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First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

The book is an analysis of Greek Hellenistic literature with the help of conceptual tools of cultural studies and media theory. Its main aim is to describe the cultural process during which Greek authors in the 4th and 3rd centuries B.C. made the "textualization of experience", that is, transferred phenomenalistically understood qualities of human sensory experience to the categories characteristic for textual description – as far as possible for them. This process is shown by examples from the works of Xenophon, Aristotle, Theophrastus, Philitas of Kos and Archimedes. The author also tries to show some of the consequences that the phenomenon of the Hellenistic textualization of experience had for the later epochs of European culture.

The chorus of Euripides' Bacchae heralds the arrival of the god Dionysus by promising that "right away, the whole world will dance in a chorus" (αὐτίκα γᾶ πᾶσα χορεύσει, 114). Their exuberant claim reflects the enthusiasm for dance generally expressed in early Greek sources. Indeed, it has been well established that dance – specifically choreia (communal song-dance) – played a significant role in archaic and classical Greek social life and was thus accorded a high level of value and esteem in art and literature. My dissertation argues that this esteemed status does not extend to the performance of solo and individualized dance, and demonstrates that Greek literary discourse betrays a deep ambivalence towards dance (orchēsis) when isolated from the multimedia art of choreia.This project thus approaches Greek dance, which has hitherto been studied almost exclusively in the context of the chorus, from a fresh angle. I establish that singular dancing often signifies disruption, violation, and vulnerability within the social and political order. At the same time, I show that the representation of individualized dance constitutes a distinctive mechanism adopted by poets, playwrights, historians and philosophers to foreground and explore the complex relationship between verbal and somatic expression. As a result, the representation of individualized dance in Greek literature offers insight into the place of dance in Greek thought, while also enabling us to identify the particular biases and agendas at work in the literary description of dance performance.My dissertation develops a distinctive methodology for analyzing the relationship between dance and literature. I begin from a basic conviction, grounded in the scholarship of dance studies, that verbal descriptions and literary representations of dance are not neutral reflections of embodied practices, but rather ideological and interpretive forms that work to frame and define our perception of dance. I argue that choreia, as a synthesis of vocal, instrumental, and kinetic expression, becomes an efficient image for poets, philosophers, and historians seeking to harness dance to the power of language. My work thus demonstrates that orchēsis, as individual kinetic expression and kinesthetic experience, not only signifies social and political disruption, but is also imagined as an expressive mode that may resist or re-figure the forces of language and verbal description.My first chapter argues that individual dancers provide a critically engaged alternative to the prevailing model of communal, choral performance, which tends to be logocentric. This chapter lays out a dominant paradigm of choral dance as constructed in early Greek literature, offers a typology of solo and individualized dance forms, and previews the insights to be gained through the consideration of dance "beyond choreia." Chapter Two addresses the descriptions of both choral and individualized dance in Odyssey 8, demonstrating that singular and virtuosic dance is particularly emblematic of Phaeacian culture and that its description operates as a means by which Odysseus and Alcinous competitively negotiate their relative positions of status and authority within the poem. Chapters Three and Four examine individual male and female dancers respectively in epic, lyric, and drama, identifying a complex network of political and artistic concerns that coalesce around literary representations of each type of performer. I argue that solo male dancers tend to be depicted as disruptive and anti-social political actors (e.g., Pericles in Ion of Chios fr. 109 Leurini, Philocleon in Arist. Wasps 1474ff), while individual and outstanding female dancers are marked by their sexual appeal and consequent vulnerability (e.g., the maiden chorēgoi of Alcman 1 PMG, Cassandra in Eur. Troades 308ff). These chapters also focus on the performance contexts of specific songs and their ability to frame and define closely related instances of dance. My fifth and final chapter explores how Herodotus, Plato, and Xenophon deploy the various models of individual dance discussed in the preceding chapters in the service of their own historical and philosophical projects. While my primary focus throughout is on literary description, I also discuss the visual and material evidence for solo dance, particularly in cases where it contrasts with the textual tradition.The project as a whole makes two major contributions to the study of Greek literature, culture, and performance. First, it brings together the surviving representations of solo and individualized dance and considers them as evidence for the cultural discourse surrounding both orchēsis and choreia. Second, it develops a theoretical framework for articulating the complex relationship between literary descriptions and historical performance, bringing the scholarly insights of dance studies to bear upon the ancient world.

In studies of ancient Greek divination, oracles are often claimed to pronounce ambiguous but true statements within an intricately ordered cosmos. There exist, however, several problematic exceptions. In Book 2 of theIliad, Zeus deliberately deceives Agamemnon through a prophetic dream; Hesiod's Muses speak truths or lies depending on their mood; and Apollo's utterances can harm as easily as help. The possibility of divine deceit forces us to reconsider the ontological assumptions within which early Greek divination was understood to operate. Adopting Philippe Descola's concept of 'analogism', I argue that rather than a means of reading the cosmos, early Greek divination resembles more an act of diplomacy, an attempt to establish successful communication with supernatural beings within an always potentially fragmented world.

This paper traces the complex relationship between classical literature and Christian doctrine in the first four centuries. In the earliest period of Christianity, we can identify two attitudes of Christians towards Greek literature: the hostile attitude shown by Tatian, Theophilus, and Tertullian, and the openness to Greek culture and philosophy demonstrated by Justin the Martyr, Athenagoras of Athens, and Minucius Felix. A notable change happened in the Alexandrian milieu when Clement of Alexandria and Origen started considering Greek classics the embodiment of an authentic Christian spirit. In keeping with Origen, Basil of Caesarea realized a good synthesis between Greek thought and Christian faith. Noting germs of divine revelation in ancient Greek thought, Christian authors took the tools of Greco-Roman criticism and ancient philosophy to develop their doctrine.

International audience ; The paper examines the preserved literary versions of the speeches delivered by Theban ambassadors between 404 and 362 B.C. The introduction, after providing a list of these speeches, focuses mainly on methodological problems; then an analysis of different kind of arguments and strategies used by Theban ambassadors follows; afterwards the paper provides a survey of the evidence about the oratory of the only two Theban ambassadors whose name is known (Pelopidas and Epaminondas); the last paragraph offers concluding remarks. The analysis of persuasion techniques adopted by Theban envoys suggests that a valid Theban ambassador had to be not only an eloquent speaker, but also a skilled historian and a clever politician. ; Cet article analyse les versions littéraires des discours prononcés par les ambassadeurs de Thèbes entre 404 et 362 av. J.-C. L'introduction, qui vise à fournir une liste de ces discours, porte sur les principaux problèmes de méthode. Puis, on propose une analyse des différents sujets et des stratégies employées par les ambassadeurs de Thèbes ; on présente ensuite les données concernant la rhétorique des seuls ambassadeursde Thèbes dont le nom est connu (Pélopidas et Épaminondas). Le dernier paragraphe propose les remarques finales. L'analyse des techniques de persuasion adoptées par les émissaires thébains explique que l'ambassadeur de Thèbes n'était pas seulement un grand orateur mais aussi un historien qualifié et un homme politique très habile.

Her zaman insanın ve hayatın bir parçası olarak
kabul edilen şiddet; doğal olarak söylemin ve dolayısıyla da yazının bir
parçası olarak insanlık tarihinin ana temalarından birisini oluşturmuştur. Güç
ve baskı uygulanarak insanlara bedensel veya ruhsal zararlar veren, bireysel
veya toplu hareketlerin tümü olarak adlandırılan şiddet; özel veya kolektif,
dolaylı veya doğrudan, cürümsel veya kamusal açılardan incelenebilir. Hepsinin
ortak noktası ise bir tarafın diğer tarafı veya doğrudan bireyi şiddet yoluyla baskı
altına alması ve ötekileştirmesidir. Klasik Yunan'dan itibaren yazının ana
temalarından biri olan ve özellikle Homeros, Aiskhülos, Sofokles ve Euripides
gibi ozan ve yazarların tüm eserlerinde sergilenen şiddet, insan ve iktidarın
özüne de bir ayna tutma görevi üstlenmiştir. Bu çalışmada Batı edebiyatının temel taşları olarak konumlandırılan
Homeros'un İlyada ve Odysseia isimli eserleri ile antik dönemin üç büyük
tragedya yazarı Aiskhülos, Sofokles ve Euripides'in oyunlarında şiddetin
izdüşümleri tartışılarak Batı edebiyatına yön veren baskın temalardan birisinin
şiddet olduğu ortaya çıkarılacaktır