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Simonides of Keos was one of the most important praise-poets of the
early fifth century BCE, ranking alongside Pindar and Bacchylides.
In Simonides Lyricus, a group of leading international experts
revisit familiar questions about his lyric poetry, and pose new
ones. Themes discussed include textual criticism and attribution of
fragments; poetic genre and the place of the poet’s melic
fragments in his larger oeuvre; the historical, cultural and
political background of the poems; and Simonides’ afterlife in
the biographical and anecdotal traditions that formed around his
name. The volume makes a substantial contribution to modern
discussions of Simonides’ place in Greek literary and cultural
history and to the understanding of this poet’s often fragmentary
and difficult texts.
Recent scholarship has acknowledged that the intertextual discourse
of ancient comedy with previous and contemporary literary
traditions is not limited to tragedy. This book is a timely
response to the more sophisticated and theory-grounded way of
viewing comedy's interactions with its cultural and intellectual
context. It shows that in the process of its self-definition,
comedy emerges as voracious and multifarious with a wide spectrum
of literary, sub-literary and paraliterary traditions, the
engagement with which emerges as central to its projected literary
identity and, subsequently, to the reception of the genre itself.
Comedy's self-definition through generic discourse far transcends
the (narrowly conceived) 'high-low' division of genres. This book
explores ancient comedy's interactions with Homeric and Hesiodic
epic, iambos, lyric, tragedy, the fable tradition, the ritual
performances of the Greek polis, and its reception in Platonic
writings and Alexandrian scholarship, within a unified
interpretative framework.
In the Laws, Plato theorizes citizenship as simultaneously a
political, ethical, and aesthetic practice. His reflection on
citizenship finds its roots in a descriptive psychology of human
experience, with sentience and, above all, volition seen as the
primary targets of a lifelong training in the values of
citizenship. In the city of Magnesia described in the Laws eros for
civic virtue is presented as a motivational resource not only
within the reach of the 'ordinary' citizen, but also factored by
default into its educational system. Supporting a vision of
'perfect citizenship' based on an internalized obedience to the
laws, and persuading the entire polity to consent willingly to it,
requires an ideology that must be rhetorically all-inclusive. In
this city 'ordinary' citizenship itself will be troped as a
performative action: Magnesia's choral performances become a
fundamental channel for shaping, feeling and communicating a strong
sense of civic identity and unity."
Recent scholarship has acknowledged that the intertextual discourse
of ancient comedy with previous and contemporary literary
traditions is not limited to tragedy. This book is a timely
response to the more sophisticated and theory-grounded way of
viewing comedy's interactions with its cultural and intellectual
context. It shows that in the process of its self-definition,
comedy emerges as voracious and multifarious with a wide spectrum
of literary, sub-literary and paraliterary traditions, the
engagement with which emerges as central to its projected literary
identity and, subsequently, to the reception of the genre itself.
Comedy's self-definition through generic discourse far transcends
the (narrowly conceived) 'high-low' division of genres. This book
explores ancient comedy's interactions with Homeric and Hesiodic
epic, iambos, lyric, tragedy, the fable tradition, the ritual
performances of the Greek polis, and its reception in Platonic
writings and Alexandrian scholarship, within a unified
interpretative framework.
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