GRBS 64.2:

Edwin Carawan, “The Amnesty at the End of the Odyssey"

The ἔκλησις imposed by the gods is not “oblivion,” but, as seen in archaic oath rituals and ἐκλανθάνειν, a more conventional and practical “amnesty.”

T. J. Nelson, “Sappho’s Rose-Fingered Moon and Traditional Referentiality"

In fr.96, “rose-fingered moon,” often thought inept, is appropriate to the poem and credible, evoking not only the erotic image of the rose but also the doomed loves of Eos and Selene.

Leon Wash, “Empedocles’ Account of Wine (fr.81) and Premodern Oenology"

In Empedocles’ “wine is water from bark, rotten in wood,” the reference is not to a wooden cask but to the grapevine itself, in which wine was thought to form naturally.

William H. Adams, “An Early Conception of Inflammation in the Hippocratic Treatise Diseases I"

Analysis of the tract’s terminology show that it describes a mechanistic understanding of inflammation, which differs from the humoral theories that were developed later as a model of body homeostasis.

Tomasz Zieliński, “Demetrius Poliorcetes’ Headdress in Macedonia" 

That Demetrius wore a kausia combined with gilded mitra was not emulation of Alexander or an Eastern affectation, but an evocation of traditional Macedonian identity.

Juan L. López-Cruces and F. Javier Campos-Daroca, “Diogenes’ Thyestes" 

The Cynic’s authorship is reflected in Thyestes seen as a forerunner of attacking convention, in the delimited justification of anthropophagy as in Diogenes’ Republic, and in the use of the Anaxagorean doctrine of homoiomeries.

M. J. Kramer, “Hellenistic Visuality and Jewish Textuality in Ezekiel’s Exagoge" 

The scene of the burning bush undercuts the Greek convention of ecphrasis by asserting the primacy of the verbal over the visual to achieve religious understanding.

Federica Scicolone, “The Chest of Cypselus and the Temple of Apollonis at Cyzicus: Showing and Telling in Literary Inscriptions" 

In the epigrams on these two different artistic objects, the deictics serve both to focus the reader’s attention on selected elements of the scenes and to evoke aspects of their implied stories that are not portrayed.

Matthew Chaldekas, “An Erotic-Ecphrastic Pastiche: Anth.Pal. 12.61–62" 

The four lines, with their array of allusions, should be seen as one poem, whose ecphrastic and erotic motifs produce a novel variation on both genres.