This is a translation of an article published in the journal Argeiaki Ge, which was asked from me by the scientific journal Journal of Classical Studies Matica Srpska. The Argive Hapocration was a philosopher and commentator from the second century A.D. His origin is not disputed by any source. However, there is still a potential possibility that he might have descended from a different Argos: namely that which is in Amfilochia, Orestiko or that in Cyprus. Yet, the absence of any (...) additional geographical designation in his name in ancient sources is likely to disprove such claims. Simply mentioning ‘Argos’ can only indicate the most notable of the cities with this name, namely the Argive Argos. As will be revealed later in this paper, the close relationship between Hapocration with the Atticus family may well support his Argive origin. I support that it is obvious to assume that there is a close affinity of philosophical activity in Phlius and in Argos which remains to be investigated in more detail in the future. The research of written and archaeological sources can flourish further still. I hope that in the near future there will be evidence enough for a fuller presentation of philosophical activity in ancient Argos. (shrink)

When authors act by either publishing or non-publishing their texts, they sometimes use a language of gestures. These gestures can assist to position the author in the intellectual field. In this way some German eighteenth-century philosophers who thought against the grain of mainstream rationalism withdrew from the public sphere, using the image of the Egyptian god Harpocrates, who puts his index finger to his lips—a symbol for maintaining silence. In a sense one can thus label this kind of quietism as (...) “harpocratism.” The essay examines the imagery and contextualizes it in three case studies from the years 1720-50. Moreover, it explores its sources in political as well as antiquarian and hermetic discourses of the sixteenth and seventeenth centuries. The essay serves as a model for defining intellectual positions not so much by their content, but rather by their practices of symbolic distancing from others, of building identities in emotional communities, and of shaping free zones of inquiry where they could flourish. (shrink)

According to the manuscripts of On the Crown, Demosthenes mockingly claims that, as the youthful Aeschines led processions in his mother's mystery-cult celebrations, he was hailed by various old women as ἔξαρχος καὶ προηγεμὼν καὶ κιττοφόρος καὶ λικνοφόρος καὶ τοιαῦθ’. Τhese are clearly special titles—Aeschines is not just one celebrant among many but a leading figure in the train of worshippers—and recent editors accordingly note that κιττοφόρος seems weak and follow Albert Rubens in printing instead κιστοφόρος, which Harpocration reports (...) was read by some authorities here. κιστοφόρος appears to be supported by ΣF2 18.260 ὁ φέρων τὰς κίστας, which is easily taken to confirm that Demosthenes meant that Aeschines stood out in the crowd of celebrants inter alia because he carried containers within which must have been sacred implements of some sort. (shrink)

Dans les corpus épigraphiques grecs apparaissent des dédicaces à des divinités que l’on pourrait appeler « composites » ou « doubles », e.g. Isis Aphrodite. Des dieux « composites » internes à la culture grecque sont également attestés, comme Héra Aphrodite à Sparte ou Zeus Arès en Arcadie. L’objectif de cette étude est d’analyser trois cas où des dieux de cultures différentes sont combinés, en des exemples complexes qui incluent des épiclèses. Ces cas proviennent de la Délos hellénistique : Astarté (...) Palaistine Aphrodite Ourania attestée deux fois (dans un des deux cas, elle est aussi Epekoos) et Isis Soteira Astarte Aphrodite Euploia Epekoos, une déesse cultuellement associée au regroupement masculin Éros Harpocrate Apollon. Comme on peut s’y attendre, ces divinités ont souvent été qualifiées de « syncrétiques » et conçues comme le produit de processus de mise en parallèle, d’assimilation, d’identification, ou même simplement de traduction de divinités d’une culture à l’autre. L’article examine cette terminologie et tente de caractériser ces divinités d’une manière plus spécifique. Il s’avère que, davantage que des « dieux syncrétiques », nous devons plutôt aborder l’attitude « syncrétique » des dédicants et le milieu « syncrétique » dans lequel ils vivent. (shrink)

This article investigates the essay the Descriptio Silentii (Description of Silence) by Celio Calcagnini, a humanist scholar from Ferrara, an essay written in the early sixteenth century and published in 1544. The article provides the first English translation of the essay, describes its inspiration and sources and reviews the content of the essay in order to assess Calcagnini’s contribution to the philosophy of silence from the Renaissance and before. Calcagnini’s essay is an ekphrasis of a picture supposedly located in the (...) ruins of the Roman temple of Fortuna Primigenia in Praeneste, the inspiration for its format is the late Hellenistic text the Tabula Cebetis, and the principal content is an appeal for the virtues of silence in human affairs and the castigation of the garrulous following the example of Plutarch’s essay De Garrulitate from the Moralia. However, this appeal to the virtues of silence is a prelude to the deeper theme and purpose of the essay: the theme of mystical silence, a silence by which it is possible to approach and understand the god-head and the divine, and which can only be expressed in non-verbal language, riddles or poetic imagery. (shrink)