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Author: Peter Kelly

This paper will examine Ovid’s depiction of the catalogue of hybrids from Tristia 4.7. It will argue that this passage may be read as an allusion to Empedocles’ description of the compound creatures which existed at an early stage in the evolution of living beings (fr. 60 DK). It will attempt

In: Mnemosyne
Author: J.R. Porter
This work challenges recent critical assessments that emphasize the allegedly subversive elements in Euripides' play. The Orestes is found to present a curious mélange of early and late Euripidean features, resulting in a drama where the tragic potential of Orestes' predicament becomes lost amid the moral, political and situational chaos that dominates the late Euripidean stage. Throughout, emphasis is placed on reading the Orestes in light of Greek stage conventions and the poet's own practice. Of particular interest are: an original examination, in light of Greek rhetorical practice, of Orestes' agon with Tyndareus; an analysis of the Phrygian's monody as a cunning hybrid of Timothean nome and traditional messenger speech; and a re-evaluation of the play's troubling deus ex machina.
The literary letter was one of the most versatile and popular forms of writing in Greek antiquity, yet one of the least widely studied today. The use of the letter within narrative or as narrative medium is something which the Ancient Greek literary tradition established as central to the western world (especially through the letters of Plato, Hippocrates and the Christian epistolographers). This volume presents detailed literary readings of a wide range of Greek literary letter collections. By comparison of the various narrative strategies taken within Greek epistolary texts across a range of genres, cultural backgrounds, and time periods, the volume takes a significant step towards the appreciation of Greek epistolary collections as a unique literary phenomenon.
Author: David Fearn

a pointed lack of framing even at the end where Menelaus’ message is left hanging in mythological space. Bacchylides 18, ‘Theseus, for the Athenians,’ is an idiosyncratic and as-yet-unique kind of hybrid between choral lyric and what is generally but rather unhelpfully called a kind of ‘dramatic

In: Greek Lyric of the Archaic and Classical Periods
Author: Gesine Manuwald

. 68–78; Stich . 446–8a). These elements of ‘Romanisation’ within a Greek framework created a hybrid, fantasy world, yet one that addressed themes and modes of behaviour relevant for the life of Roman audiences (Blänsdorf 1983). It has been suggested that the movement towards a more serious form of

In: Roman Comedy

Mixanthropoi. Animal-human Hybrid Deities in Greek Religion (Kernos Suppl. 25). Liège, Centre International d’Étude de la Religion Grecque Antique, 2011. 383 pp. Pr. €40.00. ISBN 9782960071788. According to common perception―ancient and modern alike―Greek antiquity knew no animal gods. And yet

In: Mnemosyne

been explored through the lens of cultural hybridity and how a minority identity is expressed within larger structures of empire. 25 Sylvie Honigman has argued that within the context of Ptolemaic Egypt, Judaeans were a part of a nested construction of Greek ethnicity, accepted as a sub-group of Greek

In: Uncovering Jewish Creativity in Book III of the Sibylline Oracles
Author: Maria Patera
In Figures de l’épouvante grecques de l’antiquité au présent, Maria Patera examines an unfamiliar aspect of the Greek pedagogy of fear, illustrated by narratives about four Greek terrifying figures: Lamia, Mormô, Gellô and Empousa. These female bogeys belong to the children's world. Each of those figures provokes fear in a particular way, according to its own characteristics (metamorphosis, hybridity, cannibalism, etc.). By means of a diachronic comparison of the ancient figures with their Byzantine and modern Greek namesakes, each of them is assigned a proper position within its specific historical, cultural, and religious context.

Dans Figures de l’épouvante grecques de l’antiquité au présent, Maria Patera examine un aspect mal connu de la pédagogie grecque, celui de la peur, illustré à travers des récits principalement destinés aux enfants à propos des épouvantails Lamia, Mormô, Gellô et Empousa. Ces quatre figures féminines appartiennent aux chambres enfantines et aux contes de bonnes femmes. Chacune d’entre elles matérialise un aspect de l’épouvante à travers ses façons d’agir et ses traits caractéristiques (métamorphose, hybridité, anthropophagie, etc.). Un examen diachronique permet de comparer les personnages anciens à leurs homonymes byzantins et néo-grecs et de déterminer leurs fonctions respectives dans chaque contexte historique, religieux et culturel donné.
Author: Edith Hall

winged and has had a bird’s-eye view of the earth (32–48). 35 But it turns out that Tereus’ metamorphosis has been rather unsatisfactory. He remains a strange human-bird hybrid. Euelpides By Heracles! what a creature! what plumage! What means this triple crest? Hoopoe Who wants me? Euelpides

In: Aristophanes and Politics
Author: Marco Fantuzzi

myths that they could hardly be perceived as extraneous. 57 But during the fourth century and especially with Menander, tragedy became a genetic component of a sort of hybrid comedy. 58 Seen from this perspective, and if we accept the nowadays widespread idea of its late chronology, Rhesus may be

In: Brill's Companion to Euripides (2 vols)