Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-lj6df Total loading time: 0 Render date: 2024-11-10T02:54:30.746Z Has data issue: false hasContentIssue false

References

Published online by Cambridge University Press:  25 November 2020

Pauline A. LeVen
Affiliation:
Yale University, Connecticut
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abbate, C. (1991). Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton.CrossRefGoogle Scholar
Abbate, C. (2001). In Search of Opera. Princeton.Google Scholar
Abell, C. (2013). “Expression in the representational arts.” American Philosophical Quarterly 50(1): 2335.Google Scholar
Abram, D. (1996). The Spell of the Sensuous: Perception and Language in a More-Than-Human World. New York.Google Scholar
Abram, D. (2010). Becoming Animal: An Earthly Cosmology. New York.Google Scholar
Acosta-Hughes, B., and Stephens, S. A. (2002). “Rereading Callimachus’ Aetia Fragment 1.” Classical Philology 97(3): 238255.Google Scholar
Adams, J. N. (1982). The Latin Sexual Vocabulary. London.Google Scholar
Ahl, F. (1982). “Amber, Avallon, and Apollo’s singing swan.” American Journal of Philology 103(4): 373411.Google Scholar
Alaimo, S. (2000). Undomesticated Ground: Recasting Nature as Feminist Space. Ithaca, NY.Google Scholar
Alexandridis, A. (2009). “Shifting species: animal and human bodies in Attic vase painting in the 6th and 5th centuries BC,” in Fögen, T. and Lee, M. M. (eds.), Bodies and Boundaries in Graeco-Roman Antiquity. Berlin and New York: 264284.Google Scholar
Alexiou, M. (1974). The Ritual Lament in Greek Tradition. Cambridge.Google Scholar
Alexiou, M., Yatromanolakis, D., and Roilos, P. (2002). The Ritual Lament in Greek Tradition (2nd ed.). Lanham, MD.Google Scholar
Allen, A. S. (2011a). “Ecocriticism and musicology.” Journal of the American Musicological Society 64(2): 391394.Google Scholar
Allen, A. S. (2011b). “Prospects and problems for ecomusicology in confronting a crisis of culture.” Journal of the American Musicological Society 64(2): 414424.CrossRefGoogle Scholar
Allen, A. S. (2014). “Ecomusicology,” in Grove Dictionary of American Music. New York.Google Scholar
Alpers, P. J. (1996). What Is Pastoral? Chicago.Google Scholar
Andò, V. (2013). Violenza bestiale: modelli dell’umano nella poesia greca epica e drammatica. Rome.Google Scholar
André, N. A. (2006). Voicing Gender: Castrati, Travesti, and the Second Woman in Early Nineteenth-Century Italian Opera. Bloomington.Google Scholar
Anhalt, E. K. (2001). “A matter of perspective: Penelope and the nightingale in Odyssey 19.512–534.” The Classical Journal 97(2): 145159.Google Scholar
Antin, P. (1962). “Cigales littéraires.” Bulletin de l’Association Guillaume Budé 3: 338346.Google Scholar
Arbo, A., and Arbo, A. (2008). “In una perfecta musica scientia: le rossignol de Pline l’Ancien.” Collection de l’Institut des Sciences et Techniques de l’Antiquité 1120: 255274.Google Scholar
Armstrong, E. A. (1963). A Study of Bird Song. London.Google Scholar
Arnhart, L. (1994). “The Darwinian biology of Aristotle’s political animals.” American Journal of Political Science 38(2): 464485.Google Scholar
Arnott, G. (1977). “Swan songs.” Greece and Rome 24: 149153.Google Scholar
Arnott, W. G. (2007). Birds in the Ancient World from A to Z. London and New York.Google Scholar
Åsberg, C., and Braidotti, R. (eds.) (2018). A Feminist Companion to the Posthumanities. New York.CrossRefGoogle Scholar
Aston, E. (2011). Mixanthrôpoi: Animal-Human Hybrid Deities in Greek Religion. Liège.Google Scholar
Attali, J. (1985). Noise: The Political Economy of Music, trans. Massumi, B.. Minneapolis.Google Scholar
Austin, N. (1975). Archery at the Dark of the Moon: Poetic Problems in Homer’s Odyssey. Berkeley.Google Scholar
Ax, W. (1978). “Psóphos, phoné und diálektos als Grundbegriffe aristotelischer Sprachreflexion.” Glotta 66: 245271.Google Scholar
Ax, W. (1986). Laut, Stimme und Sprache: Studien zu drei Grundbegriffen der antiken Sprachtheorie. Göttingen.Google Scholar
Bakhtin, M. M. (1986). Speech Genres and Other Late Essays, trans. Holquist, M. and Emerson, C.. Austin.Google Scholar
Bakker, E. J. (2013). The Meaning of Meat and the Structure of the Odyssey. Cambridge and New York.Google Scholar
Balda, R. P., Pepperberg, I. M., and Kamil, A. C. (eds.) (1998). Animal Cognition in Nature: The Convergence of Psychology and Biology in Laboratory and Field. San Diego.Google Scholar
Baracchi, C. (2015). “Animals and angels: the myth of life as a whole in Republic 10,” in Bell, J. and Naas, M. (eds.), Plato’s Animals: Gadflies, Horses, Swans, and other Philosophical Beasts. Bloomington: 209224.Google Scholar
Barbier, P. (1996). The World of the Castrati: The History of an Extraordinary Operatic Phenomenon. London.Google Scholar
Barchiesi, A., and Rosati, G. (2007). Ovidio Metamorfosi, Vol. 2: libri III–IV. Rome and Milan.Google Scholar
Barchiesi, A., Segal, C., Tarrant, R. J., and Koch, L. (2005). Ovidio Metamorfosi, Vol. 1: libri I–II. Rome and Milan.Google Scholar
Barigazzi, A. (1992). “Implicanze morali nella polemica plutarchea sulla psicologia degli animali,” in Gallo, I. (ed.), Plutarco e le scienze. Genoa: 297315.Google Scholar
Barkan, L. (1986). The Gods Made Flesh: Metamorphosis and the Pursuit of Paganism. New Haven.Google Scholar
Barker, A. (1989). Greek Musical Writings, Vol. 2: Harmonic and Acoustic Theory. Cambridge and New York.Google Scholar
Barker, A. (2002a). Euterpe. Ricerche sulla musica greca e romana. Pisa.Google Scholar
Barker, A. (2002b). “Words for sounds,” in Tuplin, C. J., Rihll, T. E., and Wolpert, L. (eds.), Science and Mathematics in Ancient Greek Culture. Oxford: 2235.Google Scholar
Barker, A. (2010). “Phōnaskia for singers and orators: the care and training of the voice in the Roman imperial period,” in Rocconi, E. (ed.), La musica nell’Impero Romano: Testimonianze teoriche e scoperte archeologiche. Pavia: 1120.Google Scholar
Barthes, R. (1970). S/Z. Paris.Google Scholar
Barthes, R. (1982). L’Obvie et l’obtus: essais critiques III. Paris.Google Scholar
Bartley, A. N. (2009). A Lucian for our Times. Newcastle upon Tyne.Google Scholar
Bartsch, S. (1989). Decoding the Ancient Novel: The Reader and the Role of Description in Heliodorus and Achilles Tatius. Princeton.Google Scholar
Bartsch, S., and Elsner, J. (2007). “Introduction: eight ways of looking at an ekphrasis.” Classical Philology 102(1): ivi.Google Scholar
Beagon, M. (1992). Roman Nature: The Thought of Pliny the Elder. Oxford and New York.Google Scholar
Beagon, M. (2005). The Elder Pliny on the Human Animal: Natural History, Book 7. Oxford and New York.Google Scholar
Bearden, E. B. (2012). The Emblematics of the Self: Ekphrasis and Identity in Renaissance Imitations of Greek Romance. Toronto and Buffalo.Google Scholar
Beavis, I. C. (1988). Insects and Other Invertebrates in Classical Antiquity. Exeter.Google Scholar
Bennett, J. (2010). Vibrant Matter: A Political Ecology of Things. Durham, NC.Google Scholar
Bennett, J. (2012). “Powers of the hoard: further notes on material agency,” in Cohen, J. J. (ed.), Animal, Vegetable, Mineral: Ethics and Objects. Washington, DC: 237269.Google Scholar
Berger, A.-E. (1996). “Dernières nouvelles d’Écho.” Littérature 102: 7190.Google Scholar
Bettini, M. (2008). Voci: antropologia sonora del mondo antico. Turin.Google Scholar
Bettini, M., and Pellizer, E. (2003). Il mito di Narciso: immagini e racconti dalla Grecia a oggi. Turin.Google Scholar
Bianchi, E., Brill, S., and Holmes, B. (eds.) (2019). Antiquities beyond Humanism. Oxford.Google Scholar
Bieber, D. (1906). Studien zur Geschichte der Fabel in den ersten Jahrhunderten der Kaiserzeit. PhD dissertation, Munich.Google Scholar
Billault, A. (1996). “La nature dans Daphnis et Chloé.” REG 109: 505526.Google Scholar
Billings, J., Budelmann, F., and Macintosh, F. (eds.) (2013). Choruses, Ancient and Modern. Oxford and New York.Google Scholar
Biraud, M., and Delbey, E. (2006) “Philomèle: du mythe aitiologique au début du mythe littéraireRursus 1.Google Scholar
Bloomer, W. M. (1997). Latinity and Literary Society at Rome. Philadelphia.Google Scholar
Boddice, R. (ed.) (2011). Anthropocentrism: Humans, Animals, Environments. Leiden.Google Scholar
Bodson, L. (1976). “La stridulation des cigales: poésie grecque et réalité entomologique.” L’Antiquité Classique 45(1): 7594.CrossRefGoogle Scholar
Bohlman, P. V. (1999). “Ontologies of music,” in Cook, N. and Everist, M. (eds.), Rethinking Music. Oxford: 1734.Google Scholar
Bonadeo, A. (2003). Mito e natura allo specchio: l’eco nel pensiero greco e latino. Pisa.Google Scholar
Bonadeo, A. (2004). “Tra ripetizione fonica e memoria poetica: l’eco, da imago vocis a icona intertestuale,” in Darbo-Peschanski, C. (ed.), La citation dans l’Antiquité. Grenoble: 245256.Google Scholar
Bonazzi, M., Lévy, C., and Steel, C. (eds.) (2007). A Platonic Pythagoras: Platonism and Pythagoreanism in the Imperial Age. Turnhout.Google Scholar
Bonds, M. E. (2014). Absolute Music: The History of an Idea. Oxford.Google Scholar
Borgeaud, P. (1979). Recherches sur le dieu Pan. Rome.Google Scholar
Borthwick, E. K. (1966). “A grasshopper’s diet: notes on an epigram of Meleager and a fragment of Eubulus.” The Classical Quarterly 16(1): 103112.Google Scholar
Borthwick, E. K. (1988). “Odysseus and the return of the swallow.” Greece & Rome 35(1): 1422.Google Scholar
Bowie, E. (2003). “The function of mythology in Longus’ Daphnis and Chloe,” in López Férez, J. A. (ed.), Mitos en la literatura griega helenística e imperial. Madrid: 361376.Google Scholar
Bowie, E. (2005). “Metaphor in Daphnis and Chloe,” in Harrison, S., Paschalis, M., and Frangoulidis, S. (eds.), Metaphor and the Ancient Novel. Groningen: 6886.Google Scholar
Bowie, E. (2008). “Literary milieux,” in Whitmarsh, T. (ed.), The Cambridge Companion to the Greek and Roman Novel. Cambridge and New York: 1738.Google Scholar
Bowie, E. (2019). Longus: Daphnis and Chloe. Cambridge.Google Scholar
Boys-Stones, G. R. (2017). Platonist Philosophy 80 BC to AD 250: An Introduction and Collection of Sources in Translation. Cambridge and New York.Google Scholar
Boys-Stones, G. R., and Haubold, J. (eds.) (2010). Plato and Hesiod. Oxford and New York.Google Scholar
Braidotti, R. (2002). Metamorphoses: Towards a Materialist Theory of Becoming. Cambridge and Malden, MA.Google Scholar
Braidotti, R. (2008). “The politics of life as bios/zoe,” in Smelik, A. and Lykke, N. (eds.), Bits of Life: Feminism at the Intersections of Media, Bioscience and Technology. Seattle and London: 179196.Google Scholar
Braidotti, R. (2009). “Meta(l)flesh,” in Detsi-Diamanti, Z., Kitsi-Mytakou, K., and Yiannopoulou, E. (eds.), The Future of Flesh: A Cultural Survey of the Body. Basingstoke: 241261.Google Scholar
Braidotti, R. (2011). Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. New York.Google Scholar
Braidotti, R. (2013). The Posthuman. Cambridge and Malden, MA.Google Scholar
Braidotti, R., and Dolphijn, R. (2017). Philosophy after Nature. London and New York.Google Scholar
Brancacci, A. (2006). “Democritus’ Mousika,” in Brancacci, A. and Morel, P.-M. (eds.), Democritus: Science, the Arts, and the Care of the Soul. Proceedings of the International Colloquium on Democritus (Paris, 18–20 septembre 2003). Boston: 181205.Google Scholar
Bremmer, J. N. (2013). “Myth in the novel: some observations,” in Futre Pinheiro, M. P., Beck, R., and Bierl, A. (eds.), Intende, Lector: Echoes of Myth, Religion and Ritual in the Ancient Novel. Berlin and Boston: 1723.Google Scholar
Brenkman, J. (1976). “Narcissus in the text.” The Georgia Review 30(2): 293327.Google Scholar
Brillante, C. (1990). “Archiloco e le Muse.” Quaderni Urbinati di Cultura Classica 35(2): 720.Google Scholar
Brillante, C. (1991). “Il canto delle pernici in Alcmane e le fonti del linguaggio poetico.” RFIC 119: 150163.Google Scholar
Brown, B. (2001). “Thing theory.” Critical Inquiry 28(1): 122.CrossRefGoogle Scholar
Brown, C. (2006). “Pindar on Archilochus and the gluttony of blame (Pyth. 2.52–6).” Journal of Hellenic Studies 126: 3646.Google Scholar
Brown, E. (ed.) (2006). Insect Poetics. Minneapolis.Google Scholar
Bruns, G. L. (2008). “Derrida’s cat (who am I?).” Research in Phenomenology 38: 404423.Google Scholar
Budd, M. (1985). Music and the Emotions: The Philosophical Theories. London and Boston.Google Scholar
Budd, M. (1995). Values of Art: Pictures, Poetry, and Music. London and New York.Google Scholar
Budd, M. (2011). “Music’s arousal of emotions,” in Gracyk, T. and Kania, A. (eds.), The Routlege Companion to Philosophy and Music. Abingdon and New York: 233242.Google Scholar
Burger, R. (1980). Plato’s Phaedrus: A Defense of a Philosophic Art of Writing. Tuscaloosa.Google Scholar
Butler, S. (2015). The Ancient Phonograph. New York.Google Scholar
Buxton, R. (ed.) (1999). From Myth to Reason? Studies in the Development of Greek Thought. Oxford.Google Scholar
Buxton, R. G. A. (1994). Imaginary Greece: The Contexts of Mythology. Cambridge and New York.Google Scholar
Buxton, R. G. A. (2009). Forms of Astonishment: Greek Myths of Metamorphosis. Oxford and New York.Google Scholar
Bynum, C. W. (2001). Metamorphosis and Identity. New York and Cambridge, MA.Google Scholar
Cairns, D., and Nelis, D. (eds.) (2017). Emotions in the Classical World: Methods, Approaches, and Directions. Stuttgart.Google Scholar
Calvino, I. (1988a). “A king listens,” in Under the Jaguar Sun, trans. Weaver, William. New York: 3164.Google Scholar
Cameron, A. (2004). Greek Mythography in the Roman World. New York.Google Scholar
Campbell, G. L. (2003). Lucretius on Creation and Evolution: A Commentary on De rerum natura, Book 5, Lines 772–1104. Oxford and New York.Google Scholar
Campbell, G. L. (2014). The Oxford Handbook of Animals in Classical Thought and Life. Oxford and New York.Google Scholar
Capponi, F. (1985). Le fonti del X libro della “Naturalis historia” di Plinio. Genova.Google Scholar
Capra, A. (2000). “Il mito delle cicale e il motivo della bellezza sensibile nel Fedro.” Maia 52(2): 225247.Google Scholar
Capra, A. (2015). Plato’s Four Muses: The Phaedrus and the Poetics of Philosophy. Washington, DC.Google Scholar
Carson, A. (1994). “The gender of sound.” Thamyris 1(1): 1031.Google Scholar
Cassin, B., Rendall, S., and Apter, E. S. (eds.) (2014). Dictionary of Untranslatables: A Philosophical Lexicon. Princeton.Google Scholar
Catchpole, C., and Slater, P. J. B. (2008). Bird Song: Biological Themes and Variations (second ed.). Cambridge and New York.Google Scholar
Cavarero, A. (2005). For More Than One Voice: Toward a Philosophy of Vocal Expression. Stanford.Google Scholar
Cavarero, A. (2016). Inclinations: A Critique of Rectitude. Stanford.Google Scholar
Celoria, F. (1992). The Metamorphoses of Antoninus Liberalis: A Translation with Commentary. London and New York.Google Scholar
Centrone, B. (2000). “Cosa significa essere pitagorico in età imperiale. Per una riconsiderazione della categoria storiografica del neopitagorismo,” in Brancacci, A. (ed.), La filosofia in età imperiale. Le scuole e le tradizioni filosofiche. Naples: 139168.Google Scholar
Chalk, H. H. O. (1960). “Eros and the lesbian pastorals of Longos.” Journal of Hellenic Studies 80: 3251.Google Scholar
Chandler, A. R. (1934). “The nightingale in Greek and Latin poetry.” The Classical Journal 30(2): 7884.Google Scholar
Chazalon, L. (2012). “Itys: tué par sa mère, mangé par son père. La victime dans le mythe figuré de Térée et Procné, au Ve s. av. J.-C.,” in Dubel, S. and Montandon, A. (eds.), Mythes sacrificiels et ragoûts d’enfants. Clermond-Ferrant: 125138.Google Scholar
Chesi, G. M., and Spiegel, F. (eds.) (2019). Classical Literature and Posthumanism. London and New York.Google Scholar
Chion, M. (1982). La Voix au cinéma. Paris.Google Scholar
Chion, M. (2012). “Three listening modes,” in Sterne, J. (ed.), Sound Studies Reader. New York: 4853.Google Scholar
Chua, D. K. L. (1999). Absolute Music and the Construction of Meaning. Cambridge and New York.Google Scholar
Chua, D. K. L. (2001). “Vincenzo Galilei, modernity and the division of nature,” in Clark, S. and Rehding, A. (eds.), Music Theory and Natural Order from the Renaissance to the Early Twentieth Century. Cambridge and New York: 1729.Google Scholar
Citroni Marchetti, S. (1991). Plinio il Vecchio e la tradizione del moralismo Romano. Pisa.Google Scholar
Clark, S., and Rehding, A. (eds.) (2001). Music Theory and Natural Order from the Renaissance to the Early Twentieth Century. Cambridge and New York.Google Scholar
Clark, T. (2011). The Cambridge Introduction to Literature and the Environment. Cambridge.Google Scholar
Clarke, B. (1995). Allegories of Writing: The Subject of Metamorphosis. Albany, NY.Google Scholar
Clarke, B. (2008). Posthuman Metamorphosis: Narrative and Systems. New York.Google Scholar
Clarke, M. (1995). “Between lions and men: images of the hero in the Iliad.” Greek, Roman, and Byzantine Studies 36: 137160.Google Scholar
Clarke, M. (2001). “‘Heart-cutting talk’: Homeric κερτομἐω and related words.” Classical Quarterly 51(2): 329338.Google Scholar
Clay, D. (2004). Archilochos Heros: The Cult of Poets in the Greek Polis. Washington, DC and Cambridge, MA.Google Scholar
Clay, J. S. (2003). Hesiod’s Cosmos. Cambridge and New York.Google Scholar
Clay, J. S. (2006). The Politics of Olympus: Form and Meaning in the Major Homeric Hymns. London.Google Scholar
Clayton, M. (2008). Music, Words and Voice: A Reader. Manchester and New York.Google Scholar
Clayton, M. (2012). “What is entrainment? Definition and applications in musical research.” Empirical Musicology Review 7(1–2): 4956.Google Scholar
Clément, C. (1979). L’Opéra ou la défaite des femmes. Paris.Google Scholar
Clouzot, M., and Beck, C. (eds.) (2014). Les Oiseaux chanteurs: sciences, pratiques sociales et représentations dans les sociétés et le temps long. Dijon.Google Scholar
Cochrane, T., Fantini, B., and Scherer, K. R. (eds.) (2013). The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control. Oxford.Google Scholar
Cockburn, D. (2013). “Anthropomorphism, anthropocentrism and the study of language in primates,” in Dransart, P. (ed.), Living Beings: Perspectives on Interspecies Engagements. London: 167181.Google Scholar
Colby, E. (1920). The Echo-Device in Literature. New York.Google Scholar
Cone, E. (1974). The Composer’s Voice. Berkeley.Google Scholar
Connolly, J. (2001). “Unmasked performances: staging identities in Greece and Rome.” Helios 28(1): 7596.Google Scholar
Connor, S. (2000). Dumbstruck: A Cultural History of Ventriloquism. Oxford and New York.Google Scholar
Cornelli, G. (2013). In Search of Pythagoreanism: Pythagoreanism as an Historiographical Category. Berlin.Google Scholar
Creese, D. (2009). “Erogenous Organs: The Metamorphosis of Polyphemus’ “Syrinx” in Ovid, “Metamorphoses” 13.784.” The Classical Quarterly 59(2): 562577.Google Scholar
Creese, D., and Destrée, P. (eds.) (in press). The Beauties of Song: Aesthetic Appreciations of Music in the Greek and Roman World. Cambridge and New York.Google Scholar
Crist, E. (1999). Images of Animals: Anthropomorphism and Animal Mind. Philadelphia.Google Scholar
Cross, I. (2001). “Music, mind and evolution.” Psychology of Music 29(1): 95102.Google Scholar
Cross, I. (2009). “The evolutionary nature of musical meaning.” Musicae Scientiae 13(2) (suppl.): 179200.Google Scholar
Crutzen, P., and Stoermer, E. (2000). “The ‘Anthropocene’.” Global Change Newsletter 41: 1718.Google Scholar
Csapo, E. (2004). “The politics of the New Music,” in Murray, P. and Wilson, P. (eds.), Music and the Muses: The Culture of Mousike in the Classical Athenian City. Cambridge and New York: 207248.Google Scholar
Csapo, E. (2008). “Star choruses: Eleusis, Orphism, and New Musical imagery and dance,” in Revermann, M. and Wilson, P. (eds.), Performance, Iconography, Reception: Studies in Honour of Oliver Taplin. Oxford: 262290.Google Scholar
Csapo, E. (2009). “New Music’s gallery of images: the “dithyrambic” first stasimon of Euripides’ Electra,” in Cousland, J. R. C. and Hume, J. (eds.), The Play of Texts and Fragments: Essays in Honour of Martin Cropp. Leiden and Boston: 93110.Google Scholar
Csapo, E., and Wilson, P. (2009). “Timotheus the New Musician,” in Budelmann, F. (ed.), The Cambridge Companion to Lyric Poetry. Cambridge: 277294.Google Scholar
Cueva, E. P. (2004). The Myths of Fiction: Studies in the Canonical Greek Novels. Ann Arbor.Google Scholar
Cueva, E. P. (2013). “The literary myth in the novel,” in Futre Pinheiro, M. P., Bierl, A., and Beck, R. (eds.), Intende, Lector: Echoes of Myth, Religion and Ritual in the Ancient Novel. Berlin and Boston: 2427.Google Scholar
Culler, J. D. (ed.) (1988). On Puns: The Foundation of Letters. Oxford and New York.Google Scholar
Cusset, C. (1999). “Nature et poésie dans les Idylles de Théocrite,” in Cusset, C. (ed.), La Nature et ses représentations dans l’Antiquité. Paris: 149155.Google Scholar
D’Angour, A. (2011). The Greeks and the New: Novelty in Ancient Greek Imagination and Experience. Cambridge and New York.Google Scholar
Dahlhaus, C. (1989). The Idea of Absolute Music, trans. Lustig, Roger. Chicago.Google Scholar
Danta, C. (2018). Animal Fables after Darwin: Literature, Speciesism, and Metaphor. Cambridge and New York.Google Scholar
Daston, L., and Mitman, G. (eds.) (2005). Thinking with Animals: New Perspectives on Anthropomorphism. New York.Google Scholar
Davies, J. Q. (2014). Romantic Anatomies of Performance. Berkeley.Google Scholar
Davies, M., and Kathirithamby, J. (1986). Greek Insects. New York.Google Scholar
Davies, S. (1994). Musical Meaning and Expression. Ithaca, NY.Google Scholar
Davies, S. (2006). “Artistic expression and the hard case of pure music,” in Kieran, M. (ed.), Contemporary Debates in Aesthetics and the Philosophy of Art. London and New York: 179191.Google Scholar
Davies, S. (2013). “Music-to-listener emotional contagion,” in Cochrane, T., Fantini, B., and Scherer, K. R. (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control. Oxford: 169176.Google Scholar
Dawe, K. (2003). “The cultural study of musical instruments,” in Clayton, M., Herbert, T., and Middleton, R. (eds.), The Cultural Study of Music: A Critical Introduction. New York: 274283.Google Scholar
de Certeau, M., Julia, D., and Revel, J. (1975). Une Politique de la langue: la Révolution française et les patois: l’enquête de Grégoire. Paris.Google Scholar
de Fontenay, E. (1992). La Raison du plus fort, introduction à Plutarque, Trois traités pour les animaux, trans. Amyot, Jacques. Paris.Google Scholar
de Fontenay, E. (1997). “La philantrōpia à l’épreuve des bêtes,” in Cassin, B. and Labarrière, J.-L. (eds.), L’Animal dans l’Antiquité. Paris: 281298.Google Scholar
De Luce, J. (1993). “‘O for a thousand tongues to sing’: a footnote on metamorphosis, silence and power,” in DeForest, M. (ed.), Woman’s Power, Man’s Game: Essays on Classical Antiquity in Honor of Joy K. King. Wauconda: 305321.Google Scholar
De Temmerman, K. (2014). Crafting Characters: Heroes and Heroines in the Ancient Greek Novel. Oxford and New York.Google Scholar
De Vries, G. J. (1969). A Commentary on the Phaedrus of Plato. Amsterdam.Google Scholar
Delattre, C. (2013). “Pentaméron mythographique. Les Grecs ont-ils écrit leurs mythes?Lalies 33: 77170.Google Scholar
Delattre, C. (in press). “Antoninus Liberalis,” in Smith, R. S. and Trzaskoma, S. (eds.), Oxford Handbook of Greek and Roman Mythography. Oxford.Google Scholar
Deleuze, G., and Guattari, F. (1976). Rhizome. Paris.Google Scholar
Deleuze, G., and Guattari, F. (1986). Nomadology, trans. Massumi, B.. New York.Google Scholar
Deleuze, G., and Guattari, F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia 2, trans. Massumi, B.. Minneapolis.Google Scholar
Derrida, J. (2002). “The animal that therefore I am (more to follow),” trans. Wills, D.. Critical Inquiry 28(2): 369418.Google Scholar
Destrée, P., and Murray, P. (eds.) (2015). A Companion to Ancient Aesthetics. Malden, MA.CrossRefGoogle Scholar
Detienne, M. (1981). “Between beasts and gods,” in Gordon, R. L. (ed.), Myth, Religion and Society: Structualist Essays by M. Detienne, L. Gernet, J.-P. Vernant, and P. Vidal-Naquet. Cambridge: 215228.Google Scholar
Diamond, J. M. (1992). The Third Chimpanzee: The Evolution and Future of the Human Animal. New York.Google Scholar
Dijk, G.-J. v. (1997). Ainoi, Logoi, Mythoi: Fables in Archaic, Classical, and Hellenistic Greek Literature, with a Study of the Theory and Terminology of the Genre. Leiden and New York.Google Scholar
Dimakopoulou, A. (2010). Chlōreis aēdōn, pâle rossignol: une étude sémantique. Paris.Google Scholar
Dingremont, F. (2014). “Le chant du rossignol: thème poétique entre Antiquité et Moyen Âge,” in Clouzot, M. and Beck, C. (eds.), Les Oiseaux chanteurs: sciences, pratiques sociales et représentations dans les sociétés et le temps long. Dijon: 6777.Google Scholar
Ditadi, G. (2000). Plutarco. L’intelligenza degli animali e la giustizia loro dovuta. Este.Google Scholar
Doherty, L. (1995). “Sirens, muses, and female narrators in the Odyssey,” in Cohen, B. (ed.), The Distaff Side: Representing the Female in Homer’s Odyssey. Oxford: 1727.Google Scholar
Dolan, E. I. (2013). The Orchestral Revolution: Haydn and the Technologies of Timbre. Cambridge and New York.Google Scholar
Dolar, M. (2006). A Voice and Nothing More. Cambridge, MA.Google Scholar
Dubel, S. (2006). “L’hirondelle et l’épervier, le rossignol et la huppe (Achille Tatius, Leucippé et Clitophon, V, 3–5): notes sur la difficulté d’établir un mythe,” in Gély, V., Haquette, J.-L., and Tomiche, A. (eds.), Philomèle. Figures du rossignol dans la tradition littéraire et artistique. Clermont-Ferrand: 3652.Google Scholar
Duchemin, J. (1960). La Houlette et la lyre. Recherche sur les origines pastorales de la poésie. Paris.Google Scholar
Dumont, J. (2001). Les Animaux dans l’Antiquité grecque. Paris.Google Scholar
Dunbabin, K. M. D. (2016). Theater and Spectacle in the Art of the Roman Empire. Ithaca, NY.Google Scholar
Dunbar, N. (1994). Aristophanes’ Birds, Edited with Introduction and Commentary. Oxford and New York.Google Scholar
Duncan, M. (2004). “The operatic scandal of the singing body: voice, presence, performativity.” Cambridge Opera Journal 16(3): 283306.Google Scholar
Edmonds, J. M. (1928). The Greek Bucolic Poets. Loeb Classical Library 28. London and New York.Google Scholar
Edwards, P. (2002). “Τις ἄλλος ἔχει: an echo of Callimachus in Ovid’s Metamorphoses.” New England Classical Journal 29(1): 1624.Google Scholar
Egan, R. B. (1985). “Λειϱιόεις ϰτλ. in Homer and elsewhere.” Glotta 63(1–2): 1424.Google Scholar
Egan, R. B. (1994). “Cicadas in ancient Greece: ventures in classical tettigology.” Cultural Entomology Digest 3: 2026.Google Scholar
Egan, R. B. (2004). “Eros, eloquence and entomo-psychology in Plato’s Phaedrus,” in Egan, R. B. and Joyal, M. (eds.), Daimonopylai: Essays in Classics and the Classical Tradition Presented to E. G. Berry. Winnipeg: 6587.Google Scholar
Egger, B. (1988). “Zu den Frauenrollen im griechischen Roman: die Frau als Heldin und Leserin,” in Hofmann, H. (ed.), Groningen Colloquia on the Novel: 1. Gröningen: 3366.Google Scholar
Eisenberg, E. (1998). The Ecology of Eden. New York.Google Scholar
Elliger, W. (1975). Die Darstellung der Landschaft in der griechischen Dichtung. Berlin and New York.Google Scholar
Elsner, J. (2002a). “The genres of ekphrasis.” Ramus 31(1–2): 118.CrossRefGoogle Scholar
Elsner, J. (ed.) (2002b). Ramus 31(1–2), special issue: “The Verbal and the Visual: Cultures of Ekphrasis in Antiquity.”Google Scholar
Elsner, J. (2007a). Roman Eyes: Visuality & Subjectivity in Art & Text. Princeton.Google Scholar
Elsner, J. (2007b). “Viewing Ariadne: from ekphrasis to wall painting in the Roman world.” Classical Philology 102(1): 2044.Google Scholar
Empson, W. (1966). Seven Types of Ambiguity (third ed.). New York.Google Scholar
Evans, A. V., and Bellamy, C. L. (1996). An Inordinate Fondness for Beetles. New York.Google Scholar
Fabiano, D. (2012). “Eco al maschile: paesaggi sonori nel mito di Ila. Mitologia greca e romana,” in Marzari, F. (ed.), Mitologia greca e romana, introd. Bettini, Maurizio. Siena: 203218.Google Scholar
Fanfani, G. (2017). “Weaving a song. Convergences in Greek poetic imagery between textile and musical terminology. An overview on archaic and classical literature,” in Gaspa, S., Michel, C., and Nosch, M.-L. (eds.), Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. Lincoln: 421436.Google Scholar
Fantuzzi, M., and Hunter, R. L. (2004). Tradition and Innovation in Hellenistic Poetry. Cambridge and New York.Google Scholar
Fantuzzi, M., and Papanghelis, T. D. (eds.) (2006). Brill’s Companion to Greek and Latin Pastoral. Leiden and Boston.Google Scholar
Feld, S. (1982). Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Philadelphia.Google Scholar
Feld, S., and Basso, K. H. (1996). Senses of Place. Santa Fe and Seattle.Google Scholar
Feldherr, A. (2008). “Metamorphosis in the Metamorphoses,” in Hardie, P. R. (ed.), The Cambridge Companion to Ovid. Cambridge: 163179.Google Scholar
Feldherr, A. (2010). Playing Gods: Ovid’s Metamorphoses and the Politics of Fiction. Princeton.Google Scholar
Feldherr, A., and James, P. (2004). “Making the most of Marsyas.” Arethusa 37(1): 75103.Google Scholar
Feldman, M. (2015). The Castrato: Reflections on Natures and Kinds. Berkeley.Google Scholar
Ferrari, G. R. F. (1987). Listening to the Cicadas: A Study of Plato’s Phaedrus. Cambridge and New York.Google Scholar
Fisher, J. A. (1999). “The myth of anthropomorphism,” in Bekoff, M. and Jamieson, D. (eds.), Readings in Animal Cognition. Cambridge, MA: 316.Google Scholar
Fitch, W. T. (2010). The Evolution of Language. Cambridge.Google Scholar
Fitzpatrick, D. (2001). “Sophocles’ ‘Tereus’.” Classical Quarterly 51(1): 90101.Google Scholar
Fögen, T. (2007). “Pliny the Elder’s animals: some remarks on the narrative structure of Nat. Hist. 8–11.” Hermes 135(2): 184198.Google Scholar
Fögen, T. (2014). “Animal communication,” in Campbell, G. Lindsay (ed.), The Oxford Handbook of Animals in Classical Thought and Life. Oxford: 216232.Google Scholar
Foley, H. P. (2001). Female Acts in Greek Tragedy. Princeton.Google Scholar
Forbes Irving, P. M. C. (1990). Metamorphosis in Greek Myths. Oxford and New York.Google Scholar
Ford, A. L. (1992). Homer: The Poetry of the Past. Ithaca, NY.Google Scholar
Ford, A. L. (2010). “‘A Song to match my song’: lyric doubling in Euripides’ Helen,” in Mitsis, P. and Tsagalis, C. (eds.), Allusion, Authority and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis. Berlin: 283301.Google Scholar
Foucault, M. (1976). Histoire de la sexualité (3 vols.). Paris.Google Scholar
Fowler, D. (1991). “Narrate and describe: the problem of ekphrasis.” Journal of Roman Studies 81: 2535.Google Scholar
Fowler, K. J. (2013). We Are All Completely Beside Ourselves. New York.Google Scholar
Fränkel, H. F. (1945). Ovid: A Poet between Two Worlds. Berkeley and Los Angeles.Google Scholar
French, R. K. (1994). Ancient Natural History: Histories of Nature. London and New York.Google Scholar
Fritz, J.-M. (2000). Paysages sonores du Moyen Âge: le versant épistémologique. Paris.Google Scholar
Frontisi-Ducroux, F. (1993). “Athéna et l’invention de la flûte.” Musica e storia 1: 239267.Google Scholar
Frontisi-Ducroux, F., and Vernant, J.-P. (1997). Dans l’Oeil du miroir. Paris.Google Scholar
Gagné, R. (2019). “Cosmic choruses: metaphor and performance,” in Horky, P. S. (ed.), Cosmos in the Ancient World. Cambridge and New York: 188211.Google Scholar
Gagné, R., and Herrero de Jáuregui, M. (eds.) (2019). Les dieux d’Homère II: anthropomorphismes. Liège.Google Scholar
Gagné, R., and Hopman, M. G. (eds.) (2013). Choral Mediations in Greek Tragedy. Cambridge and New York.CrossRefGoogle Scholar
Gaifman, M. (2020). “Animals in ancient Greek dedications,” in Kindt, J. (ed.), Animals in Ancient Greek Religion. London: 217238.Google Scholar
Galinsky, K. (1975). Ovid’s Metamorphoses: An Introduction to the Basic Aspects. Berkeley.Google Scholar
Gallavotti, C. (1972). “Le pernici di Alcmane.” Quaderni Urbinati di Cultura Classica 14: 3136.CrossRefGoogle Scholar
Gallo, F. A. (2007). Oci voci d’uccelli in testi medievali. Ravenna.Google Scholar
Gardiner, W. (1832). The Music of Nature; or, An Attempt to Prove That What Is Passionate and Pleasing in the Art of Singing, Speaking, and Performing Upon Musical Instruments, Is Derived From the Sounds of the Animated World. Boston.Google Scholar
Garelli, M. H. (2007). Danser le mythe: la pantomime et sa réception dans la culture antique. Louvain.Google Scholar
Gély, V., Haquette, J.-L., and Tomiche, A. (2006). Philomèle: figures du rossignol dans la tradition littéraire et artistique. Clermont-Ferrand.Google Scholar
Gentilcore, R. M. (2010). “The transformation of grief in Ovid’s Metamorphoses.” Syllecta Classica 21: 93118.Google Scholar
Gentili, B. (1971). “I frr. 39 e 40 P. di Alcmane e la poetica della mimesi nella cultura greca arcaica,” in Studi filologici e storici in onore di V. de Falco. Naples: 5967.Google Scholar
Georgioudi, S. (1974). “Quelques problèmes de la transhumance dans la Grèce ancienne,” Revue des Etudes Grecques 87: 155185.Google Scholar
Giannini, A. (1965). Paradoxographorum Graecorum reliquiae; recognovit, brevi adnotatione critica instruxit, latine reddidit Alexander Giannini. Milan.Google Scholar
Giannisi, P. (2004). “The cows and the poet in ancient Greece,” in Frizell, B. S. (ed.), Pecus: Man and Animal in Antiquity. Proceedings of the Conference at the Swedish Institute in Rome, September 9–12, 2002. Rome: 125128.Google Scholar
Gibert, J. (2009). “Euripides’ Antiope and the quiet life,” in Cousland, J. R. C. and Humes, J. R. (eds.), The Play of Texts and Fragments, Essays in Honour of M. Cropp. Leiden and Boston: 2334.Google Scholar
Gildenhard, I., and Zissos, A. (eds.) (2013). Transformative Change in Western Thought: A History of Metamorphosis from Homer to Hollywood. London.Google Scholar
Gilhus, I. S. (2006). Animals, Gods and Humans: Changing Attitudes to Animals in Greek, Roman and Early Christian Ideas. London and New York.Google Scholar
Gillespie, C. (2012). “Education in Eros through aesthetics in Daphnis and Chloe,” in Sluiter, I. and Rosen, R. (eds.), Aesthetic Value in Classical Antiquity. Leiden and Boston: 421446.CrossRefGoogle Scholar
Gleason, M. W. (1994). Making Men: Sophists and Self-Presentation in Ancient Rome. Princeton.Google Scholar
Gleason, M. W. (2001). “Mutilated messengers: body language in Josephus,” in Goldhill, S. (ed.), Being Greek under Rome: Cultural Identity, the Second Sophistic and the Development of Empire. Cambridge: 5085.Google Scholar
Gleason, M. W. (2009). “Shock and awe: the performance dimension of Galen’s anatomy demonstrations,” in Gill, C., Whitmarsh, T., and Wilkins, J. (eds.), Galen and the World of Knowledge. Cambridge: 85114.Google Scholar
Goehr, L. (1998). The Quest For Voice: On Music, Politics, and the Limits of Philosophy. The 1997 Ernest Bloch Lectures. Oxford and New York.Google Scholar
Goldhill, S. (1994). “The naive and knowing eye: ecphrasis and the culture of viewing in the Hellenistic world,” in Goldhill, S. and Osborne, R. (eds.), Art and Text in Ancient Greek Culture. Cambridge: 197223.Google Scholar
Goldhill, S. (1995). Foucault’s Virginity: Ancient Erotic Fiction and the History of Sexuality. Cambridge and New York.Google Scholar
Goldhill, S. (1999). “Body/politics: is there a history of reading?,” in Falkner, T. M., Felson, N., and Konstan, D. (eds.), Contextualizaing Classics: Essays in Honor of John J. Peradotto. Lanham, MD: 89120.Google Scholar
Goldhill, S. (2001). “The erotic eye: visual stimulation and cultural conflict,” in Goldhill, S. (ed.), Being Greek under Rome: Cultural Identity, the Second Sophistic, and the Development of Empire. Cambridge and New York: 154194.Google Scholar
Goldhill, S. (2007). “What is ekphrasis for?Classical Philology 102(1), special issue on ekphrasis, ed. Bartsch, Shadi and Elsner, Jaś: 119.Google Scholar
Goldhill, S. (2008). “Genre,” in Whitmarsh, T. (ed.), The Cambridge Companion to the Greek and Roman novel. Cambridge: 185200.Google Scholar
Gonzalez, F. J. (2015). “Of beasts and heroes: the promiscuity of humans,” in Bell, J. and Naas, M. (eds.), Plato’s Animals: Gadflies, Horses, Swans, and other Philosophical Beasts. Bloomington: 225245.Google Scholar
Goosens, R. (1948). “Identification de l’insecte appelé κεράμβυξ.” Antiquité Classique 17: 263267.Google Scholar
Gordon, R. L. (ed.) (1981). Myth, Religion and Society: Structualist Essays by M. Detienne, L. Gernet, J.-P. Vernant, and P. Vidal-Naquet. Cambridge.Google Scholar
Goslin, O. (2010). “Hesiod’s typhonomachy and the ordering of sound.” Transactions of the American Philological Association (1974–) 140(2): 351373.Google Scholar
Gottfried, B. (1993). “Pan, the cicadas, and Plato’s use of myth in the Phaedrus,” in Press, G. A. (ed.), Plato’s Dialogues: New Studies and Interpretations. Lanham, MD: 179195.Google Scholar
Gottschall, J. (2001). “Homer’s human animal: ritual combat in the Iliad.” Philosophy and literature 25: 278294.Google Scholar
Gow, A. S. F., and Scholfield, A. F. (1997). Nicander: The Poems and Poetical Fragments. Edited with Introduction, Translation, and Notes. London and Newburyport.Google Scholar
Greene, E., and Skinner, M. (2009). The New Sappho on Old Age: Textual and Philosophical Issues. Washington, DC and Cambridge, MA.Google Scholar
Gregory, A. (2018). “Pythagoras and Plato,” in Keyser, T. and Scarborough, J. (eds.), Oxford Handbook of Science and Medicine in the Classical World. Oxford.Google Scholar
Griffin, D. R. (1984). Animal Thinking. Cambridge, MA.Google Scholar
Griffin, M. (2015). Transforming Tales: Rewriting Metamorphosis in Medieval French Literature. Oxford.Google Scholar
Gritten, A. (2011). “Instrumental technology,” in Gracyk, T. and Kania, A. (eds.), The Routledge Companion to Philosophy and Music. London and New York: 187198.Google Scholar
Guattari, F. (1989). Les Trois écologies. Paris.Google Scholar
Gumpert, M. (2012). The End of Meaning: Studies in Catastrophe. Newcastle upon Tyne.Google Scholar
Gurd, S. (2016). Dissonance: Auditory Aesthetics in Ancient Greece. New York.Google Scholar
Gutzwiller, K. (2006). “The bucolic problem.” Classical Philology 101(4): 380404.Google Scholar
Gutzwiller, K. (2006). “The herdsman in Greek thought,” in Fantuzzi, M. and Papanghelis, T. (eds.), Brill’s Companion to Greek and Latin Pastoral. Leiden and Boston: 123.Google Scholar
Haas, G. (1985). Die Syrinx in der griechischen Bildkunst. Wien.Google Scholar
Hall, E. (1995). “The ass with double vision: politicising an ancient Greek novel,” in Margolies, D. and Jouannou, M. (eds.), Heart in a Heartless World: Essays in Cultural Resistance in Honour of Margot Heinemann. London: 4759.Google Scholar
Hall, E. (2002). “The singing actors of Antiquity,” in Easterling, P. E. and Hall, E. (eds.), Greek and Roman Actors: Aspects of an Ancient Profession. Cambridge: 338.Google Scholar
Hall, E., and Wyles, R. (eds.) (2008). New Directions in Ancient Pantomime. Oxford and New York.Google Scholar
Halliwell, S. (2002). The Aesthetics of Mimesis: Ancient Texts and Modern Problems Princeton.Google Scholar
Halliwell, S. (2012). “Amousia: living without the Muses,” in Sluiter, I. and Rosen, R. (eds.), Aesthetic Value in Classical Antiquity. Leiden and Boston: 1545.Google Scholar
Halperin, D. M. (1983). Before Pastoral, Theocritus and the Ancient Tradition of Bucolic Poetry. New Haven.Google Scholar
Hamilton, J. T. (2008). Music, Madness, and the Unworking of Language. New York.Google Scholar
Hankins, T. L., and Silverman, R. J. (1995). Instruments and the Imagination. Princeton.Google Scholar
Hansen, M. (2010). “New media,” in Mitchell, W. J. T. and Hansen, M. (eds.), Critical Terms for Media Studies. Chicago and London: 172185.Google Scholar
Haraway, D. J. (1991). Simians, Cyborgs, and Women: The Reinvention of Nature. London.Google Scholar
Haraway, D. J. (2003). The Companion Species Manifesto: Dogs, People, and Significant Otherness. Chicago.Google Scholar
Haraway, D. J. (2008). When Species Meet. Minneapolis.Google Scholar
Haraway, D. J. (2016). Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC.Google Scholar
Hardie, P. R. (1995). “The Speech of Pythagoras in Ovid Metamorphoses 15: Empedoclean Epos.” The Classical Quarterly 45(1): 204214.Google Scholar
Hardie, P. R. (2002). Ovid’s Poetics of Illusion. Cambridge and New York.Google Scholar
Harley, M. A. (1992). “The nightingale and the mysteries of the night: on realism and symbolism of the song of the nightingale in music.” Polish Musicological Quarterly. Muzyka 37: 1336.Google Scholar
Harrison, C. (2019). On Music, Sense, Affect, and Voice. London.CrossRefGoogle Scholar
Harrison, R. P. (1992). Forests: The Shadow of Civilization. Chicago.Google Scholar
Hartman, G. (1969). “The voice of the shuttle: language from the point of view of literature.” The Review of Metaphysics 23(2): 240258.Google Scholar
Hartshorne, C. (1973). Born to Sing: An Interpretation and World Survey of Bird Song. Bloomington.Google Scholar
Hauser, M. (2000). “The sound and the fury: primate vocalizations as reflections of emotion and thought,” in Wallin, N. L., Merker, B., and Brown, S. (eds.), The Origins of Music. Cambridge, MA and London: 77102.Google Scholar
Hawes, G. (ed). (2017). Myths on the Map: The Storied Landscapes of Ancient Greece. Oxford and New York.Google Scholar
Hayles, N. K. (1999). How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago.Google Scholar
Haynes, K. (2003). Fashioning the Feminine in the Greek Novel. London and New York.Google Scholar
Heath, J. (2005). The Talking Greeks: Speech, Animals, and Others in Homer, Aeschylus and Plato. Cambridge and New York.Google Scholar
Henderson, J., and Bewick, T. (2004). Aesop’s Human Zoo: Roman Stories about our Bodies. Chicago.Google Scholar
Henrichs, A. (1994). “Why should I dance? Choral self-referentiality in Greek tragedy.” Arion 3(1): 56111.Google Scholar
Herr, C., and Wessel, K. (2013). Gesang gegen die ‘Ordnung der Natur’?: Kastraten und Falsettisten in der Musikgeschichte. Kassel.Google Scholar
Hicks, A. J. (2017). Composing the World: Harmony in the Medieval Platonic Cosmos. Oxford and New York.Google Scholar
Higbie, C. (2009). “Hellenistic mythographers,” in Woodard, R. D. (ed.), The Cambridge Companion to Greek Mythology. Cambridge and New York: 237254.Google Scholar
Hillman, J. (1972). “An Essay on Pan,” in Pan and the Nightmare. New York: ilxiii.Google Scholar
Himmelman, J. (2011). Cricket Radio: Tuning in the Night-Singing Insects. Cambridge, MA.Google Scholar
Hinds, S. (1997). Allusion and Intertext: Dynamics of Appropriation in Roman Poetry. Cambridge and New York.Google Scholar
Hirt, K. M. (2010). When Machines Play Chopin: Musical Spirit and Automation in Nineteenth-Century German Literature. New York.Google Scholar
Hodgkinson, T. (2010). “On listening.” Perspectives of New Music 48(2): 152179.Google Scholar
Hollander, J. (1981). The Figure of Echo: A Mode of Allusion in Milton and After. Berkeley.Google Scholar
Holmes, B. (2017). “The generous text: animal intuition, human knowledge and written transmission in Pliny’s books on medicine,” in Formisano, M. and Van der Eijk, P. (eds.), Knowledge, Text and Practice in Ancient Technical Writing. Cambridge: 231251.Google Scholar
Holst-Warhaft, G. (1992). Dangerous Voices: Women’s Laments and Greek Literature. London and New York.Google Scholar
Holzberg, N. (2002). The Ancient Fable: An Introduction. Bloomington.Google Scholar
Holzmeyer, A. (2014). “Ekphrasis in the ancient novel,” in Cueva, E. P. and Byrne, S. N. (eds.), A Companion to the Ancient Novel. Malden, MA: 411424.Google Scholar
Horowitz, A. (2007). “Anthropomorphism,” in Bekoff, M. (ed.), Encyclopedia of Human-Animal Relationships. Westport: 6066.Google Scholar
Howe, T. (2008). Pastoral Politics: Animals, Agriculture, and Society in Ancient Greece. Claremont.Google Scholar
Hubbard, T. K. (1998). The Pipes of Pan: Intertextuality and Literary Filiation in the Pastoral Tradition from Theocritus to Milton. Ann Arbor.Google Scholar
Hughes, J. D. (1986). “Pan: environmental ethics in classical polytheism,” in Hargrove, E. C. (ed.), Religion and Environmental Crisis. Athens and London: 724.Google Scholar
Hunter, R. L. (1983). A Study of Daphnis & Chloe. Cambridge and New York.Google Scholar
Hunter, R. L. (1999). Theocritus: A Selection. Cambridge and New York.Google Scholar
Hunter, R. L. (2008). “Ancient readers,” in Whitmarsh, T. (ed.), The Cambridge Companion to the Greek and Roman Novel. Cambridge and New York: 261271.Google Scholar
Ihde, D. (1973). Sense and Significance. Pittsburgh.Google Scholar
Ihde, D. (2007). Listening and Voice: A Phenomenology of Sound (second ed.). Athens, OH.Google Scholar
Ingleheart, J. (2008). “Et mea sunt populo saltata poemata saepe (Tristia 2.519): Ovid and the pantomime,” in Hall, E. and Wyles, R. (eds.), New Directions in Ancient Pantomime. Oxford and New York: 198217.Google Scholar
Ingold, T. (1988a). “Introduction,” in Ingold, T. (ed.), What Is an Animal? London: 116.Google Scholar
Ingold, T. (ed.) (1988b). What Is an Animal? London and Boston.Google Scholar
Ingram, D. (2010). The Jukebox in the Garden: Ecocriticism and American Popular Music since 1960. Amsterdam and New York.CrossRefGoogle Scholar
Jacobsen, G. A. (1984). “Apollo and Tereus: Parallel Motifs in Ovid’s Metamorphoses. The Classical Journal 80(1): 4552.Google Scholar
Janan, M. W. (2009). Reflections in a Serpent’s Eye: Thebes in Ovid’s Metamorphoses. Oxford.CrossRefGoogle Scholar
Jones, M. (2012). Playing the Man: Performing Masculinities in the Ancient Greek Novel. Oxford.Google Scholar
Joplin, P. (1991). “The voice of the shuttle is ours,” in Higgins, L. A. and Silver, B. R. (eds.), Rape and Representation. New York: 3564.Google Scholar
Kafka, F. (1983). The Complete Stories, edited by Glatzer, N. N., with a new foreword by Updike, J.. New York.Google Scholar
Kane, B. (2012). “Jean-Luc Nancy and the listening subject.” Contemporary Music Review 31(5–6): 439447.Google Scholar
Kane, B. (2014). Sound Unseen: Acousmatic Sound in Theory and Practice. Oxford and New York.Google Scholar
Kaster, R. A. (2005). Emotion, Restraint, and Community in Ancient Rome. Oxford and New York.Google Scholar
Katz, M. (1991). Penelope’s Renown: Meaning and Indeterminacy in the Odyssey. Princeton.Google Scholar
Kaufhold, S. D. (1997). “Ovid’s Tereus: fire, birds, and the reification of figurative language.” Classical Philology 92(1): 6671.Google Scholar
Keeton, W. T. (1967). Biological Science. New York.Google Scholar
Keith, A. (2002). “Sources and genres in Ovid’s Metamorphoses,” in Boyd, B. (ed.), Brill’s Companion to Ovid. Leiden and Boston: 235269.Google Scholar
Keller, O. (1963). Die antike Tierwelt (2 vols.). Hildesheim.Google Scholar
Kennedy, J. S. (1992). The New Anthropomorphism. Cambridge and New York.Google Scholar
Kenney, E. J. (1976). “Ovidius Proemians.” PCPS 22: 4653.Google Scholar
Kestner, J. (1973). “Ekphrasis as frame in Longus’ Daphnis and Chloe.” Classical World 67: 166171.Google Scholar
Kevan, K. M., and Vickery, V. R. (1978). The Land of the Locusts: Being Some Further Verses on Grigs and Cicadas. Sainte-Anne-de-Bellevue.Google Scholar
Kindstrand, J. F. (1998). “Claudius Aelianus und sein Werk.” Aufstieg und Niedergang der Römischen Welt 34(4): 29542996.Google Scholar
Kittler, F. A. (1999). Gramophone, Film, Typewriter. Stanford.Google Scholar
Kittler, W. (2018). Echos Widerhall. Von Freud zu Lacan. Berlin.Google Scholar
Kivy, P. (1989). Sound Sentiment: An Essay on the Musical Emotions, Including the Complete Text of The Corded Shell. Philadelphia.Google Scholar
Kivy, P. (1990). Music Alone: Philosophical Reflections on the Purely Musical Experience. Ithaca, NY.Google Scholar
Klein, T. M. (1980). “Myth, song and theft in the Homeric Hymn to Hermes,” in Aycock, W. M. and Klein, T. M. (eds.), Classical Mythology in Twentieth-Century Thought and Literature. Lubbock: 125144.Google Scholar
Kleingünther, A. (1933). “πρῶτος εὑρετής.” Philologus suppl. B, 26(1): 5963.Google Scholar
Koenen, M. (1999). “Lucretius’ explanation of hearing in De rerum natura IV 524–562.” Mnemosyne 52: 434463.Google Scholar
Koenen, M. (2004). “Loca loquuntur. Lucretius’ explanation of the echo and other acoustic phenomena in DRN 4.563–614.” Mnemosyne 57(6): 698724.Google Scholar
Kohn, E. (2013). How Forests Think: Toward an Anthropology beyond the Human. Berkeley.Google Scholar
König, J., and Whitmarsh, T. (eds.) (2007). Ordering Knowledge in the Roman Empire. Cambridge and New York.Google Scholar
Konstan, D. (1994). Sexual Symmetry: Love in the Ancient Novel and Related Genres. Princeton.Google Scholar
Konstan, D. (2006). The Emotions of the Ancient Greeks: Studies in Aristotle and Classical Literature. Toronto.Google Scholar
Kossaifi, C. (2012). “The legend of Phatta in Longus’ Daphnis and Chloe.” The American Journal of Philology 133(4): 573600.Google Scholar
Kramarz, A. (2016). The Power and Value of Music: Its Effect and Ethos in Classical Authors and Contemporary Music Theory. New York and Bern.Google Scholar
Kramarz, A. (2017). “Is the idea of “musical emotion” present in classical antiquity?Greek and Roman Musical Studies 5(1): 117.Google Scholar
Kraus, C. S. (1999). “Dangerous supplements: etymology and genealogy in Euripides’ Heracles.” The Cambridge Classical Journal 44: 137157.Google Scholar
Krause, B. L. (2012). The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places. New York.Google Scholar
Kristeller, P. O. (1951). “The modern system of the arts: a study in the history of aesthetics - part 1.” Journal of the History of Ideas 12(4): 496527.Google Scholar
Kristeller, P. O. (1952). “The modern system of the arts: a study in the history of aesthetics - part 2.” Journal of the History of Ideas 13(1): 1746.Google Scholar
Kroodsma, D. E. (2005). The Singing Life of Birds: The Art and Science of Listening to Birdsong. Boston.Google Scholar
Krueger, J. (2013). “Empathy, enaction, and shared musical experience – evidence from infant cognition,” in Cochrane, T., Fantini, B., and Scherer, K. R. (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control. Oxford: 177196.Google Scholar
LaBelle, B. (2014). Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary. New York.Google Scholar
Lachenaud, G. (2013). Les Routes de la voix: l’antiquité grecque et le mystère de la voix. Paris.Google Scholar
Lada-Richards, I. (2007). Silent Eloquence: Lucian and Pantomime Dancing. London.Google Scholar
Lada-Richards, I. (2013). “Mutata corpora: Ovid’s changing forms and the metamorphic bodies of pantomime dancing.” TAPA 143(1): 105152.Google Scholar
Lafaye, G. (1904). Etudes sur les Métamorphoses d’Ovide et leurs modèles grecs. Paris.Google Scholar
Laferrière, C. (in press). “Looking at divine song: the aesthetics of music in Greek vase-painting,” in Creese, D. and Destrée, P. (eds.), The Beauties of Song: Aesthetic Appreciations of Music in the Greek and Roman World. Cambridge and New York.Google Scholar
Lalanne, S. (2006). Une Education grecque: rites de passage et construction des genres dans le roman grec ancien. Paris.Google Scholar
Larson, J. (2001). Greek Nymphs: Myth, Cult, Lore. Oxford and New York.Google Scholar
Larson, J. (2007). “A land full of gods: nature deities in Greek religion,” in Ogden, D. (ed.), A Companion to Greek Religion. Malden, MA and Oxford: 5670.Google Scholar
Lather, A. (2019). “Pindar’s water music: the acoustics and dynamics of the kelados.” Classical Philology 114(3): 468481.Google Scholar
Latour, B. (2004). Politics of Nature: How to Bring the Sciences into Democracy. Cambridge, MA.Google Scholar
Latour, B. (2014). “Agency at the time of the anthropocene.” New Literary History 45: 118.Google Scholar
Leach, E. E. (2007). Sung Birds: Music, Nature, and Poetry in the Later Middle Ages. Ithaca, NY.Google Scholar
Leach, E. W. (1974). “Ekphrasis and the theme of artistic failure in Ovid’s Metamorphoses.” Ramus 3: 102142.Google Scholar
Leclercq-Neveu, B. (1989). “Marsyas, le martyr de l’aulos.” Mètis 4: 251268.Google Scholar
Lefkowitz, J. (2014). “Aesop and animal fables,” in Campbell, G. L. (ed.), The Oxford Handbook to Animals in Classical Thought and Life. Oxford: 123.Google Scholar
Leigh Fermor, P. (1958). Mani: Travels in the Southern Peloponnese. New York.Google Scholar
Leppert, R. (2011). “Music, violence, and the stakes of listening,” in Fulcher, J. (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford: 3967.Google Scholar
Létoublon, F. (2004). “Le rossignol, l’hirondelle et l’araignée: comparaison, métaphore et métamorphose.” Europe 904–905: 73102.Google Scholar
Létoublon, F. (2016). “L’instant de la métamorphose,” in Faure, R., Zucker, A., and Mellet, S. (eds.), Poétique de la syntaxe, rythmique de la langue. Hommages à Michèle Biraud. Nancy: 155182.Google Scholar
Levaniouk, O. (2011). Eve of the Festival: Making Myth in Odyssey 19. Washington, DC and Cambridge, MA.Google Scholar
LeVen, P. A. (2014). The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge and New York.CrossRefGoogle Scholar
LeVen, P. A. (2016). “‘It is Orpheus when there is singing’: mythical fabric of musical lives,” in Hanink, J. and Fletcher, R. (eds.), Creative Lives. Cambridge and New York: 243273.Google Scholar
LeVen, P. A. (2018a). “Doing philosophy in the elephant’s mouth: three readings of two ekphrases in Achilles Tatius, Leucippe and Clitophon, IV, 2–5,” in Cueva, E. P. (ed.), Re-Wiring the Ancient Novel I. Groningen: 109125.Google Scholar
LeVen, P. A. (2018b). “Echo and the gramophone: the invention of the lyric listener,” in Budelmann, F. and Phillips, T. (eds.), Textual Events: Performance and the Lyric. Oxford and New York: 213233.Google Scholar
LeVen, P. A. (2018c). “Echo’s bones and the metamorphoses of the voice.” Greek and Roman Musical Studies 6: 1425.Google Scholar
LeVen, P. A. (2019). “The erogenous ear,” in Butler, S. and Nooter, S. (eds.), Sound and the Ancient Senses. London and New York: 212232.Google Scholar
Lévi-Strauss, C. (1964). Le Cru et le cuit. Paris.Google Scholar
Levinson, J. (1996). The Pleasures of Aesthetics: Philosophical Essays. Ithaca, NY and London.Google Scholar
Leydi, R. (1991). L’Altra Musica: Etnomusicologia, come abbiamo incontrato e creduto di conoscere le musiche delle tradizioni popolari ed etniche. Florence.Google Scholar
Liapis, V. J. (2006). “Achilles Tatius as a reader of Sophocles.” Classical Quarterly 56(1): 220238.Google Scholar
Liapis, V. J. (2008). “Achilles Tatius and Sophocles’ “Tereus”: a corrigendum and an addendum.” Classical Quarterly 58(1): 335336.Google Scholar
Lightfoot, J. L. (1999). Parthenius of Nicaea: The Poetical fragments and the Erôtika pathêmata. Oxford and New York.Google Scholar
Lipkind, D. et al. (2013). “Stepwise acquisition of vocal combinatorial capacity in songbirds and human infants.” Nature 498: 104109.Google Scholar
Lissarague, F. (1997). “L’homme, le singe et le satyre,” in Cassin, B. and Labarrière, J.-L. (eds.), L’Animal dans l’Antiquité. Paris: 455472.Google Scholar
Liveley, G. (1999). “Reading resistance in Ovid’s Metamorphoses,” in Hardie, P. R., Barchiesi, A. and Hinds, S. (eds.), Ovidian Transformations: Essays on the Metamorphoses and its Reception. Cambridge: 197213.Google Scholar
Lonsdale, S. (1990). Creatures of Speech: Lion, Herding, and Hunting Similes in the Iliad. Stuttgart.Google Scholar
Lonsdale, S. H. (1979). “Attitudes towards animals in ancient Greece.” Greece & Rome 26(2): 146159.Google Scholar
Loraux, N. (1990). Les Mères en deuil. Paris.Google Scholar
Loraux, N. (1999). La Voix endeuillée: essai sur la tragédie grecque. Paris.Google Scholar
Love, G. A. (1992). “Et in Arcadia ego: pastoral theory meets ecocriticism.” Western American Literature 27(3): 195207.Google Scholar
Lovelock, J. (1979). Gaia, a New Look at Life on Earth. Oxford and New York.Google Scholar
Lummaa, K. (2016). “An avian-human art? Affective and effective relations between birdsong and poetry,” in Nyman, J. and Schuurman, N. (eds.), Affect, Space and Animals. Abington and New York: 163178.Google Scholar
Lyyvuo, E. (1946). Pieniä laulajia: linturunoja. Helsinki.Google Scholar
Mâche, F. B. (1983). Musique, mythe, nature, ou, les dauphins d’Arion. Paris.Google Scholar
MacKinnon, J. E. (1996). “Artistic expression and the claims of the arousal theory.” British Journal of Aesthetics 36: 278289.Google Scholar
MacQueen, B. D. (1985). “Longus and the myth of Chloe.” Illinois Classical Studies 10(1): 119134.Google Scholar
MacQueen, B. D. (1990). Myth, Rhetoric, and Fiction: A Reading of Longus’s Daphnis and Chloe. Lincoln.Google Scholar
Mansfield, O. A. (1921). “The cuckoo and nightingale in music.” The Musical Quarterly 7(2): 261277.Google Scholar
Mansfield, O. A. (1926). “William Gardiner, of Leicester.” The Musical Times 67(1004): 900902.Google Scholar
Marler, P., and Slabbekoorn, H. W. (eds.) (2004). Nature’s Music: The Science of Birdsong. Amsterdam and Boston.Google Scholar
Marler, P. R. (2000). “Origins of music and speech: insights from animals,” in Wallin, N. L., Merker, B., and Brown, S. (eds.), The Origins of Music. Cambridge, MA: 3148.Google Scholar
Martano, A., Matelli, E., and Mirhady, D. C. (2012). Praxiphanes of Mytilene and Chamaeleon of Heraclea: Text, Translation, and Discussion. New Brunswick.Google Scholar
Martin, R. (2003). “The pipes are brawling: conceptualizing musical performance in Athens,” in Dougherty, C. and Kurke, L. (eds.), The Cultures within Ancient Greek Culture: Contact, Conflict, Collaboration. Cambridge and New York: 153180.Google Scholar
Martin, R. P. (1989). The Language of Heroes: Speech and Performance in the Iliad. Ithaca, NY.Google Scholar
Martinelli, D. (2009). Of Birds, Whales, and Other Musicians: An Introduction to Zoomusicology. Scranton and Chicago.Google Scholar
Mason, H. (1979). “Longus and the topography of Lesbos.” TAPA 109: 149163.Google Scholar
Mathieu-Castellani, G. (2016). Le Rossignol poète dans l’Antiquité et à la Renaissance. Paris.Google Scholar
Matravers, D. (2011). “Arousal theories,” in Gracyk, T. and Kania, A. (eds.), The Routlege Companion to Philosophy and Music. Abingdon and New York: 212222.Google Scholar
Mattila, R., Ito, S., and Fink, S. (eds.) (2019). Animals and Their Relation to Gods, Humans and Things in the Ancient World. Wiesbaden.Google Scholar
Mauerhofer, K. (2004). Der Hylas-Mythos in der antiken Literatur. Munich.Google Scholar
McInerney, J. (2006). “On the border: sacred land and the origins of the community,” in Rosen, R. and Sluiter, I. (eds.), City, Countryside, and the Spatial Organization of Value in Classical Antiquity. Leiden: 3360.Google Scholar
McInerney, J. (2010). The Cattle of the Sun: Cows and Culture in the World of the Ancient Greeks. Princeton.Google Scholar
McKinnon, J. (1984). “The rejection of the aulos in classical Greece,” in Strainchamps, E. (ed.), Music and Civilization: Essays in Honor of Paul Henry Lang. New York: 203214.Google Scholar
McLuhan, M. (2011). Understanding Media: The Extensions of Man [1964], critical ed. Gordon, W. Terrence. Berkeley.Google Scholar
Melidis, K. (2010–2011). “The profession of ‘phonaskos’ as revealed in ancient inscriptions and medical texts,” in Castaldo, D., Giannachi, F., and Manieri, A. (eds.), Poesia, musica e agoni nella Grecia antica: atti del IV convegno internazionale di MOISA (Lecce, 28–30 ottobre 2010). Lecce.Google Scholar
Melidis, K. (2019). “Quelle vocalité? Deux exercices vocaux de l’antiquité gréco-romaine,” in Delavaud-Roux, M. H. (ed.), Corps et voix dans les danses du théâtre antique. Rennes: 2943.Google Scholar
Melidis, K. (2020). “The vocal art in Greco-Roman antiquity,” in Lynch, T. and Rocconi, E. (eds.), The Routledge Companion to Greek and Roman Music. London and New York: 201212.Google Scholar
Merchant, C. (1989). The Death of Nature: Women, Ecology, and the Scientific Revolution. New York.Google Scholar
Merriam, A. P. (1964). The Anthropology of Music. Evanston.Google Scholar
Michaelides, S. (1978). The Music of Ancient Greece: An Encyclopaedia. London.Google Scholar
Mili, M. (2015). Religion and Society in Ancient Thessaly. Oxford.Google Scholar
Miller, D. P., and Reill, P. H. (1996). Visions of Empire: Voyages, Botany, and Representations of Nature. Cambridge and New York.Google Scholar
Miller, N. K. (1986). The Poetics of Gender. New York.Google Scholar
Mithen, S. J. (2005). The Singing Neanderthals: The Origins of Music, Language, Mind and Body. London.Google Scholar
Mittelstadt, M. (1970). “Bucolic-lyric motifs and dramatic narrative in Longus’ Daphnis and Chloe.” Rheinisches Museum für Philologie 113 (2–3): 211227.Google Scholar
Moisala, P., Leppänen, T., Tiainen, M., and Väätäinen, H. (2014). “Noticing musical becomings: Deleuzian and Guattarian approaches to ethnographic studies of musicking.” Current Musicology 98: 7193.Google Scholar
Montiglio, S. (2000). Silence in the Land of Logos. Princeton.Google Scholar
Montiglio, S. (2012). “The (cultural) harmony of nature: music, love, and order in Daphnis and Chloe.” Transactions of the American Philological Association 142(1): 133156.Google Scholar
Moore, B. L. (2008). Ecology and Literature: Ecocentric Personification from Antiquity to the Twenty-First Century. New York.Google Scholar
Moore, B. L. (2017). Ecological Literature and the Critique of Anthropocentrism. New York and Secaucus.Google Scholar
Morales, H. (1995). “The taming of the view: natural curiosities in Leukippe and Clitophon,” in Schmeling, G. L. (ed.), Groningen Colloquia on the Novel. Groningen: 3950.Google Scholar
Morales, H. (2000). “Sense and sententiousness in the ancient Greek movels,” in Sharrock, A. and Morales, H. (eds.), Intratextuality. Oxford: 6788.Google Scholar
Morales, H. (2004). Vision and Narrative in Achilles Tatius’ Leucippe and Clitophon. Cambridge and New York.Google Scholar
Morales, H. (2008). “The history of sexuality,” in Whitmarsh, T. (ed.), The Cambridge Companion to the Greek and Roman Novel. Cambridge: 3955.Google Scholar
Morgan, J. R. (2004). Longus: Daphnis and Chloe. Oxford.Google Scholar
Morgan, K. A. (2000). Myth and Philosophy from the Presocratics to Plato. Cambridge and New York.Google Scholar
Morley, I. (2013). The Prehistory of Music: Human Evolution, Archaeology, and the Origins of Musicality. Oxford.Google Scholar
Morton, T. (2007). Ecology without Nature: Rethinking Environmental Aesthetics. Cambridge, MA.Google Scholar
Moseley, R. (2015). “Digital analogies: the keyboard as field of musical play.” Journal of the American Musicological Society 68(1): 151227.Google Scholar
Mueller, M. (2016). Objects as Actors: Props and the Poetics of Performance in Greek Tragedy. Chicago.Google Scholar
Mundy, R. (2018). Animal Musicalities: Birds, Beasts, and Evolutionary Listening. Middletown.Google Scholar
Murley, C. (1940). “Plato’s Phaedrus and the Theocritean pastoral.” Transactions and Proceedings of the American Philological Association 140: 281295.Google Scholar
Murphy, T. (2003). “Pliny’s Naturalis Historia: the prodigal text,” in Boyle, A. and Dominik, W. (eds.), Flavian Rome: Culture, Image, Text. Leiden: 301322.Google Scholar
Murphy, T. (2004). Pliny the Elder’s Natural History: The Empire in the Encyclopaedia. Oxford.Google Scholar
Myers, J. G. (1929). Insect Singers: A Natural History of the Cicadas. London.Google Scholar
Myers, K. S. (1994). Ovid’s Causes: Cosmogony and Aetiology in the Metamorphoses. Ann Arbor.Google Scholar
Mynott, J. (2019). Birds in the Ancient World. Oxford.Google Scholar
Naas, V. (2002). Le Projet encyclopédique de Pline l’Ancien. Rome.Google Scholar
Nagel, T. (1974). “What is it like to be a bat.” Philosophical Review 83: 435450.Google Scholar
Nagy, G. (1996). Poetry as Performance: Homer and Beyond. Cambridge and New York.Google Scholar
Nehamas, A. (2007). Only a Promise of Happiness: The Place of Beauty in a World of Art. Princeton.Google Scholar
Néraudau, J.-P. (1989). Ovide ou les dissidences du poète. Métamorphoses livre XV. Paris.Google Scholar
Newlands, C. E. (1987). “‘Techne’ and ‘Tuche’ in Longus’ Daphnis and Chloe.” Pacific Coast Philology 22(1–2): 5258.Google Scholar
Newmyer, S. T. (2006). Animals, Rights, and Reason in Plutarch and Modern Ethics. New York.Google Scholar
Newmyer, S. T. (2017). The Animal and the Human in Ancient and Modern Thought: The “Man Alone of Animals” Concept. Abingdon and New York.Google Scholar
Nooter, S. (2017). The Mortal Voice in the Tragedies of Aeschylus. Cambridge and New York.Google Scholar
Nooter, S. (2019). “Sounds of the stage,” in Butler, S. and Nooter, S. (eds.), Sound and the Ancient Senses. London and New York: 198211.Google Scholar
Nouvet, C. (1991). “An impossible response: the disaster of Narcissus.” Yale French Studies 79: 103134.Google Scholar
Obbink, D. (2009). “Text, apparatus criticus, and translation,” in Greene, E. and Skinner, M. (eds.), New Sappho on Old Age. Cambridge, MA: 717.Google Scholar
Ortner, S. B. (1972). “Is female to male as nature is to culture?Feminist Studies 1 2: 531.Google Scholar
Osborne, C. (2007). Dumb Beasts and Dead Philosophers: Humanity and the Humane in Ancient Philosophy and Literature. Oxford and New York.Google Scholar
Pache, C. O. (2011). A Moment’s Ornament: The Poetics of Nympholepsy in Ancient Greece. New York.Google Scholar
Panofsky, E. (2012). “On the problem of describing and interpreting works of the visual arts.” Critical Inquiry 38(3): 467482.Google Scholar
Papadopoulou-Belmehdi, I. (1994). Le Chant de Pénélope: poétique du tissage féminin dans l’Odyssée. Paris.Google Scholar
Papaioannou, S. (2005). Epic Succession and Dissension: Ovid, Metamorphoses 13.623–14.582, and the Reinvention of the Aeneid. Berlin and New York.Google Scholar
Papathomopoulos, M. (1968). Antonin Liberalis: Les Métamorphoses. Texte établi, traduit et commenté. Paris.Google Scholar
Parikka, J. (2010). Insect Media: An Archaeology of Animals and Technology. Minneapolis.Google Scholar
Payne, M. (2009). “Pastoral,” in Eldridge, R. (ed.), The Oxford Handbook of Philosophy and Literature. Oxford: 117138.Google Scholar
Payne, M. (2010). The Animal Part: Human and Other Animals in the Poetic Imagination. Chicago.Google Scholar
Payne, M. (2018). “Poetry, vegetality, relief from being.” Environmental Philosophy 15(2): 255274.Google Scholar
Payne, M. (in press). “Theocritus and nonhuman life,” in Sistakou, E., Rengakos, A., and Kyriakou, P. (eds.), The Brill Companion to Theocritus. Leiden.Google Scholar
Péché, V., and Vendries, C. (eds.) (2001). Musique et spectacles dans la Rome antique et l’Occident romain. Paris.Google Scholar
Pedelty, M. (2012). Ecomusicology: Rock, Folk, and the Environment. Philadelphia.Google Scholar
Peponi, A.-E. (2012). Frontiers of Pleasure: Models of Aesthetic Response in Archaic and Classical Greek Thought. New York.Google Scholar
Perkins, J. (1995). The Suffering Self: Pain and Narrative Representation in Early Christian Era. London and New York.Google Scholar
Perry, B. E. (1965). Babrius and Phaedrus, newly edited and translated into English, together with an historical introduction and a comprehensive survey of Greek and Latin fables in the Aesopic tradition. Cambridge, MA and London.Google Scholar
Perutelli, A. (1976). “Natura selvatica e genere bucolico.” ASNP 5: 763775.Google Scholar
Peters, J. D. (2015). The Marvelous Clouds: Toward a Philosophy of Elemental Media. Chicago and London.Google Scholar
Pfeffer, W. (1985). The Change of Philomel: The Nightingale in Medieval Literature. New York.Google Scholar
Philippides, M. (1980). “The ‘digressive’ aitia in Longus.” The Classical World 74(4): 193199.Google Scholar
Platt, V. J. (2011). Facing the Gods: Epiphany and Representation in Graeco-Roman Art, Literature and Religion. Cambridge and New York.Google Scholar
Plazenet, L. (1997). L’Ebahissement et la délectation: réception comparée et poétique du roman grec en France et en Angleterre aux XVIe et XVIIe siècles. Paris.Google Scholar
Plepelits, K. (2003). “Achilles Tatius,” in Schmeling, G. L. (ed.), The Novel in the Ancient World (rev. ed.). Boston and Leiden: 387416.Google Scholar
Plumwood, V. (1993). Feminism and the Mastery of Nature. London and New York.Google Scholar
Porter, J. I. (2010a). Origins of Aesthetic Thought in Ancient Greece: Matter, Sensation, and Experience. Cambridge and New York.Google Scholar
Porter, J. I. (2010b). “Rhetoric, aesthetics and the voice,” in Gunderson, E. (ed.), The Cambridge Companion to Ancient Rhetoric. Cambridge and New York: 92108.Google Scholar
Porter, J. I. (2013). “Why are there nine muses?” in Butler, S. and Purves, A. C. (eds.), Synaesthesia and the Ancient Senses. London: 926.Google Scholar
Porter, J. I. (2016). The Sublime in Antiquity. Oxford and New York.Google Scholar
Powell, J. U. (1925). Collectanea alexandrina: reliquiae minores poetarum graecorum aetatis ptolemaicae, 323–146 A.C., epicorum, elegiacorum, lyricorum, ethicorum. Oxford.Google Scholar
Power, T. C. (2010). The Culture of Kitharôidia. Washington, DC and Cambridge, MA.Google Scholar
Prioux, E. (2010). “Emotions in ecphrasis and art criticism,” in Munteanu, D. LaCourse (ed.), Emotion, Genre and Gender in Classical Antiquity. London: 135174.Google Scholar
Prochnik, G. (2010). In Pursuit of Silence: Listening for Meaning in a World of Noise. New York.Google Scholar
Pucci, P. (1980). “The language of the Muses,” in Aycock, W. M. and Klein, T. M. (eds.), Classical Mythology in Twentieth-Century Thought and Literature. Lubbock: 163186.Google Scholar
Pucci, P. (1997). The Song of the Sirens: Essays on Homer. Lanham, MD.Google Scholar
Raval, S. (2003). “Stealing the language: Echo in Metamorphoses 3,” in Thibodeau, P. and Haskell, H. (eds.), Being There Together: Essays in Honor of Michael C. J. Putnam on the Occasion of His Seventieth Birthday. Afton.Google Scholar
Reardon, B. P. (1994). “Achilles Tatius and ego-narrative,” in Morgan, J. R. and Stoneman, R. (eds.), Greek Fiction: The Greek Novel in Context. London and New York: 8096.Google Scholar
Rehding, A. (2002). “Eco-musicology.” Journal of the Royal Musical Association 127(2): 305320.Google Scholar
Rehding, A. (2011). “Ecomusicology between apocalypse and nostalgia.” Journal of the American Musicological Society 64(2): 409414.Google Scholar
Renehan, R. (1981). “The Greek anthropocentric view of man.” Harvard Studies in Classical Philology 85: 239259.Google Scholar
Repici, L. (2000). Uomini capovolti: le piante nel pensiero dei Greci. Rome and Bari.Google Scholar
Restani, D. (ed.) (1995). Musica e mito nella Grecia antica. Bologna.Google Scholar
Rhodes, J. M. (2003). Eros, Wisdom, and Silence: Plato’s Erotic Dialogues. Columbia.Google Scholar
Richardson, N. J. (2010). Three Homeric Hymns: To Apollo, Hermes, and Aphrodite. Cambridge and New York.Google Scholar
Rimell, V. (2006). Ovid’s Lovers: Desire, Difference and the Poetic Imagination. Cambridge and New York.Google Scholar
Rimmon-Kenan, S. (1980). “The paradoxical status of repetition.” Poetics Today 1(4): 151159.Google Scholar
Robinson, J. (2004). “The emotions in art,” in Kivy, P. (ed.), The Blackwell Guide to Aesthetics. Malden, MA: 174192.Google Scholar
Robinson, J., and Hatten, R. (2012). “Emotions in music.” Music Theory Spectrum 34(2): 71106.Google Scholar
Rocchi, M. (2000). “Kerambos e le nevi dell’ Othrys,” in Pirenne-Delforge, V. and Suárez de la Torre, E. (eds.), Héros et héroïnes dans les mythes et les cultes grecs. Actes du colloque organisé à l’Université de Valladolid, du 26 au 29 mai 1999. Liège: 217–27.Google Scholar
Rocconi, E. (2003). Le parole delle muse: la formazione del lessico tecnico musicale nella Grecia classica. Rome.Google Scholar
Roden, D. (2015). Posthuman Life: Philosophy at the Edge of the Human. London.Google Scholar
Roitblat, H. L., Bever, T. G., and Terrace, H. S. (eds.) (1984). Animal Cognition: Proceedings of the Harry Frank Guggenheim Conference, June 2–4, 1982. Hillsdale, NJ.Google Scholar
Rosati, G. (1976). “Narciso o l’illusione dissolta.” Maia 28(2): 83108.Google Scholar
Rosati, G. (1983). Narciso e Pigmalione: illusione e spettacolo nelle Metamorfosi di Ovidio. Florence.Google Scholar
Rosen, R. M., and Sluiter, I. (eds.) (2012). Aesthetic Value in Classical Antiquity Leiden and Boston.Google Scholar
Rothenberg, D. (2005). Why Birds Sing: A Journey through the Mystery of Bird Song. New York.Google Scholar
Rothenberg, D. (2011). Survival of the Beautiful: Art, Science, and Evolution. New York.Google Scholar
Rothenberg, D. (2013). Bug Music: How Insects Gave Us Rhythm and Noise. New York.Google Scholar
Rothenberg, D., and Ulvaeus, M. (eds.) (2009). The Book of Music and Nature: An Anthology of Sounds, Words, Thoughts. Middletown, CT.Google Scholar
Rothwell, K. (2007). Nature, Culture, and the Origins of Greek Comedy: A Study of Animal Choruses. Cambridge and New York.Google Scholar
Rotstein, A. (2010). The Idea of Iambos. Oxford and New York.Google Scholar
Rousselle, A. (1983). “Parole et inspiration: le travail de la voix dans le monde romain.” History and Philosophy of the Life Sciences 5(2): 129157.Google Scholar
Rowe, C. J. (1986). Plato Phaedrus, edited with an introduction, translations, and notes. Warminster.Google Scholar
Rowell, L. E. (1983). Thinking About Music: An Introduction to the Philosophy of Music. Amherst.Google Scholar
Russo, J. (1982). “Interview and aftermath: dream, fantasy, and intuition in Odyssey 19 and 20.” American Journal of Philology 103(1): 418.Google Scholar
Sanchez, R. (2011). “‘Human bodies are words’: towards a theory of non-verbal voice.” CEA Critic 73(3): 3347.Google Scholar
Santese, G. (1994). “Animali e razionalità in Plutarco,” in Castignone, S. and Latana, G. (eds.), Filosofi e animali nel mondo antico. Pisa: 141170.Google Scholar
Scarry, E. (1999). On Beauty and Being Just. Princeton.Google Scholar
Schaeffer, P. (1966). Traité des objets musicaux: essai interdisciplines. Paris.Google Scholar
Schafer, R. M. (1977). The Tuning of the World. New York.Google Scholar
Scheid, J., and Svenbro, J. (2014). La Tortue et la lyre: dans l’atelier du mythe antique. Paris.Google Scholar
Schenker, D. (2006). “The strangeness of the Phaedrus.” American Journal of Philology 127(1): 6787.Google Scholar
Schlapbach, K. (2015). “Music and meaning in Longus’ Daphnis and Chloe: the inset tales in their performative settings.” Phoenix 69(1/2): 7999.Google Scholar
Schlapbach, K. (2018). The Anatomy of Dance Discourse: Literary and Philosophical Approaches to Dance in the Later Greco-Roman World. Oxford and New York.Google Scholar
Schmitz-Emans, M. (2008). “Spiegel-Echo-Wiederholungen: Stichworte zum Themenfeld,” in Röttgers, K. and Schmitz-Emans, M. (eds.), Spiegel, Echo, Wiederholungen. Essen: 165207.Google Scholar
Schmitz-Emans, M. (2010). “Metamorphosis and metempsychosis,” in Schmitz-Emans, M. and Schmeling, G. L. (eds.), Fortgesetzte Metamorphosen. Ovid und die Ästhetische Moderne. Continuing Metamorphoses. Ovid and Aesthetic Modernity. Würzburg: 143159.Google Scholar
Schneider, M. (1960). “Le rôle de la musique dans la mythologie et les rites des civilisations non européennes,” in Manuel, R. (ed.), Histoire de la musique, Vol. I: des origines à Jean-Sébastien Bach. Paris: 131214.Google Scholar
Sebeok, T. A. (1972). Perspectives in Zoosemiotics. The Hague.Google Scholar
Segal, C. (1975). “Landscape into myth: Theocritus’ bucolic poetry.” Ramus 4: 115139.Google Scholar
Segal, C. (1978). “The menace of Dionysus: sex roles and reversals in Euripides’ Bacchae.” Arethusa 11: 185202.Google Scholar
Segal, C. (1981). Tragedy and Civilization: An Interpretation of Sophocles. Cambridge, MA.Google Scholar
Segal, C. (1989). Orpheus: The Myth of the Poet. Baltimore.Google Scholar
Segal, C. (1994). “Philomela’s web and the pleasures of the text: reader and violence in the Metamorphoses of Ovid,” in de Jong, I. J. F. and Sullivan, J. P. (eds.), Modern Critical Theory and Classical Literature. Leiden, New York, Cologne: 257280.Google Scholar
Segal, C. (1995). “Perseus and the Gorgon: Pindar Pythian 12.9–12 reconsidered.” American Journal of Philology 116(1): 717.Google Scholar
Segal, C. (2001). “Intertextuality and immortality: Ovid, Pythagoras and Lucretius in Metamorphoses 15.” Materiali e discussioni per l’analisi dei testi classici 46: 63101.Google Scholar
Senior, M., Clark, D. L., and Freccero, C. (eds.) (2015). Yale French Studies 127, special issue: “Animots: Postanimality in French Thought.”Google Scholar
Serres, M. (1990). Le Contrat naturel. Paris.Google Scholar
Setaioli, A. (1999). “L’impostazione letteraria del discorso di Pitagora nel XV libro delle Metamorfosi,” in Schubert, W. (ed.), Ovid. Werk und Wirkung. Festgabe für Michael von Albrecht zum 65. Geburtstag. Frankfurt: 487514.Google Scholar
Sharrock, A. (1996). “Representing metamorphosis,” in Elsner, J. (ed.), Art and Text in Roman Culture. Cambridge and New York: 103130.Google Scholar
Sharrock, A. (2002). “Gender and sexuality,” in Hardie, P. R. (ed.), Cambridge Companion to Ovid. Cambridge and New York: 95107.Google Scholar
Shippey, T. A. (1970). “Listening to the nightingale.” Comparative Literature 22(1): 4660.Google Scholar
Shumate, N. (1996). Crisis and Conversion in Apuleius’ Metamorphoses. Ann Arbor.Google Scholar
Siegel, R. E. (1968). Galen’s System of Physiology and Medicine: An Analysis of his Doctrines and Observations on Bloodflow, Respiration, Tumors and Internal Diseases. Basel and New York.Google Scholar
Sifakis, G. M. (1971). Parabasis and Animal Choruses: A Contribution to the History of Attic Comedy. London.Google Scholar
Silverman, K. (1988). The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington.Google Scholar
Sissa, G. (1990). “Maidenhood without maidenhead: the female body in ancient Greece,” in Halperin, D., Winkler, J. J., and Zeitlin, F. I. (eds.), Before Sexuality: The Construction of Erotic Experience in the Ancient Greek World. Princeton.Google Scholar
Skoie, M., and Bjørnstad-Velásquez, S. (2006). Pastoral and the Humanities: Arcadia Re-Inscribed. Exeter.Google Scholar
Skulsky, H. (1981). Metamorphosis: The Mind in Exile. Cambridge, MA and London.Google Scholar
Skydsgaard, J. E. (1988). “Transhumance in ancient Greece,” in Whittaker, C. R. (ed.), Pastoral Economies in Classical Antiquity. Cambridge: 7586.Google Scholar
Sleigh, C. (2006). “Inside out: the unsettling nature of insects,” in Brown, B. (ed.), Insect Poetics. Minneapolis and London: 281297.Google Scholar
Small, C. (1998). Musicking: The Meanings of Performing and Listening. Hanover, NH.Google Scholar
Snyder, J. M. (1981). “The web of song: weaving imagery in Homer and the lyric poets.” Classical Journal 76: 193196.Google Scholar
Solodow, J. B. (1988). The World of Ovid’s Metamorphoses. Chapel Hill.Google Scholar
Sorabji, R. (1993). Animal Minds and Human Morals: The Origins of the Western Debate. Ithaca, NY.Google Scholar
Speck, S. (1988). “‘Arousal theory’ reconsidered.” British Journal of Aesthetics 28(1): 4047.Google Scholar
Spivak, G. C. (1993). “Echo.” New Literary History 24(1): 1743.Google Scholar
Sprecher, E., and Taroni, G. (2004). Lucanus cervus depictus. Como.Google Scholar
Sprecher-Uebersax, E. (2008). “The stag beetle lucanus cervus (coleoptera, lucanidae) in art and mythology.” Revue d’Ecologie (Terre Vie) 63: 145151.Google Scholar
Sprecher-Uebersax, E., and Durrer, H. (1998). “Untersuchungen zum Stridulationsverhalten der Hirschkäfer-Larven (Lucanus cervus L.) (Coleoptera: Lucanidae).” Mitteilungen der Schweizerischen Entomologischen Gesellschaft 71: 471479.Google Scholar
Stanford, W. B. (1969). “The lily voice of the cicadas (Iliad 3.152).” Phoenix 23(1): 38.Google Scholar
Steel, K. (2011). How to Make a Human: Animals and Violence in the Middle Ages. Columbus.Google Scholar
Steiner, D. (1986). Crown of Song: Metaphor in Pindar. London.Google Scholar
Steiner, D. (2002). “Indecorous dining, indecorous speech: Pindar’s First Olympian and the poetics of consumption.” Arethusa 35(2): 297314.Google Scholar
Steiner, D. (2008). “Beetle tracks: entomology, scatology and the discourse of abuse,” in Sluiter, I. and Rosen, R. (eds.), Kakos: Badness and Anti-Value in Classical Antiquity. Leiden and Boston: 83115.Google Scholar
Steiner, D. (2011). “Dancing with the stars: choreia in the third stasimon of Euripides’ Helen.” Classical Philology 106(4): 299323.CrossRefGoogle Scholar
Steiner, D. (2013). “The Gorgons’ lament: auletics, poetics, and chorality in Pindar’s Pythian 12.” American Journal of Philology 134(2): 173208.Google Scholar
Sterne, J. (2003). The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC.Google Scholar
Stiegler, B. (1994). La Technique et le temps (3 vols.). Paris.Google Scholar
Stumpf, C. (2012). The Origins of Music, ed. Trippett, David. Oxford.Google Scholar
Suksi, A. (2001). “The poet at Colonus: nightingales in Sophocles.” Mnemosyne 54(6): 646658.Google Scholar
Svenbro, J. (1992). “‘Ton luth, à quoi bon?’ La lyre et la pierre tombale dans la pensée grecque.” Metis 7(1–2): 135160.Google Scholar
Svenbro, J. (1999). “Der Kopf des Hirschkäfers. Kerambos und der Mythos des ‘Lyrischen.’” Archiv für Religionsgeschichte 1(2): 133147.Google Scholar
Swain, S. (1996). Hellenism and Empire: Language, Classicism, and Power in the Greek world, AD 50–250. Oxford and New York.Google Scholar
Swift, L. (2010). The Hidden Chorus: Echoes of Genre in Tragic Lyric. Oxford and New York.Google Scholar
Szendy, P., and Nancy, J.-L. (2001). Ecoute: une histoire de nos oreilles (précédé de Ascoltando, par Jean-Luc Nancy). Paris.Google Scholar
Taroni, G. (1998). Il cervo volante: Coleoptera Lucanidae. Milan.Google Scholar
Tatum, J. (1972). “Apuleius and metamorphosis.” The American Journal of Philology 93(2): 306313.CrossRefGoogle Scholar
Taylor, B. A. (2012). “Birds, liminality, and human transformation: an animist perspective on new animism.” The Pomegranate 14(1): 108127.Google Scholar
Taylor, N. (2011). “Anthropomorphism and the animal subject,” in Boddice, R. (ed.), Anthropocentrism: Humans, Animals, Environments. Leiden: 265279.Google Scholar
Tembrok, G. (1982). Tierstimmenforschung: Eine Einführung in die Bioakustik (3rd ed.). Wittenberg.Google Scholar
Thomas, O. (2017). “Sacrifice and the Homeric Hymn to Hermes 112–141,” in Hitch, S. and Rutherford, I. (eds.), Animal Sacrifice in the Ancient Greek World. Cambridge: 181199.Google Scholar
Thorpe, W. H. (1961). Bird-Song: The Biology of Vocal Communication and Expression in Birds. Cambridge.Google Scholar
Tiainen, M. (2018). “Sonic performance and feminist poshumanities: democracy of resonance and machinic sound,” in Åsberg, C. and Braidotti, R. (eds.), A Feminist Companion to the Posthumanities. Cham: 103116.Google Scholar
Tomlinson, G. (1999). Metaphysical Song: An Essay on Opera. Princeton.Google Scholar
Tomlinson, G. (2015). A Million Years of Music: The Emergence of Human Modernity. New York.Google Scholar
Tompkins, P., and Bird, C. (1973). The Secret Life of Plants. New York.Google Scholar
Tordoff, R. (2008). “A Note on Echo in Apuleius, Metamorphoses 5.25.” The Classical Quarterly 58(2): 711712.CrossRefGoogle Scholar
Tresch, J., and Dolan, E. I. (2013). “Towards a new organology: instruments of music and science.” Osiris 28: 278298.Google Scholar
Trivedi, S. (2006). “Imagination, music, and the emotions.” Revue Internationale de Philosophie 60: 415435.Google Scholar
Trzaskoma, S. (2017). “Mythography,” in Richter, D. S. and Johnson, W. A. (eds.), The Oxford Handbook to the Second Sophistic. Oxford.Google Scholar
Tsagalis, C. (2008). Inscribing Sorrow: Fourth-Century Attic Funerary Epigrams. Berlin and New York.Google Scholar
van Dijk, J. G. M. (1996). “The function of fables in Graeco-Roman romance.” Mnemosyne 49(5): 513541.CrossRefGoogle Scholar
Vauclair, J. (1996). Animal Cognition: An Introduction to Modern Comparative Psychology. Cambridge, MA and London.Google Scholar
Vergados, A. (2013). The Homeric Hymn to Hermes: Introduction, Text and Commentary. Berlin.Google Scholar
Vernant, J.-P. (1974). Mythe et société en Grèce ancienne. Paris.Google Scholar
Vernant, J.-P. (1979). “A la table des hommes: mythe de fondation du sacrifice chez Hésiode,” in Detienne, M. and Vernant, J.-P. (eds.), La Cuisine du sacrifice en pays grec. Paris: 37132.Google Scholar
Veyne, P. (1976). Le Pain et le cirque: sociologie historique d’un pluralisme politique. Paris.Google Scholar
Vial, H. (2010). La métamorphose dans les Métamorphoses d’Ovide: étude sur l’art de la variation. Paris.Google Scholar
Vidal-Naquet, P. (1981). Le Chasseur noir: formes de pensées et formes de société dans le monde grec. Paris.Google Scholar
Vilborg, E. (1962). Achille Tatius, Leucippe and Clitophon: A Commentary. Stockholm.Google Scholar
Voskuhl, A. (2013). Androids in the Enlightenment: Mechanics, Artisans, and Cultures of the Self. Chicago.Google Scholar
Wall, K. (1988). The Callisto Myth from Ovid to Atwood: Initiation and Rape in Literature. Kingston.Google Scholar
Wallace-Hadrill, D. S. (1968). The Greek Patristic View of Nature. Manchester and New York.Google Scholar
Wallin, N. L., Merker, B., and Brown, S. (2000). The Origins of Music. Cambridge, MA.Google Scholar
Webb, R. (2008). Demons and Dancers: Performance in Late Antiquity. Cambridge, MA.Google Scholar
Webb, R. (2009). Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice. Aldershot and Burlington.Google Scholar
Wegner, S. (ed.) (2017). Über den Ursprung von Musik: Mythen – Legenden – Geschichtsschreibungen. Würzburg.Google Scholar
Weidman, A. (2015). “Voice,” in Novak, D. and Sakakeeny, M. (eds.), Keywords in Sound. Durham, NC and London: 232245.Google Scholar
Weil, K. (2012). Thinking Animals: Why Animal Studies Now? New York.Google Scholar
Weiss, N. A. (2017a). The Music of Tragedy: Performance and Imagination in Euripidean Theater. Berkeley.Google Scholar
Weiss, N. A. (2017b). “Noise, music, speech: the representation of lament in Greek tragedy.” American Journal of Philology 138(2): 243266.Google Scholar
Wennemann, D. J. (2013). Posthuman Personhood. Lanham, MD.Google Scholar
Werner, D. S. (2012). Myth and Philosophy in Plato’s Phaedrus. New York.Google Scholar
Westermann, A. (1963). Paradoxographoi - Scriptores rerum mirabilium graeci. Amsterdam and London.Google Scholar
Wheeler, S. M. (2000). Narrative Dynamics in Ovid’s Metamorphoses. Tübingen.Google Scholar
White, D. A. (1993). Rhetoric and Reality in Plato’s Phaedrus. Albany, NY.Google Scholar
Whitehouse, A. (2015). “Listening to birds in the Anthropocene: the anxious semiotics of sound in a human-dominated world.” Environmental Humanities 6(1): 5371.Google Scholar
Whitmarsh, T. (2001). Greek Literature and the Roman Empire: The Politics of Imitation. Oxford and New York.Google Scholar
Whitmarsh, T. (ed.) (2008). The Cambridge Companion to the Greek and Roman Novel. Cambridge and New York.Google Scholar
Whitmarsh, T. (2013). Beyond the Second Sophistic: Adventures in Greek Postclassicism. Berkeley, Los Angeles, and London.Google Scholar
Wieseler, F. (1854). Die Nymphe Echo: eine kunstmythologische Abhandlung. Göttingen.Google Scholar
Williams, C. (2013). “When a dolphin loves a boy: some Greco-Roman and Native American love stories.” Classical Antiquity 32(1): 200242.Google Scholar
Williams, J. (1997). Interpreting Nightingales: Gender, Class, and Histories. Sheffield.Google Scholar
Williams, R. (1973). The Country and the City. New York.Google Scholar
Wills, J. (1996). Repetition in Latin Poetry: Figures of Allusion. New York.Google Scholar
Wilson, P. (1999). “The aulos in Athens,” in Goldhill, S. and Osborne, R. (eds.), Performance Culture and Athenian Democracy. Cambridge and New York: 5895.Google Scholar
Wohlleben, P. (2016). The Hidden Life of Trees: What they Feel, How they Communicate: Discoveries from a Secret World, foreword by Flannery, Tim. Vancouver.Google Scholar
Wolfe, C. (2010). What Is Posthumanism? Minneapolis.Google Scholar
Wolff, F. (1997). “L’animal et le dieu: deux modèles pour l’homme,” in Cassin, B., Labarrière, J.-L., and Dherbey, G. Romeyer (eds.), L’Animal dans l’Antiquité. Paris: 157180.Google Scholar
Wouthers, A. (1994). “Longus, Daphnis et Chloé. Le prooemion et les histoires enchâssées, à la lumière de la critique récente.” Les Etudes Classiques 62: 132167.Google Scholar
Yanega, D. (1996). Field Guide to Northeastern Longhorned Beetles (Coleoptera: Cerambycidae). Champaign.Google Scholar
Yates, J. (2010). “It’s (for) you; or, the tele-t/r/opical post-human.” Postmedieval: A Journal of Medieval Cultural Studies 1(1/2): 223234.Google Scholar
Zatta, C. (2016). “Plants’ interconnected lives: from Ovid’s myths to Presocratic thought and beyond.” Arion 24(2): 101126.Google Scholar
Zeitlin, F. I. (1986). “Configurations of rape in Greek myth,” in Tomaselli, S. and Porter, R. (eds.), Rape. Oxford and New York: 122151.Google Scholar
Zeitlin, F. I. (1990). “The poetics of eros: nature, art, and imitation in Longus’ Daphnis and Chloe” in Halperin, D., Winkler, J. J., and Zeitlin, F. I. (eds.), Before Sexuality: the construction of erotic experience in the ancient Greek world. Princeton: 417464.Google Scholar
Zeitlin, F. I. (1994). “Gardens of desire in Longus’ Daphnis and Chloe,” in Tatum, J. (ed.), The Search for the Ancient Novel. Baltimore and London: 148170.Google Scholar
Zeitlin, F. I. (2013). “Figure: ekphrasis.” Greece & Rome 60: 1731.Google Scholar
Zeitlin, F. I. (2018). “From the neck up: kissing and other oral obsessions in Achilles Tatius,” in Cueva, E. P. (ed.), Rewiring the Ancient Novel I. Groningen: 95104.Google Scholar
Zhmud, L. (2014). “Sixth-, fifth- and fourth-century Pythagoreans,” in Huffman, C. (ed.), A History of Pythagoreanism. Cambridge: 88111.Google Scholar
Zhmud, L., Windle, K., and Ireland, R. (eds.) (2012). Pythagoras and the Early Pythagoreans. Oxford.Google Scholar
Zirin, A. (1980). “Aristotle’s biology of language.” TAPA 110: 325347.Google Scholar
Zucker, A. (2002). Elien, La Personnalité des animaux. Livres X à XVII et index (texte traduit et commenté). Paris.Google Scholar
Zucker, A. (2004). Elien, La Personnalité des animaux. Livres I à IX (texte traduit et commenté). Paris.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • References
  • Pauline A. LeVen, Yale University, Connecticut
  • Book: Music and Metamorphosis in Graeco-Roman Thought
  • Online publication: 25 November 2020
  • Chapter DOI: https://doi.org/10.1017/9781316563069.009
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • References
  • Pauline A. LeVen, Yale University, Connecticut
  • Book: Music and Metamorphosis in Graeco-Roman Thought
  • Online publication: 25 November 2020
  • Chapter DOI: https://doi.org/10.1017/9781316563069.009
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • References
  • Pauline A. LeVen, Yale University, Connecticut
  • Book: Music and Metamorphosis in Graeco-Roman Thought
  • Online publication: 25 November 2020
  • Chapter DOI: https://doi.org/10.1017/9781316563069.009
Available formats
×