The Oxyrhynchus Papyri
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A Homeric Papyrus from Oxyrhynchus
Bulletin of the American Society of Papyrologists 51 (2014) 35-39 A Homeric Papyrus from Oxyrhynchus Simone Oppen Columbia University Abstract Edition of a third century CE papyrus (P.Oxy. 3.535 descr.) from Oxy- rhynchus with Homer, Iliad 1.43-59. papyri.info/apis/columbia.apis.p363 H. x W. = 13.0 x 5.7 cm P.Oxy. 3.535 descr.; MP3 570; West 114 Oxyrhynchus, III CE This fragment of a book-roll on medium brown papyrus contains portions of the middle of lines from Iliad 1.43-59. An average of eight letters per line are written along the fibers. The back is blank. As the papyrus is broken on all sides, the original margins cannot be estimated, but the average width of each letter (0.45 cm) suggests that column width would have been approximately 16 cm, if each line were preserved to its full extent.1 There are four vertical cracks on the left side of the papyrus. The text offers no new readings. The hand is roughly bilinear, exhibiting many characteristics of the “for- mal mixed” or “severe” style.2 Bilinearity is interrupted below the line by the letters ρ, υ, and φ (e.g., in lines 45, 49, and 53) and more subtly by the letters α and χ (e.g., in lines 45 and 46). The vertical descenders in the letters ρ and υ occasionally curve to the left (e.g., in line 49). Overall characteristics of the 1 The average width of letters and column width are derived according to W.A. -
Surviving Antigone: Anouilh, Adaptation, and the Archive
SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year. -
Marathon 2,500 Years Edited by Christopher Carey & Michael Edwards
MARATHON 2,500 YEARS EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON MARATHON – 2,500 YEARS BULLETIN OF THE INSTITUTE OF CLASSICAL STUDIES SUPPLEMENT 124 DIRECTOR & GENERAL EDITOR: JOHN NORTH DIRECTOR OF PUBLICATIONS: RICHARD SIMPSON MARATHON – 2,500 YEARS PROCEEDINGS OF THE MARATHON CONFERENCE 2010 EDITED BY CHRISTOPHER CAREY & MICHAEL EDWARDS INSTITUTE OF CLASSICAL STUDIES SCHOOL OF ADVANCED STUDY UNIVERSITY OF LONDON 2013 The cover image shows Persian warriors at Ishtar Gate, from before the fourth century BC. Pergamon Museum/Vorderasiatisches Museum, Berlin. Photo Mohammed Shamma (2003). Used under CC‐BY terms. All rights reserved. This PDF edition published in 2019 First published in print in 2013 This book is published under a Creative Commons Attribution-NonCommercial- NoDerivatives (CC-BY-NC-ND 4.0) license. More information regarding CC licenses is available at http://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN: 978-1-905670-81-9 (2019 PDF edition) DOI: 10.14296/1019.9781905670819 ISBN: 978-1-905670-52-9 (2013 paperback edition) ©2013 Institute of Classical Studies, University of London The right of contributors to be identified as the authors of the work published here has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Designed and typeset at the Institute of Classical Studies TABLE OF CONTENTS Introductory note 1 P. J. Rhodes The battle of Marathon and modern scholarship 3 Christopher Pelling Herodotus’ Marathon 23 Peter Krentz Marathon and the development of the exclusive hoplite phalanx 35 Andrej Petrovic The battle of Marathon in pre-Herodotean sources: on Marathon verse-inscriptions (IG I3 503/504; Seg Lvi 430) 45 V. -
Archaic Eretria
ARCHAIC ERETRIA This book presents for the first time a history of Eretria during the Archaic Era, the city’s most notable period of political importance. Keith Walker examines all the major elements of the city’s success. One of the key factors explored is Eretria’s role as a pioneer coloniser in both the Levant and the West— its early Aegean ‘island empire’ anticipates that of Athens by more than a century, and Eretrian shipping and trade was similarly widespread. We are shown how the strength of the navy conferred thalassocratic status on the city between 506 and 490 BC, and that the importance of its rowers (Eretria means ‘the rowing city’) probably explains the appearance of its democratic constitution. Walker dates this to the last decade of the sixth century; given the presence of Athenian political exiles there, this may well have provided a model for the later reforms of Kleisthenes in Athens. Eretria’s major, indeed dominant, role in the events of central Greece in the last half of the sixth century, and in the events of the Ionian Revolt to 490, is clearly demonstrated, and the tyranny of Diagoras (c. 538–509), perhaps the golden age of the city, is fully examined. Full documentation of literary, epigraphic and archaeological sources (most of which have previously been inaccessible to an English-speaking audience) is provided, creating a fascinating history and a valuable resource for the Greek historian. Keith Walker is a Research Associate in the Department of Classics, History and Religion at the University of New England, Armidale, Australia. -
The Jews of Hellenistic Egypt Jews in Egypt Judahites to E
15 April 2019 Septuagint, Synagogue, and Symbiosis: Jews in Egypt The Jews of Hellenistic Egypt Those who escaped the Babylonian advance on Jerusalem, 605‐586 B.C.E. Gary A. Rendsburg Rutgers University Jeremiah 44:1 ַה ָדּ ָב ֙ר ֲא ֶ ֣שׁר ָהָי֣ה ֶ ֽא ִל־יְר ְמָ֔יהוּ ֶ֚אל ָכּל־ ַהְיּ ִ֔הוּדים ַהיֹּ ְשׁ ִ ֖בים ְבּ ֶ ֣אֶר ץ ִמ ְצָ ֑ר ִים Mandelbaum House ַהיֹּ ְשׁ ִ ֤בים ְבּ ִמ ְגדֹּ ֙ל ְוּב ַת ְח ַפּ ְנ ֵ ֣חס ְוּב֔נֹף וּ ְב ֶ ֥אֶרץ ַפּ ְת ֖רוֹס ֵל ֽ ֹאמר׃ April 2019 4 The word which was to Jeremiah, concerning all the Jews who dwell in the land of Egypt, who dwell in Migdol, Tahpanhes, Noph, and the land of Pathros, saying. Judahites to Egypt 600 – 585 B.C.E. Pathros Map of the Persian (Achaemenid) Empire 538 – 333 B.C.E. Bust of the young Alexander the Great (c. 100 B.C.E.) (British Museum) Empire of Alexander the Great (356‐323 B.C.E.) / (r. 336‐323 B.C.E.) 1 15 April 2019 Cartouche of Alexander the Great N L c. 330 B.C.E. D I K A (Louvre, Paris) R S S The Four Successor Kingdoms to Alexander the Great Ptolemies – Alexandria, Egypt (blue) Selecudis – Seleukia / Antioch (golden) Ptolemy Dynasty Jews under Alexander and Ptolemy I 305 B.C.E. – 30 B.C.E. Josephus, Antiquities of the Jews, Book 12, Chapter 1 • Ptolemy brought Jews from Judea and Jerusalem to Egypt. Founded by Ptolemy I, • He had heard that the Jews had been loyal to Alexander. -
The Palmyrene Prosopography
THE PALMYRENE PROSOPOGRAPHY by Palmira Piersimoni University College London Thesis submitted for the Higher Degree of Doctor of Philosophy London 1995 C II. TRIBES, CLANS AND FAMILIES (i. t. II. TRIBES, CLANS AND FAMILIES The problem of the social structure at Palmyra has already been met by many authors who have focused their interest mainly to the study of the tribal organisation'. In dealing with this subject, it comes natural to attempt a distinction amongst the so-called tribes or family groups, for they are so well and widely attested. On the other hand, as shall be seen, it is not easy to define exactly what a tribe or a clan meant in terms of structure and size and which are the limits to take into account in trying to distinguish them. At the heart of Palmyrene social organisation we find not only individuals or families but tribes or groups of families, in any case groups linked by a common (true or presumed) ancestry. The Palmyrene language expresses the main gentilic grouping with phd2, for which the Greek corresponding word is ØuAi in the bilingual texts. The most common Palmyrene formula is: dynwpbd biiyx... 'who is from the tribe of', where sometimes the word phd is omitted. Usually, the term bny introduces the name of a tribe that either refers to a common ancestor or represents a guild as the Ben Komarê, lit. 'the Sons of the priest' and the Benê Zimrâ, 'the sons of the cantors' 3 , according to a well-established Semitic tradition of attaching the guilds' names to an ancestor, so that we have the corporations of pastoral nomads, musicians, smiths, etc. -
Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations. -
Jocasta and the Sin of Thebes Bernadette Waterman Ward
Jocasta and the Sin of Thebes Bernadette Waterman Ward ABSTRACT: The tragic victim of Oedipus the King is not Oedipus, who after his sufferings shall be raised to divinity; it is his mother Jocasta. She attempted the death by her torture of her own son. When she discovers that he has survived and is her husband, she seeks even to continue her mother-son incest so as to conceal her misdeeds. Cowardly silence among the citizens of doomed Thebes seals their collusion in evil. An examina- tion of the culture of the fatal city can bring the play more vitally into the world that our students actually inhabit, and serve as a warning against the moral collapse that encourages the killing of children. EDIPUS THE KING, the most famous drama of Sophocles, invites many approaches in the classroom. One can delve into such Oquestions as the proper limits of human knowledge, the relation of fate and freewill, responsibility for inadvertent crime, the proper understanding of piety and the power of the gods, and the relation of kingship and self-sacrifice. One can address hubris – pride, overreaching – and hamartia – the mistake or tragic flaw. One can trace dramatic irony in the images of vision and deliberate blindness, or perhaps, with Freud leering in the background, contemplate sexual taboos. Many scholars investigate the guilt of Oedipus, but rarely does the focus shift from the polluted scapegoat to the deep corruption in the scapegoating city of Thebes. The Thebans cast out Oedipus as impure, but in fact they cause their own destruction. By considering the fate of the city, rather than that of Oedipus, our students can make this play vital in the world that we actually inhabit. -
Antigone's Line
Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1. -
Remembering Music in Early Greece
REMEMBERING MUSIC IN EARLY GREECE JOHN C. FRANKLIN This paper contemplates various ways that the ancient Greeks preserved information about their musical past. Emphasis is given to the earlier periods and the transition from oral/aural tradition, when self-reflective professional poetry was the primary means of remembering music, to literacy, when festival inscriptions and written poetry could first capture information in at least roughly datable contexts. But the continuing interplay of the oral/aural and written modes during the Archaic and Classical periods also had an impact on the historical record, which from ca. 400 onwards is represented by historiographical fragments. The sources, methods, and motives of these early treatises are also examined, with special attention to Hellanicus of Lesbos and Glaucus of Rhegion. The essay concludes with a few brief comments on Peripatetic historiography and a selective catalogue of music-historiographical titles from the fifth and fourth centuries. INTRODUCTION Greek authors often refer to earlier music.1 Sometimes these details are of first importance for the modern historiography of ancient 1 Editions and translations of classical authors may be found by consulting the article for each in The Oxford Classical Dictionary3. Journal 1 2 JOHN C. FRANKLIN Greek music. Uniquely valuable, for instance, is Herodotus’ allusion to an Argive musical efflorescence in the late sixth century,2 nowhere else explicitly attested (3.131–2). In other cases we learn less about real musical history than an author’s own biases and predilections. Thus Plato describes Egypt as a never-never- land where no innovation was ever permitted in music; it is hard to know whether Plato fabricated this statement out of nothing to support his conservative and ideal society, or is drawing, towards the same end, upon a more widely held impression—obviously superficial—of a foreign, distant culture (Laws 656e–657f). -
The Oxyrhynchus Papyri Part X
LIBRARY Brigham Young University FROM k 6lnci^+ Call _^^^'^'Acc. No PA No.. \}0\ /^ THE OXYRHYNCHUS PAPYRI PART X GEENFELL AND HUNT 33(S EGYPT EXPLORATION FUND GRAECO-ROMAN BRANCH THE OXYRHYNCHUS PAPYRI PART X EDITED WITH TRANSLATIONS AND NOTES BY BERNARD P. GRENFELL, D.Litt. HON. LITT.D. DUBLIN; HON. PH.D. KOENIGSBERG; HON. lUR.D. GRAZ FELLOW OF queen's COLLEGE, OXFORD; FELLOW OF THE BRITISH ACADEMY CORRESPONDING MEMBER OP THE ROYAL BAVARIAN ACADEMY OF SCIENCES AND ARTHUR S. HUNT, D.Litt. HON. PH.D. KOENIGSBERG ; HON. LITT.D. DUBLIN ; HON. lUK.D. GRAZ; HON. LL.D. ATHENS AND GLASGOW PROFESSOR OF PAPYROLOGY IN THE UNIVERSITY OF OXFORD, AND FELLOW OF QUEEN'S COLLEGE FELLOW OF THE BRITISH ACADEMY ; CORRESPONDING MEMBER OF THE ROYAL BAVARIAN ACADEMY OF SCIENCES MEMBER OF THE ROYAL DANISH ACADEMY OF SCIENCES AND LETTERS WITH SIX PLATES LONDON SOLD AT The Offices of the EGYPT EXPLORATION FUND, 37 Great Russell St., W.C. AND 527 Tremont Temple, Boston, Mass., U.S.A. KEGAN PAUL, TRENCH, TRUBNER & CO., 68-74 Carter Lane, E.C. BERNARD QUARITCH, ii Grafton St., New Bond St., W. ASHER & CO., 14 Bedford St., Covent Garden, W.C, and 56 Unter den Linden, Berlin C. F. CLAY, Fetter Lane, E.C, and 100 Princes Street, Edinburgh ; and HUMPHREY MILFORD Amen Corner, E.C, and 29-35 West 32ND Street, New York, U.S.A. 1914 All risihts reserved YOUN'G UNlVERSiTC LIBRARi' PROVO. UTAH OXFORD HORACE HART PRINTER TO THE UNIVERSITY PREFACE Of the new literary pieces here published, 1231 and 1233-5 pro- ceed from the second of the large literary finds of 1906, with some small additions from the work of the next season. -
TLG ®1 Unicode Proposal (Draft 8/13/02)
®1 TLG Unicode Proposal (draft 8/13/02) Short Table of Contents Introduction .....................................................................................................................................................8 The TLG® Project........................................................................................................................................8 Notes on the proposal ..................................................................................................................................9 I. Additional Greek Letters............................................................................................................................14 Introduction and Overview........................................................................................................................14 a. Additional Greek Letters: New Characters............................................................................................15 II. Ancient Greek Editorial Characters and Punctuation................................................................................18 Introduction and Overview........................................................................................................................18 a. Ancient Greek Editorial Characters and Punctuation: New Characters.................................................22 b. Ancient Greek Editorial Characters and Punctuation: Additional Definition of Preexisting Characters........54 III. Ancient Greek Numerical Characters......................................................................................................66