Brill's Companion to Ancient Greek Scholarship (Brill's

Brill’s significant other to historical Greek Scholarship goals at supplying a reference paintings within the box of old Greek and Byzantine scholarship and grammar, therefore encompassing the large and multifaceted philological and linguistic study task throughout the whole Greek Antiquity and the center a while. the 1st a part of the quantity deals an intensive old evaluate of old scholarship, which covers the interval from its very beginnings to the Byzantine period. the second one half specializes in the disciplinary profile of historic scholarship through investigating its major medical subject matters. The 3rd and ultimate half offers the actual paintings of historic students in quite a few philological and linguistic concerns, and likewise examines where of scholarship and grammar from an interdisciplinary perspective, specifically from their interrelation with rhetoric, philosophy, drugs and nature sciences.

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70 This educational programme was probably available only to boys; there is 66 For Alcman’s Parthenion from 7th century BC Sparta, see Calame [1997]. 67 Epich. frs. 13, 103 PCG; Antipho De Choreut. 11; Pl. Leg. 653a–b, 654a-b, 673a; for the lyric chorus corresponding to the concept of education in Plato, see Calame [1997] 222–231; for an overview of Archaic Greek education, see Griffith [2001] with further bibliography; on the institution of χορηγεῖον in Athens, see Wilson [2000]. 68 Lynch [1972] 32–37.

Pol. 8, 1338a16–18; see Morgan [1998] 10–18. 52 Epicr. fr. 10 PCG, Amph. frs. 6, 13 PCG, Theopomp. Com. fr. 16 PCG, Alex. fr. 1, 151, 185 PCG, Anaxandr. fr. 20 PCG. g. Amph. fr. 6, Alex. Com. fr. 98, 1–3, Philipp. Com. fr. 6, and especially Epicr. fr. 10, 12–15 and Olson [2007] 239–241. 54 For the Pythagoreans, see Alexis’ comedies Pythagorizousa, frs. 201–203 PCG, Tarantinoi frs. 222–227 PCG; Aristophon’s Pythagoristes frs. 10, 12 PCG, Arnott [1996], 579–586, 624– 647; Olson [2007] 243–248; for the Cynics, see Eub.

58 For more, see Revermann [1999–2000] 454–467 and Moloney [2014]. For the hypothesis that the pseudo-Euripidean tragedy Rhesus was written for a Macedonian performance context, see Liapis [2009]. On the reception of tragedy in Athens in the 4th century BC, see Wilson [1996] and Easterling [1997] 212–219; on the reception of Euripides in Magna Graecia, see Allan [2001]. On dramatic performance outside Athens in the 4th century BC, see Csapo-Goette-Green-Wilson [2014] 229–390. 59 Pinto [2006] 51.

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