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  1. Modes of Prophecy, or Modern Arguments in Support of the Ancient Approach.Yulia Ustinova - 2013 - Kernos 26:25-44.
    La prophétie inspirée et la divination par les signes impliquent des activités distinctes et requièrent des compétences différentes de ceux qui les pratiquent. Une relecture des sources anciennes débouche sur l’idée que la suprématie de la prophétie directe ne peut être écartée comme une invention platonicienne. Des modes de prophétie sont loin d’être une interprétation moderne et ils étaient déjà perçus ainsi au second millénaire avant notre ère. La prophétie extatique, phénomène précieux, dépendant de la volonté des dieux, était imprévisible (...)
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  • Plato on Poetry: Imitation or Inspiration?Nickolas Pappas - 2012 - Philosophy Compass 7 (10):669-678.
    A passage in Plato’s Laws (719c) offers a fresh look at Plato’s theory of poetry and art. Only here does Plato call poetry both mimêsis “imitation, representation,” and the product of enthousiasmos “inspiration, possession.” The Republic and Sophist examine poetic imitation; the Ion and Phaedrus (with passages in Apology and Meno) develop a theory of artistic inspiration; but Plato does not confront the two descriptions together outside this paragraph. After all, mimêsis fuels an attack on poetry, while enthousiasmos is sometimes (...)
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  • Choral Lyric as ““Ritualization””: Poetic Sacrifice and Poetic Ego in Pindar's Sixth Paian.Leslie Kurke - 2005 - Classical Antiquity 24 (1):81-130.
    The ego or speaking subject of Pindar's Sixth Paian is anomalous, as has been acknowledged by many scholars. In a genre whose ego is predominantly choral, the speaking subject at the beginning of Paian 6 differentiates himself from the chorus and confidently analogizes his poetic authority to the prophetic power of Delphi by his self-description as αοίδιμον Πιερίδων προfάταν. I would like to correlate Pindar's exceptional ego in this poem with what has recently emerged as the poem's exceptional performance context. (...)
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