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We are writing to share the Call for Proposals for The Routledge Companion to Publicly Engaged Humanities Scholarship, a new edited volume on theories and practices of the publicly engaged humanities to be published in 2023 by Routledge.
The core of this companion will consist of 25 wide-ranging, practice-based essays, exploring the history, concepts, and possible futures of publicly engaged humanities scholarship in the United States. To build a foundation for these futures, this volume will collect case studies grounding discussion of their methodologies and objectives.
The project meets an acute need in the field of publicly engaged humanities scholarship, and we hope it will serve as a standard reference guide for future training in a higher education context.
Following an introduction to the field and its history and methods, the volume will be organized around five areas of particular impact in public humanities scholarship:
Informing contemporary debates
Amplifying community voices and histories
Helping individuals and communities navigate difficult experiences
Preserving culture in times of crisis and change
Expanding educational access
Tuesday, November 23
Session I. Rethinking the History of Ancient Emotions
16.00* (Athens time)
“Why is there a history of emotions?”
“Between appraisal theory and basic emotions: How to do the history of
“Gates, towers and trenches: history of emotions and the definition of
Session II. Emotion Concepts and the Language of Emotions
“Stoic typologies of emotions: Universalism and ethical standpoint.”
“Fire and flood: image and emotion in Roman Stoic thought.”
“Exotic and familiar, medicine and philosophy, emotions and
I recently taught the troubling Homeric Hymn to Demeter in my Classical Myth course at Bucknell. On the one hand, this hymn is a story of violence. Three quarters into the hymn, readers find Hades “sitting in the bed with his bashful, very unwilling, wife who yearned for her mother” (ἥμενον ἐν λεχέεσσι σὺν αἰδοίῃ παρακοίτι, | πόλλ᾽ ἀεκαζομένῃ μητρὸς πόθῳ, 343–344). As Jermaine Bryant and Ship of Theses have recently discussed on Twitter, this scene is clear evidence that Hades has sexually assaulted Persephone. On the other hand, the text presents perplexing information about this violence. At the hymn’s opening, the narrator juxtaposes Hades’ kidnapping of Persephone with a reminder that “loud-thundering wide-eyed Zeus gave” her to Hades (ἣν Ἀιδωνεὺς | ἥρπαξεν, δῶκεν δὲ βαρύκτυπος εὐρύοπα Ζεύς, 2–3). How are we then to understand the role of Zeus, Persephone’s father, in her abduction?
In the modern world, we are confronted with questions surrounding gender daily, from pronouns in our email signatures to gender-neutral bathrooms. Our awareness of the limitations of a gender binary and gendered roles continues to grow in an effort to reflect gender identity and expression more accurately. Despite these efforts and realizations about our own society, when discussing the Roman world, we often assume a gender binary that is inflexible and constant. By examining cases from Roman social life in which gender plays a fundamental role, we can see a wider spectra of gender expression that falls outside of the strict male/female binary. The Roman funeral, in particular, provides a special opportunity to consider how, even when roles are gendered, gender can be transgressed.
The transitional apparatus of the Roman funeral allowed and even encouraged performative undermining of norms. The liminality of the funeral space, in which the living ushered the deceased from their world to the world of the dead, provided a unique setting that demanded a break from norms. This included gender norms, and Roman funerals served as spaces in which normative expectations around gender were both reproduced and subverted. At funerals, men and women had specific jobs according to gender, but those roles often fell outside typical gender expression expectations.
As I strolled one day in the old center of Tel Aviv, I entered the house of Haim Nachman Bialik, the Hebrew national poet. An imposing building, it constitutes a manifesto of Jewish art in the early 20th century: the architectural style reprises oriental shapes, alternating arches and square forms; the decoration aims to express a quintessentially Jewish art. As I daydreamed about the poet holding private meetings and public receptions with the foremost representatives of culture and politics of his day, my eye was caught by two decorative tiles. These tiles, located at opposite ends of an arch that leads into the salon, represent two opposite moments of Jewish history: on one hand, a tile reproduces the Judaea capta coin minted by Vespasian after the First Jewish War; on the other, another tile mirrors Vespasian’s coin, proclaiming, in Hebrew letters, “Judaea liberated.”
We have a number of deadlines that fall prior to mid-November. Please see the following:
October 31: Nominations for the Forum Prize
November 1: Applications for annual meeting participation stipends and childcare / dependent care funding
November 1: Nominations and applications for the K-12 Teaching Excellence Award
The Seleucid empire has long stood on the fringes of Classical scholarship. Following the conquest of the east by Alexander, the vast, multicultural construction lasted from 312–64 BCE, stretching from modern Turkey south to the Levantine coast and east into Afghanistan. Interdisciplinary by its very nature, Seleucid history straddles the boundaries of academic disciplines, languages, and methodologies, further fragmenting the study of an already fractured power. Recent holistic studies are rare, making the 2014 publication of Paul Kosmin’s comprehensive The Land of the Elephant Kings something of a groundbreaking study. The examination of what Kosmin calls the “territorialization” of the empire—the ideological constructions and experiences that bounded, ordered, and defined the imperial realms—changed the nature of Seleucid studies by intensifying the focus of the recent “spatial turn” in the humanities.
(From the Classics Department at Princeton)
In the Spring of 2021, as her undergraduate UIC Honors College Capstone project, my student Luana Davila adapted and produced a version of Plautus’ Casina in the style of a telenovela. Due to COVID, she was not able to stage the play, but she produced a filmed version in collaboration with theater students at Columbia College in Chicago. For safety reasons, each actor’s scenes were filmed separately, then edited together. Below is an interview with Luana and the play’s director, Amy Gerwert Valdez, a Theater Directing major at Columbia. [Editor’s note: the transcript has been lightly edited for clarity.]
Krishni Burns: Can we start with a description of your project?
Luana Davila: The project aimed to tie together patriarchal society in ancient Rome and in Latinx cultures (or in the case of this production, Mexico). My play was adapted in such a way that the original storyline was changed as little as possible, proving that its seemingly ridiculous events made for a believable tale in modern Mexico. This was done to show how interconnected the two cultures are, even though they existed thousands of years apart.
The members of the Committee on the C. J. Goodwin Award of Merit are delighted to announce that the 2021 winners of the Goodwin Awards are Aileen R. Das (University of Michigan), Ellen Oliensis (University of California Berkeley), and Andreas Willi (University of Oxford).
Please click on the names below to read the full award citations written by committee members David Konstan and James I. Porter (co-chairs), Harriet Flower, Richard Hunter, and Amy Richlin.