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The vivo suo formula, as a possible manifestation of the interconnection of the Greek and Latin languages in Moesia Inferior
113–126Views:124The paper focuses on a strange variant of the se vivo expression which can be found mostly in Moesia Inferior: the vivo suo fecit formula. It appears only in twelve inscriptions, but that makes up one third of all the occurrences of the se vivo fecit expression in this region. How can we account for this formula, which cannot be explained by the classical Latin grammar? This intriguing form has attracted the attention of Giovanbattista Galdi, who in 2002 dedicated a paper to the possible origin of the formula. In this paper, he claims that the vivo suo form is the result of the interconnection of the Latin and Greek languages in Moesia Inferior, since the expression usually occurs in areas populated by Greeks. Galdi attributes the emergence of the formula to the fact that the Greek language does not have a possessive pronoun (like the Latin suus), but uses the genitive case of the reflexive pronoun (ἑαυτοῦ) to express the possessive relation. According to this theory the bilingual environment in Moesia Inferior, and more specifically the aforementioned Greek structure caused a confusion in Latin in the use of the possessive pronoun (suus) and the reflexive pronoun (se). The aim of my paper is to examine Galdi’s argument and to point out the problematic elements of this theory.
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Firme di artisti / produttori di specchietti in piombo con superficie riflettente in vetro
91–100Views:32In this short contribution we present lead mirrors with reflective glass surface that are characterized by the presence of the signature of the plumbarius and / or the creator of the form. These few but interesting epigraphic attestations allow some thoughts on how to produce this type of material and also on the people who were involved.
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Tilting Scripts: Incongruence as a Source of Humour in the Parodos of the Frogs
15–28Views:44The purpose of the following study is to decode the semantic layers of ancient Greek texts and scripts introducing the well-defined “General Theory of Verbal Humour”. Classical tragedies, the parodoi of the texts used by Aristophanes and the dialogues following them, are all formed according to a (more or less standardised) script. Via putting frogs on the stage, Aristophanes parodies the patterns of the chorus songs and agons in Greek tragedies. Although the setting – the River Styx – could not be more sublime, and the winner of the debate is Dionysus himself, his adversaries are “only” frogs. The Frog Song reveals that the unity of content and form is not to be broken up without serious damage to the effect, as their separation from each other results in the reverse of the original catharsis. This parody, however, does not only refer to the emptiness and anachronistic quality of certain forms, that is, it does not only ridicule the genre, but can also function as the continual self-correction of Aristotelian mimesis. Aristophanes’ parody of a parodos is a meticulously constructed text, a faithful image of the prototypical scripts functioning as source texts, and abundant in humorous effects. Parody is enjoyable in itself, however as any good parody works with the mechanisms creating the parent text; it can only appear comic if it really reveals the patterns underlying the original, and it can only reach its aim if these patterns really bring the original work of art to the recipient’s mind.
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Das Hin und Her der Blicke, Eidola in der Pupille Augenförmiger Gemmen: Liebesgeschenke mit Amulettcharakter?
185–203Views:41The presented group of late Republican to early Imperial intagli consists of round layered stones (sardonyx, cornelian onyx) with a flat reverse side, which are strongly convex on the front side. Their horizontally stacked and differently coloured plies are sanded on the front to form concentric rings around a dark centre. The motif incised in this centre looks like an eidolon in the pupil of a 'fisheye'. Most of these motifs can be interpreted against the background of Augustan love poetry. It is possible that gems of this kind were gifts of love and, due to their striking design as an eye, also had an apotropaic function.
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Proemi, tempi e tecniche delle Storie di Livio
83–100Views:34Livy’s book I, first published on its own after January of 27, when Octavian received the title Augustus, republished probably with books II-V, to form a unified first pentad, was written roughly in the years 33-32, certainly before the battle of Actium. This is clear from certain passages and it casts light on Livy’s method, involving a long interval between writing and publication, with continuous revision of the text; books CXXI ff., editi post excessum Augusti, can thus have been composed in the years 6-14 A.D., when Livy went back to Padua.
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The Island of Laws
5–14Views:40According to the well-known opinion of Wilamowitz-Moellendorff, Plato was not familiar with Cretan customs when he wrote the Laws. If we compare the text of Nomoi with Cretan law inscriptions from the 7th-5th centuries, we can conclude that Plato’s knowledge of the laws of Cretan poleis was more profound than it had been assumed. It is especially true in the case of the regulation of alcohol consumption on the basis of Laws 666a-b and an inscription form Eleutherna (Nomima II.98; Lupu 323).
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A Jet Medusa Pendant from Aquincum/Budapest
5–16Views:106A rare jet cameo-pendant with the representation of a Medusa-head came to light south of the canabae of Aquincum during the excavation of a section of the Roman cemetery. Among the jewellery carved from jet, pendants depicting the head of Medusa form a separate group. We know only 21 pieces without this jewel; all of them are distinctive, unique carvings. The pendant from Aquincum belongs to the group of ‘beautiful-pathetic’ Medusa-heads. It could have been made in the 3rd century, based on analogy and on the other grave-goods. There is a possibility that this type of jewellery was made for burials as an apotropaic object.
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Nuevas observaciones de lectura de una matriz de molde para crustula de Aquincum
115–122Views:33The paper examines again a form of the well-known crustula from Aquincum, and suggests some new possibilities for various readings of the lectio vulgata.
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A Crux in the Proem of Henry of Avranches’ Bordo-Siler (R 129–144,17–18)
155-159Views:85The 13th-century poet Henry of Avranches has given us in the form of his Bordo-Siler what is a chef-d’oeuvre of poetic vituperation. The proem of this important poem is marred by textual corruption in the view of its editor and commentator, A. G. Rigg. The present article endeavours to show that the text is sound. Here we in fact have a reference to the parable of the Prodigal Son. We also have a clever jeu grammatical in the matter of metrical quantity.
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Quis est nam ludus in undis? (Virgil, Eclogue IX 39-43)
43–58Views:79The undis-acrostic that has recently been discovered in Eclogue IX 34-38 has proved problematic. The present article argues that the acrostic’s point is the etymology of litus as the place where these “waves” do not “play” (39: ludus), but “strike” (43: feriant for synonymous but exceedingly scarce lidant). This acrostic is accordingly hot-potato politics, since it pertains to the land confiscations round Virgil’s “wave”-begirt Mantua. The poet also provides endorsement in the form of an unidentified onomastic.
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Magical Iconography. How Can an Image Protect and Heal?
43–52.Views:193One of the features of the attitude of ancient societies towards the threats of everyday life was a close relationship between spiritual/magical and religious beliefs and the real actions aimed at overcoming dangers. This relationship is visible in the magical iconography of Ancient Egypt and other Ancient Near Eastern cultures – in the form of demons, minor deities, and other benevolent supernatural beings that can protect people. Images of theses deities are sometimes accompanied by archaeological traces (holes for water, traces of rubbing, touching), indicating that images were also subjects of action. The question is how the magical and religious iconography meets the non-supernatural actions and how this custom could emerge in other parts of the Ancient world and in post-ancient times.
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Antulla’s tomb and Martial’s: poetic closure in book 1
41–56Views:39The final seven epigrams of Martial’s Book 1 form a subtle but important closural sequence (epigrams 1.112-1.118 inclusive). Despite their great variatio of topics, the seven epigrams are linked through concerns about the boundary between life and death, the integrity of a monument, and the theme of dignus legi, or what makes someone “worthy of being read.” Through a series of close readings, this article argues for the coherence of this sequence on formal, thematic, and verbal grounds. The sequence is centered on a pair of epigrams on the kepotaphion or tomb-garden of a young girl named Antulla (1.114 and 1.116). The function of this closural sequence is both formal, to bring closure to a disparate collection of epigrams, and thematic, to reprise themes from the mock-epitaph with which Martial opens book 1 (1.1).
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Callidus and Comedy: a New Argument for an Old Etymology
341-349Views:128In the corpora of republican authors and the glosses of late antique grammarians, the lexemes callidus and calliditas are used to describe a certain variety of intelligence, which is often translated into English as “cleverness” or “cunning.” This paper looks more closely at these lexemes in order to explain how the root call- (“hard”) came to be associated with mental capacity and acuity. In short, I argue that the type of intelligence that callidus originally denoted ought to be linked to the brutal treatment of slaves and the coping mechanisms that they had to develop in light of their condition as chattel. Not only is this violent form of education depicted in Plautus’ comedies, but its implications and logic can also be found in later authors such as Cicero.
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Characters and magic signs in the Picatrix and other Medieval magic texts
69–77Views:255The word „characters” covers a number of different phenomena in the Middle Ages. It might refer to a list of incomprehensible signs and astrological symbols inscribed in a talismanic sigil, to a series of Latin letters used for magical purposes, and also to a written form of verbal incantation, a written charm. Characters were often used in the field of talismanic or celestial magic in order to name spiritual beings. The paper reviews the use of characters in various medieval sources: textual amulets, necromantic manuals, texts on talismanic magic and the most famous medieval magical summary, the Picatrix.
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The Transformation of the Vowel System in African Latin With a Focus on Vowel Mergers as Evidenced in Inscriptions and the Problem of the Dialectal Positioning of Roman Africa
9-25Views:178Present paper intends to explore the process of the transformation of the vowel system as evidenced in the pre-Christian and Christian inscriptions of the Roman provinces Africa Pro-consularis including Numidia and Mauretania Caesariensis. With the help of the LLDB-Database, the phonological profiles of the selected African provinces will be drawn and compared to those of six more territorial units, i.e. Sardinia, Hispania, Gallia, Dalmatia, the city of Rome and Bruttium et Lucania. Then the dialectal position of the selected African provinces will be described by various methods of phonological analysis regarding vocalism in both periods. It will be demonstrated how the selected African provinces did not form a homogeneous dialectological area. The vocalism of Latin in later Africa Proconsularis including Numidia turns out to be of the same type as of the later Latin in Sardinia, while the vocalism of the Latin in later Mauretania Caesariensis might have started to develop toward the eastern or Balkan type of vocalism. Regarding consonantism, especially the b-w merger, later Mauretania Caesariensis shows explicitly different trends from what we see in later Africa Proconsularis.
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Eine magische Gemme mit Inschriften im Akademischen Kunstmuseum der Universität Bonn
205–216Views:42The magical gem published here belongs to the Akademisches Kunstmuseum der Universität Bonn (Abb. 1–2.; measurements: 33 x 24 x 6 mm). It stems from the collection of Klaus Müller, who acquired it in the 1960th or 1970th. Obverse and reverse of the gem are filled with inscriptions, most of them consisting of unknown voces magicae, and possibly some meaningless letters to fill the space. On the obverse a prominent inscription invokes Eloe, that is Elohim, the Jewish God, who entered the magic pantheon like Greek and Egyptian ones and under the name of Iaō, even got an image in the figure of the cock-headed, snake-legged warrior. Eloe here means the great magic Sun god, as becomes apparent by Semese(ilam) in col. d 6. The reverse names Thoth, the Moon god. Thus the gem was an amulet for day and night, that is for ever. The bevel of the gem is left plain, so it could have been personalizied by an inscription, which was not the case; thus in its present form the gem was an amulet for every owner.
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Some remarks about the morality of Roman provincial funerary poetry
159–169Views:35The morality/view of life of the ordinary provincial Roman is hard to discern; for the most part we must rely on the more literary inscriptions. The funerary verse inscriptions provide considerable material, but not individualized wording: they consist mostly of well-known patterns. At the same time these patterns form regionally different structure types; hence they can throw light upon the funeral customs of the different regions. In Pannonia there were two main poem types: one of early Carnuntum, and one of Aquincum in the 3rd c. The differences between these communities in the way they thought about death are clearly visible. There were very few individualized poems referring to personal feelings: two such are analysed here in detail (TAq 769, TAq 512).