Euboulos' 'αγκελων is represented by only four fragments , all culled from Athenaeus, which tell us nothing about the plot of the play or about the identity of its titular character. R. L. Hunter, in his recent commentary on Euboulos, discusses at length the name 'αγκελων and concludes that it could belong to either a humble and poor man; ‘a character from folklore notorious for sexual relations with his mother’ ; or ’ a wily slave such as those foreshadowed in (...) Aristophanes and familiar from New Comedy'. In view of our ignorance of the play's plot, each of these possibilities has an equal claim to our consideration. I believe, however, that the context in which the fragments are embedded in Athenaeus allows us to refine our understanding of the name even further. (shrink)

At once a contribution to the history of science, the history of philosophy, the history of classical Greece, and transhistorical, good, clean, reading enjoyment, this book is obviously designed for the library that hitherto had everything. From coin-operated holy water, vending-machines, Athenian electioneering gadgets for "automating honesty," and wine-splashing games of kottabos to the steam-powered toys and automated theatres of the second century A. D. Alexandrian gadgeteer, Heron, Brumbaugh has provided a fascinating catalogue of and commentary on the neglected (...) artifactual and technological genius of the ancient world. The book includes reproductions of many of Heron's "blueprints" as well as plates showing some of the items that have been excavated on the site of the ancient Agora. The illustrations and plates should have been numbered for easier reference but this is a minor defect in a wholly delightful book. The extensive, annotated bibliography is a pleasant bonus.—E. A. R. (shrink)

Le jeu du kottabe, intervenant une fois le symposion entamé, est sans doute le plus célèbre des jeux de banquet. Cette pratique ludique, source d’émulations entre les buveurs, consistait à projeter d’un geste habile et maîtrisé la dernière goutte de vin de sa coupe sur une cible prédéfinie. Le vin, médiateur de sociabilité, est dans ce cadre à la fois la modalité et l’instrument du jeu, tandis que la vaisselle de banquet est détournée de son usage premier. À partir d’une (...) sélection de vases italiotes, cet article questionne l’agentivité féminine associée à ce divertissement habituellement considéré comme masculin. À la fois cible animée, enjeu du lancer, joueuse ou accessoire ludique, la présence féminine mise en scène dans le champ métaphorique de l’image est multiple et protéiforme. À l’aide de jeux visuels, les imagiers italiotes se jouent des codes et des normes établies en proposant une vision renouvelée, réelle ou fantasmée, autour de la culture du vin. (shrink)