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

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.[1]  

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.

'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.