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: The Newest Sappho: P. Sapph. Obbink and P. GC inv. 105, frs 1–4 . Leiden–Boston Bowie , E. 2016 : How Did Sappho’s Songs Get into the Male Sympotic Repertoire? In Bierl , A. – Lardinois , A. (eds): The Newest Sappho: P. Sapph. Obbink and

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Nossis’ auto-epitaph is one of the most important texts in Nossis’ corpus, and yet one of the most controversial. This paper offers a careful analysis of the text and focuses on the programmatic reuse of epigraphic models and structures, which leads here to a complete subversion of the epitymbion schema. In addition, a thorough analysis is offered for the corrupted passages in the last couplet.

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Hoffner , H. A. 1998 : Hittite Myths . 2nd ed. Atlanta Jouanna , J. 1999 : Le trône, les fleurs, le char et la puissance d’Aphrodite. ( Sappho Ι, ν. 1, 11, 19 et 22). Remarques sur le texte, sur les composés en -θρονος et sur les homérismes de

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facsimiles were included in the special issue: Bartók’s score was followed by Kodály’s setting of Endre Ady’s poem, Sappho’s Love Song. The two compositions are in sharp contrast. Kodály’s piece is set to an Ady poem, the leading poet of the early period of

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