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It has now been a month since the SCS-AIA annual meeting in San Diego, and many have written evocative, emotional, and important pieces about the racist events that occurred there. Instead of posting each separately on our social media or blog, I have tried to compile as many as I could in this post.
In their own words:
Dan-el Padilla Peralta, “Some thoughts on AIA-SCS 2019,” Medium (January 7, 2019).
----- "SCS 2019: The Future of Classics: Racial Equity and the Production of Knowledge,” Future of Classics Panel (January 5, 2019).
Emma Pettit, “‘My Merit and My Blackness Are Fused to Each Other,” The Chronicle of Higher Education (January 11, 2019).
14th Moisa Research Seminar on Ancient Greek and Roman Music Bressanone/Brixen, 2-6 July 2019
The 14th Moisa Research Seminar will take place from July 2nd to July 6th, 2019 in Bressanone/Brixen (Italy) with the commitment of Padua University and of its Department of Cultural Heritage (https://www.brixen.org/en/
Vergilian Society Seeks Directors for Oct 2020 Symposium in Italy
(deadline Tuesday April 30, 2019)
INDA - Italy's National Institute for Ancient Drama, based in Siracusa (http://www.indafondazione.org
The conference will be held from Jan. 31 to Feb. 2 in Siracusa (Salone Amorelli, Palazzo Greco, Corso Matteotti), and its title will be The representation of the divine in ancient theatre. Please find below the full programme:
The Fellowship is intended to recognize secondary-school teachers of Greek or Latin who are as dedicated to their students as the Coffins themselves by giving them the opportunity to enrich their teaching and their lives through direct acquaintance with the classical world.
All materials must be received no later than 5:00 p.m. (Eastern Time) on February 27, 2019.
Open to both collegiate and pre-collegiate teachers of classics
The application deadline is March 4, 2019.
Open to those preparing for Latin teacher certification.
The application deadline is March 4, 2019.
(submission deadline: 28.02.2019)
Eva Anagnostou-Laoutides (Macquarie University, NSW) Email: Eva.Anagnostou-
Bill Gladhill (McGill University) Email: charles.gladhill@
Micah Myers (Kenyon College) Email: email@example.com
The nature of archaic Greek elegy and its performative culture, its interface with other Greek literary genres as well as its Hellenistic and Roman adaptation(s) have already commanded an impressive amount of scholarship. Despite, however, appreciating that the functions of elegy were hugely diversified early on (Nagy 2010; Barbantani 2018), despite overcoming the simplistic classification of elegies to subjective and objective (Cairns 1979; Murray 2010; Miller 2012), and even despite doubting Quintilian’s criticism of Propertius as an obscure poet (Inst.Or.10.1.93), foundational questions on the origins, nature, and meaning(s) of Elegy remain unanswered. Elegy, one of the oldest Greek poetic genres, remains the most elusive.
Untold and Inexpressible: Gaps and Ambiguities in the Medicine as an Epistemological Challenge
39th meeting of the Ancient Medicine Interdisciplinary Working Group
Medical treatments aim to improve the patient’s health. From the patient’s perspective, the elimination of the suffering and the restitution of “normal” life is a crucial part of the process. Patients express this in communication with the practitioner by describing symptoms on one side and impairments affecting their lives on the other. Much of this can hardly be described in words, especially embodied experiences which do not correlate with medical findings and thus are often not deemed relevant. In this regard, the patient faces the rigid and rational diagnostical categories of the practitioner that sometimes do not at all coincide with the patient’s own categories. However, how the gap between the concepts used by the practitioner and the patient could be bridged does rarely come up for discussion.
(Sent via Giustina Monti)
We cordially invite you to the upcoming conference, Revisiting Authority and Tradition in Ancient Historiography: A Conference in Honour of John Marincola, organized by Giustina Monti (Oxford) and Scarlett Kingsley (Agnes Scott). The conference will take place at the Masseria Chiancone Torricella in Puglia, Italy, on April 5-6, 2019.
Keynote: Chris Pelling (Oxford), ‘The Authority to Be Untraditional’
Rhiannon Ash (Oxford), ‘Do or Die! Marcus Terentius’ Bold Virgilian Allusion (Tacitus Annals 6.8)’
Lucia Athanassaki (Crete), ‘Singing and dancing Pindar’s authority’
Deborah Boedeker (Brown), ‘Through Barbarian Eyes: Hellenes as ‘Others’ in Herodotus’
Ewen Bowie (Oxford), ‘Tradition and authority in Philostratus in the Lives of the Sophists’
Carolyn Dewald (Bard), ‘Ambiguity and Paradox in Herodotus’ Histories’
Harriet Flower (Princeton), ‘Veni, Vidi, Vici: When did Roman politicians use the first person?’
Please see the following important information about the 2020 Annual Meeting in Washington DC.
We plan to supplement our existing harassment policies by appointing an ombuds to whom issues of bias and harassment can be reported. As we run a joint meeting, we will be working with the AIA on this.
The program submission system will open in late February. The deadline for panel, workshop, and seminar proposals, and for reports on peer-reviewed affiliated group and organizer-refereed panels will fall in early April. The deadline for submission of individual abstracts and lightning talks will be in late April. We will publish the specific deadlines by the end of January.
There are already many calls for abstracts available from our affiliated groups and organizer-refereed panels. Many of these have submission deadlines in early February or March. In addition to calls from longstanding affiliated groups, including WCC and LCC, please see in particular the two following announcements from affiliated groups chartered in the last couple of years:
Chanel took over New York’s Metropolitan Museum of Arts on December 4 for its annual Arts et Métiers fashion show. This year’s theme? Egypt. Except that, in many ways, it was not. What, and most importantly, who was showcased, then? The answer is unsurprisingly predictable, yet for this very reason, it powerfully illuminates the current, Orientalist and colonial reception of ancient Egypt in contemporary fashion and pop culture, and the ways in which this reception hasn’t changed much (if at all) since Napoleon Bonaparte’s invasion of the country in the late 18th century.