An unpublished poem on Porphyry

This paper offers an editio princeps, an English translation and a commentary of an interesting epigram on Porphyry, the commentator of Aristotle. The epigram was transcribed in Vat. Reg. 166 by Ioannes Malaxos (16th c.) and is ascribed to Petros Servilos, a poet unknown from other sources. The paper discusses the poem’s manuscript context, as well as its authorship, genre, content and function. Further, it attempts to shed light on the poem’s relation to Porphyry’s philosophy and his reception in Byzantine poetry

The opening of Plutarch's Life of Themistokles

Plutarch begins the biography by selecting incidents and an epigram that anticipate the basic themes of Themistocles' life--his greatness, sometimes ambiguous, and his benefactions to all of Greece

“Finis epigrammatis est anima eius”: Transformations of the Content of the Latin Epigram in the Epoch of the Baroque

After the flowering of the epigram in Ancient Greece and Rome, greater attention to this genre was paid at the beginning of the Renaissance, and the epoch of the Baroque (the 17–18th centuries) could be called one of the brightest periods of epigram revival and prosperity in all Europe. In the 16–18th centuries literary theorists in their works discussed the place of the epigram in the hierarchy of literary genres, determined their functions, form, defined the possibilities of content. By suggesting that the form of the epigram had not been settled in Antiquity, theorists gave most attention to the content of the epigram and explained how, when in imitating the most famous ancient authors, the epigram could be given Christian features. The article, using comparative methods, will analyze how epigrams of Martial were imitated by the poet of the 17th century Grand Duchy of Lithuania M. C. Sarbievius

Time's Arrow, December 13, 1999

This is the concert program of the Time's Arrow performance on Monday, December 13, 1999 at 8:00 p.m., YEAR at TIME, at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were The Unanswered Question by Charles Ives, Le Printemps by Darius Milhaud, quartet by Samuel Headrick,Aphierosis by Theodore Antoniou, "Emily in Summer," Three Poems of Emily Dickinson by John Goodman, A Wiser Sympathy by John Goodman, "Six Epigrams:" Funfare for Eight Musicians by Ronald G. Vigue, Epigram by Ioannis Tselikas, Miniature by Paul Akers, Apparitions by Ethan Wickman, Epigram by Sabang Cho, and Guaguanco by Panagiotis Liaropoulos, and Folk Songs by Luciano Berio. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Horse and Herald: Posidippus' Equestrian Angelia

Posidippus’ epigrams for equestrian victors (the Hippika, AB 71–88) build on epinician convention by maintaining the central role of the herald’s proclamation— the angelia—in the representation of athletic achievement. In a few of these epigrams, however, Posidippus embeds the horse itself in postvictory rituals. For example, the horse brings the crown to the victor, replacing the figure of the herald who announced and crowned victors; or, in a narrative of the race’s aftermath, the horse, incredibly, chooses the victor. Posidippus’ horses, therefore, act as causal agents for the glory of their owners, and his detailed descriptions transform the horse from flesh-and-blood equine to everlasting (literary) monument. Les épigrammes de Posidippe sur les victoires équestres (les Hippiques, 71-88 A.-B.) s’appuient sur une convention poétique propre aux épinicies qui maintient le rôle de la proclamation du héraut – l’angelia – dans la représentation de la réussite athlétique. Cependant, dans quelques-unes de ces épigrammes, Posidippe intègre le cheval lui-même au rituel marquant la victoire. Par exemple, le cheval apporte la couronne au vainqueur en remplacement de la figure du héraut qui annonce et couronne les vainqueurs ; ou encore, dans le récit de l’après-course, le cheval choisit, de façon surprenante, le vainqueur. Les chevaux de Posidippe interviennent donc en tant qu’agents causaux dans la gloire de leur propriétaire. Ses descriptions détaillées transforment ainsi l’être de chair et de sang qu’est le cheval en un monument (littéraire) éternel.https://www.utpjournals.press/doi/full/10.3138/mous.16.3.00

Byzantijnse boekepigrammen / metrische parateksten: terminologie en classificatie

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Byzantine Book Epigrams: The Case of Ὥσπερ ξένοι...

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A cognitive analysis of metrical irregularities in the 'Omega sigma pi epsilon rho xi epsilon nu omicron tau' book epigrams

This article considers the variation in the meters of the ὥσπερ ξένοι epigrams collected in the Database of Byzantine Book Epigrams (DBBE). In its canonical form, these epigrams follow a dodecasyllabic metrical pattern. The seemingly unmetrical decasyllabic and decatetrasyllabic variants are explained from a cognitive-linguistic perspective as the pairing of different cola – 5+5 and 7+7 instead of the usual 7+5 or 5+7. From this perspective, cola can be equated with the cognitive ‘idea’ or ‘intonation units’ (IUs) used in ordinary speech

The Grub-Street Journal and the Changing Culture of Information in the Early 1730s

Between 1730 and 1733, the Grub-Street Journal was one of the most renowned and controversial weekly news-sheets produced and sold in London. This article traces the attempts made by the editors of the Journal to make sense of, and manipulate, the changing fashions related to the organization and consumption of information. The Grub-Street Journal linked critiques of new forms of information organization, such as printed volumes with prefaces and indexes, with wider societal changes taking place. This can be seen in the Journal’s shifting relationships with its audiences and competing journals. As the weekly news-sheet became increasingly outmoded, the editors of the Journal could no longer successfully manipulate its position within the London coffee-house network, launching more direct attacks on the publication trade. The Journal offers a fascinating insight into the changing culture of information in the 1730s and highlights the way in which images connected to information are used to explore cultural change, throughout recorded history

The Skylla group in Constantinople's hippodrome

The Skylla group was among the most famous bronze sculptures installed in the hippodrome at Constantinople. This paper suggests that the Skylla was a feature of Constantinople at its re-foundation, but perhaps originally stood facing the Bosphorus. In around AD 400 it was moved to the hippodrome where it stood until its destruction in 1204, and where it may for some time have served as a fountain