Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The Druids have been known and discussed for over 2,000 years few figures flit so elusively through history. Enigmatic and puzzling, the lack of knowledge about them as resulted in a wide spectrum of interpretations. Barry Cunliffe examines their origins, the evidence for their beliefs and practices, and how we interpret them today.

Druids and druidism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Kings and rulers. --- English drama--Irish authors. --- Bards and bardism. --- Scops --- Druids and druidism --- Poetry --- Poets --- Minstrels --- Scalds and scaldic poetry --- Czars (Kings and rulers) --- Kings and rulers, Primitive --- Monarchs --- Royalty --- Rulers --- Sovereigns --- Tsars --- Tzars --- Heads of state --- Queens

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Like love, Greek poetry was not for hereafter," writes Eva Stehle, "but shared in the present mirth and laughter of festival, ceremony, and party." Describing how men and women, young and adult, sang or recited in public settings, Stehle treats poetry as an occasion for the performer's self-presentation. She discusses a wide range of pre-Hellenistic poetry, including Sappho's, compares how men and women speak about themselves, and constructs an innovative approach to performance that illuminates gender ideology. After considering the audience and the function of different modes of performance--community, bardic, and closed groups--Stehle explores this poetry as gendered speech, which interacts with performers' bodily presence to create social identities for the speakers. Texts for female choral performers reveal how women in public spoke in order to disavow the power of their speech and their sexual power. Male performers, however, could manipulate gender as an ideological system: they sometimes claimed female identity in addition to male, associated themselves with triumph over a defeated (mythical) female figure, or asserted their disconnection from women, thereby creating idealized social identities for themselves. A final chapter concentrates on the written poetry of Sappho, which borrows the communicative strategy of writing in order to create a fictional speaker distinct from the singer, a "Sappho" whom others could re-create in imagination.Originally published in 1997.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Women in the performing arts --- Sappho --- Scops --- Poetry reading --- Reading poetry aloud --- Sapfo --- Sapfo van Lesbos --- Sappho van Lesbos --- Femmes dans les arts du spectacle --- Sex role --- Oral tradition --- Women and literature --- Bards and bardism --- Oral interpretation of poetry --- Greek poetry --- Gender role --- Sex (Psychology) --- Sex differences (Psychology) --- Social role --- Gender expression --- Sexism --- Druids and druidism --- Poetry --- Poets --- Minstrels --- Scalds and scaldic poetry --- History --- History and criticism. --- Oral interpretation --- Sapho --- Friends and associates. --- Greece --- Social life and customs. --- Poésie grecque --- Poésie --- Rôle selon le sexe --- Histoire et critique --- Lecture publique --- Histoire --- Grèce --- Moeurs et coutumes --- Gender roles --- Gendered role --- Gendered roles --- Role, Gender --- Role, Gendered --- Role, Sex --- Roles, Gender --- Roles, Gendered --- Roles, Sex --- Sex roles