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Genre in Archaic and Classical Greek Poetry: Theories and Models Mnemosyne Supplements monographs on greek and latin language and literature Executive Editor C. Pieper (Leiden University) Editorial Board A. Chaniotis (Institute for Advanced Study, Princeton) K.M. Coleman (Harvard University) I.J.F. de Jong (University of Amsterdam) T. Reinhardt (Oxford University) volume 428 The titles published in this series are listed at brill.com/mns Genre in Archaic and Classical Greek Poetry: Theories and Models Studies in Archaic and Classical Greek Song, Vol. 4 Edited by Margaret Foster Leslie Kurke Naomi Weiss LEIDEN | BOSTON This is an open access title distributed under the terms of the CC-BY-NC-ND 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Library of Congress Cataloging-in-Publication Data Names: Foster, Margaret, 1977- editor. | Kurke, Leslie, editor. | Weiss, Naomi A., 1982- editor. Title: Genre in archaic and classical Greek poetry : theories and models / edited by Margaret Foster, Leslie Kurke, Naomi Weiss. Other titles: Studies in archaic and classical Greek song ; v. 4. Description: Boston : Brill, 2019. | Series: Mnemosyne supplements, 0169-8958 ; volume 428 | Includes bibliographical references and index. Identifiers: LCCN 2019032900 (print) | LCCN 2019032901 (ebook) | ISBN 9789004411425 (hardback) | ISBN 9789004412590 (ebook) Subjects: LCSH: Greek poetry–History and criticism. | Literary form–History–To 1500. Classification: LCC PA3095 .G46 2019 (print) | LCC PA3095 (ebook) | DDC 881/.0109–dc23 LC record available at https://lccn.loc.gov/2019032900 LC ebook record available at https://lccn.loc.gov/2019032901 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill‑typeface. ISSN 0169-8958 ISBN 978-90-04-41142-5 (hardback) ISBN 978-90-04-41259-0 (e-book) Copyright 2020 by the Authors. Published by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. Koninklijke Brill NV reserves the right to protect the publication against unauthorized use and to authorize dissemination by means of offprints, legitimate photocopies, microform editions, reprints, translations, and secondary information sources, such as abstracting and indexing services including databases. Requests for commercial re-use, use of parts of the publication, and/or translations must be addressed to Koninklijke Brill NV. This book is printed on acid-free paper and produced in a sustainable manner. Contents Preface and Acknowledgments vii Note on Abbreviations, Texts, and Translations ix List of Figures and Tables x Notes on Contributors xi Introduction 1 Margaret Foster, Leslie Kurke, and Naomi Weiss Part 1 Keynote Address 1 Genre, Occasion, and Choral Mimesis Revisited, with Special Reference to the “Newest Sappho” 31 Gregory Nagy Part 2 Genre, Generification, and Performance 2 Linus: The Rise and Fall of Lyric Genres 57 Andrew Ford 3 Sappho’s Parachoral Monody 82 Timothy Power 4 The Speaking Persona: Ancient Commentators on Choral Performance 109 Francesca Schironi Part 3 Genre Mixing 5 Chorus Lines: Catalogues and Choruses in Archaic and Early Classical Hexameter Poetry and Choral Lyric 135 Deborah Steiner vi contents 6 Generic Hybridity in Athenian Tragedy 167 Naomi Weiss 7 Athens and Apolline Polyphony in Bacchylides’ Ode 16 191 Margaret Foster Part 4 Affect, Materiality, and the Body: The Somatics of Genre 8 Is Korybantic Performance a (Lyric) Genre? 231 Mark Griffith 9 Iambic Horror: Shivers and Brokenness in Archilochus and Hipponax 271 Mario Telò 10 Experiencing Elegy: Materiality and Visuality in the Ambracian Polyandrion 298 Seth Estrin 11 Pindar, Paean 6: Genre as Embodied Cultural Knowledge 325 Sarah Olsen Bibliography 347 Index Locorum 384 General Index 395 Preface and Acknowledgments This is the fourth volume in a series within Brill’s Mnemosyne Supplements that records the proceedings of the Network for the Study of Archaic and Clas- sical Greek Song (http://greeksong.ruhosting.nl/). Three volumes in this series have already been published: The Look of Lyric: Greek Song and the Visual, eds. V. Cazzato and A. Lardinois; The Newest Sappho, eds. A. Bierl and A. Lardi- nois; and Authorship and Greek Song, ed. E.J. Bakker. Two more volumes are in preparation: one on the reception and transmission of Greek lyric poetry from 600BCE to 400CE, and another on Greek lyric and the sacred. The Net- work was founded in 2007 as a means of facilitating interaction among scholars interested in the study of archaic and classical lyric, elegiac, and iambic poetry. Most of the papers included in this volume were originally presented at a conference entitled “The Genres of Archaic and Classical Greek Poetry: Theo- ries and Models,” held at the University of California, Berkeley in September 2015. For financial support for the conference, we are grateful to the Network for the Study of Archaic and Classical Greek Song, and to the UC Berkeley Dean of Arts & Humanities, Doreen B. Townsend Center for the Humanities, Departments of Classics and Comparative Literature, and the Gladys Rehard Wood Chair. For advanced conference planning and organization, thanks to Egbert Bakker, André Lardinois, Richard P.Martin, Melissa Mueller, Nelly Olien- sis, and Natasha Peponi; for designing the poster, thanks to Richard Neer; and for essential help during the conference, thanks to Marissa Henry, Chris Waldo, and Andrew Wein. The CASMA staff, especially Gary Spears and Sarah Calderon, provided essential logistical support. We want to thank all the speak- ers and core members of the Network in attendance for making the conference such a lively and stimulating event; in addition to the contributors to the vol- ume, we are grateful for the participation of Lucia Athanassaki, Anton Bierl, Ewen Bowie, Michel Briand, Deborah Boedeker, Vanessa Cazzato, Kate Gilhuly, Athena Kirk, André Lardinois, David Larsen, Dirk Obbink, Enrico Prodi, Ralph Rosen, Ian Rutherford, Renate Schlesier, Alan Sheppard, and Eva Stehle. We are particularly grateful to Virginia Jackson, Chris Nealon, and Yopie Prins for pro- viding a non-Greek, comparative lyric perspective. Thanks finally to Marissa Henry for translating the paper of Claude Calame, although in the end Profes- sor Calame was not able to attend. In the transition from conference to volume, all papers underwent a pro- cess of peer reviewing at the hands of the editors, as well as two anonymous reviewers for the Press. We thank the two anonymous reviewers for their com- ments, queries, and provocations, which made the volume stronger and more viii preface and acknowledgments coherent. In addition, the contributors had the opportunity to read each other’s papers and revise them in dialogue with each other. For editorial assistance in the preparation of the volume, we are grateful to Joshua Benjamins, Mas- simo Cè, Alexander Forte, and Michael Konieczny; for administrative support, thanks to Gary Spears and Teresa Wu. We also wish to thank Donald Mas- tronarde for his papyrological assistance in reading Pindar fr. 128c SM. Above all, we are indebted to André Lardinois, who has provided support and guid- ance at every stage, right up to the volume’s publication. Thanks to the whole Brill editorial team, and especially to Christoph Pieper for his sage editorial involvement and attention to the volume. Finally, we would like to thank the Anne and Jim Rothenberg Fund for Humanities Research at Harvard University and the Gladys Rehard Wood Chair at UC Berkeley for providing the funds to make this book permanently available through Open Access. Note on Abbreviations, Texts, and Translations Names of ancient authors and titles of texts are abbreviated in accordance with the list in The Oxford Classical Dictionary, third edition (2003) xxix–liv; names of journals follow the abbreviations of L’Année Philologique. Unless oth- erwise specified, Greek and Latin authors are quoted from the Oxford Classical Texts, except for early Greek poetry, which is cited from the following editions: (1) Greek lyric poetry from Campbell 1982–1993; (2) Greek iambic and elegy from West 1989–1992; (3) Sappho and Alcaeus from Voigt 1971, except Sappho fragments 58 and pre-58 Cologne from Gronewald and Daniel 2007; Sappho fragments 5, 9, 15, 16, 16a, 17, 18, 18a, the Brothers Song, and the Kypris Song from Obbink 2016a; (4) Pindar from Snell and Maehler 1987 (the Epinicia), or Maehler 2001 (the Fragments). Unless otherwise noted, translations are by the contributors themselves. Figures and Tables Figures 4.1 P.Mich. inv. 2810 (second century CE), fr. A, with Il. 1.308–375 (col. X–XI) 120 4.2 P.Strasb. gr. inv. 31–32 verso (early third century CE), v, ll. 1–20 (Il. 1.317–336) 122 5.1 Attic black-figure volute krater (François Vase), ca. 570BCE. Florence, Museo Archeologico 4209 154 5.2 Attic red-figure psykter attributed to Oltos, ca. 520–510BCE. New York, Metropolitan Museum of Art 1989.281.69 155 5.3 Attic black-figure Little Master lip kylix, ca. 550BCE. Tarquinia, Museo Nazionale Tarquinese RC 4194 156 5.4 Attic black-figure kylix from Argos, ca. 600–550BCE. Berlin, Antikensammlung Staatliche Museum F 3993 158 5.5 Middle Corinthian black-figure aryballos, ca. 560BCE. Corinth, Archaeological Museum, C-1954-1 160 5.6 Late Geometric oinochoe (probably Etrurian), ca. 700–680BCE. London, British Museum 1849,0518.18 161 5.7 Protoattic black-figure loutrophoros attributed to the Analatos Painter, ca. 700BCE. Paris, Musée du Louvre CA 2985 163 5.8 Attic black-figure lekythos attributed to Amasis, ca. 550–530BCE. New York, Metropolitan Museum of Art 31.11.10 164 10.1 The Ambracian polyandrion. Second half of sixth century BCE. Ephorate of Antiquities of Arta. 300 10.2 The Ambracian polyandrion. Second half of sixth century BCE.
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  • ABSTRACT Reading Dreams: an Audience-Critical Approach to the Dreams in the Gospel of Matthew Derek S. Dodson, B.A., M.Div

    ABSTRACT Reading Dreams: an Audience-Critical Approach to the Dreams in the Gospel of Matthew Derek S. Dodson, B.A., M.Div

    ABSTRACT Reading Dreams: An Audience-Critical Approach to the Dreams in the Gospel of Matthew Derek S. Dodson, B.A., M.Div. Mentor: Charles H. Talbert, Ph.D. This dissertation seeks to read the dreams in the Gospel of Matthew (1:18b-25; 2:12, 13-15, 19-21, 22; 27:19) as the authorial audience. This approach requires an understanding of the social and literary character of dreams in the Greco-Roman world. Chapter Two describes the social function of dreams, noting that dreams constituted one form of divination in the ancient world. This religious character of dreams is further described by considering the practice of dreams in ancient magic and Greco-Roman cults as well as the role of dream interpreters. This chapter also includes a sketch of the theories and classification of dreams that developed in the ancient world. Chapters Three and Four demonstrate the literary dimensions of dreams in Greco-Roman literature. I refer to this literary character of dreams as the “script of dreams;” that is, there is a “script” (form) to how one narrates or reports dreams in ancient literature, and at the same time dreams could be adapted, or “scripted,” for a range of literary functions. This exploration of the literary representation of dreams is nuanced by considering the literary form of dreams, dreams in the Greco-Roman rhetorical tradition, the inventiveness of literary dreams, and the literary function of dreams. In light of the social and literary contexts of dreams, the dreams of the Gospel of Matthew are analyzed in Chapter Five.