There the Keledones Sang: Pardigmatic Chorality in Pindar’s Paian B2
By Alice Gaber (The Ohio State University)
Pindar’s Paian B2 (Rutherford = 8 Snell-Maehler) offers a rich layering of real and mythic choruses, including the enigmatic Keledones, a chorus comprised of manufactured, inanimate objects that nonetheless engage in choral song-dance. This paper examines this sculptural chorus that adorns the mythic third temple of Apollo at Delphi, comparing these dancing, singing statues to other mythic choral paradigms, productively complicating and nuancing our understanding of ancient chorality.
The Tentacular Aesthetics of Pythian 12
By Brittany Susan Hardy (University of Michigan)
The Tentacular Aesthetics of Pythian 12
Revisiting Gender in Pindar: Biological and Social Reproduction in the Epinician Odes
By Caitlin Miller (University of Chicago)
Since the important advance of New Historicist approaches to Pindaric studies (Kurke 1991, ch.5; Kurke 1996), little sustained attention has been paid to Pindar’s depictions of women, marriage, and biological reproduction beyond a widespread acknowledgement of the largely negative light in which female exemplars are painted in the odes (e.g. Kyriakou 1994).
Aegina’s Philoxenia: Poets and Trainers in Pindar’s Nemean 5 and Bacchylides 13
By Joshua Andre Zacks (University of Washington)
This paper examines the depiction of the Athenian trainer Menandros in Pindar’s Nemean 5 and Bacchylides 13, commissioned for Pytheas of Aegina’s pankration victory. I will argue that Pindar and Bacchylides employ convergent communicative strategies when praising Pytheas’ trainer Menandros. Both poets emphasize the trainer’s mobility in service of his trainees, as well as his Athenian origin.