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This thesis identifies two strands in the reception of Euhemerism by ancient authors. The first is a subversive version of the theory that challenges a being’s divinity, as seen in the interaction with the theory by the third-century BCE poet Callimachus. The second is a constructive version of the theory that accepts the possibility of deification, exemplified by the third-century CE theologian Origen. The first chapter provides an overview of the primary sources for Euhemerus of Messene’s original formulation of the theory, discusses some recent contributions to scholarship on Euhemerism, and outlines a framework for understanding the theory’s reception as either subversive or constructive. The second and third chapters apply this framework to the reception of the theory by Callimachus and Origen. Chapter 2 explores Callimachus’ engagement with Euhemerism in the Hymn to Zeus in light of several themes in his thinking about the gods, arguing that his rejection of the validity of Zeus’ tomb in Crete shows that he interprets Euhemerism as an inherently subversive theory. After providing an overview of early Christian uses of Euhemerism in anti-pagan polemics, the third chapter analyzes Origen’s engagement with Euhemerism in Contra Celsum 3.22–43—which includes Origen’s citation and discussion of Callimachus’ Hymn to Zeus—in light of his theological commitments surrounding the preexistence of souls, Christology, and eschatology. I argue that Origen’s argument in this section can only be understood if he presupposes a constructive interpretation of the theory. By comparing how these two Alexandrian authors respond to Euhemeristic arguments about Zeus and Jesus, respectively, this thesis demonstrates the varying ways in which Euhemerism was received in antiquity.

The present study focuses on how etymology could play an important role in the mythology of Apollo. Obviously, when it comes to the issue of the meaning of names, one often enters the realm of speculation. However, in many instances of Apollo’s mythology, etymology seems to reflect important aspects of the myth. These aspects start with Apollo’s family and birth, and continue with his role in Greek mythology. The accord between etymology and mythology appears to be more than a simple coincidence., El presente artículo estudia cómo la etimología desempeña un papel importante en la mitología de Apolo. Obviamente, cuando se trata de la etimología de los nombres, se entra a menudo en el ámbito de la especulación. Sin embargo, en muchos aspectos de la historia mítica de Apolo, la etimología parece reflejar aspectos importantes del mito, empezando con la familia y el nacimiento del dios y continuando con su papel en la mitología griega. La concordancia entre etimología y mitología no parece ser una simple coincidencia.

Forum focused on the article by Peter Bing, "Embedded epigrams in Callimachus", and including works on embedded epigrams in prose and poetry by Timo Christian, Joseph Day, Lucia Floridi, Jan Kwapisz, Regina Höschele, Évelyne Prioux, Evina Sistakou, Steven D. Smith. Silvia Barbantani has edited the Forum and wrote the introduction with a brief overview of the last twenty years of studies on the genre epigram (on the Greek side) and the last trends of research on this topic.

This paper examines ancient conceptions of social behavior, using the works of two epigrammatists, Callimachus and Martial. Both poets lived under empires (Ptolemaic and Roman, respectively), and their writing engages with ideas of imperial power. I argue that Martial and Callimachus reinforce ideas of proper social behavior under empire, especially in the ways that imperial and public opinion influenced the expected behavior for women and sexual conduct of people of all genders. The epigrams themselves are evidence of these behavioral precepts, and epigrammatic tendencies aid in their interpretation. This paper provides a better sense of society’s behavioral expectations, bringing us closer to understanding ancient daily life.

This contribute recognizes in the activity of the Hellenistic philologists at Alexandrian Library the beginning of a close connection between philology and society, and particularly between philology and political power. The poetae-philologi repayed the patronage of Ptolemaic kings, expecially of Ptolemaeus II Philadelphus, with their ideological support for the Ptolemaic power and choices. In the Alexandrian poetry there are many examples of such a way of acting: this paper intends to emphasize that the Hellenistic philologists' textual researches are directly functional to their allusive and propagandistic poetry; so philology, poetry and support for the political power are three indivisible aspects of their arts. Among other examples, Callim. Hy. Jo. 55-67 is examined in details.

Although there is no explicit evidence of queen patronage in the first generations of Ptolemies, the frequent dedication of encomiastic poems to queens (especially Arsinoe II, Berenice II) by Alexandrian learned poets suggests an involvement of royal women in shaping of their public image as patrons and lovers of the arts, in full agreement with the cultural program of their husbands. The queens are presented as Muses or Graces, goddesses who traditionally protect poetry. Not only learned poetry was likely to be endorsed by some queen, but also more “popular” (although refined) forms of entertainment, like lyric song performed in public cults (Theoc. Id. 15). Inscriptions also suggests that the fourth Ptolemaic couple, Arsinoe III and Ptolemy IV, funded literary competitions (Museia).

In this paper we present the concept of fiction of original performance for the analysis of the Hellenistic literature, starting with some general observations regarding the cultural changes in the period and then studying its applications to some of the most important poets. We pretend to prove that the theoretical framework stablished in Llanos (2017) solves some of the most persistent difficulties in the study of Hellenistic poetry and also produces a more unified vision of the different compositional techniques in it than the currently available systems.&nbsp, En el presente artículo se introduce el concepto de ficción de performance original para el análisis de la literatura helenística a partir de algunas consideraciones generales sobre los cambios culturales en el período y luego a través de un recorrido de sus aplicaciones a algunos de los poetas más reconocidos. Se pretende demostrar que el marco teórico inaugurado en Llanos (2017) resuelve algunas de las dificultades más persistentes en el estudio de la poesía helenística y además produce una visión más unificada de las diferentes técnicas compositivas en ella que los esquemas disponibles actualmente.&nbsp

The Epinikion as a literary genre seems to have had a short existence, restricted to the period ranging from the 6th to the 5th centuries b.C. Regardless of the uncertain circumstances that this genre endured during the turbulent 4th century b.C., Epinikion emerges once more in the 3rd century b.C. in the Ptolemaic court. The odes composed by Callimachus of Cyrene bear witness to this revival. In this essay, I will analyze the influence of Pindaric Epinikia in the ode of Callimachus dedicated to Berenice II, wife of Ptolemy III, taking into account thematic, structural and linguistic aspects. Thus I hope to delineate some of the transformations and continuations of the classical Epinikion in the Hellenistic period., El género del epinicio parece haber tenido una existencia efímera, restringida al período que se extendió entre los siglos VI-V a.C. Más allá de los avatares inciertos a los que este género estuvo sometido durante el turbulento siglo IV a.C., lo cierto es que el epinicio resurge una vez más durante el siglo III a.C. en el ámbito de la corte ptolemaica. Las odas de Calímaco de Cirene atestiguan dicho resurgimiento. En este trabajo, analizaré la influencia del epinicio pindárico en la oda de Calímaco dedicada a Berenice II, esposa de Ptolomeo III, tomando en consideración aspectos estructurales, temáticos y lingüísticos. Así, espero esbozar algunas de las transformaciones y continuidades del epinicio clásico en el período helenístico.

The partition of Callimachus’ hymns in ‘mimetic’ and ‘not mimetic’ is standard in contemporary philology but has entered a subtle crisis in the last decades. In this work I intend not only to present the reasons behind this crisis, but also to propose a solution using the concept of ‘fiction of original performance’, presented in Llanos (2017), which, in addition to solving the basic problem, links the Callimachus’ hymnodic collection with other poems of its age in the use of a (meta-)literary technic. The application of the concept is exemplified with an analysis of the Hymn to Artemis.&nbsp, La división de los himnos de Calímaco entre ‘miméticos’ y ‘no-miméticos’ es estándar en la filología contemporánea, pero ha entrado en una crisis sutil en las últimas décadas. En este trabajo me propongo no solo presentar los motivos de esta crisis, sino proponer una solución desde la noción de ‘ficción de performance original’, presentada en Llanos (2017), que, además de resolver los problemas de fondo, vincula la colección himnódica de Calímaco con otros poemas de su época en el uso de una técnica (meta)literaria. La aplicación del concepto se ejemplifica con un análisis del Himno a Ártemis.&nbsp

This paper attempts to analyze the «Bath of Athena» starting by sequences, series of sequences and elegiac groups to draw a pattern that operates on multiple levels of perception., Este trabajo trata de hacer un análisis del Baño de Atenea partiendo de las secuencias, series de secuencias y grupos de dísticos elegíacos para trazar una estructura que opera en varios niveles de percepción.

El presente artículo se propone realizar un análisis de la himnodia calimaquea en el contexto mayor de la himnodia hexamétrica desde la perspectiva de la teoría coral, ya utilizada en trabajos anteriores. Se comienza con un resumen de los resultados alcanzados en el estudio de la himnodia arcaica, para luego estudiar cómo los himnos de Calímaco se sitúan frente a esta tradición. Entre ambas secciones, se realiza una revisión meta-teórica de una clasificación (la oposición mimético / no-mimético) fundamental en el trabajo sobre estos himnos. Finalmente, un análisis del Himno a Zeus sirve para mostrar las estrategias compositivas de Calímaco., The purpose of this paper is to analyse Callimachean hymnody in the broader context of hexametric hymnody, from the point of view of the Choral theory. An account of results in the study of archaic hymnody is offered, as well as an analysis of the place of Callimachus’ hymns within the tradition of archaic hymnody. The paper also proposes a meta-theoretical revision of a classification (the opposition mimetic / not-mimetic) that is fundamental for the study of these hymns. Finally, an analysis of the Hymn to Zeus is presented to illustrate Callimachus’ compositional strategies.

On the basis of the examination of Vergil’s Eclogue VI vv. 1-12 and 64-73, and its connection with metapoetic passages in Callimachus and other Greek poets, both archaic and Hellenistic, this article tries to demonstrate that the Vergilian bucolic programme is not (as often claimed) a simple reflection of Callimachus’ ideals, but a completely independent development, aiming at very different objectifs, albeit nursed on the Cyrenaic poet’s ideas., Sobre la base de un examen del los vv. 1-12 y 64-73 de la Égloga 6 de Virgilio, y de su relación con pasajes metapoéticos de Calímaco y de otros poetas griegos, helenísticos y arcaicos, el artículo intenta demostrar que el programa bucólico virgiliano no consiste (como se sostiene a menudo) en una simple adhesión al ideario de Calímaco, sino que es un desarrollo completamente autónomo, nutrido por las ideas del cirenaico pero orientado por objetivos profundamente diversos.

In Aetia fr. 1,3-5 Pfeiffer Callimaco si lamenta che i suoi avversari, i Telchini, lo accusano di non scrivere "un poema continua in molte migliaia di versi", che celebri "re ed eroi." Callimaco ha scelto di celebrare re e eroi, ma in una poesia che sia sottile, breve, allusiva, colta e ironica. I re contemporanei compaiono in particolare negli inni a Zeus, ad Apollo e a Delo, mentre le regine sono in primo piano negli Aetia. Esiodo è il modello più importante di Callimaco per la costruzione di un'immagine del re giusto da cui emanano ricchezza, prosperità e pace. Di recente si è anche messo in luce che nella poesia dotta alessandrina, specialmente in Callimaco, possano esservi allusioni anche a simboli ed elementi della regalità egiziana., In Aetia fr. 1.3-5 Pfeiffer Callimachus complains that his adversaries, the Telchines, accuse him of not writing “one continuous poem in many thousands of verses”, celebrating “kings and heroes.” Callimachus did choose to celebrate kings and heroes, but in poetry that is subtle, short, allusive, learned and ironic. Contemporary kings occur particularly in the hymns to Zeus, Apollo, and Delos, while queens are more prominent in the Aetia. Hesiod is Callimachus’ most important Greek model in constructing an image of the just king from whom wealth, prosperity and peace flow. A number of scholars have also argued that Egyptian models of kingship may be in play as well, though filtered through Greek texts.

Non è possibile ricostruire adeguatamente l'ideologia regale dei Lagidi esclusivamente attraverso ciò che rimane della poesia dotta alessandrina: sia perché le forme di autorappresentazione del monarca e dei suoi philoi che ne emergono sono destinate soprattutto al consumo interno della corte, sia perché non si può prescindere dall’ampia mole di materiale iconografico, artistico e architettonico, dallo studio delle manifestazioni «teatrali» del potere come descritte dagli storici, dai documenti epigrafici. Tuttavia, anche i poeti legati alla corte alessandrina lasciarono filtrare nei propri componimenti –non solo in quelli dichiaratamente encomiastici– alcuni elementi dell’ideologia monarchica tolemaica, attinti alla tradizione ellenica ma anche a quella faraonica, rielaborandoli secondo la propria sensibilità personale e spesso stemperandoli con un tocco di leggerezza e una buona dose di erudizione. Alla stessa simbologia, senza soluzione di continuità (ma anche senza l’ironia dei poetae docti ellenistici) si ispireranno gli Alessandrini per celebrare il loro nuovo signore, il princeps romano Ottaviano Augusto, come mostrato dall'epigramma SH 982. In questo lavoro vengono prese in considerazione alcune delle ultime tendenze nello studio della poesia di corte alessandrina, in particolare in relazione al suo valore propagandistico e alla sua natura "biculturale". Sono discusse alcune qualità del monarca ellenistico come rappresentate nella poesia prodotta nell'ambito della corte lagide, in special modo la facilità nell'ottenere la vittoria (in pace, negli agoni equestri panellenici, e in guerra - quest'ultima simboleggiata dalla lancia) e la giustizia, o l’abilità nel mantenere l'equilibrio cosmico (maat)., One cannot understand properly the royal ideology of Ptolemies exclusively through the remains of learned Alexandrian poetry, because these forms of self-representation of the monarch and his philoi are primarily intended for performance within the court, and because one must also take into account the large amount of iconographic material, the artistic and architectural products that helped the “theatrical” staging of the monarchic power, as described by historians and by the contemporary inscriptions. However, the Alexandrian poets related to the court introduced in their compositions elements of the Ptolemaic ideology, drawn from the Hellenic tradition but also from the Pharaonic one, adapted according to their own personal feelings, often diluted with a light, ironic touch and a good dose of learning. The same symbolism (but without the irony of the Hellenistic docta poesis) will inspire the poems celebrating the new master of Egypt, the Roman Emperor Augustus, as shown in the epigram SH 982. This work takes into consideration some of the latest trends in the study of Alexandrian court poetry, particularly in relation to its propagandistic value and its "bicultural" nature, and discusses how the Hellenistic monarchs are represented in court poetry, focusing especially on their ability in obtaining victory (in peace, in the Panhellenic equestrian contests, and in war - the latter symbolized by the spear) and on their justice, or ability to maintain the cosmic balance (maat, in Egyptian terms).

Esaminando il rapporto emulativo di Ov. epist. 20-21, elegie relative alla vicenda di Aconzio e Cidippe, con Catull. 65, 15-24, si ipotizza che il testo catulliano sia tramite per la rilettura del modello callimacheo contenuto nel terzo libro degli Aitia, sulla base di relazioni strutturali e, in particolare, di artifici linguistici, quali l'uso dell'aggettivo «conscius», la ripresa ovidiana della clausola del pentametro catulliano («ore rubor») e gli effetti fonici creati.

The present paper offers a commentary on Callimachus' fragment 227 Pf. Firstly we discuss the fragment possible location in the poet's book of Iambi, which has been matter of a long and controversial discussion among the scholars. Secondly, We examine the text of the diégesis and, finally, I study the poem main difficulties to conclude with a brief reflection upon the theme of the symposium., El presente artículo ofrece un comentario sobre el fragmento 227 Pf. de Calímaco. Primero, discuto la posible ubicación del fragmento dentro del libro de los Yambos, lo que ha sido asunto de una larga controversia entre los estudiosos. En segundo lugar, examino el texto de la diégesis y, finalmente, estudio las principales dificultades del poema y concluyo con una breve reflexión sobre el tema del simposio.

Recensione di "Callimaque, Fragments poétiques. Origines, Iambes, Hécalè, fragments de poèmes épiques et élégiaques, fragments de place incertaine". Textes traduits et commentés par Y. Durbec. Les Belles Lettres: Paris 2006

Discussion on the so-called "Elegy to the Telchins", opening Callimachus'Aitia, in the light of the contemporary Hellenistic court poetry.

The aim of this paper is to prove how what is apparently a mistake made by Plutarch, wheter deliberate or not, in his reference to the arson attack of Caesar´s soldiers in Alexandria as the end of the famous Library, show us the common sense of the term “bibliotheke” from that time up to now. Coming to this conclusion has required a detailed analysis of the Library of Alexandria since its birth applying Aristotelian doctrine to its configuration not only as an organized space for books but also as an imaginary reading room from which the helenistic world of relations is established. In a second approach, we focus the attention on the change occurred in this collection with the introduction of alphabetical order and, then, with the philological activity of Callimachus. As a result of his Pinakes, the platonic concept of daimon, “guide”, became the first characteristic o a philologist or librarian. Using the information ordered in the Pinakes anybody could be a librarian and find a library anywhere. The old megále bibliotheke of Alexandría remains only with the idea of the conservation of original papyrus. This is de reason of the enigmatic sentence of Plutarch announcing the end of this situation caused by the action of the fire., En este artículo intentaremos demostrar que precisamente una aparente confusión de Plutarco, desconocemos si intencionada o no, nos puso en contacto con el sentido ordinario que el término biblioqh’kh tendrá posteriormente hasta la actualidad. Llegar a esta conclusión supone un detallado análisis de la fundación de la Biblioteca de Alejandría atendiendo a su punto de partida desde la aplicación de la filosofía aristotélica a la configuración no sólo de un espacio ordenado para libros sino de un ámbito imaginario de lectura desde el que se establece el mundo de relaciones helenístico. Este monopolio que, como industria del libro, nace y se desarrollaron la filología alejandrina, por obra de Calímaco y sus Pínakes se convierte en una “guía” platónica para la generalización de la biblioteca como una entidad de posible reproducción en cualquier parte, cambiando así el primitivo sentido del término e incluso su función restringida a un solo lugar. Finalmente, un análisis preciso de la frase de Plutarco nos confirmará en esta interpretación.

Une nouvelle interprétation de ce passage permet de conserver le texte des mss et de garantir l'authenticité des v. 5-6, où l'on relève un jeu sur les sonorités.