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Ubertino Carrara’s Columbus is a neo-Latin poem in twelve books which casts the
eponymous protagonist as a latter-day Aeneas who “added world to world for Spanish
kings.” Since Columbus has never before been fully translated into verse in any
language, my presentation will seek to both give a taste of the fusion of the (early)
modern sensibilities of Columbus as well as show its indebtedness to its Roman models,
ranging from the Aeneid to the Thebaid by reading my translation myself alongside a

Translation remains, as the CFP states, “a mainstay of education and outreach.” This
proposed talk showcases translations produced by high-school students and their teachers at an
active Latin school. It aims to show what students trained in an active Latin curriculum can
accomplish and how the school prepares its graduates for Latin at the college level, where they
can expect a heavier emphasis on reading, grammar, and translation. The approach this school
utilizes, variously called “acquisition-based,” the “natural method,” “active,” “spoken,” or

1. Sic immensum procedit in dies opinio; sic insulas iam proxumas et terrae plusculum provinciasque plurimas Fama porrecta pervagatur.

Apuleius is known for his florid style—alliteration, rhyme, isocola, etc. Not all translators replicate this central feature of his style, yet we lose much by omitting it, especially since the euphuism peaks at emphatic moments—style linked to content. The following passage from Cupid and Psyche aims to mimic Apuleian stylistic features and to bring out the voice of the old slavewoman narrator.

The Homeric Hymn to Apollo (well-known to fifth-century BCE Athenians and famously quoted by Thucydides 3.104) is often seen to offer a narrative of Apollo’s acquisition of timê, “sphere of influence” (Clay), but in this paper I am interested in the island of Delos and Delos’ timê.

This paper examines how the figures of Giants, who are popularly depicted as hubristic monstrous beings, helped to shape group identity in Arcadia. I argue that the experience of Giant myths and monuments identified by Pausanias contributed to the development of regional identity in three ways. Firstly, these stories evoked a local history in which Arcadians could be defined via social opposition to Giants.

This paper examines the role played in the Odyssey by Cape Malea, a promontory on the southern coast of the Peloponnese. I argue that Malea functions as a narrative ‘node’ offering different possibilities for heroes’ return-tales, which the Odyssey employs to signal its own divergence from poetic tradition and to manipulate its audience’s sense of reality.

Pliny the Elder wrote his Naturalis Historia in part as propaganda for the power of the Roman empire, and much work has been generated on the idea via the geographies of Books III- VI and ethnographies of Book VII (see Mary Beagon 2005; Sorcha Carey 2003; Trevor Morgan Murphy 1997; Valérie Naas 2011; Greg Woolf 2010). This paper will continue the tradition by turning to Book VIII and Pliny’s program concerning the animals that live on land. Though seemingly random, the placement of the animal contents following Books VII’s ethnographies is not an accident.

This paper offers a new reading of Vitruvius’s De Architectura which demonstrates that identifying natura as a unifying force in the text is integral to understanding how the otherwise seemingly varied topics discussed in each book connect to create a cohesive corpus of architecture.

In this paper, I read Callimachus’s Hymn to Artemis through Bennett’s vibrant materialism because it highlights the blurred boundaries between human and non-human agents which helps us to better understand ecology within the text. According to Bennett’s theory, non-human things have a vibrancy that causes the object to affect, thus creating a subjectivity for the non-human thing. While Purves has used vibrant materialism to read Ajax in Homer’s Iliad, this framework has yet to be applied to Callimachus’s Hymns.

Apollonius’ relationship with the Muses ὑποφήτορες (1.22) has often been read in terms of the poet’s experimentation between tradition and innovation in the Argonautica. Starting with Gercke (1889), some scholars argued for translating the Apollonian hapax as “interpreters” and advanced the idea of the Muse’s subordination to the poet (Paduano-Faedo 1970; Feeney 1991; Goldhill 1991). The opposite view conceives the Muses in more traditional terms as “inspirers” of the poet (Ardizzoni 1967; Vian 1974; Campbell 1994; Green 2007).