107.3

That Praxagora and other female characters in the Assemblywomen continue
to address the audience or reveal any awareness of the audience after their rise to
power marks them out as different from other Aristophanic characters, among whom the
propensity to disrupt dramatic pretense is inversely proportional to their social
status in the world of the play. Such a departure from usual Aristophanic practice suggests
that the playwright is granting them extra opportunities to ingratiate themselves with the
audience, perhaps to encourage serious thought about women as political actors, or about
some of the policies which Praxagora proposes.

It has been argued that fragment 205 K-A from Eupolis' Maricas buttresses
the claim that comedies were performed in the afternoons after tragedies.
However, the sources give no reason to believe that the concept of ληρος is
intrinsically tragic; in fact, the opposite seems to be the case: the semantics of ληρος
fit far better into the discourse on comedy. Thus Eupolis is engaging in an intertextual
battle against his rivals at the Lenaea of 421 BC, rather than commenting on the qualities
of the tragedies performed prior to Maricas.

This essay scrutinizes the topos of crane migration in Roman martial epic to
illustrate the ideological and meta-poetical development of this motif in its home genre.
Each poet's adaptation of his predecessors' crane motifs alludes to the characters, themes,
and ideological underpinnings of his own epic. The identification of cranes as carriers of
meaning contributes to established links between Virgil, Lucan, and Statius, reinforces the
relatively recent case for Lucan's influence on the Thebaid, illustrates the heuristic value
of migration as a cultural and literary experience and furthers discussion about the textualization
of the natural world into Roman poetry.

Analysis of the meter of the Disticha Catonis supports a date of the first century ad;
it also reveals the author's concern with writing in a simple meter that privileges individual
words and syntax over poetic effects. As a result, the notion that the Disticha was used as an
ancient educational text, which was first proposed by Marrou and Bonner, seems more likely.

In Plutarch's Lives of Camillus, Aristides and Coriolanus, Plutarch depicts their
"exilic moments" through links to the image of Achilles. Only these three exiles share Achillean
imagery at the very instant they depart their home cities and this image, in concert with the
key Plutarchan themes of justice and the relationship between masses and statesman, suggests an
additional level of moral evaluation that supplements the biographer's standard syncritical approach.

The study of classics and film has become in recent years a significant and rewarding critical
sub-field in the study of classical receptions. When a movie or television series aims to recreate
the ancient world or some feature thereof, filmmakers often call upon professional classicists to aid
them as academic consultants. The following essay describes my professional interactions with
several people working on this film, from the production assistants who first contacted me, to
the dialect coach with whom I worked closely to prepare the lines of dialogue to be used in the
film, to the actor whom I coached in Latin pronunciation and delivery. Here I explore what it
was like for a scholar of classical receptions to watch a cinematic classical reception happening
in real time, that is, how actual filmmakers and actual actors relate to and talk about the
process of reception in which they are unwittingly engaged. Most importantly, this essay considers
how the experience on a movie set can affect our understanding-and indeed even influence our practice-of
current scholarship about classics and film.

The study of classics and film has become in recent years a significant and rewarding critical sub-field in the study of classical receptions. When a movie or television series aims to recreate the ancient world or some feature thereof, filmmakers often call upon professional classicists to aid them as academic consultants. The following essay describes my professional interactions with several people working on this film, from the production assistants who first contacted me, to the dialect coach with whom I worked closely to prepare the lines of dialogue to be used in the film, to the actor whom I coached in Latin pronunciation and delivery. Here I explore what it was like for a scholar of classical receptions to watch a cinematic classical reception happening in real time, that is, how actual filmmakers and actual actors relate to and talk about the process of reception in which they are unwittingly engaged. Most importantly, this essay considers how the experience on a movie set can affect our understanding-and indeed even influence our practice-of current scholarship about classics and film.