Matanzas, Las Villas, Camagüey, Oriente. [S.l: s.n., 1989.

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8

Libro de manualidades para ninas y niños: Doblar, pegar, pintar. Colonia, Alemania: NGV, 2013.

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9

Herrejón, Salvador González. El mal del pinto, el acetato de talio en el tratamiento de las tiñas: Discursos y testimonios de amigos y discipulos. Morelia, Mich: Gobierno del Estado de Michoacán de Ocampo, 1985.

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10

John, Orr. Tragicomedy and contemporary culture: Play and performance from Beckett to Shepard. Houndmills, Basingstoke, Hampshire: Macmillan, 1991.

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Mayberry, Bob. Theatre of discord: Dissonance in Beckett, Albee, and Pinter. Rutherford [N.J.]: Fairleigh Dickinson University Press, 1989.

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12

Wolcot, John. Works of Peter Pindar. HardPress, 2020.

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13

Pindar, Peter. [Works of Peter Pindar, esq., Pseud. Arkose Press, 2015.

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14

Pindar, Peter. Works of Peter Pindar, Esq : In Three Volumes : the Works of Peter Pindar, Esq: In Three Volumes; Volume 2. Creative Media Partners, LLC, 2018.

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15

(Editor), Stephen Instone, i Holly Bennett (Illustrator), red. Pindar: Selected Odes (Classical Texts). Aris & Phillips, 1996.

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(Editor), Stephen Instone, i Holly Bennett (Illustrator), red. Pindar: Selected Odes (Classical Texts). Aris & Phillips, 1996.

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17

Odes of Pindar Including the Principal Fragments. Harvard University Press, 1990.

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18

The Works Of Peter Pindar V3: To Which Are Prefixed Memoirs Of The Author's Life. Kessinger Publishing, LLC, 2007.

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19

Wolcot, John. The Works Of Peter Pindar V4: To Which Are Prefixed Memoirs Of The Author's Life. Kessinger Publishing, LLC, 2007.

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20

Peter, Pindar. The Works Of Peter Pindar V3: To Which Are Prefixed Memoirs Of The Author's Life. Kessinger Publishing, LLC, 2007.

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21

Wolcot, John. The Works Of Peter Pindar V4: To Which Are Prefixed Memoirs Of The Author's Life. Kessinger Publishing, LLC, 2007.

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22

Pindar, Peter. The Works of Peter Pindar Esq. Complete. A new Edition. Vol.III. of 3; Volume 3. Gale ECCO, Print Editions, 2018.

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23

Pindar, Peter. Works of Peter Pindar, Esq. Pseud: To Which Are Prefixed Memoirs of the Author's Life. HardPress, 2020.

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Pindar, Peter. The Works of Peter Pindar, Esq.: To Which Are Prefixed Memoirs of the Author's Life; VOL. I. Gale NCCO, Print Editions, 2017.

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25

Pindar, Peter. The Works of Peter Pindar, Esq. Complete. a New Edition. in Two Volumes. ... of 2; Volume 1. Gale Ecco, Print Editions, 2018.

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26

Thucydides and Pindar: Historical Narrative and the World of Epinikian Poetry. Oxford University Press, USA, 2006.

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27

Power, Timothy. Musical Persuasion in Early Greece. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0008.

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This chapter on archaic and classical Greek music finds the political dimensions of musical expression to be paramount. Music, according to Power, presents a synesthetic form of communication—verse, instruments, often dance and, in Athenian drama, prose dialogue—of unrivalled modal complexity that reinforced the popular impact of this art form. Solon and other politicians used music, while Pindar and other poets introduced political motifs into performances of their works. In Power’s view, the generally accepted notion that early Greece was a “song culture”—differing in this respect from ancient Mesopotamia with its scribal culture, or from imperial Rome with its predilection for monuments and public spaces—should not lead to overemphasizing private life and personal communication as opposed to the political forms of expression developed by Solon, Pindar, and others.
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28

Spelman, Henry. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0011.

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This epilogue briefly highlights the unity of this work as a whole and then takes a broader view over ancient literature in order to trace some potential connections between Pindar and other sorts of poetry, both earlier and later. The Pindar who emerges from this monograph is a poet who looks with supreme self-consciousness to the past, the present, and the future simultaneously. To grasp Pindar’s vision of his place in the traditions of archaic poetry may in the end help us to see better how and why he eventually came to hold such a central place in the Graeco-Roman literary tradition as a whole.
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29

Spelman, Henry. Pindar and the Poetics of Permanence. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.001.0001.

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This work is concerned with Pindar and archaic Greek literary culture. Part One discusses Pindar’s relationship to his audiences. It demonstrates how his victory odes address an audience present at their premiere performance and also a broader secondary audience throughout space and time. I argue that getting the most out of these texts involves simultaneously assuming the perspectives of both. Part Two describes how Pindar uses other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar’s vision of the literary world, both past and present, and shows how this framework shapes the meaning of his work. Whereas the last several decades of scholarship on early Greek lyric have focused on the immediate contexts of first performance, this work instead focuses on the rhetoric and realities of poetic permanence and provides the first book-length study devoted to this topic. It combines historical and literary perspectives in a unique way in order to offer a new understanding of the nature of early Greek poetic culture and new insights into the texts that it produced.
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Spelman, Henry. The Poetics of Permanence. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0005.

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This chapter explores ways in which the idea of permanence matters for understanding Pindar. Each section focuses on one ode in order to bring out a broader feature of his poetics. Section 1 (Pythian 1) illustrates how the aesthetics of traditionality can enrich the experience of a secondary audience. Section 2 (Nemean 4) shows how the possibility of participating in a tradition might have mattered to Pindar’s first audiences. Section 3 (Pythian 6) considers the didactic value of epinician for secondary audiences. Section 4 (Pythian 3) describes how Pindar invites reflection on the future reception of his work through his own reception of Homer. Section 5 (Nemean 5) demonstrates how Pindar evokes the language of inscriptions in order to depict the communicative powers of his poetry. Section 6 enters into a controversy surrounding Nemean 7 and argues that this poem can be adequately understood by secondary audiences.
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31

Pindar, Peter. The Beauties of Pindar: Being Selections From the Various Works of That Eccentric Author, With a Biographical Memoir of His Life and Writings (Classic Reprint). Forgotten Books, 2018.

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32

Pindar, Peter. The Poetical Works of Peter Pindar, Esq. a Distant Relation to the Poet of Thebes. To Which are Prefixed, Memoirs and Anecdotes of the Author. Gale ECCO, Print Editions, 2018.

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Spelman, Henry. The Lyric Past. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0010.

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Whereas the last two chapters focused on epinician, Chapter VIII expands the scope of inquiry and studies the lyric past in Pindar most generally. Section 1 discusses the mainly fragmentary evidence for his knowledge and use of the history of lyric. Section 2 interprets three epinicians which prominently engage with the work of other lyric poets (Pythian 2, Pythian 1, and Isthmian 2). Pindar defines his authorial project through comparisons with some of the most distinguished lyric voices of the past including Archilochus, Simonides, and Anacreon. Drawing on the arguments of the last three chapters and offering a conclusion, Section 3 describes Pindar’s vision of the poetic world, both past and present, and clarifies how a sense of literary history shapes the meaning of his authorial project.
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Spelman, Henry. Introduction to Part One. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0001.

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The introduction situates this work within scholarship and outlines an approach to some larger issues including literature, literary history, canons, periodization, and historical contexts. It then broaches the question of how Pindaric epinician related to its public and offers a preview of the next five chapters. Studying Pindar’s ode within a literary culture rather than the immediate circumstances of their production and initial reception might lead one to different and incompatible conclusions or elucidate other facets of complex realities. One of the goals of this work is to contextualize within literary history Pindar’s project of creating works that could be decontextualized from their first performance.
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35

Zartaloudis, Thanos. The Birth of Nomos. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442008.001.0001.

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The Birth of Nomos delves into the history of the fundamental ancient Greek word nomos (and its family and other related words) to extensively examine the varied co-existent uses of the terms from the archaic to the early classical period, before and beyond its later meaning of 'law' or 'law-making'. The Birth of Nomos draws on the literary evidence in the works of the poets, philosophers and tragedians including Homer, Hesiod, Alcman, Pindar, Archilochos, Theognis, Heraclitus, Plato, Aeschylus, Sophocles and Euripides. In doing so it critically reflects on how nomos and its complex genealogy have been used by contemporary philosophers, including Agamben, Foucault, Heidegger, Schmitt, Nancy, Deleuze and Axelos.
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36

Spelman, Henry. Event and Artefact. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0004.

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This chapter examines the interplay between first performance and subsequent reception in fifth-century lyric and especially in Pindar’s epinicians. It describes how poems trace their own travels from unrepeatable event to perpetuated artefact and draws conclusions about the shape of the literary culture behind Pindar’s odes. Six sections discuss six passages that map their journey from performance into permanence. A concluding section then uses these passages as case studies and primary evidence in order to draw overarching conclusions about the relationship between the rhetoric of performance and the realities of literary practices. By studying Pindar’s depictions of the life of his work we can better see how his poems found a place in a poetic culture stretching through time and space. Pindar brings the view sub specie aeternitatis into the moment of performance and also transmits the view from a certain hic et nunc into perpetuity.
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37

Zimmerman, J. G. Aphorisms and Reflections on Men, Morals and Things : With the Beauties of Pindar: Being Selections from the Various Works of That Eccentric Author; with a Biographical Memoir of His Life and Writings. Wipf & Stock Publishers, 2017.

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38

Zimmerman, J. G. Aphorisms and Reflections on Men, Morals and Things : With the Beauties of Pindar: Being Selections from the Various Works of That Eccentric Author; with a Biographical Memoir of His Life and Writings. Wipf & Stock Publishers, 2017.

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39

Larson, Stephanie. Meddling with Myth in Thebes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198744771.003.0007.

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This chapter discusses an Attic red-figure vase found on the Ismenion hill, in Thebes in Greece; the vase changes the iconography of the canonical Panhellenic grypomachy scene by substituting a sphinx, a symbol of local Theban significance. The chapter sets this vase into the context of sphinx imagery and adduces other vases from both within and outside Boeotia as evidence for a link between the image of the sphinx and the myth of Oedipus. It also suggests that this substitution on the vase could be seen as following a Theban trend in altering details of myth to fit local interests, as seen also in the earlier literary works of the Theban poet Pindar.
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40

Fearn, David. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0006.

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The conclusion rounds out this study, summing up the importance of the approaches taken in relation to previous more historicizing models of Pindaric scholarship. Particular emphasis is placed on aesthetics and the importance of contextualizability: how Pindar’s poetry consistently draws attention to its own aesthetic status and makes an issue of its relation to contexts, through gesturing towards material culture and visual experience; how the interstices between lyric voices and contexts matter for a considered appreciation of epinician lyric’s cultural value. Potential future avenues for research are considered, both within the Pindaric corpus and beyond it, including further work on fifth-century prose (Herodotus and sophistic rhetoric in particular).
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Fearn, David. Language and Vision in the Epinician Poets. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0005.

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This chapter explores the ways in which the other two contemporary epinician poets, Simonides and Bacchylides, use aesthetics and material culture as a way of drawing attention to their own individual and distinctive poetic voices and poetic agendas. Their affinities with and differences from Pindar are explored on the strength of the available evidence. Simonides’ Danae fragment receives detailed coverage, interpreted in visual-cultural terms in relation to Simonides’ ongoing fame as the original commentator on the relation between art and text. Discussion then turns to Bacchylides, and the predominance of a visual narrative style in his work. The argument covers not only epinician material but also an interesting but understudied fragmentary dithyramb. The focus then returns to Pindar with a short treatment of the themes of vision and visual and material culture in Nemean 10.
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42

Educational Experience As Lived : Knowledge, History, Alterity: The Selected Works of William F. Pinar. Taylor & Francis Group, 2015.

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Pinar, William F. Educational Experience As Lived : Knowledge, History, Alterity: The Selected Works of William F. Pinar. Taylor & Francis Group, 2016.

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Pinar, William F. Educational Experience As Lived : Knowledge, History, Alterity: The Selected Works of William F. Pinar. Taylor & Francis Group, 2015.

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Pinar, William F. Educational Experience As Lived : Knowledge, History, Alterity: The Selected Works of William F. Pinar. Taylor & Francis Group, 2015.

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46

Phillips, Tom. Words and the Musician. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0004.

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The central claim advanced in this chapter is that significant connections between rhythm and semantic content form an important and under-examined stylistic feature of Pindar’s dactylo-epitrite epincians. In particular, the chapter focuses on passages in which sonic and rhythmical features express or imitate aspects of what the texts refer to, and that this ‘imitation’ could assume various degrees of complexity and abstraction depending on the nature of the linguistic referents of a given passage. The final part of the chapter examines how strophic responsion creates semantic and thematic connections between stanzas. A case is made for moving beyond a mode of reading that sees rhythmical features exclusively as subordinated to semantic meaning.
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47

Loney, Alexander C., i Stephen Scully, red. The Oxford Handbook of Hesiod. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.001.0001.

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This volume brings together twenty-nine junior and senior scholars to discuss aspects of Hesiod’s poetry and its milieu and to explore questions of reception over two and half millennia, from shortly after the poems’ conception to Twitter hashtags. Rather than an exhaustive survey of Hesiodic themes, the Handbook is conceived as a guide through terrain, some familiar, other less charted, examining both Hesiodic craft and later engagements with Hesiod’s stories of the gods and moralizing proscriptions of just human behavior. The volume is divided into four sections: “Hesiod in Context,” “Hesiod’s Art,” “Hesiod in the Greco-Roman Period,” and “Hesiod from Byzantium to Modern Times.” Topics of the chapters range from the “Hesiodic question” to the archaeology and economic history of archaic Boiotia, to Hesiod and Indo-European poetics, and from discussions of style to Hesiod’s vision of the supernatural in the Theogony, to questions of performer and audience interactions in the Works and Days. Looking at both poems together, other chapters explore tensions between diachronic and synchronic temporalities and varying portrayals of female figures. Reception studies range from Solon to comic books, with chapters in between on Hesiod and the pre-Socratics, Orphism, archaic art, Pindar, tragedy, comedy, Plato, Hellenistic poetry, Hellenistic philosophy, Virgil and the Georgic tradition, Ovid, Second Sophistic and early Christian authors in the Greco-Roman period, Byzantine and Renaissance writers and editions, Christian humanism and Milton, Enlightenment, Romanticism, and Nietzsche, Freud and structuralism, and contemporary art and literature in postclassical times.
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48

Spelman, Henry. Secondary Audiences. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0002.

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Chapter I lays the groundwork by showing how Pindar’s epinicians, despite being occasional poetry, take into account audiences beyond their first performance. Using the texts themselves as evidence, it first shows how Pindar’s poems anticipate and accommodate secondary audiences. Two sections then examine types of knowledge necessary for understanding the poems: first, knowledge of debut performance contexts; secondly, knowledge of external data including public history, individual circumstances, and mythological traditions. The conclusion emerges that knowledge available to debut audiences but unavailable to secondary audiences is largely inessential for understanding and appreciating Pindar’s poetry. Section 3 addresses the question of Pindar’s difficulty while section 4 considers the role of written texts in the reception of his work. The odes’ complexity provides an impetus, not an obstacle, to their later reception. The evidence for a text-based literary culture in Pindar’s day is cumulatively stronger than is sometimes supposed.
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49

Ali, Farah. Eroding the Language of Freedom: Identity Predicament in Selected Works of Harold Pinter. Taylor & Francis Group, 2017.

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50

Wells, James Bradley. HoneyVoiced. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350226432.

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This new translation of Pindar’s songs for victorious athletes marries philological rigour with poetic sensibility in order to represent the beauty of his language for a modern audience as closely as possible. Pindar’s poetry is synonymous with difficulty for scholars and students of classical studies. His syntax stretches the limits of ancient Greek, while his allusions to mythology and other poetic texts assume an audience that knows more than we now possibly can, given the fragmentary nature of textual and material culture records for ancient Greece. It includes an authoritative introduction, both to the poet and his art and to ancient athletics, alongside brief orientations to the historical context and mythological content of each victory song. The inclusion of a glossary supplies additional mythological and historical information necessary to understanding Pindar’s poetry for those coming to the works for the first time. His is the largest body of textual remains that exists for ancient Greece between Homer (conventionally dated to 750 BCE) and the Classical Period (480–;323 BCE), and constitutes a rich resource for politics, history, religion, and social practices.
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