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This quantity brings jointly archeologists, paintings historians, philologists, literary students, political scientists and historians to articulate the ways that western Greek theater was once certain from that of the Greek mainland and, while, to enquire how the 2 traditions interacted. The papers intersect and construct on one another of their pursuit of a couple of shared questions and subject matters: where of theater within the cultural lifetime of Sicilian and South Italian 'colonial cities;' theater as a mode of cultural self-identification; shared mythological issues in functionality texts and theatrical vase-painting; and the mirrored image and research of Sicilian and South Italian theater within the paintings of Athenian philosophers and playwrights. jointly, the essays discover important difficulties within the learn of western Greek theater. through amassing various views and strategies, this quantity bargains the 1st wide-ranging exam of this hitherto missed background.

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3876), together with this one (fr. 62):27 ] –st»lisen m. ”[g]a. j rov ˆneyi¼. v. ] A«»lou ëIp[p]o. t†da á kaq[”s]ai. v. dì –t†. ]nuss –pì ˆi. [»n]es]si, pur‡n dì  [g]a m”mble[t]o. nekìräi c. 9–10 ] p. e. rim†keav Àz. ouv The cousin of Aeolus son of Hippotes prepared an excellent cloak. Having set [the physique? ] down, he stretched [the cloak? ] out at the seashore, and used to be conscious [to make] a pyre for the corpse [out of? ] very lengthy branches. right here we might appear to have Stesichorus, born in Mataurus in southern Italy, residing in Himera at the north coast of Sicily (a sea trip from one to the opposite takes one correct prior the Aeolian Islands), writing of the dying and burial of somebody through an unnamed anepsios (meaning “cousin” or “nephew”) of Aeolus the son of Hippotes. 28 there was hypothesis at the attainable identities either one of the cousin or nephew of Aeolus who builds this pyre and of the individual being buried. 29 even though, it can be that the identity of those figures is intended to endure a undeniable ambiguity in an area context. Aeolus is considerably known as the following the descendant of Hippotes, which almost certainly localizes him within the Aeolian Islands. If we would now characteristic this not just to the far away weight of the Homeric culture but in addition to the hot, or perhaps modern, activities of Hippotes’ different ‘descendant’ Pentathlus in those self same Aeolian Islands, it sort of feels no longer too not going to take a position that, whether a mythological personage was once meant explicitly within the poem, an indirect connection with Pentathlus himself – technically additionally an anepsios of Aeolus – is way from governed out. in reality, there are extra purposes to suspect we might be heading in the right direction in connecting this Stesichorean fragment to the activities of Pentathlus 26 28 29 27 For textual content and observation, see now Schade (2003) ninety three, 106–11. Cf. web page (1973) 138–53. On Stesichorus’ vita, see West (1971). See the controversy among Lloyd-Jones (1991a, 1991b) and Haslam (1991). a few now learn this fragment as a part of a poem on funeral video games, both for Achilles (Garner 1993) or Pelias (Gangutia 2004). Downloaded from Cambridge Books on-line by way of IP 128. 122. 149. 154 on Fri Nov 15 19:12:14 rainy 2013. http://dx. doi. org/10. 1017/CBO9781139032377. 008 Cambridge Books on-line © Cambridge college Press, 2013 Sicily and the identities of Xuthus and his fans within the years instantly following 580. The stark intrusion of Pentathlus’ ancient colonization the place it doesn’t belong in Diodorus’ total constitution, mentioned above, may perhaps sign that the collocation of Pentathlus’ family tree and Aeolus’ family tree isn't unintended. moreover, the passage of Diodorus at the early myth-history of the Aeolian Islands (5. 7–8), onto which the ktisis tale of Pentathlus (5. nine) artificially attaches itself, is worried accurately with the succession of dynasties in Lipari, as obvious the following (Diod. five. 7): fasª d• t‡v A«»lou nžsouv t¼ m•n palai¼n –ržmouv gegon”nai, met‡ d• taÓta t¼n ½nomaz»menon L©paron, AÎsonov Ànta toÓ basil”wv u¬»n, Ëp¼ tän ˆdelfän katastasiasq nai, kurieÅsanta d• neän makrän kaª stratiwtän –k t v Iì tal©av fuge±n e«v tŸn ˆp¼ toÅtou Lip†ran ½nomasqe±san· –n taÅt d• tŸn –pÛnumon aËtoÓ p»lin kt©sai, kaª t‡v Šllav nžsouv t‡v proeirhm”nav gewrg sai.

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