@inbook {547601,
	title = {Music and Pathos in Aeschylean Tragedy},
	booktitle = {The Beauties of Song: Aesthetic Appreciations of Music in the Greek and Roman World},
	year = {Submitted},
	author = {Naomi Weiss},
	editor = {David Creese and Pierre Destr{\'e}e}
}
@inbook {721456,
	title = {Audience},
	booktitle = {Improntas de danza antigua: textos, cuerpos, im{\'a}genes, movimiento / Imprints of Ancient Dance: Texts, Bodies, Images, Movement, edited by Zoa Alonso Fern{\'a}ndez and Sarah Olsen},
	year = {Forthcoming},
	publisher = {Universidad Aut{\'o}noma de Madrid Ediciones},
	organization = {Universidad Aut{\'o}noma de Madrid Ediciones},
	author = {Naomi Weiss}
}
@inbook {721406,
	title = {Bodies That Shock: The Erinyes and Lyssa},
	booktitle = {Sensing Greek Drama, edited by Zachary Case, Marcus Ellis, and Antonia Reinke},
	year = {Forthcoming},
	publisher = {Cambridge University Press},
	organization = {Cambridge University Press},
	author = {Naomi Weiss}
}
@book {721461,
	title = {Seeing Theater: The Phenomenology of Classical Greek Drama},
	year = {2023},
	publisher = {University of California Press},
	organization = {University of California Press},
	url = {https://www.ucpress.edu/book/9780520393080/seeing-theater},
	author = {Naomi Weiss}
}
@inbook {547586,
	title = {Music, Dance, and Meter in Aeschylean Tragedy},
	booktitle = {A Companion to Aeschylus},
	year = {2023},
	pages = {242-53},
	publisher = {Wiley Blackwell},
	organization = {Wiley Blackwell},
	address = {Malden},
	author = {Naomi Weiss},
	editor = {Jacques Bromberg and Peter Burian}
}
@article {674039,
	title = {Tragic Form in Kamila Shamsie{\textquoteright}s Home Fire},
	journal = {Classical Reception Journal},
	volume = {14},
	year = {2022},
	pages = {240-63},
	abstract = {
	This paper examines Kamila Shamsie{\textquoteright}s adaptation of Sophocles{\textquoteright} Antigone in Home Fire (2017), a novel focused on Muslim identity, Islamophobia, and citizenship rights in contemporary Britain. It demonstrates that this novel is a multimedia work full of theatrical traces: a literary archive that preserves the dramatic quality of Sophocles{\textquoteright} play but also encompasses multiple other forms of media and performance, from theater and television to social media. The paper focuses not so much on how Shamsie has adapted the plot of Antigone but on her reworking of tragedy{\textquoteright}s formal features or structures, such as dialogue, the chorus, and the messenger speech. Such multimedia theatricality facilitates in the novel something that Greek tragedy itself (especially Antigone) produces: a contestation of multiple voices for audiences to hear, critique, and put against their own. Shamsie{\textquoteright}s manipulation of tragic form thus contributes to Home Fire{\textquoteright}s political import.

},
	url = {https://doi.org/10.1093/crj/clab008},
	author = {Naomi Weiss}
}
@inbook {622756,
	title = {Introduction},
	booktitle = {Music and Memory in the Ancient Greek and Roman Worlds},
	year = {2021},
	publisher = {Cambridge University Press},
	organization = {Cambridge University Press},
	address = {Cambridge},
	author = {Lauren Curtis and Naomi Weiss},
	editor = {Lauren Curtis and Naomi Weiss}
}
@inbook {622755,
	title = {Performance, Memory, and Affect: Animal Choruses in Attic Vase Painting},
	booktitle = {Music and Memory in the Ancient Greek and Roman Worlds},
	year = {2021},
	publisher = {Cambridge University Press},
	organization = {Cambridge University Press},
	address = {Cambridge},
	abstract = {This chapter explores the relationship between theatrical music, visual record, and audience memory as mediated by a group of Attic vases, mostly dated from the mid- to late sixth century BCE, that show choruses of animals, animal-riders, and/or men wearing animal costumes. I argue for a new interpretation of these sympotic vessels, whereby they are understood as objects that engage and participate in a viewer{\textquoteright}s memory of choral performance. I emphasize the referential flexibility of such images of theatrical music-making, which can evoke one specific performance but also, simultaneously, multiple performances across various genres. The vases thus activate a viewer{\textquoteright}s cultural repertoire of choreia, which could include his own bodily experience of singing and dancing in a chorus; in doing so, they draw him in as both spectator and performer within their own choral productions.\&nbsp;},
	url = {https://www.cambridge.org/core/books/music-and-memory-in-the-ancient-greek-and-roman-worlds/1C8848460176777B721D4A7F0ADC47CC},
	author = {Naomi Weiss},
	editor = {Lauren Curtis and Naomi Weiss}
}
@book {622754,
	title = {Music and Memory in the Ancient Greek and Roman Worlds},
	year = {2021},
	publisher = {Cambridge University Press},
	organization = {Cambridge University Press},
	address = {Cambridge},
	abstract = {In Greek mythology, the Muses are Memory{\textquoteright}s daughters. Their genealogy suggests a deep connection between music and memory in Graeco-Roman culture, but how was this connection understood and experienced by ancient authors, artists, performers, and audiences? How is music remembered and how does it memorialize in a world before recording technology, where sound accumulated differently than it does today? This volume explores music{\textquoteright}s role in the discourses of cultural memory, communication, and commemoration in ancient Greek and Roman societies. It reveals the many and varied ways in which musical memory formed a fundamental part of social, cultural, ritual, and political life in ancient Greek- and Latin-speaking communities, from classical Athens to Ptolemaic Alexandria and ancient Rome. Drawing on the contributors{\textquoteright} interdisciplinary expertise in art history, philology, performance studies, history, and ethnomusicology, eleven original chapters and the editors{\textquoteright} Introduction offer new approaches for the study of Graeco-Roman music and musical culture.},
	url = {https://www.cambridge.org/core/books/music-and-memory-in-the-ancient-greek-and-roman-worlds/1C8848460176777B721D4A7F0ADC47CC},
	editor = {Lauren Curtis and Naomi Weiss}
}
@article {664173,
	title = {Opening Spaces: Prologic Phenomenologies in Greek Tragedy and Comedy},
	journal = {Classical Antiquity},
	volume = {39},
	number = {2},
	year = {2020},
	pages = {330-367},
	url = {https://doi.org/10.1525/ca.2020.39.2.330},
	author = {Naomi Weiss}
}
@inbook {547581,
	title = {Ancient Greek Choreia},
	booktitle = {A Companion to Ancient Greek and Roman Music},
	year = {2020},
	pages = {161-72},
	publisher = {Wiley Blackwell},
	organization = {Wiley Blackwell},
	address = {Malden},
	author = {Naomi Weiss},
	editor = {Eleonora Rocconi and Tosca Lynch}
}
@book {622753,
	title = {The Genres of Archaic and Classical Greek Poetry: Theories and Models},
	year = {2019},
	publisher = {Brill},
	organization = {Brill},
	address = {Leiden},
	url = {https://brill.com/view/title/55930},
	editor = {Margaret Foster and Leslie Kurke and Naomi Weiss}
}
@inbook {622752,
	title = {Introduction},
	booktitle = {The Genres of Archaic and Classical Greek Poetry: Theories and Models},
	year = {2019},
	pages = {1-28},
	publisher = {Brill},
	organization = {Brill},
	address = {Leiden},
	url = {https://doi.org/10.1163/9789004412590_002},
	author = {Margaret Foster and Leslie Kurke and Naomi Weiss},
	editor = {Margaret Foster and Leslie Kurke and Naomi Weiss}
}
@inbook {547591,
	title = {Forms and Media},
	booktitle = {A Cultural History of Tragedy in Antiquity},
	year = {2019},
	pages = {17-34},
	publisher = {Bloomsbury},
	organization = {Bloomsbury},
	address = {London},
	author = {Naomi Weiss},
	editor = {Emily Wilson}
}
@inbook {454256,
	title = {Generic Hybridity in Greek Tragedy},
	booktitle = {The Genres of Archaic and Classical Greek Poetry: Theories and Models},
	year = {2019},
	publisher = {Brill},
	organization = {Brill},
	address = {Leiden},
	url = {https://doi.org/10.1163/9789004412590_008},
	author = {Weiss, N},
	editor = {Foster, M and Kurke, L and Weiss, N}
}
@article {664174,
	title = {Review of Nooter, Sarah, The Mortal Voice in the Tragedies of Aeschylus},
	journal = {Bryn Mawr Classical Review},
	volume = {2018.10.29},
	year = {2018},
	url = {https://bmcr.brynmawr.edu/2018/2018.10.29/},
	author = {Naomi Weiss}
}
@inbook {547596,
	title = {Speaking Sights and Seen Sounds in Aeschylean Tragedy},
	booktitle = {The Materialities of Greek Tragedy: Objects and Affect in Aeschylus, Sophocles and Euripides},
	year = {2018},
	pages = {169-84},
	publisher = {Bloomsbury},
	organization = {Bloomsbury},
	address = {London},
	url = {https://www.bloomsbury.com/us/the-materialities-of-greek-tragedy-9781350028791/},
	author = {Naomi Weiss},
	editor = {Melissa Mueller and Mario Tel{\`o}}
}
@inbook {547576,
	title = {Tracing Timbre in Ancient Greece},
	booktitle = {The Oxford Handbook of Timbre},
	year = {2018},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {Oxford},
	abstract = {This chapter investigates the timbral world of ancient Greece through a close analysis of particular types of sonic language in a selection of poetry and prose treatises, from Homeric epic to fifth-century BCE tragedy to the treatises of Aristotle and his school. By trying to locate this elusive category within accounts of music-making and sound more generally, it demonstrates not just the rich vocabulary for conveying different elements of an acoustic experience in the ancient Greek world, but the cultural valences of specific terms and images. In particular, the chapter shows how frequently the various auditory qualities that we might{\textemdash}however anachronistically{\textemdash}associate with timbre are as much social constructions as physical properties.},
	url = {http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190637224.001.0001/oxfordhb-9780190637224-e-23},
	author = {Naomi Weiss},
	editor = {Emily Dolan and Alexander Rehding}
}
@book {473326,
	title = {The Music of Tragedy: Performance and Imagination in Euripidean Theater},
	year = {2018},
	publisher = {University of California Press},
	organization = {University of California Press},
	address = {Oakland},
	abstract = {The Music of Tragedy\&nbsp;offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Naomi Weiss demonstrates that Euripides{\textquoteright} allusions to music-making are not just metatheatrical flourishes or gestures towards musical and religious practices external to the drama but closely interwoven with the dramatic plot. Situating Euripides{\textquoteright} experimentation with the dramaturgical effects of\&nbsp;mousike\&nbsp;within a broader cultural context, she shows how much of his novelty lies in his reinvention of traditional lyric styles and motifs for the tragic stage. If we wish to understand better the trajectories of this most important ancient art form,\&nbsp;The Music of Tragedy\&nbsp;argues, we must pay closer attention to the role played by both music and text.},
	url = {https://www.ucpress.edu/book/9780520295902/the-music-of-tragedy},
	author = {Naomi Weiss}
}
@inbook {203156,
	title = {Hearing the Syrinx in Euripidean Tragedy},
	booktitle = {Music and Text in Ancient Greece},
	year = {2018},
	pages = {139-62},
	publisher = {Cambridge University Press},
	organization = {Cambridge University Press},
	address = {Cambridge},
	abstract = {References to the syrinx are mostly absent from extant tragedy until the late fifth century BC, when the instrument suddenly starts appearing in Euripides{\textquoteright} plays, especially in the choral odes. This chapter demonstrates that the syrinx is almost always mentioned alongside the aulos, the double pipe that accompanied dramatic\&nbsp;choreia, or in such a way that the aulos is strongly suggested, so that the one instrument is meant to be heard as the other. Such instrumental mimesis in Euripides{\textquoteright} tragedies does more than just show off his own skill and engagement with contemporary musical trends and discourse: it is also always used for a particular dramatic effect, thus providing evidence of his increasing experimentation towards the end of his career with the role(s) music could play within a tragedy.},
	url = {http://www.oxfordscholarship.com.ezp-prod1.hul.harvard.edu/view/10.1093/oso/9780198794462.001.0001/oso-9780198794462-chapter-7},
	author = {Weiss, N},
	editor = {Tom Phillips and Armand D{\textquoteright}Angour}
}
@inbook {203151,
	title = {Performing the Wedding Song in Euripides{\textquoteright} Iphigenia in Aulis},
	booktitle = {Paths of Song: The Lyric Dimension of Greek Tragedy},
	year = {2018},
	pages = {315-41},
	publisher = {De Gruyter},
	organization = {De Gruyter},
	address = {Berlin},
	url = {https://www.degruyter.com/viewbooktoc/product/497398},
	author = {Weiss, N},
	editor = {Rosa And{\'u}jar and Thomas Coward and Theodora Hadjimichael}
}
@article {454141,
	title = {Noise, Music, Speech: The Representation of Lament in Greek Tragedy},
	journal = {American Journal of Philology},
	volume = {138},
	number = {2},
	year = {2017},
	pages = {243-66},
	abstract = {This article examines how lament in Greek tragedy is conceptualized as both highly skillful song and inarticulate noise, and how the slippage between these two apparently contradictory characteristics could be exploited for dramatic effect. I demonstrate how the twofold nature of lament is bound up not just with its ritual practice (the combination of the\&nbsp;g{\'o}os\&nbsp;wail and the more formal\&nbsp;threnos) but with its association with birdsong and displays of extreme emotion by females and foreigners.},
	url = {https://muse.jhu.edu/article/666998/summary},
	author = {Naomi Weiss}
}
@article {362481,
	title = {The Choral Architecture of Pindar{\textquoteright}s Eighth Paean},
	journal = {Transactions of the American Philological Association},
	volume = {146},
	number = {2},
	year = {2016},
	pages = {237-55},
	abstract = {This paper argues that the interplay between the narrative and performance of Pindar{\textquoteright}s eighth paean embeds it within the physical environment of Delphi, at the site of the Alcmaeonid temple for which it was composed. The use of choreographic and musical images to describe the temple{\textquoteright}s mythical predecessors merges with the chorus{\textquoteright}s own choreia, which thus has a doubling effect, visually and acoustically overlaying the Alcmaeonid temple with these older structures in a complex interaction of real and imagined space.},
	url = {http://muse.jhu.edu/article/638645},
	author = {Naomi Weiss}
}
@article {250946,
	title = {Review of Mossman, J. ed. 2011. Euripides. Medea. Warminster.},
	journal = {Classical Review},
	volume = {66},
	year = {2016},
	pages = {39-41},
	url = {https://www.cambridge.org/core/journals/classical-review/article/medea-mossman-j-trans-euripides-medea-aris-phillips-classical-texts-pp-viii-392-oxford-oxbow-books-2011-paper-2499-cased-50-isbn-9780856687884-9780856687839-hbk/C266E2809DF47F329D1180D2D1545},
	author = {Naomi Weiss}
}
@article {248436,
	title = {Review of Hanink, J. 2014. Lycurgan Athens and the Making of Classical Tragedy. Cambridge.},
	journal = {Classical Philology},
	volume = {111},
	year = {2016},
	pages = {89-94},
	url = {https://www.journals.uchicago.edu/doi/full/10.1086/684822?mobileUi=0},
	author = {Naomi Weiss}
}
@article {203166,
	title = {Review of Gagn{\'e}, R. and Hopman, M.G. (ed.), Choral Mediations in Greek Tragedy},
	journal = {Classical Review},
	volume = { 65},
	number = {1},
	year = {2015},
	pages = { 25-27},
	author = {Naomi Weiss}
}
@article {203131,
	title = {The Antiphonal Ending of Euripides{\textquoteright} Iphigenia in Aulis (1475-1532)},
	journal = {Classical Philology},
	volume = { 109},
	year = {2014},
	pages = { 119-29},
	url = {https://doi.org/10.1086/675252},
	author = {Naomi Weiss}
}
@article {203136,
	title = {The Visual Language of Nero{\textquoteright}s Harbor Sestertii},
	journal = {Memoirs of the American Academy at Rome},
	volume = { 58},
	year = {2013},
	pages = { 65-81},
	url = {https://www.jstor.org/stable/24616457},
	author = {Naomi Weiss}
}
@inbook {203141,
	title = {Recognition and Identity in Euripides{\textquoteright} Ion},
	booktitle = {Recognition and Modes of Knowledge: Anagnorisis from Antiquity to Contemporary Theory, ed. T. Russo},
	year = {2012},
	pages = {33-50},
	publisher = {University of Alberta Press},
	organization = {University of Alberta Press},
	address = {Edmonton},
	url = {https://books.google.com/books/about/Recognition_and_Modes_of_Knowledge.html?id=APS1DgAAQBAJ\&printsec=frontcover\&source=kp_read_button$\#$v=onepage\&q\&f=false},
	author = {Naomi Weiss}
}
@article {203146,
	title = {A Psychoanalytical Reading of Euripides{\textquoteright} Ion: Repetition, Development and Identity},
	journal = {Bulletin of the Institute of Classical Studies},
	volume = { 51},
	year = {2008},
	pages = { 39-50},
	url = {https://doi.org/10.1111/j.2041-5370.2008.tb00274.x},
	author = {Naomi Weiss}
}
