David Fearn is Reader in Greek Literature at the University of Warwick. His research focuses on the poetics, aesthetics, and the socio-political contextualization and reception of archaic and classical Greek literature, and of lyric poetry in particular, though he is also interested in classical historiography, rhetoric, and ancient aesthetics more broadly. His first book, Bacchylides: Politics, Performance, Poetic Tradition (OUP, 2007), sought to rehabilitate the reputation of this underappreciated poet. He has also edited a collection of essays entitled Aegina: Contexts for Choral Lyric Poetry. Myth, History, and Identity in the Fifth Century BC (OUP, 2011) discussing the interrelation of poetry and culture on the Greek island of Aegina.

The engagement with Pindaric scholarship is thorough, often explained in lengthy footnotes. The readings derive from sound translations, arguments and interpretations, whatever will be thought of particular points. More importantly, these readings are exciting because they push our approach to Pindar beyond the rehash of scholarly quagmires and current trends. In many ways, these studies offer great value, individually and as a whole, that strives toward a new, art-historically informed approach to Pindar in which meaning derives from the poetics.

• FRONTMATTER; ENDMATTER

David Fearn is Reader in Greek Literature at the University of Warwick. His research focuses on the poetics, aesthetics, and the socio-political contextualization and reception of archaic and classical Greek literature, and of lyric poetry in particular, though he is also interested in classical historiography, rhetoric, and ancient aesthetics more broadly. His first book, Bacchylides: Politics, Performance, Poetic Tradition (OUP, 2007), sought to rehabilitate the reputation of this underappreciated poet. He has also edited a collection of essays entitled Aegina: Contexts for Choral Lyric Poetry. Myth, History, and Identity in the Fifth Century BC (OUP, 2011) discussing the interrelation of poetry and culture on the Greek island of Aegina.

The engagement with Pindaric scholarship is thorough, often explained in lengthy footnotes. The readings derive from sound translations, arguments and interpretations, whatever will be thought of particular points. More importantly, these readings are exciting because they push our approach to Pindar beyond the rehash of scholarly quagmires and current trends. In many ways, these studies offer great value, individually and as a whole, that strives toward a new, art-historically informed approach to Pindar in which meaning derives from the poetics.

• FRONTMATTER; ENDMATTER