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This article explores metamorphic outcomes in Ovid’s Metamorphoses. While the poem may be steeped in constant mutability, for the most part gender emerges as a surprisingly static feature, and one that carries remarkable weight also when read beside the aftermaths of Ovidian transformations. Though there may be no fixed schema that categorically establishes disparities in the final destinations of male and female transformations, I show that there are significant gendered patterns with some perhaps unexpected consequences for class and social status also. In considering the poem’s main destinations, we can see distinct patterns of outcomes: heavily gender-based for trees, gender-significant (albeit not simply determined) for watercourses, gods, and stones, and gender-equal in the case of birds and other animals. The article tackles some of the unconscious gender preconceptions at play, and explores the enduring significance of gender for the Metamorphoses within the various outcomes of those who become victims, or occasionally beneficiaries, of Ovidian metamorphosis.

Archaeological research in the Bronze Age cemetery from Câmpina started in 2008. We published the first three archaeological campaigns in detail in a volume and synthetically in scientific studies, archaeological reports, catalogues and exhibition foldings. In this paper we aim to present the results of the archaeological research carried out in 2011 and 2012, completing for the interested ones the information already known. The research, that was initially a rescue one, consisted of five successive campaigns, from 2008 to 2012. We discovered 57 graves ; some of them already disturbed and isolated human bones coming from several individuals found in inhumation graves strongly affected by late medieval or recent complexes. We also identified a series of complexes similar to graves that contained pots or ceramic fragments, but without human bones. They seem to be symbolic graves. We investigated both inhumation and cremation graves. The predominant funerary rite is inhumation, covering about 80% of the total number of identified individuals. The grave inventories suggest the presence of elements specific to Noua and Monteoru cultures. Moreover, three inhumation graves contained pots decorated in a manner specific to Tei culture. Some cremation graves contained pots difficult to assign to a culture, but a series of correlations, analogies and other details concerning the rite and ritual (the typology of complexes, the presence of upside down pots, the sandy paste, the distribution within the plan etc.), show they were contemporary with the other graves. Radiocarbon dates and relative chronology elements indicate the evolution of this cemetery during the Late Bronze Age.

Images of Sculptures in the Poetry of Giorgis Manousakis The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.

We proposed in among below the recovery of archeological research what was done now more 40 years ago, at Budureasca, a collinear area in north-east Prahova County. Our work is meant to be a support for publishing the results of the research by the archaeologists, during activity or possibly a resonable time after the start. The work performed and the problems encountered for the exposre of the information below, stengthened this conviction. Also, we follow the introducing in the scientific field of some rare archaeological finds in Muntenia area which can be evaluated by other researchers in a more varied background. Between the findings of Budureasca, which can be considered specials are those belonging to the funeral decorations of Bronze Age. In area " Puţul Tătarului", were intercepted more funeral arrangements of whichonly a few have been fully investigated. They were situated on an necropolis assigned to an early aspect of the bronze era with analogy to the cultural surroundings of Glina III– Schnekenberg, chronologically placed lightly prior an early stage of Monteoru’s culture. Because of the incomplete archeological information, this note have only a preliminary character. From the point of view of the funerary arrangements, cist graves surrounded by ring of rocks, over which mounds of ground were builded and other elements too, of rite and ritual, the Budureasca necropolis has for now in these area an exceptional character. We do not know in the area that is discussed similar discoveries for this chronological extent. We also notice the existence in this necropolis of possible secular burials rendered by the presence of incinerated bones laid by the rings interior, of some vessels disposed in the exterior of the cystic. The chronological segment that was used this necropolis covers the last stages of the evolution of the Glina culture and the early Monteoru culture. The researchs are in progress in this archaeological site and could offer the chance discovery of new funeral arrangements or the completion of partially captured oldest archaeological excavations.