“Ancient Greek dance” traditionally evokes images of stately choruses or lively Dionysiac revels – communal acts of performance. This is the first book to look beyond the chorus to the diverse and complex representation of solo dancers in Archaic and Classical Greek literature. It argues that dancing alone signifies transgression and vulnerability in the Greek cultural imagination, as isolation from the chorus marks the separation of the individual from a range of communal social structures. It also demonstrates that the solo dancer is a powerful figure for literary exploration and experimentation, highlighting the importance of the singular dancing body in the articulation of poetic, narrative, and generic interests across Greek literature. Taking a comparative approach and engaging with current work in dance and performance studies, this book reveals the profound literary and cultural importance of the unruly solo dancer in the ancient Greek world.

Originally published: Great Britain: Penguin Books Ltd., 2013.

Charles W. Fornara's Herodotus: An Interpretative Essay (Oxford, 1971) was a landmark publication in the study of the great Greek historian. Well-known in particular for its main thesis that the Histories should be read against the background of the Atheno-Peloponnesian Wars during which it was written, its insight and penetrating discussion extend to a range of other issues, from the relative unity of Herodotus' work and the relationship between his ethnographies and historical narrative, to the themes and motifs that criss-cross the Histories - how 'history became moral and Herodotus didactic'. Interpreting Herodotus brings together a team of leading Herodotean scholars to look afresh at the themes of Fornara's seminal Essay in the light of the explosion of scholarship on the Histories in the intervening years, focusing particularly on how we can interpret Herodotus' work in terms of the context in which he wrote. What does it mean to talk of the unity of the Histories, or Herodotus' 'moral' purpose? How can we reconstruct the context in which the Histories were written and published? And in what sense might the Histories constitute a 'warning' for his own, or for subsequent, generations? In developing and interrogating Fornara's influential ideas for a new generation of scholars, the volume also offers a wealth of insights and new perspectives on the 'Father of History' that attests to the vibrancy and diversity of contemporary engagement with Herodotus.

The fluidity of myth and history in antiquity and the ensuing rapidity with which these notions infiltrated and cross-fertilized one another has repeatedly attracted the scholarly interest. The understanding of myth as a phenomenon imbued with social and historical nuances allows for more than one methodological approaches. Within the wider context of interdisciplinary exchange of ideas, the present volume returns to origins, as it traces and registers the association and interaction between myth and history in various literary genres in Greek and Roman antiquity (i.e. an era when the scientific definitions of and distinctions between myth and history had not yet been perceived as such, let alone fully shaped and implemented), providing original ideas, new interpretations and (re)evaluations of key texts and less well-known passages, close readings, and catholic overviews. The twenty-four chapters of this volume expand from Greek epos to lyric poetry, historiography, dramatic poetry and even beyond, to genres of Roman era and late antiquity. It is the editors’ hope that this volume will appeal to students and academic researchers in the areas of classics, social and political history, archaeology, and even social anthropology.

Ancient Greek tragedy has been an inspiration to Western culture, but the way it was first performed has long remained in question. In The Theatricality of Greek Tragedy, Graham Ley provides an illuminating discussion of key issues relating to the use of the playing space and the nature of the chorus, offering a distinctive impression of the performance of Greek tragedy in the fifth century BCE. Drawing on evidence from the surviving texts of tragedies by Aeschylus, Sophocles, and Euripides, Ley explains how scenes with actors were played in the open ground of the orchestra, often considered as exclusively the dancing place of the chorus. In reviewing what is known of the music and dance of Greek antiquity, Ley goes on to show that in the original productions the experience of the chorus—expressed in song and dance and in interaction with the characters—remained a vital characteristic in the performance of tragedy. Combining detailed analysis with broader reflections about the nature of ancient Greek tragedy as an art form, this volume—supplemented with a series of illustrative drawings and diagrams—will be a necessary addition to the bookshelf of anyone interested in literature, theater, or classical studies.