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Classico Contemporaneo is a new international review aimed at sharing themes, methods and experiences dealing with the persistence of the classical tradition in western cultural memory. The review’s focus converges on the relationship between modernity and Classics and its influence on the daily collective imagination.
The guidelines for submissions include, but are not limited to, didactical practices, research themes, and methodology. Experiences from abroad and reviews of literary and visual works inspired by Classics are welcome.
The first issue of Classico Contemporaneo will collect contributions about the classical tradition in western cultural memory and new perspectives that modern knowledge transmission has created. For information please contact us: firstname.lastname@example.org
OK, my title is a more than a little tongue in cheek. Blogging for the APA doesn’t make me a public intellectual. Nor does the one article I’ve published for a wider public, a piece on Petronius for Salon.com. But by the same token it seems to me that most professional classical scholars don't pursue publishing in such venues, and I think more of us should attempt it. There are a lot of reasons why we don't. We’re not trained to write for broad audiences, and the tenure and promotion system demands that we devote our energy to peer-reviewed publications. Most of us don't know how we would go about finding a venue (I got published on Salon by pure, naïve luck, a shot in the dark to a culture editor. There must be better ways to do it, and I now know that your college’s office of communications can help, but I would welcome an APA panel with advice from those who have actually done it). But I also wonder whether many of us, self-conscious about the specialization of our expertise, don't think of ourselves as having much to say. So I think it’s useful to deflate the vaunted designation of “public intellectual” a bit, because too much vaunting discourages us from trying to attain it. It’s bad for our field if no one is speaking to the public about what we do.
Over the summer I saw a production of Antigone at the Schaubühne in Berlin, and for the most part I absolutely hated it. In a way this was rather good – I’ve seen so many blah-blah-just-fine productions of Greek tragedy that it’s easy to forget the invigorating ire that trickles down your spine when you see the immortal lines to which you’ve devoted your career trampled into the dust before your eyes. It was a classic example of artistic navel-gazing at its most extreme: the whole play was set in a therapy group, where the actors took it in turns to adopt the roles of different participants in the myth to work through their own issues, and then came out of character to discuss what they’d learned from the process. Everything was blasted with self-referential irony until every last trace of emotion withered and died. Tiresias was played by a glove-puppet who threw fried chicken all over the stage while uttering his prophecies in a squeaky voice. The duel between Polynices and Eteocles was staged as a wet towel fight. There was far too much silver glitter involved at every point.
“At last my love has come along.” — At Last, written by Mack Gordon and Harry Warren
tandem uenit amor (at last my love has come along) — Sulpicia poem 1, line 1
Etta James’ most famous song quotes the first line of the love-elegist Sulpicia, one of the few surviving Graeco-Roman women poets. One of the song’s composers, Harry Warren (born Salvatore Antonio Guaragna), was the son of Italian immigrants. Perhaps he encountered the line through them, and it stuck with him over the years? More likely a coincidence. In “Rumour Has It,” a recent chart-topper by the pop star Adele—a self-described admirer of Etta James and lover of poetry—the plot is one of love unrequited and rumor at large, a scenario reminiscent of Dido, Aeneas, and Rumor in Vergil Aeneid book 4. (I’m not the first to make this association: see @calpunzel on Twitter.) Even closer correspondences with Vergil appear in the songs of the singer Dido, particularly “My Lover’s Gone,” as Alden Smith has pointed out.
For several weeks in August and September, the United States government considered whether or not to bomb Syria. Public support for bombing hovered around ten percent, but the nation’s leaders seemed open to proceeding with military action. Various reasons were offered – to prevent further deaths from gas attacks by Syrian government forces; to degrade the Assad regime’s capacity to launch such attacks; to enforce international laws banning chemical weapons; to honor President Obama’s “red line” ultimatum of some months earlier; and to show rogue regimes and the world that the United States meant business when it made threats. An addendum to the last argument was that inaction would embolden the likes of Iran or North Korea. This line of thought got me thinking of a course I teach at Penn State, and the “logic of empire.”
Here in Europe, one of the expectations that come with a university position is that one will apply for big-money research grants. This is both a blessing and a curse. It’s a blessing because there genuinely is extra money on offer: if you want to run a complex collaborative project with postdoctoral researchers and extra PhD students, you can. It’s a curse because universities, which are (traditionally) almost all publicly funded and minimally endowed, are increasingly reliant on that extra income to keep afloat. As a result, there is pressure on the professors to bring in research money, sometimes against their own better judgment. At best, it’s a virtuous circle: the academic wants to do the research, and the grant enables it. At worst, the tail of the research grant wags the academic dog: the professor designs the application just to satisfy the university’s demand for income-generation, and ends up either rejected or (worse) running a project ineptly and unhappily.
Overall, though, I do think it is a good thing: it does mean that there are rich opportunities for collaboration between individuals, disciplines and institutions. I like to think of myself, however naively, as one of those classicists who can flourish in the new world order. I like working with other people and other universities, I like the energy, inventiveness and drive of early-career researchers, and I’m not too troubled by the organizational side of things.
We are launching a new feature on our website, "Guest Blogs," and we invite you to check it out and see what you think. Our field is amazingly varied, and there are new developments on the move in all parts of that variety, so that it seemed a good idea to have a forum where members can be kept up to date, informed, and--ideally-entertained in the process. We have invited a dozen Classicists to contribute regular columns (to keep an archaic print term that seems to have survived into the new medium). We have tried to cover as much of the range of our subject as we can, and a geographical span as well, to capture at least some of the range of perspectives and expertises under the umbrella of our organization.
If you are a teacher at the pre-collegiate level and have student loans, please read carefully through everything at the following link. You may be eligible for forgiveness and/or cancellation.
APA VP for Education
From the iTunes App Store:
Use one app to look up any Greek or Latin word: Logeion was developed at the University of Chicago to provide simultaneous lookup of entries in the many reference works that make up the Perseus Classical collection. Most reference works represented in this app are based on digitized texts from the Perseus Digital Library at Tufts University.
- Liddell and Scott's Greek-English Lexicon (1940)
- Liddell and Scott's Intermediate Greek Lexicon (1889)
- Autenrieth's Homeric Dictionary
- Slater's Lexicon to Pindar (1969)
- Lewis's Elementary Latin Dictionary (1890)
- Harper's Dictionary of Classical Antiquities
- Princeton Encyclopedia of Classical Sites
- Smith's Dictionary of Greek and Roman Geography
- Smith's Dictionary of Greek and Roman Antiquities
- Perseus Encyclopedia
The app draws data from the following Greek and Latin textbooks.