Relevant bibliographies by topics / Pythian odes (Pindar)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Pythian odes (Pindar)'

Author: Grafiati
Published: 23 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Pythian odes (Pindar).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Pythian odes (Pindar)"

1

Instone, S. "Pindar I: Olympian Odes, Pythian Odes; Pindar II: Nemean Odes, Isthmian Odes, Fragments. W H Race (ed., trans.)." Classical Review 48, no. 2 (February 1, 1998): 264–65. http://dx.doi.org/10.1093/cr/48.2.264.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

De Decker, Filip. "The augment use in the five oldest Odes of Pindar." Humanitas, no. 77 (June 28, 2021): 9–24. http://dx.doi.org/10.14195/2183-1718_77_1.

Full text
Abstract:
In this short article I discuss the augment use in Pindar's five oldest Odes (based on the text of the editions by Snell & Maehler' in the Teubner and Race in the Loeb), namely Pythian 10 (498 BC), Pythian 6 (490), Pythian 12 (490), Olympian 14 (488, if correctly dated) and Pythian 7 (486). As the augment use in Pindar has never been studied in detail before and commentaries often do not mention it, I use the observations made for epic Greek as basis, more specifically that the augment is used to refer to foregrounded actions and actions in the recent past, and that it remains absent when actions in a remote or mythical past are related. I start by outlining these observations, then I determine which (un)augmented forms in Pindar are secured by the metre (the transmission of Pindar's Odes has not been unproblematic) and at the end apply the epic observation to the metrically secure forms of these five Odes. My investigation will show that the verb forms referring to the near-deixis (the victor's deeds, his origins and those of his city and the mythical characters with whom he is compared), are augmented, whereas the forms referring to other (mythical) actions remain unaugmented, but, as was the case with epic Greek, there are nevertheless also exceptions.
APA, Harvard, Vancouver, ISO, and other styles
3

Instone, S. J. "Pythian 11: did Pindar err?" Classical Quarterly 36, no. 1 (May 1986): 86–94. http://dx.doi.org/10.1017/s0009838800010557.

Full text
Abstract:
Pythian 11 is usually reckoned to be a particularly problematic Pindaric ode. I hope to show that it is not, and in the process make some points which will have a bearing on interpretation of some of Pindar's other odes. Rather than go through the whole poem step by step, I shall concentrate on the main problems and on some particular passages.The most disputed problem is the myth. What is the relevance of the story of Agamemnon's return from Troy, his murder by Clytemnestra, and her murder by Orestes, all of which takes up the central part of the poem? The myth appears even more irrelevant because after telling it Pindar seems to acknowledge that it was a mistake to have told it in the first place. What does he mean by saying (lines 38–40) that he went off course when he told it?The second major problem comes after the myth and again concerns Pindar's apparently veering off suddenly into irrelevance. No sooner has he catalogued the victories of the winner's family than he launches into a denunciation of tyrannies and announces his support of moderation (lines 52–3). Why does he do that?The poem ends, after the social and political comments, with an epode devoted to Castor and Polydeuces, Spartan heroes, and the Theban hero Iolaos. Are they a sign that Pindar puts his hope in an alliance of Thebes with Sparta to win freedom from Athens? And was Pindar in the myth ‘telling us not only what Thrasydaios of Thebes the victor is, but also what he is not: he is not exposed to the kinds of peril that plagued the great house of Atreus?’
APA, Harvard, Vancouver, ISO, and other styles
4

Antunes, Leonardo. "O uso da sonoridade nas Odes Píticas de Píndaro." Nuntius Antiquus 5 (June 30, 2010): 44–56. http://dx.doi.org/10.17851/1983-3636.5..44-56.

Full text
Abstract:
In this article, we will attempt to analyse certain aspects of Pindar’s style through the study of a few figures of speech that were used by the poet in the Pythian Odes. We will also strive to understand the way by which those structural elements, mostly tied to sound, interact with the remaining aspects and content of those poems. During that analysis, it will become clear that, when studying a poet of great genius such as Pindar, one must read the text and see it through its own rules and, conversely, not by those commonly applied to similar types of poetry.
APA, Harvard, Vancouver, ISO, and other styles
5

Potamiti, Anna. "THE THEME OF HOSPITALITY IN PINDAR'S FOURTH PYTHIAN." Greece and Rome 62, no. 1 (March 25, 2015): 1–11. http://dx.doi.org/10.1017/s0017383514000205.

Full text
Abstract:
The relevance of Pindaric myth to its literary and historical context is a problem presented by many of Pindar's odes. In the case ofPythian4 it is the plea for the return of Damophilus that has proved difficult to relate to the myth of the Argonautic expedition – so much so, that some scholars have denied that any connection exists between the myth and this part of the ode. Those who seek to establish a correlation between the myth and the plea have, for the most part, considered parallels between the relationship, circumstances, and character traits of Jason and Pelias and those of Arcesilas and Damophilus. The limitations, however, of looking for exact correspondence are generally acknowledged. Carey in particular postulates that Pindar ‘simply presents in the myth a number of themes, any or all of which may be applied to the situation in Cyrene’. It is the contention of this article that the theme of hospitality, as it develops in the myth, is central to understanding the relevance of the myth to the plea for Damophilus.
APA, Harvard, Vancouver, ISO, and other styles
6

Pfeijffer, I. "Pindar: Selected Odes: Olympian One, Pythian Nine, Nemeans Two & Three, Isthmian One. S Instone." Classical Review 48, no. 2 (February 1, 1998): 262–63. http://dx.doi.org/10.1093/cr/48.2.262.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Antunes, Leonardo. "O uso da sonoridade nas Odes Píticas de Píndaro." Nuntius Antiquus 5 (June 30, 2010): 44. http://dx.doi.org/10.17851/1983-3636.5.0.44-56.

Full text
Abstract:
<p class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify; line-height: normal; mso-layout-grid-align: none;"><span style="font-family: Times-Roman; font-size: 10.5pt; mso-bidi-font-family: Times-Roman; mso-ansi-language: EN-US;" lang="EN-US">In this article, we will attempt to analyse certain aspects of Pindar’s style through the study of a few figures of speech that were used by the poet in the </span><em><span style="font-family: Times-Italic; font-size: 10.5pt; mso-bidi-font-family: Times-Italic; mso-ansi-language: EN-US;" lang="EN-US">Pythian Odes</span></em><span style="font-family: Times-Roman; font-size: 10.5pt; mso-bidi-font-family: Times-Roman; mso-ansi-language: EN-US;" lang="EN-US">. We will also strive to understand the way by which those structural elements, mostly tied to sound, interact with the remaining aspects and content of those poems. During that analysis, it will become clear that, when studying a poet of great genius such as Pindar, one must read the text and see it through its own rules and, conversely, not by those commonly applied to similar types of poetry.</span></p>
APA, Harvard, Vancouver, ISO, and other styles
8

A Journal of Classical Studies, Editors. "ILJA LEONARD PFEIJFFER, Three Aeginetan Odes if Pindar. A Commentary on Nemean V, Nemean III, & Pythian VIII. Rijksuniversiteit Leiden, 4 November 1996. Supervisors: C.M.J. Sicking, C. Carey." Mnemosyne 50, no. 6 (December 27, 1997): 764–66. http://dx.doi.org/10.1163/1568-525x_050_06-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Instone, Stephen. "PindarA commentary on the Fourth Pythian Ode of Pindar. By B. K. Braswell. (Texte und Kommentare, 14.) Berlin and New York: de Gruyter, 1988. Pp. xiv + 448. DM 260. - (G. W.) Most The measures of praise: structure and function in Pindar's Second Pythian and Seventh Nemean Odes. (Hypomnemata, 83.) Göttingen: Vandenhoeck & Ruprecht, 1985. Pp. 235. DM 54." Journal of Hellenic Studies 110 (November 1990): 211–14. http://dx.doi.org/10.2307/631751.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Agócs, Peter. "A COMMENTARY ON SELECTED ODES OF PINDAR - E. Krummen Cult, Myth, and Occasion in Pindar's Victory Odes. A Study of Isthmian 4, Pythian 5, Olympian 1, and Olympian 3. English translation by J.G. Howie . (Arca 52.) Pp. x + 346. Prenton: Francis Cairns, 2014 (originally published as Pyrsos Hymnon: festliche Gegenwart und mythisch-rituelle Tradition als Voraussetzung einer Pindarinterpretation, Isthmie 4, Pythie 5, Olympie 1 und 3, 1990). Cased, £75, US$150. ISBN: 978-0-905205-56-4." Classical Review 65, no. 1 (January 14, 2015): 13–15. http://dx.doi.org/10.1017/s0009840x14003035.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Pythian odes (Pindar)"

1

Longley-Cook, Isobel A. "A literary study of Pindar's fourth and fifth Pythian odes." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/2644.

Full text
Abstract:
Pythian 4 is Pindar's grandest ode. It was commissioned along with Pythian 5 to celebrate the chariot victory at Delphi of Arcesilas IV of Cyrene. The lengthy myth of Pythian 4 narrates the tale of Jason and the Argonauts, long established in the Greek mythic tradition. Pindar's treatment of this tradition to create his myth is examined. It reveals much about his aims in writing the ode, in particular in the characterisation of his hero, Jason, and his opponent, Pelias. The poem's structure and the narrative technique employed in the myth are also examined. A remarkable feature of Pythian 4 is its epic flavour. Analysis of Pindar's production of this effect reveals many different devices which would remind his audience of epic, not least a singular concentration of epic language in the ode. The epilogue of Pythian 4 refers to the contemporary political situation in Cyrene. The poet's presentation and use of this material is assessed in the light of his treatment of contemporary allusions elsewhere in the odes. The complex relationship between the two odes for Arcesilas is considered in the light of other double commissions. Pythian 4 contains an unusual plea for an exile, Damophilus. He may have paid for the ode. The unusual features of Pythian 5 are examined: an extraordinary tribute to Arcesilas' charioteer, Carrhotus; vivid and numerous details of the topography of Cyrene and details of religious cult practice there. Pythian 5 also raises the question of the identity of the first person in Pindar. The poet's treatment of Cyrenean history, especially the figure of Battus, the victor's ancestor, who features in the myths of both odes, is also considered.
APA, Harvard, Vancouver, ISO, and other styles
2

Most, Glenn W. "The Measures of praise : structure and function in Pindar's Second "Pythian" and Seventh "Nemean Odes /." Göttingen : Vandenhoeck & Ruprecht, 1985. http://catalogue.bnf.fr/ark:/12148/cb34886709f.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Pythian odes (Pindar)"

1

Gildersleeve, Basil L., ed. Pindar: Olympian and Pythian Odes. Cambridge: Cambridge University Press, 2010. http://dx.doi.org/10.1017/cbo9780511698002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Pfeijffer, Ilja Leonard. Three Aeginetan odes of Pindar: A commentary on Nemean V, Nemean III & Pythian VIII. Leiden: Brill, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

The measures of praise: Structure and function in Pindar's Second Pythian and Seventh Nemean odes. Göttingen: Vandenhoeck & Ruprecht, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Gildersleeve, Basil L., and Pindar Pindar. Pindar. the Olympian and Pythian Odes. Franklin Classics Trade Press, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Gildersleeve, Basil L., and Pindar Pindar. Pindar. The Olympian and Pythian Odes. Franklin Classics, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Gildersleeve, Basil L., and Pindar. Pindar: The Olympian and Pythian Odes. Franklin Classics Trade Press, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Fennell, Charles August Maude, and Pindar. Pindar: The Olympian and Pythian Odes. Creative Media Partners, LLC, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Pindar. Pindar, the Olympian and Pythian Odes. Scholarly Pr, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Gildersleeve, Basil L., and Pindar Pindar. Pindar. the Olympian and Pythian Odes. Franklin Classics Trade Press, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Pindar, Basil Lanneau, and Basil L. Gildersleeve. Pindar: The Olympian and Pythian Odes. Creative Media Partners, LLC, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Pythian odes (Pindar)"

1

Käppel, Lutz. "Landscape and the Magic of Music in Pindar’s Twelfth Pythian Ode." In Human Development in Sacred Landscapes, 155–72. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737002523.155.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

"Pythian VIII." In Three Aeginetan Odes of Pindar, 423–602. BRILL, 1999. http://dx.doi.org/10.1163/9789004351240_006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"Commentary." In Pindar: Selected Odes, edited by Stephen Instone, 89–188. Liverpool University Press, 1996. http://dx.doi.org/10.3828/liverpool/9780856686689.003.2222.

Full text
Abstract:
OIympian One celebrates the victory of Hieron, tyrant of Syracuse, in the horse race at the Olympic Games of 476 BC it was the first of three Olympic victories for him: he won again in the horse race in 472, and in 468 won the chariot race. He also won three times in the Pythian Games, and from 476 commissioned both Pindar and Bacchylides to compose odes for him. A chart of all his victories looks like this:...
APA, Harvard, Vancouver, ISO, and other styles
4

"General Introduction." In Pindar: Selected Odes, edited by Stephen Instone, 1–31. Liverpool University Press, 1996. http://dx.doi.org/10.3828/liverpool/9780856686689.003.0001.

Full text
Abstract:
This chapter introduces the Ancient Greek lyric poet Pindar and reviews surviving short biographies, biographical notes, and anecdotes that purport to give information about his life. It reviews Pindar's Odes, which includes five victory poems: Olympian One, Phythian Nine, Nemean Two, Nemean Three, and Isthmian One. It also details Olympian One, which celebrates the victory of Hieron in the horse race at the Olympic Games of 476 BC and Pythian Nine, which talks about Telesicrates's life. The chapter discusses Nemean Two, which was composed for the victor in the pancration at the Nemean Games that were in honour of Zeus and Nemean Three, which was composed for Arlstocleidas, another victor in the pancration. It analyses Isthmian One, which was composed for the victor Herodotus, who competed at the chariot event.
APA, Harvard, Vancouver, ISO, and other styles
5

Le Meur, Nadine. "Apollon Pythien chez Pindare." In Antichistica. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-548-3/009.

Full text
Abstract:
Despite Pindar’s known close ties to the site of Delphi and its god, it is surprising to find only nine occurrences of the adjective Πύθιος in all of Pindar’s preserved work, and only one of the phrase Πύθιος ̓Απόλλων – in the Olympian odes moreover, and not in the Pythian, as one could have expected. This observation leads me to examine each of the uses of Πύθιος in Pindar, then to survey the other epithets with which the poet qualifies Apollo, before examining the situation of Olympian Zeus, Nemean Zeus and Isthmian Poseidon. I end with a quick review of Πύθιος in Bacchylides’ poems, in an attempt to determine more precisely Pindar’s possible originality regarding Pythian Apollo.
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

Lewis, Virginia M. "Locating Aitnaian Identity in Pindar’s Pythian 1." In Myth, Locality, and Identity in Pindar's Sicilian Odes, 137–78. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190910310.003.0004.

Full text
Abstract:
Chapter 3 proposes that in Pythian 1 Pindar uses two myths to map out and reinforce a sense of civic identity for the newly founded city of Aitna. Building upon other work that shows that Typho’s prison celebrates Hieron’s recent military and political victories, the chapter argues that this myth creates a significant place for Aitna within a Panhellenic mythical context. According to Hesiod, Typho is the final foe Zeus faces before becoming uncontested king of the Olympians (Theog. 821–80). Typho’s placement under Aitna thus transforms the landscape into an important site for stability of the cosmic order and elevates the new city to a place of Panhellenic significance. Second, it demonstrates that the myth of the Dorian migration supplies a myth of continuity for the new citizens of Aitna. While these citizens originate from different cities—half from Syracuse, half from the Peloponnese, according to Diodorus—the myth of the Dorian migration offers a shared narrative that unites them as an ethnic group. Taken together these two myths offer Aitna both a sense of place within a wider Greek narrative and a celebration of their ethnic heritage through their performances in Aitna, in Sicily more broadly, and throughout the Greek world.
APA, Harvard, Vancouver, ISO, and other styles
8

Bocksberger, Sophie Marianne. "Ajax in Aegina." In Telamonian Ajax, 76–138. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198864769.003.0003.

Full text
Abstract:
This chapter focuses on the reception of Ajax in ancient Aegina. The whole argument of the chapter rests on the assumption that Ajax was imbued with a strong political significance throughout the first half of the fifth century BCE in the context of overt Atheno-Aeginetan rivalry. On the one hand, Ajax was a particularly prominent figure on the island, since the Aeginetans believed that they, of all the Greeks, had primacy over the Aeacidae, because Aeacus, Ajax’s grandfather, was born there. The Athenians, on the other hand, laid claim over the hero too, notably by naming one of their own tribes after him. Ajax acquired particular significance during the Persian Wars, as the emblematic victory at Salamis, in 480 BCE, took place at the hero’s birthplace. This made any claim for primacy over him all the more significant and politically charged. The odes that Pindar and Bacchylides composed for Aeginetan patrons constitute the primary set of evidence regarding the reception of Ajax in Aegina. These are Isthmian 6, Isthmian 5, Nemean 7, Isthmian 4, Nemean 4, Nemean 3, Nemean 6, Olympian 8, Pythian 8, Nemean 8; and Bacchylides’ Ode 13. In addition to literary sources, iconographical witnesses include the pediments of the Aphaea temple on which several figures, one of whom is most probably Ajax, are seen fighting.
APA, Harvard, Vancouver, ISO, and other styles
9

"Chapter Three. Mythical Chronology In The Odes Of Pindar. The Cases Of Pythian 10 And Olympian 3." In The Language of Literature, 29–41. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004156548.i-251.22.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Pythian odes (Pindar)' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography