Founded in 1880, American Journal of Philology (AJP) has helped to shape American classical scholarship. Today, the Journal has achieved worldwide recognition as a forum for international exchange among classicists and philologists by publishing original research in classical literature, philology, linguistics, history, society, religion, philosophy, and cultural and material studies. Book review sections are featured in every issue. AJP is open to a wide variety of contemporary and interdisciplinary approaches, including literary interpretation and theory, historical investigation, and textual criticism.

Founded in 1880, the American Journal of Philology (AJP) has played a pivotal role in shaping American classical scholarship. Today, the journal is recognized worldwide as a key forum for international exchange among classicists and philologists, publishing original research in classical literature, philology, linguistics, history, society, religion, philosophy, and cultural and material studies. Each issue features a section for book reviews. AJP is open to a wide range of contemporary and interdisciplinary approaches, including literary interpretation and theory, historical investigation, and textual criticism.

《美国文献学杂志》（American Journal of Philology）成立于1880年，致力于塑造美国古典学术界的面貌。如今，该杂志已在全球范围内获得认可，成为古典学者和文献学家进行国际交流的重要平台。它发表关于古典文学、文献学、语言学、历史、社会、宗教、哲学以及文化和物质研究的原创研究。每期杂志都设有书评栏目。AJP欢迎各种当代和跨学科的方法，包括文学解读与理论、历史研究和文本批评。

American Journal of Philology

Aristotle On Metaphor John T. Kirby Much Madness is divinest Sense— To a discerning Eye— —Emily Dickinson Ours is an age of metaphor. Wayne Booth, in his inimitable fashion, remarks, There were no conferences on metaphor, ever, in any culture, until our own century was already middle–aged. As late as 1927, John Middleton Murry, complaining about the superficiality of most discussions of metaphor, could say, "There are not many of them." . . . Explicit discussions of something called metaphor have multiplied astronomically in the past fifty years. . . . students of metaphor have positively pullulated.1 In the postmodern era philosophers of language, particularly those outside the analytic tradition, tend to think more and more in terms of all language as being metaphorical. This trend, however, is not a new one; it seems to have its roots back as far as Heraclitus, and, in the modern world, was certainly espoused by Giambattista Vico in his Nuova Scienza (1725). What we may call the Viconian tradition was embraced on the continent by Nietzsche, and, in the Anglo–American world, by Ivor Richards.2 Nietzsche's thought had far–reaching consequences in terms of its influence on the work of Paul de Man and Jacques Derrida, who in the late 1960s and the 1970s found themselves in the center of a vortex of controversy over the notion of "deconstruction," and its interrogation not only of Western metaphysics but also of human language and thought generally. Now, it seemed, such simple formulae as "This X is Y" called into question the whole process of naming and predication. But even among those for whom this is an unconvincing position, the problem of metaphor continues to be a fascinating one. How to define [End Page 517] it? What are its uses? What is its relation to literal, or nonfigured, language? And what its relation to human cognition?3 Booth goes on to say, "there have been many more discussions of what people from the Greek philosophers on called metaphor than any bibliography could show."4 That being so, a sustained study of Aristotle's concept of metaphor needs no further justification, since it is to him that we owe the terms in which the debate was framed for many hundreds of years. Indeed, here as often, even those who wish to propose new or different parameters for the analysis of metaphor must do so against the grain of the Aristotelian tradition.5 This, if nothing else, is a measure of the tremendous influence Aristotle has had on the history of Western rhetoric and poetics. As on many other topics, it is now fashionable to condescend to Aristotle for the limitations of his study of metaphor, or—more aggressively still—to find fault with its parameters. Certainly he did not preempt any further discussion on the issue; nor, I imagine, would he have wanted to. But I surmise that there is more to be learned from an appreciative study of his methods here than one might initially suppose. In this study, then, after a few remarks on recent studies of metaphor, I propose to examine the state of the question before Aristotle, and then [End Page 518] to look at what he has to say about metaphor in the Poetics and Rhetoric. In their attempts to cope with the notion of language generally, and specifically with the questions of literal versus figurative language, scholars over the last hundred years or so have themselves appropriated a number of metaphors purporting to describe the phenomenon. These include (above all) models based on comparison and interaction. The comparison model, it is typically said, conforms more to the classical approach to metaphor, whereas those based on interaction stem primarily from the work of Richards and Black.6 Indeed it is from this notion of interaction that the terms "tenor" and "vehicle" were born, the former referring to the underlying idea that is illustrated or illuminated by the latter, which is "applied" to it; and Richards is right both to point out [1] that the word "metaphor" is sometimes used to signify what he means by "vehicle," and sometimes to mean the symbiosis resulting from the conjunction of tenor and vehicle, and [2] that...

John T. Kirby

The American Journal of Philology

Aristotle On Metaphor

亚里士多德论隐喻

Matthew Farmer

Jackie Murray

Elena Giusti

The AJP Best Article Prize for 2023

2023年AJP最佳文章奖

Abstract: The Homeric verbs μύκε “moo,” λάκε “screech,” and μακών, “bleat(ing)” describe animal sounds but can also apply to inanimate subjects in certain contexts. This paper considers the morphology, semantics, and poetics of these verbs within two frameworks: media theory and animacy studies. Through these verbs, the poet creates a complex nonhuman soundworld of objects, animals, bodies, and material media that challenges the limits of human perception. Close analyses of the passages in which these verbs appear reveal the medial and animate complexities of well-known epic objects, such as Achilles’ shield, Hector’s body, or the cloud-gates of Olympus. The sounds of these and other things are embedded but not wholly translated into human sensory understanding; the scenes in question also challenge easy distinctions between humans and nonhumans, animals and objects, and living and dead bodies.

Athena Kirk

Clouds and Cows, Shields and Sheep: Some Nonhuman Sounds in Homer

云与牛，盾与羊：荷马史诗中的一些非人类声音

Abstract: Alexander’s announcement that he was discharging those soldiers whom he considered no longer fit for service led to the “mutiny at Opis” (324 b.c.e.). According to the manuscripts of Arrian’s Anabasis , Alexander also said that he would richly reward those soldiers who were to remain in Asia (μένουσιν, 7.8.1). However, scholars have questioned this reading, and many editions emend the text here. The issue raises significant questions about the actions of Alexander and his Macedonian troops. I aim to show that there is no need for emendation, and that the manuscript reading (“those who stay”) is most likely correct. In addition, it reveals both a sophisticated intertextual allusion and a nuanced reading of the historical situation on Arrian’s part.

Christopher Baron

Those Who Leave or Those Who Stay? Arrian’s Account of Alexander at Opis ( Anab . 7.8.1)

离去者还是留下者？阿里安笔下的亚历山大在奥皮斯（《远征记》7.8.1）

Abstract: This article unravels the careful encodings contained in the final sentence, the sphragis , of Longus’ novel Daphnis and Chloe . Building on previous studies on the ending, I delve more deeply into each of the key terms included in the final sentence and argue for the presence of New Comedy as the key complement to Bucolic in the novel’s generic hybridity. I focus on Chloe’s role as focalizer of the final sentence, and through key intratextual and intertextual resonances of the sphragis argue that the novel’s generic games are bound up above all in her experience and educational development.

Calum A. Maciver

Generic Games: The Ending of Longus’ Daphnis and Chloe

泛型游戏：朗戈斯《达夫尼斯和赫洛亚》的结局

Abstract: After giving birth Latona arrives tired and thirsty in Lycia, but the locals refuse her a drink from their lake, so she turns them into frogs. Critics usually endorse Latona’s justice. This article reexamines the episode to develop a balanced reading and then historicizes that reading in relation to law and Augustus’ aqueduct projects. The conflict between goddess and mortals dramatizes tensions between emperor and citizens with conflicting interests in water. Ovid’s Lycian myth opens new perspectives on these conflicts and, more generally, on the place of law in Augustan Rome.

Abbreviation	Am. J. Philol.
Journal Impact	0.41

ISSN	0002-9475, 1086-3168
h-index	28
Top Journals	Yes

Publication Information	Publisher: Johns Hopkins University Press，Publishing cycle: ，Journal Type: journal，Open Access Journals: No
Basic data	Year of publication: 2000，Proportion of original research papers: 88.89%，Self Citation Rate:16.70%， Gold OA Rate: 0.00%

American Journal of Philology

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Aristotle On Metaphor

The AJP Best Article Prize for 2023

Clouds and Cows, Shields and Sheep: Some Nonhuman Sounds in Homer

Those Who Leave or Those Who Stay? Arrian’s Account of Alexander at Opis ( Anab . 7.8.1)

Generic Games: The Ending of Longus’ Daphnis and Chloe

The AJP Best Article Prize for 2023

Clouds and Cows, Shields and Sheep: Some Nonhuman Sounds in Homer

Those Who Leave or Those Who Stay? Arrian’s Account of Alexander at Opis ( Anab . 7.8.1)

Generic Games: The Ending of Longus’ Daphnis and Chloe

Sub Aqua : Latona And The Frogs In Ovid, Metamorphoses (6.313–81)