Anne Pippin Burnett
Datos Biográficos
| ID | 1192551 |
|---|---|
| NOMBRE | Anne Pippin Burnett |
| NOMBRES | Anne Pippin |
| APELLIDO | Burnett |
| FIRMA | BURNETT A P |
| AFILIACIONES | Formerly Professor Emerita, Classics, University of Chicago |
| VERIFICADO | No |
| TOTAL DE OBRAS | 37 |
| TOTAL DE CITAS | 72 |
| TOTAL COMO AUTOR | 37 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1961 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2023 |
| ÍNDICE H | 6 |
Revenge in Attic and Later Tragedy
Cassius Dio
This volume offers an introduction to the life and work of the 3rd-century-AD Greco-Roman senator and historian Cassius Dio, whose work, although imperfectly preserved in 80 books, is of fundamental importance to our understanding of Roman history. It is said that Dio is not one of the best ancient historians and his Roman history, due to its sheer size, is often imprecise and superficial in its analysis. It has also been assumed that there was n…
Xenophon
This book offers a concise introduction to Xenophon, the Athenian historian, political thinker, moral philosopher and literary innovator who was also a pupil of Socrates, a military general on campaign in Persia, and an exile in residence in the Peloponnese during the late fifth and fourth centuries BC. Alive during one of the most turbulent periods in Greek history, Xenophon wrote extensively about the past and present. In doing so he not only i…
Brothels, Boys, and the Athenian Adonia
Why Athenian women annually joined with prostitutes in a disorderly celebration of Adonis, and why Athenian men tolerated their excesses, are questions that have never been satisfactorily answered. The argument of this paper is that the women found, in this imported cult, a ritualized expression of their concern for sons who left them to enter the world of active heterosexuality. Youths of 17 or 18 years, banished from the women's quarters throug…
The Pediments of the Aphaia Temple
The lords of Aigina engaged in an act of mythic manipulation that was grandiose, arrogant, and antagonistic to Athens, in which the exploited Aiakids were not small cult statues but enormous pieces of sculpture, and they were not sent abroad but conspicuously hoisted up during the construction of an imposing local building. This was the new temple of Aphaia, put up in the 490s at the north-eastern tip of the island, on the site of an older temple…
Nemean 4
Composed by Pindar about a decade after Nemean 5, Nemean 4 once again takes Peleus as the figure through whom a victorious boy may discover his new identity. It was made for Timasarchos, a young man who has won in wrestling contests in Athens and Thebes as well as at Nemea, having been coached in this most devious of Greek sports by the famous trainer, Melesias. Timasarchos' prizes have been brought back to his grandfather, Euphanes, who celebrat…
Olympian 8
Olympian 8 is the only Aiginetan ode by Pindar that celebrates an Olympic victory. In 460 BC, Alkimedon, a boy of the Blepsiad tribe, sailed round the Peloponnese, probably in the company of his trainer, and after a month's preparation at Pisa, defeated all his opponents in the wrestling ring in the Olympics. Through this rare triumph, Zeus ‘exalted’ the boy's city and his tribe, the elder generations of which had also known major victories. Olym…
Pythian 8
According to ancient scholars, Pythian 8 was performed in 446 BC, shortly before Pindar's death. Pythian 8 is the first Pindaric ode known to have been performed on Aigina since the island lost its freedom to Athens. A system of five triads produces a cleanly marked sequence of invocation, turn towards Aigina and victor, mimesis of mythic episode, prayerful precaution, and direct praise, but in every part there are anomalies and innovations. Here…
Afternote
Pindar meant that his odes for the young athletes of Aigina should bring audiences into the state of healing jollity that he called Euphrosyna. As distinct from the symposium, a victory celebration had a further and more complex aim, for the choral performance was meant to present the victor with his own triumph rendered imperishable, while it also offered that same permanent glory to his neighbours and friends. The audience, in all eleven odes, …
Nemean 6
This chapter analyses Nemean 6, an ode by Pindar which is unlike any of the other Aiginetan songs because it is performed to honour, not just one victor or even a pair, but five generations of Bassids who have secured a total of twenty-five victories in four major contests. Pindar's approach is seemingly self-contradictory. First he discovers a philosophical stance that recognises no difference between victory and defeat, then uses the traditiona…
Isthmian 5
Isthmian 5, the last ode in the series commissioned by Lampon and written by Pindar, again celebrates the younger son, Phylakidas, probably in 478 BC. Coached by his older brother, Phylakidas has taken another pankratic victory at the Isthmos, but he has evidently not gained the Olympic prize that was publicly prayed for in Isthmian 6. Here, Pindar had two special problems: he had to praise a victor who has so far missed his heart's desire, and h…
Isthmian 8
The special problems Pindar had faced in making an ode for Lampon were intensified when, a few years later, another from Aigina, Telesarchos, commissioned an ode for his son, Kleandros. Isthmian 8 is a celebration of not only the youth, Kleandros, but also of his father's nephew, Nikokles, a victorious athlete who seems to be recently dead. Pindar utilises two key concepts, good hope and freedom, which direct that men should strive to fulfil thei…
Nemean 3
Nemean 3 is a song made by Pindar for Aristokleidas, a young man who competed in pankration. Its peculiarities are both internal and external, for the chorus, now singing and dancing, begins by pretending that it has not yet begun. This is therefore another artful representation of a pre-performance moment, like that found at the opening of Isthmian 8. As it passes from potential into actuality, the ode is pervaded with images which suggest a par…
Isthmian 6
About three years after Pytheas' success, his younger brother, Phylakidas, went to Poseidon's games at the Isthmos and also won the pankration. The ode Isthmian 6 appropriately takes Peleus' younger brother, Telamon, as its Aiakid hero, while its mythic scene is once more a wedding, its topic once more the making of a son stronger than his father, its predominant Aiakid virtue once more an understanding of the laws of hospitality (xenia). This ti…
Nemean 8
Pindar's ode, Nemean 8, was performed to honour an adolescent boy who had chosen his father's event, the double-stade race, and duplicated his father's mainland victory. The song identifies Aigina, not with a despised Ajax, but with an admired Aiakos sought out by all as a panhellenic leader. It calls itself a gift brought to this legendary hero-founder in behalf of the island-city that he loves, a city that enjoys a permanence of god-given bliss…
Nemean 5
This chapter examines Nemean 5, a wedding song and the first surviving ode written by Pindar for an Aiginetan, commissioned by a nobleman named Lampon for his son Pytheas. Lampon takes a close interest in the making of athletes and has hired one of the best teachers of the day, Menander of Athens, to supervise the training of his sons. Now, though not yet fifteen, Pytheas has crossed to Nemea and won in the pankration, a brutal mixture of boxing …
Contest and Coming of Age
The choral songs written by Pindar for the young athletes of Aigina offer a reliable sketch of the island's practice, as it recognised and commemorated an athletic victory. The patrons of the eleven odes for Aigina were not like any of Pindar's other clients, and the victors to be praised show a special quality as well, for in every case the successful athlete was probably more than twelve years old, but not yet eighteen. These boys share a commo…
Nemean 7
In the ode Nemean 7, Pindar ostensibly praises a boy named Sogenes, the first Aiginetan to win the boys' pentathlon at the games held for Zeus at Nemea. It is a highly polished epinician performance on a grand scale, but thanks to a remark made by a Hellenistic commentator it is often read as if Pindar had here indulged in an act of private self-vindication. Nemean 7 ceases to be Pindar's contorted defence of himself and becomes instead an extend…
Aigina and the Aiakids
Pindar's Aiginetan odes were made for the commercial aristocracy of a small, civilised, and very rich island. The commercial success of Aigina attracted the interest of Argos and Epidauros, and for about a century the sea-going lords of Aigina supplied ships and probably tribute to one or the other of the older mainland powers. The storytellers of Aigina began very early to patch together a mythic cloak, a combination of borrowed Aiakid tradition…
Pindar's Songs for Young Athletes of Aigina
This book examines choral performance, audience response, and the poetic means used by Greek lyric poet Pindar to control this response. It consists of individual studies of Pindar's eleven odes for Aiginetan victors, preceded by a brief survey of the history of the island and the nature of its aristocracy. The discussion focuses in particular on questions of mythic self-presentation in Pindar's choral songs, as exemplified by such non-literary e…
Revenge in Attic and Later Tragedy
Spontaneity, Savaging, and Praise in Pindar's Sixth Paean
Soulevant la question de l'occasion rituelle du chant de la sixieme «Epinicide» et de sa relation avec un episode mythique de la septieme «Nemeenne» de Pindare, l'A. defend l'idee selon laquelle l'auto-presentation du choeur de chanteurs et de danseurs au debut du texte ne releve pas de l'autobiographie du poete grec, mais fournit un exemple de convention chorale et de procede poetique appeles fiction de l'arrivee. Soulignant la valeur poetique d…
Revenge in Attic and Later Tragedy
Modern readings of ancient Athenian drama tend to view it as a presentation of social or moral problems, as if ancient drama showed the same realism seen on the present-day stage. Such views are belied by the plays themselves, in which supremely violent actions occur in a legendary time and place distinct both from reality and from the ethics of ordinary life. Offering fresh readings of Attic tragedy, Anne Pippin Burnett urges readers to peel awa…
Signals from the Unconscious in Early Greek Poetry
Performing Pindar's Odes
Pindar's Songs for Young Athletes of Aigina
This book examines choral performance, audience response, and the poetic means used by Greek lyric poet Pindar to control this response. It consists of individual studies of Pindar's eleven odes for Aiginetan victors, preceded by a brief survey of the history of the island and the nature of its aristocracy. The discussion focuses in particular on questions of mythic self-presentation in Pindar's choral songs, as exemplified by such non-literary e…
The Chabrias Monument in the Athenian Agora
Anne Pippin Burnett, Colin N. Edmonson, The Chabrias Monument in the Athenian Agora, Hesperia: The Journal of the American School of Classical Studies at Athens, Vol. 30, No. 1 (Jan. - Mar., 1961), pp. 74-91
Desire and Memory (Sappho Frag. 94)
Performing Pindar's Odes
The Golden Lyre. The Themes of the Greek Lyric Poets
Medea and the Tragedy of Revenge
Pentheus and Dionysus
Three Archaic Poets; Archilochus, Alcaeus, Sappho
Signals from the Unconscious in Early Greek Poetry
The Scrutiny of Song
The Race with the Pleiades
The Chabrias Monument in the Athenian Agora
Anne Pippin Burnett, Colin N. Edmonson, The Chabrias Monument in the Athenian Agora, Hesperia: The Journal of the American School of Classical Studies at Athens, Vol. 30, No. 1 (Jan. - Mar., 1961), pp. 74-91
The Race with the Pleiades
The Virtues of Admetus
Pentheus and Dionysus
Medea and the Tragedy of Revenge
Catastrophe Survived
Trojan Women and the Ganymede Ode
I t is usually said, either with admiration or with regret, that in Trojan Women nothing happens. Desmond Conacher gives this opinion an elegant expression when he speaks of the ‘long passion of the Queen and her women’ which is saved from being a ‘mere sequence of disaster’ by a faint, rhythmic pattern of hope revived and then betrayed again. Others have mentioned with less sympathy the play's ‘unrelieved despair’, and Wilamowitz even proposed t…
Desire and Memory (Sappho Frag. 94)
The Golden Lyre. The Themes of the Greek Lyric Poets
Catastrophe survived
Three Archaic Poets; Archilochus, Alcaeus, Sappho
The Scrutiny of Song
Performing Pindar's Odes
Signals from the Unconscious in Early Greek Poetry
Spontaneity, Savaging, and Praise in Pindar's Sixth Paean
Soulevant la question de l'occasion rituelle du chant de la sixieme «Epinicide» et de sa relation avec un episode mythique de la septieme «Nemeenne» de Pindare, l'A. defend l'idee selon laquelle l'auto-presentation du choeur de chanteurs et de danseurs au debut du texte ne releve pas de l'autobiographie du poete grec, mais fournit un exemple de convention chorale et de procede poetique appeles fiction de l'arrivee. Soulignant la valeur poetique d…
Revenge in Attic and Later Tragedy
Modern readings of ancient Athenian drama tend to view it as a presentation of social or moral problems, as if ancient drama showed the same realism seen on the present-day stage. Such views are belied by the plays themselves, in which supremely violent actions occur in a legendary time and place distinct both from reality and from the ethics of ordinary life. Offering fresh readings of Attic tragedy, Anne Pippin Burnett urges readers to peel awa…
Revenge in Attic and Later Tragedy
The Pediments of the Aphaia Temple
The lords of Aigina engaged in an act of mythic manipulation that was grandiose, arrogant, and antagonistic to Athens, in which the exploited Aiakids were not small cult statues but enormous pieces of sculpture, and they were not sent abroad but conspicuously hoisted up during the construction of an imposing local building. This was the new temple of Aphaia, put up in the 490s at the north-eastern tip of the island, on the site of an older temple…
Nemean 4
Composed by Pindar about a decade after Nemean 5, Nemean 4 once again takes Peleus as the figure through whom a victorious boy may discover his new identity. It was made for Timasarchos, a young man who has won in wrestling contests in Athens and Thebes as well as at Nemea, having been coached in this most devious of Greek sports by the famous trainer, Melesias. Timasarchos' prizes have been brought back to his grandfather, Euphanes, who celebrat…
Olympian 8
Olympian 8 is the only Aiginetan ode by Pindar that celebrates an Olympic victory. In 460 BC, Alkimedon, a boy of the Blepsiad tribe, sailed round the Peloponnese, probably in the company of his trainer, and after a month's preparation at Pisa, defeated all his opponents in the wrestling ring in the Olympics. Through this rare triumph, Zeus ‘exalted’ the boy's city and his tribe, the elder generations of which had also known major victories. Olym…
Pythian 8
According to ancient scholars, Pythian 8 was performed in 446 BC, shortly before Pindar's death. Pythian 8 is the first Pindaric ode known to have been performed on Aigina since the island lost its freedom to Athens. A system of five triads produces a cleanly marked sequence of invocation, turn towards Aigina and victor, mimesis of mythic episode, prayerful precaution, and direct praise, but in every part there are anomalies and innovations. Here…
Afternote
Pindar meant that his odes for the young athletes of Aigina should bring audiences into the state of healing jollity that he called Euphrosyna. As distinct from the symposium, a victory celebration had a further and more complex aim, for the choral performance was meant to present the victor with his own triumph rendered imperishable, while it also offered that same permanent glory to his neighbours and friends. The audience, in all eleven odes, …
Nemean 6
This chapter analyses Nemean 6, an ode by Pindar which is unlike any of the other Aiginetan songs because it is performed to honour, not just one victor or even a pair, but five generations of Bassids who have secured a total of twenty-five victories in four major contests. Pindar's approach is seemingly self-contradictory. First he discovers a philosophical stance that recognises no difference between victory and defeat, then uses the traditiona…
Isthmian 5
Isthmian 5, the last ode in the series commissioned by Lampon and written by Pindar, again celebrates the younger son, Phylakidas, probably in 478 BC. Coached by his older brother, Phylakidas has taken another pankratic victory at the Isthmos, but he has evidently not gained the Olympic prize that was publicly prayed for in Isthmian 6. Here, Pindar had two special problems: he had to praise a victor who has so far missed his heart's desire, and h…
Isthmian 8
The special problems Pindar had faced in making an ode for Lampon were intensified when, a few years later, another from Aigina, Telesarchos, commissioned an ode for his son, Kleandros. Isthmian 8 is a celebration of not only the youth, Kleandros, but also of his father's nephew, Nikokles, a victorious athlete who seems to be recently dead. Pindar utilises two key concepts, good hope and freedom, which direct that men should strive to fulfil thei…
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