The document consists mainly of supplementary notes on points that would have taken up too much space in the edition or have occurred to me since completing it. Some of them correct errors or omissions, others take account of recently published work. There is also a list of errata, i.e. typos and other small-scale slips.

„Political Correctness“, „Identitätspolitik“ und „Cancel Culture“ werden heutzutage überwiegend als Waffen von Konservativen eingesetzt, um ihre Privilegien gegen emanzipative Neuregelungen zu verteidigen. Solche Neuregelungen als Einschränkung der Kunst- und Meinungsfreiheit zu kritisieren ist deshalb meist falsch. Tatsächlich tragen „Politic…[Read more]

Entry ‘Aristophanes: Clouds’, in: The Literary Encyclopedia (published version)

Entry ‘Aristophanes: Clouds’, in: The Literary Encyclopedia (published version)

Entry ‘Sophocles: Philoctetes’, in: The Literary Encyclopedia (published version)

Entry ‘Sophocles: Philoctetes’, in: The Literary Encyclopedia (published version)

Entry ‘Ancient Greek Theatre in Italy’ in The Literary Encyclopedia (published version)

Entry ‘Ancient Greek Theatre in Italy’ in The Literary Encyclopedia (published version)

Art forms in Troy’s city walls, and Schliemann’s awareness thereof.

Two fifths of Britain’s leading people were educated privately: that’s five times the amount as in the population as a whole, with almost a quarter graduating from Oxford or Cambridge. Eight private schools send more pupils to Oxbridge than the remaining 2894 state schools combined, making modern Britain one of the most unequal places in Eur…[Read more]

This article proposes a new understanding of the etymology of histrio. It is likely that it originally came from Greek histor, as has been demonstrated by Szemerényi 1975. However, the conclusions presented by this scholar must be slightly revised, in particular the distinction he establishes between histrio and ludius. While the second word has…[Read more]

This article proposes a new understanding of the etymology of histrio. It is likely that it originally came from Greek histor, as has been demonstrated by Szemerényi 1975. However, the conclusions presented by this scholar must be slightly revised, in particular the distinction he establishes between histrio and ludius. While the second word has…[Read more]

Johann Joachim Winckelmann not only idealized Greek Classical art, but also the whole ancient Classical Greek world in a way that went well beyond what could be envisaged as historical knowledge. His influence on the history of contemporary literature and on classical scholarship, however, is not an obvious topic to scrutinize, since he was almost…[Read more]

Johann Joachim Winckelmann not only idealized Greek Classical art, but also the whole ancient Classical Greek world in a way that went well beyond what could be envisaged as historical knowledge. His influence on the history of contemporary literature and on classical scholarship, however, is not an obvious topic to scrutinize, since he was almost…[Read more]

In this episode of The History of European Theatre, Phil Rowe interviewed me on the evolution of Greek theatre after the Classical period and the existence of dramatic performances in Greek in Roman Italy.

The article shows that the character of Odysseus in Sophocles’ Ajax and Philoctetes constitutes a crucial element for the redefinition of the concept of ‘nobility’. This figure has already been seen to promote a new definition of the concept, but previous analyses have tended to focus only on one or the other of the two plays, as Odysseus appea…[Read more]

This paper looks beyond Ptolemaic Alexandria to consider the literary dynamics of another Hellenistic kingdom, Attalid Pergamon. I offer a detailed study of the fragmentary opening of Nicander’s Hymn to Attalus (fr. 104 Gow–Schofield) in three sections. First, I consider its generic status and compare its encomiastic strategies with those of T…[Read more]

THEATER OF THE PEOPLE:
SPECTATORS AND SOCIETY IN ANCIENT ATHENS

Greek drama has been subject to ongoing textual and historical interpretation, but surprisingly little scholarship has examined the people who composed the theater audiences in Athens. Typically, scholars have presupposed an audience of Athenian male citizens viewing dramas…[Read more]

THEATER OF THE PEOPLE:
SPECTATORS AND SOCIETY IN ANCIENT ATHENS

Greek drama has been subject to ongoing textual and historical interpretation, but surprisingly little scholarship has examined the people who composed the theater audiences in Athens. Typically, scholars have presupposed an audience of Athenian male citizens viewing dramas…[Read more]

Review of Kings, Countries, Peoples: Selected Studies on the Achaemenid Empire, by Pierre Briant, translated by Amélie Kuhrt. Oriens et Occidens, vol. 26. Stuttgart: Franz Steiner Verlag, 2017. Pp. xxv + 633. €99.