The Cipus episode in Ovid's Metamorphoses 15, featuring a Roman with horns, is unusual because it contains no moment of transformation. The narrative also contrasts with that of Valerius Maximus in ways that the difference between genres cannot entirely explain. I suggest that Ovid alludes to the Horned Man paradox, a comparatively well known (and often derided) logical problem. This would add to existing evidence that Ovid knew and played with philosophical themes, most obviously in the Speech of Pythagoras earlier in Metamorphoses 15.
I argue that Catullus evokes both on- and offstage elements of the Roman theatrical experience to simulate the experience of attending a include the audience's behavior, the physical performance space, and the embodied sensory experience of attending ludi and watching a theatrical performance. Understanding that Catullus evokes this experience in c. 64 allows for a more nuanced understanding of the poem and particularly its famous coda about moral decline.
In this article, I re-evaluate the Troezenian setting of Euripides' Hippolytus in dialogue with the concept of "liminal landscapes," culturally constructed spaces imagined as occupying the margins of political geography, whose symbolically laden topographies mark them as zones of transgression and transformation. I argue that Euripides' "liminal" rendering of his fictive Troezen-as a wild borderland on Athens'frontier, representing freedom and purity, but also alienation and contested identity-underscores the fraught civic status of the tragedy's three main characters as well as recent tension between the historical communities of Athens and Troezen.
Teaching Latin pronunciation to children requires not only specific skills, but also a choice of strategies and approaches that can facilitate such learning. The primary objective of this article is to clarify considerations related to teaching Latin pronunciation to children. To achieve this goal, I will begin by examining the fundamental purpose ofpronunciation, which should primarily emphasize intelligibility. Subsequently, I will reflect on various aspects of pronunciation-related issues. Furthermore, the focus will shift towards the adaptability of teaching Classics to children, exploring the field of pronunciation pedagogy from a comprehensive perspective. Additionally, I emphasize the paramount importance of equipping primary teachers with the necessary skills through training to learn pronunciation effectively. I also provide valuable resources, such as online materials, to facilitate this training. In conclusion, I underscore the critical significance of pronunciation in teaching children and I strongly encourage its proper attention and emphasis.
Recurring motifs are a well-noted structuring and meaning-making device in Martial's epigrams. In this article I demonstrate how the word Gallus and its cognates create specific significance in book three, engendering both a tangible architecture within the book and facilitating intertexts between these poems and those of Catullus and Ovid. Moreover, by blurring the discrete meanings of Gallus (both as the not fully-male devotee of Cybele and as the non-Roman Gaul) and gallus, (the non-human rooster) Martial can present himself as a challenging but non-threatening poet- cocky but ultimately domesticated-and invite the reader to consider their own status and identity in turn.
