Alexandra Schultz Department of the Classics, Harvard University 204 Boylston Hall, Cambridge, MA 02138 [email protected]

Total Page:16

File Type:pdf, Size:1020Kb

Alexandra Schultz Department of the Classics, Harvard University 204 Boylston Hall, Cambridge, MA 02138 Alexandraschultz@G.Harvard.Edu Alexandra Schultz Department of the Classics, Harvard University 204 Boylston Hall, Cambridge, MA 02138 [email protected] EDUCATION Harvard University, Cambridge, MA PhD in Classical Philology, 2014–expected May 2021 Dissertation: “Imagined Histories: Hellenistic Libraries and the Idea of Greece” Committee: Paul Kosmin (co-chair), Richard Thomas (co-chair), Ann Blair, Johanna Hanink Special exam fields: Euripides (distinction), Ovid (distinction), Ancient Libraries (distinction) University of Oxford, Christ Church, Oxford, UK MSt in Greek and Latin Languages and Literature, distinction, 2012 Dissertation: “A Selection of Edited Literary and Documentary Papyri from Oxyrhynchus” Coursework: Papyrology, Ancient Comedy, Comparative Philology Brown University, Providence, RI BA in Classics and Computer Science, magna cum laude, Phi Beta Kappa, 2011 RESEARCH AND TEACHING INTERESTS Greek literature (especially lyric and drama), Latin epic and elegy, Cultural and intellectual history (especially ancient scholarship and book culture), Feminist theory, Papyrology, Language pedagogy PUBLICATIONS “Language and Agency in Sappho’s Brothers Poem” (13,000 words), forthcoming in Helios Winner of the 2020 John J. Winkler Memorial Prize Two additional literary fragments and a private loan contract, forthcoming in The Oxyrhynchus Papyri "P. Oxy. 5272. Epictetus, Discourses 2.17.22–24." The Oxyrhynchus Papyri 81: 73–74. 2016. "P. Oxy. 5273. Epictetus, Discourses 2.22.37–23.1." The Oxyrhynchus Papyri 81: 74–76. 2016. SELECT FELLOWSHIPS AND AWARDS Dissertation Completion Fellowship, Harvard University 2020–2021 John J. Winkler Memorial Prize 2020 Merit and Term-time Research Fellowship, Harvard University 2019–2020 Harvard Horizons Scholar 2019 Jens Aubrey Westengard Fund for Research and Study, Harvard University 2019 Graduate Student Council Conference Grant, Harvard University 2019 Center for Jewish Studies Graduate Summer Research Fellowship, Harvard University 2018, 2019 Charles P. Segal Fellowship for Research and Travel, Harvard University 2016, 2017, 2019 Summer School Tuition Fellowship, Harvard University 2015 US-UK Fulbright Scholar 2011–2012 Alexandra Schultz CV, pg. 2 CONFERENCE PRESENTATIONS “Libraries in Stone: Book Lists and Literary Identity in the Late Hellenistic Polis," MATERIA III: New Approaches to Material Text in the Ancient World, New York, NY, April 2019. “Graphic Order from Alpha to Omega: Alphabetization in Hellenistic Inscriptions,” AIA/SCS Annual Meeting, San Diego, CA, January 2019. “The Alexandrian Mouseion in the Third Century and the Anatomy of an Institution,” Harvard- Princeton Graduate Conference in Early Modern History, Cambridge, MA, February 2018. “Reading between the Brothers in Sappho’s ‘Brothers Poem,’” SCS Annual Meeting, Toronto, January 2017. “The Great Mouseion: Third Century Alexandria and Ptolemaic Cultural Policy,” Cupis volitare per auras: Books, libraries and textual transmission from the ancient to the medieval world, Bari, October 2016. PUBLIC LECTURES “Imagined Histories: Hellenistic Libraries and the Idea of Greece,” Harvard Horizons Symposium, April 2019 (link to talk: https://youtu.be/Jg0BxdxGu9U). WORKSHOP PRESENTATIONS “The Science of Lists and the History of Science in Early Modern Europe,” Information in the Early Modern World, Harvard University, July 2020. “Non-traditional assignments and classroom activities,” Classics Teaching Colloquium, Harvard University, February 2020. “Religious Institutions, Secular Libraries?,” Dynamics of Religion and Religious Space, Harvard University, April 2019. “What is ‘literature’?,” Literary Theory Reading Group, Harvard University, March 2019. “Hellenistic Intellectual Institutions and the Invention of Greek Literature,” East Mediterranean and West Asian Connections, Harvard University, November 2017. “Hellenistic Libraries and their Origins, Real and Fictitious,” Memories of Kingship in the Hellenistic World, Harvard University, April 2015. TEACHING AWARDS Commendation for Extraordinary Teaching in Extraordinary Times, Harvard University 2020 Derek Bok Center Certificate of Distinction in Teaching, Harvard University 2016, 2017, 2018, 2019 ABLConnect Teaching Innovator Prize, Harvard University 2018 (link to interview: https://ablconnect.harvard.edu/book/paper-outline-workshop) Alexandra Schultz CV, pg. 3 TEACHING EXPERIENCE Harvard University, Cambridge, MA As course designer/instructor of record: Books and Libraries in the Greco-Roman World, Spring 2018 Introduction to Ancient Greek Literature, Fall 2017 Beginning Greek, Fall 2016 As teaching fellow/section leader: Ancient Greek Warfare, Spring 2020 (remote instruction March-May 2020) Virgil’s Iliadic Aeneid, Spring 2020 (remote instruction March-May 2020) History of Latin Literature I, Spring 2019 Introduction to the Ancient Greek World, Fall 2018 The Construction of Gender and Sexuality in Ancient Greece, Fall 2017 Brown University, Providence, RI As teaching assistant for Computer Science Department: Introduction to Programming and Computer Science, Introduction to Algorithms and Data Structures, Introduction to Computer Systems, Introduction to Software Engineering, 2009-2011 INVITED GUEST TEACHING “Tools and Methods: Papyri and Manuscripts,” in Introduction to the Ancient Roman World (taught by Harry Morgan), Harvard University, March 2020. “The Forms of the Book: Tablets, Scrolls, Rolls, and Codices,” in Harvard’s Greatest Hits: The Most Important, Rarest, and Most Valuable Books in Houghton Library (taught by David Stern), Harvard University, September 2018. CONFERENCES/WORKSHOPS HOSTED OR ORGANIZED As co-organizer: “Eos READS for Black Lives,” Harvard Classics Department, September 2020 As co-organizer: “Local and global: the literary landscape and the politics of place in the Hellenistic world,” Harvard Classics graduate conference, March 2018 As chair of panel: “The Sense(s) of History: Apocalyptic Literature and Its Temporalities,” Harvard Divinity School, November 2017 ACADEMIC SERVICE AND EXPERIENCE Graduate Student Representative on Committee for Diversity, Inclusion, and Anti-Racism, Harvard Classics Department, 2020–present Participant in Digital Humanities Vase-Imaging Project, Harvard University, 2020–present Visiting Graduate Student at St. John’s College, University of Cambridge, 2019 Co-organizer of Harvard Classics Works in Progress, 2017–2019 Founder and organizer of Homer reading group, Harvard University, 2015–2019 Member of Book History and Early Modern European Intellectual/Cultural History Seminars, Harvard University, 2017–2018 Copy editor for Harvard Studies in Classical Philology, 2017 Alexandra Schultz CV, pg. 4 WORK EXPERIENCE Microsoft Corporation, Software Development Engineer, 2012–2014 Microsoft Corporation, Software Development Engineer Intern, 2010 LANGUAGES Ancient Greek, Latin, French, German, Italian (reading only), Modern Greek (intermediate), Korean REFERENCES Paul J. Kosmin Philip J. King Professor of Ancient History Harvard University, Department of Classics [email protected] Richard F. Thomas George Martin Lane Professor of the Classics Harvard University, Department of Classics [email protected] Ann Blair Carl H. Pforzheimer University Professor Harvard University, Department of History [email protected] Johanna Hanink Associate Professor of Classics Brown University, Department of Classics [email protected] .
Recommended publications
  • The Newest Sappho: P. Sapph. Obbink and P. GC Inv. 105, Frs. 1–4 Mnemosyne Supplements Monographs on Greek and Latin Language and Literature
    The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, frs. 1–4 Mnemosyne Supplements monographs on greek and latin language and literature Executive Editor G.J. Boter (vu University Amsterdam) Editorial Board A. Chaniotis (Oxford) K.M. Coleman (Harvard) I.J.F. de Jong (University of Amsterdam) T. Reinhardt (Oxford) volume 392 The titles published in this series are listed at brill.com/mns The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, frs. 1–4 Studies in Archaic and Classical Greek Song, vol. 2 Edited by Anton Bierl André Lardinois leiden | boston This is an open access title distributed under the terms of the Creative Commons Attribution-Noncommercial 3.0 Unported (cc-by-nc 3.0) License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Library of Congress Cataloging-in-Publication Data Names: Bierl, Anton, 1960- editor. | Lardinois, A. P. M. H., editor. Title: The newest Sappho (P. Sapph. Obbink and P. GC inv. 105, frs. 1-4) : studies in archaic and classical Greek song, vol. 2 / edited by Anton Bierl, Andre Lardinois. Other titles: Studies in archaic and classical Greek song, vol. 2 | Mnemosyne, bibliotheca classica Batava. Supplementum ; v. 392. Description: Leiden ; Boston : Brill, 2016. | Series: Mnemosyne. Supplements ; volume 392 | Includes bibliographical references and index. Identifiers: LCCN 2016005748 (print) | LCCN 2016006766 (ebook) | ISBN 9789004311626 (hardback : alk. paper) | ISBN 9789004314832 (e-book) Subjects: LCSH: Sappho–Manuscripts. | Greek poetry–Manuscripts. Classification: LCC PA4409 .N494 2016 (print) | LCC PA4409 (ebook) | DDC 884/.01–dc23 LC record available at http://lccn.loc.gov/2016005748 Want or need Open Access? Brill Open offers you the choice to make your research freely accessible online in exchange for a publication charge.
    [Show full text]
  • Herodotus, the Old Sappho and the Newest Sappho Giulia Donelli University of Bristol, UK
    e-ISSN 2724-1564 Lexis Num. 39 (n.s.) – Giugno 2021 – Fasc. 1 Herodotus, the Old Sappho and the Newest Sappho Giulia Donelli University of Bristol, UK Abstract This paper focuses on Herodotus’ mention of Sappho in the Histories (2.134-5). Through the analysis of some of the extant sources on the involvement of her brother Charaxus with the hetaira Doricha/Rhodopis, it advances an interpretation of Sappho’s fr. 55 V as relevant to the affair. It then draws attention to Herodotus’ descrip- tion of courtesans, in the same context, with the poetic term ἀοίδιμος. The adjective occurs only once in Homer, in the self-deprecating words that Helen speaks to Hector (Il. 6.354-8). Such Homeric echo might be understood as triggering an allusion to Sappho’s own treatment of Helen in fr. 16 V: Helen’s behaviour in that poem in fact closely matches no one other’s than Charaxus’ own. The possibility that Herodotus might be engaging with more than one Sapphic poem in this context finds a parallel in his engagement with Pindar’s poetry in 3.38, where, it has been argued, he ‘contaminates’ two distinct Pin- daric intertexts (frr. 169a and 215 S.-M.). The contamination of thematically linked poems might in turn suggest, in both cases, sympotic reperformances as possible contexts for Herodotus’ reception of Greek lyric poetry. Keywords Herodotus. Sappho. Rhodopis. Homer. Pindar. Summary 1 Introduction. – 2 Herodotus’ Version (2.134-5): Rhodopis, Aesop, Charaxus and Sappho. – 3 Doricha: Ancient Sources, Modern Readings. – 4 Homer’s Helen, Sappho’s Helen and Herodotus’ Hetairai.
    [Show full text]
  • Pindar, Sappho, and Alexandrian Editions Enrico Emanuele Prodi
    Text as Paratext: Pindar, Sappho, and Alexandrian Editions Enrico Emanuele Prodi HAT LITTLE SURVIVES of the archaic Greek lyricists has come down to us as bare text, shorn of music, Wdance, location, ambience, occasion, ceremony.1 Our texts ultimately go back to Alexandria and the late third century B.C., when the scholars of the Museum compiled what were to become the canonical editions of those poets; and what those editions preserved and enabled to circulate anew throughout the Greek-speaking world were written words alone. But that from sung spectacle to written text, from body and voice to papyrus and ink, was not the only change of state to which lyric poetry was subjected between the archaic and the Hellenistic age. Another, equally momentous transforma- tion took place: individual compositions which were originally independent of, and unrelated to, one another became joined together in a fixed sequence as constituents of a larger unit, the book.2 Lyric was not the only kind of poetry that was affected by this 1 Fragments of Pindar are cited from Snell-Maehler, fragments of Sappho and Alcaeus from Voigt. All translations are my own. 2 G. O. Hutchinson, “Doing Things with Books,” Talking Books: Readings in Hellenistic and Roman Books of Poetry (Oxford 2008) 1–2, cf. 4–15. On ancient poetry books see also J. van Sickle, “The Book-Roll and Some Conventions of the Poetic Book,” Arethusa 13 (1980) 5–42. The interrelation between Pindaric song and the materiality of the book is now the subject of T. Phillips, Pindar’s Library: Performance Poetry and Material Texts (Oxford 2016), a volume I was regrettably unable to consult until rather late in the composition of the present article.
    [Show full text]
  • Sensual Sappho by Edith Hall | the New York Review of Books
    4/24/2015 Sensual Sappho by Edith Hall | The New York Review of Books Font Size: A A A Sensual Sappho Edith Hall MAY 7, 2015 ISSUE Sappho: A New Translation of the Complete Works translated from the ancient Greek by Diane J. Rayor, with an introduction and notes by André Lardinois Cambridge University Press, 173 pp., $70.00 http://www.nybooks.com/articles/archives/2015/may/07/sensual­sappho/?pagination=false&printpage=true 1/13 4/24/2015 Sensual Sappho by Edith Hall | The New York Review of Books National Archaeological Museum, Naples Portrait of a young woman often identified as Sappho; fresco, Pompeii, first century CE In about 300 BC, a doctor was summoned to diagnose the illness afflicting Antiochus, crown prince of the Seleucid empire in Syria. The young man’s symptoms included a faltering voice, burning sensations, a racing pulse, fainting, and pallor. In his biography of Antiochus’ father, Seleucus I, Plutarch reports that the symptoms manifested themselves only when Antiochus’ young stepmother Stratonice was in the room. The doctor was therefore able to diagnose the youth’s malady as an infatuation with her. The cause of the illness was clearly erotic, because the symptoms were “as described by Sappho.” The solution was simple: Antiochus’ father divorced Stratonice and let his son marry her instead. http://www.nybooks.com/articles/archives/2015/may/07/sensual­sappho/?pagination=false&printpage=true 2/13 4/24/2015 Sensual Sappho by Edith Hall | The New York Review of Books Plutarch’s story invites us to wonder if the relationship between Sappho and erotic symptoms is entirely straightforward.
    [Show full text]
  • New Sappho” and “Newest Sappho”
    The Study of Historical and Philological Papyrology: Case Studies “New Sappho” and “Newest Sappho” A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba In partial fulfillment of the requirements of the degree of MASTER OF ARTS Department of Classics University of Manitoba Winnipeg, Manitoba Copyright © 2018 by Bianca Lysette Claudio Abstract This thesis investigates how a recently discovered papyrus fragment is analyzed by examining closely two new Sappho papyri found within the last decade, known as the “Newest Sappho” and “New Sappho” respectively. The former consists of a set of fragments discovered in 2014 by Dirk Obbink which contains both the Brothers Song and Kypris Song; the latter denotes another set of fragments including the Tithonus Song, published by Martin Gronewald and Robert Daniel in 2004. The investigation of the new discoveries will be divided into two case studies: the first will be focused on the P. Sapph. Obbink fragment and its Brothers Song, exploring the possibility that the Brothers Song is not necessarily Sappho’s work, but rather an example of an ancient imitation. The second case study will be focused on Sappho’s Tithonus Song, as preserved in P.Köln. inv. 21351+21376. My investigation for this section will proceed first by identifying the actual length of the Tithonus Song – examining where the poem begins and where it ends, and continue by addressing how Sappho interprets old age in her poem. Each of the two case studies will be divided further into two methodologies – a papyrological and philological approach – which will govern my analysis, addressing certain problems and issues that are unique to each find.
    [Show full text]
  • Larichos in the Brothers Poem: Sappho Speaks Truth to the Wine-Pourer
    chapter 12 Larichos in the Brothers Poem: Sappho Speaks Truth to the Wine-Pourer Eva Stehle We now have a new poem by Sappho on the subject of her brothers, previ- ously attested only by two fragmentary poems and several testimonia.1 The testimonia report that Sappho mocked the first brother, Charaxos, a merchant sailor, for spending his earnings to free a courtesan named Rhodopis or Doricha and that she praised the second, Larichos, who poured wine at the town-hall of Mytilene.2 The new poem mentions both brothers, but not for the specific activities that the testimonia describe. It therefore gives substance to the idea that there was a series of ‘brothers poems’ involving Charaxos and Larichos.3 It also opens a window on familial gender dynamics from a woman’s perspective. This is an exciting new aspect of Sappho’s poetry. The first question is whether we should read the poem biographically: did Sappho compose this poem as her response to an actual situation at a par- ticular moment? Our approach to reading the poem depends on the answer. Since Charaxos in this poem is like the merchant seaman in Herodotus and the ‘brother’ in poem 5 whose return is envisioned—and since he has no recorded activities apart from coming home after trading abroad (and buying a courte- san’s freedom)—he seems to be a type.4 His role reflects what must have been 1 I want especially to thank Dirk Obbink not only for bringing us these papyri but also for patiently answering my questions about them.
    [Show full text]
  • Preliminary Version: to Appear in ZPE 189 (2014) Two New Poems By
    Preliminary Version: to appear in ZPE 189 (2014) Two New Poems by Sappho Dirk Obbink, Christ Church Oxford The recorded reception of Sappho begins with Herodotus. At 2.135 he documents a song (ἐν µέλεϊ) in which Sappho criticized her brother Charaxos or his mistress. A trader in Lesbian wines, he conceived a violent passion for a notorious courtesan, then a slave at Naukratis, sailed to Egypt, ransomed her at a great price, at which Sappho gave vent to her indignation in a song. Herodotus’ account is re-told, with variations and corrections by several later authors.1 Charaxos, if we may believe Ovid, took no less offense, turned back to sea, rejecting all Sappho’s assiduous advice and pious prayers. Grenfell and Hunt, in the first non-theological (i.e. non-biblical) papyrus published by them from Oxyrhynchus, thought they had identified part of a related poem, Sa. 5 (P. Oxy. 7), and later made a similar link with what we now call Sa. 15 (P. Oxy. 1231 fr. 1 i 1-12 + fr. 3)—although neither text names Charaxos, nor is it even certain that the ‘brother’ or ‘sister’ now certainly mentioned Sa. 5 are Charaxos or Sappho respectively. The very existence of Charaxos and his lover in Sappho’s poetry has been doubted by many scholars. The earliest author to mention Charaxos, after Herodotus, is Posidippus in a third century BC epigram (XVII Gow-Page = 122 Austin-Bastianini), who describes Sappho’s poetry as showing both Charaxos and girlfriend (there already called Doricha) in a benign light, notwithstanding an element of irony, which is as uncertain as it is untrustworthy; then Ovid.
    [Show full text]
  • Sappho As Aphrodite's Singer, Poet, and Hero(Ine)
    chapter 15 Sappho as Aphrodite’s Singer, Poet, and Hero(ine): The Reconstruction of the Context and Sense of the Kypris Song Anton Bierl In my contribution on the Brothers Song (chapter 14) I have already dealt with its relation to the second entirely newly discovered text, i.e. the Kypris Song.1 The new papyrus reproduces the structure of the Alexandrian edition of Sappho’ poetry arranged according to the principle of meter and internally in the alphabetical order. Despite their direct vicinity, both songs, set in Sapphic stanzas, beginning with words featuring the letter π, and assembled in the famous Book One of the Alexandrian scholarly edition, will hardly ever have been performed in sequence. However, it is theoretically possible that at some point in time they were sung together, especially if both songs were originally performed chorally at Messon. Particularly in later reperformances at the Pan- Lesbian sanctuary, mythopoetic songs about the family could be alternated with song expressing the sufferings of love and the prayer to find relief through Aphrodite or other deities. Even later reperformances could have put both songs together for a monodic delivery by a female singer in the symposium as well, both songs assuming a new meaning. The Brothers Song will have been read now as a biographical statement and the Kypris Song as a lyric, almost romantic outcry about the abyss of passion and love experienced by an individual, normally understood as the single poetess Sappho embedded in the specific historical context of Mytilene, with family and personal friends. A Hellenistic papyrus can even mirror a direct performance context and its new practice of putting together songs on the basis of thematic associations.
    [Show full text]
  • Innovation and Experimentation in the Victory Odes of Pindar and Bacchylides
    Emergent Genre: Innovation and Experimentation in the Victory Odes of Pindar and Bacchylides By Christopher J Waldo A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Leslie Kurke Professor Mark Griffith Professor James Porter Professor Mario Telò Spring 2019 @ Christopher J Waldo May 2019 Abstract Emergent Genre: Innovation and Experimentation in the Victory Odes of Pindar and Bacchylides by Christopher J Waldo Doctor of Philosophy in Classics University of California, Berkeley Professor Leslie Kurke, Chair This dissertation argues that the victory ode was a genre characterized by formal innovation and experimentation. While much scholarship over the last half century has stressed the existence of rhetorical continuities between the victory ode and other genres of Greek poetry, I emphasize the ways in which these poems set themselves apart. The victory ode came into being late in the life of archaic Greek poetry, and there may have been initial uncertainty on the part of both poets and their patrons as to the generic expectations of these commissions. Examining the surviving victory odes of Pindar and Bacchylides, I explore the innovative and experimental formal approaches employed by the poets to meet the demands of an emergent genre. The first chapter discusses the victory ode’s presentation of itself as transgressive. Pindar and Bacchylides often bring their mythological accounts to a close with statements marking them as inappropriate. I contend that these moments, rather than representing genuine confessions of transgression, serve to define the boundaries of the genre.
    [Show full text]
  • Gendered Spheres and Mythic Models in Sappho's Brothers Poem
    chapter 11 Gendered Spheres and Mythic Models in Sappho’s Brothers Poem Leslie Kurke What is striking to me about the newest Sappho, the Brothers Poem, is its com- plex combination or interpenetration of two levels or spheres.1 For here, we find the quotidian—we might even say, a view ‘behind the scenes’—progressively infused with mythic models or resonances. We see something of the same inter- penetration of the individual with the divine or with epic or mythic resonances in several of Sappho’s love poems. Thus Sappho fr. 1 combines an individual’s love travails with an epiphany of Aphrodite and distinctive Homeric echoes to expand the poem’s significance, while Sappho fr. 16 weaves together the indi- vidual’s longing for Anactoria with the mythic exemplum of Helen and the vast perspective of the serried ranks of Lydian cavalry and foot soldiers.2 Even in Sappho fr. 31, if we accept Jack Winkler’s reading, the poem’s progressive shift inward and anatomization of the ego’s physical symptoms is deftly interwo- ven with echoes of Odysseus’ first encounter with Nausicaa in Odyssey Book 6.3 Still, the quality of the quotidian or behind-the-scenes view is not represented in these poems to the same degree; it is perhaps something that distinguishes Sappho’s poems about family, politics, and day-to-day life in Mytilene. To get at these two levels or aspects within the poem, I will consider sep- arately (1) gendered spheres, and then (2) epic or mythic models, along the way in each part paying careful attention to the structure and movement of the song.
    [Show full text]
  • Sappho As Aphrodite's Singer, Poet, and Hero(Ine): the Reconstruction
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by edoc chapter 15 Sappho as Aphrodite’s Singer, Poet, and Hero(ine): The Reconstruction of the Context and Sense of the Kypris Song Anton Bierl In my contribution on the Brothers Song (chapter 14) I have already dealt with its relation to the second entirely newly discovered text, i.e. the Kypris Song.1 The new papyrus reproduces the structure of the Alexandrian edition of Sappho’ poetry arranged according to the principle of meter and internally in the alphabetical order. Despite their direct vicinity, both songs, set in Sapphic stanzas, beginning with words featuring the letter π, and assembled in the famous Book One of the Alexandrian scholarly edition, will hardly ever have been performed in sequence. However, it is theoretically possible that at some point in time they were sung together, especially if both songs were originally performed chorally at Messon. Particularly in later reperformances at the Pan- Lesbian sanctuary, mythopoetic songs about the family could be alternated with song expressing the sufferings of love and the prayer to find relief through Aphrodite or other deities. Even later reperformances could have put both songs together for a monodic delivery by a female singer in the symposium as well, both songs assuming a new meaning. The Brothers Song will have been read now as a biographical statement and the Kypris Song as a lyric, almost romantic outcry about the abyss of passion and love experienced by an individual, normally understood as the single poetess Sappho embedded in the specific historical context of Mytilene, with family and personal friends.
    [Show full text]
  • Download: Brill.Com/Brill-Typeface
    The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, frs. 1–4 Mnemosyne Supplements monographs on greek and latin language and literature Executive Editor G.J. Boter (vu University Amsterdam) Editorial Board A. Chaniotis (Oxford) K.M. Coleman (Harvard) I.J.F. de Jong (University of Amsterdam) T. Reinhardt (Oxford) volume 392 The titles published in this series are listed at brill.com/mns The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, frs. 1–4 Studies in Archaic and Classical Greek Song, vol. 2 Edited by Anton Bierl André Lardinois leiden | boston This is an open access title distributed under the terms of the Creative Commons Attribution-Noncommercial 3.0 Unported (cc-by-nc 3.0) License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Library of Congress Cataloging-in-Publication Data Names: Bierl, Anton, 1960- editor. | Lardinois, A. P. M. H., editor. Title: The newest Sappho (P. Sapph. Obbink and P. GC inv. 105, frs. 1-4) : studies in archaic and classical Greek song, vol. 2 / edited by Anton Bierl, Andre Lardinois. Other titles: Studies in archaic and classical Greek song, vol. 2 | Mnemosyne, bibliotheca classica Batava. Supplementum ; v. 392. Description: Leiden ; Boston : Brill, 2016. | Series: Mnemosyne. Supplements ; volume 392 | Includes bibliographical references and index. Identifiers: LCCN 2016005748 (print) | LCCN 2016006766 (ebook) | ISBN 9789004311626 (hardback : alk. paper) | ISBN 9789004314832 (e-book) Subjects: LCSH: Sappho–Manuscripts. | Greek poetry–Manuscripts. Classification: LCC PA4409 .N494 2016 (print) | LCC PA4409 (ebook) | DDC 884/.01–dc23 LC record available at http://lccn.loc.gov/2016005748 Want or need Open Access? Brill Open offers you the choice to make your research freely accessible online in exchange for a publication charge.
    [Show full text]