A New Outlet for Classical Scholars to Publish Timely Writing (and get paid for it!)

Some time ago I expressed a hope that more classicists would write in public venues, so I was very excited when the Paideia Institute announced that they were launching Eidolon, a new online publication for timely writing by Classical Scholars. I’ve written here before about Paideia, which in my opinion is responsible for some of the most exciting new programming in our field, and Eidolon is no exception. I’m devoting this post to it not only because SCS members will enjoy what’s published there, but because I want to encourage you to think about contributing. It’s fun, fulfilling, and believe it or not, they’ll pay you. 

146th Annual Meeting

January 8-11, 2015, New Orleans, LA


Local InformationNEW December 23, 2014

The Local Arrangements Committee, chaired by Prof. Susann Lusnia of Tulane, has provided this extensive guide to New Orleans for their colleagues attending the annual meeting.

CFP: Ancient Greek and Roman Painting and the Digital Humanities at Tufts University

Ancient Greek and Roman Painting and the Digital Humanities

Call for Papers: Identity Under Empire

Boston University Graduate Student Conference

Identity Under Empire: Defining the Self under the Cultural Hegemony of the Athenian, Macedonian, and Roman Empires

Date of Conference: March 17, 2018

Keynote Speaker
Steven Smith
Hofstra University

Gregory Vlastos Archive

The University of Texas at Austin

Joint Classics Philosophy Graduate Program in Ancient Philosophy

Gregory Vlastos Archive: Research Possibilities 2017-2018

Aristotle's Politics

Helmet masks have been used in theatrical performance for centuries. Evidence for ancient Greek theatrical masks comes from contemporary texts and imagery, but no actual masks have been found. The best evidence suggests that Greek masks were constructed of linen hardened with glue. Since 2006, full helmet masks have been worn in Randolph College’s original-practices Greek Play series. Using the limited evidence for how the masks were once constructed, researchers have created and continuously updated a method for construction.

Maximus of Tyre, in his 2nd-century-AD commentary on cult images of the gods (Oration 2), wrote of a mountain that the Cappadocians regarded as a deity (theos), an oath (horkos), and a statue (agalma). The excerpt doubtless refers to Argaios, the region’s most numinous peak (Strabo 12.2.7). In fact, the most prominent image on late Hellenistic and Roman coins of Eusebeia (Roman Caesarea), the capital city located at the foot of Argaios, is that of the mountain itself.

This paper argues that Greek tragedy could provide a ritual framing of religious critique. Specifically, I shall examine the representation of Zeus in Hesiod and in Prometheus Bound. While Promethean material appears in both Theogony and Works and Days, the latter poem strongly positions Zeus as the guarantor of justice (dike) in human society because he can bring power to bear on kings. That power, however, is force, not persuasion: Zeus punishes unjust rulers by harming their people and resources (WD 240-270). The economy of persuasion in which good kings work (Th.

Euripides’ Ion begins with the arrival of Athenian king and queen, Kreusa and Xuthus, at Delphi where they hope to consult Apollo about their childlessness; it concludes with a prediction about the political fortunes of Athens. Accordingly, much scholarly literature on the play focuses on its political and religious aspects. Recent political readings have considered the play’s treatment of Athenian autochthony and identity, Athens’ relationship with Ionian cities, and colonialism, to name a few (Loraux 1994; Saxonhouse 1986; Hoffer 1996).


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