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aēr in Homer has rarely been discussed; the few studies that do address it usually focus on the word’s semantics and scope of reference in the world of physical objects (Louis 1948). This paper argues that that approach is misguided, and that we should focus instead on how aēr works and what aēr does, both for the poet responsible for composing the Iliad and the Odyssey and to characters within these poems.

Emerging out of the turmoil and miseries of the 1527 Sack of Rome, the poetic genres of the consolatio (consolation) and lamentio (lament) for the fallen city have continued to attract scholarly attention. Studies by De Caprio (1986) and Gouwens (1998), and more recently Romei (2018) have explored how humanists such as Pietro Corsi and Piero Valeriano, looking to poetic models found in classical authors such as Statius and Ovid, sought to comfort the sacked city and rationalize its suffering.

Dio Chrysostom’s Chryseis: The Limits of Ancient Literary Criticism

Digging in the Dirt (?): Seneca, Columella, and the Value of Res Rustica

The figure of Dido, the mythical queen of Carthage whose story is most famously told in Virgil’s Aeneid, was appropriated in a variety of ways in popular publications in the United States in the late nineteenth and early twentieth centuries.

This paper discusses the diagrams in the Archimedes Palimpsest, which provides among other texts the only extant witness to Archimedes’ Method of Mechanical Theorems. I argue that the diagrams should not be attributed wholly to scribal intervention but are an integral part of the text, and that they are not meant to represent mathematical objects faithfully, but to visualize and magnify information in the text.

Demetrius’ On Style and the Hellenistic theories of euphony

Crossroads of the Dialogue: Rethinking the “Parabasis” in Plato’s Euthydemus

Teaching Greek tragedy in the classroom presents numerous challenges to the instructor and the modern student. At the crux of using high-impact pedagogy for the teaching of a Greek play, is the balance between honing the requisite critical skills for comprehending the original plays, and the equally compelling need to create a “pleasurable-enough” course experience.