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M.A. Harder, R.F. Regtuit &#38; G.C. Wakker (eds.)Hellenistica Groningana 23X-344 p.ISBN 978-90-429-3654-682 eurohttp://www.peeters-leuven.be/boekoverz.asp?nr=10698This volume is devoted to aspects of performance in Hellenistic poetry. This theme is approached from various angles. Although drama has long been regarded as typical of fifth century Athens, there is an increasing awareness among classical scholars of the importance of drama also for the Hellenistic period. In that period too drama was still written and performed, but at the same time it also was an important object of study and a source of inspiration for works in other genres, such as the epic of Apollonius Rhodius, for new literary forms like the idylls of Theocritus or the mimiambs of Herodas, or for literary experiments such as the extended messenger speech in the Alexandra of Lycophron. Besides, performance was never restricted to drama, but from the archaic period onwards was essential to the presentation of poetry to an audience and thus remained an integral part of Greek cultural life in all periods, also in times of increasing literacy like the Hellenistic period. Therefore in this volume also epic and didactic poetry as well as shorter works from, e.g., a cultic, ritual or sympotic sphere have been studied from the point of view of performance. The various articles show that the focus on performance is a fruitful perspective for looking at Hellenistic poetry.Annette HarderPreface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VSofia BeliotiThe Motif of Paraclausithyron as Hint of Performance in the Hellenistic Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Barnaby ChestertonDrama, Performance and Authorial Self-Representation in HerodasMimiamb8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Angela CinalliThe Performative Life of the Hellenistic Period through Inscrip-tions . The Case Study of Delphi and Delos . . . . . . . . . . . . . . . 39Christophe CussetY a-t-il des modalités particulières de la performance vocale féminine dans la poésie hellénistique ? Une parole contrainte .............................75Andreas FountoulakisThe Poetics of Lamentation: Performances and Ritual in Bion’s Epitaph on Adonis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Adrian GrampsRethinking ‘Mimetic Poetry’ and Callymachus’ Hymn to Apollo ..............129David KutzkoEnacting Drama: Herod . 1 and A.P. V . 181 (Ascl . 25, Gow-Page) ............157Katherine MolesworthWatching Tragedy in Lycophron’s Alexandra . . . . . . . . . . . . . 173Jackie MurraySilencing Orpheus: The Fiction of Performance in Apollonius’Argonautica..............................................201Thomas J . NelsonThe Shadow of Aristophanes: Hellenistic Poetry’s Receptionof Comic Poetics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225Maria PapadopoulouSpectators-in-Performance in Theocritus’ Adoniazusae. . . . . . 273Alan SheppardMimeticism, Performance and Re-Performance in Callimachus’HymntoApolloandInscribedPaians. . . . . . . . . . . . . . . . . . . . . 293Kathryn WilsonReading and Performing Didactic Poetry in the Hellenistic Period . . . . . . .317