Interactive Offerings: Early Greek Dedicatory Epigrams and Ritual

The Treachery of Verbal Images: Viewing the Greek technopaegnia

“…Of considerable interest for my study, Bing (1998: 36) analyzes the audience's experience of another set of Hellenistic literary epigrams, the ordering of which, he suggests, makes it "as though the dedications stood side by side in a precinct, rather than a text, and we the readers were touring a shrine, not perusing a book". 41 See, e.g., van Straten 1981;Day 1994;Baumbach -Petrovic -Petrovic 2010;Trümpy 2010. 42 See the excellent analysis by Elsner (2007 passim) of the literary viewing experiences in the later Greco-Roman world, and in particular their relationship to the divine, offered by Achilles Tatius, Pausanius, and Philostratus.…”

Family, Duty and Expectation: A Case for the Joint Performance of Pindar’s Isthmian 2 and Pythian 6

“…Depew notes that "by carefully choosing epithets, the speaker carefully particularizes the function of calling the god near" (1997.235). 35) Day 1989,16-28;Day 1994,37-74, and Day 2000. 3« Day 1989 "verse inscriptions and grave markers not only communicate the same message of praise, but do so in a formally parallel manner".^''' Using the example of Mantiklos' Statuette, he argues that the use of prayer-forms; epithetic construction; the expectation of oral recital by the reader, and the appearance of the sculpture created a special set of circumstances.…”

“…What Thrasyboulos hopes 37> Day 1989,16. * Day 1994. For discussions of covenant in its broader social aspects, see Biok 2010 (in press) and Blok 2011 (in press).…”

The phenomenon of re-performance in dedicatory epigrams and Pindar’s Odes

“…A pesar de estas diferencias evidentes, los epigramas dedicatorios pueden cumplir funciones análogas a las reperformances pindáricas a través del acto de lectura. Tomando en consideración las investigaciones de Svenbro (1988) acerca de prácticas y hábitos de lectura en la Grecia arcaica y clásica, Day (1989;1994; ha demostrado que los epigramas dedicatorios presentan una serie de estrategias para atraer la atención de sus posibles espectadores y facilitar el proceso de lectura. Así, los visitantes de los santuarios griegos, lugares donde estas inscripciones abundaban sobre las más variadas superficies, podían sentirse suficientemente interesados por ellas como para leerlas en voz alta.…”