Bibliography Abbenes, J. G. J. 1996. “The Doric of Theocritus. A Literary Language.” In Harder, Regtuit, and Wakker 1996:1–17. Accorinti, D. and Chuvin, P., eds. 2003. Des Géants à Dionysos: Mélanges offerts à Francis Vian. Hellenica 10. Alessandria. Acosta-Hughes, B. 2002. Polyeideia—The Iambi of Callimachus and the Archaic Iambic Tradition. Berkeley. Acosta-Hughes, B., and… Read more
Figures Figure 1: Charioteer by Polyzalos. Delphi Museum. Fifth century BCE. Photo: courtesy of the Greek Archaeological Receipts Fund. Figure 2. Artemision Horse and Jockey. Second century BCE. Athens, National Museum, Br 15177. Photo: G. Hellner. Courtesy DAI Athens 1980/59 (height of jockey 84 cm; length of horse 250 cm). Figure 3. Emaciated man in bronze. Late Hellenistic period. Dumbarton Oaks 47.22. Photo: courtesy… Read more
Contributors Benjamin Acosta-Hughes is Assistant Professor of Greek and Latin at the University of Michigan. He specializes in Archaic and Hellenistic poetry, and in the translation of erotic epigram. His publications include Polyeideia—The Iambi of Callimachus and the Archaic Iambic Tradition (Berkeley 2002). He is currently writing a book on the Hellenistic reception of Archaic lyric. Manuel Baumbach is Wissenschaftlicher Assistent of Greek at the University… Read more
14. Vision and Visibility: Art Historical Theory Paints a Portrait of New Leadership in Posidippus’ Andriantopoiika [1] Elizabeth Kosmetatou, Katholieke Universiteit Leuven μιμ̣[ή]ϲαϲθε τάδ᾿ ἔρ̣γ̣α, πολυχρονίουϲ̣ δὲ κολοϲϲῶν, ὦ ζ̣[ωι]ο̣πλάϲται, ν̣[αί,] π̣αραθεῖτε νόμουϲ·εἴ γ̣ε μὲν ἀρχαῖαι .[..].πα χέρεϲ, ἢ Ἁγελάιδηϲ ὁ πρὸ Πολυκ<λ>είτο[υ πά]γχυ παλαιοτέχν̣ηϲ,ἢ οἱ Διδυμίδου ϲκληρ̣[οὶ τύ]ποι εἰϲ πέδ̣ο̣ν ἐλθεῖν … Read more
15. The Structure of the Hippika in P.Mil.Vogl. VIII 309 Marco Fantuzzi, University of Macerata and Graduate School of Greek and Latin Philology of the University of Florence In their introduction to the editio princeps, Bastianini and Gallazzi already noted the complexity of artistic structuring in the Hippika section of the new Milan papyrus (AB 71–88). Their discussion is part of their valuable analysis of the… Read more
8. Notes on the Lithika of Posidippus [1] Richard Hunter, University of Cambridge The first group of epigrams is one of many surprises on the Milan papyrus, though perhaps it should not have been so. Lithika is indeed a genre not previously well attested at so early a date, [2] although the considerable interest in precious… Read more
9. Elusive Stones: Reading Posidippus’ Lithika through Technical Writing on Stones Martyn Smith, Emory University Posidippus [1] writes with an acute sense of the exceptional. In several places within the Lithika section of the new papyrus he highlights the “marvel” or “wonder” resulting from a stone. [2] The stones selected by Posidippus include sapeiron (AB 5.1), beryllion… Read more
10. A Garland of Stones: Hellenistic Lithika as Reflections on Poetic Transformation David Schur, Miami University, Ohio Drawing inspiration from the importance of floral metaphors for poetry in the Western literary tradition and in our conception of the Hellenistic epigram tradition particularly, I think it would be worthwhile to consider the relationship between stones and poetry; more specifically, the conceit that likens stones or gemstones to… Read more
11. ‘Winged Words’: Poetry and Divination in Posidippus’ Oiônoskopika [*] Manuel Baumbach, University of Heidelberg Kai Trampedach, University of Konstanz ὄρνιθες δέ τε πολλοὶ ὑπ᾿ αὐγὰς ἠελίοιοφοιτῶσ᾿, οὐδέ τε πάντες ἐναίσιμοι [1] … Odyssey ii 181–182 Bird-augury is one of the oldest mantic practices found in… Read more
12. For You, Arsinoe … Susan Stephens, Stanford University The recent publication of P.Mil.Vogl. VIII 309 not only provides us with a substantial portion of an epigram collection from the early Hellenistic period, it allows us important new insights into the ways in which the images of the Ptolemaic monarchs were being integrated into contemporary poetry. At critical points throughout the collection we find discrete epigrams… Read more
