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Classical Antiquity

The Fantastic Phaeacians: Dance and Disruption in the Odyssey
Sarah Olsen
Classical Antiquity, Vol. 36 No. 1, April 2017; (pp. 1-32) DOI: 10.1525/ca.2017.36.1.1
Sarah Olsen
Amherst College solsen@amherst.edu
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Abstract

This article analyzes the descriptions of both choral and individualized dance in Odyssey 8, focusing on the unique and disruptive qualities of the virtuosic paired performance of the Phaeacian princes Halius and Laodamas. I explore how this dance is particularly emblematic of Phaeacian culture, and show how the description of dance and movement operates as a means by which Odysseus and Alcinous competitively negotiate their relative positions of status and authority within the poem. I further argue that the Homeric poet uses dance to foreground generic exploration and expansion in a manner consistent with recent understandings of the Odyssey’s flexible and improvisatory poetics.

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Vol. 36 No. 1, April 2017

Classical Antiquity: 36 (1)
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The Fantastic Phaeacians: Dance and Disruption in the Odyssey
Sarah Olsen
Classical Antiquity, Vol. 36 No. 1, April 2017; (pp. 1-32) DOI: 10.1525/ca.2017.36.1.1
Sarah Olsen
Amherst College solsen@amherst.edu
  • Find this author on Google Scholar
  • Search for this author on this site
  • View author's works on this site
  • For correspondence: solsen@amherst.edu

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The Fantastic Phaeacians: Dance and Disruption in the Odyssey
Sarah Olsen
Classical Antiquity, Vol. 36 No. 1, April 2017; (pp. 1-32) DOI: 10.1525/ca.2017.36.1.1
Sarah Olsen
Amherst College solsen@amherst.edu
  • Find this author on Google Scholar
  • Search for this author on this site
  • View author's works on this site
  • For correspondence: solsen@amherst.edu
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