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Cambridge University Press 978-1-107-17059-9 — Ancient Theatre and Performance Culture Around the Black Sea Edited by David Braund , Edith Hall , Rosie Wyles Index More Information Black Sea Index Abdera 94, 203, 365 n. 10, 486, 487 Prometheus Unbound 9, 229 n. 8, 242–6, Academy of Plato 47, 54 252, 261, 437 Achaios (tragedian from Eretria) 20 Seven Against Thebes 233–5, 239, 246–7 Achilles 6, 12–13, 30–2, 39, 47, 88, 96–7, 100, Suppliant Women 267, 273 n. 25 103, 122–4, 207, 225, 250, 262, 293, 298, Women of Etna 53, 82, 90 336, 367, 453–65, 466–9 [Aeschylus] acrobats 202 Prometheus Bound 3, 9, 225–51, 264, 276, actors 12, 16, 18, 20–2, 25, 57, 64, 119, 121, 437 126–7, 128, 129, 132, 143, 146, 165–6, 175, Aethiopis 31 and n. 22, 262 n. 56, 457 177–221, 309, 347, 372, 398–400 Agaetes 104–5 comic 7, 19, 48, 64 n. 18, 59–81, 126–7, Agamemnon 33–4, 36, 47, 207, 292–3, 298–9, 140–5, 147–8, 150, 153, 156–8, 160, 162, 454, 456–7 163, 349 Agathon (tragedian) 16 satyric 101–2, 137–9, 156–8 See also Agave (mythical figure) 451 technitai Agones, agonothetic 95, 131–2, 161, 166, 170, tragic 8, 19, 164, 167–8, 307, 324 173–4, 178, 197, 212, 272 tragoedic (tragic singers) 165 and n. 20, 168, Alcaeus 32, 96, 460 247 n. 88 Alexander III of Macedon (the Great) 4, 9 n. 7, Adriatic xxx, 6, 10, 19 16 n. 7, 21, 47, 57, 88, 161, 368, 384, 389, Aeetes 26, 45, 104–5, 259, 260 and n. 45, 269, 413 n. 34 277, 286, 380 Alexandria, Alexandrian 46, 57, 385, 392, Aegeus (mythical figure) 270 476–80, 484–5 Aegina 20, 97 Alexis (comic poet) 20 Aelius Herodianus (grammarian) 55 n. 49, 104 Amastris 49, 163 nn. 6 and 9, 169, 487–8 Aeneas (mythical figure) 33, 311, 323 Amazon, Amazons 8, 31, 45–6, 122, 123–5, Aeschines 72, 85–6, 94, 95, 273 and n. 22, 274 128, 237–8, 348, 366, 436, 464, 473 Aeschylus 5, 6, 15, 20, 47, 53–5, 126, 212, 226, Amirani (Caucasian folk–hero) 240 and nn. 229 n. 8, 235, 238 n. 50, 244, 252, 254 n. 59–60, 241 10, 255–6, 264 n. 67, 276, 444, 457 Amisos 50, 169, 170, 382 n. 33, 389 Agamemnon 47, 274, 457 Amphitrite 468 Argo (Oarsmen) 252, 256, Anacharsis 438, 440–4 and n. 29, 449, 450–1 263 n. 63 Anapa settlement 338 Circe 212 Anaxandrides (comic poet) 20 Eumenides 244 Anthesteria 64 Iphigenia 38 Antigonus 57 Oreithyia 252, 260 Antioch-on-the-Orontes 184, 385, 392, 394, Pentheus 444, 451 396 Persians 82, 238 n. 50, 244, 247 n. 90, 256, Antiphanes (comic poet) 55 and n. 50 267, 472 n. 2 Antoninus Liberalis 459 Phineus 252, 256, 258, 260, 264 Antoninus Pius 175 n. 73, 208, 218, 385, 397 Prometheus Pyrphoros 229 n. 8, 245–6, 437 Apatouria (festival) 100 542 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-17059-9 — Ancient Theatre and Performance Culture Around the Black Sea Edited by David Braund , Edith Hall , Rosie Wyles Index More Information Black Sea Index 543 Apatouron (Phanagoria) 100–1, 103 Artemis 5, 7, 32–3, 37–9, 49, 76, 125, 269, Aphrodite xxvii, 7, 33, 37, 60, 95 n. 39, 100–1, 284–6, 290, 295, 299, 301, 305–27, 336, 103, 125, 274, 287, 340, 341, 344 n. 75, 349, 352, 397, 453–5, 457, 459 349, 442, 459 articulated figurines 400–32 Api (Scythian deity) 125 Asclepius 382–3, 486 Apicius 479 Astydamas (tragedian) 55 Apollo 3, 7, 8, 9, 10, 41, 46, 87, 88, 91 n. 20, 93 Athena 243–4, 263, 284–5, 295, 297–9, 301, n. 31, 95–7, 172, 290, 301, 314, 315, 335–6, 323, 336, 353 338, 346, 349, 367, 377, 382–3, 394, 396 n. Athenaeus 48, 50 n. 25, 54 n. 43, 56 n. 55, 88, 66, 397, 440 n. 30, 442, 445, 446, 453–5, 244, 254 n. 10, 262 n. 52, 479, 484 n. 43, 463, 474, 476, 486 n. 48, 489 488 n. 53, 489 n. 55 Apollodorus of Athens (chronographer) 477 Athens, Athenian xxx, 4, 6, 7, 9, 17 n. 13, 19, Apollonia Pontica xii, xxx, 9, 95, 178, 184, 20, 22, 23, 32, 35, 37 n. 37, 39, 41, 48, 51, 195–201, 333 53, 56, 62–4, 71–9, 82, 85–90, 96–103, Apollonius of Rhodes 45 n. 2, 46, 234–6, 383 126, 137, 139, 161, 177, 225, 232, 247, 252 Apollonius of Tyana 462 n. 2, 253–60, 268, 273, 276–80, 354, 366 Archelaus (king of Macedon) 16, 53, 83, with n. 12, 389, 401, 433–7, 439 n. 26, 90 442–533, 444 n. 47, 450, 454–5, 472 n. 2, Arctinus of Miletus 31, 33, 262 n. 56 474, 479–80 Argo 26, 45, 50, 252–3, 255–6, 260, 266 n. 46, Atlantic 274 271, 277–8 Attalids 476–81 and n. 28, 485 Argonauts 5, 9, 10, 26 n. 2, 45, 104, 105, 239 Attalos I 124 and n. 53, 245, 263, 267–71, 286–7, 477 Auge 149, 196–8 and n. 54 Argos xxx, 16, 167, 253 n. 5, 277, 284, 290, Augusta Traiana 213–15 293–4, 299 n. 20, 314, 455, 457 Augustus Caesar 316, 372 Ariadne 375, 382–5, 387, 392–5 Aulis 6, 10, 32–3, 39, 96, 290, 299, 323, 453, Arimaspians 40–1, 232 and n. 21 455–8 Aristagoras 29 and n. 16 aulos, auloi, aulete 4, 24, 65, 67 and n. 21, Aristeas of Proconnesus 40–1, 232 n. 21, 332–5 and n. 9, 336–40, 344, 348–51, 354, 438 356, 362 and n. 2, 376–7 n. 22, 396, Aristophanes 52, 55, 58, 62, 76, 77 n. 37, 416–18, 425–30, 450 and n. 67, 471–2 126–7, 165, 261, 262 n. 52, 286 Autolycus (mythical figure) 45 and n. 2 Acharnians 72 n. 29, 230, 246 n. 85 Birds 23 n. 30, 51–3, 127, 201 n. 64 barbiton (musical instrument) 338, 339, Frogs 4, 127, 248 n. 91, 261–2 351 Gerytades 261 n. 52 Batumi 373 Holkades 271–2 Baubo 150–2, 160 Knights 473 n. 7 Bellerophon 126, 128, 392 Lysistrata 286 bells 356–8 Peace 51 n. 32, 248 n. 91, 281, 286 Berezan 232–3 and n. 29, 332, 335–7, 445 n. Plutus (the first one) 75 n. 32 50, 446, 458 See also Borysthenes Thesmophoriazousai 17, 478 n. 20 Bion of Borysthenes 46 Arrian 460 Bithynia 13, 50–1, 97, 319, 470, 474–85 Periplus 9, 29 n. 14, 31 n. 23, 32, 97, 276, Black Sea (Euxine) xxvii, 5, 6, 7, 11–13, 26, 30, 319, 349, 466 41, 267–8, 277, 466–9, 485–9 Aristonicus (citharode) 88, 91, 106, 367–8, 371 Boeotia 18, 72 n. 29, 100, 401 Aristotle 21, 23, 46, 50, 54–6, 100 n. 66, 254 n. Bol’shaya Bliznitsa 80, 86, 94, 125, 146–9, 160, 10, 277, 297, 309, 438 334, 348–50, 372 Arkteia 286 bone, bones, bone objects 125–6, 322, 332–3, Arrian 9, 29 n. 14, 31 n. 23, 32, 97 and n. 50, 354, 362, 366–7, 401, 445–6, 448 n. 63 276, 319, 460 and n. 18, 466, 479 Boreas 252 n. 2, 258, 260 and n. 48 Artaxerxes II 49 Borysthenes (region/city, for river see Dnieper) Artemidorus of Daldis 318–19 46, 233 n. 29, 433, 436 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-17059-9 — Ancient Theatre and Performance Culture Around the Black Sea Edited by David Braund , Edith Hall , Rosie Wyles Index More Information 544 Black Sea Index Bosher, Kate 4 and n. 1 child, children 24, 48, 64 and nn. 14 and 18, Bosporan kingdom 7, 11, 12, 82–105, 106, 78, 143–4, 146, 148, 164, 195–7, 250, 267, 125–6, 163 n. 7, 277, 332–3, 342, 344, 348, 269–70, 272, 274–6, 280–6, 288, 293, 319, 350–2, 356, 362–72, 400–32, 481 n. 25, 344, 365, 401, 416, 454, 458, 462 485 Chimaera 125, 192 Bosporus 29, 38, 59, 82, 85–90, 95–7, 101, Chios xxx, 20 103–5, 125–8, 131, 167, 277, 344, 362–72, Chiron 233 n. 27, 97, 101, 459 400–32, 485 Christianity 3, 11, 13, 35 n. 31, 192, 202, 206, Brauron 13, 49, 285–6, 320 208, 213, 218, 220, 240 n. 60, 284, 306, bronze 55, 88, 92 n. 26, 126–7, 139, 169, 180, 319, 374, 397–8, 470, 489 n. 56 189, 195, 201, 211, 213, 231–2, 239, 258–9, Chrysaorus (mythical figure) 125 278 n. 42, 3–5, 309, 332–4, 347, 357, 366, Chryses (mythical figure) 252 n. 2, 264, 265 374 and n. 5, 375–7, 380–3, 385 and n. 50, Chrysopolis 252 n. 2 389, 391–2, 394, 426, 445–6, 452 Cicero 236 n. 245 and n. 82, 316, 413 n. 31, Bug, River (ancient Hypanis) 8, 22, 28, 436 n. 484 n. 43 12 Cimmerians 27, 28 n. 7, 38, 55, 59, 98 Bulgaria 8, 54, 177–221, 309, 362 n. 4 Circe (mythical figure) 212, 255 Bryson of Heraclea (philosopher) 6 Clashing Rocks 27, 268, 270, 456 bull, bulls See cattle Clazomenae 335 Byzantium xxx, 21, 28 n.
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    114498_Three4498_Three centuriescenturies ofof GreekGreek culture.inddculture.indd 2 227/02/147/02/14 113:463:46 Three Centuries of Greek Culture under the Roman Empire 14498_Three centuries of Greek culture.indd 3 27/02/14 15:12 Scientifi c Board Mauro Bonazzi (Università degli Studi di Milano) Alberto Camerotto (Università Ca’ Foscari Venezia) Silvana Celentano (Università di Chieti-Pescara) Pedro Ipiranga (Universidad Federal do Paraná) Manuela García Valdés (Universidad de Oviedo) Isabelle Gassino (Université de Rouen) Delfi m Ferreira Leâo (Universidade da Coimbra) Mercedes López Salvá (Universidad Complutense de Madrid) Karen Ní-Mheallaigh (University of Exeter) Susanne Saïd (Université Paris X-Nanterre/Columbia University) Emilio Suárez de la Torre (Universitat Pompeu Fabra) Jesús Ureña (Universidad de Extremadura) Eulàlia Vintró (Universitat de Barcelona) Tim Whitmarsh (Corpus Christi College, University of Oxford) 114498_Three4498_Three centuriescenturies ofof GreekGreek culture.inddculture.indd 4 227/02/147/02/14 113:463:46 Three Centuries of Greek Culture under the Roman Empire Homo Romanus Graeca Oratione Edited by Francesca Mestre & Pilar Gómez 14498_Three centuries of Greek culture.indd 5 27/02/14 15:12 © Publicacions i Edicions de la Universitat de Barcelona Adolf Florensa, s/n 08028 Barcelona Tel.: 934 035 430 Fax: 934 035 531 [email protected] www.publicacions.ub.edu Photograph of the Jacket Syria’s ancient city of Palmyra ISBN 978-84-475-3801-0 Legal deposit number B-8.500-2014 All papers published in this volume had been peer-reviewed through a process administered by the editors. All reviews were conducted by external experts referees. Contents Foreword, by Francesca Mestre ..............................................................................
  • Artemis and Virginity in Ancient Greece

    Artemis and Virginity in Ancient Greece

    SAPIENZA UNIVERSITÀ DI ROMA FACOLTÀ DI LETTERE E FILOSOFIA DOTTORATO DI RICERCA IN FILOLOGIA E STORIA DEL MONDO ANTICO XXVI CICLO ARTEMIS AND VIRGINITY IN ANCIENT GREECE TUTOR COTUTOR PROF. PIETRO VANNICELLI PROF. FRANCESCO GUIZZI 2 Dedication: To S & J with love and gratitude. Acknowledgements: I first and foremost wish to thank my tutor/advisor Professor Pietro Vannicelli and Co- Tutor Professor Francesco Guizzi for agreeing to serve in these capacities, for their invaluable advice and comments, and for their kind support and encouragement. I also wish to thank the following individuals who have lent intellectual and emotional support as well as provided invaluable comments on aspects of the thesis or offered advice and spirited discussion: Professor Maria Giovanna Biga, La Sapienza, and Professor Gilda Bartoloni, La Sapienza, for their invaluable support at crucial moments in my doctoral studies. Professor Emerita Larissa Bonfante, New York University, who proof-read my thesis as well as offered sound advice and thought-provoking and stimulating discussions. Dr. Massimo Blasi, La Sapienza, who proof-read my thesis and offered advice as well as practical support and encouragement throughout my doctoral studies. Dr. Yang Wang, Princeton University, who proof-read my thesis and offered many helpful comments and practical support. Dr. Natalia Manzano Davidovich, La Sapienza, who has offered intellectual, emotional, and practical support this past year. Our e-mail conversations about various topics related to our respective theses have
  • The Adverb Ανδρακασ and the Composition of the Odyssey

    The Adverb Ανδρακασ and the Composition of the Odyssey

    THE ADVERB ΑΝΔΡΑΚΑΣ AND THE COMPOSITION OF THE ODYSSEY ALDO PAOLO BOTTINO The present essay will focus on Odyssey xiii 13-15: in this famous passage, Alkinoos suggests that each Phaiakian chief (or king1), himself included, give Odysseus a great tripod and a cauldron, just before the departure of the hero. My argument will hinge on the interpretation of the adverb ἀνδρακάς, by which line 14 begins and the sentence initiated at line 13 is completed en enjambement. I shall explore the possibility that the Odyssean text, in yet another example of auto-referentiality, alludes here to the “collaborative effort”2 which, according to Douglas Frame, produced the monumental epic of nóstos through the expansion of traditional songs3 before the audiences of the Panionia. The number and the role of the βασιλῆες (twelve with Alkinoos as communal representative4), if blended with the specific meaning of the adverb, could indicate the type of poetic performance purportedly held at the Panionia, when a group of poets performed (and composed) together in sequence, and also the particular dynamics of this ‘distributive’ composition in performance — the individual poet contributed by his own effort to the creation of the epic as a continuum, while the Homeric epics reached monumental proportions as a result of these contributions diachronically articulated in terms of an ongoing collaboration. At the end of the yearly5 recurring festival, each Panionic poet could feel himself entitled, as Odysseus did, to return home with an expanded ‘gift’ of song and more stories to tell. It will be my working assumption that the Phaiakes in fact “represent the Ionians”6 in the context of the Panionia: the complex process that regulates the bestowing of the final series of xeinía on Odysseus might both support and be understood by this interpretative hypothesis.