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This paper spotlights the capacity of actors to lead choruses in the performance of Greek tragedy. It argues that actors periodically step outside of their primary role as individual characters up on the stage and interact especially closely with the choral group singing and dancing down in the orchestra. While each dramatic chorus formally had its own internal chorus-leader ('koryphaios'), I argue for a multiplicity of chorus-leaders on the tragic stage, as part of a broader phenomenon that I term “layered leadership.”

This presentation will consider a new geometric theory around the intertextual nexus in the musical design of 5th century Greek tragedy. This “coronal” nexus is formed from four areas of choral composition–in metrical design (Scott 1984), pitch accents (Conser 2021), geometric formalism (Franklin 2013), and metamusical themes in lyric (Weiss 2018). This theory will illustrate–with visuals–how the songs of tragedy fit into their plays not only in their sequential order, but in interwoven patterns across the soundtrack which create new networks of meaning.

The literary value of fourth-century tragedy has been debated since Bruno Snell’s 1971 collection of tragic fragments and Georgia Xanthakis-Karamanos’ 1980 study on fourth-century tragedy because of the scanty number of fragments from this period in Attic tragedy. Liapis and Stephanopoulos (2019, 63-5) argue that there is no significant stylistic period which can be called fourth-century tragedy, which in their interpretation is a mere chronological period which serves as a transition from the fifth century to Hellenistic tragedy while retaining stylistic similarities with the former.

In the absence of stage directions, Athenian tragedy has deictic pronouns – ὃδε, οὗτος, and ἐκεῖνος. These words serve similar functions, usually indicating to the actors and the audience where a person or object is located. The proximal pronoun ὅδε normally points to objects in the speaker’s immediate vicinity, or sometimes even to the speaker themself; ἐκεῖνος, in contrast, usually refers to something or someone offstage, or otherwise distant from the events of the drama.

In Satire 6, Juvenal’s catalog of negative female stereotypes, an interesting pattern emerges: women are consistently portrayed as “doing time wrong.” They stay out too late, perform tasks too slowly, or become unhealthily attached to their astrological calendars. Timekeeping and temporal regulation are depicted, instead, as a man’s game. Despite the satire’s exaggerations, it captures an idea that people in power have continued to propagate (e.g., in modern-day discussions of “black time” vs.

One of the most disturbing aspects of the hard-to-date Greek joke collection Philogelos is the casual and cruel way in which it features enslaved men, women, and children.

At the onset of Plautus’ Mostellaria, two serui, Tranio and Grumio, accost each other because of their odors. Tranio reeks like exotic perfume and Grumio like, among other things, garlic and dog mixed with goat (38-44). According to Tranio and Grumio, their respective scents betray their ways of life, each one detestable in its own respects. Smell has an extremely close

By examining how the poem “Yellow Fever” functions within the overarching framework of Mad Honey Symposium, this paper studies how Sally Wen Mao alludes to the propensity for classics to be used to give credence to modern modes of discrimination and seeks to demonstrate how Mao’s own interaction with classic works simultaneously dethrones the classics from any default position of authority and offers a path of resistance to damaging stereotypes.

In his Anabasis of Alexander (1.23.8), the ancient historian Arrian describes how Alexander the Great made Ada I the governor of Caria, which he had conquered with her assistance: “He commanded Ada, the daughter of Hecatomnus and wife of Idreius, to be satrap over all of Caria. Idreius, when he died, had turned affairs over to her. For from the time of Semiramis, it had been the custom in Asia for women to rule over men.” Not only does Arrian exaggerate here; he also stereotypes. Alexander ruled over Ada, not vice versa.

Hellenistic Alexandria, with its blend of cultures, histories, and languages, provided fertile ground for interactions and conflicts between people of Greek and Egyptian backgrounds. These clashes are attested to in the wealth of literary and papyrological evidence from this period, from the Ptolemies’ privileging and preservation of Greek literature to the day-to-day disputes between Greeks and Egyptians in the lawcourts.