L'ancienne Kerdylion est située en Grèce du Nord sur un haut plateau à l'extrémité Est du mont éponyme, à l'Ouest de l'embouchure du fleuve Strymon. À l’époque archaïque et durant une bonne partie de l’époque classique, l’établissement appartenait au territoire de la cité côtière d'Argilos. Après plusieurs tentatives d'identification non concluantes, c'est l'archéologue Efstratios Pelekidis qui trouva hors de tout doute l'ancienne Kerdylion en 1920. Depuis les fouilles de Pelekidis, les quelques travaux archéologiques se sont concentrés sur la fortification et sur une porte secondaire de l’établissement, à l'Est du site. Les efforts de l’équipe gréco-canadienne de Kerdylion se sont ainsi concentrés en 2021 et 2022 dans ce même secteur, avec pour objectifs la fouille du rempart au Nord de la porte Est et l’étude stratigraphique de ce secteur de l’établissement afin de démystifier les différentes périodes d'occupation du site qui semblent s’étendre de l’époque archaïque jusqu’à l’époque byzantine.
More than 123 Hellenistic clay plaques recovered from the sanctuary of Demeter and Kore in Mytilene depict a temple fa & ccedil;ade and a pair of eyes. The number of eye votives recovered from this sanctuary is notable, as such a high quantity has not been discovered at any other site in the ancient Greek world. A unique feature of these votives is that they are the only known examples depicting a pair of eyes between the columns of a temple fa & ccedil;ade. This singularity sets them apart from eye votives found at other Demeter sanctuaries and healing sanctuaries, where eye votives typically do not include architectural elements. Eye votives are more commonly associated with healing sanctuaries, typically representing a plea or thanks for healing eye ailments. The iconography of eye votives from the sanctuary in Mytilene may reflect a unique aspect of worship that integrated various elements significant to the regional and Pan-Hellenic cults of Demeter and Kore.
This paper investigates the history of a lost funerary inscription for the family of Aulus Clodius Flaccus ( CIL 10.1074) and proposes a provenience for the inscription, making the case to locate it on one of the most prominent tombs outside the Porta Nocera at Pompeii. This discussion allows for the detailed reconstruction of the family over several generations, as well as its members social and political importance to the community.
In this paper, the author responds to elegiac scholarship suggesting that this genre builds narrative/narrativity from segments. By appealing to a comics-based methodology that encourages reading into the "gutters" between poems (as between panels in comics), this narratological model is then demonstrated through a close reading of Ovid's Amores 1.1-7. Dans cet article, l'auteur r & eacute;pond aux recherches sur l'& eacute;l & eacute;gie sugg & eacute;rant que ce genre construit sa narrativit & eacute; & agrave; partir de segments. En s'appuyant sur une m & eacute;thodologie issue des & eacute;tudes sur la bande dessin & eacute;e - qui encourage une lecture attentive des << blancs >> entre les po & egrave;mes, & agrave; l'image des intercases dans les planches de bandes dessin & eacute;es -, ce mod & egrave;le narratologique est ensuite mis en pratique & agrave; travers une lecture serr & eacute;e des Amours 1.1 & agrave; 1.7 d'Ovide.
Two comics series, Greek Street and ODY-C, present genderswapped (or Rule 63) variations of the sacrifice of Iphigenia. This article considers how each series engages with its epic and tragic sources and what new readings might be offered within the chauvinistic contexts of both Greek tragedy and comics. Deux s & eacute;ries de bandes dessin & eacute;es, Greek Street et ODY-C, pr & eacute;sentent des variantes du sacrifice d'Iphig & eacute;nie avec le genre invers & eacute; (la R & egrave;gle 63). Cet article consid & egrave;re comment chaque s & eacute;rie utilise ses sources & eacute;piques et tragiques et quelles nouvelles interpr & eacute;tations pourraient & ecirc;tre propos & eacute;es dans les contextes phallocrates de la trag & eacute;die grecque et de la bande dessin & eacute;e.
Throughout Wonder Woman comics, Circe has served as a consistent antagonist to Wonder Woman. In this paper, I trace Circe's development throughout different waves of feminist discourse. I find that as her characterization shifts, she maintains her position as a threatening and "bad" sort of powerful woman in juxtaposition to Wonder Woman's "good" feminism. Dans les bandes dessin & eacute;es de Wonder Woman, Circ & eacute; a toujours jou & eacute; le r & ocirc;le d'antagoniste r & eacute;currente. Cet article retrace l'& eacute;volution de ce personnage & agrave; travers les diff & eacute;rentes vagues du discours f & eacute;ministe. Il montre que, malgr & eacute; les transformations de sa caract & eacute;risation, Circ & eacute; demeure syst & eacute;matiquement repr & eacute;sent & eacute;e comme une femme puissante per & ccedil;ue comme mena & ccedil;ante ou << mauvaise >>, en contraste avec le f & eacute;minisme << positif >> incarn & eacute; par Wonder Woman.
This article explores Matt Fraction and Christian Ward's comic series ODY-C as a "feminist" reception of Homer's Odyssey. ODY-C employs gender flips as a mechanism of feminist critique, but the comic's attempts to subvert and reimagine the gender politics of Greek myth meet with mixed results. Cet article examine la s & eacute;rie de bandes dessin & eacute;es ODY-C de Matt Fraction et Christian Ward en tant que relecture << f & eacute;ministe >> de l'Odyss & eacute;e d'Hom & egrave;re. ODY-C utilise l'inversion des genres comme outil de critique f & eacute;ministe, mais les tentatives des auteurs de subvertir et de r & eacute;inventer la politique du genre propre au mythe grec ont produit des r & eacute;sultats mitig & eacute;s.
This article compares the elaborate structures of Ovid's Metamorphoses and Neil Gaiman's The Sandman, arguing that the skills required to read one can be transferred to the other. The Sandman is indebted to many earlier sources, including Ovid. Detailed examples from The Sandman, including floral metamorphoses of blood and the connections between ravens and 1970s horror comics, illuminate the poetic practice of Ovid in his epic. Cet article compare les structures & eacute;labor & eacute;es des M & eacute;tamorphoses d'Ovide et de The Sandman de Neil Gaiman, arguant que les comp & eacute;tences requises pour lire l'un peuvent & ecirc;tre transf & eacute;r & eacute;es & agrave; l'autre. The Sandman s'inspire de nombreuses sources ant & eacute;rieures, dont Ovide. Des exemples pr & eacute;cis tir & eacute;s de The Sandman, comme les m & eacute;tamorphoses florales du sang ou les liens entre les corbeaux et les bandes dessin & eacute;es d'horreur des ann & eacute;es 1970, permettent d'& eacute;clairer la pratique po & eacute;tique d'Ovide dans son & eacute;pop & eacute;e.
This article maps the presence of the Greek goddess Hestia at Delphi, focusing on three kinds of sources: literature, inscriptions, and architectural sculpture. While the sacred hearth of Delphi burning inside Apollo's temple comes up frequently in scholarship, Hestia as a personified goddess is rarely mentioned and her presence at Delphi has not been analyzed until now. This silence is due to Hestia's ambiguous nature, which fluctuates between the thing after which she is named (the hearth) and the anthropomorphic goddess. Even at Delphi, where Hestia's aniconic role as the hearth is strong, she also appears in anthropomorphic form.
