1987, w:Poul Anderson; w, The King of Ys, Though poverty lurked in tenements and alleys, joviality flourished in taverns, foodstalls, bawdyhouses, odeions, the homes of the well-to-do.
1995, w, Roman Rhetoric: Revolution and the Greek Influence, As we have seen, Roman sponsorship of chairs of rhetoric and cultural buildings—such as theatres, odeions, and libraries—is well documented from the Republic through the reign of Hadrian, revealing sustained support for rhetoric and literary studies throughout the Empire.
2011, Theodosia Stefanidou-Tiveriou, Brill’s Companion to Ancient Macedon: Studies in the Archaeology and History of Macedon, 650 bc–300 ad Chapter Art in the Roman Period, 168 bc–337 ad, Correspondingly, statues of Apollo and the Muses are placed in theatres and odeions.
2013, w, Greek to Latin: Frameworks and Contexts for Intertextuality, The idea that the building was originally for declamation (Spawforth (2012), 63–4) does not account convincingly for the colossal and the life-size statues of Dionysus probably in the stage area (Thompson (1950), 69,78–80, plates 51–2; Paus. 1.14.1; the architectural form of odeia is perfectly suited to theatrical performance or performance related to drama).
2016, John McKesson Camp II, A Companion to Greek Architecture Chapter Bouleuteria and Odeia, The position of all bouleuteria and many odeia is determined by the location of other associated public facilities, especially agoras and other peristyle courtyards.
2023, Dean Peeters, Shaping Regionality in Socio-Economic Systems: Late Hellenistic – Late Roman Ceramic Production, Circulation, and Consumption in Boeotia, Central Greece (c. 150 BC–AD 700), In addition, only a small number of cities (and almost no small cities) present evidence for the repair or adaptation of public buildings (i.e. agorai, theatres, odeia, stadions, aqueducts, and baths) during the Early Roman Imperial period.
