Theatrical Reenactment in Pindar and Aeschylus
What would Pindar and Aeschylus have talked about had they met at some point during their overlapping poetic careers? How do we map the space shared by these two fifth-century choral poets? In the first book-length comparative study of Pindar and Aeschylus in over six decades, Anna S. Uhlig pushes back against the prevailing tendency to privilege interpretive frames that highlight the differences in their works. Instead, she adopts a more inclusive category of choral performance, one in which both poets are shown to be grappling to understand how the vivid here and now of their compositions are in fact a reenactment of voices and bodies from elsewhere. Pairing close readings of the ancient texts with insights from modern performance studies, Uhlig offers a novel perspective on the 'song culture' of early fifth-century BC Greece.
- The first comparison of Pindar and Aeschylus to emphasize their continuities, enabling a productive new perspective on these contemporary poets
- Brings the complexity and sophistication of ancient performance and song more clearly into view through the lens of modern practice
- Includes translations of all Greek
Reviews & endorsements
‘… should prove worthwhile and fascinating for specialists in both early fifth-century literature and classical performance studies.’ David Studdard, Classics for All
‘… a distinctive and ambitious book …’ David Fearn, Bryn Mawr Classical Review
Product details
August 2019Hardback
9781108481830
314 pages
224 × 143 × 19 mm
0.56kg
Available
Table of Contents
- Introduction: Pindar and Aeschylus in dialogue
- 1. Voices of others: embedded speech in Pindar and Aeschylus
- 2. Anachronistic harmonies: Agamemnon parodos, Pythian 4
- 3. Vocal tools: Pythian 12, Olympian 13, Seven Against Thebes
- 4. Somatic semblances: Choephoroi, Olympian 8, Pythian 2
- 5. Locating the revenant: Pythian 8, Persians.