Hippocrene – Mythological Society

A couple of weeks ago I have been contacted via email about this new initiative. Hippocrene is an intellectual society, started by young Belgian academics, that focuses on mythology with the aim to bridge the gap between academia and the public at large. It uses the channels of social media (Facebook: Hippocrene – Mythologisch genootschap) to release its outputs, which take the form of short notes on different subjects related to mythology. I find it particularly promising that the collected material is not restricted to Greco-Roman mythology and that the project also focuses on artistic creations inspired by mythology. Indeed objects of art representing mythological topics are often neglected, especially with regard to contemporaneous art, although they belong to the public space and bear witness to the still vivid reception of ancient mythological lore. I experienced this myself while working on the mythological quiz Antike Heute in Hamburg developed in collaboration with the Hamburg Open Online University (HOOU).

I have been asked to contribute to the society’s rubric on literature dedicated to mythology. It will contain a list of works on mythology or religious studies where the society’s followers will find a whole range of texts providing further readings about mythology. I am looking forward to making my choice about three works that I find particularly noteworthy.

Your may read the society’s own presentation in these posters:


Interesting Call for Papers

While reading this call for paper in one of my mailinglists, I just wondered whether “travelling with Demetrios” may imply going as far….

Call for papers
20. 7. 2019 “Fly me to the moon”. The moon in human imagination
University of Genova (Italy)
December 12th-13th 2019

Co-directors: Lara Nicolini, Luca Beltrami, Lara Pagani

From October 2018 through December 2022, NASA will mark the 50th anniversary of the Apollo Program that landed a dozen Americans on the moon between July 1969 and December 1972.

All kind of events, activities, exhibits, seminars dedicated to celebrating the first moon landing are understandably spreading everywhere and we want to join the celebrations in our own way.

The moon has always been a source of mystery and enchantment to people of all times and has lit up our imagination for centuries: : for writers and poets, the moon has been at one moment a beneficent and comforting presence offering refuge in nocturnal and idyllic landscapes, at the next a silent confidante to secret loves, but also a witness of misdeeds, crimes and mysterious adventures, as well as power capable of generating werewolves and creatures of the night. From ancient times to modern Western art and literature, the Moon is a recurring subject of poetry and all sorts of artistic treatments, an inspiration for mythologies and mysticism, the object of scientific inquiries and a crucial destination for science-fiction fantasies. We might say that the attraction our satellite exerts on literature is at least as powerful as its pull on the tides.

The importance of the Moon as a source for the visual arts and literature in all times has long been recognized and although the theme has been explored before, its influence is inexhaustible

An international conference would be -in our view- an excellent opportunity for researchers in many different fields to keep exploring our various images of the Moon and to exchange ideas and share experiences and research methodologies.

The University of Genova, and in particular its Departments of Classics and Italian studies (DAFIST and DIRAAS), invites submissions of articles on the subject of the Moon to be presented at an international conference to be held in Genova on 12-13 December 2019.

The deadline for submission is July 20th 20:17 UTC (date and time when the lunar module Eagle landed on the lunar surface).

Using the Moon as a source of inspiration, we invite scholars of Classical Studies, Medieval and Renaissance culture, Modern and Contemporary Literature, History and Philosophy, Music and Musicology, Cinema and Media Studies, to explore and discuss the many different ways that writers, poets, historians, artists, film makers have tried to capture the image of our satellite.

We welcome submissions from scholars of all seniorities but especially encourage doctoral and advanced students.

Please send a brief curriculum vitae, and a proposal of approximately 500 words to lara.nicolini@unige.it, luca.beltrami@unige.it, lara.pagani@unige.it.

Topics of interest include, but are not limited to, the following topic areas:

  • the Moon in mythology / lunar myths / the Moon and the Poets
  • the Moon in Ancient and Modern Novel and in Scientific literature
  • the Moon in Greek and Roman Literature
  • the Moon in Religion and History of religions
  • the Moon in Linguistic / Sociology etc. / Questioning the Grammar: Genre and Gender of the Moon
  • Science of the Moon / Knowledge and Science about the Moon (from Aristotle to Galileo to NASA)
  • Animals and the Moon
  • Iconography of the Moon (from the ancient times to space-age art) / Moon in Art History / Moon and Moonlight in the visual arts / Lunar landscapes / Visions of the night
  • the Moon in Science fiction, Cinema and media studies (from Verne to Hollywood)
  • Music by Moonlight: the Moon in the Music / Songs about the Moon

Submission guidelines

Authors from all over the world are invited to submit original and unpublished papers, which are not under review for any other conference or journal. All papers will be peer reviewed by the program committee and selected on the basis of their originality, significance, and methodological soundness.

Submitted abstracts can be written in Italian or English (the same goes for the papers).

The length of contributions must be between 4 and 8 pages (about 20/25-minutes papers). Submission implies the willingness of the author to attend the conference and present the paper.

The organizing committee looks forward to welcoming you all to a fruitful conference with open discussions and important networking opportunities.


Submission deadline for abstracts: 20 July 2019

Author notification: 30 September 2019

Conference dates: 12-13 December 2019

Conference venue

Genoa is one of the most beautiful Italian cities and a Mediterranean seaport. It embraces different cultures and traditions from the past, combined in a unique and original architecture. Its vast old town is an intricate maze of narrow alleys extending up to the seafront of the Old Harbour. In the center Medieval buildings coexist with rich Renaissance noble palaces a (UNESCO World Heritage Site), museums and several churches hosting important art masterpieces, in a unique cohesion of past splendor and contemporary everyday life. www.visitgenoa.it

For more information and the original call for paper, see https://www.academia.edu/38303163/CfP_Moon_En_1_.pdf


A Conference on Gardens!

While reading, with a bite of delay, as the first volume was published in 2007, the monumental collaborative work Lieux de savoir (ed. Christian Jacob), I stumbled over the announcement concerning this conference:

Gardens: History, Reception, and Scientific Analyses.
23-24 February 2019, Nagoya University, Japan.

As gardens also belong to some of the places discussed in some of the contributions of the French volume, I was very interested to see that the garden was here an object of study on its own and that it was approached from such a wide range of different angles. Have a look at the programme here!

C. Jacob (ed.), Lieux de savoir: Espaces et Communautés, t. 1, Paris, Albin Michel, 2007 (https://lieuxdesavoir.hypotheses.org/lieux-de-savoir-1)
C. Jacob (ed.), Lieux de savoir : Les Mains de l’intellect, t. 2, Paris, Albin Michel, 2011 (https://lieuxdesavoir.hypotheses.org/lieux-de-savoir-2-les-mains-de-lintellect-2)

I am looking forward to seeing volume 3 and volume 4!

Antike Heute in Hamburg (AHinHH)

I am very happy to present here a project I carried out in collaboration with the HOOU (Hamburg Open Online University) over the last summer. It was great fun and I really appreciated to work with the team of the HOOU!

The idea was around for quite a while and I have to thank three people here for their inspirations: two very dear friends from back home and a colleague from abroad. I am fully aware that the project owes much to the nice conversions we had. So I start to thank my two friends for their warm welcome each time we met and the lively exchanges during these encounters! As far as my colleague is concerned, the project can be seen as an answer to our regular and very inspiring meetings last spring.

The project takes the form of an online quiz on Graeco-Roman mythology (with unfortunately for the time being only three questions!). It takes as its starting point works of art in the public space of Hamburg, allowing people, who are willing to answer the quiz, to get aware of the everyday presence of items inspired by Classical heritage.

This is especially relevant for Hamburg, as it is situated in an area that was never included in the Roman empire. Yet, until quite recently, there was a willingness to use Classical references to represent and embellish the city.

So if you are curious or you would like to test your knowledge either on Hamburg or on Graeco-Roman mythology, please have a go! You find the link here (https://antikeheutehh.blogs.uni-hamburg.de) or you may click on the image below.

Capture d_écran 2018-12-16 à 15.45.18

2018: a “monstrous” year?

I am about to start a course on ancient monsters. We will focus on mythological handbooks such as Hyginus’ Fabulae, Ps.-Apollodorus’ Bibliotheke, Antoninus Liberalis’ Metamorphoses, and Ps.-Eratosthenes’ Catasterisms, and the goal consists in translating and discussing passages where monsters are mentioned. I am very much looking forward to this class.

While preparing the course since last spring, I discovered with great pleasure that I was not the only one who was dealing with monsters this year!

First, I could follow, however from rather far away, the book launch of the Making Monsters Anthology edited by Emma Bridges and Djibril al-Ayad. You may find a summary of the event and more informations about the book at the blog of The Institute of Classical Studies.

Congratulation to all the contributors!


Secondly, I met last week, Lena van Beek, a colleague from the Medieval German Studies who is preparing her PhD on Giants in Medieval Literature. She also gave a seminar last semester on monsters! You may find a nice interview about her course on the website of the University of Hamburg.

Moreover, during her course, she prepared with her students a blog and I am very happy to present it here. All the contributions have been made by the students in small groups and represent the outcome of their seminar. Have a look at their work. It is worthwhile!

Fantastic Beasts and Where to Find them

Capture d_écran 2018-10-07 à 23.35.20

Congratulation also to all of them!

Cicero at Open Book Publishers

Having given a talk on ancient commentaries this summer, and remembering a conference on ancient commentaries a few years ago, during which one talk compared ancient commentaries and modern ones, I am happy to share a few thoughts on a recently published work. It is Ingo Gildenhard’s, Cicero, Philippic 2, 44-50, 78-92, 100-119. Latin Text, Study Aids with Vocabulary and Commentary. This work is much more than a commentary, as it is lined out as a textbook and provides a whole range of additional information one would perhaps not expect in a commentary.

The book falls actually in two parts: in a first part, we have the Latin text, with three rubrics of questions (Study Questions, Stylistic Appreciation, Discussion Points). It also provides a list of vocabulary as useful help for the translation of the original. The second part is dedicated to the commentary of each of the sections of Phillippic 2 that the author included in his work and he discusses, among many other points, the questions listed in the first part.

Even though the book is targeting UK readers (with the Oxford Cambridge and RSA (OCR) As/A Level specifications as its primary focus), it may certainly also be useful outside the UK. As suggested by the author, and especially when considering a non-English speaking educational environment, I could very well imagine that the book could still be inspiring, in particular for teachers (secondary teachers and beyond). Moreover, the work is published open access and can be read for free as a digital edition.

Therefore have a look at it!



Finally, this is not the only work Ingo Gildenhard published this way. Under the rubric Classics Textbooks at Open Book Publisher you can find a whole list of works, most of them by Ingo Gildenhard.

Reading Herodotus

I am back from an afternoon that I spent with a friend reading Herodotus. We started last spring with book 5, chosen by my friend because it was a part of the Historiai, with which we are least familiar. We wanted both explore something, which was more remote from our everyday topics.

We have great fun discovering together the text, its topics and Herodotus’ language and expressions. We were, however, most surprised by the way the stories were connected to each other, or rather how often they were interrupted by further stories, digressions or comments. For an expert on Herodotus, this may not be new, but for us it was amazing to see how many different stories Herodotus narrates within other stories. Indeed he often interrupts the narration when mentioning a name or a person and starts telling the history of the place, with may subordinated stories, or gives further details about the life, past and future, of the protagonist, again with may other stories told in more or less details within the story.

For instance, I remember very well discussing in different circumstances the famous passage, in which Herodotus speaks about the introduction of the Phoenician writing system to Greece (Hdt 5, 58-61). I was less aware of the fact that it comes as a digression, within a story about the ancestors of Harmodius and Aristogeiton that Herodotus starts when telling his audience that Aristagoras from Miletus went to Athens after his request for support has been rejected in Sparta by Cleomenes. Moreover, we do not learn what would be the outcome of Aristagoras’ visit to Athens, before having heard Herodotus’ account about the Peisistratids and the early stages of Athens’ democracy.

There are more than 40 chapters between Aristagoras’ arrival in Athens and the narration of his negotiations with the Athenians. We modern readers are able to go back and forth within a book, but we just wondered how Herodotus’ audience would have felt when having to wait such a long time before having the rest of the story!







Having fun with Demetrios…

As first short note, after my holidays, I just would like to draw attention to Pour l’amour du grec, another blog, from which you may learn, among other interesting things, how reading the highly scholarly work of Demetrios of Scepsis may still provide some everyday knowledge for those fond of travelling to the Greek seashore…

Il a mangé un oursin entier


11th Celtic Conference in Classics

I just spent a few marvellous days in St. Andrews at the 11th Celtic Conference in Classics. Now, as I am on my way back, I would like to take the time to sum up my impressions.


My paper belonged to the panel on mythography that had as its title Mythography not Mythology: commentaries and boundaries. We touched on an amazingly wide range of topics that came from a broad chronological framework. The panel was roughly divided into four thematic blocks.

The first block contained a variety of papers that focused on case studies and examples from Greek texts. In this context, we began with papers that gave us insight into the commenting tradition and its link to and/or usage of mythography.

  • In my paper (Mythography: Commenting on Homer or Collecting Mythological Stories? Apollo Smintheus as a Case Study), I tried to show how the complex nexus of comments about one special passage from Homer (Chryses’ prayer in book 1 of the Iliad) was transmitted, alluded to and reworked from Strabo to Aelianus.
  • We also examined in the second talk (Pelops in Lesbos: Analysis of the Scholion to Iliad 1.38 and Hamburg Papyrus 199 (Mythographus Homericus)) to what extend comments preserved in a very indirect way, for instance reworked in the scholia to the Iliad or preserved in papyrological fragments can provide information about non-standard versions of a myth. Our example here was a Lesbian version about the hero Cillus, who was the charioteer of Pelops. This version, linked to the topography of the Troad, must have developed in answer to a panhellenic version that was linked to Olympia.
  • The commenting tradition on Pindar’s poems was also the topic of the next paper (Erginus, Protogeneia and Cycnus: Three Mythographical Narratives in the Scholia to Pindar). From several examples we could see how diversified the commenting tradition was, as each of the examples showed the many different ways, in which one line or expression in Pindar’s text could be explained. The focus could be on paraphrasing Pindar’s text in simpler terms. This could be done with a more or less direct link to the primary texts. Parts of the comment could also be composed by more or less independent phrases, where the scholar shows his skills and knowledge by providing additional information.
    • In these two papers we got the newest insights into the state of affair about the mysterious but fascinating Mythographus Homericus.

A second block was created by papers that were not primarily focusing on commenting but on other literary activities linked to mythography.

  • A very interesting perspective was given by the analysis of a papyrus with a collection of anecdotes with either mythographical or ethnographical contents (Challenging the Borders between Mythography and Historiography in the Papyrus P.Oxy. II 218). It was especially tantalizing to see how one can work on a text, for which the author remains unknown. Nonetheless, we can observe his deep understanding of several traditions that he could associate freely and blur for us the boundaries between mythography, ethnography and paradoxography.
  • In a further paper (Diodorus’ Authorial Mythography) we also looked at Diodorus and how he shaped the mythological accounts, while transmitting them, for his own literary and political agenda. At the end of the paper, we were presented with a witty observer of his time, who felt the great changes the Augustan age brought and acknowledged it in his careful selection and composition principles.
  • The focus on the author at work was also dealt with by the paper on Ps-Apollodorus (Cohérence et diachronie dans la Bibliothèque du Pseudo-Apollodore). Similarly to what can be observed in Diodorus, it is worth investigating the voice of the author in Apollodorus’ Library. He is a mind that worked independently from his sources and reworked and selected information from their texts according to his own convictions, and literary principles. If we do pay attention to this, besides the study of Apollodorus’ sources, we may gain access to other more submerged version of a given narrative.
  • When speaking about a tradition, to which people can allude or which can be played with, we have also to investigate how this form of knowledge was learned and how widespread it was. This question was raised by the talk on the evidence from school texts (Learning (through) Mythography). We saw through these fascinating scraps of papyri how mythography was also part of the class room, either on the teachers’ or on the pupils’ side.
  • How widely mythological lore was know and how fully it belonged to ancient culture was demonstrated by the paper on paroemiographical texts (Between Myth and Exegesis: Mythography in the Paroemiographical Tradition). We were told how in Zenobius’ collection, some sequences of the explanations, given for proverbs that have their roots in mythology, can be seen as witnesses about previous mythographers such as for instance Hellanicus.

A third block was dedicated to the Latin mythographer Hyginus and contained a fascinating group of papers on Hyginus. Although the text is transmitted in a very problematic way, the colleagues who study this text showed us how much we can still gain from it about the author behind it.

  • We had a very convincing paper on the arrangement of the anecdotes, in which I was particularly interest because of my own interest in the question of arrangement/ordering of collections (Le (deuxième) cycle thébain d’Hygin: étude de l’organisation narrative des fables 66 à 76).
  • We also focused on the sources of Hyginus, either Greek or Latin (Commenting on Hyginus). The case studies from this joint-paper were taken from tragedies, and I found it particularly enriching to have an outlook on Latin tragedies, which is very seldom done.
  • We also dealt with some thoughts about how the anecdotes are composed and that the way they narrate the storis is focusing on the heroes themselves, rather than on the story, the setting or the gods (Condensing Mythological Material: What Does Mythology Mean in the Pseudo-Hyginus Epitome Called Fabulae?).
  • We saw in the last paper (Lycurgus in fabula. The Eventful Afterlife of Greco-Roman Drama in Hyginus) how this could be done, as the paper focused on a case study dedicated to Lycurgus. This paper also reminded us of the visual sources that authors had at their disposal and which contributed to the tradition, from which they could take their inspirations.

A last block was opening up our perspective and focused on examples from far beyond Antiquity.

  • One of them focused on the reception of Palaephatus and his way of reinterpreting and rewriting myths. It was in the Renaissance and especially through Spanish scholars that Palaephatus went as far as Mexico in the form of visual representations of Centaurs (Le voyage de Palaephate de la Grèce au Mexique: les routes et chemins de la réception).
  • We also saw how puzzled the first modern editors and collectors of mythography were when dealing with the texts that were at the centre of our panel (Les Opuscula mythologica de Thomas Gale (1671-1688): stabilité et variabilité du corpus mythographique ancien). Here too, I found the paper very suggestive, as it focused on collecting, however from a completely different angle. So it allowed us to think further on this literary activity and the modification it underwent during the ages.

Many thank to all – especially to the two organisers – for this panel!


Helgoland and Tacitus

A few weeks ago, I spent some wonderful sunny days in Helgoland, in the North of Germany. While walking around the island and admiring the amazing scenery,  I stumbled upon this panel which told me about previous, even prehistoric occupation of the place:


So, back home, I checked Tacitus and read those lines about the Suevi tribes located on the shore of the North Sea:

nec quicquam notabile in singulis, nisi quod in commune Nerthum, id est Terram matrem, colunt eamque intervenire rebus hominum, invehi populis arbitrantur. est in insula Oceani castum nemus, dicatumque in eo vehiculum, veste contectum…

none of these tribes have any noteworthy feature, except their common worship of Ertha, or mother-Earth, and their belief that she interposes in human affairs, and visits the nations in her car. In an island of the ocean there is a sacred grove, and within it a consecrated chariot, covered over with a garment… (Tac. Germ. §40, transl. Perseus Library)

Several scholars believe that this island with the sacred grove is Helgoland, even if the interpretation has also its opponents. At least the findings of prehistoric tumuli suggests that the island was known and used by humans for religious purposes.