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A central, much-studied feature of the poetry of 3rd cent. BCE Alexandria is the artistic treatment of the cultural past, the reception of earlier Greek poetry and artwork in the artistic creations of a new, Greco-Egyptian world deracinated both geographically and temporally from the heroes and models of Archaic and Classical Greece. Benjamin Acosta-Hughes has devoted a 30+ year professional scholarly career to the study of this reception, one of both imitation and variation, which took place concurrently with the massive collection and categorization of earlier Greek literature in the work of the scholars gathered under royal patronage at the Ptolemaic court in Alexandria, a truly revolutionary new effort of cultural memorialization. The poets of this period, among them Callimachus, Theocritus, Apollonius and Posidippus, vied in their efforts to compose works that at once celebrated their poetic heritage and at the same time marked their own poetry as original artistic creation and as critical commentary upon their earlier models. This collection will be of interest not only for readers of Archaic and Hellenistic poetry, but also for readers interested in the later reception of the Alexandrians at Rome.

In this book one of the world's leading Hellenists brings together his many contributions over four decades to our understanding of major genres of Greek literature, above all the Greek novel, but also Attic Comedy, fifth-century historiography, and Hellenistic and Imperial Greek poetry. Many are already essential reading, such as the chapter on the figure of Lycidas in Theocritus'Idyll 7, or two chapters on the ancient readership of Greek novels. Discussions of Imperial Greek poetry published three decades ago opened up a world almost entirely neglected by scholars. Several chapters address literary and linguistic issues in Longus'novel Daphnis and Chloe, complementing the author's commentary published in 2019; two contribute to a better understanding of the enigmatic Aethiopica of Heliodorus; and many explore important questions arising from examination of the form of the Greek novel as a whole. This is the second of a planned three-volume collection.

The Birth and Development of the Idealized Concept of Arcadia in the Ancient World for the first time brings together all the available evidence for this topic, from the Homeric period to the early Roman Empire, in one place. The evidence is both literary and visual and is considered in a chronological sequence. Thus the reader can follow the blossoming of the Arcadian dream through eight centuries. The ideological, political and philosophical background that forms the basis of this phenomenon is also outlined, and the contributions of poets, historians, philosophers, antiquarians, architects, sculptors and painters are duly considered. The book brings to light a treasure-trove of evidence, both well-known and obscure or fragmentary, filling a significant gap in the scholarly bibliography.

This book showcases a figure whose life and work bridge Classical and Hellenistic Greece. It comprises Tiziano Dorandi's comprehensive new edition of the Clearchus ‘fragments', accompanied by a richly annotated English translation from Stephen White, as well as nine new studies examining key aspects of Clearchus'thought.Clearchus, from Soli on the island of Cyprus, was an Aristotelian philosopher and cultural historian active in the later fourth and early third centuries BCE. A versatile thinker and prolific author, he wrote on a wide range of subjects. Although none of his works survive, he is cited extensively by later authors. Topics addressed in this volume include his accounts of souls during sleep, educational traditions, forms of love, luxurious living, sage maxims and other traditional sayings, aquatic wildlife, lunar phenomena, and his relation to Plato and Platonism.Clearchus of Soli will interest both students and scholars of ancient Greek history, philosophy and science, and especially anyone interested in Aristotle and his circle, Hellenistic literature and culture, or Greek cultural history generally.

It is a well-known and striking fact that Hellenistic Poetry is full of powerful and powerfully present women, ranging from Ptolemaic and other queens, to female (semi-divinities) and epic heroines. But the Hellenistic era is likewise remarkable for being relatively rich in female authors, specifically in the domain of epigrammatic poetry. This volume sets out to broach not only the question who the powerful women of Hellenistic poetry were, and what their power consisted of, but also, quite emphatically, in what ways they differ from or resemble previous literary representations of women in, for example, Homeric epic, archaic lyric and Athenian tragedy, and why.

Ancient Greek Lists brings together catalogic texts from a variety of genres, arguing that the list form was the ancient mode of expressing value through text. Ranging from Homer's Catalogue of Ships through Attic comedy and Hellenistic poetry to temple inventories, the book draws connections among texts seldom juxtaposed, examining the ways in which lists can stand in for objects, create value, act as methods of control, and even approximate the infinite. Athena Kirk analyzes how lists come to stand as a genre in their own right, shedding light on both under-studied and well-known sources to engage scholars and students of Classical literature, ancient history, and ancient languages.

Nonnus'Dionysiaca, a Greek epic poem on Dionysus in 48 books from the fifth century AD, is the longest extant work of ancient epic poetry. This collection of essays situates the poem in its literary-historical and cultural context.

The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles, the book also revisits the style and the personal contributions of the great masters.

Alexandria was the greatest of the new cities founded by Alexander the Great as his armies swept eastward. It was ruled by his successors, the Ptolemies, who presided over one of the richest and most productive periods in the whole of Greek literature. Susan A Stephens here reveals a cultural world in transition: reverential of the compositions of the past (especially after construction of the great library, repository for all previous Greek oeuvres), but at the same time forward-looking and experimental, willing to make use of previous forms of writing in exciting new ways. The author examines Alexandria's poets in turn. She discusses the strikingly avant-garde Aetia of Callimachus; the idealized pastoral forms of Theocritus (which anticipated the invention of fiction); and the neo-Homerian epic of Apollonius, the Argonautica, with its impressive combination of narrative grandeur and psychological acuity. She shows that all three poets were innovators, even while they looked to the past for inspiration: drawing upon Homer, Hesiod, Pindar and the lyric poets, they emphasized stories and material that were entirely relevant to their own progressive cosmopolitan environment.

This volume is an edition of the poetical and grammatical fragments of Philitas of Cos, the early-Hellenistic scholar and poet who served as an exemplary model for the great Alexandrian poets. His output includes frivolous Hermes and Demeter which both had fundamental impact on later metapoetic imagery, and the Ataktoi Glossai, a glossary interpreting mainly Homeric idiom in pre-Aristarchean fashion.The body of the book consists of an Introduction discussing life, literary affiliations and metre; an edition of testimonies and fragments along with a commentary elucidating matters of language and influence on the scholar-poets, Propertius and Longus. The study of Philitas is brought up to date with new testimonies and new neglected sources for the fragments. Recent papyrological findings, verse inscriptions, lexicographic sources and inscriptions from Cos are taken into consideration. Passages dubiously ascribed to Philitas are discussed. The book closes with three Appendices and comprehensive Indexes.

The Egyptian Nonnus of Panopolis (5th century AD), author of both the ‘pagan'Dionysiaca, the longest known poem from Antiquity (21,286 lines in 48 books, the same number of books as the Iliad and Odyssey combined), and a ‘Christian'hexameter Paraphrase of St John's Gospel (3,660 lines in 21 books), is no doubt the most representative poet of Greek Late Antiquity. Brill's Companion to Nonnus of Panopolis provides a collection of 32 essays by a large international group of scholars, experts in the field of archaic, Hellenistic, Imperial, and Christian poetry, as well as scholars of late antique Egypt, Greek mythology and religion, who explore the various aspects of Nonnus'baroque poetry and its historical, religious and cultural background.

Greek Sculpture presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD. Compares the evolution of Greek sculpture over the centuries to works of contemporaneous Mediterranean civilizations Emphasizes looking closely at the stylistic features of Greek sculpture, illustrating these observations where possible with original works rather than copies Places the remarkable progress of stylistic changes that took place in Greek sculpture within a broader social and historical context Facilitates an understanding of why Greek monuments look the way they do and what ideas they were capable of expressing Focuses on the most recent interpretations of Greek sculptural works while considering the fragile and fragmentary evidence uncovered

This volume is a collection of fifteen papers written by a team of international experts in the field of Hellenistic literature. In an attempt to reassess methods such as the detection of intertextual allusions or the general notion of neoteric poetics, the authors combine current critical trends (narratology, genre-theory, aesthetics, cultural studies) with a close reading of Hellenistic texts. Contributions address a wealth of topics in a variety of texts which include not only poems by the major Alexandrians but also prose works, epigrams, epigraphic material and scholia. Perspectives range from linguistic analysis to interdisciplinary studies, whereas post-classical literature is also seen against the background of the cultural and ideological contexts of the era. Besides reviewing preconceptions of Hellenistic scholarship, this volume aims at providing fresh insights into Hellenistic literature and aesthetics.

This is the first collection of scholarly essays on the Homeric Hymns, a corpus of 33 hexameter poems celebrating gods that were probably recited at religious festivals, among other possible performance venues, and were frequently attributed in antiquity to Homer. After a general introduction to modern scholarship on the Homeric Hymns, the essays of the first part of the book examine in detail aspects of the longer narrative poems in the collection, while those of the second part give critical attention to the shorter poems and to the collection as a whole. The contributors to the volume present a wide range of stimulating views on the study of the Homeric Hymns, which have attracted much interest in recent years.

Hellenistic Poetry has enjoyed a notable re-appreciation in recent years and received ample scholarly discussion, especially focusing on its reception and innovation of Greek poetic tradition. This book wishes to add to our picture of how Hellenistic poetry works by looking at it from a slightly different angle. Concentrating on the interaction between contemporary poets, it attempts to view the dynamics of imitation and reception in the light of poetical self-positioning. In the courtly Alexandrian surroundings, choosing a poetic model and affiliation determines one's position in the cultural field. This book sets out to chart, not only the well-known complexities of handling the poetic past, but especially their relation to the poetic interaction of the Hellenistic, in particular Alexandrian poets.

Arion's Lyre examines how Hellenistic poetic culture adapted, reinterpreted, and transformed Archaic Greek lyric through a complex process of textual, cultural, and creative reception. Looking at the ways in which the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides was preserved, edited, and read by Hellenistic scholars and poets, the book shows that Archaic poets often look very different in the new social, cultural, and political setting of Hellenistic Alexandria. For example, the Alexandrian Sappho evolves from the singer of Archaic Lesbos but has distinct associations and contexts, from Ptolemaic politics and Macedonian queens to the new phenomenon of the poetry book and an Alexandrian scholarship intent on preservation and codification. A study of Hellenistic poetic culture and an interpretation of some of the Archaic poets it so lovingly preserved, Arion's Lyre is also an examination of how one poetic culture reads another--and how modern readings of ancient poetry are filtered and shaped by earlier readings.

Important research in recent decades, along with the publication of P.Mil.Vogl. VIII 309 ('the Milan Posidippus papyrus') in 2001, have reinvigorated the study of Hellenistic epigram. Yet, scholarship on this genre often remains fragmented according to disciplinary sub-specialty and approach: some scholars focus on poets of Meleager's Garland, others on Philip's; some on inscriptional epigram, others on literary; each approaching the genre with different motives and questions. In this volume, expert scholars offer those less familiar with the genre an introduction to all aspects of Hellenistic epigram—from models and forms inherited from inscriptional epigram to poetology, sub-genera, epigrammatic intertexts, and ancient and modern reception. Even specialists will find here fresh explorations of epigram, along with new directions for scholarship.

This volume comprises articles by an international team of twenty-three scholars. The contributions focus on the historical genesis, stylistic and narrative features and evolution of pastoral, both as genre and mode, from Theocritus to the Byzantine period.Special attention has been paid to the idea of the'invention of a fictionalized tradition', and to pastoral's thematic and formal relationship with other literary genres.In their totality, the contributions, as well as offering a comprehensive overview of the more or less familiar issues and ideas discussed in connection with pastoral, point to new emphases, trends and insights in current scholarly work in this area. The volume is addressed to a wide range of students and scholars in classics, but much in it will also be of interest to those working in the fields of comparative and modern literatures.

The Milan Papyrus ( P. Mil. Volg. VIII. 309), containing a collection of epigrams apparently all by Posidippus of Pella, provides one of the most exciting new additions to the corpus of Greek literature in decades. It not only contains over 100 previously unknown epigrams by one of the most prominent poets of the third century BC, but as an artefact it constitutes our earliest example of a Greek poetry book. In addition to a poetic translation of the entire corpus of Posidippus'poetry, this volume contains essays about Posidippus by experts in the fields of papyrology, Hellenistic and Augustan literature, Ptolemaic history, and Graeco-Roman visual culture.

Taking a fresh look at the poetry and visual art of the Hellenistic age, from the death of Alexander the Great in 323 B.C. to the Romans'defeat of Cleopatra in 30 B.C., Graham Zanker makes enlightening discoveries about the assumptions and conventions of Hellenistic poets and artists and their audiences. Zanker's exciting new interpretations closely compare poetry and art for the light each sheds on the other. He finds, for example, an exuberant expansion of subject matter in the Hellenistic periods in both literature and art, as styles and iconographic traditions reserved for grander concepts in earlier eras were applied to themes, motifs, and subjects that were emphatically less grand.