I love Classics, but it isn’t my first love; that was art, specifically Pre-Raphaelite art. A visit to my local museum with school introduced me to them, and my eight-year-old self thought it was fate when I found a painting with my name that I thought was by Edward Burne-Jones (Amy by Arthur Hughes; it wasn’t spelt right but it wasn’t often anyway, and still isn’t). A postcard sent shortly after the museum visit by a relative, featuring A Mermaid by John William Waterhouse (but wrongly attributed on said postcard to Burne-Jones) cemented my love of the Pre-Raphaelites, and Burne-Jones in particular.
As the field of Classical Studies has sought to maintain its relevance in our ever-changing modern world, it has begun to incorporate new approaches. Today there is much more scholarship on topics such as gender, sexuality, and race in the ancient world, for example, than there was even thirty years ago. Much of this change has resulted from the incorporation of theoretical frameworks from fields outside of classical studies, including literary criticism, gender and sexuality studies, and social theory. Yet there is still so much work to be done, especially when it comes to understanding marginal groups in antiquity, such as women, ethnic minorities, and sexual minorities.