Pindar's eyes : visual and material culture in Epinician poetry

Pindar's eyes : visual and material culture in Epinician poetry / David Fearn.

"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. It draws on case studies of classical art and texts to open up analysis of the genre to the wider theme of...

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Bibliographic Details
Main Author: Fearn, David, 1975- (Author)
Format: Book
Language:English
Ancient Greek
Published: Oxford, United Kingdom ; New York, NY, United States of America : Oxford University Press, 2017.
Edition:First edition.
Subjects:
Greek poetry > History and criticism.
Lyric poetry > History and criticism.
Material culture in literature.
Criticism, interpretation, etc.

MARC

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100 1 |a Fearn, David,  |d 1975-  |e author. 
245 1 0 |a Pindar's eyes :  |b visual and material culture in Epinician poetry /  |c David Fearn. 
250 |a First edition. 
264 4 |c ©2017 
264 1 |a Oxford, United Kingdom ;  |a New York, NY, United States of America :  |b Oxford University Press,  |c 2017. 
300 |a x, 318 pages ;  |c 23 cm 
336 |a text  |b txt  |2 rdacontent 
337 |a unmediated  |b n  |2 rdamedia 
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546 |a In English with some text in ancient Greek. 
504 |a Includes bibliographical references (pages 275-301) and indexes. 
520 8 |a "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. It draws on case studies of classical art and texts to open up analysis of the genre to the wider theme of aesthetic experience in early classical Greece, with particular focus on the poetic mechanisms through which Pindar's victory odes use visual and material culture to engage their audiences. Complete readings of Nemean 5, Nemean 8, and Pythian 1 reveal the poet's deep interest in the relations between lyric poetry and commemorative and religious sculpture, as well as other significant visual phenomena, while literary studies of his evocation of cultural attitudes through elaborate use of the lyric first person are combined with art-historical treatments of ecphrasis, of image and text, and of art's framing of ritual experience in ancient Greece. This specific aesthetic approach is expanded through fresh treatments of Simonides' and Bacchylides' own engagements with material culture, as well as an account of Pindaric themes in the Aeginetan logoi of Herodotus' Histories. These come together to offer not just a novel perspective on the relationship between art and text in Pindaric poetry, but to give rise to new claims about the nature of classical Greek visuality and ritual subjectivity, and to foster a richer understanding of the ways in which classical poetry and art shaped the lives and experiences of its ancient consumers."--Jacket. 
505 0 0 |g Machine generated contents note:  |t Eyes and Ì's: Deixis, Visuality, Ecphrasis, Referentiality --  |t Memorialization, Transmission, Material Culture, Cultural Value --  |g 1.  |t Efficacy: Nemean 5 and Herodotus on Aeginetan Victors, Heroes, and Statues --  |g I.  |t Static Statues, Departing Poems --  |g II.  |t ̀Pindar's Splendid Pictures': Craft Analogies and Beyond --  |g II. 1.  |t Aborted Myth: Lyric Storytelling and Aesthetic Perception --  |g II. 2.  |t Narrative, Persuasion, Falsehood --  |g III.  |t Encomiastic Conclusions --  |g III. 1.  |t Catalogues and Materialist Voices --  |g III. 2.  |t Lyric Architectonics --  |g IV.  |t Herodotus on Aeginetan Efficacy: Heroes, Cult Statues, and Pindaric Reception --  |g IV. 1.  |t Moving Sculptures and Aeginetan Efficacy in Book 5 --  |g IV. 2.  |t Cult Statues and Heroes at Salamis --  |g IV. 3.  |t Lampon and Pausanias --  |g V.  |t Conclusion --  |g 2.  |t Contact: Lyric Referentiality and Material Culture in Nemean 8 --  |g I.  |t Young Love: Pindar's Touching Overtures --  |g I.1.  |t Construction of Love --  |g I.2.  |t Erotic Contextualizability? --  |g I.3.  |t Sight, Touch, Desire, Imagination --  |g II.  |t Contacting Aiakos --  |g II. 1.  |t Contextual Connectivity --  |g II. 2.  |t Votive Reliefs --  |g II. 3.  |t First Person Foregrounded --  |g II. 4.  |t Architecture for Aiakos --  |g II. 5.  |t Aiakeion as a Lyric Model --  |g II. 6.  |t Pindar and Ritual? --  |g II. 7.  |t Kleos and Subjectivity --  |g II. 8.  |t Ecphrasis, Deixis, Gesture --  |g II. 9.  |t Epiphanic Voice --  |g III.  |t Attitudes, Visions, Materialities --  |g III. 1.  |t Haptics, Gesture, Epic Rhetoric --  |g III. 2.  |t Past and Future, Monumentality and Memorialization --  |g IV.  |t Conclusion --  |t Coda: The Alcmaeon Encounter: Pythian 8.56-60 --  |g 3.  |t Ecphrasis and the Politics of Time in Pythian 1 --  |g I.  |t Unity and Coherence --  |g II.  |t Lyric and Hymnic Traditions: Framing Lyric Power --  |g III.  |t Ecphrasis, Signification, and ̀the Irruption of Time into Play' --  |g III. 1.  |t On Interpreting Portents --  |g III. 2.  |t Volcanic Noise --  |g IV.  |t Time for Prayers --  |g V.  |t Tensions --  |g VI.  |t Revelation and Authority --  |g VII.  |t Noise Revisited --  |g VIII.  |t Conclusion: Monstrous Time --  |g 4.  |t Language and Vision in the Epinician Poets --  |g I.  |t Decorative Box of Words: Simonides' Danae Fragment --  |g I.1.  |t Ecphrastic Framing --  |g I.2.  |t Vividness: Language, Imagery, Colour --  |g I.3.  |t Aesthetics, Communication, and Response --  |g I.4.  |t Conclusion --  |g II.  |t Vision and Material Culture in Bacchylides and Pindar Compared --  |g II. 1.  |t ̀Look This Way with Your Mind' --  |g II. 2.  |t Passion Within: Ecphrasis and the Opacity of Bacchylidean Lyric Narrative --  |g II. 3.  |t Eyesight in Argos: Vision and Material Culture in Pindar, Nemean 10. 
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650 0 |a Lyric poetry  |x History and criticism. 
650 0 |a Material culture in literature. 
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