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In studies of ancient Greek divination, oracles are often claimed to pronounce ambiguous but true statements within an intricately ordered cosmos. There exist, however, several problematic exceptions. In Book 2 of theIliad, Zeus deliberately deceives Agamemnon through a prophetic dream; Hesiod’s Muses speak truths or lies depending on their mood; and Apollo’s utterances can harm as easily as help. The possibility of divine deceit forces us to reconsider the ontological assumptions within which early Greek divination was understood to operate. Adopting Philippe Descola’s concept of ‘analogism’, I argue that rather than a means of reading the cosmos, early Greek divination resembles more an act of diplomacy, an attempt to establish successful communication with supernatural beings within an always potentially fragmented world.

The article shows that the character of Odysseus in Sophocles’ Ajax and Philoctetes constitutes a crucial element for the redefinition of the concept of ‘nobility’. This figure has already been seen to promote a new definition of the concept, but previous analyses have tended to focus only on one or the other of the two plays, as Odysseus appeared too dissimilar to be considered from one and the same viewpoint. However, a closer analysis reveals that he in fact defends the same values and is endowed with the same non-elite features in both plays. Among those values is the idea that nobility has nothing to do with descent, but rather with the ability at proving helpful to the social group to which one belongs. The perception other characters have of Odysseus, however, changes between the earlier and the later play. The paper shows that this change can be linked to the evolution of fifth-century Athenian society. With the development of democracy, non-elite citizens redefined concepts such as eugeneia to make them their own. The variation in the staging of Odysseus was not only caused by this evolution, but also used to promote it and at the same time to show its dangers.

According to Orion (5th century) and Photius (9th century), Chrestomathiae, the work of fourth-century Egyptian author Helladius of Antinoe, included some sections in iambic metre. Modern criticism, however, has assumed this metre for the whole work. This article aims to demonstrate that a literal reading of the sources indicates that they limit the use of iambus to the preface. As for the form of the rest of the work, certain evidences, both indicated by the sources and contained in it, lead us to think that it was written in prose. Finally, taking into account the content of the work and its formal structure, we try to place Helladius and his Chrestomathiae within the history of Greek literature., De acuerdo con Orión (s. V) y Focio (s. IX), la obra del autor egipcio del s. IV Heladio de Antínoe titulada Crestomatías presentaba una composición yámbica en alguna de sus partes. La crítica moderna, sin embargo, ha extendido este tipo de metro a toda la obra. En este artículo intentaremos demostrar que una lectura literal de las fuentes indica que estas circunscriben el uso de los yambos únicamente al prefacio. En cuanto a la forma del resto de la obra, determinados indicios, tanto señalados por las fuentes como contenidos en ella, nos llevan a pensar que estaba redactado en prosa. Finalmente, teniendo en cuenta el contenido de la obra y su estructura formal, intentaremos situar a Heladio y sus Crestomatías dentro de la historia de la literatura griega.

A partir do pensamento de Foucault, este artigo pretende mostrar alguns pontos de intersecção, na antiga Grécia, entre a pilotagem, vinculada à metáfora navegação e a noção de governamentalidade. Passando pelo governo de si mesmo, pelo governo político e pela medicina, que são para o pensador francês, as três atividades que se aproximam da arte de comandar um navio, veremos como esta ocupou um espaço significativo na literatura e na vida social grega, com alcances e funções bem definidas. Com inteligência, destreza e, principalmente, sabendo reconhecer a direção dos ventos e a orientação que indicam os astros, o piloto é aquele que possui a tékhne capaz de conduzir a embarcação, que primeiramente é o próprio sujeito e depois que são os outros, até um porto seguro.

Las metamorfosis de los diferentes personajes mitológicos forman parte indispensable del acervo cultural de los griegos antiguos desde los primeros inicios de su literatura. Este trabajo pretende ofrecer un análisis sobre la temática y terminología, empleada por los epigramatistas helenísticos e imperiales para describir los procesos de metamorfosis, bien de seres mortales o divinos, en las composiciones de la Antología Griega. Este estudio permite replantearnos la riqueza y diversidad de formas léxicas y construcciones sintácticas, reducidas por el testimonio de los lexicógrafos, y a hallar indicios sobre la existencia de una lexicografía propia de estos contextos literarios. The metamorphoses of different mythological characters are an essential part of the cultural heritage of ancient Greeks from the very beginning of their literature. This work aims to offer an analysis of the motif and terminology, used by Hellenistic and Imperial epigrammatists to describe the metamorphic processes of mortal or divine beings in the compositions of the Greek Anthology. This study allows us to rethink the richness and diversity of lexical forms and syntactic constructions, reduced by the testimony of lexicographers, as well as to find evidences about the existence of a characteristic lexicography for these literary contexts.

The Ġāyat al-ḥakīm (“the Aim of the Sage”), the Arab ancestor of the celebrated Picatrix on astral magic, includes a curious tenfold classification of the sciences, with five disciplines said to be compulsory “for the legislators” and five “for the philosopher”. This classification was once described by Hellmut Ritter and Martin Plessner as “ein Unikum in der umfangreichen Einteilungsliteratur”. This paper is a survey of medieval texts concerned with a tenfold classification of the sciences, ranging from a wide collection of sources including the world chronicles of Agapius and Girgīs al-Makīn, the Ādāb al-falāsifa, the Sindbādnāma, the Pseudo-Avicennian alchemical De anima, and Roger Bacon’s edition of the Secretum Secretorum. It appears from this survey that the Ādāb al-falāsifa certainly played a crucial role in the transmission of these traditions, but that other texts, in particular amongst the Pseudo-Aristotelian Hermetica, may have been influential as well. Regarding the ultimate origin of this material we are reduced to mere speculations, although various elements invite us to consider Middle Persian literature as a more plausible formative stage than Greek literature in the conception of tenfold classifications of knowledge.

Poucas divindades gregas possuem uma diversidade de representação tão ampla quanto Hécate. Enquanto nos períodos clássico e helenístico a imagem que parece dominar é a da Hécate deusa da magia e protetora das feiticeiras, no período arcaico sua ambiguidade é bem mais marcada: a Hécate que nos é apresentada no Hino Homérico a Deméter tem pouquíssimo em comum com a Hécate de Hesíodo. Nesse sentido, este texto tem por objetivo analisar a representação de Hécate na Teogonia (versos 404-452), tentando compreender os pontos de aproximação (e também afastamento) com outras representações da deusa na literatura grega.

The research examines two epics, one from the East and one from the West with regards to the question of woman and her images in early epic literature. The epics were selected from the literature. The epics were selected from the literature of two cultures, both of which, in different historical periods produced the most advanced civilizations of their time. The Persian epic, The Shahnameh (the book of Kings) was tooted in the ancient Indo-Iranian pagan as well as Zoroastrian traditions, an epic of approximately 60,000 couplets rewritten in the tenth century A. D. in the final, completed from which has reached us today. The Greek exemplar was the odyssey of Homer, epic with which Greek literature begins and widely influences not only the later periods of Greek literature but also the entire Western literature; this epic is also widely known in the East. Central to our study of The Shahnameh and Homeric epics were the themes of dynamism, the individuality of characters and their struggles in the epic world, the resourcefulness of the human mind ascribed to them, the subject of human crises, and irony, all of which are deep-seated components marking the central literary qualities of these epics. Women are indispensable in the early epics of both traditions and more often than not highly regarded by epic heroes in general and the narrators of the stories in particular. In both Eastern and Western example the structure split the female image in two opposite directions: one force is represented by exalted, praiseworthy, and positive images which also endow the women of The Shahnameh and the Homeric poems with powerful characteristics.

The Deipnosophists is a literary work that presents an insight into ancient rhetoric and speech from various perspectives, while its author, Athenaeus of Naucratis, has a mediating function in the process of communicating this knowledge besides other topics of knowledge about ancient cultures to the readers. Being composed of fictive speeches that join the texts of ancient writings in paraphrases and citations in the conversations of the participants during a banquet, the work reveals in different layers information about rhetoric. Rhetoric is present in the composition of the work itself. In the conversation’s speech is present as the essential form of this piece of literature and one component of this composite text. But also, the writings of other authors reflect knowledge about rhetoric as the scholarly discipline for speech. We argue that Athenaeus invents and composes here a memory that arranges topics related to the culture of banquets in speeches. The speeches range from the factuality of historical accounts about rhetoricians to the fictional story of the event and its speeches. The Deipnosophists blends speeches into each other as conversations of the framing narrative of a meeting of Athenaeus who tells the story of the event to a friend and the speeches of the deipnosophists in the actual event of the banquet. The presentation of the texts of the cited and paraphrased books on rhetoric and anecdotal information about rhetoricians and sophists in the description of the banquet rely on the intensive collection of information recorded in the medium book that the author used for the creation of his own work.

espanolEn este articulo analizamos las referencias sexuales que aparecen en los tratados de retorica y critica literaria de la literatura griega de epoca imperial: los varios tratados de Dionisio de Halicarnaso y los apocrifos Sobre lo sublime y Sobre el estilo, atribuidos respectivamente a Longino y Demetrio. El tema sexual aparece muy poco atestiguado en los diferentes ejemplos literarios que estos autores muestran a lo largo de sus obras. Es un tema tabu porque no es digno de imitacion ni apropiado para un estilo elevado o sublime. Los tres autores lo abordan de distinta manera (Pseudo-Demetrio es el que menos se autocensura), a traves de eufemismos, metaforas y palabras con doble sentido, provocando que tanto las ausencias como sus menciones sean significativas. EnglishIn this paper, we analyze the presence of sex and sexuality in the rhetorical and literary criticism treatises of Greek literature in the Imperial Age: several rhetorical treatises by Dionysius of Halicarnassus, On the Sublime by Pseudo-Longinus and On Style by Pseudo-Demetrius. The sexual theme appears poorly in the different literary examples that these authors provide throughout their works. This is a taboo theme because it is not worthy of imitation or appropriate for a high or sublime style. The three authors approach it in different ways (Pseudo-Demetrio is the one that less practices self-censorship). Mentions of this subject (and their absences) are significant, as well as the use of euphemisms, metaphors and words withdouble meaning.

This article considers an important aspect of the history of the 16th century lexicography, namely the development of the practice of citing primary sources in the dictionary entry and, as a result, the significant increase in the accuracy of references. These innovations reflected the general trend in humanist philology to rely on primary sources when studying vocabulary: only words and meanings attested in the works of classical authors were eligible to be included into Greek or Latin dictionaries. For Greek lexicography, this task was fully accomplished by Henri Estienne in his “Thesaurus Graecae linguae” (1572). The article summarises the history of this dictionary and discusses some of Estienne’s critical statements concerning his predecessors’ lexicographical work, which followed the Greek-Latin vocabulary (1478) by Johannes Crastonus, and explaining the qualitative difference between his “Thesaurus” and traditional Greek-Latin lexica. Estienne paid special attention to these issues in the preface to his “Thesaurus” as well as in “Epistola … de suae typographiae statu” (1569). The practice of attribution and the search for primary sources were extremely important for Estienne’s project; in this regard, he followed the views on lexicography developed by his father R. Estienne during his work on the “Latinae linguae thesaurus” (1531, 1543). H. Estienne contrasted his dictionary, which was based on scrupulous reading of Greek literature and provided with regular references to primary sources and scientific works, to numerous Lexica full of mistakes and mutilated quotations, lacking reliable bibliography and, therefore, largely anonymous. His assessment, however, requires critical evaluation, as despite the undoubted advantages and novelty of Estienne’s opus magnum, his lexicographical views and the project of “Thesaurus” itself seem to reflect the trends present in humanist Greek lexicography since at least the second quarter of the 16th century. The lexicographic principles advocated by the author of “Thesaurus” had already been proclaimed and implemented (although by no means as consistently and thoroughly as by Estienne) by J. Toussain, C. Gessner, H. Junius as well as other authors who were however never called by name in Estienne’s critical assessment.

Inspecting Psychology takes a sleuth’s magnifying glass to the interplay between psychology, psychiatry and detective fiction to provide a unique examination of the history of psychology. As psychology evolved over the centuries, so did crime writing. This book looks at how the psychological movements of the time influenced classic authors from Agatha Christie and Arthur Conan Doyle to Dorothy Sayers and Georges Simenon, to reveal an enduring connection between psychology and the human need to solve mysteries. Some key puzzles. Why did Agatha Christie make so many doctors killers in her books? Why did Simenon not become a psychiatrist? Did Lord Peter Wimsey have all the charm, passion and tenderness no lover gave Dorothy Sayers? Beginning with the earliest origins of psychology in Greek literature alongside the Oedipal story and the ideas of Aristotle, the book travels through to the late 18th and 19th centuries and the work of Edgar Allan Poe who wrote the first detective story proper. With the birth of modern psychology in the late 19th century, the growing fascination with understanding behaviour coincided with the popular whodunnit. Readers are whisked through the development of psychology in the 20th century and beyond, from the impact of shell shock in the First World War and the early understanding of mental illness through to the growth of psychoanalysis and the ideas of Freud, behaviourism and attachment theory. At every stop on this original rattle through history, David Cohen reveals the influence these psychological movements had on crime writers and their characters and plots. The result is a highly enjoyable, engaging read for those interested in how the unique pairing of the history of psychology with the history of the detective novel can unveil insights into the human condition. It should appeal to anyone interested in psychology who wants their subject served with a thriller on the side.

The Hellenistic era incorporated new city foundations in Egypt and the Near East, as well as the ancient Greek cities of mainland Greece, Asia Minor, and Magna Graecia. This chapter examines Greek festivals and athletic contests amid the struggles of cities and individuals for recognition and self-identity. Relying especially on epigraphic and archaeological evidence, it will look at the Olympic Games during this period, and at the widening geographical origins of its victors. New festivals were established and played crucial roles in inter-city politics; note especially the new isolympic and isopythian games such as the Ptolemaia in Alexandria and the festival of Artemis Leucophyene at Magnesia on the Maeander. The guilds of performers played important roles in the Hellenistic period. We consider how the experience of an athletic victor now compared with that in the past.

Η παρούσα διδακτορική διατριβή διερευνά την παρουσία του Έντγκαρ Άλλαν Πόου στην ελληνική λογοτεχνία κατά το τέλος του 19ου και τις αρχές του 20ου αιώνα συσχετίζοντας τα έργα του με συγκεκριμένα έργα του Εμμανουήλ Ροΐδη, (1849- 1896) του Γεωργίου Βιζυηνού (1849-1896) και του Νικολάου Επισκοπόπουλου(1874-1944). Συγκεκριμένα, η παρούσα μελέτη επιχειρεί να αποσαφηνίσει τους τρόπους με τους οποίους συνδιαλέγονται τα έργα αυτών των τριών συγγραφέων με τα έργα του Πόου έχοντας ως αποτέλεσμα την εισαγωγή ποικίλων είδων γραφής στην ελληνική παραγωγή της εποχής. H διατριβή εστιάζει στις θεωρίες γραφής, στα θέματα, στις καινοτόμες αφηγηματικές τεχνικές του Πόου καθώς και σε βασικές έννοιες όπως είναι, για παράδειγμα, τα ευαίσθητα όρια ανάμεσα στη ζωή και στο θάνατο, η προβληματική πρακτική ανάγνωσης της πόλης και των κατοίκων της, τα ευρηματικά μέσα που χρησιμοποιεί ο ερευνητής για τη διαλεύκανση μυστηρίων, η περιγραφή μυστηριωδών γυναικείων χαρακτήρων αλλά και υπερευαίσθητων ανδρικών χαρακτήρων. Εστιάζοντας σε αυτές τις διαφορετικές πτυχές της γραφής του Πόου, οι συγκεκριμένοι συγγραφείς, με έντονα διαπολιτισμικά ενδιαφέροντα, γράφουν διηγήματα τα οποία εμπλουτίζουν τις λογοτεχνικές συμβάσεις της εποχής με καινοτόμα θέματα και μοτίβα. Περαιτέρω, η παρούσα διατριβή εξετάζει τις μεταφράσεις διηγημάτων του Πόου στα ελληνικά από τον Ροΐδη με στόχο να τονίσει τους τρόπους με τους οποίους το έργο του Πόου καθίσταται γνωστό στο ελληνόφωνο αναγνωστικό κοινό της εποχής. O απώτερος στόχος της παρούσας διατριβής είναι να ενταχθεί και να διευρύνει την ήδη εξελισσόμενη συζήτηση που αφορά την επίδραση του Πόου ανά τον κόσμο.

This volume of essays is the second devoted to exploring philosophical themes in Greek literature that William Wians has edited. The first, Logos and Muthos: Philosophical Essays in Greek Literature, was published in 2010. Both attempt to correct and clarify the old schema of Nestle’s Vom Mythos zum Logos [1940], a work tinged with the ideology that prevailed in Germany at the time. To this end, the volumes propose to avoid simplistic schemas, such as that of the “Greek miracle” or of the transformation of the irrational into the rational. Muthoi and logoi are realities that have much richer and more complex relationships with each other than the mere substitution proposed by Nestle. Reviewed by: Alberto Bernabé, Published Online (2021-08-31)Copyright © 2021 by Alberto BernabéThis open access publication is distributed under a Creative Commons Attribution-NonCommercial-NoDerivatives License (CC BY-NC-ND) Article PDF Link: https://jps.library.utoronto.ca/index.php/aestimatio/article/view/37724/28726 Corresponding Author: Alberto Bernabé,Universidad Complutense de MadridE-Mail: albernab@ucm.es

This paper looks beyond Ptolemaic Alexandria to consider the literary dynamics of another Hellenistic kingdom, Attalid Pergamon. I offer a detailed study of the fragmentary opening of Nicander'sHymn to Attalus(fr. 104 Gow–Schofield) in three sections. First, I consider its generic status and compare its encomiastic strategies with those of Theocritus’Encomium of Ptolemy Philadelphus(Idyll17). Second, I analyse its learned reuse of the literary past and allusive engagement with scholarly debate. And finally, I explore how Nicander polemically strives against the precedent of the Ptolemaic Callimachus. The fragment offers us a rare glimpse into the post-Callimachean, international and agonistic world of Hellenistic poetics.

The journey of Greek Literature A review of Guido Paduano’s anthology for high school students, Il racconto della letteratura greca.

This essay is concerned with verse letters in twelfth-century Byzantium. The first part addresses the challenges that these texts pose in terms of their transmission in Byzantine book culture and their resemblance to much of the encomiastic poetry written during this period, which was not necessarily sent in the form of letters. The second part begins with a general discussion of the epistolary features and the thematic variety of these texts and then focuses on three verse letters by Theodore Prodromos, all of which are addressed to contemporary peers and powerful individuals (Ioannikios the monk, Stephanos Meles, and Theodore Styppeiotes). In discussing the negotiations between verse, letter-writing practice, and rhetoric, it is argued that these poems helped the author to overcome his physical absence from the intellectual and courtly life of Constantinople because of his fragile health condition at a later stage of his career.

Partiendo de la exposición diacrónica del significado del término δεισιδαιμονία y sus cognados a lo largo de la literatura griega, se incide en la amplitud de su espectro connotativo, que va desde la acepción sumamente positiva de ‘piedad’ o ‘reverencia’ hasta la más bien negativa de ‘superstición’. A continuación, se analizan cada uno de los usos del vocablo en la obra de Flavio Josefo, en el marco de los pasajes correspondientes, y se concluye que el autor hace un uso deliberado de la ambigüedad inherente al término de acuerdo con sus propios intereses retóricos y propagandísticos, con el fin de presentar al mundo romano aspectos conflictivos de la religiosidad judía.

En un context en què els estudis sobre la percepció sensorial en l’Antiguitat són tendència, aquest article es proposa analitzar i demostrar com els sentits de la vista i l’oïda juguen un paper determinant en la construcció imaginària de l’espai a Llucià de Samòsata. Si diverses evocacions sensorials activen una vívida ficció a Relats verídics (el receptor de la narració n’experimenta amb molta enárgeia les circumstantiae espacials), una sèrie de reflexions de caràcter audiovisual reprodueixen l’espai (circumstantia que, aquí, esdevé temàtica principal) descrit a Sobre la sala. Efectivament, l’autor insisteix en una sèrie d’evocacions visuals i auditives que promourien la imaginació d’un autèntic espai de declamació i performance fins al punt que arribarem a considerar aquesta laliá com una metàfora il·lustrativa de les bones pràctiques d’un sofista. Comprovarem, doncs, com l’autor de Samòsata tenia una tendència habitual a recórrer als sentits de la percepció per captar l’atenció de l’auditori, implicar-lo en el context de les seves composicions i fer que imaginés vivament les situacions i els espais descrits., Studies in sensorial perception of space in the Classical Antiquity are currently trendy. Thus, the aim of this paper is to analyze and demonstrate how the sight and the audition senses have a special role to build an imaginary space in Lucian of Samosata. On the one hand, in True Stories we identify sensorial evocations activating a fiction as vivid, so the public would experiment the circumstantiae of the plot in his own mind: something that appears ironically hyper realistic. On the other hand, we find similar examples and, specially, more reflexive ones that reproduce the space in The Hall, in which the main subject is the topographic circumstantia of a declamation room that would be a metaphor of the good techniques, which a sophist executes in their discourses. Hence, we will demonstrate how the Samosata’s writer used to apply the sensorial perception to make the public more interested and immersed in the spaces of the plot, imagining it as vividly as Lucian describes them.

In the cultures of Antiquity, the formation and configuration of the world is typically explained through myths that involve the intervention of gods. These accounts usually follow one of two models, labeled by Burkert biomorphic and technomorphic: the world can be conceived as the result of the birth of certain gods who are simultaneously parts of it (such as the earth, heaven, and sea), or as the work of a divine artisan, who fashions it (as in the account of creation in the Hebrew Genesis). In Greek literature, the biomorphic pattern prevails, largely due to the prestige of Hesiod’s Theogony, but there were also remarkable instances of the technomorphic type, like those of Pherecydes of Syros and the myth of Plato’s Timaeus with his demiurge.

This paper opens with the first reporting of the COVID-19 pandemic in China in late 2019/early2020 and closes with the importance of the Chinese language for access to Chinese knowledge and culture; it reviews the scale of the pandemic after 12 months compared to earlier pandemics at the advent of the Chinese New Year on12/2/221; it comments on recent very close Great Conjunction of planets that had in the past been thought to be a source of human illness, on the impact of medical science (and vaccination) in control or elimination of disease and human suffering, on the "explosion" of scientific method in the Enlightenment and on Halley's observation of "his" comet and the calculation of its periodicity using Newton's maths, on the interest of the Greeks, Romans and Norsemen in the night sky, on human endurance and isolation in the face of illness and in pandemic and in literature (modern and much older, touching on the Great Plague 1665 and Daniel Defoe); it moves to the use of Greek literature by Schliemann in discovering Troy and then Mycenae, and on his inspiration of Arthur Evans in the discovery of Knossos, on the use of tree rings (and ice cores) by Professor Bailee to discover historical catastrophe coinciding with the collapse of Troy (1159BC) (and possible coincidence with Biblical Exodus (1628BC), the dawn of the Dark Ages in Europe (540AD) and the collapse of Chinese dynasties), and on his use of Chinese literature (and Irish mythology) to seek to correlate historical tales with facts, and likewise with the possible link of catastrophe in 540AD with Beowulf (effectively a method akin to Schliemann's use historical literature, the Iliad to discover Troy); it addresses Professor Bailee's initial theory of the correlation of severe volcanic eruption (notably Santorini) but moreover close cometary pass (or impact) with catastrophe (and perhaps consequent social and economic collapse and illness); it touches on notable observations of Halley's comet (at the collapse of Troy, at the time of the Great Plague in London 1664 (incidentally at the Battle of Hastings 1066)), on the huge, important catalogue of observations by the Chinese of the night sky going back 2,000 years or more (including 30 observations of Halley's comet); it touches lightly on other possible real effects of conjunctions (tidal effect at the time of Titanic), and throughout on the importance of language and books in the storing and transmission of knowledge and culture; it then looks at the spread of English as the global lingua franca (from 1945), on events and change in the English language at the time key literature (540AD Beowulf, 1175AD in Malory's Morte d/Artur (at the time of murder to Thomas A Beckett at Canterbury), in the Pardoner's Tale in Chaucer's Canterbury Tales (and Chaucer's experience of pandemic in the Black Death (14th Century)), overall on books to read and knowledge to absorb whilst in COVID-19 lock down (inc references to the City of London where Chaucer lived for a time (in the Aldgate), where Pepys lived (Seething lane), where Pepys had observed the Great Plague and cometary pass, where Daniel Defoe describes the Great Plague and refers to comet, and close by where Dickens had observed the great maritime and business world (Dombey & Sons in 1846). Throughout the paper there are references to books to read in pandemic and lockdown for the power of the language (Moby Dick), for the extraordinary skill of brevity (the Old Man and the Sea), for the seminal description of modern plague (Camus, La Peste), for the magical quality of the tale (le Petit Prince, with its curious solar theme and 50 translation into Chinese), for the remarkable tale of Longitude (Dava Sobel), the link to the planets and the stars and the impact of Harrisons' clock's. It concludes with a light observation on the importance and durability of knowledge and ideas and the importance of learning Chinese, with a small comparison of the huge impact of ideas from the Greek classical world and its accessibility in the Greek language. A full set of references is provided.

This chapter discusses church both as the community of Christian believers and as the established Catholic Church. The position of women in the Church is at present the subject of much attention. The ideas of these ancient Greeks and the language in which they are expressed have exercised a pervasive influence on our perception of the nature of woman and of male/female roles. The woman myth in very early Greek literature presents her as a source of evil and danger. The relationship between these myths and ideas, and women’s experience of reality, both in the Church and in the wider society, is not hard to trace. Ancient mythology and philosophy both present woman as inferior. Social, political and industrial change, which has occurred in the last three centuries, has forced a modification of women’s inferior status both within and outside the Church.

Introduction to a special section on ruins in contemporary Greek literature, art, cinema, and public space

The genre, and particularly Xenophon’s On Horsemanship, are then revived again in Renaissance texts and the practice of the art of horsemanship among the nobility of Europe. It is largely thanks to this revival that modern equestrian communities still frequently refer to Xenophon’s text. In addition, although to some extent it will apply to both working examples, naval imagery exemplifies how Xenophon can avail himself of a well-established motif in Greek literature, namely the ‘ship-of-state’. Xenophon himself emphasises this connection in the Cavalry Commander when he describes how in a battle situation horses are better in a group. Regardless of military realities, contrast between cavalry and hoplites is certainly a theme which runs through contemporary literature. Such imagery and literary interaction also permits Xenophon to explore a number of different genres – philosophical discourse, forensic speeches, drama and poetry, historiography.

Scholars have long grappled with the nature of Heracles’ νόσος and his consequent feminization in Sophocles’Women of Trachis(=Trachiniae). Despite being triggered by a poisonous garment, which acts by means of magic incantation, the evolution of Heracles’ symptoms is described as a clinical case. Yet, making sense of his feminization from a scientific perspective has proven hard. In this paper, I investigate the symptoms experienced by Heracles, which Sophocles generically refers to as νόσος. The first part focusses on Sophocles’ description oferôsas a disease inTrachiniae. I then move on to dividing Heracles’ symptoms into two categories, which I will call νόσος1and νόσος2. The erotic passion for Iole which Heracles naturally experiences in the first part of the tragedy will be denoted by νόσος1, whereas νόσος2will refer to the magic-induced symptoms from which he suffers in the second and final part. In the final section of the paper I will seek to provide a scientific explanation for νόσος2and, ultimately, to describe the medical reasons behind Heracles’ feminization.

L’histoire de l’exploitation des arbres fruitiers en Grece est encore mal connue et seuls la vigne et l’olivier ont beneficie d’un interet de longue date. L’objectif de cet article est de mettre en lumiere l’evolution de la diversite fruitiere connue et exploitee en Grece du Neolithique a l’epoque romaine, mais egalement le processus d’emergence de l’arboriculture. Pour ce faire, le materiel carpologique (restes de graines et de fruits) publie de 68 sites a ete pris en compte dans une synthese. Les mentions de fruits et de fruitiers ont ete inventoriees dans les documents epigraphiques en grec mycenien et classique, ainsi que dans les textes d’auteurs antiques. La confrontation de ces sources revele une evolution du cortege des fruitiers utilises : vigne, olivier et figuier dominent a toutes les periodes, l’importance de certains fruits sauvages (ronce, sureau, cornouiller) decroit apres l’âge du Bronze et de nouveaux fruits sont alors introduits (grenade, noix, peche, coing par exemple). Les premieres formes d’arboriculture que sont les haies, les lisieres et l’entretien des arbres dans leur milieu naturel sont completees, au Bronze recent, par des plantations de fruitiers. De grands vignobles apparaissent a l’epoque classique, tandis que la culture de certains fruitiers d’interet economique moindre reste limitee a de moins nombreux individus, parfois relegues aux zones marginales de l’espace domestique.

espanolLibanio presenta en su Declamacion XXVI a un misantropo que se dirige al Consejo para obtener el permiso para suicidarse, porque se ha casado con una mujer charlatana y no puede soportarlo. Para la construccion de sus personajes el autor ha tomado dos puntos de referencia. Por un lado, la practica de las escuelas de retorica, en las que uno de los temas sobre los que se trabajaba en los ejercicios preparatorios era la conveniencia o no de casarse. Por otro, la comedia atica, que se burlaba de los defectos femeninos y prevenia sobre los peligros de tomar esposa, dentro de una larga tradicion misogina que esta presente desde los comienzos de la literatura griega. EnglishLibanius presents in his Declamation XXVI a misanthrope who addresses the Council to be allowed to commit suicide, because he has married a talkative woman and he cannot bear it. There are two points of reference that the author has followed for the construction of his characters. On the one hand, the practice of the schools of rhetoric, where one of the topics on which they worked in the preparatory exercises was whether or not to marry. On the other, Attic comedy, which made fun of feminine defects and warned about the dangers of taking a wife, within a long misogynistic tradition that has been present sincethe beginning of Greek literature.

portuguesCom base nos papiros magicos gregos, nao e possivel provarmos a existencia de encantamentos gregos de atraccao (conhecidos como agogai) em tempos mais recuados. A falta de documentos reais anteriores a Epoca Romana e, felizmente, colmatada pela literatura grega, que nos deixou indicios suficientes da existencia de praticas de magia erotica (em geral, e das agogai em particular) em epocas muito antigas. Deter-nos-emos nos tres textos literarios que consideramos mais significativos a este respeito e que nos deixam a garantia de que as agogai, tao famosas no mundo grego, tem de facto uma extraordinaria e longa historia. EnglishBased on the Greek magical papyri, it is not possible to prove the existence of Greek charms of attraction (known as agogai) in earlier times.The lack of real documents prior to Roman Era is fortunately overcome by Greek literature, which left us sufficient evidence of the existence of erotic magic practices (in general, and agogai in particular) in very ancient times. We will focus on the three literary texts that we consider most significant in this matter and which leave us with the guarantee that agogai, so famous in the Greek world, do have indeed an extraordinary and long history.

The story of Jason and the men of the ship Argo is one of the most famous legends in Greek literature. Ironically, Jason has never been immortalized in the heavens, although three of the Argonauts have. His ship was also given a place in the sky and was a single constellation in Ptolemy’s list of 48 groupings, though the Argo has since been broken into four separate constellations.

This article compares and contrasts the representation of epiphany and inspired divination in Greek literature. Narrative provides a way to compare epiphanic and oracular tales, and to investigate the cognitive processes at their cores. Both oracular tales and epiphanic tales not only contain similar themes, topoi, and narrative structures, but also revolve around common problems of cognition and human knowledge of the supernatural. This suggests that oracular tales constitute a form of epiphanic tale. Cognitive analysis ultimately reveals that epiphanic and oracular tales accentuate different aspects of the same challenges individuals face when trying to make sense of the supernatural.