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Doctoral Thesis
DOI
10.11606/T.8.2014.tde-13052014-110834
Document
Author
Full name
Robert Brose Pires
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2014
Supervisor
Committee
Werner, Christian (President)
Assunção, Teodoro Rennó
Campos, André Malta
Correa, Paula da Cunha
Sano, Lucia
Title in Portuguese
Epikomios Hymnos: investigações sobre a performance dos epinícios pindáricos
Keywords in Portuguese
Epinícios
Performance
Píndaro
Teoria coral
Teoria solo
Abstract in Portuguese
Nesta tese, irei investigar as implicações que o uso consistente que Píndaro e Baquílides fazem do termo têm para a ocasião de performance dos epinícios. Irei argumentar, do ponto de vista da Linguística e da Poética Cognitivas, que, através de uma análise das passagens relevantes da literatura grega, de Homero ao drama do século V, o termo sempre implica algum tipo de celebração, seja móvel ou não, e que ele nunca é usado para denotar canção ou coro. Também irei argumentar que implica um frame dentro de um Modelo Cognitivo Idealizado para CELEBRAÇÃO DE VITÓRIA, dentro do qual referências às odes devem ser entendidas. Baseando-me nesta análise irei discutir as implicações dos resultados e reexaminar a pressuposição, atualmente tida como não problemática, segundo a qual as odes eram sempre executadas por um coro em sua première. Além disso, irei discutir também o problema da identificação da persona loquens nos poemas e irei propor que, na maioria dos casos, ela nunca parece se referir a um coro. Finalmente, discutirei alguns cenários de transmissão das odes, propondo que a escrita não precisa ser proposta para a transmissão do texto até uma data bem tardia e que uma tradição de reperformances orais dos poemas deve ter tido um papel essencial na preservação do texto.
Title in English
Epikomios Hymnos: investigations on the performance of Pindaric epinikia
Keywords in English
Choral theory
Epinikia
Performance
Pindar
Poetic praxis
Solo theory
Abstract in English
In this thesis I shall investigate the implications of the consistent use Pindar and Bacchylides make of the term to the occasion of the performance of the epinikia. I shall argue, from the perspective of Cognitive Linguistics and Poetics, that, through the 9 analysis of the relevant passages in Greek literature from Homer to the V century drama, the term always implies some sort celebration, either mobile or not, and that it is never used to denote either song or chorus. Most importantly I shall argue that implies a frame in an Idealized Cognitive Model for VICTORY CELEBRATION within which references to the victory ode must be understood. Based on this, I shall discuss the implications of these results and try to reexamine the assumption, held as unproblematic by the majority of critics, that the victory odes were always performed chorally on its premiere. Additionally I shall also discuss the problems of identifying the persona loquens in the poems and I shall propose that in most cases it never seems to refer to a chorus. Finally, I shall discuss some scenarios of transmission of the odes, proposing that writing needs not be assumed for the transmission of the text until a fairly late date and that a continuous tradition of oral reperformances must have played an essential role in the preservation of the text.
 
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Publishing Date
2014-05-13
 
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