Abstract:

This paper offers a new reading of Sappho's Tithonus Poem as a theory of choreia as (among other things) a distinctive technology of time. It focuses on the way the poem mobilizes animals linked to musical aetiologies to conjure a series of different choral assemblages that enable the dissolution of the individual ego into an impersonal or supra-personal form of immortality or persistence. The evocation of different musical animals (the tortoise of the opening couplet and the dancing fawns of line 6) primes the audience to recognize the likely resonance at the end of Sappho's song of the story that the eternally aging Tithonus became the singing cicada. In the poem's representation, these musical animals are not isolated, but cooperatively entangled with other beings or groups. These ensembles serve, in turn, as models for the conjunction of the aging ego/singer and the chorus of paides addressed, to figure the distinctive ontologies and temporality of the choral collective.

摘要：

本文提供了一种新的解读，即萨福的《提托努斯诗》作为一种舞蹈理论。作为（除其他事项外）一种独特的时间技术。它着重于这首诗动员与音乐病因学相关的动物以产生一系列不同的合唱组合的方式，这些合唱组合使个人自我得以分解为不朽或持久的非人格或超人形式。激发出不同的音乐动物（对联的乌龟和第6行的跳舞小鹿）使观众认识到萨福（Sappho）歌曲的结尾可能会产生共鸣，因为故事说，永恒的铁通奴斯成为了唱歌的蝉。在这首诗的表达中，这些音乐动物不是孤立的，而是与其他生物或群体的纠缠在一起。这些合奏反过来又充当了衰老的自我/歌手与受薪者合唱团合奏的模型 解决这个问题，以了解合唱团独特的本体和时间性。