Terenz: Phormio

German Translation (with notes and introduction) of Terence's Phormio.

Carmina Saturnia Epigraphica: Einleitung, Text und Kommentar zu den Saturnischen Versinschriften

Edition and commentary of the Latin verse inscription thought to be written in the so-called Saturnian verse

Das vorklassische Lehrgedicht der Römer

Comprehensive overview of the remains of Early Roman didactic poetry

Terenz

Comprehensive introduction to the Roman playwright Terence.

Thessaly and Macedon at Delphi

The Daochos Monument at Delphi has received some scholarly attention from an art-historical and archaeological perspective; this article, however, examines it rather as a reflection of contemporary Thessalian history and discourse, an aspect which has been almost entirely neglected. Through its visual imagery and its inscriptions, the monument adopts and adapts long-standing Thessalian themes of governance and identity, and achieves a delicate balance with Macedonian concerns to forge a symbolic rapprochement between powers and cultures in the Greek north. Its dedicator, Daochos, emerges as far more than just the puppet of Philip II of Macedon. This hostile and largely Demosthenic characterisation, which remains influential even in modern historiography, is far from adequate in allowing for an understanding of the relationship between Thessalian and Macedonian motivations at this time, or of the importance of Delphi as the pan-Hellenic setting of their interaction. Looking closely at the Daochos Monument instead allows for a rare glimpse into the Thessalian perspective in all its complexity.

Interpreting at Vindolanda: commercial and linguistic mediation in the Roman army.

A fragmentary tablet from Vindolanda (Tab. Vindol. II, 213) contains an occurrence of the verb interpretari (‘interpret’, ‘explain’, ‘mediate’) in an apparently commercial context, relating to the grain supply for the Roman fort. This usage is paralleled in a text on a wooden stilus tablet from Frisia in the Netherlands. ‘Interpreters’ and their activities make rather infrequent appearances in the Latin epigraphic and documentary records. In the Danubian provinces, interpreters (interpretes) are attested as army officers and officials in the office of the provincial governor. ‘Interpreters’, in both Latin and Greek inscriptions and papyri, often, however, play more ambiguous roles, not always connected with language-mediation, but also, or instead, with mediation in commercial transactions

Alverata: Latin, Greek and Cyrillic typeface

Alverata: a typeface design for Europe This typeface is a response to the extraordinarily diverse forms of letters of the Latin alphabet in manuscripts and inscriptions in the Romanesque period (c. 1000–1200). While the Romanesque did provide inspiration for architectural lettering in the nineteenth century, these letterforms have not until now been systematically considered and redrawn as a working typeface. The defining characteristic of the Romanesque letterform is variety: within an individual inscription or written text, letters such as A, C, E and G might appear with different forms at each appearance. Some of these forms relate to earlier Roman inscriptional forms and are therefore familiar to us, but others are highly geometric and resemble insular and uncial forms. The research underlying the typeface involved the collection of a large number of references for lettering of this period, from library research and direct on-site ivestigation. This investigation traced the wide dispersal of the Romanesque lettering tradition across the whole of Europe. The variety of letter widths and weights encountered, as well as variant shapes for individual letters, offered both direct models and stylistic inspiration for the characters and for the widths and weight variants of the typeface. The ability of the OpenType format to handle multiple stylistic variants of any one character has been exploited to reflect the multiplicity of forms available to stonecutters and scribes of the period. To make a typeface that functions in a contemporary environment, a lower case has been added, and formal and informal variants supported. The pan-European nature of the Romanesque design tradition has inspired an pan-European approach to the character set of the typeface, allowing for text composition in all European languages, and the typeface has been extended into Greek and Cyrillic, so that the broadest representation of European languages can be achieved.

Memento mori: the uses of the future imperative in the Carmina Latina Epigraphica

This paper offers an examination of the use(s) of the future imperative in the Latin verse inscriptions. Following introductory considerations about speech act theory, the use of directives, and politeness (with special emphasis on the Carmina Latina Epigraphica), the paper gives an overview of relevant instances. It presents an argument in favour of a (re-)interpretation of the Latin future imperative as a mode to express deontic and thetic arrangements with little immediacy. Additionally, it is possible to detect traces of a deliberate use of the future imperative as a means of marking linguistic register in contexts where it otherwise, if following a more traditional concept of the future imperative, would seem out of place

Investigating typographic differentiation: italics are more subtle than bold for emphasis

Text designers are likely to benefit from guidance on how to use typographic differentiation for emphasis. Three experiments use purposely-designed fonts to explore the size and nature of differences in the stylistic characteristics of fonts (weight, width, contrast, italic) which affect letter identification. Results indicate that words set in bold and expanded fonts, when alternated with words set in a Neutral test font, may impair performance, whereas changing to italic does not. Possible explanations are explored through measuring the physical and perceptual similarities of the test fonts.