Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-23T03:13:20.771Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  14 October 2021

Lauren Curtis
Affiliation:
Bard College, New York
Naomi Weiss
Affiliation:
Harvard University, 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
Publisher: Cambridge University Press
Print publication year: 2021

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. 2010. Arion’s Lyre: Archaic Lyric into Hellenistic Poetry. Princeton: Princeton University Press.Google Scholar
Acosta-Hughes, B. and Stephens, S. 2012. Callimachus in Context: From Plato to the Augustan Poets. Cambridge: Cambridge University Press.Google Scholar
Agócs, P., Carey, C., and Rawles, R. (eds.). 2012. Reading the Victory Ode. Cambridge: Cambridge University Press.Google Scholar
Alexiou, M. 2002. The Ritual Lament in Greek Tradition. Lanham, MD: Rowman & Littlefield.Google Scholar
Allan, W. (ed.). 2008. Euripides: Helen. Cambridge: Cambridge University Press.Google Scholar
Allison, R. H. 1983. “Amphibian Ambiguities: Aristophanes and His Frogs.” G&R 30: 820.Google Scholar
Alonso Fernández, Z. 2015. “Docta saltatrix: Body Knowledge, Culture, and Corporeal Discourse in Female Roman Dance.” Phoenix 69(3–4): 304–33.Google Scholar
Alonso Fernández, Z. 2016a. “Redantruare: cuerpo y cinestesia en la ceremonia saliar.” Ilu: Revista de Ciencias de las Religiones 21: 930.Google Scholar
Alonso Fernández, Z. 2016b. “Choreography of Lupercalia: Corporeality in Roman Public Religion.” GRMS 4(1): 311–32.Google Scholar
Alonso Fernández, Z. 2017. “Rethinking Lupercalia: From Corporeality to Corporation.” GRMS 5(1): 4362.Google Scholar
Anderson, R. 1995. “Music and Dance in Pharaonic Egypt,” in Sasson, J. (ed.), Civilizations of the Ancient Near East. Vol. iv. New York: Scribner, 2555–68.Google Scholar
Arnold, D. 1999. Temples of the Last Pharaohs. Oxford: Oxford University Press.Google Scholar
Arnott, W. G. 1982. “Off-stage Cries and the Choral Presence. Some Challenges to Theatrical Conventions in Euripides.” Antichthon 16: 3543.CrossRefGoogle Scholar
Arnott, W. G. 2007. Birds in the Ancient World from A to Z. London: Routledge.CrossRefGoogle Scholar
Arrington, N. T. 2014. “Fallen Vessels and Risen Spirits: Conveying the Presence of the Dead on White Ground Lekythoi,” in Oakley, J. H. (ed.), Athenian Potters and Painters. Vol. iii. Oxford: Oxbow Books, 110.Google Scholar
Arrington, N. T. 2015. Ashes, Images, and Memories: The Presence of the War Dead in Fifth-Century Athens. Oxford: Oxford University Press.Google Scholar
Arrington, N. T. 2018. “Touch and Remembrance in Greek Funerary Art.” ArtB 100: 727.Google Scholar
Assmann, J. 1988. “Kollektives Gedächtnis und kulturelle Identität,” in Assmann, J. and Hölscher, T. (eds.), Kultur und Gedächtnis. Frankfurt: Suhrkamp, 919.Google Scholar
Assmann, J. 1992. Das kulturelle Gedächtnis: Schrift, Erinnerung und politische Identität in frühen Hochkulturen. Munich: C. H. Beck.Google Scholar
Assmann, J. 1999. Ägyptische Hymnen und Gebete. Freiburg: Universitätsverlag.Google Scholar
Assmann, J. 2008. “Communicative and Cultural Memory,” in Erll (ed.), 109–18.Google Scholar
Assmann, J. 2011. Cultural Memory and Early Civilization: Writing, Remembrance, and Political Imagination. Cambridge: Cambridge University Press.Google Scholar
Athanassaki, L. and Bowie, E. (eds.) 2011. Archaic and Classical Choral Song: Performance, Politics and Dissemination. Berlin: De Gruyter.Google Scholar
Athanassaki, L. 2012. “Performance and Re-performance: The Siphnian Treasury Evoked (Pindar’s Pythian 6, Olympian 2 and Isthmian 2),” in Agócs, Carey, and Rawles (eds.), 134–57.Google Scholar
Atkinson, N. 2016. The Noisy Renaissance: Sound, Architecture, and Florentine Urban Life. University Park, PA: The Pennsylvania State University Press.Google Scholar
Attali, J. 1977. Noise: The Political Economy of Music. Translated by B. Massumi. Manchester: Manchester University Press.Google Scholar
Auslander, P. 1999. Liveness: Performance in a Mediatized Culture. London: Routledge.Google Scholar
Austin, C. and Bastianini, G. (eds.). 2002. Posidippi Pellaei quae supersunt omnia. Milan: LED.Google Scholar
Avramidou, A. 2006. “Attic Vases in Etruria: Another View on the Divine Banquet Cup by the Codrus Painter.” AJA 110: 565–79.Google Scholar
Bachvarova, M. 2016. From Hittite to Homer: The Anatolian Background of Ancient Greek Epic. Cambridge: Cambridge University Press.Google Scholar
Baily, J. and Collyer, M. 2006. “Introduction: Music and Migration.” Journal of Ethnic and Migration Studies 32: 2.Google Scholar
Baker, C. 2009. “War Memory and Musical Tradition: Commemorating Croatia’s Homeland War through Popular Music and Rap in Eastern Slavonia.” Journal of Contemporary European Studies 17: 3545.Google Scholar
Barbantani, S. 2005. “Goddess of Love and Mistress of the Sea: Notes on a Hellenistic Hymn to Arsinoe-Aphrodite (P. Lit. Goodsp. 2, i-iv).” Ancient Society 25: 135–65.Google Scholar
Barbantani, S. 2008. “Arsinoe II Filadelfo nell’interpretazione storiografica moderna, nel culto e negli epigrammi del P. Mil.Vogl. viii 309,” in Castagna, L. and Riboldi, C. (eds.), Amicitiae templa serena. Studi in onore di Giuseppe Aricò. Milan: V&P, 103–34.Google Scholar
Barchiesi, A. 2002. “The Uniqueness of the Carmen Saeculare and its Tradition,” in Woodman, A. J. and Feeney, D. (eds.), Traditions and Contexts in the Poetry of Horace. Cambridge: Cambridge University Press, 107123.Google Scholar
Bardel, R. 2000. “Eidôla in Epic, Tragedy, and Vase Painting,” in Sparkes, B. and Rutter, N. K. (eds.), Word and Image in Ancient Greece. Edinburgh: Edinburgh University Press, 140–60.Google Scholar
Barker, A. 1984. Greek Musical Writings. Vol. I: The Musician and his Art. Cambridge: Cambridge University Press.Google Scholar
Barker, A. 1989. Greek Musical Writings. Vol. II: Harmonic and Acoustic Theory. Cambridge: Cambridge University Press.Google Scholar
Barker, A. 2004. “Transforming the Nightingale: Aspects of Athenian Musical Discourse in the Later Fifth Century,” in Murray and Wilson (eds.), 207–48.Google Scholar
Bart, L. et al. 1995. Oliver! 1994 London Palladium Cast Recording. Sound recording. New York: Broadway Angel.Google Scholar
Barwick, K. 1933. “Das Kultlied des Livius Andronicus.” Philologus 88: 203–21.Google Scholar
Bassi, K. 2016. Traces of the Past: Classics between History and Archaeology. Ann Arbor: University of Michigan Press.Google Scholar
Bastianini, G. and Gallazzi, C. 2001 (eds.). Posidippo di Pella: Epigrammi (P.Mil.Vogl. viii 309). Papiri dell’Università degli Studi di Milano viii. Milan: LED.Google Scholar
Beard, M. 1985. “Writing and Ritual. A Study of Diversity and Expansion in the Arval Acta.” PBSR 53: 114–62.Google Scholar
Beazley, J. D. 1929. “Some Inscriptions on Vases: ii.” AJA 33: 361–67.Google Scholar
Beazley, J. D. 1963. Attic Red-Figure Vase Painters. Second edition. Oxford: Clarendon Press.Google Scholar
Beekes, R. 2010. Etymological Dictionary of Greek. Leiden: Brill.Google Scholar
Bell, C. 1992. Ritual Theory, Ritual Practice. Oxford and New York: Oxford University Press.Google Scholar
Bell, D. L. 2000. “Just Another Crack in the Wall: The Tale of Pyramus and Thisbe in Medieval French Literature,” Ph.D. dissertation, University of Georgia.Google Scholar
Bentz, M. and Reusser, C. (eds.) 2004. Attische Vasen in etruskischem Kontext: Funde aus Häusern und Heiligtümern. Beihefte zum Corpus Vasorum Antiquorum 2. Munich: C. H. Beck.Google Scholar
Bergemann, J. 1997. Demos und Thanatos: Untersuchungen zum Wertsystem der Polis im Spiegel der attischen Grabreliefs des 4. Jahrhunderts v. Chr. und zur Funktion der gleichzeitigen Grabbauten. Munich: Biering & Brinkmann.Google Scholar
Berger, A. M. B. 2005. Medieval Music and the Art of Memory. Berkeley and Los Angeles: University of California Press.Google Scholar
Bergmann, B. and Kondoleon, C. (eds.) 1999. The Art of Ancient Spectacle. New Haven: Yale University Press.Google Scholar
Bergren, A. 2008. Weaving Truth: Essays on Language and the Female in Greek Thought. Washington, DC: Center for Hellenic Studies.Google Scholar
Bernays, J. [1857] 2015. “Outlines of Aristotle’s Lost Work on the Effects of Tragedy.” Translated by Porter, J. I.. In Billings, J. and Leonard, M. (eds.), Tragedy and the Idea of Modernity. Oxford: Oxford University Press, 317–28.Google Scholar
Berrey, M. 2017. Hellenistic Science at Court. Berlin: De Gruyter.CrossRefGoogle Scholar
Berryman, S. 2009. The Mechanical Hypothesis in Ancient Greek Natural Philosophy. Cambridge: Cambridge University Press.Google Scholar
Beschi, L. 1991. “Mousiké techné e Thanatos: L’immagine della musica sulle lekythoi funerarie attiche a fondo bianco.” Imago Musicae 8: 3959.Google Scholar
Beschi, L. 1996. “La tomba di una fanciulla attica,” in Picozzi, M. G. and Carinci, F. (eds.), Studi in memoria di Lucia Guerrini. Rome: L’Erma di Bretschneider, 99108.Google Scholar
Beschi, L. 2009. “L’organo idraulico (hydraulis): una invenzione ellenistica dal grande futuro,” in Martinelli, M. C. (ed.), La Musa dimenticata: Aspetti dell’esperienza musicale greca in età ellenistica. Pisa: Edizioni della Normale, 247–66.Google Scholar
Betegh, G. 2003. “Cosmological Ethics in the Timaeus and Early Stoicism.” OSAPh 24: 273302.Google Scholar
Bettarini, L. 2003. “Posidippo 37 A.-B. (= PMilVogl. viii 309, col. vi, rr. 18–25).” Seminari Romani di cultura greca 6: 4364.Google Scholar
Bettini, M. 1995. “Amphitruo 168–172: numeri innumeri und metrische Folklore,” in Benz, L., Stärk, E., and Vogt-Spira, G. (eds.), Plautus und die Tradition des Stegreifspiels: Festgabe für Eckard Lefèvre zum 60. Geburstag. Script Oralia 75. Tübingen: Narr, 8996.Google Scholar
Bettini, M. 2008. Voci: Antropologia sonora del mondo antico. Turin: G. Einaudi.Google Scholar
Bicknell, J. 2009. Why Music Moves Us. Basingstoke and New York: Palgrave Macmillan.Google Scholar
Bing, P. 2000. “Text or Performance/Text and Performance. Alan Cameron’s Callimachus and His Critics,” in Pretagostini, R. (ed.), La Letteratura ellenistica: Problemi e prospettive di ricerca. Rome: Quasar, 139–48.Google Scholar
Bing, P. 2008. The Well-Read Muse: Present and Past in Callimachus and the Hellenistic Poets. Second edition. Ann Arbor: Michigan Classical Press.Google Scholar
Bing, P. 2009. The Scroll and the Marble: Studies in Reading and Reception in Hellenistic Poetry. Ann Arbor: University of Michigan Press.Google Scholar
Bing, P. 2017. “Homer in the ΣΩΡΟΣ,” in Durbec, Y. and Trajber, F. (eds.), Traditions épiques et poésie épigrammatique. Leuven: Peeters, 99113.Google Scholar
Bithell, C. (ed.) 2006a. The Past in Music. Ethnomusicology Forum 15(1).Google Scholar
Bithell, C. 2006b. “The Past in Music: Introduction.” Ethnomusicology Forum 15(1): 316.CrossRefGoogle Scholar
Blesser, B. and Salter, L.-R. 2007. Spaces Speak, Are You Listening? Experiencing Aural Architecture. Cambridge, MA: MIT Press.Google Scholar
Bloch, R. 1958. “Sur les danses armées des Saliens.” Annales (HSS) 13: 706–15.Google Scholar
Blok, J. H. 2006. “Solon’s Funerary Laws: Questions of Authenticity and Function,” in Blok, J. H. and Lardinois, A. P. M. H. (eds.), Solon of Athens: New Historical and Philological Approaches. Leiden: Brill, 197247.Google Scholar
Blok, J. H. 2017. Citizenship in Classical Athens. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Bloomer, W. M. (ed.) 2015. A Companion to Ancient Education. Chichester and Malden, MA: Wiley-Blackwell.Google Scholar
Boardman, J. 1955. “Painted Funerary Plaques and Some Remarks on Prothesis.” ABSA 50: 5166.Google Scholar
Bocksberger, S. 2017. “Dance as Silent Poetry, Poetry as Speaking Dance: The Poetics of Orchesis,” in Gianvittorio, L. (ed.), Choreutika: Performing and Theorising Dance in Ancient Greece. Pisa: Biblioteca di Quaderni urbinati di cultura classica, 169–77.Google Scholar
Bodel, J. 1999. “Death on Display: Looking at Roman Funerals,” in Bergmann and Kondoleon (eds.), 259–81.Google Scholar
Boedeker, D. 2007. “The View from Eleusis: Demeter in the Persian Wars,” in Bridges, E., Hall, E., and Rhodes, P. J. (eds.), Cultural Responses to the Persian Wars: Antiquity to the Third Millennium. Oxford: Oxford University Press, 6582.CrossRefGoogle Scholar
Bonfante, L. 1989. “Nudity as a Costume in Classical Art.” AJA 93: 549–52.Google Scholar
Bonneau, D. 1964. La Crue du Nil. Paris: Klincksieck.Google Scholar
Bosak-Schroeder, C. 2016. “The Religious Life of Greek Automata.” Archiv für Religionsgeschichte 17: 123–36.Google Scholar
Bosher, K. (ed.) 2012a. Theater Outside Athens: Drama in Greek Sicily and South Italy. Cambridge: Cambridge University Press.Google Scholar
Bosher, K. 2012b. “Introduction,” in Bosher (ed.), 116.Google Scholar
Bosher, K. 2012c. “Hieron’s Aeschylus,” in Bosher (ed.), 97111.Google Scholar
Both, A. A. 2009. “Music Archaeology: Some Methodological and Theoretical Considerations.” Yearbook for Traditional Music 41: 111.Google Scholar
Bourdieu, P. 1977. Outline of a Theory of Practice. Translated by R. Nice. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Bowie, A. M. 1993. Aristophanes: Myth, Ritual and Comedy. Cambridge: Cambridge University Press.Google Scholar
Bowie, A. M. (ed.) 2007. Herodotus: Histories Book viii. Cambridge: Cambridge University Press.Google Scholar
Boyce, A. A. 1937. “The Expiatory Rites of 207 bce.” TAPhA 68: 157–71.Google Scholar
Boyd, T. W. 1995. “A Poet on the Achaean Wall.” Oral Tradition 10(1): 181206.Google Scholar
Branscome, D. 2013. Textual Rivals: Self-Presentation in Herodotus’ Histories. Ann Arbor: University of Michigan Press.Google Scholar
Bremmer, J. N. 1993. “Three Roman Aetiological Myths,” in Graf, F. (ed.), Mythos in mythenloser Gesellschaft: das Paradigma Roms. Stuttgart: Teubner, 158–74.Google Scholar
Bremmer, J. N. 2014. Initiation into the Mysteries of the Ancient World. Berlin: De Gruyter.Google Scholar
Brijder, H. A. G. 1986. “A Pre-Dramatic Performance of a Satyr Chorus by the Heidelberg Painter,” in Brijder, H. A. G., Drukker, A. A., and Neeft, C. W. (eds.), Enthousiasmos: Essays on Greek and Related Pottery Presented to J. M. Hemelrijk. Amsterdam: Allard Pierson Museum, 6982.Google Scholar
Brijder, H. A. G. 1991. Siana Cups ii: The Heidelberg Painter. 2 vols. Amsterdam: Allard Pierson Museum.Google Scholar
Brilliant, R. 1999. “‘Let the Trumpets Roar!’ The Roman Triumph,” in Bergmann and Kondoleon (eds.), 221–29.Google Scholar
Briscoe, J. 1973. A Commentary on Livy Books 31–33. Oxford: Clarendon Press.Google Scholar
Briscoe, J. 2008. A Commentary on Livy Books 38–40. Oxford: Oxford University Press.Google Scholar
Brisson, L. 2002. Sexual Ambivalence: Androgyny and Hermaphroditism in Graeco-Roman Antiquity. Translated by J. Lloyd. Berkeley and Los Angeles: University of California Press.Google Scholar
Bruneau, P. and Fraisse, P. 2002. Le monument à abside et la question de l’autel de cornes. Exploration Archéologique de Délos 40. Paris: De Boccard.Google Scholar
Buckley, A. (ed.) 1998. Hearing the Past: Essays in Historical Ethnomusicology and the Archaeology of Sound. Liège: Études et Recherches Archéologiques de l’Université de Liège.Google Scholar
Bundrick, S. D. 1998. “Expressions of Harmony: Representations of Female Musicians in Fifth-Century Athenian Vase Painting,” Ph.D. dissertation, Emory University.Google Scholar
Bundrick, S. D. 2005. Music and Image in Classical Athens. Cambridge: Cambridge University Press.Google Scholar
Bundrick, S. D. 2015. “Athenian Eye Cups in Context.” AJA 119: 295341.Google Scholar
Bundrick, S. D. 2020. “Visualizing Music,” in Lynch and Rocconi (eds.), 117–30.Google Scholar
Burkert, W. 1987. “The Making of Homer in the Sixth Century: Rhapsodes versus Stesichoros,” in True, M. (ed.), The Amasis Painter and his World. London: Thames and Hudson, 4362.Google Scholar
Burnyeat, M. 1996. “Aristote voit du rouge et entend un ‘Do’: Combien se passe-t-il de choses? Remarques sur De anima ii, 7–8,” in Dherbey, G. R. and Viano, C. (eds.), Corps et âme: sur le De Anima d’Aristote. Paris: Librairie Philosophique J. Vrin, 152–67.Google Scholar
Buschor, E. 1941. Grab eines attischen Mädchens. Munich: F. Bruckmann.Google Scholar
Butler, S. 2015. The Ancient Phonograph. New York: Zone Books.Google Scholar
Butler, S. and Purves, A. (eds.) 2013. Synaesthesia and the Ancient Senses. Abingdon and New York: Routledge.Google Scholar
Byrne, D. 2012. How Music Works. San Francisco: McSweeney’s.Google Scholar
Calame, C. 1996. Thésée et l’imaginaire athénien: Légende et culte en Grèce antique. Second edition. Lausanne: Éditions Payot.Google Scholar
Calame, C. 1997. Choruses of Young Women in Ancient Greece. Second edition. Translated by D. Collins and J. Orion. Lanham, MD: Rowman & Littlefield.Google Scholar
Calame, C. [1992] 1999. The Poetics of Eros in Ancient Greece. Translated by J. Lloyd. Princeton: Princeton University Press.Google Scholar
Calame, C. 2009. Poetic and Performative Memory in Ancient Greece: Heroic Reference and Ritual Gestures in Time and Space. Cambridge, MA: Harvard University Press.Google Scholar
Cameron, A. 1993. The Greek Anthology from Meleager to Planudes. Oxford: Oxford University Press.Google Scholar
Cameron, A. 1995. Callimachus and His Critics. Princeton: Princeton University Press.Google Scholar
Campbell, D. A. (ed.) 1988. Greek Lyric Poetry. Vol. ii. Loeb Classical Library 143. Cambridge, MA: Harvard University Press.Google Scholar
Carlson, M. 2001. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: University of Michigan Press.Google Scholar
Carney, E. 2013. Arsinoë of Egypt and Macedon: A Royal Life. Oxford: Oxford University Press.Google Scholar
Carpenter, T. 2007. “Discussion,” in Csapo and Miller (eds.), 108119.Google Scholar
Carrière, J.-C. 1988. “Oracles et prodiges de Salamine. Hérodote et Athènes.” DHA 14: 219–75.Google Scholar
Castagnoli, L. and Ceccarelli, P. (eds.) 2019. Greek Memories: Theories and Practices. Cambridge: Cambridge University Press.Google Scholar
Caston, V. 1996a. “The Spirit and the Letter: Aristotle on Perception,” in Salles, R. (ed.), Metaphysics, Soul, and Ethics in Ancient Thought. Themes from the Work of Richard Sorabji. Oxford: Clarendon Press, 245320.Google Scholar
Caston, V. 1996b. “Why Aristotle Needs Imagination.” Phronesis 41: 2055.Google Scholar
Catoni, M. L. 2008. Schemata: La comunicazione non verbale nella Grecia antica. Turin: Bollati Boringhieri.Google Scholar
Chadwick, N. K. 1952. Poetry and Prophecy. Cambridge: Cambridge University Press.Google Scholar
Chanda, M. L. and Levitin, D. J. 2013. “The Neurochemistry of Music.” Trends in Cognitive Science 17(4): 179–93.Google Scholar
Chaniotis, A. 2006. “Rituals between Norms and Emotions: Rituals as Shared Experience and Memory,” in Stavrianopoulou, E. (ed.), Ritual and Communication in the Graeco-Roman World. Liège: Presses universitaires de Liège, 211–38.Google Scholar
Chaniotis, A. (ed.) 2011a. Ritual Dynamics in the Ancient Mediterranean: Agency, Emotion, Gender, Representation. Stuttgart: Franz Steiner Verlag.Google Scholar
Chaniotis, A. 2011b. “Emotional Community through Ritual. Initiates, Citizens, and Pilgrims as Emotional Communities in the Greek World,” in Chaniotis, A. (ed.), Ritual Dynamics in the Ancient Mediterranean: Agency, Emotion, Gender, Representation. Stuttgart: Franz Steiner Verlag, 264–90.Google Scholar
Chaniotis, A. 2012. “Listening to Stones: Orality and Emotions in Ancient Inscriptions,” in Davies, J. and Wilkes, J. (eds.), Epigraphy and the Historical Sciences. Oxford: Oxford University Press, 299328.Google Scholar
Chantraine, P. 1968–1980. Dictionare étymologique de la langue grecque. Paris: Klincksieck.Google Scholar
Cherici, A. 2017. “Dance,” in Naso, A. (ed.), Etruscology. Berlin: De Gruyter, 233–44.Google Scholar
Chiarini, S. 2018. The So-called Nonsense Inscriptions on Ancient Greek Vases: Between Paideia and Paidiá. Leiden: Brill.Google Scholar
Chion, M. 1999. The Voice in Cinema. Translated by C. Gorbman. New York: Columbia University Press.Google Scholar
Christenson, D. M. (ed.). 2000. Plautus: Amphitruo. Cambridge: Cambridge University Press.Google Scholar
Christesen, P. 2012. “Athletics and Social Order at Sparta in the Classical Period.” ClAnt 31: 193255.Google Scholar
Christian, T. 2015. Gebildete Steine: Zur Rezeption literarischer Techniken in den Verinschriften seit dem Hellenismus. Göttingen: Vandenhoeck & Ruprecht.Google Scholar
Cirilli, R. 1913. Les Prêtres-Danseurs de Rome. Étude sur la corporation sacerdotale des Saliens. Paris: Geuthner.Google Scholar
Clader, L. L. 1976. Helen: The Evolution from Divine to Heroic in Greek Epic Tradition. Leiden: Brill.Google Scholar
Clairmont, C. W. 1970. Gravestone and Epigram: Greek Memorials from the Archaic and Classical Period. Mainz am Rhein: P. von Zabern.Google Scholar
Clairmont, C. W. 1993. Classical Attic Tombstones. 8 vols. Kilchberg: Akanthus.Google Scholar
Clark, V. A. and Johnson, S. E. (eds.) 2005. Kaiso! Writings by and about Katherine Dunham. Madison: University of Wisconsin Press.Google Scholar
Clay, J. S. 2001. Hesiod’s Cosmos. Cambridge: Cambridge University Press.Google Scholar
Clayton, B. 2004. A Penelopean Poetics: Reweaving the Feminine in Homer’s Odyssey. Lanham, MD: Lexington Books.Google Scholar
Clinton, K. 1974. The Sacred Officials of the Eleusinian Mysteries. Philadelphia: The American Philosophical Society.Google Scholar
Clinton, K. 1988. “Sacrifice at the Eleusinian Mysteries,” in Hägg, R., Marinatos, N., and Nordquist, G. C. (eds.), Early Greek Cult Practice: Proceedings of the Fifth International Symposium at the Swedish Institute in Athens, 26–29 June, 1986. Stockholm: Åström, 6979.Google Scholar
Clinton, K. 1992. Myth and Cult: The Iconography of the Eleusinian Mysteries. Stockholm: Svenska Institutet i Athen.Google Scholar
Closterman, W. E. 2014. “Women as Gift Givers and Gift Producers in Ancient Athenian Funerary Ritual,” in Avramidou, A. and Demetriou, D. (eds.), Approaching the Ancient Artifact: Representation, Narrative, and Function. Berlin: De Gruyter, 161–74.Google Scholar
Coarelli, F. 1968. “La porta trionfale e la via dei trionfi.” DArch 2: 55103.Google Scholar
Compton-Engle, G. 2015. Costume in the Comedies of Aristophanes. Cambridge: Cambridge University Press.Google Scholar
Connelly, J. 2011. “Ritual Movement Through Greek Sacred Space: Towards an Archaeology of Performance,” in Chaniotis, A. (ed.), Ritual Dynamics in the Ancient Mediterranean: Agency, Emotion, Gender, Reception. Stuttgart: Franz Steiner Verlag, 313–46.Google Scholar
Connerton, P. 1989. How Societies Remember. Cambridge: Cambridge University Press.Google Scholar
Connerton, P. 2009. How Modernity Forgets. Cambridge: Cambridge University Press.Google Scholar
Connor, S. 2000. Dumbstruck: A Cultural History of Ventriloquism. Oxford: Oxford University Press.Google Scholar
Constantakopoulou, C. 2017. Aegean Interactions: Delos and its Networks in the Third Century. Oxford: Oxford University Press.Google Scholar
Corbin, A. 1998. Village Bells. The Culture of the Senses in the Nineteenth-Century French Countryside. Translated by M. Thom. New York: Columbia University Press.Google Scholar
Cousin, J. 1942–1943. “La crise religieuse de 207 avant J.C.” RHR 126: 1541.Google Scholar
Cribiore, R. 1995. “A Hymn to the Nile.” ZPE 106: 97106.Google Scholar
Csapo, E. 2003. “The Dolphins of Dionysus,” in Csapo, E. and Miller, M. C. (eds.), Poetry, Theory, Praxis: The Social Life of Myth, Word and Image in Ancient Greece: Essays in Honour of William J. Slater. Oxford: Oxbow, 6998.Google Scholar
Csapo, E. 2004. “The Politics of the New Music,” in Murray and Wilson (eds.), 207–48.Google Scholar
Csapo, E. 2008. “Star Choruses: Eleusis, Orphism, and New Musical Imagery and Dance,” in Revermann and Wilson (eds.), 262–90.Google Scholar
Csapo, E. 2010. Actors and Icons of the Ancient Theater. Chichester and Malden, MA: Blackwell.Google Scholar
Csapo, E. 2013. The Dionysian Parade and the Poetics of Plentitude. UCL Houseman Lecture. London.Google Scholar
Csapo, E. 2015. “The Earliest Phase of Comic Choral Entertainments in Athens: The Dionysian Pompe and the Birth of Comedy,” in Chronopoulos, S. and Orth, C. (eds.), Fragmente einer Geschichte der griechischen Komödie. Heidelberg: Verlag Antik, 66108.Google Scholar
Csapo, E. and Miller, M. (eds.) 2007a. The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama. Cambridge: Cambridge University Press.Google Scholar
Csapo, E. and Miller, M. 2007b. “General Introduction,” in Csapo and Miller (eds.), 138.Google Scholar
Csapo, E. and Slater, W. 1995. The Context of Ancient Drama. Ann Arbor: University of Michigan Press.Google Scholar
Csapo, E. and Wilson, P. 2009. “Timotheus the New Musician,” in Budelmann, F. (ed.), The Cambridge Companion to Greek Lyric. Cambridge: Cambridge University Press, 277–94.Google Scholar
Cuddy, L. and Duffin, J. 2004. “Music, Memory, and Alzheimer’s Disease: Is Music Recognition Spared in Dementia, and How Can it be Assessed?Medical Hypotheses 64: 229–35.Google Scholar
Currie, B. 2004. “Reperformance Scenarios for Pindar’s Odes,” in Mackie (ed.), 4969.Google Scholar
Curtis, L. 2017. Imagining the Chorus in Augustan Poetry. Cambridge: Cambridge University Press.Google Scholar
Danek, G and Hagel., S. n.d. “Homeric Singing: An Approach to the Original Performance.” Österreichische Akademie der Wissenschaften. www.oeaw.ac.at/kal/sh/ (accessed January 1, 2019).Google Scholar
D’Agostino, B. 1989. “Image and Society in Archaic Etruria.” JRS 79: 110.Google Scholar
D’Angour, A. 2011. The Greeks and the New: Novelty in Ancient Greek Imagination and Experience. Cambridge: Cambridge University Press.Google Scholar
Dasen, V. 1993. Dwarfs in Ancient Egypt and Greece. Oxford: Clarendon Press.Google Scholar
Dasen, V. 2011. “Magic and Medicine: Gems and the Power of Seals,” in Entwistle, C. and Adams, N. (eds.), Gems of Heaven: Recent Research on Engraved Gemstones in Late Antiquity c. AD 200–600. London: British Museum, 6974.Google Scholar
David, A. R. 2012. “Sacralising the City: Sound, Space and Performance in Hindu Ritual Practices in London.” Culture and Religion: An Interdisciplinary Journal 13: 449–67.Google Scholar
Davies, S. 2003. “Music,” in Levinson, J. (ed.), Oxford Handbook of Aesthetics. Oxford: Oxford University Press, 489515.Google Scholar
Day, J. W. 1989. “Rituals in Stone: Early Greek Grave Epigrams and Monuments.” JHS 109: 1628.Google Scholar
Day, J. W. 2000. “Epigram and Reader: Generic Force as (Re-)Activation of Ritual,” in Depew, M. and Obbink, D. (eds.), Matrices of Genre: Authors, Canons, and Society. Cambridge, MA: Harvard University Press, 3758.Google Scholar
Day, J. W. 2010. Archaic Greek Epigram and Dedication: Representation and Reperformance. Cambridge: Cambridge University Press.Google Scholar
De Melo, W. D. C. (ed.) 2019. Varro: De Lingua Latina. Introduction, Text, Translation, and Commentary. Oxford: Oxford University Press.Google Scholar
De Polignac, F. 1984. La naissance de la cité grecque. Cultes, espace et société VIIIe–VIIe siècles avant J.-C. Paris: La Découverte.Google Scholar
De Romilly, J. 1975. Magic and Rhetoric. Cambridge, MA: Harvard University Press.Google Scholar
Del Corno, D. (ed.) 1985. Aristofane: Le Rane. Milan: Arnaldo Mondadori.Google Scholar
Depew, M. 1997. “Reading Greek Prayers.” ClAnt 16: 229–58.Google Scholar
Derrida, J. 1987. The Truth in Painting. Translated by G. Bennington and I. McLeod. Chicago: University of Chicago Press.Google Scholar
Detienne, M. 1996. The Masters of Truth in Ancient Greece. Translated by J. Lloyd. New York: Zone Books.Google Scholar
Deubner, L. 1932. Attische Feste. Berlin: H. Keller.Google Scholar
Dexter, J. P. 2013. “The Reception of Phanocles at Georgics 4.507–27.” Mnemosyne 66: 303–11.Google Scholar
Diggle, J. 1981–1994. (ed.) Euripidis Fabulae. Oxford: Clarendon Press.Google Scholar
Dillon, M. 1997. Pilgrims and Pilgrimage in Ancient Greece. London and New York: Routledge.Google Scholar
Dillon, M. 2002. Girls and Women in Classical Greek Religion. London and New York: Routledge.Google Scholar
Dougherty, C. 1994. “Pindar’s Second Paean: Civic Identity on Parade.” CPh 89(3): 205–18.Google Scholar
Dover, K. (ed.) 1993a. Aristophanes: Frogs. Oxford: Clarendon Press.Google Scholar
Dover, K. 1993b. “The Chorus of Initiates in Aristophanes’ Frogs.” Entretiens sur l’Antiquité Classique 38: 173–93.Google Scholar
Duffy, L., Waitt, G. R., and Gibson, C. R. 2007. “Get into the Groove: The Role of Sound in Generating a Sense of Belonging in Street Parades.” Altitude: A Journal of Emerging Humanities Work 8: 132.Google Scholar
Dumézil, G. 1966. La religion romaine archaïque, avec un appendice sur la religion des Étrusques. Paris: Pavot.Google Scholar
Dupont, F. 1987. “Cantica et diverbia dans l’Amphitryon de Plaute,” in Boldrini, S. (ed.), Filologia e forme letterarie: Studi offerti a Francesco Della Corte. Vol. ii. Urbino: QuattroVenti, 4556.Google Scholar
Dutsch, D. M. 2008. Feminine Discourse in Roman Comedy: On Echoes and Voices. Oxford: Oxford University Press.Google Scholar
Ebbinghaus, S. (ed.) 2018. Animal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings. Cambridge, MA: Harvard Art Museums.Google Scholar
Edmonds, R. G. 2004. Myths of the Underworld Journey: Plato, Aristophanes, and the “Orphic” Gold Tablets. Cambridge: Cambridge University Press.Google Scholar
Elsner, J. and Rutherford, I. 2005. “Introduction,” in Elsner, J. and Rutherford, I. (eds.), Pilgrimage in Graeco-Roman and Early Christian Antiquity. Seeing the Gods. Oxford: Oxford University Press, 140.Google Scholar
Emoff, R. 2002. Recollecting from the Past: Musical Practice and Spirit Possession on the East Coast of Madagascar. Middletown, CT.Google Scholar
Ensoli, S. 1987. L’Heroon di Dexileos nel Ceramico di Atene: Problematica architettonica e artistica attica degli inizi del IV secolo a.C. Rome: Accademia nazionale dei Lincei.Google Scholar
Erll, A. (ed.) 2008a. Media and Cultural Memory / Medien und kulturelle Erinnerung. Berlin: De Gruyter.Google Scholar
Erll, A. 2008b. “Cultural Memory Studies: An Introduction,” in Erll (ed.), 115.Google Scholar
Erll, A. 2011. Memory in Culture. Translated by S. Young. Basingstoke and New York: Palgrave Macmillan.Google Scholar
Ernout, A. and Meillet, A. [1932] 2001. Dictionnaire étymologique de la langue latine: histoire des mots. Paris: Klincksieck.Google Scholar
Estrin, S. 2016. “Cold Comfort: Empathy and Memory in an Archaic Funerary Monument from Akraiphia.” ClAnt 35: 189214.Google Scholar
Estrin, S. 2018. “Memory Incarnate: Material Objects and Private Visions in Classical Athens, from Euripides’ Ion to the Gravesite,” in Telò and Mueller (eds.), 111–32.Google Scholar
Estrin, S. 2019. “Experiencing Elegy: Materiality and Visuality in the Ambracian Polyandrion,” in M. Foster, L. Kurke, and N. Weiss (eds.), 298324.Google Scholar
Fantham, E. 1973. “Towards a Dramatic Reconstruction of the Fourth Act of Plautus’ Amphitruo.” Philologus 117: 197214.Google Scholar
Fantuzzi, M. and Hunter, R. 2004. Tradition and Innovation in Hellenistic Poetry. Cambridge: Cambridge University Press.Google Scholar
Faraone, C. 2018. The Transformation of Greek Amulets in Roman Imperial Times. Philadelphia: University of Pennsylvania Press.Google Scholar
Favro, D. and Johanson, C. 2010. “Death in Motion: Funeral Processions in the Roman Forum.” JSAH 69: 1237.Google Scholar
Fearn, D. 2017. Pindar’s Eyes: Visual and Material Culture in Epinician Poetry. Oxford: Oxford University Press.Google Scholar
Feeney, D. 2016. Beyond Greek: The Beginnings of Latin Literature. Cambridge, MA: Harvard University Press.Google Scholar
Feld, S. 1990. Sound and Sentiment: Birds, Weeping, Poetics and Song in Kaluli Expression. Second edition. Philadelphia: University of Pennsylvania Press.Google Scholar
Feldherr, A. 1998. Spectacle and Society in Livy’s History. Berkeley and Los Angeles: University of California Press.Google Scholar
Ferrari, G. 1986. “Eye-Cup.” RA 1: 520.Google Scholar
Ferrari, G. 2002. Figures of Speech: Men and Maidens in Ancient Greece. Chicago: University of Chicago Press.Google Scholar
Ferrari, G. 2003. “Myth and Genre on Athenian Vases.” ClAnt 22: 3754.Google Scholar
Ferrari, G. R. F. 2019. “Aristotle on Musical Catharsis and the Pleasure of a Good Story.” Phronesis 64: 117–71.Google Scholar
Flaig, E. 1995. “Die Pompa Funebris: Adlige Konkurrenz und annalistische Erinnerung in der Römischen Republik,” in Oexle, O. G. (ed.), Memoria als Kultur. Göttingen: Vandenhoeck & Ruprecht, 115–48.Google Scholar
Fless, F. and Moede, K. 2011. “Music and Dance: Forms of Representation in Pictorial and Written Sources,” in Rüpke, J. (ed.), A Companion to Roman Religion. Chichester and Malden, MA: Wiley-Blackwell, 249–62.Google Scholar
Fletcher, J. 2013. “Weapons of Friendship: Props in Sophocles’ Philoctetes and Ajax,” in Harrison, G. W. M. and Liapis, V. (eds.), Performance in Greek and Roman Theatre. Leiden: Brill, 199216.Google Scholar
Flores, E. 1973. Letteratura latina e società. Naples: Liguori.Google Scholar
Flower, H. I. 1996. Ancestor Masks and Aristocratic Power in Roman Culture. Oxford: Clarendon Press.Google Scholar
Flower, H. I. 2017. The Dancing Lares and the Serpent in the Garden: Religion at the Roman Street Corner. Princeton: Princeton University Press.Google Scholar
Focillon, H. 1989. The Life of Forms in Art. Translated by G. Kubler. New York: Wittenborn, Schultz.Google Scholar
Ford, A. 2010. “‘A Song to Match My Song’: Lyric Doubling in Euripides’ Helen,” in Mitsis, P. and Tsagalis, C. (eds.), Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis. Berlin: De Gruyter, 283302.Google Scholar
Ford, A. 2011. “Dionysus’ Many Names in Aristophanes’ Frogs,” in Schlesier, R. (ed.), A Different God: Dionysus and Ancient Polytheism. Berlin: De Gruyter, 343–55.Google Scholar
Forsythe, G. 2012. Time in Roman Religion: One Thousand Years of Religious History. London and New York: Routledge.Google Scholar
Fortenbaugh, W. and Schütrumpf, E. (eds.) 2001. Dicaearchus of Messana: Text, Translation, and Discussion. New Brunswick, NJ: Rutgers University Press.Google Scholar
Foster, M. 2015. “The Double Chorus of Horace Odes 4.1: A Paeanic Performance.” AJPh 136: 607–32.Google Scholar
Foster, M., Kurke, L., and Weiss, N. (eds.) 2019. Genre in Archaic and Classical Greek Poetry: Theories and Models. Leiden: Brill.Google Scholar
Foster, S. L. 2008. “Movement’s Contagion. The Kinesthetic Impact of Performance,” in Davies, T. C. (ed.), The Cambridge Companion to Performance Studies. Cambridge: Cambridge University Press, 4659.Google Scholar
Foster, S. L. 2011. Choreographing Empathy. Kinesthesia in Performance. London and New York: Routledge.Google Scholar
Foucart, P. 1914. Les mystères d’Eleusis. Paris: Auguste Picard.Google Scholar
Fraenkel, E. 1957. Horace. Oxford: Clarendon Press.Google Scholar
Fraenkel, E. 1962. Beobachtungen zu Aristophanes. Rome: Edizioni di Storia e Letteratura.Google Scholar
Frampton, S. A. 2019. Empire of Letters: Writing in Roman Literature and Thought from Lucretius to Ovid. Oxford: Oxford University Press.Google Scholar
Franklin, J. 2006. “Lyre Gods of the Bronze Age Musical Koine.” Journal of Ancient Near Eastern Religions 6: 3970.Google Scholar
Franklin, J. 2010. “Remembering Music in Early Greece,” in Mirelman, S. (ed.), The Historiography of Music in Global Perspective. Piscataway, NJ: Gorgias Press, 950.Google Scholar
Franklin, J. C. 2016. Kinyras: The Divine Lyre. Washington, DC: Center for Hellenic Studies.Google Scholar
Franko, G. F. 1996. “The Characterization of Hanno in Plautus’ Poenulus.” AJPh 117: 425–52.Google Scholar
Franko, G. F. 2014. “Festivals, Producers, Theatrical Spaces, and Records,” in Fontaine, M. and Scafuro, A. C. (eds.), The Oxford Handbook of Greek and Roman Comedy. Oxford: Oxford University Press, 409–23.Google Scholar
Franzoni, C. 2006. Tirannia dello sguardo: Corpo, gesto, espressione nell’arte greca. Turin: Einaudi.Google Scholar
Fraser, P. M. 1972. Ptolemaic Alexandria. Oxford: Clarendon Press.Google Scholar
Frazer, J. G. 1898. Pausanias’s Description of Greece. Vol. I. London: Macmillan.Google Scholar
Friedberg, A. 2006. The Virtual Window: From Alberti to Microsoft. Cambridge, MA: MIT Press.Google Scholar
Froning, H. 1971. Dithyrambos und Vasenmalerei in Athen. Würzburg: Triltsch.Google Scholar
Froning, H. 2009. “Der Vogelkrater ehemals in Malibu: Komödie oder Satyrspiel?” in Schmidt, S. and Oakley, J. H. (eds.), Hermeneutik der Bilder: Beiträge zur Ikonographie und Interpretation griechischer Vasenmalerei. Munich: C. H. Beck, 115–24.Google Scholar
Frontisi-Ducroux, F. 1989. “In the Mirror of the Mask,” in Bérard, C., Bron, C., Durand, J.-L., Frontisi-Ducroux, F., Lissarrague, F., and Schnapp, A. (eds.), A City of Images: Iconography and Society in Ancient Greece. Translated by D. Lyons. Princeton: Princeton University Press, 150–65.Google Scholar
Frontisi-Ducroux, F. 1995. Du masque au visage: Aspects de l’identité en Grèce ancienne. Paris: Flammarion.Google Scholar
Frye, D. 2018. Walls: A History of Civilization. London: Faber & Faber.Google Scholar
Fuchs, H. 2009. “Briefing: Did the Ancient Greeks Know Acoustics Better?Engineering History and Heritage 162(4): 175–78.Google Scholar
Gagé, J. 1955. Apollo romain. Paris: Boccard.Google Scholar
Gaifman, M. 2018a. The Art of Libation in Classical Athens. New Haven: Yale University Press.Google Scholar
Gaifman, M. 2018b. “The Greek Libation Bowl as Embodied Object.” Art History 41: 444–65.Google Scholar
Galli-Calderini, I. 1984. “Gli epigrammi di Edilo: interpretazione ed esegesi.” Atti dell’Accademia Pontaniana 33: 79118.Google Scholar
Gantz, T. 1993. Early Greek Myth. 2 vols. Baltimore: Johns Hopkins University Press.Google Scholar
Garcia, L. F. Jr. 2013. Homeric Durability: Telling Time in the Iliad. Washington, DC: Center for Hellenic Studies.Google Scholar
García Calvo, A. 1957. “Nueva interpretación del Carmen Arval.” Emerita 25: 387448.Google Scholar
García-Hernández, B. 1984. “Plaut. Amph. 867–868: Solución semántica de una cuestión de traducción y de crítica textual.” Habis 15: 117–24.Google Scholar
Gardner, P. 1895. “Two Sepulchral Lekythi.” JHS 15: 325–29.Google Scholar
Garland, R. 1985. The Greek Way of Death. Ithaca: Cornell University Press.Google Scholar
Garland, R. 1989. “The Well-Ordered Corpse: An Investigation into the Motives Behind Greek Funerary Legislation.” BICS 36: 115.Google Scholar
Garner, S. B. Jr. 1994. Bodied Spaces: Phenomenology and Performance in Contemporary Drama. Ithaca: Cornell University Press.Google Scholar
Garvie, A. F. (ed.) 2009. Aeschylus: Persae. Oxford: Oxford University Press.Google Scholar
Garulli, V. 2019. “The Development of Epigram into a Literary Genre,” in Henriksén, C. (ed.), A Companion to Ancient Epigram. Chichester and Malden, MA: Wiley-Blackwell, 267286.Google Scholar
Geddes, L. 2012. “‘Know that I, Ringo the Drummer, Am’: Shakespeare, YouTube and the Limits of Performance.” Shakespeare Bulletin 30(3): 299318.Google Scholar
Gerhard, E. 1858. “Über den Iakchoszug bei Aristophanes.” Philologus 13: 210–12.Google Scholar
Gerick, T. 1999. “De (tragi)komischen Kontaktstörungen in den trochäischen Dialogpartien des Amphitruo,” in Baier, T. (ed.), Studien zu Plautus’ Amphitruo. Script Oralia 116. Tübingen: Narr, 97109.Google Scholar
Gex, K. 2014. “Athens and the Funerary Lekythos,” in Valavanis, and Manakidou, (eds.), 321–28.Google Scholar
Gillespie, R. 1964. Around The Beatles. Film. London: ITV.Google Scholar
Gitelman, L. 2006. Always Already New: Media, History, and the Data of Culture. Cambridge, MA: MIT Press.Google Scholar
Giudice, E. 2015. Il tymbos, la stele, la barca di Caronte: L’immaginario della morte sulle lekythoi funerarie a fondo bianco. Rome: L’Erma di Bretschneider.Google Scholar
Glendinning, R. 1986. “Pyramus and Thisbe in the Medieval Classroom.” Speculum 61(1): 5178.Google Scholar
Glinister, F. 2011. “‘Bring on the Dancing Girls’: Some Thoughts on the Salian Priesthood,” in Richardson, J. H. and Santangelo, F. (eds.), Priests and State in the Roman World. Stuttgart: Franz Steiner Verlag, 107–36.Google Scholar
Golab, H. 2018. “Postclassical Choral Performances,” Ph.D. dissertation, Princeton University.Google Scholar
Gold, P. E. and Korol, D. L. 2010. “Hormones and Memory,” in G. Koob, M. Le Moal, and R. F. Thompson (eds.), Encyclopedia of Behavioral Neuroscience. Vol. II. Oxford: Academic Press, 5764.Google Scholar
Goldberg, S. 1989. “Poetry, Politics, and Ennius.” TAPhA 199: 247–61.Google Scholar
Goldberg, S. 1995. Epic in Republican Rome. Oxford: Oxford University Press.Google Scholar
Goldhill, S. 1987. “The Great Dionysia and Civic Ideology.” JHS 107: 5876.Google Scholar
Goldhill, S. 2009. “The Anecdote: Exploring the Boundaries between Oral and Literate Performance in the Second Sophistic,” in Johnson, W. and Parker, H. (eds.), Ancient Literacies: The Culture of Reading in Greece and Rome. Oxford: Oxford University Press, 96113.Google Scholar
Goldhill, S. and Osborne, R. (eds.) 1999. Performance Culture and Athenian Democracy. Cambridge: Cambridge University Press.Google Scholar
Goodman, S. 2009. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, MA: MIT Press.Google Scholar
Goold, G. P. (ed.) 1990. Elegies of Sextus Propertius. Loeb Classical Library 18. Cambridge, MA: Harvard University Press.Google Scholar
Goulaki-Voutira, A. 1991. “Observations on Domestic Music Making in Vase Paintings of the Fifth Century B.C.” Imago Musicae 8: 7394.Google Scholar
Gould, J. 1989. Herodotus. London: Weidenfeld and Nicolson.Google Scholar
Gow, A. S. F. and Page, D. L. (eds.) 1965. The Greek Anthology: Hellenistic Epigrams. Cambridge: Cambridge University Press.Google Scholar
Graf, F. 1974. Eleusis und die Orphische Dichtung Athens in vorhellenistischer Zeit. Berlin: De Gruyter.Google Scholar
Graf, F. 1996. “Pompai in Greece: Some Considerations about Space and Ritual in the Greek Polis,” in Hägg, R. (ed.), The Role of Religion in the Early Greek Polis. Proceedings of the Third International Seminar on Ancient Greek Cult, Organized by the Swedish Institute at Athens, 16–18 October 1992. Stockholm: Åström, 5565.Google Scholar
Granino Cecere, M. G. 2014. “I salii: tra epigrafia e topografia,” in Urso (ed.), 105–28.Google Scholar
Green, J. R. 1985. “A Representation of the Birds of Aristophanes,” in Greek Vases in the J. Paul Getty Museum, Vol. ii. Malibu, CA: J. Paul Getty Museum, 95118.Google Scholar
Green, J. R. 1991. “On Seeing and Depicting the Theatre in Ancient Athens.” GRBS 32: 1550.Google Scholar
Green, J. R. 2007. “Let’s Hear It for the Fat Man: Padded Dancers and the Prehistory of Drama,” in Csapo and Miller (eds.), 96107.Google Scholar
Grethlein, J. 2017. Aesthetic Experiences and Classical Antiquity: The Significance of Form in Narratives and Pictures. Cambridge: Cambridge University Press.Google Scholar
Griffith, M. 2013. Aristophanes’ Frogs. Oxford: Oxford University Press.Google Scholar
Griffith, M. 2017. “Towards a Sociology of Classical Greek Music.” Sosyoloji Dergisi / Journal of Sociology 37: 211–58.Google Scholar
Griffith, M. Forthcoming. Music and Difference in Ancient Greece. Oakland, CA: University of California Press.Google Scholar
Grossman, A. 2013. Funerary Sculpture. The Athenian Agora Vol. xxxv. Princeton: American School of Classical Studies at Athens.Google Scholar
Gruen, E. 1990. Studies in Greek Culture and Roman Policy. Berkeley and Los Angeles: University of California Press.Google Scholar
Guarducci, M. 1982. “Le Rane di Aristofane e la topografia ateniese,” in Studi in onore di Aristide Colonna. Perugia: Istituto di filologia classica, Università degli Studi di Perugia, 167–72.Google Scholar
Gunderson, E. 2015. Laughing Awry: Plautus and Tragicomedy. Oxford: Oxford University Press.Google Scholar
Gurd, S. A. 2016. Dissonance: Auditory Aesthetics in Ancient Greece. New York: Fordham University Press.Google Scholar
Gutzwiller, K. 1998. Poetic Garlands: Hellenistic Epigrams in Context. Berkeley and Los Angeles: University of California Press.Google Scholar
Gutzwiller, K. (ed.) 2005a. The New Posidippus: A Hellenistic Poetry Book. Oxford: Oxford University Press.Google Scholar
Gutzwiller, K. 2005b. “Introduction,” in Gutzwiller (ed.), 116.Google Scholar
Gutzwiller, K. 2005c. “The Literariness of the Milan Papyrus or ‘What Difference a Book’,” in Gutzwiller (ed.), 287319.Google Scholar
Gutzwiller, K. 2007. A Guide to Hellenistic Literature. Malden, MA: Blackwell.Google Scholar
Habinek, T. 2005. The World of Roman Song: From Ritualized Speech to Social Order. Baltimore: Johns Hopkins University Press.Google Scholar
Hackworth, C. M. 2015. “Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries,” Ph.D. dissertation, The Ohio State University.Google Scholar
Hagel, S. 2010. Ancient Greek Music: A New Technical History. Cambridge: Cambridge University Press.Google Scholar
Hagel, S. and Lynch, T. 2015. “Musical Education in Greece and Rome,” in Bloomer, W. M. (ed.), A Companion to Ancient Education. Chichester and Malden, MA: Wiley-Blackwell, 401–12.Google Scholar
Halbwachs, M. 1925. Les cadres sociaux de la mémoire. Paris: Albin Michel.Google Scholar
Halbwachs, M. 1941. La topographie légendaire des évangiles en terre sainte: Étude de mémoire collective. Paris: Presses universitaires de France.Google Scholar
Halbwachs, M. 1950. La mémoire collective. Paris: Presses universitaires de France.Google Scholar
Haldane, J. A. 1964. “Who Is Soteira? (Aristophanes, Frogs 379).” CQ 14: 207–9.Google Scholar
Hall, E. 1989. Inventing the Barbarian: Greek Self-Definition through Tragedy. Oxford: Oxford University Press.Google Scholar
Hall, E. 1999. “Actor’s Song in Tragedy,” in S. Goldhill and R. Osborne (eds.), 96124.Google Scholar
Halliwell, S. 2002. The Aesthetics of Mimesis. Ancient Texts and Modern Problems. Princeton: Princeton University Press.Google Scholar
Halliwell, S. 2011. Between Ecstasy and Truth: Interpretations of Greek Poetics from Homer to Longinus. Oxford: Oxford University Press.Google Scholar
Hamilakis, Y. 2013. Archaeology and the Senses: Human Experience, Memory, and Affect. Cambridge: Cambridge University Press.Google Scholar
Hamilton, R. 1987. “Cries within and the Tragic Skene.” AJPh 108: 585–99.Google Scholar
Hammerstein, R. 1995. “Gli automi sonori,” in Restani, D. (ed.), Musica e mito nella Grecia antica. Bologna: Il Mulino, 203–7.Google Scholar
Hanink, J. 2010. “The Classical Tragedians, from Athenian Idols to Wandering Poets,” in Gildenhard, I. and Revermann, M. (eds.), Beyond the Fifth Century: Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages. Berlin: De Gruyter, 3967.Google Scholar
Hanink, J. 2017. “Archives, Repertoires, Bodies and Bones: Thoughts on Reperformance for Classicists,” in Hunter and Uhlig (eds.), 1941.Google Scholar
Hansen, P. A. (ed.) 1983–1989. Carmina epigraphica Graeca. Berlin: De Gruyter.Google Scholar
Harris, R. 2004. Singing the Village: Music, Memory and Ritual among the Sibe of Xinjiang. Oxford and New York: Oxford University Press.Google Scholar
Hart, M. L. 2010. The Art of Ancient Greek Theater. Los Angeles: J. Paul Getty Museum.Google Scholar
Haspels, C. H. E. and Versnel, H. S. 1973. “A Misleading Lekythos in the Villa Giulia Museum.” Talanta 5: 15.Google Scholar
Hatzfeld, J. 1940. Alcibiade: Étude sur l’histoire d’Athènes à la fin du Ve siècle. Paris: Presses universitaires de France.Google Scholar
Hatzivassiliou, E. 2001. “The Attic Phormiskos: Problems of Origin and Function.” BICS 45: 113–48.Google Scholar
Havelock, E. A. 1963. Preface to Plato. Cambridge, MA: Harvard University Press.Google Scholar
Havelock, E. A. 1982. The Literate Revolution in Greece and its Cultural Consequences. Princeton: Princeton University Press.Google Scholar
Hawes, G. 2014. Rationalizing Myth in Antiquity. Oxford: Oxford University Press.Google Scholar
Haynes, S. 2000. Etruscan Civilization: A Cultural History. Los Angeles: J. Paul Getty Museum.Google Scholar
Hedreen, G. 1992. Silens in Attic Black Figure Vases. Ann Arbor: University of Michigan Press.Google Scholar
Hedreen, G. 2007a. “Myths of Ritual in Athenian Vase-Paintings of Silens,” in Csapo and Miller (eds.), 150–95.Google Scholar
Hedreen, G. 2007b. “Involved Spectatorship in Archaic Greek Art.” Art History 30: 217–46.Google Scholar
Hedreen, G. 2011. “Bild, Mythos and Ritual: Choral Dance in Theseus’s Cretan Adventure on the François Vase.” Hesperia 80: 491510.Google Scholar
Hedreen, G. 2013. “The Semantics of Processional Dithyramb: Pindar’s Second Dithyramb and Archaic Athenian Vase-Painting,” in Kowalzig and Wilson (eds.), 171–97.Google Scholar
Hedreen, G. 2017. “Unframing the Representation: The Frontal Face in Greek Art,” in Platt and Squire (eds.), 154–87.Google Scholar
Henrichs, A. 1994–1995. “‘Why Should I Dance?’: Choral Self-Referentiality in Greek Tragedy.” Arion 3(1): 56111.Google Scholar
Henry, O. and Kelp, U. (eds.) 2016. Tumulus as Sema: Space, Politics, Culture, and Religion in the First Millennium B.C. Berlin: De Gruyter.Google Scholar
Henzen, G. (ed.) 1874. Acta Fratrum Arvalium quae supersunt. Berlin: Georgii Reimeri.Google Scholar
Herda, A. 2006. Der Apollon-Delphinios-Kult in Milet und die Neujahrsprozession nach Didyma. Ein neuer Kommentar der sog. Molpoi-Satzung. Mainz: P. von Zabern.Google Scholar
Herskovits, M. J. 1941. The Myth of the Negro Past. New York: Harper & Brothers.Google Scholar
Hett, W. S. (ed.) 1935. Aristotle. On the Soul. Parva Naturalia. On Breath. Loeb Classical Library 288. Cambridge, MA: Harvard University Press.Google Scholar
Heyworth, S. J. (ed.) 2007. Sexti Properti Elegi. Oxford: Oxford University Press.Google Scholar
Hickson, F. V. 1993. Roman Prayer Language: Livy and the Aeneid of Vergil. Stuttgart: Teubner.Google Scholar
Himmelmann, N. 1999. Attische Grabreliefs. Opladen: Westdeutscher Verlag.Google Scholar
Himmelmann, N. 2000. “Quotations of Images of Gods and Heroes on Attic Grave Reliefs of the Late Classical Period,” in Tsetskhladze, G., Prag, A. J. W., and Snodgrass, A. M. (eds.), Periplous: Papers on Classical Art and Archaeology Presented to Sir John Boardman. London: Thames & Hudson, 136–44.Google Scholar
Hirt, K. 2010. When Machines Play Chopin: Musical Spirit and Automation in Nineteenth-Century German Literature. Berlin: De Gruyter.Google Scholar
Hofstetter, E. 1990. Sirenen im archaischen und klassischen Griechenland. Würzburg: K. Triltsch.Google Scholar
Hölbl, G. 2001. A History of the Ptolemaic Empire. London: Routledge.Google Scholar
Hollmann, A. 2011. The Master of Signs: Signs and the Interpretation of Signs in Herodotus’ Histories. Washington, DC: Center for Hellenic Studies.Google Scholar
Holmes, B. 2017. “The Body of Western Embodiment: Classical Antiquity and the Early History of a Problem,” in Smith, J. (ed.), Embodiment: A History. Oxford: Oxford University Press, 1749.Google Scholar
Holmes, O. W. 1859. “The Stereoscope and the Stereograph,” The Atlantic Monthly (June). www.theatlantic.com/magazine/archive/1859/06/the-stereoscope-and-the-stereograph/303361/ (accessed June 14, 2018).Google Scholar
Hölscher, T. 2015. La vie des images grecques: Sociétés de statues, rôles des artistes et notions esthétiques dans l’art grec ancien. Paris: Hazan.Google Scholar
Hölscher, T. 2018. Visual Power in Ancient Greece and Rome Between Art and Social Reality. Oakland, CA: University of California Press.Google Scholar
Hopkinson, N. 1988. A Hellenistic Anthology. Cambridge: Cambridge University Press.Google Scholar
Horowitz, S. 2012. The Universal Sense: How Hearing Shapes the Mind. New York: Bloomsbury.Google Scholar
Hubbard, T. K. 2004. “The Dissemination of Epinician Lyric: Pan-Hellenism, Reperformance, Written Texts,” in C. J. Mackie (ed.), 7194.Google Scholar
Hubbard, T. K. 2011. “The Dissemination of Pindar’s Non-Epinician Choral Lyric,” in Athanassaki and Bowie (eds.), 333–49.Google Scholar
Hughes, A. 2011. Performing Greek Comedy. Cambridge: Cambridge University Press.Google Scholar
Humphreys, S. C. 1993. The Family, Women, and Death: Comparative Studies. Second edition. Ann Arbor: University of Michigan Press.Google Scholar
Hunter, R. 2009. Critical Moments in Classical Literature. Cambridge: Cambridge University Press.Google Scholar
Hunter, R. 2017. “Comedy and Reperformance,” in Hunter and Uhlig (eds.), 209–32.Google Scholar
Hunter, R. and Uhlig, A. (eds.) 2017a. Imagining Reperformance in Ancient Culture: Studies in the Traditions of Drama and Lyric. Cambridge: Cambridge University Press.Google Scholar
Hunter, R. and Uhlig, A. 2017b. “Introduction: What is Reperformance?” in Hunter and Uhlig (eds.), 118.Google Scholar
Hurwit, J. 2007. “The Problem with Dexileos: Heroic and Other Nudities in Greek Art.” AJA 111: 3560.Google Scholar
Hutchinson, G. O. (ed.) 1985. Aeschylus: Septem contra Thebas. Oxford: Clarendon Press.Google Scholar
Hutchinson, G. O. 2018. Plutarch’s Rhythmic Prose. Oxford: Oxford University Press.Google Scholar
Iannace, G., Trematerra, A., and Masullo., M. 2013. “The Large Theatre of Pompeii: Acoustic Evolution.” Building Acoustics 20(3): 215–27.Google Scholar
Iara, K. 2015. “Moving In and Moving Out: Ritual Movements between Rome and its Suburbium,” in Östenberg, I., Malmberg, S., and Bjørnebye, J. (eds.), The Moving City: Processions, Passages and Promenades in Ancient Rome. London: Bloomsbury, 125–32.Google Scholar
Isler-Kerényi, C. 2007. “Komasts, Mythic Imaginary, and Ritual,” in Csapo and Miller (eds.), 7795.Google Scholar
Ison, J. M., Quian Quiroga, R., and Fried, I. 2015. “Rapid Encoding of New Memories by Individual Neurons in the Human Brain.” Neuron 87: 220–30.Google Scholar
Jacobs, F. 1798. Animadversiones in epigrammata anthologiae graecae. Leipzig: Dyckius.Google Scholar
Jaeger, M. 1997. Livy’s Written Rome. Ann Arbor: University of Michigan Press.CrossRefGoogle Scholar
Jameson, M. 2014. Cults and Rites in Ancient Greece: Essays on Religion and Society. Cambridge: Cambridge University Press.Google Scholar
Jeanmaire, H. 1951. Dionysos, Histoire du culte de Bacchus. Paris: Payot.Google Scholar
Jiménez San Cristóbal, A. I. 2012. “Iacchus in Plutarch,” in Roig, L. and Muñoz, I. (eds.), Plutarch in the Religious and Philosophical Discourse of Late Antiquity. Leiden: Brill, 125–35.Google Scholar
Jocelyn, H. D. 1972. “Ennius as a Dramatic Poet,” in Skutsch, O. (ed.) Ennius. Entretiens sur l’antiquité classique 17. Geneva: Fondation Hardt, 3988.Google Scholar
Johnson, W. 2010. Readers and Reading Culture in the High Roman Empire: A Study of Elite Communities. Oxford: Oxford University Press.Google Scholar
Johnston, S. I. 1999. Restless Dead: Encounters Between the Living and the Dead in Ancient Greece. Berkeley and Los Angeles: University of California Press.Google Scholar
Jones, J. 2015. “Singing the Way: Music and Pilgrimage in Maharashtra.” Ethnomusicology Ireland 3.Google Scholar
Jones, J. 2016. “Pilgrimage and Audience on the Maharashtrian Vārī.” Yale Journal of Music & Religion 2(2): 115–32.Google Scholar
Jones, N. B. 2015. “Phantasms and Metonyms: The Limits of Representation in Fifth-Century Athens.” Art History 38: 814–37.CrossRefGoogle Scholar
Jubier-Galinier, C. 2014. “ Τοῖς νεκροῖσι … τὰς ληκύθους: L’évolution des usages du lécythe dans le rituel funéraire athénien aux époques archaïque et classique.” Pallas 94: 3959.Google Scholar
Julião, R. 2018. “Galen on Memory, Forgetting and Memory Loss,” in Thumiger, C. and Singer, P. N. (eds.), Medical Conceptions of Mental Illness: From Celsus to Paul of Aegina. Leiden: Brill, 222–44.Google Scholar
Juslin, P. N. and Sloboda, J. A. (eds.) 2001. Music and Emotion: Theory and Research. Oxford: Oxford University Press.Google Scholar
Kane, B. 2014. Sound Unseen: Acousmatic Sound in Theory and Practice. Oxford: Oxford University Press.Google Scholar
Kane, B. 2015. “The Voice: A Diagnosis.” Polygraph 25: 91112.Google Scholar
Karouzou, S. 1972. “Choeur de tragédie sur un lécythe à figures noires.” RA 2: 195204.Google Scholar
Katz, J. T. 2013. “Gods and Vowels,” in García, J. V. and Ruiz, A. (eds.), Poetic Language and Religion in Greece and Rome. Newcastle: Cambridge Scholars Publishing, 228.Google Scholar
Kauer, R., Lindsay, W. M., and Skutsch, O. (eds.). [1926] 1958. P. Terenti Afri Comoediae. Oxford: Clarendon Press.Google Scholar
Kavoulaki, A. 1999. “Processional Performance and the Democratic Polis,” in Goldhill and Osborne (eds.), 293320.Google Scholar
Keith, A. 2002. “Sources and Genres in Ovid’s Metamorphoses 1–5,” in Boyd, B. W. (ed.), Brill’s Companion to Ovid. Leiden: Brill, 235–69.Google Scholar
Kenny, E. J. A. 1932. “The Date of Ctesibius.” CQ 26: 190–92.Google Scholar
Kent, R. G. (ed.) 1938. Varro. On the Latin Language. Books v-vii. Loeb Classical Library 333. Cambridge, MA: Harvard University Press.Google Scholar
Kern, O. 1914. “Iacchus.” RE ix: cols. 613–22.Google Scholar
Kittler, F. 1996. “The City Is a Medium.” New Literary History 27(4): 717–29.Google Scholar
Kivy, P. 1988. Sound Sentiment: An Essay on the Musical Emotions. Philadelphia: Temple University Press.Google Scholar
Kivy, P. 1990. Music Alone: Philosophical Reflections on the Purely Musical Experience. Ithaca: Cornell University Press.Google Scholar
Klavan, S. 2019. “Martem Accendere Cantu: The Meaning of Music on the Battlefield.” GRMS 7: 213–34.Google Scholar
Klinghardt, M. 1999. “Prayer Formularies for Public Recitation. Their Use and Function in Ancient Religion.” Numen 46(1): 152.Google Scholar
Koeppe, W. (ed.) 2019. Making Marvels: Science and Splendor at the Courts of Europe. New York: Metropolitan Museum of Art.Google Scholar
Kousser, R. 2017. The Afterlives of Greek Sculpture. Cambridge: Cambridge University Press.Google Scholar
Kovacs, D. (ed.) 2002. Euripides Vol. V. Helen, Phoenician Women, Orestes. Loeb Classical Library XI. Cambridge, MA: Harvard University Press.Google Scholar
Kowalzig, B. 2007. Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece. Oxford: Oxford University Press.Google Scholar
Kowalzig, B. 2013. “Dancing Dolphins on the Wine-Dark Sea: Dithyramb and Social Change in the Archaic Mediterranean,” in Kowalzig and Wilson (eds.), 3158.Google Scholar
Kowalzig, B. and Wilson, P. (eds.) 2013. Dithyramb in Context. Oxford: Oxford University Press.Google Scholar
Kozak, L. 2016. Experiencing Hektor: Character in the Iliad. London: Bloomsbury.Google Scholar
Kranz, W. 1933. Stasimon: Untersuchungen zu Form und Gehalt der griechischen Tragödie. Berlin: Weidmann.Google Scholar
Krauskopf, I. 2009. “The Grave and Beyond in Etruscan Religion,” in De Grummond, N. T. and Simon, E. (eds.), The Religion of the Etruscans. Austin, TX: University of Texas Press, 6689.Google Scholar
Krentz, P. 1991. “The Salpinx in Greek Warfare,” in Hanson, V. D. (ed.), Hoplites: The Classical Greek Battle Experience. Abingdon and New York: Routledge, 110–20.Google Scholar
Krumeich, R., Pechstein, N., and Seidensticker, B. 1999. Das griechische Satyrspiel. Darmstadt: Wissenschaftliche Buchgesellschaft.Google Scholar
Kunze-Götte, E. 2009. “Beobachtungen zur Darstellungsweise sepulkraler Thematik auf weissgrundigen Lekythen,” in Schmidt, S. and Oakley, J. H. (eds.), Hermeneutik der Bilder: Beiträge zur Ikonographie und Interpretation griechischer Vasenmalerei. Munich: C.H. Beck, 5364.Google Scholar
Kunze-Götte, E. 2010. Attisch weissgrundige Lekythen. Corpus Vasorum Antiquorum. Deutschland, Bd. 87. Munich, Antikensammlungen ehemals Museum Antiker Kleinkunst 15. Munich: C.H. Beck.Google Scholar
Kurke, L. 1991. The Traffic in Praise: Pindar and the Poetics of Social Economy. Ithaca, NY: Cornell University Press.Google Scholar
Kurke, L. 2005. “Choral Lyric as ‘Ritualization’: Poetic Sacrifice and Poetic Ego in Pindar’s Sixth Paian.” ClAnt 24: 81130.Google Scholar
Kurke, L. 2012. “The Value of Chorality in Ancient Greece,” in Papadopoulos, J. K. and Urton, G. (eds.), The Construction of Value in the Ancient World. Los Angeles: J. Paul Getty Museum, 218–35.Google Scholar
Kurke, L. 2013. “Imagining Chorality: Wonder, Plato’s Puppets, and Moving Statues,” in Peponi (ed.), 123–70.Google Scholar
Kurtz, D. and Boardman, J. 1971. Greek Burial Customs. London: Thames and Hudson.Google Scholar
Kurtz, D. and Boardman, J. 1986. “Booners,” in Greek Vases in the J. Paul Getty Museum. Vol. iii. Malibu, CA: J. Paul Getty Museum, 3570.Google Scholar
Kuttner, A. 2005. “Cabinet Fit for a Queen: The Λιθικά as Posidippus’ Gem Museum,” in Gutzwiller (ed.), 141–63.Google Scholar
Lacam, J. C. 2011. “Le ‘prêtre danseur’ de Gubbio. Étude ombrienne (IIIe – IIe s. av. J.-C.).” Revue de l’histoire des religions 228(1): 526.Google Scholar
Lachmann, R. 1997. Memory and Literature: Intertextuality in Russian Modernism. Translated by R. Sellars and A. Wall. Minneapolis: University of Minnesota Press.Google Scholar
Laferrière, C. 2019. “Sacred Sounds: The Cult of Pan and the Nymphs in the Vari Cave.” ClAnt 38: 185216.Google Scholar
Lamari, A. A. 2015. Reperforming Greek Tragedy: Theater, Politics, and Cultural Mobility in the Fifth and Fourth Centuries BC. Berlin: De Gruyter.Google Scholar
Lambrechts, P. 1946. “Mars et les Saliens.” Latomus 5: 111–19.Google Scholar
Langridge-Noti, E. 2015. “‘To Market, To Market’: Pottery, the Individual, and Trade in Athens,” in Daly, K. and Riccardi, L. A. (eds.), Cities Called Athens. Lanham, MD: Bucknell University Press, 165–96.Google Scholar
Langslow, D. 2013. “Archaic Latin Inscriptions and Greek and Roman Authors,” in Liddel, P. and Low, P. (eds.), Inscriptions and Their Uses in Greek and Latin Literature. Oxford: Oxford University Press, 167–95.Google Scholar
Lapini, W. 2003. “Note posidippee.” ZPE 143: 3952.Google Scholar
Latham, J. A. 2016. Performance, Memory, and Procession in Ancient Rome: The Pompa Circensis from the Republic to Late Antiquity. Cambridge: Cambridge University Press.Google Scholar
Lawler, L. 1964. “The Geranos Dance – A New Interpretation.” TAPhA 77: 112–30.Google Scholar
Lee, M. M. 2015. Body, Dress, and Identity in Ancient Greece. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Legrand, P.-E. (ed.) 1953. Hérodote: Histoires: Livre viii. Uranie. Paris: Les Belles Lettres.Google Scholar
Leo, F. (ed.) 1895–1896. Plauti Comoediae. Second edition. Berlin: Weidmann.Google Scholar
Leonard, M. and Knifton, R. 2014. “Engaging Nostalgia: Popular Music and Memory in Museums,” in Cohen, S., Knifton, R., and Leonard, M. (eds.), Sites of Popular Music Heritage: Memories, Histories, Places. London and New York: Routledge, 160–73.Google Scholar
LeVen, P. A. 2013. “The Colors of Sound: Poikilia and Its Aesthetic Contexts.” GRMS 1: 229–42.Google Scholar
LeVen, P. A. 2014. The Many-Headed Muse. Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge: Cambridge University Press.Google Scholar
Levene, D. S. 1993. Religion in Livy. Leiden: Brill.Google Scholar
Levene, D. S. 2010. Livy on the Hannibalic War. Oxford: Oxford University Press.Google Scholar
Levitin, D. J. 2006. This is Your Brain on Music: The Science of a Human Obsession. New York: Dutton.Google Scholar
Liddell, H. G. and Scott, R. 1968. A Greek English Lexicon. Oxford: Clarendon Press.Google Scholar
Lightfoot, J. L. 2002. “Nothing To Do With the Technitai of Dionysus?” in Easterling, P. and Hall, E. (eds.), Greek and Roman Actors: Aspects of an Ancient Profession. Cambridge: Cambridge University Press, 209–24.Google Scholar
Limoges, S. 2010. “Reconstructing Religion. Augustus and the Fratres Arvales,” Master’s thesis, Montreal: McGill University.Google Scholar
Lindsay, W. M. (ed.) 1904–1905. T. Macci Plauti Comoediae. Oxford: Clarendon Press.Google Scholar
Lindskog, C. and Zeigler, K. (eds.) 1969. Plutarchus: Vitae parallelae, vol. I, fasc. 1. Fourth edition. Leipzig: Teubner.Google Scholar
Lissarrague, F. 1988. “La stèle avant la lettre.” AnnArchStorAnt 10: 97105.Google Scholar
Lissarrague, F. 1990a. The Aesthetics of the Greek Banquet: Images of Wine and Ritual. Translated by A. Szegedy-Maszak. Princeton: Princeton University Press.Google Scholar
Lissarrague, F. 1990b. “Why Satyrs Are Good to Represent,” in Winkler, J. and Zeitlin, F. (eds.), Nothing to Do with Dionysus? Athenian Drama in its Social Context. Princeton: Princeton University Press, 228–36.Google Scholar
Lissarrague, F. 2007. “Looking at Shield Devices: Tragedy and Vase Painting,” in Kraus, C., Goldhill, S., and Foley, H. P., (eds.), Visualizing the Tragic: Drama, Myth, and Ritual in Greek Art and Literature. Oxford: Oxford University Press, 151–64.Google Scholar
Lissarrague, F. 2013. La cité des satyrs: Une anthropologie ludique. Paris: Éditions Ehess.Google Scholar
Lissarrague, F. 2015. “Ways of Looking at Greek Vases,” in Destrée, P. and Murray, P. (eds.), A Companion to Ancient Aesthetics. Chichester and Malden, MA: Wiley-Blackwell, 237–47.Google Scholar
Livingston, I. 2004. A Linguistic Commentary on Livius Andronicus. London: Routledge.Google Scholar
Llewellyn-Jones, L. and Winder, S. 2016. “The Hathoric Model of Queenship in Early Ptolemaic Egypt: The Case of Berenike’s Lock,” in Rutherford, I. (ed.), Greco-Egyptian Interactions: Literature, Translation, and Culture, 500 BCE-300 CE. Oxford: Oxford University Press, 139–62.Google Scholar
Lonsdale, S. H. 1993. Dance and Ritual Play in Greek Religion. Baltimore: Johns Hopkins University Press.Google Scholar
Lonsdale, S. H. 1995. “‘Homeric Hymn to Apollo:’ Prototype and Paradigm of Choral Performance.” Arion 3: 2540.Google Scholar
Lowrie, M. 2009. Writing, Performance, and Authority in Augustan Rome. Oxford: Oxford University Press.Google Scholar
Luck, G. 1968. “Witz und Sentiment im griechischen Epigramm,” in Raubitschek, A. E. (ed.), L’Epigramme grecque, Entretiens sur l’Antiquité classique 14. Geneva: Fondation Hardt, 389411.Google Scholar
Luppe, W. 2003. “Ein Weih-Epigramm Poseidipps auf Arsinoe.” Archiv für Papyrusforschung 49: 2124.Google Scholar
Lynch, T. 2017. “The Symphony of Temperance in Republic 4: Musical Imagery and Practical Models.” GRMS 5: 1834.Google Scholar
Lynch, T. and Rocconi, E. (eds.). 2020. A Companion to Ancient Greek and Roman Music. Chichester and Malden, MA: Wiley-BlackwellGoogle Scholar
MacBain, B. 1982. Prodigy and Expiation: A Study in Religion and Politics in Republican Rome. Brussels: Latomus.Google Scholar
MacCary, W. T. and Willcock, M. M. (eds.) 1976. Plautus, Casina. Cambridge: Cambridge University Press.Google Scholar
Mack, R. 2002. “Facing Down Medusa (An Aetiology of the Gaze).” Art History 25: 571604.Google Scholar
MacKay, E. A. (ed.) 1999. Signs of Orality: The Oral Tradition and its Influence in the Greek and Roman World. Leiden: Brill.Google Scholar
Mackie, C. J. (ed.) 2004. Oral Performance and Its Context. Leiden: Brill.Google Scholar
MacRae, D. 2016. Legible Religion. Books, Gods, and Rituals in Roman Culture. Cambridge and London: Harvard University Press.Google Scholar
Manniche, L. 1991. Music and Musicians in Ancient Egypt. London: British Museum Press.Google Scholar
Mansfield, J. M. 1985. “The Robe of Athena and the Panathenaic ‘Peplos’,” Ph.D. dissertation, Berkeley: University of California.Google Scholar
Marconi, C. (ed.) 2004a. Greek Vases: Images, Contexts and Controversies. Leiden: Brill.Google Scholar
Marconi, C. 2004b. “Images for a Warrior: On a Group of Athenian Vases and Their Public,” in Marconi, C. (ed.), Greek Vases: Images, Contexts and Controversies. Leiden: Brill, 2740.Google Scholar
Margariti, K. 2018. “Lament and Death Instead of Marriage: The Iconography of Deceased Maidens on Attic Grave Reliefs of the Classical Period.” Hesperia 87: 91176.Google Scholar
Mari, M. 2018. “The Macedonian Background of Hellenistic Panegyreis and Public Feasting,” in van den Eijnde, F., Blok, J., and Strootman, R. (eds.), Feasting and Polis Institutions. Leiden: Brill, 297314.Google Scholar
Marks, J. 2016. “Odysseus and the Cult of Apollo on Delos.” Revista Classica 29: 159–70.Google Scholar
Marshall, C. W. 1996. “Amphibian Ambiguities Answered.” Echos du monde classique: Classical Views n. s. 15: 251–68.Google Scholar
Marshall, C. W. 2006. The Stagecraft and Performance of Roman Comedy. Cambridge: Cambridge University Press.Google Scholar
Marshall, C. W. 2014. The Structure and Performance of Euripides’ Helen. Cambridge: Cambridge University Press.Google Scholar
Martin, B. 2016. “Cold Comfort: Winged Psychai on Fifth-Century B.C. Greek Funerary Lekythoi.” BICS 59: 125.Google Scholar
Martin, R. H. (ed.) 1976. Terence, Adelphoe. Cambridge: Cambridge University Press.Google Scholar
Martin, R. H. 2003. “The Pipes Are Brawling: Conceptualizing Musical Performance in Athens,” in Dougherty, C. and Kurke, L. (eds.), The Cultures Within Ancient Greek Culture: Contact, Conflict, Collaboration. Cambridge: Cambridge University Press, 153–80.Google Scholar
Martinelli, M. C. (ed.) 2009. La Musa dimenticata: aspetti dell’esperienza musicale greca in età ellenistica. Pisa: Edizioni della Normale.Google Scholar
Maslov, B. 2016. “The Genealogy of the Muses: An Internal Reconstruction of Archaic Greek Metapoetics.” AJPh 137: 411–47.Google Scholar
Masséglia, J. 2015. Body Language in Hellenistic Art and Society. Oxford: Oxford University Press.Google Scholar
Matheson, S. 2005. “A Farewell with Arms: Departing Warriors on Athenian Vases,” in Barringer, J. M. and Hurwit, J. M. (eds.), Periklean Athens and its Legacy. Austin: University of Texas Press, 2335.Google Scholar
Matheson, S. 2009. “Beardless, Armed, and Barefoot: Ephebes, Warriors, and Ritual on Athenian Vases,” in Yatromanolakis, D. (ed.), An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodology. Athens: Institut du Livre, A. Kardamitsa, 373413.Google Scholar
Mattern, S. 2017. Codes and Clay, Data and Dirt: Five Thousand Years of Urban Media. Minneapolis: University of Minnesota Press.Google Scholar
Mauss, M. 1934. “Les techniques du corps.” Journal de Psychologie 32: 271–93.Google Scholar
Mayer, M. 1933. “Musen,” in Wissowa, G. et al. (eds.), Paulys Realencyclopädie der Classischen Altertumswissenschaft. Vol. 16.1. Stuttgart: J.B. Metzler, 680757.Google Scholar
Mayor, A. 2018. Gods and Robots: Myths, Machines, and Ancient Dreams of Technology. Princeton: Princeton University Press.Google Scholar
McGowan, E. 2016. “Tumulus and Memory. The Tumulus as a Locus for Ritual Action in the Greek Imagination,” in Henry, O. and Kelp, U. (eds.), Tumulus as Sema: Space, Politics, Culture, and Religion in the First Millennium B.C. Berlin: De Gruyter, 163–79.Google Scholar
McLuhan, M. 1964. Understanding Media: The Extensions of Man. New York: McGraw-Hill.Google Scholar
McNiven, T. J. 2011. Review of E. Kunze-Götte, Attisch weissgrundige Lekythen. Corpus Vasorum Antiquorum. Deutschland, Bd. 87. Munich, Antikensammlungen ehemals Museum Antiker Kleinkunst 15. AJA 115 (4): www.ajaonline.org/book-review/998Google Scholar
Meineck, P. 2012. “The Embodied Space: Performance and Visual Cognition at the Fifth Century Athenian Theater.” New England Classical Journal 39: 346.Google Scholar
Meineck, P. 2017. Theatrocracy: Greek Drama, Cognition, and the Imperative for Theatre, London and New York: Routledge.Google Scholar
Meyer, H. 1933. “Hymnische Stilelemente in der frühgriechischen Dichtung,” Ph.D dissertation, Universität zu Köln.Google Scholar
Meyer, L. B. 1956. Emotion and Meaning in Music. Chicago: University of Chicago Press.Google Scholar
Mikalson, D. 2003. Herodotus and Religion in the Persian Wars. Chapel Hill: University of North Carolina Press.Google Scholar
Miller, F. D. 2018. Aristotle On the Soul and Other Psychological Works. Translation with Introduction and Notes. Oxford: Oxford University Press.Google Scholar
Mills, S. 1997. Theseus, Tragedy and the Athenian Empire. Oxford: Oxford University Press.Google Scholar
Modrak, D. K. 1987. Aristotle. The Power of Perception. Chicago: University of Chicago Press.Google Scholar
Mojsik, T. 2008. “Muses and the Gender of Inspiration.” Sakarya University: The Journal of Art and Science 10: 6778.Google Scholar
Montiglio, S. 2011. From Villain to Hero. Odysseus in Ancient Thought. Ann Arbor: University of Michigan Press.Google Scholar
Moore, T. J. 1998a. “Music and Structure in Roman Comedy.” AJPh 119: 245–73.Google Scholar
Moore, T. J. 1998b. The Theater of Plautus: Playing to the Audience. Austin: University of Texas Press.Google Scholar
Moore, T. J. 1999. “Facing the Music: Character and Musical Accompaniment in Roman Comedy.” SyllClass 19: 130–53.Google Scholar
Moore, T. J. 2004. “Music in a Quiet Play,” in Baier, T. (ed.), Studien zu Plautus’ Poenulus. Script Oralia 27. Tübingen: Narr, 139–61.Google Scholar
Moore, T. J. 2008. “When Did the Tibicen Play? Meter and Musical Accompaniment in Roman Comedy.” TAPhA 138: 346.Google Scholar
Moore, T. J. 2012. Music in Roman Comedy. Cambridge: Cambridge University Press.Google Scholar
Moretti, M. 1970. New Monuments of Etruscan Painting. University Park and London: Penn State University Press.Google Scholar
Morgan, B. 2012. “Critical Empathy: Vernon Lee’s Aesthetics and the Origins of Close Reading.” Victorian Studies 55: 3156.Google Scholar
Morgan, K. 2012. “A Prolegomenon to Performance in the West,” in Bosher (ed.), 3555.Google Scholar
Morgan, K. 2015. Pindar and the Construction of Syracusan Monarchy in the Fifth Century B.C. Oxford: Oxford University Press.Google Scholar
Morrison, A. 2010. “Aeginetan Odes, Reperformance, and Pindaric Intertextuality,” in Fearn, D. (ed.), Aegina: Contexts for Choral Lyric Poetry: Myth, History and Identity in the Fifth Century BC. Oxford: Oxford University Press, 227–53.Google Scholar
Morrison, A. 2012. “Performance, Re-performance, and Pindar’s Audiences,” in Agócs, Carey, and Rawles (eds.), 111–33.Google Scholar
Mueller, M. 2016. Objects as Actors: Props and the Poetics of Performance in Greek Tragedy. Chicago: University of Chicago Press.Google Scholar
Muller, C. A. 2006a. “The New African Diaspora, the Built Environment and the Past in Jazz.” Ethnomusicology Forum 15: 6386.Google Scholar
Muller, C. A. 2006b. “American Musical Surrogacy.” Safundi 7(3): 118.Google Scholar
Müller, J. 2012. “The Sound of History and Acoustic Memory: Where Psychology and History Converge.” Culture & Psychology 18: 443–64.Google Scholar
Murray, A. S. and Smith, A. H. 1896. White Athenian Vases in the British Museum. London: British Museum.Google Scholar
Murray, P. 2006. “Poetic Inspiration in Early Greece,” in Laird, A. (ed.), Oxford Readings in Ancient Literary Criticism. Oxford: Oxford University Press, 3760.Google Scholar
Murray, P. and Wilson, P. (eds.) 2004. Music and the Muses: The Culture of Mousikē in the Classical Athenian City. Oxford: Oxford University Press.Google Scholar
Mylonopoulos, I. 2006. “Greek Sanctuaries as Places of Communication Through Rituals: An Archaeological Perspective,” in Stavrianopoulou, E. (ed.), Ritual and Communication in the Graeco-Roman World. Kernos suppl. 16. Liège: Université de Liège, 69110.Google Scholar
Naerebout, F. G. 1997. Attractive Performances. Ancient Greek Dance. Three Preliminary Studies. Amsterdam: J.C. Gieben.Google Scholar
Naerebout, F. G. 2009. “Das Reich Tanzt … Dance in the Roman Empire and its Discontents,” in Hekster, O., Schmidt-Hofner, S., and Witschel, C. (eds.), Ritual Dynamics and Religious Change in the Roman Empire. Leiden: Brill, 143–58.Google Scholar
Nagy, A. M. 2012. “Daktylios pharmakites. Magical Healing Gems and Rings in the Graeco-Roman World,” in Csepregi, I. and Burnett, C. (eds.), Ritual Healing: Magic, Ritual and Medical Therapy from Antiquity Until the Early Modern Period. Florence: Edizioni del Galluzzo, 71106.Google Scholar
Nagy, G. 1974. Comparative Studies in Greek and Indic Meter. Cambridge, MA: Harvard University Press.Google Scholar
Nagy, G. 1990. Pindar’s Homer: The Lyric Possession of an Epic Past. Baltimore: Johns Hopkins University Press.Google Scholar
Nagy, G. 2007. “Emergence of Drama: Introduction and Discussion,” in Csapo and Miller (eds.), 121–25.Google Scholar
Neer, R. T. 2001. “Framing the Gift: The Politics of the Siphnian Treasury at Delphi.” ClAnt 20: 273344.Google Scholar
Neer, R. T. 2002. Style and Politics in Athenian Vase-Painting: The Craft of Democracy, ca. 530–460 B.C.E. Cambridge: Cambridge University Press.Google Scholar
Neer, R. T. 2010. The Emergence of the Classical Style in Greek Sculpture. Chicago: University of Chicago Press.Google Scholar
Neer, R. T. and Kurke, L. 2014. “Pindar Fr. 75 SM and the Politics of Athenian Space.” GRBS 54: 527–79.Google Scholar
Neer, R. T. and Kurke, L. 2019. Pindar, Song, and Space: Towards a Lyric Archaeology. Baltimore: Johns Hopkins University Press.Google Scholar
Neils, J. 1995. “Les Femmes Fatales: Skylla and the Sirens in Greek Art,” in Cohen, B. (ed.), The Distaff Side: Representing the Female in Homer’s Odyssey. Oxford: Oxford University Press, 175–84.Google Scholar
Nervegna, S. “Performing Classics: The Tragic Canon in the Fourth Century and Beyond,” in Csapo, E. et al (eds.), Greek Theatre in the Fourth Century B.C., Berlin: De Gruyter, 157–88.Google Scholar
Nettl, B. 2005 The Study of Ethnomusicology: Thirty One Issues and Concepts. Second edition. Urbana: University of Illinois Press.Google Scholar
Nielsen, I. 2017. “Collective Mysteries and Greek Pilgrimage: The Cases of Eleusis, Thebes and Andania,” in Kristensen, T. M. and Friese, W. (eds.), Excavating Pilgrimage: Archaeological Approaches to Sacred Travel and Movement in the Ancient World. London and New York: Routledge, 2946.Google Scholar
Nietzsche, F. 1967. The Birth of Tragedy and The Case of Wagner. Translated by W. Kaufmann. New York: Vintage Books.Google Scholar
Nilsson, M. P. 1955. Geschichte der griechischen Religion. Band I: Die Religion Griechenlands bis auf die griechische Weltherrschaft. Second edition. Munich: C. H. Beck.Google Scholar
Nissinen, M. 2017. Ancient Prophecy. Near Eastern, Biblical, and Greek Perspectives. Oxford: Oxford University Press.Google Scholar
Noe, A. 2009. Out of Our Heads. Why You Are Not Your Brain, and Other Lessons from the Biology of Consciousness. New York: Hill & Wang.Google Scholar
Noel, A.-S. Forthcoming. “Thinking through Things: Objects and Distributed Cognition in Greek Tragedy,” in Budelmann, F. and Sluiter, I. (eds.), Minds on Stage: Cognitive Approaches to Greek Tragedy. Oxford: Oxford University Press.Google Scholar
Noland, C. 2009. Agency and Embodiment: Performing Gestures / Producing Culture. Cambridge, MA: Harvard University Press.Google Scholar
Nooter, S. 2017. The Mortal Voice in the Tragedies of Aeschylus. Cambridge: Cambridge University Press.Google Scholar
Nooter, S. 2019. “The War-Trumpet and the Sound of Domination in Ancient Greek Thought.” GRMS 7: 235–49.Google Scholar
Nora, P. 1989. “Between Memory and History. Les Lieux de Mémoire.” Representations 26: 724.Google Scholar
Nora, P. [1984–1992] 1997. Les lieux de mémoire. Paris: Gallimard.Google Scholar
Norden, E. 1939. Aus altrömischen Priesterbüchern. Lund: Gleerup.Google Scholar
Nordquist, G. 1996. “The Salpinx in Greek Cult,” in Ahlbäck, T. (ed.), Dance, Music, Art, and Religion. Stockholm: Almqvist & Wiksell International, 241–56.Google Scholar
Notopoulos, J. A. 1938. “Mnemosyne in Oral Literature.” TAPhA 60: 465–93.Google Scholar
Nussbaum, M. C. and Rorty, A. O. (eds.) Essays on Aristotle’s De Anima. Oxford: Oxford University Press.Google Scholar
Oakley, J. H. 1990. The Phiale Painter. Mainz: P. von Zabern.Google Scholar
Oakley, J. H. 1997. The Achilles Painter. Mainz: P. von Zabern.Google Scholar
Oakley, J. H. 2003. “White Lekythoi from Gela,” in Panvini, R. and Giudice, F. (eds.), Ta Attika. Veder greco a Gela. Ceramiche attiche figurate dall’antica colonia, Gela, Siracusa, Rodi, 2004. Rome: L’Erma di Bretschneider, 207–14.Google Scholar
Oakley, J. H. 2004. Picturing Death in Classical Athens: The Evidence of the White Lekythoi. Cambridge: Cambridge University Press.Google Scholar
Oakley, J. H. 2008. “Some Thoughts about the Study of Iconography – Past, Present, and Future: Formal Analysis, Theory, the Inscription Painter, and the First Cemetery of Athens,” in Seifert, M. (ed.), Komplexe Bilder. Berlin: Leonhard-Thurneysser-Verlag, 1327.Google Scholar
Oakley, J. H. 2014. “Classical Athenian Female Musicians at Home,” in Valavanis, and Manakidou, (eds.), 271–77.Google Scholar
Oakley, J. H. and Palagia, O. (eds.) 2009. Athenian Potters and Painters. Vol. ii. Oxford: Oxbow Books.Google Scholar
Oates, W. J. and O’Neill, E. Jr. (eds.) 1938. The Complete Greek Drama: All the Extant Tragedies of Aeschylus, Sophocles and Euripides, and the Comedies of Aristophanes and Menander, in a Variety of Translations. 2 vols. New York: Random House.Google Scholar
Obbink, D. (ed.) 1995. Philodemus on Poetry: Poetic Theory and Practice in Lucretius, Philodemus, and Horace. Oxford: Oxford University Press.Google Scholar
Oles, T. 2015. Walls: Enclosure and Ethics in the Modern Landscape. Chicago: University of Chicago Press.Google Scholar
Olick, J., Vinitzky-Seroussi, D., and Levy, D. 2011. “Introduction,” in Olick, J., Vinitzky-Seroussi, D., and Levy, D. (eds.), The Collective Memory Reader. Oxford: Oxford University Press.Google Scholar
Olsen, D. A. 2008. Popular Music of Vietnam: The Politics of Remembering, the Economics of Forgetting. New York and London: Routledge.Google Scholar
Olsen, S. 2015. “Conceptualizing Choreia on the François Vase: Theseus and the Athenian Youths.” Mètis: Anthropologie des mondes grecs anciens n. s. 13: 107–21.Google Scholar
Olsen, S. 2017. “Kinesthetic Choreia: Empathy, Memory, and Dance in Ancient Greece.” CPh 112: 153–74.Google Scholar
Olsen, S. 2019. “Pindar, Paean 6: Genre as Embodied Cultural Knowledge,” in Foster, Kurke, and Weiss (eds.), 325–46.Google Scholar
Ong, W. J. 1982. Orality and Literacy: The Technologizing of the Word. London: Methuen.Google Scholar
Oniga, R. 1998. “Struttura e funzione dei cantica nell’ Amphitruo,” in Raffaelli, R. and Tontini, A. (eds.), Lecturae Plautinae Sarsinates I: Amphitruo. Urbino: QuattroVenti, 3147.Google Scholar
Osborne, R. 2004. “Images of a Warrior: On a Group of Athenian Vases and Their Public,” in Marconi, C. (ed.), Greek Vases: Images, Contexts and Controversies. Leiden: Brill, 4154.Google Scholar
Osborne, R. 2008. “Putting Performance into Focus,” in Revermann and Wilson (eds.), 395418.Google Scholar
Osborne, R. 2011. The History Written on the Classical Greek Body. Cambridge: Cambridge University Press.Google Scholar
Osborne, R. 2018. The Transformation of Athens: Painted Pottery and the Creation of Classical Greece. Princeton: Princeton University Press.Google Scholar
Östenberg, I. 2009. Staging the World: Spoils, Captives, and Representations in the Roman Triumphal Procession. Oxford: Oxford University Press.Google Scholar
O’Sullivan, P. and Collard, C. (ed.) 2013. Euripides: Cyclops and Major Fragments of Greek Satyric Drama. Oxford: Oxbow Books.Google Scholar
Otto, W. [1874–1958] 1955. Die Musen und der göttliche Ursprung des Singens und Sagens. Düsseldorf: E. Diederichs.Google Scholar
Padgett, J. M. 2003. The Centaur’s Smile: The Human Animal in Early Greek Art. New Haven: Yale University Press.Google Scholar
Palmer, R. E. A. 1974. Roman Religion and Roman Empire: Five Essays. Philadelphia: University of Pennsylvania Press.Google Scholar
Palmer, R. E. A. 1997. Rome and Carthage at Peace. Stuttgart: Franz Steiner Verlag.Google Scholar
Parker, R. 1991. “The Hymn to Demeter and the Homeric Hymns.” G&R 38: 117.Google Scholar
Parker, R. 2005. Polytheism and Society at Athens. Oxford: Oxford University Press.Google Scholar
Pasoli, E. (ed.) 1950. Acta Fratrum Arvalium quae post annum mdccclxxiv reperta sunt. Bologna: Cesare Zuffi.Google Scholar
Patel, A. 2008. Music, Language, and the Brain. Oxford: Oxford University Press.Google Scholar
Pavlou, M. 2012. “Bacchylides 17: Singing and Usurping the Paean.” GRBS 52: 510–39.Google Scholar
Payen, P. 2013. “Plutarch the Antiquarian,” in Beck, M. (ed.), A Companion to Plutarch. Chichester and Malden, MA: Wiley-Blackwell, 235–48.Google Scholar
Pelosi, F. 2010. Plato on Music, Soul, and Body. Cambridge: Cambridge University Press.Google Scholar
Pepe, C., Rescigno, C., and Senatore, F. (eds.) 2016. Sirene: Atti del vi ciclo di conferenze “Piano di Sorrento. Una storia di terra e di mare.” Rome: Scienze e Lettere.Google Scholar
Peponi, A.-E. 2009. “Choreia and Aesthetics in the Homeric Hymn to Apollo: The Performance of the Delian Maidens (Lines 156–64).” ClAnt 28: 3970.Google Scholar
Peponi, A.-E. 2012. Frontiers of Pleasure: Models of Aesthetic Response in Archaic and Classical Greek Thought. Oxford: Oxford University Press.Google Scholar
Peponi, A.-E. (ed.) 2013. Performance and Culture in Plato’s Laws. Cambridge: Cambridge University Press.Google Scholar
Peters, J. D. 1999. Speaking into the Air: A History of the Idea of Communication. Chicago: University of Chicago Press.Google Scholar
Peters, J. D. 2015. The Marvelous Clouds: Towards a Philosophy of Elemental Media. Chicago: University of Chicago Press.Google Scholar
Petridou, G. 2015. Divine Epiphany in Greek Literature and Culture. Oxford: Oxford University Press.Google Scholar
Petridou, G. 2018. “Resounding Mysteries: Sound and Silence in the Eleusinian Soundscape.” Body and Religion 2: 6987.Google Scholar
Phelan, P. 1993. Unmarked: The Politics of Performance. Abingdon and New York: Routledge.Google Scholar
Phillips, T. and D’Angour, A. (eds). 2018. Music, Text, and Culture in Ancient Greece. Oxford: Oxford University Press.Google Scholar
Pickard-Cambridge, A. W. 1927. Dithyramb, Tragedy and Comedy. Oxford: Clarendon Press.Google Scholar
Piganiol, A. 1946. “Observations sur le rituel le plus récent des frères Arvales.” Comptes rendus des séances de l’Académie des Inscriptions et Belles-Lettres 90(2): 241–51.Google Scholar
Pipili, M. 2009. “White-Ground Lekythoi in Athenian Private Collections: Some Iconographic Observations,” in Oakley, J. H. and Palagia, O. (eds.), Athenian Potters and Painters. Vol. ii. Oxford: Oxbow Books, 241–49.Google Scholar
Pittenger, M. R. P. 2008. Contested Triumphs: Politics, Pageantry, and Performance in Livy’s Republican Rome. Berkeley and Los Angeles: University of California Press.Google Scholar
Platt, V. 2011. Facing the Gods: Epiphany and Representation in Graeco-Roman Art, Literature and Religion. Cambridge: Cambridge University Press.Google Scholar
Platt, V. and Squire, M. (eds.) 2017a. The Frame in Classical Art: A Cultural History. Cambridge: Cambridge University Press.Google Scholar
Platt, V. and Squire, M. 2017b. “Framing the Visual in Greek and Roman Antiquity: An Introduction,” in Platt and Squire (eds.), 399.Google Scholar
Pöhlmann, E. and West, M. L. (eds.) 2001. Documents of Ancient Greek Music. Oxford: Clarendon Press.Google Scholar
Polansky, R. (ed.) 2007. Aristotle’s De Anima. Cambridge: Cambridge University Press.Google Scholar
Pologiorgi, M. 2004. “Επιτύμβια στήλη από το Αιγάλεω.” Εγνατία 8: 171201.Google Scholar
Pologiorgi, M. 2010. “Ερμηνευτικές προσεγγίσεις.Μουσείο Μπενάκη 10: 918.Google Scholar
Poole, A. 1976. “Total Disaster: Euripides’ The Trojan Women.” Arion 3(3): 257–87.Google Scholar
Popkin, M. L. 2012. “The Triumphal Route in Republican and Imperial Rome: Architecture, Experience, and Memory,” Ph.D. dissertation, Institute of Fine Arts, New York University.Google Scholar
Porter, J. 2013. “Why Are There Nine Muses?” in Butler and Purves (eds.), 926.Google Scholar
Posamentir, R. 2002. “Zur farblichen Ausgestaltung des Eupheros-Reliefs,” in Heilmeyer, W.-D. (ed.), Die griechische Klassik. Idee oder Wirklichkeit. Berlin: Antikensammlung Berlin, 473–75.Google Scholar
Posamentir, R. and Hallof, K. 2018. “109809: Grabstele der Hegilla und des Philagros Berlin, Staatliche Museen, Antikensammlung Berlin.” Arachne: http://arachne.uni-koeln.de/item/objekt/109809 (accessed March 14, 2018).Google Scholar
Power, T. 2010. The Culture of Kitharôidia. Washington, DC: Center for Hellenic Studies.Google Scholar
Power, T. 2011. “Cyberchorus: Pindar’s Κηληδόνες and the Aura of the Artificial,” in Athanassaki and Bowie (eds.), 67114.Google Scholar
Power, T. 2018a. “New Music in Sophocles’ Ichneutai,” in Andújar, R., Coward, T., and Hadjimichael, T. (eds.), Paths of Song: The Lyric Dimension of Greek Tragedy. Berlin: De Gruyter, 343–65.Google Scholar
Power, T. 2018b. “The Sound of the Sacred,” in Butler, S. and Nooter, S. (eds.), Sound and the Ancient Senses. Abingdon and New York: Routledge, 1530.Google Scholar
Prauscello, L. 2006. Singing Alexandria: Music Between Practice and Textual Transmission. Leiden: Brill.Google Scholar
Prauscello, L. 2014. Performing Citizenship in Plato’s Laws. Cambridge: Cambridge University Press.Google Scholar
Pritchard, D. 2015. “Athens,” in Bloomer, W. M. (ed.), A Companion to Ancient Education. Chichester and Malden, MA: Wiley-Blackwell, 112–22.Google Scholar
Pritchett, W. K. 1999. “Postscript: The Athenian Calendars.” ZPE 128: 7993.Google Scholar
Prosdocimi, A. L. 2010. “La Roma ‘Tarquinia’ nella lingua: forme e contenuti tra il prima e il dopo,” in Della Fina, G. (ed.), La grande Roma dei Tarquini, Atti del xvii Convegno internazionale di studi sulla storia e l’archeologia dell’Etruria, annali della Fondazione per il Museo ‘Claudio Faina’ xvii. Rome: Quasar, 367489.Google Scholar
Provenza, A. 2017. “Aristoxenus and Music Therapy: Fr. 26 Wehrli within the Tradition on Music and Catharsis,” in Huffman, C. (ed.), Aristoxenus of Tarentum: Discussion. New Brunswick, NJ: Transaction Publishers, 91128.Google Scholar
Psaroudakes, S. 2006. “A Lyre from the Cemetery of the Acharnian Gate, Athens,” in Hickmann, E., Both, A. A., and Eichmann, R. (eds.), Musikarchäologie im Kontext: Archäologische Befunde, historische Zusammenhänge, soziokulturelle Beziehungen, Vorträge des 4. Symposiums der Internationalen Studiengruppe Musikarchäologie im Kloster Michaelstein, 19.-26. September 2004, Studien zur Musikarchäologie 5. Rahden: Leidorf, 5979.Google Scholar
Puelma, M. 2006. “Arions Delphin und die Nachtigall. Kommentar zu Poseidippos ep. 37 A.-B. (= P. Mil. Vogl. viii 309, Kol. vi 18–25).” ZPE 156: 6074.Google Scholar
Questa, C. (ed.) 1995. Titi Macci Plauti Cantica. Urbino: QuattroVenti.Google Scholar
Race, W. H. (ed.) 1997. Pindar: Nemean Odes, Isthmian Odes, Fragments. Loeb Classical Library 485. Cambridge, MA: Harvard University Press.Google Scholar
Radermacher, L. (ed.) 1954. Aristophanes’ Frösche. Einleitung, Text und Kommentar. Second edition. Vienna: Rohrer.Google Scholar
Rask, K. A. 2016. “Devotionalism, Material Culture, and the Personal in Greek Religion.” Kernos 29: 940.Google Scholar
Rehding, A. 2009. Music and Monumentality: Commemoration and Wonderment in Nineteenth-century Germany. Oxford: Oxford University Press.Google Scholar
Reitzenstein, R. 1893. Epigramm und Skolion. Geissen: J. Ricker.Google Scholar
Reusser, C. 2002. Vasen für Etrurien: Verbreitung und Funktionen attischer Keramik im Etrurien des 6. und 5. Jahrhunderts vor Christus. 2 vols. Zürich: Akanthus.Google Scholar
Revermann, M. 2006. Comic Business: Theatricality, Dramatic Technique, and Performance Contexts of Aristophanic Comedy. Oxford: Oxford University Press.Google Scholar
Revermann, M. and Wilson, P. (eds.) 2008. Performance, Iconography, Reception: Studies in Honour of Oliver Taplin. Oxford: Oxford University Press.Google Scholar
Revill, G. 2016. “How Is Space Made in Sound? Spatial Mediation, Critical Phenomenology and the Political Agency of Sound.” Progress in Human Geography 40: 240–56.Google Scholar
Rice, E. E. 1983. The Grand Procession of Ptolemy Philadelphus. Oxford: Oxford University Press.Google Scholar
Richardson, N. J. (ed.) 1974. The Homeric Hymn to Demeter. Oxford: Clarendon Press.Google Scholar
Richlin, A. 2017. Slave Theater in the Roman Republic: Plautus and Popular Comedy. Cambridge: Cambridge University Press.Google Scholar
Riezler, W. 1914. Weissgrundige attische Lekythen. 2 vols. Munich: Bruckmann.Google Scholar
Ridgway, B. S. 1993. The Archaic Style in Greek Sculpture. Second edition. Chicago: University of Chicago Press.Google Scholar
Ridgway, B. S. 1997. Fourth-Century Styles in Greek Sculpture. Madison: University of Wisconsin Press.Google Scholar
Robert, L. 1966. “Sur un décret d’Ilion et sur un papyrus concernant des cultes royaux,” in Essays in Honor of C. Bradford Welles. American Studies in Papyrology Vol. i. New Haven: American Society of Papyrologists, 175211.Google Scholar
Robertson, N. 1998. “The Two Processions to Eleusis and the Program of the Mysteries.” AJPh 119: 547–75.Google Scholar
Rocconi, E. 2003. Le parole delle Muse. La formazione del lessico tecnico musicale nella Grecia antica. Rome: Quasar.Google Scholar
Rocconi, E. (ed.) 2010. La musica nell’ Impero Romano: Testimonianze teoriche e scoperte archeologiche. Pavia: Pavia University Press.Google Scholar
Rodgers, R., Hart, L., and Abbott, G. (eds.) 1965. The Boys from Syracuse. Vocal Score. New York: Chappell.Google Scholar
Rodgers, R. and Hammerstein, O. 1943. Oklahoma! Libretto. New York: Williamson Music.Google Scholar
Rodgers, R. and Hammerstein, O. 1951. The King and I. Vocal Score. New York: Williamson Music.Google Scholar
Romberg, S. and Hammerstein, O. 1984. Vocal Selections from the New Moon. Vocal Score. Seacaucus, NJ: Warner Brothers.Google Scholar
Romero, R. R. 2001. Debating the Past: Music, Memory, and Identity in the Andes. Oxford and New York: Oxford University Press.Google Scholar
Roodenburg, H. 2004. “Pierre Bourdieu: Issues of Embodiment and Authenticity.” Etnofoor 17(1.2): 215–26.Google Scholar
Rosen, R. 2015. “Reconsidering the Reperformance of Aristophanes’ Frogs.” Trends in Classics 7: 237–56.Google Scholar
Rosenmeyer, P. A. 2018. The Language of Ruins: Greek and Latin Inscriptions on the Memnon Colossus. Oxford: Oxford University Press.Google Scholar
Roshwald, M. 1986. “The Wall of Communication.” Judaism 35(4): 483–86.Google Scholar
Ross, D. (ed.) 1956. Aristotelis De Anima. Oxford: Oxford University Press.Google Scholar
Rothwell, K. 2007. Nature, Comedy, and the Origins of Greek Comedy: A Study of Animal Choruses. Cambridge: Cambridge University Press.Google Scholar
Rowland, I. and Howe, T. (eds.) 1999. Vitruvius: Ten Books on Architecture. Cambridge, MA: Harvard University Press.Google Scholar
Rundle Clark, R. T. 1955. “Some Hymns to the Nile.” University of Birmingham Historical Journal 5: 130.Google Scholar
Rüpke, J. 1990. Domi militiae: die religiöse Konstruktion des Krieges in Rom. Stuttgart: Franz Steiner Verlag.Google Scholar
Rüpke, J. 2004. “Acta aut agenda: Relations of Script and Performance,” in Barchiesi, A., Rüpke, J., and Stephens, S. (eds.), Rituals in Ink: A Conference on Religion and Literary Production in Ancient Rome Held at Stanford University in February 2002. Stuttgart: Franz Steiner Verlag, 2344.Google Scholar
Russell, P. J. 1994. Ceramics and Society: Making and Marketing Ancient Greek Pottery. Tampa: Tampa Museum of Art.Google Scholar
Rusten, J. 2006. “Who ‘Invented’ Comedy? The Ancient Candidates for the Origins of Comedy and the Visual Evidence.” AJPh 127: 3766.Google Scholar
Rutherford, I. 2004. “χορὸς ἐκ τῆσδε τῆς πόλεως (Xen. Mem. 3. 3.12): Song-Dance and State Pilgrimage at Athens,” in Murray, and Wilson, (eds.), 6790.Google Scholar
Rutherford, I. 2013. “Strictly Ballroom: Egyptian Mousike and Plato’s Comparative Poetics,” in Peponi, (ed.). 6783.Google Scholar
Rystedt, E. 1994. “Women, Music, and a White-Ground Lekythos in the Medelhausmuseet,” in Rystedt, E., Scheffer, C. H., and Wikander, C. H. (eds.), Opus Mixtum: Essays in Ancient Art and Society. Stockholm: Paul Åström, 7394.Google Scholar
Sacks, O. 2008. Musicophilia: Tales of Music and the Brain. Revised edition. New York: Vintage Books.Google Scholar
Sarullo, G. 2014. Il Carmen Saliare: Indagini filologiche e riflessioni linguistiche. Berlin: De Gruyter.Google Scholar
Scade, P. 2017. “Music and the Soul in Stoicism,” in Seaford, R., Wilkins, J., and Wright, M. (eds.), Selfhood and the Soul: Essays on Ancient Thought and Literature in Honour of Christopher Gill. Oxford: Oxford University Press, 197218.Google Scholar
Schafer, R. M. 1994. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny Books.Google Scholar
Schefold, K. 1974. “Die dichterische Wirklichkeit der bildenden Kunst.” AW 5: 1314.Google Scholar
Scheid, J. 1990. Romulus et ses frères. Le collège des frères arvales, modèle du culte public dans la Rome des empereurs. Rome: École Française.Google Scholar
Scheid, J. 1998. Commentarii Fratrum Arvalum qui supersunt. Rome: École Française.Google Scholar
Scheid, J. 2005. Quand faire, c’est croire. Les rites sacrificiels des Romains. Paris: Aubier.Google Scholar
Scheid, J. 2007. “Carmen et prière. Les hymnes dans le culte public de Rome,” in Lehmann, Y. (ed.), L’hymne antique et son public. Turnhout: Brepols, 439–50.Google Scholar
Scheid, J. 2012. “I sacerdozi ‘arcaici’ restaurati da Augusto. L’esempio degli Arvali,” in Urso (ed.), 177–89.Google Scholar
Schilling, R. 1981. “Arvales,” in Bonnefoy, Y. (dir.), Dictionnaire des mythologies et des religions des sociétés traditionnelles et du monde antique. Paris: Flammarion, 90.Google Scholar
Schironi, F. 2018. “Enlightened Kings or Pragmatic Rulers? Ptolemaic Patronage of Scholarship and Sciences in Context,” in Bosman, P. (ed.), Intellectual and Empire in Greco-Roman Antiquity. Abingdon and New York: Routledge, 129.Google Scholar
Schlapbach, K. 2018. The Anatomy of Dance Discourse: Literary and Philosophical Approaches to Dance in the Later Graeco-Roman World. Oxford: Oxford University Press.Google Scholar
Schmaltz, B. and Salta, M. 2003. “Zur Weiter- und Wiederverwendung attischer Grabreliefs klassischer Zeit.” JDAI 118: 49204.Google Scholar
Schmidt, S. 2005. Rhetorische Bilder auf attischen Vasen. Visuelle Kommunikation im 5. Jahrhundert v. Chr. Berlin: Dietrich Reimer.Google Scholar
Schmidt, S. 2009. “Between Toy Box and Wedding Gift: Functions and Images of Athenian Pyxides.” Mètis 7: 111–30.Google Scholar
Schmitt, R. (ed.) 1968. Indogermanische Dichtersprache. Wege der Forschung 165. Darmstadt: Wissenschaftliche Buchgesellschaft.Google Scholar
Schnapp-Gourbeillon, A. 2016. “Tumulus, Sema, and Greek Oral Tradition,” in Henry, O. and Kelp, U. (eds.), Tumulus as Sema: Space, Politics, Culture, and Religion in the First Millennium B.C. Berlin: De Gruyter, 205–17.Google Scholar
Scodel, R. 2007. “Lycurgus and the State Text of Tragedy,” in Cooper, C. (ed.), Politics of Orality. Leiden: Brill, 129–54.Google Scholar
Scott, W. C. 1984. Musical Design in Aeschylean Theater. Hanover, NH: Dartmouth College Press.Google Scholar
Scott, W. C. 1996. Musical Design in Sophoclean Theater. Hanover, NH: Dartmouth College Press.Google Scholar
Scullard, H. H. 1981. Festivals and Ceremonies of the Roman Republic. Ithaca: Cornell University Press.Google Scholar
Scully, S. 1990. Homer and the Sacred City. Ithaca: Cornell University Press.Google Scholar
Seaford, R. 2013. “The Politics of the Mystic Chorus,” in Billings, J., Budelmann, F., and Macintosh, F. (eds.), Choruses, Ancient and Modern. Oxford: Oxford University Press, 261–80.Google Scholar
Seeberg, A. 1995. “From Padded Dancers to Comedy.” BICS 40: 112.Google Scholar
Seeger, A. 1993. “When Music Makes History,” in Blum, S., Bohlman, P. V., and Neuman, D. M. (eds.), Ethnomusicology and Modern Music History. Urbana: University of Illinois Press, 2334.Google Scholar
Segal, C. 1961. “Dionysos and the Unity of the Frogs.” HSPh 65: 207–42.Google Scholar
Segal, C. 1989. “Song, Ritual, and Commemoration in Early Greek Poetry and Tragedy.” Oral Tradition 4: 330–59.Google Scholar
Sens, A. 2015. “Hedylus (4 and 5 Gow-Page) and Callimachean Poetics,” Mnemosyne 68: 40-52.Google Scholar
Sepper, D. L. 2015. Understanding Imagination: The Reason of Images. Dordrecht: Springer Dordrecht.Google Scholar
Shapiro, H. A. 1987. “Kalos-Inscriptions with Patronymic.” ZPE 68: 107–18.Google Scholar
Shapiro, H. A. 1991. “The Iconography of Mourning in Athenian Art.” AJA 95: 629–56.Google Scholar
Shaw, C. 2018. Euripides: Cyclops, A Satyr Play. London: Bloomsbury.Google Scholar
Shelemay, K. K. 1998. Let Jasmine Rain Down: Song and Remembrance Among Syrian Jews. Chicago.Google Scholar
Shelemay, K. K. 2006. “Music, Memory and History.” Ethnomusicology Forum 15: 1737.Google Scholar
Shevchenko, O. (ed.) 2014. Double Exposure: Memory and Photography. New Brunswick, NJ: Transaction Publishers.Google Scholar
Siegert, B. 2010. “Türen: Zur Materialität des Symbolischen.” Zeitschrift für Medien- und Kulturforschung 1(1): 151–70.Google Scholar
Siegert, B. 2012. “Doors: On the Materiality of the Symbolic.” Translated by J. D. Peters. Grey Room 47: 623.Google Scholar
Siegert, B. 2015. “Door Logic, or the Materiality of the Symbolic: From Cultural Techniques to Cybernetic Machines,” in Siegert, B., Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Real. Translated by G. Winthrop-Young. New York: Fordham University Press, 192205.Google Scholar
Sifakis, G. M. 1967. “Singing Dolphin Riders.” BICS 14: 3637.Google Scholar
Sifakis, G. M. 1971. Parabasis and Animal Choruses: A Contribution to the History of Attic Comedy. London: Athlone Press.Google Scholar
Sifakis, G. M. 2001. Aristotle on the Function of Tragic Poetry. Herakleion: Crete University Press.Google Scholar
Simmons-Stern, N. R., Budson, A. E., and Brandon, A. A. 2010. “Music as a Memory Enhancer in Patients with Alzheimer’s Disease.” Neuropsychologia 48(10): 3164–67.Google Scholar
Simon, E. 1969. Die Götter der Griechen. Munich: Hirmer.Google Scholar
Sklar, D. 2008. “Remembering Kinesthesia: An Inquiry into Embodied Cultural Knowledge,” in Noland, C. and Ness, S. A. (eds.), Migrations of Gesture. Minneapolis: University of Minnesota Press, 85111.Google Scholar
Slater, N. W. 1990. “Amphitruo, Bacchae, and Metatheatre.” Lexis 5–6:101–25.Google Scholar
Slater, N. W. 1999. “The Vase as Ventriloquist: Kalos-Inscriptions and the Culture of Fame,” in MacKay, E. A. (ed.), Signs of Orality: The Oral Tradition and Its Influence in the Greek and Roman World. Leiden: Brill, 143–61.Google Scholar
Smith, D. G. 2017. “The Reception of Aeschylus in Sicily,” in R. F. Kennedy (ed.), Brill’s Companion to the Reception of Aeschylus. Leiden: Brill, 7–53.Google Scholar
Smith, T. J. 2007. “The Corpus of Komast Vases: From Identity to Exegesis,” in Csapo and Miller (eds.), 4876.Google Scholar
Smith, T. J. 2010. Komast Dancers in Archaic Greek Art. Oxford: Oxford University Press.Google Scholar
Sofer, A. 2003. The Stage Life of Props. Ann Arbor: University of Michigan Press.Google Scholar
Solmsen, F., Merkelbach, R., and West, M. L. (eds.) 1983. Theogonia, Opera et Dies, Scutum, Fragmenta Selecta. Oxford: Clarendon Press.Google Scholar
Sommerstein, A. (ed.) 1996. Aristophanes: Frogs. Warminster: Aris & Phillips.Google Scholar
Sommerstein, A. (ed.) 2009. Aeschylus Vol. i: Persians, Seven Against Thebes, Suppliants, Prometheus Bound. Loeb Classical Library 145. Cambridge, MA: Harvard University Press.Google Scholar
Sondheim, S., and Furth, G. 2013. Merrily We Roll Along. Vocal score. Revised edition. New York: Rilting Music.Google Scholar
Sorabji, R. 1974. “Body and Soul in Aristotle.” Philosophy 49: 6389.Google Scholar
Sorabji, R. 1995. Animal Minds and Human Morals. Ithaca: Cornell University Press.Google Scholar
Sourvinou-Inwood, C. 1995. “Reading” Greek Death to the End of the Classical Period. Oxford: Clarendon Press.Google Scholar
Spencer, D. 2011a. “Ῥωμαίζω … ergo sum: Becoming Roman in Varro’s De Lingua Latina,” in Bommas, M. (ed.), Cultural Memory and Identity in Ancient Societies. London and New York: Continuum, 4360.Google Scholar
Spencer, D. 2011b. “Movement and the Linguistic Turn: Reading Varro’s De Lingua Latina,” in Laurence, R. and Newsome, D. J. (eds.), Rome, Ostia, Pompeii. Movement and Space. Oxford: Oxford University Press, 5780.Google Scholar
Spencer, D. 2019. Language and Authority in De Lingua Latina. Varro’s Guide to Being Roman. Madison: University of Wisconsin Press.Google Scholar
Sperduti, A. 1950. “The Divine Nature of Poetry in Antiquity.” TAPhA 81: 209–40.Google Scholar
Spivey, N. 1991. “Greek Vases in Etruria,” in Rasmussen, T. B. and Spivey, N. (eds.), Looking at Greek Vases. Cambridge: Cambridge University Press, 131–50.Google Scholar
Spivey, N. 2006. “Greek Vases in Etruria.” AJA 110: 659–61.Google Scholar
Squire, M. 2018. “Embodying the Dead on Classical Attic Grave Stelai.” Art History 41: 518–45.Google Scholar
Stähli, A. 2014. “Sprechende Gegenstände,” in Bielfeldt, R. (ed.), Ding und Mensch in der Antike: Gegenwart und Vergegenwärtigung. Heidelberg: Universitätsverlag Winter, 113–41.Google Scholar
Starr, R. 1991. “Reading Aloud: Lectores and Roman Reading.” CJ 6: 337–43.Google Scholar
Stavrianopoulou, E. (ed.) 2006. Ritual and Communication in the Graeco-Roman World. Kernos suppl. 16. Liège: Université de Liège.Google Scholar
Stavrianopoulou, E. 2015. “The Archaeology of Processions,” in Raja, R. and Rüpke, J. (eds.), A Companion to the Archaeology of Religion in the Ancient World. Chichester and Malden, MA: Wiley-Blackwell, 349–61.Google Scholar
Stears, K. 1998. “Death Becomes Her: Gender and Athenian Death Ritual,” in Blundell, S. and Williamson, M. (eds.), The Sacred and the Feminine in Ancient Greece. London and New York: Routledge, 113–27.Google Scholar
Stears, K. 2000. “The Times They Are A’Changing: Developments in Fifth-Century Funerary Sculpture,” in Oliver, G. J. (ed.), The Epigraphy of Death: Studies in the History and Society of Greece and Rome. Liverpool: Liverpool University Press, 2558.Google Scholar
Steiner, D. 2001. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton: Princeton University Press.Google Scholar
Steiner, D. 2011. “Dancing with the Stars: Choreia in the Third Stasimon of Euripides’ Helen.” CPh 106: 299323.Google Scholar
Steiner, D. 2021. Choral Constructions in Greek Culture: The Idea of the Chorus in the Poetry, Art, and Social Practices of the Archaic and Early Classical Period. Cambridge: Cambridge University Press.Google Scholar
Steingräber, S. 1986. Etruscan Painting: Catalogue Raisonné of Etruscan Wall Paintings. New York: Johnson Reprint Corporation.Google Scholar
Steingräber, S. 2013. “Worshipping with the Dead: New Approaches to the Etruscan Necropolis,” in Turfa, J. M. (ed.), The Etruscan World. London and New York: Routledge, 655–71.Google Scholar
Steinhart, M. 2004. Die Kunst der Nachahmung: Darstellungen mimetischer Vorführungen in der griechischen Bildkunst archaischer und klassischer Zeit. Mainz: P. von Zabern.Google Scholar
Steinhart, M. 2007. “From Ritual to Narrative,” in Csapo and Miller (eds.), 196220.Google Scholar
Stewart, A. 1997. Art, Desire, and the Body in Ancient Greece. Cambridge: Cambridge University Press.Google Scholar
Stephens, S. 2002–2003. “Linus Song.” Hermathena 173/174: 1328.Google Scholar
Stephens, S. 2004. “For you, Arsinoe …,” in Acosta-Hughes, B., Kosmetatou, E., and Baumbach, M. (eds.), Labored in Papyrus Leaves: Perspectives on an Epigram Collection Attributed to Posidippus (P. Mil. Vogl. viii 309). Cambridge, MA: Harvard University Press, 161–76.Google Scholar
Stephens, S. 2005. “Battle of the Books,” in Gutzwiller (ed.), 229–48.Google Scholar
Street, J. 2015. “Atypical Lives: Systems of Meaning in Plutarch’s Theseus-Romulus,” Ph.D. dissertation, Berkeley: University of California.Google Scholar
Strong, C. 2011. Grunge: Music and Memory. Farnham: Ashgate.Google Scholar
Strootman, R. 2017. The Birdcage of the Muses: Patronage of the Arts and Sciences at the Ptolemaic Imperial Court, 305–222 BCE. Leuven: Peeters.Google Scholar
Sturken, M. 1997. Tangled Memories. Berkeley and Los Angeles: University of California Press.Google Scholar
Suerbaum, W. 2002. Die Archaische Literatur von den Anfängen bis Sullas Tod. Munich: C. H. Beck.Google Scholar
Sutton, D. 1980. The Greek Satyr Play. Meisenheim am Glan: Hain.Google Scholar
Svenbro, J. 1993. Phrasikleia: An Anthropology of Reading in Ancient Greece. Myth and Poetics. Translated by J. Lloyd. Ithaca: Cornell University Press.Google Scholar
Tanner, R. G. 1961. “The Arval Hymn and Early Latin Verse.” CQ 11(2): 209–38.Google Scholar
Taplin, O. 1977. The Stagecraft of Aeschylus: The Dramatic Use of Exits and Entrances in Greek Tragedy. Oxford: Clarendon Press.Google Scholar
Taplin, O. 1987. “Phallology, Phlyakes, Iconography and Aristophanes.” PCPhS 33: 92104.Google Scholar
Taplin, O. 1993. Comic Angels and Other Approaches to Greek Drama through Vase-Painting. Oxford: Clarendon Press.Google Scholar
Taplin, O. 1997. “The Pictorial Record,” in P. Easterling (ed.), The Cambridge Companion to Greek Tragedy. Cambridge: Cambridge University Press, 69–90.Google Scholar
Taplin, O. 2007. Pots and Plays: Interactions Between Tragedy and Greek Vase-Painting of the Fourth Century B.C. Los Angeles: J. Paul Getty Museum.Google Scholar
Tarrant, H. 1999. “Dialogue and Orality in a Post-Platonic Age,” in MacKay, E. A. (ed.), Signs of Orality: The Oral Tradition and its Influence in the Greek and Roman World. Leiden: Brill, 181–98.Google Scholar
Taylor, D. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.Google Scholar
Telò, M. 2013. “Aristophanes, Cratinus, and the Smell of Comedy,” in Butler and Purves (eds.), 5370.Google Scholar
Telò, M. and Mueller, M. (eds.) 2018. The Materialities of Greek Tragedy: Objects and Affect in Aeschylus, Sophocles, and Euripides. London: Bloomsbury.Google Scholar
Thomas, R. 2003. “Prose Performance Texts: Epideixis and Written Publication in the Late Fifth and Early Fourth Centuries,” in Yunis, H. (ed.), Written Texts and the Rise of Literate Culture in Ancient Greece. Cambridge: Cambridge University Press, 162–68.Google Scholar
Thompson, D. J. 2000. “Philadelphus’ Procession: Dynastic Power in a Mediterranean Context,” in Mooren, L. (ed.), Politics, Administration and Society in the Hellenistic and Roman World. Leuven: Peeters, 365–88.Google Scholar
Tierney, M. 1934–1935. “The Parodos in Aristophanes’ Frogs.” PRIA 42: 199218.Google Scholar
Tomlinson, G. 2007. The Singing of the New World: Indigenous Voice in the Era of European Contact. Cambridge: Cambridge University Press.Google Scholar
Torelli, M. 1990. “Riti di passaggio maschili di Roma arcaica.” MEFRA 102: 92106.Google Scholar
Torelli, M. 1997. “Appius Alce. La gemma fiorentina con rito saliare e la presenza dei Claudii in Etruria.” SE 63: 227–55.Google Scholar
Torelli, M. 1999. “Funera Tusca: Reality and Representation in Archaic Tarquinian Painting,” in Bergmann, and Kondoleon, (eds.), 147–61.Google Scholar
Toynbee, J. M. C. 1971. Death and Burial in the Roman World. London: Thames and Hudson.Google Scholar
Trendall, A. D. and Webster, T. B. L. 1971. Illustrations of Greek Drama. London: Phaidon.Google Scholar
Trinkl, E. 2011. Attisch rotfigurige Gefässe. Weissgrundige Lekythen. Corpus Vasorum Antiquorum. Österreich. Wien, Kunsthistorisches Museum, Bd. 5. Vienna: Österreichischen Akademie der Wissenschaften.Google Scholar
Truax, B. 2001. Acoustic Communication. Second edition. Westport, CT: Greenwood Publishing.Google Scholar
Tsagalis, C. 2008. Inscribing Sorrow: Fourth-Century Attic Funerary Epigrams. Berlin: De Gruyter.Google Scholar
Tsiafakis, D. 2001. “Life and Death at the Hands of a Siren,” in True, M. and Hart, M. L. (eds.), Studia Varia from the J. Paul Getty Museum. Vol. ii: 724. Malibu, CA: J. Paul Getty Museum.Google Scholar
Tucker, T. G. and Harrison, J. 1904. “The Mysteries in the Frogs of Aristophanes.” CR 18: 416–18.Google Scholar
Turner, S. 2012. “In Cold Blood: Dead Athletes in Classical Athens.” World Archaeology 44: 217–33.Google Scholar
Turner, S. 2016. “Sight and Death: Seeing the Dead through Ancient Eyes,” in Squire, M. (ed.), Sight and the Ancient Senses. London and New York: Routledge, 143–60.Google Scholar
Urso, G. (ed.) 2012. Sacerdos. Figure del sacro nella società romana. Florence: Edizioni ETS.Google Scholar
Valavanis, P. and Manakidou, E. (eds.) 2014. Egraphsen kai Epoiesen: Essays on Greek Pottery and Iconography in Honour of Professor Michalis Tiverios. Thessaloniki: University Studio Press.Google Scholar
Van der Hoeven, A. 2018. “Songs That Resonate: The Uses of Popular Music Nostalgia,” in Baker, S. et al (eds.), The Routledge Companion to Popular Music History and Heritage. Abingdon and New York: Routledge, 238–46.Google Scholar
Van den Tol, A. and Ritchie, T. D. 2015. “Emotion, Memory and Music: A Critical Review and Recommendations for Future Research,” in Strollo, M. R. and Romano, A. (eds.), Music, Emotions, Autobiographical Memory: An Interdisciplinary Approach. Naples, Liguori Editore, 1632.Google Scholar
Van Dijck, J. 2007. Mediated Memories in the Digital Age. Redwood City, CA: Stanford University Press.Google Scholar
Vasunia, P. 2001. The Gift of the Nile: Hellenizing Egypt from Aeschylus to Alexander. Berkeley and Los Angeles: University of California Press.Google Scholar
Vedder, U. 1985. Untersuchungen zur plastischen Ausstattung attischer Grabanlagen des 4. Jhs. v. Chr. Frankfurt am Main: Lang.Google Scholar
Verdegem, S. 2001. “On the Road Again: Alcibiades’ Restoration of the Eleusinian πομπή in Plu., Alc. 34.3–7,” in Pérez Jiménez, A. and Casadesús Bordoy, F. (eds.), Estudios sobre Plutarco: misticismo y religiones mistéricas en la obra de Plutarco. Madrid: Ediciones Clásicas, 451–59.Google Scholar
Verdegem, S. 2010. Plutarch’s Life of Alcibiades. Story, Text and Moralism. Leuven: Leuven University Press.Google Scholar
Vermeule, E. 1979. Aspects of Death in Early Greek Art and Poetry. Berkeley and Los Angeles: University of California Press.Google Scholar
Versnel, H. 1970. Triumphus. An Inquiry into the Origin, Development and Meaning of the Roman Triumph. Leiden: Brill.Google Scholar
Versnel, H. S. 1972. “ΙΑΚΧΟΣ. Some Remarks Suggested by an Unpublished Lekythos in the Villa Giulia.” Talanta 4: 2338.Google Scholar
Vickers, M. 2008. Sophocles and Alcibiades: Athenian Politics in Ancient Greek Literature. Ithaca: Cornell University Press.Google Scholar
Waitt, G., Ryan, E., and Farbotko, C. 2014. “A Visceral Politics of Sound.” Antipode: A Radical Journal of Geography 46: 283300.Google Scholar
Walker, H. J. 1995. Theseus and Athens. Oxford: Oxford University Press.Google Scholar
Wallace, R. 2009. “Plato, Poikilia, and New Music at Athens,” in Berardi, E., Lisi, F. L., and Micalella, D. (eds.), Poikilia: variazioni sul tema. Acireale: Bonanno, 199210.Google Scholar
Walsh, G. B. 1984. The Varieties of Enchantment: Early Greek Views of the Nature and Function of Poetry. Chapel Hill: University of North Carolina Press.Google Scholar
Walsh, P. G. 1961. Livy: His Historical Aims and Methods. Cambridge: Cambridge University Press.Google Scholar
Walsh, P. G. (ed.) 1994. Livy, Book xxxix. Warminster: Aris and Phillips.Google Scholar
Walter-Karydi, E. 2011–2012. “Häusliche mousike techne der Frauen im klassischen Athen.” Jahrbuch des Kunsthistorischen Museums Wien 1314:220–35.Google Scholar
Walter-Karydi, E. 2015. Die Athener und ihre Gräber (1000–300 v. Chr.). Berlin: De Gruyter.Google Scholar
Warford, E. 2019. “Performing Piety: A Phenomenological Approach to Athenian Processions,” in Friese, W., Handberg, S., and Kristensen, T. M. (eds.), Ascending and Descending the Acropolis: Movement in Athenian Religion. Aarhus: Aarhus University Press, 2341.Google Scholar
Watkins, C. 1995. How to Kill a Dragon: Aspects of Indo-European Poetics. Oxford: Oxford University Press.Google Scholar
Wellenbach, M. C. 2015. “The Iconography of Dionysiac Choroi: Dithyramb, Tragedy, and the Basel Krater.” GRBS 55: 72103.Google Scholar
Weigel, M. 2018a. “The Gendering of the Media Concept.” Paper presented at Becoming Media, Conference 2: Practices, UCLA Center for 17th- and 18th-Century Studies, 24 February.Google Scholar
Weigel, M. 2018b. “The Internet of Women.” Logic Magazine 4.1 (April). https://logicmag.io/scale/the-internet-of-women.Google Scholar
Weinfeld, M. 1967. “Deuteronomy: The Present State of Inquiry.” JBL 86(3): 249–62.Google Scholar
Weiss, M. 1998. “Erotica: On the Prehistory of Greek Desire.” HSC Ph 98: 3161.Google Scholar
Weiss, N. 2016. “The Choral Architecture of Pindar’s Eighth Paean.” TAPhA 146(2): 237–55.Google Scholar
Weiss, N. 2017. “Noise, Music, Speech: The Representation of Lament in Greek Tragedy.” AJPh 138: 243–66.Google Scholar
Weiss, N. 2018a. The Music of Tragedy: Performance and Imagination in Euripidean Theater. Oakland, CA: University of California Press.Google Scholar
Weiss, N. 2018b. “Speaking Sights and Seen Sounds in Aeschylean Tragedy,” in Telò and Mueller (eds.), 169–84.Google Scholar
Weiss, N. 2018c. “Hearing the Syrinx in Euripidean Tragedy,” in D’Angour, A. and Phillips, T. (eds.), Music, Texts, and Culture in Ancient Greece. Oxford: Oxford University Press, 139–62.Google Scholar
Weiss, N. 2019. “Generic Hybridity in Athenian Tragedy,” in Foster, Kurke, and Weiss (eds.), 167–90.Google Scholar
Weissenborn, W. and Müller, H. J. (eds.) 1968. Titi Livi ab urbe condita libri. Sechster Band, Erstes Heft. Buch xxvii und xxviii. Berlin: Weidmann.Google Scholar
Welsh, J. 2011. “Accius, Porcius Licinius, and the Beginning of Latin Literature.” JRS 101: 3150.Google Scholar
West, M. L. 1981. “The Singing of Homer and the Modes of Early Greek Music.” JHS 101: 113–29.Google Scholar
West, M. L. (ed.) 1990. Aeschyli Tragoediae cum incerti poetae Prometheo. Stuttgart: Teubner.Google Scholar
West, M. L. 1992. Ancient Greek Music. Oxford: Oxford University Press.Google Scholar
West, M. L. 2007. Indo-European Poetry and Myth. Oxford: Oxford University Press.Google Scholar
Westenholz, G., Maurey, Y. and Seroussi, E. (eds.) 2014. Music in Antiquity: The Near East and the Mediterranean. Berlin: De Gruyter.Google Scholar
White, K. D. 1993. “‘The Base Mechanic Arts’? Some Thoughts on the Contribution of Science (Pure and Applied) to the Culture of the Hellenistic Age,” in Green, P. (ed.), Hellenistic History and Culture. Berkeley and Los Angeles: University of California Press, 211–37.Google Scholar
Wiedemann, E. 2015. “On Musical Automata,” in Zielinski, S. and Weibel, P. (eds.), Allah’s Automata: Artifacts of the Arab-Islamic Renaissance (800–1200). Ostfildern: Hatje Cantz, 4957.Google Scholar
Wilder, L. P. 2010. Shakespeare’s Memory Theatre: Recollection, Properties, and Character. Cambridge: Cambridge University Press.Google Scholar
Wille, G. 1967. Musica Romana: Die Bedeutung der Musik im Leben der Römer. Amsterdam: Schippers.Google Scholar
Wilson, P. 1999. “The Aulos in Athens,” in Goldhill and Osborne (eds.), 5895.Google Scholar
Wilson, P. 2004. “Athenian Strings,” in Murray and Wilson (eds.), 296306.Google Scholar
Wilson, P. 2010. “Temple Architecture and Decorative Systems,” in Lloyd, A. B. (ed.), A Companion to Ancient Egypt. Chichester and Malden, MA: Wiley-Blackwell. 781803.Google Scholar
Winiarczyk, M. 2016. Diagoras of Melos: A Contribution to the History of Ancient Atheism. Translated by W. Zbirohowski-Kościa. Berlin: De Gruyter.Google Scholar
Winter, J. 1997. Review of P. Nora (ed.), Realms of Memory: Rethinking the French Past. Vol. I: Conflicts and Divisions. H-France: www.h-net.org/reviews/showrev.php?id=1354.Google Scholar
Wiseman, T. P. 2008. Unwritten Rome. Exeter: University of Exeter Press.Google Scholar
Wissman, T. 2014. Geographies of Urban Sound. Abingdon and New York: Routledge.Google Scholar
Wissowa, G. 1912. Religion und Kultus der Römer. Second edition. Munich: C. H. Beck.Google Scholar
Wohl, V. 2015. Euripides and the Politics of Form. Princeton: Princeton University Press.Google Scholar
Wollheim, R. 1987. Painting as an Art. Princeton: Princeton University Press.Google Scholar
Worman, N. 2014. “Mapping Literary Styles in Aristophanes’ Frogs,” in Gilhuly, K. and Worman, N. (eds.), Space, Place, and Landscape in Ancient Greek Literature and Culture. Cambridge: Cambridge University Press, 200–39.Google Scholar
Worman, N. 2015. Landscape and the Spaces of Metaphor in Ancient Literary Theory and Criticism. Cambridge: Cambridge University Press.Google Scholar
Woodard, R. D. 2006. Indo-European Sacred Space. Vedic and Roman Cult. Urbana: University of Illinois Press.Google Scholar
Woysch-Méautis, D. 1982. La représentation des animaux et des êtres fabuleux sur les monuments funéraires grecs: de l’époque archaïque à la fin du IVe siècle av. J.-C. Lausanne: Bibliothèque historique vaudoise.Google Scholar
Yerucham, A. 2016. “Music and Cult Foundation in Euripides Bakchai,” in Bravi, L., Lomiento, L., Meriani, A., and Pace, G. (eds.), Tra lyra e aulos: tradizioni musicali e generi poetici. Pisa and Rome: Fabrizio Serra Editore, 138–54.Google Scholar
Yinger, O. S. 2017. Music Therapy: Research and Evidence-Based Practice. St. Louis, MO: Elsevier.Google Scholar
Yunis, H. (ed.) 2003. Written Texts and the Rise of Literate Culture in Ancient Greece. Cambridge: Cambridge University Press.Google Scholar
Zeitlin, F. 1994. “The Artful Eye: Vision, Ecphrasis, and Spectacle in Euripidean Theatre,” in Goldhill, and Osborne, (eds.), 138–96.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.

  • Bibliography
  • Edited by Lauren Curtis, Bard College, New York, Naomi Weiss, Harvard University, Massachusetts
  • Book: Music and Memory in the Ancient Greek and Roman Worlds
  • Online publication: 14 October 2021
  • Chapter DOI: https://doi.org/10.1017/9781108917858.013
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.

  • Bibliography
  • Edited by Lauren Curtis, Bard College, New York, Naomi Weiss, Harvard University, Massachusetts
  • Book: Music and Memory in the Ancient Greek and Roman Worlds
  • Online publication: 14 October 2021
  • Chapter DOI: https://doi.org/10.1017/9781108917858.013
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.

  • Bibliography
  • Edited by Lauren Curtis, Bard College, New York, Naomi Weiss, Harvard University, Massachusetts
  • Book: Music and Memory in the Ancient Greek and Roman Worlds
  • Online publication: 14 October 2021
  • Chapter DOI: https://doi.org/10.1017/9781108917858.013
Available formats
×