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P.Oxy. XX 2258 is one of the most renowned papyri of Callimachus. This article demonstrates that one of the scraps published among the Unidentified Fragments, which contains marginal annotations, actually originates from a Demosthenes codex. [ABSTRACT FROM AUTHOR]

This article offers a close reading of a gloss in Codex Ambrosianus B 106 of Origenes' Hexapla on Psalms, which has in the past only been analyzed for its reference to the Patriarch. This article focuses on the Jewish scholar described in the gloss and analyzes his method of identifying Moses as the author of ten anonymous Psalms in view of Alexandrian scholarship. As Origen could only have communicated with his Jewish contemporary in Greek, the gloss provides unique insights into Hellenistic Judaism in 3d century Caesarea, which turns out to be well connected to Alexandrian methods of scholarship, available in late Antiquity in numerous intellectual centers of the Eastern Mediterranean, including Caesarea and Gadara. Moreover, the article points to conduits of communication between the Jewish Hellenistic scholar and rabbinic literature, where his conclusions resurface. [ABSTRACT FROM AUTHOR]

In this paper I try to demonstrate that Callimachusʼ commemorative poem in honour of the deceased queen Arsinoe II capitalizes heavily on the notorious Hellenistic penchant for verbal puns. In addition, it will be argued that etymologic and anagrammatic devices are not only contrived for their own sake, but are part and parcel of the poemʼs meaning contributing to its poetic and ideological agenda. [ABSTRACT FROM AUTHOR]

Homer, Callimachus, Hecale, Eurycleia, Homeric Hymns Keywords: Callimachus; Hecale; Homer; Eurycleia; Homeric Hymns EN Callimachus Hecale Homer Eurycleia Homeric Hymns 313 316 4 12/02/21 20211101 NES 211101 Fr. 80 Hollis (263 Pfeiffer) is preserved by I Suda i 1990 (lines 1-5) and I Etym. Magn. i p. 442.30 (lines 1-2). A. S. Hollis, "The beginning of Callimachus' Hecale", I ZPE i 115, 1997, 55-56; L. Lehnus, "Ipotesi sul finale dell' I Ecale i ", I ZPE i 117, 1997, 45-46 (now in L. Lehnus, I Maasiana & Callimachea i , Milano 2016, 131-132); Hollis (n. 4) 264. [Extracted from the article]

Keywords: Horace; Etymological Wordplay; Callimachus; Lipara I Hymn i 3.46-9, and the emphasis there laid upon Lipara: an explicit response to the same controversy to which Horace makes reference via this wordplay. Finally, Horace's strategy of engaging with this controversy shows an erudition and lightness of touch which are characteristic of their author and consistent with the conventions of etymological wordplay in late-republican and early-Augustan authors. Horace, Etymological Wordplay, Callimachus, Lipara. [Extracted from the article]

A combined investigation of Herod. Mim. 8 (Ἐνύπνιον) with Callim. Ia. 1, 13, and Ep. 8, reveals that they all relate to a certain poetic contest that took place in Alexandria under the auspices of Ptolemy I, in one of the last years of his reign. The contest, must have been co-ordinated by the Mouseion and its director at the time, Zenodotus. The two poets took part in the contest, together with a host of other poets. Callim. Ia. 1 gives a figurative account of the contest's course of action. Herodas, awaiting the results, writes Mim. 8, where he expresses his hopes for a prize, though he suspects foul play on behalf of the poets employed at the Mouseion by the king who was supposed to decide the prize. Callim. Ep. 8 is a sarcastic reply to Herodas' fears, while Ia. 13 narrates the harsh criticism Callimachus received from Zenodotus and his proud reaction in response, obviously after his contribution was rejected. [ABSTRACT FROM AUTHOR]

The article discusses how the establishment of a parallel with another episode in the Aetia will enable the recognition of a likely aetiological theme in Callimachus' elegy on the wall in Athens. Callimachus was interested in historical curiosities and locales, used the original and correct name. It adds that the unlawful occupation of the place that the city was visited by the calamities.

The study explores Hellenistic readers' reception of archaic and classical lyric poetry by using Pindar's dithyrambs as a representative test case. The 'horizons of expectations' in the Hellenistic era, it is argued, were influenced not only by ancient lyric poetry per se but also by the commentaries that accompanied the lyric corpora, by Hellenistic theorizing about the voice and by writers such as Dionysius of Hallicarnassus and Callimachus. The experience of attending to Pindar's 'vocal poetics' is characterized both by intense imaginative transport and a recognition of the reader's experiential finitude. [ABSTRACT FROM AUTHOR]

This study examines a representative selection of Hellenistic instances of choroi in the works of the three main poets, Apollonius Rhodius, Theocritus and Callimachus. It does so through the notions of 'choral self-referentiality', 'choral mediation' and the stratagem of 'choral projection'. Although Hellenistic choreia probably does not belong to the performative and multi-media milieu alongside lyric or tragic productions, it brings to the fore the continuity between archaic lyric poetry and Hellenistic poetry. This continuity largely consists in the tragic re-use of the choral element and the choral performance. [ABSTRACT FROM AUTHOR]

In the text of the Ektheosis Arsinoes, as we have it, the name of the title character does not appear at all. Although it may be the result of the poem's fragmentary state of preservation, it seems to be consistent with Callimachus's stylistic preferences. This article suggests that the missing name ARSINOA can be detected in an anagram hidden in the first half of line 46. [ABSTRACT FROM AUTHOR]

This paper presents the development of an application for data maintenance in the Digital Archive of the Pina Bausch Foundation. First, the requirements of the Linked Data archive are outlined. The Linked Data Management System Callimachus is introduced, whereupon aspects of the approach of the application development are described. In the last part Callimachus is evaluated and discussed as a tool for information scientists. [ABSTRACT FROM AUTHOR]

In this paper, I examine metaphor as employed by Hellenistic Greek authors. Throughout, my emphasis is not on what any given metaphor means, but on how it means. I concentrate on three domains, namely religion, poetry/ philology, and science. First, I look at the discourse of revelation, where brief passages of Matthew’s Sermon on the Mount and of the Oracle of the Potter are compared. Second, I give a brief outline of metaphor as a vehicle of poetic competition in Callimachus and late-Hellenistic literary criticism. Third, metaphors in Alexandrian science and, especially, mathematics and medicine, come into focus. While current research on metaphor stresses the cognitive functions of metaphor, I conclude with the suggestion that in the corpus surveyed metaphor’s main function is to enhance authority and that metaphor is used as a tool geared to achieve competitive goals within the literary field. [ABSTRACT FROM AUTHOR]

This paper investigates the 'epinician' fragment of Callimachus' Hecale (fr . 69 H.) and its possible allusions to Pindar (chiefly O. 14. 20-24). Callimachus seems to use the Pindaric subtext, fusing it with a Homeric one, in order to enrich the episode with a touch of foreboding about Hecale's imminent death [ABSTRACT FROM AUTHOR]

A new reading of P.Oxy. 1011 fol. VI enables a new edition of Callimachus' Ia. 13 revealing, here and there, a different text than the one accepted so far and a number of intriguing interpretation details. The edition is followed by elementary comments, especially on the new text, and two appendices on questions arising also from the new text. [ABSTRACT FROM AUTHOR]

In this contribution a papyrus fragment of the Leipzig Papyrus- und Ostrakasammlung is published for the first time. It contains scholia to Callimachus' Iambus XII. The importance of this fragment lies in the new textual elements that contribute to the reconstruction of verses 2 and 3. The textual explanations offer some clues to the content of the lost section of Iambus XII. [ABSTRACT FROM AUTHOR]

The author claims that the excessive employment of the term λλεεππττóóςς for characterizing Aratus' poetry and for denoting its conformity to the aesthetic ideal of Hellenistic poetry, as defined by Callimachus' poetic standards, stems from a misinterpretation, both by the later biographical tradition and the modern scholarship, of a number of poetic sources. λλεεππττοολλóóγγοοςς, in king Ptolemy's epigram ( SH 712), λλεεππττὴ φφρροοννττííςς in Leonidas' epigram ( AP 9.25), λλεεππττή in an acrostich of the Phaenomena, the title Tὰ κκααττὰ λλεεππττóóνν of an Aratean poetic collection, all mean quite different things, and are unrelated to Callimachus' Mοοῦσσαα λλεεππττααλλέηη. The reception in contemporary Alexandria court circles of the poetry of Aratus, the official encomiast of Antigonus Gonatas, archenemy of the Ptolemies, was not favourable. A black mark in the poet's record must have been a pun on his name (ἄρρρρηηττοοςς -- Ἄρρηηττοοςς), which he impiously inserted in the hymnic Phaenomena proem which praised Zeus. Theocritus, Id. 17.1 -- 4, criticized him indirectly, but Leonidas, AP 9.25, exonerated him from the blasphemy. This incident prompted the cancellation of the Jovian proem and the composition of a series of alternative proems to the Phaenomena. Callimachus' Ep. 27 is not a praise of Aratus, as was hitherto believed, but a mortifying criticism of Aratus' didactic epic. It is written in a bi-level satiric style hidden behind an innocent faççade, used also in Ep. 13, an epigram against Posidippus of Pella. It blames Aratus not for imitating Hesiod, but for imitating the worst verses of Hesiod's Works and Days. It also reverses Aratus' pun (Ἀρρήττοουυ ἀγγρρυυππννííηηςς -- ἀρρρρήττοουυ ἀγγρρυυππννííηηςς), in order to stress the bookish and laborious character of the Phaenomena. [ABSTRACT FROM AUTHOR]

Abstract: This paper examines the relevance that the mythological part of the Victoria Berenices has for the praise of Queen Berenice II and its intercultural connections with both Greek and Egyptian traditions. The ensuing picture provides further insights into the poem's unity and Callimachus' compositional technique in the Aetia. [ABSTRACT FROM AUTHOR]