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The Forma Urbis Romae is a monument of outstanding importance from many perspectives, but study of it consistently proved a severe challenge until the development of digital technology. The paper first outlines the longstanding difficulties, and then discusses the successive ongoing 21^st-century efforts to overcome them.

Since its establishment at UNC Chapel Hill in 2000, the Ancient World Mapping Center (awmc.unc.edu) has played increasingly wide and active roles. The paper reviews these, and evaluates their present importance and future potential.

The ‘digital turn’ in geography has brought marked changes in both research methods and scholarly communications to classical studies over the past forty years. The transition to digital cartography and the introduction of computational spatial analysis have created new paths for the field as well as new challenges. The paper offers a selective survey of this liminal period and its consequences.

Since the establishment of APA/SCS in 1869, modern mapping of the entire classical world or major parts of it (beyond the level of textbooks) has undergone two successive phases. The paper surveys and evaluates both, but with fuller attention to the second (from the 1980s), because it was a North American initiative by origin and also proved by far the more productive.

The paper surveys the limitations of surviving evidence for maps as a form of record and communication in Greek and Roman culture, and reflects on the evolution of modern approaches to this material.

Did Roman cinaedi have sex with women? Or rather, since we have no historical knowledge of any actual Roman cinaedi, was the category of cinaedus defined as capable of or interested in sex with women? The scholarly consensus is that it was, in keeping with the understanding of cinaedi as being gender non-normative, rather than belonging to a sexuality in the modern sense (Richlin 1993, Williams 2010, Ormand 2017).

Alongside depictions of proper, pederastic representations of man-boy lovemaking, it is possible to identify nonstandard images of adult men being sexually penetrated. Given the status of infamia accorded the cinaedus, it is noteworthy that these images fall into two categories: those meant to be seen only by like-minded individuals and those meant for a broad public. In the first category are representations in expensive media (silver, gemstones); in the second, less-refined wall paintings and ceramics available to a broad range of viewers.

Cleomachus, we are told, was a fourth-century BCE boxer who later became a poet. The various ancient accounts concerning his transformation detail several interrelated qualities that can be seen to constitute the figure of the kinaidos/ cinaedus in classical antiquity: sex/ gender deviancy, poetics, and dissimilitude.

In ancient Greece, a κίναιδος is the paradigm of a sexual style. The word itself is extremely rare in the archaic and classical period. It becomes an object of semantic attention in ancient lexica and scholia, especially to Aristophanes. As an attribute of a person, the word is glossed in the Suda as “licentious” (ἀσελγής), “soft” (μαλακός), “female-male” (γύνανδρός). The defining quality of such a person, namely κιναιδία, is a complete lack of shame (ἀναισχυντία), which consists of playing the woman (γῠναικίζω). A κίναιδος is the embodiment of sensuality.

This paper presents a diasporic investigation of a particular "Venus" figure: South African Sara Baartman (nineteenth century), who performed under the name "Venus Hottentot." Through a temporal and geographical collision with the archetypical Knidian Aphrodite (fourth century BCE), this paper provides insight into the complex performativity of Black femalehood in conjunction with an overwritten Greco-Roman divinity.