Reading Classics Spring Term Seminar Series 2022

We are pleased to announce the launch of our Reading Classics Seminar Series for SpringTerm 2022, which will boost our Wednesday afternoons with constructive and stimulating lectures and discussions on various aspects of Classics research!

In this series of lectures, starting on 26 January, 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. All seminars will be livestreamed on MS Teams; tune in every Wednesday at 4pm! Attendance is free and open to all! To attend please follow this link: bit.ly/33Ym1ty! Below you can find a poster with all titles and a QR code leading to the attendance link! 

For our first Reading Classics Spring Term Seminar, we are delighted to welcome Ergün Läfli, Professor of Classical Archaeology at the Dokuz Eylül University, Izmir, who will speak on ‘Ancient lamps from southern Turkey’. All welcome thisWednesday 26th January 2022 at 4pm! 

For more information, please contact hod-classics@reading.ac.uk. 

Full list of titles

26 January 

Ergün Läfli (Dokuz Eylül University, Izmir), Ancient lamps from southern Turkey

2 February 

Marco Fantuzzi (Roehampton), Realism becomes Electra (and Euripides) 

9 February

Ioannis Mitsios (Athens), Boreads and Oreithyia or not? Re-examining figures P, Q and R from the west pediment of the Parthenon

23 February 

Çiğdem Maner (Koç), Adaptation, Subsistence and Political Geography in Southeastern Konya from the 3rd to the 1st Millenium BC

2 March

Hana Navratilova (Reading/Oxford), New graffiti season at Dahshur, Egypt, 2021: mapping ancient appraisals of the pyramid complex of Senwosret III

9 March

Hella Eckhardt (Reading), Bridge over troubled water – new approaches to Roman river finds

16 March

Maria Mili (Glasgow), Divine things: Greek gods and objects

 

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

 

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

MA Colloquim 2021: Current Research Including Identity, Irrigation and Infliction!

Author: Katherine Harloe. Edits: Bunny Waring
Date: 16th June 2021.

 

The Department of Classics welcomes all to the 2021 MA Colloquim, where current researching students give papers on their work in progress.

Join us for some fascinating seminars and discussions online via Microsoft Teams on

Tuesday 29 June 2021 between 10:00am – 5pm

 

ALL ARE WELCOME TO THIS FREE EVENT.

 

Please register by midday, 25 June at https://forms.office.com/r/a3vHf1wPTr
or by emailing execsupporthumanities@reading.ac.uk

 

PROGRAMME

10:00 am: Welcome (Katherine Harloe)
10:15 – 11:15: Session 1

Chairs: Rebecca Lightfoot, Aidan Richardson and Elliot Zadurian

Massimo Rossetti: To what extent did the Romans develop a state centralised water
policy in the late Republic and early Imperial eras?

Curtis Hill: The wealth of the Roman senatorial elite: a source of control or a catalyst for
conflict?
Klara Hegedus: The Catilinarian conspiracy of 63 BCE. The act of a degenerate individual,
or an almost inevitable by-product of the changing political order?

11:15 – 11:30: Break
11:30 – 12:30 pm: Session 2

Chairs: Sue Vincent, Dulcimer Thompson and Jess Wragg

Louis Hope: To what extent did a Panhellenic identity exist during the period from the
beginning of the Persian Wars to the invasion of Persia by Alexander the Great?

Aaron Cox: All roads lead to Rhodes? A brief look into the politics of the Hellenistic
Mediterranean.

Charles Stewart: Demos, aristocracy, and empire: power relations and political
institutions in the Greek cities of Asia Minor under Roman rule.

12:30 – 1:30pm: Lunch
1:30 – 2:30pm: Session 3

Chairs: Aaron Cox, Charles Stewart and Louis Hope

Dulcimer Thompson: Examining the presence and effect of internalised misogyny in the
female characters of Classical literature.

Jess Wragg: Breaking the boundaries: gender nonconformity in Ancient Greece.

Sue Vincent: Hecabe – from magnificent matriarch to murderous mother?

3:30 – 3:45pm: Break
3:45 – 4:45pm: Session 4

Chairs:tbc.

Elliot Zadurian: Unjust deliveries of justice: the implications of the agon and law-court
scenes in ancient Greek Drama.

Rebecca Lightfoot: ‘The Bad Place.’ an exploration of punishment and the afterlife in
Egypt, Greece and the Near East.

Aidan Richardson: Is Plutarch’s claim to be writing “not Histories but Lives” true?
4:45pm: Wrap up/closing remarks

Registration for the AMPAL Conference is now open! (Until 10th June 2021)

Author: Doukissa Kamini. Edits: Bunny Waring.
Date: 2nd June 2021.

 

You are warmly invited to register to attend the Annual Meeting of Postgraduates in Ancient Literature (AMPAL) 2020-2021 to be held online at MS Teams from 17th to 19th June 2021! Registration will remain open until 10th June 2021.

The theme of AMPAL 2020-2021 is ‘Fear in Ancient Culture’, about which, Postgraduates from both the UK and abroad will provide a series of presentations on literary, interdisciplinary, and historical approaches. The event will be accompanied by a virtual tour of the Ure Museum, a presentation of a student-curated online exhibition entitled ‘Fear Beyond Words’, and a Keynote Speech by Professor Fiona McHardy (University of Roehampton) on fear of revenge in Euripidean tragedies. You can find a list of titles as well as more details on the Keynote Speech and other aspects of AMPAL on the official website, where a list of abstracts and a programme are available.

To register for this free, online event please click here.

Please contact us at lks19a@reading.ac.uk for any questions and/or special requirements.

Best wishes,

Dania Kamini

Follow AMPAL on Twitter and Facebook

Visit AMPAL website: https://ampal2020.wordpress.com/

Sparta Storymaps – Using ArcGIS for Classical Studies.

[Image of an oblique profile of an ancient marble bust of a soldier in a plumed helmet,
thought to be Spartan General Leonidas, Sparta Museum].

Author: Dr. James Lloyd-Jones. Edits: Bunny Waring.
Date: 28th May 2021.

Sparta. What image is conjured in your mind? The ancient Spartans are often seen as the venerated, the heroes of Thermopylae. But they are also the villains, the enslavers of the helots, and the supporters of eugenics. In fact, the contemporary view of the ancient Spartans as heroic macho warriors is so widespread, thanks to 300, that when we explore the Spartans in more detail, the image that appears can seem surprisingly complex and uncomfortable.

[Image showing a scenic view of the Spartan theatre as stone remains with the Taygetos mountain range in the background].

Not only do we have to deal with the complications of modern interpretations of Sparta (some of them appropriated by political extremists), but we need to tackle the complications of ancient interpretations too. With the lack of any meaningful historical narratives written by a Spartan, the evidence from Sparta itself can be bitty and difficult to interpret. For example, the Classical agora remains unexcavated, and many inscriptions are still untranslated.

The major accounts about the Spartans that do survive are written by non-Spartans such as Herodotus, Thucydides, Xenophon, Aristotle, Pausanias, and Plutarch. They come with their own interpretative issues too. Thucydides fought, and lost, against the Spartans. Xenophon was buddies with a Spartan king. Plutarch wrote nearly half a millennium after the period of Spartan hegemony and dealt in writing engaging biographies. And this is all before we get to the historiographical phenomenon known as the ‘Spartan Mirage’. We are not the only generation for whom the image of the Spartans could be decidedly one-dimensional, over-exaggerated, or dowsed in political and philosophical motives. These are all some of the juicy topics that we sink our teeth into in the third-year module “Ancient Sparta” (CL3SP for those who want to look it up).

[Image of Caitlin’s map showing the Mediterranean with marked estimated trade routes from Port Gytheion].

Studying the Spartans can be an interesting exercise in a world with increasingly complicated sources of opinions, facts, and fictions dressed as facts. So, for one of our assessments, I decided that students might benefit from a digital project that would allow them to explore a facet of Sparta that might appeal to, and be surprising for, a general audience. It also presented an opportunity to think about how we present evidence, and the importance of geography in understanding Sparta, in the form of networks, findspots, and battle sites.

 

[Image showing a scatter map produced by student Alfie to show patterns of spartan military defeats at land and sea between 659 – 371 BCE].

The software that we used is ArcGIS StoryMaps, and you can view some of the work that the students created in the links provided. I was really impressed across the board with the work that was turned in, especially under the trying circumstances of COVID. The examples given here represent the broad spread of topics that everyone covered. The topics range from analyses of Spartan military capabilities to helot revolts, Spartan festivals, votives, trade, colonies, and more. Each of the stories presents a compelling case for taking a more nuanced approach when we ask the question “Who were the Spartans?” and I hope that you will find something of interest in each, I know I did!

Lydia’s “The Karneia: Festival or training camp?
Robert’s “The Best Soldiers in the World.”
Eleanor’s “An Insight into Spartan Religious Cults and Sanctuaries.”
Alfie’s “Just How Invincible Was Sparta?
Katie’s “Motives Behind the Votives.”
Daniel’s “The impact of the Helot Revolts on Sparta.”
Katy’s “Revels and Raves: Religious festivals and celebrations in Ancient Sparta.
Jack’s “Sparta the colonizer: Was Taras really her only colony?
Caitlin’s “A Crack in the Spartan Trade: The Journey of Laconian Pottery.

The “Ancient Sparta” module focused on a series of lectures and seminars, as well as some practical sessions on how to use ArcGIS StoryMaps. There was a lively movie night where we got together to watch 300 (meme competition included), as well as an introduction to some of the archaeological material from Sparta in the Ure Museum of Greek Archaeology at Reading. Finally, we were very grateful to have additional video introductions from colleagues, providing the students with some alternative viewpoints and expertise. Many thanks once again to Paul Chirstesen, Stephen Hodkinson, Tyler-Jo Smith, and Paul Cartledge for their generosity of time and knowledge.

All being well, the module is due to run next year too, when, hopefully, we might be able to do some object-handling in the Ure Museum too. There’s something quite special about being up close to an object that a Spartan dedicated in a sanctuary over 2500 years ago.

 

 

 

 

 

 

[Image of three, small metal objects thought to be cult votives made by Spartans].

What Can a Dog Called Margarita Teach us About Ancient Rome? – Education in the Making.

Interviewees: Prof. Peter Kruschwitz, Dr. María Limón & Prof Xavier Espluga. Interviewer: Bunny Waring

Date: 30th April 2021.

Today the Classics Department of Reading is delighted to announce the release of a special video called What Can a Dog Called Margarita Teach us About Ancient Rome? In this video Prof. Peter Kruschwitz (University of Vienna), Prof. Xavier Espluga (University of Barcelona) and Dr. María Limón (University of Seville) discuss the lettered world of ancient Rome and how ancient peoples interacted with the world around them. The video was filmed, directed and edited by James Rattee (https://vimeo.com/jamesrattee/videos) and includes digital footage from Prof. Matthew Nicholls’ Virtual Rome model.

Today we invited Peter, María and Xavier to discuss with us the motivations and methods of making this video and what is next for this interesting project on ancient inscriptions.

INTERVIEW

Bunny Waring (BW): Good Morning All. Thank you for joining us this morning to talk about your collaborative piece What Can a Dog Called Margarita Teach us About Ancient Rome? The Classics Department are very excited to share this work and we wondered if you could explain a little bit about your motivations for this project?

Thank you so much for this – it’s great for us to be back for a little while, albeit virtually. All three of us share the same passion: our enthusiasm for Roman inscriptions, especially inscriptions composed in verse. To us, those inscriptions are not just stones or pieces of metal that happen to have some poetry inscribed on them. They are carriers of art. They are visible, tangible manifestations of a universal artistic practice of Roman times, spanning the empire across time and space, with thousands of examples surviving to the present day.

This art was produced by individuals from all runs of life, and it was produced in the city of Rome just as much as it can be found at Hadrian’s Wall, the shores of the Black Sea, or in the Roman settlement of North Africa. We can relate to these individuals very easily because they’re not just some remote elite: they are people with everyday occupations, everyday hopes and worries, everyday problems. Like (most of) us – the other 99%, so to speak, far away from the palaces and lives of the elite. What is more, these individuals inhabited the very spaces, geographically and socially, that we still inhabit today, along with all their challenges.

It’s neighbourhood poetry, it’s communal art. And it gives us the most direct, emotionally moving, and instructive access to the world(s) of ancient Rome.

Of course, we know how we ourselves, especially in an academic context, interact and engage with Roman inscribed material remains. But how did they do it? We were curious to find out! And then we got very lucky: the British Academy gave María the opportunity to get our joint research going, first through its visiting fellowship scheme, then through additional funding for this video. We are so grateful for their support, and we hope that this video will both repay them for their trust in our research and appeal and communicate to wide audiences just what incredible, valuable material we study in our desire better to understand the Roman world and its diverse cultures.

BW: How exciting to work on such an interesting topic! So I’m eager to know: why did you choose this particular inscription?

We wanted to make a number of strong, important points. About the way in which we perceive, in which we encounter the Roman world. About the way the ancient world is presented to us in museums, archives, exhibitions, and books. And we want to do so while racing a wide audience because what we have to say and offer is relevant to so many different audiences.

 

We want to enthuse new generations with our passion for Roman history, for poetry, for epigraphy. We want to give teachers the opportunity to expand the canon of teaching through the inclusion of poetry that students can easily relate to. We want to invite museums, collections, and policymakers to rethink their approach to the way in which these incredibly exciting, talking objects from the ancient world are displayed. What better way to achieve this than to choose a text that expresses, in such beautiful words, the grief of pet owners – whose faithful companion had died. We feel we all can relate to that, and we feel that this text alone opens up so many new ways of thinking about the Roman world and the people who “were” the Romans, than the ever-same repertoire of classical authors.

BW: There must be a lot of interesting stories out there?

There are several thousand inscribed poems surviving from across the Roman world. You find anything, from obscene graffiti on the walls of Pompeii, to epitaphs on funerary monuments, 110-lines long and erected in the desert of Roman North Africa. You find beautiful, outrageous, hilarious, thought-provoking pieces, but, of course, also the banal and uninspired. How else could it be: writing short(ish) poems was a shared pastime across the ancient world, and the pieces are just as varied as their authors – men, women, children. If you would like to see further examples, you may explore them in an easily accessible format here and here. The material truly is a hidden treasure waiting for its discovery.

BW: What was it like recording this piece? Would you recommend the process to others?

Haha, oh dear! Well… none of us are natural-born entertainers. We all were terrified and at first, we hated to see our faces and hear our recorded voices. But James Rattee, the producer and creative mind behind our video, did an incredible job to make us feel at ease, to make us look smart (within the limitations that we were painfully aware of), and make the video appealing to such a wide range of audiences. We hope that putting this video out there will make it available for generations to come – for pupils, teachers, academics, cultural managers, policy makers: it should entertain and be useful at the same time! It’s genuinely a piece of art.

 

BW: Well we all certainly agree with that, here in Classics at Reading University! Excellent work! Finally then, what is in store next for your project?

We want to do more. We want to reach out to schools, to those who design curricula, design teaching in schools and at university, to show them the potential and possibilities. And we want to transform the way in which inscriptions are presented and utilised in museums – there is so much potential wasted.

We are making first steps. But there’s much more work to be done. So, if you are interested, please do get in touch with us, and we will explore the potential for collaboration with you! And as we are still thinking about reaching larger audiences and improving educational materials we would be deeply grateful if viewers, students and teachers, from all over the world would send us their feedback, even in an informal way. And by all means do feel free to send us any kind of questions regarding how Roman communicate their feelings, emotions, fears, and concerns through their inscriptions.

 

Summer Seminar Series 2021

Author: Amy Smith & Bunny Waring. Edits: Bunny Waring.
Date: 26th April 2021.

Come one, come all! After a short break, the Classics Department is ready to entertain and educate you all with a new series of free, online seminars.
Join us weekly on Wednesdays at 4pm for our Summer Seminar Series which focuses on the theme ‘Making Classics Better’. In this accessible and inclusive online environment, we welcome a stellar group of speakers from as close as Roehampton and as far as Melbourne to address issues that hamper inclusivity in Classics and/or explore means of promoting diversity in the study of antiquity more broadly.

This theme relates to the work of many of our colleagues and follows on from a successful series of workshops on Inclusive Classics co-organised by our Joint-Head of Department, Prof. Barbara Goff (see out 2020 blog post: http://blogs.reading.ac.uk/classics-at-reading/page/3/.

Below is the full programme and you can join us—for free—by clicking on our events page: https://www.facebook.com/UoRClassics/events/

28 April: What makes classical myth an ideal topic for autistic children? – Susan Deacy (Roehampton)

5 May: Covid+Collapse – Louise Hitchcock (Melbourne)

12 May: Collaboration in UK Classics Education: Reflecting on Ambitions and Realities – Arlene Holmes-Henderson (KCL)

19 May: Disability Studies and the Classical Body: The Forgotten Other – Ellen Adams (KCL)

26 May: Subverting the Classics? White Feminism and Reception Studies – Holly Ranger (SAS)

2 June: TBA – Patrice Rankine (Richmond)

What a Year!

Author: Bunny Waring.
31st December 2020

As the end of 2020 draws near it is time to take stock of all that has been survived and learnt over the last 12 months. From Brexit to COVID19, 2020 has required us all to react, adapt and rethink the way we teach, learn, communicate, organise, care and progress. Here, some of the Classics community at the University of Reading have shared their most memorable experiences.

Barbara Goff – Professor of Classics and Co-Head of Department says:

“A shout-out to the colleagues who organised our thrice-weekly coffee mornings in the first lockdown, keeping us all connected and moderately sane; to the colleagues who experimented with different Teams backdrops, keeping us highly entertained as their hair flew about into various enthralling scenes; to the cleaning staff who went above and beyond; to the support staff with whom I was suddenly having conversations about interior décor; to the brave students who suffered through meetings in my (very spacious) office with the arctic gale blowing through my (virtuously opened) window; to the students who studied my module Transformations of Helen online, contending with dodgy mics and cameras, but nonetheless reading carefully and responding critically; to the students who persisted in coming on to campus, enduring the view of me teaching in my Jimi-Hendrix-headband-visor. Here’s to slightly less embarrassment in the New Year!”

Eleanor Dickey – Professor of Classics says:

“It’s been great fun! First, all the conferences I’d agreed to go to were cancelled because of lockdown, enabling me to get to know my family again and also to do some real research. (Okay, so I still did not completely finish my book. But I tried!) Then in the autumn, I was able to continue teaching in person by switching my first-year module ‘Texts, Readers and Writers’ from the usual lecture-and-seminar format to a seminar-only format. So we were able to do all kinds of fun, interactive activities such as ethopoeia, an ancient rhetorical exercise in which students tell the story of a literary work from the perspective of one of the characters. The students became very good at this, and some of them were very creative filling in bits of the minor characters’ stories; it was lovely to hear their productions. And the MA Approaches module had 12 students, twice as many as the most I’ve ever had in it before, and every single one was a fun person to teach!”

Jackie Baines – Teaching Fellow and Admissions Tutor says:

“With the coming of online teaching due to the pandemic, came the making of screencasts for our lectures and teaching. In response to this new teaching environment, I made some screencasts to explain grammar points for the students of the beginner’s Latin language module. In Microsoft Stream, these screencasts come with automatic captioning and these captions struggle to reproduce exactly what is being said, particularly with unfamiliar Latin words. The resulting captions were some of the funniest things I have read all year. A new view of Latin 1st and 2nd declension noun endings! Below is a sample of how a few minutes of grammar were translated.

Enjoy the adventures of Sir Warham dative and others!”

·(Timing)1:22 -First attention feminine puella.
· 01:25 -Accused him to Alam genitive plural. I dated through a lie
· 01:30 -ablative por la. It is actually along a dirt poor law. Plural
· 01:35 -nouns up well, I accused of porlas genitive por la room.
· 01:41 -Dative and ablative Hoooly Screw
· 01:44 -Elise. And the second attention masculine ending in US.
· 01:49 -Sadwith nominative singular said woman accused of said, we
· 01:54 -genitive said whoa and said, whoa, same endings dative a
· 02:00 – narrative singular plural nominative said we accused of
· 02:04 – said worst genitive plural. Sir Warham Dative, and ablative
· 02:09 – serwis serwis do look at any similarities so you can see in
· 02:16 – the date of inhabited plural ISI
· 02:19 – SIS. And I asked both the 1st and 2nd declension. There is a.
· 02:25 – A similarity is there not between the genitive plural? Who
· 02:29 – are Lauren and the genitive probe Sir war room our room, or
· 02:34 – am so just be aware of that poor Lisa and a stem-nouns, so that’s
· 02:39 – hence the A in there. Also note that there are cases where there
· 02:44 – they are the same as each other, but of course the case could be
· 02:49 – different. So if you got poor
· 02:52 – lie. Could be genitive singular plural, I could be
· 02:55 – dated singer, or it could be nominative plural.
· 02:59 – In the second collection, masculine said we could be
· 03:03 – genitive singular or nominative plural, so you’ve got to lookout
· 03:08 – for those kind of differences.
· 03:11 – This week we will look at nouns which have a slightly different
· 03:14 – ending. In the second
· 03:16 – declension. But nominative singular, like we’re poor.
· 03:21 – Lee, bear again.
· 03:24 – They.
· 03:26 – Look different there, but their
· 03:28 – endings. Immediately become the same. It just depends what you
· 03:33 – and add it onto. So poor boy, poor prayer room, Prairie.
· 03:38 – Libre. A book becomes Libre Libre, so sometimes it
· 03:43 – retains the E. Sometimes it loses the E and then the
· 03:47 – important thing to note is what is this the purpose of these
· 03:52 – cases? What do they do? We’ve already seen that the nominative
· 03:56 – is for the subject of the
· 03:58 – sentence. Accused of is for the object of the sentence. The
· 04:04 – genitive is for the possessor of
· 04:07 – an object. So the goals book or the book of the girl. The
· 04:11 – girl would have to go into the genitive case.
· 04:15 – In English, the genitive is often represented by of or an
· 04:20 – apostrophe, so just watch out what’s going on there, date if
· 04:25 – it’s two or four, the word dative comes from a Latin verb,
· 04:31 – which will be looking at this week, and it becomes a learning
· 04:36 – verb to learn. Doe Dorie I give.
· 04:40 – So give two SO two or four. You’re giving a book to the girl
· 04:47 – you need to put her Twilight into the dative, where lie to
· 04:53 – the slave said. Woe to the
· 04:55 – slaves serwis. And the ablative is used for by with or from,
· 05:01 – very often with prepositions, and sometimes without
· 05:05 – prepositions. So if we’re going with a sword gladi Yo, and you
· 05:10 – need the ablative case.
· 05:14 – So that also brought in at this point are the second attention
· 05:18 – neuter nouns. The majority of endings from genitive onwards
· 05:21 – are the same as second declension masculine, but what
· 05:25 – you need to note is that in normative singular ends in, Umm.
· 05:30 – And they could have similar. Singular is the same, UM then?
· 05:36 – In the plural, Bella Bella surrendered a so there could be
· 05:40 – some confusion with other nouns. So just be careful. You will
· 05:44 – have to learn a list of neuter
· 05:46 – nouns. Sometimes that’s all you can do, or most
· 05:50 – times all you can do you have to learn the list.
· 05:54 – And finally, this week will be looking at prepositions which
· 05:59 – take the ablative, and they’ve got our AB by or from.
· 06:05 – AOX from out of so the difference between R and AB or A
· 06:10 – at X if it’s just the R or the A, The next word begins with a
· 06:16 – consonant. If the next word begins with a vowel, will have
· 06:20 – to say AB or X come means with…

The Ure Museum: The Nine Lives of A Mummified Cat’s Head

By Dr. Claudina Romero Mayorga, November 2020.

This year’s edition of Heritage Open Days (11-20 September) at the Ure Museum was a bit different. For the annual HOD we would normally host a talk and open the museum on a Saturday with free activities for families, but the pandemic forced us to step up and go virtual. What could we offer to attract people back to their computer screens during a time when families had already been online for 6 months!?

Since the theme for this year was “hidden nature” we chose to focus on the mummified cat’s head that is spending its afterlife in one of our cases. Our staff and some colleagues in the Department of Classics created a series of short videos under the title “The 9 lives of the Ure Museum’s cat’s head”. Each life of the cat – and each day of the festival – would be devoted to discovering a specific aspect of our feline. After all, the internet loves cats.

Dr Hana Navratilova started with Bastet and the wide range of powers that this Egyptian goddess displayed. Prof. Ian Rutherford then offered a refreshing and honest point of view: what we know–and don’t—about the ancient Egyptian custom of sacrificing cats. Dr Claudina Romero Mayorga gave us a gory insight into the mummification process and a step by step guide to mummifying a sardine (and to keep our cat well fed in the afterlife). Prof. Rachel Mairs provided us with an eco-friendly vision of ancient Egypt by focusing on how papyri were recycled into cartonnage.

The Ure Museum curator, Prof. Amy Smith and the assistant curator, Jayne Holly, then reminded us of their important “behind the scenes” work. By tracing back the cat’s provenance—where it comes from, when was it added to our collection, who gave it to us–we discovered bits of our own history. Lending our feline to another museum and running some tests in the lab to become part of the ancient Egyptian Animal Biobank also expanded our knowledge of this spooky artefact.

All videos were posted on our website and advertised on social media, enabling us to engage with people around the world. Our number of followers on Twitter and Facebook rocketed; international institutions liked our posts and we created a series of colour-in pages that accompanied each video for younger kids. In the end, our Heritage Open Days were more accessible than ever. If you missed the videos, you can still watch them at: https://collections.reading.ac.uk/ure-museum/whats-on/cat/.

New Artwork to be Inspired by University Classics and Archaeology Collections

     

A creative take on artefacts in the Ure Museum of Greek Archaeology at the University of Reading will be produced thanks to Meeting Point, a scheme putting art in unexpected places.

The Ure Museum, in the Classics Department, located in the Classics Department in the Edith Morley building on the Whiteknights campus, has been chosen as one of six museums and heritage sites to work in partnership with artists to commission a new work of art inspired by each venue.

The Meeting Point programme is led by contemporary arts agency Arts&Heritage, which supports small and medium scale museums to put art at the heart of their programmes and to forge new relationships between the contemporary arts and heritage sectors.

Professor Amy Smith, Curator of the Ure Museum and Head of the Classics Department at University of Reading, said: “Meeting Point is a great way to keep museums at the forefront of cultural activity, that is, to help ever wider audiences see the connection between contemporary creative arts and the collections of historical, archaeological and sociological information encapsulated in our museums.

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We are really looking forward to discovering how artists might respond to different aspects of our collection, perhaps even our archives which themselves tell great stories about those who collected and curated the collections in the 19th-20th centuries. We are also hoping to recruit an artist who is interested to share their creative process with the students.”

The Meeting Point programme has previously worked with venues in the North East, North West and the midlands, partnering more than 20 museums with artists from across the UK.

As well as commissioning a new artwork which responds to their collection, each venue also receives training in best practice for working with artists.

Steph Allen, Executive Director at Arts&Heritage, said: “Arts&Heritage works with museums and heritage sites which have little previous experience of commissioning contemporary art.

We’ll be working with these six venues to pair each with an artist who will create a brand new piece of work – which could be anything from sculpture to a sound installation – created especially for the venue and inspired by its history and collections.”

Arts&Heritage is funded as a Sector Support Organisation by Arts Council England through its National Portfolio Organisation funding.

The other museums selected to take part in the Meeting Point Programme are Didcot Railway Centre; the National Paralympic Heritage Centre in Aylesbury; Furzey Gardens in the New Forest National Park; and‘a space’ arts; and The Brickworks Museum in Southampton.

 

-The Meeting Point Team