By Douglas E. Gerber
Olympian 9 celebrates the wrestling victory in 468 of Epharmostus of Opous. even though one in every of PindarAes longer odes, it has got much less scholarly consciousness than others of similar dimension. the current remark fills this hole. a good portion of the ode is dedicated to EpharmostusAe prior victories and an appendix analyses how victory catalogues are handled somewhere else by means of Pindar in addition to via Bacchylides and agonistic epigrams. "There are one thousand issues to treasure right here; info are a steep direction and require an excessive amount of dialogue to provide a feeling of the total. IAell placed it easily: Gerber makes difficult scholarship glance effortless. The clever will shop up opposed to destiny need." Classical international
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Additional resources for Commentary on Pindar: Olympian 9 (Hermes - Einzelschriften)
Green. Photo: Courtesy Dallas Museum of Art. 286. Photo: Museum of Fine Arts, Boston. 3 Portrait of woman with hairstyle similar to Matidia. Madrid, Museo del Prado inv. 356-E. Photo: DAI Madrid, neg. no. D-DAI-MAD-WIT-R-081-87-06, P. Witte. 4 Idealized portrait of Matidia. Luni marble. Rome, Palazzo dei Conservatori, Musei Capitolini. Photo: Vanni/Art Resource, NY. 1 Tombstone of Regina from South Shields (RIB 1065). Photo: courtesy CIAS, Newcastle University. 1). Photo: courtesy CIAS, Newcastle University.
Salowey is an Associate Professor of Classics at Hollins University in Roanoke, Virginia. She has served twice as the Gertrude Smith Professor at the American School of Classical Studies at Athens. Her interests are burial monuments of the Archaic, Classical, and Hellenistic periods and the cults of Herakles. She has published on Herakles as a cult figure, Archaic funerary korai, and the use of math and science in the teaching of ancient art. Gillian Shepherd is Lecturer in Classical Archaeology at the Institute of Archaeology and Antiquity (IAA), University of Birmingham.
Crete, Herakleion Archaeological Museum. Photo: Nimatallah/Art Resource, NY. 2 ”Lady of Phylakopi,” terracotta figurine from Melos. Mycenean, fourteenth century BCE. Melos, Archaeological Museum of Plaka. Photo: Erich Lessing/Art Resource, NY. 3 Anthropomorphic terracotta vase (“Goddess rhyton”) from Mochlos. Early Minoan III, late third millennium BCE. Crete, Herakleion Archaeological Museum. Photo: Nimatallah/Art Resource, NY. 4 Ivory female triad from Mycenae. Minoan craftsmanship; Late Minoan I, sixteenth century BCE.
Commentary on Pindar: Olympian 9 (Hermes - Einzelschriften) by Douglas E. Gerber