First-Person Problems in Pindar

D’Alessio, Giambattista

doi:10.1111/j.2041-5370.1994.tb00456.x

Cited by 16 publications

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“…On the use of the first person in Pindar cf. D ' Alessio 1994, Currie 2013. In our verse, the speaking persona is the chorus.…”

Section: Linguistic Commentarymentioning

confidence: 93%

Pindar’s <i>Pythian Twelve</i>: A Linguistic Commentary and a Comparative Study

Massetti

2024

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This is an open access title distributed under the terms of the cc by-nc 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc/4.0/ The terms of the cc license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder.Publication of this volume was generously sponsored by the hkbu Jao Tsung-I Academy of Sinology-Amway Development Fund.This book was produced in the framework of the project The Lords of the Rings: A Comparative Lens on Ring-Compositions of Greek Lyric Poetry (msca 0000083-project loracola) funded through the program "next Generation eu, nrrp m4c2" (cup c61b 22002760001).

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“…On the use of the first person in Pindar cf. D ' Alessio 1994, Currie 2013. In our verse, the speaking persona is the chorus.…”

Section: Linguistic Commentarymentioning

confidence: 93%

Pindar’s <i>Pythian Twelve</i>: A Linguistic Commentary and a Comparative Study

Massetti

2024

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“…On deixis see e.g. Danielewicz (1990), D' Alessio (1994 ' , 415-443). For epinician poetry as a combination of ritual and discursive performing art cf.…”

Section: Michel Briandmentioning

confidence: 99%

Light and Vision in Pindar’s Olympian Odes: Interplays of Imagination and Performance

Briand

2016

The Look of Lyric: Greek Song and the Visual

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This is an open access chapter distributed under the terms of the Creative Commons Attribution-Noncommercial 3.0 Unported (cc-by-nc 3.0) License. chapter 10 * I would like to thank the organisers of the Delphi Conference, the participants, and the two anonymous readers who helped me to improve this piece, as well as Pascale Drouet for her translation. Any remaining errors are mine. 1 Cf. Simon (2003), especially ch. 1 ('L' optique antique et la représentation du visible').

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“…216-22, Kurke (2000), Lardinois (1996), Nagy (2007b), H. Parker (1993), Snyder (1991a). On the much-studied use of the first person in choral lyric (particularly Alcman and Pindar), see D'Alessio (1994), Danielewicz (1990), Davies (1988), esp. 54f., Klinck (2001), Lardinois (1996), M. Lefkowitz (1963).…”

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In Her Own Words: The Semantics of Female Authorship in Ancient Greece, From Sappho to Nossis

Hauser¹

2016

Ramus

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What we call things is important—it reveals what we think about the world. What we call ourselves, however, is even more important. It reveals ideas and assumptions about identity, gender, community. It helps us to see where we fit in in society; what we understand our purpose, our role to be; the kinds of activities we undertake. In a history where women have been largely barred from higher-paying, traditionally male occupations, the way in which women in particular use terminology to lay claim to skills and expertise in counterpoint to a generally male-dominant culture speaks volumes about the ways in which women see themselves and their relationship to their work. As Erica Jong puts it in her feminist essay,The Artist as Housewife, ‘naming is a form of self-creation’.

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First-Person Problems in Pindar

Cited by 16 publications

References 0 publications

Pindar’s <i>Pythian Twelve</i>: A Linguistic Commentary and a Comparative Study

Pindar’s <i>Pythian Twelve</i>: A Linguistic Commentary and a Comparative Study

Light and Vision in Pindar’s Olympian Odes: Interplays of Imagination and Performance

In Her Own Words: The Semantics of Female Authorship in Ancient Greece, From Sappho to Nossis

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