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The Vestal Virgins relied on a system in which more senior members of the order transmitted knowledge of the ritual duties to the newer priestesses, assisting them as they advanced to the rank of Chief Vestal (Seneca De Otio 2.2; DiLuzio 2016). Recent scholarship has highlighted epigraphic evidence for mentoring relationships between Chief Vestals and their advisees (Palmer 2020). The Vestal Octavia Honorata honors her Chief Vestal mentor with an inscription, remarking that she was “always advanced by her recommendations” (CIL 6.2138).

As a collection of dialogic poetry about everyday situations, with unparalleled female protagonism, Herondas’ Mimiamboi make a privileged object of linguistic research on the forms of address in ancient Greek. Such an analysis of this corpus has, however, never been done before. Still, a correct assessment of form of address is essential to interpret correctly Herondas’ Mimiamboi and also to understanding the cultural background in which those scenes were staged.

There is agreement among Frisk (1960–1973: 243–244), Chantraine (2009: 678–679), and, in effect, Beekes (2010: 957) that the etymology of μῑσέω ‘hate’ (Hom. +) and μῖσος ‘(object of) hatred’ [A. +] has yet to be determined. Discovering the root ancestral to √μῑσ- depends on finding the source of the single intervocalic –σ– invariably so spelled in derivatives of this AtticIonic root.

The verb ἐγρήγορα ‘am awake, am vigilant’ appears in Homer only as 2pl. ipv. ἐγρήγορθε (Η 371 = Σ 299), inf. ἐγρήγορθαι (Κ 67), 3pl. ἐγρηγόρθᾱσι (Κ 419) and the participle ἐγρηγορόων (υ 6). In Attic we find ἐγρήγορα ‘am awake’ (ἐγηγερμένος v.l. Th.7.51, Speus.Fr.28+). The Homeric forms present four problems: 1) the unetymological ρ of the reduplicated syllable. 2) The position of the accent in ἐγρήγορθαι. 3) the use of middle voice in ἐγρήγορθε and ἐγρήγορθαι. 4) the unetymological θ in ἐγρηγόρθᾱσι. The talk will address these four contentious issues.

In this paper, I investigate a particular use of myth in Plato’s dialogues by considering the myths of the swansong and the song of the birds of the Procne myth from Phaedo and the cicada myth from Phaedrus. Examining the position of these myths in the dialogues and their innovative presentation reveals how story and song complement philosophical discourse and amplify it by refreshing and stimulating the intellect to pursue truth.

Spectating a sport is a full body experience. Today, the crack of two colliding football helmets is as thrilling as any visually spectacular catch; know the rumble a roaring rally car rolls through your chest is as electric as the speed; consider a sweet, sinking swish, the scent of the seventh inning stretch, and even the breathless silence of an eighteenth golf green. These features of sport scenes construct the spectator’s experience, and while the visuals of a game might be the most extensive, they are not always the most fascinating.

The topics of gender and sexuality in Pseudo-Lucian’s The Ass and its corresponding Latin text, Apuleius’s The Golden Ass, have been extensively studied and written on. However, most of this research utilizes these texts to better understand different forms of gender and sexuality within the Roman Empire. I argue that within Pseudo-Lucian’s The Ass these representations communicate more to us about the “normative” masculine perception of gender and sexuality than they do the perspectives of the women and non-normative men presented throughout the narrative.

The Trial of the Stepson, from Book X of Apuleius’s Metamorphoses, is one of many instances in the text depicting administration of justice. While other justice scenes in the text, such as the risus trial in Book III, have received much scholarly attention, this case is often neglected in analyses of Apuleius. This paper analyzes the Trial of the Stepson, both its connection with other stories in the novel and its parallels with the establishment of the Areopagus from Aeschylus’s Eumenides.

In many of Rembrandt’s depictions of mythical themes, he humanized the fantastical. Through realism and austere symbology, Rembrandt innovated classical narratives. Three of Rembrandt’s late works highlight the apex of Rembrandt’s study of the complex emotion underlying the mythical characters of Lucretia and Callisto. Both women were rape victims immortalized in moments of shame.

Recent scholarship on writing and literacy in the Roman world has attended to the role of enslaved literate workers in the production of texts (Winsbury, Habinek). Ancient book culture, like much of  ancient society, was made possible by the exploited labor of enslaved workers whose voices and contributions are actively erased and silenced (Howley). Much ancient writing involved dictating to secretarial workers who would record what was spoken in shorthand before subsequently expanding the text into a longform draft (Blake).