Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece (Oxford Classical Monographs)

527 Pages·2008·4.6 MB·English

by  Barbara Kowalzig

OXFORD CLASSICAL MONOGRAPHS
Published under the supervision of a Committee of the
Faculty of Classics in the University of Oxford
The aim of the Oxford Classical Monograph series (which replaces the Oxford
Classical and Philosophical Monographs) is to publish books based on the best
theses on Greek and Latin literature, ancient history, and ancient philosophy
examined by the Faculty Board of Classics.
Singing for
the Gods
Performances of Myth and Ritual in
Archaic and Classical Greece
BARBARA KOWALZIG
1
3
Great Clarendon Street, Oxford ox2 6dp
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© Barbara Kowalzig 2007
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First published 2007
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ISBN 978–0–19–921996–4
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To my family
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α(cid:2)τ(cid:4)κα γα˜ πα˜σα χορε(cid:13)σει
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Acknowledgements
To set the Greek world singing and dancing is, like the khoros itself, a communal
activity. And like the Greek chorus, it forges bonds going beyond the actual
practice. I have had many fellow-dancers in the production of this book. The
sensitivity, wisdom, and rigour of Robert Parker have accompanied it at every
stage, and I owe more to him, and his humanity, than to anyone else. Simon
Hornblower oversaw the process of turning the thesis into the much larger book,
and has generously and committedly brought his exactitude, breadth of know-
ledge, and intellectual open-mindedness to my ideas. Chris Pelling heroically
read the near-completed manuscript and has throughout been a wonderful and
stimulating colleague. Oliver Taplin’s good intuitions and optimism have
encouraged this book from the very beginning, and he imperceptibly drew me
into performance and theatre studies. My closest synkhoreut for many years
now has been Peter Wilson, whose expertise, imagination, and boldness have
unswervingly supported this project; another athlon in choral matters goes to
Ian Rutherford, whose range of knowledge and friendship has been a great
source of inspiration. I have been much stimulated by lively discussion with Leslie
Kurke and Giambattista D’Alessio; they both allowed me to see their brilliant
articles long before their publication. Emily Mackil shares my enthusiasm for
tramping around the Greek landscape in search of its social topography, ancient
and modern, and has been a careful and acute reader of my work. Ewen Bowie
and Pat Easterling have examined the thesis and have shown continued interest
in this project. Nicholas Purcell was enthusiastic for my adventures in the
Mediterranean. Katherine Clarke has been an invaluable friend personally and
academically. I further thank Lucia Athanassaki, Lisa Bendall, Bruno Currie, John
Davis, Gunnel Ekroth, David Fearn, Catherine Holmes, Nikolaos Papazarkadas,
Tim Rood, and Scott Scullion. I have learned a lot about the English language
from my close friends—especially Erika Milburn and Philomen Probert—who
with admirable patience and reliability kept smoothing my sentences. Annelies
Cazemier and Theodora Jim kindly assisted me with the proof-reading, and Nigel
James’s technical expertise has been essential in the map production. I am much
indebted to the members of the Centre Louis Gernet in Paris, where
the book took its final shape in a highly inspiring atmosphere and in perfect
working conditions. François Lissarrague made this stay possible in the first place,
and has been indefatigably generous and inspirational. Claude Calame, Pauline
Schmitt, and François de Polignac offered me the chance to present my work in
their seminars: this set off a host of new ideas at that late stage. I would like to
thank particularly Jean-Claude Schmitt for instructing me on the anthropology
of music and ritual, as well as Rosine Adda, Vincent Azoulay, Renée Piettre,
Gabriella Pironti and Agnès Tapin. I finally owe thanks to Heather Watson and