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James Joyce's literary debt to Ovid's Metamorphoses is unquestionable. Having first encountered the Metamorphoses as part of his studies at Belvedere College, he used a line from that work as the epigraph to A Portrait of the Artist as a Young Man: et ignotas animum dimittit in artes (Met. 8.188).

In the “Cyclops” episode of James Joyce’s Ulysses, the character known as “the citizen” hears that a Dublin mayoral candidate has been meeting with the Irish Cattle Traders and reacts with an unusual oath: “Hairy Iopas, says the citizen” (Ulysses 12.829). It is difficult to see how Virgil’s crinitus Iopas (Aeneid 1.740), the bard in Dido’s court, is relevant to the scene in Ulysses, which draws on the Hercules and Cacus episode of Aeneid 8 rather than Dido’s court in Aeneid 1 (Schork 1997, 132-33).

This paper argues for a closer relationship between biography and portraiture than has previously been realized, in particular when the subject is an author. The relationship between biography and portraiture has been somewhat neglected, partly as a consequence of the disciplinary divide: classicists study biography, art historians portraiture. Analyses bringing both together are rare (though briefly Zanker 154-58).

In an anecdote often repeated in discussions of the history of ancient libraries (most recently Johnson, forthcoming), Cicero reports having run into the younger Cato in the library of Lucullus’s son at Tusculum, perhaps in the mid-60’s BCE (De finibus bonorum et malorum 3.7 ff.). What is not widely recorded in such scholarship is that the two then proceed, in situ, to have an extended discussion about philosophy (Books 3 and 4). Cicero twice calls the room a bibliotheca (both 3.7).

While the self-representation of the Letter of Aristeas is appropriate for second-century BCE Alexandrian Jews seeking to legitimize use of a Greek text as their holy scriptures, the author of Aristeas seeks to give further credence to the Septuagint text by lending the Library at Alexandria a veneer of holiness by setting up an implied comparison with the ancient Near East practice of depositing laws and treaties in a god’s temple.

This paper analyzes the representation of ancestors in Adrastus’ palace at Argos (Theb. 2.213-225), in order to examine how and to what ends Statius blends traditional Roman cultural practices with those of a mythical Greek past.

Critics have long recognized similarities between the parade of heroes in Vergil’s Underworld (Aeneid 6.637-892) and the statues of the Julii and summi viri in the Forum Augustum (20-2 BCE). However, problems of dating and influence have distracted from the question of reception: how might Romans understand and (re)interpret Augustus’ sculptural program and Vergil’s catalogue of heroes in light of one another after the Forum had opened?

The pleasant image of a meadow screened with shade and featuring water is the basis of the locus amoenus: a highly rhetoricized natural landscape which Ovid in particular developed as a setting charged with expectations, both of sexual encounter and of violence (Hinds 2002: 123). Newby has recently argued that, from the Augustan period, the atmosphere of a locus amoenus was created within the domesticated space of Roman villas and houses by means of painting and sculptural programs, evoking a voyeuristic and even frightening atmosphere (Newby 2012: 380-81).

This paper outlines the dynamics of how a fragment of Naevius’ late 3^rd century BCE epic the Bellum Punicum interacts with the first public painting on a historical theme at Rome, that of Manius Valerius Messalla on the side of the Curia Hostilia. By analyzing the reception of this instance of mixed-media poetics, Naevius’ poem is shown to co-opt the representational power of senatorial public art and in turn define some key modes of visualization within Roman epic for his successors.

Recent work on the performance of archaic Greek lyric poetry often discusses the work of a poet within the context of his or her own circle. Anacreon's poetry is read from the perspective of a hedgy poet-for-hire, entertaining—but not really belonging—at a tyrant's court (Kantzios 2005, 2010); likewise, Theognis and Alcaeus each perform among their own hetaireia in symposia at Megara or Lesbos (Figueira and Nagy 1985; Rösler 1980).