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Extra info for Against Aristotle on the Eternity of the World (Ancient Commentators on Aristotle)
So whereas hiving off, say, revenge tragedies from the overall body of Greek tragedies is to introduce modern categories, the focus on these genres of lyric is an often immensely productive way of getting back to ancient, and in many cases archaic, Greek concepts (see further ch. 1). A second, partly related way of getting a purchase on the varied corpus is to use polar opposites to divide up the material in various ways. When used with an awareness of their limitations, such dichotomies are powerful tools that are central to the study of lyric.
4, 5 and 9). A second objection to Snell’s model is that it takes little interest in Greek lyric as a kind of poetry that is written for performance and for specific kinds of occasion. Any notion of the lyric ‘I’ expressing the author’s genuine thoughts and feelings needs to be circumscribed with an account of the context and purpose of the performance of the piece in question. As scholarship in the humanities started taking a ‘performative turn’, performance became the heart also of a new paradigm for Greek lyric, pioneered by Bruno Gentili and John Herington in the 1980s and dominant ever since.
1, 9ff. Pickard-Cambridge 1962, 37; Zimmermann 1992, 37–8; Hordern 2002, 22–5. 3. 29 Cambridge Collections Online © Cambridge University Press, 2010 The Cambridge Companion to Greek Lyric taxonomy with overlaps, gaps and imprecisions. This absence of system is what one would expect from an approach to classification which arose before the corpus of performed lyric was subjected to scholarly study. In all probability it was in origin simply accretive. It seems to have satisfied the needs of poets and publics in the classical period, who were present as participants in the performance.