Pindar's Eyes is a ground-breaking interdisciplinary exploration of the interactions between Greek lyric poetry and visual and material culture in the early fifth century BCE, drawing on case studies to open up analysis of the genre to the wider theme of aesthetic experience in early classical Greece.
Pindar's Eyes is a ground-breaking interdisciplinary exploration of the interactions between Greek lyric poetry and visual and material culture in the early fifth century BCE, drawing on case studies to open up analysis of the genre to the wider theme of aesthetic experience in early classical Greece.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
David Fearn is Reader in Greek Literature at the University of Warwick. His research focuses on the poetics, aesthetics, and the socio-political contextualization and reception of archaic and classical Greek literature, and of lyric poetry in particular, though he is also interested in classical historiography, rhetoric, and ancient aesthetics more broadly. His first book, Bacchylides: Politics, Performance, Poetic Tradition (OUP, 2007), sought to rehabilitate the reputation of this underappreciated poet. He has also edited a collection of essays entitled Aegina: Contexts for Choral Lyric Poetry. Myth, History, and Identity in the Fifth Century BC (OUP, 2011) discussing the interrelation of poetry and culture on the Greek island of Aegina.
Inhaltsangabe
* Frontmatter * List of Abbreviations * 0: Introduction: Eyes and 'I's * Eyes and 'I's: Deixis, Visuality, Ecphrasis, Referentiality * Memorialization, Transmission, Material Culture, Cultural Value * 1: Efficacy. Nemean 5 and Herodotus on Aeginetan Victors, Heroes, and Statues * I. Static Statues, Departing Poems * II. 'Pindar's Splendid Pictures': Craft Analogies and Beyond * II.1 Aborted Myth: Lyric Story-Telling and Aesthetic Perception * II.2 Narrative, Persuasion, Falsehood * III. Encomiastic Conclusions * III.1 Catalogues and Materialist Voices * III.2 Lyric Architectonics * IV. Herodotus on Aeginetan Efficacy: Heroes, Cult Statues, and Pindaric Reception * IV.1 Moving Sculptures and Aeginetan Efficacy in Book 5 * IV.2 Cult Statues and Heroes at Salamis * IV.3 Lampon and Pausanias * V. Conclusion * 2: Contact. Lyric Referentiality and Material Culture in Nemean 8 * I. Young Love: Pindar's Touching Overtures * I.1 The Construction of Love * I.2 Erotic Contextualizabilitya * I.3 Sight, Touch, Desire, Imagination * II. Contacting Aiakos * II.1 Contextual Connectivity * II.2 Votive Reliefs * II.3 The First-Person Foregrounded * II.4 Architecture for Aiakos * II.5 The Aiakeion as a Lyric Model * II.6 Pindar and Rituala * II.7 Kleos and Subjectivity * II.8 Ecphrasis, Deixis, Gesture * II.9 The Epiphanic Voice * III. Attitudes, Visions, Materialities * III.1 Haptics, Gesture, Epic Rhetoric * III.2 Past and Future; Monumentality and Memorialization * IV. Conclusion * Coda. The Alcmaeon Encounter: Pythian 8.56 60 * 3: Ecphrasis and the Politics of Time in Pythian 1 * I. Unity and Coherence * II. Lyric and Hymnic Traditions: Framing Lyric Power * III. Ecphrasis, Signification, and 'The Irruption of Time into Play' * III.1 On Interpreting Portents * III.2 Volcanic Noise * IV. Time for Prayers * V. Tensions * VI. Revelation and Authority * VII. Noise Revisited * VIII. Conclusion: Monstrous Time * 4: Language and Vision in the Epinician Poets * I. The Decorative Box of Words: Simonides' Danae Fragment * I.1 Ecphrastic Framing * I.2 Vividness: Language, Imagery, Colour * I.3 Aesthetics, Communication, and Response * I.4 Conclusion * II. Vision and Material Culture in Bacchylides and Pindar Compared * II.1 'Look this way with your mind' * II.2 The Passion Within: Ecphrasis and the Opacity of Bacchylidean Lyric Narrative * II.3 Eyesight in Argos: Vision and Material Culture in Pindar, Nemean 10 * 5: Conclusion * Endmatter * Bibliography * Index of Passages Cited * General Index
* Frontmatter * List of Abbreviations * 0: Introduction: Eyes and 'I's * Eyes and 'I's: Deixis, Visuality, Ecphrasis, Referentiality * Memorialization, Transmission, Material Culture, Cultural Value * 1: Efficacy. Nemean 5 and Herodotus on Aeginetan Victors, Heroes, and Statues * I. Static Statues, Departing Poems * II. 'Pindar's Splendid Pictures': Craft Analogies and Beyond * II.1 Aborted Myth: Lyric Story-Telling and Aesthetic Perception * II.2 Narrative, Persuasion, Falsehood * III. Encomiastic Conclusions * III.1 Catalogues and Materialist Voices * III.2 Lyric Architectonics * IV. Herodotus on Aeginetan Efficacy: Heroes, Cult Statues, and Pindaric Reception * IV.1 Moving Sculptures and Aeginetan Efficacy in Book 5 * IV.2 Cult Statues and Heroes at Salamis * IV.3 Lampon and Pausanias * V. Conclusion * 2: Contact. Lyric Referentiality and Material Culture in Nemean 8 * I. Young Love: Pindar's Touching Overtures * I.1 The Construction of Love * I.2 Erotic Contextualizabilitya * I.3 Sight, Touch, Desire, Imagination * II. Contacting Aiakos * II.1 Contextual Connectivity * II.2 Votive Reliefs * II.3 The First-Person Foregrounded * II.4 Architecture for Aiakos * II.5 The Aiakeion as a Lyric Model * II.6 Pindar and Rituala * II.7 Kleos and Subjectivity * II.8 Ecphrasis, Deixis, Gesture * II.9 The Epiphanic Voice * III. Attitudes, Visions, Materialities * III.1 Haptics, Gesture, Epic Rhetoric * III.2 Past and Future; Monumentality and Memorialization * IV. Conclusion * Coda. The Alcmaeon Encounter: Pythian 8.56 60 * 3: Ecphrasis and the Politics of Time in Pythian 1 * I. Unity and Coherence * II. Lyric and Hymnic Traditions: Framing Lyric Power * III. Ecphrasis, Signification, and 'The Irruption of Time into Play' * III.1 On Interpreting Portents * III.2 Volcanic Noise * IV. Time for Prayers * V. Tensions * VI. Revelation and Authority * VII. Noise Revisited * VIII. Conclusion: Monstrous Time * 4: Language and Vision in the Epinician Poets * I. The Decorative Box of Words: Simonides' Danae Fragment * I.1 Ecphrastic Framing * I.2 Vividness: Language, Imagery, Colour * I.3 Aesthetics, Communication, and Response * I.4 Conclusion * II. Vision and Material Culture in Bacchylides and Pindar Compared * II.1 'Look this way with your mind' * II.2 The Passion Within: Ecphrasis and the Opacity of Bacchylidean Lyric Narrative * II.3 Eyesight in Argos: Vision and Material Culture in Pindar, Nemean 10 * 5: Conclusion * Endmatter * Bibliography * Index of Passages Cited * General Index
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