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Books on the topic 'Works (Pindar)'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Pindar. The odes of Pindar. S. Albahari, 21st, 2007.

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2

Galeta, R. M. Author, text and context: Epistemology, poetry and criticality with reference to works of Aristotle, Plato, Pindar and Callimachus. University of East Anglia, 1987.

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3

Siscar, Gregorio Mayans y. Arte de pintar. Universidad de Huelva, 1996.

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4

J, Nisetich Frank, ed. Pindar's Victory songs. Johns Hopkins University Press, 1990.

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5

B, Henry W., ed. Pindar's Nemeans: A selection. K.G. Saur, 2005.

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6

Alcover, Wilfredo. De San Antonio a Maisí: Pinar del Río, Habana, Matanzas, Las Villas, Camagüey, Oriente. s.n., 1989.

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7

Provopoulos, Ēlias G. Oreinē patrida. Ekdosē tēs Dieurymenēs Koinotētas Neraïdas Trikalōn, 2007.

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8

Herrejón, Salvador González. El mal del pinto, el acetato de talio en el tratamiento de las tiñas: Discursos y testimonios de amigos y discipulos. Gobierno del Estado de Michoacán de Ocampo, 1985.

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9

John, Orr. Tragicomedy and contemporary culture: Play and performance from Beckett to Shepard. Macmillan, 1991.

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10

Mayberry, Bob. Theatre of discord: Dissonance in Beckett, Albee, and Pinter. Fairleigh Dickinson University Press, 1989.

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11

Pinter, Harold. The Proust screenplay: A la recherche du temps perdu. Faber, 1991.

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12

Wolcot, John. Works of Peter Pindar. HardPress, 2020.

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13

Works of Peter Pindar. Creative Media Partners, LLC, 2023.

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14

Pindar, Peter. [Works of Peter Pindar, esq., Pseud. Arkose Press, 2015.

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15

Pindar: The Complete Works of Peter Leslie. Grace Note Publications, 2016.

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16

Extant Odes of Pindar. tredition Verlag, 2011.

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17

Extant Odes of Pindar. Blurb, 2019.

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18

Extant Odes of Pindar. Blurb, 2019.

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19

Pindar, Peter. Works of Peter Pindar, Esq : In Three Volumes : the Works of Peter Pindar, Esq: In Three Volumes; Volume 2. Creative Media Partners, LLC, 2018.

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20

(Editor), Stephen Instone, and Holly Bennett (Illustrator), eds. Pindar: Selected Odes (Classical Texts). Aris & Phillips, 1996.

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21

(Editor), Stephen Instone, and Holly Bennett (Illustrator), eds. Pindar: Selected Odes (Classical Texts). Aris & Phillips, 1996.

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22

Wolcot, John. The Works Of Peter Pindar V4: To Which Are Prefixed Memoirs Of The Author's Life. Kessinger Publishing, LLC, 2007.

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23

Peter, Pindar. The Works Of Peter Pindar V3: To Which Are Prefixed Memoirs Of The Author's Life. Kessinger Publishing, LLC, 2007.

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24

Wolcot, John. The Works Of Peter Pindar V4: To Which Are Prefixed Memoirs Of The Author's Life. Kessinger Publishing, LLC, 2007.

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25

Pindar, Peter. The Works of Peter Pindar Esq. Complete. A new Edition. Vol.III. of 3; Volume 3. Gale ECCO, Print Editions, 2018.

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26

Pindar, Peter. Works of Peter Pindar, Esq. Pseud: To Which Are Prefixed Memoirs of the Author's Life. HardPress, 2020.

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27

The Works Of Peter Pindar V3: To Which Are Prefixed Memoirs Of The Author's Life. Kessinger Publishing, LLC, 2007.

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28

The Kallierges Pindar: A study in Renaissance Greek scholarship and printing. Dinter, 2015.

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29

Pindar, Peter. The Works of Peter Pindar, Esq.: To Which Are Prefixed Memoirs of the Author's Life; VOL. I. Gale NCCO, Print Editions, 2017.

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30

Pindar, Peter. The Works of Peter Pindar, Esq. Complete. a New Edition. in Two Volumes. ... of 2; Volume 1. Gale Ecco, Print Editions, 2018.

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31

Thucydides and Pindar: Historical Narrative and the World of Epinikian Poetry. Oxford University Press, USA, 2006.

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32

Thucydides and Pindar: Historical narrative and the world of Epinikian poetry. Oxford University Press, 2004.

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33

Power, Timothy. Musical Persuasion in Early Greece. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0008.

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This chapter on archaic and classical Greek music finds the political dimensions of musical expression to be paramount. Music, according to Power, presents a synesthetic form of communication—verse, instruments, often dance and, in Athenian drama, prose dialogue—of unrivalled modal complexity that reinforced the popular impact of this art form. Solon and other politicians used music, while Pindar and other poets introduced political motifs into performances of their works. In Power’s view, the generally accepted notion that early Greece was a “song culture”—differing in this respect from ancie

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34

Spelman, Henry. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0011.

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This epilogue briefly highlights the unity of this work as a whole and then takes a broader view over ancient literature in order to trace some potential connections between Pindar and other sorts of poetry, both earlier and later. The Pindar who emerges from this monograph is a poet who looks with supreme self-consciousness to the past, the present, and the future simultaneously. To grasp Pindar’s vision of his place in the traditions of archaic poetry may in the end help us to see better how and why he eventually came to hold such a central place in the Graeco-Roman literary tradition as a w

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35

Spelman, Henry. Pindar and the Poetics of Permanence. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.001.0001.

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This work is concerned with Pindar and archaic Greek literary culture. Part One discusses Pindar’s relationship to his audiences. It demonstrates how his victory odes address an audience present at their premiere performance and also a broader secondary audience throughout space and time. I argue that getting the most out of these texts involves simultaneously assuming the perspectives of both. Part Two describes how Pindar uses other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar’s vision of the literary world, bot

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36

Spelman, Henry. The Poetics of Permanence. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0005.

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This chapter explores ways in which the idea of permanence matters for understanding Pindar. Each section focuses on one ode in order to bring out a broader feature of his poetics. Section 1 (Pythian 1) illustrates how the aesthetics of traditionality can enrich the experience of a secondary audience. Section 2 (Nemean 4) shows how the possibility of participating in a tradition might have mattered to Pindar’s first audiences. Section 3 (Pythian 6) considers the didactic value of epinician for secondary audiences. Section 4 (Pythian 3) describes how Pindar invites reflection on the future rece

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37

Pindar, Peter. The Beauties of Pindar: Being Selections From the Various Works of That Eccentric Author, With a Biographical Memoir of His Life and Writings (Classic Reprint). Forgotten Books, 2018.

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38

Pindar, Peter. The Poetical Works of Peter Pindar, Esq. a Distant Relation to the Poet of Thebes. To Which are Prefixed, Memoirs and Anecdotes of the Author. Gale ECCO, Print Editions, 2018.

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39

Spelman, Henry. The Lyric Past. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0010.

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Whereas the last two chapters focused on epinician, Chapter VIII expands the scope of inquiry and studies the lyric past in Pindar most generally. Section 1 discusses the mainly fragmentary evidence for his knowledge and use of the history of lyric. Section 2 interprets three epinicians which prominently engage with the work of other lyric poets (Pythian 2, Pythian 1, and Isthmian 2). Pindar defines his authorial project through comparisons with some of the most distinguished lyric voices of the past including Archilochus, Simonides, and Anacreon. Drawing on the arguments of the last three cha

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40

Spelman, Henry. Introduction to Part One. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0001.

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The introduction situates this work within scholarship and outlines an approach to some larger issues including literature, literary history, canons, periodization, and historical contexts. It then broaches the question of how Pindaric epinician related to its public and offers a preview of the next five chapters. Studying Pindar’s ode within a literary culture rather than the immediate circumstances of their production and initial reception might lead one to different and incompatible conclusions or elucidate other facets of complex realities. One of the goals of this work is to contextualize

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41

Zartaloudis, Thanos. The Birth of Nomos. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442008.001.0001.

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The Birth of Nomos delves into the history of the fundamental ancient Greek word nomos (and its family and other related words) to extensively examine the varied co-existent uses of the terms from the archaic to the early classical period, before and beyond its later meaning of 'law' or 'law-making'. The Birth of Nomos draws on the literary evidence in the works of the poets, philosophers and tragedians including Homer, Hesiod, Alcman, Pindar, Archilochos, Theognis, Heraclitus, Plato, Aeschylus, Sophocles and Euripides. In doing so it critically reflects on how nomos and its complex genealogy

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42

Spelman, Henry. Event and Artefact. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0004.

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This chapter examines the interplay between first performance and subsequent reception in fifth-century lyric and especially in Pindar’s epinicians. It describes how poems trace their own travels from unrepeatable event to perpetuated artefact and draws conclusions about the shape of the literary culture behind Pindar’s odes. Six sections discuss six passages that map their journey from performance into permanence. A concluding section then uses these passages as case studies and primary evidence in order to draw overarching conclusions about the relationship between the rhetoric of performanc

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43

Zimmerman, J. G. Aphorisms and Reflections on Men, Morals and Things : With the Beauties of Pindar: Being Selections from the Various Works of That Eccentric Author; with a Biographical Memoir of His Life and Writings. Wipf & Stock Publishers, 2017.

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44

Zimmerman, J. G. Aphorisms and Reflections on Men, Morals and Things : With the Beauties of Pindar: Being Selections from the Various Works of That Eccentric Author; with a Biographical Memoir of His Life and Writings. Wipf & Stock Publishers, 2017.

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45

Larson, Stephanie. Meddling with Myth in Thebes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198744771.003.0007.

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This chapter discusses an Attic red-figure vase found on the Ismenion hill, in Thebes in Greece; the vase changes the iconography of the canonical Panhellenic grypomachy scene by substituting a sphinx, a symbol of local Theban significance. The chapter sets this vase into the context of sphinx imagery and adduces other vases from both within and outside Boeotia as evidence for a link between the image of the sphinx and the myth of Oedipus. It also suggests that this substitution on the vase could be seen as following a Theban trend in altering details of myth to fit local interests, as seen al

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46

Fearn, David. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0006.

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The conclusion rounds out this study, summing up the importance of the approaches taken in relation to previous more historicizing models of Pindaric scholarship. Particular emphasis is placed on aesthetics and the importance of contextualizability: how Pindar’s poetry consistently draws attention to its own aesthetic status and makes an issue of its relation to contexts, through gesturing towards material culture and visual experience; how the interstices between lyric voices and contexts matter for a considered appreciation of epinician lyric’s cultural value. Potential future avenues for re

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47

Lye, Suzanne. Life / Afterlife. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197690239.001.0001.

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Abstract Life / Afterlife: Revolution and Reflection in the Ancient Greek Underworld from Homer to Lucian explores the mechanics, function, and impact of ancient Greek Underworld scenes, a unique and ancient form of embedded storytelling appearing across time and genres. This book approaches Underworld scenes as a special register of language that acts as a narrative space outside of chronological time to reflect on important themes and issues in a frame narrative. This book argues that Underworld scenes use hypertextual poetics to embed authorial commentary by creating networks of texts that

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48

Fearn, David. Language and Vision in the Epinician Poets. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0005.

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This chapter explores the ways in which the other two contemporary epinician poets, Simonides and Bacchylides, use aesthetics and material culture as a way of drawing attention to their own individual and distinctive poetic voices and poetic agendas. Their affinities with and differences from Pindar are explored on the strength of the available evidence. Simonides’ Danae fragment receives detailed coverage, interpreted in visual-cultural terms in relation to Simonides’ ongoing fame as the original commentator on the relation between art and text. Discussion then turns to Bacchylides, and the p

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49

Educational Experience As Lived : Knowledge, History, Alterity: The Selected Works of William F. Pinar. Taylor & Francis Group, 2015.

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50

Pinar, William F. Educational Experience As Lived : Knowledge, History, Alterity: The Selected Works of William F. Pinar. Taylor & Francis Group, 2016.

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