In this paper we shall try to clarify the role of the chorus in the origin and development of the ancient tragedy. We can rightly say that it represents the pinnacle of intellectual and artistic expression of the Greek civilization. We will point out historical circumstances and facts related to the existence of the chorus; the place the chorus has in Greek society and on the stage as well as its characteristics will also be discussed.In the second part of this paper, possibilities of reviving the ancient drama, especially tragedy on the modern scene, shall be discussed. Should one aspire towards a more faithful imitation or a creative interpretation? What are the difficulties a director is facing when he has to decide what to do with the chorus? Is there only one answer or are there more?

The topic of this paper is an ancient and everlasting story of love, hate, and vengeance. This archetypal narrative was recreated and staged in the 1960s in the form of two radio dramas by two Serbian (at the time Yugoslav) playwrights Jovan Hristić and Velimir Lukić. By means of those plays the two renowned scholars and playwrights achieved the revival of the previously mentioned ancient myth in the contemporary circumstances and rewrote the old story using modern features and language.

R oman mining legislation from the time of the Republic is sparse despite the continuing de velopment of Roman law over the centuries. The absence of legal sources is a result of the way the Roman state collected revenues from mining. The fis cal regime implied that the collection of tax revenues from customs and mining (ager publicus) 3 was carried out by companies of publicans (societates publicanorum) 4 , to whom lessees of mining concessions paid taxes. 5 Hence, legal regulations related to the publicans covered the mining sector of the economy as well. This means that the Roman Republic was not directly involved in the mining process at all. The miners, pre dominantly slaves, were left to the mercy of the lessees 6 , and the latter to the mercy of the societates publicanorum. 7 The radical changes that were introduced only as late as the time of Vespasian 8 included the disap pearance of associations of publicans 9 , legislation for each aspect of mine exploitation, and a new status for the coloni, the former lessees of mining pits. Owing to the Vipasca laws, we are in a position to follow these changes and to gain an insight into the new mining the statUs oF the COLONI IN THE MINING DISTRICT OF VIPASCA in VieW oF the proVisions oF the LEX METALLIS DICTA 1

No abstract

Катулова Песма 51 и Сапфин Фрагмент 31: дијалог или расправа?Апстракт: Рад преиспитује добро познат, али никада до краја растумачен однос Катулове Песме 51. и Сапфиног Фрагмента 31, са циљем да још једном истакне поклапања и мимоилажења два текста, као и њихову међусобну условљеност и повезаност. Компаративном анализом текста рад ће испитати оне аспекте интертекстуалности који су своју функционалност и значај распарчали у мноштвo скривених подслојева, те их тако лишили стега стриктних и искључивих тумачења. Намера је да се открије нови текстолошки простор на којем би се Катул и Сапфа још једном срели и отпочели дијалог. Исто тако, трагамо за текстолошким простором, на коме би тај, још давно започети, дијалог песник и песникиња разрешили и окончали.Кључне речи: Катул, Сапфа, Песма 51, фрагмент 31, дијалог, интертекстуалност Компаративни приступ песникињи Сапфи и њеном римском колеги Катулу ставља пред истраживача, као аксиомну вредност, различите контексте стварања ова два уметника. Ствар, дакако, није само географске и хронолошке природе, већ се и идејно и практично располућује у двама срединама које чине позадину песничке репродуктивности ових стваралаца. За Сапфину су поезију звучност, гласовни пев и чувење, културолошко-поетички постулати 1 , док је њихова вредност код Катула подоста пренебрег-