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The new Classics Everywhere initiative, launched by the SCS in 2019, supports projects that seek to engage communities all over the US and Canada with the worlds of Greek and Roman antiquity in new and meaningful ways. As part of this initiative the SCS has been funding a variety of projects ranging from after-school enrichment programs to collaborations with artists in theater and dance. In this post, we focus on four projects that engaged new audiences by allowing them to explore what it was like to do and think as the Greeks and Romans did.
Below is a list of the most recent NEH grantees and their Classically-themed projects. The NEH helps fund a number of SCS initiatives, and their support affects the field of Classics at a national and local level.
Many thanks to Bill Beck for his SCS blog post on funding opportunities for undergraduates, graduate students, teachers and aspiring teachers. In September, look out for more resources on funding, specifically on funding offered by North American institutions to students enrolled in their MA / PhD programs and terminal MA / MAT programs. This forthcoming resource has been a summer project of the SCS office and our summer interns.
Below is an annotated list of funding opportunities for undergraduate students, graduate students, and current and aspiring teachers of classical philology, ancient history, and classical archaeology. This post is divided into three parts, corresponding to the different target populations, originally discussed separately here, here, and here. The first part is relevant to undergraduate students; the second part concerns funding opportunities for graduate students; the final section is of interest to current and aspiring teachers of classics.
I. Funding Opportunities for Undergraduates
Funding opportunities for undergraduates are organized into two categories: (1) funding for undergraduate study and (2) funding for current undergraduate students who intend to pursue graduate study.
Funding for Undergraduate Study
I bought an old book the other day.
Used to be, that wouldn’t have been the lede for any writing designed to grab your attention, but as pastimes go, it’s getting a bit less common, so maybe it will do.
It’s not just that old books have been crowded into a corner of the market for attention by media unimagined only yesterday, but that there are natural cycles that have also been disrupted. When I was young, we haunted second-hand bookshops and the like because we needed books––good books––ones that had been printed before we were born and long since gone out of print. Now we’re rich: everything seems to stay in print forever. I used to snap up $2 hardcover copies of Henry James novels on the assumption that someday I’d read them. Now I wonder what I would do with a tired old hardcover when I can count on crisp new paperbacks being deliverable to my door by Amazon in 24 hours any time I want one or e-versions to my iPad in seconds. In the 1980s, when I wanted a decent copy of Boswell’s The Life of Samuel Johnson of my own to reread, I spent a month searching for one I could purchase––in Philadelphia no less. My Henry James anxiety only dissipated during the glory years of bookstore superstores.
Williams Sanders Scarborough, an 1875 graduate of Oberlin College, was a pioneering African American scholar who wrote a university-level Greek textbook. Kirk Ormand, who now teaches at Oberlin, interviewed Prof. Michele Ronnick, who has recently published a facsimile edition of Scarborough’s Greek textbook, First Lessons in Greek (1881), with Bolchazy-Carducci press. Prof. Ronnick is the world’s leading expert on Scarborough. She found, edited, and published Scarborough’s autobiography in 2005, and has researched Scarborough’s time at Oberlin and as President of Wilberforce University.
Kirk Ormand: You are publishing a facsimile edition of William Sanders Scarborough’s First Lessons in Greek.Tell us a bit about why Scarborough’s book is important to the history of the profession.
Generic Interplay in and after Vergil
Symposium Cumanum 2020
Villa Vergiliana, Cuma
June 24–26, 2020
Co-directors: Brittney Szempruch (United States Air Force Academy) and John F. Miller (University of Virginia)
Although Vergil famously opens the Aeneid with a definitive statement of poetic intent—arma virumque cano—scholarship has long highlighted the poet’s propensity for the complication of firm generic boundaries. Amid a range of theoretical responses that have shaped the past nearly one hundred years (Kroll 1924; Cairns 1972; Fowler 1982; Conte 1986; Harrison 2007), the Vergilian corpus has emerged as some of the most productive ground for the in-depth study of generic flexibility (e.g. Nelis 2004; Seider 2016).
The Fragment (Research Institute)
The 2020/2021 academic year at the Getty Research Institute will be devoted to the fragment. Issues regarding the fragment have been present since the beginning of art history and archaeology. Many objects of study survive in physically fragmented forms, and any object, artwork, or structure may be conceived of as a fragment of a broader cultural context. As such, fragments catalyze the investigative process of scholarship and the fundamental acts of the historian: conservation, reconstruction, and interpretation. The evolution of an object—its material and semiotic changes across time, space, and cultures—can offer insights into the ethics and technologies of restoration, tastes for incompleteness or completeness, politics of collection and display, and production of art historical knowledge.
While the fragment has been described as the central metaphor of modernity and the paradigmatic sign of a contemporary worldview, its history as a trope runs much deeper. Cultures of the fragment have flourished throughout history under such guises as the reuse of architectural parts and the cult of relics, the physical and conceptual image-breakings of iconoclasm, and the aesthetics of repair. Fragmentation can occur through artistic processes, acts of destruction, or forces of nature. It can be willful, accidental, or inevitable, but it is necessarily transformative.
The SCS Committee on the Awards for Excellence in the Teaching of Classics at the College Level has revised the guidelines for award nomination. One to three awards for excellence in the teaching of Classics will be given to college and university teachers from the United States and Canada. Thanks to a very generous gift to the Society’s Gatekeeper to Gateway Campaign for the Future of Classics from Daniel and Joanna Rose each winner will receive a certificate of award and a cash prize of $500. In addition, each winner’s institution will receive $200 to purchase educational resources selected by the winner. The awards will be presented at the Plenary Session of the Annual Meeting in Washington, D.C., in January 2020.
New nomination process for 2019: In order to simplify the nomination process, increase the number of nominations, and encourage the submission of comparable information for each candidate, a new nomination process is being piloted for 2019 (see below). Feedback on changes is welcome and may be sent to the Executive Director.
For more information about the award, you can visit the page here: https://classicalstudies.org/awards-and-fellowships/awards-excellence-teaching-classics-college-level-0
'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 uneasy position of ancient art historians relative to the allied disciplines arises from historical factors, but it’s also a consequence of the nature of our material. When you work in a field in which reconstruction and interpretation almost invariably go hand in hand, you tend to need all the tools in your own toolbox, and in the neighbors’ toolboxes, too. As a result, historians of ancient art spend a lot of time working in disciplines dominated by colleagues whose priorities and training are very different from our own.