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Peter Kelly

discourse concerning the boundaries of the human and textual corpus. It is this discourse that will be the focus of this paper, which will show that by dislocating the voices within the House from the invisible personification of Fama , Ovid comments on the instability of the authorial voice as it enters

Erica Bexley

revivals of older plays. 14 Further, the very practice of reviving and re-performing earlier drama indicates that Romans of the first century c.e. were willing, perhaps even eager, to see plays staged in actual theatres. When Quintilian criticizes actors for making their voices quaver, he names as

Rutger Allan

The verbal grammatical category of voice pertains to the relationship between syntactic roles (subject, direct object) and semantic roles (agent, patient, experiencer, beneficiary, recipient). Ancient Greek has three morphologically distinct voice categories. The active voice is marked by act

David Goldstein

Voicing refers to an assimilative process by which a voiceless sound becomes voiced; the term can also be used in reference to the feature [voice], which involves vibration of the vocal cords. Voicing is a process whereby a consonant changes from voiceless to voiced (the reverse is called devoicing

Rutger Allan

Ancient Greek has three morphologically distinct voice categories: the active voice, the middle voice and the passive voice. The act. and mid. voices are distinguished by contrasting sets of personal endings. The passive voice is marked by a special morpheme -thē- or -ē- and only occurs in the

Jaap Mansfeld

© Koninklijke Brill NV, Leiden, 2005 Mnemosyne , Vol. LVIII, Fasc. 3 Also available online – ‘ILLUMINATING WHAT IS THOUGHT’. A MIDDLE PLATONIST PLACITUM ON ‘VOICE’ IN CONTEXT  JAAP MANSFELD A  The Plato kefãlaion in Aëtius’ chapter On Voice is the result of the inter


Edited by Andreas Markantonatos

Brill's Companion to Sophocles offers 32 specially commissioned essays from leading international scholars which give critical examinations of the progress and direction of numerous wide-ranging debates about various aspects of Sophoclean drama. Each chapter offers an authoritative and state-of-the-art survey of current thinking and research in a particular subject area, as well as covering a wide variety of thematic angles. Recent advances in scholarship have raised new questions about Sophocles and Greek tragedy, and have overturned some long-standing assumptions. Besides presenting a comprehensive and authoritative guide to understanding Sophocles, this companion provides scholars and students with compelling fresh perspectives upon a broad range of issues in the field of Sophoclean studies.

Konstantin Doulamis

will suggest, have distinct voices in the narrative. I shall be arguing that, with assistance from divine agents presented as instigators of action, the narrator and the author engage the reader in a game of forewarnings, predictive signs (some true, others false), and intervention, which paves the way

Peter Stork

This index lists all verb forms in Thucydides, with the total number of occurrences of the verbs and crossreferences to the compounds. Two appendices provide lists of verb forms that are attested in the mss. but have been removed by conjecture from the printed text and of all attested variant readings. In providing easy access to the verb system as it is attested in Thucydides, it is an invaluable tool for research into the verb system in Thucydides in particular and in Ancient Greek in general, on matters of lexicography or morphology, and more particularly on various aspects of the semantics of the verb system, such as the use of aspectual forms and that of the moods and voices.


Edited by Douglas E. Gerber

This handbook for the reading of early Greek poetry is intended to be both a manual for teachers and a guide for advanced undergraduate and graduate students. It covers poetry in the elegiac and iambic genres, as well as melic poetry which is provisionally divided into the personal and the public. The book takes a critical look at scholarly trends applied in interpreting this poetry, exploring, for example, the problems of defining the nature of the elegiac genre, the origins of iambic poetry, the personal voice used by the poets, and the validity of historical criticism. Appearing in the Classical Tradition series, it considers the impact of modern literary theory on the reading of these texts - for instance the new interpretations suggested by feminism - and guides readers to a full bibliography on scholarly debates from the 19th century to the present.