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I argue for a metapoetic reading of the Talos episode in which Medea annihilates a stand in for Theocritus’ Polyphemus, the bucolic hero who had found a pharmakon to cure love-sickness.  This makes Medea a kind of anti-Galatea, who, rather than fleeing to the sea from a giant or coyly pelting him with apples, sends not love, but death from afar.

Female Vocational Education in Callimachus’ Hymn to Artemis

Embodied Divinities and Divine Kings: Callimachus’ Subversive Portrayal of Zeus in the Hymn to Zeus and Hymn to Delos

The fourth–century speeches Aeschines 1 Against Timarchos and [Dem.] 59 Against Neaira share a strikingly similar vignette. As each speech nears its conclusion, its speaker poses a question to the judges: what will you tell your family when they ask you how you voted? Both Aeschines and Apollodoros, the speaker of Against Neaira, ask their auditors to imagine themselves returning home and facing their sons (Aeschin. 1.186) or their wives, daughters, and mothers ([Dem.] 59.110).

This paper examines Parmenidean resonances in the Hymn to Zeus of Aeschylus’ Agamemnon. Ties to presocratic and other contemporary thinkers are increasingly well-established in Aeschylean scholarship, and have yielded interpretive fruit in discussions of style, metaphysics, and ethics (Seaford, Scapin, Kouromenos, Poli Palladini). Likewise, analysis of the Parmenidean influences in the Agamemnon can contribute to our understanding of Aeschylean Zeus.

This paper argues that Euripides’ Medea problematizes the interrelation between trauma and revenge through the antinomy of pain and pleasure, which pervades the dramatic narrative. The tragedy brings into sharp relief the hedonics of anger (Blondell 1989, 26-8), the emotion inherent in the act of vengeance, which it dramatizes as a perverted form of koufisis (“alleviation”) from the experience of pain (Med. 374).

Euripides’ choice to set his second Hippolytus play in Troezen, and that setting’s role in the tragedy, have long invited scholarly inquiry (Barrett 1964, Jeny 1989, Mills 1997, Wiles 1997, Kowalzig 2006). In this paper I re-evaluate Hippolytus’ Troezenian setting in connection with the play’s representation of liminality—the fraught condition of social ambiguity, marginal existence, and transitional movement across ideational boundaries, perhaps best emblematized in Hippolytus by the title character’s uneasy status between ephebe and adult (esp.

According to Janssen (1984:21), both Euripides’ tragedy Orestes and Timotheus’ citharodic nome Persae were performed in Athens for the first time in 408/407 BCE. There are striking similarities between Euripides’ Phrygian slave’s monody in Orestes 1369–1502 and Timotheus’ Phrygian soldier’s speech in Persae 140–161:

The prologue of the Trojan Women has struck critics as highly unusual because of its incongruity with the actions that follow (Wilson, Rodighiero). The play begins with Athena and Poseidon, who do not mention the women whom the drama actually concerns but instead plan how to destroy the Greek forces in the future. As Dunn has shown, the opening scene functions more like a conclusion. This prologue does not introduce the tragedy’s events but rather undercuts them. This paper examines the tension between prologue and plot in light of the epic allusions throughout the play.

The proliferation of new institutionalist approaches to the making of ancient economies has been shaping our understanding of the interplay between societies and economies over the last two decades (Bresson; Lewis et al.; Ober). As part of these theoretical frameworks, the fundamental questions of economic history have been treated mainly from the perspective of legally compliant economic behavior. The large scope of narratives, theoretical necessity to do away with anomalous behavior, and data scarcity could be held responsible for this focus.