Academic literature on the topic 'Pindar. Athletics'
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Journal articles on the topic "Pindar. Athletics"
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Foster, Margaret. "Hagesias as Sunoikistêr." Classical Antiquity 32, no. 2 (October 1, 2013): 283–321. http://dx.doi.org/10.1525/ca.2013.32.2.283.
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In positioning his laudandus Hagesias as the co-founder of Syracuse, Pindar considers the larger ideological implications of including a seer in a colonial foundation. The poet begins Olympian 6 by praising Hagesias as an athletic victor, seer, and sunoikistêr (co-founder) and therefore as a figure of enormous ritual power. This portrayal, however, introduces an element of competition into Hagesias' relationship with his patron Hieron, the founder of Aitna. In response, the ode's subsequent mythic portions circumscribe Hagesias' status so as to mitigate any challenge the seer might present to Hieron's own political authority. An intertextual reading of Olympian 6's myth with the myth of Pelops in Olympian 1 highlights Pindar's careful negotiation of Hagesias' position in this colonial context. Despite the resulting need to affirm Hagesias' subordination to Hieron, Pindar joins together the seemingly incompatible roles of seer and co-founder because, as an intertextual reading of Nemean 1 helps to illustrate, Hagesias embodies and symbolically enacts in the ode Hieron's synoikism of Aitna.
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Starikovsky, Grigory G. "PINDAR’S SEVEN NEMEAN ODE: FOREWORD, TRANSLATION, AND COMMENT." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 3 (September 1, 2020): 95–112. http://dx.doi.org/10.18522/2415-8852-2020-3-95-112.
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In the victory odes written for the Aeginetan athletes, Pindar constantly draws upon mythological characters associated with Aegina. Th ese are: Aeacus, fi rst king of Aegina, and the Aeacidae, his descendants (Peleus, Telamon, Ajax, Achilles, and Neoptolemos). Nemean 7, dedicated to Sogenes, winner in boys’ pentathlon, is no exception: the mythological segment incorporated into the epinikion deals with Neoptolemos. At the time of Pindar, Neoptolemos was commonly known for his bloodthirsty escapades during the fi nal stage of the Trojan war: according to the Cyclic poets, he murders Priam at the altar of Zeus and throws Astyanax, the son of Hector and Andromache, from the city wall; it is the murder of Priam that incurs the wrath of Apollo in Pindar’s own Paean 6, which predates Nemean 7. In the preamble to the translation of Nem. 7, I demonstrate how Pindar’s account alters the more conventional perception of Neoptolemos: for instance, the poet doesn’t mention Neoptolemos’s atrocities; rather, aft er his premature death at the hands of the priest of Apollo, Neoptolemos becomes a “rightful overseer of processions honoring heroes” in Delphi (tr. W. Race), virtually Apollo’s helper. I argue that Pindar’s presentation of Neoptolemos may inspire Sogenes and his father Th earion, who commissioned the epinikion, to entrust the poet with the project of celebrating Sogenes’s athletic triumph, as Pindar promises the victorious athlete everlasting glory, akin to the one possessed by Neoptolemos.
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Steiner, Deborah. "Moving Images: Fifth-Century Victory Monuments and the Athlete's Allure." Classical Antiquity 17, no. 1 (April 1, 1998): 123–50. http://dx.doi.org/10.2307/25011076.
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This article treats representations of victors in the Greek athletic games in the artistic and poetic media of the early classical age, and argues that fifth-century sculptors, painters and poets similarly constructed the athlete as an object designed to arouse desire in audiences for their works. After reviewing the very scanty archaeological evidence for the original victory images, I seek to recover something of the response elicited by these monuments by looking to visualizations of athletes in contemporary vase-painting and literary sources, and most particularly in the epinician odes of Pindar. Poets and painters, I suggest, both place their subjects within an erotically-charged atmosphere which replicates that surrounding actual athletes in the city gymnasia and at the games, and encourage audiences to regard the youthful bodies on display as "spectacularized" objects, sources of both aesthetic and sensual pleasure. The makers of monumental images work within the same paradigm, also prompting the viewer to transfer the sentiments aroused by the real-world athlete and victor to his re-presentation in bronze. Through an examination of the conventions used for victor images, and a close study of the so-called Motya charioteer, I propose that the sculptor deploys techniques analogous to those of artist and poet to highlight the appeal of the athlete's body, and displays the victor in a mode calculated not only to mark him as the alluring target of the gaze, but even to cast him as a potential erômenos. The concluding section of the article investigates the impetus behind this mode of representation, and seeks to place the dynamic between the viewer and the viewed within the context of the early fifth-century polis.
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Currie, B. G. F. "The Pindaric First Person in Flux." Classical Antiquity 32, no. 2 (October 1, 2013): 243–82. http://dx.doi.org/10.1525/ca.2013.32.2.243.
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This article argues that in Pindar's epinicians first-person statements may occasionally be made in the persona of the chorus and the athletic victor. The speaking persona behind Pindar's first-person statements varies quite widely: from generic, rhetorical poses—a laudator, an aoidos in the rhapsodic tradition (the “bardic first person”), an Everyman (the “first person indefinite”)—to strongly individualized figures: the Theban poet Pindar, the chorus, the victor. The arguable changes in the speaker's persona are not explicitly signalled in the text. This can lead to significant ambiguities concerning the identity of the speaker (“blurred quotation,” “indeterminate speech boundaries”). The lack of a concern always to distinguish clearly the primary from the secondary narrators relates to a desire to confuse diegetic and mimetic forms; the practice of the fifth-century choral lyric poets in this regard is compared to that of other ancient Greek writers. The main challenge is to indicate how it is possible, in theory and in practice, for the athletic victor to be identified as the speaker when this is not explicitly signalled in the text; and, if this is possible, to suggest how it is possible for an audience to recognize when the speaking persona subsequently reverts to laudator or poet. An attempt is made to consider whether any formal, structural, or thematic tendencies can be observed in those passages in choral lyric where the chorus or the victor are tacitly introduced as speaking personae: such effects, it is argued, occur especially when links of ritual or genealogy enable the ode to “zoom” from the mythical past to the present occasion of the performance. The main passages discussed in the article are Pind. P.8.56–60, P.9.89–92, N.7.85, Pae. 2.73–79, and Bacch. 3.84–85. But the phenomena discussed are related broadly to other phenomena in Greek literature, in Latin poetry, and, especially, in Cicero's forensic oratory.
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MILLER, PETER J. "IN THE SHADOW OF PRAISE: EPINICIAN LOSERS AND EPINICIAN POETICS." Bulletin of the Institute of Classical Studies 61, no. 1 (June 1, 2018): 21–41. http://dx.doi.org/10.1111/2041-5370.12068.
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AbstractWhile athletic competition relies on comparison (the necessary similarity of opponents, rules, conditions of victory), epinician poetry claims superlative fame and similarly singular victors. By addressing all explicit and implicit instances of losers and losing, and by paying close attention to epinician language (particularly boasts and litotes), this article deconstructs the naturalized binary of winner/loser in the poetry of Pindar and Bacchylides. Athletic competition, which is structured around similarity, problematizes the matchless fame of epinican and therefore epinician poetry, paradoxically, must work against the essential elements of the very action (i.e., sporting victory) that it purports to celebrate.
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Hadjimichael, Theodora A. "Sports-writing." Mnemosyne 68, no. 3 (April 24, 2015): 363–92. http://dx.doi.org/10.1163/1568525x-12341389.
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The avowed purpose of the epinician genre is to praise the athletic victory and the victor. The athletic event, however, is not mentioned in the victory ode, and this absence would suggest that an athletic description had no role within the economy and rhetoric of the poem. Nevertheless, the absence is not total. It has long been observed that Bacchylides is more prone than Pindar to describe the athletic victory. In general, however, scholars have been satisfied to note the fact and simply enumerate the instances in Bacchylides in comparison to the Pindaric ‘descriptions’. The present study will look at the role of victory descriptions within the economy of Bacchylides’ victory odes. I would like to examine the narrative of the particular descriptions, their contribution to the commemoration and celebration of the event, and the rhetorical aim they serve within the poem.1
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Carton, Patrick F., and David J. Filan. "The clinical presentation, diagnosis and pathogenesis of symptomatic sports-related femoroacetabular impingement (SRFAI) in a consecutive series of 1021 athletic hips." HIP International 29, no. 6 (February 11, 2019): 665–73. http://dx.doi.org/10.1177/1120700018825430.
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Aim: To examine the pathogenesis and clinical presentation of sports-related femoroacetabular impingement (SRFAI) in a large consecutive series of symptomatic athletes. Methods: Between January 2009 and February 2017 prospectively collected data from competitive athletes within the Gaelic Athletic Association (GAA), and who subsequently underwent arthroscopic treatment for symptomatic FAI, were analysed. Data was collected using internationally validated health questionnaires (Harris Hip Score, UCLA, SF-36, WOMAC) and recognised clinical (ROM, symptom presentation, provocation tests) and radiological (AP pelvis, Dunn, False profile) indicators/measures of FAI. Results: A total of 1021 consecutive cases (mean 26.6 ± 6.2 years) were included. In every case, conservative treatment failed to resolve symptoms with athletes attending an average of 2.4 ± 1.1 health care professionals prior to referral. Symptoms developed gradually (78%) and consisted primarily of groin pain (76.1%) and hip stiffness (76.5%) following activity. An acetabular rim deformity (pincer) was present in all cases; a cam deformity in 72.1%. The prevalence and degree of cam deformity increased with progressing age groups ( p < 0.001); mean lateral centre-edge angle remained static ( p = 0.456). Increasing CEA, alpha angle and presence of rim fracture was associated with a reduction in all ranges of hip movement ( p < 0.001). Conclusion: Symptomatic SRFAI presented in this large series of GAA athletes failed to resolve with non-operative treatment. Increasing hip deformity resulted in poorer ROM. Abnormal acetabular morphology remains static with increasing athletic age while cam deformity is progressive and most likely a secondary pathology.
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Frade, Gustavo Henrique Montes. "A Olímpica 12 de Píndaro: tradução e comentário." Nuntius Antiquus 8, no. 1 (June 30, 2012): 129–42. http://dx.doi.org/10.17851/1983-3636.8.1.129-142.
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Abstract: This study proposes an interpretation of Pindar’s Olympian 12 with particular attention to the theme of contingency (according to Aristotle, “that which may be otherwise”) in relation to human action. As the course of the athlete’s life and of the political history of Himera, the poem and its water images move through uncertainties and reach the accomplishment. Although Pindar recognizes the risks of hope, he shows how the constant variations of human life and the impossibility of knowing the future can result in a positive reversion of conditions in which an adverse situation leads to achievement, even when it is unlikely.
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Pavlou, Maria. "Pindar's Songs for Young Athletes of Aigina." Mnemosyne 61, no. 2 (2008): 306–9. http://dx.doi.org/10.1163/156852507x195655.
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Clarke, Michael. "The wisdom of Thales and the problem of the word IEPOΣ." Classical Quarterly 45, no. 2 (December 1995): 296–317. http://dx.doi.org/10.1017/s000983880004341x.
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Those who write about early Greek literature often assume that each item in the ancient vocabulary answers to a single concept in the world-view of its users. It seems reasonable to hope that the body of ideas represented by a particular Greek word will frame one's discussion better than any question that could be asked in English: so that a cautious scholar might prefer to discuss the phenomenon called αἰδώς, for example, than to plunge into a study of Greek ideas of ‘honour and shame' irrespective of whether those anthropologists’ labels mark off a single body of ancient ideas. But the question is not merely one of common sense: in recent years, for example, a strategy of extrapolating deep ideas from single words has been deliberately developed by such scholars as Gregory Nagy, who constantly moves back and forth between the semantic patterns of individual words and corresponding thematic patterns found in myths. Here is a recent example from his analysis of Pindar's conception of the unity between athletic victory and mythical heroism:In Pindaric usage ἂεθλος applies equally to the contests of athletes and to the life-and-death ordeals of heroes. We have already seen from the myth of the chariot race of Pelops that the ordeals of heroes on the level of myth correspond aetiologically to the contests of athletes on the level of ritual, in that the myths can motivate the rituals. Now we see that a word like ἂεθλος can collapse the very distinction between the myth and the ritual.
Dissertations / Theses on the topic "Pindar. Athletics"
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Nash, Laura L. "The aggelia in Pindar." New York : Garland, 1990. http://books.google.com/books?id=D7lfAAAAMAAJ.
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Gkaleas, Konstantinos. "Philosophie et gymnastique dans la philosophie grecque classique." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010702.
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L’objectif de cette thèse est d’étudier le rôle et la fonction de la gymnastique dans la tradition de la pensée classique. En établissant le contexte, dans lequel Platon et Aristote travaillent et développent leur avis sur la gymnastique, on comprend qu’il y a trois types de gymnastique dans la tradition grecque. Ces trois types sont la gymnastique militaire, qui s’associe aux épopées homériques, la gymnastique athlétique, qui s’associe aux odes pindariques et la gymnastique médicale, qui s’associe au corpus hippocratique. Platon et Aristote reprennent les catégories déjà existantes, en élaborant le concept de chaque catégorie reprise. Platon incorpore la gymnastique dans le programme éducatif, mais il rejette la gymnastique athlétique. Hippocrate influence la pensée du philosophe athénien, qui utilise bien des éléments de la gymnastique médicale. La gymnastique possède le pouvoir de fortifier le thymique. Platon condamne chaque excès à propos de la gymnastique, parce que ce manque de modération cultive le thymique, provoquant des déséquilibres psychologiques et civiques. La gymnastique joue un rôle essentiel dans le processus vers la Forme du Beau, dans la mesure où elle s’associe directement à la beauté corporelle qui déclenche ce processus d’ascension vers l’Idée du Κάλλος. Aristote incorpore aussi la gymnastique dans le programme de formation de « la cité la meilleure ». Aristote prend grand soin de la condition corporelle des enfants, montrant en quelque sorte les résultats négatifs de la gymnastique immodérée. Il critique ainsi la gymnastique athlétique, tandis qu’il souligne que la gymnastique militaire excessive conduit à la détérioration sociopolitiqueThe purpose of this thesis is to study the role and the function of gymnastike in the tradition of Classical Greek thought. Studying the context in which Plato and Aristotle developed their ideas concerning gymnastike, we comprehend that there are three types of gymnastike in Greek tradition, the military gymnastike (related to the Homeric epics), the athletic gymnastike (related to the Pindaric odes) and the medical gymnastike (related to the Hippocratic corpus). Plato and Aristotle revisit and elaborate these categories. Plato incorporates gymnastike into his educational program, but he rejects the athletic gymnastike. Hippocrates influences Plato, who seems to utilize many elements of this type (medical gymnastike). It seems that gymnastike has the ability to fortify the thymic part of the soul, nevertheless, Plato condems every excessive use of gymnastike, since this lack of moderation cultivates the thymic part, provoking psychological and civic imbalances. Gymnastike is an important factor regarding the “ascension” towards the Form of Beauty (Κάλλος). Equally, Aristotle incorporates gymnastike in his educational program. He takes great care to protect children’s physical condition, indicating in a way the negative aspects of immoderate gymnastike. Thus, he criticizes the athletic gymnastike. Aristotle underlines that the excessive use of military gymnastike leads to a socio-political deterioration
Books on the topic "Pindar. Athletics"
More sourcesBook chapters on the topic "Pindar. Athletics"
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Foster, Margaret. "Hagesias as Sunoikistēr." In Seer and the City. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520295001.003.0006.
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This chapter reveals what happens when a seer is included in a foundation and the poetic maneuvers required to effect this incorporation. I consider both the broader historical and political significance of Pindar’s description of the seer Hagesias in Olympian 6 as a sunoikistêr (cofounder) as well as how Hagesias’s double role (as both a seer and a sunoikistêr) is handled within Pindar’s poetics. By praising Hagesias in the ode as an athletic victor, seer, and sunoikistêr, Pindar marks Hagesias as a figure who enjoys enormous ritual power. Insofar as he characterizes the seer as a sunoikistêr, however, Pindar also introduces an uneasy element of competition into Hagesias’s relationship with his own patron, Hieron, the self-proclaimed oikist of Aitna.
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"Athletes and Heroes." In Pindar. I.B. Tauris, 2014. http://dx.doi.org/10.5040/9780755693795.ch-004.
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Lewis, Virginia M. "Fluid Identities." In Myth, Locality, and Identity in Pindar's Sicilian Odes, 179–223. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190910310.003.0005.
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Chapter 4 argues that Pindar activates the River Akragas as a civic symbol in three of his five odes for victors from Akragas. Along with Syracuse, Akragas was one of the two most powerful Sicilian cities in the fifth century, and the influential Emmenid rulers celebrated their athletic successes by commissioning four odes by Pindar. A fifth ode for Akragas is unique as the only example of an ode in celebration of a victory in a musical competition that survives from classical Greece. A preliminary survey of local references in these odes suggests that the River Akragas became a recurring symbol that echoed the crab on Akragantine coinage of the period. Already in the earliest of the Akragantine odes, Pythian 12, the poet represents Akragas as a morphing figure that shifts from city to nymph to river, emphasizing the equivalency drawn between the three and the importance of the river as a symbol of civic identity. Later, in Olympians 2 and 3 (in celebration of Theron’s chariot victory of 476), Pindar draws a spatial analogy between the Akragantines and the inhabitants of the Isle of the Blessed and the mythical Hyperboreans, respectively, that depends on their link to the river. Through close reading and analysis of Olympian 2, this chapter suggests that the River Akragas becomes a locus of Akragantine civic identity in this poetry.
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Meister, Felix J. "Divine Happiness in the Victory Ode." In Greek Praise Poetry and the Rhetoric of Divinity, 75–130. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.003.0003.
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This chapter aims to show that Pindar’s victory odes present athletic victors as enjoying, during the victory celebration, a moment of divine bliss as a reward for their achievement. The first part develops a general perspective on the themes of immortality and divinity in Pindar’s odes. Of particular interest are mythical narratives comprising a hero’s exploits and the subsequent reward in the form of his immortalization. This chapter argues that such narratives offer a paradigm for the victor’s athletic achievements and that the victory celebration serves as an earthly counterpart to the eternal symposium on Olympus. Sculpture at Olympia is interpreted to strengthen this interpretation. The second part of this chapter illustrates this argument through detailed interpretations of Nemean 1, Isthmian 4, and Pythian 10.
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Burnett, Anne Pippin. "10. Nemean 6: Athletes as Heroes." In Pindar's Songs for Young Athletes of Aigina, 153–63. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780199277940.003.0010.
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Burnett, Anne Pippin. "1. Aigina and the Aiakids." In Pindar's Songs for Young Athletes of Aigina, 13–28. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780199277940.003.0001.
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Burnett, Anne Pippin. "2. The Pediments of the Aphaia Temple." In Pindar's Songs for Young Athletes of Aigina, 29–44. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780199277940.003.0002.
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Burnett, Anne Pippin. "3. Contest and Coming of Age." In Pindar's Songs for Young Athletes of Aigina, 45–54. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780199277940.003.0003.
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Burnett, Anne Pippin. "4. Nemean 5: Peleus’ Wedding Song." In Pindar's Songs for Young Athletes of Aigina, 57–76. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780199277940.003.0004.
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Burnett, Anne Pippin. "5. Isthmian 6: The Engendering of Ajax." In Pindar's Songs for Young Athletes of Aigina, 77–88. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780199277940.003.0005.
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