Lyrics of bitcraft4/10/2023 ![]() ![]() While the need for further testing means we can’t share the exact details on player owned shops yet, what I can say is that what you’re asking for is very much in the spirit of what we want to achieve. We believe player to player trade is an essential component of a player run economy. Will we be able to open our own shops, so let’s say I want to become a blacksmith I can do that? To join the conversation and to read new answers first, join ![]() What Bacchylides does is evidently a strategic ploy that does not imply inability to do better.The Bitcraft developers are active on the official BitCraft Discord server and often answer community questions. Lack of a visible persona in the victory odes can serve to further both the objectification of the process of praise and alignment of speaker and spoken word not only with the Homeric kleos aphthiton but also with the normative force of the civic voice. Emphasis is given to the potential significance of the backgrounding of the poet for the performance of the victory odes. One such feature is his exploitation of detailed descriptions of the victorious athletic event as a way of bridging large gaps in time and space and uniting diverse audiences. This paper explores the absence of the poetic persona from Bacchylides’ poetry as part of a communicative strategy and examines the alternative means used by Bacchylides not only to locate himself within a tradition but also to create authority, to secure effective communication with the audience, and to ensure favourable reception by the community. Thus an analysis of physical imagery offers us valuable insight into the poetry's role, and what defines it as a genre.īacchylides’ persona is rarely visible within his poetry, and it is unsurprising that this seeming absence has been seen as a deficiency. I will argue that the emphasis on the bodies of the young female singers is not simply a decorative feature, but rather one intimately connected with the social function of partheneia, and with Greek attitudes to maidenhood more generally. The chapter goes on to compare this with the forms of deixis and self-referentiality found in choral lyric performed by male singers. 94b S-M) and by examining embedded descriptions of parthenaic choral dance in other genres (in particular other types of lyric, and drama). It demonstrates this both through an analysis of surviving partheneia (Alcman frr. ![]() The chapter argues that parthenaic song pays particular attention to the appearance and physical actions of the chorus members. ![]() This chapter seeks to reach a better understanding of what is distinctive about Greek partheneia as a genre, by investigating the poetry's focus on the body of the performers, and on visual display. A selective survey of the image of “plaiting a choral dance” is offered, with a focus on the geranos as a particular instance of a dance whose orchestic features may have been interacting with actual textiles: reviving a hypothesis grounded on ethnographic comparison, a possible performance context for the geranos is tentatively proposed. Close reading of the relevant passages shows that πλέκειν (including a number of compounds, both verbs and adjectives, from the themes πλεκ-/πλοκ-) is the most conspicuous textile craft term applied by literary sources to song-making and, in particular, to the performance of a dancing chorus, epinician being the song-type that most consistently appropriates the metapoetics of weaving (for matters of generic continuity with PIE imagery and for elements of performance pragmatics, in addition to its status as the most largely attested sub-type of choral lyric). The distinctive interplay of aesthetic pleasure, orderly variegation, and harmonious arrangement of parts that choreia displays in literary sources (and that is conveyed in archaic Greek poetry by the notion of ποικιλία) also informs the technology and logic of ancient weaving, a τέχνη largely associated in poetic imagery with both ποικιλία and chorality. The article explores areas of interaction between weaving (and the related technique of plaiting) and chorality in archaic and classical choral lyric poetry by considering aspects of the craft and technology of weaving as mapped onto the imagery of a performing chorus. ![]()
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