Our second interview in the Women in Classics series is with Shelley Haley, Edward North Chair of Classics and Professor of Africana Studies at Hamilton College. This is the second of a two-part interview with Prof. Haley, which picks up at the point when she decided to apply to graduate school to study Classics.
CC: How did you decide to apply to graduate school?
Our second interview in the Women in Classics series is with Shelley Haley, Edward North Chair of Classics and Professor of Africana Studies at Hamilton College. She was born in upstate New York and earned her B.A. from Syracuse University in 1972. She received her M.A. in 1975 and her Ph.D. in 1977, both from the University of Michigan. An expert on the figure of Cleopatra, Dr. Haley has discussed the subject on both the BBC and the Learning Channel.
That contingent faculty members make up a significant portion of those teaching on college campuses today is a well-known fact. This fact also holds true in our own fields of study (e.g. Classics, Ancient History, Archaeology and Art History), and over the years much attention has (rightfully) been paid to the many challenges and problems that stem from this reliance on contingent labor. At the same time, and despite these challenges and problems, contingent faculty members have been making important contributions to our fields in the areas of service, teaching, outreach and research, and these contributions have only grown in their significance as the number of scholars working in these positions has grown. As members of the Committee on Contingent Faculty, we believe it is time to acknowledge these contributions and celebrate the accomplishments of faculty who are working off the tenure track in our related fields.
Our first interview in the Women in Classics series is with Sarah B. Pomeroy, Distinguished Professor of Classics and History, Emerita, at Hunter College and the Graduate School of the City University of New York. She was born in New York City and earned her B.A. from Barnard College in 1957. She received her M.A. in 1959 and her Ph.D. in 1961, both from Columbia University. Pomeroy has been recognized as a leading authority on ancient Greek and Roman women since her book Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity was first published in 1975.
'Addressing the Divide' is a new series of columns that looks at the ways in which the modern field of Classics was constructed and then explores ways to identify, modify, or simply abolish the lines between fields in order to embrace broader ideas of what Classics was, is, and could be. This month, Kathryn Topper addresses the divisions between Art History and Classics.
For specialists in Greek and Roman art, professional life is an endless navigation of disciplinary divides. Often it seems like we belong to a disciplinary no man’s land – too archaeological for other art historians, too art historical for field archaeologists, and too visual for text-oriented Classicists whose training has predisposed them to doubt the intellectual seriousness of scholars who study something as seemingly straightforward as pictures.
The United States was more than a century old before it saw its first play staged in Latin. What follows is a story about its producers’ struggle for recognition and the external factors that doomed it to obscurity. Beyond a footnote in theatrical history, the 1877 production of a Jesuit Latin play at Boston College offers a glimpse into the fraught politics of education in the United States in the late 19th century, the origins of the modern college elective, and a form of Classical curriculum that might have been—if an ugly fight in Boston had turned out differently.
In April of 1894, Harvard’s production of its first Latin play had set Boston buzzing. The event even rated a couple columns in the New York Times, which remarked:
'Addressing the Divide' is a new series of columns that looks at the ways in which the modern field of Classics was constructed and then explores ways to identify, modify, or simply abolish the lines between fields in order to embrace broader ideas of what Classics was, is, and could be. This month, we look at the divide between classical archaeology and philology by speaking with archaeologists Sheira Cohen, Eric Kansa, Kristina Killgrove, James Newhard, and Alison Rittershaus.
March 6, 2019
RE: Statement to the Field about the State of Classics at the University of Vermont (UVM)
Dear Friends and Colleagues,
After receiving a number of concerned queries about recent cutbacks to Classics at UVM (Universitas Viridis Montis), the department’s faculty have composed the following statement:
Jeffrey Henderson and Richard Thomas, conducting our Academic Program Review of 2014–2015, concluded their positive assessment as follows:
Like many others, I'm trying to funnel the anger and frustration that I felt at our panel on the "Future of Classics" at the Annual Meeting in San Diego toward taking action that can make a difference, even on a small scale. At the panel Professor Sarah Bond and Professor Dan-el Padilla Peralta promptly condemned the comments a speaker from the audience made about Dan-el as well as her intellectually and politically regressive defense of classical studies. My thoughts here are intended to carry forward their energetic advocacy.
'Addressing the Divide' is a new column that looks at the ways in which the modern field of Classics was constructed and then explores ways to identify, modify, or simply abolish the lines between fields in order to embrace broader ideas of what Classics was, is, and could be. This month, Prof. Catherine Bonesho, an Assistant Professor at UCLA who specializes in the ancient history of Judaism and the Near East, speaks to classicist and Herodotus scholar Prof. Rachel Hart.