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This panelist will discuss approaches to inclusivity in the language classroom, particularly in beginning language courses, when instructors are teaching from a textbook that uncritically presents problematic material. In particular, this presentation discusses strategies for addressing objectionable content without taking too much time away from language instruction as well as easy ways to supplement textbook content to introduce for diverse viewpoints.

One of the biggest challenges for creating a more inclusive classroom is breaking up traditional forms of conveying information (the syllabus) and assessing knowledge (exams, papers, discussions). As one of the first introductions to a course, the syllabus itself is often a barrier to student enrollment and engagement. Creating a dynamic teaching and learning environment involves re-thinking our notions of not only course content but also course format and expectations.

Scholars have come to recognize that, for the archaic Greeks, words are physical things: they pass the barrier of the teeth or are fenced in there, fly through the air, and penetrate the body of their audience. (Nussbaum 1972a,b; Vivante 1975; Lesher 1983). Less recognized, however, is the persistence of this conception of language throughout the classical period and its significance for early Greek philosophy.

In a recent thought-provoking article, Rose Cherubin (2017) argues that the language of Alêtheia imports images, concepts and assumptions from the ‘human opinions’ (B1.30) that frame Doxa, the cosmology that occupies the latter part of Parmenides’ poem and that Parmenides brands as, in some sense, ‘deceptive’ (B8.52). Alêtheia thus rejects human opinions through arguments which, in various ways, take the concepts and assumptions of human opinions as their starting points.

Several early Greek philosophers identified problems, puzzles, and paradoxes that they traced to linguistic conventions and usages. These difficulties seemed to be implicated in, and thus to challenge, the use of everyday language to describe and investigate what is. In apparent accord with Parmenides’ goddess’s injunctions, Empedocles and Anaxagoras both proclaim that those who speak of coming to be and perishing go wrong (Anaxagoras B17, Empedocles B8 and B9).

This paper examines representations of maritime façades in the sacral-idyllic, or genre, landscape wall paintings featuring in early Roman luxury villas, along with the actual landscapes around the villas as well as contemporary ekphraseis, to address the emblematic character of these representations and tackle the ways in which they contributed to the formulation of Roman ideas of landscape.

Over fifteen years, the concept of virtual unwrapping as only a possibility has moved to a demonstrated process that has produced text from a scroll that cannot be physically opened (Seales et al. 2016). The intact Herculaneum scrolls, of which there are almost 300, however, continue to elude successful analysis and, as of this writing, remain unread. There are three primary challenges which, as the presentation will explain, will imminently be overcome, clearing the way for complete texts to be extracted from intact Herculaneum scrolls.

While most graffiti in Herculaneum were inscribed into the wall plaster using a sharp instrument such as a stylus or nail, others were drawn onto the wall plaster using charcoal or pigment. Such charcoal- or pigment-drawn inscriptions were once present at Herculaneum, Pompeii and the villas nearby, though almost none survive today. At Herculaneum, 40 graffiti were made using this method including both textual (Latin and Greek) and pictorial examples. Of these graffiti, only one partial graffito, which was made using red pigment, survives today.

The transmission of Tacitus’ text has deprived us of his narrative of Domitian’s principate, which the historian would have handled in the later books of the Histories. Tacitus had first-hand experience of Domitian’s principate, during which his political career excelled: he was both a praetor and quindecimvir sacris faciundis.

In the late 15^th century CE, a gilded bronze statue of Hercules was discovered on the site of the Forum Boarium in Rome, during demolition work under Pope Sixtus IV (1471-81). This statue displays many of the key features associated with the god: the knotted club in his right hand and apples from the garden of the Hesperides in his left. Yet there is another feature that has also attracted attention: the statue’s apparent resemblance to the emperor Domitian.