Celebrating Egyptian Month in Reading

Authors: Dr Hana Navratilova and Dr Claudina Romero Mayorga

Date: December 2021

The Department of Classics at the University of Reading celebrated the Egyptian Month with research and teaching activities as well as with the interactive event — Live Forever! Welcome to the Underworld — held as part of the Being Human Festival!  

In October 2021, Dr Hana Navratilova spent several weeks working with the Egyptian Expedition of the Metropolitan Museum of Art, New York, at the site of Dahshur in Egypt. At the same time Dr Navratilova continued teaching and serving as our Department’s Director of Academic Tutoring from her desert location, which had surprisingly good internet speed. The site of Dahshur is located south of the Egyptian capital, Cairo, and belongs to a large group of pyramid fields, i.e. necropoleis dominated by Old and Middle Kingdom pyramid complexes (3rd and 2nd millennium BCE).

Photo: A sunset in the desert (credit: Hana Navratilova)

The Metropolitan Museum international team works together with the Ministry of Antiquities of the Arab Republic of Egypt and research teams specialising at the pyramid precinct of Senwosret III, which has a very long history, starting well before this Middle Kingdom sovereign and continuing until the Roman period. The Greco-Roman history of the site involves a large cemetery: the pyramid of Senwosret III was a place of royal burials, veneration, and admiration by generations of visitors. Its lifecycle turned a new page, however, when Ramesses II decided to use it as a quarry, and we are all excitingly waiting for further archaeological research on that aspect of its history to complement our understanding of the ways in which such an ancient site changed over time!

Photo: ongoing excavation in the demolition zone of the pyramid complex at the site of Dahshur in Egypt. Please note that Covid protection measures have been applied at the excavation area and in housing of the teams. Facemasks are now part of archaeological everyday life as are lateral flow tests!  (Photo credit: Hana Navratilova)

Dr Navratilova’s area of expertise focusses on the New Kingdom material, so-called visitors’ graffiti, while further research interests revolve around the pyramid biography. Monuments in Egypt have almost always a long history, which requires that we study their use, re-use, and reappropriation across time. This perspective on pyramids helps also in our interpretation of long lives of other Egyptian monuments, including temples. The temples at Abydos, for example, have long been in the focus of religious history and pilgrimage study by Prof. Ian Rutherford.

Photo: earlier drawing of a graffito (credit: Hana Navratilova)

The excavation work at Dahshur is still ongoing and we are truly excited to see what the archaeological spade will bring to light!  You can read more about the site of Dahshur at https://www.metmuseum.org/toah/hd/dapc/hd_dapc.htm

 

In addition, the Ure Museum of Greek Archaeology and the Department of Classics at the University of Reading hosted the interactive event ‘Live forever: welcome to the Underworld’ on the evening of 19 November 2021 thanks to a generous grant awarded by the Being Human Festival Hub (https://beinghumanfestival.org/events/live-forever-welcome-underworld).

This year’s theme was “renewal”, so we decided to recreate the ancient Egyptian and Greek underworlds. It was no paradox: far from being a terrifying experience, this was a life-affirming event, in which staff and students acted as guides to the Egyptian and Greek ways to eternity. The corridors and lecture rooms of the department were converted into different branches of the afterlife: our mortal guests were allowed to enter Elysium to discuss life and death with heroes of the Classical world, and then were tested by the tribunal of Osiris and the Egyptian gods, where their heart was balanced against the feather of Maat, the goddess of justice. If their life was found to be good, their name was to be remembered forever! In tune with remembrance as the theme of November, we hope to have shown how ancient cultures coped with the challenge of death and loss, which seemed suitable after a world-wide pandemic.

Live forever: welcome to the Underworld not only disseminated a topic extensively researched in the Department of Classics and the Ure Museum to a wider audience, but it also helped to create a sense of camaraderie among undergraduates and academics, especially after two years of lockdown. The event encouraged students to develop their own teaching resources when engaging our audiences: they created stand-up routines, devised new trails for the museum, learnt to play ancient games, etc.

Jenny, one of our students, said: “I am very grateful for the amazing opportunity to teach how to play Senet, an ancient Egyptian board game to our visitors. This was a very popular part of the event which saw children and parents competitively playing the game as well as asking questions about the Egyptian afterlife. Even one girl came up with the idea that the pieces could represent the need for all parts of your ba, or soul, to reach the afterlife to be together in eternal life”.

Harry designed museum trails on Ancient Egyptian and Greek funerary practices and much more: “What I liked most about the festival was the variety of stuff that was happening, meaning there was something for almost everyone who was interested in Ancient History. For those fascinated with drama, two plays were taking place in which students and professors alike dressed up as Ancient fictional characters such as gods and heroes in a re-enactment of the Underworld – one play was about the Egyptian afterlife, and the other about the Greek. Those with a liking for music in Antiquity were likely happy to hear Dr James Lloyd playing the aulos during the festival.”

You can get a taste of how the ancient Greek aulos sounds in this short video with Dr James Lloyd in the Reading Classics corridor: https://twitter.com/i/status/1461791868262440963.

Being Human Festival provided us with a perfect opportunity to recreate ancient Egypt and Greece, to offer an immersive experience to the local community and to show that, no matter how many millennia have gone by, antiquity remains relevant to understand how we cope with loss, time, the human, and the divine.

 

Follow us on social media:  

Twitter: @UniRdg_Classics 

Facebook: @UoRClassics

Instagram: @classicsuor

 

Follow the Ure Museum of Greek Archaeology on social media at: 

Twitter: @UreMuseum

Facebook: Ure Museum of Greek Archaeology

Instagram: @uremuseum 

Bring in the Artists

Discerning visitors to the Classics@Reading and the Ure Museum will have seen more and more art gracing our department’s home since the pioneering Head of Departmentship of Prof. Emma Aston, who persuaded the University Arts Collection to lend us some of the late Eric Stanford’s stone sculptures — Protesilaus and a Head of Helen of Troy — and excellent facsimiles of Minnie Hardman’s beautiful drawings of ancient sculptures.  At the same time a private donor lent us Stanford’s Memnon who also graces our department hallway in the Edith Morley building on the Whiteknights campus. Stanford’s Helen sparked our interest in Troy which led to the current British Museum Spotlight Loan.*

In 2022 we will welcome another internationally recognised artist to the Ure Museum. Through Meeting Point, an Arts&Heritage scheme funded by Arts Council England that brings artists to small museums to bring their collections to new audiences, we have now commissioned Chisato Minamimura, a Deaf performance artist originally from Japan, to create an artwork that responds to the Ure Museum’s collection. Chisato, who has taught, created, and performed internationally, including at Paralympic Opening Ceremonies, approaches choreography from her unique perspective as a Deaf artist, creating what she calls ‘visual sound/music’. Just before lockdown in 2020 the Ure Museum was chosen as one of six museums and heritage sites to work in partnership with artists as part of the Meeting Point programme. Chisato’s explorations with dance and sound chime perfectly with our recent research on music, dance, and sensory archaeology. We are very excited that this opportunity has brought us together with Chisato and we eagerly anticipate her exploration of our collections, to celebrate the Ure Museum’s 100th anniversary, coincidentally in the bicentenary of the Greek War of Independence. 

You can read more about the commission on the university press release at https://www.reading.ac.uk/news-and-events/releases/PR861332.aspx. There you can find the statement made by the Curator of the Ure Museum, Professor Amy Smith, along with a note from Chisato.

We look forward to this collaboration and its exciting outcomes! 

Follow Reading Classics on social media for the latest blogs and news:

Facebook: @UoRClassics

Twitter: @UniRdg_Classics

Instagram: @classicsuor

YouTube: UnivRdgClassics

*Troy: Beauty and Heroism will remain on display in the Ure Museum until 12 December so please rush in if you hadn’t had a chance already (even in tonight’s Being Human museum late ‘Live Forever: Welcome to the Underworld’.   duly will have noticed n international performance artist is set to work with the University of Reading’s Ure Museum of Greek Archaeology to design a piece of contemporary art inspired by the Museum’s unique collection.

Photo credit: photographer Mark Pickthall

Black History Month in Reading Classics

Author: Prof. Barbara Goff 

Date: 18 October 2021 

Reading Classics celebrate Black History Month with a visit from Shivaike Shah, co-creator and producer of the first global majority Medea produced by students at the University of Oxford, in 2018. This interactive event will be delivered online via MS Teams on 27th October at 2pm. Do join us in this talk to discuss the aims, challenges and successes of such an adaptation of one of the most famous Classical Greek tragedies. To register your interest to attend, please write to us at hod-classics@reading.ac.uk or visit our Facebook event page: https://fb.me/e/27eXLAIL2.

Please keep an eye on our social media and the event page as we shall circulate a joining link there closer to the date. You can also find more information about the event on our Facebook event page and social media. 

All welcome! 

In the run-up to this exciting event, here are some resources to get you thinking about some related issues.

  • Listen to our former colleague Professor Katherine Harloe on Detoxifying the Classics. Why are white nationalists and the far right so fond of Ancient Greece and Rome? Katherine looks at the ways in which the classical world is both used to lend respectability to the politics of hate, and distorted to give the false impression that it was an all-white space. Katherine was Professor of Classics at the University of Reading until the 1st October 2021, when she left to become Director of the Institute of Classical Studies in London. Go Katherine!
     
  • Listen to the many fascinating lockdown talks on the Everyday Orientalism site. This site, cofounded by our colleague Professor Rachel Mairs, seeks to offer a platform through which students, academics, and citizens can reflect on how history and power shape the way in which human societies define themselves through the “Other”.  Talks and other posts often focus on classical antiquity, ancient Egypt, and the ancient Near East, as well as looking at how those societies have been interpreted and reinterpreted by modern Western culture.
     
  • Check into the podcasts by Khameleon Classics, the team who will be talking about the all-BAME Medea later on this month. Podcast no.4 is by our colleague Professor Barbara Goff, talking about classics in the British colonies of West Africa.

In addition, on 25th October, Prof. Goff will be part of an interview with Femi Osofisan about his new production of Medaye, an adaptation of Medea.  The interview will also include Prof. Olakunbi Olasope of the Department of Classics at the University of Ibadan, who has visited Reading Classics a few times and given seminars on the reception of Greek and Roman theatre in West African drama. The interview will be available via the Archive for Performances of Greek and Roman Drama in November. Stay tuned for a link to listen to this exciting interview! 

Shivake Shah’s presentation, which will be delivered online on Wednesday 27th October at 2pm, comes as a culmination in the long devotion of Reading Classics in contributing to research approaches revolving around decolonisation, inclusivity, and diversity in Classics. To find out more about Medaye, its preparation, production, performance, and social engagement, you can read the following blog on Femi Osofisan’s Medaye in Ibadan by Olakunbi Olasope: https://classicalreception.org/african-blog-takeover-9/ .

A recent testament for our contribution to research and public engagement in plurality and diversity in Classics is the Inclusive Classics Initiative, led by Professor Barbara Goff (University of Reading) and Dr Alexia Petsalis-Diomidis (University of St Andrews). Over two days the workshop covered a range of subjects: barriers to inclusivity, current projects and approaches aimed at making Classics more inclusive, and priorities for future work. Bringing together multiple perspectives within the discipline, including Classics in higher education and secondary schools, the workshop provided space for discussion about marginalised groups, both during antiquity and as experienced in the subject today. Among other topics, the final panel of the workshop was a conversation among Professor Kunbi Olasope, Dr Idowu Alade, and Dr Monica Aneni from the University of Ibadan, whose discussion focussed on recent increase in Classics admissions in the university in Nigeria as well as on the significance of Classical education in pursuing a variety of careers. Read more about their latest online, international workshop ‘Towards a More Inclusive Classics II’ in our blog post about it at t.ly/8YLj.  

To find out more on the long-standing commitment of Reading Classics in promoting inclusivity, diversity, and decolonisation in Classics, visit https://www.reading.ac.uk/classics/

We look forward to seeing you all in this exciting BHM event on 27th October 2021.  

Follow Reading Classics on social media for the latest news on Reading Classics and our events: 

Twitter: @UniRdg_Classics

Facebook: @UoRClassics 

Instagram: @classicsuor

YouTube: UnivRdgClassics 

 

Reading Classics Autumn Term Research Seminars 2021

We are pleased to announce the launch of our regular Reading Classics Seminar Series for Autumn Term 2021, which will boost our Wednesday afternoons with constructive and stimulating lectures and discussions on various aspects of Classics research!

This series of lectures, starting on 29th September, run alongside the Ure Museum seminars ‘Troy in 21st Century’ in alternate weeks. In this accessible and inclusive environment—with some talks online and others in person—we welcome a diverse group of speakers from both the UK and abroad in our Departmental seminars, which will explore a variety of topics and periods of Classical studies.  

For our first Reading Classics Seminar, we are delighted to welcome Professor Sheila Murnaghan from University of Pennsylvania, who will speak on ‘Her own troubles: women writers and the Iliad’. Tune in on Wednesday 29th 2021 at 4pm. The lecture will be delivered online in MS Teams. To register your interest in attending please email Professor Amy C Smith, at HoD-Classics@reading.ac.uk.

You can find a full list of titles below.  

29 September

Sheila Murnaghan (University of Pennsylvania) Her own troubles: Women writers and the Iliad 

13 October (in person)

Emma Aston (University of Reading) The Aggressive Thessaly Reconsidered 

17 November

Judith Mossman (Coventry University) Tragedy in Plutarch 

1 December

Çigdem Maner (Koç University) Adaptation, subsistence, and political geography in South-Easter Konya from 3rd to 1st millennium BC

We look forward to welcoming you at Reading Classics Research Seminars once again! 

 

Troy in the 21st Century: Ure Museum online seminar series, Autumn 2021    

The Ure Museum of Greek Archaeology at the Department of Classics at the University of Reading is proud to announce its second online seminar series, ‘Troy in the 21st Century’ Series.

In these online seminars — alternate Wednesdays, starting on 22 September — speakers will consider the influence of the Troy myths in our current century, on science, TV, gaming, children’s literature and of course the visual arts. The lectures will be presented via Teams Live Events and accompany the British Museum Spotlight loan, Troy: Beauty and Heroism, on display at the Ure Museum 21 September–12 December 2021.

Here is the full list of speakers: 

22 September: Amanda Potter (Open University), Warrior girls in brass bras, fur bikinis and skinny jeans: Televising the Amazons

6 October: D Felton (University of Massachussetts, Amherst), The afterlife of Troy in modern science

20 October: Dunstan Lowe (University of Kent), ‘Write a New History’: The Trojan War in digital games

24 November: Katarzyna Marciniak (University of Warsaw), Troy in contemporary children’s literature

Please register your interest in attending at tinyurl.com/21stctroy or scan the QR code below, and do visit the Ure museum to see the exhibition! All welcome!  

 

 

 

New Events Coming Up! (May 6th-18th 2021)

Edit: Bunny Waring
Date: 5th May 2021.

Our Professors are always up to something interesting and here are some exciting events that you can all join in with!

Prof. Amy Smith (Co-Head of Department and Curator of the Ure Museum) will be speaking to The Art of Fragments Network about Museums and the Heritage Sector here:

What do you get if you cross cutting edge research in the ancient world with creative talent?

Join us for this online series of events to find out.

Free but booking essential

https://www.eventbrite.co.uk/e/the-art-of-fragments-conversations-with-academics-and-artists-tickets-152516048607?ref=estw

 

The Art of Fragments network is pleased to host a series of panel discussions showcasing artistic projects inspired by academic ideas. For each session we’ll be beginning with a panel featuring artists and academics who have been involved in innovative projects inspired by fragmentation. This will be followed by a Q&A with a speaker with experience in the creative industry, who’ll be able to share their tips on how to make projects happen.

The projects featured are all inspired by fragments from the ancient world, and the form of fragmentation.

Session 1: Wednesday 12th May, 11am-1pm (UK time).

Museums and the heritage sector

Featuring poet Josephine Balmer, Dr Charlotte Parkyns (University of Notre Dame), Professor Amy Smith (University of Reading), Dr Sonya Nevin (Panoply Vase Animation Project)

Q&A with Sarah Golding (independent arts producer)

Session 2: Tuesday 18th May, 4pm-6pm (UK time).

Literature

Featuring novelist Yann Martel and poet Lesley Saunders

Q&A with Tom Chivers (Director of publisher and production company Penned in the Margins)

More details on the speakers and their projects can be found on the Eventbrite page. There will be opportunities for small-group informal discussion and networking between and after the sessions.

A third session is planned for the final week of May: details to follow (and will be published on the Eventbrite page).

The organisers would like to thank the British Academy for their kind support

Prof. Tim Duff (Greek History and Literature) will be speaking at the Academy of Athens about [Self-]Praise & [Self]-Blame in Ancient Literature here:

 

The Research Centre for Greek and Latin Literature of the Academy of Athens is delighted to invite you to the 6th online lecture of its 2020-2021 Seminar ([Self-]Praise & [Self]-Blame in Ancient Literature).

Timothy Duff (Professor of Greek, University of Reading), Praise and Blame in Plutarch’s Lives
Thursday, May 6, 5-7pm (EEST, Athens)

Plutarch’s Lives are famously moralistic. We might expect therefore that explicit narratorial praise and blame of the subjects would be common, and that readers would be left in no doubt as to the kind of lessons they should learn. In fact, things are a good deal more complicated. In this paper I will construct a typology of praise and blame in the Lives and explore the ways in which the text does or does not guide the audience’s response to the subjects of the Lives. I will argue that Plutarch constructs his readers not as passive recipients expecting instruction but as actively and critically engaged.

To receive the link to the Zoom meeting, please fill out the form here: https://bit.ly/2QUd2U2

For any questions please contact the organiser (epapadodima@academyofathens.gr).

WHAT’S IT LIKE? Episode 3: Dr Claudina Romero Mayorga – A Specialist in Sensorial Archaeology in Museums and Classics.

[Image of an image of Mithratic iconography and Latin inscription in a stone frieze. Lalupa]

Interviewee: Dr. Claudina Romero Mayorga. Interviewer: Bunny Waring.
Date: 16th April 2021

Welcome to the Classic Department’s series What’s it Like? During these episodes staff, volunteers and students who specialise in all fields of Classics, Archaeology and Museums, will share with you the realities of their jobs. What to be a Linguist? Museum Curator? Archaeologist? Lecturer? Well Travelled Researcher? A Barrier-Breaker? Have No Idea? Then read on!

This week: Dr Claudina Romero Mayorga

A Specialist in Sensorial Archaeology in Museums and Classics.

Name: Dr Claudina Romero Mayorga
Area of Specialism: Archaeology, Classics and Museums.
Topics of Interest: Ancient Mediterranean civilisations, material culture, education, sensorial archaeology, music, polychromy, 3d printing.
Job Title: Education officer at the Ure Museum and Sessional Lecturer at the Department of Classics.
Job Responsibilities: Develop and deliver educational sessions for primary and secondary schools, organise outreach activities, family events, lead the Young Archaeologists’ Club, research the collection, welcome visitors, manage volunteers and interns, teach Latin or Roman History to undergraduates.

Introduction

I grew up watching old films and documentaries about ancient civilisations: Egypt, Mesopotamia, Greece, Rome….everything sounded so mysterious and exciting! I wanted to know all about them so I started reading as much as I could. The objects left behind by them felt as if they still had a special power, so my focus was not so much on their languages, but on the material culture produced by these peoples who lived so many years before me. By the time I got to the university, “Gladiator” had already left a mark on me, and well…Romans are my thing now. I love working at the Ure Museum and teaching people about our amazing collection.

 

[A glimpse at some of the fantastic displays in the Ure Museum, including pots to get excited about. Ure Museum.]

What is your daily life really like?

Replying to emails takes most of my time! Before the pandemic, I would get lots of school groups in the Ure Museum and the time would just fly. Talking to kids, teachers, parents, looking at them being amazed by an ancient pot…Best feeling ever!!! Having children tell you that they want to be archaeologists and work in a museum after their visit is priceless…But in 2020 with the arrival of COVID, things changed dramatically. Although online sessions still felt great and children got to engage with 3D models, it wasn’t the same. I’m really looking forward to reopening soon!

[A YAC event (with permission) where young children are taught how to clean and understand ancient artefacts. Mayorga.]

A lot of my time is also spent planning new public events (online or face to face) for families, for older teens: trying to develop new educational resources for everyone, talking to my colleagues and other museums, updating our website, posting on our social media, writing grants applications and planning Young Archaeologist Club (YAC) sessions. If I’m teaching Roman History to undergrads, I need to prepare my classes and then mark their assignments. When I teach I try to make sure that they see that I’m passionate about the subject and that although everything seems to have been researched and discovered already, there’s still plenty to do.

I do love object-based research so whenever I have a bit of time, I would focus on a specific object and learn as much as I can. I also enjoy travelling; I like meeting colleagues in beautiful destinations to discuss our work, visit museums and tasting local food (this activity is also known as attending international congresses and seminars). Getting funds to do this can be very competitive and difficult, but I never give up!

[Dr Mayorga and Assistant Curator of the Ure Museum Jayne Holly on a research trip. Mayorga.]

What is the best part of your job?

· Handling ancient objects is the best part without any doubt! I still feel like a 5-year-old when I hold an old pot.

· Working with the curator and assistant curator at the Ure is great fun, we’re always coming up with new projects and new challenges…I don’t know what a boring day at the office is.

· Learning from other colleagues

· Being mind-blown by kids’ questions

 

Why do you think your specialism is important?

Studying ancient civilisations, in general, makes you aware that some of the problems we face today as a society, already existed in the past (misogyny, elitism, poverty). Looking at the solutions they came up with – or the lack of them – might give us a better perspective of the circumstances we are living in. My interest in sensorial archaeology comes from my focus not on emperors and great characters, but on ordinary people: how they behaved, what they liked, whom they loved, what they ate, if they were happy – and if so, how they expressed that. I believe that trying to know another person (even if that person has been dead for more than 1000 years) generates empathy and there’s nothing more important right now than trying to understand the person who is in front of you.

[The Ure Museum’s Museum in a Box tells the life of Annie Ure, the co-founder of the Ure Museum, whose life studying antiquity highlighted women’s rights issues throughout the ancient and modern eras.]

 If you didn’t have your current job, what else could you apply your skills to?

I guess I would be good in general admin, but I would do better in a position that would allow me to support or mentor young people. Teaching is a calling, whether it’s Classics or Economics, but I believe I would be good at working with younger people.

Did you always want to be what you are today?

Yes! Haha, I get to work in a museum and at the Uni, although I took the long and winding road to get here. People usually go for Museum Studies if they want to work with collections or in a heritage site. I started studying History of Art in Madrid and then my PhD in Archaeology offered fieldwork training: I was part of a team that dug up a Roman villa in Spain…and to spread the news among the locals I guided some tours and “played” with the finds to show kids how fun and interesting the Romans were. There I got bitten by the “museum bug” (beware!) and ended up researching lots of museum collections and storage facilities for my final dissertation in every single European country.

[Dr Mayorga teaching a range of students and volunteers about the importance of Museum collections. Mayorga.]

But I had to work and study at the same time, so it took me longer than expected. Volunteering and taking up education modules did the rest. But because I have a PhD in Archaeology people usually don’t understand why I’m the Education officer, as if researching and teaching were two completely different activities, when in the end they’re two sides of the same coin. I can’t conceive one without the other.

Where do you hope to be in 5 years time?

I hope the pandemic is over by then! I would love to see the government showering universities with funds, especially to support Humanities. Would love to have my role as an Education officer as full-time, and to continue teaching at the University of Reading. It would be great to have certain events and activities already cemented in our educational calendar (3D printed resources; Ancient music sessions).

 What 3 tips would you give to someone who wants to follow a similar path?

  1. Go for whatever you love: languages, physics, computers. That will always stay with you, money won’t. Studying something that you don’t like is torture.
  2. Don’t believe everything you read: even if it is printed in a book by a famous author, it’s opened to discussion.
  3. Travel as much as you can.

What to know more?

If you’re interested in staying up-to-date with what events the Ure Museum has to offer head over to the Museum’s webpage here.

Fear in Ancient Culture: A Call For Papers and a Virtual Tour as Classics UoR Hosts the 15th Annual Meeting of Postgraduates in Ancient Literature (AMPAL).

Author: Dania Kamini. Edits: Bunny Waring.
Date: 19th March 2021.

Fear in Ancient Culture

The Department of Classics at the University of Reading is delighted to host the 15th Annual Meeting of Postgraduates in Ancient Literature (AMPAL) on Thursday 17th – Saturday 19th June 2021. The theme for this year is Fear in Ancient Culture.

Given the current travel restrictions and social distancing rules due to COVID-19, this year’s meeting will be held online on Microsoft Teams. In these strange times, the Organising Team of AMPAL 2021 is determined to preserve the engaging and interactive character of the event. To that purpose, we aim to transform this online environment into a welcoming setup in which postgraduate students in Ancient Literature from across the world can gather again (albeit virtually) and celebrate another year of research on Classics. This event is described as AMPAL 2021 in shorthand, but it also stands as AMPAL 2020-2021 since it aims to bring together already confirmed speakers due to present in AMPAL 2020 and new speakers joining the conference in 2021.

Keynote Speech (18th June 2021, 5pm): Fear of Revenge in Euripidean Tragedy by Professor Fiona McHardy.

It is with great pleasure that we announce this year’s AMPAL Keynote Speech will be delivered by Professor Fiona McHardy (University of Roehampton). Professor McHardy will speak about the fear of revenge in Euripidean tragedy. Through the exploration of contemporary ideas about young children and babies as avengers, underpinned by comparative anthropology and psychology, this lecture unravels the dynamics of fear associated with children within both the plays of Euripides and their literary and social contexts.

Virtual tour of the Ure Museum

This year’s AMPAL also includes a virtual tour of the Ure Museum of Greek Archaeology, our departmental museum founded by Percy and Annie Ure. In addition to the museum’s permanent displays, we are proud to host an online presentation of an inaugural student exhibit, Fear Beyond Words designed specifically for AMPAL 2020-2021. To register for this, please visit: https://collections.reading.ac.uk/ure-museum/explore/online-exhibitions/fear

Call for Papers

Fear is a driving force behind human action, capable of pushing people to either exceed their own expectations or to prevent them from acting at all. As a powerful motivator, the emotion of fear had a pervasive presence in ancient life and thought. This is reflected in multiple ways throughout literature, juxtaposed with motivation, social interaction and power dynamics. Furthermore, as early as Aristotle’s Poetics, fear had already been understood as a ruling force and powerful notion for the construction of literary genres, especially tragedy. While evaluating the ancient literature as an integral part of understanding such a concept, the diverse influences of different fields of study, such as literary criticism, political theory, psychoanalysis, and philosophy, can add valuable insights.

In this context, AMPAL 2020-2021 invites presentations on fear from literary or interdisciplinary approaches. Questions as to how fear can be defined, the whos, how and whys of causing fear, how fear is related to other aspects of ancient thought, how the sense of fear grows or fades, how this notion forms the interaction among humans or between mortals and gods, and the role of language in the creation of a fearful or fear-free context, are all considered to be substantial aspects of this year’s theme.

Suggested topics on fear may include, but are not limited to:
– Fear and literary criticism, meta-poetical or reception analysis
– Fear and other emotions; fear disguised as other emotions; fear and the sense of respect; fear and related notions and experiences; fear and the five senses or other body reactions
– Cognitive and behavioural approaches to fear, and emotions in general
– Fear and the manipulation of memory
– Fear and the construction of myth and heroic profiles or/and social or political identity
– Fear and power play; the control of political dynamics; the promotion of political agendas and ideas
– Psychoanalytical approaches to fear; gendered fear; fear as a significant aspect of rites; fear as anxiety
– Fear of the other (Orientalism, Amazons etc.); philosophical approaches to fear; fear and the fundamental existential questions
– Depictions and illustrations of fear in ancient art and material culture
– Aspects, perceptions and depictions of fear in late antique and early Christian literature and thought; reception of the ancient concept of fear in early modern literature

The Department of Classics at Reading invites postgraduates of every level to submit an abstract of 250-300 words for a 20-minute paper followed by 10-minute discussion by the 25th of April 2021. Abstracts should be sent as an anonymous PDF to readingampal2020@reading.ac.uk. Please include your name, university affiliation, programme, and year of study in the body of your email and not in the abstract. AMPAL 2020-2021 is open to all undergraduate and postgraduate students in any relevant discipline as well as to the general public. Details on the keynote speech will be announced in due time.

All Welcome!

Please note that although our website and email address will maintain 2020 in their titles, they will remain the main communication paths for AMPAL 2020-2021 as well.
Further information on AMPAL 2020-2021 and all relevant events can be found at its website: https://ampal2020.wordpress.com/. Please keep an eye on AMPAL 2020-2021 website for further announcements. Feel free to follow us on Facebook and Twitter and spread the word!

WHAT’S IT LIKE? Episode 2: Dr James Lloyd-Jones – A Specialist in Ancient Music and Song.

 

[Lyre players Eturia, 560-550 BCE_Lewandowski2021]

Interviewee: Dr. James Lloyd-Jones, Interviewer: Bunny Waring.
Date: 5th March 2021

Welcome to the Classic Department’s series What’s it Like? During these episodes staff, volunteers and students who specialise in all fields of Classics, Archaeology and Museums, will share with you the realities of their jobs. What to be a Linguist? Museum Curator? Archaeologist? Lecturer? Well Travelled Researcher? A Barrier-Breaker? Have No Idea? Then read on!

This week: Dr James Lloyd-Jones

A Specialist in Ancient Music and Song. 

Name: Dr James Lloyd-Jones.
Area of Specialism: A mix of Archaeology, Ancient history, and Museums.
Topics of Interest: Ancient music and musical instruments; the archaeology and history of Sparta.
Job Title: Sessional Lecturer.
Job Responsibilities: I teach lectures, seminars for a range of modules, as well as some ancient Greek language classes.

Introduction

I got my BA and MA from the University of Exeter and came to Reading in 2015 to do my PhD, supervised by Ian Rutherford. At the moment, I’m at a point where I’m finishing off research directly connected to my PhD and starting down new research avenues. This means looking at getting my first book published and applying for postdoctoral positions.

  [Dr. Lloyd Jones with research in hand, 2019.]

 

What is your daily life really like?

On Monday mornings I print off a weekly timetable and start blocking out time. As an hourly-paid member of staff, my days a pretty flexible and they benefit from being as clearly structured as possible. This means some days will be focused on planning and preparing lectures and classes, and replying to student messages, and others will be focused on research, or writing job and research applications (postdoctoral applications normally range from 10-20 pages, so they need to be planned out well in advance of any deadlines). A typical day’s research might include reading scholarship, analysis of ancient evidence, or writing, editing, and revising articles for submission. There’s also normally a fair about of tea or coffee.

[Attic vase with Symposium scene from 490 BCE, Louvre 2021.]

For me, research can be really varied. One day I might be looking at an archaic Greek song, and figuring out how it should be translated, or how to interpret its performative context. I might also spend time collating lists of pottery with specific iconographies and seeing if there are any trends over time, location, or artist that appear. Other days might bring study visits to museums. The museum I’m most often in is of course the university’s own Ure Museum of Greek Archaeology. There’s a host of material relevant to my research interests in its collections. A few months before the first lockdown I spent some time in the Museum of London photographing and measuring Romano-British musical instruments in their collection, which was very exciting. That was really the beginning of a now somewhat halted project on music in Roman Britain. I’m also making my way through an MIT OpenCourseWare module on Music Perception and Cognition since I’m keen to learn more about the science of music.

 

[Musical fragment on papyri from the play Orestes by Euripides.]

What is the best part of your job?

In my current position, there is a great deal of flexibility. I research what I want to research, and I get to teach modules that feed into my research interests too. It is pretty great. It also helps to have a brilliant group of colleagues in the department too.

Why do you think your specialism is important?

The last two years I’ve been getting more interested in ancient music, so I’ll focus on that. There’s a lot that we don’t know about music. For Darwin, human musicality was one of the biggest mysteries of evolution. The earliest discovered musical instruments date to around 43,000 years before present. There’s this huge history of humans creating music, yet, until the last few decades, the importance of music throughout history has been largely overlooked. For Classics, it wasn’t until around the 80s that academics began to seriously turn to music as a subject of interest. Yet the Iliad and Odyssey of Homer were originally sung as songs, so too the surviving tragedies and comedies of Classical Athens. Studying ancient Greek and Roman music enriches our understanding of the past and allows us to interpret key moments of ancient Greek and Roman life more fully and correctly.

[2nd Century CE fresco of Roman woman playing the kithara, Boscoreale.]

 If you didn’t have your current job, what else could you apply your skills to?

As an hourly member of staff, there’s already a few other things that I do freelance when time allows. One of those is learning design (I spent a fair bit of time in the summer helping converting modules to be delivered remotely). The other is writing about the past for non-academic audiences. A job that involved a mix of those things, and some kind of research, would be quite rewarding, I think.

Did you always want to be what you are today?

My defining memory of being interested in the past is a Year 3 school trip to an exhibition on ancient Egypt at the Birmingham Museum and Art Gallery. I think I even put that in my UCAS application, and while it sounds somewhat made up, I entered an associated art competition and came runner-up, winning a (largely unused) skateboard. To enter my felt-tip penned self-portrait of me peering into a display that housed a section from a book of the dead, I dragged my mum back into the museum (this was the 90s, so no digital entries) and we got a jacket potato and can of pop in the museum café. I’m still fascinated with how we look at the past, and how the past can influence and inspire us today.

[The Cylix of Apollo with the chelys (tortoise-shell) lyre, on a 5th century BCE drinking kylix cup, Fingalo 2021]

Where do you hope to be in 5 years time?

I’d like to be either near the end of a postdoctoral position, or starting something a bit more permanent. In terms of research and teaching, I’d like to be starting a project that looked at the archaeology of music on a global scale, and perhaps doing more teaching about the archaeology of music. But the academic job market is pretty brutal. As long as I was doing something that allowed me have a garden where I could grow some herbs, chillies, and sunflowers, I’d be quite content.

 What 3 tips would you give to someone who wants to follow a similar path?

1) Do the research that you find most interesting (you’ll be up at night reading pages of densely written academic prose, the only way to get through that is if you’re genuinely interested in the topic)

2) Someone recently told me that you should always look at your research and ask “So what? Why does this matter?”. As brutal as that question can sometimes appear, you need to be able to answer it.

3) Collaboration, discussion, and networking are where you can find some of the most interesting and inspiring ideas.

What to know more?

If you’re interested in staying up-to-date with what I’m up to, I keep a semiregular blog at https://jameslloydclassics.wordpress.com/ .

 

Seminar Series – Heroic Beauty: Beautiful Heroism.

Author: Prof. Amy Smith.
Date: 15th January 2021.

 

 

 

 

 

 

 

 

 

 

Image: Pottery black-figured neck-amphora depicting Achilles and Hector with gods 520BC-500BC (c) Trustees of the British Museum.

Heroic Beauty: Beautiful Heroism

The Department of Classics at Reading is delighted to present an online seminar series to accompany the forthcoming exhibition Troy: Beauty and Heroism, a British Museum spotlight loan at the Ure Museum. While the launch of the exhibition has been postponed, with this series of presentations we will begin to explore the themes of heroism and beauty and their interconnectedness throughout antiquity, particularly in relation to the epic tradition and its reception. Interested individuals are welcome to join us online for this series of presentations from Reading Classics’ own scholars, as well as some special guests, via Teams on Wednesdays from 27 January to 25 March at 4pm (link below).

27th January 2021 – Prof. Ian Rutherford (University of Reading) Beauty, Proportion and the Canon: What Did the Greeks Borrow From Egypt?

3rd February 2021 – Prof. Amy Smith (University of Reading) Beauty & Heroism in the Amazonomachy.

10th February 2021 – Dr. Claudina Romero Mayorga (University of Reading) Who’s the Fairest of Them All? The Judgement of Paris in Etruscan Mirrors.

17th February 2021 – Prof. Barbara Goff (University of Reading) Helens: Speeches and Silences.

24th February 2021 – Dr. Signe Barfoed (University of Oslo/Reading) The White Teeth of a Boar of Gleaming Tusks: Boar-hunt and Warrior Ethos in Homer’s world.

3rd March 2021 – Dr. Oliver Baldwin (University of Reading) Penelope: Inward and Outward Beauty.

10th March 2021 – Dr. James Lloyd-Jones (University of Reading) Alexander the Great and the Music of Paris and Achilles.

17th March 2021 – Dr. Sonya Nevin (Panoply/University of Roehampton) Beauty and Heroism in Panoply’s Our Mythical Childhood Animations.

25the March 2021 – Prof. Sophia Papaioannou (University of Athens) The Charming Artistry of Competitive Performance in Nonnus’ Dionysiaca 19.

For more information or to book for this online seminar series please contact Professor Amy C. Smith, Curator of the Ure Museum, at a.c.smith@reading.ac.uk.

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