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  1. Hagesias as Sunoikistêr.Margaret Foster - 2013 - Classical Antiquity 32 (2):283-321.
    In positioning his laudandus Hagesias as the co-founder of Syracuse, Pindar considers the larger ideological implications of including a seer in a colonial foundation. The poet begins Olympian 6 by praising Hagesias as an athletic victor, seer, and sunoikistêr and therefore as a figure of enormous ritual power. This portrayal, however, introduces an element of competition into Hagesias' relationship with his patron Hieron, the founder of Aitna. In response, the ode's subsequent mythic portions circumscribe Hagesias' status so as to mitigate (...)
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  • Pelopid History and the Plot of Iphigenia in Tauris.Michael J. O'Brien - 1988 - Classical Quarterly 38 (01):98-.
    The plot of Iphigenia in Tauris is usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of the Cypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in which Orestes (...)
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  • Prodikos, ‘Meteorosophists’ and the ‘Tantalos’ Paradigm.C. W. Willink - 1983 - Classical Quarterly 33 (1):25-33.
    Three famous sophists are referred to together in theApology of Sokratesas still practising their enviably lucrative itinerant profession in 399b.c.(not, by implication, I in Athens): Gorgias of Leontinoi, Prodikos of Keos and Hippias of Elis. The last of these was the least well known to the Atheniandemos, having practised mainly in I Dorian cities. There is no extant reference to him in Old Comedy, but we can assume that he was sufficiently famous – especially for his fees (possibly the highest (...)
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