Anastasia-Erasmia Peponi

This article focuses on a set of problems involving a controversial portion of the HHA that describes the performance of the Delian chorus in a rare instance of early performance criticism. First, the two variants for a key noun in line 162, bambaliastus and krembaliastus, are discussed. Skepticism is expressed about the applicability to this scene of the first variant. On the contrary, krembaliastus——the suitability of which has not been discussed in detail, even by scholars who seem to have favored it——can make good sense. Literary and iconographic evidence makes it plausible that krembaliastus denotes the act of generating through percussion devices called krembala rhythmic patterns meant to govern stylized movement, what the Greeks called schêêmata. The marked term krembaliastus was probably employed to evoke a characteristic trait of the highly skilled Deliades. Furthermore, as vocal and kinetic activities were inextricably linked in choral practices, they are ultimately conceptualized as part of the same unified expressive mechanism. The author also questions the conventional interpretation of mimeisthai as ““mimicking,”” instead reading it as ““representation,”” involving the evocation of the essence of an entity but not necessarily exact reproduction of its formal details. Finally the essay argues that the Delian chorus' art of ““knowing how to represent the voices and the rhythmic patterns of all people”” designates the perfection of choral performance, as an all-inclusive enactment that forms a powerful trans-local bond.

In Plato's Philebus the last section of the discussion on the falseness of pleasure is dedicated to those pleasures intrinsically mixed with pain. This paper focuses specifically on bodily mixed pleasures, an analysis that extends from 44d to 47c, while its focal point is 46-47c. By adopting the anti-hedonists' methodology, Socrates cunningly transforms his entire analysis of bodily mixed pleasures into a discourse on human disease, in which medical terminology prevails. Two major points are made in the reading suggested here. Despite Socrates' quasi-medical language, a substratum of poetic discourse is underlying his analysis. Thus, a network of poetic associations—probably promptly recalled by Plato's audience—not only reveals the intertextual encounter between medical, philosophic and poetic discourses but also contributes to the interpretation of Socrates' analysis. Hence, the pathology of love as expressed through poetry illuminates the meaning, questionable in straightforward medical terms, of passage 46c6-d2, while it also reveals the unfolding unity underlying Socrates' analysis, otherwise thought to comprise three distinct medical cases. Ancient medical lore is important for the understanding of passage 46d7-47a1 on the affliction of knêsis and psôra, not only because it confirms the analogy between the physiology of knêsis and that of sexual arousal and climax, but also because it illuminates the specific medical treatment Socrates is describing. Thus, in the crucial debate about whether Plato uses the term aporiais or pyriais in 46e2, medical evidence seems to support the latter. The reading pyriais makes this complicated paragraph more comprehensible in terms of meaning and syntax, while stressing the importance of heat in the processes of both the curing of knêsis and of human orgasm. Besides, it further confirms the intertextual encounter between the Phaedrus and the Philebus

This article focuses on a set of problems involving a controversial portion of the HHA that describes the performance of the Delian chorus in a rare instance of early performance criticism. First, the two variants for a key noun in line 162, bambaliastus and krembaliastus, are discussed. Skepticism is expressed about the applicability to this scene of the first variant . On the contrary, krembaliastus—the suitability of which has not been discussed in detail, even by scholars who seem to have favored it—can make good sense. Literary and iconographic evidence makes it plausible that krembaliastus denotes the act of generating through percussion devices called krembala rhythmic patterns meant to govern stylized movement, what the Greeks called schêmata. The marked term krembaliastus was probably employed to evoke a characteristic trait of the highly skilled Deliades. Furthermore, as vocal and kinetic activities were inextricably linked in choral practices, they are ultimately conceptualized as part of the same unified expressive mechanism . The author also questions the conventional interpretation of mimeisthai as “mimicking,” instead reading it as “representation,” involving the evocation of the essence of an entity but not necessarily exact reproduction of its formal details. Finally the essay argues that the Delian chorus' art of “knowing how to represent the voices and the rhythmic patterns of all people” designates the perfection of choral performance, as an all-inclusive enactment that forms a powerful trans-local bond

This volume is dedicated to an intriguing Platonic work, the Laws. Probably the last dialogue Plato wrote, the Laws represents the philosopher's most fully developed views on many crucial questions that he had raised in earlier works. Yet it remains a largely unread and underexplored dialogue. Abounding in unique and valuable references to dance and music, customs and norms, the Laws seems to suggest a comprehensive model of culture for the entire polis - something unparalleled in Plato. This exceptionally rich discussion of cultural matters in the Laws requires the scrutiny of scholars whose expertise resides beyond the boundaries of pure philosophical inquiry. The volume offers contributions by fourteen scholars who work in the broader areas of literary, cultural and performance studies.

Frontiers of Pleasure calls into question a number of influential modern notions regarding aesthetics by going back to the very beginnings of aesthetic thought in Greece and raising critical issues regarding conceptions of how one responds to the beautiful. Despite a recent rebirth of interest in aesthetics, extensive discussion of this key cluster of topics has been absent. Anastasia-Erasmia Peponi argues that although the Greek language had no formal term equivalent to the "aesthetic," the notion was deeply rooted in Greek thought. Her analysis centers on a dominant aspect of beauty--the aural--associated with a highly influential sector of culture that comprised both poetry and instrumental music, the "activity of the Muses," or mousikê. The main argument relies on a series of close readings of literary and philosophical texts, from Homer and Plato through Kant, Joyce, and Proust. Through detailed attention to such scenes as Odysseus' encounter with the Sirens and Hermes' playing of his lyre for his brother Apollo, she demonstrates that the most telling moments in the conceptualization of the aesthetic come in the Greeks' debates and struggles over intense models of auditory pleasure. Unlike current tendencies to treat poetry as an early, imperfect mode of meditating upon such issues, Peponi claims that Greek poetry and philosophy employed equally complex, albeit different, ways of articulating notions of aesthetic response. Her approach often leads her to partial or total disagreement with earlier interpretations of some of the most well-known Greek texts of the archaic and classical periods. Frontiers of Pleasure thus suggests an alternative mode of understanding aesthetics in its entirety, freed from some modern preconceptions that have become a hindrance within the field.