Submerged Literature in Ancient Greek Culture: An Introduction
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Illuminating the ways ancient Greek culture placed different texts at edge of transmission remains a desideratum.
Intended as a new hermeneutics to study the whole range of texts that were produced for socially relevant events in ancient Greece and to investigate the dynamics behind their inclusion or exclusion from production, diffusion and transmission, this book offers fresh approaches to ancient Greek literature and cultural history.
des Sophron’), would seem improbable. 349 Cameron 1995, 89 f.; Hordern 2004, 8 f. Contra: Janko 1984, 134 f. 350 The performability of Herondas’ mimes, roundly dismissed by, e.g., Pasquali 1907 [= 1986], is defended by Mastromarco 1984 (= Mastromarco 1979). Significant here is the fact that Vergil’s Eclogues, with their considerable debt to Theocritus, were possibly recited on stage by mime artists (Serv. ap. Verg. Ecl. 6.11; Suet. de Poet. 103–4. See Panayotakis 2008). It goes without saying
strength to contend for the favour of prominent audiences against the prestige of the Homeridae, but lost out in the competition at the decisive historical turn, failed to become established in the affluent and reputed market of tyrannical commissions of the late-archaic period, and were finally submerged in the sense clarified above. These alternative narratives of the Trojan saga were excluded from the canon established by the guild of the Homeridae towards the end of the sixth century; while
master and who was pupil, and to whom the poems are to be ascribed. The ambiguities in the sources, at any rate, bespeak competition among the two guilds (with a bias, as one would expect, towards the winning tradition, which is to say that of the Homeridae).152 As for the final outcome of the competition, it was almost certainly decided by complex political and cultural developments occurring towards the final decades of the sixth century BCE. The Creophylei quite probably suffered an initial
terraces formed by temporary rising tiers of wooden benches,453 the temple on the western side, and the altar (where sacrifices took place) at the centre of the orchestra.454 Elements of continuity and innovation stand out. On the one hand, the theatron still conforms with the type we first discussed, the theatron at sanctuaries; this is unsurprising, since the separation of the sanctuary from the theatre only took place in the fourth century.455 Much in the likeness of the theatres in the
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