Adrados, Francisco R. 1975. Festival, Comedy, and Tragedy: The Greek Origins of Theatre, trans. Christopher Holme. Leiden: Brill.Google Scholar

Agócs, Peter, Carey, Chris, and Rawles, Richard (eds.). 2012. Reading the Victory Ode. Cambridge University Press.Google Scholar

Ahmed, Sara. 2006. Queer Phenomenology: Orientations, Objects, Others. Durham, NC: Duke University Press.Google Scholar

Alexiou, Margaret. 2002. The Ritual Lament in Greek Tradition. 2nd ed. Yatromanolakis, Dimitrios and Roilos, Pangiotis (rev). New York: Rowman and Littlefield Publishers.Google Scholar

Alonge, Mark. 2012. “Standing in a Chorus in Euripides, Electra 178 and Iphigenia in Tauris 1143.” Mnemosyne 65: 116–24.CrossRefGoogle Scholar

Alonso Fernández, Zoa. 2011. La danza en época romana: una aproximación filológica y lingüística. PhD diss., Universidad Complutense de Madrid, Real Colegio Complutense.Google Scholar

Alonso Fernández, Zoa. 2015. “Docta saltatrix: Body Knowledge, Culture, and Corporeal Discourse in Female Roman Dance.” Phoenix 69: 304–33.Google Scholar

Anderson, Greg. 2005. “Before Turannoi Were Tyrants: Rethinking a Chapter of Early Greek History.” ClAnt 24: 173–222.Google Scholar

Anderson, Jack. 1985. “Dance: Merce Cunningham ‘Events’.” New York Times, Dec. 2, 1985, p. C13.Google Scholar

Andrews, Travis. 2016. “The Extraordinary Cost of Retrieving Dead Bodies from Mt. Everest.” The Washington Post, May 27, 2016, Morning Mix blog. www.washingtonpost.com/news/morning-mix/wp/2016/05/27/the-extraordinary-cost-of-retrieving-dead-bodies-from-mount-everest/Google Scholar

Andújar, Rosa. 2011. “On Not Managing Mourning: The Reticent Chorus in Sophocles’ Antigone.” NEARCO revista de antiguidade 10: 207–26.Google Scholar

Arft, Justin. 2017. “Structure as Sēma: Structural and Liminal Middles in the Odyssey.” Yearbook of Ancient Greek Epic 1: 5–45.Google Scholar

Arnott, W. G. 1996a. “Realism in the Ion,” in Silk (ed.), pp. 110–18.Google Scholar

Arnott, W. G. 1996b. Alexis: The Fragments. Cambridge University Press.Google Scholar

Arnould, Dominique. 1990. Le Rire et les larmes dans la littérature grecque: d’Homère à Platon. Paris: Les Belles Lettres.Google Scholar

Arthur, Marylin. 1980. “The Tortoise and the Mirror: Erinna PSI 1090.” CW 74: 53–65.Google Scholar

Arthur, Marylin. 1982. “Cultural Strategies in Hesiod’s Theogony: Law, Family, Society.” Arethusa 15: 63–82.Google Scholar

Ashton, Frederick. 1957. Cinderella: A Ballet in Three Acts. Choreographed and adapted for television by Sir Frederick Ashton. Producers’ Showcase Telecast of April 29, 1957 (NBC). Video Artists International DVD: Pleasantville, NY.Google Scholar

Athanassaki, Lucia. 2012. “Performance and Re-performance: The Siphnian Treasury Evoked (Pindar’s Pythian 6, Olympian 2 and Isthmian 2),” in Agócs, Carey, and Rawles (eds.), pp. 134–57.Google Scholar

Athanassaki, Lucia. 2016. “Political and Dramatic Perspectives on Archaic Sculptures: Bacchylides’ Fourth Dithyramb (Ode 18) and the Treasury of the Athenians at Delphi,” in Cazzato and Lardinois (eds.), pp. 16–49.Google Scholar

Athanassaki, Lucia, and Bowie, Ewen (eds.). 2011. Archaic and Classical Choral Song: Performance, Politics, and Dissemination. Berlin: De Gruyter.Google Scholar

Athanassaki, Lucia, Martin, Richard, and Miller, John F. (eds.). 2009. Apolline Politics and Poetics. Athens: Hellenic Ministry of Culture and European Cultural Centre of Delphi.Google Scholar

Baker, Josephine, and Bouillon, Jo. 1976. Joséphine. Paris: Éditions Robert Laffont.Google Scholar

Baker, Josephine, and Bouillon, Jo 1988. Josephine, trans. Mariana Fitzpatrick. New York: Harper & Row.Google Scholar

Bakola, Emmanuela, Prauscello, Lucia, and Telò, Mario (eds.). 2013. Greek Comedy and the Discourse of Genres. Cambridge University Press.Google Scholar

Baragwanath, Emily. 2012. “The Wonder of Freedom: Xenophon on Slavery,” in Hobden and Tuplin (eds.), pp. 631–63.Google Scholar

Barker, Andrew. 1989. Greek Musical Writings, Vol. 1: The Musician and His Art. Cambridge University Press.Google Scholar

Barlow, Shirley. 1986. Euripides: Trojan Women. Warminster: Aris & Phillips.Google Scholar

Bartsch, Shadi, and Elsner, Jaś. 2007. “Introduction: Eight Ways of Looking at an Ekphrasis.” CPh 102: i–vi.Google Scholar

Bassi, Karen. 2014. “Croesus’ Offerings and the Value of the Past in Herodotus’ Histories,” in Pieper and Ker (eds.), pp. 173–96.Google Scholar

Baumbach, Manuel, and Bär, Silvio (eds.). 2012. Brill’s Companion to Greek and Latin Epyllion and Its Reception. Leiden: Brill.Google Scholar

Baumbach, Manuel, and Dümmler, Nicola (eds.). 2014. Imitate Anacreon! Mimesis, Poiesis, and the Poetic Inspiration in the Carmina Anacreontea. Berlin: De Gruyter.Google Scholar

Beaumont, Lesley. 2012. Childhood in Ancient Athens: Iconography and Social History. New York: Routledge.Google Scholar

Belfiore, Elizabeth. 2006. “Dancing with the Gods: The Myth of the Chariot in Plato’s Phaedrus.” AJPh 127: 185–217.Google Scholar

Bernabé, Alberto, de Jáuregui, Miguel Herrero, San Cristóbal, Ana Isabel Jiménez, and Hernández, Raquel Martín (eds.). 2013. Redefining Dionysos. Berlin: De Gruyter.Google Scholar

Bessel, Paul, and Braswell, Barbara. 2015. “‘Fiddler on the Roof’ at Way Off Broadway Dinner Theatre.” DC Metro Theatre Arts blog post, March 15, 2015. https://dcmetrotheaterarts.com/2015/03/15/fiddler-on-the-roof-at-way-off-broadway-dinner-theatre/Google Scholar

Best, Stephen, and Marcus, Sharon. 2009. “Surface Reading: An Introduction.” Representations 108: 1–21.CrossRefGoogle Scholar

Bierl, Anton. 2009. Ritual and Performativity: The Chorus in Old Comedy, trans. Alexander Hollman. Cambridge, MA, and Washington, DC: Harvard University Press and the Center for Hellenic Studies.Google Scholar

Bierl, Anton. 2011. “Alcman at the End of Aristophanes’ Lysistrata: Ritual Interchorality,” in Athanassaki and Bowie (eds.), pp. 415–36.Google Scholar

Bierl, Anton. 2012. “Demodokos’ Song of Ares and Aphrodite in Homer’s Odyssey (8.266–366): An Epyllion? Agonistic Performativity and Cultural Metapoetics,” in Baumbach and Bär (eds.), pp. 111–34.Google Scholar

Bierl, Anton. 2013. “Maenadism as Self-Referential Chorality in Euripides’ Bacchae,” in Gagné and Hopman (eds.), pp. 211–26.Google Scholar

Bierl, Anton. 2015. “Diachronic Shifts between the Epic Past and Future at the Phaeacians: Binding, Chorality, and Fluidity in Demodokos’ Song of Ares and Aphrodite in Homer’s Odyssey (8.266–366),” in Gonzalez (ed.), pp. 43–78.Google Scholar

Bierl, Anton. 2017. “The Bacchic-Chor(a)ic Chronotope: Dionysus, Chora, and Chorality in the Fifth Stasimon of Sophocles’ Antigone,” in Bierl, Christopoulos, and Papachrystomou (eds.), pp. 99–144.Google Scholar

Bierl, Anton, Christopoulos, Menelaos, and Papachrystomou, Athina (eds.). 2017. Time and Space in Ancient Myth, Religion, and Culture. Berlin: De Gruyter.Google Scholar

Bierl, Anton, Lämmle, Rebecca, and Wesselmann, Katharina (eds.). 2007. Literatur und Religion, I: Wege zu einer mythisch-rituellen Poetik bei den Griechen. Berlin: De Gruyter.Google Scholar

Biles, Zachary. 2011. Aristophanes and the Poetics of Competition. Cambridge University Press.Google Scholar

Biles, Zachary, and Douglas Olson, S. 2015. Aristophanes: Wasps. Oxford University Press.Google Scholar

Billings, Joshua, Budelmann, Felix, and Macintosh, Fiona (eds.). 2013a. Choruses, Ancient and Modern. Oxford University Press.CrossRefGoogle Scholar

Billings, Joshua, Budelmann, Felix, and Macintosh, Fiona 2013b. “Introduction: Choral Fantasies,” in Billings, Budelmann, and Macintosh (eds.), pp. 1–14.Google Scholar

Bing, Peter. 2014. “Anacreontea avant la lettre: Euripides’ Cyclops 495–518,” in Baumbach and Dümmler (eds.), pp. 25–46.Google Scholar

Blanshard, Alastair. 2007. “Trapped between Athens and Chios: A Relationship in Fragments,” in Jennings and Katsaros (eds.), pp. 155–75.Google Scholar

Boardman, John. 1989. Athenian Red Figure Vases: The Classical Period. London: Thames and Hudson.Google Scholar

Bocksberger, Sophie. 2017. “Dance as Silent Poetry, Poetry as Speaking Dance: The Poetics of Orchesis,” in Gianvittorio (ed.), pp. 159–74.Google Scholar

Bollack, Jean. 2006. “Prometheus Bound: Drama and Enactment,” in Cairns and Liapis (eds.), pp. 79–90.Google Scholar

Boner, Justin. 2009. The Homeric Hymn to Hermes and Archaic Iambography. Undergraduate thesis, New College of Florida.Google Scholar

Bonfante, Larissa (ed.). 2011. The Barbarians of Ancient Europe: Realities and Interactions. Cambridge University Press.Google Scholar

Borthwick, E. 1967. “Trojan Leap and Pyrrhic Dance in Euripides’ Andromache 1129–41.” JHS 87: 18–23.Google Scholar

Borthwick, E. Kerr. 1968. “The Dances of Philocleon and the Sons of Carcinus in Aristophanes’ Wasps.” CQ 18: 44–51.CrossRefGoogle Scholar

Bourguignon, Erika. 1968. Trance Dance. New York: Dance Perspectives Foundation.Google Scholar

Bowie, A. M. 1993. Aristophanes: Myth, Ritual, and Comedy. Cambridge.Google Scholar

Bremmer, J. N. 1984. “Greek Maenadism Reconsidered.” ZPE 55: 257–87.Google Scholar

Brillet-Dubois, Pascale. 2015. “A Competition of choregoi in Euripides’ Trojan Women. Dramatic Structure and Intertextuality.” Lexis 33: 168–80.Google Scholar

Broeniman, Clifford. 1996. “Demodocus, Odysseus, and the Trojan War in Odyssey 8.” CW 90: 3–13.Google Scholar

Budelmann, Felix. 2013. “Greek Festival Choruses in and out of Context,” in Billings, Budelmann, and Macintosh (eds.), pp. 81–98.Google Scholar

Budelmann, Felix, and Power, Timothy. 2015. “Another Look at Female Choruses in Classical Athens.” ClAnt 34: 252–95.Google Scholar

Buchan, Mark. 2004. The Limits of Heroism: Homer and the Ethics of Reading. Ann Arbor: University of Michigan Press.Google Scholar

Bundrick, Sheramy. 2005. Music and Image in Classical Athens. Cambridge University Press.Google Scholar

Buchholtz, Hermann. 1873. “Die Fabel vom Affen und Fuchs bei Archilochos.” RhM 28: 176–9.Google Scholar

Buitron-Oliver, Diana (ed.). 1991. New Perspectives in Early Greek Art. Washington, DC: National Gallery of Art.Google Scholar

Bull, Michael, and Back, Les (eds.). 2003. The Auditory Culture Reader. Oxford and New York: Berg.Google Scholar

Burnett, Anne Pippin. 1962. “Human Resistance and Divine Persuasion in Euripides’ Ion.” CPh 57: 89–103.Google Scholar

Butler, Shane, and Purves, Alex (eds.). 2013. Synaesthesia and the Ancient Senses. London: Routledge.Google Scholar

Buzzetti, Eric. 2014. Xenophon the Socratic Prince: The Argument of the Anabasis of Cyrus. New York: Palgrave Macmillan.Google Scholar

Cairns, Douglas, and Liapis, Vayos (eds.). 2006. Dionysoalexandros: Essays on Aeschylus and His Fellow Tragedians in Honour of Alexander F. Garvie. Swansea: The Classical Press of Wales.Google Scholar

Calame, Claude. 1977. Les choeurs de jeunes filles en Grèce archaïque, 2 vols. Rome: Edizioni dell’Ateneo & Bizzarri.Google Scholar

Calame, Claude. 1996. Thésée et l’imaginaire athénien: Légende et culte en Grèce antique. 2nd ed. Lausanne: Éditions Payot.Google Scholar

Calame, Claude. 2001. Choruses of Young Women in Ancient Greece: Their Morphology, Religious Role, and Social Functions, new and rev. ed., trans. Collins, Derek and Orion, Janice. Lanham, MD: Rowman & Littlefield.Google Scholar

Calame, Claude. 2004. “Choral Forms in Aristophanic Comedy: Musical Mimesis and Dramatic Performance in Classical Athens,” in Murray and Wilson (eds.), pp. 157–84.Google Scholar

Calame, Claude. 2009. “Apollo in Delphi and in Delos: Poetic Performances between Paean and Dithyramb,” in Athanassaki, Martin, and Miller (eds.), pp. 169–98.Google Scholar

Calame, Claude. 2011. “The Homeric Hymns as Poetic Offerings: Musical and Ritual Relationships with the Gods,” in Faulkner (ed.), pp. 334–58.Google Scholar

Campbell, David. 1982. Greek Lyric Poetry: A Selection of Early Greek Lyric, Elegiac, and Iambic Poetry. London: Bristol Classical Press.Google Scholar

Campbell, David. 1992. Greek Lyric, Vol. IV. Cambridge, MA: Harvard University Press.Google Scholar

Canby, Vincent. 1989. “Review/film: Tam Tam, starring Baker.” New York Times, Feb. 10, 1989, p. C13.Google Scholar

Catenaccio, Claire. 2017. Monody and Dramatic Form in Late Euripides. PhD diss., Columbia University.Google Scholar

Catoni, Maria Luisa. 2005. Schemata: Comunicazione non verbale nella Grecia antica. Pisa: Edizioni della Normale.Google Scholar

Catoni, Maria Luisa. 2010. Bere vino puro: Immagini del simposio. Milan: Feltrinelli.Google Scholar

Cazzato, Vanessa. 2015. “Anchoring the Solo Parts of Tragedy in Song Culture.” Proceedings of Anchoring Innovation in Antiquity, Dec. 17–20, 2015. www.ru.nl/publish/pages/862191/cazzato.pdfGoogle Scholar

Cazzato, Vanessa, and Lardinois, André (eds.). 2016. The Look of Lyric: Greek Song and the Visual. Leiden: Brill.Google Scholar

Ceccarelli, Paola. 1998. La pirrica nell’antichità greco romana: Studi sulla danza armata. Pisa: Istituti editoriali e poligrafici internazionali.Google Scholar

Ceccarelli, Paola. 2004. “Dancing the Pyrrhichē in Athens,” in Murray and Wilson (eds.), pp. 91–118.Google Scholar

Ceccarelli, Paola. 2013. Ancient Greek Letter Writing: A Cultural History (600 BCE – 150 BC). Oxford University Press.Google Scholar

Chambry, Émile. 1927. Ésope, Fables. Paris: Les Belles Lettres.Google Scholar

Chong-Gossard, J. H. Kim On. 2008. Gender and Communication in Euripides’ Plays: Between Song and Silence. Leiden: Brill.CrossRefGoogle Scholar

Christ, Matthew. 1994. “Herodotean Kings and Historical Inquiry.” ClAnt 13: 167–202.Google Scholar

Claire, Elizabeth. 2009. “Monstrous Choreographies: Waltzing, Madness, and Miscarriage.” Studies in Eighteenth Century Culture 38: 199–236.Google Scholar

Clark, Christina. 1996. “The Gendering of the Body in Alcman’s Partheneion 1: Narrative, Sex, and Social Order in Archaic Sparta.” Helios 23: 143–72.Google Scholar

Clay, Jenny Strauss. 2016. “How to Construct a Sympotic Space with Words,” in Cazzato and Lardinois (eds.), pp. 204–16.Google Scholar

Coccagna, Helene A. 2011. “Embodying Sympotic Pleasure: A Visual Pun on the Body of an Aulētris,” in Glazebrook and Henry (eds.), pp. 106–21.Google Scholar

Cohen, David. 2006. “Free and Unfree Sexual Work: An Economic Analysis of Athenian Prostitution,” in McClure and Faraone (eds.), pp. 95–124.Google Scholar

Cohen, David. 2015. Athenian Prostitution: The Business of Sex. Oxford University Press.Google Scholar

Cole, Thomas. 1992. Pindar’s Feasts, Or, the Music of Power. Rome: Ateneo.Google Scholar

Collins, Derek. 2003. “Nature, Cause, and Agency in Greek Magic.” TAPhA 133: 17–49.Google Scholar

Conacher, Desmond J. 1980. Aeschylus’ Prometheus Bound: A Literary Commentary. University of Toronto Press.Google Scholar

Cooper Albright, Ann. 2013a. “Falling.” Performance Research: A Journal of the Performing Arts 18: 36–41.Google Scholar

Cooper Albright, Ann 2013b. Engaging Bodies: The Poetics and Politics of Corporeality. Middletown, CT: Wesleyan University Press.Google Scholar

Copeland, Roger. 2002. “Merce Cunningham and the Aesthetic of Collage.” The Drama Review 46: 11–28.Google Scholar

Copeland, Roger. 2004. Merce Cunningham: The Modernizing of Modern Dance. London: Routledge.Google Scholar

Cornfield, Robert (ed.). 1998. Edwin Denby: Dance Writings and Poetry. New Haven.Google Scholar

Crane, Gregory. 1998. “Oikos and Agora: Mapping the Polis in Aristophanes’ Wasps,” in Dobrov (ed.), pp. 198–229.Google Scholar

Croft, Claire. 2016. “Dancing toward Queer Horizons.” Theatre Topics 26: 57–62.Google Scholar

Cropp, Martin, Lee, Kevin, and Sansone, David (eds.). 1999–2000. Euripides and Tragic Theatre in the Late Fifth Century, ICS 24–25.Google Scholar

Csapo, Eric. 1999–2000. “Later Euripidean Music,” in Cropp, Lee, and Sansone (eds.), pp. 399–426.Google Scholar

Csapo, Eric. 2003. “The Dolphins of Dionysus,” in Csapo and Miller (eds.), pp. 69–98.Google Scholar

Csapo, Eric. 2004. “The Politics of the New Music,” in Murray and Wilson (eds.), pp. 207–48.Google Scholar

Csapo, Eric. 2006–2007. “The Iconography of the Exarchos.” MedArch 19/20: 55–65.Google Scholar

Csapo, Eric. 2008. “Star Choruses: Eleusis, Orphism, and New Musical Imagery and Dance,” in Revermann and Wilson (eds.), pp. 262–90.Google Scholar

Csapo, Eric, and Miller, Margaret C.. (eds.) 2003. Poetry, Theory, Praxis: The Social Life of Myth, Word and Image in Ancient Greece. Essays in Honour of William J. Slater. Oxford: Oxbow Books.Google Scholar

Csapo, Eric, and Miller, Margaret C. (eds.). 2007. The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama. Cambridge University Press.Google Scholar

Csapo, Eric, and Slater, William. 1995. The Context of Ancient Drama. Ann Arbor: University of Michigan Press.Google Scholar

Curtis, Lauren. 2017. Imagining the Chorus in Augustan Poetry. Cambridge University Press.CrossRefGoogle Scholar

Dabrowa, Edward (ed.). 1998. Ancient Iran and the Mediterranean World. Krakow: Jagiellonian University Press.Google Scholar

Dale, A.M. 1968. The Lyric Metres of Greek Tragedy. Cambridge University Press.Google Scholar

D’Alfonso, Francesca. 1994. Stesicoro e la performance: Studio sulle modalitá esecutive dei carmi stesicorei. Rome: Gruppo editoriale internazionale.Google Scholar

Damen, Mark L., and Richards, Rebecca A.. 2012. “‘Sing the Dionysus’: Euripides’ Bacchae as Dramatic Hymn.” AJPh 133: 343–69.Google Scholar

Damkjær, Camilla. 2005. The Aesthetics of Movement: Variations on Gilles Deleuze and Merce Cunningham. PhD diss., University of Stockholm and University of Paris VIII.Google Scholar

Danielewicz, Jerzy. 1990. “Towards an Understanding of the Chorus: Homer on Early Forms of Lyric Poetry.”Eos 78: 55–62.Google Scholar

Danzig, Gabriel. 2005. “Intra-Socratic Polemics: The Symposia of Plato and Xenophon.” GRBS 45: 331–47.Google Scholar

Dasen, Véronique. 1993. Dwarfs in Ancient Egypt and Greece. Oxford University Press.Google Scholar

David, Amirthanayagam P. 2006. The Dance of the Muses: Choral Theory and Ancient Greek Poetics. Oxford University Press.Google Scholar

Davidson, James. 1998. Courtesans and Fishcakes: The Consuming Passions of Classical Athens. New York: St. Martin’s Press.Google Scholar

Davidson, James. 2006. “Making a Spectacle of Her(self): The Greek Courtesan and the Art of the Present,” in Feldman and Goldman (eds.), pp. 29–51.Google Scholar

Davidson, John. 1994. “Prometheus Vinctus on the Athenian Stage.” G&R 41: 33–40.Google Scholar

Day, Joseph. 2010. Archaic Greek Epigram and Dedication: Representation and Reperformance. Cambridge University Press.Google Scholar

Dearden, C. W. 1995. “Pots, Tumblers, and Phylax Vases,” in Griffiths (ed.), pp. 1–86.Google Scholar

Delavaud-Roux, M. H. 1993. Les danses armées en Grèce antique. Aix-en-Provence: Publications de l’Université de Provence.Google Scholar

Delavaud-Roux, M. H. 1994. Les danses pacifiques en Grèce antique. Aix-en-Provence: Publications de l’Université de Provence.Google Scholar

Delavaud-Roux, M. H. 1995. Les danses dionysiaques en Grèce antique. Aix-en-Provence: Publications de l’Université de Provence.Google Scholar

Denniston, John, and Page, Denys. 1957. Aeschylus: Agamemnon. Oxford: Clarendon Press.Google Scholar

Deonna, Waldemar. 1953. Le symbolisme de l’acrobatie antique. Brussels: Latomus.Google Scholar

Derow, Peter, and Parker, Robert (eds.). 2003. Herodotus and His World: Essays from a Conference in Memory of George Forrest. Oxford University Press.Google Scholar

Destrée, Pierre, and Murray, Penelope (eds.). 2015. A Companion to Ancient Aesthetics. Malden, MA: Wiley-Blackwell.Google Scholar

Detienne, Marcel. 1994. The Gardens of Adonis: Spices in Greek Mythology, trans. Janet Lloyd. 2nd ed. Princeton University Press.Google Scholar

Dickason, Kathryn. 2012. “Stepping into a Spiritual Economy: Medieval Choreomania and the Circulation of Urban Sanctity.” Society of Dance History Scholars 2012 Proceedings: 95–108.Google Scholar

Díez-Platas, Fátima. 2013. “The Symposiast Dionysos: A God Like Ourselves,” in Bernabé, Herrero de Jáuregui, Jiménez San Cristóbal, and Martín Hernández (eds.), pp. 504–25.Google Scholar

Dillery, John. 2004. “Xenophon, the Military Review, and Hellenistic Pompai,” in Tuplin (ed.), pp. 259–76.Google Scholar

Dillon, Matthew, and Garland, Lynda. 2000. Ancient Greece: Social and Historical Documents from Archaic Times to the Death of Socrates. 2nd ed. New York: Routledge.Google Scholar

Dils, Ann, and Albright, Ann Cooper (eds.). 2001. Moving History/Dancing Cultures: A Dance History Reader. Middletown, CT: Wesleyan University Press.Google Scholar

Dobrov, Gregory (ed.). 1998. The City as Comedy: Society and Representation in Athenian Drama. Chapel Hill, NC: University of North Carolina Press.Google Scholar

Dougherty, Carol. 2001. The Raft of Odysseus: The Ethnographic Imagination of Homer’s Odyssey. Oxford University Press.Google Scholar

Dougherty, Carol. 2006. Prometheus. New York: Routledge.Google Scholar

Dougherty, Carol. 2015. “Nobody’s Home: Metis, Improvisation, and the Instability of Return in Homer’s Odyssey.” Ramus 44: 115–40.Google Scholar

Dougherty, Carol. 2017. “‘More Like Odysseus:’ Playing House in Michael Ondaatje’s The English Patient,” in Ricci (ed.), pp. 3–18.Google Scholar

Dougherty, Carol, and Kurke, Leslie (eds.). 2003. The Cultures within Ancient Greek Culture: Contact, Conflict, Collaboration. Cambridge University Press.Google Scholar

Dover, K. J. 1974. Greek Popular Morality in the Time of Plato and Aristotle. Berkeley: University of California Press.Google Scholar

Dover, K. J. 1980. Plato’s Symposium. Cambridge University Press.Google Scholar

duBois, Page. 2003. Slaves and Other Objects. University of Chicago Press.Google Scholar

Dué, Casey. 2006. The Captive Woman’s Lament in Greek Tragedy. Austin: University of Texas Press.Google Scholar

Duncan, Isadora. 1928. The Art of the Dance, ed. Cheney, Sheldon. New York: Theatre Arts.Google Scholar

Easterling, Pat. 1990. “Constructing Character in Greek Tragedy,” in Pelling (ed.), pp. 83–99.Google Scholar

Easterling, Pat, and Hall, Edith (eds.). 2002. Greek and Roman Actors: Aspects of an Ancient Profession. Cambridge University Press.Google Scholar

Eckerman, Christopher. 2013. “The Landscape and Heritage of Pindar’s Olympia.” CW 107: 3–33.Google Scholar

Eckerman, Christopher. 2014. “Pindar’s Delphi,” in Gilhuly and Worman (eds.), pp. 21–62.Google Scholar

Ehrhardt, Christopher. 1966. “The Fate of the Treasures at Delphi.” Phoenix 20: 228–30.Google Scholar

Elsner, Jaś (ed.). 1996. Art and Text in Roman Culture. Cambridge University Press.Google Scholar

Estrin, Seth. 2016. “Cold Comfort: Empathy and Memory in an Archaic Funerary Monument from Akraiphaia.” ClAnt 35: 189–214.Google Scholar

Faraone, Christopher. 2012. Vanishing Acts on Ancient Greek Amulets: From Oral Performance to Visual Design. BICS Supplement 115. London: Institute of Classical Studies.Google Scholar

Farmer, Matthew. 2017. Tragedy on the Comic Stage. Oxford University Press.Google Scholar

Faulkner, Andrew (ed.). 2011. The Homeric Hymns: Interpretative Essays. Oxford University Press.Google Scholar

Fearn, David. 2007. Bacchylides. Politics, Performance, Poetic Tradition. Oxford University Press.Google Scholar

Fearn, David. (ed.). 2010. Aegina: Contexts for Choral Lyric Poetry. Myth, History, and Identity in the Fifth Century BC. Oxford University Press.Google Scholar

Feldman, Martha, and Goldman, Bonnie (eds.). 2006. The Courtesan’s Arts: Cross-Cultural Perspective. Oxford University Press.Google Scholar

Ferrari, G. R. F. 1987. Listening to the Cicadas: A Study of Plato’s Phaedrus. Cambridge University Press.Google Scholar

Fitton, J. W. 1963. “Greek Dance.” CQ 23: 254–74.Google Scholar

Flower, Michael. 1994. Theopompus of Chios: History and Rhetoric in the Fourth Century BC. Oxford University Press.Google Scholar

Flower, Michael. 2012. Xenophon’s Anabasis, or the Expedition of Cyrus. Oxford University Press.Google Scholar

Foley, Helene. 1985. Ritual Irony: Poetry and Sacrifice in Euripides. Ithaca: Cornell University Press.Google Scholar

Foley, Helene. 2001. Female Acts in Greek Tragedy. Princeton University Press.Google Scholar

Ford, Andrew. 2003. “From Letters to Literature: Reading the ‘Song Culture’ of Classical Greece,” in Yunis (ed.), pp. 15–37.Google Scholar

Foster, Margaret, Kurke, Leslie, and Weiss, Naomi (eds.). 2019. The Genres of Archaic and Classical Greek Poetry: Theories and Models. Leiden: Brill.Google Scholar

Foster, Susan. 1986. Reading Dancing: Bodies and Subjects in Contemporary American Dance. Berkeley: University of California Press.Google Scholar

Foster, Susan. 1996a. Choreography and Narrative: Ballet’s Staging of Story and Desire. Bloomington: Indiana University Press.Google Scholar

Foster, Susan. (ed.). 1996b. Corporealities: Dancing Knowledge, Culture, and Power. London: Routledge.Google Scholar

Fowler, RobertL. H. 2003. “Herodotus and Athens,” in Derow and Parker (eds.), pp. 305–18.Google Scholar

Franko, Mark. 2001. “Writing Dancing, 1573,” in Dils and Albright (eds.), pp. 191–200.Google Scholar

Franko, Mark, and Richards, Annette (eds.). 2002. Acting on the Past: Historical Performance across the Disciplines. Middletown, CT: Wesleyan University Press.Google Scholar

Frontisi-Ducroux, Françoise. 1986. “Images du ménadisme feminin: les vases des Lénéennes.” In L’Association dionysiaque dans les sociétés anciennes. Actes de la table ronde organisée par l’École française de Rome (24–25 mai 1984). Paris., pp. 165–76.Google Scholar

Frontisi-Ducroux, Françoise. 2002. “‘Avec son diaphragme visionnaire: ἸΔΥΙΗΣΙ ΠΡΑΠΙΔΕΣΣΙ’, Iliade XVII, 481. À propos du bouclier d’Achille.” REG 115: 463–84.Google Scholar

Funkenstein, Susan Laikin. 2007. “Engendering Abstraction: Wassily Kandinsky, Gret Palucca, and ‘Dance Curves’.” Modernism/modernity 14: 389–406.Google Scholar

Furley, William D. 1999–2000. “Hymns in Euripidean Tragedy.” ICS 24–25: 183–97.Google Scholar

Gagarin, Michael. 1976. Aeschylean Drama. Berkeley: University of California Press.Google Scholar

Gagné, Renaud. 2013a. Ancestral Fault in Ancient Greece. Cambridge University Press.Google Scholar

Gagné, Renaud. 2013b. “Dancing Letters: The Alphabetic Tragedy of Kallias,” in Gagné and Hopman (eds.), pp. 282–307.Google Scholar

Gagné, Renaud, and Hopman, Marianne Govers, eds. 2013. Choral Mediations in Greek Tragedy. Cambridge University Press.Google Scholar

Garelli-François, Marie-Hélène. 2002. “Le spectacle final du Banquet de Xénophon: le genre et le sens.” Pallas 59: 177–86.Google Scholar

Garson, Ronald W. 1984. “Recurrent Metaphors in Aeschylus’ Prometheus Bound.” AClass 27: 124–6.Google Scholar

Garvie, Alexander F. 1994. Homer, Odyssey. Books VI–VIII. Cambridge University Press.Google Scholar

Gay, Roxane (ed.). 2018. Unruly Bodies. Medium. http://gay.medium.com/unruly-bodies/.Google Scholar

Geddes, Anne. 2007. “Ion of Chios and Politics,” in Jennings and Katsaros (eds.), pp. 110–38.Google Scholar

Gentili, Bruno. 1988. Poetry and Its Public in Ancient Greece, trans. Thomas Cole. Baltimore: Johns Hopkins University Press.Google Scholar

Gentili, Bruno, and Prato, Carlo. 1988. Poetae elegiaci. Testimonia et fragmenta. Leipzig: Teubner.Google Scholar

Gerolemou, Maria. 2011. Bad Women, Mad Women: Gender und Wahnsinn in der griechischen Tragödie. Tübingen: Narr.Google Scholar

Geuss, Raymond. 2010. Politics and the Imagination. Princeton University Press.Google Scholar

Ghiron-Bistagne, Paulette. 1976. Recherches sur les acteurs dans la Grèce antique. Paris: Les Belles Lettres.Google Scholar

Giambrone, Roberto. 2011. “Il corpo isterico. Follia e disciplina nella danza contemporanea.” Danza e ricerca: Laboratorio di studi, scritture, visioni 1/2: 71–90.Google Scholar

Gianvittorio, Laura (ed.). 2017. Choreutika: Performing and Theorising Dance in Ancient Greece. Pisa: Fabrizio Serra editore.Google Scholar

Gibbs, Laura. 2008. Aesop’s Fables. Oxford University Press.Google Scholar

Gibert, John. 1995. Change of Mind in Greek Tragedy. Göttingen: Vandenhoeck & Ruprecht.Google Scholar

Gilhuly, Kate. 2007. “Bronze for Gold: Subjectivity in Lucian’s Dialogues of the Courtesans.” AJPh 128: 59–94.Google Scholar

Gilhuly, Kate. 2009. The Feminine Matrix of Sex and Gender in Classical Athens. Cambridge University Press.Google Scholar

Gilhuly, Kate, and Worman, Nancy (eds.). 2014. Space, Place, and Landscape in Ancient Greek Literature and Culture. Cambridge University Press.Google Scholar

Gitelman, Claudia. 2012. “Introduction,” in Gitelman and Palfy (eds.), pp. 1–6.Google Scholar

Gitelman, Claudia, and Palfy, Barbara (eds.). 2012. On Stage Alone: Soloists and the Modern Dance Canon. Gainesville, FL: University Press of Florida.Google Scholar

Gladhill, William, 2014. “Mousikē and Sophistry in Plato’s Protagoras.” ICS 39: 17–37.Google Scholar

Glazebrook, Allison. 2011a. “Introduction: Why Prostitutes? Why Greek? Why Now?” in Glazebrook and Henry (eds.), pp. 3–13.Google Scholar

Glazebrook, Allison. 2011b. “Porneion: Prostitution in Athenian Civic Space,” in Glazebrook and Henry (eds.), pp. 34–59.Google Scholar

Glazebrook, Allison. 2015a. “Beyond Courtesans and Whores: Sex and Labor in the Greco-Roman World.” Helios 42: 1–5.Google Scholar

Glazebrook, Allison. 2015b. “A Hierarchy of Violence?: Sex Slaves, Parthenoi, and Rape in Menander’s Epitrepontes.” Helios 42: 81–101.Google Scholar

Glazebrook, Allison, and Henry, Madeleine M. (eds.). 2011. Greek Prostitutes in the Ancient Mediterranean, 800 BCE – 200 CE. Madison, WI: University of Wisconsin Press.Google Scholar

Golab, Hanna. 2017. Postclassical Choral Performances. PhD diss., Princeton University.Google Scholar

Goldhill, Simon. 1988. “Doubling and Recognition in the Bacchae.” Mètis 3: 137–56.Google Scholar

Goldhill, Simon. 2013. “Choreography: The Lyric Voice of Sophoclean Tragedy,” in Gagné and Hopman (eds.), pp. 58–77.Google Scholar

Goldhill, Simon, and Osborne, Robin (eds.). 1994. Art and Text in Ancient Greek Culture. Cambridge University Press.Google Scholar

Goldman, Max. 2015. “Associating the Aulêtris: Flute Girls and Prostitutes in the Classical Greek Symposium.” Helios 42: 29–60.Google Scholar

Goldmark, Daniel, Kramer, Lawrence, and Leppert, Richard. 2007. Beyond the Soundtrack: Representing Music in Cinema. Berkeley: University of California Press.Google Scholar

Gonzalez, José (ed.). 2015. Diachrony: Diachronic Studies of Ancient Greek Literature and Culture. Berlin: De Gruyter.Google Scholar

Gordon, Richard L. (ed.). 1981. Myth, Religion, and Society: Structuralist Essays. Cambridge University Press.Google Scholar

Goulaki-Voutira, Alexandra. 1996. “Pyrrhic Dance and Female Pyrrhic Dancers,” RIdIM/RCMI Newsletter 21: 3–12.Google Scholar

Gray, Vivienne J. (ed.). 2010. Xenophon. Oxford University Press.Google Scholar

Griffith, Mark. 1977. The Authenticity of Prometheus Bound. Cambridge University Press.Google Scholar

Griffith, Mark. 1983. Aeschylus: Prometheus Bound. Cambridge University Press.Google Scholar

Griffith, Mark. 2001. “Antigone and Her Sister(s): Embodying Women in Greek Tragedy,” in Lardinois and McClure (eds.), pp. 117–36.Google Scholar

Griffith, Mark. 2005. “Satyrs, Citizens, and Self-Presentation,” in Harrison (ed.), pp. 161–99.Google Scholar

Griffith, Mark. 2006. “Horsepower and Donkeywork: Equids and the Ancient Greek Imagination. Part Two.” CPh 101: 307–58.Google Scholar

Griffith, Mark. 2012. Aristophanes’ Frogs. Oxford University Press.Google Scholar

Griffith, Mark. 2013. “Satyr-Play, Dithyramb, and the Geopolitics of Dionysian Style in Fifth-Century Athens,” in Kowalzig and Wilson (eds.), pp. 257–81.Google Scholar

Griffith, Mark. 2015. Greek Satyr Play: Five Studies. Berkeley: California Classical Studies.Google Scholar

Griffith, R. D., and Griffith, F. D’A. 1991. “Il Gioco della ‘Chelichelone’.” Maia 1: 83–7.Google Scholar

Griffiths, Alan (ed.). 1995. Stage Directions: Essays in Ancient Drama in Honour of E. W. Handley. BICS Supplement 66. London: Institute of Classical Studies.Google Scholar

Gurd, Sean. 2016. Dissonance: Auditory Aesthetics in Ancient Greece. New York: Fordham University Press.Google Scholar

Hagel, Stefan. 2017. “Language and Dance: A Non-Platonising View,” in Gianvittorio (ed.), pp. 198–214.Google Scholar

Hall, Edith. 1999. “Actors’ Song in Tragedy,” in Goldhill and Osborne (eds.), pp. 96–124.Google Scholar

Hall, Edith. 2002. “The Singing Actors of Antiquity,” in Easterling and Hall (eds.), pp. 3–38.Google Scholar

Hall, Edith. 2010. “‘Heroes of the Dance Floor’: The Missing Exemplary Male Dancer in Ancient Sources,” in Macintosh (ed.), pp. 145–68.Google Scholar

Hall, Edith, and Wyles, Rosie (eds.). 2008. New Directions in Ancient Pantomime. Oxford University Press.Google Scholar

Halleran, Michael. 1985. The Stagecraft in Euripides. London: Croom Helm.Google Scholar

Halperin, David. 1990. One Hundred Years of Homosexuality, and Other Essays on Greek Love. New York: Routledge.Google Scholar

Halperin, David. 1990. “Why Is Diotima a Woman?” in Halperin, Winkler, and Zeitlin (eds.), pp. 257–308.Google Scholar

Halperin, David, Winkler, John, and Zeitlin, Froma (eds.). 1990. Before Sexuality: The Construction of Erotic Experience in the Ancient World. Princeton University Press.Google Scholar

Hardin, Tayana. 2015. “Josephine Baker and the Shadow of Spectacle.” Dance Research Journal 38: 179–203.Google Scholar

Harman, Rosie. 2012. “A Spectacle of Greekness: Panhellenism and the Visual in Xenophon’s Agesilaus,” in Hobden and Tuplin (eds.), pp. 427–54.Google Scholar

Harmon, Austin M. 1936. Lucian, vol. V. Cambridge, MA: Harvard University Press.Google Scholar

Harris, William V. 1989. Ancient Literacy. Cambridge, MA: Harvard University Press.Google Scholar

Harris, William V. (ed.). 2013. Mental Disorders in the Classical World. Leiden: Brill.Google Scholar

Harrison, George W. M. (ed.). 2005. Satyr Drama: Tragedy at Play. Swansea: Classical Press of Wales.Google Scholar

Harrison, Thomas. 2002. Divinity and History: The Religion of Herodotus. Oxford University Press.Google Scholar

Harvey, David. 2000. “Phrynichos and His Muses,” in Harvey and Wilkins (eds.), pp. 91–134.Google Scholar

Harvey, David, and Wilkins, John (eds.). 2000. The Rivals of Aristophanes: Studies in Athenian Old Comedy. Swansea: Classical Press of Wales.Google Scholar

Hausrath, Augustus. 1940. Corpus Fabularum Aesopicarum, vol. I. Leipzig: Teubner.Google Scholar

Hedreen, Guy. 1994. “Silens, Nymphs, and Maenads.” JHS 114: 47–69.Google Scholar

Hedreen, Guy. 2011. “Bild, Mythos and Ritual: Choral Dance in Theseus’s Cretan Adventure on the François Vase.” Hesperia 80: 491–510.Google Scholar

Henderson, Jeffrey. 1998. Aristophanes: Clouds, Wasps, Peace. Cambridge, MA: Harvard University Press.Google Scholar

Henderson, Jeffrey. 2002. Aristophanes’ Lysistrata. Oxford University Press.Google Scholar

Henderson, Jeffrey. 2010. Three Plays by Aristophanes: Staging Women. 2nd ed. London: Routledge.Google Scholar

Henderson, Jeffrey. 2013. “The Comic Chorus and the Demagogue,” in Gagné and Hopman (eds.), pp. 278–96.Google Scholar

Henrichs, Albert. 1978. “Greek Maenadism from Olympias to Messalina.” HSPh 82: 121–60.Google Scholar

Henrichs, Albert. 2000. “Drama and Dromena: Bloodshed, Violence, and Sacrificial Metaphor in Euripides.” HSPh 100: 173–88.Google Scholar

Henry, Madeleine. 1995. Prisoner of History: Aspasia of Miletus and Her Biographical Tradition. Oxford University Press.Google Scholar

Herington, John. 1985. Poetry into Drama: Early Tragedy and the Greek Poetic Tradition. Berkeley: University of California Press.Google Scholar

Herrero de Jáuregui, Miguel. 2013. “Dionysos in the Homeric Hymns: The Olympian Portrait of the God,” in Bernabé, Herrero de Jáuregui, San Cristóbal, Jiménez, and Hernández, Martín (eds.), pp. 235–49.Google Scholar

Heubeck, Alfred, West, Stephanie, and Hainsworth, J. B.. 1988. A Commentary on Homer’s Odyssey. Vol. I. Oxford University Press.Google Scholar

Hobden, Fiona. 2013. The Symposion in Ancient Greek Society and Thought. Cambridge University Press.Google Scholar

Hobden, Fiona, and Tuplin, Christopher (eds.). 2012. Xenophon: Ethical Principles and Historical Enquiry. Leiden: Brill.Google Scholar

Hoffer, Stanley. 1996. “Violence, Culture, and the Workings of Ideology in Euripides’ Ion.” ClAnt 15: 289–31.Google Scholar

Holst-Warhaft, Gail. 1992. Dangerous Voices: Women’s Laments and Greek Literature. London: Routledge.Google Scholar

Hornblower, Simon. 2013. Herodotus: Histories Book V. Cambridge University Press.Google Scholar

Hornblower, Simon, and Pelling, Christopher. 2017. Herodotus: Histories Book VI. Cambridge University Press.Google Scholar

Howard, Theresa Ruth. 2018. “Dada Masilo’s Alternative Giselle Joins the #TimesUp Movement.” Dance Magazine, April 9, 2018.Google Scholar

Hughes, Alan. 2012. Performing Greek Comedy. Cambridge University Press.Google Scholar

Hunter, Richard. 2011. “Apollo and the Ion of Euripides: Nothing to Do with Nietzsche?” Trends in Classics 3: 1–37.Google Scholar

Hunter, Richard. (ed.). 2005. The Hesiodic Catalogue of Women: Constructions and Reconstructions. Cambridge University Press.Google Scholar

Hunter, Richard, and Uhlig, Anna (eds.). 2017. Imagining Reperformance in Ancient Culture: Studies in the Traditions of Drama and Lyric. Cambridge University Press.Google Scholar

Hunzinger, Christine. 1994. “Le plaisir esthétique dans l’épopée archaïque: les mots de la famille de thauma.” BAGB (March 1994): 4–30.Google Scholar

Huss, Bernhard. 1999a. “The Dancing Sokrates and the Laughing Xenophon, or the Other Symposium.” AJPh 120: 381–409.Google Scholar

Huss, Bernhard. 1999b. Xenophons Symposion: Ein Kommentar. Stuttgart: Teubner.Google Scholar

Huxley, George. 1965. “Ion of Chios.” GRBS 6: 29–46.Google Scholar

Ihde, Don. 2003. “Auditory Imagination,” in Bull and Back (eds.), pp. 61–6.Google Scholar

Jacoby, Grant. 2017. “Wyoming.” Program notes. http://grantjacobyanddancers.com/Wyoming.html.Google Scholar

Jebb, Richard C. 1905. Bacchylides: The Poems and Fragments. Cambridge University Press.Google Scholar

Jennings, Victoria, and Katsaros, Andrea (eds.). 2007. The World of Ion of Chios. Leiden: Brill.Google Scholar

Jones, Susan. 2013. Literature, Modernism, and Dance. Oxford University Press.Google Scholar

de Jong, Irene. 2014. Narratology and Classics: A Practical Guide. Oxford University Press.Google Scholar

Jory, E. John. 2004. “Pylades, Pantomime, and the Preservation of Tragedy.” MedArch 17: 147–56.Google Scholar

Jules-Rosette, Bennetta. 2007. Josephine Baker in Art and Life: The Icon and the Image. Urbana, IL: University of Illinois Press.Google Scholar

Kachler, K. G. “Der Tanz im antiken Griechenland.” Antike Welt 5: 2–14.Google Scholar

Kahn, Charles. 2003. “Writing Philosophy: Prose and Poetry from Thales to Plato,” in Yunis (ed.), pp. 139–61.Google Scholar

Käppel, Lutz, and Pothou, Vassiliki (eds.). 2015. Human Development in Sacred Landscapes: Between Ritual Tradition, Creativity, and Emotionality. Göttingen: V&R Unipress.Google Scholar

Karanika, Andromache. 2012. “Playing the Tortoise: Reading Symbols of an Ancient Folk Game.” Helios 39: 101–20.Google Scholar

Karanika, Andromache. 2014. Voices at Work: Women, Performance, and Labor in Ancient Greece. Baltimore: Johns Hopkins University Press.Google Scholar

Kasimis, Demetra. 2018. The Perpetual Immigrant and the Limits of Athenian Democracy. Cambridge University Press.Google Scholar

Katsaros, Victoria. 2007. “Staging Empire and Other in Ion’s Sympotica,” in Jennings and Katsaros (eds.), pp. 217–40.Google Scholar

Katz, Phyllis. 1999. “Io in the Prometheus Bound: A Coming of Age Paradigm for the Athenian Community.” Bucknell Review 43: 129–47.Google Scholar

Kennedy, Rebecca Futo. 2015. “Elite Citizen Women and the Origins of the Hetaira in Classical Athens.” Helios 42: 61–79.Google Scholar

Kinzl, Konrad H. 1980. “Zur Vor- und Frühgeschichte der Attischen Tragödie: einige historische Überlegungen.” Klio 62: 177–90.Google Scholar

Kirk, Athena. 2014. “The Semantics of Showcase in Herodotus’ Histories.” TAPhA 144: 19–40.Google Scholar

Kitto, H. D. F. 1955. “The Dance in Greek Tragedy.” JHS 75: 36–41.Google Scholar

Knox, Bernard M. W. 1979. Word and Action: Essays on the Ancient Theater. Baltimore: Johns Hopkins University Press.Google Scholar

Kokkiou, Chara. 2014. “Choral Self-Referentiality in the Prometheus Bound: Song, Dance, and the Emotions.” Logeion: A Journal of Ancient Theatre 4: 127–43.Google Scholar

Konstan, David. 1985. “The Politics of Aristophanes’ Wasps.” TAPhA 115: 27–46.Google Scholar

Koopman, Niels. 2018. Ancient Greek Ekphrasis: Between Description and Narration. Leiden: Brill.Google Scholar

Kostas, Valakas. 2002. “The Use of the Body by Actors in Tragedy and Satyr Play,” in Easterling and Hall (eds.), pp. 71–94.Google Scholar

Kowalzig, Barbara. 2004. “Changing Choral Worlds: Song-Dance and Society in Athens and Beyond,” in Murray and Wilson (eds.), pp. 39–65.Google Scholar

Kowalzig, Barbara. 2007a. “‘And Now All the World Shall Dance!’ (Eur. Bacch. 114): Dionysus’ Choroi between Drama and Ritual,” in Csapo and Miller (eds.), pp. 221–53.Google Scholar

Kowalzig, Barbara. 2007b. Singing for the Gods: Performance of Myth and Ritual in Archaic and Classical Greece. Oxford University Press.Google Scholar

Kowalzig, Barbara. 2013a. “Broken Rhythms in Plato’s Laws: Materialising Social Time in the Khoros,” in Peponi (ed.), pp. 171–211.Google Scholar

Kowalzig, Barbara. 2013b. “Dancing Dolphins on the Wine-Dark Sea: Dithyramb and Social Change in the Archaic Mediterranean,” in Kowalzig and Wilson (eds.), pp. 31–58.Google Scholar

Kowalzig, Barbara. 2013c. “Transcultural Chorality: Iphigenia in Tauris and Athenian Imperial Economics in a Polytheistic World,” in Gagné and Hopman (eds.), pp. 178–210.Google Scholar

Kowalzig, Barbara, and Wilson, Peter (eds.). 2013a. Dithyramb in Context. Oxford University Press.Google Scholar

Kowalzig, Barbara, and Wilson, Peter 2013b. “Introduction: The World of Dithyramb,” in Kowalzig and Wilson (eds.), pp. 1–28.Google Scholar

Kozak, Lynn, and Rich, John (eds.). 2006. Playing Around Aristophanes: Essays in Celebration of the Completion of the Edition of the Commentaries of Aristophanes by Alan Sommerstein. Oxford: Aris & Phillips.Google Scholar

Kraus, Christina, Goldhill, Simon, Foley, Helene P., and Elsner, Jás (eds.). 2007. Visualizing the Tragic: Drama, Myth, and Ritual in Greek Art and Literature. Oxford University Press.Google Scholar

Krueger, Anton. 2018. “Revolutionary Trends at the National Arts Festival, 2017 (an Overview).” South African Theatre Journal 31: 202–10.Google Scholar

Kurke, Leslie. 1997. “Inventing the Hetaira: Sex, Politics, and Discursive Conflict in Archaic Greece.” ClAnt 16: 106–50.Google Scholar

Kurke, Leslie. 1999. Coins, Bodies, Games, and Gold: The Politics of Meaning in Archaic Greece. Princeton University Press.Google Scholar

Kurke, Leslie. 2005. “Choral Lyric as ‘Ritualization’: Poetic Sacrifice and Poetic Ego in Pindar’s Sixth Paian.” ClAnt 24: 81–130.Google Scholar

Kurke, Leslie. 2007. “Visualizing the Choral: Epichoric Poetry, Ritual, and Elite Negotiation in Fifth Century Thebes,” in Kraus, Goldhill, Foley, and Elsner (eds.), pp. 63–101.Google Scholar

Kurke, Leslie. 2011. Aesopic Conversations: Popular Tradition, Cultural Dialogue, and the Invention of Greek Prose. Princeton University Press.Google Scholar

Kurke, Leslie. 2012. “The Value of Chorality in Ancient Greece,” in Papadopoulos and Urton (eds.) pp. 218–35.Google Scholar

Kurke, Leslie. 2013a. “Imagining Chorality: Wonder, Plato’s Puppets, and Moving Statues,” in Peponi (ed.), pp. 121–70.Google Scholar

Kurke, Leslie. 2013b. “Greek Ways of Speaking (Aggressively): The Case of ὑπολαβὼν ἔφη.” Classics@ 11 (ed. Håkan Tell). https://chs.harvard.edu/CHS/article/display/5138.Google Scholar

Lada-Richards, Ismene. 2007. Silent Eloquence: Lucian and Pantomime Dancing. London: Duckworth.Google Scholar

Lada-Richards, Ismene. 2008. “Was Pantomime ‘Good to Think with’ in the Ancient World?” in Hall and Wyles (eds.), pp. 285–313.Google Scholar

Lada-Richards, Ismene. 2013. “Mutata Corpora: Ovid’s Changing Forms and the Metamorphic Bodies of Pantomime Dancing.” TAPhA 143: 105–52.Google Scholar

Lada-Richards, Ismene. 2016. “Dancing Trees: Ovid’s Metamorphoses and the Imprint of Pantomime Dancing.” AJPh 137: 131–69.Google Scholar

Ladianou, Katerina. 2005. “The Poetics of Choreia: Imitation and Dance in the Anacreontea.” QUCC 80: 47–60.Google Scholar

Lambert, S. 1993. The Phratries of Attica. Ann Arbor: University of Michigan Press.Google Scholar

Lämmle, Rebecca. 2013. Poetik des Satyrspiels. Heidelberg: Winter.Google Scholar

Lardinois, André. 2011. “The Parrhesia of Young Female Choruses in Ancient Greece,” in Athanassaki and Bowie (eds.), pp. 161–72.Google Scholar

Lardinois, André, and McClure, Laura (eds.). 2001. Making Silence Speak: Women’s Voices in Greek Literature and Society. Princeton University Press.Google Scholar

LaRue, Jene. 1963. “Creusa’s Monody: Ion 859–922.” TAPhA 94: 123–36.Google Scholar

Lateiner, Donald. 1989. The Historical Method of Herodotus. University of Toronto Press.Google Scholar

Latte, Kurt. 1957. “Askoliasmos.” Hermes 85: 385–91.Google Scholar

Lavelle, Brian. 2014. “Hippokleides, the ‘Dance,’ and the Panathenaia.” GRBS 54: 313–41.Google Scholar

Lawler, Lillian. 1927. “The Maenads: A Contribution to the Study of the Dance in Ancient Greece.” MAAR 6: 69–112.Google Scholar

Lawler, Lillian. 1943. “Proteus is a Dancer.” CW 36: 116–17.Google Scholar

Lawler, Lillian. 1964a. The Dance in Ancient Greece. Middletown, CT: Wesleyan University Press.Google Scholar

Lawler, Lillian. 1964b. The Dance of the Ancient Greek Theatre. Iowa City: University of Iowa Press.Google Scholar

Lee, K. H. 1996. “Shifts of Mood and Concepts of Time in Euripides’ Ion,” in Silk (ed.), pp. 85–109.Google Scholar

Lee, K. H. 1997. Euripides’ Ion. Warminster: Aris & Phillips.Google Scholar

Lenz, Friedrich Walter. 1945. “The Monkeys of Archilochus.” AJPh. 66: 34–49.Google Scholar

LeVen, Pauline. 2010. “New Music and its Myths.” JHS 130: 35–48.Google Scholar

LeVen, Pauline. 2014. The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge University Press.Google Scholar

Levine, Caroline. 2015. Forms: Whole, Rhythm, Hierarchy, Network. Princeton University Press.Google Scholar

Ley, Graham. 1997. The Theatricality of Greek Tragedy: Playing-Space and Chorus. University of Chicago Press.Google Scholar

Ley, Graham. 2003. “Modern Visions of Greek Tragic Dancing.” Theatre Journal 55: 467–80.Google Scholar

Lissarrague, François. 1990. “Around the Krater: An Aspect of Banquet Imagery,” in Murray (ed.), pp. 196–209.Google Scholar

Liventhal, Viveca. 1985. “What Goes on among the Women? The Setting of Some Attic Vase Paintings of the Fifth Century BC.” ARID 14: 37–52.Google Scholar

Lonsdale, Steven. 1993. Dance and Ritual Play in Greek Religion. Baltimore: Johns Hopkins University Press.Google Scholar

Lonsdale, Steven. 1995. “Homeric Hymn to Apollo: Prototype and Paradigm of Choral Performance.” Arion 3: 25–40.Google Scholar

Loraux, Nicole. 1990. “Kreousa the Autochthon: A Study of Euripides’ Ion,” in Winkler and Zeitlin (eds.), pp. 168–206.Google Scholar

Ma, John. 2010. “You Can’t Go Home Again: Displacement and Identity in Xenophon’s Anabasis,” in Gray (ed.), pp. 502–19.Google Scholar

Macaulay, Alastair. 2014. “Dazzling a Prince, Slowly, Gently, on Point.” New York Times, June 8, 2014, p. AR13.Google Scholar

Macaulay, Alastair. 2015. “Merce Cunningham, the Dramatist, Returned to the Stage.” New York Times, March 12, 2015, p. C6.Google Scholar

MacCary, W. Thomas. 1979. “Philokleon Ithyphallos: Dance, Costume and Character in the Wasps.” TAPhA 109: 137–147.Google Scholar

MacDowell, Douglas. 1971. Aristophanes’ Wasps. Oxford University Press.Google Scholar

Macintosh, Fiona, ed. 2010. The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance. Oxford University Press.Google Scholar

Maehler, Herwig. 1997. Die Lieder des Bakchylides, II: Die Dithyramben und Fragmente. Mnemosyne supplement 167. Leiden: Brill.Google Scholar

Manning, Susan. 2006. Ecstasy and the Demon: The Dances of Mary Wigman. 2nd ed. Minneapolis, MN: University of Minnesota Press.Google Scholar

Marazov, Ivan. 2011. “Philomele’s Tongue: Reading the Pictorial Text of Thracian Mythology,” in Bonfante (ed.), pp. 132–89.Google Scholar

Martin, Richard. 1984. “Hesiod, Odysseus, and the Instruction of Princes.” TAPhA 114: 29–48.Google Scholar

Martin, Richard. 2003. “The Pipes Are Brawling: Conceptualizing Musical Performance in Athens,” in Dougherty and Kurke (eds.), pp. 153–80.Google Scholar

Martin, Richard. 2005. “Pulp Epic: The Catalogue and the Shield,” in Hunter (ed.), pp. 153–75.Google Scholar

Donald, Mastronarde. 1979. Contact and Discontinuity: Some Conventions of Speech and Action on the Greek Tragic Stage. Berkeley: University of California Press.Google Scholar

Donald, Mastronarde 2010. The Art of Euripides: Dramatic Technique and Social Context. Cambridge University Press.Google Scholar

McCarren, Felicia. 1998. Dance Pathologies: Performance, Poetics, Medicine. Stanford University Press.Google Scholar

McClure, Laura. 2003. Courtesans at Table: Gender and Greek Literary Culture in Athenaeus. New York: Routledge.Google Scholar

McClure, Laura, and Faraone, Christopher (eds.). 2006. Prostitutes and Courtesans in the Ancient World. Madison, WI: University of Wisconsin Press.Google Scholar

McDonald, Marianne, and Michael Walton, J (eds.). 2007. The Cambridge Companion to Greek and Roman Theatre. Cambridge University Press.Google Scholar

McInerney, Jeremy. 2015. “From Delos to Delphi: How Apollo Comes Home,” in Käppel and Pothou (eds.), pp. 103–20.Google Scholar

Meglin, Joellen, and Brooks, Lynn Matluck. 2016. “Embodied Texts, Textual Choreographies.” Dance Research Journal 39: 1–10.Google Scholar

Miller, James. 1986. Measures of Wisdom: The Cosmic Dance in Classical and Christian Antiquity. University of Toronto Press.Google Scholar

Mills, Sophie. 1997. Theseus, Tragedy and the Athenian Empire. Oxford University Press.Google Scholar

Mintz, Susannah (ed.). 2009. Unruly Bodies: Life Writing by Women with Disabilities. Chapel Hill, NC: University of North Carolina Press.Google Scholar

Minyard, Georgia. 1976. An Inquiry into the Lexical Meaning and Cultural Significance of the Word Komos, Komazein in Greece during the Classical Period. PhD diss., University of Pennsylvania.Google Scholar

Monro, David B. 1891. A Grammar of the Homeric Dialect. 2nd ed. Oxford University Press.Google Scholar

Montiglio, Silvia. 1999. “Paroles dansées en silence: L’action signifiante de la pantomime et le moi du danseur.” Phoenix 53: 263–80.Google Scholar

Montiglio, Silvia. 2005. Wandering in Ancient Greek Culture. University of Chicago Press.Google Scholar

Moore, Timothy. 2012. Music in Roman Comedy. Cambridge University Press.Google Scholar

Morgan, Kathryn. 1993. “Pindar the Professional and the Rhetoric of the KΩMOΣ.” CPh 88: 1–15.Google Scholar

Morgan, Kathryn. 2000. Myth and Philosophy from the Presocratics to Plato. Cambridge University Press.Google Scholar

Morris, Gay (ed.). 1996. Moving Words: Re-Writing Dance. London: Routledge.Google Scholar

Morris, Geraldine. 2012. Frederick Ashton’s Ballets: Style, Performance, Choreography. Hampshire: Dance Books.Google Scholar

Morrison, Donald (ed.). 2011. The Cambridge Companion to Socrates. Cambridge University Press.Google Scholar

Mossman, Judith. 1996. “Chains of Imagery in Prometheus Bound.” CQ 46.1: 58–67.Google Scholar

Most, Glenn. 2013. “The Madness of Tragedy,” in Harris (ed.), pp. 395–412.Google Scholar

Most, Glenn. 2014. “Τὸν Ἀνακρέοντα μιμοῦ: Imitation and Enactment in the Anacreontics,” in Baumbach and Dümmler (eds.), pp. 145–62.Google Scholar

Mueller, Melissa. 2016. Objects as Actors: Props and the Poetics of Performance in Greek Tragedy. University of Chicago Press.Google Scholar

Muellner, Leonard. 1990. “The Similes of the Cranes and Pygmies: A Study of Homeric Metaphor.” HSPh 93: 59–101.Google Scholar

Mullen, William. 1982. Choreia: Pindar and Dance. Princeton University Press.Google Scholar

Murnaghan, Sheila. 2006. “The Daughters of Cadmus: Chorus and Characters in Euripides’ Bacchae and Ion.” BICS 87: 99–112.Google Scholar

Murnaghan, Sheila. 2013. “The Choral Plot of Euripides’ Helen,” in Gagné and Hopman (eds.), pp. 155–77.Google Scholar

Murray, Oswyn (ed.). 1990a. Sympotica: A Symposium on the Symposion. Oxford University Press.Google Scholar

Murray, Oswyn 1990b. “Sympotic History,” in Murray (ed.), pp. 3–13.Google Scholar

Murray, Penelope. 1981. “Poetic Inspiration in Early Greece.” JHS 101: 87–100.Google Scholar

Murray, Penelope, and Wilson, Peter (eds.). 2004. Music and the Muses: The Culture of ‘Mousikē’ in the Classical Athenian City. Oxford University Press.Google Scholar

Murray, Penelope, and Wilson, Peter 2004b. “Introduction,” in Murray and Wilson (eds.), pp. 1–8.Google Scholar

Naerebout, F. G. 1997. Attractive Performances: Ancient Greek Dance: Three Preliminary Studies. Amsterdam: J. C. Gieben.Google Scholar

Naerebout, F. G. 2017. “Moving in Unison: The Greek Chorus in Performance,” in Gianvittorio (ed.), pp. 39–66.Google Scholar

Nagy, Gregory. 1990. Pindar’s Homer: The Lyric Possession of an Epic Past. Baltimore: Johns Hopkins University Press.Google Scholar

Nagy, Gregory. 2007. “Did Sappho and Alcaeus Ever Meet? Symmetries of Myth and Ritual in Performing the Songs of Ancient Lesbos,” in Bierl, Lämmle, and Wesselmann (eds.), pp. 211–69.Google Scholar

Nagy, Gregory. 2009. “Perfecting the Hymn in the Homeric Hymn to Apollo,” in Athanassaki, Martin, and Miller (eds.), pp. 17–44.Google Scholar

Nagy, Gregory. 2010. Homer the Preclassic. Berkeley: University of California Press.Google Scholar

Nagy, Gregory. 2013. “The Delian Maidens and Their Relevance to Choral Mimesis in Classical Drama,” in Gagné and Hopman (eds.), pp. 227–56.Google Scholar

Neer, Richard. 2002. Style and Politics in Athenian Vase-Painting: The Craft of Democracy, ca. 530–460 BCE. Cambridge University Press.Google Scholar

Neer, Richard. 2010. The Emergence of the Classical Style in Greek Sculpture. University of Chicago Press.Google Scholar

Neils, Jenifer. 2007. “Looking for the Images: Representations of Girls’ Rituals in Ancient Athens,” in Parca and Tzanetou (eds.), pp. 55–78.Google Scholar

Neiterman, Elena, and Fox, Bonnie. 2017. “Controlling the Unruly Maternal Body: Losing and Gaining Control over the Body during Pregnancy and the Postpartum Period.” Social Science and Medicine 174: 142–8.Google Scholar

Newman, Laine. 2015. “Staging the Queer Woman’s Body: Doubling in Dirty Plötz.” SQS: Journal of Queer Studies in Finland 1–2.Google Scholar

Noel, Anne-Sophie. 2014. “L’arc, la lyre et le laurier d’Apollon: de l’attribut emblématique à l’objet théâtral.” Gaia 17: 105–28.Google Scholar

Noland, Carrie. 2013. “Inheriting the Avant-Garde: Merce Cunningham, Marcel Duchamp, and the ‘Legacy Plan’.” Dance Research Journal 45: 85–122.Google Scholar

Nooter, Sarah. 2012. When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy. Cambridge University Press.Google Scholar

Nooter, Sarah. 2017. The Mortal Voice in the Tragedies of Aeschylus. Cambridge University Press.Google Scholar

Oakley, John H. 1990. The Phiale Painter. Mainz: P. von Zabern.Google Scholar

Oakley, John H., and Sinos, Rebecca H.. 1993. The Wedding in Ancient Athens. Madison, WI: University of Wisconsin Press.Google Scholar

Ober, Josiah. 2011. “Socrates and Democratic Athens,” in Morrison (ed.), pp. 138–78.Google Scholar

Ogden, Daniel. 1997. The Crooked Kings of Ancient Greece. London: Duckworth.Google Scholar

Olsen, Sarah. 2015. “Conceptualizing Choreia on the François Vase: Theseus and the Athenian Youths.” Mètis N. S. 13: 107–21.Google Scholar

Olsen, Sarah. 2017. “Les danseuses en Grèce antique. Performance, capacité d’agir, et divertissement.” Clio: Femmes, Genre, et Histoire 46: 19–43.Google Scholar

Olsen, Sarah. 2019. “Pindar, Paean 6: Genre as Embodied Cultural Knowledge.” Genre in Archaic and Classical Greek Poetry: Theories and Models. Kurke, Leslie, Foster, Margaret, and Weiss, Naomi (eds). Leiden: Brill, 325–46.Google Scholar

Osborne, Robin. 2007. “Sex, Agency, and History: The Case of Athenian Painted Pottery,” in Osborne and Tanner (eds.), pp. 178–98.Google Scholar

Osborne, Robin. 2010. Athens and Athenian Democracy. Cambridge University Press.Google Scholar

Osborne, Robin, and Tanner, Jeremy (eds.). 2007. Art’s Agency and Art History. Malden, MA: Blackwell.Google Scholar

O’Sullivan, Patrick, and Collard, Christopher. 2013. Euripides: Cyclops and Major Fragments of Greek Satyric Drama. Oxford University Press.Google Scholar

Owen, A. S. 1939. Euripides, Ion. Oxford University Press.Google Scholar

Padel, Ruth. 1995. Whom Gods Destroy: Elements of Greek and Tragic Madness. Princeton University Press.Google Scholar

Padilla, Mark (ed.). 1999. Rites of Passage in Ancient Greece: Literature, Religion, Society. Lewisberg, PA: Bucknell University Press.Google Scholar

Papadopoulos, John, and Urton, Gary (eds.). 2012. The Construction of Value in the Ancient World. Los Angeles: Cotsen Institute of Archaeology Press.Google Scholar

Papadapoulou, Thalia. 2000. “Cassandra’s Radiant Vigour and the Ironic Optimism of Euripides’ Troades.” Mnemosyne 53: 513–27.Google Scholar

Parca, Maryline, and Tzanetou, Angeliki (eds.). 2007. Finding Persephone: Women’s Rituals in the Ancient Mediterranean. Bloomington: Indiana University Press.Google Scholar

Parker, Robert. 1996. Athenian Religion: A History. Oxford University Press.Google Scholar

Parker, Robert. 2005. Polytheism and Society at Athens. Oxford University Press.Google Scholar

Pavlou, Maria. 2012. “Bacchylides 17: Singing and Usurping the Paean.” GRBS 52: 510–39.Google Scholar

Paxton, Steve. 2001. “Improvisation Is a Word for Something That Can’t Keep a Name,” in Dils and Albright (eds.), pp. 421–6.Google Scholar

Pedrick, Victoria. 2007. Euripides, Freud, and the Romance of Belonging. Baltimore: Johns Hopkins University Press.Google Scholar

Pelling, Christopher (ed.). 1990. Characterization and Individuality in Greek Literature. Oxford University Press.Google Scholar

Pellizer, Ezio. 1990. “Outlines of a Morphology of Sympotic Entertainment,” in Murray (ed.), pp. 177–84.Google Scholar

Peponi, Anastasia-Erasmia. 2004. “Initiating the Viewer: Deixis and Visual Perception in Alcman’s Lyric Drama.” Arethusa 37: 295–316.Google Scholar

Peponi, Anastasia-Erasmia. 2007. “Sparta’s Prima Ballerina: Choreia in Alcman’s Second Partheneion (3 PMGF).” CQ 57: 351–62.Google Scholar

Peponi, Anastasia-Erasmia. 2009. “Choreia and Aesthetics in the Homeric Hymn to Apollo: The Performance of the Delian Maidens (lines 156–64).” ClAnt 28: 39–70.Google Scholar

Peponi, Anastasia-Erasmia. 2012. Frontiers of Pleasure: Models of Aesthetic Response in Archaic and Classical Greek Thought. Oxford University Press.Google Scholar

Peponi, Anastasia-Erasmia.ed. 2013a. Performance and Culture in Plato’s Laws. Cambridge University Press.Google Scholar

Peponi, Anastasia-Erasmia. 2013b. “Choral Anti-Aesthetics,” in Peponi (ed.), pp. 212–29.Google Scholar

Peponi, Anastasia-Erasmia. 2013c. “Theorizing the Chorus in Greece,” in Billings, Budelmann, and Macintosh (eds.), pp. 15–34.Google Scholar

Peponi, Anastasia-Erasmia. 2015. “Dance and Aesthetic Perception,” in Destrée and Murray (eds.), pp. 204–17.Google Scholar

Perry, Ben Edwin. 1952. Aesopica. Urbana, IL: University of Illinois Press.Google Scholar

Phelan, Peggy. 1996. “Dance and the History of Hysteria,” in Foster (ed.), pp. 90–105.Google Scholar

Pickard-Cambridge, Arthur. 1956. The Theatre of Dionysus at Athens. Oxford University Press.Google Scholar

Pickard-Cambridge, Arthur. 1988. The Dramatic Festivals of Athens. 2nd ed., rev. by Gould, John and Lewis, David M.. Oxford University Press.Google Scholar

Pieper, Christoph, and Ker, James (eds.). 2014. Valuing the Past in the Greco-Roman World. Leiden: Brill.Google Scholar

Platter, Charles. 2007. Aristophanes and the Carnival of Genres. Baltimore: Johns Hopkins University Press.Google Scholar

Podlecki, A. J. 2005. Aeschylus, Prometheus Bound. Oxford University Press.Google Scholar

Porres Caballero, Silvia. 2013. “Maenadic Ecstasy in Greece: Fact or Fiction?” in Bernabé, Herrero de Jáuregui, Jiménez San Cristóbal, and Martín Hernández (eds.), pp. 159–84.Google Scholar

Powell, Amy Knight. 2012. Depositions: Scenes from the Late Medieval Church and the Modern Museum. Cambridge, MA: Massachusetts Institute of Technology Press.Google Scholar

Power, Timothy. 2007. “Ion of Chios and the Politics of Polychordia,” in Jennings and Katsaros (eds.), pp. 179–205.Google Scholar

Power, Timothy. 2010. The Culture of Kitharôidia. Washington, DC and Cambridge, MA: Center for Hellenic Studies and Harvard University Press.Google Scholar

Power, Timothy. 2011. “Cyberchorus: Pindar’s Κηληδόνες and the Aura of the Artificial,” in Athanassaki and Bowie (eds.), pp. 53–99.Google Scholar

Powers, Melinda. 2014. Athenian Tragedy in Performance: A Guide to Contemporary Studies and Historical Debates. Iowa City: University of Iowa Press.Google Scholar

Preston, Carrie J. 2011. Modernism’s Mythic Pose: Gender, Genre, and Solo Performance. Oxford University Press.Google Scholar

Prudhommeau, Germaine. 1965. La danse grecque antique. Paris: Centre national de la recherche scientifique.Google Scholar

Purves, Alex. 2006. “Falling into Time in Homer’s Iliad.” ClAnt 25: 179–209.Google Scholar

Purves, Alex. 2010a. Space and Time in Ancient Greek Narrative. Cambridge University Press.Google Scholar

Purves, Alex. 2010b. “Wind and Time in Homeric Epic.” TAPhA 140: 323–50.Google Scholar

Purves, Alex. 2011. “Homer and the Art of Overtaking.” AJPh 132: 523–51.Google Scholar

Purves, Alex. 2013. “Haptic Herodotus,” Purves and Butler (eds.), pp. 27–41.Google Scholar

Purves, Alex, and Butler, Shane (eds.). 2014. Synaesthesia and the Ancient Senses. Durham: Acumen.Google Scholar

Pütz, Babette. 2003. The Symposium and Komos in Aristophanes. Stuttgart: J. B. Metzler.Google Scholar

Rabel, Robert J. 2002. “Interruption in the Odyssey.” Colby Quarterly 38: 77–93.Google Scholar

Rabinowitz, Nancy S. 1993. Anxiety Veiled: Euripides and the Traffic in Women. Ithaca: Cornell University Press.Google Scholar

Radding, Jonah. 2017. “Paeanic Crises: Euripides’ Ion and the Failure to Perform Identity.” AJPh 138: 393–434.Google Scholar

Rader, Richard. 2013. “The Radical Theology of Prometheus Bound; or, on Prometheus’ God Problem.” Ramus 42: 162–82.Google Scholar

Ready, Jonathan. 2013. Character, Narrator, and Simile in the Iliad. Cambridge University Press.Google Scholar

Redfield, James. 1985. “Herodotus the Tourist.” CPh 80: 97–118.Google Scholar

Reed, Joseph. 1995. “The Sexuality of Adonis,” ClAnt 14: 317–47.Google Scholar

Rehm, Rush. 1994. Marriage to Death: The Conflation of Wedding and Funeral Rituals in Greek Tragedy. Princeton University Press.Google Scholar

Reitzammer, Laurialan. 2008. “Aristophanes’ Adôniazousai.” ClAnt 27: 282–333.Google Scholar

Reitzammer, Laurialan. 2016. The Athenian Adonia in Context: The Adonis Festival as Cultural Practice. Madison, WI: University of Wisconsin Press.Google Scholar

Revermann, Martin. 2006. Comic Business: Theatricality, Dramatic Technique, and Performance Contexts of Aristophanic Comedy. Oxford University Press.Google Scholar

Revermann, Martin, and Wilson, Peter (eds.). 2008. Performance, Iconography, Reception: Studies in Honour of Oliver Taplin. Oxford University Press.Google Scholar

Ricci, Gabrielle (ed.). 2017. Travel, Discovery, Transformation. New Brunswick, NJ: Transaction Publishers.Google Scholar

Richardson, Nicholas. 2010. Three Homeric Hymns: To Apollo, Hermes, and Aphrodite. Cambridge University Press.Google Scholar

Richardson, Nicholas. 2011. “Reflections of Choral Song in Early Hexameter Poetry,” in Athanassaki and Bowie (eds.), pp. 15–31.Google Scholar

Robb, Kevin. 1994. Literacy and Paideia in Ancient Greece. Oxford University Press.Google Scholar

Rocconi, Eleonora, and Lynch, Tosca (eds.). 2020. A Companion to Ancient Greek and Roman Music. Malden, MA: Wiley-Blackwell.Google Scholar

Rohmann, Gregory. 2009. “The Invention of Dancing Mania: Frankish Christianity, Platonic Cosmology, and Bodily Expressions in Sacred Space.” Medieval History Journal 12: 13–45.Google Scholar

Roos, Ervin. 1951. Die tragische Orchestik im Zerrbild der altattischen Komödie. Lund: Gleerup.Google Scholar

Rosen, Ralph. 1990. “Hipponax and the Homeric Odysseus.” Eikasmos 1: 11–25.Google Scholar

Rosen, Ralph. 2006. “Aristophanes, Fandom, and the Classicizing of Greek Tragedy,” in Kozak and Rich (eds.), pp. 27–47.Google Scholar

Rosenmeyer, Patricia. 1992. The Poetics of Imitation: Anacreon and the Anacreontic Tradition. Cambridge University Press.Google Scholar

Rosenmeyer, Patricia. 2001. Ancient Epistolary Fictions: The Letter in Greek Literature. Cambridge University Press.Google Scholar

Rosenmeyer, Patricia. 2004. “Girls at Play in Early Greek Poetry.” AJPh 125: 163–78.Google Scholar

Rossi, Luigi E. 1971. “Il Ciclope di Euripide come κῶμος ‘mancato’.” Maia 23: 10–38.Google Scholar

Rossi, Luigi E. 1978. “Mimica e danza sulla scena comica greca (A proposito del finale delle Vespe e di altri passi aristofanei).” Rivista di Cultura Classica e Medioevale 20: 1149–70.Google Scholar

Rouget, Gilbert. 1985. Music and Trance: A Theory of the Relationships between Music and Possession. University of Chicago Press.Google Scholar

Rudhardt, Jean. 2000. “Considérations sur la notion de sebas” in Homère chez Calvin: Figures de l’hellénisme à Genève. Mélanges Olivier Reverdin. Geneva: Librairie Droz, pp. 421–34.Google Scholar

Rutherford, Ian. 2001. Pindar’s Paeans: A Reading of the Fragments with a Survey of the Genre. Oxford University Press.Google Scholar

Rynearson, Nicholas. 2014. “Creusa’s Palinode: Gender, Genealogy, and Intertextuality in the Ion.” Arethusa 47: 39–69.Google Scholar

Sabnis, Sonia. 2012. “Invisible Slaves, Visible Lamps: A Metaphor in Apuleius.” Arethusa 45: 79–108.Google Scholar

Saddik, Annette. 2003. “Rap’s Unruly Body: The Postmodern Performance of Black Male Identity on the American Stage.” The Drama Review 47: 110–27.Google Scholar

Saïd, Suzanne. 2013. “From Homeric Ate to Tragic Madness,” in Harris (ed.), pp. 363–94.Google Scholar

Sapsford, Thomas. 2015. “The Wages of Effeminacy? Kinaidoi in Greek Documentary Sources from Egypt.” EuGeStA 5: 103–23.Google Scholar

Scafuro, Adele. 1990. “Discourses of Sexual Violation in Mythic Accounts and Dramatic Versions of the Girl’s Tragedy.” Differences 2: 126–59.Google Scholar

Schäfer, Albert. 1997. Unterhaltung beim griechischen Symposion. Mainz: P. von Zabern.Google Scholar

Scheffer, Charlotte. 1996. “Return or No Return: The So-called ephedrismos Group and the Hephaisteion.” OAth 21: 169–88.Google Scholar

Schlapbach, Karin. 2008. “Lucian’s On Dancing and the Models for a Discourse on Pantomime,” in Hall and Wyles (eds.), pp. 313–37.Google Scholar

Schlapbach, Karin. 2018. The Anatomy of Dance Discourse: Literary and Philosophical Approaches to Dance in the Later Graeco-Roman World. Oxford University Press.Google Scholar

Schmitt, Cannon. 2009. “Interpret or Describe?” Representations 135: 101–18.Google Scholar

Scodel, Ruth. 1998. “The Captive’s Dilemma: Sexual Acquiescence in Euripides’ Hecuba and Troades.” HSPh 98: 137–54.Google Scholar

Scott, Lionel. 2005. Historical Commentary on Herodotus Book 6. Mnemosyne supp. 268. Leiden: Brill.Google Scholar

Scott, William. 1987. “The Development of the Chorus in Prometheus Bound.” TAPhA 117: 85–96.Google Scholar

Scullion, Scott. 2002. “‘Nothing to Do with Dionysus’: Tragedy Misconceived as Ritual.” CQ 52: 102–37.Google Scholar

Seaford, Richard. 1994. Reciprocity and Ritual: Homer and Tragedy in the Developing City-State. Oxford University Press.Google Scholar

Séchan, Louis. 1930. La danse grecque antique. Paris: E. de Boccard.Google Scholar

Segal, Charles. 1962. “The Phaeacians and the Symbolism of Odysseus’ Return.” Arion 1: 17–64.Google Scholar

Segal, Charles. 1971. “Andromache’s Anagnorisis: Formulaic Artistry in Iliad 22.437–476.” HSPh 75: 33–57.Google Scholar

Segal, Charles. 1994. Singers, Heroes, and Gods in the Odyssey. Ithaca: Cornell University Press.Google Scholar

Segal, Charles. 1997. Dionysiac Poetics and Euripides’ Bacchae. 2nd ed. Princeton University Press.Google Scholar

Segal, Charles. 1999. “Euripides’ Ion: Generational Passage and Civic Myth,” in Padilla (ed.), pp. 67–108.Google Scholar

Sevieri, Roberta. 2004. “The Imperfect Hero: Xenophon’s Hiero as the (Self-)Taming of the Tyrant,” in Tuplin (ed.), pp. 277–88.Google Scholar

Shapiro, Alan. 1991. “Theseus: Aspects of the Hero in Archaic Greece,” in Buitron-Oliver (ed.), pp. 123–39.Google Scholar

Siegel, Marcia B. 1988. “The Truth about Apples and Oranges.” The Drama Review 32: 23–31.Google Scholar

Sienkewicz, Thomas. 1984. “The Chorus of Prometheus Bound: Harmony of Suffering.” Ramus 13: 60–73.Google Scholar

Signore, Sean. 2010. “Andromache as Maenadic Warrior.” First Drafts@Classics@. https://chs.harvard.edu/CHS/article/displayPdf/1303Google Scholar

Silk, Michael S. (ed.). 1996. Tragedy and the Tragic: Greek Theatre and Beyond. Oxford University Press.Google Scholar

Slater, Niall W. 2002. Spectator Politics: Metatheatre and Performance in Aristophanes. Philadelphia: University of Pennsylvania Press.Google Scholar

Slatkin, Laura M. 2011. The Power of Thetis and Selected Essays. Washington, DC and Cambridge, MA: Center for Hellenic Studies and Harvard University Press.Google Scholar

Smith, Bruce R. 1999. The Acoustic World of Early Modern England: Attending to the O-Factor. University of Chicago Press.Google Scholar

Smith, Tyler Jo. 2007. “The Corpus of Komast Vases: From Identity to Exegesis,” in Csapo and Miller (eds.), pp. 48–76.Google Scholar

Smith, Tyler Jo. 2010. Komast Dancers in Archaic Greek Art. Oxford University Press.Google Scholar

Smith, Tyler Jo. 2014. “Revel without a Cause? Dance, Performance, and Greek Vase Painting,” in Soar and Aamodt (eds.), pp. 85–94.Google Scholar

Soar, Kathryn, and Aamodt, Christina (eds.). 2014. Archaeological Approaches to Dance Performance. Oxford: Archaeopress.Google Scholar

Solomon, Alisa. 2013. Wonder of Wonders: A Cultural History of Fiddler on the Roof. New York: Metropolitan Books.Google Scholar

Sommerstein, Alan. 1983. Aristophanes: Wasps. Warminster: Aris & Phillips.Google Scholar

Sommerstein, Alan. 1987. “Phrynichos the Dancer.” Phoenix 41: 189–90.Google Scholar

Sommerstein, Alan. 2001. Aristophanes: Wealth. Warminster: Aris & Phillips.Google Scholar

Sommerstein, Alan. 2009. Talking about Laughter and Other Studies in Greek Comedy. Oxford University Press.Google Scholar

Sommerstein, Alan. 2010. Aeschylean Tragedy. 2nd ed. London: Duckworth.Google Scholar

Squire, Michael. 2015. “Ecphrasis: Visual and Verbal Interactions in Ancient Greek and Latin Literature,” in Ancient Rhetoric and Educational Culture, Oxford Handbooks Online. DOI:10.1093/oxfordhb/9780199935390.013.58.Google Scholar

Srinivasan, Priya. 2011. Sweating Saris: Indian Dance as Transnational Labor. Philadelphia: Temple University Press.Google Scholar

Stahl, Michael. 1987. Aristokraten und Tyrannen im archaischen Athen: Untersuchungen zur Überlieferung, zur Sozialstruktur und zur Entstehung des Staates. Stuttgart: F. Steiner.Google Scholar

Stamatopoulou, Zoe. 2017. Hesiod and Classical Greek Poetry: Reception and Transformation in the Fifth Century BCE. Cambridge University Press.Google Scholar

Stanford, W. B. 2003/1947. Homer: Odyssey I–XII. London: Bristol Classical Press.Google Scholar

Starr, Chester G. 1978. “An Evening with the Flute-Girls.” PP 183: 401–10.Google Scholar

Stehle, Eva. 1997. Performance and Gender in Ancient Greece. Princeton University Press.Google Scholar

Steiner, Deborah. 1994. The Tyrant’s Writ: Myths and Images of Writing in Ancient Greece. Cambridge University Press.Google Scholar

Steiner, Deborah. 2001. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton University Press.Google Scholar

Steiner, Deborah. 2011. “Dancing with the Stars: Choreia in the Third Stasimon of Euripides’ Helen.” CPh 106: 299–323.Google Scholar

Steiner, Deborah. 2016. “Making Monkeys: Archilochus frr. 185–187 W. in Performance,” in Cazzato and Lardinois (eds.), pp. 108–45.Google Scholar

Steiner, Deborah. Forthcoming. 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 University Press.Google Scholar

Suter, Ann. 2008a. “Male Lament in Greek Tragedy,” in Suter (ed.), pp. 156–80.Google Scholar

Suter, Ann. (ed.). 2008b. Lament: Studies in the Ancient Mediterranean and Beyond. Oxford University Press.Google Scholar

Svenbro, Jesper. 1993. Phrasikleia: An Anthropology of Reading in Ancient Greece, trans. Janet Lloyd. Ithaca: Cornell University Press.Google Scholar

Swed, Mark. 2009. “Merce Cunningham Memorial ‘Events’ in New York.” Los Angeles Times, Oct. 29, 2009. https://latimesblogs.latimes.com/culturemonster/2009/10/merce-cunningham-memorial-event-new-york.htmlGoogle Scholar

Swift, Laura. 2010. The Hidden Chorus: Echoes of Genre in Tragic Lyric. Oxford University Press.Google Scholar

Swift, Laura. 2016. “Visual Imagery in Parthenaic Song,” in Cazzato and Lardinois (eds.), pp. 255–87.Google Scholar

Taplin, Oliver. 1977. The Stagecraft of Aeschylus. Oxford University Press.Google Scholar

Tarkow, Theodore. 1986. “Sight and Seeing in Prometheus Bound.” Eranos 84: 87–99.Google Scholar

Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.Google Scholar

Telò, Mario. 2016. Aristophanes and the Cloak of Comedy: Affect, Aesthetics, and the Canon. University of Chicago Press.Google Scholar

Telò, Mario, and Mueller, Melissa (eds.). 2018. The Materialities of Greek Tragedy: Objects and Affect in Aeschylus, Sophocles, and Euripides. London: Bloomsbury.Google Scholar