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The Odyssey: A Staged Reading and Discussion
Date/Time: March 15th, 7.30pm
Venue: Fishman Space, BAM Fisher (321 Ashland Pl, Brooklyn, NY 11217)
A distant war, a long-awaited return, a journey back, a homecoming, a wife and husband, and revenge: the arc of Homer’s Odyssey comes to life in Emily Wilson’s translation that is both contemporary and faithful to the musicality and physicality of the ancient Greek epic. Join the Aquila Theatre and Emily Wilson for a staged reading of an abbreviated version of Wilson’s translation; and a post-show discussion with the translator, an actor and veteran from Aquila’s Warrior Chorus, and a veteran’s partner. What does the Odyssey mean today to veterans and their families? What does Wilson’s new translation in iambic pentameter bring to the text that others have missed? How does performance help us to experience the Odyssey in new ways?
Ticket Price: FREE
PLEASE RESERVE TICKETS AT: https://odysseystagedreading.brownpapertickets.com
'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.
Where you work—and who you work with—can make a world of difference. A good chair, a charged computer, and my books were at one point all I thought I needed in my research. However, while still a graduate student at the University of Wisconsin-Madison, I realized that it’s not just where you work or what your work is, but the colleagues you work with.
Resolution approved by the Board of Directors of the SCS, Jan. 6, 2019
The SCS Board of Directors approved the following recommendation at its meeting on January 6, 2019. It will be communicated to journal editors and to classics editors at relevant presses, that is, those whose publications fall under the responsibility of the American Office. We will also investigate whether the recommendation can be more widely discussed and adopted.
In view of the ever-growing number of articles and chapters in collective volumes that the American Office for L’Année philologique is responsible for processing, it is the strong recommendation of the SCS that journal and volume editors regard it as a best practice and a routine adjunct of the publication process that each article or chapter be accompanied by a brief abstract and a list of keywords.
To ensure the utility of abstracts and keywords for the efficient compilation of data for APh, please take note of the following guidelines:
1. The abstract should give a concise but informative summary of the article’s or chapter’s content, indicating important points of argumentation and main conclusions.
2. The abstract should refer to the types of evidence adduced in drawing these conclusions, and give specific information about the most important items.
Classical Charleston 2019: Diversifying Classics
The Department of Classics at the College of Charleston is pleased to announce the eighth annual colloquium of the Theodore B. Guérard Lecture Series, Classical Charleston: “Diversifying Classics.”
This colloquium focuses upon the ways in which Classics opens a window into a diverse and multicultural world, and how this diversity allows for a variety of methodological approaches and applications for cross-comparative cultural study. Discussion also turns to the structural elements that historically have constrained these approaches, and a wider discussion on how to move the discipline (and the perception of the discipline) forward into a redefinition of Classics for the 21st century.
E Pluribus Unum
The organizers of the 2019 CANE Summer Institute invite you to join us for a weeklong examination of peoples and cultures that comprised the Classical Greek and Roman worlds. We will not only look at the various components of the ancient world, but we will also consider what it meant for those components to be unum. The institute’s events and discussions will also consider modern and contemporary reflections of nationhood.
Whether you are a high school or college teacher of Latin and/or Greek, History, English, the Arts, or other related disciplines, an undergraduate or graduate student, or a devoted lifelong learner, you will enjoy a thoughtful and enriching experience that includes a wide variety of mini-courses, lectures, workshops, reading groups, and special events while also offering many opportunities for conversation and collegial interaction among participants. CE credits available.
For more information www.caneweb.org
Literary translation is a scholarly and a creative act in which a reader of the Greek or Latin becomes the writer for new readers. Like all readers, translators interpret the text, and in the field of classics, apply their scholarship and their poetic abilities to put the text into a modern language. Since many readers of our translations cannot read the original, they depend on us to transmit the voice of the original writer and to be transparent in our choices. By that I mean that the translator should proclaim whether the translation is aiming for accuracy (and what that means in particular), whether it adds or subtracts from the source text (such as Richmond Lattimore inserting his own lines into Sappho’s fragments), whether the work is an adaptation rather than a translation (clearly proclaimed in Luis Alfaro’s “Mojada: A Medea in Los Angelos”).
Diane Arnson Svarlien and I co-organized “A Century of Translating Poetry” (the first panel sponsored by the Committee on the Translation of Classical Authors). The panel had a good mix of scholars, including active translators (both organizers, Gonçalves, Hadas, and Wilson), two non-translators (graduate student Lee and professor Vandiver), a poet (Hadas) and a performer of Latin poetry (Gonçalves). We had a lively discussion after the five talks with about forty audience members in a packed small room.
The Department of Spanish Studies and the Department of Classical Philology of the University in Lodz would like to invite you to the second interdisciplinary academic conference:
Rome and Iberia.
Diversity of Relations from Antiquity to Modernity.
April 25-26, 2019
While the Roman conquest was not the beginning of the Iberian Peninsula history, Roman presence in the region profoundly affected the lives of its inhabitants. Those relations left a permanent mark on the Peninsula and the vestiges of Ancient Roman culture still abound not only there, but also in other countries which came under Iberian influence. This issue is still avidly researched and debated by scholars of different fields.
The Politics of Empire in the Roman Republic: The Forum Unbounded (280 BCE – 20 CE)
Keynote Speaker: Professor Arthur Eckstein, University of Maryland
The growth of Roman power across the Mediterranean, as well as the shape it took, was dictated by debates, elections, and spectacles in the city of Rome. But interactions in ever-shifting borderlands – among local populations and their leaders, Roman generals and armies, senatorial envoys, subcontractors, traders, translators, and more – were equally important. “Imperial politics,” historian Charles Maier has written, “…originates from the outside in as well as proceeding from the center out” (Among Empires, p. 78).
on the topic:
"THE POSSIBILITY OF EUDAIMONIA (HAPPINESS AND HUMAN FLOURISING) IN THE WORLD TODAY"
The Conference will be held at the seaside town of Vouliagmeni (Athens Riviera, Greece), at the Hotel Amarilia (Saint Nicholas Street 13, 16671 VOULIAGMENI, tel.+302108990391, Fax+302108955790, email@example.com, www.amarilia.gr).
The IAGP calls upon philosophers and thinkers throughout the world to participate in the 31st International Conference of Philosophy.
We have selected this topic based primarily on two factors:
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.
Fast forward four years. I’m introduced to my second love – and the reason I’m writing this – Classics. Classics wasn’t my goal: I chose Latin over German as a foreign language at secondary school, with a view to becoming a veterinarian. Being a vet didn’t sound as glamorous as being an artist, so I eventually plumped for art. But Classics stayed very close to me, trumped as a subject for study at university only by my great ambition to get paid to paint pictures like Edward Burne-Jones.