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On a Mechanism of Verbal (im) Politeness between Aeschines and Demosthenes: Impersonalization with the Indefinite Pronoun τις · This paper offers a study of a mechanism of verbal (im) politeness in Greek Oratory, impersonalization by means of the indefinite pronoun τις in four speeches: Against Ctesiphon and On the Embassy (Aeschines) and On the Crown and On the Embassy (Demosthenes).

According to the testimony provided by the lexicon Suda, Acusilaus had transcribed the Genealogies from some bronze tablets that his father had unearthed from somewhere in his home. Comparison with parallel expressions in ancient preambles shows that the term (λόγος) used to identify the story serves to designate and introduce the work. It may point to a formula like ἀρχή μοι τοῦ λόγου used by the author at the commencement of the book.

The article focuses on the observations noted by Porphyry of Tyre in the first book of his Quaestiones Homericae on the relationship between simile and metaphor in Homer. The numerous examples taken from the Homeric poems show the derivation of metaphorical forms from previous similes, as well as the amplification of metaphors into successive similes, the interchangeability of language between the two members of a simile and its trespass into the narrative and vice versa.

According to Epicurus’ letter On Occupations (101 Arrighetti), after having squandered the family property in his youth, Aristotle devoted himself, without success, to military life and to the trade in drugs. He began with the profitable practice of philosophy only later, attending the school of Plato. The fragment of Epicurus can be compared with a page of Timaeus of Tauromenium (FGrHist 566 F 156), preserved by Polybius (12, 8, 1-4), where the Sicilian historian quarrels violently with Aristotle about the origin of the city of Locris. It has been argued that one text derives from the other but the differences between the reports of Timaues and Epicurus and the different perspective in the representation of the story suggest that they both derive from a common source. This source applied the biographical method, known today as the «method of Chamaeleon», consisting in the imaginative reconstruction of the life of the great figures of the past, starting from some recurrent elements in their works. More specifically, the character of Aristotle ἄσωτος may have been deduced from a famous passage of the Nicomachean Ethics (4, 3, 1121a 8-b 12). A role of the Comedy in the genesis of this tradition cannot be ruled out and it is possible to identify a link between the Comedy and the peripatetic tradition in the obscure figure of Eumelus, probably a peripatetic himself, author of a treatise Περὶ τῆς ἀρχαίας κωμῳδίας (FGrHist 77 F 2). From a chronological point of view, Eumelus is a plausible candidate as the lost source of Epicurus and Timaeus, for the biographical motif of the late conversion to philosophy by Aristotle.

The article deals with the ist-person endings in Xenophon's works, especially in Cyropaedia and in the so-called treatises. In particular the alternation of the ist singular person and the ist plural one is analysed, and the author of the article engages the hypothesis that Cyropaedia is a collective work, for which Xenophon may actually have resorted to some collaborators, in a time when the various steps of the search for information, of composition and of revision weren't done, on many occasions, by only one author. The comparison with the poetic genre excludes the possibility that Greek literature, both archaic and classical, has ever turned to the extensive, acquainted use of the royal \"we\"; therefore the alternation of the ist singular person and the ist plural one may indicate the author's intention to mingle with an actual \"general public\" or rather – depending on the circumstances – to reaffirm strictly personal positions. This assumption is also in line with the treatises records, which give the image of an author who pays great attention, in his opposition to Plato, both to the different reasoning strategies and to the definition and improvement of the hypomnemata genre.

The term ἑρμηνεία is used with the meaning of \"performance – musical rendition\" only in the treatise De musica attributed to Plutarch. The vocal and instrumental performance of a poetic-musical piece is never a simple, objective phonic expression of the composition, but it is always a subjective, critical interpretation of the text by the performer, different from other possible realizations. The issue of musical technique intertwines with that of ethos in support of Old music' insisting on moral and political dangers of the experimentalism of 'new music'.

Even though Lucian’s works contain several subtle indications of his positive appreciation of Epicurus and his followers, his relation with Epicureanism is really put into relief in his Alexander. Addressing his friend Celsus, an Epicurean, Lucian describes the rise of Alexander of Abonoteichus and the consequent events from what appears to be a manifestly Epicurean perspective. Yet, if so, then some elements of Lucian’s adopted Epicureanism do not exactly add up. This article aims to determine exactly how Epicurean Lucian’s ‘Epicureans’ really are, and exactly how much of the Alexander is indebted to the Cynic tradition.

This article focuses on a well-known passage from the proem to the Epicurean inscription of Diogenes of Oenoanda. Diogenes' notorious counting from one to six in fr. 3, III 5-IV 3 recalls a passage from Demosthenes' De corona (18, 310), and as such throws new light on Diogenes' general education, on his familiarity with the rhetorical tradition, and on his attitude towards the 'Second Sophistic'.

This study reflects on different aspects of the poem performed by Sulpicius Maximus, at the age of eleven, in a contest of Greek poetry at the Capitoline Games in Rome. In particular, the work focuses on the encomiastic nature of the competition and identifies elements of praise towards the Emperor Domitian in the myth of Phaeton, which is the subject of the poem.

This contribution examines how Plutarch's dualistic causality affects his natural scientific research in Quaestiones naturales (Aἰτίαι φυσιϰαί). Basing my inquiry on a confrontation of Quaest. nat. 35-36 with a parallel account in Coni. praec. 144d, I reflect on the debated scientificity of Quaestiones naturales as well as its statute in the Corpus Plutarcheum as a whole. Special attention goes to the mythological causa finalis in the coda of Quaest. nat. 36. The conclusion sheds light on the actual scientific nature and value of Plutarch's natural philosophical project more generally.