David Fearn – författare

Pindar''s Eyes is a ground-breaking interdisciplinary exploration of the interactions between Greek lyric poetry and visual and material culture in the early fifth century BCE. Its aim is to open up analysis of lyric to the wider theme of aesthetic experience in early classical Greece, with particular focus on the poetic mechanisms through which Pindar''s victory odes use visual and material culture to engage their audiences. Complete readings ofNemean 5, Nemean 8, and Pythian 1 reveal the poet''s deep interest in the relations between lyric poetry and commemorative and religious sculpture, as well as other significant visual phenomena, while literary studies of his evocation of cultural attitudes through elaborate use of the lyric first person are combined withart-historical treatments of ecphrasis, of image and text, and of art''s framing of ritual experience in ancient Greece. This specific aesthetic approach is expanded through fresh treatments of Simonides'' and Bacchylides'' own engagements with material culture, as well as an account of Pindaric themes in the Aeginetan logoi of Herodotus'' Histories. These come together to offer not just a novel perspective on the relationship between art and text in Pindaric poetry, but to giverise to new claims about the nature of classical Greek visuality and ritual subjectivity, and to foster a richer understanding of the ways in which classical poetry and art shaped the lives and experiences of their consumers.

Bacchylides: Politics, Performance, Poetic Tradition combines close literary analysis of Bacchylides'' poetry with detailed discussion of the central role poetry played in a variety of differing political contexts throughout Greece in the early fifth century BC. In Bacchylides'' praise poetry, David Fearn argues, the poet manipulates a wide range of earlier Greek literature not only to elevate the status of his wealthy patrons, but also to provoke thoughtabout the nature of political power and aristocratic society. New light is also shed on Bacchylides'' Dithyrambs, through detailed discussion of the evidence for the kuklios khoros (''circular chorus'') and its relation to a variety of different religious festivals, especially within democratic Athens. The linkscreated between literary concerns and cultural contexts reinvigorate these underappreciated poems and reveal their central importance for the self-definition of political communities.

Pindar''s Eyes is a ground-breaking interdisciplinary exploration of the interactions between Greek lyric poetry and visual and material culture in the early fifth century BCE. Its aim is to open up analysis of lyric to the wider theme of aesthetic experience in early classical Greece, with particular focus on the poetic mechanisms through which Pindar''s victory odes use visual and material culture to engage their audiences. Complete readings ofNemean 5, Nemean 8, and Pythian 1 reveal the poet''s deep interest in the relations between lyric poetry and commemorative and religious sculpture, as well as other significant visual phenomena, while literary studies of his evocation of cultural attitudes through elaborate use of the lyric first person are combined withart-historical treatments of ecphrasis, of image and text, and of art''s framing of ritual experience in ancient Greece. This specific aesthetic approach is expanded through fresh treatments of Simonides'' and Bacchylides'' own engagements with material culture, as well as an account of Pindaric themes in the Aeginetan logoi of Herodotus'' Histories. These come together to offer not just a novel perspective on the relationship between art and text in Pindaric poetry, but to giverise to new claims about the nature of classical Greek visuality and ritual subjectivity, and to foster a richer understanding of the ways in which classical poetry and art shaped the lives and experiences of their consumers.

Pindar's Eyes is a ground-breaking interdisciplinary exploration of the interactions between Greek lyric poetry and visual and material culture in the early fifth century BCE. Its aim is to open up analysis of lyric to the wider theme of aesthetic experience in early classical Greece, with particular focus on the poetic mechanisms through which Pindar's victory odes use visual and material culture to engage their audiences. Complete readings of Nemean 5, Nemean 8, and Pythian 1 reveal the poet's deep interest in the relations between lyric poetry and commemorative and religious sculpture, as well as other significant visual phenomena, while literary studies of his evocation of cultural attitudes through elaborate use of the lyric first person are combined with art-historical treatments of ecphrasis, of image and text, and of art's framing of ritual experience in ancient Greece. This specific aesthetic approach is expanded through fresh treatments of Simonides' and Bacchylides' own engagements with material culture, as well as an account of Pindaric themes in the Aeginetan logoi of Herodotus' Histories. These come together to offer not just a novel perspective on the relationship between art and text in Pindaric poetry, but to give rise to new claims about the nature of classical Greek visuality and ritual subjectivity, and to foster a richer understanding of the ways in which classical poetry and art shaped the lives and experiences of their consumers.

Bacchylides: Politics, Performance, Poetic Tradition combines close literary analysis of Bacchylides' poetry with detailed discussion of the central role poetry played in a variety of differing political contexts throughout Greece in the early fifth century BC. In Bacchylides' praise poetry, David Fearn argues, the poet manipulates a wide range of earlier Greek literature not only to elevate the status of his wealthy patrons, but also to provoke thought about the nature of political power and aristocratic society. New light is also shed on Bacchylides' Dithyrambs, through detailed discussion of the evidence for the kuklios khoros ('circular chorus') and its relation to a variety of different religious festivals, especially within democratic Athens. The links created between literary concerns and cultural contexts reinvigorate these underappreciated poems and reveal their central importance for the self-definition of political communities.

This collection of essays by notable scholars from a variety of disciplines deals with different aspects of the history and culture of the Greek island of Aegina in the fifth century BC. The island is well known as the home of magnificent architecture and sculpture; as the patron of impressive lyric poetry composed by Pindar and his contemporaries; and, from the pages of Herodotus, as a significant trading power, and military threat to her great neighbour Athens. The book brings together experts on choral lyric poetry, myth, art-history, and historiography, with the aim of offering a broad view of the island's significance in some of the major trends in fifth-century Greek history and culture, and situating the island's patronage of some of the greatest Classical poets within broader cultural and historical frames.

What is distinctive about Greek lyric poetry? How should we conceptualize it in relation to broader categories such as literature / song / music / rhetoric / history? What critical tools might we use to analyse it? How do we, should we, can we relate to its intensities of expression, its modes of address, its uses of myth and imagery, its attitudes to materiality, its sense of its own time, and its contextualizations? These are questions that this discussion seeks to investigate, exploring and analysing a range of influential methodologies that have shaped the recent history of the field.