{"id":508,"date":"2019-09-10T01:54:30","date_gmt":"2019-09-10T01:54:30","guid":{"rendered":"http:\/\/sites.rutgers.edu\/greeksong\/?page_id=508"},"modified":"2024-07-04T15:39:21","modified_gmt":"2024-07-04T15:39:21","slug":"bibliography","status":"publish","type":"page","link":"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/","title":{"rendered":"Bibliography"},"content":{"rendered":"<p>The lists of publications on this page aim to complement Douglas E. Gerber extensive and annotated bibliographies of archaic and classical Greek lyric, and iambic and elegiac poetry for the years 1920-1989:<\/p>\n<ul>\n<li>Gerber, Douglas E. (1989) &#8216;Pindar and Bacchylides 1934-1987&#8217;,\u00a0<i>Lustrum<\/i>\u00a031: 97-269.<\/li>\n<li>Gerber, Douglas E. (1990) &#8216;Pindar and Bacchylides 1934-1987 (Continuation)&#8217;,\u00a0<i>Lustrum<\/i>\u00a032: 7-98.<\/li>\n<li>Gerber, Douglas E. (1991) &#8216;Early Greek elegy and iambus 1921-1989&#8217;,\u00a0<i>Lustrum<\/i>\u00a033: 7-225 and 401-10.<\/li>\n<li>Gerber, Douglas E. (1993) &#8216;Greek lyric poetry since 1920. Part I: General, Lesbian poets&#8217;,\u00a0<i>Lustrum<\/i>\u00a035: 7-179.<\/li>\n<li>Gerber, Douglas E. (1994) &#8216;Greek lyric poetry since 1920. Part II: From Alcman to fragmenta adespota&#8217;,\u00a0<i>Lustrum<\/i>\u00a036: 7-188 and 285-97.<\/li>\n<\/ul>\n<p>See, too, Arlette Neumann-Hartmann recently published bibliography for Pindar and Bacchylides covering the years 1988 &#8211; 2007:<\/p>\n<p>Neumann-Hartmann, Arlette (2010) &#8216;Pindar und Bakchylides (1988-2007)&#8217;, <i>Lustrum: Internationale Forschungsberichte aus dem Bereich des klassischen Altertums<\/i> 52: 181-463.<\/p>\n<p>Our aim is to provide a bibliography that contains relevant publications on archaic and classical Greek poetry (including the choruses of classical drama) especially after 1989. The bibliography follows Gerber&#8217;s division into genres and ancient poets, but one can also use the &#8216;search&#8217; function in the left sidebar in order to find publications. Another way to search through the documents is to use the CTRL-F search function of your browser. In this way, one can more conveniently search for specific words in publications. Unfortunately, it is still impossible to search for themes or keywords that are not mentioned in the title.<\/p>\n<h2>Greek Song General<\/h2>\n<h3><span id=\"General\" class=\"mw-headline\">General<\/span><\/h3>\n<ul>\n<li>Alexiou, M. (2002)\u00a0<i>The Ritual Lament in Greek Tradition<\/i>. Second edition revised by D. Yatromanolakis and P. Roilos. Lanham\/Oxford.<\/li>\n<li>Bagordo, A. (2011) &#8216;Lyrik&#8217;, in: Handbuch der griechischen Literatur der Antike, Bd. I, Zimmermann, Bernhard (ed.) M\u00fcnchen.<\/li>\n<li><span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. <span lang=\"en-US\">\u201c<\/span><i><span lang=\"de\">Choreia<\/span><\/i><span lang=\"de\">\u00a0und Fest: Neue Ans\u00e4tze in der Interpretation der griechischen Liedkultur\u201d, in:\u00a0<i>Gymnasium<\/i> 121, 2014, 217\u2013239.<\/span><\/li>\n<li><span lang=\"de\"><span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. \u201cFest und Spiele in der griechischen Literatur\u201d, in: <i>ThesCRA\u00a0<\/i>VII 3\u00a0<i>Festivals and Contests<\/i>, Kap. 4, 125\u2013160 (in: A. Chaniotis (ed.),\u00a0<i>Festivals and Contests in the Greek World<\/i>), The J. Paul Getty Museum, Los Angeles 2011.<\/span><\/li>\n<li>Boedeker, D. (1984) &#8216;Descent from Heaven: Images of Dew in Greek Poetry and Religion&#8217;,\u00a0<i>American Classical Studies<\/i>\u00a013.<\/li>\n<\/ul>\n<ul>\n<li>Bowie, E. (2010) &#8216;The Trojan War&#8217;s Reception in Early Greek Lyric, Iambic and Elegiac Poetry&#8217; in:\u00a0<i>Intentional History. Spinning Time in Ancient Greece<\/i>\u00a0eds. L. Foxhall, H.-J. Gehrke, N. Luraghi. Stuttgart: 57-87.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2011), \u00ab\u00a0De la parure \u00e0 l\u2019harmonie du monde\u00a0: esth\u00e9tique et id\u00e9ologie du kosmos dans la po\u00e9sie m\u00e9lique grecque archa\u00efque\u00a0\u00bb, L. Bodiou, Fl. Gherchanoc, V. Huet, V. Mehl, Parures et artifices\u00a0: le corps expos\u00e9 dans l\u2019Antiquit\u00e9, L\u2019Harmattan, p. 217-232.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2012), \u00ab\u00a0Pour un parall\u00e8le intempestif. Po\u00e8tes norv\u00e9giennes contemporaines \/ grecques anciennes\u00a0\u00bb, in Le Pan po\u00e9tique des muses | Revue internationale de po\u00e9sie entre th\u00e9ories &amp; pratiques\u00a0: \u00ab\u00a0Po\u00e9sie, Danse &amp; Genre\u00a0\u00bb [En ligne], n\u00b02|Automne 2012,\u00a0<a class=\"external free\" href=\"http:\/\/0z.fr\/wZC2S\" rel=\"nofollow\">http:\/\/0z.fr\/wZC2S<\/a><\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2013), &#8220;Un genre, des genres, pas de genre\u00a0: sur les d\u00e9signations et les pratiques grecques anciennes de la po\u00e9sie d\u2019\u00e9loge&#8221;, in Alain B\u00e8gue (ed.), La poes\u00eda epid\u00edctica del Siglo de Oro y sus antecedentes (I). Versos de elog\u00edo, Editorial Academ\u00eda del Hispanismo, Vigo, p. 19-41<\/li>\n<\/ul>\n<ul>\n<li>Budelmann, F. (ed.) (2009)\u00a0<i>The Cambridge Companion to Greek Lyric<\/i>. Cambridge.\n<ul>\n<li>Contents: 1. Introducing Greek lyric Felix Budelmann; Part I. Contexts and Topics: 2. Genre, occasion and performance Chris Carey; 3. Greek lyric and the politics and sociologies of archaic and classical Greek communities Simon Hornblower; 4. Greek lyric and gender Eva Stehle; 5. Greek lyric and the place of humans in the world Mark Griffith; 6. Greek lyric and early Greek literary history Barbara Graziosi and Johannes Haubold; 7. Language and pragmatics Giovan Battista D&#8217;Alessio; 8. Metre and music Luigi Battezzato; Part II. Poets and Traditions: 9. Iambos Chris Carey; 10. Elegy Antonio Aloni; 11. Alcman, Stesichorus and Ibycus Eveline Krummen; 12. Alcaeus and Sappho Dimitrios Yatromanolakis; 13. Anacreon and the Anacreontea Felix Budelmann; 14. Simonides, Pindar and Bacchylides Hayden Pelliccia; 15. Ancient Greek popular song Dimitrios Yatromanolakis; 16. Timotheus the New Musician Eric Csapo and Peter Wilson; Part III. Reception: 17. Lyric in the Hellenistic period and beyond Silvia Barbantani; 18. Lyric in Rome Alessandro Barchiesi; 19. Greek lyric from the Renaissance to the eighteenth century Pantelis Michelakis; 20. Sappho and Pindar the nineteenth and twentieth centuries Margaret Williamson; 21. Lyric and lyrics: perspectives, ancient and modern Michael Silk.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (1998) &#8216;La po\u00e9sie lyrique grecque, un genre inexistant?&#8217;\u0080\u0099,\u00a0<i>Litt\u00e9rature<\/i>\u00a011: 87\u00e2\u0080\u0093110. (English translation in preparation for Readings in Greek Lyric, ed. I. Rutherford. Oxford.)<\/li>\n<\/ul>\n<ul>\n<li>Cavarzere, A., Aloni, A. and Barchiesi, A. (eds.) (2001)\u00a0<i>Iambic Ideas: Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire<\/i>, Lanham, Md. and Oxford. Reviewed by C. Keane\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2002\/2002-07-35.html\" rel=\"nofollow\">BMCR 2002.07.35<\/a><\/li>\n<\/ul>\n<ul>\n<li>Dougherty, C. (1994) &#8216;\u0080\u0098Archaic Greek foundation poetry: questions of genre and occasion&#8217;\u0080\u0099,\u00a0<i>JHS<\/i>\u00a0114: 35\u00e2\u0080\u009346.<\/li>\n<\/ul>\n<ul>\n<li>Fowler, B.H. (1992)\u00a0<i>Archaic Greek Poetry: An Anthology<\/i>. Madison, Wis.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2013) \u201c\u2018Song-Benders of Circular Choruses\u2019: Dithyramb and the \u2018Demise of Music\u2018\u201c, in Wilson, P.\/ Kowalzig, B. (eds.),\u00a0<i>Dithyramb in Context<\/i>, Oxford: 213\u201336.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2016)\u00a0<i>Kinyras: The Divine Lyre<\/i>. (Hellenic Studies 70), Washington D.C..<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2007) \u201c\u2018A Feast of Music\u2019: The Greco-Lydian Musical Movement on the Assyrian Periphery\u201c, in Collins, B. J.\/Bachvarova, M.\/ Rutherford, I. (eds.),\u00a0<i>Anatolian Interfaces: Hittites, Greeks and Their Neighbors<\/i>, Oxford: 193\u2013203.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. 2003) \u201cThe Language of Musical Technique in Greek Epic Diction\u201c, Gaia. Revue interdisciplinaire sur la Gr\u00e8ce archa\u00efque 7: 295-307.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. (1990)\u00a0<i>Poetry and its Public in Ancient Greece<\/i>. Baltimore. Reviewed by S.D. Olson\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/1991\/02.02.06.html\" rel=\"nofollow\">BMCR 02.02.06<\/a><\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. and Catenacci, C. (2007)\u00a0<i>Polinnia. Poesia greca arcaica. Terza edizione<\/i>. Firenze. Contains elegiac, iambic and lyric poetry with introduction and commentary. Reviewed by L. Athanassaki (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-04-23.html\" rel=\"nofollow\">BMCR 2008.04.23<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. and Lomiento, L. (2008)\u00a0<i>Metrics and Rhythmics: History of Poetic Forms in Ancient Greece<\/i>\u00a0(English translation by E. Christian Kopff of 2003 edition:\u00a0<i>Metrica e ritmica: Storia delle forme poetiche nella Grecia antica<\/i>. Milan. Review:\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2004\/2004-09-09.html\" rel=\"nofollow\">BMCR 2004.09.09<\/a>).\u00a0<i>Studi di metrica classica<\/i>\u00a012. Pisa\/Roma: Fabrizio Serra Editore. Reviewed by A. Tessier\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-11-31.html\" rel=\"nofollow\">BMCR 2009.11.31<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (1997) (ed.)\u00a0<i>A Companion to the Greek Lyric Poets<\/i>. Leiden.\n<ul>\n<li>Contents: Iambos (Archilochus, Semonides, Hipponax) &#8211; Christopher Brown. Elegy (Callinus, Tyrtaeus, Mimnermus, Solon, Theognis, Xenophanes) &#8211; Douglas Gerber. Personal poetry (Alcaeus, Sappho,Ibycus, Anacreon, Corrina) &#8211; Bonnie Maclachan. Public poetry (Alcman, Stesichorus, Simonides, Pindar, Bacchylides) &#8211; Emmet Robbins.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (2003) &#8216;\u039b\u03bf\u03be\u03cc\u03c2 with reference to the Eyes and Neck in Greek Poetry&#8217; in:\u00a0<i>Studi di Filologia e Tradizione Greca in memoria di Aristide Colonna<\/i>, eds. F. Benedetti and S. Grandolini. Napoli, vol. 1: 355-358.<\/li>\n<\/ul>\n<ul>\n<li>Goldhill, S. (1991)\u00a0<i>The Poet&#8217;s Voice: Essays on Poetics and Greek Literature<\/i>. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Graziosi, B. (2002)\u00a0<i>Inventing Homer. The Early Reception of Epic<\/i>. Cambridge. About the reception of Homer in lyric, elegy and iambus.<\/li>\n<\/ul>\n<ul>\n<li>Griffith, M. (1990) &#8216;Contest and contradiction in early Greek poetry&#8217;, in <i>Cabinet of the Muses: Essays on Classical and Comparative Literature in Honor of Thomas G. Rosenmeyer<\/i>, ed. M. Griffith and D. Mastronarde. Atlanta: 185\u00e2\u0080\u0093207.<\/li>\n<\/ul>\n<ul>\n<li>Griffiths, A. (1995) &#8216;Non-aristocratic elements in archaic poetry&#8217;, in <i>The Greek World<\/i>, ed. A. Powell. London: 85-103.<\/li>\n<\/ul>\n<ul>\n<li>Hunter, R.L. and Rutherford, I. (eds.) (2009)\u00a0<i>Wandering Poets in Ancient Greek Culture. Travel, locality and Pan-Hellenism<\/i>. Cambridge.\u00a0<a class=\"external text\" href=\"http:\/\/ebooks.cambridge.org\/popups\/pdf_viewer.jsf?cid=CBO9780511576133A005&amp;ref=false&amp;pubCode=CUP&amp;urlPrefix=cambridge\" rel=\"nofollow\">Table of contents<\/a>\u00a0Reviewed by R. Roosevelt\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2010\/2010-01-55.html\" rel=\"nofollow\">BMCR 2010.01.55<\/a><\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G.O. (ed.) (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>\u00a0Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Ieran\u00c3\u00b2, G. (1997)\u00a0<i>Il Ditirambo di Dioniso<\/i>. Pisa and Rome. [Testimonia on dithyramb, with commentary]<\/li>\n<\/ul>\n<ul>\n<li>Jones, G.S. (2008)\u00a0<i>Singing the Skolion: a Study of Poetics and Politics in Ancient Greece<\/i>. Ph.D. Diss. Johns Hopkins University.\n<ul>\n<li>My dissertation collects and examines for the first time all testimonia related to the skolion and all surviving songs identified as skolia. I offer a new definition of the term based on the three elements of melic genre: occasion, content, style. I also examine the Panhellenization and historical development of the genre with special attention paid to the political implications of the Attic skolia.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Klinck, Anne L. (2008)\u00a0<i>Woman&#8217;s songs in Ancient Greece<\/i>. Montreal. Reviewed by M.R. Lefkowitz\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-06-56.html\" rel=\"nofollow\">BMCR 2009.06.56<\/a><\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (2000) &#8216;The Strangeness of &#8216;Song Culture&#8217;: Archaic Greek Poetry&#8217;, in <i>Literature in the Greek &amp; Roman Worlds: A New Perspective<\/i>, ed. O. Taplin. Oxford University Press: 58-87.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (2007) &#8216;Archaic Greek Poetry&#8217;, in\u00a0<i>The Cambridge Companion to Archaic Greece<\/i>, ed. H. Alan Shapiro. Cambridge: 141-68. Reviewed by A. K\u00fchr\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-01-13.html\" rel=\"nofollow\">BMCR 2008.01.13<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (1995)\u00a0<i>Wisdom in Context: The Use of Gnomic Statements in Archaic Greek Poetry<\/i>. Ph.D. Diss. Princeton University.<\/li>\n<\/ul>\n<ul>\n<li>Lattmann, C. (2005) &#8216;Die Dichtungsklassifikation des Aristoteles. Eine neue Interpretation von Aristot. poet. 1448a19-24&#8217;, <i>Philologus<\/i> 149: 28-51. <a class=\"external text\" href=\"http:\/\/www.klassalt.uni-kiel.de\/abteilungen\/graezistik\/websites\/lattmann\/claas-lattmann-aristotles-classification-of-poetry\" rel=\"nofollow\">Abstract<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>MacLachlan, B. (1993)\u00a0<i>The Age of Grace: Charis in Early Greek Poetry.<\/i>\u00a0Princeton. Reviewed by M.R. Halleran\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/1994\/94.02.17.html\" rel=\"nofollow\">BMCR 94.02.17<\/a><\/li>\n<\/ul>\n<ul>\n<li>Malhomme, Florence and Anne Gabri\u00e8le Wersinger (eds.) (2007)\u00a0<i>Mousike et Arete. La mousique et l&#8217;\u00e9thique de l&#8217;antiquit\u00e9 \u00e0\u00a0l&#8217;\u00e2ge moderne. Actes du colloque international tenu en Sorbonne les 15-17 d\u00e9cembre 2003<\/i>. Paris: Librairie Philosophique J. Vrin. Reviewed by Raffa, Massimo (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-03-20.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.03.20<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Martin, R. (2009) &#8216;Gnomes in Poems: Wisdom Performance on the Athenian Stage&#8217;, in\u00a0<i>Antiph\u00edlesis: Studies on Classical,Byzantine and Modern Greek Literature and Culture. In Honour of Professor John-Theophanes A. Papademetriou.<\/i>\u00a0eds. E. Karamalengou and E.D. Makrygianni. Stuttgart: 116-27.<\/li>\n<\/ul>\n<ul>\n<li>Mojsik, T. (2011)\u00a0<i>Between Tradition and Innovation: Genealogy, Names and the Number of the Muses. Akme. Studia historica, 9.<\/i>\u00a0Warszawa. Reviewed by P. Murray\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2012\/2012-09-56.html\" rel=\"nofollow\">BMCR 2012-09.56<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (1997)\u00a0<i>The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry<\/i>. Johns Hopkins University Press (revised edition; first published in 1979).\u00a0<a class=\"external text\" href=\"http:\/\/www.press.jhu.edu\/books\/nagy\/BofAS\/toc.html\" rel=\"nofollow\">Free-to-view online edition<\/a>.\u00a0<a class=\"external text\" href=\"http:\/\/www.intute.ac.uk\/artsandhumanities\/cgi-bin\/fullrecord.pl?handle=humbul15083\" rel=\"nofollow\">More information<\/a>\u00a0is available at\u00a0<a class=\"external text\" href=\"http:\/\/www.intute.ac.uk\/\" rel=\"nofollow\">Intute<\/a>, catalogued by Emma Bridges.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (2009) &#8216;Perfecting the Hymn in the Homeric Hymn to Apollo&#8217;\u0080\u0099 in\u00a0<i>Apolline Politics and Poetics<\/i>, L. Athanassaki, R.P. Martin, and J.F. Miller (eds.), Athens: 17-44.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C.(2006) &#8216;Motivi della poesia nuziale in Odissea VI 149-185&#8217;,\u00a0<i>Rendiconti dell&#8217;Istituto lombardo di scienze e lettere. Classe di lettere e scienze morali<\/i>\u00a0140: 59-74. It investigates the precence of motifs typical of wedding song in\u00a0<i>Odyssey<\/i>\u00a06.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C (2016)\u00a0<i>Corone di gloria. Epigrammi agonistici ed epinici dal VII al IV sec. a.C.<\/i>, Alessandria.<\/li>\n<\/ul>\n<ul>\n<li>Riu, X., P\u00f2rtulas, J (eds.) (2012)\u00a0<i>Approaches to Greek Poetry.<\/i>\u00a0Messina.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2015) \u2018Lyric Visions of Epic Combat: The Spectacle of War in Archaic Personal Song\u2019, in War as Spectacle: Ancient and Modern Perspectives on the Display of Armed Combat, eds A. Bakogianni and V. Hope. London: 93-109.<\/li>\n<\/ul>\n<ul>\n<li>Thomas, R. (1995) &#8216;\u0080\u0098The place of the poet in archaic society&#8217;\u0080\u0099, in\u00a0<i>The Greek World<\/i>, ed. A. Powell. London: 104-29.<\/li>\n<\/ul>\n<ul>\n<li>Vetta, M. (1999)\u00a0<i>Symposion: Antologia della lirica greca<\/i>. Naples.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, P. (ed.) (2007)\u00a0<i>The Greek Theatre and Festivals. Documentary Studies. Oxford Studies in Ancient Documents.<\/i>\u00a0Oxford: Oxford University Press.\u00a0<a class=\"external text\" href=\"http:\/\/catdir.loc.gov\/catdir\/toc\/ecip0713\/2007011345.html\" rel=\"nofollow\">Table of Contents<\/a>. Reviewed by R. Mitchell-Boyask\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-05-24.html\" rel=\"nofollow\">BMCR 2008.05.24<\/a>.<\/li>\n<\/ul>\n<h3><span id=\"Metre.2C_music_and_musical_instruments\" class=\"mw-headline\">Metre, music and musical instruments<\/span><\/h3>\n<ul>\n<li>Anderson, W. D. (1994)\u00a0<i>Music and Musicians in Ancient Greece<\/i>. Ithaca, NY.<\/li>\n<\/ul>\n<ul>\n<li>Barker, A. (1984)\u00a0<i>Greek Musical Writings. Vol. I: The Musician and His Art<\/i>. Cambridge.\u00a0<a class=\"external text\" href=\"http:\/\/www.amazon.ca\/gp\/reader\/0521235936\/ref=sib_rdr_toc?ie=UTF8&amp;p=S007&amp;j=0#reader-page\" rel=\"nofollow\">Table of Contents<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Barker, A. (1989)\u00a0<i>Greek Musical Writings. Vol. II: Harmonic and Acoustic Theory<\/i>. Cambridge.\u00a0<a class=\"external text\" href=\"http:\/\/www.amazon.ca\/gp\/reader\/0521616972\/ref=sib_rdr_toc?ie=UTF8&amp;p=S006&amp;j=0#reader-page\" rel=\"nofollow\">Table of Contents<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Barker, A. (1995) &#8216;Heterophonia and poikilia: accompaniments to Greek melody&#8217;\u0080\u0099, in\u00a0<i>Mousike. Metrica, ritmica e musica greca in memoria di Giovanni Comotti<\/i>, eds. B. Gentili and F. Perusino. Pisa: 41-60.<\/li>\n<\/ul>\n<ul>\n<li>Barker, A. (2001) &#8216;Armonica&#8217;\u0080\u0099 in\u00a0<i>Storia della Scienza<\/i>, vol. 1, S. Petruccioli (ed.), Istituto della Enciclopedia Italiana. Rome: 909-926.<\/li>\n<\/ul>\n<ul>\n<li>Barker, A. (2005)\u00a0<i>Psicomusicologia nella Grecia Antica. A cura di Angelo Meriani. Universit\u00e0 degli Studi di Salerno. Quaderni del Dipartimento di Scienze dell&#8217;Antichit\u00e0\u00a0<\/i>. Napoli. Reviewed by Raffa, Massimo\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2006\/2006-06-08.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02006.06.08<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Barker, A. (2007)\u00a0<i>The Science of Harmonics in Classical Greece<\/i>. Cambridge.\u00a0<a class=\"external text\" href=\"http:\/\/catdir.loc.gov\/catdir\/toc\/ecip0711\/2007007746.html\" rel=\"nofollow\">Table of Contents<\/a>. Reviewed by N. Sidoli\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-10-38.html\" rel=\"nofollow\">BMCR 2009.10.38<\/a><\/li>\n<\/ul>\n<ul>\n<li>B\u00c3\u00a9lis, A. (1999)\u00a0<i>Les musiciens dans l\u00e2\u0080\u0099antiquit\u00e9<\/i>. Paris.<\/li>\n<\/ul>\n<ul>\n<li>Bundrick, S.D. (2005)\u00a0<i>Music and Image in Classical Athens<\/i>. Cambridge. Reviewed by S. Gibson\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2006\/2006-07-46.html\" rel=\"nofollow\">BMCR 2006.07.46<\/a><\/li>\n<\/ul>\n<ul>\n<li>Budelmann, F. (2001) &#8216;\u0080\u0098Sound and text: the rhythm and metre of archaic and classical Greek poetry in ancient and Byzantine scholarship&#8217;\u0080\u0099, in\u00a0<i>Homer,Tragedy and Beyond: Essays in Honour of P. E. Easterling<\/i>, ed. F. Budelmann and P. Michelakis. London: 209\u00e2\u0080\u009340.<\/li>\n<\/ul>\n<ul>\n<li>D&#8217;Angour, A. (2006) &#8216;The New Music &#8211; so what&#8217;\u0080\u0099s new?&#8217; in\u00a0<i>Rethinking Revolutions through Ancient Greece<\/i>, eds. Goldhill and Osborne. Cambridge: 264-283.<\/li>\n<\/ul>\n<ul>\n<li>Ford, A. (1988) &#8216;The Classical Definition of rhaps\u00f4dia&#8217;,\u00a0<i>Classical Philology<\/i>\u00a083: 300-307.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2002) &#8216;Musical Syncretism and the Greek Orientalizing Period&#8217; in\u00a0<i>Arch\u00e4ologie fr\u00fcher Klangerzeugung und Tonordnungen<\/i>, eds. E. Hickmann and R. Eichmann. Serie Studien zur Musikarch\u00e4ologie, Orient-Arch\u00e4ologie. Rahden: 441-51.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/MusicalSyncretism.pdf\" rel=\"nofollow\">PDF<\/a>.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/Syncrestism.html\" rel=\"nofollow\">Abstract<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2002) &#8216;Diatonic Music in Greece: a Reassessment of its Antiquity&#8217;,\u00a0<i>Mnemosyne<\/i>\u00a056.1: 669-702.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/DiatonicMusicinGreece.pdf\" rel=\"nofollow\">PDF<\/a>.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/Diatonic.html\" rel=\"nofollow\">Abstract<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2003) &#8216;The Language of Musical Technique in Greek Epic Diction&#8217;,\u00a0<i>Gaia. Revue interdisciplinaire sur la Gr\u00c3\u00a8ce archa\u00c3\u00afque<\/i>\u00a07: 295-307.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/MusicalTechniqueEpicDiction.pdf\" rel=\"nofollow\">PDF<\/a>.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/MusicalTechnique.html\" rel=\"nofollow\">Abstract<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2004) &#8216;Structural Sympathies in Ancient Greek and South Slavic Heroic Singing&#8217; in Hickmann, E. &amp; Eichmann, R. (eds.),\u00a0<i>Musikarch\u00e4ologische Quellengruppen: Bodenurkunden, m\u00fcndliche \u00dcberlieferung, Aufzeichnung.<\/i>\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/StructuralSympathiesGreekSlavic.pdf\" rel=\"nofollow\">PDF<\/a><\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2005) &#8216;Hearing Greek Microtones&#8217;, with audio CD in\u00a0<i>Ancient Greek Music in Performance<\/i>, eds. Hagel, S. and Harrauer, Ch. Wiener Studien Beiheft 29 Vienna. From a paper and audio-demonstration (with\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/virtuallyre.html\" rel=\"nofollow\">Virtual Lyre<\/a>), delivered at Performing Ancient Greek Music Today, \u00c3\u0096sterreichische Akademie der Wissenschaften, Vienna, September 29-October 1, 2003.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/HearingGreekMicrotones.pdf\" rel=\"nofollow\">PDF<\/a>.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/Hearing%20Greek%20Microtones.html\" rel=\"nofollow\">Abstract<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2006) &#8216;\u0080\u0098The Wisdom of the Lyre: Soundings in Ancient Greece, Cyprus and the Near East&#8217;,\u00a0<i>Musikarch\u00c3\u00a4ologie im Kontext: Arch\u00e4ologische Befunde, historische Zusammenh\u00e4nge, soziokulturelle Beziehungen.<\/i>\u00a0eds. E. Hickmann &amp; R. Eichmann: 379-98.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/WisdomLyre.pdf\" rel=\"nofollow\">PDF<\/a><\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2006) &#8216;Lyre Gods of the Bronze Age Musical Koine&#8217; in\u00a0<i>The Journal of Ancient Near Eastern Religions<\/i>\u00a06.2: 39\u00e2\u0080\u009370.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/LyreGodsWeb.pdf\" rel=\"nofollow\">PDF<\/a><\/li>\n<\/ul>\n<ul>\n<li>Franklin, J.C. (2010) &#8216;Remembering Music in Early Greece&#8217;, in\u00a0<i>The Historiography of Music in Global Perspective.<\/i>\u00a0ed. S. Mirelman. Piscataway. 9\u00e2\u0080\u009350.\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/RememberingMusic.pdf\" rel=\"nofollow\">PDF<\/a><\/li>\n<\/ul>\n<ul>\n<li>Franklin, J. C. (2012) &#8216;The Lesbian Singers: Towards a Reconstruction of Hellanicus&#8217;\u0080\u0099\u00a0<i>Karneian Victors<\/i>.&#8217;\u0080\u009d In\u00a0<i>Poesia, musica e agoni nella Grecia antica<\/i>\u00a0eds. D. Castaldo, F. Giannachi &amp; A. Manieri. Galatina: 720-764\u00a0<a class=\"external text\" href=\"http:\/\/www.kingmixers.com\/FranklinPDFfilescopy\/FranklinKarneianVictors.pdf\" rel=\"nofollow\">PDF<\/a><\/li>\n<\/ul>\n<ul>\n<li>Franklin, J. C. (2014) \u201cEthnicity and Musical Identity in the Lyric Landscape of Early Cyprus\u201d,\u00a0<i>Greek and Roman Musical Studies<\/i>\u00a02: 146\u201376.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J. C. (2011) \u201cMusic\u201d, \u201cAulos\u201d and \u201cPhorminx\u201d in Finkelberg, M. (ed.),\u00a0<i>The Homer Encyclopedia<\/i>\u00a0(Oxford), s.vv.<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J. C. (2008) \u201cRealizations in Ancient Greek Music: Beyond the Fragments\u201c (with CD selections), in Hickmann, E.\/Eichmann, R.\/Both, A. A. (eds.), Challenges and Objectives in Music Archaeology. Papers from the 5th Symposium of the International Study Group on Music Archaeology at the Ethnological Museum, State Museums Berlin, 19-23 September, 2006. Studien zur Musikarch\u00e4ologie 6\/Orient-Arch\u00e4ologie 22 (Rahden,): 323\u20136<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J. C. (in press) \u201cEpicentric Tonality and the Greek Lyric Tradition\u201d, in A. D\u2019Angour\/T. Phillips (ed.), Music and Text in Ancient Greece (Cambridge, in press).<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J. C. (in press) \u201cA Musical Maze for Asklepios? An Archaeoacoustic Assessment of the Thymele at Epidauros\u201d, in Schultz, P., et al., The Thymele at Epidauros: Healing, Space, and Musical Performance in Late Classical Greece (in press).<\/li>\n<\/ul>\n<ul>\n<li>Franklin, J. C. (in press) \u201cTHEIOS AOIDOS: A New Reading of the Lyre-Player Group of Seals\u201d, Gaia. Revue interdisciplinaire sur la Gr\u00e8ce archa\u00efque 18.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. and Perusino, F. (eds.) (1999)\u00a0<i>La colometria antica dei testi poetici greci<\/i>. Pisa and Rome. Reviewed by H. Perdicoyianni-Pal\u00c3\u00a9ologou\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2000\/2000-07-12.html\" rel=\"nofollow\">BMCR 2000.07.12<\/a><\/li>\n<\/ul>\n<ul>\n<li>Levin, F.R. (2009)\u00a0<i>Greek reflections on the nature of music<\/i>. Cambridge; New York: Cambridge University Press. Reviewed by C. Marchetti\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-12-34.html\" rel=\"nofollow\">BMCR 2009.12.34<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Martinelli, M.C. (1995)\u00a0<i>Gli strumenti del poeta: elementi di metrica greca<\/i>. Bologna.<\/li>\n<\/ul>\n<ul>\n<li>Mathiesen, T.J. (1999)\u00a0<i>Apollo\u00e2\u0080\u0099s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages<\/i>. Lincoln, Nebr. and London.<\/li>\n<\/ul>\n<ul>\n<li>Murray, P. and Wilson, P. (eds.) (2004)\u00a0<i>Music and the Muses: The Culture of Mousike in the Classical Athenian City<\/i>. Oxford.\u00a0<a class=\"external text\" href=\"http:\/\/catdir.loc.gov\/catdir\/enhancements\/fy0620\/2004300274-t.html\" rel=\"nofollow\">Table of Contents<\/a>. Reviewed by M. Wright<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2004\/2004-07-16.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02004.07.16<\/a>\u00a0and M. Raffa\u00a0<a class=\"external text\" href=\"http:\/\/www.ircps.org\/publications\/aestimatio\/archive.htm\" rel=\"nofollow\"><i>Aestimatio<\/i><\/a>\u00a02: 109-\u0080\u0093119,\u00a0<a class=\"external text\" href=\"http:\/\/www.ircps.org\/publications\/aestimatio\/pdf\/Volume2\/2005-10-01_Raffa.pdf\" rel=\"nofollow\">PDF<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (1996) &#8216;Metrical convergences and divergences in early Greek poetry and song&#8217;\u0080\u0099, in\u00a0<i>Struttura e storia dell\u00e2\u0080\u0099esametro omerico<\/i>, ed. M. Fantuzzi and R. Pretagostini, vol. II. Rome: 63\u00e2\u0080-110. (Revised version of Nagy 1990: 439\u00e2\u0080\u009364.)<\/li>\n<\/ul>\n<ul>\n<li>Nicolai, R.(ed.)(2003)\u00a0<i>Rysmos: Studi di poesia, metrica e musica greca<\/i>, Rome.<\/li>\n<\/ul>\n<ul>\n<li>P\u00f6hlmann, E. and West, M.L. (eds.) (2001)\u00a0<i>Documents of Ancient Greek Music<\/i>. Oxford. Reviewed by. W.A. Johnson\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2003\/2003-04-08.html\" rel=\"nofollow\">BMCR 2003.04.08<\/a><\/li>\n<\/ul>\n<ul>\n<li>Psaroudaki\u0093s, S. (1995) &#8216;Acoustic study of the aulos by the method of physical modeling. Report&#8217; in\u00a0<i>International conference \u00e2\u0080\u009cPhysical modeling in music (ancient instruments, singing\/speech, psychoacoustics)\u00e2\u0080\u009d, Aristotle University of Thessalonik\u00c4\u0093 \u00e2\u0080\u0093 Program of Psychoacoustics, Thessalonik\u00c4\u0093, 10-12 July. Proceedings.<\/i><\/li>\n<\/ul>\n<ul>\n<li>Psaroudaki\u0093s, S. (2000) &#8216;The arm-crossbar junction of the Classical Hellenic kithara&#8217;, in\u00a0<i>Studien zur Musikarch\u00e4ologie II. Music Archaeology of early Metal Ages. Papers from the 1st Symposium of the International Study Group on Music Archaeology at Monastery Michaelstein, 18-24 May, 1998<\/i>, eds. E. Hickmann, I. Laufs, R. Eichmann. Orient-Arch\u00e4ologie 7. Rahden: 263-78.<\/li>\n<\/ul>\n<ul>\n<li>Psaroudaki\u0093s, S. (2002) &#8216;The aulos of Argithea&#8217;, in\u00a0<i>Studien zur Musikarch\u00c3\u00a4ologie III. The archaeology of sound: origin and organisation. Papers from the 2nd Symposium of the International Study Group on Music Archaeology at Monastery Michaelstein, 17-23 September, 2000 &amp; Music Archaeology in the Aegean and Anatolia. Papers from the Colloquium on Music Archaeology organised by the Deutsches Arch\u00e4ologisches Institut (Istanbul) in cooperation with the ICTM-Study Group on Music Archaeology and the Institut Fran\u00c3\u00a7ais d\u00e2\u0080\u0099Arch\u00c3\u00a9ologie (Istanbul), Minar Sinan University, Istanbul, 12-16 April, 1993. (Orient-Arch\u00e4ologie, 10)<\/i>, eds. E. Hickmann, A. Kilmer, R. Eichmann. Rahden: 335-66.<\/li>\n<\/ul>\n<ul>\n<li>Psaroudakis, S. (2004) &#8216;The Orestes Papyrus: some thoughts on the dubious musical signs&#8217;, in\u00a0<i>Studien zur Musikarch\u00c3\u00a4ologie IV. Musical archaeological sources: finds, oral transmission, written evidence. Papers from the 3rd Symposium of the International Study Group on Music Archaeology at Monastery Michaelstein, 9-16 June, 2002, and other contributions. (Orient-Arch\u00e4ologie, 15)<\/i>, eds. E. Hickmann, I. Laufs, R. Eichmann. Rahden, Westf: Marie Leidorf GmbH: 471-92.<\/li>\n<\/ul>\n<ul>\n<li>Psaroudaki\u0093s, S. (2004) &#8216;Archaeomusicology and ethnomusicology in dialogue&#8217;,\u00a0<i>\u0395\u03c5\u03bb\u03b9\u03bc\u03ad\u03bd\u03b7<\/i>\u00a04: 189-200. This paper addresses a variety of issues in archaeomusicology, including song and its interpretation, mainly in the domain on &#8220;performance style&#8221;, as opposed to that of &#8220;composition style&#8221;.<\/li>\n<\/ul>\n<ul>\n<li>\u03a8\u03b1\u03c1\u03bf\u03c5\u03b4\u03ac\u03ba\u03b7\u03c2, \u03a3\u03c4\u03ad\u03bb\u03b9\u03bf\u03c2 (1998) \u00ab\u03a4\u03b1 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ac \u03cc\u03c1\u03b3\u03b1\u03bd\u03b1 \u03c4\u03c9\u03bd \u03b1\u03c1\u03c7\u03b1\u03af\u03c9\u03bd \u0395\u03bb\u03bb\u03ae\u03bd\u03c9\u03bd\u00bb,\u00a0<i>\u039a\u03b1\u03b8\u03b7\u03bc\u03b5\u03c1\u03b9\u03bd\u03ae \u2013 \u0395\u03c0\u03c4\u03ac \u0397\u03bc\u03ad\u03c1\u03b5\u03c2, \u039a\u03c5\u03c1\u03b9\u03b1\u03ba\u03ae 18 \u0399\u03b1\u03bd\u03bf\u03c5\u03b1\u03c1\u03af\u03bf\u03c5<\/i>: 2-6.<\/li>\n<\/ul>\n<ul>\n<li>\u03a8\u03b1\u03c1\u03bf\u03c5\u03b4\u03ac\u03ba\u03b7\u03c2, \u03a3\u03c4\u03ad\u03bb\u03b9\u03bf\u03c2 (2001) \u00ab\u0397 \u03b1\u03c1\u03c7\u03b1\u03af\u03b1 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03c3\u03b7\u03bc\u03b5\u03b9\u03bf\u03b3\u03c1\u03b1\u03c6\u03af\u03b1. \u039f\u03b9 \u03c0\u03c1\u03cc\u03c3\u03c6\u03b1\u03c4\u03b5\u03c2 \u03b1\u03c0\u03cc\u03c8\u03b5\u03b9\u03c2 \u03c4\u03bf\u03c5 Egert P\u00f6hlmann\u00bb,\u00a0<i>\u039c\u03bf\u03cd\u03c3\u03b1<\/i>\u00a08-9: 78-93. (in modern Greek)<\/li>\n<\/ul>\n<ul>\n<li>* \u03a8\u03b1\u03c1\u03bf\u03c5\u03b4\u03ac\u03ba\u03b7\u03c2, \u03a3\u03c4\u03ad\u03bb\u03b9\u03bf\u03c2 (2003) \u00ab\u03a0\u03c1\u03c9\u03c4\u03bf\u03b3\u03b5\u03bd\u03ae \u03b1\u03b5\u03c1\u03cc\u03c6\u03c9\u03bd\u03b1 \u03ba\u03b1\u03b9 \u03b7 \u03b1\u03b2\u03ad\u03b2\u03b1\u03b9\u03b7 \u03bc\u03b1\u03c1\u03c4\u03c5\u03c1\u03af\u03b1 \u03c4\u03bf\u03c5 \u0394\u03b9\u03c3\u03c0\u03b7\u03bb\u03b9\u03bf\u03cd\u00bb,\u00a0<i>\u03a0\u03bf\u03bb\u03c5\u03c6\u03c9\u03bd\u03af\u03b1<\/i>\u00a02: 7-20. (in modern Greek) This article compares the neolithic dispelio &#8220;aulos&#8221; (lake kastoria, makedonia) with other neolithic musical pipes from this country and the rest of the world (pure organological study). The find does not exhibit the characteristics of the other musical pipes, and as a result, we cannot hold with certainty that is was used as an aulos.<\/li>\n<\/ul>\n<ul>\n<li>\u03a8\u03b1\u03c1\u03bf\u03c5\u03b4\u03ac\u03ba\u03b7\u03c2, \u03a3\u03c4\u03ad\u03bb\u03b9\u03bf\u03c2 &amp; \u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2 \u03a4\u03b5\u03c1\u03b6\u03ae\u03c2 (2007) \u00ab\u0391\u03bd\u03b8\u03bf\u03bb\u03cc\u03b3\u03b9\u03bf\u03bd \u2013 \u039c\u03ad\u03c4\u03c1\u03b1 \u03ba\u03b1\u03b9 \u03bc\u03ad\u03bb\u03b7 \u03b1\u03c0\u03cc \u03c4\u03b7\u03bd \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u03b1\u03c1\u03c7\u03b1\u03b9\u03cc\u03c4\u03b7\u03c4\u03b1\u00bb, in DVD\u00a0<i>\u0395\u03bd \u03a7\u03bf\u03c1\u03b4\u03b1\u03af\u03c2 \u03ba\u03b1\u03b9 \u039f\u03c1\u03b3\u03ac\u03bd\u03bf\u03b9\u03c2 \u2013 \u0388\u03bd\u03b1 \u03c0\u03b1\u03bd\u03cc\u03c1\u03b1\u03bc\u03b1 \u03c4\u03b7\u03c2 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2<\/i>. \u03a3\u03c5\u03bd\u03b1\u03c5\u03bb\u03af\u03b1 \u03c4\u03bf\u03c5 \u03a4\u03bc\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ce\u03bd \u03a3\u03c0\u03bf\u03c5\u03b4\u03ce\u03bd \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u0391\u03b8\u03b7\u03bd\u03ce\u03bd, \u03a0\u03b1\u03c1\u03b1\u03c3\u03ba\u03b5\u03c5\u03ae 4 \u039c\u03b1\u0390\u03bf\u03c5 2007. \u039c\u03ad\u03c1\u03bf\u03c2 \u03c0\u03c1\u03ce\u03c4\u03bf. \u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03b8\u03bd\u03b9\u03ba\u03cc \u03ba\u03b1\u03b9 \u039a\u03b1\u03c0\u03bf\u03b4\u03b9\u03c3\u03c4\u03c1\u03b9\u03b1\u03ba\u03cc \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u0391\u03b8\u03b7\u03bd\u03ce\u03bd.<\/li>\n<\/ul>\n<ul>\n<li>\u03a8\u03b1\u03c1\u03bf\u03c5\u03b4\u03ac\u03ba\u03b7\u03c2, \u03a3\u03c4\u03ad\u03bb\u03b9\u03bf\u03c2 (2007) \u00ab\u0391\u03c1\u03c7\u03b1\u03af\u03b1 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u00bb, in\u00a0<i>\u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae<\/i>, \u0391\u03c0\u03cc\u03c3\u03c4\u03bf\u03bb\u03bf\u03c2 \u039a\u03ce\u03c3\u03c4\u03b9\u03bf\u03c2 (ed.). \u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03ba\u03b4\u03bf\u03c4\u03b9\u03ba\u03ae \u0391\u03b8\u03b7\u03bd\u03ce\u03bd: 201-15. Originally published in (1999) in\u00a0<i>\u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0395\u03ba\u03c0\u03b1\u03b9\u03b4\u03b5\u03c5\u03c4\u03b9\u03ba\u03ae \u0395\u03b3\u03ba\u03c5\u03ba\u03bb\u03bf\u03c0\u03b1\u03af\u03b4\u03b5\u03b9\u03b1.<\/i>\u00a0Vol. 28.\u00a0<i>\u0398\u03ad\u03b1\u03c4\u03c1\u03bf, \u039a\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c2, \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae, \u03a7\u03bf\u03c1\u03cc\u03c2<\/i>. \u0391\u03b8\u03ae\u03bd\u03b1: 28-33. (in modern Greek)<\/li>\n<\/ul>\n<ul>\n<li>\u03a8\u03b1\u03c1\u03bf\u03c5\u03b4\u03ac\u03ba\u03b7\u03c2, \u03a3\u03c4\u03ad\u03bb\u03b9\u03bf\u03c2 &amp; \u03a3\u03c9\u03c4\u03b7\u03c1\u03af\u03b1 \u0391\u03b4\u03ac\u03bc (2004) \u00ab\u038e\u03b5 \u039a\u03cd\u03b5. \u039f\u03b9 \u039f\u03bb\u03c5\u03bc\u03c0\u03b9\u03b1\u03ba\u03bf\u03af \u03b1\u03b3\u03ce\u03bd\u03b5\u03c2 \u03c3\u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03b9\u03cc\u03c4\u03b7\u03c4\u03b1\u00bb. CD containing ancient Hellenic song and modern musical compositions inspired by it. Part of the volume: \u039c\u03b1\u03c1\u03af\u03b1 \u039a\u03b1\u0390\u03bb\u03b1 &amp; Georges Thill &amp; \u0388\u03bb\u03b5\u03bd\u03b1 \u0398\u03b5\u03bf\u03b4\u03c9\u03c1\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5 &amp; \u0393\u03b9\u03ce\u03c4\u03b1 \u039e\u03b1\u03bd\u03b8\u03ac\u03ba\u03bf\u03c5 (edd.), \u038e\u03b5 \u039a\u03cd\u03b5. \u039f\u03b9 \u039f\u03bb\u03c5\u03bc\u03c0\u03b9\u03b1\u03ba\u03bf\u03af \u03b1\u03b3\u03ce\u03bd\u03b5\u03c2 \u03c3\u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03b9\u03cc\u03c4\u03b7\u03c4\u03b1. \u0391\u03b8\u03ae\u03bd\u03b1: \u0391\u03c4\u03c1\u03b1\u03c0\u03cc\u03c2. Contribution to the CD (recittion, song, lyre) with the songs: \u0395\u03b9\u03c2 \u039c\u03bf\u03cd\u03c3\u03b1\u03bd, \u00ab\u0395\u03b9\u03c2 \u039a\u03b1\u03bb\u03bb\u03b9\u03cc\u03c0\u03b7\u03bd \u03ba\u03b1\u03b9 \u0391\u03c0\u03cc\u03bb\u03bb\u03c9\u03bd\u03b1\u00bb, \u00ab\u0395\u03b9\u03c2 \u03a6\u03bf\u03af\u03b2\u03bf\u03bd\u00bb, \u0395\u03b9\u03c2 \u0389\u03bb\u03b9\u03bf\u03bd. Accompanying notes on pp. 220-23 of the book.\n<ul>\n<li>The disc, apart from two modern compositions, contains performances of three ancient hellenic hymns by mesomedes of crete (2nd century AD), accompanied by a reconstructed chelys-lyre.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Restani, D. (ed.) (1995)\u00a0<i>Musica e mito nella Grecia antica<\/i>. Bologna.<\/li>\n<\/ul>\n<ul>\n<li>Rocconi, E. (1998) &#8216;\u0080\u0098Harmoniai e teoria dei gene musicali nella Grecia antica&#8217;\u0080\u0099,\u00a0<i>SemRom<\/i>\u00a01.2: 345-64.<\/li>\n<\/ul>\n<ul>\n<li>Sicking, C.M.J. (1993)\u00a0<i>Griechische Verslehre<\/i>. (Handbuch der Altertumswissenschaft 2.4). Munich.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (2007)\u00a0<i>A quoi sert la m\u00e9trique? Interpr\u00e9tation litt\u00e9raire et analyse des formes m\u00e9triques grecques: Une introduction<\/i>. Avec la collaboration d&#8217;Alessandra Lukinovich. Grenoble.<\/li>\n<\/ul>\n<ul>\n<li>Taplin, O. &amp; Wyles, R. ed. (2010)\u00a0<i>The Pronomos Vase and its Context.<\/i>\u00a0Oxford\/New York. Reviewed by K. Seaman\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2012\/2012-03-17.html\" rel=\"nofollow\">BMCR 2012.03.17<\/a><\/li>\n<\/ul>\n<ul>\n<li>Tsachalinas, K. &amp; Katerina, T. &amp; Cook, P. &amp; Psaroudak\u00c4\u0093s, S. &amp; Kamarotos, D. &amp; Rikakis, T. (1997) &#8216;Physical modeling simulation of the ancient Greek Elgin auloi&#8217; in\u00a0<i>International computer music conference, Aristotle University of Thessaloniki\u0093:\u0080\u0093 Program of Psychoacoustics &amp; The International Computer Music Association, Thessalonik\u00c4\u0093, Hellas, 25-30 September. Proceedings<\/i>. San Francisco: 454-57.<\/li>\n<\/ul>\n<ul>\n<li>Wallace, R.W (2003) &#8216;An early fifth-century Athenian revolution in aulos music&#8217;\u0080\u0099,\u00a0<i>HSCPh<\/i>\u00a0101: 73\u00e2\u0080\u009392.<\/li>\n<\/ul>\n<ul>\n<li>West, M. L. (1992)\u00a0<i>Ancient Greek Music.<\/i>\u00a0Oxford. Reviewed by W.A. Johnston\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2003\/2003-04-08.html\" rel=\"nofollow\">BMCR 2003.04.08<\/a><\/li>\n<\/ul>\n<ul>\n<li>Wilson, P. (2004) &#8216;Athenian strings&#8217;\u0080\u0099, in\u00a0<i>Music and the Muses: The Culture of \u00e2\u0080\u0098Mousik\u00c4\u0093\u00e2\u0080\u0099 in the Classical Athenian City<\/i>, ed. P. Murray and P. Wilson. Oxford: 269\u00e2\u0080\u0093306.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2011)\u00a0<i>Music and cultural politics in Greek and Chinese societies. Vol. 1.: Greek antiquity.<\/i>\u00a0Harvard.<\/li>\n<\/ul>\n<h3><span id=\"Performance\" class=\"mw-headline\">Performance<\/span><\/h3>\n<ul>\n<li>Aloni, A. (1998)\u00a0<i>Cantare glorie di eroi: Comunicazione e performance poetica nella Grecia arcaica<\/i>. Turin.<\/li>\n<li>Athanassaki, L. &amp; Bowie, E. (2011) (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>\u00a0Berlin &amp; Boston.\u00a0<a class=\"external text\" href=\"http:\/\/www.degruyter.com\/view\/supplement\/9783110254020_Contents.pdf\" rel=\"nofollow\">Table of Contents<\/a><\/li>\n<li>Bierl, A. (2009)\u00a0<i>Ritual and Performativity. The Chorus of Old Comedy<\/i>\u00a0(transl. by Alex Hollmann), Center for Hellenic Studies. Washington, DC: Harvard Press. (Hellenic Studies 20). New and revised edition.<\/li>\n<li>Bierl, A. (2011)\u201cFest und Spiele in der griechischen Literatur\u201d, <em>Festivals and Contests in the Greek World<\/em>, ed. A. Chaniotis, Los Angeles: 125\u2013160.<\/li>\n<li>Bierl, A. (2014) \u201cChoreia und Fest: Neue Ans\u00e4tze in der Interpretation der griechischen Liedkultur\u201d, <em>Gymnasium<\/em> 121: 217\u2013239.<\/li>\n<\/ul>\n<ul>\n<li>Boegehold, A.L. 2000. &#8216;Acting out some songs&#8217;, <i>Syllecta Classica<\/i>\u00a011: 1-15.<\/li>\n<\/ul>\n<ul>\n<li>Bowman, L. (2004) &#8216;The &#8216;women&#8217;s tradition&#8217; in Greek poetry&#8217;, <i>Phoenix<\/i> 58: 1\u00e227.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2000) &#8216;Inspiration, enthousiasme et polyphonies: \u1f14\u03bd\u03b8\u03b5\u03bf\u03c2 et la performance po\u00e9tique&#8217;,\u00a0<i>No\u00e9sis<\/i>\u00a0(L&#8217;antique notion d&#8217;inspiration, dir. J. Assa\u00ebl): 97-154.<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2004) &#8216;\u0080\u0098Deictic ambiguity and auto-referentiality: some examples from Greek poetics&#8217;\u0080\u0099,\u00a0<i>Arethusa<\/i>\u00a037: 427-31.<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2005)\u00a0<i>Masques d\u2019autorit\u00e9. Fiction et pragmatique dans la po\u00e9tique grecque<\/i>. Paris. English translation (2005)\u00a0<i>Masks of Authority. Fiction and Pragmatics in Ancient Greek Poetics<\/i>. Ithaca NY and London. Reviewed by H. van Noorden\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2005\/2005-09-36.html\" rel=\"nofollow\">BMCR 2005.09.36<\/a><\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2006)\u00a0<i>Pratiques po\u00e9tiques de la m\u00e9moire. Repr\u00e9sentations de l\u2019espace-temps en Gr\u00e8ce ancienne<\/i>. Paris. English translation: 2009 Harvard. Reviewed by E.M. Griffiths\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2007\/2007-04-05.html\" rel=\"nofollow\">BMCR 2007.04.05<\/a><\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2007) &#8216;Gardens of Love and Meadows of the Beyond: Ritual Encounters with the Gods and Poetical Perfomances in Ancient Greece&#8217; in\u00a0<i>Sacred Gardens and Landscapes: Ritual and Agency<\/i>, ed. M. Conan. Washington: 43-54.<\/li>\n<\/ul>\n<ul>\n<li>Carey, C. (2010) &#8216;\u0080\u0098The victory ode in the theatre&#8217;\u0080\u0099,\u00a0<i>BICS supplements<\/i>.\u00a0<a class=\"external text\" href=\"http:\/\/eprints.ucl.ac.uk\/19956\/\" rel=\"nofollow\">electronic version<\/a><\/li>\n<\/ul>\n<ul>\n<li>Collins, D. (2004)\u00a0<i>Master of the Game: Competition and Performance in Greek Poetry<\/i>. Cambridge, MA. Reviewed by C. Werner\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2005\/2005-05-18.html\" rel=\"nofollow\">BMCR 2005.05.18<\/a><\/li>\n<\/ul>\n<ul>\n<li>D&#8217;Alessio, G. B. (2004) &#8216;\u0080\u0098Past future and present past: temporal deixis in Greek archaic lyric&#8217;\u0080\u0099,\u00a0<i>Arethusa<\/i>\u00a037: 267\u00e2\u0080\u009394.<\/li>\n<\/ul>\n<ul>\n<li>David, A.P. (2006)\u00a0<i>The Dance of the Muses: Choral Theory and Ancient Greek Poetics<\/i>. New York. Review by Ronald J.J. Blankenborg\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2007\/2007-04-46.html\" rel=\"nofollow\">BMCR 2007.04.46<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Dougherty, C. (1994) &#8216;\u0080\u0098Archaic Greek foundation poetry: questions of genre and occasion&#8217;\u0080\u0099,\u00a0<i>JHS<\/i>\u00a0114: 35\u00e2\u0080\u009346.<\/li>\n<\/ul>\n<ul>\n<li>Ford, A. (1988) &#8216;The Classical Definition of rhaps\u00f4dia&#8217;,\u00a0<i>Classical Philology<\/i>\u00a083: 300-307.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. (1990)\u00a0<i>Poetry and its Public in Ancient Greece<\/i>. Baltimore. Reviewed by S.D. Olson\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/1991\/02.02.06.html\" rel=\"nofollow\">BMCR 02.02.06<\/a><\/li>\n<\/ul>\n<ul>\n<li>Goldhill, S. and Osborne, R. (eds.) (1999)\u00a0<i>Performance Culture and Athenian Democracy<\/i>. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Grandolini, S. (1991) &#8216;\u0080\u0098Canto processionale e culto nell\u00e2\u0080\u0099antica Grecia&#8217;\u0080\u0099, in\u00a0<i>L&#8217;\u0080\u0099inno tra rituale e letteratura nel mondo antico: Atti di un colloquio Napoli<\/i>\u00a021\u00e2\u0080\u009324 ottobre 1991, AION 13: 125\u00e2\u0080\u009340.<\/li>\n<\/ul>\n<ul>\n<li>Griffith, M. (1990) \u00e2\u0080\u0098Contest and contradiction in early Greek poetry\u00e2\u0080\u0099, in\u00a0<i>Cabinet of the Muses: Essays on Classical and Comparative Literature in Honor of Thomas G. Rosenmeyer<\/i>, ed. M. Griffith and D. Mastronarde. Atlanta: 185-\u0080\u0093207.<\/li>\n<\/ul>\n<ul>\n<li>Hagel, S. and Harrauer, C. (2005) (eds.)\u00a0<i>Ancient Greek Music in Performance<\/i>\u00a0(Book and Audio CD). Vienna.<\/li>\n<\/ul>\n<ul>\n<li>Lech, M.L. (2009) &#8216;Marching choruses?: Choral performance in Athens&#8217;\u00a0<i>GRBS<\/i>\u00a049, 3.<\/li>\n<\/ul>\n<ul>\n<li>Mojsik, T. (2006) &#8216;Vates socialis &#8211; metapoetyka antyczna a ryty przej\u015bcia (Vates socialis &#8211; ancient metapoetic and rites of passage)&#8217;, in\u00a0<i>Inicjacje: spo\u0142eczne znaczenie sytuacji liminalnych w rytach przej\u015bcia<\/i>, red. J. Sieradzan. Bia\u0142ystok: 53-66.<\/li>\n<\/ul>\n<ul>\n<li>Mojsik, T. (2008) &#8216;Muses and gender of inspiration&#8217;,\u00a0<i>&#8220;Sakarya University: The Journal of Art and Science<\/i>\u00a010.1: 67-78.\u00a0<a class=\"external text\" href=\"http:\/\/www.fed.sakarya.edu.tr\/arsiv\/yayinlenmis_dergiler\/2008_1\/2008_1_5.pdf\" rel=\"nofollow\">electronic version<\/a><\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (2000) &#8216;\u0080\u0098Reading Greek poetry aloud: evidence from the Bacchylides papyri&#8217;\u0080\u0099,\u00a0<i>QUCC<\/i>\u00a093 (= n.s. 64.1): 7-28.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C. (2014) &#8216;Performances of Girls at the Spartan Festival of the Hyakinthia&#8217;, in A. Kieburg \u2013 S. Moraw (eds.),\u00a0<i>M\u00e4dchen im Altertum\/ Girls in Antiquity, Frauen \u2013 Forschung \u2013 Arch\u00e4ologie 11<\/i>, M\u00fcnster: 135-148.<\/li>\n<\/ul>\n<ul>\n<li>Peponi, A.-E. (2009) &#8216;\u00a0<i>Choreia<\/i>\u00a0and Aesthetics in the\u00a0<i>Homeric Hymn to Apollo<\/i>: The Performance of the Delian Maidens (Lines 156\u00e2\u0080\u009364)&#8217;,\u00a0<i>Classical Antiquity<\/i>\u00a028.1: 39\u00e2\u0080\u009370.<\/li>\n<\/ul>\n<ul>\n<li>Quattrocelli, L. (2002) &#8216;Poesia e convivialit\u00e0 a Sparta arcaica. Nuove prospettive di studio&#8217;,\u00a0<i>Cahiers Glotz<\/i>\u00a013: 7-32.<\/li>\n<\/ul>\n<ul>\n<li>Quattrocelli, L. (2008) &#8216;Poetry and Pottery related to the Symposium in Archaic Sparta&#8217;, in\u00a0<i>Proceedings of the IX Symposium on Mediterranean Archeology 2005<\/i>, eds. O. Menozzi, M. L. Di Marzio, and D. Fossataro. Oxford: 63-67.<\/li>\n<\/ul>\n<ul>\n<li>Rotstein, A. (2012) &#8216;<i>Mousikoi Agones<\/i>\u00a0and the Conceptualization of Genre in Ancient Greece&#8217; in:\u00a0<i>CA<\/i>\u00a031.1: 92-127.<\/li>\n<\/ul>\n<ul>\n<li>Scully, S. (2009) &#8216;\u0080\u0098Apollo and the Dance of the Olympians&#8217;\u0080\u0099 in\u00a0<i>Apolline Politics and Poetics\u00a0<\/i>, eds. L. Athanassaki, R.P. Martin, and J.F. Miller. Athens: 91-108.<\/li>\n<\/ul>\n<ul>\n<li>Silk, M.S. (1995) &#8216;Language, poetry and enactment&#8217;\u0080\u0099,\u00a0<i>Dialogos<\/i>\u00a02: 109-\u0080\u009332.<\/li>\n<\/ul>\n<ul>\n<li>Vetta, M. (1996) &#8216;\u0080\u0098Convivialit\u00e0\u00a0 pubblica e poesia per simposio in Greci\u00e2&#8217;\u0080\u0099,\u00a0<i>QUCC<\/i>\u00a083 (= n.s. 54.3): 197-\u0080\u0093209.<\/li>\n<\/ul>\n<ul>\n<li>Wecowski, M. (2002) &#8216;Homer and the origins of the symposion&#8217; in\u00a0<i>Omero tremila anni dopo. Atti del congresso di Genova 6-8 luglio 2000<\/i>, ed. F. Montanari. Roma: 625-637.<\/li>\n<\/ul>\n<ul>\n<li>Wecowski, M. (2002) &#8216;Towards a definition of the symposion&#8217; in\u00a0<i>Euergesias charin. Studies Presented to Benedetto Bravo and Ewa Wipszycka by Their Disciples<\/i>, eds. T. Derda, J. Urbanik, M. Wecowski. Warszawa: 337-361.<\/li>\n<\/ul>\n<ul>\n<li>Wecowski, M. (2011)\u00a0<i>Sympozjon, czyli wsp\u00f3lne picie\u00a0: pocz\u0105tki greckiej biesiady arystokratycznej (IX-VII wiek p.n.e.).<\/i>\u00a0Warszawa\u00a0: Wydawnictwo Naukowe Sub Lupa.<\/li>\n<\/ul>\n<ul>\n<li>Wecowski, M. (2012) &#8216;When did the Symposion Rise? Some archaeological considerations regarding the emergence of the Greek aristocratic banquet&#8217;,\u00a0<i>Archaiognosia<\/i>\u00a016: 25-54.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, P. (ed.) (2007)\u00a0<i>The Greek Theatre and Festivals. Documentary Studies. Oxford Studies in Ancient Documents.<\/i>\u00a0Oxford: Oxford University Press.\u00a0<a class=\"external text\" href=\"http:\/\/catdir.loc.gov\/catdir\/toc\/ecip0713\/2007011345.html\" rel=\"nofollow\">Table of Contents<\/a>. Reviewed by R. Mitchell-Boyask\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-05-24.html\" rel=\"nofollow\">BMCR 2008.05.24<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2009) &#8216;Symposia, Noses, \u03a0\u03c1\u03cc\u03c3\u03c9\u03c0\u03b1: A Kylix in the Company of Banqueters on the Ground&#8217;, in\u00a0<i>An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodologies<\/i>, ed. D. Yatromanolakis. Athens: 414-465.<\/li>\n<\/ul>\n<h3><span id=\"Transmission_and_Reception\" class=\"mw-headline\">Transmission and Reception<\/span><\/h3>\n<ul>\n<li>Budelmann, F. (2001) &#8216;\u0080\u0098Sound and text: the rhythm and metre of archaic and classical Greek poetry in ancient and Byzantine scholarship&#8217;\u0080\u0099, in\u00a0<i>Homer, Tragedy and Beyond: Essays in Honour of P. E. Easterling<\/i>, ed. F. Budelmann and P. Michelakis. London: 209\u00e2\u0080\u009340.<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2010) &#8216;The Authority of Orpheus, Poet and Bard\u00a0: Between Oral Tradition and Written Practice&#8217;, in:\u00a0<i>Allusion, Authority, and Truth. Critical Perspectives on Greek Poetic and Rhetorical Praxis<\/i>, Ph. Mitsis &amp; Ch. Tsagalis eds., Berlin: 13-35.<\/li>\n<\/ul>\n<ul>\n<li>Dougherty, C. (1993)\u00a0<i>The Poetics of Colonization: From City to Text in Archaic Greece<\/i>. New York and Oxford. Reviewed by M.W. Edwards\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/1994\/94.05.04.html\" rel=\"nofollow\">BMCR 1994.05.04<\/a><\/li>\n<\/ul>\n<ul>\n<li>Ford, A. (2002)\u00a0<i>The Origins of Criticism: Literary Culture and Poetic Theory in Classical Greece<\/i>. Princeton, N.J. and Oxford. Reviewed by E. Papaioannou\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2003\/2003-06-07.html\" rel=\"nofollow\">BMCR 2003.06.07<\/a><\/li>\n<\/ul>\n<ul>\n<li>Ford, A. (2003) &#8216;\u0080\u0098From letters to literature: reading the &#8216;song culture&#8217;\u0080\u009d of classical Greece&#8217;\u0080\u0099, in\u00a0<i>Written Texts and the Rise of Literate Culture in Ancient Greece<\/i>, ed. H. Yunis. Cambridge: 15\u00e2\u0080\u009337.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. and Perusino, F. (eds.) (1999)\u00a0<i>La colometria antica dei testi poetici greci<\/i>. Pisa and Rome. Reviewed by H. Perdicoyianni-Pal\u00e9ologou\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2000\/2000-07-12.html\" rel=\"nofollow\">BMCR 2000.07.12<\/a><\/li>\n<\/ul>\n<ul>\n<li>Hummel, P. (1997)\u00a0<i>Philogica Lyrica: La po\u00e9sie lyrique grecque au miroir de l&#8217;\u00e9rudition philologique de l&#8217;\u0080\u0099antiquit\u00e9 \u00e0\u00a0 la Renaissance<\/i>. Louvain.<\/li>\n<\/ul>\n<ul>\n<li>Petropoulos, J.C.B. (2003)\u00a0<i>Eroticism in Ancient and Medieval Greek Poetry<\/i>. London. Review by Vayos J. Liapis\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2004\/2004-10-01.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02004.10.01<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Sistakou, E. (ed.) (2017) Hellenistic Lyricism (Trends in Classics series), Berlin. Table of contents here:\u00a0<a class=\"external free\" href=\"http:\/\/hellpoet.hypotheses.org\/294\" rel=\"nofollow\">http:\/\/hellpoet.hypotheses.org\/294<\/a><\/li>\n<\/ul>\n<h2><span id=\"Greek_Elegy_and_Iambus\" class=\"mw-headline\">Greek Elegy and Iambus<\/span><\/h2>\n<h3><span id=\"Elegy_and_Iambus_General\" class=\"mw-headline\">Elegy and Iambus General<\/span><\/h3>\n<ul>\n<li>Carey, C. and L. Swift eds (2016)\u00a0<i>Iambus and Elegy: New Approaches<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Bartol, K. (1993)\u00a0<i>Greek Elegy and Iambus. Studies in Ancient Literary Sources<\/i>. Pozna\u0144.<\/li>\n<\/ul>\n<ul>\n<li>Bowie, E.L. (2001) \u2018Ancestors of historiography in early Greek elegiac and iambic poetry?\u2019, in\u00a0<i>The Historian\u2019s Craft in the Age of Herodotus<\/i>, ed. N. Luraghi. Oxford: 45-66.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. &amp; Prato, C. ed. (1988-2002)\u00a0<i>Poetarum elegiacorum testimonia et fragmenta<\/i>. Second revised edition. Leipzig.<\/li>\n<\/ul>\n<ul>\n<li>Vetta, M. (1992) \u2018Il simposio: la monodia e il giambo\u2019, in\u00a0<i>Lo spazio letterario della Grecia antica, ed. G. Cambiano et al., vol. I.1 La produzione e la circolazione del testo: La polis<\/i>. Rome: 177\u2013218.<\/li>\n<\/ul>\n<ul>\n<li>West, M.L. ed. (1989\u201392)\u00a0<i>Iambi et elegi ante Alexandrum cantati<\/i>, 2nd edn. (2 vols.). Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, P. (1999) \u2018The aulos in Athens\u2019, in\u00a0<i>Performance Culture and Athenian Democracy<\/i>, ed. S. Goldhill and R. Osborne. Cambridge: 58\u201385.<\/li>\n<\/ul>\n<h3><span id=\"Iambus_General\" class=\"mw-headline\">Iambus General<\/span><\/h3>\n<ul>\n<li>Acosta-Hughes, B. (2002)\u00a0<i>Polyeideia: The Iambi of Callimachus and the Archaic Iambic Tradition<\/i>. Berkeley and London. Reviewed by P. Ojennus\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2003\/2003-02-04.html\" rel=\"nofollow\">BMCR 2003.02.04<\/a><\/li>\n<\/ul>\n<ul>\n<li>Bowie, E. L. (2002) \u2018Early Greek iambic poetry: the importance of narrative\u2019, in\u00a0<i>Iambic Ideas: Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire<\/i>, eds. A. Cavarzere et al. Lanham, Md.\/Oxford: 1-27.<\/li>\n<\/ul>\n<ul>\n<li>Bowie, E. L. (2002) \u2018Ionic iambos and Attic komoidia: father and daughter, or just cousins\u2019, in\u00a0<i>The Language of Greek Comedy<\/i>\u00a0ed. A. Willi, Oxford: 33-50.<\/li>\n<\/ul>\n<ul>\n<li>Brown, C. G. (1997) \u2018Iambos\u2019 in\u00a0<i>A Companion to the Greek Lyric Poets<\/i>, ed. D.E. Gerber, Leiden: 11-88.<\/li>\n<\/ul>\n<ul>\n<li>Carey, C. (2009) \u2018Iambus\u2019 in\u00a0<i>Cambridge Companion to Greek Lyric<\/i>, ed. F. Budelmann. Cambridge: 149-167.<\/li>\n<\/ul>\n<ul>\n<li>Kantzios, I. (2005)\u00a0<i>The Trajectory of Archaic Greek Trimeters<\/i>. Leiden and Boston. Reviewed by L. Lomiento\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2006\/2006-03-34.html\" rel=\"nofollow\">BMCR 2006.03.34<\/a><\/li>\n<\/ul>\n<ul>\n<li>Lennartz, K. (2000) \u2018Zum \u201cerweiterten\u201d Jambusbegriff\u2019,\u00a0<i>RhM<\/i>\u00a0143: 225\u201350.<\/li>\n<\/ul>\n<ul>\n<li>Lennartz, K. (2010)\u00a0<i>Iambos. Philologische Untersuchungen zur Geschichte einer Gattung in der Antike<\/i>. Wiesbaden.<\/li>\n<\/ul>\n<ul>\n<li>Mayer, Peter. (2008)\u00a0<i>Aristoteles \u00fcber das Wort &#8216;iambeion&#8217; und \u00fcber die Anf\u00e4nge des Iambos (Poet. 1448b,30-32 &#8211; eine Pseudo-Etymologie?).<\/i>\u00a0<i>Wiener Humanistische Bl\u00e4tter<\/i>\u00a0(Wien) 49: 19\u201327.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C. (2016) &#8216;Iambi in Sparta&#8217;,\u00a0<i>Greek and Roman Musical Studies<\/i>\u00a04: 38-50.<\/li>\n<\/ul>\n<ul>\n<li>Riu, X. (2008) \u2018On the difference between praise and invective\u2019 in:\u00a0<i>Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades. Paroikia, Paros, 7-9 October 2005<\/i>, eds. D. Katsonopoulou, I. Petropoulos, and S. Katsarou. Athens: 73-82.<\/li>\n<\/ul>\n<ul>\n<li>Rotstein, A. (2010)\u00a0<i>The Idea of Iambos<\/i>. Oxford. Reviewed by C. Eckermann\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2010\/2010-06-21.html\" rel=\"nofollow\">BMCR 2010.06.21<\/a><\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (2000)\u00a0<i>Iambos. Studien zum Publikum einer Gattung in der fr\u00fchgriechischen Literatur.<\/i>\u00a0Hildesheim.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (2002)\u00a0<i>Yamb\u00f3grafos griegos<\/i>. Madrid.<\/li>\n<\/ul>\n<h3><span id=\"Archilochus\" class=\"mw-headline\">Archilochus<\/span><\/h3>\n<ul>\n<li>Aloni, A. (1981)\u00a0<i>Le Muse di Archiloco: Ricerche sullo stile archilocheo<\/i>. Copenhagen. Review by Slings, S.R. (1984)\u00a0<i>Mnemosyne<\/i>\u00a037: 169-171.<\/li>\n<\/ul>\n<ul>\n<li>Aloni, A. and Iannucci, A. (2007)\u00a0<i>L&#8217;elegia greca e l&#8217;epigramma: dalle origini al V secolo. Con un&#8217;appendice sulla &#8216;nuova&#8217; elegia di Archiloco<\/i>. Firenze: Le Monnier Universit\u00e0.<\/li>\n<\/ul>\n<ul>\n<li>Barker, E.T.E. and Christensen, J.P (2006) \u2018Fight club: the new Archilochus fragment and its resonance with Homeric epic\u2019,\u00a0<i>MD<\/i>\u00a057: 9-41.<\/li>\n<\/ul>\n<ul>\n<li>Bettarini, L. (2010) &#8216;Archiloco fr. 201 W.2: meglio volpe o riccio?&#8217; in\u00a0<i>\u03a0\u0391\u03a1\u039f\u0399\u039c\u0399\u0391\u039a\u03a9\u03a3 . \u0399l proverbio in Grecia e a Roma (3 vols.)<\/i>, ed. E. Lelli. Pisa\/Roma: 45-51.<\/li>\n<\/ul>\n<ul>\n<li>Bremer, J.M. (1978)\u00a0<i>Het gemaskerde Ik. De po\u00ebtische persoonlijkheid in enige Griekse gedichten<\/i>. Amsterdam. (in Dutch) Inaugural lecture, mainly concerned with Archilochus&#8217; Cologne Epode.<\/li>\n<\/ul>\n<ul>\n<li>Bremer, J.M.; van Erp Taalman Kip, A.M. and Slings, S.R. (eds.) (1987)\u00a0<i>Some recently found Greek poems: Text and Commentary<\/i>. Leiden.\u00a0<i>Mnemosyne Supplement<\/i>\u00a099. Contains a text, app. crit. and commentary on some papyri of Archilochus (by Slings), a commentary on a poem by Alcaeus (by Van Erp) and a text, app. crit. and commentary on the &#8216;Lille Stesichorus&#8217; (by Bremer, 128-174).<\/li>\n<\/ul>\n<ul>\n<li>Brown, C.G. (1995) &#8216;The Parched Furrow and the Loss of Youth: Archilochus fr. 188 West&#8217;,\u00a0<i>Quaderni Urbinati di Cultura Classica<\/i>\u00a050: 29\u201335.<\/li>\n<\/ul>\n<ul>\n<li>Brown, C.G. and Gerber, D.E. (1993) \u2018The parched furrow: Archilochus fr.188, 1\u20132 W\u2019, in:\u00a0<i>Tradizione e innovazione nella cultura greca da Omero all\u2019et\u00e0 ellenistica. Vol. I.<\/i>, ed. R. Pretagostini. Rome: 195\u20137.<\/li>\n<\/ul>\n<ul>\n<li>Clay, D. (2004)\u00a0<i>Archilochos Heros: The Cult of the Poets in the Greek Polis<\/i>. Hellenic Studies 6. Washington, D.C.: Harvard University Press. Reviewed by J. MacPhail\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2005\/2005-09-32.html\" rel=\"nofollow\">BMCR 2005.09.32<\/a><\/li>\n<\/ul>\n<ul>\n<li>Corr\u00eaa, P.C. (1998)\u00a0<i>Armas e Var\u00f5es: A Guerra na L\u00edrica de Arqu\u00edloco<\/i>. S\u00e3o Paulo.<\/li>\n<\/ul>\n<ul>\n<li>Corr\u00eaa, P.C. (2001) &#8216;The Fox and the Hedgehog&#8217;,\u00a0<i>Revista Phaos<\/i>\u00a01: 80 &#8211; 92. On Archilochus 201 IEG.<\/li>\n<\/ul>\n<ul>\n<li>Corr\u00eaa, P.C. (2002) &#8216;Muddy Eels&#8217;,\u00a0<i>Rivista Synthesis (La Plata)<\/i>\u00a09: 81 -90. On Archilochus 189 IEG.<\/li>\n<\/ul>\n<ul>\n<li>Corr\u00eaa, P.C. (2007) &#8216;A Human Fable and the Justice of Beasts in Archilochus&#8217; in\u00a0<i>Hesperos. Studies in Ancient Greek Poetry presented to M.L. West on his Seventieth Birthday<\/i>, eds. P.J. Finglass, C. Collard and N.J. Richardson. Oxford: 101-117. Reviewed by J. Gibert\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-06-23.html\" rel=\"nofollow\">BMCR 2008.06.23<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Ford, A.L. (1993) &#8216;L&#8217;inventeur de la po\u00e9sie lyrique: Archiloque le colon&#8217;,\u00a0<i>M\u00e9tis. Revue de l&#8217;anthropologie grecque<\/i>\u00a08.1-2: 59-73.<\/li>\n<\/ul>\n<ul>\n<li>Gagn\u00e9, R. (2009) &#8216;A Wolf at the Table: Sympotic Perjury in Archilochus&#8217;,\u00a0<i>TAPA<\/i>\u00a0139.2: 251-275.<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (2000) &#8216;Archilochus fr. 44 West&#8217; in:\u00a0<i>Poesia e religione in Grecia. Studi in onore di G. Aurelio Privitera<\/i>, eds. M.C. Fera and S. Grandolini. Napoli, vol. 1: 331-333.<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (2004) &#8216;Archilochus fr. 218 W.&#8217; in:\u00a0<i>Dais Philesistephanos. Studies in Honour of Professor Staffan Fogelmark. Presented on the Occasion of his 65th Birthday 12 April 2004<\/i>, eds. P. Sandin and M.W. Schiebe. Uppsala: 19-20.<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (2008) &#8216;Archilochos and Tradition&#8217; in:\u00a0<i>Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades Paroikia, Paros, 7-9 October 2005<\/i>, eds. D. Katsonopoulou, I. Petropoulos, and S. Katsarou. Athens: 17-22.<\/li>\n<\/ul>\n<ul>\n<li>Handley, E. (2007) &#8216;Night Thoughts (Archilochus 23 and 196a West)&#8217; in\u00a0<i>Hesperos. Studies in Ancient Greek Poetry presented to M.L. West on his Seventieth Birthday<\/i>, eds. P.J. Finglass, C. Collard and N.J. Richardson. Oxford: 95-100. Reviewed by J. Gibert<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-06-23.html\" rel=\"nofollow\">BMCR 2008.06.23<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Harrison, S. (2001) \u2018Some generic problems in Horace\u2019s Epodes: or, on (not) being Archilochus\u2019, in\u00a0<i>Iambic Ideas: Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire<\/i>, ed. A. Cavarzere et al. Lanham, Md. and Oxford: 165\u201386.<\/li>\n<\/ul>\n<ul>\n<li>Hawkins, J. N. (2016). Anger, Bile, and the Poet\u2019s Body in the Archilochean Tradition.\u00a0<i>Iambus and Elegy: New Approaches<\/i>: 310-321.<\/li>\n<\/ul>\n<ul>\n<li>Hawkins, T. (2009) &#8216;This is the Death of the Earth: Crisis Narratives in Archilochus and Mnesiepes&#8217;,\u00a0<i>Transactions of the American Philological Association<\/i>\u00a0139.1: 1-20.<\/li>\n<\/ul>\n<ul>\n<li>Irwin, E. (1998) \u2018Biography, fiction and the Archilochean ainos\u2019,\u00a0<i>JHS<\/i>\u00a0118: 177\u201383.<\/li>\n<\/ul>\n<ul>\n<li>L\u00e9toublon, F. (2008) &#8216;Archiloque et l'&#8221;encyclop\u00e9die&#8221; hom\u00e9rique&#8217;,\u00a0<i>Pallas<\/i>\u00a077: 51-62.<\/li>\n<\/ul>\n<ul>\n<li>Marcaccini, C. (2001)\u00a0<i>Construire un\u2019identit\u00e0, scrivere la storia: Archiloco, Paro e la colonizzazione di Taso<\/i>. Florence.<\/li>\n<\/ul>\n<ul>\n<li>Massimiliano O. (ed.) (2009),\u00a0<i>La lira, la vacca e le donne insolenti: contesti di ricezione e promozione della figura e della poesia di Archiloco dall&#8217;arcaismo all&#8217;ellenismo.<\/i>\u00a0Minima philologica 5. Alessandria. Reviewed by Rougier-Blanc, Sylvie (2010)\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2010\/2010-10-61.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02010.10.61<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Mayer, P. (2006) &#8216;Krieg aus Versehen? &#8211; Zur Funktion und Aussage der Telephos-Geschichte im neuen Archilochos (<i>P. Oxy.<\/i>\u00a04708, fr. 1)&#8217;,\u00a0<i>ZPE<\/i>\u00a0157: 15-18.<\/li>\n<\/ul>\n<ul>\n<li>Mayer, P. (2006) &#8216;Der Mann, das M\u00e4dchen und der Dichter &#8211; Zur Frage der Absicht dreier Personen: eine Verf\u00fchrungsgeschichte (Archil. 196a W2)&#8217;,\u00a0<i>Acta Classica Universitatis Scientiarum Debreceniensis (Debrecen)<\/i>\u00a042: 5-20.<\/li>\n<\/ul>\n<ul>\n<li>Medaglia, S.M. (1982)\u00a0<i>Note di esegesi archilochea<\/i>. Roma. Review by S.R. Slings, (1988)\u00a0<i>Mnemosyne<\/i>\u00a041: 134-135.<\/li>\n<\/ul>\n<ul>\n<li>Miralles, C. and P\u00f2rtulas, J. (1983)\u00a0<i>Archilochus and the iambic poetry<\/i>. Roma. Review by S.R. Slings (1987)\u00a0<i>Mnemosyne<\/i>\u00a040: 430-432.<\/li>\n<\/ul>\n<ul>\n<li>Nesselrath, H.G. (2007) &#8216;Lucian and Archilochus, or: How to Make Use of the Ancient Iambographers in the Context of the Second Sophistic&#8217; in\u00a0<i>Hesperos. Studies in Ancient Greek Poetry presented to M.L. West on his Seventieth Birthday<\/i>, eds. P.J. Finglass, C. Collard and N.J. Richardson. Oxford: 132-43. Reviewed by J. Gibert\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-06-23.html\" rel=\"nofollow\">BMCR 2008.06.23<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Nicolosi, A. (trans. and comm.) (2007)\u00a0<i>Ipponate, epodi di Strasburgo &#8211; Archiloco, epodi di Colonia (con un&#8217;appendice su P. Oxy. LXIX 4708)<\/i>. Eikasmos, 14. Bologna: P\u00e0tron Editore. Reviewed by R.M. Rosen\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-04-09.html\" rel=\"nofollow\">BMCR 2009.04.09<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C. (2009) &#8216;Tra epos ed elegia: il nuovo Archiloco&#8217;,\u00a0<i>Maia<\/i>\u00a061.2: 229-249.<\/li>\n<\/ul>\n<ul>\n<li>Obbink, D. (2005) \u20184708, Archilochus, Elegies\u2019,\u00a0<i>Oxyrhynchus Papyri<\/i>\u00a069: 18\u201342.<\/li>\n<\/ul>\n<ul>\n<li>Obbink, D. (2006) \u2018A New Archilochus poem\u2019,\u00a0<i>ZPE<\/i>\u00a0156: 1\u20134.<\/li>\n<\/ul>\n<ul>\n<li>P\u00f2rtulas, J. (2006) &#8216;Crizia di Atene e la leggenda archilochea&#8217; in\u00a0<i>L&#8217;autore e l&#8217;opera: attribuzioni, appropriazioni, apocrifi nella Grecia antica. Atti del convegno internazionale (Pavia, 27-28 maggio 2005). Memorie e atti di convegni 34<\/i>, ed. Fabio Roscalla. Pisa: Edizioni ETS: 175-91. Reviewed by Jennings, Victoria (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-04.html\" rel=\"nofollow\">BMCR 2008.07.04<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Puppini, P. (1991) \u2018Espressioni mimiche a simposio\u2019, in\u00a0<i>Oin\u0113ra teuch\u0113: studi triestini di poesia conviviale<\/i>, ed. K. Fabian et al. Alessandria: 57\u201371.<\/li>\n<\/ul>\n<ul>\n<li>Riu, X. (2012) &#8216;On the Reception of Archilochus and of invective in antiquity&#8217;, in\u00a0<i>Approaches to Greek Poetry<\/i>\u00a0eds. X. Riu &amp; J. P\u00f2rtulas. Messina: 249-282.<\/li>\n<\/ul>\n<ul>\n<li>Rosen, R.M. (2007) &#8216;The Hellenistic Epigrams on Archilochus and Hipponax&#8217; in\u00a0<i>Brill&#8217;s Companion to Hellenistic Epigram<\/i>\u00a0eds. P. Bing &amp; J. Steffen Bruss. Leiden: 459\u2013476. Reviewed by M.A. Tueller\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2008\/2008-06-19.html\" rel=\"nofollow\">BMCR 2008.06.19<\/a><\/li>\n<\/ul>\n<ul>\n<li>Rotstein, A. (2007) \u2018Critias\u2019 invective against Archilochus\u2019,\u00a0<i>Classical Philology<\/i>\u00a0102: 139-54.<\/li>\n<\/ul>\n<ul>\n<li>Rotstein, A. (2008) \u201c\u2018I do not care about\u00a0<i>iamboi<\/i>\u201d (Archil. Fr. 215W)\u2019, in\u00a0<i>Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades<\/i>, eds. D. Katsonopoulou, I. Petropoulos and S. Katsarou. Athens: 65-80.<\/li>\n<\/ul>\n<ul>\n<li>Rotstein, A. (2010)\u00a0<i>The Idea of Iambos<\/i>. Oxford: 151-166, 230-234, 256-259, 281-318.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1975) &#8216;Three notes on the new Archilochus papyrus&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a018: 170.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1976) &#8216;Archilochus, the hasty mind and the hasty bitch&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a021: 283-288.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1980) &#8216;Archilochus, eerste Keulse epode&#8217;,\u00a0<i>Lampas<\/i>\u00a013: 315-335. (in Dutch)<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1982) &#8216;Archilochus and the ant&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a045: 69-70.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1980-82) &#8216;Archilochus, S 478 (a), 3 Page&#8217;,\u00a0<i>Museum Criticum<\/i>\u00a015-17: 11-14.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1983) &#8216;Once more Archilochus and the ant&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a053: 31-36.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1986) &#8216;Archilochus: new fragments from the Sosthenes inscription&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a063: 1-3.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1988) &#8216;Archilochus, fr. 188,3&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a072: 21.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1989) &#8216;Anonymus, Parallel lines from Homer and Archilochus&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a079: 1-8.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1990) &#8216;Archilochus van Paros, soldaat en dichter&#8217;,\u00a0<i>Hermeneus<\/i>\u00a062: 281-289. (in Dutch)<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1992) &#8216;For the third time: Archilochus and the ant&#8217;,\u00a0<i>Eikasmos<\/i>\u00a03: 13-17.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1995) &#8216;Archilochus, fr. 188, 1-2&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a0106: 1-2.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (1991)\u00a0<i>Leise Laute, Arbeiten \u00fcber das Verh\u00e4ltnis von Rhythmus und Lautresponsion bei Archilochos<\/i>. Lausanne Basel.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (2008) &#8216;Les publics d&#8217;Archiloque&#8217;,\u00a0<i>Pallas<\/i>\u00a077: 41-50.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1977) &#8216;Un reciente problema para la Filolog\u00eda Cl\u00e1sica: el nuevo fragmento atribuido a Arqu\u00edloco&#8217; (en colaboraci\u00f3n con A. Melero),\u00a0<i>CFC<\/i>\u00a013: 167-199.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (2000) &#8216;Archilochus \u2018Biography\u2019, Dionysos, and Mythical Patterns&#8217; in\u00a0<i>Poesia e religione in Grecia. Studi in Onore di G. Aurelio Privitera. Volume II<\/i>, eds. M. Cannata Fera and S. Grandolini. Napoli: 639-658.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2016) \u2018Poetics and Precedents in Archilochus\u2019 Erotic Imagery\u2019, in Iambus and Elegy: New Approaches, eds. C. Carey and L. Swift. Oxford:. 253\u2013270.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2015) \u2018Negotiating Seduction: Archilochus\u2019 Cologne Epode and the Transformation of Epic, Philologus 159(1): 2-28<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2014) \u2018Telephus on Paros: Genealogy and Myth in the \u201cNew Archilochus\u201d Poem (P. Oxy. 4708), CQ 64(2): 433-47.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2014) \u2018The Animal Fable and Greek Iambus: Ainoi and Half-Ainoi in Archilochus, in G\u00eaneros po\u00e9ticos na Gr\u00e9cia antiga: Conflu\u00eancias e fronteiras, eds. C. Werner and B. Sebastini. S\u00e3o Paulo: 49-77.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2012) \u2018Archilochus the \u201cAnti-Hero\u201d Heroism, Flight and Values in Homer and the New Archilochus Fragment (P. Oxy. LXIX 4708), JHS 132: 139-55.<\/li>\n<\/ul>\n<ul>\n<li>West, M.L. (2006) \u2018Archilochus and Telephos\u2019,\u00a0<i>ZPE<\/i>\u00a0156: 11\u201317.<\/li>\n<\/ul>\n<h3><span id=\"Semonides\" class=\"mw-headline\">Semonides<\/span><\/h3>\n<ul>\n<li>Carson, A. (1999)\u00a0<i>Economy of the Unlost: Reading Simonides of Keos with Paul Celan.<\/i>\u00a0Princeton, N.J.<\/li>\n<\/ul>\n<ul>\n<li>Hubbard, Th.K. (1994) &#8216;Elemental Psychology and the Date of Semonides of Amorgos&#8217;,\u00a0<i>AJPh<\/i>\u00a0115: 175-197.<\/li>\n<\/ul>\n<ul>\n<li>Hubbard, Th.K. (1996) &#8216; &#8216;New Simonides&#8217; or old Semonides? Second Thoughts on POxy 3965, fr. 26,\u00a0<i>Arethusa<\/i>\u00a029: 255-262 (= in (2001)\u00a0<i>The New Simonides: Contexts of Praise and Desire<\/i>, eds. D. Boedeker and D. Sider. New York and Oxford: 226-231).<\/li>\n<\/ul>\n<ul>\n<li>Osborne, R. (2001) \u2018The use of abuse: Semonides 7\u2019,\u00a0<i>PCPhS<\/i>\u00a047: 47\u201364.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (1994)\u00a0<i>Regards sur la femme: analyse rythmique et interpr\u00e9tation de S\u00e9monide frg. 7 Tedeschi-Pellizer<\/i>. Roma.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (1994) &#8216;Echos phoniques et d\u00e9buts de mots dans le iambe de S\u00e9monide d&#8217;Amorgos&#8217;,\u00a0<i>Revue informatique et statistique dans les sciences humaines<\/i>\u00a030: 139-153.<\/li>\n<\/ul>\n<ul>\n<li>Van Wees, H. (2005) &#8216;The invention of the female mind. Women, property and gender ideology in archaic Greece&#8217;, in\u00a0<i>Women and Property in the Ancient Near East and Greece<\/i>, eds. D. Lyons and R. Westbrook. Published on website of Center for Hellenic Studies, Washington DC. pp. 26.\u00a0<a class=\"external text\" href=\"http:\/\/chs.harvard.edu\/chs\/women_and_property\" rel=\"nofollow\">URL<\/a>. Includes discussion of Fr 7.<\/li>\n<\/ul>\n<h3><span id=\"Hipponax\" class=\"mw-headline\">Hipponax<\/span><\/h3>\n<ul>\n<li>Alexandrou, M. (2016). &#8216;A commentary on the fragments of the iambic poet Hipponax&#8217; (Doctoral dissertation, UCL (University College London)).<\/li>\n<\/ul>\n<ul>\n<li>Carey, C. (2003) \u2018Ipponatte e la tradizione giambica\u2019 in\u00a0<i>Studi di filologia e tradizione greca in memoria di A. Colonna<\/i>, eds. F. Benedetti and S. Grandolini. Perugia: 213-228.<\/li>\n<\/ul>\n<ul>\n<li>Carey, C. (2008) \u2018Hipponax narrator\u2019,\u00a0<i>AAHung<\/i>\u00a048: 89-102.<\/li>\n<\/ul>\n<ul>\n<li>Cazzato, V. (2015) \u2018Hipponax\u2019 poetic initiation and Herodas\u2019 \u201cDream\u201d\u2019,\u00a0<i>The Cambridge Classical Journal<\/i>\u00a061: 1-14.<\/li>\n<\/ul>\n<ul>\n<li>Dale, A. (2013). &#8216;HIPPONAX FR. 42 IEG2&#8217; Zeitschrift f\u00fcr Papyrologie und Epigraphik 187: 49-51.<\/li>\n<\/ul>\n<ul>\n<li>Degani, E. (1995) \u2018Ipponatte e i poeti filologi\u2019, in\u00a0<i>Atti del Congresso \u2018Poeti e Filologi, Filologi-Poeti\u2019. Composizione e studio della poesia epica e lirica nel mondo greco e romano<\/i>, Brescia, Universit\u00e0 Cattolica, 26\u201327 aprile 1995, ed. A. Porro and G. Milanese, Aevum(ant) 8: 105\u201336.<\/li>\n<\/ul>\n<ul>\n<li>Faraone, C.A. (2004) &#8216;Hipponax Frag. 128W: Epic Parody or Expulsive Incantation?&#8217;,\u00a0<i>Classical Antiquity<\/i>\u00a023: 209-45.<\/li>\n<\/ul>\n<ul>\n<li>Fowler, R.L. (1990) \u2018Two more new verses of Hipponax (and a spurium of Philoxenus)?\u2019,\u00a0<i>ICS<\/i>\u00a015: 1\u201322.<\/li>\n<\/ul>\n<ul>\n<li>Hawkins, S. (2013).\u00a0<i>Studies in the Language of Hipponax<\/i>. Bremen.<\/li>\n<\/ul>\n<ul>\n<li>Hawkins, T. (2016). &#8216;Bupalus in Scheria: Hipponax\u2019s Odyssean Transcontextualizations&#8217; in\u00a0<i>Iambus and Elegy: New Approaches<\/i>, C. Carey and L. Swift (eds) Oxford: 229-52.<\/li>\n<\/ul>\n<ul>\n<li>Miralles, C. and J. P\u00f2rtulas (1988)\u00a0<i>The Poetry of Hipponax<\/i>. Rome.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (1995) &#8216;L&#8217;empiet\u00e0 del naso (Hippon. fr.129a,1 Dg.)&#8217;,\u00a0<i>Eikasm\u00f3s<\/i>\u00a06: 11-14.<\/li>\n<\/ul>\n<ul>\n<li>Nicolosi, A. (ed.) (2007)\u00a0<i>Ipponate, epodi di Strasburgo &#8211; Archiloco, epodi di Colonia (con un&#8217;appendice su P. Oxy. LXIX 4708)<\/i>. Bologna. Edition, translation and commentary Reviewed by R.M. Rosen\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-04-09.html\" rel=\"nofollow\">BMCR 2009.04.09<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Rosen, R.M. (1990) \u2018Hipponax and the Homeric Odysseus\u2019,\u00a0<i>Eikasmos<\/i>\u00a01: 11\u201325.<\/li>\n<\/ul>\n<ul>\n<li>Rosen, R.M. (2007) &#8216;The Hellenistic Epigrams on Archilochus and Hipponax&#8217; in\u00a0<i>Brill&#8217;s Companion to Hellenistic Epigram<\/i>\u00a0eds. P. Bing &amp; J. Steffen Bruss. Leiden.<\/li>\n<\/ul>\n<ul>\n<li>Rosen, R.M. (2007)\u00a0<i>Making Mockery. The Poetics of Ancient Satire. Classical Culture and Society.<\/i>\u00a0Oxford. Chapter 5 focuses on Hipponax and Callimachus.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1987) &#8216;Hiponacte c\u00f3mico&#8217;,\u00a0<i>Emerita<\/i>\u00a055: 113-139.<\/li>\n<\/ul>\n<ul>\n<li>Watkins, C. (2007) &#8216;Hipponactea quaedam&#8217; in\u00a0<i>Hesperos. Studies in Ancient Greek Poetry presented to M.L. West on his Seventieth Birthday<\/i>, eds. P.J. Finglass, C. Collard and N.J. Richardson. Oxford: 118-25. Reviewed by J. Gibert\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-06-23.html\" rel=\"nofollow\">BMCR 2008.06.23<\/a>.<\/li>\n<\/ul>\n<h3><span id=\"Ananius\" class=\"mw-headline\">Ananius<\/span><\/h3>\n<ul>\n<li>Carey C.(2016). &#8216;Mapping\u00a0<i>iambos<\/i>: Mining the minor talents&#8217;, in I<i>ambus and Elegy: New Approaches<\/i>, C. Carey and L. Swift (eds), Oxford: 122-39.<\/li>\n<\/ul>\n<h3><span id=\"Adespota_Iambica\" class=\"mw-headline\">Adespota Iambica<\/span><\/h3>\n<h3><span id=\"Elegy_General\" class=\"mw-headline\">Elegy General<\/span><\/h3>\n<ul>\n<li>Adkins, A.W.H. (1985)\u00a0<i>Poetic Craft in the Early Greek Elegists<\/i>. Chicago-London.<\/li>\n<\/ul>\n<ul>\n<li>Aloni, A. and Iannucci, A. (2007)\u00a0<i>L&#8217;elegia greca e l&#8217;epigramma: dalle origini al V secolo. Con un&#8217;appendice sulla &#8216;nuova&#8217; elegia di Archiloco<\/i>. Firenze: Le Monnier Universit\u00e0.<\/li>\n<\/ul>\n<ul>\n<li>Barnes, H.R. (1995) \u2018The structure of the elegiac hexameter: a comparison of the structure of elegiac and stichic hexameter verse\u2019, in\u00a0<i>Struttura e storia dell\u2019esametro omerico<\/i>, ed. M. Fantuzzi and R. Pretagostini, vol. I. Rome: 135\u201361.<\/li>\n<\/ul>\n<ul>\n<li>Bowie, E.L. (1990) \u2018<i>Miles ludens<\/i>? The problem of martial exhortation in early Greek elegy\u2019, in\u00a0<i>Sympotica: A Symposium on the Symposion<\/i>. ed. O. Murray. Oxford: 221-229.<\/li>\n<\/ul>\n<ul>\n<li>Budelmann, F. and T. Power (2013). &#8216;The inbetweenness of sympotic elegy.&#8217; JHS 133: 1-19.<\/li>\n<\/ul>\n<ul>\n<li>Faraone, C.A. (2005) &#8216;Exhortation and Meditation: Alternating Stanzas as a Structural Device in Early Greek Elegy&#8217;,\u00a0<i>CPh<\/i>\u00a0100: 317-36. [Tyrtaeus 10, 11; Callinus 1; Xenophanes 1]<\/li>\n<\/ul>\n<ul>\n<li>Faraone, C.A. (2005) &#8216;Catalogues, Priamels and Stanzaic Structure in Early Greek Elegy&#8217;,\u00a0<i>TAPhA<\/i>\u00a0135: 249-65. [Simonides 16; Tyrtaeus 12; Theognidea 699-718; Solon 13, 27]<\/li>\n<\/ul>\n<ul>\n<li>Faraone, C.A. (2008)\u00a0<i>The Stanzaic Architecture of Early Greek Elegy<\/i>. Oxford. Reviewed by Eckerman, Chris (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-08-30.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.08.30<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (1997) \u2018Elegy\u2019, in\u00a0<i>A Companion to the Greek Lyric Poets<\/i>, ed. D.E. Gerber. Leiden: 89\u2013132.<\/li>\n<\/ul>\n<ul>\n<li>Giordano-Zecharya, M. (2003) \u2018Tabellae auris: musica e memoria nella trasmissione della lirica monodica\u2019, in\u00a0<i>\u03a1\u03a5\u03a3\u039c\u039f\u03a3: Studi di poesia, metrica e musica greca offerti dagli allievi a Luigi Enrico Rossi per i suoi settant\u2019anni<\/i>, ed. R. Nicolai. Rome: 73\u201392.<\/li>\n<\/ul>\n<ul>\n<li>Lulli, L. (2007) &#8220;\u2018Anomalie\u2019 linguistiche e performances poetiche. Osservazioni sui tratti linguistici epicorici nell\u2019epica greca postomerica e nell\u2019elegia arcaica di argomento storico-narrativo&#8221;,\u00a0<i>SemRom<\/i>\u00a010.2: pp. 35\u201362.<\/li>\n<\/ul>\n<ul>\n<li>Lulli, L. (2009) &#8216;Appunti per una storia grafico-editoriale del genere letterario dell\u2019elegia in et\u00e0 ellenistico-romana&#8217;,\u00a0<i>Scripta. International Journal of Palaeography and Codicology<\/i>\u00a02: 135\u2013157.<\/li>\n<\/ul>\n<ul>\n<li>Lulli, L. (2011)\u00a0<i>Narrare in Distichi: L&#8217;elegia greca arcaica e classica di argomento storico-mitico<\/i>. Rome.<\/li>\n<\/ul>\n<ul>\n<li>Lulli, L. (2015) &#8220;Epica ed elegia. Incontri di due generi letterari nei luoghi della performance&#8221;, in L. Bettarini (ed.),\u00a0<i>A pi\u00f9 mani. Linee di ricerca tracciate in &#8216;Sapienza&#8217;<\/i>, Roma-Pisa: 89\u2013102.<\/li>\n<\/ul>\n<ul>\n<li>Lulli, L. (2016) &#8220;Elegy and Epic: A Complex Relationship&#8221;, in L. Swift, C. Carey (eds.),\u00a0<i>Iambus and Elegy. New Approaches<\/i>, Oxford-New York: 193-209.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C. (2006) &#8216;Omero e l&#8217;elegia trenodica&#8217;,\u00a0<i>Acme<\/i>\u00a059.3: 3-24. It investigates the problem of threnodic elegy and presents the possibility to trace motifs typical of threnodic elegy in Homeric poems.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C. (2011) &#8216;Threnodic elegy in Sparta&#8217;,\u00a0<i>Greek, Roman, Byzantine Studies<\/i>\u00a051.1: 26-48.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C. (2016) &#8216;Choral elegy&#8217;, in C. Carey \u2013 L. Swift (eds.), I<i>ambus and Elegy. New Approaches<\/i>, Oxford: 33-55.<\/li>\n<\/ul>\n<ul>\n<li>Raalte, M. van (1988) &#8216;Greek Elegiac Verse Rhythm&#8217;,\u00a0<i>Glotta<\/i>\u00a066: 145-78.<\/li>\n<\/ul>\n<ul>\n<li>Scott Garner, R. (2011)\u00a0<i>Traditional Elegy. The Interplay of Meter, Tradition, and Context in Early Greek Poetry.<\/i>\u00a0Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (2000) &#8216;Symposion and Interpretation: Elegy as group-song and the so-called awakening individual&#8217;,\u00a0<i>Acta Antiqua Hungariensia<\/i>\u00a040: 423-434.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (2012)\u00a0<i>Eleg\u00edacos Griegos.<\/i>\u00a0Madrid. Spanish translation with introduction.<\/li>\n<\/ul>\n<ul>\n<li>Tsagalis, Christos C. (2008)\u00a0<i>Inscribing Sorrow: Fourth-century Attic Funerary Epigrams. Trends in Classics &#8211; Supplementary Volumes 1<\/i>. Berlin and New York. Reviewed by Garulli, Valentina (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-09-18.html\" rel=\"nofollow\"><i>BMCR<\/i>2008.09.18<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Zanetto, G. (2004) \u2018Omero e l\u2019elegia arcaica\u2019, in\u00a0<i>Momenti della ricezione omerica: Poesia arcaica e teatro<\/i>, ed. G. Zanetto et al. (Quaderni di Acme 67). Milan: 37\u201350.<\/li>\n<\/ul>\n<h3><span id=\"Callinus\" class=\"mw-headline\">Callinus<\/span><\/h3>\n<ul>\n<li>Christenson, D. (2000). &#8216;Callinus and Militia Amoris in Achilles Tatius&#8217; &#8216;Leucippe and Cleitophon<i>\u00a0The Classical Quarterly 50(2): 631-632.<\/i><\/li>\n<\/ul>\n<h3><span id=\"Tyrtaeus\" class=\"mw-headline\">Tyrtaeus<\/span><\/h3>\n<ul>\n<li>Ann\u00e9e, M. (2007) &#8216;La m\u00e9moire oubli\u00e9e: perspectives po\u00e9tiques de l&#8217;\u00e9l\u00e9gie chez Tyrt\u00e9e&#8217;,\u00a0<a class=\"external text\" href=\"http:\/\/www.paris-sorbonne.fr\/IMG\/pdf\/Magali_Annee.pdf\" rel=\"nofollow\"><i>Camenulae<\/i>\u00a01<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Ann\u00e9e, M. (2010) &#8216;Pouvoir du \u03bb\u03cc\u03b3\u03bf\u03c2 e \u03bb\u03cc\u03b3\u03bf\u03c2 d&#8217;un pouvoir chez Tyrt\u00e9e&#8217; in\u00a0<i>Linguaggi del potere, poteri del linguaggio<\/i>, eds. E. Bona and M. Curnis. Alessandria: 79-85.<\/li>\n<\/ul>\n<ul>\n<li>Belloni, L. (2003) &#8216;Il re suadente: (Tyrt. 9 G.-P., 1-9)&#8217; in\u00a0<i>Studi di filologia e tradizione greca in memoria di Aristide Colonna<\/i>, eds. F. Benedetti and S. Grandolini. Napoli: 63-75.<\/li>\n<\/ul>\n<ul>\n<li>Faraone, C.A. (2006) &#8216;Stanzaic Structure and Responsion in the Elegiac Poetry of Tyrtaeus&#8217;,\u00a0<i>Mnemosyne<\/i>\u00a059: 19-52.<\/li>\n<\/ul>\n<ul>\n<li>F\u00f6llinger, S. (2005) &#8216;Geschlecht und K\u00f6rperwahrnehmung in der fr\u00fchgriechischen Dichtung&#8217; in\u00a0<i>Medizin, Geschichte und Geschlecht: k\u00f6rperhistorische Rekonstruktionen von Identit\u00e4ten und Differenzen<\/i>, eds. F. Stahnisch and F. Steger. Stuttgart: 27-39. [Homer, Tyrtaeus and Mimnermus].<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (2003) &#8216;\u039b\u03bf\u03be\u03cc\u03c2 with reference to the eyes and neck in Greek poetry&#8217; in\u00a0<i>Studi di filologia e tradizione greca in memoria di Aristide Colonna<\/i>, eds. F. Benedetti and S. Grandolini. Napoli: 355-8.<\/li>\n<\/ul>\n<ul>\n<li>H\u00f6lscher, U. (1986) &#8216;Tyrtaios \u00fcber die Eunomie&#8217; in\u00a0<i>Studien zur alten Geschichte. Siegfried Lauffer zum 70. Geburtstag<\/i>, ed. H. Kalcyk, B. Gullath and A. Graeber Roma: 413-20.<\/li>\n<\/ul>\n<ul>\n<li>Link, S. (2003) &#8216;Eunomie im Schoss der Rhetra? Zum Verh\u00e4ltnis von Tyrt. frgm. 14 W und Plut. Lyk. 6, 2 und 8&#8217;,\u00a0<i>GFA<\/i>\u00a06: 141-150.\u00a0<a class=\"external text\" href=\"http:\/\/gfa.gbv.de\/dr,gfa,006,2003,a,11.pdf\" rel=\"nofollow\">PDF<\/a><\/li>\n<\/ul>\n<ul>\n<li>Luginbill, R.D. (2002) \u2018Tyrtaeus\u00a0<i>12West<\/i>: come join the Spartan army\u2019,\u00a0<i>CQ<\/i>\u00a052: 405\u201314.<\/li>\n<\/ul>\n<ul>\n<li>Meier, M. (1998)\u00a0<i>Aristokraten und Damoden: Untersuchungen zur inneren Entwicklung Spartas im 7. Jahrhundert v. Chr. und zur politischen Funktion der Dichtung des Tyrtaios.<\/i>\u00a0Stuttgart. Reviewed by H. van Wees\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/1999\/1999-10-15.html\" rel=\"nofollow\">BMCR 1999.10.15<\/a><\/li>\n<\/ul>\n<ul>\n<li>Meier, M. (2002), &#8216;Tyrtaios fr. 1B G\/P bzw. fr. \u00b014 G\/P (= fr. 4 W) und die Grosse Rhetra\u00a0: kein Zusammenhang?&#8217;,\u00a0<i>GFA<\/i>\u00a05: 65-87.\u00a0<a class=\"external text\" href=\"http:\/\/gfa.gbv.de\/dr,gfa,005,2002,a,05.pdf\" rel=\"nofollow\">PDF<\/a><\/li>\n<\/ul>\n<ul>\n<li>Meier, M. (2003), &#8216;Tyrtaios: die Entstehung eines Bildes&#8217;,\u00a0<i>Antike und Abendland<\/i>\u00a049: 157-182.<\/li>\n<\/ul>\n<ul>\n<li>Munding, H. (1993), &#8216;Tyrtaios 9 Diehl (= 12 West) auf dem Hintergrund des Hesiodischen Aret\u00e9-Passus (E. 286-292)&#8217; in\u00a0<i>Antike Texte in Forschung und Schule: Festschrift f\u00fcr Willibald Heilmann zum 65. Geburtstag<\/i>, ed. C. Neumeister. Frankfurt: 29-37.<\/li>\n<\/ul>\n<ul>\n<li>Nafissi, M. (2010), &#8216;The Great\u00a0<i>Rhetra<\/i>\u00a0(Plut.\u00a0<i>Lyc.<\/i>\u00a06): a retrospective and intentional construct?&#8217; in:\u00a0<i>Intentional History. Spinning Time in Ancient Greece.<\/i>\u00a0eds. L. Foxhall, H.-J. Gehrke, N. Luraghi. Stuttgart: 89-119.<\/li>\n<\/ul>\n<ul>\n<li>Noussia, M. (2010) \u201cLo stile &#8216;semplice&#8217; di Tirteo?\u201d, in P. Chiron and C. L\u00e9vy (eds),\u00a0<i>Les Noms du Style dans l&#8217;Antiquit\u00e9 gr\u00e9co-latine, Deuxi\u00e8me et Troisi\u00e8me Journ\u00e9es d&#8217; \u00c9tude, Paris IV (12 mais 2005), Paris XII (13 Mai 2005)<\/i>. Leuven: 11-24.<\/li>\n<\/ul>\n<ul>\n<li>Pucci, P. (2006) &#8216;Il testo di Tirteo nel tessuto omerico&#8217; in\u00a0<i>L&#8217;autore e l&#8217;opera: attribuzioni, appropriazioni, apocrifi nella Grecia antica. Atti del convegno internazionale (Pavia, 27-28 maggio 2005). Memorie e atti di convegni 34<\/i>, ed. Fabio Roscalla. Pisa: 21-41. Reviewed by V. Jennings\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-04.html\" rel=\"nofollow\">BMCR 2008.07.04<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Quattrocelli, L. (2006) \u2018Tirteo: poesia e \u1f00\u03bd\u03b4\u03c1\u03b5\u03af\u03b1 a Sparta arcaica\u2019, in\u00a0<i>I luoghi e la poesia nella Grecia antica<\/i>, eds. M. Vetta and C. Catenacci. Alessandria: 133-144.<\/li>\n<\/ul>\n<ul>\n<li>Quattrocelli, L. (2009) \u2018Tirteo e la retorica dell\u2019\u00e9lite\u2019,\u00a0<i>Annali dell\u2019Istituto Orientale di Napoli<\/i>: 7-23.<\/li>\n<\/ul>\n<ul>\n<li>Schwinge, E.R. (1997), &#8216;Tyrtaios \u00fcber seine Dichtung (Fr. 9 G.-P. = 12 W.)&#8217;,\u00a0<i>Hermes<\/i>\u00a0125: 387-395.<\/li>\n<\/ul>\n<ul>\n<li>Van Wees, Hans (1999) \u2018Tyrtaeus\u2019 Eunomia: nothing to do with the Great Rhetra\u2019, in\u00a0<i>Sparta: New Perspectives<\/i>, eds. S. Hodkinson and A. Powell. London: 1-41.<\/li>\n<\/ul>\n<ul>\n<li>Van Wees, Hans (2002) \u2018Gute Ordnung ohne Gro\u00dfe Rhetra: noch einmal zu Tyrtaios\u2019 Eunomia\u2019,\u00a0<i>G\u00f6ttinger Forum f\u00fcr Altertumswissenschaft<\/i>\u00a05: 89-103.\u00a0<a class=\"external text\" href=\"http:\/\/gfa.gbv.de\/z\/2002\" rel=\"nofollow\">URL<\/a>\u00a0<a class=\"external text\" href=\"http:\/\/gfa.gbv.de\/dr,gfa,005,2002,a,06.pdf\" rel=\"nofollow\">PDF<\/a><\/li>\n<\/ul>\n<ul>\n<li>Van Wees, Hans (2003) &#8216;Conquerors and serfs: wars of conquest and forced labour in archaic Greece&#8217;, in\u00a0<i>Helots and their Masters in Laconia and Messenia: histories, ideologies, structures<\/i>, eds. N. Luraghi and S. Alcock. Cambridge, MA: 33-80. Includes discussion of Tyrtaeus&#8217; fragments.<\/li>\n<\/ul>\n<h3><span id=\"Mimnermus\" class=\"mw-headline\">Mimnermus<\/span><\/h3>\n<ul>\n<li>Allen, A. (1993)\u00a0<i>The Fragments of Mimnermus: Text and Commentary<\/i>. Stuttgart.<\/li>\n<\/ul>\n<ul>\n<li>F\u00f6llinger, S. (2005), &#8216;Geschlecht und K\u00f6rperwahrnehmung in der fr\u00fchgriechischen Dichtung&#8217; in\u00a0<i>Medizin, Geschichte und Geschlecht: k\u00f6rperhistorische Rekonstruktionen von Identit\u00e4ten und Differenzen<\/i>, eds. F. Stahnisch and F. Steger. Stuttgart: 27-39. [Homer, Tyrtaeus and Mimnermus].<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (2003) &#8216;Mimnermus, Fragment 1.3 W.&#8217; in:\u00a0<i>Literature, Art, History: Studies on Classical Antiquity and Tradition. In Honour of W.J. Henderson<\/i>, eds. A.F. Basson &amp; W.J. Dominik. Frankfurt am Main: 193-195.<\/li>\n<\/ul>\n<ul>\n<li>Puppini, P. (1991) \u2018Espressioni mimiche a simposio\u2019, in\u00a0<i>Oin\u0113ra teuch\u0113: studi triestini di poesia conviviale<\/i>, ed. K. Fabian et al. Alessandria: 57\u201371.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (2000)\u00a0<i>Symposium: Speech and Ideology. Two hermeneutical issues in early Greek lyric, with special reference to Mimnermus<\/i>. Amsterdam (KNAW), Mededelingen KNAW afd. Letterkunde, 63, 1. Concerns the performance of lyric poetry in the archaic period. Review by J.M. Bremer (2003)\u00a0<i>Mnemosyne<\/i>\u00a056: 614-15 and D.E. Gerber\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2000\/2000-12-16.html\" rel=\"nofollow\">BMCR 2002.12.16<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1985) &#8216;El viaje nocturno del sol y la Nanno de Mimnermo&#8217;,\u00a0<i>ECl\u00e1s<\/i>\u00a089: 5-20.<\/li>\n<\/ul>\n<h3><span id=\"Solon\" class=\"mw-headline\">Solon<\/span><\/h3>\n<ul>\n<li>Almeida, J.A. (2003)\u00a0<i>Justice as an Aspect of the Polis Idea in Solon&#8217;s Political Poems. A Reading of the Fragments in Light of the Researches of New Classical Archaeology.<\/i>\u00a0Leiden. Reviewed by A.J. Dominguez\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2004\/2004-02-51.html\" rel=\"nofollow\">BMRC 2004.02.15<\/a><\/li>\n<\/ul>\n<ul>\n<li>Anhalt, E.K. (1993)\u00a0<i>Solon the Singer.<\/i>\u00a0Lanham, MD.<\/li>\n<\/ul>\n<ul>\n<li>Blaise, F. (1995) \u2018Le fragment 36 W. de Solon: pratique et fondation des normes politiques\u2019,\u00a0<i>Revue des \u00c9tudes Grecques<\/i>\u00a0108: 24-37.<\/li>\n<\/ul>\n<ul>\n<li>Blaise, F. (2005) \u2018Po\u00e9sie, politique, religion. Solon entre les dieux et les hommes (l\u2019 \u201cEunomie\u201d et l\u2019 \u201cEl\u00e9gie aux Muses\u201d, 4 et 13 West)\u2019,\u00a0<i>Revue de Philosophie Ancienne<\/i>\u00a023: 3-40.<\/li>\n<\/ul>\n<ul>\n<li>Blaise, F. (2006) \u2018Poetics and politics. Tradition re-worked in Solon\u2019s \u201cEunomia\u201d (poem 4)\u2019, in\u00a0<i>Solon of Athens: New Historical and Philological Approaches<\/i>, eds. J.H. Blok &amp; A.P.M.H. Lardinois. Leiden: 114-133.<\/li>\n<\/ul>\n<ul>\n<li>Blaise, F. (2010) &#8216;Le bonheur red\u00e9fini. Solon, 23 W.&#8217;, in D. Thouard-Ch. K\u00f6nig (\u00e9ds.),\u00a0<i>La Philologie au pr\u00e9sent. Pour Jean Bollack<\/i>. Lille (Presses du Septentrion): 57-67.<\/li>\n<\/ul>\n<ul>\n<li>Blaise, F. (2011) &#8216;La mer juste\u00a0: Solon, 12 W&#8217;,\u00a0<i>Revue des Etudes Grecques<\/i>\u00a0124: 535-547.<\/li>\n<\/ul>\n<ul>\n<li>Blaise, F. (2012) &#8216;Solon entre Zeus et loup: un usage provocant des repr\u00e9sentations et des formes po\u00e9tiques traditionnelles (po\u00e8me 36 W)&#8217; in\u00a0<i>Approaches to Greek Poetry<\/i>\u00a0X. Riu &amp; J. P\u00f2rtulas. Messina: 99-119.<\/li>\n<\/ul>\n<ul>\n<li>Blok, J.H. and Lardinois, A.P.M.H. (eds.) (2006)\u00a0<i>Solon of Athens: New Historical and Philological Approaches<\/i>. Leiden. Reviewed by B.M. Lavelle\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2007\/2007-04-26.html\" rel=\"nofollow\">BMCR 2007.04.26<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Carvalho, S. and Neto, F.J (2014) &#8216;A crise social na Atenas de S\u00f3lon e o estabelecimento da justi\u00e7a baseada no governo da lei&#8217;,\u00a0<i>Humanitas<\/i>66: 59-85.<\/li>\n<\/ul>\n<ul>\n<li>Gagn\u00e9, R. (2009) &#8216;Spilling the Sea Out of its Cup: Solon&#8217;s Elegy to the Muses,&#8217;\u00a0<i>Quaderni urbinati di cultura classica<\/i>\u00a0133: 23-49.<\/li>\n<\/ul>\n<ul>\n<li>Irwin, E. (2005)\u00a0<i>Solon and Early Greek Poetry: The Politics of Exhortation<\/i>. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (2006) &#8216;Have we Solon&#8217;s verses?&#8217; in\u00a0<i>Solon of Athens: New Historical and Philological Approaches<\/i>, eds. J.H. Blok &amp; A.P.M.H. Lardinois. Leiden: 15-35. Dutch version (2006)\u00a0<i>Lampas<\/i>\u00a039: 91-109.<\/li>\n<\/ul>\n<ul>\n<li>Lewis, J.D.(2006)\u00a0<i>Solon the Thinker: Political Thought in Archaic Athens<\/i>. London. Reviewed by Z. Papakonstantinou\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2007\/2007-05-28.html\" rel=\"nofollow\">BMCR 2007.05.28<\/a><\/li>\n<\/ul>\n<ul>\n<li>Monedero, A.J.D. (2001)\u00a0<i>Sol\u00f3n de Atenas. Editorial Cr\u00edtica.<\/i>\u00a0Barcelona. Reviewed by E. Katz Anhalt\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2002\/2002-08-42.html\" rel=\"nofollow\">BMCR 2002.08.24<\/a><\/li>\n<\/ul>\n<ul>\n<li>Moss\u00e9, C. (1996) \u2018Due miti politici: Licurgo e Solone\u2019, in\u00a0<i>I Greci: Storia cultura arte societ\u00e0, II, Una storia greca, 1, Formazione<\/i>, ed. S. Settis. Turin: 1325\u201335.<\/li>\n<\/ul>\n<ul>\n<li>M\u00fclke, C. (2002)\u00a0<i>Solons Politische Elegien und Iamben (Fr. 1-13; 32-37 West). Einleitung, \u00dcbersetzung, Kommentar.<\/i>\u00a0Munich\/Leipzig. Reviewed by E. Irwin\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2005\/2005-05-26.html\" rel=\"nofollow\">BMRC 2005.05.26<\/a><\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. and M. Noussia-Fantuzzi eds. (2015).\u00a0<i>Solon in the Making: The Early Reception in the Fifth and Fourth Centuries<\/i>. Trends in Classics 7.1. De Gruyter.<\/li>\n<\/ul>\n<ul>\n<li>Noussia, M. (2001)\u00a0<i>Solone: Frammenti dell\u2019opera poetica<\/i>. Milan.<\/li>\n<\/ul>\n<ul>\n<li>Noussia-Fantuzzi, M. (2010)\u00a0<i>Solon the Athenian: The Poetic Fragments<\/i>, Brill Academic Publishers, Leiden, pp. xiv+579. Reviewed by D.E. Gerber\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2011\/2011-05-05.html\" rel=\"nofollow\">BMCR 2011.05.05<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (2002) &#8216;La renovaci\u00f3n del l\u00e9xico po\u00e9tico en Sol\u00f3n y los niveles de lengua&#8217; in\u00a0<i>Niveles de lengua y literatura<\/i>, ed. A. L\u00f3pez Eire. Salamanca.<\/li>\n<\/ul>\n<ul>\n<li>Wees, H. van (1999) &#8216;The mafia of early Greece. Violent exploitation in the seventh and sixth centuries BC&#8217; in\u00a0<i>Organized Crime in Antiquity<\/i>, ed. Keith Hopwood. London: 1-51. Includes discussion of Solon&#8217;s &#8216;political&#8217; fragments.<\/li>\n<\/ul>\n<ul>\n<li>Wees, H. van (2006) &#8216;Mass and elite in Solon&#8217;s Athens: the property classes revisited&#8217;, in\u00a0<i>Solon of Athens: new historical and philological approaches<\/i>, eds. J. Blok and A. Lardinois. Leiden: 351-89. Abbreviated version in Dutch: (2006) &#8216;Massa en elite in Solon&#8217;s Athene: de betekenis van de vermogensklassen&#8217;,\u00a0<i>Lampas<\/i>\u00a039: 131-52. Includes discussion of Solon&#8217;s &#8216;political&#8217; fragments.<\/li>\n<\/ul>\n<h3><span id=\"Theognis\" class=\"mw-headline\">Theognis<\/span><\/h3>\n<ul>\n<li>Bagordo, A. (2000) &#8216;Teognide 769-772 e il lessico metaletterario arcaico&#8217;,\u00a0<i>SemRom<\/i>\u00a03: 183-203.<\/li>\n<\/ul>\n<ul>\n<li>Bowie, E. (2012) &#8216;An Early Chapter in the History of the Theognidea&#8217; in\u00a0<i>Approaches to Greek Poetry<\/i>\u00a0X. Riu &amp; J. P\u00f2rtulas. Messina: 121-148.<\/li>\n<\/ul>\n<ul>\n<li>Colesanti, G. (2011)\u00a0<i>Questioni Teognidee. La genesi simposiale di un corpus di elegie<\/i>. Roma.\u00a0<a class=\"external text\" href=\"http:\/\/www.storiaeletteratura.it\/catalog\/title\/index.php?cmd=ext&amp;title_id=1394\" rel=\"nofollow\">More information<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Condello, F. (2010) &#8216;Proverbi in Teognide, Teognide in proverbio&#8217; in\u00a0<i>\u03a0\u0391\u03a1\u039f\u0399\u039c\u0399\u0391\u039a\u03a9\u03a3 . \u0399l proverbio in Grecia e a Roma (3 vols.)<\/i>\u00a0ed. E. Lelli. Pisa\/Roma: 61-85.<\/li>\n<\/ul>\n<ul>\n<li>Edmunds, L. (1997) \u2018The seal of Theognis (vv. 19\u201330)\u2019, in\u00a0<i>Poet, Public and Performance: Essays in Ancient Greek Literature and Literary History<\/i>, ed. L. Edmunds and R. Wallace. Baltimore and London: 29\u201348.<\/li>\n<\/ul>\n<ul>\n<li>Ford, A.L. (1985) &#8216;The Seal of Theognis: The Politics of Authorship in Archaic Greece&#8217; in\u00a0<i>Theognis of Megara: Poetry and the Polis<\/i>, eds. T.J. Figueira and G. Nagy. Baltimore: 82-95.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (1989) &#8216;Kap\u00ealeia and Deceit: Theognis 59\u201360&#8217;,\u00a0<i>American Journal of Philology<\/i>\u00a0110: 535\u201344.<\/li>\n<\/ul>\n<ul>\n<li>Lane Fox, R. (2000) \u2018Theognis: an alternative to democracy\u2019, in\u00a0<i>Alternatives to Athens: Varieties of Political Organization and Community in Ancient Greece<\/i>, ed. R. Brock and S. Hodkinson. Oxford: 35\u201351.<\/li>\n<\/ul>\n<ul>\n<li>Lauriola, R. (1999) &#8216;Theog. 207-210: un caso di prolessi narrativa&#8217;,\u00a0<i>Athenaeum<\/i>\u00a087.1: 15-26.<\/li>\n<\/ul>\n<ul>\n<li>Martin, R.P. (2001) \u2018Just Like a Woman: Enigmas of the Lyric Voice\u2019, in\u00a0<i>Making Silence Speak: Women\u2019s Voices in Greek Literature and Society<\/i>, eds. A. Lardinois and L. McClure. Princeton, N.J.: 55-74.<\/li>\n<\/ul>\n<ul>\n<li>Palutan, M.G. (1995) \u2018Osservazioni sui carmi eolici di Teocrito (28, 29 e 30)\u2019,\u00a0<i>AION<\/i>\u00a0(filol) 17: 89\u2013107.<\/li>\n<\/ul>\n<ul>\n<li>P\u00f2rtulas, J. (2006) &#8216;Crizia di Atene e la leggenda archilochea&#8217; in\u00a0<i>L&#8217;autore e l&#8217;opera: attribuzioni, appropriazioni, apocrifi nella Grecia antica. Atti del convegno internazionale (Pavia, 27-28 maggio 2005). Memorie e atti di convegni 34<\/i>, ed. Fabio Roscalla. Pisa: Edizioni ETS: 175-91. Reviewed by Jennings, Victoria (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-04.html\" rel=\"nofollow\">BMCR 2008.07.04<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Puppini, P. (1991) \u2018Espressioni mimiche a simposio\u2019, in\u00a0<i>Oin\u0113ra teuch\u0113: studi triestini di poesia conviviale<\/i>, ed. K. Fabian et al.\u00a0<i>Alessandria<\/i>: 57\u201371.<\/li>\n<\/ul>\n<ul>\n<li>R\u00f6sler, W. (2006) &#8216;La raccolta di Teognide: \u00abil pi\u00f9 antico libro dimostrabilmente edito dall&#8217;autore stesso\u00bb. Considerazioni su una tesi di Richard Reitzenstein&#8217; in\u00a0<i>L&#8217;autore e l&#8217;opera: attribuzioni, appropriazioni, apocrifi nella Grecia antica. Atti del convegno internazionale (Pavia, 27-28 maggio 2005). Memorie e atti di convegni 34<\/i>, ed. Fabio Roscalla. Pisa: Edizioni ETS: 55-67. Reviewed by Jennings, Victoria (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-04.html\" rel=\"nofollow\">BMCR 2008.07.04<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Selle, H. (2008)\u00a0<i>Theognis und die Theognidea<\/i>. Berlin &amp; New York.<\/li>\n<\/ul>\n<ul>\n<li>Stein-H\u00f6lkeskamp, E. (1996) &#8216;Adel und Volk bei Theognis&#8217; in\u00a0<i>Volk und Verfassung im vorhellenistischen Griechenland, Beitr\u00e4ge auf dem Symposium zu Ehren von Karl-Wilhelm Welwei in Bochum, 1.-2. M\u00e4rz 1996.<\/i>\u00a0eds. Walter Eder, Karl-Joachim H\u00f6lkeskamp. Stuttgart: 21-35.<\/li>\n<\/ul>\n<ul>\n<li>Vetta, M. (2000) \u2018Teognide e anonimi nella Silloge teognidea\u2019, in\u00a0<i>La letteratura pseudepigrafa nella cultura greca e romana: Atti di un incontro di studi<\/i>, Napoli, 15\u201317 gennaio 1998, AION(filol) 22: 123\u201341.<\/li>\n<\/ul>\n<ul>\n<li>Wees, H. van (2000) \u2018Megara\u2019s mafiosi. Timocracy and violence in Theognis\u2019, in\u00a0<i>Alternatives to Athens. Varieties of political organization and community in ancient Greece<\/i>, eds. R. Brock and S. Hodkinson. Oxford University Press: 52-67. Abbreviated version in Dutch: (2003) \u2018Maffiosi in Megara: timocratie en geweld in Theognis\u2019,\u00a0<i>Lampas<\/i>\u00a036: 284-99.<\/li>\n<\/ul>\n<ul>\n<li>Yossi, M.J. (\u039c. \u0399. \u0393\u03b9\u03cc\u03c3\u03b7) (2009) &#8216;\u03b4\u03b5\u1fe6\u03c1\u03bf \u03c3\u1f7a\u03bd \u03b1\u1f50\u03bb\u03b7\u03c4\u1fc6\u03c1\u03b9. \u03a3\u03c5\u03bc\u03c0\u03bf\u03c4\u03b9\u03ba\u03ae \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c3\u03c4\u03bf \u0398\u03b5\u03bf\u03b3\u03bd\u03af\u03b4\u03b5\u03b9\u03bf corpus&#8217; [&#8216;Deuro syn auleteri: Sympotic poetics in the Theognidean corpus&#8217;], in:\u00a0<i>\u0391\u039d\u03a4\u0399\u03a6\u0399\u039b\u0397\u03a3\u0399\u03a3. Studies on Classical, Byzantine and Modern Greek Literature and Culture in Honour of John-Theophanes A. Papademetriou<\/i>, ed. Eleni Karamalengou and Eugenia Makrygianni. Stuttgart: 99 &#8211; 106.<\/li>\n<\/ul>\n<h3><span id=\"Xenophanes\" class=\"mw-headline\">Xenophanes<\/span><\/h3>\n<ul>\n<li>Granger, Herbert (2007) &#8216;Poetry and Prose: Xenophanes of Colophon&#8217;,\u00a0<i>Transactions of the American Philological Association<\/i>\u00a0137.2: 403-33.\u00a0<a class=\"external text\" href=\"http:\/\/muse.jhu.edu\/journals\/transactions_of_the_american_philological_association\/toc\/apa137.2.html\" rel=\"nofollow\">Abstract<\/a>.\u00a0<a class=\"external text\" href=\"http:\/\/muse.jhu.edu\/journals\/transactions_of_the_american_philological_association\/v137\/137.2granger.pdf\" rel=\"nofollow\">PDF<\/a>.<\/li>\n<\/ul>\n<h3><span id=\"Critias\" class=\"mw-headline\">Critias<\/span><\/h3>\n<ul>\n<li>Iannucci, A. (1998) &#8216;Elegia e lotta politica. Note di lettura a Crit. fr. 5 W.&#8217;,\u00a0<i>AION (filol)<\/i>\u00a020: 107-127.<\/li>\n<\/ul>\n<ul>\n<li>Iannucci, A. (2002)\u00a0<i>La parola e l&#8217;azione. I frammenti simposiali di Crizia<\/i>. Bologna. Review by P. Wilson in\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2004\/2004-09-16.html\" rel=\"nofollow\">BMCR 2004.09.16<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Iannucci, A. (2003) &#8216;Una \u2018corona di giambi\u2019. Ipotesi di lettura del fr. 2 Gent.-Pr. di Crizia&#8217;,\u00a0<i>Seminari Romani di Cultura Greca<\/i>, VI 1: 31-42.<\/li>\n<\/ul>\n<ul>\n<li>P\u00f2rtulas, Jaume (2006) &#8216;Crizia di Atene e la leggenda archilochea&#8217; in\u00a0<i>L&#8217;autore e l&#8217;opera: attribuzioni, appropriazioni, apocrifi nella Grecia antica. Atti del convegno internazionale (Pavia, 27-28 maggio 2005). Memorie e atti di convegni 34<\/i>, ed. Fabio Roscalla. Pisa: Edizioni ETS: 175-91. Reviewed by Jennings, Victoria (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-04.html\" rel=\"nofollow\">BMCR 2008.07.04<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Rotstein, Andrea (2007) \u2018Critias\u2019 invective against Archilochus\u2019,\u00a0<i>Classical Philology<\/i>\u00a0102: 139-54.<\/li>\n<\/ul>\n<h3><span id=\"Dionysius_Chalcus\" class=\"mw-headline\">Dionysius Chalcus<\/span><\/h3>\n<ul>\n<li>Rufilanchas, D. R. (2003). &#8216;Dionysius Chalcus fr. 3 again&#8217; JHS 123: 181-186.<\/li>\n<\/ul>\n<h3><span id=\"Euenus\" class=\"mw-headline\">Euenus<\/span><\/h3>\n<h3><span id=\"Ion\" class=\"mw-headline\">Ion<\/span><\/h3>\n<ul>\n<li>Jennings, Victoria and Andrea Katsaros (eds.) (2007)\u00a0<i>The World of Ion of Chios. Mnemosyne Supplementa 288. Monographs on Greek and Roman Language and Literature<\/i>. Leiden. Reviewed by Tell, Hakan (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-10-13.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.10.13<\/a>.<\/li>\n<\/ul>\n<h3><span id=\"Phocylides\" class=\"mw-headline\">Phocylides<\/span><\/h3>\n<h3><span id=\"Adespota_Elegiaca\" class=\"mw-headline\">Adespota Elegiaca<\/span><\/h3>\n<ul>\n<li>Lulli, L., Sbardella, L. (2013) &#8220;P. Oxy. 69. 4708 fr. 1. 22-28. Una nuova proposta di integrazione&#8221;, \u00abZPE\u00bb 186: 27\u201335.<\/li>\n<\/ul>\n<h2><span id=\"Greek_Lyric_Poetry\" class=\"mw-headline\">Greek Lyric Poetry<\/span><\/h2>\n<h3><span id=\"Lyric_General\" class=\"mw-headline\">Lyric General<\/span><\/h3>\n<ul>\n<li>Ahrens, H. L. (1853) \u2018\u00dcber die Mischung der Dialekte in der griechischen Lyrik\u2019, in\u00a0<i>Verhandlungen der dreizehnten Versammlung Deutscher Philologen, Schulm\u00e4nner und Orientalisten in G\u00f6ttingen vom 29. September bis 2. Oktober<\/i>, G\u00f6ttingen: 55-80, reprinted in\u00a0<i>Kleine Schriften<\/i>. I, Hannover 1853 (= Hildesheim-New York 1977): 157-81.<\/li>\n<\/ul>\n<ul>\n<li>Angeli Bernardini, P. (1991) \u2018L\u2019inno agli dei nella lirica corale greca e la sua dimensione sacrale\u2019, in\u00a0<i>L\u2019inno tra rituale e letteratura nel mondo antico: Atti di un colloquio Napoli 21\u201324 ottobre 1991, AION<\/i>\u00a013: 85\u201394.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2002) &#8216;On Horace 1.15 and Choral Lyric&#8217; in\u00a0<i>Horace and Greek Lyric<\/i>, ed. M. Paschalis.\u00a0<i>Rethymnon Classical Studies<\/i>\u00a01: 85-101.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2005) &#8216;\u03a7\u03bf\u03c1\u03b5\u03af\u03b1. \u0397 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c4\u03b7\u03c2 \u03c0\u03b1\u03c1\u03ac\u03c3\u03c4\u03b1\u03c3\u03b7\u03c2&#8217;,\u00a0<i>Thallo<\/i>\u00a016: 37-76.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2009)\u00a0<i>\u1f08\u03b5\u03af\u03b4\u03b5\u03c4\u03bf \u03c0\u1f70\u03bd \u03c4\u03ad\u03bc\u03b5\u03bd\u03bf\u03c2: \u03bf\u03b9 \u03c7\u03bf\u03c1\u03b9\u03ba\u03ad\u03c2 \u03c0\u03b1\u03c1\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03bf \u03ba\u03bf\u03b9\u03bd\u03cc \u03c4\u03bf\u03c5\u03c2 \u03c3\u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03ca\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c0\u03c1\u03ce\u03ca\u03bc\u03b7 \u03ba\u03bb\u03b1\u03c3\u03b9\u03ba\u03ae \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf<\/i>. Herakleion. Study of choral performance contexts especially in Alcman, Pindar, and Bacchylides.\u00a0<a class=\"external text\" href=\"http:\/\/www.cup.gr\/ViewShopProduct.aspx?ProductId=279696&amp;LangId=1\" rel=\"nofollow\">More information<\/a>. Reviewed by Ladianou, Katerina (2010)\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2010\/2010-09-21.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02010.09.21<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, Lucia &amp; Bowie, Ewen (2011) (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>\u00a0Berlin &amp; Boston.\u00a0<a class=\"external text\" href=\"http:\/\/www.degruyter.com\/view\/supplement\/9783110254020_Contents.pdf\" rel=\"nofollow\">Table of Contents<\/a><\/li>\n<\/ul>\n<ul>\n<li>Bagordo, A. (1999) &#8216;Eine Bemerkung zum Epinikion&#8217;,\u00a0<i>Hermes<\/i>\u00a0127: 118-120.<\/li>\n<\/ul>\n<ul>\n<li>Bagordo, A. (2003)\u00a0<i>Reminiszenzen fr\u00fcher Lyrik bei den attischen Tragikern: Beitr\u00e4ge zur Anspielungstechnik und poetischen Tradition<\/i>. Munich.<\/li>\n<\/ul>\n<ul>\n<li>Barbantani, S. (1993) \u2018I poeti lirici del canone alessandrino nell\u2019epigrammatistica\u2019,\u00a0<i>Aevum(ant)<\/i>\u00a06: 5\u201397.<\/li>\n<\/ul>\n<ul>\n<li>Barrett, W. S. (2007)\u00a0<i>Greek Lyric, Tragedy, and Textual Criticism: Collected Papers<\/i>. Assembled and edited by M.L. West. Oxford, New York. The papers deal with Stesichorus, Pindar, Bacchylides and Euripides.\u00a0<a class=\"external text\" href=\"http:\/\/catdir.loc.gov\/catdir\/toc\/ecip0713\/2007011752.html\" rel=\"nofollow\">Table of Contents<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Blasing, M. K. (2007)\u00a0<i>Lyric Poetry: The Pain and the Pleasure of Words<\/i>. Princeton, N. J., and Woodstock.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (2001)\u00a0<i>Der Chor in der Alten Kom\u00f6die. Ritual und Performativit\u00e4t<\/i>\u00a0(unter besonderer Ber\u00fccksichtigung von Aristophanes&#8217;\u00a0<i>Thesmophoriazusen<\/i>\u00a0und der Phalloslieder fr. 851 PMG). M\u00fcnchen and Leipzig. (BzA 126). It has been translated by Alex Hollmann into English as:\n<ul>\n<li>Bierl, Anton (2009)\u00a0<i>Ritual and Performativity. The Chorus of Old Comedy<\/i>\u00a0(transl. by Alex Hollmann), Center for Hellenic Studies. Washington, DC: Harvard Press. (Hellenic Studies 20). New and revised edition.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Bremer, Jan Maarten and W.D. Furley (2001)\u00a0<i>Greek Hymns. Selected Cult Songs from the Archaic to the Hellenistic period<\/i>. T\u00fcbingen.<\/li>\n<\/ul>\n<ul>\n<li>Bremer, Jan Maarten (2008) &#8216;Traces of the Hymn in the Epinikion&#8217;,\u00a0<i>Mnemosyne<\/i>\u00a061: 1-17.\u00a0<a class=\"external text\" href=\"http:\/\/www.swetswise.com.proxy.ubn.ru.nl:8080\/swetsfo\/swproxy?url=http%3A%2F%2Fopenurl.ingenta.com%2Fcontent%2Fswetsnet-4.1.8057b0ad6528f5df0c29150bac728f60%3Fgenre%3Darticle%26issn%3D0026-7074%26volume%3D61%26issue%3D1%26spage%3D1%26epage%3D17%26aulast%3DBremer&amp;ts=1202555031030&amp;cs=4113296875&amp;userName=9021463.ipdirect&amp;emCondId=2043297&amp;articleID=35750230&amp;yevoID=2197893&amp;titleID=137377&amp;referer=2&amp;remoteAddr=131.174.248.1\" rel=\"nofollow\">PDF<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Briand, Michel (1996) &#8216;\u00c9nonciation lyrique et dialogue dans la po\u00e9sie archa\u00efque grecque: de St\u00e9sichore \u00e0 Pindare, Bacchylide et Sappho&#8217;, in\u00a0<i>Travaux du Cercle de Linguistique de Nice<\/i>, num\u00e9ro sp\u00e9cial sur &#8220;La pragmatique&#8221; (dir. S. Mellet): 119-172.<\/li>\n<\/ul>\n<ul>\n<li>Briand, Michel (2005) &#8216;Questions de coh\u00e9rence et de coh\u00e9sion dans la po\u00e9sie m\u00e9lique grecque archa\u00efque: la transition entre discours d&#8217;actualit\u00e9 et r\u00e9cit mythique&#8217; in\u00a0<i>Coh\u00e9sion et coh\u00e9rence. \u00c9tudes de linguistique textuelle<\/i>, ed. Anna Jaubert. Lyon: 79-98.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1977a)\u00a0<i>Les Ch\u0153urs de jeunes filles en Gr\u00e8ce archa\u00efque<\/i>. Vol. I:\u00a0<i>Morphologie, fonction religieuse et sociale<\/i>; vol. II:\u00a0<i>Alcman<\/i>, Roma. The first volume has been translated by Derek Collins and Janice Orion (2001: 2nd ed.)\u00a0<i>Choruses of young women in ancient Greece: their morphology, religious role, and social functions<\/i>. Lanham, New York and Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1977b)\u00a0<i>Rito e poesia corale in Grecia. Guida storica e critica<\/i>, Roma and Bari.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1997) &#8216;Diction formulaire et fonction pratique dans la po\u00e9sie m\u00e9lique archa\u00efque&#8217; in\u00a0<i>Hommage \u00e0 Milman Parry. Le style formulaire de l&#8217;\u00e9pop\u00e9e hom\u00e9rique et la th\u00e9orie de l&#8217;oralit\u00e9 po\u00e9tique<\/i>, ed. F. L\u00e9toublon. Amsterdam: 215-222.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1998) &#8216;La po\u00e9sie lyrique grecque, un genre inexistant?&#8217;\u00a0<i>Litt\u00e9rature<\/i>\u00a011: 87-110. English translation in preparation for I. Rutherford (ed.)\u00a0<i>Oxford Readings in Greek Lyric<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (2002)\u00a0<i>L&#8217;\u00c9ros dans la Gr\u00e8ce antique<\/i>. Paris (2nd edn.). English translation (1999)\u00a0<i>The Poetics of Eros in Ancient Greece<\/i>. Princeton.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (2006) &#8216;Identifications g\u00e9n\u00e9riques entre marques discursives et pratiques \u00e9nonciatives: pragmatique des genres \u201clyriques\u201c&#8217; in\u00a0<i>Le savoir des genres<\/i>, eds. R. Baroni and M. Mac\u00e9. Rennes: 35-55.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (2007) &#8216;Mythos, musische Leistung und Ritual am Beispiel der melischen Dichtung&#8217; in\u00a0<i>Literatur und Religion. Wege zu einer mythisch\u2013rituellen Poetik bei den Griechen<\/i>, eds. Anton Bierl, R. L\u00e4mmle and K. Wesselmann, vol. 1.\u00a0<i>MythosEikonPoiesis<\/i>\u00a0Bd. 1.1\u20132. Berlin and New York: 179-210. Reviewed by Reyes Bertol\u00edn Cebri\u00e1n\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-08-09.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.08.09<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (2009) \u2018Apollo in Delphi and in Delos: Poetic Performances between Paean and Dithyramb\u2019 in\u00a0<i>Apolline Politics and Poetics<\/i>, L. Athanassaki, R.P. Martin, and J.F. Miller (eds.), Athens: 169-98.<\/li>\n<\/ul>\n<ul>\n<li>Campbell, David A. (1991)\u00a0<i>Greek Lyric III: Stesichorus, Ibycus, Simonides, and Others.<\/i>\u00a0Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Campbell, David A. (1992)\u00a0<i>Greek Lyric IV: Bacchylides, Corinna, and Others.<\/i>\u00a0Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Campbell, David A. (1993)\u00a0<i>Greek Lyric V: The New School of Poetry and Anonymous Songs and Hymns.<\/i>\u00a0Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Carey, Christopher (2000) \u2018The panegyrist\u2019s persona\u2019 in\u00a0<i>Religione e poesia in Grecia: miscellanea G.A. Privitera<\/i>, eds. U. Pizzani and M. Cannat\u00e0 Fera. Bari: 165-177.<\/li>\n<\/ul>\n<ul>\n<li>Carey, Christopher (2001) \u2018Poesia pubblica in performance\u2019 in\u00a0<i>I lirici greci<\/i>, ed. M. Cannat\u00e0 Fera. Messina: 11-26.<\/li>\n<\/ul>\n<ul>\n<li>Cassio, A. C.(2005) \u2018I dialetti eolici e la lingua della lirica corale\u2019, in\u00a0<i>Dialetti e lingue letterarie nella Grecia arcaica<\/i>, ed. F. Bertolini and F. Gasti. Pavia: 13\u201344.<\/li>\n<\/ul>\n<ul>\n<li>Cingano, E. (2003) \u2018Entre skolion et enkomion: R\u00e9flexions sur le \u201cgenre\u201d et la performance de la lyrique chorale grecque\u2019, in\u00a0<i>La po\u00e9sie grecque antique<\/i>, ed. J. Jouanna and J. Leclant. (Cahiers de la Villa \u2018Kerylos\u2019, 14). Paris: 17\u201345.<\/li>\n<\/ul>\n<ul>\n<li>Contiades-Tsitsoni, E. (1990)\u00a0<i>Hymenaios und Epithalamion. Das Hochzeitslied in der fr\u00fchgriechischen Lyrik<\/i>, Stuttgart.\u00a0<i>Betr\u00e4ge zur Altertumskunde<\/i>\u00a016.<\/li>\n<\/ul>\n<ul>\n<li>D&#8217;Angour, Armand (1997) &#8216;How the Dithyramb Got Its Shape&#8217;,\u00a0<i>Classical Quarterly<\/i>\u00a047.2: 331-351.<\/li>\n<\/ul>\n<ul>\n<li>D&#8217;Angour, Armand (2007) &#8216;The Sound of Music: modulations and innovations in drama and dithyramb&#8217; in\u00a0<i>Debating the Athenian Cultural Revolution<\/i>, ed. R. Osborne Cambridge: 288-300.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, Giam B. (2009) \u2018Defining local identities in Greek lyric poetry\u2019, in\u00a0<i>Wandering Poets in Ancient Greek Culture: Travel, Locality and Panhellenism<\/i>, ed. R. Hunter and I. Rutherford. Cambridge: 137\u201367.<\/li>\n<\/ul>\n<ul>\n<li>Danielewicz, J. (1990) &#8216;Deixis in Greek Choral Lyrik&#8217;,\u00a0<i>QUCC<\/i>\u00a063: 7-17.<\/li>\n<\/ul>\n<ul>\n<li>Danielewicz, J. (1990) &#8216;Towards an Understanding of the Chorus: Homer on Early Forms of Lyric Poetry&#8217;,\u00a0<i>Eos<\/i>\u00a078: 55-62.<\/li>\n<\/ul>\n<ul>\n<li>Danielewicz, J. (2001) \u2018Metatext and its functions in Greek lyric poetry\u2019, in\u00a0<i>Texts, Ideas, and the Classics: Scholarship, Theory, and Classical Literature<\/i>, ed. S. Harrison. Oxford: 46\u201361.<\/li>\n<\/ul>\n<ul>\n<li>Davies, M. (1988) &#8216;Monody, Choral Lyric, and the Tyranny of the Handbook&#8217;,\u00a0<i>CQ n.s.<\/i>\u00a038: 52-64.<\/li>\n<\/ul>\n<ul>\n<li>Davies, M. (1991)\u00a0<i>Poetarum Melicorum Graecorum Fragmenta<\/i>. Vol. 1: Alcman, Stesichorus, Ibicus. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Depew, M. (2000) \u2018Enacted and represented dedications: genre and Greek hymn\u2019, in\u00a0<i>Matrices of Genre: Authors, Canons and Society<\/i>, ed. M. Depew and D. Obbink. Cambridge, Mass. and London: 59\u201379.<\/li>\n<\/ul>\n<ul>\n<li>Fearn, D. (ed.) (2010)\u00a0<i>Aegina: Contexts for Choral Lyric Poetry<\/i>. Oxford.\u00a0<a class=\"external text\" href=\"http:\/\/www.amazon.com\/gp\/reader\/0199546517\/ref=sib_dp_bod_toc?ie=UTF8&amp;p=S008#reader-link\" rel=\"nofollow\">Table of Contents<\/a><\/li>\n<\/ul>\n<ul>\n<li>Felson, N. (ed.) (2004) \u2018The poetics of deixis in Alcman, Pindar and other lyric\u2019,\u00a0<i>Arethusa<\/i>\u00a037.3: 253\u2013468.<\/li>\n<\/ul>\n<ul>\n<li>Ford, Andrew L. (2006) &#8216;The Genre of Genres: Paeans and Paian in Early Greek Poetry&#8217;,\u00a0<i>Poetica<\/i>\u00a038.3-4: 277-296. It reviews the many attempts to define paeans (esp. by K\u00e4ppel and Schroeder) as part of a broader discussion of the usefulness of genre terms in reading early Greek lyric. It reads several of Timotheus&#8217; fragments to argue that predicating the epithet was the core of the &#8220;genre&#8221;.<\/li>\n<\/ul>\n<ul>\n<li>Fowler, R.L. (1987)\u00a0<i>The Nature of Early Greek Lyric: Three Preliminary Studies<\/i>. Toronto.<\/li>\n<\/ul>\n<ul>\n<li>Fr\u00f6hder, D. (1994)\u00a0<i>Die dichterische Form der Homerischen Hymnen: untersucht am Typus der mittelgrossen Preislieder<\/i>. Hildesheim.\u00a0<i>Spudasmata<\/i>\u00a053.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. (1984)\u00a0<i>Poesia e pubblico nella Grecia antica da Omero al V secolo<\/i>. Roma-Bari. Revised and updated version translated, with an introduction, by Cole, A.T. (1988)\u00a0<i>Poetry and Its Public in Ancient Greece from Homer to the Fifth Century<\/i>. Baltimore.<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (1997)\u00a0<i>A Companion to the Greek Lyric Poets<\/i>. Leiden-New York-London-K\u00f6ln.<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (2012) &#8216;Aspects of women in Greek lyric poetry&#8217;, in:\u00a0<i>Hyperboreans. Essays in Greek and Latin Poetry, Philosophy, Rhetoric and Linguistics<\/i>. P. Corr\u00eaa, M. Martinho, J.M. Macedo, A.P. Hasegawa eds. Sao Paulo: 11-24.<\/li>\n<\/ul>\n<ul>\n<li>Greene, R. (1999) \u2018The lyric\u2019, in\u00a0<i>The Cambridge History of Literary Criticism, vol. III: The Renaissance<\/i>, ed. G. P. Norton. Cambridge: 216\u201328.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, Ana M. (2005) \u2018El canto coral \u2018fundador\u2019 de una po\u00e9tica que vincula fiesta y memoria\u2019, in\u00a0<i>Memoria e Festa<\/i>, eds. de Souza Lessa, F. and da Cunha Bustamante, M. R. Rio de Janeiro: 165-172.<\/li>\n<\/ul>\n<ul>\n<li>Harvey, A.E. (1955) &#8216;The Classification of Greek Lyric Poetry&#8217;,\u00a0<i>CQ n.s.<\/i>\u00a05: 157-175.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek Lyric Poetry: A Commentary on Selected Larger Pieces<\/i>. Oxford.\n<ul>\n<li>Contains new texts of, and detailed commentaries on, Alcman 1 and 3 Davies, Stesichorus 222 (b) Davies, Sappho 1, 16, 31, 96 Voigt, Alcaeus 129, 130b, 298 Voigt, Ibycus S151 Davies, Anacreon 347 fr. 1, 358, 417 Page, Simonides 542, 543 Page, Bacchylides 3, Pindar\u00a0<i>Olympian<\/i>\u00a06, Sophocles\u00a0<i>Ajax<\/i>\u00a01185-1222, Euripides\u00a0<i>Medea<\/i>\u00a0627-662; introductions on individual poets and on tragic lyric.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Ingalls, Wayne (2000) \u2018Ritual Performance as Training for Daughters in Archaic Greece\u2019,\u00a0<i>Phoenix<\/i>\u00a054: 1-20.<\/li>\n<\/ul>\n<ul>\n<li>K\u00e4ppel, L. (1992)\u00a0<i>Paian. Studien zur Geschichte einer Gattung<\/i>. Berlin.\u00a0<i>Untersuchungen zur antiken Literatur und Geschichte<\/i>\u00a037.<\/li>\n<\/ul>\n<ul>\n<li>Klug, W. (1954)\u00a0<i>Untersuchungen zum Gebet in der fr\u00fchgriechischen Lyrik<\/i>. Dissertation. Hamburg.<\/li>\n<\/ul>\n<ul>\n<li>Kowalzig, Barbara (2007)\u00a0<i>Singing for the Gods. Performances of Myth and Ritual in Archaic and Classical Greece<\/i>. Oxford Classical Monographs. Oxford: Oxford University Press. Reviewed by Seaford, Richard (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-09-25.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.09.25<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Lambin, G. (1992)\u00a0<i>La chanson grecque dans l&#8217;antiquit\u00e9<\/i>. Paris.<\/li>\n<\/ul>\n<ul>\n<li>Lattke, M. (1991)\u00a0<i>Hymnus: Materialien zu einer Geschichte der antiken Hymnologie<\/i>. Fribourg.\u00a0<i>Novum Testamentum et orbis antiquus<\/i>\u00a019.<\/li>\n<\/ul>\n<ul>\n<li>* LeVen, Pauline (2013)'&#8221;You Make Less Sense Than a (New) Dithyramb.&#8221; Sociology of a Riddling Style&#8217; in:\u00a0<i>The Muse at Play. Riddles and Wordplay in Greek and Latin Poetry<\/i>, ed. J. Kwapisz, D. Petrain &amp; M. Szymanski. Berlin: 44-64.<\/li>\n<\/ul>\n<ul>\n<li>Ley, G. (1993) &#8216;Monody, Choral Song, and Athenian Festival Performance&#8217;,\u00a0<i>Maia<\/i>\u00a045: 105-124.<\/li>\n<\/ul>\n<ul>\n<li>Lyghounis, Maria Gilda (1991) &#8216;Elementi tradizionali nella poesia nuziale greca&#8217;,\u00a0<i>Materiall e discussioni per I&#8217;analisi dei testi classici<\/i>\u00a027: 159-98.<\/li>\n<\/ul>\n<ul>\n<li>MacDowell, D.M. (1989) &#8216;Athenian Laws abouth Choruses&#8217; in\u00a0<i>Symposion 1982: Vortr\u00e4ge zur griechischen und hellenistischen Rechtsgeschichte (Santander 1.-4. September)<\/i>, ed. F.J. Fern\u00e1ndez Nieto. K\u00f6ln: 65-77.<\/li>\n<\/ul>\n<ul>\n<li>Mace, S. (1993) \u2018Amour, encore! The development of \u03b4\u03b7\u1f56\u03c4\u03b5 in archaic lyric\u2019,\u00a0<i>GRBS<\/i>\u00a034:335\u201364.<\/li>\n<\/ul>\n<ul>\n<li>Martin, R. P. (2001) \u2018Just like a woman: enigmas of the lyric voice\u2019, in\u00a0<i>Making Silence Speak: Women\u2019s Voices in Greek Literature and Society<\/i>, ed. A. Lardinois and L. McClure. Princeton, N.J.: 55\u201374.<\/li>\n<\/ul>\n<ul>\n<li>Martin, Richard (2007) &#8216;Outer Limits, Choral Space&#8217; in\u00a0<i>Visualizing the Tragic<\/i>, eds. C. Kraus, S. Goldhill, H. Foley and J. Elsner. Festschrift for F. Zeitlin. New York, Oxford: 35-62.<\/li>\n<\/ul>\n<ul>\n<li>Miller, P. A. (1994)\u00a0<i>Lyric Texts and Lyric Consciousness: The Birth of a Genre from Archaic Greece to Augustean Rome<\/i>. London.<\/li>\n<\/ul>\n<ul>\n<li>Mullen, W. (1982)\u00a0<i>Choreia: Pindar and Dance<\/i>. Princeton.<\/li>\n<\/ul>\n<ul>\n<li>Naerebout, F.G. (1997)\u00a0<i>Attractive Performances. Ancient Greek Dance: Three Preliminary Studies<\/i>. Amsterdam.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (1990)\u00a0<i>Pindar&#8217;s Homer. The Lyric Possession of an Epic Past<\/i>. Baltimore and London.\u00a0<a class=\"external text\" href=\"http:\/\/www.press.jhu.edu\/books\/nagy\/PH.html\" rel=\"nofollow\">Free-to-view online edition<\/a>.\u00a0<a class=\"external text\" href=\"http:\/\/www.intute.ac.uk\/artsandhumanities\/cgi-bin\/fullrecord.pl?handle=humbul15952\" rel=\"nofollow\">More information<\/a>\u00a0is available at\u00a0<a class=\"external text\" href=\"http:\/\/www.intute.ac.uk\/\" rel=\"nofollow\">Intute<\/a>, catalogued by Emma Bridges.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (1994\/5) &#8216;Transformations of Choral Lyric Traditions in the Context of Athenian State Theater&#8217;,\u00a0<i>Arion<\/i>\u00a03.1: 41-55.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (2008) &#8216;Lyric and Greek Myth&#8217; in\u00a0<i>The Cambridge Companion to Greek Mythology<\/i>, ed. Roger D. Woodard. Cambridge: Cambridge University Press: 19-51. With emphasis on the Lesbian poets Sappho and Alcaeus. Reviewed by K\u00fchr, Angela\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-08-10.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.08.10<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Neri, Camillo (2004)\u00a0<i>La lirica greca. Temi e testi<\/i>. Roma.<\/li>\n<\/ul>\n<ul>\n<li>Neumann-Hartmann, Arlette (2008) &#8216;Prosopographie zu den Epinikien von Pindar und Bakchylides&#8217;,\u00a0<i>Nikephoros<\/i>\u00a021: 81\u2013131.<\/li>\n<\/ul>\n<ul>\n<li>Neumann-Hartmann, Arlette (2009) &#8216;Epinikien und ihr Auff\u00fchrungsrahmen&#8217;.\u00a0<i>Nikephoros<\/i>\u00a0Beihefte Bd. 17. Hildesheim.<\/li>\n<\/ul>\n<ul>\n<li>Neumann-Hartmann, Arlette (2009) &#8216;The Dedication of Victory Crowns and the Performance of Epinikian Odes&#8217;.\u00a0<i>BICS<\/i>\u00a052: 1\u201313.<\/li>\n<\/ul>\n<ul>\n<li>Neumann-Hartmann, Arlette (2010) &#8216;Pindar und Bakchylides (1988\u20132007)&#8217;.\u00a0<i>Lustrum: Internationale Forschungsberichte aus dem Bereich des klassischen Altertums<\/i>\u00a052: 181\u2013463.<\/li>\n<\/ul>\n<ul>\n<li>Nicholson, N. (1999-2000) &#8216;Pederastic poets and adult patrons: maintaining authority in late archaic lyric&#8217;,\u00a0<i>CW<\/i>\u00a093: 235-259.<\/li>\n<\/ul>\n<ul>\n<li>Noussia-Fantuzzi, M. (2015), &#8216;The Epic Cycle, Stesichorus, and Ibycus&#8217;, in\u00a0<i>The Greek Epic Cycle and its Ancient Reception. A Companion<\/i>, ed. M. Fantuzzi &amp; C. Tsagalis. Cambridge: 430-449.<\/li>\n<\/ul>\n<ul>\n<li>Peponi, Anastasia-Erasmia (1991) &#8216;Flexible Lyric, Inflexible Theory: around W.R. Johnson\u2019s\u00a0<i>The Idea of Lyric: Lyric Modes in Ancient and Modern Poetry<\/i>\u00a0&#8216;. Berkeley 1982. in\u00a0<i>Logou Charin<\/i>\u00a02: 167-182. (in Greek)<\/li>\n<\/ul>\n<ul>\n<li>Peponi, Anastasia-Erasmia (1993)\u00a0<i>Representation of Space and Time in Early Archaic Lyric Poetry<\/i>. PhD dissertation Thessaloniki.<\/li>\n<\/ul>\n<ul>\n<li>Peponi, Anastasia-Erasmia (1995) &#8216;Teaching Lyric Poetry in High Schools by means of Modern Greek Translations&#8217;\u00a0<i>Thallo<\/i>\u00a07: 103-112. (in Greek)<\/li>\n<\/ul>\n<ul>\n<li>Peponi, Anastasia-Erasmia (2002) &#8216;Mixed Pleasures, Blended Discourses: Poetry, Medicine and the Body in Plato\u2019s\u00a0<i>Philebus<\/i>\u00a046-47c&#8217;,\u00a0<i>Classical Antiquity<\/i>\u00a021: 135-160. (reception of archaic lyric poetry in Plato)<\/li>\n<\/ul>\n<ul>\n<li>Peponi, Anastasia-Erasmia (2002) &#8216;Fantasizing Lyric: Horace, Epistles 1.19&#8217; in\u00a0<i>Horace and Greek Lyric Poetry<\/i>, ed. M. Paschalis. Rethymnon: 19-45. (reception of archaic lyric poetry in Horace)<\/li>\n<\/ul>\n<ul>\n<li>Peponi, Anastasia-Erasmia (2009) &#8216;\u00a0<i>Choreia<\/i>\u00a0and Aesthetics in the\u00a0<i>Homeric Hymn to Apollo<\/i>: The Performance of the Delian Maidens (Lines 156\u201364)&#8217;,\u00a0<i>Classical Antiquity<\/i>\u00a028.1: 39\u201370.<\/li>\n<\/ul>\n<ul>\n<li>Psaroudak\u0113s, Stelios (2006) &#8216;A lyre from the cemetery of the Acharnian Gate, Athens&#8217; in\u00a0<i>Studien zur Musikarch\u00e4ologie V. Music Archaeology in context. Archaeological semantics, historical implications, socio-cultural connotations. Papers from the 4th Symposium of the International Study Group on Music Archaeology at Monastery Michaelstein, 19-26 September, 2004. Orient-Arch\u00e4ologie 20<\/i>, eds. Ellen Hickmann &amp; Arnd Adje Both &amp; Ricardo Eichmann. Rahden, Westf.: 59-79.<\/li>\n<\/ul>\n<ul>\n<li>\u03a8\u03b1\u03c1\u03bf\u03c5\u03b4\u03ac\u03ba\u03b7\u03c2, \u03a3\u03c4\u03ad\u03bb\u03b9\u03bf\u03c2 (2007) \u00ab\u0397 \u03bb\u03cd\u03c1\u03b1 \u03c3\u03c4\u03bf\u03bd \u03b5\u03bb\u03bb\u03b1\u03b4\u03b9\u03ba\u03cc \u03c7\u03ce\u03c1\u03bf \u03c3\u03c4\u03b9\u03c2 \u03b5\u03c0\u03bf\u03c7\u03ad\u03c2 \u03c4\u03bf\u03c5 \u03a7\u03b1\u03bb\u03ba\u03bf\u03cd \u03ba\u03b1\u03b9 \u03c4\u03bf \u03a3\u03b9\u03b4\u03ae\u03c1\u03bf\u03c5\u00bb,\u00a0<i>\u0391\u03c1\u03c7\u03b1\u03b9\u03bf\u03bb\u03bf\u03b3\u03af\u03b1 \u03ba\u03b1\u03b9 \u03a4\u03ad\u03c7\u03bd\u03b5\u03c2<\/i>\u00a090: 59-67. (in modern Greek)<\/li>\n<\/ul>\n<ul>\n<li>Race, W.H. (1992) &#8216;How Greek Poems Begin&#8217;,\u00a0<i>YCS<\/i>\u00a029: 13-38.<\/li>\n<\/ul>\n<ul>\n<li>Ruijgh, C.J. (1980) &#8216;De ontwikkeling van de lyrische kunsttaal, met name van het literaire dialect van de koorlyriek&#8217;,\u00a0<i>Lampas<\/i>\u00a05: 416-435.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1993) &#8216;Paeanic Ambiguity: A Study of the Representation of the Paean in Greek Literature&#8217;,\u00a0<i>QUCC<\/i>\u00a044: 97-92.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1997) &#8216;Odes and Ends: Closure in Greek Lyric Poetry&#8217; in\u00a0<i>Classical Closure. Reading the End in Greek and Latin Literature<\/i>, eds. Roberts, D. and D. Fowler. Princeton [&#8230;].<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (2001)\u00a0<i>Pindar&#8217;s Paeans. A Reading of the Fragments with a Survey of the Genre<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (2003) \u2018The prosodion: approaches to lyric genre\u2019, in\u00a0<i>Studi di filologia e tradizione greca in memoria di Aristide Colonna<\/i>, ed. F. Benedetti and S. Grandolini. Naples and Perugia: 713\u201326.<\/li>\n<\/ul>\n<ul>\n<li>Schmidt, E.G. (1974) &#8216;Zur Interpretation und Rezeption fr\u00fchgriechischer Lyrik&#8217; in\u00a0<i>Die Antike in der sozialistischen Kultur, Internationale Arbeitskonferenz des Instituts f\u00fcr Altertumswissenschaft der Friedrich-Schiller-Universit\u00e4t Jena, 27.-29. Juni 1973<\/i>. Jena: 93-109.<\/li>\n<\/ul>\n<ul>\n<li>Schmitz, H. (1970)\u00a0<i>Hypsos und Bios. Stilistische Untersuchungen zum Alltagsrealismus in der archaischen griechischen Chorlyrik<\/i>. Bern.<\/li>\n<\/ul>\n<ul>\n<li>Schr\u00f6der, S. (1999)\u00a0<i>Geschichte und Theorie der Gattung Paian: Eine kritische Untersuchung mit einem Ausblick auf Behandlung und Auffassung der lyrischen Gattungen bei den alexandrinischen Philologen<\/i>. (Beitr\u00e4ge zur Altertumskunde 121). Stuttgart and Leipzig.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C. (1989) &#8216;Song, Ritual, and Commemoration in Early Greek Poetry and Tragedy&#8217;,\u00a0<i>Oral Tradition<\/i>\u00a04: 330-359.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C. (1998)\u00a0<i>Aglaia. The Poetry of Alcman, Sappho, Pindar, Bacchylides, and Corinna<\/i>. Lanham-Boulder-New York-Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Seidensticker, Bernd (2005) &#8216;Dithyramb, Comedy, and Satyr-Play&#8217; in\u00a0<i>A Companion to Greek Tragedy<\/i>, ed. Justina Gregory. Oxford: Blackwell: 38-54. Reviewed by Wright, Matthew (2006)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2006\/2006-06-39.html\" rel=\"nofollow\"><i>BMCR<\/i>2006.06.39<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (ed.) (1990)\u00a0<i>The poet&#8217;s I in archaic Greek lyric<\/i>. Amsterdam.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1990) &#8216;The I in personal archaic lyric: an introduction&#8217; in\u00a0<i>The poet&#8217;s I in archaic Greek lyric<\/i>, ed. S.R. Slings. Amsterdam: 1-30.<\/li>\n<\/ul>\n<ul>\n<li>Stehle, E. (1997)\u00a0<i>Performance and Gender in Ancient Greece. Nondramatic Poetry in its Setting<\/i>. Princeton.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, Emilio (1998) &#8216;La l\u00edrica griega&#8217; in\u00a0<i>G\u00e9neros literarios po\u00e9ticos grecolatinos<\/i>, eds. D. Estefan\u00eda et al. Madrid\/Santiago de Compostela: 63-106.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, Emilio (2002)\u00a0<i>Antolog\u00eda de la l\u00edrica griega arcaica<\/i>. Madrid.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, Emilio (2005) &#8216;Diversidad de lo popular en la poes\u00eda griega arcaica&#8217;,\u00a0<i>Classica<\/i>\u00a017\/18: 73-99.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, Emilio (2007) &#8216;Helena, de la \u00e9pica a la l\u00edrica griega arcaica (Safo, Alceo, Estes\u00edcoro)&#8217; in AA.VV.,\u00a0<i>O mito de Helena de Tr\u00f3ia \u00e0 actualidade<\/i>. Coimbra. vol. I: 55-79.<\/li>\n<\/ul>\n<ul>\n<li>Tr\u00fcmpy, C. (1986)\u00a0<i>Vergleich des Mykenischen mit der Sprache der Chorlyrik. Bewahrt die Chorlyrik eine von Homer unabh\u00e4ngige alte Sprachtradition?<\/i>. Bern.<\/li>\n<\/ul>\n<ul>\n<li>Webster, T.B.L. (1970)\u00a0<i>The Greek Chorus<\/i>. London.<\/li>\n<\/ul>\n<ul>\n<li>West, M.L. (1992)\u00a0<i>Ancient Greek Music<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, Lyn Hatherly (1996)\u00a0<i>Sappho&#8217;s Sweetbitter Songs: Configurations of female and male in ancient Greek Lyric<\/i>. London and New York.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, Peter J. (1999) &#8216;The\u00a0<i>aulos<\/i>\u00a0in Athens&#8217;, in\u00a0<i>Performance Culture and Athenian Democracy<\/i>, eds. S. Goldhill and R. Osborne. Cambridge: 58-95.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, Peter J. (2000)\u00a0<i>The Athenian institution of the Khoregia: the chorus, the city and the stage<\/i>. Cambridge and New York.\n<ul>\n<li>Reviews: Josiah Ober (2000)\u00a0<i>BMCR<\/i>\u00a010. Stuart Douglas Olson (2000-2001)\u00a0<i>CW<\/i>\u00a094.4: 418-419. Geert Roskam (2001)\u00a0<i>LEC<\/i>\u00a069.3: 341-342. Jean-Charles Moretti (2001)\u00a0<i>REA<\/i>\u00a0103.3-4: 585-586. Herman Van Looy (2001)\u00a0<i>AC<\/i>\u00a070: 447-448. Nicoletta Marini (2002)\u00a0<i>Athenaeum<\/i>\u00a090.2: 662-664. Stephen D. Lambert (2002)\u00a0<i>JHS<\/i>\u00a0122: 178-179. Eric Csapo (2002)\u00a0<i>Phoenix<\/i>\u00a056.1-2: 150-153.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. and P. Roilos (2003)\u00a0<i>Towards a Ritual Poetics<\/i>. Athens.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. and P. Roilos (2005)\u00a0<i>Pros mia Teletourgike Poietike<\/i>. Preface Marcel Detienne. Athens.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2009) &#8216;Symposia, Noses, \u03a0\u03c1\u03cc\u03c3\u03c9\u03c0\u03b1: A Kylix in the Company of Banqueters on the Ground&#8217;, in\u00a0<i>An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodologies<\/i>, Yatromanolakis, D. (ed.), Athens: 414-465.<\/li>\n<\/ul>\n<ul>\n<li>Zimmermann, B. (1992)\u00a0<i>Dithyrambos: Geschichte einer Gattung<\/i>. G\u00f6ttingen.<\/li>\n<\/ul>\n<h3><span id=\"Sappho_and_Alcaeus\" class=\"mw-headline\">Sappho and Alcaeus<\/span><\/h3>\n<ul>\n<li>Aloni, A. (1983) \u2018Eteria e tiaso: I gruppo aristocratici di Lesbo tra economia e ideologia\u2019,\u00a0<i>Dialoghi di Archeologia<\/i>\u00a0ser. 3, n. 1: 21-35 (=\u00a0<i>id<\/i>., \u2018Lotta politica e pratica religiosa nella Lesbo di Saffo e Alceo\u2019,\u00a0<i>Atti del Centro ricerche e documentazione sull&#8217;antichitt\u00e0 classica<\/i>\u00a011 (1980\/81): 213-32)<\/li>\n<li><span lang=\"de\"><span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. \u201c<\/span><span lang=\"en-US\">Visualizing the\u00a0<\/span><span lang=\"de\">Cologne<\/span><span lang=\"en-US\">\u00a0Sappho:\u00a0<\/span><span lang=\"de\">Mental Imagery Through Chorality, the Sun, and Orpheus\u201d, in: V. Cazzato, A. Lardinois (ed.),<i>\u00a0The Look of Lyric: Greek Song and the Visual<\/i>. Studies in Archaic and Classical Greek Song, Vol. 1, Leiden: Brill 2016, 307\u2013342; open access:\u00a0<a href=\"https:\/\/nam02.safelinks.protection.outlook.com\/?url=http%3A%2F%2Fwww.brill.com%2Fproducts%2Fbook%2Flook-lyric-greek-song-and-visual&amp;data=02%7C01%7Ctcpower%40classics.rutgers.edu%7Cc3e77b4bc76a4109824108d791549acd%7Cb92d2b234d35447093ff69aca6632ffe%7C1%7C1%7C637137664901789935&amp;sdata=y9vH%2BzUIoWzktwX%2BCX%2FmxtO9tXUIE8ZX67dbfKOi%2Brk%3D&amp;reserved=0\" rel=\"noopener noreferrer\" data-auth=\"Verified\" data-linkindex=\"0\">http:\/\/www.brill.com\/products\/book\/look-lyric-greek-song-and-visual<\/a><\/span><\/li>\n<li><span lang=\"en-US\"><span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. \u201c<\/span><span lang=\"en-US\">\u2018<\/span><span lang=\"en-US\">All you Need is Love<\/span><span lang=\"en-US\">\u2019<\/span><span lang=\"en-US\">: Some Thoughts on the Structure, Texture, and Meaning of the Brothers Song as well as on Its Relation to the Kypris Song (P. Sapph. Obbink)<\/span><span lang=\"en-US\">\u201d<\/span><span lang=\"en-US\">, in: A.\u00a0<span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. Lardinois (Hrsg.),\u00a0<\/span><i><span lang=\"de\">The Newest Sappho (<\/span><\/i><i><span lang=\"de\">P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4)<\/span><\/i><span lang=\"de\">, Leiden: Brill 2016,\u00a0<\/span><span lang=\"en-US\">302\u2013336; open access:\u00a0<a href=\"https:\/\/nam02.safelinks.protection.outlook.com\/?url=http%3A%2F%2Fbooksandjournals.brillonline.com%2Fcontent%2Fbooks%2F9789004314832&amp;data=02%7C01%7Ctcpower%40classics.rutgers.edu%7Cc3e77b4bc76a4109824108d791549acd%7Cb92d2b234d35447093ff69aca6632ffe%7C1%7C1%7C637137664901799929&amp;sdata=PDH0FP9JCMhJ49q61gMCDEwwTc23IjGM0cuciEMYBvo%3D&amp;reserved=0\" rel=\"noopener noreferrer\" data-auth=\"Verified\" data-linkindex=\"1\">http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832<\/a><\/span><\/li>\n<li><span lang=\"en-US\"><span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. \u201c<\/span><span lang=\"en-US\">Sappho as Aphrodite<\/span><span lang=\"en-US\">\u2019<\/span><span lang=\"en-US\">s Singer, Poet, and Hero(ine): The Reconstruction of Context and Sense of the Kypris Song<\/span><span lang=\"en-US\">\u201d<\/span><span lang=\"en-US\">, in: A.\u00a0<span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. Lardinois (ed.),\u00a0<\/span><i><span lang=\"de\">The Newest Sappho (<\/span><\/i><i><span lang=\"de\">P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4)<\/span><\/i><span lang=\"de\">, Leiden: Brill 2016,\u00a0<\/span><span lang=\"en-US\">339\u2013352; open access online:\u00a0<\/span><span lang=\"de\"><a href=\"https:\/\/nam02.safelinks.protection.outlook.com\/?url=http%3A%2F%2Fbooksandjournals.brillonline.com%2Fcontent%2Fbooks%2F9789004314832&amp;data=02%7C01%7Ctcpower%40classics.rutgers.edu%7Cc3e77b4bc76a4109824108d791549acd%7Cb92d2b234d35447093ff69aca6632ffe%7C1%7C1%7C637137664901799929&amp;sdata=PDH0FP9JCMhJ49q61gMCDEwwTc23IjGM0cuciEMYBvo%3D&amp;reserved=0\" rel=\"noopener noreferrer\" data-auth=\"Verified\" data-linkindex=\"2\"><span lang=\"en-US\">http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832<\/span><\/a><\/span><\/li>\n<li><span lang=\"de\"><span lang=\"en-US\"><span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. <\/span>\u201c<i>Symmachos esso<\/i>: Theatrical Role-Playing and Mimesis in Sappho fr. 1 V.\u201d, in: S. Bigliazzi, F. Lupi,\u00a0G. Ugolini (ed.),\u00a0<i>\u03a3\u03c5\u03bd\u03b1\u03b3\u03c9\u03bd\u03af\u03b6\u03b5\u03c3\u03b8\u03b1\u03b9. Essays in Honour of Guido Avezz\u00f9\u00a0<\/i>(Sken\u00e8 Studies I &#8211; 1), Verona: Sken\u00e8 2018: 925\u2013951.<\/span><\/li>\n<li><span lang=\"de\"><span lang=\"en-US\"><span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl<\/span>, A. <\/span>\u201cGriechische Literatur \u2013 ein Musterfall von \u2018Literatur und Religion\u2019 (mit einer Interpretation von Sapphos Fragment 2 Voigt\u201d, in:\u00a0W.\u00a0Braungart, J. Jacob, J.-H. T\u00fcck (Hrsg.),\u00a0<i>Literatur \/ Religion.\u00a0<\/i><i>Bilanz und Perspektiven eines interdisziplin\u00e4ren Forschungsgebietes<\/i>, Stuttgart 2019, 29\u201356.<\/span><\/li>\n<li><span lang=\"de\"><span lang=\"en-US\"><span class=\"marktr27e71ig\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Bierl, A.<\/span>\u00a0and A. Lardinois,\u00a0<\/span><\/span><span lang=\"de\">(ed..)<\/span><span lang=\"de\">,<\/span><span lang=\"de\">\u00a0<i>The Newest Sappho (<\/i><\/span><i><span lang=\"de\">P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4)<\/span><\/i><span lang=\"de\">, Leiden: Brill 2016 (xv, 543 Seiten) und\u00a0<\/span><span lang=\"en-US\">open access online:\u00a0<a href=\"https:\/\/nam02.safelinks.protection.outlook.com\/?url=http%3A%2F%2Fbooksandjournals.brillonline.com%2Fcontent%2Fbooks%2F9789004314832&amp;data=02%7C01%7Ctcpower%40classics.rutgers.edu%7Cc3e77b4bc76a4109824108d791549acd%7Cb92d2b234d35447093ff69aca6632ffe%7C1%7C1%7C637137664901819916&amp;sdata=W5TU1Y8bGVTuU60WakqbkNPnEXzFc8JXtJyIiGGwhDI%3D&amp;reserved=0\" rel=\"noopener noreferrer\" data-auth=\"Verified\" data-linkindex=\"5\">http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832<\/a>.<\/span><\/li>\n<\/ul>\n<ul>\n<li>Broger, A. (1996)\u00a0<i>Das Epitheton bei Sappho und Alkaios. Eine sprachwissenschaftliche Untersuchung<\/i>. Innsbruck. Review by Slings, S.R. (1999)\u00a0<i>Mnemosyne<\/i>\u00a052: 481-484.<\/li>\n<\/ul>\n<ul>\n<li>Caciagli, Stefano (2007)\u00a0<i>Poesia e societ\u00e0: comunicazione poetica e formazioni sociali nella Lesbo del VII\/VI secolo a.C.<\/i>. Ph.D. dissertation, University of Bologna.\u00a0<a class=\"external text\" href=\"http:\/\/amsdottorato.cib.unibo.it\/188\/\" rel=\"nofollow\">PDF (in the not revised version)<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Caciagli, Stefano (2010) &#8216;Il temenos di Messon: uno stesso contesto per Saffo e Alceo&#8217;,\u00a0<i>LEXIS<\/i>\u00a028: 227-256.\\<\/li>\n<\/ul>\n<ul>\n<li>Caciagli, Stefano (2011) &#8216;Poeti e Societ\u00e0. Comunicazione poetica e formazioni sociali nella Lesbo del VII\/VI secolo a.C.&#8217; (with a preface of Claude Calame),\u00a0<i>LXIV Supplement of \u00abLEXIS\u00bb<\/i>\u00a0(Hakkert, Amsterdam.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, Gregory (2007) &#8216;Did Sappho and Alcaeus Ever Meet? Symmetries of Myth and Ritual in Performing the Songs of Ancient Lesbos&#8217; in\u00a0<i>Literatur und Religion. Wege zu einer mythisch\u2013rituellen Poetik bei den Griechen<\/i>, eds. Anton Bierl, R. L\u00e4mmle and K. Wesselmann, vol. 1.\u00a0<i>MythosEikonPoiesis<\/i>\u00a0Bd. 1.1\u20132. Berlin and New York: ibid. 211-269. Reviewed by Reyes Bertol\u00edn Cebri\u00e1n\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-08-09.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.08.09<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, Emilio (2007) &#8216;Helena, de la \u00e9pica a la l\u00edrica griega arcaica (Safo, Alceo, Estes\u00edcoro)&#8217; in AA.VV.,\u00a0<i>O mito de Helena de Tr\u00f3ia \u00e0 actualidade<\/i>. Coimbra. vol. I: 55-79.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2009) &#8216;Alcaeus and Sappho&#8217;, in\u00a0<i>The Cambridge Companion to Greek Lyric<\/i>, Budelmann, Felix (ed.). Cambridge: 204-26.<\/li>\n<\/ul>\n<h3><span id=\"Sappho\" class=\"mw-headline\">Sappho<\/span><\/h3>\n<p>Cf. the\u00a0<a class=\"external text\" href=\"http:\/\/sites.google.com\/site\/hellenisticbibliography\/pre-hellenistic\/sappho\" rel=\"nofollow\">bibliography on Sappho<\/a>\u00a0made by Martine Cuypers that forms part of a\u00a0<a class=\"external text\" href=\"http:\/\/sites.google.com\/site\/hellenisticbibliography\/\" rel=\"nofollow\">Hellenistic Bibliography<\/a>.<\/p>\n<ul>\n<li>Aloni, A. (1997)\u00a0<i>Saffo: Frammenti<\/i>. Florence.<\/li>\n<\/ul>\n<ul>\n<li>Aloni, A. (2001) \u2018What is that man doing in Sappho, fr. 31 V.?\u2019, in\u00a0<i>Iambic Ideas: Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire<\/i>, eds. A. Cavarzere et al. Lanham, Md., and Oxford: 29-40.<\/li>\n<\/ul>\n<ul>\n<li>Bernsdorff, Hans (2004) &#8216;Schwermut des Alters im neuen K\u00f6lner Sappho-Papyrus&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a0150: 27-35.<\/li>\n<\/ul>\n<ul>\n<li>Bernsdorff, Hans (2005) &#8216;Offene Gedichtschl\u00fcsse&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a0153: 1-6.<\/li>\n<\/ul>\n<ul>\n<li>Bessone, F. (2003) \u2018Saffo, la lirica, l&#8217;elegia. Su Ovidio, \u2018Heroides\u2019 15\u2019,\u00a0<i>MD<\/i>\u00a051: 209-243.<\/li>\n<\/ul>\n<ul>\n<li>Bessone, F. (2003) Conversione poetica e riconversione letteraria: l\u2019epistola di Saffo nelle Heroides, in\u00a0<i>Incontri triestini di filologia classica<\/i>, vol. 2: Incontri 2002-2003, eds. L. Cristante e A. Tessier.\u00a0<i>Polymnia<\/i>\u00a04. Trieste: 115-143.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (2004) &#8216; &#8216;Ich aber (sage), das Sch\u00f6nste ist, was einer liebt!&#8217; Eine pragmatische Deutung von Sappho Fr. 16 LP\/V&#8217;,\u00a0<i>Quaderni Urbinati di Cultura Classica<\/i>\u00a0n.s. 74.2 (103): 91\u2013124.\n<ul>\n<li><a class=\"external text\" href=\"http:\/\/chs.harvard.edu\/wa\/pageR?tn=ArticleWrapper&amp;bdc=12&amp;mn=2922\" rel=\"nofollow\">Online edition (2009)<\/a>\u00a0(Published here under a Creative Commons Attribution-Noncommerical-No derivative works License 3.0).<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton. (2009)\u00a0<a class=\"external text\" href=\"http:\/\/chs.harvard.edu\/wa\/pageR?tn=ArticleWrapper&amp;bdc=12&amp;mn=2122\" rel=\"nofollow\"><i>Der neue Sappho-Papyrus aus K\u00f6ln und Sapphos Erneuerung. Virtuelle Choralit\u00e4t, Eros, Tod, Orpheus und Musik<\/i><\/a>\u00a0(Published under a Creative Commons Attribution-Noncommercial-No derivative works License 3.0).<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (2010) \u2018Sappho in Athens. Reperformance and Performative Contextualizations of the New Cologne Papyrus, or Old Age and Rejuvenation through Chorality\u2019, first publication in electronic form on the Athens Dialogues\u2013website online\u00a0<a class=\"external free\" href=\"http:\/\/athensdialogues.chs.harvard.edu\/cgi-bin\/WebObjects\/athensdialogues.woa\/wa\/dist?dis=36\" rel=\"nofollow\">http:\/\/athensdialogues.chs.harvard.edu\/cgi-bin\/WebObjects\/athensdialogues.woa\/wa\/dist?dis=36<\/a>.<\/li>\n<li>Bierl, A. (2016) \u201cVisualizing the Cologne Sappho: Mental Imagery Through Chorality, the Sun, and Orpheus\u201d, in <em>The Look of Lyric: Greek Song and the Visual, <\/em>eds. V. Cazzato, A. Lardinois<em>,<\/em>Leiden: 307\u2013342; open access: <a href=\"http:\/\/www.brill.com\/products\/book\/look-lyric-greek-song-and-visual\">http:\/\/www.brill.com\/products\/book\/look-lyric-greek-song-and-visual<\/a><\/li>\n<li>Bierl, A. and A. Lardinois, (eds.), (2016) <em>The Newest Sappho (P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4)<\/em>, Leiden; open access online: <a href=\"http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832\">http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832<\/a><\/li>\n<li>Bierl, A. (2016) \u201c\u2018All you Need is Love\u2019: Some Thoughts on the Structure, Texture, and Meaning of the Brothers Song as well as on Its Relation to the Kypris Song (P. Sapph. Obbink)\u201d, in <em>The Newest Sappho (P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4)<\/em>, eds. A. Bierl, A. Lardinois, Leiden: 302\u2013336; open access: <a href=\"http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832\">http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832<\/a><\/li>\n<li>Bierl, A. (2016) \u201cSappho as Aphrodite\u2019s Singer, Poet, and Hero(ine): The Reconstruction of Context and Sense of the Kypris Song\u201d, in <em>The Newest Sappho (P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4)<\/em>, eds. A. Bierl, A. Lardinois, Leiden: 339\u2013352; open access online: <a href=\"http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832\">http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832<\/a><\/li>\n<li>Bierl, A. (2016) \u201cIntroduction\u201d, in <em>The Newest Sappho (P. Sapph. Obbink and P. GC inv. 105, Frs. 1-4)<\/em>, eds. A. Bierl, A. Lardinois, Leiden: 1\u20139; open access online: <a href=\"http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832\">http:\/\/booksandjournals.brillonline.com\/content\/books\/9789004314832<\/a><\/li>\n<li>Bierl, A. (2018a) \u201cSymmachos esso: Theatrical Role-Playing and Mimesis in Sappho fr. 1 V.\u201d, in <em>\u03a3\u03c5\u03bd\u03b1\u03b3\u03c9\u03bd\u03af\u03b6\u03b5\u03c3\u03b8\u03b1\u03b9. Essays in Honour of Guido Avezz\u00f9<\/em> (Sken\u00e8 Studies I &#8211; 1), eds. S. Bigliazzi, F. Lupi, G. Ugolini, Verona: 925\u2013951.<\/li>\n<li>Bierl, A. (2018b) <span lang=\"DE\">\u201c<\/span><span lang=\"DE\">Jeffrey M. Duban: The Lesbian lyre. Reclaiming Sappho for the 21st century. Clairview, West Hoathly 2016. XXXVI, 795 p.\u201d, <em>Museum Helveticum<\/em> 75\/2: 226\u2013227.<br \/>\n<\/span><\/li>\n<li>Bierl, A. (2019) \u201cGriechische Literatur \u2013 ein Musterfall von \u2018Literatur und Religion\u2019 (mit einer Interpretation von Sapphos Fragment 2 Voigt\u201d, in <em>Literatur \/ Religion. Bilanz und Perspektiven eines interdisziplin\u00e4ren Forschungsgebietes<\/em>, eds. : W. Braungart, J. Jacob, J.-H. T\u00fcck, Stuttgart: 29\u201356.<\/li>\n<\/ul>\n<ul>\n<li>Bremer, J.M. (1982) &#8216;A reaction to Tsagarakis&#8217; discussion of Sappho fr. 31&#8242;,\u00a0<i>Rheinisches Museum<\/i>\u00a0125: 113-116.<\/li>\n<\/ul>\n<ul>\n<li>Brunet, P. (1998)\u00a0<i>L\u2019Egal des Dieux: Cent versions<\/i>. Paris.<\/li>\n<\/ul>\n<ul>\n<li>Caciagli, S. (2009) &#8216;Sapph. fr. 27 V.: l&#8217;unit\u00e0 del pubblico saffico&#8217;,\u00a0<i>QUCC<\/i>\u00a091: 63-80.<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (1996) &#8216;Sappho&#8217;s Group: An Initiation into womanhood&#8217; in\u00a0<i>Reading Sappho. Contemporary Approaches<\/i>, ed. E. Greene, Berkeley and London: 113-124.<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2005) \u2018Une po\u00e9tique de la m\u00e9moire: Espaces et temps chez Sappho\u2019, in\u00a0<i>Koryphai\u014di \u2018andri: M\u00e9langes offerts \u00e0 Andr\u00e9 Hurst<\/i>, ed. A. Kolde et al. Geneva: 53\u201367.<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2012) &#8216;La memoria poetica nei canti di Saffo: Performance musicale e creazione sociale&#8217; in\u00a0<i>Approaches to Greek Poetry<\/i>\u00a0eds. X. Riu &amp; J. P\u00f2rtulas. Messina: 45-97.<\/li>\n<\/ul>\n<ul>\n<li>Carson, A.(2002)\u00a0<i>If Not, Winter: Fragments of Sappho.<\/i>\u00a0New York.<\/li>\n<\/ul>\n<ul>\n<li>Carvalho, S. (2011)\u00a0<i>Representa\u00e7\u00f5es e hermen\u00eautica do&#8221; Eu&#8221; em Safo: an\u00e1lise de quatro fragmentos<\/i>, Coimbra.<\/li>\n<\/ul>\n<ul>\n<li>Clark, C. (2001) \u2018The body of desire: nonverbal communication in Sappho 31 V\u2019,\u00a0<i>Syllecta Classica<\/i>\u00a012: 1\u201332.<\/li>\n<\/ul>\n<ul>\n<li>Dale, A. (2011). Sapphica. Harvard Studies in Classical Philology, 106, 47-74.<\/li>\n<\/ul>\n<ul>\n<li>D&#8217;Angour, A. (2006) &#8216;Conquering Love: Sappho 31 and Catullus 51&#8217;,\u00a0<i>CQ<\/i>\u00a056: 297-300.<\/li>\n<\/ul>\n<ul>\n<li>DuBois, P. (1995)\u00a0<i>Sappho Is Burning.<\/i>\u00a0Chicago and London.<\/li>\n<\/ul>\n<ul>\n<li>Dosuna, J. M\u00e9ndez (2008) &#8216;Miscellanea: Knees and Fawns in the New Sappho&#8217;,\u00a0<i>Mnemosyne<\/i>\u00a061.1: 108-14.\u00a0<a class=\"external text\" href=\"http:\/\/www.swetswise.com.proxy.ubn.ru.nl:8080\/swetsfo\/swproxy?url=http%3A%2F%2Fopenurl.ingenta.com%2Fcontent%2Fswetsnet-4.1.2dae033a21a66b009d41d8e9ea102dbd%3Fgenre%3Darticle%26issn%3D0026-7074%26volume%3D61%26issue%3D1%26spage%3D108%26epage%3D114%26aulast%3DDosuna&amp;ts=1202555509461&amp;cs=2005023008&amp;userName=9021463.ipdirect&amp;emCondId=2043297&amp;articleID=35750235&amp;yevoID=2197893&amp;titleID=137377&amp;referer=1&amp;remoteAddr=131.174.248.1\" rel=\"nofollow\">PDF<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Ferrari, F. (2003) \u2018Il pubblico di Saffo\u2019,\u00a0<i>SIFC<\/i>\u00a04th series 1: 42\u201389.<\/li>\n<\/ul>\n<ul>\n<li>Ferrari, F. (2010)\u00a0<i>Sappho&#8217;s Gift: The Poet and Her Community<\/i>. Transl. from (2007)\u00a0<i>Una mitra per Kleis: Saffo e il suo pubblico<\/i>. Giardini, Pisa. Benjamin Acosta-Hughes and Lucia Prauscello (tr.), Michigan Classical Press, Ann Arbor.<\/li>\n<\/ul>\n<ul>\n<li>Goldhill, S. (2006) \u2018The touch of Sappho\u2019, in\u00a0<i>Classics and the Uses of Reception<\/i>, ed. C. Martindale and R. F. Thomas. Oxford: 250\u201373.<\/li>\n<\/ul>\n<ul>\n<li>Greene, E. (1994) \u2018Apostrophe and women\u2019s erotics in the poetry of Sappho\u2019,\u00a0<i>TAPhA<\/i>\u00a0124: 41\u201356. (Reprinted in Reading Sappho: Contemporary Approaches, ed.E. Greene. Berkeley and London 1996: 233\u201347.)<\/li>\n<\/ul>\n<ul>\n<li>Greene, E. (ed.) (1996)\u00a0<i>Reading Sappho: Contemporary Approaches<\/i>. Berkeley and London.<\/li>\n<\/ul>\n<ul>\n<li>Greene, E. (ed.) (1996)\u00a0<i>Re-Reading Sappho: Reception and Transmission<\/i>, Berkeley and London.\n<ul>\n<li>Contents: 1. Reflecting Sappho &#8211; Glenn W. Most 2. Sappho&#8217;s afterlife in translation &#8211; Yopie Prins 3. Sappho&#8217;s splintered tongue\u00a0: silence in Sappho 31 and Catullus 51 &#8211; Dolores O&#8217;Higgins 4. Ventriloquizing Sappho, or the lesbian muse &#8211; Elizabeth D. Harvey 5. Sappho in early modern England\u00a0: a study in sexual reputation &#8211; Harriet Andreadis 6. Sex and philology\u00a0: Sappho and the rise of German nationalism &#8211; Joan DeJean 7. Sappho schoolmistress &#8211; Holt N. Parker 8. H.D. and Sappho\u00a0: &#8220;A precious inch of palimpsest&#8221; &#8211; Erika Rohrbach 9. Sapphistries &#8211; Susan Gubar.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Greene, E.(2002) \u2018Subjects, objects, and erotic symmetry in Sappho\u2019s fragments\u2019, in\u00a0<i>Among Women: From the Homosocial to the Homosexual<\/i>, ed. N. Rabinowitz and L. Auanger. Austin: 82\u2013105.<\/li>\n<\/ul>\n<ul>\n<li>Greene, E. (2008) &#8216;Masculine and Feminine, Public and Private, in the Poetry of Sappho&#8217; in\u00a0<i>Dialogism and Lyric Self-fashioning: Bakhtin and the Voices of a Genre<\/i>, ed. Jacob Blevins, Selinsgrove, Pa. Reviewed by Kershner, S.M.\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-06-57.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02009.06.57<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Greene, E. &amp; M. Skinner (eds.) (2009),\u00a0<i>The New Sappho on Old Age<\/i>, Cambridge, MA.\u00a0<a class=\"external text\" href=\"http:\/\/www.let.ru.nl\/greeksong\/images\/c\/c4\/TheNewSappho.pdf\" rel=\"nofollow\">Table of Contents<\/a><\/li>\n<\/ul>\n<ul>\n<li>Gronewald, M. and R.W. Daniel (2004a) \u2018Ein neuer Sappho-Papyrus\u2019,\u00a0<i>ZPE<\/i>\u00a0147: 1\u20138.<\/li>\n<\/ul>\n<ul>\n<li>Gronewald, M. and R.W. Daniel (2004b) \u2018Nachtrag zum neuen Sappho-Papyrus\u2019,\u00a0<i>ZPE<\/i>\u00a0149: 1\u20134.<\/li>\n<\/ul>\n<ul>\n<li>Gronewald, M. and R.W. Daniel (2005) \u2018Lyrischer Text (Sappho-Papyrus)\u2019,\u00a0<i>ZPE<\/i>\u00a0154: 7\u201312.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G.O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Jay, P. and C. Lewis (1996) (eds.)\u00a0<i>Sappho: Through English Poetry<\/i>. London.<\/li>\n<\/ul>\n<ul>\n<li>Laity, C. (1990) \u2018H.D. and A. C. Swinburne: decadence and Sapphic Modernism\u2019, in\u00a0<i>Lesbian Texts and Contexts: Radical Revisions<\/i>, ed. K. Jay and J. Glasgow. New York: 217\u201340.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (1989) &#8216;Lesbian Sappho and Sappho of Lesbos&#8217; in\u00a0<i>From Sappho to de Sade: Moments in the History of Sexuality<\/i>, ed. J.N. Bremmer. London: 15-35. Dutch version (1988) and Portugese translation (1995).<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (1994) &#8216;Subject and Circumstance in Sappho&#8217;s Poetry&#8217;,\u00a0<i>Transactions of the American Philological Association<\/i>\u00a0124: 57-84.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (1996) &#8216;Who Sang Sappho&#8217;s Songs?&#8217; in\u00a0<i>Reading Sappho: Contemporary Approaches<\/i>, ed. E. Greene Berkeley: 150-172.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (2001) &#8216;Keening Sappho: Female Speech Genres in Sappho&#8217;s Poetry&#8217; in\u00a0<i>Making Silence Speak: Women&#8217;s Voices in Greek Literature and Society<\/i>, eds. A. Lardinois and L. McClure. Princeton: 75-92.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. ((2003) &#8216;Drie gedaantes van Helena: Moderne interpretaties van Sappho Fr. 16&#8217; (Modern interpretations of Sappho Fr. 16),\u00a0<i>Lampas<\/i>\u00a036: 261-283.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (2007) &#8216;Seks \u00e0 la Sappho&#8217;,\u00a0<i>Lampas<\/i>\u00a040: 273-80. In Dutch.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (2008) &#8216; \u2018Someone, I say, will remember us\u2019: Oral Memory in Sappho\u2019s Poetry&#8217; in\u00a0<i>Orality, Literacy, Memory in the Ancient Greek and Roman World<\/i>, ed. A. MacKay. Leiden: 79-96.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (2009) &#8216;Lesbian Sappho Revisited&#8217;, in\u00a0<i>Myths, Martyrs, and Modernity. Studies in the History of Religions in Honour of Jan N. Bremmer<\/i>, eds. Y.B. Kuiper, J.H.F. Dijkstra &amp; J.E.A. Kroesen. Leiden: Brill: 13-30.<\/li>\n<\/ul>\n<ul>\n<li>Lardinois, A.P.M.H. (2009) \u2018The New Sappho Poem (P. Koln 21351 and 21376): Key to the Old Fragments\u2019, in\u00a0<i>The New Sappho on Old Age<\/i>, eds. E. Greene &amp; M. Skinner. Cambridge, MA: Harvard Univ. Press: 41-57.<\/li>\n<\/ul>\n<ul>\n<li>Malnati, A. (1993) \u2018Revisione dell\u2019 ostrakon fiorentino di Saffo\u2019,\u00a0<i>Analecta Papyrologica<\/i>\u00a05: 21\u201322.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (1973\/1990) \u2018Phaethon, Sappho\u2019s Phaon, and the white rock of Leucas\u2019,\u00a0<i>HSCPh<\/i>\u00a077 (1973): 137\u201377. (Revised version in id., Greek Mythology and Poetics. Ithaca, N.Y. 1990: 223\u201362.)<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (1996) \u2018Mimesis in lyric: Sappho\u2019s Aphrodite and the Changing Woman of the Apache\u2019, in id.,\u00a0<i>Poetry as Performance: Homer and Beyond<\/i>. Cambridge: 87\u2013103.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (2001) &#8216;In margine a Sapph. fr. 96,8 V.&#8217;,\u00a0<i>Eikasm\u00f3s<\/i>\u00a012: 11-18.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (2005) &#8216;Sudore freddo e tremore (Sapph. fr. 31,13 V. ~ Sen. Tro. 487s. ~ Apul. Met. I 13, II 30, X 10)&#8217;,\u00a0<i>Eikasm\u00f3s<\/i>\u00a016: 51-62 (con F. Citti).<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C. (2016) &#8216;Mercanti e cortigiane: la fortuna di un topos da Saffo a Eliodoro&#8217;,\u00a0<i>Rivista di Filologia e Istruzione Classica<\/i>\u00a0144: 5-24.<\/li>\n<\/ul>\n<ul>\n<li>Peponi, A.-E. (1985) &#8216;Narrative Modes in a lyric lit\u00ea: Sappho 1 L.P&#8217;\u00a0<i>Philologos<\/i>\u00a041: 244-259. (in Greek)<\/li>\n<\/ul>\n<ul>\n<li>Peponi, A.-E. (1995) &#8216;Lyric Transformations of Epic Helen: the Technique of Poetic Suppression in Sappho 16 L.P.&#8217; in\u00a0<i>Proceedings of the 7th International Symposium of Ithaki<\/i>: 315-328. (in Greek)<\/li>\n<\/ul>\n<ul>\n<li>Peponi, A.-E. (1997) &#8216;Mythoplokos Eros: Sappho\u2019s Allusion to her Poetics&#8217; in\u00a0<i>Acta: First Panhellenic and International Conference on Ancient Greek Literature<\/i>, ed. J.-T. Papademetriou. Athens: 139-165. (in Greek)<\/li>\n<\/ul>\n<ul>\n<li>Peterson, L.H. (1994) \u2018Sappho and the making of Tennysonian lyric\u2019,\u00a0<i>English Literary History<\/i>\u00a061: 121\u201337.<\/li>\n<\/ul>\n<ul>\n<li>Powell, J. (2007)\u00a0<i>The Poetry of Sappho<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Prins, Y. (1999)\u00a0<i>Victorian Sappho<\/i>. Princeton, N.J. and Chichester.<\/li>\n<\/ul>\n<ul>\n<li>Rawles, R. (2006) &#8216;Notes on the interpretation of the &#8216;New Sappho&#8217; &#8216;\u00a0<i>ZPE<\/i>\u00a0157: 1-7.<\/li>\n<\/ul>\n<ul>\n<li>Rayor, D.J. (1991)\u00a0<i>Sappho\u2019s Lyre: Archaic Lyric and Women Poets of Ancient Greece: Translations, with introduction and notes by D. J.R.<\/i>\u00a0Berkeley.<\/li>\n<\/ul>\n<ul>\n<li>Reynolds, M. (1999) (ed.)\u00a0<i>The Sappho Companion<\/i>. London.<\/li>\n<\/ul>\n<ul>\n<li>Reynolds, M. (2003)\u00a0<i>The Sappho History<\/i>. Basingstoke.<\/li>\n<\/ul>\n<ul>\n<li>R\u00f6sler, W. (1990) \u2018Realit\u00e4tsbezug und Imagination in Sapphos Gedicht \u03a6\u0391\u0399\u039d\u0395\u03a4\u0391\u0399 \u039c\u039f\u0399 \u039a\u0397\u039d\u039f\u03a3\u2019, in\u00a0<i>Der \u00dcbergang von der M\u00fcndlichkeit zur Literatur bei den Griechen<\/i>, ed. W. Kullmann and M. Reichel. T\u00fcbingen: 271\u201387.<\/li>\n<\/ul>\n<ul>\n<li>R\u00f6sler, W. (1992) \u2018Homoerotik und Initiation: \u00dcber Sappho\u2019, in\u00a0<i>Homoerotische Lyrik. 6. Kolloquium der Forschungsstelle f\u00fcr europ\u00e4ische Lyrik des Mittelalters an der Universit\u00e4t Mannheim<\/i>, ed. T. Stemmler. T\u00fcbingen: 43\u201354.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C.P. (1998) \u2018Beauty, desire, and absence:Helen in Sappho, Alcaeus, and Ibycus\u2019, in\u00a0<i>Aglaia: The Poetry of Alcman, Sappho, Pindar, Bacchylides, and Corinna<\/i>. Lanham,Md.: 63\u201383.<\/li>\n<\/ul>\n<ul>\n<li>Skinner, M.B. (1993) \u2018Woman and language in archaic Greece, or, why is Sappho a woman?\u2019, in\u00a0<i>Feminist Theory and the Classics<\/i>, ed. N. S. Rabinowitz and A. Richlin. New York: 125\u201344. (Reprinted with slight changes in\u00a0<i>Reading Sappho: Contemporary Approaches<\/i>, ed. E. Greene. Berkeley and London 1996: 175\u201392).<\/li>\n<\/ul>\n<ul>\n<li>Skinner, M.B. (2002) \u2018Aphrodite garlanded: Er\u00f4s and poetic creativity in Sappho and Nossis\u2019, in\u00a0<i>Among Women: From the Homosocial to the Homoerotic in the Ancient World<\/i>, ed. N. S. Rabinowitz and L. Auanger. Austin: 60\u201381.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1988) &#8216;Sappho fr. 1,19&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a072: 19-20.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1991) &#8216;Sappho fr. 1, 8 V.: Golden house or golden chariot?&#8217;,\u00a0<i>Mnemosyne<\/i>\u00a044: 404-410.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1994) &#8216;Sappho, fr. 94, 10&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a0102: 8.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1994) &#8216;Two notes on Sappho&#8217;s wedding songs&#8217;,\u00a0<i>Mnemosyne<\/i>\u00a047: 677-679.<\/li>\n<\/ul>\n<ul>\n<li>Snyder, J. M. (1997)\u00a0<i>Lesbian Desire in the Lyrics of Sappho<\/i>. New York.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (1999) &#8216;Homer bei Sappho?&#8217;,\u00a0<i>Mnemosyne<\/i>\u00a052: 139-149.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (2000) &#8216;Neues zu Sappho&#8221;,\u00a0<i>ZPE<\/i>\u00a0131: 10-12.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (2000) &#8216;Sappho sans sa vie&#8217;, in\u00a0<i>Biographie des hommes &#8211; biographie des dieux<\/i>, ed. M.-L. Desclos. Grenoble: 113-127.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (2008) &#8216;Sapphos Alterslied und kein Ende&#8217;,\u00a0<i>QUCC<\/i>\u00a086: 89-94.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (2010) &#8216;Sappho und die Wahrheit (Erg\u00e4nzungen zu Fr. 88 V.)&#8217;, QUCC 94, 79-87.<\/li>\n<\/ul>\n<ul>\n<li>Stehle, E. (1990) \u2018Sappho\u2019s gaze: fantasies of a goddess and a young man\u2019,\u00a0<i>Differences<\/i>\u00a02: 88\u2013125. (Reprinted with slight changes in\u00a0<i>Reading Sappho: Contemporary Approaches<\/i>, ed. E. Greene. Berkeley and London 1996: 193\u2013225.)<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (2000) &#8216;Safo: el alma, el verso, el cuerpo&#8217; in\u00a0<i>La mujer, alma de la literatura<\/i>, ed. por E. Moral y A. de la Villa. Valladolid: 15-27.<\/li>\n<\/ul>\n<ul>\n<li>Tasagarakis, O. (1979) &#8216;Some neglected aspects of love in Sappho\u2019s Fr. 31 LP&#8217;,\u00a0<i>Rheinisches Museum<\/i>\u00a0122: 97-118.<\/li>\n<\/ul>\n<ul>\n<li>Tzamali, E. (1996)\u00a0<i>Syntax und Stil bei Sappho<\/i>. Dettelbach.<\/li>\n<\/ul>\n<ul>\n<li>Ucciardello, G. (2001) \u2018Sapph. frr. 88 e 159 V. in POxy. LXIV 4411\u2019,\u00a0<i>ZPE<\/i>\u00a0136: 167\u20138.<\/li>\n<\/ul>\n<ul>\n<li>Vanita, R. (1996)\u00a0<i>Sappho and the Virgin Mary: Same-Sex Love and the English Literary Imagination<\/i>. New York.<\/li>\n<\/ul>\n<ul>\n<li>Wiater, N. (2010) &#8216;Der utopische K\u00f6rper. Die Interpretation fr\u00fchgriechischer Lyrik am Beispiel von Sappho frg. 31LP&#8217; in:\u00a0<i>Antike \u2013 Lyrik \u2013 Heute. Griechisch-r\u00f6misches Altertum in Gedichten von der Moderne bis zur Gegenwart<\/i>, eds. Elit, S., Bremer, K., Reents, F. (Hgg.). Remscheid: 23-49.<\/li>\n<\/ul>\n<ul>\n<li>Williamson, M. (1995)\u00a0<i>Sappho\u2019s Immortal Daughters<\/i>. Cambridge, Mass.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, L.H. (1996)\u00a0<i>Sappho\u2019s Sweetbitter Songs: Configurations of Female and Male in Ancient Greek Lyric<\/i>. London.<\/li>\n<\/ul>\n<ul>\n<li>Winkler, J.J. (1990) \u2018Double consciousness in Sappho\u2019s lyrics\u2019, in id.,\u00a0<i>The Constraints of Desire: The Anthropology of Sex and Gender in Ancient Greece<\/i>. New York: 162\u201387.<\/li>\n<\/ul>\n<ul>\n<li>Worman, N. (1997) \u2018The body as argument: Helen in four Greek texts\u2019,\u00a0<i>ClAnt<\/i>\u00a016: 151\u2013203.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (1999) &#8216;Alexandrian Sappho Revisited&#8217;,\u00a0<i>Harvard Studies in Classical Philology<\/i>\u00a099: 179-195.(reprinted in (2002)\u00a0<i>Greek Literature. Vol. 7: Greek Literature in the Hellenistic Period<\/i>, ed. G. Nagy. New York\/London.)<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (1999) &#8216;When Two Fragments Meet: Sapph. fr. 22 V.&#8217;,\u00a0<i>ZPE<\/i>\u00a0128: 22-23.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2001) &#8216;Visualizing Poetry: An Early Representation of Sappho&#8217;,\u00a0<i>Classical Philology<\/i>\u00a096: 159-168.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2003) &#8216;Ritual Poetics in Archaic Lesbos: Contextualizing Genre in Sappho&#8217;, in\u00a0<i>Towards a Ritual Poetics<\/i>, D. Yatromanolakis and P. Roilos. Athens: 43-59.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2004) &#8216;Exploring Lyric Tropes&#8217;,\u00a0<i>Synkrise\/ Comparaison<\/i>\u00a015: 70-79.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2004) \u2018Fragments, brackets, and poetics: on Anne Carson\u2019s If Not, Winter\u2019, International Journal of the Classical Tradition 11: 266\u201372.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2005) &#8216;Contrapuntal Inscriptions&#8217;,\u00a0<i>ZPE<\/i>\u00a0152: 16-30.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2006) &#8216;A Lyric Epos&#8217;,\u00a0<i>Helenika<\/i>\u00a056: 381-388.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2007)\u00a0<i>Sappho In The Making: The Early Reception<\/i>. Cambridge, MA.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2008) &#8216;P.Colon. inv. 21351 + 21376 and P.Oxy. 1787 fr. 1: Music, Politics, and Hellenistic Anthologies&#8217;,\u00a0<i>Hellenika<\/i>\u00a058: 237-255.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2008)\u00a0<i>Fragments of Sappho: A Commentary<\/i>. Cambridge, Mass.<\/li>\n<\/ul>\n<ul>\n<li>Yossi, M.J., D. Kioussi and A. Tatsi (eds) (2004)\u00a0<i>Thelxis. Fifteen Essays on Sappho<\/i>. Athens: Smili Editions. Articles by B. Gentili, C. Calame, J. McIntosh Snyder, J. J. Winkler, E. Greene, A. Lardinois, P. A. Rosenmeyer. I. Le. Pfeijffer, K. Stanley, Ch. Segal, W. Stehle Stigers. J. Svenbro, E. Robbins, R. Palmisciano, Anne Carson translated into modern Greek with an Introduction by the Editors. (an En Kyklo publication)<\/li>\n<\/ul>\n<ul>\n<li>Yossi, Mary J. (\u039c.\u0399. \u0393\u03b9\u03cc\u03c3\u03b7) (2008) &#8216;\u03a4\u03b5\u03b8\u03bd\u03ac\u03ba\u03b7\u03bd \u03b4\u2019\u1f00\u03b4\u03cc\u03bb\u03c9\u03c2 \u03b8\u03ad\u03bb\u03c9. \u0391\u03c0\u03bf\u03c3\u03c0\u03ac\u03c3\u03bc\u03b1\u03c4\u03b1 \u03b5\u03c1\u03c9\u03c4\u03b9\u03ba\u03bf\u03cd (;) \u03bb\u03cc\u03b3\u03bf\u03c5. \u03a3\u03b1\u03c0\u03c6\u03ce \u03b1\u03c0..94 V.&#8217; [&#8216;tethnaken d\u2019 adolos thelo (Sappho Fr. 94 V.): Fragments of erotic (?) discourse&#8217;], in:<i>Proceedings of the XII International Symposium on Sappho (Leukada, July 25-28, 2007)<\/i>, 25-34.<\/li>\n<\/ul>\n<ul>\n<li>Zellner, H.M. (2006) &#8216;Sappho&#8217;s proof that death is an evil&#8217;,\u00a0<i>GRBS<\/i>\u00a046: 333-337.<\/li>\n<\/ul>\n<ul>\n<li>Zonana, J. (1990) \u2018Swinburne\u2019s Sappho: The Muse as sister-goddess\u2019,\u00a0<i>Victorian Poetry<\/i>\u00a028: 39\u201350.<\/li>\n<\/ul>\n<h3><span id=\"Alcaeus\" class=\"mw-headline\">Alcaeus<\/span><\/h3>\n<ul>\n<li>Andrisano, A. (2001) \u2018Iambic motifs in Alcaeus&#8217; lyrics\u2019, in\u00a0<i>Iambic Ideas: Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire<\/i>, eds. A. Cavarzere et al. Lanham, Md., and Oxford: 41-64.<\/li>\n<\/ul>\n<ul>\n<li>Bachvarova, M.R. (2007) &#8216;Oath and allusion in Alcaeus fr. 129&#8217; in\u00a0<i>Horkos. The Oath in Greek Society<\/i>, eds. Alan H. Sommerstein, Judith Fletcher. Exeter: 179-188. Reviewed by Kellogg, Danielle L. (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-08-55.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.08.55<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Bremer, J.M., A.M. van Erp Taalman Kip and S.R. Slings (1987)\u00a0<i>Some recently found Greek poems: Text and Commentary<\/i>. Leiden.\u00a0<i>Mnemosyne Supplement<\/i>\u00a099. Contains a text, app. crit. and commentary on some papyri of Archilochus (by Slings), a commentary on a poem by Alcaeus (by Van Erp) and a text, app. crit. and commentary on the &#8216;Lille Stesichorus&#8217; (by Bremer, 128-174).<\/li>\n<\/ul>\n<ul>\n<li>Bu\u00e8, F. (2016), &#8216;The \u03bb\u03b5\u03c0\u03ac\u03c2 in Alcaeus. A Study on fr. 359 Voigt&#8217;, GRMS, 4, 2016, pp. 14-37.<\/li>\n<\/ul>\n<ul>\n<li>Caciagli, S. (2009) &#8216;Lupi e codardi nell\u2019Heraion di Lesbo&#8217;,\u00a0<i>ZPE<\/i>\u00a0171: 216-220.<\/li>\n<\/ul>\n<ul>\n<li>Caciagli, S. (2009) &#8216;Un serment viol\u00e9 chez Alc\u00e9e&#8217;,\u00a0<i>REG<\/i>\u00a0122.1: 185-200.<\/li>\n<\/ul>\n<ul>\n<li>Cairns, F. (1983). \u2018Alcaeus\u2019 Hymn to Hermes, P. Oxy 2734 Fr. 1 and Horace Odes 1,10\u2019, Quaderni Urbinati di Cultura Classica 42: 29-35.<\/li>\n<\/ul>\n<ul>\n<li>Cannat\u00e0 Fera, M. (2012) &#8216;Sisifo in Alceo&#8217; in\u00a0<i>Approaches to Greek Poetry<\/i>\u00a0eds. X. Riu &amp; J. P\u00f2rtulas. Messina: 29-43.<\/li>\n<\/ul>\n<ul>\n<li>Cazzato, V. (2016) &#8216;\u2018Symposia en plein air in Alcaeus and others\u2019, in\u00a0<i>The Cup of Song. Essays on Poetry and the Symposion<\/i>, eds. V. Cazzato, D. Obbink, E. Prodi, Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Gagn\u00e9, R. (2009) &#8216;Atreid Ancestors in Alkaios&#8217;,\u00a0<i>Journal of Hellenic Studies<\/i>\u00a0129: 39-43.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G.O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (1994) &#8216;Crisis and Decorum in Sixth\u2013Century Lesbos: Reading Alkaios Otherwise&#8217;,\u00a0<i>Quaderni Urbinati di cultura classica<\/i>, n.s. 47: 67-92.<\/li>\n<\/ul>\n<ul>\n<li>Lelli, E. (2006)\u00a0<i>Volpe e leone. Il proverbio nella poesia greca (Alceo, Cratino, Callimaco). Filologia e critica, 93<\/i>. Roma: Edizioni dell&#8217;Ateneo.\u00a0<a class=\"external text\" href=\"http:\/\/catdir.loc.gov\/catdir\/toc\/casalini05\/06544053.pdf\" rel=\"nofollow\">Table of Contents<\/a>. Reviewed by Massimiliano Ornaghi,\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-01-39.html\" rel=\"nofollow\">BMCR 2008.01.39<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Lelli, E. (2010) &#8216;La pragmatica proverbiale di Alceo&#8217; in\u00a0<i>\u03a0\u0391\u03a1\u039f\u0399\u039c\u0399\u0391\u039a\u03a9\u03a3 . \u0399l proverbio in Grecia e a Roma (3 vols.)<\/i>\u00a0ed. E. Lelli. Pisa\/Roma: 53-60.<\/li>\n<\/ul>\n<ul>\n<li>Lentini, G. (2002) &#8216;I simposi del tiranno: Sui frr. 70\u201372 V. di Alceo&#8217; in\u00a0<i>ZPE<\/i>\u00a0139: 3\u201318.<\/li>\n<\/ul>\n<ul>\n<li>Liberman, G. (1999)\u00a0<i>Alc\u00e9e: Fragments<\/i>. (2 vols.). Paris.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, Gregory (1993) \u2018Alcaeus in sacred space\u2019, in\u00a0<i>Tradizione e innovazione nella cultura greca da Omero all\u2019et\u00e0 ellenistica<\/i>, ed. R. Pretagostini, vol. I. Rome: 221\u20135.<\/li>\n<\/ul>\n<ul>\n<li>Neri, Camillo (1996) &#8216;Poeti, filologi e patelle (Alcae. fr. 359 V., Dicaearch. fr. 99 Wehrli, Ar. Byz. fr. 367 Sl.)&#8217;,\u00a0<i>Eikasm\u00f3s<\/i>\u00a07: 25-55.<\/li>\n<\/ul>\n<ul>\n<li>Pardini, A. (1991) \u2018La ripartizione in libri dell\u2019opera di Alceo: Per un esame della questione\u2019,\u00a0<i>RFIC<\/i>\u00a0119: 257\u201384.<\/li>\n<\/ul>\n<ul>\n<li>Porro, A. (1990) \u2018La fortuna di Alceo: tradizione e studio della poesia alcaica fino al II sec.d.C.\u2019, Aevum(ant) 3: 75\u201398.<\/li>\n<\/ul>\n<ul>\n<li>Porro, A. (1994)\u00a0<i>Vetera Alcaica: L\u2019esegesi di Alceo dagli Alessandrini all\u2019et\u00e0 imperiale<\/i>. Milan.<\/li>\n<\/ul>\n<ul>\n<li>Porro, A. (1995) \u2018Alceo e le metafore dei giochi simposiali\u2019, in\u00a0<i>Studia classica Iohanni Tarditi oblata<\/i>, ed. L. Belloni et al., vol. I. Milan: 357\u201368.<\/li>\n<\/ul>\n<ul>\n<li>Porro, A. (2004) \u2018Alcaeus\u2019, in\u00a0<i>Commentaria et lexica Graeca in papyris reperta, pars I, vol. 1, fasc. 1: Aeschines-Alcaeus<\/i>, ed. G. Bastianini et al. Munich and Leipzig: 75\u2013246.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C. P. (1998) \u2018Beauty, desire, and absence: Helen in Sappho, Alcaeus, and Ibycus\u2019, in\u00a0<i>Aglaia: The Poetry of Alcman, Sappho, Pindar, Bacchylides, and Corinna<\/i>. Lanham,Md.: 63\u201383.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (2008) &#8216;Genre Categories and Interdiscursivity in Alkaios and Archaic Greece&#8217;,\u00a0<i>Synkrise\/Comparaison<\/i>\u00a019: 169-187.<\/li>\n<\/ul>\n<h3><span id=\"Incertum_utrius_auctoris_fragmenta\" class=\"mw-headline\">Incertum utrius auctoris fragmenta<\/span><\/h3>\n<h3><span id=\"Alcman\" class=\"mw-headline\">Alcman<\/span><\/h3>\n<p>Cf. The\u00a0<a class=\"external text\" href=\"http:\/\/alkman.georgehinge.com\/bibliographie.html\" rel=\"nofollow\">Alcman bibliography<\/a>\u00a0that is maintained by George Hinge. This website forms part of a project on the dialect of Alcman (in German with a summary in English and Danish).<\/p>\n<ul>\n<li>Athanassaki, L. (2009)\u00a0<i>\u1f00\u03b5\u03af\u03b4\u03b5\u03c4\u03bf \u03c0\u1f70\u03bd \u03c4\u03ad\u03bc\u03b5\u03bd\u03bf\u03c2. \u039f\u03b9 \u03c7\u03bf\u03c1\u03b9\u03ba\u03ad\u03c2 \u03c0\u03b1\u03c1\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03bf \u03ba\u03bf\u03b9\u03bd\u03cc \u03c4\u03bf\u03c5\u03c2 \u03c3\u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03ca\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c0\u03c1\u03ce\u03ca\u03bc\u03b7 \u03ba\u03bb\u03b1\u03c3\u03b9\u03ba\u03ae \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf<\/i>. Herakleion. Study of choral performance contexts especially in Alcman, Pindar, and Bacchylides.\u00a0<a class=\"external text\" href=\"http:\/\/www.cup.gr\/ViewShopProduct.aspx?ProductId=279696&amp;LangId=1\" rel=\"nofollow\">More information<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Bagordo, A. (1998) &#8216;Zu Alkman, Fr. 17 Davies&#8217;,\u00a0<i>Hermes<\/i>\u00a0126: 259\u0096-68.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (2007) &#8216;L&#8217;uso intertestuale di Alcmane nel finale della Lisistrata di Aristofane. Coro e rito nel contesto performativo&#8217; in\u00a0<i>Dalla lirica corale alla poesia drammatica. Forme e funzioni del canto corale nella tragedia e nella commedia greca<\/i>, eds. F. Perusino and M. Colantonio. Pisa: 259\u2013290. With a comparison between Alcman and the last songs in Ar.\u00a0<i>Lysistrata<\/i>.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (2011), \u2018Alcman at the End of Aristophanes&#8217; Lysistrata: Ritual Interchorality&#8221;, in: L. Athanassaki, E. Bowie (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination<\/i>(Trends in Classics, Supp. 10), Berlin\/New York: 415\u2013436.<\/li>\n<\/ul>\n<ul>\n<li>Bowie, Ewen (2011), &#8216;Alcman&#8217;s First Partheneion and what the Sirens sang&#8217;, in: L. Athanassaki, E. Bowie (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination<\/i>\u00a0(Trends in Classics, Supp. 10), Berlin\/New York, 33-66.<\/li>\n<\/ul>\n<ul>\n<li>Bu\u00e8,F. (2015), &#8216;La musica degli uccelli e la parola del divino: Alcmane e Messiaen&#8217;, RCCM, 2, pp. 365-383.<\/li>\n<\/ul>\n<ul>\n<li>Bu\u00e8,F. (2018), &#8216;The Voice of Doves&#8217;, RCCM, 1, pp. 25-45.<\/li>\n<\/ul>\n<ul>\n<li>Caciagli, Stefano (2009) &#8216;Un contesto per Alcm. PMGF 1&#8217;,\u00a0<i>Eikasmos<\/i>\u00a020: 19-46.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1983)\u00a0<i>Alcman. Texte critique, t\u00e9moignages, traduction et commentaire<\/i>. Roma.<\/li>\n<\/ul>\n<ul>\n<li>Carey, Chris (2011), &#8216;Alcman: From Laconia to Alexandria&#8217;, in: . Athanassaki, E. Bowie (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination<\/i>\u00a0(Trends in Classics, Supp. 10), Berlin\/New York: 437-61.<\/li>\n<\/ul>\n<ul>\n<li>Clark, Christina A. (1996) \u2018The Gendering of the Body in Alcman\u2019s\u00a0<i>Partheneion<\/i>\u00a01: Narrative, Sex, and Social Order in Archaic Sparta\u2019,\u00a0<i>Helios<\/i>\u00a023: 143-172.<\/li>\n<\/ul>\n<ul>\n<li>Felson, N. (ed.) (2004) \u2018The poetics of deixis in Alcman, Pindar and other lyric\u2019,\u00a0<i>Arethusa<\/i>\u00a037.3: 253\u2013468.<\/li>\n<\/ul>\n<ul>\n<li>Ferrari, Gloria (2008)\u00a0<i>Alcman and the Cosmos of Sparta<\/i>. Chicago and London. Reviewed by A. J. Podlecki\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-10-59.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02009.10.59<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Hinge, George (2006)\u00a0<i>Die Sprache Alkmans: Textgeschichte und Sprachgeschichte<\/i>. Wiesbaden: Dr. Ludwig Reichert Verlag.\u00a0<i>Serta Graeca<\/i>\u00a024. Cf. his website\u00a0<a class=\"external text\" href=\"http:\/\/alkman.georgehinge.com\/index.html\" rel=\"nofollow\">Die Sprache Alkmans<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Lillo, A. (1995) \u2018El hapax \u03ba\u03bb\u03b5\u03b5\u03bd\u03bd\u03ac y la lengua po\u00e9tica de Alcm\u00e1n\u2019,\u00a0<i>Emerita<\/i>\u00a063: 21\u201345.<\/li>\n<\/ul>\n<ul>\n<li>Patterson, Lee E. (2005) &#8216;Alcman\u2019s Partheneion and Eliade\u2019s Sacred Time&#8217;,\u00a0<i>Classical and Modern Literature<\/i>\u00a025.1: 115-27.<\/li>\n<\/ul>\n<ul>\n<li>Peponi, Anastasia-Erasmia (2004) &#8216;Initiating the Viewer: Deixis and Visual Perception in Alcman\u2019s Lyric Drama&#8217;,\u00a0<i>Arethusa<\/i>\u00a037.3: 295-316.<\/li>\n<\/ul>\n<ul>\n<li>Peponi, Anastasia-Erasmia (2007) &#8216;Sparta\u2019s Prima Ballerina:\u00a0<i>Choreia<\/i>\u00a0in Alcman&#8217;s Second\u00a0<i>Partheneion<\/i>\u00a0(3\u00a0<i>PMGF<\/i>)&#8217;,\u00a0<i>Classical Quarterly<\/i>\u00a057.2: 351-62.<\/li>\n<\/ul>\n<ul>\n<li>Peron, Jacques (1987) \u2018Demi-ch\u0153urs chez Alcman, Parth. I, v. 39-59\u2019,\u00a0<i>Grazer Beitr\u00e4ge<\/i>\u00a014: 35-53.<\/li>\n<\/ul>\n<ul>\n<li>Priestley, J.M. (2007) &#8216;The \u03c6\u03b1\u03c1\u03bf\u03c2 of Alcman&#8217;s\u00a0<i>Partheneion<\/i>\u00a01&#8242;,\u00a0<i>Mnemosyne<\/i>\u00a060.2: 175-95.<\/li>\n<\/ul>\n<ul>\n<li>Poltera, O. (1997)\u00a0<i>Le langage de Simonide: Etude sur la tradition po\u00e9tique et son renouvellement<\/i>. (Sapheneia 1). Bern.<\/li>\n<\/ul>\n<ul>\n<li>Puelma, M. (1995) \u2018Die Selbstbeschreibung des Chores in Alkmans gro\u00dfem Partheneion-Fragment (fr. 1 P. = 23 B., 1 D. V. 36\u2013105)\u2019, in M. Puelma, Labor et lima: Kleine Schriften und Nachtr\u00e4ge, ed. I. Fasel. Basel: 51\u2013110. [Originally published in MH 34 (1977): 1\u201355.]<\/li>\n<\/ul>\n<ul>\n<li>Robbins, Emmet (1991) &#8216;Alcman\u2019s Partheneion: Legend and Choral Ceremony&#8217;,\u00a0<i>CQ<\/i>\u00a044: 7-16.<\/li>\n<\/ul>\n<ul>\n<li>Robbins, Emmet (1997) \u2018Public poetry\u2019, in\u00a0<i>A Companion to the Greek Lyric Poets<\/i>, ed. Douglas E. Gerber. Leiden: 223\u201342.<\/li>\n<\/ul>\n<ul>\n<li>Rossi, L. E. (1993) \u2018Lirica arcaica e scoli simposiali (Alc. 249,6\u20139 V. e carm. conv. 891 P.)\u2019, in\u00a0<i>Tradizione e innovazione nella cultura greca da Omero all\u2019et\u00e0 ellenistica<\/i>, ed. R. Pretagostini, vol. I. Rome: 237\u201346.<\/li>\n<\/ul>\n<ul>\n<li>Sassi, M. M. (2005) \u2018Poesie und Kosmogonie: Der Fall Alkman\u2019, in\u00a0<i>Fr\u00fchgriechisches Denken<\/i>, ed. G. Rechenauer. G\u00f6ttingen: 63\u201380.<\/li>\n<\/ul>\n<ul>\n<li>Swift L. (2016) \u2018Visual Imagery in Parthenaic Song\u2019, in The Look of Lyric: Greek Song and the Visual, eds V. Cazzato and A. Lardinois. Leiden: 255-97<\/li>\n<\/ul>\n<ul>\n<li>Too, Y. L. (1997) \u2018Alcman\u2019s Parthenion: the maidens dance the city\u2019,\u00a0<i>QUCC<\/i>\u00a085 (= n.s. 56.2): 7\u201329.<\/li>\n<\/ul>\n<h3><span id=\"Stesichorus\" class=\"mw-headline\">Stesichorus<\/span><\/h3>\n<ul>\n<li>Arrighetti, G. (1995) &#8216;L&#8217;arte di Stesicoro nel giudizio degli antichi&#8217;, in\u00a0<i>Po\u00e9sie et lyrique antiques: Actes du colloque organis\u00e9 par C. Meillier \u00e0 l\u2019Universit\u00e9 Charles-de-Gaulle, Lille III, 2-4 juin 1993<\/i>, ed. L. Dubois. Lille: 55-72.<\/li>\n<\/ul>\n<ul>\n<li>Barker, Andrew (2001) &#8216;La musica di Stesicoro&#8217;,\u00a0<i>Quaderni Urbinati di Cultura Classica<\/i>\u00a067.1: 7-20.<\/li>\n<\/ul>\n<ul>\n<li>Bassi, K. (1993) \u2018Helen and the discourse of denial in Stesichorus\u2019\u00a0<i>Palinode<\/i>\u2019,\u00a0<i>Arethusa<\/i>\u00a026: 51-75.<\/li>\n<\/ul>\n<ul>\n<li>Beecroft, A.J. (2006) \u2018\u201cThis is not a true story\u201d: Stesichorus\u2019s\u00a0<i>Palinode<\/i>\u00a0and the revenge of the epichoric\u2019,\u00a0<i>TAPhA<\/i>\u00a0136: 47-69.<\/li>\n<\/ul>\n<ul>\n<li>Blaise, Fabienne (1995) \u2018Les deux (?) H\u00e9l\u00e8ne de St\u00e9sichore\u2019, in\u00a0<i>Po\u00e9sie et lyrique antique<\/i>, ed. L. Dubois, Lille: 29-40. Full text:\u00a0<a class=\"internal\" title=\"Blaise1995Stesichorus.pdf\" href=\"http:\/\/greeksong.ruhosting.nl\/images\/f\/fc\/Blaise1995Stesichorus.pdf\">Media:Blaise1995Stesichorus.pdf<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Bremer, J.M., A.M. van Erp Taalman Kip and S.R. Slings (1987)\u00a0<i>Some recently found Greek poems: Text and Commentary<\/i>. Leiden.\u00a0<i>Mnemosyne Supplement<\/i>\u00a099. Contains a text, app. crit. and commentary on some papyri of Archilochus (by Slings), a commentary on a poem by Alcaeus (by Van Erp) and a text, app. crit. and commentary on the &#8216;Lille Stesichorus&#8217; (by Bremer, 128-174).<\/li>\n<\/ul>\n<ul>\n<li>Campbell, D. A. (1991)\u00a0<i>Greek Lyric III: Stesichorus, Ibycus, Simonides, and Others<\/i>. Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Carruesco, J. (2012) &#8216;Helen\u2019s Voice and Choral Mimesis from Homer to Stesichorus&#8217; in\u00a0<i>Approaches to Greek Poetry<\/i>\u00a0eds. X. Riu &amp; J. P\u00f2rtulas. Messina: 149-172.<\/li>\n<\/ul>\n<ul>\n<li>Cingano, E. (1990) \u2018L\u2019Opera di Ibico e di Stesicoro nella classificazione degli antichi e dei moderni\u2019, in\u00a0<i>Lirica Greca e Latina. Atti del Convegno di studi Polacco-Italiano, Poznan 2\u20135 maggio 1990, (AION 12)<\/i>: 189\u2013224.<\/li>\n<\/ul>\n<ul>\n<li>Cingano, E. (1993) \u2018Indizi di esecuzione corale in Stesicoro\u2019, in\u00a0<i>Tradizione e innovazione nella cultura greca da Omero all\u2019et\u00e0 ellenistica<\/i>, ed. R. Pretagostini, vol. I. Rome: 347\u201361.<\/li>\n<\/ul>\n<ul>\n<li>D&#8217;Alessio, G. B. (2013). THE WANDERINGS OF THE THESTORIDS:(STESICHORUS FR. 193.16-22 PMGF). Zeitschrift f\u00fcr Papyrologie und Epigraphik, 186, 36-37.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alfonso, F. (1994)\u00a0<i>Stesicoro e la performance: Studio sulle modalit\u00e0 esecutive dei carmi stesicorei<\/i>. Rome.<\/li>\n<\/ul>\n<ul>\n<li>Demos, M. (1999)\u00a0<i>Lyric Quotation in Plato<\/i>. Lanham, Md. [Simonides, Pindar, Stesichorus]<\/li>\n<\/ul>\n<ul>\n<li>Finglass, P. J., &amp; Kelly, A. (Eds.). (2015).\u00a0<i>Stesichorus in Context<\/i>. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Irvine, J. A. D. (1997) \u2018Keres in Stesichorus\u2019 Geryoneis: P. Oxy. 2617 fr. 1 (A)\u2013(B) = SLG 21 Reconsidered\u2019,\u00a0<i>ZPE<\/i>\u00a0115: 37\u201346.<\/li>\n<\/ul>\n<ul>\n<li>Lazzeri, Massimo (2008)\u00a0<i>Studi sulla Gerioneide di Stesicoro<\/i>. Quaderni del Dipartimento di scienze dell&#8217;antichit\u00e0 \/ Universit\u00e0 degli studi di Salerno 35. Napoli: Arte tipografica.<\/li>\n<\/ul>\n<ul>\n<li>Massimilla, G. (1995) \u2018L\u2019influsso di Stesicoro sulla poesia ellenistica\u2019, in\u00a0<i>Po\u00e9sie et lyrique antiques: Actes du colloque organis\u00e9 par C. Meillier \u00e0 l\u2019Universit\u00e9 Charles-de-Gaulle<\/i>, Lille III, 2\u20134 juin 1993, ed. L. Dubois. Lille: 41\u201353.<\/li>\n<\/ul>\n<ul>\n<li>M\u00fcller-Goldingen, C. (2000) \u2018Tradition und Innovation: Zu Stesichoros\u2019 Umgang mit dem Mythos\u2019,\u00a0<i>AC<\/i>\u00a069: 1\u201319.<\/li>\n<\/ul>\n<ul>\n<li>Neri, Camillo (2008) &#8216;Trattativa contro il fato (Stesich. PMGF 222b,176-231)&#8217;,\u00a0<i>Eikasm\u00f3s<\/i>\u00a019: 11-44.<\/li>\n<\/ul>\n<ul>\n<li>Noussia-Fantuzzi, M. (2013). &#8216;A Scenario for the Portrayal of the Monster Geryon in Stesichorus\u2019Geryoneis&#8217;, Trends in Classics 5.2: 234-59.<\/li>\n<\/ul>\n<ul>\n<li>Noussia-Fantuzzi, M. (2015) &#8216;The Epic Cycle, Stesichorus, and Ibycus\u2019 in: The Greek Epic Cycle and its ncient Reception: a companion, eds. M. Fantuzzi and C. Tsagalis. Cambridge: 430-49.<\/li>\n<\/ul>\n<ul>\n<li>Robbins, Emmet (1997) \u2018Public poetry\u2019, in\u00a0<i>A Companion to the Greek Lyric Poets<\/i>, ed. D. E. Gerber. Leiden: 223\u201342.<\/li>\n<\/ul>\n<ul>\n<li>Schade, G. (2003)\u00a0<i>Stesichoros: Papyrus Oxyrhynchus 2359, 3876, 2619, 2803<\/i>. (Mnemosyne suppl. 237). Leiden and Boston.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1998) &#8216;Hoge en lage lyriek in de zesde eeuw. I: Stesichoros&#8217;,\u00a0<i>Hermeneus<\/i>\u00a070:188-195. In Dutch.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, Emilio (2007) &#8216;Helena, de la \u00e9pica a la l\u00edrica griega arcaica (Safo, Alceo, Estes\u00edcoro)&#8217; in AA.VV.,\u00a0<i>O mito de Helena de Tr\u00f3ia \u00e0 actualidade<\/i>. Coimbra. vol. I: 55-79.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2016) \u2018Stesichorus on Stage\u2019, in Stesichorus in Context, eds P. J. Finglass and A. Kelly. Cambridge: 125-44.<\/li>\n<\/ul>\n<h3><span id=\"Ibycus\" class=\"mw-headline\">Ibycus<\/span><\/h3>\n<ul>\n<li>Bonanno, M. G. (2004) \u2018Come guarire dal complesso epico: L\u2019Ode a Policrate di Ibico\u2019, in\u00a0<i>Samo. Storia, letteratura, scienza: Atti delle giornate di studio<\/i>, Ravenna, 14\u201316 novembre 2002, ed. E. Cavallini. Pisa and Rome: 67\u201396.<\/li>\n<\/ul>\n<ul>\n<li>Cazzato, V. (2013) \u2018Worlds of er\u00f4s in Ibycus fr. 286 PMGF\u2019, in\u00a0<i>Eros in Ancient Greece<\/i>, edited by E. Sanders, C. Thumiger, C. Carey, and N. Lowe, Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Cairns, F. (2017). \u2018Beauty, Fame and Politics in Ibycus S151 PMGF\u2019, Prometheus. Rivista di studi classici 43: 43-55.<\/li>\n<\/ul>\n<ul>\n<li>Cingano, E. (1990) \u2018L\u2019Opera di Ibico e di Stesicoro nella classificazione degli antichi e dei moderni\u2019, in\u00a0<i>Lirica Greca e Latina. Atti del Convegno di studi Polacco-Italiano, Poznan 2\u20135 maggio 1990, (AION 12)<\/i>: 189\u2013224.<\/li>\n<\/ul>\n<ul>\n<li>Campbell, D. A. (1991)\u00a0<i>Greek Lyric III: Stesichorus, Ibycus, Simonides, and Others<\/i>. Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Giannini, P. (2004) \u2018Ibico a Samo\u2019, in\u00a0<i>Samo. Storia, letteratura, scienza: Atti delle giornate di studio<\/i>, Ravenna, 14\u201316 novembre 2002, ed. E. Cavallini. Pisa and Rome: 51\u201364.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Noussia-Fantuzzi, M. (2015) &#8216;The Epic Cycle, Stesichorus, and Ibycus\u2019 in: The Greek Epic Cycle and its ncient Reception: a companion, eds. M. Fantuzzi and C. Tsagalis. Cambridge: 430-49.<\/li>\n<\/ul>\n<ul>\n<li>Pardini, A.(2001) \u2018Interpretare segni di lettura: in margine a P.Oxy. 1790 (Ibico)\u2019,\u00a0<i>RCCM<\/i>\u00a043: 39\u201346.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C. P. (1998) \u2018Beauty, desire, and absence: Helen in Sappho, Alcaeus, and Ibycus\u2019, in\u00a0<i>Aglaia: The Poetry of Alcman, Sappho, Pindar, Bacchylides, and Corinna<\/i>. Lanham,Md.: 63\u201383.<\/li>\n<\/ul>\n<ul>\n<li>Tortorelli, William (2004) &#8216;A Proposed Colometry of Ibycus 286&#8217;,\u00a0<i>Classical Philology<\/i>\u00a099.4: 370-376.\u00a0<a class=\"external text\" href=\"http:\/\/www.journals.uchicago.edu\/doi\/abs\/10.1086\/429942\" rel=\"nofollow\">URL<\/a><\/li>\n<\/ul>\n<ul>\n<li>Ucciardello, Giuseppe (2005) &#8216;Sulla tradizione del testo di Ibico&#8217;, in\u00a0<i>Lirica e Teatro in Grecia. Il Testo e la sua ricezione (Atti del II Incontro di Studi, Perugia 23-24 gennaio 2003)<\/i>, a cura di S. Grandolini. Napoli: 21-88.<\/li>\n<\/ul>\n<h3><span id=\"Anacreon\" class=\"mw-headline\">Anacreon<\/span><\/h3>\n<ul>\n<li>Achilleos, S. (2004) \u2018The\u00a0<i>Anacreontea<\/i>\u00a0and a tradition of refined male sociability\u2019 in\u00a0<i>A Pleasing Sinne: Drink and Conviviality in Seventeenth-Century England<\/i>, ed. A. Smyth. Cambridge: 21-35.<\/li>\n<\/ul>\n<ul>\n<li>Aloni, A. (2000) &#8216;Anacreonte a Atene: datazione e significato di alcune iscrizioni tiranniche&#8217;,\u00a0<i>ZPE<\/i>\u00a0130: 81-94.<\/li>\n<\/ul>\n<ul>\n<li>Bernsdorff, H. (2011). Notes on P. Oxy. 3722 (Commentary on Anacreon). Zeitschrift f\u00fcr Papyrologie und Epigraphik, 29-34.<\/li>\n<\/ul>\n<ul>\n<li>Braghetti, G. A. (2001) &#8216;L&#8217;interpretazione dell&#8217; &#8220;io&#8221; nella lirica arcaica: alcuni esempi anacreontei&#8217;, in\u00a0<i>I lirici greci: forme della comunicazione e storia del testo<\/i>, eds. M. Cannat\u00e0 Fera and G. B. D&#8217;Alessio. Messina: 135-40.<\/li>\n<\/ul>\n<ul>\n<li>Brown, M. (1999) \u2018Passion and love: Anacreontic song and the roots of Romantic lyric\u2019,\u00a0<i>English Literary History<\/i>\u00a066: 373\u2013404.<\/li>\n<\/ul>\n<ul>\n<li>Budelmann, Felix (2009) &#8216;Anacreon and the Anacreontea&#8217; in\u00a0<i>The Cambridge companion to Greek lyric<\/i>, Budelmann, Felix (ed.). Cambridge: 227-39.<\/li>\n<\/ul>\n<ul>\n<li>Campbell, D. A. (1990) \u2018Herrick to Anacreon\u2019, in\u00a0<i>Cabinet of the Muses: Essays on Classical and Comparative Literature in Honor of Thomas G. Rosenmeyer<\/i>, ed. M. Griffith and D. J. Mastronarde. Atlanta, Ga.: 333\u201341.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Iannucci, A. (1999) &#8216;Callimaco, Anacreonte e il \u2018bere vino\u2019 (Callim. Aet. fr. 178,11 s. Pf.; Anacr. fr. 56 Gent. = 2 W.)&#8217;,\u00a0<i>Quaderni del Dipartimento di Filologia, Linguistica e Tradizione Classica di Torino<\/i>\u00a012: 131-140.<\/li>\n<\/ul>\n<ul>\n<li>Kantzios, Ippokratis (2005) &#8216;Tyranny and the Symposion of Anacreon&#8217;,\u00a0<i>Classical Journal<\/i>\u00a0100: 227-45.<\/li>\n<\/ul>\n<ul>\n<li>Ladianou, Katerina (2005) &#8216;The Poetics of Choreia: Imitation and Dance in the\u00a0<i>Anacreontea<\/i>\u00a0&#8216;,\u00a0<i>Quaderni Urbinati di Cultura Classica<\/i>\u00a080: 47-60.<\/li>\n<\/ul>\n<ul>\n<li>Lenz, L. (1994) \u2018Zwei Flaneure: Anakreon 54 D (=388 PMG) und Horaz\u2019 4. Epode\u2019,\u00a0<i>Gymnasium<\/i>\u00a0101: 483\u2013501.<\/li>\n<\/ul>\n<ul>\n<li>Mason, T. (1990) \u2018Abraham Cowley and the wisdom of Anacreon\u2019,\u00a0<i>The Cambridge Quarterly<\/i>\u00a019: 103\u201337.<\/li>\n<\/ul>\n<ul>\n<li>Molfino, M. (1998) \u2018Lusit Anacreon. Esegesi anacreontea antica in P.Oxy. 3722\u2019,<i>Maia<\/i>\u00a050: 317\u201328.<\/li>\n<\/ul>\n<ul>\n<li>O\u2019Brien, J. (1995)\u00a0<i>Anacreon Redivivus: A Study of Anacreontic Translation in Midsixteenth-century France<\/i>. Ann Arbor.<\/li>\n<\/ul>\n<ul>\n<li>Pelliccia, H. (1991) \u2018Anacreon 13 (358 PMG)\u2019,\u00a0<i>CPh<\/i>\u00a086: 30\u20136.<\/li>\n<\/ul>\n<ul>\n<li>Pfeijffer, I. L. (2000) \u2018Playing ball with Homer: an interpretation of Anacreon 358 PMG\u2019,\u00a0<i>Mnemosyne<\/i>\u00a053: 164\u201384.<\/li>\n<\/ul>\n<ul>\n<li>Price, S. D. (1990) \u2018Ancreontic vases reconsidered\u2019,\u00a0<i>GRBS<\/i>\u00a031: 133\u201375.<\/li>\n<\/ul>\n<ul>\n<li>Puppini, P. (1991) \u2018Espressioni mimiche a simposio\u2019, in\u00a0<i>Oin\u0113ra teuch\u0113: studi triestini di poesia conviviale<\/i>, ed. K. Fabian et al. Alessandria: 57\u201371.<\/li>\n<\/ul>\n<ul>\n<li>Ridgway, B. S. (1998) \u2018An issue of methodology: Anakreon, Perikles, Xanthippos\u2019,\u00a0<i>AJA<\/i>\u00a0102: 717\u201338.<\/li>\n<\/ul>\n<ul>\n<li>Rosenmeyer, P. A. (1992)\u00a0<i>The Poetics of Imitation: Anacreon and the Anacreontic Tradition<\/i>. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Rosenmeyer, P. A. (2002) \u2018The Greek Anacreontics and sixteenth-century French lyric poetry\u2019, in\u00a0<i>The Classical Heritage in France<\/i>, ed. G. Sandy. Leiden: 393\u2013424.<\/li>\n<\/ul>\n<ul>\n<li>Roth, M. (2000) \u2018\u201cAnacreon\u201d and drink poetry; or, the art of feeling very very good\u2019,\u00a0<i>Texas Studies in Literature and Language<\/i>, 42: 314\u201345.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1978) &#8216;Anacreon&#8217;s two meadows&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a030: 38.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1998) &#8216;Hoge en lage lyriek in de zesde eeuw: II Anakreon&#8217;,\u00a0<i>Hermeneus<\/i>\u00a070: 247-253. In Dutch.<\/li>\n<\/ul>\n<ul>\n<li>Steinr\u00fcck, M. (1995) &#8216;Lautechos bei Anacreon&#8217;, in\u00a0<i>Lo spettacolo delle voci<\/i>, eds. F. De Martino A.H. Sommerstein. Bari: 173-192.<\/li>\n<\/ul>\n<ul>\n<li>Vetta, M. (1998) \u2018Anacreonte e i cospiratori di Samo (fr. 21 G.)\u2019,\u00a0<i>RCCM<\/i>\u00a040: 321\u20137.<\/li>\n<\/ul>\n<ul>\n<li>Vox, O. (1990)\u00a0<i>Studi Anacreontei<\/i>. Bari.<\/li>\n<\/ul>\n<ul>\n<li>Williamson, M. (1998) \u2018Eros the blacksmith: performing masculinity in Anakreon\u2019s love lyrics\u2019, in\u00a0<i>Thinking Men: Masculinity and its Self-Representation in the Classical Tradition<\/i>, ed. L. Foxhall and J. Salmon. London: 71\u201382.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, Dimitrios (2007)\u00a0<i>Sappho In The Making: The Early Reception<\/i>. Cambridge, MA.<\/li>\n<\/ul>\n<h3><span id=\"Simonides\" class=\"mw-headline\">Simonides<\/span><\/h3>\n<ul>\n<li>Aloni, A. (1994) &#8216;L\u2019elegia di Simonide dedicate alla battaglia di Platea (Sim. frr. 10-18 W2 ) e l\u2019occasione della sua performance&#8217;,\u00a0<i>ZPE<\/i>\u00a0102 (1994) 9-22. In English as: &#8216;The proem of Simonides\u2019 Plataea elegy and the circumstances of its performance&#8217;, in Boedeker and Sider (2001), pp. 86-105.<\/li>\n<\/ul>\n<ul>\n<li>Aloni, A. (2006) \u2018A proposito di Simon. fr. 22 W2 e Ael. Aristid. 31,2 K.\u2019,\u00a0<i>Eikasmos<\/i>\u00a017: 69-73.<\/li>\n<\/ul>\n<ul>\n<li>Andreoli, Francesca (2005)\u00a0<i>Per un riesame critico del &#8216;nuovo Simonide&#8217; elegiaco<\/i>. Parma.\u00a0<a class=\"external text\" href=\"https:\/\/dspace-unipr.cilea.it\/bitstream\/1889\/406\/7\/simonide.pdf\" rel=\"nofollow\">PDF<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Angeli Bernardini, P. (1969) &#8216;Simonide: Rassegna critica delle edizioni, traduzioni e studi dal 1949 al 1968 (1969&#8217;),\u00a0<i>QUCC<\/i>\u00a08 (1969) 140-68.<\/li>\n<\/ul>\n<ul>\n<li>Argentieri, L. (1988) \u2018Epigrammi e libro: Morfologia delle raccolte epigrammatiche premeleagree\u2019,\u00a0<i>ZPE<\/i>\u00a0121: 1 20.<\/li>\n<\/ul>\n<ul>\n<li>Arrighetti, G. (2007) \u2018La \u1f10\u03c0\u03ce\u03bd\u03c5\u03bc\u03bf\u03c2 \u1f21\u03bc\u03b9\u03b8\u03ad\u03c9\u03bd \u03b3\u03b5\u03bd\u03b5\u03ae di Simonide, fr. 11, 16-18 W2\u2019.\u00a0<i>Eikasmos<\/i>\u00a018: 89-98.<\/li>\n<\/ul>\n<ul>\n<li>Arroyo, A. M. (2010) \u2018Simonide e Teognide: i contesti eroici dell\u2019elegia classica\u2019, in E. Bona and M. Curnis (eds.), Linguaggi del potere, poteri del linguaggio = Langages du pouvoir, pouvoirs du langage (Alessandria): 97-106.<\/li>\n<\/ul>\n<ul>\n<li>Barchiesi, A. (1996) \u2018Poetry, praise, and patronage: Simonides in the fourth book of Horace\u2019s Odes\u2019,\u00a0<i>ClAnt<\/i>\u00a015: 5-47.<\/li>\n<\/ul>\n<ul>\n<li>Barchiesi, A. (1995) \u2018Simonide e Orazio sulla morte di Achille\u2019,\u00a0<i>ZPE<\/i>\u00a0104: 33-8.<\/li>\n<\/ul>\n<ul>\n<li>Barigazzi, A. (1963). \u2018Nuovi frammenti delle elegie di Simonide (Ox.Pap. 2327)\u2019, MH 20: 61-76.<\/li>\n<\/ul>\n<ul>\n<li>Barrig\u00f3n Fuentes, C. (2002). L\u2019a expresi\u00f3n del sentimiento amoroso en Sim\u00f3nides\u2019.\u00a0<i>Humanitas<\/i>\u00a0(Coimbra) 54: 9-33.<\/li>\n<\/ul>\n<ul>\n<li>Barrig\u00f3n Fuentes, C. (2007). \u2018Sim\u00f3nides de Ceos y su concepci\u00f3n po\u00e9tica\u2019, in E. Su\u00e1rez De La Torre (ed.),\u00a0<i>Teor\u00eda y Pr\u00e1ctica de la Composici\u00f3n Po\u00e9tica en el Mundo Antiguo e su Pervivencia<\/i>\u00a0(Valladolid).<\/li>\n<\/ul>\n<ul>\n<li>Bartol, K. (1993)\u00a0<i>Greek Elegy and Iambus: Studies in Ancient Literary Sources<\/i>. Uniwersytet im. Adama Mickiewicza w Poznaniu.<\/li>\n<\/ul>\n<ul>\n<li>Bartol, K. (1998) &#8216;Schnee beim Gelage zu Simonides,\u00a0<i>Eleg<\/i>. 25 W.2&#8242;,\u00a0<i>Eos<\/i>\u00a085: 185-188.<\/li>\n<\/ul>\n<ul>\n<li>Bartol, K. (1999) &#8216;Between Loyalty and Treachery. P. Oxy. 2327 fr. 1+ 2(a) col. I = Simonides 21 West2 &#8211; Some Reconsiderations&#8217;,\u00a0<i>ZPE<\/i>\u00a0126: 26-28.<\/li>\n<\/ul>\n<ul>\n<li>Bearzot, Cinzia. (1997). \u2018P.Oxy. 3965: Considerazioni sulla data e sull\u2019ispirazione dell\u2019elegia di Simonide per la battaglia di Platea\u2019, in B. Kramer et al. (eds.),\u00a0<i>Akten des 21. Internationalen Papyrologenkongresses<\/i>, Berlin, 13.-19. 8. 1995 (Stuttgart): 71-9.<\/li>\n<\/ul>\n<ul>\n<li>Bell, J. M. (1978) \u2018\u039a\u03af\u03bc\u03b2\u03b9\u03be \u03ba\u03b1\u1f76 \u03c3\u03bf\u03c6\u03cc\u03c2: Simonides in the anecdotal tradition\u2019,\u00a0<i>QUCC<\/i>\u00a028: 29\u201386.<\/li>\n<\/ul>\n<ul>\n<li>Benelli, L. (2013) &#8216;P. Oxy. XXV 2434 Fr. 5\u20136&#8217;, APF 59.2: 298-300.<\/li>\n<\/ul>\n<ul>\n<li>Bernsdorff, H. (1996) &#8216;Zu Simonides Fr. 22 West2&#8217;,\u00a0<i>ZPE<\/i>\u00a0114: 24-26.<\/li>\n<\/ul>\n<ul>\n<li>Boedeker, D. (1995) &#8216;Simonides on Plataea: Narrative Elegy, Mythodic History&#8217;\u00a0<i>ZPE<\/i>\u00a0107: 217-229.<\/li>\n<\/ul>\n<ul>\n<li>Boedeker, D. (1998) &#8216;The New Simonides and Heroization at Plataia&#8217; in\u00a0<i>Archaic Greece: New Approaches and New Evidence<\/i>, eds. Nick Fisher and Hans van Wees. Cardiff and London: 231-249.<\/li>\n<\/ul>\n<ul>\n<li>Boedeker, D. (2007). \u2018The View from Eleusis Demeter in the Persian Wars\u2019, in E. Bridges, E. Hall, and P. J. Rhodes (eds.), Cultural Responses to the Persian Wars: Antiquity to the Third Millennium (New York): 65-80.<\/li>\n<\/ul>\n<ul>\n<li>Boedeker, D. and Sider, D. (eds.) (2001)\u00a0<i>The New Simonides: Contexts of Praise and Desire<\/i>. Oxford.\n<ul>\n<li>Contents:\u00a0<b>Part I<\/b>\u00a0Fragments 1-22 W\u00b2\u00a0: text, apparatus criticus, and translation &#8211; David Sider\u00a0<b>Part II<\/b>\u00a01. The new Simonides\u00a0: toward a commentary &#8211; Ian Rutherford 2. &#8220;These fragments we have shored against our ruin&#8221; &#8211; Peter Parsons 3. The genre of Plataea\u00a0: generic unity in the new Simonides &#8211; Dirk Obbink 4. The proem of Simonides&#8217; Plataea elegy and the circumstances of its performance &#8211; Antonio Aloni 5. A bard of the Iron Age and his auxiliary muse &#8211; Eva Stehle 6. Heroic historiography\u00a0: Simonides and Herodotus on Plataea &#8211; Deborah Boedeker 7. Epic and epiphanies\u00a0: Herodotus and the &#8220;new Simonides&#8221; &#8211; Simon Hornblower 8. Paths to heroization at Plataea &#8211; Deborah Boedeker 9. Lords of Hellas, old men of the sea\u00a0: the occasion of Simonides&#8217; elegy on Plataea &#8211; P.-J. Shaw 10. The new Simonides and Homer&#8217;s Hemitheoi &#8211; Jenny Strauss Clay 11. Utopian and erotic fusion in a new elegy by Simonides &#8211; Sarah Mace 12. To sing or to mourn? A reappraisal of Simonides 22 W\u00b2 &#8211; Dimitrios Yatromanolakis 13. &#8220;New Simonides&#8221; or old Semonides? Second thoughts on POxy 3965 fr. 26 &#8211; Thomas K. Hubbard 14. Heroes, descendants of Hemitheoi\u00a0: the proemium of Theocritus and Simonides 11 W\u00b2 &#8211; Marco Fantuzzi 15. The poet unleaved\u00a0: Simonides and Callimachus &#8211; Richard Hunter 16. Simonides and Horace on the death of Achilles &#8211; Alessandro Barchiesi 17. Simonides and Horace &#8211; Stephen Harrison 18. &#8220;As is the generation of leaves&#8221; in Homer, Simonides, Horace, and Stobaeus &#8211; David Sider<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Bravi, Luigi (ed.) (2006)\u00a0<i>Gli epigrammi di Simonide e le vie della tradizione. Filologia e critica<\/i>\u00a094. Roma: Edizioni dell&#8217;Ateneo. Reviewed by Sider, David (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-02-47.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.02.47<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Bravi, Luigi. (2005). \u2018Gli epigrammi di Simonide e il P.Mil.Vogl. VIII 309\u2019, in M. Di Marco et al., eds. Posidippo e gli altri: Il poeta, il genere, il contesto culture e letterario. Pisa\/Rome: pp. 1-7.<\/li>\n<\/ul>\n<ul>\n<li>Bremer, J.M. (1991) &#8216;Poets and their patrons&#8217;, in\u00a0<i>Fragmenta Dramatica<\/i>, eds. A. Harder and H. Hofmann. G\u00f6ttingen: 39-60. In this paper a substantial section on Simonides and Pindar.<\/li>\n<\/ul>\n<ul>\n<li>Bremmer, J. (2006). \u2018The rise of the hero cult and the new Simonides\u2019, ZPE 158: 15-26.<\/li>\n<\/ul>\n<ul>\n<li>Brillante, C. (2000) &#8216;Simonide, fr. Eleg. 22 West2&#8217;,\u00a0<i>QUCC<\/i>\u00a064: 29-38.<\/li>\n<\/ul>\n<ul>\n<li>Burzacchini, G. (1995). \u2018Note al nuovo Simonide\u2019, Eikasmos 6: 21-35.<\/li>\n<\/ul>\n<ul>\n<li>Campbell, D.A. (ed.) (1991)\u00a0<i>Greek Lyric III: Stesichorus, Ibycus, Simonides, and Others<\/i>. Cambridge MA and London.<\/li>\n<\/ul>\n<ul>\n<li>Capra, A. (2001) \u2018\u201cAddio, Achille\u201d, o il commiato dell\u2019epos (Simon. fr. 11,13\u201321 W.2)\u2019,\u00a0<i>Eikasmos 12<\/i>: 43\u201354.<\/li>\n<\/ul>\n<ul>\n<li>Capra, A. (2004) \u2018Simonide e le corone di Omero\u2019, in\u00a0<i>Momenti della ricezione omerica: Poesia arcaica e teatro<\/i>, ed. G. Zanetto et al. (Quaderni di Acme 67). Milan: 101\u201326.<\/li>\n<\/ul>\n<ul>\n<li>Capra, A.and M. Curti (1995). \u2018Semidei simonidei: Note sull\u2019elegia di Simonide per la battaglia di Platea (P.Oxy. 3965 frr. 1-2 + 2327 fr. 6 + 27 col. i)\u2019,\u00a0<i>ZPE<\/i>\u00a0104: 27-32.<\/li>\n<\/ul>\n<ul>\n<li>Cassio, A. C. (1994). \u2018I distici del polyandrion di Ambracia e l\u1fbf \u2018io anonimo\u2019 nell\u1fbfepigramma greco\u2019,\u00a0<i>SMEA<\/i>\u00a033: 101-17.<\/li>\n<\/ul>\n<ul>\n<li>Cataudella, Q. ,\u2019L\u2019elegia di Semonide e l\u2019ode di Orazio IV 7\u2019,\u00a0<i>Boll. di Filol. class.<\/i>\u00a01929) 229-32; repr. in id.\u00a0<i>Intorno ai lirici greci<\/i>\u00a0(Rome 1972) 16-20.<\/li>\n<\/ul>\n<ul>\n<li>Catenacci, C. (2000). \u2018L\u2019eros impossibile e ruoli omoerotici (Simonide fr. 21 West2)\u2019,\u00a0<i>QUCC<\/i>\u00a066: 57-67.<\/li>\n<\/ul>\n<ul>\n<li>Catenacci, C.. (2001). \u2018Simonide e i Corinzi nella battaglia di Platea (Plut. De Herodt. malign. 872D-E = Simon. frr.15-16 West)\u2019,\u00a0<i>QUCC<\/i>\u00a067: 117-31.<\/li>\n<\/ul>\n<ul>\n<li>Catenacci, C.. (2002). \u2018Simonide, fr. 11, 17 W2: (elegia per la battaglia di Platea)\u2019, in M. S. Celentano (ed.),\u00a0<i>\u03a4\u03ad\u03c1\u03c8\u03b9\u03c2: In ricordo di Maria Laetitia Coletti<\/i>\u00a0(Alessandria), pp. 29-33.<\/li>\n<\/ul>\n<ul>\n<li>Demos, M. (1999)\u00a0<i>Lyric Quotation in Plato<\/i>. Lanham, Md. [Simonides, Pindar, Stesichorus]<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alfonso, F. (2003). \u2018Il ringiovanimento nelle terre dell&#8217;utopia: (Simonides 22 W.2 = P.Oxy. 2327 fr. 3 + 2a col. II + b + 4 + P.Oxy. 3965 fr. 27)\u2019,\u00a0<i>Riv.Cultura Class.Med<\/i>. 1: 7-32.<\/li>\n<\/ul>\n<ul>\n<li>Danielewicz, J. (1994). \u2018Nowo odkryte elegie Simonidesa\u2019,\u00a0<i>Meander<\/i>\u00a049: 211-18.<\/li>\n<\/ul>\n<ul>\n<li>Erbse, H. (1998). \u2018Zu den Epigrammen des Simonides\u2019.\u00a0<i>RhM<\/i>\u00a0141: 213 30.<\/li>\n<\/ul>\n<ul>\n<li>Fantuzzi, M. (1998). \u2018Il proemio di Theocr. 17 e Simon. IEG2 W: Eroi, discendenti di semidei\u2019,\u00a0<i>Prometheus<\/i>\u00a024: 97-110.<\/li>\n<\/ul>\n<ul>\n<li>Flower, M. A. (2000) \u2018From Simonides to Isocrates: the fifth-century origins of fourth century panhellenism\u2019,\u00a0<i>ClAnt<\/i>\u00a019: 65\u2013101.<\/li>\n<\/ul>\n<ul>\n<li>Grethlein, J. (2010).\u00a0<i>The Greeks and Their Past: Poetry, Oratory and History in the Fifth Century BCE.<\/i>\u00a0(Cambridge). Ch. 3, \u2018Elegy: The \u2018New Simonides\u2019 and earlier elegies\u2019, pp. 47-73.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G.O. (ed.) (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>\u00a0Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Hunter, R. (1993). \u2018One party or two?: Simonides 22 West2\u2019,\u00a0<i>\u0396P\u0395<\/i>\u00a099: 11-14.<\/li>\n<\/ul>\n<ul>\n<li>Kowerski, L.M. (2005)\u00a0<i>Simonides on the Persian Wars: A Study of the Elegiac Verses of the \u2018New Simonides\u2019<\/i>. New York and London.<\/li>\n<\/ul>\n<ul>\n<li>Mace, S. (2001) &#8216;Utopian and erotic fusion in a new elegy by Simonides (22 West2)&#8217;, in\u00a0<i>The New Simonides: Contexts of Praise and Desire<\/i>, ed. D. Boedeker and D. Sider. New York and Oxford: 185\u2013207.<\/li>\n<\/ul>\n<ul>\n<li>Mayer, P\u00e9ter (2007) &#8216;\u00dcberlegungen zum Vortragskontext und zur Aussage der &#8216;Plataia-Elegie&#8217; des Simonides (frr. 10-18 W2)&#8217;,\u00a0<i>Hermes<\/i>\u00a0135: 373-388.<\/li>\n<\/ul>\n<ul>\n<li>Molyneux, J.H. (1992)\u00a0<i>Simonides: A Historical Study<\/i>. Wauconda.<\/li>\n<\/ul>\n<ul>\n<li>Most, G.W. (1994) \u2018Simonides\u2019 ode to Scopas in contexts\u2019, in\u00a0<i>Modern Critical Theory and Classical Literature<\/i>, ed. I. J. F. de Jong and J. P. Sullivan. Leiden: 127\u201352.<\/li>\n<\/ul>\n<ul>\n<li>Nobili,, C. (2012) &#8216;Un epinicio di Simonide per gli Spartani (Simonide frr. 34 e 76 Poltera = 519 fr. 132 PMG\/S 319 e S 363 SLG)&#8217;, in M.P. Bologna, M. Ornaghi (eds.),\u00a0<i>Novissima studia. Dieci anni di antichistica milanese. Atti dei seminari di dipartimento 2011<\/i>, Milan: 151-180.<\/li>\n<\/ul>\n<ul>\n<li>Obbink, D. (1996) &#8216;The Hymnic structure of the New Simonides&#8217;,\u00a0<i>Arethusa<\/i>\u00a029: 193-204.<\/li>\n<\/ul>\n<ul>\n<li>O\u2019 Hara, J. (1998) &#8216;Venus or the Muse as &#8216;ally&#8217; (Lucr. 1.24, Simon. frag. Eleg. 11.20-22 W)&#8217;,\u00a0<i>CP<\/i>\u00a093: 69-74.<\/li>\n<\/ul>\n<ul>\n<li>Parsons, P.J. (1992) \u20183965: Simonides, Elegies\u2019, in\u00a0<i>Oxyrhynchus Papyri<\/i>\u00a059: 4\u201350.<\/li>\n<\/ul>\n<ul>\n<li>Petrovic, A. (2002) &#8216;Der simonideische makros logos und die sophokleische\u00a0<i>Antigone<\/i>. Zur Identifizierung einer alten dramatischen Gestaltungsweise&#8217;,\u00a0<i>Phaos Revista de Estudos Classicos<\/i>\u00a02: 121-131.<\/li>\n<\/ul>\n<ul>\n<li>Petrovic, A. (2007)\u00a0<i>Kommentar zu den simonideischen Versinschriften<\/i>. Leiden-Boston: Brill.<\/li>\n<\/ul>\n<ul>\n<li>Poltera, O. (1997)\u00a0<i>Le langage de Simonide. \u00c9tude sur la tradition po\u00e9tique et son renouvellement<\/i>. Bern.<\/li>\n<\/ul>\n<ul>\n<li>Poltera, O. (ed.) (2008)\u00a0<i>Simonides lyricus. Testimonia und Fragmente. Einleitung, kritische Ausgabe, \u00dcbersetzung und Kommentar<\/i>. Basel.<\/li>\n<\/ul>\n<ul>\n<li>Rawles, R. (2005) &#8216;Simonides and a new papyrus in Princeton&#8217;,\u00a0<i>ZPE<\/i>\u00a0153: 59-67. This article is an edition of P. Princeton inv. AM87-59A with comment. The papyrus contains a Simonides testimonium.<\/li>\n<\/ul>\n<ul>\n<li>Rawles, R. (2008) &#8216;Simonides and Theocritus 4: intertextual readings&#8217;,\u00a0<i>MD<\/i>\u00a059: 9-34.<\/li>\n<\/ul>\n<ul>\n<li>Rawles, R. (2008) &#8216;Simonides fr.11.14 W: &#8220;Close-fighting Danaans&#8221;&#8216;,\u00a0<i>Mnemosyne<\/i>\u00a061.3: 459-66.<\/li>\n<\/ul>\n<ul>\n<li>Rawles, R. (2008) &#8216;Simonides and Theocritus 4: intertextual readings.&#8217;\u00a0<i>Materiali e discussioni per l\u2019analisi dei testi classici.<\/i>\u00a059, 9-34.<\/li>\n<\/ul>\n<ul>\n<li>Rawles, R. (2013) &#8216;Aristophanes\u2019 Simonides: Lyric Models for Praise and Blame.&#8217; in:\u00a0<i>Greek Comedy and the Discourse of Genres<\/i>, E. Bakola, L. Prauscello and M. Telo eds. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Robbins, E. (1997) \u2018Public poetry\u2019, in\u00a0<i>A Companion to the Greek Lyric Poets<\/i>, ed. D. E. Gerber. Leiden: 223\u201342.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1990) &#8216;Paeans by Simonides&#8217;,\u00a0<i>HSCP<\/i>\u00a093: 169-209.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1996) &#8216;The New Simonides: towards a commentary&#8217;,\u00a0<i>Arethusa<\/i>\u00a029: 167-192.<\/li>\n<\/ul>\n<ul>\n<li>Schachter, A. (1998) &#8216;Simonides\u2019 Elegy on Plataia: the occasion of its performance&#8217;,\u00a0<i>ZPE<\/i>\u00a0123: 25-30.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (2003) &#8216;De nieuwe Simonides&#8217;,\u00a0<i>Lampas<\/i>\u00a036: 243-260. In Dutch.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1998) &#8216;El adjetivo \u1f10\u03c0\u03ce\u03bd\u03c5\u03bc\u03bf\u03c2 en la eleg\u00eda por la batalla de Platea de Sim\u00f3nides (Fr. 11.17 West2)&#8217;,\u00a0<i>Lexis<\/i>\u00a016: 29-32.<\/li>\n<\/ul>\n<ul>\n<li>Wiater, N. (2005) &#8216;Eine poetologische Deutung des \u03c3\u03b7\u03ba\u03cc\u03c2 in Simonides Fr. 531 PMG&#8217;,\u00a0<i>Hermes<\/i>\u00a0133\/1: 44-55.<\/li>\n<\/ul>\n<ul>\n<li>Yatromanolakis, D. (1998) &#8216;Simonides fr. eleg. 22 W2: To Sing or to Mourn?&#8217;,\u00a0<i>Zeitschrift fuer Papyrologie und Epigraphik<\/i>\u00a0120: 1-11 (reprinted in (2002)\u00a0<i>Greek Literature. Vol. 3. Greek Literature in the Archaic Period: The Emergence of Authorship<\/i>, ed. G. Nagy. New York\/London).<\/li>\n<\/ul>\n<h3><span id=\"Pindar\" class=\"mw-headline\">Pindar<\/span><\/h3>\n<p>Cf. the\u00a0<a class=\"external text\" href=\"http:\/\/sites.google.com\/site\/hellenisticbibliography\/pre-hellenistic\/pindar\" rel=\"nofollow\">bibliography on Pindar<\/a>\u00a0compiled by Martine Cuypers that forms part of a\u00a0<a class=\"external text\" href=\"http:\/\/sites.google.com\/site\/hellenisticbibliography\/\" rel=\"nofollow\">Hellenistic Bibliography<\/a>\u00a0and the bibliography compiled by G. Tsatsani of the University of Crete:\u00a0<a class=\"internal\" title=\"TSATSANI-Bibliography in Pindar's Odes.pdf\" href=\"http:\/\/greeksong.ruhosting.nl\/images\/9\/94\/TSATSANI-Bibliography_in_Pindar%27s_Odes.pdf\">Media:TSATSANI-Bibliography_in_Pindar&#8217;s_Odes.pdf\u200e<\/a>.<\/p>\n<ul>\n<li>Agocs, P. (2009) &#8216;Memory and Forgetting in Pindar&#8217;s Seventh Isthmian&#8217; in\u00a0<i>Strategies of Remembrance from Pindar to H\u00f6lderlin<\/i>, ed. Lucie Dolezalova. Cambridge Scholars&#8217; Press: Newcastle: 33-91.<\/li>\n<\/ul>\n<ul>\n<li>Agocs, P. &amp; Carey, C. &amp; Rawles, R. (ed.) (2012)\u00a0<i>Reading the Victory Ode<\/i>. Cambridge.\u00a0<a class=\"external text\" href=\"http:\/\/greeksong.ruhosting.nl\/images\/7\/7b\/Ag%C3%B3cs_victory_ode_toc.pdf\" rel=\"nofollow\">Table of Contents<\/a><\/li>\n<\/ul>\n<ul>\n<li>Anzai, M. (1990) \u2018The first person in the epinicion\u2019,\u00a0<i>JCS<\/i>\u00a038: 16-29.<\/li>\n<\/ul>\n<ul>\n<li>Anzai, M. (1994) \u2018First-person forms in Pindar: a re-examination\u2019,\u00a0<i>BICS<\/i>\u00a039: 141-150. This contribution to the meaning of \u2018I\u2019 in epinician poetry contains an interpretation of Pindar\u2019s\u00a0<i>Isthmian Eight<\/i>, lines 1-18 and an examination of parodoi in tragedy in order to provide indirect confirmation of the theory that an epinican chorus came marching to the place of performance.<\/li>\n<\/ul>\n<ul>\n<li>Anzai, M. (1999) \u2018A chorus who performs a poet: Pindar&#8217;s\u00a0<i>Third Nemean ode<\/i>, 1-12\u2019,\u00a0<i>Mediterraneus<\/i>\u00a022: 19-42.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (1990)\u00a0<i>Mantic Vision and Diction in Pindar\u2019s Victory Odes<\/i>. PhD thesis. Brown University.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (1997) &#8216;\u039f\u03b9 \u03ba\u03c5\u03c1\u03b7\u03bd\u03b1\u03ca\u03ba\u03bf\u03af \u03b8\u03c1\u03cd\u03bb\u03bf\u03b9 \u03c3\u03c4\u03b7\u03bd \u03bc\u03c5\u03b8\u03bf\u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c0\u03c1\u03cc\u03c4\u03b1\u03c3\u03b7 \u03c4\u03bf\u03c5 McLaug\u03a0\u03b9\u03bd\u03b4\u03ac\u03c1\u03bf\u03c5&#8217; in\u00a0<i>Acta of the First Panhellenic and International Conference on Ancient Greek Literature<\/i>, ed. J.-Th. Papademetriou. Athens: 199-233. With an extensive English summary.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2003) &#8216;Transformations of Colonial Disruption into Narrative Continuity in Pindar\u2019s Epinician Odes&#8217;,\u00a0<i>HSCP<\/i>\u00a0101: 93-128.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2003) &#8216;A Divine Audience for the Celebration of Asopichus&#8217; Victory in Pindar&#8217;s\u00a0<i>Fourteenth Olympian Ode<\/i>\u00a0&#8216; in\u00a0<i>Gestures. Essays in Ancient History, Literature and Philosophy Presented to Alan L. Boegehold on the Occasion of His Retirement and His Seventy-Fifth Birthday<\/i>, eds. G. W. Bakewell and J. P. Sickinger. Oxford: 3-15.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2004) &#8216;Deixis, Performance, and Poetics in Pindar&#8217;s\u00a0<i>First Olympian Ode<\/i>\u00a0&#8216; in\u00a0<i>Deixis in Choral Lyric<\/i>, ed. Nancy Felson.\u00a0<i>Arethusa<\/i>: 317-341.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2009) \u2018Apollo and his Oracle in Pindar\u2019s Epinicians: Poetic Representations, Politics, and Ideology\u2019 in\u00a0<i>Apolline Politics and Poetics<\/i>, L. Athanassaki, R.P. Martin, and J.F. Miller (eds.). Athens: 405-72.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2009) &#8216;Deixis, Narratology, and the Performance of Choral Lyric: On Pindar&#8217;s\u00a0<i>First Pythian Ode<\/i>\u00a0&#8216; in\u00a0<i>Narratology and Interpretation. The Content of the Form of the Ancient Texts<\/i>, eds. J. Gretlein and A. Rengakos. Berlin. 241-73.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2009)\u00a0<i>\u1f00\u03b5\u03af\u03b4\u03b5\u03c4\u03bf \u03c0\u1f70\u03bd \u03c4\u03ad\u03bc\u03b5\u03bd\u03bf\u03c2. \u039f\u03b9 \u03c7\u03bf\u03c1\u03b9\u03ba\u03ad\u03c2 \u03c0\u03b1\u03c1\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03bf \u03ba\u03bf\u03b9\u03bd\u03cc \u03c4\u03bf\u03c5\u03c2 \u03c3\u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03ca\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c0\u03c1\u03ce\u03ca\u03bc\u03b7 \u03ba\u03bb\u03b1\u03c3\u03b9\u03ba\u03ae \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf<\/i>. Herakleion. Study of choral performance contexts especially in Alcman, Pindar, and Bacchylides.\u00a0<a class=\"external text\" href=\"http:\/\/www.cup.gr\/ViewShopProduct.aspx?ProductId=279696&amp;LangId=1\" rel=\"nofollow\">More information<\/a>. Reviewed by Katerina Ladianou\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2010\/2010-09-21.html\" rel=\"nofollow\">BMCR 2010.09.21<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2010) &#8216;Giving Wings to the Aeginetan Sculptures: The Panhellenic Aspirations of Pindar&#8217;s\u00a0<i>Olympian Eight<\/i>\u00a0&#8216; in\u00a0<i>Aegina: Contexts For Choral Lyric Poetry<\/i>, ed. D. Fearn. Oxford. 257-93.\u00a0<a class=\"external text\" href=\"http:\/\/www.amazon.com\/gp\/reader\/0199546517\/ref=sib_dp_bod_toc?ie=UTF8&amp;p=S008#reader-link\" rel=\"nofollow\">Table of Contents<\/a><\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2011) &#8216;Song, politics, and cultural memory: Pindar&#8217;s Pythian 7 and the Alcmaeonid temple of Apollo&#8217; in:\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination<\/i>, eds. L. Athanassaki &amp; E.L. Bowie. Berlin\/New York: 235-68.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (2012) &#8216;Recreating the Emotional Experience of Contest and Victory Celebrations: Spectators and Celebrants in Pindar\u2019s Epinicians&#8217; in\u00a0<i>Approaches to Greek Poetry<\/i>\u00a0eds. X. Riu &amp; J. P\u00f2rtulas. Messina: 173-219.<\/li>\n<\/ul>\n<ul>\n<li>Bagordo, A. (2003) &#8216;L&#8217;omaggio letterario di un ateniese a un tebano (Aesch.\u00a0<i>Sept<\/i>. 774; Pind. fr. [dith.] 75.3 ss. Sn.-M.)&#8217; in\u00a0<i>RHYSMOS. Studi di poesia, metrica e musica greca offerti dagli allievi a Luigi Enrico Rossi per i suoi settant&#8217; anni<\/i>, ed. R. Nicolai. Roma: 205-9.<\/li>\n<\/ul>\n<ul>\n<li>Barker, A. (2003) &#8216;Lullaby for an eagle (Pindar,\u00a0<i>Pythian<\/i>\u00a01)&#8217;, in\u00a0<i>Sleep<\/i>, T. Wiedemann and K. Dowden (eds.). Nottingham Classical Literature Studies vol. 8. Bari: 107-124.<\/li>\n<\/ul>\n<ul>\n<li>Benelli, L. (2012) &#8216;Zu P. Oxy. 2451 Frr. 1-2&#8217;,\u00a0<i>RFIC<\/i>\u00a0140.1: 62-86.<\/li>\n<\/ul>\n<ul>\n<li>Benelli, L. (2013) &#8216; Anmerkungen zu einigen Papyruskommentaren zu Pindar &#8216;,\u00a0<i>Mnemosyne<\/i>\u00a066.4-5: 616-633.<\/li>\n<\/ul>\n<ul>\n<li>Berge, L. van den (2007) &#8216;Mythical chronology in the Odes of Pindar: The cases of\u00a0<i>Pythian<\/i>\u00a010 and\u00a0<i>Olympian<\/i>\u00a03&#8242; in\u00a0<i>The Language of Literature. Linguistic Approaches to Classical Texts<\/i>, eds. R.J. Allan and M. Buijs. Leiden: 29-41. Reviewed by D. K\u00f6lligan\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-01.html\" rel=\"nofollow\">BMCR 2008.07.01<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Boeke, Hanna (2007)\u00a0<i>The Value of Victory in Pindar&#8217;s Odes. Gnomai, Cosmology and the Role of the Poet<\/i>. Leiden and Boston.<i>Mnemosyne Supplementa<\/i>\u00a0285.\u00a0<a class=\"external text\" href=\"http:\/\/lccn.loc.gov\/2007046054\" rel=\"nofollow\">Table of Contents<\/a>. Reviewed by Xanthou, Maria G.\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-11-23.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.11.23<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Bona, G. (1995) &#8216;Pindaro tra poeti e filologi alessandrini&#8217;, in\u00a0<i>Atti del Congresso \u2018Poeti e Filologi, Filologi-Poeti\u2019. Composizione e studio della poesia epica e lirica nel mondo greco e romano, Brescia, Universit\u00e0 Cattolica, 26-27 aprile 1995<\/i>, eds. A. Porro and G. Milanese,\u00a0<i>Aevum(ant)<\/i>\u00a08: 87-103.<\/li>\n<\/ul>\n<ul>\n<li>Bonifazi, A. (2000) &#8216;Sull\u2019 idea di sotterfugio orale negli epinici pindarici&#8217;,\u00a0<i>Quaderni Urbinati di Cultura Classica<\/i>\u00a095: 69-86.<\/li>\n<\/ul>\n<ul>\n<li>Bonifazi, A. (2001)\u00a0<i>Mescolare un cratere di canti. Pragmatica della poesia epinicia in Pindaro<\/i>. Alessandria.<\/li>\n<\/ul>\n<ul>\n<li>Bonifazi, A. (2004) &#8216;Communication in Pindar\u2019s Deictic Acts&#8217;,\u00a0<i>Arethusa<\/i>\u00a037: 391-414.<\/li>\n<\/ul>\n<ul>\n<li>Bonifazi, A. (2004) &#8216;\u03ba\u03b5\u1fd6\u03bd\u03bf\u03c2 in Pindar: Between Grammar and Poetic Intention&#8217;,\u00a0<i>Classical Philology<\/i>\u00a099: 283-99.<\/li>\n<\/ul>\n<ul>\n<li>Bonifazi, A. (2004) &#8216;Relative Pronouns and Memory: Pindar Beyond Syntax&#8217;,\u00a0<i>Harvard Studies in Classical Philology<\/i>\u00a0102: 41-68.<\/li>\n<\/ul>\n<ul>\n<li>Braswell, B.K. (ed.) (1998)\u00a0<i>A Commentary on Pindar Nemean Nine. (Texte und Kommentare<\/i>\u00a019). Berlin and New York. Reviewed by R. Hamilton\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/1999\/1999-01-01.html\" rel=\"nofollow\">BMCR 1999.01.01<\/a><\/li>\n<\/ul>\n<ul>\n<li>Bremer, J.M. (1990) &#8216;Pindar&#8217;s paradoxical ego and a recent controversy about the performance of his epinicians&#8217;, in\u00a0<i>The Poet&#8217;s I in Archaic Greek Poetry<\/i>, ed. S.R. Slings. Amsterdam: 41-58.<\/li>\n<\/ul>\n<ul>\n<li>Bremer, J.M. (1991) &#8216;Poets and their patrons&#8217;, in\u00a0<i>Fragmenta Dramatica<\/i>, eds. A. Harder and H. Hofmann. G\u00f6ttingen: 39-60. In this paper a substantial section on Simonides and Pindar.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (intro., tard., comm.) (2014), Pindare. Olympiques, Les Belles Lettres, coll. Commentario, Paris<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (1996) &#8216;Quand Pindare dit qu&#8217;il se tait&#8230; Analyses s\u00e9mantiques et pragmatiques du silence \u00e9nonc\u00e9&#8217; in\u00a0<i>Hommage \u00e0 Jean-Pierre Weiss<\/i>, Publications de la Facult\u00e9 des Lettres de l&#8217;Universit\u00e9 de Nice: 211-239.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2001) &#8216;Quand Pindare nomme Hom\u00e8re&#8230; Th\u00e9ories du nom propre, \u00e9tymologies, intertextualit\u00e9s et \u00e9nonciation lyrique&#8217; in\u00a0<i>Fiction d&#8217;auteur? Le discours biographique sur l&#8217;auteur de l&#8217;Antiquit\u00e9 \u00e0 nos jours<\/i>, eds. S. Dubel et S. Rabau. Paris: 25-46.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2003) &#8216;Le vocabulaire de l&#8217;excellence chez Pindare&#8217;,\u00a0<i>Revue de philologie, de litt\u00e9rature et d&#8217;histoire anciennes<\/i>\u00a077.2: 203-218.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2008) &#8216;Les \u00e9pinicies de Pindare sont-elles lyriques? ou Du trouble dans les genres po\u00e9tiques anciens&#8217; in\u00a0<i>Le genre de travers: litt\u00e9rature et transg\u00e9n\u00e9ricit\u00e9<\/i>, eds. D. Moncond&#8217;huy &amp; H. Scepi. La Licorne, PU de Rennes: 21-42.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2016), \u00ab\u00a0D\u00e9pense et travail, d\u00e9vorations et d\u00e9chirures\u00a0: une face sombre de l\u2019\u00e9pinicie pindarique\u00a0\u00bb, in J. Peigney (dir.), Dossier th\u00e9matique\u00a0: d\u00e9chirer, d\u00e9vorer, d\u00e9penser, Ga\u00efa, Grenoble, p. 183-200.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2016, \u201cLight and Vision in Pindar&#8217;s Olympian Odes: Interplays of Imagination and Performance\u201d, The Look of Lyric: Greek Song and the Visual, Studies in Archaic and Classical Greek Song, Vol. 1, eds. V. Cazzato &amp; A. Lardinois, with an intr. by A.-E. Peponi, Leiden, Brill, p. 238-254 (open access:\u00a0<a class=\"external free\" href=\"http:\/\/booksandjournals.brillonline.com\/content\/books\/b9789004314849_011\" rel=\"nofollow\">http:\/\/booksandjournals.brillonline.com\/content\/books\/b9789004314849_011<\/a><\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2016), &#8221; Entre spectacle et texte: contextes, instances et proc\u00e9dures pragmatiques chez Pindare et Horace&#8221;, in B\u00e9n\u00e9dicte Delignon, Nadine Le Meur &amp; Olivier Th\u00e9venaz (\u00e9ds.), La po\u00e9sie lyrique dans la cit\u00e9 antique. Les Odes d&#8217;Horace au miroir de la lyrique grecque archa\u00efque, CEROR, Lyon, p. 192-212.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2016), \u00ab\u00a0Des sensations au sujet \u00e9thique\u00a0: la danse physico-mentale du \u03bd\u03cc\u03bf\u03c2 dans la po\u00e9sie \u00ab\u00a0lyrique\u00a0\u00bb archa\u00efque\u00a0\u00bb, in Fabio Stella (dir.), La notion d\u2019intelligence (nous \u2013 noein) dans la Gr\u00e8ce antique, De Hom\u00e8re au Platonisme, revue Methodos (textes et savoirs) 16\u00a0:\u00a0<a class=\"external free\" href=\"https:\/\/methodos.revues.org\/4361\" rel=\"nofollow\">https:\/\/methodos.revues.org\/4361<\/a><\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2013), \u00ab\u00a0Vision spectaculaire et vision imaginative dans la po\u00e9sie m\u00e9lique grecque. Le cas des \u00e9pinicies de Pindare\u00a0\u00bb, in R\u00e9gis Courtray (\u00e9d.), Pallas, num\u00e9ro Regard et repr\u00e9sentation dans l\u2019Antiquit\u00e9, 92, p. 115-131 (1.1, 3, 4)\u00a0<a class=\"external free\" href=\"https:\/\/pallas.revues.org\/173?lang=fr\" rel=\"nofollow\">https:\/\/pallas.revues.org\/173?lang=fr<\/a><\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2013), &#8220;Les paradoxes de l\u2019orateur m\u00e9lique\u00a0: les discours de Jason, Chiron, M\u00e9l\u00e9agre et d\u2019autres, chez Pindare et Bacchylide\u201c, in H\u00e9l\u00e8ne Vial (dir.), Po\u00e8tes et orateurs dans l\u2019Antiquit\u00e9. Mises en sc\u00e8ne r\u00e9ciproques, PU Blais pascal, Clermont-Ferrand, Coll. Erga 13, p. 39-56.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2011), &#8220;\u03a6\u03af\u03bb\u03bf\u03c2, \u1f10\u03c7\u03b8\u03c1\u03cc\u03c2, \u1f10\u03c1\u03b1\u03c4\u03cc\u03c2 chez Pindare\u00a0: pragmatique de l&#8217;\u00e9loge et construction des valeurs&#8221;, in Sandrine Coin-Longeray (\u00e9d.), L\u2019amour et la haine. \u00c9tudes litt\u00e9raires et lexicales, \u00c9d. Chemins de Tr@verse, Coll. Tr@boules, Univ. de Saint-\u00c9tienne, Centre Jean Palerne, p. 88-123.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2010), &#8220;Liaison po\u00e9tique, alliance rituelle\u00a0: harmonia chez Pindare&#8221;, in Pierre Gaye, Florence Malhomme, Gioia M. Rispoli, Anne Gabri\u00e8le Wersinger (dir.), L&#8217;Harmonie, entre philosophie, science et arts, de l\u2019Antiquit\u00e9 \u00e0 l\u2019\u00e2ge moderne&#8221;,. Atti della Accademia Pontaniana, n. s. vol. LIX suppl., p. 209-227.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2010), &#8220;Les \u00e9pinicies de Pindare et de Bacchylide comme rites de passage\u00a0: pragmatique et po\u00e9tique de la f\u00eate et de la fiction m\u00e9liques&#8221;, in Philippe Hameau (dir.) avec la collab. De Christian Abry et Fran\u00e7oise L\u00e9toublon, Les rites de passage. De la Gr\u00e8ce d&#8217;Hom\u00e8re \u00e0 notre XXIe si\u00e8cle, Grenoble, Mus\u00e9e Dauphinois, p. 91-100.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2011), \u00ab\u00a0\u00ab\u00a0\u00d4 mon \u00e2me, n&#8217;aspire pas \u00e0 la vie immortelle \u2026 Sur les avatars de Pindare, Pythique III, 61-62, des scholiastes anciens \u00e0 Saint-John Perse, Paul Val\u00e9ry, Albert Camus, et \u00e0 l&#8217;entour\u00a0\u00bb\u00a0\u00bb, Rursus [En ligne], 6 , mis en ligne le 01 f\u00e9vrier 2011, URL\u00a0:\u00a0<a class=\"external free\" href=\"http:\/\/rursus.revues.org\/468\" rel=\"nofollow\">http:\/\/rursus.revues.org\/468<\/a><\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2009), &#8220;La danse et la philologie\u00a0: \u00e0 partir du mouvement strophique dans les scholies anciennes \u00e0 Pindare&#8221;, S. David, C. Daude, E. Geny &amp; C. Muckensturm-Poulle (eds.), Traduire les scholies de Pindare &#8230; I De la traduction au commentaire\u00a0: probl\u00e8mes de m\u00e9thode, avec une pr\u00e9face de Cl. Calame, Dialogues d&#8217;histoire ancienne, Suppl\u00e9ment 2, PU de Franche-Comt\u00e9, 2009, 93-106.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2008) &#8216;La limite et l&#8217;envol: les fins paradoxales des \u00e9pinicies de Pindare&#8217;, in\u00a0<i>Commencer et finir.D\u00e9buts et fins dans les litt\u00e9ratures grecque, latine et n\u00e9olatine<\/i>, eds. B. Bureau &amp; C. Nicolas. Lyon: 557-572.<\/li>\n<\/ul>\n<ul>\n<li>Brix, M. (1995) \u2018Pindare en France, de Boileau \u00e0 Villemain\u2019\u00a0<i>LEC<\/i>\u00a063: 135-53.<\/li>\n<\/ul>\n<ul>\n<li>Bulman, P. (1992),\u00a0<i>Phthonos in Pindar<\/i>. Berkeley. Reviewed by M.W. Dickie\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/1993\/04.01.03.html\" rel=\"nofollow\">BMCR 04.01.03<\/a><\/li>\n<\/ul>\n<ul>\n<li>Bundy, E.L. (1986)\u00a0<i>Studia Pindarica<\/i>. Berkeley and Los Angeles.<\/li>\n<\/ul>\n<ul>\n<li>Burnett, Anne Pippin (1998) \u2018Spontaneity, savaging, and praise in Pindar&#8217;s\u00a0<i>sixth paean<\/i>\u00a0\u2019,\u00a0<i>AJPh<\/i>\u00a0119.4: 493-520.<\/li>\n<\/ul>\n<ul>\n<li>Burnett, A. P. (2005)\u00a0<i>Pindar\u2019s Songs for Young Athletes of Aegina.<\/i>\u00a0Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Cairns, F. (1977). \u2018EROS in Pindar\u2019s First Olympian Ode\u2019, Hermes 105: 129-32.<\/li>\n<\/ul>\n<ul>\n<li>Cairns, F. (1991). Some Reflections of the Ranking of the Major Games in Fifth Century B.C. Epinician Poetry: Achaia und Elis in der Antike (ed. A.D. Rizakis, Melethemata 13, Athens): 95-98.<\/li>\n<\/ul>\n<ul>\n<li>Cairns,, F. (2005). \u2018Pindar Olympian 7: Rhodes, Athens, and the Diagorids\u2019, Eikasmos 16: 63-91.<\/li>\n<\/ul>\n<ul>\n<li>Cairns,, F. (2011). \u2018Money and the Poet: The First Stasimon of Pindar Isthmian 2\u2019, Mnemosyne 64: 21-36.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1996)\u00a0<i>Mythe et histoire dans l&#8217;Antiquit\u00e9 grecque. La cr\u00e9ation symbolique d&#8217;une colonie<\/i>. Lausanne. English translation (2003)\u00a0<i>Myth and History in Ancient Greece. The Symbolic Creation of a Colony<\/i>. Princeton.<\/li>\n<\/ul>\n<ul>\n<li>Cannat\u00e0 Fera, M. (1990)\u00a0<i>Pindarus: threnorum fragmenta.<\/i>\u00a0Rome.<\/li>\n<\/ul>\n<ul>\n<li>Cannat\u00e0 Fera, M. (1992) &#8216;<i>Il Pindaro di Plutarco&#8217; (Quaderni di Messana 3)<\/i>, Messina.<\/li>\n<\/ul>\n<ul>\n<li>Carey, Christopher (1991) &#8216;The Victory Ode in Performance: The Case for the Chorus&#8217;,\u00a0<i>Classical Philology<\/i>\u00a086.3: 192-200.\u00a0<a class=\"external text\" href=\"http:\/\/links.jstor.org\/sici?sici=0009-837X%28199107%2986%3A3%3C192%3ATVOIPT%3E2.0.CO%3B2-3\" rel=\"nofollow\">URL<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Carey, Christopher (1993) \u2018Pindar\u2019s Ninth Nemean Ode\u2019 in\u00a0<i>Tria Lustra<\/i>, ed. H. Jocelyn. Liverpool: 97-107.<\/li>\n<\/ul>\n<ul>\n<li>Carey, Christopher (1995) \u2018Pindar and the victory ode\u2019 in\u00a0<i>The passionate intellect<\/i>, ed. L. Ayres. Princeton: 85-101.<\/li>\n<\/ul>\n<ul>\n<li>Carey, Christopher (2007) \u2018Pindar, place and performance\u2019 in\u00a0<i>Pindar\u2019s Poetry, Patrons, and Festivals<\/i>, eds. S. Hornblower and C. Morgan. Oxford: 199-210.<\/li>\n<\/ul>\n<ul>\n<li>Clay, Jenny S. (2011), &#8216;Olympians 1\u20133: A song cycle?&#8217; in: Athanassaki, Lucia &amp; Bowie, Ewen (2011) (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>\u00a0Berlin\/New York: 337-47.<\/li>\n<\/ul>\n<ul>\n<li>Currie, B. (2004) \u2018Reperformance scenarios for Pindar\u2019s odes\u2019, in\u00a0<i>Oral Performance and Its Context<\/i>, ed. C. J. Mackie. (Mnemosyne Supplement 248). Leiden and Boston: 49\u201369.<\/li>\n<\/ul>\n<ul>\n<li>Currie, B. (2005)\u00a0<i>Pindar and the Cult of Heroes<\/i>. Oxford and New York.<\/li>\n<\/ul>\n<ul>\n<li>Currie, B. (2011), &#8216;Epinician choregia: funding a Pindaric chorus&#8217;, in: Athanassaki, Lucia &amp; Bowie, Ewen (2011) (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>Berlin\/New York: 269-310.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, G. B. (1992) \u2018Pindaro, peana VIIb (fr. 52h Sn.-M.)\u2019, in\u00a0<i>Proceedings of the XIX International Congress of Papyrology<\/i>, Cairo: vol. 1: 353-73.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, G. B. (1994) \u2018First-person problems in Pindar\u2019,\u00a0<i>BICS<\/i>\u00a039: 117\u201339.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, G. B. (1995) \u2018Una via lontana dal cammino degli uomini (Parm. frr. 1+6 D.-K.; Pind. Ol. VI 22\u201327; pae. VIIb 10\u201320)\u2019,\u00a0<i>SIFC<\/i>\u00a03rd series 13: 143\u201381.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, G. B. (1997) &#8216;Pindar&#8217;s prosodia and the classification of Pindaric papyrus fragments&#8217;,\u00a0<i>ZPE<\/i>\u00a0118: 23-60.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, G. B. (2001) \u2018Sulla struttura del libro dei Peani di Pindaro\u2019, in\u00a0<i>I lirici greci: forme della comunicazione e storia del testo<\/i>, ed. M. Cannat\u00e0 Fera and G. B. D\u2019Alessio. Messina: 69\u201386.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, G. B. (2004) \u2018Precisazioni su Pindaro, Paeana 7b\u2019,\u00a0<i>Prometheus<\/i>\u00a030: 23\u20136.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, G.B. (2009) \u2018Re-Constructing Pindar\u2019s\u00a0<i>First Hymn<\/i>: The Theban \u201cTheogony\u201d and the Birth of Apollo\u2019 in\u00a0<i>Apolline Politics and Poetics<\/i>, L. Athanassaki, R.P. Martin, and J.F. Miller (eds.), Athens: 129-48.<\/li>\n<\/ul>\n<ul>\n<li>Daude, C., S. David, M. Fartzoff, C. Muckensturm-Poulle (texte, trad. et comm.) (2013),\u00a0<i>Scholies \u00e0 Pindare. Vol.I Vies de Pindare et scholies \u00e0 la premi\u00e8re Olympique<\/i>, ISTA, PU de Franche-Comt\u00e9 (pr\u00e9face by M. Briand).<\/li>\n<\/ul>\n<ul>\n<li>David, S. &amp; Daude, C. &amp; Geny, E. &amp; Muckensturm-Poulle, C. (ed.) (2009)\u00a0<i>Traduire les scholies de Pindare. I. De la traduction au commentaire: probl\u00e8mes de m\u00e9thode. Dialogues d&#8217;histoire ancienne<\/i>. Franche-Comt\u00e9. Reviewed by G. Bitto\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2010\/2010-08-39.html\" rel=\"nofollow\">BMCR 2010.08.39<\/a><\/li>\n<\/ul>\n<ul>\n<li>Demos, M. (1999) Lyric Quotation in Plato. Lanham, Md. [Simonides, Pindar, Stesichorus]<\/li>\n<\/ul>\n<ul>\n<li>Di Benedetto, V. (1991) \u2018Pindaro, Pae. 7b, 11\u201314\u2019,\u00a0<i>RFIC<\/i>\u00a0119: 164\u201376.<\/li>\n<\/ul>\n<ul>\n<li>Faraone, C.A. (1993) &#8216;The Wheel, the Whip and Other Implements of Torture: Erotic Magic in Pindar\u00a0<i>Pythian<\/i>\u00a04. 213-19&#8242;,\u00a0<i>Classical Journal<\/i>\u00a088: 1-19.<\/li>\n<\/ul>\n<ul>\n<li>Faraone, C.A. (2002) &#8216;A Drink from the Daughters of Mnemosyne: Poetry, Eschatology and Memory at the End of Pindar&#8217;s\u00a0<i>Isthmian<\/i>\u00a06&#8242; in\u00a0<i>Vertis in usum: Studies in Honor of Edward Courtney<\/i>, eds. J.F. Miller, C. Damon and K.S. Myers. Munich and Leipzig.\u00a0<i>Beitr\u00e4ge zur Altertumskunde<\/i>\u00a0161: 259-70.<\/li>\n<\/ul>\n<ul>\n<li>Fearn, David W. (2009) &#8216;Oligarchic Hestia: Bacchylides 14B and Pindar, Nemean 11&#8217;,\u00a0<i>Journal of Hellenic Studies<\/i>\u00a0129: 23\u201338.<\/li>\n<\/ul>\n<ul>\n<li>Felson, N. (2009) \u2018Epinician Apollo in Story Time:\u00a0<i>Pythian<\/i>\u00a09,\u00a0<i>Olympian<\/i>\u00a06 and\u00a0<i>Pythian<\/i>\u00a03\u2019 in\u00a0<i>Apolline Politics and Poetics<\/i>, L. Athanassaki, R.P. Martin, and J.F. Miller (eds.), Athens: 149-68.<\/li>\n<\/ul>\n<ul>\n<li>Felson, N. (1999) \u2018Vicarious transport: fictive deixis in Pindar\u2019s Pythian Four\u2019,\u00a0<i>HSCPh<\/i>\u00a099: 1\u201331.<\/li>\n<\/ul>\n<ul>\n<li>Felson, N. (ed.) (2004) \u2018The poetics of deixis in Alcman, Pindar and other lyric\u2019,\u00a0<i>Arethusa<\/i>\u00a037.3: 253\u2013468.<\/li>\n<\/ul>\n<ul>\n<li>Ferrari, F. (ed.) (2008)\u00a0<i>Pindaro, Pitiche. Classici greci e latini<\/i>. Milano. Reviewed by Xanthou, Maria G. (2010)\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2010\/2010-01-40.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02010.01.40<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Ferrari, F. (2002) \u2018La carraia di Omero e la via degli dei: sul Peana VIIb di Pindaro\u2019,\u00a0<i>Seminari Romani di Cultura Greca<\/i>\u00a0V 2: 197\u2013212.<\/li>\n<\/ul>\n<ul>\n<li>Finglass, P.J. (ed.) (2007)\u00a0<i>Pindar: Pythian Eleven. Cambridge Classical Texts and Commentaries<\/i>\u00a045. Cambridge: Cambridge University Press. Reviewed by Slater, William (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-08-37.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.08.37<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Fisher, N. (2006) \u2018The pleasures of reciprocity: Charis and the Athletic Body in Pindar\u2019 in\u00a0<i>Penser et repr\u00e9senter le corps dans l\u2019antiquit\u00e9<\/i>, eds. Fr. Prost and J. Wilgaux. Presses Universitaires de Rennes: 227-46.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B.; Bernardini P. A.; Cingano E. and Giannini, P. (1995)\u00a0<i>Pindaro: Le Pitiche<\/i>. Milan.<\/li>\n<\/ul>\n<ul>\n<li>Gerber, D.E. (2002)\u00a0<i>A Commentary on Pindar Olympian Nine<\/i>. Stuttgart.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (1999) \u2018P\u00e1rphasis: concepto multiplicador en la\u00a0<i>Nemea<\/i>\u00a0VIII de P\u00edndaro\u2019,\u00a0<i>Limes<\/i>\u00a011: 57-68.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (2000) \u2018P\u00e1rphasis: concepto multiplicador en la\u00a0<i>Nemea<\/i>\u00a0VIII de P\u00edndaro\u2019, in\u00a0<i>EPIEIKEIA: Studia Graeca in memoriam Jes\u00fas Lens Tuero<\/i>, eds. Alganza Rold\u00e1n, J. M., Camacho Rojo, J. M., Fuentes Gonz\u00e1lez, P. P. and Villena Pansoda, M. Athos-Pergamos, Granada: 187-197.<\/li>\n<\/ul>\n<ul>\n<li>Hamilton, J. T. (2003)\u00a0<i>Soliciting Darkness: Pindar, Obscurity, and the Classical Tradition<\/i>. Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Harrison, S. (1995) \u2018Horace, Pindar, Iullus Antonius and Augustus: Odes 4.2\u2019, in\u00a0<i>Homage to Horace<\/i>, ed. S. Harrison. Oxford: 108\u201327.<\/li>\n<\/ul>\n<ul>\n<li>Heath, M. and Lefkowitz, M. (1991) &#8216;Epinician Performance&#8217;,\u00a0<i>CPh<\/i>\u00a086.3: 173-191.\u00a0<a class=\"external text\" href=\"http:\/\/links.jstor.org\/sici?sici=0009-837X%28199107%2986%3A3%3C173%3AEP%3E2.0.CO%3B2-9\" rel=\"nofollow\">URL<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Henry, W.B. (2005)\u00a0<i>Pindar\u2019s Nemeans: A Selection<\/i>. M\u00fcnchen. (Commentary on Nemean Odes 4, 6, 8, 10, 11).<\/li>\n<\/ul>\n<ul>\n<li>Henry, W.B. (2007) &#8216;Pindaric Accompaniments&#8217; in\u00a0<i>Hesperos. Studies in Ancient Greek Poetry presented to M.L.West on his Seventieth Birthday<\/i>, eds. P.J. Finglass, C. Collard and N.J. Richardson. Oxford: 126-31. Reviewed by J. Gibert\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-06-23.html\" rel=\"nofollow\">BMCR 2008.06.23<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Hornblower, S. (2004)\u00a0<i>Thucydides and Pindar: Historical Narrative and the World of Epinikian Poetry<\/i>. Oxford. Reviewed by B. Currie\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2006\/2006-01-36.html\" rel=\"nofollow\">BMCR 2006.01.36<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Hornblower, S. and Morgan, C. (eds.) (2007)\u00a0<i>Pindar\u2019s Poetry, Patrons and Festivals<\/i>. Oxford. Reviewed by R. Ivanov\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2007\/2007-10-45.html\" rel=\"nofollow\">BMCR 2007.10.45<\/a><\/li>\n<\/ul>\n<ul>\n<li>Hornblower, S. (2007) &#8216;\u201cDolphins in the sea\u201d (Isthmian 9. 7): Pindar and the Aiginetans&#8217; in\u00a0<i>Pindar\u2019s Poetry, Patrons and Festivals: From Archaic Greece to the Roman Empire<\/i>, ed. S. Hornblower and C. Morgan. Oxford: 287\u2013308.<\/li>\n<\/ul>\n<ul>\n<li>Hornblower, S. (2007) \u2018Victory-language in Pindar, the historians and inscriptions\u2019, in\u00a0<i>Contests and Rewards in the Homeric Epics: Proceedings of 10th International Symposium on the Odyssey, Ithaki 2004<\/i>, ed. M. Paizi-Apostolopolou, A. Rengakos and C. Tsangalis. Ithaka: 331\u20138.<\/li>\n<\/ul>\n<ul>\n<li>Hubbard, T. (2002) \u2018Pindar, Theoxenos, and the homoerotic eye\u2019,\u00a0<i>Arethusa<\/i>\u00a035: 255\u201396.<\/li>\n<\/ul>\n<ul>\n<li>Hubbard, T. (2005) \u2018Pindar\u2019s tenth Olympian and athlete-trainer paederasty\u2019,\u00a0<i>Journal of Homosexuality<\/i>\u00a049: 137\u201371.<\/li>\n<\/ul>\n<ul>\n<li>Hubbard, T. (2011), &#8216;The dissemination of Pindar\u2019s non-epinician choral lyric&#8217; in: Athanassaki, Lucia &amp; Bowie, Ewen (2011) (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>\u00a0Berlin\/New York: 347-64.<\/li>\n<\/ul>\n<ul>\n<li>Hummel, P. (1993)\u00a0<i>La syntaxe de Pindar<\/i>. Louvain.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>J\u00f8lle, J. (2003) \u2018The Pindaric challenge: Goethe\u2019s \u201cWanderers Sturmlied\u201d\u2019,\u00a0<i>Oxford German Studies<\/i>\u00a032: 53\u201385.<\/li>\n<\/ul>\n<ul>\n<li>Kantzios, I. (2003) &#8216;Pindar\u2019s Muses&#8217;,\u00a0<i>Classical Bulletin<\/i>\u00a079: 5-34.<\/li>\n<\/ul>\n<ul>\n<li>Krummen, E. (1990)\u00a0<i>Pyrsos Hymnon: Festliche Gegenwart und mythisch-rituelle Tradition als Voraussetzung einer Pindarinterpretation (Isthmie 4, Pythie 5, Olympie 1 und 3)<\/i>. Berlin. (English translation in preparation.)<\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (1988) &#8216;The Poet\u2019s Pentathlon: Genre in Pindar\u2019s First Isthmian&#8217;,\u00a0<i>Greek, Roman, and Byzantine Studies<\/i>\u00a029: 97\u2013113.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (1990) &#8216;Pindar\u2019s Sixth Pythian and the Tradition of Advice Poetry&#8217;,\u00a0<i>Transactions of the American Philological Association 120: 85\u2013107.<\/i><\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (1991)\u00a0<i>The Traffic in Praise: Pindar and the Poetics of Social Economy<\/i>. Ithaca, NY.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (1991) &#8216;Fathers and Sons: A Note on Pindaric Ambiguity&#8217;,\u00a0<i>American Journal of Philology<\/i>\u00a0112: 287\u2013300.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (1996) &#8216;Pindar and the Prostitutes, or Reading Ancient \u2018Pornography\u2019 &#8216;,\u00a0<i>Arion<\/i>\u00a03rd series, 4.2: 49\u201375. Reprinted in (1999)\u00a0<i>Constructions of the Classical Body<\/i>, ed. James I. Porter. Ann Arbor: 101\u201325.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (2005) &#8216;Choral Lyric as \u2018Ritualization\u2019: Poetic Sacrifice and Poetic Ego in Pindar\u2019s Sixth Paian&#8217;,\u00a0<i>Classical Antiquity<\/i>\u00a025.1: 81-130.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, L. (2007) &#8216;Visualizing the Choral: Poetry, Performance, and Elite Negotiation in Fifth-Century Thebes&#8217; in\u00a0<i>Visualizing the Tragic: Drama, Myth, and Ritual in Greek Art and Literature<\/i>, eds. C. Kraus et al. Oxford University Press: 63-101.<\/li>\n<\/ul>\n<ul>\n<li>Lavecchia, S. (2000)\u00a0<i>Pindari dithyramborum fragmenta<\/i>. Rome and Pisa.<\/li>\n<\/ul>\n<ul>\n<li>Lattmann, C. (2010)\u00a0<i>Das Gleiche im Verschiedenen. Metapher des Sports und Lob des Siegers in Pindars Epinikien<\/i>. Berlin.<a class=\"external text\" href=\"http:\/\/www.degruyterny.com\/cont\/fb\/at\/detail.cfm?id=IS-9783110247107-1\" rel=\"nofollow\">More information<\/a>\u00a0<a class=\"external text\" href=\"http:\/\/www.degruyterny.com\/files\/pdf\/9783110247107Inhaltsverzeichnis.pdf\" rel=\"nofollow\">Table of Contents<\/a><\/li>\n<\/ul>\n<ul>\n<li>Lateur, P. (ed.) (1999)\u00a0<i>Pindaros. Zegezangen<\/i>. Amsterdam. (Dutch translation)<\/li>\n<\/ul>\n<ul>\n<li>Lefkowitz, M.R. (1991)\u00a0<i>First person Fictions: Pindar\u2019s Poetic \u2018I\u2019\u00a0<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Lefkowitz, M.R. (1995) \u2018The first person in Pindar reconsidered \u2013 again\u2019,\u00a0<i>BICS<\/i>\u00a040: 139\u201350.<\/li>\n<\/ul>\n<ul>\n<li>Lowe, N.J. (2007) \u2018Epinikian eidography\u2019, in\u00a0<i>Pindar\u2019s Poetry, Patrons and Festivals: From Archaic Greece to the Roman Empire<\/i>, ed. S. Hornblower and C. Morgan. Oxford: 167\u201376.<\/li>\n<\/ul>\n<ul>\n<li>Lundahl, K. (2008)\u00a0<i>Les banquets chez Pindare<\/i>. Ph.D. diss. University of Gothenburg.<\/li>\n<\/ul>\n<ul>\n<li>MacLachlan, B. (2007) &#8216;Epinician swearing&#8217; in\u00a0<i>Horkos. The Oath in Greek Society<\/i>, eds. A. Sommerstein, J. Fletcher. Exeter: 91-101. Reviewed by D.L. Kellogg\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-08-55.html\" rel=\"nofollow\">BMCR 2008.08.55<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Mackie, H. (2003)\u00a0<i>Graceful Errors: Pindar and the Performance of Praise<\/i>. Ann Arbor. Reviewed by F. Budelmann\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2003\/2003-12-26.html\" rel=\"nofollow\">BMCR 2003.12.26<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Maehler, H. (ed.) (1989)\u00a0<i>Pindarus<\/i>. Pars II:\u00a0<i>Fragmenta, Indices<\/i>. Leipzig: Teubner. (Text edition)<\/li>\n<\/ul>\n<ul>\n<li>Mann, C. (2000) \u2018Der Dichter und sein Auftraggeber: Die Epinikien Bakchylides\u2019 und Pindars als Tr\u00e4ger von Ideologien\u2019, in\u00a0<i>Bakchylides: 100 Jahre nach seiner Wiederentdeckung<\/i>, ed. A. Bagordo and B. Zimmermann. Munich: 29\u201346.<\/li>\n<\/ul>\n<ul>\n<li>Martin, R. (2004) &#8216;Home is the Hero: Deixis and Semantics in Pythian 8&#8217; in\u00a0<i>The Poetics of Deixis in Alcman, Pindar, and other Lyric<\/i>, ed. N. Felson [<i>Arethusa<\/i>\u00a037.3: 253-468]: 343-63.\u00a0<a class=\"external text\" href=\"http:\/\/muse.jhu.edu\/journals\/arethusa\/toc\/are37.3.html\" rel=\"nofollow\">Contents\u00a0<i>Arethusa<\/i>\u00a0vol. 37<\/a>.\u00a0<a class=\"external text\" href=\"http:\/\/muse.jhu.edu\/journals\/arethusa\/v037\/37.3martin.pdf\" rel=\"nofollow\">Access Article PDF<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>McLaughlin, G. (2004) &#8216;Professional Foul: Persona in Pindar&#8217; in\u00a0<i>Games and Festivals in Classical Antiquity. Proceedings of the Conference held in Edinburgh 10-12 July 2000. BAR International Series, 1220<\/i>, eds. S. Bell and G. Davies. Oxford: 25-32. Reviewed by S. Evans\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-04-20.html\" rel=\"nofollow\">BMCR 2008.04.20<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>McMahon, L. (2002) \u2018The next new thing?\u2019,\u00a0<i>Literary Imagination<\/i>\u00a04\/3: 353\u201385\u00a0<a class=\"external text\" href=\"http:\/\/litimag.oxfordjournals.org\/cgi\/reprint\/4\/3\/353.pdf\" rel=\"nofollow\">online version<\/a><\/li>\n<\/ul>\n<ul>\n<li>Meillier, C. (1995) \u2018L\u2019\u00e9loge royal dans l\u2019Hymne \u00e0 D\u00e9los de Callimaque. Hom\u00e8re, Pindare, Callimaque: une dialectique de l\u2019\u00e9pique et du lyrique\u2019, in\u00a0<i>Po\u00e9sie et lyrique antiques: Actes du colloque organis\u00e9 par C. Meillier \u00e0 l\u2019Universit\u00e9 Charles-de-Gaulle<\/i>, Lille III, 2\u20134 juin 1993, ed. L. Dubois. Lille: 129\u201348.<\/li>\n<\/ul>\n<ul>\n<li>Morgan, K.A. (2015)\u00a0<i>Pindar and the Construction of Syracusan Monarchy in the Fifth Century B.C<\/i>. Oxford and New York.<\/li>\n<\/ul>\n<ul>\n<li>Morgan, K.A. (1993) &#8216;Pindar the Professional and the Rhetoric of the \u039a\u03a9\u039c\u039f\u03a3&#8217;,\u00a0<i>Classical Philology<\/i>\u00a088.1: 1-15.\u00a0<a class=\"external text\" href=\"http:\/\/links.jstor.org\/sici?sici=0009-837X%28199301%2988%3A1%3C1%3APTPATR%3E2.0.CO%3B2-5\" rel=\"nofollow\">URL<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Morrison, A.D. (2011) &#8216;Pindar and the Aeginetan patrai: Pindar\u2019s intersecting audiences&#8217; in\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination<\/i>, eds. L. Athanassaki and E.L. Bowie. Berlin\/New York: 311-36.<\/li>\n<\/ul>\n<ul>\n<li>Most, G. W. (1996) \u2018Horatian and Pindaric lyric in England\u2019, in\u00a0<i>Zeitgenosse Horaz: Der Dichter und seine Leser seit zwei Jahrtausenden<\/i>, ed. H. Krasser et al. T\u00fcbingen: 117\u201352.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (1990)\u00a0<i>Pindar\u2019s Homer: The Lyric Possession of an Epic Past<\/i>. Baltimore and London.<\/li>\n<\/ul>\n<ul>\n<li>Negri, M. (2004)\u00a0<i>Pindaro ad Alessandria<\/i>. Brescia.<\/li>\n<\/ul>\n<ul>\n<li>Pavlou, M. (2008) &#8216;Metapoetics, Poetic Tradition, and Praise in Pindar Olympian 9&#8217;,\u00a0<i>Mnemosyne<\/i>\u00a061.4: 533-567.<\/li>\n<\/ul>\n<ul>\n<li>Pavlou, M. (2010) &#8216;Pindar Nemean 5: Real and Poetic Statues&#8217;,\u00a0<i>Phoenix<\/i>\u00a064\u2019: 1-18.<\/li>\n<\/ul>\n<ul>\n<li>Pavlou, M. (2010) &#8216;Pindar Olympian 3: Mapping Acragas on the Periphery of the Earth&#8217; ,\u00a0<i>Classical Quarterly\u00a0<\/i>60.2: 313\u2013326.<\/li>\n<\/ul>\n<ul>\n<li>Pavlou, M. (2011) \u2018Past and Present in Pindar\u2019s Religious Poetry\u2019, in:\u00a0<i>Orality and Literacy in the Ancient World Vol. VIII<\/i>\u00a0A. Lardinois and J. Blok and M. van der Poel (eds). Leiden: 59-78.<\/li>\n<\/ul>\n<ul>\n<li>Pavlou, M. (2012) &#8216;Fathers in absentia in Pindar&#8217;s Epinicians&#8217;,\u00a0<i>GRBS<\/i>\u00a052: 57-88.<\/li>\n<\/ul>\n<ul>\n<li>Pavlou, M. (2012) &#8216;Pindar and the Reconstruction of the Past&#8217; in\u00a0<i>Greek Notions of the Past in the Archaic and Classical Eras<\/i>\u00a0eds. J. Marincola, L. Llewellyn-Jones, C. Maciver. Edinburgh: 95-112.<\/li>\n<\/ul>\n<ul>\n<li>Pfeijffer, I.L. (ed.) (1999)\u00a0<i>Three Aeginian Odes of Pindar: A Commentary on Nemean V, Nemean III and Pythian VIII<\/i>. Leiden. Commentary on\u00a0<i>Pythian<\/i>\u00a08,\u00a0<i>Nemean<\/i>\u00a03, 5.<\/li>\n<\/ul>\n<ul>\n<li>Power, T. (2011), &#8216;Cyberchorus: Pindar&#8217;s \u039a\u03b7\u03bb\u03b7\u03b4\u03cc\u03bd\u03b5\u03c2 and the aura of the artificial&#8217; in\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination<\/i>, eds. L. Athanassaki and E.L. Bowie. Berlin\/New York: 67-114.<\/li>\n<\/ul>\n<ul>\n<li>Race, W.H. (1990)\u00a0<i>Style and Rhetoric in Pindar&#8217;s Odes<\/i>. Atlanta.<\/li>\n<\/ul>\n<ul>\n<li>Race, W.H. (ed.) (1997)\u00a0<i>Pindar<\/i>. 2 vols. Loeb Classical Library. Cambridge, MA. (Text edition and translation)<\/li>\n<\/ul>\n<ul>\n<li>Revard, S.P. (1993) \u2018Cowley\u2019s \u201cPindarique Odes\u201d and the politics of the interregnum\u2019,\u00a0<i>Criticism<\/i>\u00a035: 391\u2013418.<\/li>\n<\/ul>\n<ul>\n<li>Revard, S.P. (2001)\u00a0<i>Pindar and the Renaissance Hymn-Ode, 1450\u20131700<\/i>. Tempe, Ariz.<\/li>\n<\/ul>\n<ul>\n<li>Riu, X. (2008) \u2018On the difference between praise and invective\u2019 in:\u00a0<i>Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades. Paroikia, Paros, 7-9 October 2005<\/i>, eds. D. Katsonopoulou, I. Petropoulos, and S. Katsarou. Athens: 73-82.<\/li>\n<\/ul>\n<ul>\n<li>Robbins, E. (1997) \u2018Public poetry\u2019, in\u00a0<i>A Companion to the Greek Lyric Poets<\/i>, ed. D.E. Gerber. Leiden: 223\u201342.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1988) &#8216;Pindar on the Birth of Apollo&#8217;,\u00a0<i>CQ<\/i>\u00a038: 65-75.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1991) &#8216;New Fragments of Pindar&#8217;s Paeans&#8217;,\u00a0<i>ZPE<\/i>\u00a086: 5-8.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1991) &#8216;Neoptolemus and the Paean-Cry&#8217;,\u00a0<i>ZPE<\/i>\u00a088: 1-10.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1991) &#8216;Pindar Paean VIIIA, The &#8220;Cassandra&#8221; of Bacchylides and the Anonymous &#8220;Cassandra&#8221; in P.Oxy.2368: An Exploration in Lyric Structure&#8217;,\u00a0<i>Eos<\/i>\u00a079: 5-12.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1992) &#8216;Two Heroic Prosodia: A Study of Pindar, Pa.XIV-V&#8217;,\u00a0<i>ZPE<\/i>\u00a092: 59-72.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1995) &#8216;Et Hominum et Deorum . . . Laudes (?). A Hypothesis about the Organisation of Pindar&#8217;s Paean-Book&#8217;,\u00a0<i>ZPE<\/i>\u00a0107: 44-52.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1997) &#8216;For the Aeginetans . . . a Prosodion: An Unnoticed Title at Pindar, Paean 6, 123 And What it Means for the Poem&#8217;,\u00a0<i>ZPE<\/i>\u00a0118: 1-22.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (2001)\u00a0<i>Pindar&#8217;s Paeans: a reading of the fragments with a survey of the genre<\/i>. Oxford. Reviewed by G.T. Patten\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2002\/2002-10-41.html\" rel=\"nofollow\">BMCR 2002.10.41<\/a>\u00a0and L. K\u00e4ppel\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2002\/2002-10-38.html\" rel=\"nofollow\">BMCR 2002.10.38<\/a><\/li>\n<\/ul>\n<ul>\n<li>Schmid, M. J. (1998) \u2018Speaking personae in Pindar\u2019s epinikia\u2019,\u00a0<i>CFC(G)<\/i>\u00a08: 147\u201384.<\/li>\n<\/ul>\n<ul>\n<li>Schmidt, E.G. (ed.) (1981)\u00a0<i>Aischylos und Pindar. Studien zu Werk und Nachwirkung<\/i>. Berlin.\u00a0<i>Schriften zur Geschichte und Kultur der Antike<\/i>\u00a019.<\/li>\n<\/ul>\n<ul>\n<li>Schmitz, P. (1993)\u00a0<i>Pindar in der franz\u00f6sischen Renaissance: Studien zu seiner Rezeption in Philologie, Dichtungstheorie und Dichtung<\/i>. G\u00f6ttingen.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C.P. (1994) \u2018The gorgon and the nightingale: the voice of female lament and Pindar\u2019s twelfth Pythian Ode\u2019, in\u00a0<i>Embodied Voices: Female Vocality in Literature, Film, and Art<\/i>, ed. L. C. Dunn and N.A. Jones. Cambridge: 17\u201334. (Reprinted in\u00a0<i>Aglaia: The Poetry of Alcman, Sappho, Pindar, Bacchylides, and Corinna<\/i>. Lanham, Md. 1998: 85\u2013104.)<\/li>\n<\/ul>\n<ul>\n<li>Sigelman, A. C. (2016)\u00a0<i>Pindar&#8217;s Poetics of Immortality<\/i>. Cambridge<\/li>\n<\/ul>\n<ul>\n<li>Silk, M.S. (2001), &#8216;Pindar meets Plato: theory, language, value, and the classics&#8217; in\u00a0<i>Texts, ideas and the classics: scholarship, theory and classical literature<\/i>, ed. S.J. Harrison. Oxford\/New York: 26-45.<\/li>\n<\/ul>\n<ul>\n<li>Snell, B. and Maehler, H. (1987)\u00a0<i>Pindarus<\/i>. Pars I:\u00a0<i>Epinicia<\/i>, 8th edition (and later). Leipzig: Teubner. (Text edition)<\/li>\n<\/ul>\n<ul>\n<li>Sotiriou, M. (1998)\u00a0<i>Pindarus Homericus: Homer-Rezeption in Pindars Epinikien<\/i>. G\u00f6ttingen.<\/li>\n<\/ul>\n<ul>\n<li>Stamatopoulou, Z. (2014) &#8216;Inscribing performances in Pindar\u2019s Olympian 6&#8217;,\u00a0<i>TAPA<\/i>\u00a0144: 1-17.<\/li>\n<\/ul>\n<ul>\n<li>Steiner, D. (2013). The Gorgons&#8217; Lament: Auletics, Poetics, and Chorality in Pindar&#8217;s Pythian 12. American Journal of Philology, 134(2), 173-208.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1983) &#8216;\u201cMelaina kard\u00eda\u201d algunas notas pind\u00e1ricas&#8217;,\u00a0<i>ECl\u00e1s<\/i>\u00a086: 5-9.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1988)\u00a0<i>P\u00edndaro. Obra completa<\/i>. Madrid.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1988) &#8216;Adivinaci\u00f3n y profec\u00eda en P\u00edndaro (I)&#8217;,\u00a0<i>Minerva<\/i>\u00a02: 65-106.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1989) &#8216;Adivinaci\u00f3n y profec\u00eda en P\u00edndaro (II)&#8217;,\u00a0<i>Minerva<\/i>\u00a03: 63-101.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1991) &#8216;El Pe\u00e1n IV de P\u00edndaro&#8217; in\u00a0<i>Estudios actuales sobre textos griegos<\/i>, ed. J. L\u00f3pez F\u00e9rez. Madrid (UNED 1989): 139-159.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1992) &#8216;Ixi\u00f3n y Arqu\u00edloco en la P\u00edtica 2 de P\u00edndaro&#8217;,\u00a0<i>Homenatge \u00e0 Josep Alsina<\/i>. Tarragona: 333-348.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1993) &#8216;H\u00e9cate en el Pe\u00e1n II de P\u00edndaro&#8217;,\u00a0<i>Helm\u00e1ntica<\/i>\u00a044: 31-136.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (1993) &#8216;P\u00edndaro y la religi\u00f3n griega&#8217;,\u00a0<i>CFC, egi<\/i>, n. s. 3: 67-97.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (2003) &#8216;El nivel formal en el Fr. 75 de P\u00edndaro: el sonido del ditirambo&#8217;, in\u00a0<i>Studi di filologia e tradizione greca in memoria di Aristide Colonna<\/i>, eds. Francesco Benedetti and Simonetta Grandolini. Napoli, ESI: 759-778.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (2005) &#8216;Pindar&#8217;,\u00a0<i>Encyclopedy of Religion2<\/i>. New York, Thomson-Gale. vol. V: 7173-7175.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, E. (2006) &#8216;Les mentions g\u00e9n\u00e9alogiques chez Pindare&#8217;,\u00a0<i>Kernos<\/i>\u00a019: 117-133.<\/li>\n<\/ul>\n<ul>\n<li>Tatsi, A. (2008) &#8216;On the Meaning of chronos in Pindar&#8217;s\u00a0<i>Nemean<\/i>\u00a01.46&#8242;,\u00a0<i>Mnemosyne<\/i>\u00a061.1: 120-129.<\/li>\n<\/ul>\n<ul>\n<li>Tessier, A. (1995)\u00a0<i>La tradizione metrica di Pindaro<\/i>. Padova.<\/li>\n<\/ul>\n<ul>\n<li>Tsitsibakou-Vasalos, E. (2007)\u00a0<i>Ancient Poetic Etymology. The Pelopids: Fathers and Sons<\/i>. Stuttgart. Chapter 3, the longest in the book, discusses the significance of the name Pelops from Homer to Nonnus with emphasis on Pindar,\u00a0<i>Olympian<\/i>\u00a01. Reviewed by M. Paschalis<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-58.html\" rel=\"nofollow\">BMCR 2008.07.58<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Van der Weiden, M.J.H. (ed.) (1991)\u00a0<i>The Dithyrambs of Pindar: introduction, text and commentary<\/i>. Amsterdam: Gieben. Reviewed by R. Hamilton\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/1992\/03.03.21.html\" rel=\"nofollow\">BMCR 03.03.21<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>V\u00f6hler, M. (2005)\u00a0<i>Pindarrezeptionen: Sechs Studien zum Wandel des Pindarverst\u00e4ndnisses von Erasmus bis Herder<\/i>. Heidelberg.<\/li>\n<\/ul>\n<ul>\n<li>Willcock, M.M. (1995)\u00a0<i>Pindar: Victory Odes<\/i>. Cambridge. (Commentary on Olympian 2, 7, 11; Nemean 4; Isthmian 3, 4, 7).<\/li>\n<\/ul>\n<ul>\n<li>Wout, P.E. van &#8216;t (2006) \u2018Amphiaraos as Alkman: Compositional Strategy and Mythological Innovation in Pindar,\u00a0<i>Pythian<\/i>\u00a08.38-60\u2019,\u00a0<i>Mnemosyne<\/i>\u00a059: 1-18.<\/li>\n<\/ul>\n<ul>\n<li>Yossi, M.J. (1999) &#8216;Amoibaia deipna: Sympotic scenes in Pindar&#8217;s\u00a0<i>Olympian<\/i>\u00a01&#8242;,\u00a0<i>Indiktos<\/i>\u00a010: 110-123 [Greek text followed by modern Greek translation in pp. 100-109]. (in modern Greek)<\/li>\n<\/ul>\n<ul>\n<li>Ygaunin, J. (1997)\u00a0<i>Pindare et les po\u00e8tes de la c\u00e9l\u00e9bration<\/i>. (8 vols.). Fleury-sur-Orme.<\/li>\n<\/ul>\n<ul>\n<li><b>Scholia<\/b>: Work is underway at the Universit\u00e9 de Franche-Comt\u00e9 (France) to translate the scholia of Pindar. For information about this project, see the following web-sites:\n<ul>\n<li><a class=\"external text\" href=\"http:\/\/calenda.revues.org\/nouvelle8571.html\" rel=\"nofollow\">Autour des scholies de Pindare<\/a><\/li>\n<li><a class=\"external text\" href=\"http:\/\/calenda.revues.org\/nouvelle10561.html\" rel=\"nofollow\">Autour des scholies de Pindare II: interpr\u00e9tation, histoire, spectacle<\/a><\/li>\n<li><a class=\"external text\" href=\"http:\/\/ista.univ-fcomte.fr\/axe_recherche\/axe2_pres2007.html\" rel=\"nofollow\">Axe 2 Textes, imaginaires et repr\u00e9sentations dans l&#8217;antiquit\u00e9<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h3><span id=\"Bacchylides\" class=\"mw-headline\">Bacchylides<\/span><\/h3>\n<ul>\n<li>Athanassaki, L. (2009)\u00a0<i>\u1f00\u03b5\u03af\u03b4\u03b5\u03c4\u03bf \u03c0\u1f70\u03bd \u03c4\u03ad\u03bc\u03b5\u03bd\u03bf\u03c2. \u039f\u03b9 \u03c7\u03bf\u03c1\u03b9\u03ba\u03ad\u03c2 \u03c0\u03b1\u03c1\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03bf \u03ba\u03bf\u03b9\u03bd\u03cc \u03c4\u03bf\u03c5\u03c2 \u03c3\u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03ca\u03ba\u03ae \u03ba\u03b1\u03b9 \u03c0\u03c1\u03ce\u03ca\u03bc\u03b7 \u03ba\u03bb\u03b1\u03c3\u03b9\u03ba\u03ae \u03c0\u03b5\u03c1\u03af\u03bf\u03b4\u03bf<\/i>. Herakleion. Study of choral performance contexts especially in Alcman, Pindar, and Bacchylides.\u00a0<a class=\"external text\" href=\"http:\/\/www.cup.gr\/ViewShopProduct.aspx?ProductId=279696&amp;LangId=1\" rel=\"nofollow\">More information<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Bagordo, A. (1995\/96) &#8216;Mo\u00fbs&#8217; authigen\u00e9s (Bacchyl. 2, 11)&#8217;,\u00a0<i>Glotta<\/i>\u00a073: 137\u0096-41.<\/li>\n<\/ul>\n<ul>\n<li>Bagordo, A. and B. Zimmermann (eds.) (2000)\u00a0<i>Bakchylides 100 Jahre nach seiner Wiederentdeckung<\/i>. M\u00fcnchen:\u00a0<i>Zetemata, Monographien zur klassischen Altertumswissenschaft<\/i>\u00a0106.\n<ul>\n<li>Contents: 1. Bakchylides und das System der chorlyrischen Gattungen im 5. Jh. v. Chr. &#8211; Lutz K\u00e4ppel 2. Der Dichter und sein Auftraggeber. Die Epinikien Backhylides&#8217; und Pindars als Tr\u00e4ger von Ideologien &#8211; Christian Mann 3. The Dithyrambs of Bacchylides: Their Position in the Evolution of the Genre &#8211; Fernando Garc\u00eda Romero 4. Der dithyrambische Agon: ein kompetitiver Gottesdienst oder gar keiner? &#8211; Jan Maarten Bremer 5. Bemerkungen zu den Mythen bei Bakchylides &#8211; Emilio Su\u00e1rez de la Torre 6. Kultische Sprache bei Bakchylides &#8211; Carmen Morenilla 7. Zu Bakchylides&#8217; Erz\u00e4hltechnik &#8211; Antonios Rengakos 8. Information Unit and Metrical Unit &#8211; Simon R. Slings 9. La lode di Argeo di Ceo e del padre Pantide nell&#8217;Epinicio 1 di Bacchilide &#8211; Paolo Angeli Bernardini 10. Zum literarischen und historischen Hintergrund von Bakchylides 3 &#8211; Michael Reichel 11. Bemerkungen zum 4. Epinikion des Bakchylides &#8211; Martin Hose 12. Die &#8216;ewige Deianeira&#8217; &#8211; Peter Riemer 13. Il filo di Eriboia (Bacchilide, Ditirambo 17)- Giorgio Ieran\u00f2 14. Bakchylides, Orpheus und ein liebestoller Kentaur &#8211; Herwig Maehler 15. Horaz Carm. 1, 15 und Bakchylides- Eckhard Lef\u00e8vre.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Briand, Michel (1997) &#8216;Fiction et diction dans la cinqui\u00e8me \u00c9pinicie de Bacchylide&#8217;,\u00a0<i>Lalies<\/i>\u00a017: 271-281.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2013), &#8220;Les paradoxes de l\u2019orateur m\u00e9lique\u00a0: les discours de Jason, Chiron, M\u00e9l\u00e9agre et d\u2019autres, chez Pindare et Bacchylide\u201c, in H\u00e9l\u00e8ne Vial (dir.), Po\u00e8tes et orateurs dans l\u2019Antiquit\u00e9. Mises en sc\u00e8ne r\u00e9ciproques, PU Blais pascal, Clermont-Ferrand, Coll. Erga 13, p. 39-56.<\/li>\n<\/ul>\n<ul>\n<li>Briand, M. (2010), &#8220;Les \u00e9pinicies de Pindare et de Bacchylide comme rites de passage\u00a0: pragmatique et po\u00e9tique de la f\u00eate et de la fiction m\u00e9liques&#8221;, in Philippe Hameau (dir.) avec la collab. De Christian Abry et Fran\u00e7oise L\u00e9toublon, Les rites de passage. De la Gr\u00e8ce d&#8217;Hom\u00e8re \u00e0 notre XXIe si\u00e8cle, Grenoble, Mus\u00e9e Dauphinois, p. 91-100.<\/li>\n<\/ul>\n<ul>\n<li>Burnett, A.P. (1985)\u00a0<i>The Art of Bacchylides<\/i>. Cambridge Mass.<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2011), &#8216;Enunciative fiction and poetic performance. Choral voices in Bacchylides\u2019\u00a0<i>epinicians&#8217;<\/i>\u00a0in: Athanassaki, Lucia &amp; Bowie, Ewen (2011) (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>\u00a0Berlin\/New York: 115-38.<\/li>\n<\/ul>\n<ul>\n<li>Campbell, D. A. (1992) Greek Lyric IV: Bacchylides, Corinna, and Others. Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Carey, C. (1999) \u2018Ethos and pathos in Bakchylides\u2019 in\u00a0<i>One hundred years of Bacchylides<\/i>, eds. I.L. Pfeijffer and S. Slings. Amsterdam: 17-29.<\/li>\n<\/ul>\n<ul>\n<li>Fearn, D.W. (2003) &#8216;Mapping Phleious: Politics and Myth-Making in Bacchylides 9&#8217;,\u00a0<i>Classical Quarterly<\/i>\u00a053.2: 347-67.<\/li>\n<\/ul>\n<ul>\n<li>Fearn, D.W. (2007)\u00a0<i>Bacchylides: Politics, Performance, Poetic Tradition<\/i>. Oxford: Oxford Classical Monographs Series. Reviewed by D\u2019Alessio, G.B. (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-11-14.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.11.14<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Fearn, D.W. (2009) &#8216;Oligarchic Hestia: Bacchylides 14B and Pindar, Nemean 11&#8217;,\u00a0<i>JHS<\/i>\u00a0129: 23\u201338.<\/li>\n<\/ul>\n<ul>\n<li>Fearn, D.W. (2010) &#8216;Imperialist Fragmentation and the Discovery of Bacchylides&#8217;, in:\u00a0<i>Classics and Imperialism in the British Empire<\/i>, ed. M. Bradley. Oxford: 158\u201385.<\/li>\n<\/ul>\n<ul>\n<li>Giuseppetti, M. (2015)\u00a0<i>Bacchilide: Odi e frammenti<\/i>, Milano (Rizzoli) 2015 (ISBN 978-88-17-07964-8)<\/li>\n<\/ul>\n<ul>\n<li>Golub, H. (2012) \u2018Bacchylides\u2019 Spartan dithyramb in the light of choral projection\u2019, &#8220;Eos<i>\u00a0XICX: 15-22.<\/i><\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (1981)\u00a0<i>Los Epinicios de Baqu\u00edlides. Una interpretaci\u00f3n<\/i>, PhD. Dissertation, unpublished, Universidad Nacional de La Plata, Argentina.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (1994) \u2018Itinerario cr\u00edtico en torno de Baqu\u00edlides\u2019, in\u00a0<i>Volumen Homenaje a A\u00edda Barbagelata. In memoriam<\/i>, eds. Wendt, S. and Royo, M. Actualidad Producciones, Buenos Aires, Tomo 1: 137-150.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (2000) \u2018Baqu\u00edlides, Epinicio II y el concepto de la fama\u2019, in\u00a0<i>Homenaje a Corina Corch\u00f3n<\/i>, eds. Calvo, F., Font\u00e1n, M.I., Gallotti, M. C. and Wainschenker, D. Universidad de Buenos Aires, Buenos Aires: 39-50.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (2000) \u2018La poes\u00eda de Baqu\u00edlides como proyecci\u00f3n de una aret\u00e1 inconfundible\u2019,\u00a0<i>Synthesis<\/i>\u00a07: 149-163.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (2001) \u2018Una met\u00e1fora al servicio del pensamiento po\u00e9tico, Baqu\u00edlides 3\u2019,\u00a0<i>Iter<\/i>: 217-232.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (2004) \u2018El pensamiento moral del Baqu\u00edlides, entre \u00f3lbos y aret\u00e9\u2019, in\u00a0<i>\u00c9tica y Est\u00e9tica. De Grecia a la modernidad<\/i>, ed. Gonz\u00e1lez de Tobia, Ana M. Universidad Nacional de La Plata, La Plata: 59-74.<\/li>\n<\/ul>\n<ul>\n<li>Gonz\u00e1lez de Tobia, A.M. (2007) \u2018Lenguaje, Discurso y Civilizaci\u00f3n en Baqu\u00edlides 11\u2019, in\u00a0<i>Lenguaje, Discurso y Civilizaci\u00f3n. De Grecia a la modernidad<\/i>, ed. Gonz\u00e1lez de Tobia, Ana M. La Plata: 99-116.<\/li>\n<\/ul>\n<ul>\n<li>Hadjimichael, T. (2012)&#8217;Epinician Competitions: Persona and Voice in Bacchylides&#8217; in\u00a0<i>Poetry, Music and Contests in Ancient Greece, Vol. I (of 2 vols.), eds. Castaldo, D. &amp; Giannachi, F. &amp; A. Manieri. Galatino I:331-356.<\/i><\/li>\n<\/ul>\n<ul>\n<li>Hadjimichael, T. (2014) &#8216;Aristophanes\u2019 Bacchylides: Reading Birds 1373-1409&#8217;,\u00a0<i>GRMS<\/i>\u00a02: 184-210.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Ieran\u00f2, G. (1988), &#8216;Il ditirambo XVII di Bacchilide e le feste apollinee di Delo&#8217;,\u00a0<i>Quaderni di Storia<\/i>\u00a030: 157-183 &#8211; vedi dettaglio Ieran\u00f2, G., (1987) &#8216;Il Teseo di Bacchilide&#8217;,\u00a0<i>Acme<\/i>\u00a040.1: 87-103.<\/li>\n<\/ul>\n<ul>\n<li>MacLachlan, B. (2007) &#8216;Epinician swearing&#8217; in\u00a0<i>Horkos. The Oath in Greek Society<\/i>, eds. A.H. Sommerstein and J. Fletcher. Exeter: 91-101. Reviewed by Kellogg, Danielle L. (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-08-55.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.08.55<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Maehler, H. (1982\u201397)\u00a0<i>Die Lieder des Bakchylides<\/i>. 2 vols.: I.1 Siegeslieder: Edition des Textes mit Einleitung und \u00dcbersetzung. I.2 Siegeslieder: Kommentar. II. Die Dithyramben und Fragmente. Leiden.<\/li>\n<\/ul>\n<ul>\n<li>Maehler, H. (2003)\u00a0<i>Bacchylides: Carmina cum fragmentis<\/i>, 11th edn. Stuttgart and Leipzig.<\/li>\n<\/ul>\n<ul>\n<li>Maehler, H. (ed.) (2004)\u00a0<i>Bacchylides. A Selection. Cambridge Greek and Latin Classics Series<\/i>. Cambridge University Press.<\/li>\n<\/ul>\n<ul>\n<li>Nagy, G. (2011) &#8216;A second look at the poetics of re-enactment in Ode 13 of Bacchylides&#8217; in:\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>\u00a0ed. L. Athanassaki and E. Bowie. Berlin\/New York: 173-206.<\/li>\n<\/ul>\n<ul>\n<li>Nobili, C. (2013) &#8216;I carmi di Bacchilide per Sparta&#8217;, in F. Berlinzani (ed.),\u00a0<i>La cultura spartana in et\u00e0 classica (Aristonothos 8, 2013)<\/i>, Trento: 31-69.<\/li>\n<\/ul>\n<ul>\n<li>Parker, L. P. E. (2001) \u2018Consilium et ratio?: papyrus A of Bacchylides and Alexandrian metrical scholarship\u2019,\u00a0<i>CQ<\/i>\u00a051: 23\u201352.<\/li>\n<\/ul>\n<ul>\n<li>Pavlou, M. (2012) &#8216;Bacchylides 17: Singing and Usurping the Paean&#8217;,\u00a0<i>GRBS<\/i>\u00a052.4: 510-539.<\/li>\n<\/ul>\n<ul>\n<li>Pfeijffer, I.L. and S.R. Slings (eds.) (1999)\u00a0<i>One Hundred Years of Bacchylides. Proceedings of a colloquium held at the Vrije Universiteit Amsterdam<\/i>. Amsterdam.<\/li>\n<\/ul>\n<ul>\n<li>Power, T. (2000) \u2018The \u00abparthenoi\u00bb of Bacchylides 13\u2019,\u00a0<i>Harvard studies in classical philology<\/i>\u00a0100: 67-81.<\/li>\n<\/ul>\n<ul>\n<li>Robbins, E. (1997) \u2018Public poetry\u2019, in\u00a0<i>A Companion to the Greek Lyric Poets<\/i>, ed. D. E. Gerber. Leiden: 223\u201342.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1991) &#8216;Pindar Paean VIIIA, The &#8220;Cassandra&#8221; of Bacchylides and the Anonymous &#8220;Cassandra&#8221; in P.Oxy.2368: An Exploration in Lyric Structure&#8217;,\u00a0<i>Eos<\/i>\u00a079: 5-12.<\/li>\n<\/ul>\n<ul>\n<li>Schmidt, D. A. (1990) \u2018Bacchylides 17 \u2013 paean or dithyramb\u2019,\u00a0<i>Hermes<\/i>\u00a0118: 18\u201331.<\/li>\n<\/ul>\n<ul>\n<li>Schmidt, D. A. (1999) \u2018An unusual victory list from Keos: IG XII 5, 608 and the dating of Bakchylides\u2019,\u00a0<i>JHS<\/i>\u00a0119: 67\u201385.<\/li>\n<\/ul>\n<ul>\n<li>Skempis, Marios. (2011) &#8216;Ironic Genre Demarcation: Bacchylides 17 and the Epic Tradition&#8217;,\u00a0<i>Trends in Classics<\/i>\u00a03: 254-300.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1990) &#8216;Bacchylides XVIII 41-42&#8217;,\u00a0<i>Zeitschrift f\u00fcr Papyrologie und Epigraphik<\/i>\u00a080: 9-10.<\/li>\n<\/ul>\n<ul>\n<li>Su\u00e1rez de la Torre, Emilio (2000) &#8216;Bemerkungen zu den Mythen bei Bakchylides&#8217; in\u00a0<i>Bakchylides, 100 Jahre nach seiner Wiederentdeckung<\/i>, ed. B. Zimmermann. M\u00fcnchen: 69-86.<\/li>\n<\/ul>\n<ul>\n<li>Tsagalis, C.C. (2009) \u2018Blurring the Boundaries: Dionysus, Apollo and Bacchylides 17\u2019 in\u00a0<i>Apolline Politics and Poetics<\/i>, eds. L. Athanassaki, R.P. Martin, and J.F. Miller. Athens: 199-216.<\/li>\n<\/ul>\n<h3><span id=\"Corinna.2C_Boeotica\" class=\"mw-headline\">Corinna, Boeotica<\/span><\/h3>\n<ul>\n<li>Campbell, D. A. (1992) Greek Lyric IV:\u00a0<i>Bacchylides, Corinna, and Others<\/i>. Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Larmour, D. (2005) \u2018Corinna\u2019s poetic metis and the epinikian tradition\u2019, in\u00a0<i>Women Poets in Ancient Greece and Rome<\/i>, ed. E. Greene. Norman, Okla: 25\u201358.<\/li>\n<\/ul>\n<ul>\n<li>Larmour, D.H.J. (2008) &#8216;An Agon on the Slopes of Helicon: Corinna&#8217;s Dialogues with Pindar and Hesiod&#8217; in\u00a0<i>Dialogism and Lyric Self-fashioning: Bakhtin and the Voices of a Genre<\/i>, ed. Jacob Blevins, Selinsgrove, Pa. Reviewed by Kershner, S.M.\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-06-57.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02009.06.57<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Palumbo Stracca, B. M. (1993) \u2018Corinna e il suo pubblico\u2019, in\u00a0<i>Tradizione e innovazione nella cultura greca da Omero all\u2019et\u00e0 ellenistica<\/i>, ed. R. Pretagostini, vol. II. Rome: 403\u201312.<\/li>\n<\/ul>\n<ul>\n<li>Rayor, D. J. (1993) \u2018Korinna: gender and the narrative tradition\u2019,\u00a0<i>Arethusa<\/i>\u00a026: 219\u201331.<\/li>\n<\/ul>\n<ul>\n<li>Yossi, Mary J. (1997) &#8216;Corinna Fr. 654 PMG: Archaic or a Case for Metamorphosis&#8217; in\u00a0<i>Acta: First Panhellenic and International Conference on Ancient Greek Literature<\/i>, ed. J.-T. Papademetriou. Athens: 167-186. (in Greek with summary in English)<\/li>\n<\/ul>\n<h3><span id=\"Erinna\" class=\"mw-headline\">Erinna<\/span><\/h3>\n<ul>\n<li>Levaniouk, O. (2008) &#8216;Lament and Hymenaios in Erinna&#8217;s Distaff&#8217; in\u00a0<i>Lament: Studies in the Ancient Mediterranean and Beyond<\/i>, ed. Ann Suter. Oxford, New York: 324-81. Reviewed by Alden, Maureen (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-10-26.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.10.26<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (1994) &#8216;Erinna in Eronda&#8217;,\u00a0<i>Eikasm\u00f3s<\/i>\u00a05: 221-232.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (1996)\u00a0<i>Studi sulle testimonianze di Erinna<\/i>. Bologna.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (1996) &#8216;Il poemetto e l&#8217;epigramma. Note sulla fortuna dell&#8217;opera di Erinna in et\u00e0 ellenistica&#8217;,\u00a0<i>Aevum Antiquum<\/i>\u00a09: 193-215.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (1997) &#8216;Erinna a Ossirinco&#8217;,\u00a0<i>ZPE<\/i>\u00a0115: 57-72.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (1998) &#8216;Baucide e le bambole (Erinna: SH 401,1-4, 19-22)&#8217;,\u00a0<i>Athenaeum<\/i>\u00a086.1: 165-178.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (1998) &#8216;Cambio di ritmo (Erinna: SH 401,14s. ~ Carm.pop. fr.30(c) PMG 876)&#8217;,\u00a0<i>Prometheus<\/i>\u00a024: 19-24.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (1999) &#8216;Le lune di Erinna (SH 401,6 e 12)&#8217;,\u00a0<i>Quaderni di Cultura e di Tradizione Classica dell&#8217;Universit\u00e0 degli Studi di Palermo<\/i>\u00a012: 7-18.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (2002) &#8216;L&#8217;agnella e il rasoio (Erinna SH 401,13)&#8217; in\u00a0<i>TIMHS CHARIN. \u00abHomenaje al Profesor Pedro A. Gainzarain\u00bb<\/i>, ed. Mar\u00eda Jos\u00e9 Garc\u00eda Soler. Vitoria-Gasteiz: 61-68.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (2003)\u00a0<i>Erinna. Testimonianze e frammenti<\/i>. Bologna (earlier editions were published in 1994 (Ph.D. dissertation Padova) and 2000).<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (2009) &#8216;Die wei\u00dfen, sanftredenden Schl\u00e4fen (SH 401,46 = Herinn. Fr. 4,46 N.)&#8217;,\u00a0<i>RhM<\/i>\u00a0152: 113-23.<\/li>\n<\/ul>\n<h3><span id=\"Poetae_Minores\" class=\"mw-headline\">Poetae Minores<\/span><\/h3>\n<h4><span id=\"Arion\" class=\"mw-headline\">Arion<\/span><\/h4>\n<ul>\n<li>Acosta-Hughes, B. (2009)\u00a0<i>Arion\u2019s Lyre: Archaic Lyric in Hellenistic Poetry.<\/i>\u00a0Princeton.<\/li>\n<li>Curtis, L. (2017) \u201cBecoming the Lyre: Arion and Roman Elegy.\u201d Arethusa 50: 283-310<\/li>\n<li>Ieran\u00f2, G. (1992), &#8216;Arione e Corinto&#8217;, in\u00a0<i>Quaderni Urbinati di Cultura Classica<\/i>\u00a041.2: 41-52.<\/li>\n<\/ul>\n<h4><span id=\"Ariphron\" class=\"mw-headline\">Ariphron<\/span><\/h4>\n<h4><span id=\"Aristotle\" class=\"mw-headline\">Aristotle<\/span><\/h4>\n<ul>\n<li>Ford, Andrew. (2011).\u00a0<i>Aristotle as Poet: The Song for Hermias and Its Contexts<\/i>. Oxford.<\/li>\n<\/ul>\n<h4><span id=\"Castorion\" class=\"mw-headline\">Castorion<\/span><\/h4>\n<h4><span id=\"Cinesias\" class=\"mw-headline\">Cinesias<\/span><\/h4>\n<ul>\n<li>Franklin, J.C. (2016) \u201cSKATABASIS: The Rise and Fall of Kinesias\u201d, in A. Gostoli (ed.),\u00a0<i>Gli agoni poetico-musicali nella Grecia antica: Storia, religione, letteratura<\/i>\u00a0(in press).<\/li>\n<\/ul>\n<h4><span id=\"Diagoras\" class=\"mw-headline\">Diagoras<\/span><\/h4>\n<h4><span id=\"Eumelus\" class=\"mw-headline\">Eumelus<\/span><\/h4>\n<ul>\n<li>Debiasi, A. (2004)\u00a0<i>L\u2019epica perduta: Eumelo, il Ciclo, l\u2019occidente<\/i>. Rome.<\/li>\n<\/ul>\n<h4><span id=\"Euripides_.28Lyric.29\" class=\"mw-headline\">Euripides (Lyric)<\/span><\/h4>\n<h4><span id=\"Hybrias\" class=\"mw-headline\">Hybrias<\/span><\/h4>\n<h4><span id=\"Lasus\" class=\"mw-headline\">Lasus<\/span><\/h4>\n<h4><span id=\"Licymnius\" class=\"mw-headline\">Licymnius<\/span><\/h4>\n<h4><span id=\"Melanippides\" class=\"mw-headline\">Melanippides<\/span><\/h4>\n<ul>\n<li>LeVen, Pauline (2010), &#8216;New Music and Its Myths: Athenaeus\u2019 Reading of the\u00a0<i>Aulos<\/i>\u00a0Revolution&#8217;,\u00a0<i>JHS<\/i>\u00a0130: 35-47. (It deals with Melanippides, Telestes and to some extent Pratinas).<\/li>\n<\/ul>\n<h4><span id=\"Myrtis\" class=\"mw-headline\">Myrtis<\/span><\/h4>\n<h4><span id=\"Philoxenus\" class=\"mw-headline\">Philoxenus<\/span><\/h4>\n<ul>\n<li>Cairns, F. (2000). \u2018A Testimonium to a New Fragment of Philoxenus of Cythera? (Machon 77\u201380 = fr. 9.14\u201317 Gow and Hermesianax fr. 7.69\u201374 Powell)\u2019, Zeitschrift f\u00fcr Papyrologie und Epigraphik 130: 9-11.<\/li>\n<\/ul>\n<h4><span id=\"Pratinas\" class=\"mw-headline\">Pratinas<\/span><\/h4>\n<h4><span id=\"Praxilla\" class=\"mw-headline\">Praxilla<\/span><\/h4>\n<ul>\n<li>Cazzato, V. (2016), \u201dGlancing seductively through windows\u201d: The look of Praxilla fr. 8 (754 Page)\u2019, in The Look of Lyric: Greek Song and the Visual, V. Cazzato and A. Lardinois eds, Brill (Leiden), pp. 185-201.<\/li>\n<\/ul>\n<h4><span id=\"Telesilla\" class=\"mw-headline\">Telesilla<\/span><\/h4>\n<ul>\n<li>Pizzocaro, M. (1993). &#8216;Un profilo di Telesilla, famosa poetessa d&#8217;Argo, e guerriera&#8217; A.I.O.N. (sez. filologico-letteraria) 15: 89-103.<\/li>\n<\/ul>\n<h4><span id=\"Telestes\" class=\"mw-headline\">Telestes<\/span><\/h4>\n<ul>\n<li>LeVen, P. (2010), &#8216;New Music and Its Myths: Athenaeus\u2019 Reading of the\u00a0<i>Aulos<\/i>\u00a0Revolution&#8217;,\u00a0<i>JHS<\/i>\u00a0130: 35-47. (It deals with Melanippides, Telestes and to some extent Pratinas).<\/li>\n<\/ul>\n<h4><span id=\"Terpander\" class=\"mw-headline\">Terpander<\/span><\/h4>\n<ul>\n<li>Franklin, J.C. (2002) &#8216;Terpander: The Invention of Music in the Orientalizing Period&#8217;. PhD Dissertation, University College London, 2002. Advisor, Richard Janko. Examiners, Nick Lowe (internal, Royal Holloway) and Walter Burkert (external, Z\u00fcrich).<\/li>\n<\/ul>\n<ul>\n<li>Gostoli, A. (1988) \u2018Terpandro e la funzione etico-politica della musica nella cultura spartana del VII sec a.C.\u2019, in\u00a0<i>La musica in Grecia<\/i>, ed. B. Gentili and R. Pretagostini. Bari: 231\u20137.<\/li>\n<\/ul>\n<ul>\n<li>Gostoli, A. (1990)\u00a0<i>Terpander<\/i>. Rome.<\/li>\n<\/ul>\n<ul>\n<li>Quattrocelli, L. (2007) \u2018Les fragments de Terpandre et l\u2019hymne dans la Sparte archa\u00efque\u2019, in\u00a0<i>L\u2019hymne antique et son public<\/i>, ed. Yves Lehmann. Brepols, Turnhout: 65-80.<\/li>\n<\/ul>\n<h4><span id=\"Timocreon\" class=\"mw-headline\">Timocreon<\/span><\/h4>\n<h4><span id=\"Timotheus\" class=\"mw-headline\">Timotheus<\/span><\/h4>\n<ul>\n<li>Budelmann, F., &amp; LeVen, P. (2014). &#8216;Timotheus\u2019 Poetics of Blending: A Cognitive Approach to the Language of the New Music&#8217;.\u00a0<i>Classical Philology<\/i>\u00a0109(3): 191-210.<\/li>\n<\/ul>\n<ul>\n<li>Ford, A. L. (2006) &#8216;The Genre of Genres: Paeans and Paian in Early Greek Poetry&#8217;,\u00a0<i>Poetica<\/i>\u00a038.3-4: 277-296. It reviews the many attempts to define paeans (esp. by K\u00e4ppel and Schroeder) as part of a broader discussion of the usefulness of genre terms in reading early Greek lyric. It reads several of Timotheus&#8217; fragments to argue that predicating the epithet was the core of the &#8220;genre&#8221;.<\/li>\n<\/ul>\n<ul>\n<li>Hordern, J. H. (2002)\u00a0<i>The Fragments of Timotheus of Miletus<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>LeVen, P. \u201cTimotheus\u2019 Eleven-Struck Meters and Rhythms: a new approach (PMG 791, 229-232),\u201d forthcoming in\u00a0<i>Classical Philology<\/i>.<\/li>\n<\/ul>\n<ul>\n<li>Prauscello, L. (2009) \u2018Wandering poetry, \u201ctravelling\u201d music: Timotheus\u2019 Muse and some casestudies of shifting cultural identities\u2019, in Wandering Poets in Ancient Greek Culture: Travel, Locality and Panhellenism, eds. R. Hunter and I. Rutherford. Cambridge: 168\u201394.<\/li>\n<\/ul>\n<h3><span id=\"Carmina_Popularia\" class=\"mw-headline\">Carmina Popularia<\/span><\/h3>\n<ul>\n<li>Bierl, A. (2001)\u00a0<i>Der Chor in der Alten Kom\u00f6die. Ritual und Performativit\u00e4t<\/i>\u00a0(unter besonderer Ber\u00fccksichtigung von Aristophanes&#8217;\u00a0<i>Thesmophoriazusen<\/i>\u00a0und der Phalloslieder fr. 851 PMG). M\u00fcnchen and Leipzig. (BzA 126), Ch. 2.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, A. (2009)\u00a0<i>Ritual and Performativity. The Chorus of Old Comedy<\/i>\u00a0(transl. by Alex Hollmann), Center for Hellenic Studies. Washington, DC: Harvard Press. (Hellenic Studies 20). New and revised edition. It includes an intense analysis of popular Phallus-Songs in ch. 2.<\/li>\n<\/ul>\n<ul>\n<li>Neri, C. (2003) &#8216;Sotto la politica. Una lettura dei carmina popularia melici&#8217;,\u00a0<i>Lexis<\/i>\u00a021: 193-260.<\/li>\n<\/ul>\n<ul>\n<li>Pordomingo, F. (1996) \u2018La poes\u00eda popular griega: aspectos hist\u00f3rico-literarios y formas de transmissi\u03ccn\u2019, in\u00a0<i>La letteratura di consume nel mondo greco-latino. Atti del convegno internazionale, Cassino, 14\u201317 settembre 1994<\/i>, ed. O. Pecere and A. Stramaglia. Cassino: 463\u201382.<\/li>\n<\/ul>\n<ul>\n<li>Rocconi, E. (2016) &#8216;Traces of Folk Music in Ancient Greek Drama&#8217;, in Colesanti, G. and Lulli, L. (eds),\u00a0<i>Submerged Literature in Ancient Greek Culture, Volume 2: Case Studies<\/i>, Berlin:<\/li>\n<\/ul>\n<ul>\n<li>Rossi, L. E. (1993) \u2018Lirica arcaica e scoli simposiali (Alc. 249,6\u20139 V. e carm. conv. 891 P.)\u2019, in\u00a0<i>Tradizione e innovazione nella cultura greca da Omero all\u2019et\u00e0 ellenistica<\/i>, ed. R. Pretagostini, vol. I. Rome: 237\u201346.<\/li>\n<\/ul>\n<h3><span id=\"Carmina_Convivalia\" class=\"mw-headline\">Carmina Convivalia<\/span><\/h3>\n<ul>\n<li>Cazzato, V. and Prodi, E.E. (2016) &#8216;Continuity in the sympotic tradition&#8217;, in\u00a0<i>The Cup of Song. Studies on Poetry and the Symposion<\/i>, edited by V. Cazzato, D. Obbink, E.E. Prodi, Oxford: 1-16.<\/li>\n<\/ul>\n<ul>\n<li>Fabbro, E. (1992) \u2018Sul riuso di carmi d\u2019autore nei simposi attici (Carm. conv. 8 P. e Alc. fr. 249 V.)\u2019,\u00a0<i>QUCC<\/i>\u00a070 (= n.s. 41.2): 21\u201338.<\/li>\n<\/ul>\n<ul>\n<li>Fabbro, E. (1995)\u00a0<i>Carmina Convivalia Attica<\/i>. Rome.<\/li>\n<\/ul>\n<ul>\n<li>Fabian, K., E. Pellizer and G. Tedeschi (1991) (eds.)\u00a0<i>\u039f\u0399\u039d\u0397\u03a1\u0391\u03a4\u0395\u03d2\u03a7\u0397: Studi Triestini di Poesia Conviviale<\/i>. Alessandria.<\/li>\n<\/ul>\n<ul>\n<li>Jones, Gregory S. (2008)\u00a0<i>Singing the Skolion: a Study of Poetics and Politics in Ancient Greece<\/i>. Ph.D. Diss. Johns Hopkins University.\n<ul>\n<li>My dissertation collects and examines for the first time all testimonia related to the skolion and all surviving songs identified as skolia. I offer a new definition of the term based on the three elements of melic genre: occasion, content, style. I also examine the Panhellenization and historical development of the genre with special attention paid to the political implications of the Atiic skolia.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h3><span id=\"Fragmenta_Adespota\" class=\"mw-headline\">Fragmenta Adespota<\/span><\/h3>\n<ul>\n<li>Benelli, L. (2013) &#8216;BKT IX 10 = P.Berol. 21110r: Dorische Lyrik oder Trag\u00f6die?&#8217;,\u00a0<i>APF<\/i>\u00a059.1: 29-32.<\/li>\n<\/ul>\n<ul>\n<li>Campbell, D. A. (1993)\u00a0<i>Greek Lyric V: The New School of Poetry and Anonymous Songs and Hymns<\/i>. Cambridge, Mass. and London.<\/li>\n<\/ul>\n<ul>\n<li>Mart\u00edn V\u00e1zquez, L. (1999) \u2018The song of the swallow\u2019,\u00a0<i>CFC(G)<\/i>\u00a09: 23\u201339.\u00a0<a class=\"external text\" href=\"http:\/\/revistas.ucm.es\/fll\/11319070\/articulos\/CFCG9999110023A.PDF\" rel=\"nofollow\">online version<\/a><\/li>\n<\/ul>\n<ul>\n<li>Rawles, Richard (2006) &#8216;Musical Notes on the new anonymous lyric poem from K\u00f6ln&#8217;\u00a0<i>ZPE<\/i>\u00a0157: 8-13. Concerns the anonymous poem transmitted in P. K\u00f6ln 21351 &amp; 21376 along with the &#8220;New Sappho&#8221;. It is suggested that the initial vocatives are addressed to Hermes.<\/li>\n<\/ul>\n<ul>\n<li>Ucciardello, Giuseppe (2001) &#8216;POxy. XXXII 2636: commentario a Pindaro o a Ibico?&#8217; in\u00a0<i>I lirici greci. Forme di comunicazione e storia del testo (Atti dell&#8217;Incontro di Studi &#8211; Messina 5-6 novembre 1999)<\/i>, eds. M. Cannat\u00e0 Fera &#8211; G.B. D\u2019Alessio. Messina: 87-116.<\/li>\n<\/ul>\n<ul>\n<li>Ucciardello, Giuseppe (2004) &#8216;Su due frammenti lirici adespoti (P.Oxy. XXXII 2631 = S 454 SLG; P.Oxy. IV 674 = Pind. fr. 338 M.)&#8217;,\u00a0<i>ZPE<\/i>\u00a0149: 29-34.<\/li>\n<\/ul>\n<ul>\n<li>Ucciardello, Giuseppe (2004\/5) &#8216;P.Oxy. XXXIX 2880 (lirica corale?): nuova edizione e note di commento&#8217;,\u00a0<i>Analecta Papyrologica<\/i>\u00a016-17: 21-31.<\/li>\n<\/ul>\n<ul>\n<li>Ucciardello, Giuseppe (2007) &#8216;A single scribe in P.Oxy. IV 660 + P.Oxy. XXIII 2623 + PSI inv. 1907 (Choral Lyric: Simonides?)&#8217;,\u00a0<i>ZPE<\/i>\u00a0160: 4-14.<\/li>\n<\/ul>\n<ul>\n<li>Ucciardello, Giuseppe (2011) &#8216;Poesia lirica adespota: rilettura di P.Oxy. 2621 (Pindaro?)&#8217; in\u00a0<i>Tra panellenismo e<\/i><\/li>\n<\/ul>\n<p>tradizioni locali. Nuovi contributi<i>, eds. A. Aloni and M. Ornaghi. Messina: 221-277.<\/i><\/p>\n<h2><span id=\"Dramatic_Chorus\" class=\"mw-headline\">Dramatic Chorus<\/span><\/h2>\n<ul>\n<li>Adrados, Francisco R. (1975)\u00a0<i>Festival, Comedy and Tragedy: The Greek Origins of Theatre<\/i>. Leiden. Translation from the Spanish by Christopher Holme. (1972)\u00a0<i>Fiesta, Comedia y Tragedia<\/i>. Barcelona.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (2001)\u00a0<i>Der Chor in der Alten Kom\u00f6die. Ritual und Performativit\u00e4t<\/i>\u00a0(unter besonderer Ber\u00fccksichtigung von Aristophanes&#8217;\u00a0<i>Thesmophoriazusen<\/i>\u00a0und der Phalloslieder fr. 851 PMG). M\u00fcnchen and Leipzig. (BzA 126). It has been translated by Alex Hollmann into English as:\n<ul>\n<li>Bierl, Anton (2009)\u00a0<i>Ritual and Performativity. The Chorus of Old Comedy<\/i>\u00a0(transl. by Alex Hollmann), Center for Hellenic Studies. Washington, DC: Harvard Press. (Hellenic Studies 20). New and revised edition.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>D&#8217;Angour, Armand (2007) &#8216;The Sound of Music: modulations and innovations in drama and dithyramb&#8217; in\u00a0<i>Debating the Athenian Cultural Revolution<\/i>, ed. R. Osborne Cambridge: 288-300.<\/li>\n<\/ul>\n<ul>\n<li>Martin, Richard (2007) &#8216;Ancient Theatre and Performance Culture&#8217; in\u00a0<i>The Cambridge Companion to Greek and Roman Theatre<\/i>, eds. M. McDonald and J.M. Walton. Cambridge 36-54.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, Peter (2000)\u00a0<i>The Athenian Institution of the Khoregia: The Chorus, the City, and the Stage<\/i>. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, Peter (2002) \u2018The musicians among the actors\u2019, in\u00a0<i>Greek and Roman Actors: Aspects of an Ancient Profession<\/i>, ed. P. Easterling and E. Hall. Cambridge: 41\u201370.<\/li>\n<\/ul>\n<h3><span id=\"Tragic_Chorus\" class=\"mw-headline\">Tragic Chorus<\/span><\/h3>\n<h4><span id=\"Tragic_Chorus_General\" class=\"mw-headline\">Tragic Chorus General<\/span><\/h4>\n<ul>\n<li><i>Arion<\/i>\u00a03.1 (1994\/1995):\u00a0<i>The Chorus in Greek Tragedy and Culture<\/i>. I.<\/li>\n<\/ul>\n<ul>\n<li><i>Arion<\/i>\u00a04.1 (1996\/1997):\u00a0<i>The Chorus in Greek Tragedy and Culture<\/i>. II.<\/li>\n<\/ul>\n<ul>\n<li>Bacon, H.H. (1996\/7) &#8216;The Chorus in Greek Life and Drama&#8217;,\u00a0<i>Arion<\/i>\u00a04.1: 6-24.<\/li>\n<\/ul>\n<ul>\n<li>Bagordo, A. (2003)\u00a0<i>Reminiszenzen fr\u00fcher Lyrik bei den attischen Tragikern: Beitr\u00e4ge zur Anspielungstechnik und poetischen Tradition<\/i>. Munich.<\/li>\n<\/ul>\n<ul>\n<li>Battezzato, Luigi (2005) &#8216;Lyric&#8217; in\u00a0<i>A Companion to Greek Tragedy<\/i>, ed. Justina Gregory. Oxford: Blackwell: 149-66. Presents an overview of the tragic chorus. Reviewed by Wright, Matthew (2006)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2006\/2006-06-39.html\" rel=\"nofollow\"><i>BMCR<\/i>2006.06.39<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Bieber, M. (1954) &#8216;The Entrances and Exits of Actors and Chorus in Greek Plays&#8217;,\u00a0<i>American Journal of Achaeology<\/i>\u00a058: 277-281.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (1991)\u00a0<i>Dionysos und die griechische Trag\u00f6die. Politische und &#8216;metatheatralische&#8217; Aspekte im Text<\/i>.\u00a0<i>Classica Monacensia<\/i>\u00a01. T\u00fcbingen. Dissertation, with many interpretations of tragic songs where Dionysus plays a role.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (2006) &#8216;Trag\u00f6die als Spiel und das Satyrspiel. Die Geburt des griechischen Theaters aus dem Geiste des Chortanzes und seines Gottes Dionysos&#8217;, in\u00a0<i>Aufgang. Jahrbuch f\u00fcr Denken, Dichten, Musik<\/i>. Bd. 3:\u00a0<i>Kind und Spiel<\/i>, eds. J. S\u00e1nchez de Murillo and M. Thurner. Stuttgart: 111\u2013138. Wth a new interpretation of the Hyporcheme of Pratinas.<\/li>\n<\/ul>\n<ul>\n<li>Brown, A.D. Fitton (1957) &#8216;The Size of the Greek Tragic Chorus&#8217;,\u00a0<i>Classical Review<\/i>\u00a07.1: 1-4.<\/li>\n<\/ul>\n<ul>\n<li>Brown, S. G. (1977) &#8216;A Contextual Analysis of Tragic Meter: The Anapest&#8217;, in\u00a0<i>Ancient and Modern: Essays in Honor of Gerald Else<\/i>, eds. John H. D&#8217;Arms and John W. Eadie. Ann Arbor: 45-78.<\/li>\n<\/ul>\n<ul>\n<li>Cairns, F. (2005). \u2018Parabasis in Euripides and Sophocles (Pollux 4.111)?\u2019, Aevum Antiquum n.s. 5: 135-144. Published 2009.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1994) &#8216;From Choral Poetry to Tragic Stasimon: The Enactment of Women&#8217;s Song&#8217;,\u00a0<i>Arion<\/i>\u00a03: 135-152. Contains a comparison of Pindar&#8217;s\u00a0<i>Partheneion<\/i>\u00a02 and the parodoi in Aeschylus&#8217;\u00a0<i>Seven against Thebes<\/i>\u00a0and in Euripides&#8217;\u00a0<i>Phoenician Women<\/i>.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1999) &#8216;Performative aspects of the choral voice in Greek tragedy: civic identity in performance&#8217;, in\u00a0<i>Performance culture and Athenian democracy<\/i>, eds. S. Goldhill and R. Osborne. Cambridge: 125-153.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (2005) &#8216;The Tragic Choral Group: Dramatic Roles and Social Functions&#8217; in\u00a0<i>A Companion to Tragedy<\/i>, ed. R. Bushnell. Oxford: 215-233.<\/li>\n<\/ul>\n<ul>\n<li>Calder, W. M. (1982) \u2018The size of Thespis&#8217; chorus\u2019,\u00a0<i>AJPh<\/i>\u00a0103: 319-320.<\/li>\n<\/ul>\n<ul>\n<li>Castellani, V. (1989) &#8216;The Value of a Kindly Chorus: Female Choruses in Attic Tragedy&#8217; in\u00a0<i>Women in Theatre<\/i>, ed. Redmond, J. Cambridge and New York.\u00a0<i>Themes in Drama<\/i>\u00a011: 1-18.<\/li>\n<\/ul>\n<ul>\n<li>Cerbo, E. (1993) &#8216;Gli inni ad Eros in tragedia: struttura e funzione&#8217; in\u00a0<i>Tradizione e innovazione nella cultura greca da Omero all&#8217; et\u00e0 ellenistica. Scritti in onore di Bruno Gentili<\/i>, ed. Pretagostini, R. Vol. 2. Roma: 645-656.<\/li>\n<\/ul>\n<ul>\n<li>Conacher, D.J. (1975) &#8216;Some Dramatic Uses of the Chorus in Greek Tragedy&#8217;,\u00a0<i>The University of Toronto Quarterly<\/i>\u00a044: 81-.<\/li>\n<\/ul>\n<ul>\n<li>Csapo, E. and Slater, W.J. (1995)\u00a0<i>The Context of Ancient Drama<\/i>. Ann Arbor.<\/li>\n<\/ul>\n<ul>\n<li>Curtis, L. (2017) Imagining the Chorus in Augustan Poetry. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Dale, A.M. (1950) &#8216;Stasimon and Hyporchema&#8217;,\u00a0<i>Eranos<\/i>\u00a048: 14-20.<\/li>\n<\/ul>\n<ul>\n<li>Dale, A.M. (1969) &#8216;The Chorus in the Action of Greek Tragedy&#8217;, in\u00a0<i>Collected Papers<\/i>, Dale, A.M. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Davidson, J.F. (1986) &#8216;The Circle and the Tragic Chorus&#8217;,\u00a0<i>G&amp;R<\/i>\u00a03: 38-46.<\/li>\n<\/ul>\n<ul>\n<li>Dorsch, K.-D. (1983)\u00a0<i>G\u00f6tterhymnsen in den Chorliedern der griechischen Tragiker: Form, Inhalt und Funktion<\/i>. PhD Diss. M\u00fcnster.<\/li>\n<\/ul>\n<ul>\n<li>Fleming, T. J. and E. C. Kopff (1992) \u2018Colometry of Greek lyric verses in tragic texts\u2019,<i>SIFC<\/i>\u00a03rd series 10: 758\u201370.<\/li>\n<\/ul>\n<ul>\n<li>Foley, H. (2003) &#8216;Choral Identity in Greek Tragedy&#8217;,\u00a0<i>Classical Philology<\/i>\u00a098: 1-30.<\/li>\n<\/ul>\n<ul>\n<li>Foley, H. (2007) &#8216;Envisioning the Tragic Chorus on the Modern Stage&#8217; in\u00a0<i>Visualizing the Tragic<\/i>, eds. C. Kraus, S. Goldhill, H. Foley and J. Elsner. Festschrift for F. Zeitlin. New York, Oxford: 353-78.<\/li>\n<\/ul>\n<ul>\n<li>Forbes, G.B. (1967) &#8216;The Actor, the Chorus, and Music in Greek Drama&#8217;,\u00a0<i>The Southern Speech Journal<\/i>\u00a033: *.<\/li>\n<\/ul>\n<ul>\n<li>Gentili, B. (1984)\u00a0<i>Poesia e pubblico nella Grecia antica da Omero al V secolo<\/i>. Roma-Bari. Revised and updated version translated, with an introduction, by Cole, A.T. (1988)\u00a0<i>Poetry and Its Public in Ancient Greece from Homer to the Fifth Century<\/i>. Baltimore.<\/li>\n<\/ul>\n<ul>\n<li>Gianvittorio, L. (2012)\u00a0<i>La narrazione melica nella tragedia. modi del racconto ed etopea del narratore\u00a0; (Aesch. Ag. 1072-1294; Eur. Or. 1369-1502)<\/i>\u00a0in:\u00a0<i>Quaderni Urbinati di Cultura Classica<\/i>.<\/li>\n<\/ul>\n<ul>\n<li>Golder, Herbert A. (1996-1997) \u2019Making a scene: gesture, tableau, and the tragic chorus\u2019,\u00a0<i>Arion<\/i>\u00a04.1: 1-19.<\/li>\n<\/ul>\n<ul>\n<li>Goldhill, S. (1996) &#8216;Collectivity and Otherness &#8211; The Authority of the Tragic Chorus: Response to Gould&#8217; in\u00a0<i>Tragedy and the Tragic<\/i>, ed. Silk, M.S. Oxford: 244-256.<\/li>\n<\/ul>\n<ul>\n<li>Gould, J. (2001) &#8216;Tragedy and Collective Experience&#8217; in\u00a0<i>Myth, Ritual Memory, and Exchange<\/i>, ed. Gould, John. Oxford: 378-404. Originally published in Silk, M.S. (ed.) (1996)\u00a0<i>Tragedy and the Tragic<\/i>. Oxford: 217-243.<\/li>\n<\/ul>\n<ul>\n<li>Gould, J. (2001) &#8216;Myth, Memory, and the Chorus: &#8216;Tragic Rationality&#8217; &#8216; in\u00a0<i>Myth, Ritual Memory, and Exchange<\/i>, ed. Gould, J. Oxford: 405-414. Originally published in Buxton, Richard (ed.) (1999)\u00a0<i>From Myth to Reason? Studies in the Development of Greek Thought<\/i>. Oxford: 107-16.<\/li>\n<\/ul>\n<ul>\n<li>Henrichs, A. (1994\/5) &#8216; &#8216;Why should I dance?&#8217;: Choral Self-referentiality in Greek Tragedy&#8217;,\u00a0<i>Arion<\/i>\u00a03.1: 56-111.<\/li>\n<\/ul>\n<ul>\n<li>Henrichs, A. (1996)\u00a0<i>&#8216;Warum soll ich denn tanzen?&#8217; Dionysisches im Chor der griechischen Trag\u00f6die<\/i>. Stuttgard-Leipzig.\u00a0<i>Lectio Teubneriana<\/i>\u00a04.<\/li>\n<\/ul>\n<ul>\n<li>Herington, J. (1985)\u00a0<i>Poetry into Drama. Early Tragedy and the Greek Poetic Tradition<\/i>. Berkeley-London.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek Lyric Poetry: A Commentary on Selected Larger Pieces<\/i>. Oxford.\n<ul>\n<li>Contains new texts of, and detailed commentaries on, Alcman 1 and 3 Davies, Stesichorus 222 (b) Davies, Sappho 1, 16, 31, 96 Voigt, Alcaeus 129, 130b, 298 Voigt, Ibycus S151 Davies, Anacreon 347 fr. 1, 358, 417 Page, Simonides 542, 543 Page, Bacchylides 3, Pindar\u00a0<i>Olympian<\/i>\u00a06, Sophocles\u00a0<i>Ajax<\/i>\u00a01185-1222, Euripides\u00a0<i>Medea<\/i>\u00a0627-662; introductions on individual poets and on tragic lyric.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Kaimio, M. (1970)\u00a0<i>The Chorus of Greek Drama within the Light of the Person and Number Used<\/i>. Helsinki.\u00a0<i>Societas scientarum Fennica commentationes humanarum litterarum<\/i>\u00a046.<\/li>\n<\/ul>\n<ul>\n<li>Kranz, W. (1933)\u00a0<i>Stasimon. Untersuchungen zu Form und Gehalt der griechischen Trag\u00f6die<\/i>. Berlin.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (2007) \u2018Visualizing the choral: epichoric poetry, ritual, and elite negotiation in fifth-century Thebes\u2019, in\u00a0<i>Visualizing the Tragic: Drama, Myth, and Ritual in Greek Art and Literature<\/i>, ed. C. Kraus et al. Oxford: 63\u2013101.<\/li>\n<\/ul>\n<ul>\n<li>Lattimore, R. (1965)\u00a0<i>The Poetry of Greek Tragedy<\/i>\u00a0Baltimore.<\/li>\n<\/ul>\n<ul>\n<li>Ley, Graham (2007)\u00a0<i>The Theatricality of Greek Tragedy: Playing Space and Chorus<\/i>. Chicago. Reviewed by Gamel, Mary-Kay (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-10-11.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.10.11<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>MacClure, L. (1999)\u00a0<i>Spoken like a Woman: Speech and Gender in Athenian Drama<\/i>. Princeton.<\/li>\n<\/ul>\n<ul>\n<li>Martin, Richard (2007) &#8216;Outer Limits, Choral Space&#8217; in\u00a0<i>Visualizing the Tragic<\/i>, eds. C. Kraus, S. Goldhill, H. Foley and J. Elsner. Festschrift for F. Zeitlin. New York, Oxford: 35-62.<\/li>\n<\/ul>\n<ul>\n<li>Meijering, R. (1985) \u2019Aristophanes of Byzantium and scholia on the composition of the dramatic chorus\u2019 in\u00a0<i>SCHOLIA. Studia ad criticam interpretationemque textuum Graecorum et ad historiam juris Graeco-Romani pertinentia D. Holwerda oblata<\/i>, eds. W.J. Aerts, J.H.A. Lokin, S.L. Radt and N.v.d. Wal. Groningen: 91-102<\/li>\n<\/ul>\n<ul>\n<li>Montgomery, H.C. (1942) &#8216;Some Later Uses of the Greek Tragic Chorus&#8217;,\u00a0<i>Classical Journal<\/i>\u00a038: 148-60.<\/li>\n<\/ul>\n<ul>\n<li>Parry, H. (1978)\u00a0<i>The Lyric Poems of Greek Tragedy<\/i>. Toronto-Sarasota.<\/li>\n<\/ul>\n<ul>\n<li>Pickard-Cambrindge, A.W. (1927)\u00a0<i>Dithyramb, Tragedy and Comedy<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>P\u00f6hlmann, E. (1997) &#8216;The Tragic Chorus and the Limits of Dramatic Convention in the Fifth Century B.C.&#8217; in\u00a0<i>Scaenica Saravi-Varsoviensia: Beitr\u00e4ge zum antiken Theater und zu seinem Nachleben<\/i>, eds. J. Axer and W. G\u00f6rle. Warschau: 1-10.<\/li>\n<\/ul>\n<ul>\n<li>Riemer, P. and Zimmermann, B. (eds.) (1998)\u00a0<i>Der Chor im antiken und modernen Drama<\/i>. Stuttgart.\u00a0<i>Drama<\/i>\u00a07.<\/li>\n<\/ul>\n<ul>\n<li>Roberts, Deborah H. (1987) \u2019Parting words. Final lines in Sophocles and Euripides\u2019,\u00a0<i>CQ<\/i>\u00a037: 51-64.<\/li>\n<\/ul>\n<ul>\n<li>Rode, J. (1971) &#8216;Das Chorlied&#8217; in\u00a0<i>Die Bauformen der griechischen Trag\u00f6die<\/i>, ed. W. Jens. M\u00fcnchen: 85-115.<\/li>\n<\/ul>\n<ul>\n<li>Rutherford, I. (1994\/5) &#8216;Apollo in Ivy: The Tragic Paean&#8217;,\u00a0<i>Arion<\/i>\u00a03.1: 112-135.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C. (1989) &#8216;Song, Ritual, and Commemoration in Early Greek Poetry and Tragedy&#8217;,\u00a0<i>Oral Tradition<\/i>\u00a04: 330-359.<\/li>\n<\/ul>\n<ul>\n<li>Sifakis, G.M. (2001) &#8216;The Function and Significance of Music in Greek Tragedy&#8217;,\u00a0<i>BICS<\/i>\u00a045: 21-35.<\/li>\n<\/ul>\n<ul>\n<li>Silk, M.S. (1998) &#8216;Style, Voice, and Authority in the Choruses of Greek Drama&#8217; in\u00a0<i>Der Chor im antiken und modernen Drama<\/i>, eds. Riemer, P. and Zimmermann, B. Stuttgart.\u00a0<i>Drama<\/i>\u00a07: 1-26.<\/li>\n<\/ul>\n<ul>\n<li>Stehle, Eva (2004) \u2018Choral Prayer in Greek Tragedy: Euphemia or Aischrologia?\u2019 in\u00a0<i>Music and the Muses: The Culture of Mousike in the Classical Athenian City<\/i>, eds. Murray, Penelope and Peter Wilson. Oxford: 121-155.<\/li>\n<\/ul>\n<ul>\n<li>St\u00f6ssel, F. (1987)\u00a0<i>Die Vorgeschichte des griechischen Theaters<\/i>. Darmstadt.<\/li>\n<\/ul>\n<ul>\n<li>Suter, Ann (2008) &#8216;Male Lament in Greek Tragedy&#8217; in\u00a0<i>Lament: Studies in the Ancient Mediterranean and Beyond<\/i>, ed. Ann Suter. Oxford, New York: 245-88. Reviewed by Alden, Maureen (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-10-26.html\" rel=\"nofollow\"><i>BMCR<\/i>2008.10.26<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2013) \u2018Conflicting Identities in the Euripidean Chorus\u2019, in Choral Mediations in Greek Tragedy, eds R. Gagn\u00e9 and M. Hopman. Cambridge: 130-54.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. A. (2010)\u00a0<i>The Hidden Chorus: Echoes of Genre in Tragic Lyric<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Trieschnigg, C.P. (2009)\u00a0<i>Dances with Girls: The Identity of the Chorus in Aeschylus&#8217; Seven against Thebes<\/i>. Ph.D. Diss. Radboud University Nijmegen (Netherlands). With summary in Dutch.\n<ul>\n<li>This dissertation sheds new light on the role of the tragic chorus by providing a detailed analysis of the role of the chorus of young Theban women in Aeschylus\u2019\u00a0<i>Seven against Thebes<\/i>. It contends that the special voice of the tragic chorus ought to be explained as being a result of the tragic chorus\u2019 resemblance (or lack of it) to a non-dramatic chorus. In archaic and classical Greece, non-dramatic choruses of young unmarried women perform at special occasions in the life of a community, such as religious festivals and weddings. They reflect traditional views and stories and provide their audience with a model of how to view the present situation. This dissertation shows how the chorus in the\u00a0<i>Seven<\/i>\u00a0develops from a group of panic-stricken girls to a self-contained group of young women voicing feelings and ideas like a non-dramatic chorus representing the community at large. The chorus\u2019 dynamic role gives it a special voice enabling it to stand up against king Eteocles and to offer the audience a perspective on war that is irreconcilable with his but equally worth considering.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Webster, T.B.L.\u00a0<i>The Greek Chorus<\/i>. London 1970.<\/li>\n<\/ul>\n<ul>\n<li>Weiner, A. (1980) &#8216;The Function of the Greek Tragic Chorus&#8217;,\u00a0<i>Theatre Journal<\/i>\u00a032: 205-12.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, P. (1997) &#8216;Leading the Tragic\u00a0<i>Khoros<\/i>: Tragic Prestige in the Democratic City&#8217;, in\u00a0<i>Greek Tragedy and the Historian<\/i>, C.B.R. Pelling (ed.). Oxford: 81-108.<\/li>\n<\/ul>\n<ul>\n<li>Wilson, Peter (2005) &#8216;Music&#8217; in\u00a0<i>A Companion to Greek Tragedy<\/i>, ed. Justina Gregory. Oxford: Blackwell: 183-93. On music in Greek tragedy. Reviewed by Wright, Matthew (2006)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2006\/2006-06-39.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02006.06.39<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Winkler, J.J. (1990) &#8216;The Ephebe&#8217;s Song: Tragoidia and Polis&#8217; in\u00a0<i>Before Sexuality: The Context of Erotic Experience in the Ancient Greek World<\/i>, eds. D. Halperin, J.J. Winkler, F.I. Zeitlin. Princeton: 20-62.<\/li>\n<\/ul>\n<h4><span id=\"Aeschylus\" class=\"mw-headline\">Aeschylus<\/span><\/h4>\n<h5><span id=\"Aeschylus:_General\" class=\"mw-headline\">Aeschylus: General<\/span><\/h5>\n<ul>\n<li>Bierl, A. (2018) \u201cFear in Choral Action: Thoughts about a Dionysian Emotion in Aeschylean Tragedy\u201d, in <em>Il teatro delle emozioni: la paura<\/em> (Atti del 1\u00b0 Convegno Internazionale di Studi, Padova, 24-25 maggio 2018), ed. M. De Poli, Padova: 17\u201339.<\/li>\n<li>Finley, J.H. (1966)\u00a0<i>Pindar and Aeschylus<\/i>. Cambridge Mass.<\/li>\n<\/ul>\n<ul>\n<li>Gruber, Markus A. (2009)\u00a0<i>Der Chor in den Trag\u00f6dien des Aischylos. Affekt und Reaktion<\/i>. T\u00fcbingen: Gunter Narr Verlag (PhD Dissertation, University of Regenburg (Germany), 2008). The first monograph discussing the chorus in all six tragedies of Aeschylus. Reviewed by Billings, Joshua (2009)\u00a0<a class=\"external text\" href=\"http:\/\/bmcr.brynmawr.edu\/2009\/2009-08-47.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02009.08.47<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Moritz, H.E. (1979) &#8216;Refrain in Aeschylus: Literary Adaptation of Traditional Form&#8217;,\u00a0<i>CP<\/i>\u00a074: 187-213.<\/li>\n<\/ul>\n<ul>\n<li>Podlecki, A. J. (1972) &#8216;The Aeschylean Chorus as Dramatic Persona&#8217;, in\u00a0<i>Studi classici in onore di Q. Cataudella<\/i>. Catania. 1: 187-204.<\/li>\n<\/ul>\n<ul>\n<li>Schenker, David J. (1989)\u00a0<i>The character of the Aeschylean chorus<\/i>. Berkeley.<\/li>\n<\/ul>\n<ul>\n<li>Schmidt, E.G. (ed.) (1981)\u00a0<i>Aischylos und Pindar. Studien zu Werk und Nachwirkung<\/i>. Berlin.\u00a0<i>Schriften zur Geschichte und Kultur der Antike<\/i>\u00a019.<\/li>\n<\/ul>\n<ul>\n<li>Scott, William C. (1984)\u00a0<i>Musical design in Aeschylean theater<\/i>. Hanover and London.<\/li>\n<\/ul>\n<h5><span id=\"Aeschylus:_Oresteia\" class=\"mw-headline\">Aeschylus:\u00a0<i>Oresteia<\/i><\/span><\/h5>\n<ul>\n<li>Briand, M. (2016), \u00ab\u00a0La notion de cycle th\u00e9\u00e2tral dans l\u2019Orestie d\u2019Eschyle\u00a0: ritualit\u00e9s et structure pr\u00e9-dramatiques\u00a0\u00bb, in R. Jobez (\u00e9d.), Le cycle du th\u00e9\u00e2tre, Cahiers du FoReLL\u00a0:\u00a0<a class=\"external free\" href=\"http:\/\/09.edel.univ-poitiers.fr\/lescahiersforell\/index.php?id=415\" rel=\"nofollow\">http:\/\/09.edel.univ-poitiers.fr\/lescahiersforell\/index.php?id=415<\/a><\/li>\n<\/ul>\n<ul>\n<li>Bu\u00e8, F. (2014), &#8216;La vittoria di Apollo sulle Erinni nel contrasto musicale dell&#8217; Orestea&#8217;, QUCC, 1, 2014, pp. 91-103.<\/li>\n<\/ul>\n<ul>\n<li>Conacher D. J. (1974) \u2018Interaction between chorus and characters in the\u00a0<i>Oresteia<\/i>\u00a0\u2019,\u00a0<i>AJPh<\/i>\u00a095: 323-343.<\/li>\n<\/ul>\n<ul>\n<li>K\u00e4ppel, Lutz (1998) &#8216;Die Rolle des Chores in de\u00a0<i>Orestie<\/i>\u00a0des Aischylos: Vom epischen Erz\u00e4hler \u00fcber das lyrische Ich zur dramatis persona&#8217; in\u00a0<i>Der Chor im antiken und modernen Drama<\/i>, eds. Riemer, P. and B. Zimmermann. Stuttgart.\u00a0<i>Drama<\/i>\u00a07: 61-88.<\/li>\n<\/ul>\n<ul>\n<li>Scott, W. (1984) &#8216;The Splitting of Choral Lyric in Aeschylus&#8217;\u00a0<i>Oresteia<\/i>\u00a0&#8216;,\u00a0<i>AJPh<\/i>\u00a0105: 150-165.<\/li>\n<\/ul>\n<h5><span id=\"Aeschylus:_Agamemnon\" class=\"mw-headline\">Aeschylus:\u00a0<i>Agamemnon<\/i><\/span><\/h5>\n<ul>\n<li>Adrados, F.R. (1989) &#8216;La divination dans les choeurs de l&#8217;\u00a0<i>Agamemnon<\/i>\u00a0d&#8217; Eschyle&#8217;,\u00a0<i>Revue des Etudes Grecques<\/i>\u00a0102: 295-307.<\/li>\n<\/ul>\n<ul>\n<li>Athanassaki, L. (1994) &#8216;Choral and Prophetic Discourse in the First Stasimon of the\u00a0<i>Agamemnon<\/i>\u00a0&#8216;,\u00a0<i>CJ<\/i>\u00a089: 149-62.<\/li>\n<li>Bierl, A. (2017) \u201c<em>Melizein Pathe<\/em> or the Tonal Dimension in Aeschylus\u2019 <em>Agamemnon<\/em>: Voice, Song, and Choreia as Leitmotifs and Metatragic Signals for Expressing Suffering\u201d, in <em>Voice and Voices in Antiquity<\/em> (Orality and Literacy in the Ancient World 11), ed. N. Slater, Leiden: 166\u2013207.<\/li>\n<li><span lang=\"en-US\">Bierl, A. (2018) \u201c<\/span><span lang=\"en-US\">Fear in Choral Action: Thoughts about a Dionysian Emotion in Aeschylean Tragedy\u201d, in:\u00a0<\/span><span lang=\"de\">M. De Poli<i>\u00a0<\/i>(ed.),\u00a0<i>Il teatro delle emozioni: la paura\u00a0<\/i>(Atti del 1\u00b0 Convegno Internazionale di St<\/span><span lang=\"de\">udi, Padova, 24-25 maggio 2018), Padova: Padova University Press 2018, 17\u201339.<\/span><\/li>\n<\/ul>\n<ul>\n<li>Fletcher, Judith (1999) \u2019Choral voice and narrative in the first stasimon of Aeschylus\u00a0<i>Agamemnon<\/i>\u00a0\u2019,\u00a0<i>Phoenix<\/i>\u00a053: 29-49.\n<ul>\n<li>Abstract: This article examines represented speech in the first stasimon of Agamemnon. I argue that the speech of the domwn profhtai at 410 ff. is deliberately open-ended and thus double-voiced. It functions to change the perspective of the chorus from the vantage point of the Atreidae to the more critical perspective of the Argive citizens.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Gantz, G. (1983) \u2018The chorus of Aischylos&#8217;\u00a0<i>Agamemnon<\/i>\u00a0\u2019,\u00a0<i>HSPh<\/i>\u00a087: 65-86.<\/li>\n<\/ul>\n<ul>\n<li>Harriot, R.M. (1982) &#8216;The Argive Elders, the Discerning Shepherd and the Fawning Dog: Misleading Communication in the\u00a0<i>Agamemnon<\/i>\u00a0&#8216;,\u00a0<i>Classical Quarterly<\/i>\u00a032: 9-17.<\/li>\n<\/ul>\n<ul>\n<li>Lynn-George, M. (1993) &#8216;A reflection on Homeric dawn in the parodos of Aeschylus,\u00a0<i>Agamemnon<\/i>\u00a0&#8216;,\u00a0<i>Classical Quarterly<\/i>\u00a043: 1-9.<\/li>\n<\/ul>\n<ul>\n<li>Schenker, David J. (1991) \u2018A study in choral character: Aeschylus,\u00a0<i>Agamemnon<\/i>\u00a0489-502\u2019,\u00a0<i>TAPhA<\/i>\u00a0121: 63-73.<\/li>\n<\/ul>\n<ul>\n<li>Sienkewicz, T. J. (1980) &#8216;Circles, Confusion, and the Chorus of\u00a0<i>Agamemnon<\/i>\u00a0&#8216;,\u00a0<i>Eranos<\/i>\u00a078: 133-142.<\/li>\n<\/ul>\n<ul>\n<li>Smethurst, M. J. (1972) \u2018The authority of the elders. The\u00a0<i>Agamemnon<\/i>\u00a0of Aeschylus\u2019,\u00a0<i>CPh<\/i>\u00a067: 89-93.<\/li>\n<\/ul>\n<ul>\n<li>Thiel, R. (1993)\u00a0<i>Chor und tragische Handlung im Agamemnon des Aischylos<\/i>\u00a0Stuttgart.\u00a0<i>Beitr\u00e4ge zur Altertumskunde<\/i> 35.<\/li>\n<\/ul>\n<h5><span id=\"Aeschylus:_Choephori\" class=\"mw-headline\">Aeschylus:\u00a0<i>Choephori<\/i><\/span><\/h5>\n<ul>\n<li>Stinton, T.C.W. (1979) \u2018The First Stasimon of Aeschylus\u2019\u00a0<i>Choephori<\/i>\u00a0\u2019,\u00a0<i>CQ<\/i>\u00a0ns 29: 252-62. Reprinted in his (1990)\u00a0<i>Collected Papers on Greek Tragedy<\/i>. Oxford: 384-96.<\/li>\n<\/ul>\n<h5><span id=\"Aeschylus:_Eumenides\" class=\"mw-headline\">Aeschylus:\u00a0<i>Eumenides<\/i><\/span><\/h5>\n<ul>\n<li>Faraone, Christopher A. (1985) &#8216;Aeschylus&#8217; Hymnos Desmios (<i>Eum<\/i>. 306) and Attic Judicial Curse Tablets&#8217;,\u00a0<i>Journal of Hellenic Studies<\/i>\u00a0105: 150-54.<\/li>\n<\/ul>\n<ul>\n<li>Maxwell-Stuart, P.G. (1973) &#8216;The Appearance of Aeschylus&#8217; Erinyes&#8217;,\u00a0<i>Greece &amp; Rome<\/i>\u00a020: 81-84.<\/li>\n<\/ul>\n<ul>\n<li>Prins, Y. (1991) &#8216;The power of the speech act: Aeschylus&#8217; furies and their binding song&#8217;,\u00a0<i>Arethusa<\/i>\u00a024: 177-195.<\/li>\n<\/ul>\n<ul>\n<li>Roisman, H.M. (1989) &#8216;The opening of the second stasimon in Aeschylus&#8217;\u00a0<i>Eumenides<\/i>\u00a0&#8216;,\u00a0<i>Eranos<\/i>\u00a087: 7-11.<\/li>\n<\/ul>\n<h5><span id=\"Aeschylus:_Persae\" class=\"mw-headline\">Aeschylus:\u00a0<i>Persae<\/i><\/span><\/h5>\n<ul>\n<li>Bednarczyk-Kedziorek, Ewa (1988) \u2019The chorus as a narrator in the Persae of Aeschylus\u2019,\u00a0<i>SPhP<\/i>\u00a07: 23-35.<\/li>\n<li><span lang=\"EN-US\">Bierl, A. (2015) [2019]\u00a0 \u201c<\/span><span lang=\"DE\">Momente performativen Selbstreflexiv-Werdens in der Trag\u00f6die des Aischylos (mit besonderem Blick auf die Dareios-Szene in den\u00a0<i>Persern<\/i>)\u201d, <i>Forum Modernes Theater<\/i>\u00a0 30:\u00a0 86\u2013105.<\/span><\/li>\n<\/ul>\n<ul>\n<li>Michelini, A.N. (1982)\u00a0<i>Tradition and Dramatic Form in The Persians of Aeschylus<\/i>. Leiden.<\/li>\n<\/ul>\n<ul>\n<li>Schenker, David J. (1994) &#8216;The Queen and the chorus in Aeschylus&#8217;\u00a0<i>Persae<\/i>\u00a0&#8216;,\u00a0<i>Phoenix<\/i>\u00a048: 283-293.<\/li>\n<\/ul>\n<h5><span id=\"Aeschylus:_Prometheus\" class=\"mw-headline\">Aeschylus:\u00a0<i>Prometheus<\/i><\/span><\/h5>\n<ul>\n<li>Flintoff, E. (1984) \u2018Athetos at\u00a0<i>Prometheus vinctus<\/i>\u00a0150\u2019,\u00a0<i>Hermes<\/i>\u00a0112: 367-372.<\/li>\n<\/ul>\n<ul>\n<li>Golden, L. (1966)\u00a0<i>In Praise of Prometheus<\/i>. Chapel Hill.<\/li>\n<\/ul>\n<ul>\n<li>Inoue, E. (1977) \u2018Prometheus as teacher and the chorus&#8217;s descent,\u00a0<i>P. V.<\/i>\u00a0278 ff.\u2019,\u00a0<i>CQ<\/i>\u00a027: 256-260.<\/li>\n<\/ul>\n<ul>\n<li>Karsai, G. (2001) \u2019The structure of\u00a0<i>Prometheus Bound<\/i>\u00a0\u2019,\u00a0<i>AAntHung<\/i>\u00a041 (3-4): 293-302.<\/li>\n<\/ul>\n<ul>\n<li>Ruffell, I. (2012)\u00a0<i>Aeschylus. Prometheus Bound. Companions to Greek and Roman Tragedy<\/i>. Bristol.<\/li>\n<\/ul>\n<ul>\n<li>Scott, W.C. (1987) \u2019The development of the chorus in\u00a0<i>Prometheus bound<\/i>\u00a0\u2019,\u00a0<i>TAPhA<\/i>\u00a0117: 85-96.<\/li>\n<\/ul>\n<ul>\n<li>Sienkewicz, T. (1984) \u2019The chorus of\u00a0<i>Prometheus bound<\/i>. Harmony of suffering\u2019,\u00a0<i>Ramus<\/i>\u00a013: 60-73.<\/li>\n<\/ul>\n<h5><span id=\"Aeschylus:_Septem_contra_Thebas\" class=\"mw-headline\">Aeschylus:\u00a0<i>Septem contra Thebas<\/i><\/span><\/h5>\n<ul>\n<li>Bagordo, A. (2003) &#8216;L&#8217;omaggio letterario di un ateniese a un tebano (Aesch.\u00a0<i>Sept<\/i>. 774; Pind. fr. [dith.] 75.3 ss. Sn.-M.)&#8217; in\u00a0<i>RHYSMOS. Studi di poesia, metrica e musica greca offerti dagli allievi a Luigi Enrico Rossi per i suoi settant&#8217; anni<\/i>, ed. R. Nicolai. Roma: 205-9.<\/li>\n<\/ul>\n<ul>\n<li>Brown, A.L. (1977) &#8216;Eteocles and the Chorus in the\u00a0<i>Seven Against Thebes<\/i>\u00a0&#8216;,\u00a0<i>Phoenix<\/i>\u00a031: 300-318.<\/li>\n<\/ul>\n<ul>\n<li>Bruit-Zidman, L. (1991) &#8216;La voix des femmes: Les femmes et la guerre dans\u00a0<i>Les Sept Contre Th\u00e8bes<\/i>\u00a0&#8216; in\u00a0<i>M\u00e9langes \u00c9tienne Bernand<\/i>, eds. Nicole Fick and Jean-Claude Carri\u00e8re. Paris: Annales Litt\u00e9raires de l\u2019Universit\u00e9 de Besan\u00e7on: 43-54.<\/li>\n<\/ul>\n<ul>\n<li>Delcourt, Marie (1932) &#8216;Le r\u00f4le du choeur dans\u00a0<i>Les Sept devant Th\u00e8bes<\/i>\u00a0&#8216;,\u00a0<i>l\u2019Antiquit\u00e9 Classique<\/i>\u00a01: 25-33.<\/li>\n<\/ul>\n<ul>\n<li>Goff, B. (1995) &#8216;The Women of Thebes&#8217;,\u00a0<i>CJ<\/i>\u00a090: 353-365.<\/li>\n<\/ul>\n<ul>\n<li>Lech, Marcel Lysgaard (2008) &#8216;A Possible Date of the Revival of Aeschylus\u00b4 The Seven Against Thebes&#8217;\u00a0<i>CQ<\/i>\u00a059, 2.<\/li>\n<\/ul>\n<ul>\n<li>Manton, G. R. (1961) &#8216;The Second Stasimon of the\u00a0<i>Seven Against Thebes<\/i>\u00a0&#8216;,\u00a0<i>Bulletin of the Institute of Classical Studies<\/i>\u00a08: 77-84.<\/li>\n<\/ul>\n<ul>\n<li>Stehle, Eva (2005) &#8216;Prayer and curse in Aeschylus\u2019\u00a0<i>Seven agaisnt Thebes<\/i>\u00a0&#8216;,\u00a0<i>Classical Philology<\/i>\u00a0100: 101-22.<\/li>\n<\/ul>\n<ul>\n<li>Trieschnigg, C.P. (2009)\u00a0<i>Dances with Girls: The Identity of the Chorus in Aeschylus&#8217; Seven against Thebes<\/i>. Ph.D. Diss. Radboud University Nijmegen (Netherlands). With summary in Dutch.\n<ul>\n<li>This dissertation sheds new light on the role of the tragic chorus by providing a detailed analysis of the role of the chorus of young Theban women in Aeschylus\u2019\u00a0<i>Seven against Thebes<\/i>. It contends that the special voice of the tragic chorus ought to be explained as being a result of the tragic chorus\u2019 resemblance (or lack of it) to a non-dramatic chorus. In archaic and classical Greece, non-dramatic choruses of young unmarried women perform at special occasions in the life of a community, such as religious festivals and weddings. They reflect traditional views and stories and provide their audience with a model of how to view the present situation. This dissertation shows how the chorus in the\u00a0<i>Seven<\/i>\u00a0develops from a group of panic-stricken girls to a self-contained group of young women voicing feelings and ideas like a non-dramatic chorus representing the community at large. The chorus\u2019 dynamic role gives it a special voice enabling it to stand up against king Eteocles and to offer the audience a perspective on war that is irreconcilable with his but equally worth considering.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Valakas, K. (1993) &#8216;The First Stasimon and the Chorus in Aeschylus&#8217;\u00a0<i>Seven Against Thebes<\/i>\u00a0&#8216;,\u00a0<i>Studi Italiani di filologia classica<\/i>\u00a0(<i>SDFC<\/i>), 11.1-2: 55-86.<\/li>\n<\/ul>\n<ul>\n<li>Zimmermann, Bernhard (2002) \u2018Coro e azione drammatica nei\u00a0<i>Sette contro Tebe<\/i>\u00a0di Eschilo\u2019 in\u00a0<i>I Sette a Tebe. Dal mito alla letteratura. Atti del Seminario Internazionale, Torino 21-22 Febbraio 2001<\/i>, eds. Antonio Aloni, Elisabetta Berardi, Giuliana Besso, Sergio Cecchin. Bologna: 117-124. Review by Neil W. Bernstein,\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2003\/2003-12-05.html\" rel=\"nofollow\">BMCR 2003.12.05<\/a>.<\/li>\n<\/ul>\n<h5><span id=\"Aeschylus:_Supplices\" class=\"mw-headline\">Aeschylus:\u00a0<i>Supplices<\/i><\/span><\/h5>\n<ul>\n<li>Hester, D. A. (1987) \u2019A chorus of one Danaid\u2019,\u00a0<i>Antichthon<\/i>\u00a021: 9-18.<\/li>\n<\/ul>\n<ul>\n<li>Kavoulaki, Athena (2011) &#8216;Choral self-awareness: on the introductory anapaests of Aeschylus\u2019\u00a0<i>Supplices&#8217;<\/i>\u00a0in: Athanassaki, Lucia &amp; Bowie, Ewen (2011) (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>\u00a0Berlin\/New York: 365-90.<\/li>\n<\/ul>\n<ul>\n<li>Murnaghan, Sheila (2005) &#8216;Women in Groups: Aeschylus&#8217;\u00a0<i>Suppliants<\/i>\u00a0and the Female Choruses of Greek Tragedy&#8217; in\u00a0<i>The Soul of Tragedy: Essays on Athenian Drama<\/i>, eds. Victoria Pedrick and Steven M. Oberhelman. Chicago: 183-198.<\/li>\n<\/ul>\n<h4><span id=\"Sophocles\" class=\"mw-headline\">Sophocles<\/span><\/h4>\n<h5><span id=\"Sophocles:_General\" class=\"mw-headline\">Sophocles:\u00a0<i>General<\/i><\/span><\/h5>\n<ul>\n<li>Bagordo, A. (2003) &#8216;Sofocle e i lirici: tradizione e allusione&#8217; in\u00a0<i>Il dramma sofocleo: testo, lingua, interpretazione (Atti del Simposio Verona 24\u009626.1.2002)<\/i>, G. Avezz\u00f9 (a c. di). Stuttgart\/Weimar: 5-15.<\/li>\n<\/ul>\n<ul>\n<li>Burton, R.W.B. (1980)\u00a0<i>The Chorus in Sophocles&#8217; Tragedies<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Davidson, J.F. (1986) \u2019Chorus, theatre, text, and Sophocles\u2019 in\u00a0<i>Studies in honour of T. B. L. Webster<\/i>, eds. J.H. Betts, J.T. Hooker and J.R. Green. Bristol: 69-78.<\/li>\n<\/ul>\n<ul>\n<li>Davidson, J.F. (1991) &#8216;Starting a Choral Ode: Some Sophoclean Techniques&#8217;,\u00a0<i>Prudentia<\/i>\u00a023.1: 31-44.<\/li>\n<\/ul>\n<ul>\n<li>Esposito, S.J. (1984)\u00a0<i>The chorus in Sophocles. The tension of foreground and background in\u00a0<\/i>Philoctetes<i>\u00a0and\u00a0<\/i>Trachiniae<i>.<\/i>\u00a0Baltimore.<\/li>\n<\/ul>\n<ul>\n<li>Esposito, S. (1996) &#8216;The Changing Role of the Sophoclean Chorus&#8217;,\u00a0<i>Arion<\/i>\u00a04: 85-114.<\/li>\n<\/ul>\n<ul>\n<li>Gardiner, C.P. (1974)\u00a0<i>The dramatic character and function of the Sophoclean chorus<\/i>. Princeton.<\/li>\n<\/ul>\n<ul>\n<li>Gardiner, C.P. (1987)\u00a0<i>The Sophoclean Chorus: A Study of Charakter and Function<\/i>. Iowa City.<\/li>\n<\/ul>\n<ul>\n<li>Heikkil\u00e4, Kai (1991) \u2019Now I have the mind to dance: the references of the chorus to their own dancing in Sophocles&#8217; tragedies\u2019,\u00a0<i>Arctos<\/i>\u00a025: 51-68.<\/li>\n<\/ul>\n<ul>\n<li>* Hutchinson, G. O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Kurtz, J.G. (1984)\u00a0<i>Some observations about the dianoia of the chorus in Sophocles&#8217; Theban plays<\/i>. Boston.<\/li>\n<\/ul>\n<ul>\n<li>Nooter, S. (2012).\u00a0<i>When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy<\/i>. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Paulsen, T. (1989)\u00a0<i>Die Rolle des Chors in den sp\u00e4ten Sophokles-Trag\u00f6dien: Untersuchungen zu\u00a0<\/i>Elektra<i>,\u00a0<\/i>Philoktet<i>\u00a0und\u00a0<\/i>Oidipus auf Kolonos<i>.<\/i>\u00a0Bari.<\/li>\n<\/ul>\n<ul>\n<li>Power, T. (2012). &#8216;Sophocles and Music&#8217;.\u00a0<i>Brill&#8217;s Companion to Sophocles<\/i>. A. Markantonatos, Brill: 281-304.<\/li>\n<\/ul>\n<ul>\n<li>Riemer, P. (1998) &#8216;Chor und Handlung in den Trag\u00f6dien des Sophokles&#8217; in\u00a0<i>Der Chor im antiken und modernen Drama<\/i>, eds. Riemer, P. and B. Zimmermann. Stuttgart.\u00a0<i>Drama<\/i>\u00a07: 89-111. With emphasis on the\u00a0<i>Trachiniae<\/i>.<\/li>\n<\/ul>\n<ul>\n<li>Rodighier, A. (2012)\u00a0<i>Generi lirico-corali nella produzione drammatica di Sofocle<\/i>, T\u00fcbingen, Narr.<\/li>\n<\/ul>\n<ul>\n<li>Rosenmeyer, T.G. (1993) &#8216;Elusory Voices: Thoughts about the Sophoclean Chorus&#8217; in\u00a0<i>Nomodeiktes: Greek Studies in Honor of Martin Oswald<\/i>, eds. R.M. Rosen and J. Farrell. Ann Arbor: 557-571.<\/li>\n<\/ul>\n<ul>\n<li>Scott, William C. (1996)\u00a0<i>Muscial design in Sophoclean theater<\/i>. Hanover and London.<\/li>\n<\/ul>\n<ul>\n<li>Shucard, S.C. (1973) \u2018Some developments in Sophocles&#8217; late plays of intrigue\u2019,\u00a0<i>CJ<\/i>\u00a069: 133-138. (<i>Philoctetes<\/i>\u00a0and\u00a0<i>Electra<\/i>)<\/li>\n<\/ul>\n<h5><span id=\"Sophocles:_Ajax\" class=\"mw-headline\">Sophocles:\u00a0<i>Ajax<\/i><\/span><\/h5>\n<h5><span id=\"Sophocles:_Antigone\" class=\"mw-headline\">Sophocles:\u00a0<i>Antigone<\/i><\/span><\/h5>\n<ul>\n<li>Bierl, A. (2017) \u201cThe Bacchic-Chor(a)ic Chronotope: Dionysus, Chora and Chorality in the Fifth Stasimon of Sophocles\u2019 Antigone\u201d, in <em>Time and Space in Ancient Myth, Religion and Culture<\/em> (MythosEikonPoiesis vol. 10), eds. A. Bierl, M. Christopoulos, A. Papachrysostomou, Berlin: 99\u2013144.<\/li>\n<li>Coleman, R. (1972) \u2018The r\u00f4le of the chorus in Sophocles&#8217;\u00a0<i>Antigone<\/i>\u2019,\u00a0<i>PCPhS<\/i>\u00a018: 4-27.<\/li>\n<\/ul>\n<ul>\n<li>Crane, G. (1989) &#8216;Creon and the Ode to Man in Sophocles&#8217;\u00a0<i>Antigone<\/i>\u00a0&#8216;,\u00a0<i>Harvard Studies in Classical Philology<\/i>\u00a092: 103-116.<\/li>\n<\/ul>\n<ul>\n<li>Ditmars, E. v. N. (1992)\u00a0<i>Sophocles&#8217; Antigone: Lyric Shape and Meaning<\/i>. Biblioteca di Studi Antichi, 69. Pisa.<\/li>\n<\/ul>\n<ul>\n<li>Harder, M.A. (1995) &#8216;Lips sealed by Fear?: Het koor in Sophokles&#8217;\u00a0<i>Antigone<\/i>\u00a0&#8216;,\u00a0<i>Lampas<\/i>\u00a028: 217-235. (in Dutch)<\/li>\n<\/ul>\n<ul>\n<li>Hester, D. (1986) \u2019The central character(s) of the\u00a0<i>Antigone<\/i>\u00a0and their relationship to the chorus\u2019,\u00a0<i>Ramus<\/i>\u00a015: 74-81.<\/li>\n<\/ul>\n<ul>\n<li>Kitzinger, Rachel (2008)\u00a0<i>The choruses of Sophokles&#8217;\u00a0<\/i>Antigone<i>\u00a0and\u00a0<\/i>Philoktetes<i>: a dance of words. Mnemosyne Supplementa<\/i>\u00a0292. Leiden, Boston: Brill.<\/li>\n<\/ul>\n<ul>\n<li>McDevitt, A.S. (1972) \u2018Sophocles&#8217; praise of man in the\u00a0<i>Antigone<\/i>\u2019,\u00a0<i>Ramus<\/i>\u00a01: 152-164.<\/li>\n<\/ul>\n<ul>\n<li>McDevitt, A.S. (1982) \u2018The first kommos of Sophocles&#8217;\u00a0<i>Antigone<\/i>\u2019,\u00a0<i>Ramus<\/i>\u00a011: 134-144.<\/li>\n<\/ul>\n<ul>\n<li>McDevitt, A.S. (1991) \u2018Wrong again, or who&#8217;d be a chorus (Sophocles&#8217;\u00a0<i>Antigone<\/i>),\u00a0<i>LCM<\/i>\u00a016: 71.<\/li>\n<\/ul>\n<ul>\n<li>Petrovic, Andrej (2002) &#8216;Der simonideische makros logos und die sophokleische\u00a0<i>Antigone<\/i>. Zur Identifizierung einer alten dramatischen Gestaltungsweise&#8217;,\u00a0<i>Phaos Revista de Estudos Classicos<\/i>\u00a02: 121-131.<\/li>\n<\/ul>\n<ul>\n<li>Psaroudak\u0113s, Stelios (1990) &#8216;Antigone and the nine ugly Muses&#8217;,\u00a0<i>Classical Association News<\/i>\u00a02: 6-7. This is a critique of a performance of\u00a0<i>Antigone<\/i>\u00a0in London in 1990. It argues that, although there is a lot we can do musicwise with the information we have about music in tragedy, people choose to ignore this information, and as a result avoid its application, producing &#8220;musicless&#8221; versions of the plays, totally detached from ancient intentions and styles.<\/li>\n<\/ul>\n<ul>\n<li>R\u00f6sler, W. (1983) &#8216;Der Chor als Mitspieler. Beobachtungen zur\u00a0<i>Antigone<\/i>\u00a0&#8216;,\u00a0<i>A&amp;A<\/i>\u00a029: 107-124.<\/li>\n<\/ul>\n<ul>\n<li>Schwinge, E.R. (1971) &#8216;Die Rolle des Chors in der sophokleischen\u00a0<i>Antigone<\/i>\u00a0&#8216;,\u00a0<i>Gymnasium<\/i>\u00a078: 294-321.<\/li>\n<\/ul>\n<ul>\n<li>Sourvinou-Inwood, C. (1989) &#8216;The fourth stasimon of Sophocles&#8217;\u00a0<i>Antigone<\/i>\u00a0&#8216;,\u00a0<i>Bulletin of the Institute of Classical Studies<\/i>\u00a036: 141-165.<\/li>\n<\/ul>\n<h5><span id=\"Sophocles:_Electra\" class=\"mw-headline\">Sophocles:\u00a0<i>Electra<\/i><\/span><\/h5>\n<ul>\n<li>Ierulli, Molly (1993) \u2019A community of women? The protagonist and the chorus in Sophocles&#8217;\u00a0<i>Electra<\/i>\u2019,\u00a0<i>M\u00e9tis<\/i>\u00a08 (1-2): 217-229.<\/li>\n<\/ul>\n<ul>\n<li>Paulsen, T. (1989)\u00a0<i>Die Rolle des Chors in den sp\u00e4ten Sophokles-Trag\u00f6dien: Untersuchungen zu\u00a0<\/i>Elektra<i>,\u00a0<\/i>Philoktet<i>\u00a0und\u00a0<\/i>Oidipus auf Kolonos<i>.<\/i>\u00a0Bari.<\/li>\n<\/ul>\n<ul>\n<li>Shucard, S.C. (1973) \u2018Some developments in Sophocles&#8217; late plays of intrigue\u2019,\u00a0<i>CJ<\/i>\u00a069: 133-138. (<i>Philoctetes<\/i>\u00a0and\u00a0<i>Electra<\/i>)<\/li>\n<\/ul>\n<h5><span id=\"Sophocles:_Oedipus_Coloneus\" class=\"mw-headline\">Sophocles:\u00a0<i>Oedipus Coloneus<\/i><\/span><\/h5>\n<ul>\n<li>Carey, C. (2009) \u2018The third stasimon of\u00a0<i>Oedipus at Colonus<\/i>\u00a0\u2019 in\u00a0<i>Sophocles and the Greek Tragic Tradition<\/i>, S. Goldhill and E. Hall (eds.). Cambridge: 119-34.<\/li>\n<\/ul>\n<ul>\n<li>Dhuga, U.S. (2005) \u2018Choral Identity in Sophocles&#8217;\u00a0<i>Oedipus Coloneus<\/i>\u2019,\u00a0<i>American Journal of Philology<\/i>\u00a0126.3: 333-62.\u00a0<a class=\"external text\" href=\"http:\/\/muse.jhu.edu\/journals\/american_journal_of_philology\/v126\/126.3dhuga.pdf\" rel=\"nofollow\">PDF<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Falkner, Thomas M. (1987) \u2019Strengthless, Friendless, Loveless: the Chorus and the Cultural Construction of Old Age in Sophocles&#8217;\u00a0<i>Oedipus at Colonus<\/i>\u2019 in\u00a0<i>From the Bard to Broadway<\/i>, ed. K. Hartigan. Lanham: 51-59.<\/li>\n<\/ul>\n<ul>\n<li>Paulsen, T. (1989)\u00a0<i>Die Rolle des Chors in den sp\u00e4ten Sophokles-Trag\u00f6dien: Untersuchungen zu\u00a0<\/i>Elektra<i>,\u00a0<\/i>Philoktet<i>\u00a0und\u00a0<\/i>Oidipus auf Kolonos<i>.<\/i>\u00a0Bari.<\/li>\n<\/ul>\n<ul>\n<li>Travis, Roger Matthew (1996)\u00a0<i>Allegorical fantasy and the chorus in Sophocles&#8217;\u00a0<\/i>Oedipus Coloneus<i>.<\/i>\u00a0PhD dissertation Berkeley.<\/li>\n<\/ul>\n<ul>\n<li>Travis, Roger Matthew (1999)\u00a0<i>Allegory and the tragic chorus in Sophocles&#8217;\u00a0<\/i>Oedipus at Colonus<i>.<\/i>\u00a0Lanham. Reviewed by Edmunds, Lowell (2001)\u00a0<i>CR<\/i>\u00a051.2: 379.<\/li>\n<\/ul>\n<h5><span id=\"Sophocles:_Oedipus_Tyrannus\" class=\"mw-headline\">Sophocles:\u00a0<i>Oedipus Tyrannus<\/i><\/span><\/h5>\n<ul>\n<li>Ax, W. (1932) &#8216;Die Parodos des\u00a0<i>Oedipus Tyrannos<\/i>\u00a0&#8216;,\u00a0<i>Hermes<\/i>\u00a067: 413-437.<\/li>\n<\/ul>\n<ul>\n<li>Carey, C. (1986) \u2019The second stasimon of Sophocles&#8217;\u00a0<i>Oedipus Tyrannus<\/i>\u2019,\u00a0<i>JHS<\/i>\u00a0106: 175-179.<\/li>\n<\/ul>\n<ul>\n<li>Conacher, Desmond J. (1999) \u2019<i>Oedipus<\/i>\u00a0without footnotes\u2019,\u00a0<i>EMC<\/i>\u00a018.1: 35-44.<\/li>\n<\/ul>\n<ul>\n<li>Erp Taalman Kip, A.M. van (1976) \u2018Some reflections on the chorus in Sophocles&#8217;\u00a0<i>Oedipus Tyrannus<\/i>\u2019, in\u00a0<i>Miscellanea tragica in honorem J. C. Kamerbeek<\/i>, eds. J.M. Bremer, S.L. Radt and C.J. Ruijgh. Amsterdam: 71-83.<\/li>\n<\/ul>\n<ul>\n<li>Machin, A. (1989) &#8216;Sur le troisi\u00e8me stasimon d&#8217;\u00a0<i>Oedipe-Roi<\/i>\u00a0&#8216;,\u00a0<i>Revue des \u00e9tudes grecques<\/i>\u00a0102: 192-201.<\/li>\n<\/ul>\n<ul>\n<li>Martin, Richard (2007) &#8216;Stesichorus and the Voice of Jocasta. Theatre and Performance Culture&#8217; in\u00a0<i>Proceedings of the 11th International Meeting on Ancient Greek Drama, (2002: The Theban Cycle).<\/i>Delphi.<\/li>\n<\/ul>\n<ul>\n<li>McDevitt, A.S. (1969) \u2018The dramatic integration of the chorus in\u00a0<i>Oedipus Tyrannus<\/i>\u2019,\u00a0<i>Classica et mediaevalia<\/i>\u00a030: 78-101.<\/li>\n<\/ul>\n<ul>\n<li>Sansone, D. (1975) \u2018The third stasimon of the\u00a0<i>Oedipus Tyrannos<\/i>\u2019,\u00a0<i>CPh<\/i>\u00a070: 110-117.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C. (1997) &#8216;The Chorus and the Gods in\u00a0<i>Oedipus Tyrannus<\/i>\u00a0&#8216;,\u00a0<i>Arion<\/i>\u00a04: 20-32.<\/li>\n<\/ul>\n<ul>\n<li>Sidwell, K. (1992) &#8216;The argument of the second stasimon of\u00a0<i>Oedipus Tyrannus<\/i>\u00a0&#8216;,\u00a0<i>Journal of Hellenic Studies<\/i>\u00a0112: 106-122.<\/li>\n<\/ul>\n<ul>\n<li>Vellacott, P.H. (1967) \u2018The chorus in\u00a0<i>Oedipus tyrannus<\/i>\u2019,\u00a0<i>G&amp;R<\/i>\u00a014: 109-125.<\/li>\n<\/ul>\n<ul>\n<li>Winnington-Ingram, R.P. (1971) \u2018The second stasimon of the\u00a0<i>Oedipus Tyrannus<\/i>\u2019,\u00a0<i>JHS<\/i>\u00a091: 119-135.<\/li>\n<\/ul>\n<h5><span id=\"Sophocles:_Philoctetes\" class=\"mw-headline\">Sophocles:\u00a0<i>Philoctetes<\/i><\/span><\/h5>\n<ul>\n<li>Bers, V. (1981) \u2018The perjured chorus in Sophocles&#8217;\u00a0<i>Philoctetes<\/i>\u2019,\u00a0<i>Hermes<\/i>\u00a0109: 500-504.<\/li>\n<\/ul>\n<ul>\n<li>Davidson, John (1991) \u2019The Philoctetes stasimon\u2019,\u00a0<i>LCM<\/i>\u00a016: 125-128.<\/li>\n<\/ul>\n<ul>\n<li>Esposito, S.J. (1984)\u00a0<i>The chorus in Sophocles. The tension of foreground and background in\u00a0<\/i>Philoctetes<i>\u00a0and\u00a0<\/i>Trachiniae<i>.<\/i>\u00a0Baltimore.<\/li>\n<\/ul>\n<ul>\n<li>Haldane, J.A. (1963) &#8216;A Paean in the\u00a0<i>Philoctetes<\/i>\u00a0&#8216;,\u00a0<i>CQ<\/i>\u00a013: 53-56.<\/li>\n<\/ul>\n<ul>\n<li>Kitzinger, Rachel (2008)\u00a0<i>The choruses of Sophokles&#8217;\u00a0<\/i>Antigone<i>\u00a0and\u00a0<\/i>Philoktetes<i>: a dance of words. Mnemosyne Supplementa<\/i>\u00a0292. Leiden, Boston: Brill.<\/li>\n<\/ul>\n<ul>\n<li>Paulsen, T. (1989)\u00a0<i>Die Rolle des Chors in den sp\u00e4ten Sophokles-Trag\u00f6dien: Untersuchungen zu\u00a0<\/i>Elektra<i>,\u00a0<\/i>Philoktet<i>\u00a0und\u00a0<\/i>Oidipus auf Kolonos<i>.<\/i>\u00a0Bari.<\/li>\n<\/ul>\n<ul>\n<li>Schein, Seth L. (1988) \u2019The chorus in Sophocles&#8217;\u00a0<i>Philoctetes<\/i>\u2019,\u00a0<i>SIFC<\/i>\u00a06: 196-204.<\/li>\n<\/ul>\n<ul>\n<li>Shucard, S.C. (1973) \u2018Some developments in Sophocles&#8217; late plays of intrigue\u2019,\u00a0<i>CJ<\/i>\u00a069: 133-138. (<i>Philoctetes<\/i>\u00a0and\u00a0<i>Electra<\/i>)<\/li>\n<\/ul>\n<h5><span id=\"Sophocles:_Trachiniae\" class=\"mw-headline\">Sophocles:\u00a0<i>Trachiniae<\/i><\/span><\/h5>\n<ul>\n<li>Easterling, P.E. (1981) \u2018The end of the\u00a0<i>Trachiniae<\/i>\u2019,\u00a0<i>ICS<\/i>\u00a06.1: 56-75.<\/li>\n<\/ul>\n<ul>\n<li>Esposito, S.J. (1984)\u00a0<i>The chorus in Sophocles. The tension of foreground and background in\u00a0<\/i>Philoctetes<i>\u00a0and\u00a0<\/i>Trachiniae<i>.<\/i>\u00a0Baltimore.<\/li>\n<\/ul>\n<ul>\n<li>Esposito, S.J. (1997) &#8216;The Third Stasimon of Sophocles&#8217;\u00a0<i>Trachiniae<\/i>\u00a0&#8216;,\u00a0<i>Classical World<\/i>\u00a091.1: 21-38.<\/li>\n<\/ul>\n<ul>\n<li>Parry, H. (1986) &#8216;Aphrodite and the Furies in Sophocles&#8217;\u00a0<i>Trachiniae<\/i>\u00a0&#8216;, in\u00a0<i>Greek Tragedy and its Legacy: Essays Presented to D.J. Conacher<\/i>, M. Cropp et al. (eds.). Calgary: 103-114.<\/li>\n<\/ul>\n<ul>\n<li>Riemer, P. (1998) &#8216;Chor und Handlung in den Trag\u00f6dien des Sophokles&#8217; in\u00a0<i>Der Chor im antiken und modernen Drama<\/i>, eds. Riemer, P. and B. Zimmermann. Stuttgart.\u00a0<i>Drama<\/i>\u00a07: 89-111. With emphasis on the\u00a0<i>Trachiniae<\/i>.<\/li>\n<\/ul>\n<ul>\n<li>Segal, C. (1975) &#8216;Mariage et sacrifice dans les\u00a0<i>Trachiniennes<\/i>\u00a0de Sophocle&#8217;,\u00a0<i>Acta Classicorum<\/i>\u00a044: 30-53.<\/li>\n<\/ul>\n<ul>\n<li>Solmsen, F. (1985) \u2018\u1f00\u03bb\u03bb\u2019 \u03b5\u1f30\u03b4\u03ad\u03bd\u03b1\u03b9 \u03c7\u03c1\u1f74 \u03b4\u03c1\u1ff6\u03c3\u03b1\u03bd: The meaning of Sophocles&#8217;\u00a0<i>Trachiniai<\/i>\u00a0588-93\u2019,\u00a0<i>AJPh<\/i>\u00a0106: 490-496.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. (2011), &#8216;Epinician and tragic worlds: the case of Sophocles&#8217;\u00a0<i>Trachiniae&#8217;<\/i>, in: Athanassaki, Lucia &amp; Bowie, Ewen (2011) (ed.),\u00a0<i>Archaic and Classical Choral Song. Performance, Politics and Dissemination.<\/i>\u00a0Berlin\/New York: 391-414.<\/li>\n<\/ul>\n<h4><span id=\"Euripides_.28tragedy.29\" class=\"mw-headline\">Euripides (tragedy)<\/span><\/h4>\n<h5><span id=\"Euripides:_General\" class=\"mw-headline\">Euripides:\u00a0<i>General<\/i><\/span><\/h5>\n<ul>\n<li>Arnson Svarlien, D. (2016)\u00a0<i>Euripides: Ion, Helen, Orestes<\/i>, a verse translation by Arnson Svarlien, with an Introduction and notes by M. Wright (Indianapolis: Hackett Publishing).<\/li>\n<\/ul>\n<p>Notes: &#8216;These translations are faithful to the metrical variety of the originals. While I do not reproduce the original meters, I distinguish spoken, sung, and anapestic verse with analogous English meters, I observe strophic responsion, and I do reproduce the original meter syllable-for-syllable in the section of the first stasimon of Orestes that is represented by The Vienna Papyrus G 2315. Therefore, any reconstruction of the music that could be fit to the Greek text would also work with my English translation for the portion of the strophe\/antistrophe that is covered.&#8217;<\/p>\n<ul>\n<li>Arnson Svarlien, Diane (2012) Euripides: Andromache, Hecuba, Trojan Women. Indianapolis and Cambridge, MA.<\/li>\n<\/ul>\n<ul>\n<li>Arnson Svarlien, Diane (2008) Euripides: Medea. Indianapolis and Cambridge, MA. Reviewed by Schaps, David M.\u00a0:<a class=\"external autonumber\" href=\"http:\/\/bmcr.brynmawr.edu\/2008\/2008-06-18.html\" rel=\"nofollow\">[1]<\/a><\/li>\n<\/ul>\n<ul>\n<li>Arnson Svarlien, Diane (2007) Euripides: Alcestis, Medea, Hippolytus. Indianapolis and Cambridge, MA.<\/li>\n<\/ul>\n<ul>\n<li>Csapo, E. (2000) \u2018Euripidean New Music\u2019,\u00a0<i>ICS<\/i>\u00a024\u20135: 399\u2013426.<\/li>\n<\/ul>\n<ul>\n<li>Furley, W.D. (2000) &#8216;Hymns in Euripidean Tragedy&#8217; in\u00a0<i>Euripides and Tragic Theater in the Late Fifth Century<\/i>, M. Cropp, K. Lee, D. Sansone (eds.). Champaign.<\/li>\n<\/ul>\n<ul>\n<li>Henrichs, A. (1996) &#8216;Dancing in Athens, Dancing on Delos: Some Patterns of Choral Projection in Euripides&#8217;,\u00a0<i>Philologus<\/i>\u00a0140: 48-62.<\/li>\n<\/ul>\n<ul>\n<li>Hose, M. (1990)\u00a0<i>Studien zum Chor bei Euripides. Teil 1: Einf\u00fchrung, Chor im Eingang, Chor in Handlung<\/i>. Stuttgart (Beitr\u00e4ge zur Altertumskunde. 10).<\/li>\n<\/ul>\n<ul>\n<li>Hose, M. (1991)\u00a0<i>Studien zum Chor bei Euripides. Teil 2: Das Chorlied, die Chortrag\u00f6dien, die Rolle des Chores in den Trag\u00f6dien des Euripides<\/i>. Stuttgart (Beitr\u00e4ge zur Altertumskunde. 20).<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2001)\u00a0<i>Greek lyric poetry\u00a0: a commentary on selected larger pieces\u00a0: Alcman, Stesichorus, Sappho, Alceaus, Ibycus, Anacreon, Simonides, Bacchylides, Pindar, Sophocles, Euripides<\/i>Oxford.<\/li>\n<\/ul>\n<ul>\n<li>MacClure, L. (1995) &#8216;Female Speech and Characterization in Euripides&#8217; in\u00a0<i>Lo spettacolo delle voci<\/i>, F. de Martino and A.H. Sommerstein (eds.). Bari: 35-60.<\/li>\n<\/ul>\n<ul>\n<li>Mantziou, M. (1981) Hymns and Hymnal Prayers in fifth-century Greek Tragedy with special Reference to Euripides. PhD thesis London.<\/li>\n<\/ul>\n<ul>\n<li>Mastronarde, Donald J. (1998) &#8216;Il coro euripideo: autorit\u00e0 e integrazione&#8217;,\u00a0<i>Quaderni Urbinati di Cultura Classica<\/i>\u00a060: 55-80.<\/li>\n<\/ul>\n<ul>\n<li>Mastronarde, Donald J. (1999) \u2018Knowledge and Authority in the Choral Voice of Euripidean Tragedy\u2019,\u00a0<i>Syllecta Classica<\/i>\u00a010: 87-104. Countervailing factors encourage and discourage identification of the audience watching a Greek tragedy with the chorus and its reliance on the chorus&#8217; interpretations. Euripides goes further than Aeschylus and Sophocles in underminding this identification.<\/li>\n<\/ul>\n<ul>\n<li>M\u00f6ller, C. (1933)\u00a0<i>Vom Chorlied bei Euripides<\/i>. G\u00f6ttingen.<\/li>\n<\/ul>\n<ul>\n<li>Panagl, O. (1971)\u00a0<i>Die &#8220;dithyrambischen Stasima&#8221; des Euripides: Untersuchungen zur Komposition und Erz\u00e4hltechnik<\/i>. Wien.<\/li>\n<\/ul>\n<ul>\n<li>Phoutrides, A.E. (1916) &#8216;The Chorus of Euripides&#8217;,\u00a0<i>HSCP<\/i>\u00a027: 77-170.<\/li>\n<\/ul>\n<ul>\n<li>Rehm, R. (1996\/7) &#8216;Performing the Chorus: Choral Action, Interaction, and Absence in Euripides&#8217;,\u00a0<i>Arion<\/i>\u00a04: 45-60.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Alcestis\" class=\"mw-headline\">Euripides:\u00a0<i>Alcestis<\/i><\/span><\/h5>\n<ul>\n<li>Swift, L. (2012) \u2018Paeanic and Epinician Healing in Euripides\u2019 Alcestis, in Greek Drama IV: Texts, Contexts, Performance, eds. D. Rosenbloom and J. Davidson. Oxford: 149-68<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Andromache\" class=\"mw-headline\">Euripides:\u00a0<i>Andromache<\/i><\/span><\/h5>\n<ul>\n<li>Cairns, F. (2012). \u2018Pyrrhic Dancing and Politics in Euripides\u2019 Andromache\u2019, Quaderni Urbinati 100: 31-48.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Bacchae\" class=\"mw-headline\">Euripides:\u00a0<i>Bacchae<\/i><\/span><\/h5>\n<ul>\n<li>Arthur, M. (1972) \u2018The choral odes of the\u00a0<i>Bacchae of Euripides<\/i>\u2019,\u00a0<i>YClS<\/i>\u00a022: 145-179.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, Anton (2011) \u2018Prozessionen auf der griechischen B\u00fchne: Performativit\u00e4t des einziehenden Chors als Manifestation des Dionysos in der Parodos der Euripideischen\u00a0<i>Bakchen<\/i>\u2019, in: K. Gvozdeva, H. R. Velten (ed.),\u00a0<i>Medialit\u00e4t der Prozession. Performanz ritueller Bewegung in Texten und Bildern der Vormoderne. M\u00e9dialit\u00e9 de la procession. Performance du mouvement rituel en textes et en images \u00e0 l&#8217;\u00e9poque pr\u00e9-moderne<\/i>, Heidelberg: Winter Universit\u00e4tsverlag 2011, 35\u201361.<\/li>\n<li>Bierl, A. (2013) \u201cMaenadism as Self\u2013Referential Chorality in Euripides\u2019 Bacchae\u201d, in <em>Choral Mediations in Greek Tragedy<\/em>, ed. R. Gagn\u00e9, M. Hopman, Cambridge: 211\u2013226.<\/li>\n<\/ul>\n<ul>\n<li>Murnaghan, Sheila (2006) &#8216;The Daughters of Cadmus: Chorus and Characters in Euripides&#8217;\u00a0<i>Bacchae<\/i>\u00a0and\u00a0<i>Ion<\/i>\u00a0&#8216; in\u00a0<i>Greek Drama III: Essays in Honour of Kevin Lee<\/i>, eds. John Davidson, Frances Muecke, and Peter Wilson.\u00a0<i>BICS<\/i>\u00a0Supplement 87. London: 99-112.<\/li>\n<\/ul>\n<ul>\n<li>Segal, Charles (1997) &#8216;Chorus and community in Euripides&#8217;\u00a0<i>Bacchae<\/i>\u00a0&#8216; in\u00a0<i>Poet, public, and performance in ancient Greece<\/i>, Lowell Edmunds and Robert W. Wallace (eds.) (with a preface by Maurizio Bettini). Baltimore (Md.): 65-86. Reviewed by Goldhill, Simon (1998)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/1998\/98.2.05.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a098.2.05<\/a>\u00a0and Ferrando, Serena (2000)\u00a0<i>Maia<\/i>\u00a052.2: 402-404.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Electra\" class=\"mw-headline\">Euripides:\u00a0<i>Electra<\/i><\/span><\/h5>\n<ul>\n<li>Baur, D. (1997) &#8216;Chor und Trag\u00f6die unter besonderer Ber\u00fccksichtigung von Euripides&#8217;\u00a0<i>Elektra<\/i>\u00a0&#8216;,\u00a0<i>Poetica<\/i>\u00a029: 26-47.<\/li>\n<\/ul>\n<ul>\n<li>Rosivach, Vincent J. (1978) &#8216;The \u201cGolden Lamb\u201d Ode in Euripides\u2019\u00a0<i>Electra<\/i>\u00a0&#8216;,\u00a0<i>CP<\/i>\u00a073: 189-99.<\/li>\n<\/ul>\n<ul>\n<li>Zeitlin, Froma I. (1970) &#8216;The Argive Festival of Hera and Euripides\u2019\u00a0<i>Electra<\/i>\u00a0&#8216;,\u00a0<i>TAPA<\/i>\u00a0101: 645-669.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Helen\" class=\"mw-headline\">Euripides:\u00a0<i>Helen<\/i><\/span><\/h5>\n<ul>\n<li>Arnson Svarlien, Diane (2016) &#8216;Three Songs from Euripides\u2019 Helen&#8217;, Delos: A Journal of Translation and World Literature 31: 7-19.<\/li>\n<\/ul>\n<ul>\n<li>Ford, A. L. (2010) &#8220;\u201cA Song to Match my Song\u201d: Lyric Doubling in Euripides\u2019 Helen.&#8221; Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis 7 (2010): 283.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L. A. (2009) &#8216;How to Make a Goddess Angry: Making Sense of the Demeter Ode in Euripides&#8217; Helen&#8217;,\u00a0<i>Classical Philology<\/i>\u00a0418-38.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Heracles\" class=\"mw-headline\">Euripides:\u00a0<i>Heracles<\/i><\/span><\/h5>\n<ul>\n<li>Kyriakou, Poulcheria (1999) \u2019The chorus in the\u00a0<i>Heracles<\/i>\u00a0and the\u00a0<i>Iphigeneia in Tauris<\/i>\u00a0of Euripides\u2019,\u00a0<i>Hellenica<\/i>\u00a049.1: 7-27.<\/li>\n<\/ul>\n<ul>\n<li>Parry, H. (1965) &#8216;The Second Stasimon of Euripides,\u00a0<i>Heracles<\/i>\u00a0(637-700)&#8217;,\u00a0<i>AJP<\/i>\u00a086: 363-374.<\/li>\n<\/ul>\n<ul>\n<li>Yossi, Mary J. (\u039c. \u0399. \u0393\u03b9\u03cc\u03c3\u03b7) (2009),\u00a0<i>\u0395\u03c5\u03c1\u03b9\u03c0\u03af\u03b4\u03b7\u03c2 \u0397\u03a1\u0391\u039a\u039b\u0397\u03a3, \u03b5\u03b9\u03c3\u03b1\u03b3\u03c9\u03b3\u03ae &#8211; \u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7 -\u03c3\u03c7\u03cc\u03bb\u03b9\u03b1<\/i>\u00a0[<i>Euripides. Heracles, introd., transl., notes<\/i>], ed. Smili. Athens.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Hippolytus\" class=\"mw-headline\">Euripides:\u00a0<i>Hippolytus<\/i><\/span><\/h5>\n<ul>\n<li>Bond, G.W. (1980) &#8216;A chorus in\u00a0<i>Hippolytus<\/i>. Manuscript text versus dramatic realism\u2019,\u00a0<i>Hermathena<\/i>\u00a0129: 59-63.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L.A. (2006) &#8216;Mixed Choruses and Marriage Songs: a New Interpretation of the Third Stasimon of the\u00a0<i>Hippolytos<\/i>\u00a0&#8216;,\u00a0<i>Journal of Hellenic Studies<\/i>\u00a0126: 125-140.\n<ul>\n<li>Abstract: This article uses evidence drawn from\u00a0<i>hymenaios<\/i>\u00a0and wedding ritual to reach a new interpretation of the third stasimon of the\u00a0<i>Hippolytos<\/i>, and its r\u00f4le in the play. There is longstanding contention about whether a second (male) chorus participates in the ode, singing in antiphony with the existing tragic chorus. Even scholars who accept that a second chorus is present have tended to regard it as an aberration which needs to be explained away, rather than a deliberate choice with poetic significance. I discuss the cultural implications of such a chorus, examining our evidence for real-life mixed choruses, and then applying this to the ode itself. The evidence for mixed choruses suggests they are strongly associated with marriage. Looking more closely at the language and imagery of the ode, there are allusions to the\u00a0<i>topoi<\/i>\u00a0of wedding songs and ritual running through it. The ode can use these as a device to trigger deep-rooted responses and associations from the audience, as these motifs are drawn from the cultural tradition which the audience shares. The\u00a0<i>topoi<\/i>\u00a0tie in with the theme of marriage and sexuality within the\u00a0<i>Hippolytos<\/i>\u00a0as a whole. But while their usual purpose is to set up conventional models and ways of thinking, the way they are deployed in the ode in fact serves to undermine these models, and to put a darker spin on the norms of sexual behaviour. This strand of imagery therefore also provides a filter for interpreting Hippolytos\u2019 own attitude towards sexuality, and a guide to how we are meant to respond to it.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Ion\" class=\"mw-headline\">Euripides:\u00a0<i>Ion<\/i><\/span><\/h5>\n<ul>\n<li>Murnaghan, Sheila (2006) &#8216;The Daughters of Cadmus: Chorus and Characters in Euripides&#8217;\u00a0<i>Bacchae<\/i>\u00a0and\u00a0<i>Ion<\/i>\u00a0&#8216; in\u00a0<i>Greek Drama III: Essays in Honour of Kevin Lee<\/i>, eds. John Davidson, Frances Muecke, and Peter Wilson.\u00a0<i>BICS<\/i>\u00a0Supplement 87. London: 99-112.<\/li>\n<\/ul>\n<ul>\n<li>Willetts, R.F. (1973) \u2018Action and character in the\u00a0<i>Ion<\/i>\u00a0of Euripides\u2019,\u00a0<i>JHS<\/i>\u00a093: 201-209.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_.CE.99phigenia_Taurica\" class=\"mw-headline\">Euripides:\u00a0<i>\u0399phigenia Taurica<\/i><\/span><\/h5>\n<ul>\n<li>Firinu, Elena (2009), &#8216;Il primo stasimo dell&#8217;Ifigenia Taurica euripidea ei Persiani di Timoteo di Mileto: un terminus post quem per il nomos?,&#8217;\u00a0<i>Eikasm\u00f3s<\/i>\u00a020: 109-131.<\/li>\n<li>Kyriakou, Poulcheria (1999) \u2019The chorus in the\u00a0<i>Heracles<\/i>\u00a0and the\u00a0<i>Iphigeneia in Tauris<\/i>\u00a0of Euripides\u2019,\u00a0<i>Hellenica<\/i>\u00a049.1: 7-27.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Medea\" class=\"mw-headline\">Euripides:\u00a0<i>Medea<\/i><\/span><\/h5>\n<ul>\n<li>Segal, C. (1997) &#8216;On the Fifth Stasimon of Euripides&#8217;\u00a0<i>Medea<\/i>\u00a0&#8216;,\u00a0<i>American Journal of Philology<\/i>\u00a0118: 167-184.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Orestes\" class=\"mw-headline\">Euripides:\u00a0<i>Orestes<\/i><\/span><\/h5>\n<ul>\n<li>Damen, Mark (1990) \u2019Electra&#8217;s monody and the role of the chorus in Euripides&#8217;\u00a0<i>Orestes<\/i>\u00a0960-1012\u2019,\u00a0<i>TAPhA<\/i>\u00a0120: 133-145.<\/li>\n<\/ul>\n<ul>\n<li>Psaroudak\u0113s, Stelios (2004) &#8216;The Orestes Papyrus: some thoughts on the dubious musical signs&#8217;, in\u00a0<i>Studien zur Musikarch\u00e4ologie IV. Musical archaeological sources: finds, oral transmission, written evidence. Papers from the 3rd Symposium of the International Study Group on Music Archaeology at Monastery Michaelstein, 9-16 June, 2002, and other contributions. (Orient-Arch\u00e4ologie, 15)<\/i>, Ellen Hickmann &amp; Ingo Laufs &amp; Ricardo Eichmann (eds.). Rahden, Westf: Marie Leidorf GmbH: 471-92.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Phoenissae\" class=\"mw-headline\">Euripides:\u00a0<i>Phoenissae<\/i><\/span><\/h5>\n<ul>\n<li>Arthur, M. (1977) &#8216;The Curse of Civilization: The Choral Odes of the\u00a0<i>Phoenissae<\/i>\u00a0&#8216;,\u00a0<i>HSCP<\/i>\u00a081: 163-184.<\/li>\n<\/ul>\n<ul>\n<li>Hartigan, Karelisa V. (2000) &#8216;Why &#8216;Phoenician&#8217; women?&#8217;,\u00a0<i>Eranos<\/i>\u00a098: 25-31.<\/li>\n<\/ul>\n<ul>\n<li>Swift, L.A. (2009) &#8216;Sexual and Familial Distortion in Euripides&#8217;\u00a0<i>Phoenissae<\/i>\u00a0&#8216;,\u00a0<i>Transactions of the American Philological Association<\/i>\u00a0139.1: 53-87.\n<ul>\n<li>Summary: This article offers a new interpretation of Euripides&#8217;\u00a0<i>Phoenissae<\/i>, and argues for a new source of unity in the play, by focusing on the theme of mismanaged sexuality. The curse on the Labdacid house is caused by, and takes the form of, abnormalities in sexual and familial roles, and it is these abnormalities which lie behind Antigone&#8217;s behavior and Menoeceus&#8217;s suicide: these episodes should therefore be understood not as disjointed but as connected to central concerns. The play also engages with this theme on an imagistic level, and explores it through the imagery of civilization in the choral odes and through the figure of the Sphinx. Finally, it is argued that the Chorus of Phoenician maidens offers a corrective to the destructive cycle in Thebes, and hints at the positive role that well-governed sexuality can play in human societies.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Supplices\" class=\"mw-headline\">Euripides:\u00a0<i>Supplices<\/i><\/span><\/h5>\n<ul>\n<li>Scully, Stephen P. (1996-1997) &#8216;Orchestra and stage in Euripides&#8217;\u00a0<i>Suppliant women<\/i>\u00a0&#8216;,\u00a0<i>Arion<\/i>\u00a04.1: 61-84.<\/li>\n<\/ul>\n<h5><span id=\"Euripides:_Troades\" class=\"mw-headline\">Euripides:\u00a0<i>Troades<\/i><\/span><\/h5>\n<ul>\n<li>Battezzato, L (2005) \u2018The New Music of the Trojan Women\u2019,\u00a0<i>Lexis<\/i>\u00a023: 73-104.<\/li>\n<\/ul>\n<ul>\n<li>Sienkewicz T.J. (1975)\u00a0<i>Euripides&#8217;\u00a0<\/i>Trojan Women<i>. An interpretative study based upon the role of the chorus and ironic development<\/i>. PhD Dissertation, Stanford University.<\/li>\n<\/ul>\n<ul>\n<li>Sienkewicz T.J. (1978) &#8216;Euripides&#8217;\u00a0<i>Trojan Women<\/i>. An interpretation&#8217;,\u00a0<i>Helios<\/i>\u00a06: 81-95.<\/li>\n<\/ul>\n<ul>\n<li>Werner, C. (2002) \u2018As performances de Cassandra em Troianas de Eur\u00edpides\u2019,\u00a0<i>Letras Cl\u00e1ssicas<\/i>\u00a06: 117-34<\/li>\n<\/ul>\n<h3><span id=\"Comic_Chorus\" class=\"mw-headline\">Comic Chorus<\/span><\/h3>\n<ul>\n<li>Bierl, A. (1999) &#8216;Doppeltanz oder doppelte Freude? \u2013 Gedanken zum umstrittenen \u03b4\u03b9\u03c0\u03bb\u1fc6\u03bd (Ar.\u00a0<i>Thesm<\/i>. 982) aus einer performativen Perspektive&#8217; in\u00a0<i>Der Chor im antiken und modernen Drama<\/i>, eds. P. Riemer and B. Zimmermann.\u00a0<i>Drama<\/i>\u00a07. Stuttgart and Weimar: 27\u201347.<\/li>\n<\/ul>\n<ul>\n<li>Bierl, A. (2001)\u00a0<i>Der Chor in der Alten Kom\u00f6die. Ritual und Performativit\u00e4t<\/i>\u00a0(unter besonderer Ber\u00fccksichtigung von Aristophanes&#8217;\u00a0<i>Thesmophoriazusen<\/i>\u00a0und der Phalloslieder fr. 851 PMG). M\u00fcnchen and Leipzig. (BzA 126). It has been translated by Alex Hollmann into English as:\n<ul>\n<li>Bierl, A. (2009)\u00a0<i>Ritual and Performativity. The Chorus of Old Comedy<\/i>\u00a0(transl. by Alex Hollmann), Center for Hellenic Studies. Washington, DC: Harvard Press. (Hellenic Studies 20). New and revised edition.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<ul>\n<li>Bierl, A. (2007) &#8216;L&#8217;uso intertestuale di Alcmane nel finale della Lisistrata di Aristofane. Coro e rito nel contesto performativo&#8217; in\u00a0<i>Dalla lirica corale alla poesia drammatica. Forme e funzioni del canto corale nella tragedia e nella commedia greca<\/i>, eds. F. Perusino and M. Colantonio. Pisa: 259\u2013290. With a comparison between Alcman and the last songs in Ar.\u00a0<i>Lysistrata<\/i>.<\/li>\n<\/ul>\n<ul>\n<li>Calame, C. (2004) &#8216;Choral Forms in Aristophanic Comedy: Musical Mimesis and Dramatic Performance in Classical Athens&#8217; in\u00a0<i>Music and the Muses. The Culture of Mousike in the Classical Athenian City<\/i>, eds. P. Murray and P. Wilson. Oxford: 157-184.<\/li>\n<\/ul>\n<ul>\n<li>Cavallini, E. (1983) &#8216;Echi della lirica arcaica nella Lisistrata di Aristofane&#8217;,\u00a0<i>MCr<\/i>\u00a018: 70-15.<\/li>\n<\/ul>\n<ul>\n<li>Faraone, Ch.A. (1997) &#8216;Salvation and Female Heroics in the Parodos of Aristophanes&#8217;\u00a0<i>Lysistrata<\/i>\u00a0&#8216;,\u00a0<i>Journal of Hellenic Studies<\/i>\u00a0117: 38-59.<\/li>\n<\/ul>\n<ul>\n<li>Karanika, A. (2008) &#8216;Greek Comedy&#8217;s Parody of Lament&#8217; in\u00a0<i>Lament: Studies in the Ancient Mediterranean and Beyond<\/i>, ed. Ann Suter. Oxford, New York: 289-323. Reviewed by Alden, Maureen (2008)\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-10-26.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02008.10.26<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Kugelmeier, C. (1996)\u00a0<i>Reflexe fr\u00fcher und zeitgen\u00f6ssischer Lyrik in der Alten attischen Kom\u00f6die<\/i>. Stuttgart (Beitr\u00e4ge zur Altertumskunde. 80).<\/li>\n<\/ul>\n<ul>\n<li>Lech, M. Lysgaard (2005) &#8216;A note on Aristophanes&#8217;\u00a0<i>Clouds<\/i>\u00a076&#8242;,\u00a0<i>Classica et Mediaevalia<\/i>\u00a056: 49-55.<\/li>\n<\/ul>\n<ul>\n<li>Lech, M. Lysgaard (2008)&#8217;Tired of What? A note on Aristophanes, Birds 787&#8242;\u00a0<i>C&amp;M<\/i>\u00a059.<\/li>\n<\/ul>\n<ul>\n<li>Lech, M. Lysgaard (2009) &#8216;The Knights\u2019 Eleven Oars: In Praise of Phormio? (Ar.Eq.546-7)&#8217;\u00a0<i>CJ<\/i>\u00a0105, 1.<\/li>\n<\/ul>\n<ul>\n<li>Lech, M. Lysgaard (2012) &#8216;EUPOLIS AND THE \u03bb\u1fc6\u03c1\u03bf\u03c2 OF THE POETS: A NOTE ON EUPOLIS 205 K-A&#8217;\u00a0<i>CJ<\/i>\u00a0107.3: 283-289.<\/li>\n<\/ul>\n<ul>\n<li>Parker, L. P. E. (1997)\u00a0<i>The Songs of Aristophanes<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Puetz, B. (2007)\u00a0<i>The Symposium and Komos in Aristophanes<\/i>. Warminster: Aris &amp; Phillips. Reviewed by Beta, Simone\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-05.html\" rel=\"nofollow\">BMCR 2008.07.05<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Riu, X. (2011) &#8216;La storia del teatro secondo Aristotele e la questione del coro in Epicarmo&#8217; in:\u00a0<i>Ritmo, parola, immagine. Il teatro classico e la sua tradizione<\/i>, ed. A. Andrisano. Ferrara: 115-38.<\/li>\n<\/ul>\n<ul>\n<li>Riu, X. (2011) &#8216;Animal choruses in Comedy&#8217; in:\u00a0<i>Ta z\u00f4ia. L&#8217;espai a Gr\u00e8cia II: els animals i l&#8217;espai<\/i>, eds. M. Reig and M. Jufresa. Tarragona:<\/li>\n<\/ul>\n<ul>\n<li>Saetta Cottone, R. (2001) &#8216;Aristophane: injures et comique. A propos de\u00a0<i>Cavaliers<\/i>\u00a01274ss.&#8217;,\u00a0<i>Methodos<\/i>\u00a01: 187-206.<\/li>\n<\/ul>\n<ul>\n<li>Saetta Cottone, R. (2003) &#8216;Agathon, Euripide et le th\u00e8me de la mimesis po\u00e9tique dans les\u00a0<i>Thesmophories<\/i>\u00a0d&#8217;Aristophane&#8217;,\u00a0<i>Revue des \u00c9tudes Grecques<\/i>\u00a0116.2: 445-469.<\/li>\n<\/ul>\n<ul>\n<li>Willi, A. (2003)\u00a0<i>The Languages of Aristophanes. Aspects of Linguistic Variation in Classical Attic Greek<\/i>. Oxford. Reviewed by Blomqvist, Jerker\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2004\/2004-06-04.html\" rel=\"nofollow\"><i>BMCR<\/i>\u00a02004.06.04<\/a>.<\/li>\n<\/ul>\n<h3><span id=\"Satyr_Chorus\" class=\"mw-headline\">Satyr Chorus<\/span><\/h3>\n<ul>\n<li>Bierl, Anton (2006) &#8216;Trag\u00f6die als Spiel und das Satyrspiel. Die Geburt des griechischen Theaters aus dem Geiste des Chortanzes und seines Gottes Dionysos&#8217;, in\u00a0<i>Aufgang. Jahrbuch f\u00fcr Denken, Dichten, Musik. Bd. 3: Kind und Spiel<\/i>, eds. J. S\u00e1nchez de Murillo and M. Thurner. Stuttgart: 111\u2013138. Wth a new interpretation of the Hyporcheme of Pratinas.<\/li>\n<\/ul>\n<ul>\n<li>D\u2019Alessio, G. B. (2007) \u2018\u1f22\u03bd \u1f30\u03b4\u03bf\u03cd: ecce satyri (Pratina, PMG 708= TrGF 4 F 3). Alcune considerazioni sull\u2019uso della deissi nei testi lirici e teatrali\u2019, in\u00a0<i>Dalla lirica corale alla poesia drammatica<\/i>, ed. F. Perusino. Rome: 95\u2013128.<\/li>\n<\/ul>\n<ul>\n<li>Laemmle, Rebecca (2007) &#8216;Der eingeschlossene Dritte. Zur Funktion des Dionysos im Satyrspiel&#8217;, in:\u00a0<i>Literatur und Religion I<\/i>, eds. A.Bierl\/R.Laemmle\/K.Wesselmann. Berlin\/New York: 335-386.<\/li>\n<\/ul>\n<ul>\n<li>Slenders, W.L.G.M. (2007)\u00a0<i>\u03a4\u03c1\u03b1\u03b3\u1ff3\u03b4\u03af\u03b1 \u03c0\u03b1\u03af\u03b6\u03bf\u03c5\u03c3\u03b1. Taaleigen en stijl van het Klassiekgriekse satyrspel<\/i>. PhD Dissertation Radboud University Nijmegen. (in Dutch with an English summary)<\/li>\n<\/ul>\n<h2><span id=\"Varia\" class=\"mw-headline\">Varia<\/span><\/h2>\n<ul>\n<li>Breitenberger, B. (2007)\u00a0<i>Aphrodite and Eros: The Development of Erotic Mythology in Early Greek Poetry and Culture.<\/i>\u00a0New York and London.<\/li>\n<\/ul>\n<ul>\n<li>Boedeker, Deborah (1974) &#8216;Aphrodite&#8217;s Entry into Greek Epic.&#8217;\u00a0<i>Mnemosyne<\/i>\u00a0Supplement 32. Leiden.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1988)\u00a0<i>M\u00e9tamorphoses du mythe en Gr\u00e8ce antique<\/i>. Gen\u00e8ve.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (1990)\u00a0<i>Th\u00e9s\u00e9e et l&#8217;imaginaire ath\u00e9nien. L\u00e9gende et culte en Gr\u00e8ce classique<\/i>. Lausanne (2nd edn. 1996).<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (2000)\u00a0<i>Po\u00e9tique des mythes en Gr\u00e8ce antique<\/i>. Paris. An English translation is forthcoming at Cambridge University Press.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude and Roger Chartier (2004)\u00a0<i>Identit\u00e9s d\u2019auteur dans l\u2019Antiquit\u00e9 et la tradition europ\u00e9enne<\/i>. Grenoble.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude and Maya Burger (2006)\u00a0<i>Comparer les comparatismes. Perspectives sur l\u2019histoire et les sciences des religions<\/i>. Paris and Milano.<\/li>\n<\/ul>\n<ul>\n<li>Calame, Claude (2006) &#8216;R\u00e9cit h\u00e9ro\u00efque et pratique religieuse: Le pass\u00e9 po\u00e9tique des cit\u00e9s grecques classiques&#8217;,\u00a0<i>Annales. Histoire, Sciences Sociales<\/i>\u00a061: 527-551.<\/li>\n<\/ul>\n<ul>\n<li>Corr\u00eaa, P.C. (2003)\u00a0<i>Harmonia: Mito e M\u00fasica na Gr\u00e9cia antiga<\/i>. S\u00e3o Paulo.<\/li>\n<\/ul>\n<ul>\n<li>Dalby, A. (1998) \u2018Homer\u2019s enemies: lyric and epic in the seventh century\u2019, in\u00a0<i>Archaic Greece: New Approaches and New Evidence<\/i>, ed. N. Fisher and H. van Wees. London: 195\u2013211.<\/li>\n<\/ul>\n<ul>\n<li>Davidson, J. (1997)\u00a0<i>Courtesans and Fishcakes: The Consuming Passion of Classical Athens<\/i>. Londen.<\/li>\n<\/ul>\n<ul>\n<li>Fisher, Nick (1998) \u2018Gymnastic behaviour and the democratic values of leisure in Athens\u2019, in\u00a0<i>KOSMOS, Order, Individuality and the community in classical Athens<\/i>, eds. P. Cartledge, P. Millett &amp; S. von Reden. Cambridge: 84-104. About athletic contests, training and social relations at gymnasia.<\/li>\n<\/ul>\n<ul>\n<li>Fisher, Nick (2000) \u2018Symposiasts, Fisheaters and Flatterers: social mobility and moral concern in Old Comedy\u2019 in\u00a0<i>Aristophanes and his Rivals<\/i>, eds. Wilkins J. &amp; Harvey D. London: 355-396. Considers songs sung at symposia.<\/li>\n<\/ul>\n<ul>\n<li>Fisher, Nick (2003) \u2018 &#8216;Let Envy be Absent&#8217;: Envy, Liturgies and Reciprocity in Athens\u2019 in\u00a0<i>Envy in the Ancient World<\/i>, eds. D. Konstan &amp; K. Rutter. Edinburgh University Press: 181-215. Contains discussion of relations between choregoi and choreutai, and the benefits of doing choral liturgies. Reviewed by Peter Aronoff\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2003\/2003-12-28.html\" rel=\"nofollow\">BMCR 2003.12.28<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Hunter, R. L.(1996)\u00a0<i>Theocritus and the Archaeology of Greek Poetry<\/i>. Cambridge.<\/li>\n<\/ul>\n<ul>\n<li>Hutchinson, G. O. (2003) \u2018The Catullan corpus, Greek epigram, and the poetry of objects\u2019,\u00a0<i>CQ<\/i>\u00a053:206\u201321.<\/li>\n<\/ul>\n<ul>\n<li>K\u00e4ppel, L. (1992) Paian: Studien zur Geschichte einer Gattung. Berlin and New York.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (1989) &#8216;Pouring Prayers: A Formula of Indo\u2013European Sacral Poetry?&#8217;,\u00a0<i>Journal of Indo\u2013European Studies<\/i>\u00a017: 113\u201325.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (1992) &#8216;The Politics of Habros\u00fbne in Archaic Greece&#8217;,\u00a0<i>Classical Antiquity<\/i>\u00a011: 91\u2013120.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (1993) &#8216;The Economy of Kudos&#8217;, in\u00a0<i>Cultural Poetics in Archaic Greece: Cult, Performance, Politics<\/i>, ed. Carol Dougherty and Leslie Kurke. Cambridge University Press: 131\u201363.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (1995) &#8216;Herodotus and the Language of Metals&#8217;,\u00a0<i>Helios<\/i>\u00a022: 36\u201364.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (1997) &#8216;Inventing the Hetaira: Sex, Politics, and Discursive Conflict in Archaic Greece&#8217;,\u00a0<i>Classical Antiquity<\/i>\u00a016: 106\u2013150.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (1997) &#8216;The Cultural Impact of (on) Democracy: Decentering Tragedy&#8217;, in\u00a0<i>Democracy 2500: Questions and Challenges<\/i>, eds. Ian Morris and Kurt Raaflaub. Dubuque, Iowa (Archaeological Institute of America Monograph 3): 155\u201369.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (1999)\u00a0<i>Coins, Bodies, Games, and Gold: The Politics of Meaning in Archaic Greece<\/i>. Princeton University Press.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (1999) &#8216;Ancient Greek Board Games and How to Play Them&#8217;,\u00a0<i>Classical Philology<\/i>\u00a094: 247-267.<\/li>\n<\/ul>\n<ul>\n<li>Kurke, Leslie (2002) &#8216;Money and Mythic History: The Contestation of Transactional Orders in the Fifth Century BC&#8217;, in\u00a0<i>The Ancient Economy<\/i>, eds. Walter Scheidel and Sitta von Reden. Edinburgh University Press: 88-113.<\/li>\n<\/ul>\n<ul>\n<li>Lech, Marcel Lysgaard (2009) &#8216;The Shape of the Athenian Theatron in the Fifth Century: Overlooked Evidence&#8217;\u00a0<i>GRBS<\/i>\u00a049, 2.<\/li>\n<\/ul>\n<ul>\n<li>Ledbetter, G. M. (2003)\u00a0<i>Poetics before Plato: Interpretation and Authority in Early Greek Theories of Poetry<\/i>. Princeton, N.J.<\/li>\n<\/ul>\n<ul>\n<li>Lissarrague, F. (1987)\u00a0<i>Un Flot d\u2019Images: une esth\u00e9tique du banquet grec<\/i>. Parijs. English translation (1990)\u00a0<i>Images of Wine and Ritual<\/i>. Princeton.<\/li>\n<\/ul>\n<ul>\n<li>Lonsdale, S. H. (1993)\u00a0<i>Dance and Ritual Play in Greek Religion<\/i>. Baltimore and London.<\/li>\n<\/ul>\n<ul>\n<li>Maas, M. and J. M. Snyder (1989)\u00a0<i>Stringed Instruments of Ancient Greece<\/i>. New Haven and London.<\/li>\n<\/ul>\n<ul>\n<li>Marincola, J. (2006) \u2018Herodotus and poetry of the past\u2019, in\u00a0<i>The Cambridge Companion to Herodotus<\/i>, ed. C. Dewald and J. Marincola. Cambridge: 13\u201328.<\/li>\n<\/ul>\n<ul>\n<li>Martin, Richard (2003) &#8216;Keens from the Absent Chorus: Troy to Ulster&#8217;,\u00a0<i>Western Folklore<\/i>\u00a062.1: 119-42. (On the representation of choral lament in Homer)<\/li>\n<\/ul>\n<ul>\n<li>Martin, Richard (2003) &#8216;The Pipes are Brawling: Conceptualizing Musical Performance in Classical Athens&#8217; in\u00a0<i>The Cultures within Greek Culture<\/i>, eds. L. Kurke and C. Dougherty. Cambridge UP: 153-180. (On genres accompanied by the aulos, e.g. dithyramb, tragedy, elegiac)<\/li>\n<\/ul>\n<ul>\n<li>Miner, E. (1990)\u00a0<i>Comparative Poetics: an Intercultural Essay on Theories of Literature<\/i>. Princeton, N.J. and Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Murray, O. (ed.) (1990)\u00a0<i>Sympotica: A symposium on the Symposion<\/i>. Oxford.<\/li>\n<\/ul>\n<ul>\n<li>Murray, Penelope (1996)\u00a0<i>Plato on Poetry: Ion; Republic 376e-398b9; Republic 595-608b10. Cambridge Greek and Latin Classics Series<\/i>. Cambridge University Press.<\/li>\n<\/ul>\n<ul>\n<li>Naerebout, F. G. (1997)\u00a0<i>Attractive Performances: Ancient Greek Dance. Three Preliminary Studies<\/i>. Amsterdam.<\/li>\n<\/ul>\n<ul>\n<li>Overduin, F. \u2018Mesomedes: een late lierdichter\u2019, Hermeneus. Tijdschrift voor Antieke Cultuur 85.2 (2013) 99-106.<\/li>\n<\/ul>\n<ul>\n<li>Palmisciano, R. (2003) \u2018\u00c8 mai esistita la poesia popolare nella Grecia antica?\u2019,in\u00a0<i>Rysmos: Studi di poesia, metrica e musica greca<\/i>, ed. R. Nicolai. Rome: 151\u201371.<\/li>\n<\/ul>\n<ul>\n<li>Paschalis, M. (ed.) (2002)\u00a0<i>Horace and Greek Lyric Poetry<\/i>. (Rethymnon Classical Studies 1). Rethymnon, Crete.<\/li>\n<\/ul>\n<ul>\n<li>Puetz, Babette (2007)\u00a0<i>The Symposium and Komos in Aristophanes<\/i>. Warminster: Aris &amp; Phillips. Reviewed by Beta, Simone\u00a0<a class=\"external text\" href=\"http:\/\/ccat.sas.upenn.edu\/bmcr\/2008\/2008-07-05.html\" rel=\"nofollow\">BMCR 2008.07.05<\/a>.<\/li>\n<\/ul>\n<ul>\n<li>Riu, X. (2003) &#8216;Sobre los g\u00e9neros literarios en la literatura griega&#8217;,\u00a0<i>Myrtia<\/i>\u00a018: 21-56.<\/li>\n<\/ul>\n<ul>\n<li>Riu, X. (2010) &#8216;Sull\u2019autorit\u00e0 della parola poetica in Grecia&#8217; in:\u00a0<i>Linguaggi del potere, poteri del linguaggio<\/i>, eds. E. Bona and M. Curnis. Alessandria: 21-33.<\/li>\n<\/ul>\n<ul>\n<li>Rotstein, Andrea (2004) \u2018Aristotle,\u00a0<i>Poetics<\/i>\u00a01447a13-16 and Musical Contests\u2019,\u00a0<i>ZPE<\/i>\u00a0149: 39-42. This article argues that the list of mimetic species (Arist.,\u00a0<i>Po<\/i>. 1447a13-16), in which lyric and iambic poetry are not mentioned, corresponds to the categories of competition at the main Athenian festivals.<\/li>\n<\/ul>\n<ul>\n<li>Sauzeau, P. (ed.) (2000)\u00a0<i>Bacchanales: Actes des colloques \u2018Dionysos\u2019 de Montpellier<\/i>. Montpellier.<\/li>\n<\/ul>\n<ul>\n<li>Sch\u00e4fer, A. (1997)\u00a0<i>Unterhaltung beim griechischen Symposion<\/i>. Mainz.<\/li>\n<\/ul>\n<ul>\n<li>Schmitt-Pantel, P. (1992)\u00a0<i>La cit\u00e9 au banquet: Histoire des repas publics dand les cit\u00e9s grecques<\/i>. Rome.<\/li>\n<\/ul>\n<ul>\n<li>Slater, W.J. (ed.) (1991)\u00a0<i>Dining in a Classical Context<\/i>. Ann Arbor.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (1989) &#8216;Poet&#8217;s call and poet&#8217;s status in archaic Greece and other oral cultures&#8217;,\u00a0<i>Listy filologick\u00e9<\/i>\u00a0112: 72-80.<\/li>\n<\/ul>\n<ul>\n<li>Slings, S.R. (2000)\u00a0<i>Symposium: Speech and Ideology. Two hermeneutical issues in early Greek lyric, with special reference to Mimnermus<\/i>. Amsterdam (KNAW), Mededelingen KNAW afd. Letterkunde, 63, 1. Concerns the performance of lyric poetry in the archaic period. Review by Bremer, Jan Maarten (2003)\u00a0<i>Mnemosyne<\/i>\u00a056: 614-15.<\/li>\n<\/ul>\n<ul>\n<li>Svenbro, J. (1993)\u00a0<i>Phrasikleia: An Anthropology of Reading in Ancient Greece<\/i>, trans. J. Lloyd. Ithaca, N.Y. and London.<\/li>\n<\/ul>\n<ul>\n<li>Van Wees, Hans (1998) &#8216;A brief history of tears. Gender differentiation in archaic Greece&#8217;, in\u00a0<i>When Men Were Men. Masculinity, power and identity in classical antiquity<\/i>, eds. Lin Foxhall &amp; John Salmon. London and New York: 10-53. Includes discussion of fragments of Archilochus, Semonides and Sappho.<\/li>\n<\/ul>\n<ul>\n<li>Van Wees, Hans (2000) &#8216;The development of the hoplite phalanx. Iconography and reality in the seventh century&#8217;, in\u00a0<i>War and Violence in Ancient Greece<\/i>, ed. Hans van Wees. London: 125-66. Includes discussion of fragments of Tyrtaios, Callinus, Alcaeus.<\/li>\n<\/ul>\n<ul>\n<li>Van Wees, Hans (2005) &#8216;Trailing tunics and sheepskin coats: dress and status in early Greece&#8217;, in\u00a0<i>The Clothed Body in the Ancient World<\/i>, eds. L. Clelland, M. Harlow and L. Llewellyn-Jones. Oxbow Books, Oxford: 44-51. Includes discussion of fragments of Sappho, Alcaeus, and Alcman.<\/li>\n<\/ul>\n<ul>\n<li>Van Wees, Hans (2006) &#8216;From kings to demigods: epic heroes and social change, c. 750-600 bc&#8217;, in\u00a0<i>Ancient Greece: from the Mycenaean palaces to the age of Homer. Edinburgh Leventis Studies 3<\/i>, eds. Sigrid Deger-Jalkotzy, Irene S. Lemos. Edinburgh U.P.: 363-380. Includes discussion of fragments of Callinus and Tyrtaeus.<\/li>\n<\/ul>\n<ul>\n<li>Woodman, T. (2002) \u2018Biformis vates: the Odes, Catullus and Greek lyric\u2019, in\u00a0<i>Traditions and Contexts in the Poetry of Horace<\/i>, ed. T. Woodman and D. Feeney. Cambridge: 53\u201364.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>The lists of publications on this page aim to complement Douglas E. Gerber extensive and annotated bibliographies of archaic and classical Greek lyric, and iambic and elegiac poetry for the &hellip; <a href=\"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/\" class=\"\">Read More<\/a><\/p>\n","protected":false},"author":514,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-508","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Bibliography - Network for the Study of Archaic and Classical Greek Song<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bibliography - Network for the Study of Archaic and Classical Greek Song\" \/>\n<meta property=\"og:description\" content=\"The lists of publications on this page aim to complement Douglas E. Gerber extensive and annotated bibliographies of archaic and classical Greek lyric, and iambic and elegiac poetry for the &hellip; Read More\" \/>\n<meta property=\"og:url\" content=\"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/\" \/>\n<meta property=\"og:site_name\" content=\"Network for the Study of Archaic and Classical Greek Song\" \/>\n<meta property=\"article:modified_time\" content=\"2024-07-04T15:39:21+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"168 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/\",\"url\":\"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/\",\"name\":\"Bibliography - Network for the Study of Archaic and Classical Greek Song\",\"isPartOf\":{\"@id\":\"https:\/\/sites.rutgers.edu\/greeksong\/#website\"},\"datePublished\":\"2019-09-10T01:54:30+00:00\",\"dateModified\":\"2024-07-04T15:39:21+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/sites.rutgers.edu\/greeksong\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Bibliography\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/sites.rutgers.edu\/greeksong\/#website\",\"url\":\"https:\/\/sites.rutgers.edu\/greeksong\/\",\"name\":\"Network for the Study of Archaic and Classical Greek Song\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/sites.rutgers.edu\/greeksong\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Bibliography - Network for the Study of Archaic and Classical Greek Song","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/","og_locale":"en_US","og_type":"article","og_title":"Bibliography - Network for the Study of Archaic and Classical Greek Song","og_description":"The lists of publications on this page aim to complement Douglas E. Gerber extensive and annotated bibliographies of archaic and classical Greek lyric, and iambic and elegiac poetry for the &hellip; Read More","og_url":"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/","og_site_name":"Network for the Study of Archaic and Classical Greek Song","article_modified_time":"2024-07-04T15:39:21+00:00","twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"168 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/","url":"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/","name":"Bibliography - Network for the Study of Archaic and Classical Greek Song","isPartOf":{"@id":"https:\/\/sites.rutgers.edu\/greeksong\/#website"},"datePublished":"2019-09-10T01:54:30+00:00","dateModified":"2024-07-04T15:39:21+00:00","breadcrumb":{"@id":"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/sites.rutgers.edu\/greeksong\/bibliography\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/sites.rutgers.edu\/greeksong\/"},{"@type":"ListItem","position":2,"name":"Bibliography"}]},{"@type":"WebSite","@id":"https:\/\/sites.rutgers.edu\/greeksong\/#website","url":"https:\/\/sites.rutgers.edu\/greeksong\/","name":"Network for the Study of Archaic and Classical Greek Song","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/sites.rutgers.edu\/greeksong\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/sites.rutgers.edu\/greeksong\/wp-json\/wp\/v2\/pages\/508"}],"collection":[{"href":"https:\/\/sites.rutgers.edu\/greeksong\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.rutgers.edu\/greeksong\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.rutgers.edu\/greeksong\/wp-json\/wp\/v2\/users\/514"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.rutgers.edu\/greeksong\/wp-json\/wp\/v2\/comments?post=508"}],"version-history":[{"count":6,"href":"https:\/\/sites.rutgers.edu\/greeksong\/wp-json\/wp\/v2\/pages\/508\/revisions"}],"predecessor-version":[{"id":683,"href":"https:\/\/sites.rutgers.edu\/greeksong\/wp-json\/wp\/v2\/pages\/508\/revisions\/683"}],"wp:attachment":[{"href":"https:\/\/sites.rutgers.edu\/greeksong\/wp-json\/wp\/v2\/media?parent=508"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}