Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-mlc7c Total loading time: 0 Render date: 2024-11-10T19:19:08.185Z Has data issue: false hasContentIssue false

References

Published online by Cambridge University Press:  05 November 2015

Guy Hedreen
Affiliation:
Williams College, Massachusetts
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Image of the Artist in Archaic and Classical Greece
Art, Poetry, and Subjectivity
, pp. 330 - 348
Publisher: Cambridge University Press
Print publication year: 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Acosta-Hughes, B. 2002. Polyeideia: The Iambi of Callimachus and the Archaic Iambic Tradition. Berkeley: University of California Press.Google Scholar
Alden, M. J. 1997. “The Resonances of the Song of Ares and Aphrodite.” Mnemosyne 50:513529.CrossRefGoogle Scholar
Amory, A. 1963. “The Reunion of Odysseus and Penelope.” In Essays on the Odyssey, ed. C. Taylor, H. Jr., 100121. Bloomington: Indiana University Press.Google Scholar
Amyx, D. A. 1988. Corinthian Vase-Painting of the Archaic Period. California Studies in the History of Art, vol. 25. Berkeley: University of California Press.Google Scholar
Arafat, K. W. 1996. Pausanias’ Greece: Ancient Artists and Roman Rulers. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Arias, P. E., Shefton, B. B., and Hirmer, M.. 1962. A History of Greek Vase Painting. New York: Abrams.Google Scholar
Auerbach, E. 1953. “Odysseus’ Scar.” In Mimesis: The Representation of Reality in Western Literature, trans. Trask, W. R., 323. Princeton: Princeton University Press.Google Scholar
Austin, N. 2009. “Name Magic in the Odyssey.” In Homer’s Odyssey, ed. Doherty, L. E., 91110. Oxford: Oxford University Press.Google Scholar
Balensiefen, L. 1990. Die Bedeutung des Spiegelbildes als ikonographisches Motiv in der antiken Kunst. Tübinger Studien zur Archäologie und Kunstgeschichte, vol. 10. Tübingen: Ernst Wasmuth Verlag.Google Scholar
Bambach, C. C. 2013. “Bernard Berenson: The Drawings of the Florentine Painters Classified, Criticised and Studied as Documents in the History and Appreciation of Tuscan Art, with a Copious Catalogue Raisonné, 1903.” In The Books That Shaped Art History: From Gombrich and Greenberg to Alpers and Krauss, ed. Shone, R. and Stonard, J.-P., 3041. London: Thames and Hudson.Google Scholar
Barker, E. T. E., and Christensen, J. P.. 2006. “Flight Club: The New Archilochus Fragment and Its Resonance with Homeric Epic.” Materiali e discussioni per l’analisi dei testi classici 57:941.Google Scholar
Barringer, J. M. 1995. Divine Escorts: Nereids in Archaic and Classical Greek Art. Ann Arbor: University of Michigan Press.Google Scholar
Barringer, J. M. 2004. “Skythian Hunters on Attic Vases.” In Greek Vases: Images, Contexts and Controversies: Proceedings of the Conference Sponsored by the Center for the Ancient Mediterranean at Columbia University, 23–24 March 2002, ed. C. Marconi, , 1325. Leiden: Brill.Google Scholar
Bartalucci, A. 1964. “Hipponacteae interpretatiunculae.” Maia 16:243258.Google Scholar
Bartol, K. 1993. Greek Elegy and Iambus: Studies in Ancient Literary Sources. Uniwersytet im. Adama Mickiewicza w Poznaniu, seria filologia klasyczna, vol. 16. Poznań: Uniwersytet im. Adama Mickiewicza.Google Scholar
Battezzato, L. 2009. “Metre and Music.” In The Cambridge Companion to Greek Lyric, ed. Budelmann, F., 130146. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Baxandall, M. 1988. Painting and Experience in Fifteenth-Century Italy. 2nd ed. Oxford: Oxford University Press.Google Scholar
Beazley, J. D. 1917. Review of Hoppin, Euthymides and His Fellows. JHS 37:233237.Google Scholar
Beazley, J. D. 1918a. Attic Red-Figured Vases in American Museums. Cambridge: Harvard University Press.CrossRefGoogle Scholar
Beazley, J. D. 1922. “Citharoedus.” JHS 42:7098.CrossRefGoogle Scholar
Beazley, J. D. 1925. Attische Vasenmalerei des rotfigurigen Stils. Tübingen: Mohr.Google Scholar
Beazley, J. D. 1927–1928. “Aryballos.” BSA 29:187215.Google Scholar
Beazley, J. D. 1943. “Two Inscriptions on Attic Vases.” CR 57:102103.Google Scholar
Beazley, J. D. 1986. The Development of Attic Black-Figure. Ed. Bothmer, D. v. and Moore, M. B.. Berkeley: University of California Press.CrossRefGoogle Scholar
Beazley, J. D. 1989. “Potter and Painter in Ancient Athens.” In Greek Vases: Lectures by J. D. Beazley, ed. Kurtz, D. C., 3959. Oxford: Clarendon Press.Google Scholar
Beazley, J. D., and Magi, F.. 1939. La raccolta Benedetto Guglielmi nel museo gregoriano etrusco. Vatican City: Max Bretschneider.Google Scholar
Becker, A. S. 1995. The Shield of Achilles and the Poetics of Ekphrasis. Lanham, MD: Rowman and Littlefield.Google Scholar
Becker, A. S. 2003. “Contest or Concert? A Speculative Essay on Ecphrasis and Rivalry between the Arts.” Classical and Modern Literature 23:114.Google Scholar
Bemmann, K. 1997. “Cornu copiae.” LIMC 8:551552.Google Scholar
Bennett, F. M. 1917. “A Study of the Word ΞΟΑΝΟΝ.” AJA 21:821.CrossRefGoogle Scholar
Benson, J. L. 1967. “The Central Group of the Corfu Pediment.” In Gestalt und Geschichte: Festschrift K. Schefold, 4860. AntK Beiheft 4. Bern: Francke.Google Scholar
Bernabé, A., ed. 1987. Poetarum Epicorum Graecorum. Vol. 1, Testimonia et Fragmenta. Leipzig: Teubner.Google Scholar
Blakeway, A. 1935. “‘Demaratus’: A Study in Some Aspects of the Earliest Hellenisation of Latium and Etruria.” JRS 25:129149.Google Scholar
Bloesch, H. 1940. Formen attischer Schalen von Exekias bis zum Ende des strengen Stils. Bern: Benteli.Google Scholar
Boardman, J. 1976. “A Curious Eye Cup.” AA 281290.Google Scholar
Boardman, J. 1987. “Amasis: The Implications of His Name.” In Papers on the Amasis Painter and His World, 141152. Malibu: J. Paul Getty Museum.Google Scholar
Boardman, J. 1992. “Kaloi and Other Names on Euphronios’ Vases.” In Euphronios: Atti del seminario internazionale di studi, Arezzo 27–28 Maggio 1990, ed. Cygielman, M., Iozzo, M., Nicosia, F., and Zamarchi Grassi, P., 4550. Firenze: Edizione il ponte.Google Scholar
Bonfante, L. 2002. “The Greeks in Etruria.” In The Greeks Beyond the Aegean: From Marseilles to Bactria: Papers presented at an International Symposium Held at the Onassis Cultural Center, New York, 12th October, 2002, ed. Karageorghis, V., 4358. New York: Alexander S. Onassis Public Benefit Foundation.Google Scholar
Bothmer, D. v. 1976. “Der Euphronioskrater in New York.” AA 485512.Google Scholar
Bothmer, D. v. 1985. The Amasis Painter and His World. Malibu: J. Paul Getty Museum.Google Scholar
Bothmer, D. v. 1990. “Euphronios: An Attic Vase-Painter’s View of the Human Body.” In Διαλέξεις 1986–1989, 2542. Athens: Ιδρυμα Νικολαου Π. Γουλανδρη.Google Scholar
Bothmer, D. v. 1992. “The Subject Matter of Euphronios.” In Euphronios peintre: Actes de la journée d’étude organisée par l’Ecole du Louvre et le départment des Antiquités grecques, étrusques et romaines du musée du Louvre 10 octobre 1990, ed. Denoyelle, M., 1332. Paris: La Documentation Française.Google Scholar
Bowie, E. 1986. “Early Greek Elegy, Symposium and Public Festival.” JHS 106:1335.CrossRefGoogle Scholar
Bowie, E. 2001. “Early Greek Iambic Poetry: The Importance of Narrative.” In Iambic Ideas: Essays on a Poetic Tradition from Archaic Greece to the Late Roman Empire, ed. Cavarzere, A., Aloni, A., and Barchiesi, A., 127. Lanham: Rowman and Littlefield.Google Scholar
Bowie, E. 2002. “Ionian Iambos and Attic Komoidia: Father and Daughter, or Just Cousins?” In The Language of Greek Comedy, ed. Willi, A., 3350. Oxford: Oxford University Press.CrossRefGoogle Scholar
Bowie, E. 2008. “Sex and Politics in Archilochus’ Poetry.” In Paros 2: Archilochos and His Age: Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades, Paroikia, Paros, 7–9 October 2005, ed. Katsonopoulou, D., Petropoulos, I., and Katsarou, S., 133141. Athens: The Paros and Cyclades Institute of Archaeology.Google Scholar
Bowie, E. 2010. Historical Narrative in Archaic and Early Classical Greek Elegy. In Epic and History, ed. Konstan, D. and Raaflaub, K. A., 145166. Hoboken: Wiley.Google Scholar
Böhr, E. 2009. “Kleine Trinkschalen für Mellepheben?” In Shapes and Uses of Greek Vases (7th–4th centuries B.C.): Proceedings of the Symposium Held at the Université libre de Bruxelles 27–29 April 2006, ed. Tsingarida, A., 111127. Brussels: CReA Patrimoine.Google Scholar
Braswell, B. K. 1971. “Mythological Innovation in the Iliad.” CQ 21:1626.CrossRefGoogle Scholar
Braswell, B. K. 1982. “The Song of Ares and Aphrodite: Theme and Relevance to Odyssey 8.” Hermes 110:129–37.Google Scholar
Bremer, J. M. 1975. “The Meadow of Love and Two Passages in Euripides’ Hippolytus.” Mnemosyne 28:268280.CrossRefGoogle Scholar
Bremer, J. M., Erp Taalman Kip, A. M. v, and Slings, S. R.. 1987. Some Recently Found Greek Poems: Text and Commentary. Mnemosyne supplement. Leiden: E. J. Brill.CrossRefGoogle Scholar
Brendel, O. J. 1970. “The Scope and Temperament of Erotic Art in the Greco-Roman World.” In Studies in Erotic Art, ed. Bowie, T. and Christenson, C. V., 369. New York: Basic Books.Google Scholar
Brijder, H. A. G. 1988. “The Shapes of Etruscan Bronze Kantharoi from the Seventh Century B.C. and the Earliest Attic Black-Figure Kantharoi.” BABesch 63:103114.Google Scholar
Brown, C. G. 1984. “Ruined by Lust: Anacreon, fr. 44 Gentili (432 PMG).” CQ 34:3742.CrossRefGoogle Scholar
Brown, C. G. 1988. “Hipponax and Iambe.” Hermes 116:478481.Google Scholar
Brown, C. G. 1989. “Ares, Aphrodite, and the Laughter of the Gods.” Phoenix 43:283293.CrossRefGoogle Scholar
Brown, C. G. 1995. “The Parched Furrow and the Loss of Youth: Archilochus fr. 188 West2.” QUCC 50:2934.Google Scholar
Brown, C. G. 1997. “Iambos.” In A Companion to the Greek Lyric Poets, ed. Gerber, D. E.. Mnemosyne supplement, vol. 173, 11–88. Leiden: E. J. Brill.Google Scholar
Brown, C. G. 2006. “Pindar on Archilochus and the Gluttony of Blame (Pyth. 2.52–6).” JHS 126:3646.CrossRefGoogle Scholar
Buitron-Oliver, D. 1995. Douris: A Master-Painter of Athenian Red-Figure Vases. Kerameus, vol. 9. Mainz: Philipp von Zabern.Google Scholar
Burgess, J. S. 2001. The Tradition of the Trojan War in Homer and the Epic Cycle. Baltimore: Johns Hopkins University Press.Google Scholar
Burkert, W. 1960. “Das Lied von Ares und Aphrodite: Zum Verhältnis von Odyssee und Ilias.” RhM 103:130144.Google Scholar
Burkert, W. 1985. Greek Religion. Trans. Raffan, John. Cambridge: Harvard.Google Scholar
Burkert, W. 1987. “The Making of Homer in the Sixth Century B.C.: Rhapsodes vs. Stesichoros.” In Papers on the Amasis Painter and His World, 4357. Malibu: J. Paul Getty Museum.Google Scholar
Burnett, A. P. 1983. Three Archaic Poets: Archilochus, Alcaeus, Sappho. Cambridge: Harvard University Press.Google Scholar
Burton, J. 1998. “Women’s Commensality in the Ancient Greek World.” GaR 45:143–65.CrossRefGoogle Scholar
Buschor, E. 1915. “Skythes und Epilykos.” JdI 30:3640.Google Scholar
Buxton, R. 1982. Persuasion in Greek tragedy: A Study of Peitho. Cambridge: Cambridge University Press.Google Scholar
Cairns, D. L. 1990. “Mixing with Men and Nausicaa’s Nemesis.” CQ 40:263266.CrossRefGoogle Scholar
Calame, C. 1997. Choruses of Young Women in Ancient Greece: Their Morphology, Religious Role, and Social Function. Trans. Collins, D. and Orion, J.. Lanham: Rowman and Littlefield.Google Scholar
Calder, W. M. III 1979. “Archilochus, the Cologne Erotic Fragment: A Note.” CJ 75:4243.Google Scholar
Calhoun, G. M. 1934. “Classes and Masses in Homer.” CP 29:192208, 301–316.Google Scholar
Campbell, D. A. 1976. “The Language of the New Archilochus.” Arethusa 9:151157.Google Scholar
Campbell, D. A. 1982. Greek Lyric. Vol. 1, Sappho, Alcaeus. Cambridge: Harvard University Press.Google Scholar
Campbell, D. A. 1988. Greek Lyric. Vol. 2, Anacreon, Ancreontea, Choral Lyric from Olympus to Alcman. Cambridge: Harvard University Press.Google Scholar
Campbell, D. A. 1991. Greek Lyric. Vol. 3, Stesichorus, Ibycus, Simonides, and Others. Cambridge: Harvard University Press.Google Scholar
Canciani, F., and Neumann, G.. 1978. “Lydos, der Sklave?AntK 21:1722.Google Scholar
Cardon, C. 1978/1979. “Two Omphalos Phialai.” GettyMusJ 6/7:131138.Google Scholar
Carey, C. 1981. A Commentary on Five Odes of Pindar: Pythian 2, Pythian 9, Nemean 1, Nemean 7, Isthmian 8. Monographs in Classical Studies. Salem: Ayer.Google Scholar
Carey, C. 1986. “Archilochus and Lycambes.” CQ 36:6067.CrossRefGoogle Scholar
Carey, C. 2008. “Hipponax Narrator.” ActaAntHung 48:89102.Google Scholar
Carey, C. 2009. “Iambos.” In The Cambridge Companion to Greek Lyric, ed. Budelmann, F., 149167. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Carpenter, T. H. 1986. Dionysian Imagery in Archaic Greek Art. Oxford: Clarendon Press.Google Scholar
Carpenter, T. H. 1997. Dionysian Imagery in Fifth-Century Athens. Oxford: Clarendon Press.CrossRefGoogle Scholar
Caskey, L. D., and Beazley, J. D.. 1931–63. Attic Vase Paintings in the Museum of Fine Arts, Boston. Oxford: Oxford University Press.Google Scholar
Chatzēdēmētriou, A. 2005. Parastaseis ergastēriōn kai emporiou stēn eikonographia tōn archaïkōn kai klassikōn chronōn. Dēmosieymata tou archaiologikou deltiou, vol. 92. Athens: Tameio archaeologikōn.Google Scholar
Clay, D. 1998. “The Theory of the Literary Persona in Antiquity.” Materiali e discussioni per l’analisi dei testi classici 40:940.CrossRefGoogle Scholar
Clay, J. S. 1983. The Wrath of Athena: Gods and Men in the Odyssey. Princeton: Princeton University Press.Google Scholar
Clay, J. S. 1986. “Archilochus and Gyges: An Interpretation of fr. 23 West.” QUCC 24:717.Google Scholar
Cohen, B. 1977. Attic Bilingual Vases and Their Painters. Ph.D. dissertation, New York University. Ann Arbor: UMI Dissertation services.Google Scholar
Cohen, B. 1991. “The Literate Potter: A Tradition of Incised Signatures on Attic Vases.” MMAJ 26:4995.Google Scholar
Cohen, B. 2006. The Colors of Clay: Special Techniques in Athenian Vases. Los Angeles: J. Paul Getty Museum.Google Scholar
Cohen, B. 2012. “The Non-Greek in Greek Art.” In A Companion to Greek Art, ed. Smith, T. J. and Plantzos, D., 2:456–279. Hoboken: Wiley-Blackwell.Google Scholar
Cohen, B., and Shapiro, H. A.. 2002. “The Use and Abuse of Athenian Vases.” In Essays in Honor of Dietrich von Bothmer, ed. Clark, A. J., Gaunt, J., and Gilman, B., 8390. Amsterdam: Allard Pierson Museum.Google Scholar
Collins, D. 2012. “On the Aesthetics of the Deceiving Self in Nietzsche, Pindar, and Theognis.” Nietzsche-Studien 26:276299.Google Scholar
Cook, J. M. 1958/1959. “Old Smyrna, 1948–1951.” BSA 53/54:134.Google Scholar
Cook, R. M. 1937. “The Date of the Hesiodic Shield.” CQ 31:204214.CrossRefGoogle Scholar
Courbin, P. 1953. “Les origines du canthare attique archaique.” BCH 77:322345.CrossRefGoogle Scholar
Cristofani, M., Marzi, M. G., et al. 1980. Materiali per servire alla storia del vaso François. Bd’A serie speciale, vol. 1. Rome: Istituto poligrafico e zecca dello stato.Google Scholar
Csapo, E., and Miller, M. C.. 1991. “The ‘Kottabos-Toast’ and an Inscribed Red-Figured Cup.” Hesperia 60:367382.CrossRefGoogle Scholar
D’Acunto, M. 2007. “Ipponatte e Boupalos, e la dialettica tra poesia e scultura in età arcaica.” RA 227–268.Google Scholar
Dasen, V. 1993. Dwarfs in Ancient Egypt and Greece. Oxford: Oxford University Press.CrossRefGoogle Scholar
Dasen, V. 1994. “Pygmaioi.” LIMC 7:594601.Google Scholar
Davidson, J. 1997. Courtesans and Fishcakes: The Consuming Passions of Classical Athens. New York: St. Martin’s Press.Google Scholar
Davidson, J. 2007. The Greeks and Greek Love: A Bold New Exploration of the Ancient World. New York: Random House.Google Scholar
Davies, J. K. 1971. Athenian Propertied Families: 600–300 B.C. Oxford: Clarendon Press.Google Scholar
Davison, C. C. 2009. Pheidias: The Sculptures and the Ancient Sources. London: Institute of Classical Studies.Google Scholar
de Jong, I. J. F. 1999. “The Voice of Anonymity: Tis-Speeches in the Iliad.” In Homer: Critical Assessments, ed. de Jong, I. J. F., 3:258273. London: Routledge.Google Scholar
de Jong, I. J. F. 2001. A Narratological Commentary on the Odyssey. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
de Jong, I. J. F. 2009. Between Word and Deed: Hidden Thoughts in the Odyssey. In Oxford Readings in Classical Studies, ed. Doherty, L. E., 6290. Oxford: Oxford University Press.Google Scholar
de Jong, I. J. F. 2011. “The Shield of Achilles: From Metalepsis to mise en abyme.” Ramus 40:114.CrossRefGoogle Scholar
Degani, E. 1974. “Il nuovo Archiloco.” AeR 19:113128.Google Scholar
Degani, E. 1975. “ΠΑΡΕΞ ΤΟ ΘΕΙΟΝ ΧΡΗΜΑ nel nuovo Archiloco di Colonia.” QUCC 20:229.Google Scholar
Degani, E. 1984. Studi su Ipponatte. Bari: Adriatica editrice.Google Scholar
Degani, E. 1991. Hipponactis testimonia et fragmenta. 2nd ed. Stuttgart: Teubner.Google Scholar
Degani, E. 2007. Ipponatte: Frammenti. Bolonga: Pàtron.Google Scholar
Del Corno, D. 1985. “Note di lettura ad Archiloco, Menandro, Eschilo.” Graeco-Latina Mediolanensia, Quaderni di Acme 5:2933.Google Scholar
Delivorrias, A. 1984. “Aphrodite.” LIMC 2:2151.Google Scholar
Deonna, W. 1927. “Le masque a double expression de Boupalos et d’Athénis.” REG 40:224233.CrossRefGoogle Scholar
Detienne, M. 1991. “Myth and Writing: The Mythographers.” In Greek and Egyptian Mythologies, ed. Bonnefoy, Y., trans. Doniger, W., et al., 1011. Chicago.Google Scholar
Detienne, M., and Vernant, J.-P.. 1978. Cunning Intelligence in Greek Culture and Society. Trans. Lloyd, J.. Atlantic Highlands: Harvester.Google Scholar
Diepolder, H. 1947. Griechische Vasen. Berlin: Gebr. Mann.Google Scholar
Dobson, N. P. 2003. Iambic elements in Archaic Greek epic. Ph.D. Dissertation, University of Texas at Austin. Ann Arbor: UMI no. 3119669.Google Scholar
Docter, R. F. 1991. “Athena vs Dionysos: Reconsidering the Contents of the SOS Amphorae.” BABesch 66:4550.Google Scholar
Donohue, A. A. 1988. Xoana and the Origins of Greek Sculpture. Atlanta: Scholars Press.Google Scholar
Dover, K. J. 1964. “The Poetry of Archilochos.” In Archiloque. Entretiens sur l’antiquitè classique, vol. 10, 183212. Geneva: Fondation Hardt.Google Scholar
Dover, K. J. 1978. Greek Homosexuality. Cambridge: Harvard University Press.Google Scholar
Dow, S. 1967. “Ekphantos.” Glotta 49:202221.Google Scholar
Dugas, C. 1943. “L’Évolution de la légende de Thésée.” REG 46:124.Google Scholar
Eckerman, C. C. 2011. “Teasing and Pleasing in Archilochus’ ‘First Cologne Epode’.” ZPE 179:1119.Google Scholar
Edwards, A. T. 1985. Achilles in the Odyssey. Beiträge zur klassischen Philologie, vol. 171. Königstein: Hain.Google Scholar
Edwards, M. W. 1991. The Iliad: A Commentary. Vol. 5, Books 17–20. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Else, G. F. 1957. Aristotle’s Poetics: The Argument. Cambridge: Harvard University Press.CrossRefGoogle Scholar
Elsner, J. 2006. “Reflections on the ‘Greek Revolution’ in Art: From Changes in Viewing to the Transformation of Subjectivity.” In Rethinking Revolutions through Ancient Greece, ed. Goldhill, S. and Osborne, R., 6895. Cambridge: Cambridge University Press.Google Scholar
Emlyn-Jones, C. 1984. “The Reunion of Penelope and Odysseus.” GaR 31:118.CrossRefGoogle Scholar
Erbse, H. 1969–88. Scholia Graeca in Homeri Iliadem (Scholia Vetera). Berlin: De Gruyter.Google Scholar
Fagles, R., trans. 1990. Homer: The Iliad. New York: Penguin.Google Scholar
Fagles, R., trans. 1996. Homer: The Odyssey. New York: Penguin.Google Scholar
Faraone, C. A. 1992. Talismans and Trojan Horses. New York: Oxford University Press.Google Scholar
Fehr, B. 2009. “Ponos and the Pleasure of Rest: Some Thoughts on Body Language in Ancient Greek Art and Life.” In An Archeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodologies, ed. Yatromanolakis, D., 128158. Athens: Kardamitsa.Google Scholar
Felson Rubin, N. 1978–1979. “Some Functions of the Enclosed Invective in Archilochus’ Erotic Fragment.” CJ 74:136–41.Google Scholar
Fenik, B. 1974. Studies in the Odyssey. Hermes Einzelshriften, vol. 30. Wiesbaden: Steiner.Google Scholar
Ferrari, Giovanni. 1988. “Hesiod’s Mimetic Muses and the Strategies of Deconstruction.” In Post-structuralist Classics, ed. Benjamin, A., 4578. London: Routledge.Google Scholar
Ferrari, Gloria. 1986. “Eye-Cup.” RA:5–20.Google Scholar
Ferrari, G. 2002. Figures of Speech: Men and Maidens in Ancient Greece. Chicago: University of Chicago Press.Google Scholar
Ferrari, Gloria, and Ridgway, B. S., eds. 1979. Aspects of Ancient Greece. Allentown: Allentown Art Museum.Google Scholar
Ferrari Pinney, Gloria. 1983. “Achilles Lord of Scythia.” In Ancient Greek Art and Iconography, ed. Moon, W. G., 127146. Madison: University of Wisconsin Press.Google Scholar
Figueira, T. J., and Nagy, G., eds. 1985. Theognis of Megara: Poetry and the Polis. Baltimore: Johns Hopkins University Press.Google Scholar
Filipczak, Z. Z. 1987. Picturing Art in Antwerp, 1550–1700. Princeton: Princeton University Press.Google Scholar
Fineberg, S. 2009. “Hephaestus on Foot in the Ceramicus.” TAPA 139:275324.Google Scholar
Fisher, N. 1998. “Gymnasia and the Democratic Values of Leisure.” In Kosmos: Essays in Order, Conflict and Community in Classical Athens, ed. Cartledge, P., Millett, P., and von Reden, S., 84104. Cambridge: Cambridge University Press.Google Scholar
Floren, J. 1987. Die griechische Plastik. Vol. 1, Die geometrische und archaische Plastik. Munich: Beck.Google Scholar
Ford, A. 1999. “Odysseus after Dinner: Od. 9.2–11 and the Traditions of Sympotic Song.” In Euphrosyne: Studies in Ancient Epic and Its Legacy in Honor of Dimitris N. Maronitis, ed. Kazazes, I. N. and Rengakos, A., 109123. Stuttgart: Steiner.Google Scholar
Ford, A. 2009. The Origins of Criticism: Literary Culture and Poetic Theory in Classical Greece. Princeton: Princeton University Press.Google Scholar
Foucault, M. 1971. The Order of Things: An Archaeology of the Human Sciences. New York: Pantheon.Google Scholar
Fowler, R. L. 1979. “Reconstructing the Cologne Alcaeus.” ZPE 33:1728.Google Scholar
Fowler, R. L. 1987. The Nature of Early Greek Lyric: Three Preliminary Studies. Toronto: University of Toronto Press.CrossRefGoogle Scholar
Fowler, R. L. 1990. “Two More New Verses of Hipponax (and a Spurium of Philoxenus)?ICS 15:122.Google Scholar
Fowler, R. L. 2000. Early Greek Mytholography. Vol. 1, Text and Introduction. Oxford: Oxford University Press.Google Scholar
Fowler, R. L. 2004. “The Homeric Question.” In The Cambridge Companion to Homer, ed. Fowler, R. L., 220232. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Fowler, R. L. 2013. Early Greek Mytholography. Vol. 2, Commentary. Oxford: Oxford University Press.Google Scholar
Francis, J. A. 2009. “Metal Maidens, Achilles’ Shield, and Pandora: The Beginnings of ‘Ekphrasis’.” AJP 130:123.CrossRefGoogle Scholar
Fraser, P. 2000. “Ethnics as Personal Names.” In Greek Personal Names: Their Value as Evidence, ed. Hornblower, S. and Matthews, E.. Proceedings of the British Academy, vol. 104, 149158. Oxford: Oxford University Press.Google Scholar
Fränkel, H. 1973. Early Greek Poetry and Philosophy. Trans. Hadas, M. and Willis, J.. New York: Harcourt Brace Jovanovich.Google Scholar
Fränkel, M., and Habicht, C.. 1890–1895. Altertümer von Pergamon. Vol. 8.1–2, Die Inscriften von Pergamon. Berlin: Spemann.Google Scholar
Frel, J. 1983. “Euphronios and His Fellows.” In Ancient Greek Art and Iconography, ed. Moon, W. G., 147158. Madison: University of Wisconsin Press.Google Scholar
Frel, J. 1996. “La céramique et la splendeur des courtesanes.” RivArch 20:3853.Google Scholar
Friis Johansen, H. 1993. “A Poem by Theognis (THGN. 19–38), Part II.” ClMed 44:529.Google Scholar
Friis Johansen, H. 1996. “A Poem by Theognis, Part III.” ClMed 47:923.Google Scholar
Frontisi-Ducroux, F. 1995. Du masque au visage: Aspects de l’identité en grèce ancienne. Idées et Recherches. Paris: Flammarion.Google Scholar
Frontisi-Ducroux, F. 2003. “Medusa as Maker of Images.” In The Medusa Reader, ed. Garber, M. and Vickers, N. J., trans. Graebner, S., 262266. New York: Routledge.Google Scholar
Fullerton, M. D. 1987. “Archaistic Statuary of the Hellenistic Period.” AM 102:260278.Google Scholar
Fullerton, M. D. 1990. The Archaistic Style in Roman Statuary. Leiden: Brill.CrossRefGoogle Scholar
Furtwängler, A., and Reichhold, K.. 1900–1925. Griechische Vasenmalerei. Munich: F. Bruckmann.Google Scholar
Gantz, T. 1993. Early Greek Myth: A Guide to Literary and Artistic Sources. Baltimore: Johns Hopkins University Press.Google Scholar
Garner, R. 1990. From Homer to Tragedy: The Art of Allusion in Greek Poetry. London: Routledge.Google Scholar
Garvie, A. F., ed. 1994. Homer, Odyssey: Books VI–VIII. Cambridge: Cambridge University Press.Google Scholar
Gaspar, C. 1902. “Le peintre céramiste Smikros: A propos d’un vase inédit du musée de Bruxelles.” MonPiot 9:1441.Google Scholar
Geddes, A. G. 1984. “Who’s Who in ‘Homeric’ Society?CQ 34:1736.CrossRefGoogle Scholar
Geddes, A. G. 1987. “Rags and Riches: The Costume of Athenian Men in the Fifth Century.” CQ 37:307331.CrossRefGoogle Scholar
Gelzer, T., et al. 1974. “Ein weidergefundenes Archilochos-Gedicht?Poetica 6:468512.Google Scholar
Gentili, B., ed. 1958. Anacreon. Rome: Ateneo.Google Scholar
Gentili, B., ed. 1988. Poetry and Its Public in Ancient Greece: From Homer to the Fifth Century. Trans. Cole, A. T.. Baltimore: Johns Hopkins University Press.CrossRefGoogle Scholar
Gerber, D. E. 1970. Euterpe: An Anthology of Early Greek Lyric, Elegiac, and Iambic Poetry. Amsterdam: Hakkert.Google Scholar
Gerber, D. E. 1999a. Greek Elegiac Poetry: From the Seventh to the Fifth Centuries BC. Cambridge: Harvard University Press.Google Scholar
Gerber, D. E. 1999b. Greek Iambic Poetry: From the Seventh to the Fifth Centuries BC. Cambridge: Harvard University Press.Google Scholar
Gericke, H. 1970. Gefässdarstellungen auf griechischen Vasen. Berlin: Hessling.Google Scholar
Gibson, C. A., trans. 2008. Libanius’s Progymnasmata: Model Exercises in Greek Prose Composition and Rhetoric. Writings from the Greco-Roman World, no. 27. Atlanta: Society of Biblical Literature.Google Scholar
Giuliani, L. 1992. “Kleines ikonographisches Scherbenpuzzle: Zu einer frühen Euphronios-Schale in New York.” In Euphronios und seine Zeit, Kolloquium in Berlin 19./20. April 1991, ed. Wehgartner, I., 113119. Berlin: Staatliche Museen.Google Scholar
Giuliani, L. 1997. “Il ritratto.” In I Greci: Storia cultura arte società, 2: Una storia greca, ed. Settis, S., 9831011. Turin: Giulio Einaudi.Google Scholar
Giuliani, L. 2003. Bild und Mythos: Geschichte der Bilderzählung in der griechischen Kunst. Munich: C. H. Beck.Google Scholar
Gkaras, C. 2008. Hermippos: Die Fragmente. Ein Kommentar. Inaugural-Dissertation zur Erlangung der Doktorwürde der philologischen Fakultät der Albert-Ludwigs-Universität Freiburg i. Br. Freiburg: Universität.Google Scholar
Goemann, E., et al., ed. 1991. Euphronios der Maler: Eine Ausstellung in der Sonderausstellungshalle der Staatlichen Museen Preußischer Kulturbesitz Berlin-Dahlem 20.3–26.5.1991. Milan: Fabbri editori.Google Scholar
Golden, L. 1992. Aristotle on Tragic and Comic Mimesis. Atlanta: Scholars Press.Google Scholar
Gombrich, E. H. 1972. “Aims and Limits of Iconology.” In Symbolic Images: Studies in the Art of the Renaissance, 125. London: Phaidon.Google Scholar
Goodlett, V. C. 1989. Collaboration in Greek Sculpture: The Literary and Epigraphical Evidence. Ph.D. dissertation, New York University. Ann Arbor: UMI no. 8916070.Google Scholar
Goodman, N. 1976. Languages of Art. Indianapolis: Hachett.CrossRefGoogle Scholar
Goodwin, W. W. 1894. A Greek Grammar. London: Macmillan.Google Scholar
Gow, A. S. F. 1965. Machon: The Fragments. Cambridge: Cambridge University Press.Google Scholar
Green, J. R. 1982. “Dedications of Masks.” RA 237–248.Google Scholar
Greifenhagen, A. 1967. “Smikros: Leiblingsinschrift und Malersignatur; zwei attische Vasen in Berlin.” JBerlMus 9:525.Google Scholar
Grenfell, B. P., and Hunt, A. S.. 1915. “1358. Hesiod, Catalogue, Book iii.” The Oxyrhynchus Papyri 11:4451.Google Scholar
Griffin, J. 1980. Homer on Life and Death. Oxford: Clarendon Press.Google Scholar
Halliwell, S. 1986. Aristotle’s Poetics. Chapel Hill: University of North Carolina Press.Google Scholar
Halliwell, S. 1995. Aristotle: Poetics. Cambridge: Harvard University Press.Google Scholar
Halliwell, S. 2008. Greek Laughter: A Study of Cultural Psychology from Homer to Early Christianity. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Hannah, R. 2002. “Imaging the Cosmos: Astronomical Ekphraseis in Euripides.” Ramus 31:1932.CrossRefGoogle Scholar
Harari, M. 2004. “A Short History of Pygmies in Greece and Italy.” In Greek Identity in the Western Mediterranean: Papers in Honour of Brian Shefton, ed. Lomas, K., 163190. Leiden: Brill.CrossRefGoogle Scholar
Harrison, E. B. 1966. “The Composition of the Amazonomachy on the Shield of Athena Parthenos.” Hesperia 35:107133.CrossRefGoogle Scholar
Harrison, E. B. 1986. “Charis, Charites.” LIMC 3:191203.Google Scholar
Harrison, E. B. 1996. “Pheidias.” In Personal Styles in Greek Sculpture, ed. Pollitt, J. J. and Palagia, O., 1665. Cambridge: Cambridge University Press.Google Scholar
Harsh, P. W. 1950. “Penelope and Odysseus in Odyssey 19.” AJP 71:121.Google Scholar
Hartwig, P. 1893. Die griechischen Meisterschalen: Der Blüthezeit des strengen rothfigurigen Stiles. Stuttgart: Spemann.Google Scholar
Haslam, M. W. 1991. “Kleitias, Stesichoros, and the Jar of Dionysos.” TAPA 121:3545.Google Scholar
Heath, M. 1989. “Aristotelian Comedy.” CQ 39:344354.CrossRefGoogle Scholar
Hedreen, G. Forthcoming. “Smikros: Iambic Portrait of a Symposiast by Euphronios.” In The Cup of Song, ed. Cazatto, V., Obbink, D., and Prodi, E.. Oxford: Oxford University Press.Google Scholar
Hedreen, G. 1991. “The Cult of Achilles in the Euxine.” Hesperia 60:313330.CrossRefGoogle Scholar
Hedreen, G. 1992. Silens in Attic Black-Figure Vase-Painting: Myth and Performance. Ann Arbor: University of Michigan Press.CrossRefGoogle Scholar
Hedreen, G. 1994. “Silens, Nymphs, and Maenads. JHS 114:4769.CrossRefGoogle Scholar
Hedreen, G. 2001. Capturing Troy: The Narrative Functions of Landscape in Archaic and Early Classical Greek Art. Ann Arbor: University of Michigan Press.Google Scholar
Hedreen, G. 2004. “The Return of Hephaistos, Dionysiac Processional Ritual, and the Creation of a Visual Narrative.” JHS 124:3864.CrossRefGoogle Scholar
Hedreen, G. 2006. “‘I Let Go My Force Just Touching Her Hair’: Male Sexuality in Athenian Vase-Paintings of Silens and Iambic Poetry.” ClAnt 25:277325.Google Scholar
Hedreen, G. 2007a. “Involved Spectatorship in Archaic Greek Art.” Art History 30:217246.CrossRefGoogle Scholar
Hedreen, G. 2007b. “Myths of Ritual in Athenian Vase-Paintings of Silens.” In The Origins of Theatre in Ancient Greece and Beyond: From Ritual to Drama, ed. Miller, M. C. and Csapo, E., 150195. Cambridge: Cambridge University Press.Google Scholar
Hedreen, G. 2009a. “Ambivalence, Athenian Dionysiac Vase-Imagery, and the Narrative of Human Social Evolution.” In Bildkonzepte in der Hermeneutik griechischer Vasenmalerei, ed. Schmidt, S. and Oakley, J. H., 125133. Munich: Beck.Google Scholar
Hedreen, G. 2009b. “Iambic Caricature and Self-representation as a Model for Understanding Internal References among Red-Figure Vase-Painters and Potters of the Pioneer Group.” In An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodologies, ed. Yatromanolakis, D., 200239. Athens: Kardamitsa.Google Scholar
Hedreen, G. 2011. “Bild, Mythos, and Ritual: Choral Dance in Theseus’ Cretan Adventure on the François Vase.” Hesperia 80:491510.CrossRefGoogle Scholar
Hedreen, G. 2014. “Smikros and Epilykos: Two Comic Inventions in Athenian Vase-Painting.” In Athenian Potters and Painters III, ed. Oakley, J. H., 4962. Oxford: Oxbow.Google Scholar
Heffernan, J. A. W. 1993. Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago: University of Chicago Press.Google Scholar
Heidenreich, R. 1935. “Bupalos und Pergamon.” AA 668–701.Google Scholar
Henderson, J. 1976. “The Cologne Epode and the Conventions of Early Greek Erotic Poetry.” Arethusa 9:159179.Google Scholar
Henderson, J. 1998. Aristophanes. Vol. 2, Clouds, Wasps, Peace. Cambridge: Harvard University Press.Google Scholar
Henderson, J. 2007. Aristophanes. Vol. 5, Fragments. Cambridge: Harvard University Press.Google ScholarPubMed
Hendrickson, G. L. 1925. “Archilochus and the Victims of His Iambics.” AJP 46:101127.Google Scholar
Henrichs, A. 1980. “Riper Than a Pear: Parian Invective in Theokritos.” ZPE 39:727.Google Scholar
Henrichs, A. 1983. “Die Kekropidensage im PHerc. 243: Von Kallimachos zu Ovid.” Cronache Ercolanesi 13:3343.Google Scholar
Herington, J. 1985. Poetry into Drama: Early Tragedy and the Greek Poetic Tradition. Sather Classical Lectures, vol. 49. Berkeley: University of California Press.Google Scholar
Hermary, A., and Jacquemin, A.. 1988. “Hephaistos.” LIMC 4:627654.Google Scholar
Heubeck, A., and Hoekstra, A.. 1989. A Commentary on Homer’s Odyssey. Vol. 2, Books IX–XVI. Oxford: Clarendon Press.Google Scholar
Heubeck, A., West, S., and Hainsworth, J. B.. 1988. A Commentary on Homer’s Odyssey. Vol. 1, Introduction and books I–VIII. Oxford: Clarendon Press.Google Scholar
Higbie, C. 1995. Heroes’ Names, Homeric Identities. New York: Garland.Google Scholar
Hillert, A. 1995. “Der Komast mit der Schlangen-Phiale: Eine attische Schale aus dem Kreis um der Hermaios-Maler und Euphronios.” AA 171–184.Google Scholar
Hirayama, T. 2010. Kleitias and Attic Black-Figure Vases in the Sixth-Century B.C. Tokyo: Chuokoron Bijutsu Shuppan.Google Scholar
Hirschberger, M. 2004. Gynaikōn Katalogos und Megalai Ēhoiai: Ein Kommentar zu den Fragmenten zweier hesiodischer Epen. Munich: Saur.Google Scholar
Hoffmann, H. 1987. “Notizen zur Françoisvase (Versuch einer historischen Situierung für die Museumsdidaktik).” In Images et société en grèce ancienne: L’iconographie comme méthode d’analyse, ed. Bérard, C., Bron, C., and Pomari, A., 2732. Lausanne: Institute d’Archéologie et d’Histoire Ancienne.Google Scholar
Hubbard, T. K. 1992. “Nature and Art in the Shield of Achilles.” Arion 2:1641.Google Scholar
Hubbard, T. K. 2006. “Theognis’ sphrêgis: Aristocratic Speech and the Paradoxes of Writing.” In Politics of Orality, ed. C. Cooper. Orality and Literacy in Ancient Greece, vol. 6, 193215. Leiden: Brill.Google Scholar
Hughes, B. 1996. “Callimachus, Hipponax and the Persona of the Iambographer.” Materiali e discussioni per l’analisi dei testi classici 37:205216.CrossRefGoogle Scholar
Hutton, W. 2005. Describing Greece: Landscape and Literature in the Periegesis of Pausanias. Cambridge: Cambridge University Press.Google Scholar
Huys, M. 1997. “The Names of Some Kalydonian Boar-Hunters in P. Oxy. 61.4097 Fr.2, Apollodoros 1.8.2.3–6 and Hyginus, F. 173.” Mnemosyne 50:202205.CrossRefGoogle Scholar
Immerwahr, H. R. 1971. “A Projected Corpus of Attic Vase Inscriptions.” In Acta of the Fifth International Congress of Greek and Latin Epigraphy, Cambridge 1967, 5360. Oxford: Blackwell.Google Scholar
Immerwahr, H. R. 1982. “A Lekythos in Toronto and the Golden Youth of Athens.” In Studies in Attic Epigraphy, History and Topography: Presented to Eugene Vanderpool, 5965. Athens: American School of Classical Studies.Google Scholar
Immerwahr, H. R. 1990. Attic Script: A Survey. Oxford: Clarendon Press.CrossRefGoogle Scholar
Immerwahr, H. R. 1992. “The Lettering of Euphronios.” In Euphronios und seine Zeit, Kolloquium in Berlin 19./20. April 1991, ed. Wehgartner, I., 4956. Berlin: Staatliche Museen.Google Scholar
Iozzo, M. 2009. “Un nuovo dinos da Chiusi con le nozze di Peleus e Thetis.” In Shapes and Images: Studies on Attic Black Figure and Related Topics in Honour of Herman A. G. Brijder, ed. Moormann, E. M. and Stissi, V. V., 6385. Leuven: Peeters.Google Scholar
Iozzo, M. 2012. “La kylix fiorentina di Chachrylion ed Eros Protogonos Phanes.” AntK 55:5262.Google Scholar
Iozzo, M. 2014. “Plates by Paseas.” In Athenian Potters and Painters III, ed. Oakley, J. H., 8197. Oxford: Oxbow.Google Scholar
Irwin, E. 2005. Solon and Early Greek Poetry: The Politics of Exhortation. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Isager, J. 1991. Pliny on Art and Society: The Elder Pliny’s Chapters on the History of Art. London: Routledge.Google Scholar
Isler-Kerényi, C. 2007. Dionysos in Archaic Greece: An Understanding through Images. Leiden: Brill.Google Scholar
Ivanchik, A. 2005. “Who Were the ‘Scythian’ Archers on Archaic Attic Vases?” In Scythians and Greeks: Cultural Interactions in Scythia, Athens and the Early Roman Empire (Sixth Centuries BC–First Century AD), ed. Braund, D., 100113. Exeter: University of Exeter Press.Google Scholar
Izzet, V. 2004. “Purloined Letters: The Aristonothos Inscription and Krater.” In Greek Identity in the Western Mediterranean: Papers in Honour of Brian Shefton, ed. Lomas, K., 191210. Leiden: Brill.CrossRefGoogle Scholar
Janko, R. 1992. The Iliad: A Commentary. Vol. 4, Books 13–16. Cambridge: Cambridge University Press.Google Scholar
Janko, R. 2011. “Πρῶτόν τε καὶ ὕστατον αἰὲν ἀείδειν: Relative Chronology and the Literary History of the Early Greek Epic.” In Relative Chronology in Early Greek Epic Poetry, ed. Andersen, Ø. and Haug, D. T. T., 2043. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Jarcho, V. N. 1990. “Das poetische ‘Ich’ als gesellschaftlich-kommunikatives Symbol in der frühgriechischen Lyrik.” In The Poet’s I in Archaic Greek Lyric, ed. Slings, S. R., 3139. Amsterdam: VU University Press.Google Scholar
Jeffery, L. H. 1990. The Local Scripts of Archaic Greece: A Study of the Origin of the Greek Alphabet and Its Development from the Eighth to the Fifth Centuries B.C. 2nd ed. Oxford: Clarendon Press.CrossRefGoogle Scholar
Johnston, A. W., and Jones, R. E.. 1978. “The ‘SOS’ Amphora.” ABSA 73:103141.Google Scholar
Johnston, A. W., and Pandolfini, M.. 2000. Le inscrizioni. Gravisca: Scavi nel santuario greco. Bari: Edipuglia.Google Scholar
Jones, G. S. 2011. “Perikles and the Sexual Politics of Hermippos’ Moirai: A New Interpretation of fr. 47.” CJ 106:273293.Google Scholar
Junker, K. 2012. Interpreting the Images of Greek Myths. Trans. Künzl-Snodgrass, A. and Snodgrass, A.. Cambridge: Cambridge University Press.Google Scholar
Kahil, L. 1984. “Artemis.” LIMC 2:618753.Google Scholar
Kansteiner, S., Lehmann, L., Seidensticker, B., and Stemmer, K.. 2007. Text und Skulptur: Behümte Bildhauer und Bronzegießer der Antike in Wort und Bild. Berlin: De Gruyter.CrossRefGoogle Scholar
Kantzios, I. 2005. The Trajectory of Archaic Greek Trimeters. Mnemosyne supplement, vol. 265. Leiden: Brill.CrossRefGoogle Scholar
Kantzios, I. 2008. “The Poetry of Archilochos and the Context of Iambic Performance.” In Paros 2: Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades, Paroikia, Paros, 7–9 October 2005, ed. Katsonopoulou, D., Petropoulos, I., and Katsarou, S., 3747. Athens: The Paros and Cyclades Institute of Archaeology.Google Scholar
Karanastassi, P. 1992. “Nemesis.” LIMC 6:733770.Google Scholar
Keck, J. 1988. Studien zur Rezeption fremder Einflüsse in der chalkidischen Keramik. Archäologische Studien, vol. 8. Frankfurt am Main: Peter Lang.Google Scholar
Kelly, A. 2008. “Performance and Rivalry: Homer, Odysseus, and Hesiod.” In Performance, Iconography, Reception: Studies in Honour of Oliver Taplin, ed. Revermann, M. and Wilson, P., 177203. Oxford: Oxford University Press.CrossRefGoogle Scholar
Kent Sprague, R., ed. 1972. The Older Sophists. Columbia: University of South Carolina Press.Google Scholar
Keuls, E. C. 1993. The Reign of the Phallus: Sexual Politics in Ancient Athens. Berkeley: University of California Press.Google Scholar
Kilmer, M. F. 1993. “In Search of the Wild Kalos-Name.” EchCl 12:173199.Google Scholar
Kirk, G. S. 1985. The Iliad: A Commentary. Vol. 1, Books 1–4. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Kirk, G. S., Raven, J. E., and Schofield, M.. 1983. The Presocratic Philosophers: A Critical History with a Selection of Texts. 2nd ed. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Kirkwood, G. M. 1974. Early Greek Monody: The History of a Poetic Type. Ithaca: Cornell University Press.Google Scholar
Knudsen Morgan, S., ed. 1983. Greek Vases: Molly and Walter Bareiss Collection. Malibu: J. Paul Getty Museum.Google Scholar
Koenen, L. 1959. “ΘΕΟΣΙΝ ΕΧΘΡΟΣ: Ein einheimischer Gegenkönig in Ägypten (132/1a).” CE 34:103119.Google Scholar
Koerner, J. L. 1993. The Moment of Self-Portraiture in German Renaissance Art. Chicago: University of Chicago Press.Google Scholar
Kossatz-Deissmann, A. 1981. “Achilleus.” LIMC 1:37200.Google Scholar
Kossatz-Deissmann, A. 1991. “Satyr-und Mänadennamen auf Vasenbildern des Getty-Museums und der Sammlung Cahn (Basel), mit Addenda zu Charlotte Fränkel, Satyr-und Bakchennamen auf Vasenbildern (Halle, 1912).” GVGettyMus 5:131199.Google Scholar
Kovacs, D. 1999. Euripides. Vol. 4, Trojan Women, Iphigenia among the Taurians, Ion. Cambridge: Harvard University Press.Google Scholar
Krauskopf, I., and Dahlinger, S.-C.. 1988. “Gorgo, Gorgones.” LIMC 4:285330.Google Scholar
Krauskopf, I., Simon, E., and Simon, B.. 1997. “Mainades.” LIMC 8:780803.Google Scholar
Kreuzer, B. 1998. Die attisch schwarzfigurige Keramik aus dem Heraion von Samos. Samos, vol. 22. Bonn: DAI and Rudolf Habelt.Google Scholar
Krieger, X. 1973. Der Kampf zwischen Peleus und Thetis in der griechischen Vasenmalerei: Eine typologische Untersuchung. Ph.D. dissertation. Erlangen.Google Scholar
Kunisch, N. 1990. “Die Augen des Augenschalen.” AntK 33:2027.Google Scholar
Kurke, L. 1997. “Inventing the Hetaira: Sex, Politics, and Discursive Conflict in Archaic Greece.” ClAnt 16:106150.Google Scholar
Kurtz, D. C., and Boardman, J.. 1986. “Booners.” GVGettyMus 3:3570.Google Scholar
Lane Fox, R. 2008. Travelling Heroes in the Epic Age of Homer. New York: Knopf.Google Scholar
Langlotz, E. 1968. Zur Zeitbestimmung der strengrotfigurigen Vasenmalerei und der gleichzeitigen Plastik. Rome: “L’Erma” di Bretschneider.Google Scholar
Lattimore, S. 1997. “The Chariot Racers on the François Vase.” AJA 101:359.Google Scholar
Laurens, A.-F. 1999. “Jeux d’humeur ou défis d’artistes au Céramique?” In Céramique et peinture grecques: Modes d’emploi. Actes du colloque international, École du Louvre, 26–27–28 avril 1995, ed. Villanueva Puig, M.-C., Lissarrague, F., Rouillard, P., and Rouveret, A., 163168. Paris: La documentation française.Google Scholar
Lefkowitz, M. R. 2002. “‘Predatory’ Goddesses.” Hesperia 71:325344.Google Scholar
Lesher, J. H., ed. 1992. Xenophanes of Colophon: Fragments. Phoenix supplementary volume 30. Toronto: University of Toronto Press.CrossRefGoogle Scholar
Lezzi-Hafter, A. 2013. “Where the Wild Things Are: The Side-Themes on the François Vase.” In The François Vase: New Perspectives. Papers of the International Symposium, Villa Spelman, Florence, 23–24 May, 2003, ed. Shapiro, H. A., Iozzo, M., and Lezzi-Hafter, A., 169–77. Zurich: Akanthus.Google Scholar
Létoublon, F. 2008. “Archiloque et ‘l’encyclopédie homérique’”. Pallas 77:5162.Google Scholar
Lincoln, B. 1994. Authority: Construction and Corrosion. Chicago: University of Chicago Press.CrossRefGoogle Scholar
Linfert, A. 1977. “Zwei Versuche über antiken Witz und Esprit.” Rivista di archeologia 1:1926.Google Scholar
Lissarrague, F. 1990a. The Aesthetics of the Greek Banquet: Images of Wine and Ritual (Un Flot d’Images). Trans. Szegedy-Maszak, A.. Princeton: Princeton University Press.CrossRefGoogle Scholar
Lissarrague, F. 1990b. “The Sexual Life of Satyrs.” In Before Sexuality: The Construction of Erotic Experience in the Ancient Greek World, ed. Halperin, D. M., Winkler, J. J., and Zeitlin, F. I., 5381. Princeton: Princeton University Press.Google Scholar
Lissarrague, F. 1990c. “Why Satyrs Are Good to Represent.” In Nothing to Do with Dionysos? Athenian Drama in Its Social Context, ed. Winkler, J. J. and Zeitlin, F. I., 228236. Princeton: Princeton University Press.Google Scholar
Lissarrague, F. 1999. “Publicity and Performance: Kalos Inscriptions in Attic Vase-Painting.” In Performance Culture and Athenian Democracy, ed. Goldhill, S. and Osborne, R., 359–73. Cambridge: Cambridge University Press.Google Scholar
Lissarrague, F. 2000. “Aesop, between Man and Beast: Ancient Portraits and Illustrations.” In Not the Classical Ideal: Athens and the Construction of the Other in Greek Art, ed. Cohen, B., 132149. Leiden: Brill.CrossRefGoogle Scholar
Lissarrague, F. 2001. Greek Vases: The Athenians and Their Images. Trans. Allen, K.. New York: Riverside.Google Scholar
Lobel, E., and Page, D., eds. 1955. Poetarum Lesbiorum Fragmenta. Oxford: Clarendon Press.Google Scholar
Lonsdale, S. H. 1995. “A Dancing Floor for Ariadne (Iliad 18.590–592): Aspects of Ritual Movement in Homer and Minoan Religion.” In The Ages of Homer: A Tribute to Emily Townsend Vermeule, ed. Carter, J. B. and Morris, S. P., 273284. Austin: University of Texas Press.Google Scholar
Lowenstam, S. 1992. “The Uses of Vase-Depictions in Homeric Studies.” TAPA 122:165198.Google Scholar
Lowry, Jr., Eddie, R. 1991. Thersites: A Study in Comic Shame. New York: Garland.Google Scholar
Lucas, D. W., ed. 1968. Aristotle: Poetics. Oxford Clarendon Press.CrossRefGoogle Scholar
Luppe, W. 1984. “Epikureische Mythenkritik bei Philodem: Götterliebschaften in PHerc. 243 II und III.” Cronache Ercolanesi 14:109124.Google Scholar
Lynch, K. M. 2011. The Symposium in Context: Pottery from a Late Archaic House Near the Athenian Agora. Hesperia supplement 46. Princeton: American School of Classical Studies at Athens.CrossRefGoogle Scholar
Mack, R. 2002. “Facing Down Medusa (an Aetiology of the Gaze).” Art History 25:571604.CrossRefGoogle Scholar
Marchant, E. C., and Todd, O. J., trans. 1923. Xenophon. Vol. 4, Memorabilia, Oeconomicus, Symposium, Apology. Cambridge: Harvard University Press.Google Scholar
Marcovich, M. 1978. “Xenophanes on Drinking-Parties and Olympic Games.” ICS 3:126.Google ScholarPubMed
Marks, J. 2005. “The Ongoing Neikos: Thersites, Odysseus, and Achilleus.” AJP 126:131.CrossRefGoogle Scholar
Martens, D. 1992. Une esthétique de la transgression: Le vase grec de la fin de l’époque géométrique au début de l’époque classique. Mémoire de la Classe des Beaux-Arts. Brussels: Académie royale de Belgique.Google Scholar
Martin, R. P. 1989. The Language of Heroes: Speech and Performance in the Iliad. Ithaca: Cornell University Press.Google Scholar
Martin, R. P. 2001. “Just Like a Woman: Enigmas of the Lyric Voice.” In Making Silence Speak: Women’s Voices in Greek Literature and Society, ed. Lardinois, A. and McClure, L., 5574. Princeton: Princeton University Press.CrossRefGoogle Scholar
Martin, R. P. 2005. “Pulp Epic: The Catalogue and the Shield.” In The Hesiodic Catalogue of Women: Constructions and Reconstructions, ed. Hunter, R., 153–75. Cambridge: Cambridge University Press.Google Scholar
Marzi, M. G. 1975. “Kylix attica firmata da Euarchos nella collezione Vagnonville.” Prospettiva: Rivista dell’ arti antica de moderna 3:4548.Google Scholar
Masson, O. 1962. Les fragments du poète Hipponax: Édition critique et commentée. Paris: Klincksieck.Google Scholar
Mattusch, C. C. 1980. “The Berlin Foundry Cup: The Casting of Greek Bronze Statuary in the Early Fifth Century B.C.AJA 84:435444.CrossRefGoogle Scholar
McGlew, J. F. 1989. “Royal Power and the Achaean Assembly at Iliad 2.84–393.” ClAnt 8:283295.Google Scholar
Meier, C. 2003. “Griechische Arbeitsauffassungen in archaischer und klassischer Zeit: Praxis. Ideologie. Philosophie. Weiterer Zusammenhang.” In Die Rolle der Arbeit in verschiedenen Epochen und Kulturen, ed. Bierwisch, M., 1976. Berlin: Akademie.Google Scholar
Merkelbach, R. 1974. “Epilog des einen der Herausgeber.” ZPE 14:113.Google Scholar
Merkelbach, R., and West, M. L.. 1974. “Ein Archilochos-Papyrus.” ZPE 14:97112.Google Scholar
Mertens, J. R. 1972. “A White-Ground Cup by Euphronios.” HSCP 76:271281.Google Scholar
Mertens, J. R. 1987. “The Amasis Painter: Artist and Tradition.” In Papers on the Amasis Painter and His World, 168183. Malibu: J. Paul Getty Museum.Google Scholar
Mertens, J. R. 1988. “Some Thoughts on Attic Vase-Painting of the 6th Cent. B.C.” In Proceedings of the Third Symposium on Ancient Greek and Related Pottery, ed. Christiansen, J. and Melander, T., 414434. Copenhagen: Ny Carlsberg Glypotek and Thorvaldsens Museum.Google Scholar
Metzler, D. 1969. “Eine attische Kleinmeisterschale mit Töpferszenen in Karlsruhe.” AA 138–152.CrossRefGoogle Scholar
Metzler, D. 1971. Porträt und Gesellschaft: Über die Entstehung des griechischen Portäts in der Keramik. Münster: Wasmuth.Google Scholar
Miller, A. M. 1981. “Pindar, Archilochus and Hieron in P. 2.52–56.” TAPA 111:135143.Google Scholar
Miller, M. C. 1997. “Midas.” LIMC 8:846851.Google Scholar
Miller, P. A. 1994. Lyric Texts and Lyric Consciousness: The Birth of a Genre from Archaic Greece to Augustan Rome. London: Routledge.Google Scholar
Mingazzini, P. 1967. “Spigolature vascolari.” ASAtene 45–46:327353.Google Scholar
Miralles, C., and Pòrtulas, J.. 1983. Archilochus and the Iambic Poetry. Filologia e critica, vol. 45. Rome: Edizioni dell’ Ateneo.Google Scholar
Mitchell, A. 2009. Greek Vase-Painting and the Origins of Visual Humour. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Mommsen, H. 2009. “Die Entscheidung des Achilleus auf dem Nearchos-Kantharos Akr. 611.” In Shapes and Images: Studies on Attic Black Figure and Related Topics in Honour of Herman A. G. Brijder, ed. Moormann, E. M. and Stissi, V. V., 5161. Leuven: Peeters.Google Scholar
Moore, M. B. 2008. “The Hegesiboulos Cup.” MMJ 43:1137.Google Scholar
Moore, M. B. 2010. “Hephaistos Goes Home: An Attic Black-Figure Column-Krater in the Metropolitan Museum.” MMJ 45:2154.Google Scholar
Moore, M. B. 2011. “Kleitias, Dionysos, and Cheiron.” BABesch 86:113.Google Scholar
Morris, S. P. 1992. Daidalos and the Origins of Greek Art. Princeton: Princeton University Press.CrossRefGoogle Scholar
Most, G. W. 1989a. “The Stranger’s Stratagem: Self-disclosure and Self-sufficiency in Greek Culture.” JHS 109:114133.CrossRefGoogle Scholar
Most, G. W. 1989b. “The Structure and Function of Odysseus’ Apologoi.” TAPA 119:1530.Google Scholar
Most, G. W. 2006. Hesiod. Vol. 1, Theogony, Works and Days, Testimonia. Harvard: Harvard University Press.Google Scholar
Most, G. W. 2007. Hesiod. Vol. 2, The Shield, the Catalogue of Women, Other Fragments. Harvard: Harvard University Press.Google Scholar
Muellner, L. 1990. “The Simile of the Cranes and Pygmies: A Study of Homeric Metaphor.” HSCP 93:59101.Google Scholar
Murnaghan, S. 1987. Disguise and Recognition in the Odyssey. Princeton: Princeton University Press.Google Scholar
Murray, O. 1983. “The Greek Symposion in History.” In Tria corda: Scritti in onore di Arnaldo Momigliano, ed. Gabba, E., 257272. Como: Edizioni New Press.Google Scholar
Murray, O. 1990. “The Affair of the Mysteries: Democracy and the Drinking Group.” In Sympotica: A Symposium on the Symposion, ed. Murray, O., 149161. Oxford: Clarendon Press.CrossRefGoogle Scholar
Nagy, G. 1996. Poetry as Performance: Homer and Beyond. Cambridge: Cambridge University Press.Google Scholar
Nagy, G. 1999. The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry. Rev. ed. Baltimore: Johns Hopkins University Press.Google Scholar
Neer, R. T. 2002. Style and Politics in Athenian Vase-Painting: The Craft of Democracy, ca. 530–460 B.C.E. Cambridge Studies in Classical Art and Iconography. Cambridge: Cambridge University Press.Google Scholar
Neils, J. 2000. “Who’s Who on the Berlin Foundry Cup.” In From the Parts to the Whole: Acta of the 13th International Bronze Congress, Held at Cambridge, Massachusetts, May 28–June 1, 1996, ed. C. Mattusch, C., Brauer, A., and Knudsen, S. E., 1:7580. Portsmouth: Journal of Roman Studies.Google Scholar
Newton, R. M. 1987. “Odysseus and Hephaistos in the Odyssey.” CJ 83:1220.Google Scholar
Oakley, J. H., and Sinos, R. H.. 1993. The Wedding in Ancient Athens. Madison: University of Wisconsin Press.Google Scholar
Obbink, D. 2005. “4708. Achilochus, Elegies (more of VI 854 and XXX 2507).” Oxyrhynchus Papyri 89:842.Google Scholar
Obbink, D. 2006. “A New Archilochus Poem.” ZPE 156:19.Google Scholar
Oenbrink, W. 1996. “Ein ‘Bild im Bild’-Phänomen–Zur Darstellung figürlich dekorierter Vasen auf bemalten attischen Tongefäßen.” Hephaistos 14:81134.Google Scholar
Ohly, D. 1971. “Berichte der staatliche Kunstsammlungen, Neuerwerbungen, staatliche Antikensammlungen und Glypothek.” MüJb 22:229236.Google Scholar
Ohly-Dumm, M. 1974. “Euphroniosschale und Smikrosscherbe.” MüJb 24:726.Google Scholar
Olson, S. D. 1989. “Odyssey 8: Guile, Force and the Subversive Poetics of Desire.” Arethusa 22:135145.Google Scholar
Osborne, R. 1985. “The Erection and Mutilation of the Hermai.” PCPS 31:4773.Google Scholar
Osborne, R. 2010a. “The Art of Signing in Ancient Greece.” Arethusa 43:231251.CrossRefGoogle Scholar
Osborne, R. 2010b. “Who’s Who on the Pronomos Vase?” In The Pronomos Vase and Its Context, ed. Taplin, O. and Wyles, R., 149158. Oxford: Oxford University Press.Google Scholar
Osborne, R., and Pappas, A.. 2007. “Writing on Archaic Greek Pottery.” In Art and Inscriptions in the Ancient World, ed. Newby, Z. and Leader-Newby, R. E., 131155. Cambridge: Cambridge University Press.Google Scholar
Page, D. 1964. “Archilochus and the Oral Tradition.” In Archiloque. Entretiens sur l’antiquité classique, vol. 10, 119163. Geneva: Fondation Hardt.Google Scholar
Panofsky, E. 1972. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. Boulder: Westview.Google Scholar
Papastamos, D. 1970. Melische Amphoren. Münster: Aschendorff.Google Scholar
Papoutsaki-Serbeti, E. 1980. “Eruthromorphē kulika apo tēn odo Lekka.” In Stele: Tomos eis mnemen Nikolaou Kontoleantos, 321327. Athens: Sōmateio hoi Philoi tou Nikolaou Kontoleontos.Google Scholar
Pasquier, A., et al. 1990. Euphronios: Peintre à Athènes au VIe siècle avant J.-C. Paris: Editions de la Réunion des musées nationaux.Google Scholar
Paton, W. R. 1916–18. The Greek Anthology. Cambridge: Harvard University Press.Google Scholar
Pellizer, E. 1990. “Outlines of a Morphology of Sympotic Entertainment.” In Sympotica: A Symposium on the Symposion, ed. Murray, O., 177184. Oxford: Clarendon Press.CrossRefGoogle Scholar
Perrin, B., trans. 1914–26. Plutarch: Lives. Cambridge: Harvard University Press.Google Scholar
Peschel, I. 1987. Die Hetäre bei Symposion und Komos in der attisch-rotfigurigen Vasenmalerei des 6.-4. Jahrhunderts vor Christus. Frankfurt am Main: P. Lang.Google Scholar
Pevnick, S. D. 2010. “ΣΥΡΙΣΚΟΣ ΕΓΡΦΣΕΝ: Loaded Names, Artistic Identity, and Reading an Athenian Vase.” ClAnt 29:222253.Google Scholar
Pevnick, S. D. 2011. Foreign Creations of the Athenian Kerameikos: Images and Identities in the Work of Pistoxenos-Syriskos. Ph.D. dissertation, University of California Los Angeles. Ann Arbor: UMI no. 3486565.Google Scholar
Pfuhl, E. 1926. Masterpieces of Greek Drawing and Painting. 2nd ed. Trans. Beazley, J. D.. London: Chatto.Google Scholar
Platt, V. 2011. Facing the Gods: Epiphany and Representation in Graeco-Roman Art, Literature and Religion. Cambridge: Cambridge University Press.Google Scholar
Podlecki, A. J. 1961. “Guest-Gifts and Nobodies in ‘Odyssey 9’.” Phoenix 15:125133.CrossRefGoogle Scholar
Porter, J. I. 2001. “Ideals and Ruins: Pausanias, Longinus, and the Second Sophistic.” In Pausanias: Travel and Memory in Roman Greece, ed. Alcock, S. E., Cherry, J. F., and Elsner, J., 6392. Oxford: Oxford University Press.CrossRefGoogle Scholar
Postlethwaite, N. 1988. “Thersites in the Iliad.” GaR 35:123136.CrossRefGoogle Scholar
Pottier, E. 1902. “Epilykos.” MonPiot 9:135–78.Google Scholar
Pouilloux, J. 1954. Recherches sur l’histoire et les cultes de Thasos, 1: De la fondation de la cité à 196 avant J.-C. Études thasiennes, vol. 3. Paris: Boccard.Google Scholar
Power, T. 2010. The Culture of Kitharôidia. Washington, D.C.: Center for Hellenic Studies.Google Scholar
Pratt, L. 1993. Lying and Poetry from Homer to Pindar: Falsehood and Deception in Archaic Greek Poetics. Ann Arbor: University of Michigan Press.Google Scholar
Pratt, L. 1995. “The Seal of Theognis, Writing, and Oral Poetry. AJP 116:171184.Google Scholar
Preisshofen, F. 1974. “Phidias-Daedalus auf dem Schild der Athena Parthenos?JdI 89:5069.Google Scholar
Preller, L. 1894. Griechische Mythologie. 4th ed. Rev. Robert, C.. Berlin: Weidmann.Google Scholar
Pucci, P. 1987. Odysseus Polytropos: Intertextual Readings in the Odysseus and the Iliad. Ithaca: Cornell University Press.Google Scholar
Race, W. H. 1997. Pindar. Vol. 1, Olympian Odes, Pythian Odes. Cambridge: Harvard University Press.Google Scholar
Rankin, H. D. 1977. Archilochus of Paros. Park Ridge: Noyes Press.Google Scholar
Rasmussen, T. 1985. “Etruscan Shapes in Attic Pottery.” AntK 28:3339.Google Scholar
Raubitschek, A. E. 1939. “Leagros.” Hesperia 8:155164.CrossRefGoogle Scholar
Raubitschek, A. E. 1949. Dedications from the Athenian Akropolis: A Catalogue of the Inscriptions of the Sixth and Fifth Centuries B.C. In collaboration with Jeffery, Lilian H.. Cambridge: Archaeological Institute of America.Google Scholar
Reeder, E. D. 1995. Pandora: Women in Classical Greece. Baltimore.Google Scholar
Reinsberg, C. 1993. Ehe, Hetärentum und Knabenliebe im antiken Griechenland. 2nd ed. Munich: Beck.Google Scholar
Richter, G. M. A. 1932. “An Aryballos by Nearchos.” AJA 36:272275.CrossRefGoogle Scholar
Richter, G. M. A. 1934. “The Menon Painter=Psiax.” AJA 38:547554.CrossRefGoogle Scholar
Ridgway, B. S. 1986. “The ‘Nike of Archermos’ and Her Attire.” In Chios: A Conference at the Homereion in Chios 1984, ed. Boardman, J. and Vaphopoulou-Richardson, C. E., 259274. Oxford: Clarendon.Google Scholar
Ridgway, B. S. 1993. The Archaic Style in Greek Sculpture. 2nd ed. Chicago.Google Scholar
Riegl, A. 1985. Late Roman Art Industry. Trans. Winkes, R.. Rome: Bretschneider.Google Scholar
Riu, X. 2008. “On the Difference between Praise and Invective.” In Paros 2: Archilochos and His Age. Proceedings of the Second International Conference on the Archaeology of Paros and the Cyclades, Paroikia, Paros, 7–9 October 2005, ed. Katsonopoulou, D., Petropoulos, I., and Katsarou, S., 8190. Athens: The Paros and Cyclades Institute of Archaeology.Google Scholar
Rizzo, G. E. 1913. “Il ceramografo Skythes.” MonPiot 20:101153.Google Scholar
Robert, C. 1886. Archaeologische Maerchen aus alter und neuer Zeit. Berlin: Weidmann.Google Scholar
Robertson, D. S. 1940. “The Food of Achilles.” CR 54:177180.Google Scholar
Robertson, M. 1976. “Beazley and After.” MüJb 27:2946.Google Scholar
Robertson, M. 1991. “A Fragmentary Phiale by Douris.” GVGettyMus 5:7598.Google Scholar
Robertson, M. 1992. The Art of Vase-Painting in Classical Athens. Cambridge: Cambridge University Press.Google Scholar
Robinson, D. M., and Fluck, E. J.. 1937. A Study of the Greek Love-Names. Baltimore: Johns Hopkins University Press.Google Scholar
Rodenwaldt, G. 1914. “Zum Vasenmaler Skythes.” AA 87–90.Google Scholar
Rose, P. W. 1988. “Thersites and the Plural Voices of Homer.” Arethusa 21:525.Google Scholar
Rosen, R. M. 1988a. “Hipponax and His Enemies in Ovid’s Ibis.” CQ 38:291296.CrossRefGoogle Scholar
Rosen, R. M. 1988b. “Hipponax, Boupalos, and the Conventions of Psogos.” TAPA 118:2941.Google Scholar
Rosen, R. M. 1988c. “A Poetic Initiation Scene in Hipponax?AJP 109:174179.Google Scholar
Rosen, R. M. 1990. “Hipponax and the Homeric Odysseus.” Eikasmos 1:1125.Google Scholar
Rosen, R. M. 2003. “The Death of Thersites and the Sympotic Performance of Iambic Mockery.” Pallas 61:121136.Google Scholar
Rosen, R. M. 2007. Making Mockery: The Poetics of Ancient Satire. Oxford: Oxford University Press.CrossRefGoogle Scholar
Rotstein, A. 2010. The Idea of Iambos. Oxford: Oxford University Press.Google Scholar
Rumpf, A. 1936. “Zu Bupalos und Athenis.” AA 52–64.Google Scholar
Rumpf, A. 1953. Review of Beazley, Development. Gnomon 25:467471.Google Scholar
Russo, J. 1974. “The Inner Man in Archilochus and the Odyssey.” GRBS 15:139152.Google Scholar
Russo, J., Fernandez-Galiano, M., and Heubeck, A.. 1992. A Commentary on Homer’s Odyssey. Vol. 3, Books XVII–XXIV. Oxford: Clarendon Press.Google Scholar
Rusten, J. S., ed. 2011. The Birth of Comedy: Texts, Documents, and Art from Athenian Comic Competitions, 486–280. Baltimore: Johns Hopkins University Press.CrossRefGoogle Scholar
Schadewaldt, W. 1944. Von Homers Welt und Werk: Aufsätze und Auslegungen zur homerischen Frage. Stuttgart: K. F. Koehler.Google Scholar
Schaus, G. 1986. “Gold or Clay? Dionysos’ Amphora on the François Vase.” Echoes du monde classique 5:119128.Google Scholar
Schaus, G. 1988. “The Beginning of Greek Polychrome Painting.” JHS 108:107117.CrossRefGoogle Scholar
Schefold, K. 1937. “Statuen auf Vasenbildern.” JdI 52:3075.Google Scholar
Scherrer, P. 1983. “Das Weihgeshenk von Mikkiades und Archermos von Delos.” ÖJh 54:1925.Google Scholar
Schulz, M. 2001. Skythes und Pedieus-Maler: Zwei attische Vasenmaler im Werkstattzusammenhang. Inaugural dissertation. Munich: Ludwig-Maximilians-Universität München.Google Scholar
Scodel, R. 1992. “Inscription, Absence and Memory: Epic and Early Epitaph.” Studi italiani di filologia classica 10:5776.Google Scholar
Searle, J. R. 1980. “Las Meninas and the Paradoxes of Pictorial Representation.” Critical Inquiry 6:477488.CrossRefGoogle Scholar
Seeberg, A. 1971. Corinthian Komos Vases. BICS supplement 27. London: Institute of Classical Studies.Google Scholar
Seidensticker, B. 1978. “Archilochus and Odysseus.” GRBS 19:522.Google Scholar
Seki, T. 1988. “London E84, a Trick Cup?” In Proceedings of the 3rd Symposium on Ancient Greek and Related Pottery: Copenhagen August 31–September 4 1987, ed. Christiansen, J. and Melander, T., 585591. Copenhagen: Ny Carlsberg Glypotek and Thorvaldsens Museum.Google Scholar
Shapiro, H. A. 1981. “Courtship Scenes in Attic Vase-Painting.” AJA 85:133143.CrossRefGoogle Scholar
Shapiro, H. A. 1983. “Epilykos kalos.” Hesperia 52:305310.CrossRefGoogle Scholar
Shapiro, H. A. 1984. “Herakles and Kyknos.” AJA 88:523529.CrossRefGoogle Scholar
Shapiro, H. A. 1986. “The Origins of Allegory in Greek Art.” Boreas 9:423.Google Scholar
Shapiro, H. A. 1988. “Geras.” LIMC 4:180182.Google Scholar
Shapiro, H. A. 1989. Art and Cult under the Tyrants in Athens. Mainz am Rhein: Philipp von Zabern.Google Scholar
Shapiro, H. A. 1993. Personifications in Greek Art: The Representation of Abstract Concepts 600–400 B.C. Zurich: Akanthus.Google Scholar
Shapiro, H. A. 1995. Art and Cult under the Tyrants in Athens. Supplement. Mainz am Rhein: Philipp von Zabern.Google Scholar
Shapiro, H. A. 2000. “Leagros and Euphronios: Painting Pederasty in Athens.” In Greek Love Reconsidered, ed. Hubbard, T. K., 1232. New York: Wallace Hamilton Press.Google Scholar
Shapiro, H. A. 2004. “Leagros the Satyr.” In Greek Vases: Images, Contexts and Controversies. Proceedings of the Conference Sponsored by The Center for the Ancient Mediterranean at Columbia University, 23–24 March 2002, ed. C. Marconi, 111. Leiden: Brill.Google Scholar
Shapiro, H. A. 2013. “The François Vase: 175 Years of Interpretation.” In The François Vase: New Perspectives. Papers of the International Symposium, Villa Spelman, Florence, 23–24 May, 2003, ed. Shapiro, H. A., Iozzo, M., and Lezzi-Hafter, A., 1117. Zurich: Akanthus.Google Scholar
Sheedy, K. 1985. “The Delian Nike and the Search for Chian Sculpture.” AJA 89:619626.CrossRefGoogle Scholar
Shorey, P. 1930–35. Plato. Vol. 6, Republic. Cambridge: Harvard University Press.Google Scholar
Sikes, E. E. 1940. “The Humour of Homer.” CR 54:121127.Google Scholar
Simon, E. 1982. “Satyr-Plays on Vases in the Time of Aeschylus.” In The Eye of Greece: Studies in the Art of Athens, ed. Kurtz, D., Sparkes, B., 123148. Cambridge: Cambridge University Press.Google Scholar
Simon, E. 1992. “Euphronios und die Etrusker.” In Euphronios und seine Zeit, Kolloquium in Berlin 19./20. April 1991, ed. Wehgartner, I., 90103. Berlin: Staatliche Museen.Google Scholar
Simon, E. 1997a. “Silenoi.” LIMC 8:11081133.Google Scholar
Simon, E. 1997b. “Vulcanus.” LIMC 8:283293.Google Scholar
Simon, E., Hirmer, M., and Hirmer, A.. 1981. Die griechischen Vasen. 2nd ed. Munich: Hirmer.Google Scholar
Slater, N. W. 1999. “The Vase as Ventriloquist: Kalos-Inscriptions and the Culture of Fame.” In Signs of Orality: The Oral Tradition and Its Influence in the Greek and Roman World, ed. Mackay, E. A., 143161. Leiden: Brill.CrossRefGoogle Scholar
Slatkin, L. M. 1991. The Power of Thetis: Allusion and Interpretation in the Iliad. Berkeley: University of California Press.Google Scholar
Slatkin, L. M. 1996. “Composition by Theme and the Mētis of the Odyssey.” In Reading the Odyssey: Selected Interpretive Essays, ed. Schein, S. L., 223237. Princeton: Princeton University Press.Google Scholar
Slings, S. R. 1990. “The I in Personal Archaic Lyric: An Introduction.” In The Poet’s I in Archaic Greek Lyric, ed. Slings, S. R., 130. Amsterdam: VU University Press.Google Scholar
Smith, R. R. R. 2002. “The Use of Images: Visual History and Ancient History.” In Classics in Progress: Essays on Ancient Greece and Rome, ed. Cameron, A. and Wiseman, T. P., 59102. Oxford: Oxford University Press.Google Scholar
Smith, R. R. R. 2007. “Pindar, Athletes, and the Early Greek Statue Habit.” In Pindar’s Poetry, Patron, and Festivals: From Archaic Greece to the Roman Empire, ed. Hornblower, S. and Morgan, C., 83139. Oxford: Oxford University Press.CrossRefGoogle Scholar
Smyth, H. W. 1956. Greek Grammar. Rev. G. M. Messing. Cambridge: Harvard.Google Scholar
Snell, B. 1953. The Discovery of Mind: The Greek Origins of European Thought. Trans. Rosenmeyer, T. G.. Cambridge: Harvard University Press.Google Scholar
Snodgrass, A. 1998. Homer and the Artists: Text and Picture in Early Greek Art. Cambridge: Cambridge University Press.Google Scholar
Snyder, J., and Cohen, T.. 1980–81. “Reflexions on Las Meninas: Paradox Lost.Critical Inquiry 7:429447.CrossRefGoogle Scholar
Sommerstein, A. H. 2008. Aeschylus. Vol. 3, Fragments. Cambridge: Harvard University Press.Google Scholar
Sontag, S. 1983. “Notes on Camp.” In A Susan Sontag Reader, ed. Hardwick, E., 105119. New York: Vintage.Google Scholar
Sourvinou-Inwood, C. 2003. “Herodotos (and Others) on Pelasgians: Some Perspectives on Ethnicity.” In Herodotus and His World: Essays from a Conference in Memory of George Forrest, ed. Derow, P. and Parker, R., 103144. Oxford: Oxford University Press.CrossRefGoogle Scholar
Sourvinou-Inwood, C. 2004. “Reading a Myth, Reconstructing Its Constructions.” In Myth and Symbol II: Symbolic Phenomena in Ancient Greek Culture. Papers from the Second and Third International Symposia on Symbolism at The Norwegian Institute at Athens, September 21–24, 2000 and September 19–22, 2002, ed. Des Bouvrie, S., 141179. Bergen: Norwegian Institute at Athens.Google Scholar
Squire, M. 2013. “Ekphrasis at the Forge and the Forging of Ekphrasis: The ‘Shield of Achilles’ in Graeco-Roman Word and Image.” Word and Image 29:157191.CrossRefGoogle Scholar
Stanford, W. B. 1963. The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. 2nd ed. Oxford: Blackwell.Google Scholar
Starobinski, J. 1975. “The Inside and the Outside.” The Hudson Review 28:333351.CrossRefGoogle Scholar
Stehle, E. 1997. Performance and Gender in Ancient Greece: Nondramatic Poetry in Its Setting. Princeton: Princeton University Press.Google Scholar
Steinberg, L. 1981. “Velázquez’ Las Meninas.” October 19:4554.CrossRefGoogle Scholar
Steinberg, L. 2001. Leonardo’s Incessant Last Supper. New York: Zone Books.Google Scholar
Steiner, A. 2007. Reading Greek Vases. New York: Cambridge University Press.Google Scholar
Steiner, D. 2001. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton: Princeton University Press.CrossRefGoogle Scholar
Steiner, D. 2011. “Pindar’s Bestiary: The ‘Coda’ of Pythian 2.” Phoenix 65:238267.CrossRefGoogle Scholar
Steinhart, M. 1995. Das Motiv des Auges in der Griechischen Bildkunst. Mainz: Philipp von Zabern.Google Scholar
Steinrüch, M. 2003. “Un glyconien sur une amphore de Smikros?QUCC 75:155156.Google Scholar
Stewart, A. 1983. “Stesichoros and the François Vase.” In Ancient Greek Art and Iconography, ed. Moon, W. G., 5374. Madison: University of Wisconsin Press.Google Scholar
Stewart, A. 1997. Art, Desire, and the Body in Ancient Greece. Cambridge: Cambridge University Press.Google Scholar
Stissi, V. 1999. “Production, Circulation and Consumption of Archaic Greek Pottery (Sixth and Fifth Centuries BC).” In The Complex Past of Pottery: Production, Circulation and Consumption of Mycenaean and Greek Pottery (Sixteenth to Early Fifth Centuries BC), ed. Crielaard, J. P., Stissi, V., and van Wijngaarden, G. J., 83113. Amsterdam: Gieben.Google Scholar
Stuurman, S. 2004. “The Voice of Thersites: Reflections on the Origins of the Idea of Equality.” Journal of the History of Ideas 65:171189.CrossRefGoogle Scholar
Swift, L. A. 2012. “Archilochus the ‘Anti-hero’? Heroism, Flight and Values in Homer and the New Archilochus Fragment (P.Oxy LXIX 4708).” JHS 132:139155.CrossRefGoogle Scholar
Taplin, O. 1980. “The Shield of Achilles within the Iliad.” Greece and Rome 27:121.CrossRefGoogle Scholar
Thalmann, W. G. 1988. Thersites: Comedy, Scapegoats, and Heroic Ideology in the Iliad.” TAPA 118:128.Google Scholar
Thompson, H. A. 1964. “A Note on the Berlin Foundry Cup.” In Essays in Memory of Karl Lehmann, ed. Sandler, L. F., 323328. New York: Institute of Fine Arts.Google Scholar
Threatte, L. 1980. The Grammar of Attic Inscriptions. vol. 1, Phonology. Berlin: De Gruyter.Google Scholar
Toohey, P. 1988. “Archilochus’ General (fr. 114W): Where Did He Come From?Eranos 86:114.Google Scholar
Topper, K. 2007. “Perseus, the Maiden Medusa, and the Imagery of Abduction.” Hesperia 76:73105.CrossRefGoogle Scholar
Topper, K. 2012. The Imagery of the Athenian Symposium. Cambridge: Cambridge University Press.Google Scholar
Torelli, M. 1977. “Il santuario greco di Gravisca.” PP 32:398458.Google Scholar
Torelli, M. 2013. “The Destiny of the Hero–Toward a Structural Reading of the François Krater.” In The François Vase: New Perspectives. Papers of the International Symposium, Villa Spelman, Florence, 23–24 May, 2003, ed. Shapiro, H. A., Iozzo, M., and Lezzi-Hafter, A., 83103. Zurich: Akanthus.Google Scholar
Touchefeu-Meynier, O. 1992. “Odysseus.” LIMC 6:943970.Google Scholar
Trahman, C. R. 1952. “Odysseus’ Lies (Odyssey, Books 13–19).” Phoenix 6:3143.CrossRefGoogle Scholar
Tsantsanoglou, K. 2010. “Two Obscene Vase-Inscriptions.” ZPE 173:3234.Google Scholar
Tsingarida, A. 2003. “Des offrandes pour l’éternité: Les vases de la ‘Tombe Sotadès’ à Athènes.” In Le vase grec et ses destins, ed. Verbanck-Piérard, A. and Rouillard, P., 6774. Munich: Biering and Brinckmann.Google Scholar
Tsingarida, A. 2009. “Vases for Heroes and Gods: Early Red-Figure Parade Cups and Large-Scaled Phialai.” In Shapes and Uses of Greek Vases (7th–4th Centuries B.C.): Proceedings of the Symposium Held at the Université libre de Bruxelles 27–29 April 2006, ed. Tsingarida, A., 185201. Brussels: CReA Patrimoine.Google Scholar
Tsingarida, A. 2014. “The Attic Phiale in Context: The Late Archaic Red-Figure and Coral-Red Workshops.” In Athenian Potters and Painters III, ed. Oakley, J. H., 263272. Oxford: Oxbow.CrossRefGoogle Scholar
Ure, P. N. 1951. “A New Pontic Amphora.” JHS 71:198202.CrossRefGoogle Scholar
van der Valk, M. 1971–87. Eustathii Commentarii ad Homeri Iliadem pertinentes. Leiden: Brill.Google Scholar
Van Sickle, J. 1975a. “Archilochus: A New Fragment of an Epode.” CJ 71:115.Google Scholar
Van Sickle, J. 1975b. “The New Erotic Fragment of Archilochus.” QUCC 20:124156.Google Scholar
Van Sickle, J. 1979/80. “On the Cologne Epode’s End Again: An Antinote.” CJ 75:225228.Google Scholar
van Wees, H. J. 1999. “Introduction: Homer and Early Greece.” In Homer: Critical Assessments, ed. de Jong, I. J. F., 2:132. London: Routledge.Google Scholar
Venit, M. 2002. “Fit to Be Tied: The Punishment of Eros and Two Vases by Euphronios in the Villa Giulia.” In Essays in Honor of Dietrich von Bothmer, ed. Clark, A. J. and Gaunt, J.. Allard Pierson Series, vol. 14, 317322. Amsterdam: Allard Pierson Museum.Google Scholar
Venit, M. 2006. “Point and Counterpoint: Painted Vases on Attic Painted Vases.” AntK 46:2941.Google Scholar
Vermeule, E. T. 1965. “Fragments of a Symposion by Euphronios.” AntK 8:3439.Google Scholar
Vernant, J.-P. 1991a. “Death in the Eyes: Gorgo, Figure of the Other.” In Mortals and Immortals: Collected Essays, ed. Zeitlin, F. I., 111138. Princeton: Princeton University Press.Google Scholar
Vernant, J.-P. 1991b. “The Figure and Functions of Artemis in Myth and Cult.” In Mortals and Immortals: Collected Essays, ed. Zeitlin, F. I., 195206. Princeton: Princeton University Press.Google Scholar
Vernant, J.-P. 1991c. “In the Mirror of Medusa.” In Mortals and Immortals: Collected Essays, ed. Zeitlin, F. I., 141150. Princeton: Princeton University Press.Google Scholar
Vernant, J.-P., and Frontisi-Ducroux, F.. 1988. “Features of the Mask in Ancient Greece.” In Myth and Tragedy in Ancient Greece, by Vernant, J.-P. and Vidal-Naquet, P., trans. Lloyd, J., 189206. New York: Zone.Google Scholar
Villard, F. 1953. “Fragments d’une amphore d’Euphronios au musée du Louvre.” MonPiot 47:3546.Google Scholar
Villard, L. 1997. “Tyche.LIMC 8:115125.Google Scholar
Viviers, D. 2002. “Le bouclier signé du Trésor de Siphnos à Delphes: ‘Régions stylistiques’ et ateliers itinérants ou la sculpture archaïque face aux lois du marché.” In Identités et cultures dans le monde méditerranéen en antique, ed. C. Müller, and Prost, F., 5385. Paris: Sorbonne.CrossRefGoogle Scholar
Wachter, R. 1991. “The Inscriptions on the François Vase.” MusHelv 48:87113.Google Scholar
Wachter, R. 2001. Non-Attic Greek Vase Inscriptions. Oxford: Oxford University Press.Google Scholar
Walcot, P. 1977. “Odysseus and the Art of Lying.” Ancient Society 8:119.Google Scholar
Webster, T. B. L. 1972. Potter and Patron in Classical Athens. London: Methuen.Google Scholar
Wegner, M. 1979. Euthymides und Euphronios. Münster Westfalen: Aschendorff.Google Scholar
Wehgartner, I. 1997. “Der Satyr des Sosias: Überlegungen zum ‘standlet’ des Sosias in Berlin.” In Athenian Potters and Painters: The Conference Proceedings, ed. Oakley, J. H., Coulson, W. D., and Palagia, O.. Oxbow Monographs, vol. 67, 203212. Oxford: Oxbow.Google Scholar
West, M. L. 1966. Hesiod: Theogony. Oxford: Clarendon Press.Google Scholar
West, M. L. 1971. “Stesichorus.” CQ 21:302314.CrossRefGoogle Scholar
West, M. L. 1974. Studies in Greek Elegy and Iambus. Untersuchungen zur antiken Literatur und Geschichte. Berlin: Walter de Gruyter.CrossRefGoogle Scholar
West, M. L. 1975. “Archilochus ludens: Epilogue of the Other Editor.” ZPE 16:217219.Google Scholar
West, M. L. 1985. The Hesiodic Catalogue of Women: Its Nature, Structure, and Origins. Oxford: Oxford University Press.Google Scholar
West, M. L. 1992. Ancient Greek Music. Oxford: Clarendon Press.CrossRefGoogle Scholar
West, M. L. 1998. Iambi et elegi graeci ante Alexandrum cantati: Editio altera. Oxford: Clarendon Press.Google Scholar
West, M. L. 2001. “The Fragmentary Homeric Hymn to Dionysus.” ZPE 134:111.Google Scholar
West, M. L. 2003a. Greek Epic Fragments. Cambridge: Harvard University Press.Google Scholar
West, M. L. 2003b. Homeric Hymns, Homeric Apocrypha, Lives of Homer. Cambridge: Harvard University Press.Google Scholar
West, M. L. 2006. “Archilochus and Telephos.” ZPE 156:1117.Google Scholar
West, M. L. 2011. The Making of the Iliad: Disquisition and Analytical Commentary. Oxford: Oxford University Press.CrossRefGoogle Scholar
West, M. L. 2013. The Epic Cycle: A Commentary on the Lost Troy Epics. Oxford: Oxford University Press.CrossRefGoogle Scholar
White, J. W. 1914. The Scholia on the Aves of Aristophanes. Boston: Ginn.Google Scholar
Whitehorne, J. 2012. “An Anti-hero’s Heroes: Archilochus between Odysseus and Telephus (P.Oxy. LXIX 4708).” In Actes du 26e Congrès international de papyrologie: Genève 16–21 août 2010, ed. Schubert, P., 823826. Geneva: Librairie Droz.Google Scholar
Wilamowitz-Moellendorff, U. v. 1895. “Hephaistos.” GöttNachr 217–245.Google Scholar
Williams, B. 1993. Shame and Necessity. Berkeley: University of California Press.CrossRefGoogle Scholar
Williams, D. 1983. “Sophilos in the British Museum.” GVGettyMus 1:934.Google Scholar
Williams, D. 1991a. “Euphronios: von Maler zum Töpfer.” In Euphronios der Maler: Eine Ausstellung in der Sonderaustellungshalle der staatlichen Museen preußischer Kulturbesitz Berlin-Dahlem 20.3–26.5.1991, ed. Goemann, E., 4751. Mailand: Fabbri Editori.Google Scholar
Williams, D. 1991b. “Onesimos and the Getty Iliupersis.” GVGettyMus 5:4164.Google Scholar
Williams, D. 1992. “Euphronios’ Contemporary Companions and Followers.” In Euphronios peintre: Actes de la journée d’étude organisée par l’Ecole du Louvre et le départment des Antiquités grecques, étrusques et romaines du musée du Louvre 10 octobre 1990, ed. Denoyelle, M., 7995. Paris: La Documentation Française.Google Scholar
Williams, D. 1995. “Potter, Painter and Purchaser.” In Culture et cité: L’avènement d’Athènes à l’époque archaïque, ed. Verbanck-Piérard, A. and Viviers, D., 139160. Brussels: Fondation archéologique de l’université libre de Bruxelles.Google Scholar
Williams, D. 2005. “Furtwängler and the Pioneer Painters and Potters.” In Meisterwerke: Internationales Symposion anläßlich des 150. Geburtstag von Adolf Furtwängler, Freiburg im Breisgau 30. Juni–3. Juli 2003, ed. Strocka, V. M., 271283. Munich: Hirmer.Google Scholar
Williams, D. 2006. “The Sotades Tomb.” In The Colors of Clay: Special Techniques in Athenian Vases, ed. Cohen, B., 292298. Los Angeles: J. Paul Getty Museum.Google Scholar
Williams, D. 2008. “Some Thoughts on the Potters and Painters of Plastic Vases before Sotades.” In Papers on Special Techniques in Athenian Vases, ed. Lapatin, K., 161172. Los Angeles: J. Paul Getty Museum.Google Scholar
Williams, D. 2009. “Picturing Potters and Painters.” In Athenian Potters and Painters, volume II, ed. Oakley, J. H. and Palagia, O., 306317. Oxford: Oxbow.Google Scholar
Winkler, J. J. 1990. “The Some Two Sources of Literature and Its ‘History’ in Aristotle, Poetics 4.” In Cabinet of the Muses, ed. Griffith, M. and Mastronarde, D., 307318. Atlanta: Scholars Press.Google Scholar
Wollheim, R. 1970. “Nelson Goodman’s Languages of Art.” Journal of Philosophy 67:531539.CrossRefGoogle Scholar
Wollheim, R. 1987. Painting as an Art. The A. W. Mellon Lectures in the fine arts, 1984. Bollingen series, vol. 35. Princeton: Princeton University Press.Google Scholar
Woodbury, L. 1952. “The Seal of Theognis.” In Studies in Honour of Gilbert Norwood, ed. White, M. E., 2041. Toronto: University of Toronto Press.Google Scholar
Yatromanolakis, D. 2007. Sappho in the Making: The Early Reception. Washington, D. C.: Center for Hellenic Studies.Google Scholar
Young, R. S. 1935. “A Black-Figured Deinos.” Hesperia 4:430441.CrossRefGoogle Scholar
Zampitē, A., and Vasilopoulou, V.. 2008. “Keramakē arxaïkēs kai klasikēs periodou apo to Leivēthrio antro tou Elikōna.” In Epetēris tēs etaireias Boiōtikōn meletōn, vol. 4A, ed. Aravantinos, V., 445472. Athens: Etaireia Boiōtikō Meletōn.Google Scholar
Zanker, P. 1988. The Power of Images in the Age of Augustus. Trans. Shapiro, H. A.. Ann Arbor: University of Michigan Press.CrossRefGoogle Scholar
Zanker, P. 1995. The Mask of Socrates: The Image of the Intellectual in Antiquity. Trans. Shapiro, H. A.. Berkeley: University of California.CrossRefGoogle Scholar
Zeitlin, F. I. 1989. “Mysteries of Identity and Designs of the Self in Euripides’ Ion.” PCPS 35:144197.Google Scholar
Zeitlin, F. I. 1995. “Figuring Fidelity in Homer’s Odyssey.” In the Distaff Side: Representing the Female in Homer’s Odyssey, ed. Cohen, B., 117152. Oxford: Oxford University Press.CrossRefGoogle Scholar
Zimmer, G. 1982. Antike Werkstattbilder. Berlin: Staatliche Museen.Google Scholar
Zinserling, V. 1967. “Die Anfänge griechischer Porträtkunst als gesellschaftliches Problem.” Acta Antiqua Academiae Scientiarum Hungaricae 15:283294.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • References
  • Guy Hedreen, Williams College, Massachusetts
  • Book: The Image of the Artist in Archaic and Classical Greece
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316339398.011
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • References
  • Guy Hedreen, Williams College, Massachusetts
  • Book: The Image of the Artist in Archaic and Classical Greece
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316339398.011
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • References
  • Guy Hedreen, Williams College, Massachusetts
  • Book: The Image of the Artist in Archaic and Classical Greece
  • Online publication: 05 November 2015
  • Chapter DOI: https://doi.org/10.1017/CBO9781316339398.011
Available formats
×