Distributional semantics, the quantitative study of meaning variation and change through corpus collocations, is currently one of the most productive research areas in computational linguistics. The wider availability of big data and of reproducible algorithms for analysis has boosted its application to living languages in recent years. But can we use distributional semantics to study a language with such a limited corpus as ancient Greek? And can this approach tell us something about such vexed questions in classical studies as the language and composition of the Homeric poems? Our paper will compare the semantic flexibility of formulae involving transitive verbs in archaic Greek epic to similar verb phrases in a non-formulaic corpus, in order to detect unique patterns of variation in formulae. To address this, we present AGVaLex, a computational valency lexicon for ancient Greek automatically extracted from the Ancient Greek Dependency Treebank. The lexicon contains quantitative corpus-driven morphological, syntactic and lexical information about verbs and their arguments, such as objects, subjects, and prepositional phrases, and has a wide range of applications for the study of the language of ancient Greek authors.

The robots were Joe McGillivray's idea. The first one arrived at Dynamic Group in Ramsey, Minn., by pickup truck in two cardboard boxes. With a mixture of excitement and trepidation, McGillivray watched as a vendor unpacked two silver tubes, assorted blue-and-gray joints and a touch screen and put them all together. When he was finished 10 minutes later, McGillivray beheld an arm that, had its segments not all been able to swivel 360 degrees, might have belonged to a very large N.B.A. player or a fairly small giant. Its "shoulder" was mounted to a waist-high pedestal on wheels. If it were to hail someone across the room, its "elbow" would reach eye level. Below its "wrist," which was triple-jointed for extra dexterity, there were sockets for various attachments. McGillivray, not sure yet if he wanted to keep the contraption, stuck a piece of clear tape to the wrist and drew a happy face on it, which made the arm look a bit as if it were putting on a puppet show. He hoped that this would help it look nonthreatening.