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Compounding Compound Creatures

The Catalogue of Hybrids in Tristia 4.7 and Empedocles

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

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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.

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Edited by Owen Hodkinson, Patricia Rosenmeyer and Evelien Bracke

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.

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Edited by Andrew Faulkner and Owen Hodkinson

Ancient Greek hymns traditionally include a narrative section describing episodes from the hymned deity’s life. These narratives developed in parallel with epic and other narrative genres, and their study provides a different perspective on ancient Greek narrative. Within the hymn genre, the place and function of the narrative section changed over time and with different kinds of hymn (literary or cultic; religious, philosophical or magical). Hymnic Narrative and the Narratology of Greek Hymns traces developments in narrative in the hymn genre from the Homeric Hymns via Hellenistic and Imperial hymns to those in the Orphic tradition and in magical papyri, analysing them in narratological terms in order to place them in the wider context of ancient Greek narrative literature.

Annetta Alexandridis

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

K.J. McKay

hexameters at the end of the fourth foot, and that the 376 prominent position which it creates occurs before, rather than after it (see J. Carriere, Pallas 5 (1957), 5-15). Hybrid forms like Muiskus (p. 32 et alibi) and cornos (p. 53 et alibi) show an imprecision which we ought to have been spared. In Kall

Ahuvia Kahane

the same scene (4.824, 4.835). Both introduce the exceptional speech of a subject who, from narratological, thematic, and discursive perspectives, has a hybrid gendered profile. The speaker is the goddess Athena disguised as an εἴδωλον ἀμαυρόν (neuter; ἀμαυρόν never elsewhere in Homer) of Iphthime who

Zina Giannopoulou

(13.157) creates a hybrid of stasis and motion, a vessel in arrested motion. The ship is also rooted to the bottom somewhere between Ithaca and Phaeacia, close to the latter but not yet at the shore, while the Phaeacians look at it from the citadel, an elevated place between the ground and the sky

Penelope as a Tragic Heroine

Choral Dynamics in Homeric Epic

Sheila Murnaghan

the connection in their poetry. One is Margaret Atwood, who takes up the cause of the maids in her formally hybrid Penelopiad , in which she gives the maids a lyric voice that complements and counters the prose voice of Penelope (who regrets the fate of the maids and blames herself for it but finally