Performances and Audiences in Pindar's Victory Odes

The first audience of Pindar's Victory Odes (5th century BC) has been central to the study of Pindar since the 1960s. But the ways, in which the odes manipulate not only the audience of the first performance but also the audience of subsequent performances, both overlapping the first audience and across a wider Greek world, has not been studied in depth. I examine the Sicilian odes of Pindar to explore how different audiences are exploited and accommodated, by analysing relevant features such as structure, myth, and indications of the circumstances of performance, from different audiences' points of view.