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Journal articles on the topic 'Dithyrambs'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

del Caro, Adrian, Friedrich Nietzsche, and R. J. Hollingdale. "Dithyrambs of Dionysus." German Quarterly 60, no. 1 (1987): 156. http://dx.doi.org/10.2307/407196.

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2

D'Alessio, G. B., and M. J. H. van der Weiden. "The Dithyrambs of Pindar. Introduction, Text and Commentary." Journal of Egyptian Archaeology 81 (1995): 270. http://dx.doi.org/10.2307/3821839.

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3

D'Alessio, G. B. "Book Review: The Dithyrambs of Pindar. Introduction, Text and Commentary." Journal of Egyptian Archaeology 81, no. 1 (1995): 270–73. http://dx.doi.org/10.1177/030751339508100142.

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4

Wollek, Christian. "„Odi profanum vulgus et arceo“. Zwei lateinische Oden des Schülers Nietzsche." Nietzsche-Studien 49, no. 1 (2020): 258–75. http://dx.doi.org/10.1515/nietzstu-2020-0011.

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AbstractThe detailed interpretation and translation of Nietzsche’s early Latin odes clearly show that Horace’s lyric poetry has an exemplary function for the development of Nietzsche’s own poetic language. Even in his later works, such as Twilight of the Idols and the Dionysos-Dithyrambs, Nietzsche’s poetic style and rhetorical strategies remain indebted to his early attempts to emulate classical Latin poetry when he was a pupil at the Pforta boarding school.

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5

Christen, Felix. "Dichten an der Stelle des Denkens. Bemerkungen zur Genese des Gesangs im dritten Teil von Nietzsches Zarathustra." Nietzsche-Studien 47, no. 1 (2018): 49–69. http://dx.doi.org/10.1515/nietzstu-2018-0003.

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Abstract Poetry in lieu of thinking. Reflections on the genesis of song in the third part of Nietzsche’s Zarathustra. The chapter Von der grossen Sehnsucht opens the final section of Nietzscheʼs Also sprach Zarathustra with a speech in which Zarathustra invites his soul to sing and in which he starts to sing himself. Based on Nietzscheʼs own late interpretation in Ecce homo, this article focuses on the narrative coherence and poetic logic of the chapter Von der grossen Sehnsucht. While the address to the soul can be understood as a soliloquy that corresponds to the definition of thinking in Pl

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6

Dennis, Amanda. "Dithyrambs and Ploughshares: The Cycle of Creation and Criticism in Nietzsche's Aesthetics." European Legacy 16, no. 4 (2011): 469–85. http://dx.doi.org/10.1080/10848770.2011.583782.

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7

Kovacs, David. "PINDAR AS LAVDATOR EQVORVM IN HORACE, CARMINA 4.2.17–20 AND ARS POETICA 83–5." Classical Quarterly 67, no. 2 (2017): 659–62. http://dx.doi.org/10.1017/s0009838817000635.

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At Carm. (Odes) 4.2.17–20 Horace's catalogue of Pindar's poetry reaches his victory odes:siue quos Elea domum reducitpalma caelestis pugilemue equumuedicit et centum potiore signismunere donat; 20The text, transmitted without variants in our manuscripts, means ‘(Pindar deserves the laurel wreath whether he writes bold dithyrambs or sings of gods and heroes) or tells of those escorted home as gods by the Elean palm-branch, whether boxer or horse, and bestows on them a gift more valuable than a hundred statues’. The two italicized expressions are more difficult than the commentators seem willing

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8

Pöhlmann, Egert. "The Monody of the Hoopoe in Aristophanes’." Greek and Roman Musical Studies 5, no. 2 (2017): 191–202. http://dx.doi.org/10.1163/22129758-12341300.

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Animal choruses are familiar in ancient Greek comedy. Besides Aristophanes, there are 13 examples of them. Vase paintings provide evidence from the beginnings of Old Comedy. They had to sing the traditional melic parts of the agon and the parabasis. Aristophanes used the comic animal chorus in Knights (424 bc), Wasps (422), Birds (414), Frogs (405) and Storks (395-387). Moreover, with the song of the Hoopoe in the Birds 227-62, Aristophanes presents an animal as soloist which sings an extended monody, a perfect example of the astropha, the structure of which is defined by content, changes of m

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9

Instone, Stephen. "The Dithyramb - Bernhard Zimmermann: Dithyrambos: Geschichteeiner Gattung. (Hypomnemata, 98.) Pp. 161. Göttingen: Vandenhoeck & Ruprecht, 1992. Paper, DM 46." Classical Review 44, no. 1 (1994): 14–15. http://dx.doi.org/10.1017/s0009840x00290173.

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10

Daniel Robinson. "Dithyramb: Nocturnal." Callaloo 32, no. 1 (2008): 163–64. http://dx.doi.org/10.1353/cal.0.0328.

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11

Le Meur-Weissman, Nadine. "Dithyramb in Context." Kernos, no. 29 (October 1, 2016): 441–45. http://dx.doi.org/10.4000/kernos.2431.

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12

Hamilton, Richard. "The Pindaric Dithyramb." Harvard Studies in Classical Philology 93 (1990): 211. http://dx.doi.org/10.2307/311286.

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13

Hamby, Barbara. "New Orleans Dithyramb." Ploughshares 41, no. 1 (2015): 84–85. http://dx.doi.org/10.1353/plo.2015.0042.

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14

SCHOTTKY, RICHARD. "NIETZSCHES DITHYRAMBUS „ZWISCHEN RAUBVÖGELN”." Nietzsche-Studien 22, no. 1 (1993): 1–27. http://dx.doi.org/10.1515/9783110244410.1.

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15

Sheldon, John S. "Iranian Evidence for Pindar's ‘Spurious San’?" Antichthon 37 (November 2003): 52–61. http://dx.doi.org/10.1017/s0066477400001416.

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In a much discussed passage Pindar uses the expression when speaking of early performances of the dithyramb. The passage was famous in antiquity and before the discovery of a papyrus fragment early in the Twentieth Century, we owed our knowledge of it chiefly to citations in Athenaeus. In discussing it, Athenaeus explains the words in the context of asigmatic odes, i.e. odes in which for the sake of euphony the letter sigma was avoided or omitted altogether. This explanation remains the most commonly accepted one, though scholars continue to puzzle over it, as it is hard to see why Pindar woul

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16

Lahti, Katherine. "Vladimir Mayakovsky: A Dithyramb." Slavic and East European Journal 40, no. 2 (1996): 251. http://dx.doi.org/10.2307/309469.

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17

D'angour, Armand. "How the dithyramb got its shape." Classical Quarterly 47, no. 2 (1997): 331–51. http://dx.doi.org/10.1093/cq/47.2.331.

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Pindar's Dithyramb 2opens with a reference to the historical development of the genre it exemplifies, the celebrated circular chorus of classical Greece. The first two lines were long known from various citations, notably in Athenaeus, whose sources included the fourth-century authors Heraclides of Pontus and Aristotle's pupil Clearchus of Soli. The third line appears, only partly legible, on a papyrus fragment published in 1919, which preserves some thirty lines of the dithyramb including most of the first antistrophe (thereby guaranteeing the metre for some reconstruction of the first stroph

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18

Hardie, Alex. "A DITHYRAMB FOR AUGUSTUS: HORACE,ODES4.2." Classical Quarterly 65, no. 1 (2015): 253–85. http://dx.doi.org/10.1017/s0009838814000597.

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Odes4.2 ostensibly looks forward to two public events lying at some indeterminate point in the future, Augustus' return from campaign in Gaul, and a triumph over the Sygambri. The celebrations anticipated for these occasions frame the second half of the ode; but they do not supply its dramatic setting or timing, and the latter is evidently associated with the period following Augustus' departure for Gaul in summer 16b.c., or at any rate with a time when the Sygambri were felt still to present an armed threat. The dramatic date need not however be identical with the time of writing, and it shou

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19

Frendo, Mario. "The dithyrambic dramatist: A Nietzschean musical-performative conception." Studies in Musical Theatre 14, no. 2 (2020): 193–206. http://dx.doi.org/10.1386/smt_00032_1.

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The concept of the dithyrambic dramatist ‐ introduced by German philosopher Friedrich Nietzsche in the fourth essay of his Untimely Meditations of 1873‐76 ‐ is one of the most performance-oriented concepts to emerge out of the nineteenth century in which theatre was often associated with dramatic literature. This article investigates the nature of the dithyrambic dramatist by tracing, in the first instance, the underlying musical perspectives ‐ already evident in The Birth of Tragedy of 1872 ‐ which led Nietzsche to develop the concept. In the second instance, the author articulates what may b

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20

Conway, Paul. "David Matthews - DAVID MATTHEWS – Piano Concerto, op.1111; Piano Sonata, op.47; Variations for Piano, op.72; Two Dionysus Dithyrambs, op.94; One to Tango, op.51d. Layra Mokkola (pno), 1Orchestra Nova c. George Vass. Toccata Classics TOCC 1066." Tempo 67, no. 266 (2013): 118. http://dx.doi.org/10.1017/s0040298213001162.

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21

Regnault, François. "Théâtre et philosophie. Le dithyrambe et la légende." Revue de métaphysique et de morale 98, no. 2 (2018): 151. http://dx.doi.org/10.3917/rmm.182.0151.

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22

Bedouelle, Guy. "Jeanne d'Arc au bûcher: Un « dithyrambe » de l’Église." Pierre d'angle 11 (2005): 85–94. http://dx.doi.org/10.5840/pda2005115.

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23

Vivarelli, Vivetta. "Der Bildner des Übermenschen und der dithyrambische Künstler: Michelangelo und Wagner in Also sprach Zarathustra." Nietzsche-Studien 47, no. 1 (2018): 326–39. http://dx.doi.org/10.1515/nietzstu-2018-0013.

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Abstract The Sculptor of the Overman and the Dithyrambic Artist: Michelangelo and Wagner in Thus Spoke Zarathustra. This paper draws on the work of Mazzino Montinari in order to explore the relations between Nietzsche’s image of Michelangelo and specific elements of Thus Spoke Zarathustra. These elements concern the idea of the overman and the figure which is sleeping in the stone. A biography of Michelangelo by the art historian Herman Grimm, a correspondent of Ralph Waldo Emerson, may be the source of Nietzsche’s reference to a mysterious statue described in the chapter “Of Those who are Sub

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24

Zittel, Claus. "„Gespräche mit Dionysos“. Nietzsches Rätselspiele." Nietzsche-Studien 47, no. 1 (2018): 70–99. http://dx.doi.org/10.1515/nietzstu-2018-0004.

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Abstract “Conversations with Dionysus”. Nietzsche’s Playful Riddles. Nietzsche has written several short dialogues that are rarely studied. Based on the mysterious ‘conversations with Dionysus’, which also include the Dionysian Dithyramb „Ariadneʼs Lament“, the paper outlines their enigmatic structure and, on this basis, proposes an interpretive model for Nietzscheʼs labyrinthine texts.

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25

Hordern, J. H. "Two notes on Greek dithyrambic poetry." Classical Quarterly 48, no. 1 (1998): 289–91. http://dx.doi.org/10.1093/cq/48.1.289.

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The fragment is preserved in two sources, Clement of Alexandria's Miscellanies, Strom. 5.14.112 (ii.402 Stählin), which gives the order of words printed above, and Eusebius' Praep. Evang. 13.680c, in which the second line is given as . The latter reading was preferred by Bergk, but there seems at first little reason to prefer one order over the other. I shall return to this issue shortly.

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26

Kos, Matevž. "Friedrich Nietzsche zwischen Philosophie und Literatur." Acta Neophilologica 43, no. 1-2 (2010): 107–20. http://dx.doi.org/10.4312/an.43.1-2.107-120.

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Der Artikel beschäftigt sich mit dem Verhältnis zwischen Philosophie und Literatur. Besondere Aufmerksamkeit liegt auf den Dionysos-Dithyramben, dem letzen Text von Nietzsche, den er vor seinem psychischen Zusammenbruch zum Druck vorbereitet hat. Die literarischen Texte von Nietzsche sind eine Art andere Natur , die Rückseite seines Denkens, zugleich spricht jedoch Nietzsches Dichtung auch über die wesentlichen Angelegenheiten seiner Philosophie. In diesem Sinne verlangt sie eine interpretative Abhandlung. Die Frage nach den Dionysos-Dithyramben ist auch die Frage nach dem besonderen Status de

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27

Skempis, Marios. "Dithyramb in Context ed. by Barbara Kowalzig, Peter Wilson." Classical World 109, no. 3 (2016): 435–37. http://dx.doi.org/10.1353/clw.2016.0022.

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28

Instone, Stephen. "D. Slavitt: Epinician Odes and Dithyrambs of Bacchylides. Pp. 83. Philadelphia: University of Pennsylvania Press, 1998. Cased, £19.95. ISBN: 0-8122-3447-2. - R. Stoneman (ed.): Pindar: The Odes and Selected Fragments. Pp. lvi + 434. London: Everyman, 1997. Paper, £7.99. ISBN: 0-460-87674-0." Classical Review 50, no. 1 (2000): 266–67. http://dx.doi.org/10.1017/s0009840x00250026.

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29

Bowie, Ewen. "Dithyramb in context, written by Kowalzig, B. and Wilson, P." Greek and Roman Musical Studies 4, no. 2 (2016): 333–38. http://dx.doi.org/10.1163/22129758-12341282.

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30

Arnould, Dominique. "Quand Thésée voyait rouge : à propos du dithyrambe IV de Bacchylide." Revue des Études Grecques 114, no. 1 (2001): 222–27. http://dx.doi.org/10.3406/reg.2001.4443.

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31

Sokolov, Arkadi. "Yakov Shrayberg’s bibliofuturological activities. A dithyramb to his birthday." Scientific and Technical Libraries, no. 8 (August 1, 2017): 81–89. http://dx.doi.org/10.33186/1027-3689-2017-8-81-89.

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The author reviews Dr. Y. Shrayberg’s activities since his entering the State Public Library for Science and Technology of the USSR in 1978. He argues that every side of Dr. Shrayberg’s personality is linked to bibliofuturology. His multifacet works are characterized as bibliofuturological, which is proved by numerous publications, and, in particular, by his annual reports to Crimea international conferences and forums, his pedagogical experience and efforts on organizing international conferences and building professional associations.

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32

Pierce, Glenn Palen. "A Bacchic Dithyramb in the Ottocento? (Ovvero: Renzo Tramaglino in Toscana)." Italian Culture 13, no. 1 (1995): 99–114. http://dx.doi.org/10.1179/itc.1995.13.1.99.

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33

Mouren, Yannick. "La critique et le public." Cinémas 6, no. 2-3 (2011): 65–79. http://dx.doi.org/10.7202/1000972ar.

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Une question hante les agents du champ cinématographique: « Le public a-t-il raison? » Le discours critique évite généralement de se positionner par rapport à cette interrogation. Sa présence, toujours sous-jacente, peut être mise en lumière en analysant diverses recensions du film Les Visiteurs, le plus grand succès français de ces dernières années. On peut expliquer les différentes prises de position sur ce film (du dithyrambe sans réticences au démolissage expéditif) si l’on tient compte de plusieurs variables comme la date de parution de l’article (impliquant ignorance ou connaissance du t

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34

Thibeault, Jimmy. "666 — Friedrich Nietzsche. Dithyrambe beublique par Victor-Lévy BeaulieuVictor-Lévy Beaulieu, 666 — Friedrich Nietzsche. Dithyrambe beublique, Paroisse Notre-Dame-des-Neiges, Éditions Trois-Pistoles, 2015, 1 392 p." University of Toronto Quarterly 86, no. 3 (2017): 400–405. http://dx.doi.org/10.3138/utq.86.3.400.

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35

Sarlós, Robert K. "“Write a Dance”: Lazarus Laughed as O'Neill's Dithyramb of the Western Hemisphere." Theatre Survey 29, no. 1 (1988): 37–49. http://dx.doi.org/10.1017/s004055740000908x.

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Eugene O'Neill pushed his habitual experimentation with theatrical forms toward the establishment of a radically new esthetic in The Great God Brown (1925) and Lazarus Laughed (1926). He groped toward a poetic theatre with religious and ceremonial overtones that involved further visual and aural departures from the accepted norm of Broadway productions. In the first of these plays, O'Neill's mastery of visceral effects continues to cast a spell over spectators in occasional imaginative and skillful productions. But the second remains his least accessible; ever since its first production at the

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36

Harold Bloom. "The Point of View for My Work as a Critic: A Dithyramb." Hopkins Review 2, no. 1 (2008): 28–48. http://dx.doi.org/10.1353/thr.0.0058.

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37

Burris, Simon P. "DITHYRAMB - B. Kowalzig, P. Wilson (edd.) Dithyramb in Context. Pp. xviii + 488, ills. Oxford: Oxford University Press, 2013. Cased, £110, US$199. ISBN: 978-0-19-957468-1." Classical Review 65, no. 1 (2014): 16–18. http://dx.doi.org/10.1017/s0009840x14002273.

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38

Morin, Denis, Jean-Marie Dubois, Robert Gagnon, Roger Nadeau, and Marcel Pouliot. "Des Cantons-de-l’Est à l’Estrie." Cahiers de géographie du Québec 30, no. 80 (2005): 249–69. http://dx.doi.org/10.7202/021803ar.

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Les auteurs reprennent, dans l'oeuvre de Blanchard, les chapitres sur les Cantons-de-l'Est et en font la mise à jour. La physiographie de même que l'évolution glaciaire et post-glaciaire du milieu physique sont dorénavant mieux connues. L'agriculture se caractérise par l'élevage et la production laitière, le bois demeurant une activité d'appoint. Le développement récent a été influencé par les transports routiers, successeurs du transport ferroviaire. La structure industrielle repose toujours sur les secteurs traditionnels que sont le bois, l'amiante et le textile auxquels se sont ajoutées réc

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39

Teissier, Guy. "« De la dithyrambe pure à la critique acide. » La France accueille Robert Lepage…" L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 27 (2000): 160. http://dx.doi.org/10.7202/041422ar.

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40

Barker, Andrew. "Telestes and the ‘five-rodded joining of strings’." Classical Quarterly 48, no. 1 (1998): 75–81. http://dx.doi.org/10.1017/s0009838800038799.

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Athenaeus (637a) records these lines from the dithyramb Hymenaios, along with a number of other snippets of poetry, in the course of an inconclusive discussion about the characteristics of the instrument (if it is an instrument) called the magadis. Athenaeus had good reasons for being puzzled; the word first appeared in Greek, so far as we know, in the seventh century b.c., and its sense was already a matter of some doubt in the fourth. As to this particular fragment, even Telestes' original audience might be forgiven some bafflement in the face of the third line, on which I shall initially fo

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41

Lightfoot, Jessica. "Something to Do with Dionysus? Dolphins and Dithyramb in Pindar Fragment 236 SM." Classical Philology 114, no. 3 (2019): 481–92. http://dx.doi.org/10.1086/703823.

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42

Michalopoulos, Andreas. "illa rudem cursu prima imbuit Amphitriten (Catul. 64.11): The Dynamic Intertextual Connotations of a Metonymy." Mnemosyne 62, no. 2 (2009): 221–36. http://dx.doi.org/10.1163/156852509x339860.

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AbstractThis paper examines the role and importance of Amphitrite in Catullus c. 64, the epyllion on the wedding of Peleus and Thetis. Catullus intends to conjure up Amphitrite's rich mythological background for the needs of his poem. Amphitrite's story contains thematic elements that recur in both narratives of c. 64, namely the main story of Peleus and Thetis, and the embedded story of Theseus and Ariadne. At the same time Amphitrite's meaningful presence in the prologue of c. 64 is a pointer to Bacchylides' Dithyramb 17, which treats Theseus' outbound journey to Crete and the test of his di

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43

Howie, J. G. "(B.) Zimmermann Dithyrambos: Geschichte einer Gattung.Gottingen: Vandenhoeck & Ruprecht, 1992. Pp. 161. Price not stated." Journal of Hellenic Studies 114 (November 1994): 182–84. http://dx.doi.org/10.2307/632751.

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44

Pritchard, David. "Kleisthenes, Participation, and the Dithyrambic Contests of Late Archaic and Classical Athens." Phoenix 58, no. 3/4 (2004): 208. http://dx.doi.org/10.2307/4135166.

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45

Hadjimichael, Theodora A. "Aristophanes’ Bacchylides: Reading Birds 1373–1409." Greek and Roman Musical Studies 2, no. 1 (2014): 184–210. http://dx.doi.org/10.1163/22129758-12341258.

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AbstractThe significance of Aristophanes in the history of ancient literary criticism cannot be doubted. Equally undoubted is also the dismissive attitude that he appears to have towards the musical and poetic innovations of the late-fifth century BC. This position of his becomes essential when one considers the manner in which he treats the appraised canonical lyric poets and the contemned representatives of the New Dithyramb. This paper is concerned with the reading specifically of Bacchylides in Aristophanes. It argues in favour of the use of Bacchylides’ Ode 5 to Hieron inBirds1373-1409 as

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46

Pöhlmann, Egert. "The Delphic Paeans of Athenaios and Limenios between Old and New Music." Greek and Roman Musical Studies 6, no. 2 (2018): 328–38. http://dx.doi.org/10.1163/22129758-12341325.

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Abstract Currently, there are only 64 extant fragments of ancient Greek music, of which the bulk belongs to imperial times. Thus, the musical evidence for ‘New Music’, which had its climax in the second half of the 5th century, is limited. Nevertheless, one important observation is possible: fragments from classical times, which belong to antistrophic compositions, use melodies which do not mirror the prosody of the texts and simply repeat the melody of the strophe in the antistrophe. But all fragments in astrophic form have melodies which follow the prosody of the respective texts closely. Th

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47

West, M. L. "The Early Chronology of Attic Tragedy." Classical Quarterly 39, no. 1 (1989): 251–54. http://dx.doi.org/10.1017/s0009838800040635.

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City archives, mined by Aristotle for his Didaskaliai, preserved a reasonably complete record of dramatic productions in the fifth century. But how far back did these archives go? The so-called Fasti, an inscription set up c. 346 and listing dithyrambic, comic and tragic victors year by year, must have been based on the same archives, but went back, it is thought, only as far as 502/1. Its heading πρ⋯]τον κ⋯μοι ἦσαν τ[⋯ι διονὑσ]ωι τραγωιδο⋯ δ[, however supplemented, implies an intention of going back to the beginning of things, in other words to the beginning of the archival record. This raise

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48

Puchner, Walter. "Ο Ορφέας στη νεοελληνική δραματουργία: Γεώργιος Σακελλάριος - Άγγελος Σικελιανός Γιώργος Σκούρτης". Σύγκριση 11 (31 січня 2017): 46. http://dx.doi.org/10.12681/comparison.10768.

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The paper gives a short comparison of three dramatic versions of the Orpheus-myth in Modern Greek drama. Among the mythological themes dramatized in Modern Greece the most frequent is Troia cycle, the Atrides, the Argonautic cycle, heroes like Prometheus, Heracles, Theseus, Zeus etc. Orpheus is quite rare. The first analysis concerns the Greek translation of «Orphée et Euridice», the second reformation opera of Christoph Willibald Gluck, concretely the French version of Pierre Louis Moline (1774 in Paris), which is edited in Greek in Vienna 1796, and highlights the context of this translation.

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49

Modini, Francesca. "The Cyclops’ Revenge." Greek and Roman Musical Studies 7, no. 1 (2019): 51–69. http://dx.doi.org/10.1163/22129758-12341334.

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Abstract Taking issue with the Gorgias and its dismissal of fifth-century Athenian rhetoricians and statesmen, in his Reply to Plato in Defence of the Four (Or. 3) the imperial sophist Aelius Aristides finds himself dealing with Plato’s condemnation of New Music, which in the Gorgias had gone hand in hand with the censure of rhetoric. In a brilliant display of new musical ‘revisionism’ so far ignored by scholars, Aristides presents in a positive light the notorious new dithyrambist Philoxenus of Cythera, so that Plato’s influential criticism of New Music, and especially of its political implic

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Ashby, Clifford. "Where was the Altar?" Theatre Survey 32, no. 1 (1991): 3–21. http://dx.doi.org/10.1017/s004055740000942x.

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Abstract:

After centuries of study, an untold number of scholars have agreed that the City Dionysia of fifth-century Athens involved an animal sacrifice to the god Dionysos, and that this event took place in the theatre before the beginning of the play competition. The usual assumption has been that this sacrifice was offered upon an altar situated at the exact center of a circular orchestra.This placement fits well with the theory that tragedy grew from a dithyrambic chorus dancing in a circle around the altar of Dionysos. But now that the dogma of the originally circular orchestra has been questioned,

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