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This article traces the relics of Callimachean criticism in the testimonia to the work of Anaximenes of Lampsacus and Choerilus of Iasos, portrayed either as poet-sycophants or authors of bad quality poetry. It assesses the profile of Anaximenes as an epic writer and investigates the origin and dynamics of the confusion between Choerilus of Iasos and Choerilus of Samos in late Hellenistic and Imperial witnesses. It concludes that the negative judgment on Choerilus of Samos formulated by Istrus, a disciple of Callimachus, may have been wrongly transferred to Choerilus of Iasos and that it influenced later critics and writers’ perception of the latter.

Lycophron’s extensive debt to Aeschylus is exemplified by his engagement with the Agamemnon and the Choephori in Cassandra’s prediction of her own death and that of Agamemnon and in the brief ensuing synopsis of Orestes’ vengeance on Clytemnestra. This paper argues that the next stage of Cassandra’s prophecy, in which she discusses two rites instituted in the aftermath of her death, continues the reworking of the Oresteia by exploiting themes prominent in the Eumenides, including supplication, retributive violence, the enactment of democratic law. The paired accounts of Daunian and Locrian cults are examples of the poet’s use of mythological substitution, by which avoids explicit reference to an event where it would naturally occur in the chronology of Cassandra’s prophecy and replaces it with a different, thematically connected narrative. Lycophron’s engagement with the Eumenides is triggered by a reference to the Erinyes in the story of the Daunian maidens and is more extensively exploited in the story of the Locrian maidens, in which Lycophron represents a melding of personal vengeance and the democratic legal system. The fusion of personal vengeance and the law resonates meaningfully against the new civic legal system described in the Eumenides, where the new homicide courts at Athens are meant to replace the process of retribution that plays out earlier in the trilogy.

This article focuses on the implications inherent to the use of the word χέλυς (‘lyre’) at line 16 of Callimachus’ Hymn to Apollo with regard to both the Hymn to Apollo itself and the rest of Callimachus’ Hymns. Since the most famous source, and the one in which the χέλυς plays a prominent role, is the Homeric hymn to Hermes, it makes sense to surmise that this is the text Callimachus chose as his model. In this poem, not only does Hermes invent the lyre, but he also teaches his brother Apollo how to play it. The idea of music and poetry sponsored by Hermes centers upon grace and pleasantness. This idea seems to espoused also by Callimachus, whose account of Apollo’s achievements is markedly different from that we read in the Homeric hymn to Apollo. Since the same grace and pleasantness characterize the account of other deities’ deeds throughout the Hymns, we may say that Callimachus made Hermes’ idea of poetry his own.

This paper considers the possibility that the character of Daphnis, as represented by Theocritus in Idyll 1, is partly inspired by the tragic Prometheus Bound, generally attributed to Aeschylus. The connection between the two characters has already been suggested by various critics and we explore the common points between the two characters, but also the links that can be made between the dramaturgy of the Prometheus Bound and the development of the song of Thyrsis. Finally, we go back to the entire tragic intertext that we can guess in Idyll 1 to try to understand how this poem presents a bucolic variation of tragic themes and motifs.

This paper aims to discuss Dioscorides’ cycle of epigrams about the dramatic poets, focusing on his three poems about the tragic poets. Through the three funerary epigrams on Thespis (20 GP), Aeschylus (21 GP) and Sophocles (22 GP), the epigrammatist presents in an allusive and extremely concise manner a story of the tragic genre from its origins in a rural environment to its peak reached with the work of Sophocles. This paper comments on how this panorama sketched by the epigrams of Dioscorides was influenced by the discussions developed in Antiquity concerning the history of tragedy.

Based on a bibliography of translations from Czech into Modern Greek created by the author of the article, the text offers insights into the appearance of Czech literature on the Greek book market since the beginning of the 20th century. It first briefly compares the book markets in both countries and subsequently analyses the content of the bibliography from the following angles: The existent translations are projected onto a timeline with a historical explanation of the resulting pattern. An overall commentary is given on the publishers involved in producing these translations, the source languages with which the translators worked and the subsequent editions and new translations that have appeared in Greece. The final chapter presents the most significant translations and the possible motivation for their creation, the most translated authors and the most active or otherwise important translators.

This paper attempts to provide a descriptive analysis of the newly coined [Ν. + Ν.] compound lexemes in Constantine Manasses's Synopsis Chronike (12th cent.) with a view to tracing the innovations and similarities to the Ancient Greek compound system. First, it provides a brief outline of the main types of Greek compounds according to the underlying syntactic relations between the immediate constituents, referring to the related notion of 'syntagma' (Section 1). Then, it deals with the phonological and morphosyntactic criteria that distinguish compounds from syntactic groups (Section 2). The subsequent section addresses the stress patterns of compounds (Section 3). The final section gives a description of the compounds based on i. the morphemic status of the immediate constituents, namely whether they are free or bound elements, ii. the linear order of the determinatum (dm) and determinant (dt) inside the combination, and iii. the lexical class of the compound as a whole, and equally the class of the compound components (Section 4).

The current face of the Greek community in Hungary was undoubtedly shaped by the political refugees who arrived in Hungary due to the Greek Civil War and their descendants. However, this Greek community recognises the legacy of the Greek merchant diaspora of the 18th and 19th centuries, which played a decisive role in the modernisation of Hungary as its own heritage. Therefore, I will briefly describe what this heritage consists of and how contemporary Greeks relate to it. I will then review the history of the resettlement of Greek political refugees in Hungary, with a particular focus on Greek children who arrived in Hungary without parental care. I will present their forced departure from Greece, their arrival in Hungary, their settlement, and their integration, partly based on archival materials and mainly on life history interviews.

The article discusses Andreas Empeirikos' poem titled "The White Whale" and examines it as a poetic response to Herman Melville's novel Moby Dick. In this poem, Empeirikos portrays an "epiphany of the past recaptured", which is experienced by Ishmael, the narrator of both Melville's and Empeirikos' works. Through his deep connection with the ocean and the world around him, Ishmael, Empeirikos' poetic persona, recaptures the emotional richness inspired by the sight of a re-enchanted world and seeks to glorify the white whale. This pursuit involves a rejection of materialism and an embrace of a visionary and idealised surreal world embodied by the white whale - a symbol of a New Jerusalem.

The apparent or latent French notes-citations in the manuscripts of Solomos's The Free Besieged reveal both the multilingual nature of Solomos as a reader-copyist and the translingual character of his writing process. Relevant to the latter is the fact that Solomos often proceeds in translating the French passages he reproduces into Italian, without necessarily the context revealing the existence of the French original. More specifically, in recording the notes-citations, Solomos exhausts both the monolingual option of copying (French) and the interlingual possibilities of translating word for word into Italian or of faithfully rendering it in a mixed language (French-Italian). The target of this paper is to compare the Italian translations to the French original texts, aiming on the one hand to identify any discrepancies in Solomos's translation options, and on the other, to examine Solomos's interlingual, if not translingual, process of translating as well as the phenomena of code switching and cross-linguistic influence resulting from it.

In Pharaonic Egypt, where donkey was the main beast of burden, which of this animal’s characteristic traits or situations could be paralleled with those of men? The author examines this question through two types of sources, both dated from the New Kingdom (1550–1050 BC). On the one hand, the comparisons and identifications between Egyptians and donkeys in didactic literature are explored; the animal is used to portray very contrasted characters, from disobedient student to overburdened soldier. On the other hand, the anthropomorphic representations of donkeys are presented, and the goal of such depictions are discussed.

Theocritus’ Idyll 15th contains an extraordinary bestiary for the attentive reader. If we exclude the Sirens and Mormo, the catalog of animals includes the ant and the elephant, the weasel, the sheep, and baby nightingales, to name a few.Three categories of animals are involved in this Idyll: animals mobilized for dramatic reasons; animals whose presence is indirect, conveyed by objects and thirdly, animals evoked by language, most often metaphorically.This essay aims to provide a detailed observation of this remarkable bestiary and interpretations of the pervasive presence of animality in this text, which one can quickly identify as an urban mime. Importantly, Theocritus offers, together with this bestiary, a reflection on language and poetry.Finally, and this is not necessarily foreign to this metapoetic reflection, for the first time in Greek literature, a character, Praxinoa, expresses her phobia for two animals. The text stages her in direct confrontation with one of them. It will be shown that her pathology could be linked to both political and poetical considerations.

In his poetic work, Callimachus pushes the art of allusion to heights of refinement: the choice of an adjective in the Hecalea alone offers a fine illustration.

In Apollonius Rhodius’ Argonautica, animal sounds appear in the main narrative and are also used as point of comparison to the human voice within the numerous Homeric similes found in the poem.Outside similes, Apollonius abundantly uses animal-specific and specie-specific vocabulary. Vocabulary characteristic of the human voice is occasionally used, mostly for animal which are by nature exceptional, such as the talking crow and the Halcyon bird.Within similes, animal-specific vocabulary still occurs but Apollonius abundantly uses either vocabulary which can apply to both humans and animals or voice-specific vocabulary to describe the sounds produced by the animal.

This article analyses the figure of mouse in cynical sources. In the first part, I show that parasitism is the main characteristic of this traditionally despised animal. In the second part, my analysis focuses on some passages taken from cynical literature, where the mouse has both a negative or a positive connotation. Finally, I develop some reflections on the trinomial mouse-parasite-cynical philosopher regarding the concepts of reciprocity and self-irony.

In his from Aesop translated fables, Phaedrus shows animal figures which noticeably differ from those of his Greek model. If these changes can partially be due to the versifying of the Aesopian fables, they above all attest to redefinition of fabulous genre in the Ist century AD, when fable takes on a more critical and caricatural dimension than in Greek compilations. The Latin fabulist strives indeed to paint a synthetic portrait, both physical and moral, of these animal figures, so as to make fabulous (stereo)types of them, likely to shoulder a well defined symbolism that could become constitutive of a new Latin fable genre.

The purpose of this paper is to examine the transition of Aeetes from an epic to a tragic figure in the Argonautica of Apollonius Rhodius. The Argonautica is a generic mixture of both epic and tragic elements. On the one hand, it is an epic poem based on Homeric aesthetics. On the other hand, Apollonius differentiates himself from Homer by promoting different values through his epic. Within the Argonautica, we can distinguish a transition from an epic to a tragic poetic mode. In other words, Apollonius composes an epic that consists of many minor tragedies. Aeetes can be used as an example of this generic transition. He is supposed to be a representative of archaic epic within the Argonautica. However, although Aeetes is represented as an epic figure in the beginning of the poem, he ends up being a tragic figure, in accordance with the definition given by Aristotle in his Poetics.

This article proposes a joint reading of the myths of Actaeon and Pentheus as treated in the Dionysiaca of Nonnus of Panopolis. This reading focuses on the notion of metamorphosis and considers the possibility that it does not actually take place. The fineness of the boundary between humans and animals and the blurring of this boundary are analysed here.

The two epigrams AP VII, 504 and 506 by Leonidas of Taranto, which depict the death of a fisherman and a sailor caused by fish, have aroused the curiosity of scholars, without exhausting the interpretations. In this article, I consider them as a diptych by analysing their numerous common points, but also by highlighting the philosophical meaning they may have with regard to the Cynic inspirations of the work of Leonidas of Taranto, and in particular of the epigram AP VII, 472.

By the end of the Greek Civil War (1946–1949), about 50,000 Greeks had fled to Eastern Europe. The complex conditions of this massive exodus have been thoroughly discussed by historians and social scientists. However, much less is known about the conditions under which a large number of political refugees eventually returned to Greece. The few available studies on the repatriation of such refugees have shown that returning home was a more complicated and demanding process than adjusting to a "host" country. Repatriation was the primary desire of the majority of Greek refugees. However, as the years in Czechoslovakia passed, the hopes of free repatriation diminished. What the refugees were most fearful of was dying in a foreign country, away from their homeland and relatives, something they considered to be a "double death". Thus, some refugees expressed a "last wish" that at least their bones would be taken back home. The work I present here concerns the difficulties that this kind of repatriation faced. I attend to the meanings as well as the hopes and fears attached to the notion of "home" as a place of origin to which one yearns to return.

From the perspective of areal linguistics, Modern Greek, along with several other languages, is specific in that its involvement in three linguistic areas is being considered: the Balkan, European and Mediterranean. However, these three research areas differ in the length of the research tradition, the degree of both the theoretical elaboration and the descriptive and interpretative work carried out, and consequently in the power of their statements. This paper aims to briefly summarize and critically assess the history of research on Greek from these three perspectives, including the mutual intersections between the three linguistic areas (sections 1 and 2). Placing these research areas side by side and comparing them allows us to better understand the methodological problems faced by areal linguistics. Some of these (the synchronic vs diachronic view, the number of features constituting a linguistic area and their different explanatory value, centre vs periphery approach) are pointed out in section 3 in the discussion of the new way of modelling and visualizing linguistic areas (maps of isoglosses and isopleths) that emerged at the turn of the 20th century. After discussing these questions, together with an examination of the place that Greek occupies in the mentioned linguistic areas, we conclude in section 4 by suggesting the method of research that we consider to be the most promising at present in areal linguistics. This is the classification of features in linguistic areas based on three dimensions: 1) the diachronic dimension, 2) the synchronic dimension (tracking the synchronic dynamics of the phenomenon under investigation), 3) the stratification dimension (not only standard but also nonstandard/colloquial/territorial varieties should be investigated). We consider Seiler's (2019) model to be the best approach in this regard so far since it comes up with a classification of Standard Average European (SAE) features in a particular language into certain types based on the three dimensions mentioned above. Our ambition is to show the necessity of such a more fi ne-grained analysis also for Greek in Standard Average European.

The research of the expedition of Paul Kretschmer (1866–1956) to Lesbos in 1901 brought into focus the person of Michail K. Stefanidis (1868–1957), who was a scientist, professor at the University of Athens and an ordinary member of the Athens Academy. The most important person in the network of Kretschmer in Lesbos, Stefanidis supported the Viennese professor in collecting his linguistic material and evaluating the data. As a result of the expedition, Kretschmer published a monograph about the dialect of Lesbos in 1905. This study seeks to analyse Stefanidis' various activities during this expedition, when he was in the early stages of his career as a grammar school teacher in Mytilini. Previously unknown archive material, such as the travel diaries and historical photographs, were investigated to achieve the goal of the present paper. This valuable material can be found in Kretschmer's estate in the Austrian National Library and the Austrian Academy of Sciences.

Kyriakos Charalambides' references to primeval myth, vivid images and eloquent linguistic choices aim to renew things in a magical way. This article focuses, first, on showing the richness of the vocabulary of the erudite poet and on exploring how the poem Dionysus is framed by carefully chosen words that create striking images which mark the rhythmic character of the poem. Second, this article sheds light on intertextual connections. These semantic bridges take the reader on an intertextual stroll where the most unexpected encounters with poetic forefathers transpire: there are intertextual references to Aristophanes, more specifically his play The Birds, to Dionysios Solomos and also to the concept of the "idea that rises steeply" and whose "rings gradually ripple outwards" (Politis 1961: 208) that is none other than Poetry. Concurrently, the sounds that can be heard bring to mind the Dionysian throb, the frenzied dance, the exhilaration. Moreover, Dionysus constituted a hymn to the joy of living. And it is precisely this that the poet wants to make manifest through the symbolism of Dionysus: 'the pulse of life'.

The aim of this article is to examine the Greek and international aesthetic reaction to the phenomenon of the economic crisis. By examining Greek and international literary texts that depict Greece during the era of austerity, I attempt to explain how crisis is perceived in the literary field. Thus, I aspire to analyse the way in which this literature negotiates the terms economy, crisis, Europe, power and past. At the same time, I discuss contemporary literary images of the Greek Other; through a comparative study of Greek and international relevant texts, I aim to highlight the political and ideological rhetoric of the texts under examination, as well as the perception of crisis as a global issue, rather than a 'Greek adventure'. In that sense, the authors under examination do not simply dramatise the traumatic events of the recession, but they also suggest a broader definition of crisis, as a global phenomenon, discussing aspects of the contemporary European South and its balance with the European North.