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This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Pavlou, Maria Title: Time in Pindar General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. TIME IN PINDAR MARIA PAVLOU A dissertation submitted to the University of Bristol in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts, Department of Classics and Ancient History JUNE 2007 Words: ninety one thousand ACKNOWLEDGMENTS My first thanks must go to my supervisor Prof. Robert Fowler for his continuous support, encouragement,patience, and kindness, and for suggesting time in Pindar as a subject for research.His deep knowledge of archaic lyric poetry and his acute criticisms were vital. Special thanks are due to my Ph.D examiners, Professors Chris Carey and Richard Buxton, for their valuable comments, various suggestions,and constructive feedback, as well as for making the viva a pleasant experience. Thanks are also due to my undergraduate teacher at the University of Thessaloniki, Dr Eva Tsitsimbakou-Vasalos, who introduced me to the irorxikosworld of Pindar and kindly accepted to read and comment on a draft of Chapter 7. Moreover, many thanks must go to all members of staff at the Department of Classics and Ancient History in Bristol, especially to Dr. Pantelis Michelakis who, despite his busy schedule, always found time to advice and encourage me. I would also like to acknowledge a special debt to Prof. Douglas Cairns, who acted as the external examiner for my upgrade and offered valuable criticisms on Chapters 1,2 and 4, as well as to Mr. Michael Richardson for correcting my English. Moreover, I am grateful to AHRB and A. G. Leventis Foundation for financial support, and to the Hellenic Society and Classical Association for funding a two-week stay at the Fondation Hardt in Switzerland. Very special thanks are due to my best friend, Panayiota Philippidou, and especially to my dearestfamily: my father Pavlos, my mother Panayiota, my sister Zoe and my little brother Christodoulos. All stood by my side from the very beginning and supported me throughout, even though from afar. Sine quibus non. Last but not least, are the thanks owed to George Zangoulos. Without his affection, understanding and, above all, stoic patience this long journey would not have come to an end. ABSTRACT Time is assigned a central place in Pindar's Epinicians. The overriding concern of encomiastic poetry is to confer immortality on the victor's name, his family and city, and Pindar constantly emphasizesthe need to transcend the fragmented and transient human chronos and inscribe the athletic victory on the complete and eternal chronos of the gods. In addition to this, however, Pindar also seeks to transform the performance per se into a unique experience for his audience; on the one hand, his song unveils and manifests the divine plan that lies behind the phenomenological contingency of human temporality, on the other, it serves to collapse past, present, and future thus transforming the performative `here and now' into an `eternal present'. The thesis examines the means by which both the metaphorical `immortalization' of the laudandus and the collapse of the three temporal dimensions are achieved, taking a close look at the various `times' we come across in Pindar's poetic oeuvre: cosmic, human, historical, narrative, generic, prophetic and performance time. How does Pindar represent chronos? What is the place of `human temporality' in relation to `superior' modes of existence? What is Pindar's vision of history? How does he reconstruct the past and why? What temporality does his narrative serve to set up and how does this relate to his view of time and the temporality of the lyric genre? How do prophecies work in the Epinicians? How does the performance affect the audience's experience of time? These are some of the questions that this thesis will attempt to explore and discuss. As will become clear, throughout his poetry Pindar is concerned not only to underline his poetry's role in the preservation and dissemination of a victor's kleos but also to present himself as a maitre du temps. AUTHOR'S DECLARATION I declare that the work in this dissertation was carried out in accordance with the Regulations of the University of Bristol. The work is original, except where indicated by special reference in the text, and no part of the dissertation has been submitted for any other academic award. Any views expressedin the dissertation are those of the author. SIGNED:.. DATE:.... Rý. ý.O/1, . aP... ........................... ý00ý TABLE OF OF CONTENTS ABBREVIATIONS III ........................................................................................................................................ NOTE ON CONVENTIONS IV ........................................................................................................................ INTRODUCTION 1 ............................................................................................................................................ CHAPTER 1: PRESENTATION OF TIME IN PINDAR 5 ............................................................................ 1.1 CHRONOS 5 ............................................................................................................................. 1.2 A1oN 16 .................................................................................................................................. 1.3 KAIROS 22 ............................................................................................................................... 1.4 CRITICALDISCUSSION 29 ....................................................................................................... 1.5 CONCLUSION 36 ..................................................................................................................... CHAPTER 2: HUMAN AND OTHER TEMPORALITIES 38 ....................................................................... 2.1 HUMAN TEMPORALITY: EARTH 38 ......................................................................................... 2.2 HYPERBOREAN TEMPORALITY: ISTRIAN LAND 44 .................................................................. 2.3 AFTERLIFE TEMPORALITY: UNDERWORLD AND ISLE OF THE BLESSED 47 .............................. 2.4 DIVINE TEMPORALITY: OLYMPOS 53 ..................................................................................... 2.5 CONCLUSION 55 ..................................................................................................................... CHAPTER 3: THE VISION OF THE PAST 59 ............................................................................................... 3.1 MYTH HISTORY 59 AND ......................................................................................................... 3.2 TIME-RECKONING AND RELATIVE CHRONOLOGY 63 ............................................................. 3.3 DEPTH OF PAST, LINEAR AND CYCLICAL TIME 67 THE ........................................................... 3.4 HISTORICAL CAUSATION 75 ................................................................................................... 3.5 CONCLUSION 81 ..................................................................................................................... CHAPTER 4: NARRATING THE PAST: MUSES AND TRADITION 83 ................................................... 4.1 MUSES HOMER HESIOD 83 IN AND ......................................................................................... 4.1.1 Homer 83 .......................................................................................................................... 4.1.2 Hesiod 87 .......................................................................................................................... 4.2 MUSES IN PINDAR 89 .............................................................................................................. 4.3 TRADITION PINDAR 98 IN ....................................................................................................... 4.3.1 Appeals to Tradition in Other Genres 100 ........................................................................ 4.3.2 Oral Tradition Authoritative Source 102 as an ................................................................ 4.3.3 Local Familial Myths 103 and .........................................................................................
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