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The anonymous poem Discurso en loor de la poesía (“Discourse in Praise of Poetry”) has cultural transference at its core. First, the work was published as the prologue to Diego Mexía de Fernangil’s translation of Ovid’s Heroides (Sevilla, 1608). Second, though it praises the Spanish translator and does not preface Ovid’s poem, it transfers the anonymous female lyric voice from the margins to the center: like an Atlas of sorts, the heroic task of praise is set on “a woman’s spider-like shoulders” (“ombros de muger que son d’araña”, 54; cf.

This paper will re-examine the figurative votive assemblage of the Forêt d'Hallate sanctuary (Oise, France), arguing that the form and iconography of these statuettes reveal an entanglement of Roman and indigenous norms unique to this site. Its conclusions suggest a new reading of the sanctuary focused not on healing, as commonly assumed due to the presence of figurative votives, but on community and power negotiation.

Although Grattius begins his Cynegetica with an invocation to Diana as the goddess of the hunt, scholars have noted that he sets himself up as the expert in hunting rather than as a conduit of the goddess (Anderson 1985; Fanti 2018; Tsakhaki 2018). And yet, as Henderson has pointed out, Diana “echoes through the programme,” even if it seems like a “carapace of pious puffery” (Henderson 2001, 9). In this paper, I will argue that Grattius’ choice of Diana as muse reflects her particular importance to Augustus.

Roman state prodigies and expiations were all about Rome. Prodigies portended dangers for Rome which expiations were intended to avert. It is no surprise, then, that the vast majority of prodigies were reported from the city of Rome or elsewhere in the Italian peninsula, and most expiations were performed in the Roman capital (on Roman prodigies: MacBain, Rasmussen, Santangelo). But not all. A number of prodigies came from Sicily and the Aeolian islands, with reports in nine separate years.

Of all the meters that we encounter in our poetic texts and metrical handbooks, lyric would sit high up the taxonomic pyramid for its complexity and terminological richness. However, an economy can be found to underlie all that wealth.

The origin of γῆ ‘earth, land’ (extra-Attic-Ionic γᾶ) and its by-form γαῖα has been a crux of Greek etymology. Association with the theonym Δημήτηρ (: Δαμάτηρ) is unfruitful for want of good reason to suppose that δᾶ meant ‘earth’ (EDG: 295, 324). Since, moreover, γῆ is the normal word vis-à-vis γαῖα, there has been a similarly fruitless temptation to speculate that the latter is a poetic creation based on αἶα ‘earth, land’ (Schwyzer 1959: 473), whose preform presumably came to bear that meaning because of EARTH IS MOTHER (cf. Lat. avia ‘grandmother’).

In this exploratory paper, I address the linguistic phenomenon of vagueness in Latin. According to Fraser (2010: 25), “most expressions are vague, although we do not realise it.” Vagueness is a part of speakers’ communicative competence and knowing how to interpret vague expressions is a central feature of everyday conversation (Jucker et al. 2003: 1738).

Title: The Latin -to Imperatives in Late Republican Epistolography

Abstract:

This paper illustrates how artificial intelligence supports the editing of premodern Greek texts, outlining some rewards and perils of extreme interdisciplinarity.

The use of artificial intelligence and machine learning has become increasingly prevalent across a multitude of disciplines, including humanities-based research. The study of semantics in computational linguistics and language has been reorganized by the introduction of tools such as neural networks and computational representations of language. In this paper, we explore the use of AI to study semantics specifically in classical literature and how we see this pedagogical relationship developing as AI continues to evolve.