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Homerische Träume und Herodoteische Traumdeutung
7–9Views:41It is not too probable that the interpretation of dreams to be read with Herodotus (VII, 6β) is of Persian origin. Nevertheless, the dreams told by Homer correspond to the Herodotean interpretation: The dreamer dreams by night of things which he concerns himself with by day.
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Homer's First Battle Supplication and the End of Virgil's Aeneid
53-66Views:138One of the less appreciated literary influences on the Virgilian depiction of Aeneas' decision to slay Turnus at the end of the Aeneid is the first battle supplication scene in Homer's Iliad, the encounter of Adrestus with Menelaus and Agamemnon. Close consideration of Virgil's response to the Homeric scene sheds light on the poet's concerns in his presentation of the choice his Trojan hero Aeneas confronts in light of Turnus' appeal. Acrostics at the end of the Aeneid invite further reflection.
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From Grief to Superbia: the Myth of Niobe in Greek and Roman Funerary Art
281-296Views:207The Greek myth of Niobe was known in the ancient world both by literary sources and visual representations. Both in Ancient Greece and in Ancient Rome, the myth was represented, alongside a variety forms of art, in funerary art, but in a different manner during each period of time. In Ancient Greece, the myth was represented on Apulian and South Italian vases, portraying the finale scene of the myth: Niobe’s petrification. In Ancient Rome, a shift is visible: the portrayal of the scene of the killing of Niobe’s children on sarcophagi reliefs. The aim of this paper is to follow the iconography of each culture and to understand the reason for the shift in representation, while comparing the two main media forms.
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„Read the edge”: Acrostics in Virgil’s Sinon Episode
45–72Views:110Virgil’s famous Sinon episode at the start of Aeneid II contains four hitherto unidentified acrostics. Examination of these particular instances sheds light on Virgil’s acrostical practice in general.