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Abstract
How can we determine if a stone has wandered from its original provenance? In the case of funerary inscriptions, the epigraphic practice according to which fines for the desecration or reuse of the tomb were made payable to a prominent local deity can provide a decisive argument. In order to illustrate this point, this chapter revisits a half-dozen funerary inscriptions which stipulate funerary fines sacred to Artemis Kindyas, the principal goddess of the community of Bargylia in Caria. Found in various locations across the Halicarnassus peninsula, on the island of Cos, and in still more distant locations, these inscriptions can all be shown to have originally come from the necropolis of Bargylia, not far from which lay the sanctuary of the goddess. An appendix presents a still unpublished funerary inscription from Küçuk Tavşan Adası which belongs to this group of pierres errantes.
Abstract
This chapter examines the relationship between early Attic curse-writing and the so-called epigraphic habit, demonstrating how the latter provides a useful framework for thinking about the former during the late fifth and fourth centuries BCE. As private, concealed ritual texts with decentralized modes of circulation, curse tablets preserve various influences, including several that are epigraphic in nature: language and formatting displayed in civic decrees, public name-lists, and epistolary genres of communication.
Abstract
This paper explores the role of libation in Greek inscriptions. I argue that so-called sacred laws and sacrificial calendars, together with other inscriptions, indicate a sign function of libation that is more complex than has previously been acknowledged. In addition to the choice of liquids, there are ritual features like the vessels, the act of pouring, sequence and frequency, place or performers which are variable and work as signs. In the epigraphic record, these individual features become significant in different ways.
Abstract
Over the past half century the field of epigraphic studies has shifted away from a quasi-exclusive focus on the editing and interpretation of ancient Greek and Latin inscriptions to broader consideration of the place of inscribed writing in classical culture. Discussions of an “epigraphic habit” and of the relevance of inscriptions for evaluating ancient levels and types of literacy have developed independently and have followed different courses, to the extent that the very definition of “inscription” has once again been opened. This paper proposes a new way of assessing the “epigraphic” quality of any type of ancient writing along a scale of modality measured by the degree to which it takes advantage visually of its location, material support, language, writing technique, layout, or register of expression to enhance its meaning for its targeted audience. Various types of the form are illustrated, exempli gratia, with inscriptions drawn predominantly from Pompeii.