Ancient journeys : a festschrift in honor of Eugene Numa Lane

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https://hdl.handle.net/10355/70075

Ancient Journeys: A Festscrift in Honor of Eugene Numa Lane was edited by Cathy Callaway with the assistance of Pamela A. Draper and published on the Stoa in 2002 with the editorial oversight of Anne Mahoney and Ross Scaife (assisted by Mark Weber and Phillip Sauerbeck). --Stoa website (viewed October 18, 2019)

Introduction / Cathy Callaway
Biography
The Iconography of Amor in Propertius / Paul Alessi
Tapping Hooves: Small Bronze Figures of Dance-loving Pan / Jane Biers
Horace. Odes 1.31 : The Construction of a Priamel / Victor Estevez
The Character of Orestes in Sophocles' Electra / Dale Grote
Athens and Pompey: A Political Relationship / Michael Hoff
Challenging Otherness: A Reassessment of Early Greek Attitudes toward the Divine / James C. Hogan and David J. Schenker
'What? Me a poet?' Generic Modeling in Horace Sat. 1.4 / Dan Hooley
Remedium Amoris: A Curse from Cumae in the British Museum / David Jordan
Trial by Amazon: Thoughts on the First Amazons in Greek Art / Susan Langdon
Chance Remarks on Dreams in Aelius Aristides / Victor A. Leucci
Epitaphs and Tombstones of Hellenistic and Roman Cyprus / Danielle A. Parks
From Polytheism to Christianity in the Temples of Cyprus / Marcus Rautman
The Anatolian Cult of Sabazios / Lynn Roller
In Search of the Roman Frontier in Sardinia / Robert J. Rowland, Jr.
Unfriendly Persuasion: Seduction and Magic in Tacitus' Annales / Francesca Santoro L'hoir
Turning Again in Tibullus 1.5 / Charles Saylor
Paidagogia pros to theion: Plutarch's Numa / Philip A. Stadter
Flavius Josephus and the Archaeological Evidence for Caesarea Maritima / Farland Hart Stanley, Jr.
The Baths of Trajan Decius -- or of Philip the Arab? / James Terry
"Murderers of the Dead" in Antiphon 1 / Barbara P. Wallach

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"Murderers of the Dead" in Antiphon 1
(2002) Wallach, Barabara P.
The anonymous speaker of Antiphon 1 is prosecuting his stepmother for the murder of his father. Yet, in his prooemium and prokataskeue, he exerts more effort to discredit his stepmother's defenders (i.e., his half-brothers ...) than to attack the defendant. He even makes the surprising allegation that his half-brothers are "murderers of the dead man" ... even though, according to the prosecutor's own admission, his father died as a result of potion acquired by the stepmother but administered by an unwitting slave woman (1.14-20).1 The phrase "murderers of the dead man" is paradoxical, for how can someone become the murderer of a man who is already dead at the hands of someone else? Even if we use the translation "murderers of the victim," some sense of paradox remains to catch our attention. Why does Antiphon have the prosecutor include such an allegation? Would it surprise Athenian jurors, or is it merely a topos or a feature of Antiphon's style? To the contrary, as an examination of some of the prosecutor's options and tactics will show, this accusation reveals a crucial element of his strategy.--Page 1.
The baths of Trajan Decius, or of Philip the Arab?
(2002) Terry, James
In a recent publication Laetitia La Follette collected the evidence for the Baths of Trajan Decius, an important but little-known imperial monument of the mid-3rd c. in Rome. Bringing together the ancient literary and epigraphic sources, a 16th-c. sketch plan, and the results of her archaeological survey on the Aventine, La Follette "recovered" this complex, establishing its topographical position and orientation, part of its plan, and some details of its decorative program. Despite its undoubted usefulness, this study is flawed in one respect. La Follette believes that Decius built his baths on the Aventine ex novo but it is far more likely that he completed a bath complex begun by his predecessor, Philippus Arabs.
Flavius Josephus and the archaeological evidence for Caesarea Maritima
(2002) Stanley, Farland Hart, Jr.
Paidagogia pros to theion : Plutarch's Numa
(2002) Stadler, Philip A.
Turning again in Tibullus 1.5
(2002) Saylor, Charles
Tibullus 1.5 has been much studied to date. Perhaps one of the best known studies treats the elegy as an example of Tibullus' style, a smooth surface with an underlying texture of cross referencing and emotional stresses. Scholars have seen in the elegy, or based interpretation of it upon: 1) the [... ] in general, or 2) a specially developed form of the [ ... ], or 3) a statement of pessimism vs. guarded optimism with a remarkable, "oracular" close, or 4) a skillfully developed interplay of the idea of capture and slavery. Magic has been seen as a key component of the poem.1 It has been proposed that the top of 3-4 is the main figure that governs the changing array of scenes from beginning to end because the top with its turning is emblematic of change. Whatever has been seen as the main idea or image of the elegy, scholars have also given considerable attention to the structure, and identified, although with various refinements, a set of approximately seven units of thought, or scenes, in the composition of the elegy. The aim of this essay is to look again at the next to last of these topics, the elegy's expression of turning motion descriptive of change, in particular the change or vicissitude of love as a focus for Tibullus. For many commentators have observed that there is much change or turning around of things for the lover, and that this change pervades the poem. One noted that the poem has to do with the extension of the general rule of change in life to love in particular, another remarked on the turning around of many words and situations through the elegy, another pointed out the change of the role of slave between Delia and Tibullus, another the multiple transformation ofTibullus' self-image, and yet another saw change as the whirl in which Tibullus is caught up because he is under Delia's spell and unable to control

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