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:! 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 

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 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

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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

Double International Distinction for our Professor Annalisa Marzano

Author: Dania Kamini
Edits: Prof. Amy Smith and Prof. Annalisa Marzano
Date: 27 August 2021

The British School at Rome has elected our Professor Annalisa Marzano as a Research Fellow. This prestigious non-stipendiary position, which Prof. Marzano will hold for three years, provides another testament for her pioneering research in various areas of Roman studies, including Roman social and economic history, and the ideology, social function, and production of Roman villas as seen in the texts of ancient authors and archaeological remains. Prof. Marzano is an expert on Roman marine aquaculture and large-scale fishing, and her research has brought attention to the importance the exploitation of marine resources had in the ancient economy. Her publications explore and provide an original approach to ancient agriculture and horticulture, marine resources, continuity and disruption in the exploitation of economic resources, settlement patterns, the varied nature of capital investments, and trade. Her research has attracted international recognition, including her election as Member of the Academia Europaea last year, thus highlighting her dedication and crucial contribution to the discipline.  

This accolade quickly follows the publication of an Italian updated edition of Professor Marzano’s ground-breaking Harvesting the Sea: The Exploitation of Marine Resources in the Roman Mediterranean — published by Scienze e Lettere — in early July (!  

Harvesting the Sea offers a fresh approach to a challenging as well as interesting area of research, which has long stood at the centre of scholarly attention. Since its first publication by the OUP in 2013, it has received excellent reviews. Prof. Marzano has been considered ‘the first [scholar] providing a synthesis on the Mediterranean basin in its wider commercial context’ (Botte, E. 2015. Exploiting the Sea. JRA 28: 684). Bringing together her teaching and research skills, Professor Marzano provides both an introduction to the relevant studies for those not familiar with the subject and a guide to the reformation of current research on ancient sources. Find an online version of the book here.

A book launch of Un Mare da Coltivare, the Italian edition of Harvesting the Sea, took place at the Parco Archeologico di Baia in Italy on 28th July 2021 and was livestreamed on the Facebook page of the Parco Archeologico dei Campi Flegrei ( An international panel of scholars and researchers from Italy and Spain along with the publisher of the Italian version and the director of the Parco Archeologico dei Campi Flegrei presented and discussed the book. The event, which we were glad to share on our social media (, attracted a wide audience including experts in the relevant research area and friends of the study of Classics.  

The location was indeed a great fit for the content of the book. The archaeological site of the Terme Romane of Baiae, in which the event was held, is a complex measuring more than 10,000 sq. metres on four terraces linked by ramps and staircases, which may have been part of the imperial palace of Baiae or, according to some scholars, a valetudinarium, an ancient Roman hospital. Some highlights from recent underwater archaeological investigations at Portus Julius, the first harbour that served as a base for the Roman western naval fleet at the northern end of the Gulf of Naples, were presented to those physically attending the book launch. The ancient waterfront of Baiae, with its magnificent villas, streets, tabernae etc. is today submerged due to the volcanism and bradyseism* that characterise the Phlegrean Fields. The area with the highest concentration of remains is protected as part of the archaeological park. If you look for a destination to add in your post-covid travel list, then Terme Romane of Baiae may certainly be a good choice, especially if you keep in mind that it is possible to see the submerged remains by booking authorised excursions and either snorkel or scuba dives 

Don’t forget to follow Reading Classics on FacebookTwitter, and Instagram for the latest news, and to subscribe on our YouTube account for a full list of videos and recorded research seminars.    

* Bradyseism is a technical term describing the gradual movement of the surface caused by underground magma chamber, especially in volcanic calderas. 



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




Please register by midday, 25 June at
or by emailing



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
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

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


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

Towards a more inclusive Classics – update on the June workshop

[Update: a nice external writeup of this event has now been published by ‘Mixed up in Classics’ at]

(Posted on behalf of Professor Barbara Goff)

Well, the event exceeded all our expectations.  150 participants registered, including about 30 students and 30 school teachers, and also including colleagues from New Zealand, China, Canada, Brazil, Argentina, Italy, France, Austria, Spain, Greece and Belgium.  It was a remarkable meeting, and my co-organiser and I are so pleased we went the online route – without that, we would never have met so many inspiring classicists.

The Zoom format was a bit daunting at first to manage, but we had excellent technical support from Reading’s very own Dr James Lloyd, and our confidence did grow over the two days.  We adopted a new format for this workshop which we can highly recommend.  Speakers’ materials were precirculated online, and then speakers’ actual presentations were very short – only 5 minutes.  Subsequent to that, questions were posted in the chat and moderated by one of the hosts, after which the workshop went into breakout rooms of about 7 people each, for smaller group discussions.

The chat was astonishingly rich, as people did not only post questions but also numerous suggestions for each other, with links and recommendations of books and websites.  All the chat was saved so it can form part of our final report to the Council of University Classics Departments (CUCD) who will publish it in their Bulletin.  I loved reading all the exchanges, although it was hard work to winnow them when it was my turn to moderate and feed pertinent questions to speakers.  I also loved being in the breakout rooms, where I met a huge range of people interested both in the ancient world and in how to promote new ideas about its diversity.

All the papers were stimulating and many dove-tailed with each other in very rewarding ways.  Highlights of discussion included: how to decolonise the teaching of classics in schools as well as at universities; what role reception studies can play in reconceptualising our relations to the ancient world; how to factor a greater range of texts into teaching in order to understand the diversity of antiquity; how the move of teaching online has enhanced some opportunities, and encouraged people to rethink resources; whether we can rethink Classics without rethinking other aspects of the university and higher education generally; and whether we should consider renaming our discipline.  This was all in addition to more specific discussion generated by the variety of papers.  We closed with a panel that included a teacher, two students, and two academics from South America, who debated specific suggestions towards more inclusive teaching, which will also form part of our report.

Work is now afoot to convene a steering committee who will make the workshop an annual event.  Meanwhile, one of our participants has come up with an ‘Inclusive Unseens’ project, which is crowdsourcing new passages for the Latin GCSE unseen.  Teachers and academics are collaborating to provide passages from a greater variety of places, cultures and social classes across the Roman world. 

It is great to know that there is so much energy for the project of making our discipline more welcoming and better suited to our multicultural world.  If you would like to be part of a new Working Group which links the Department of Classics at Reading with the Department of Archaeology, to investigate the inclusivity of our courses and scholarship, please do get in touch.

Towards a more inclusive Classics

Last autumn – it seems a long time ago! – I was very honoured to be invited to speak on ‘Classics and Race’ at an event hosted by St Andrews.  The organisers were aware of my research on Classics in West Africa, and I was pleased to be able to share that, plus I spoke about books that had recently inspired me, like Superior: the return of race science and Afropean: notes from Black Europe.












Afropean reminds readers of the persistent presence of people of African descent within a European continent that people sometimes think of as ‘white’. Superior starts with a visit to the British Museum, where the neoclassical architecture shows us that ‘Britain framed itself as the heir to the great civilizations of Egypt, Greece, the Middle East, and Rome’.  This cultural power and entitlement expressed itself in many ways, including the domination of non-white people throughout the world.  The legacies of this hierarchical attitude beset us still today.












Both these books invite reflections from classicists who are keen to site our discipline firmly in the twenty-first century, and to foreground a history that need not be one only of exclusion. Although these books address questions of race (even while they query the term), other recent work in Classics has shown how the marginalised populations of women and the working class have laboured to build meaningful relationships with the art, literature and history of the ancient Greeks and Romans.  This is an important reminder about what our discipline can be and do, at a time when numerous communities across the world are protesting the fallout from centuries of racism.













The move to ‘decolonise’ Classics take place in a context when disciplines like History, Art History, and Mediaeval Studies have all had similar developments.  All of these disciplines want to rethink their history and make themselves welcoming to more diverse populations of students and scholars.   The ‘Classics and Race’ workshop was part of this, as was the ‘Decolonising Classics’ workshop organised at Reading by Katherine Harloe and Rachel Mairs, in 2018.













All these intellectual currents came together at St Andrews, and I was delighted when Dr Alexia Petsalis-Diomidis suggested that she and I collaborate to organise a seminar series on inclusive Classics at the Institute of Classical Studies.  Alexia has long been involved in outreach events that promote diversity within Classics, and has a special interest in how material culture can be used in such contexts.

Events quickly overtook us and we found ourselves organising a big one-day workshop instead of a seminar series; our call for papers produced 12 contributions that range widely over topics like how to teach the ancient Persians, how to teach Latin to students with dyslexia, how to make the Parthenon Marbles accessible to blind students, and how to negotiate a career in Classics as a person of colour.  When Covid-19 struck, we realised we had been even more overtaken by events.  We wondered whether to cancel or postpone, but decided the issues were too urgent.  So we agreed to take the event online, and spread it out over two afternoons, so as not to have too much ‘Zoom fatigue’.

The wonderful thing that has now happened is that instead of getting 30 scholars and students from the UK in a room at the Institute in London, we have 106 participants from 11 countries.  Needless to say, we are terrified, but wildly excited too. It is a sign that these discussions are timely and are what people want to engage with.  We are very much looking forward to intense and fruitful conversations, and we must cross our fingers that the new technology can keep up with the ancient discipline.  Have a look at our programme here.

And please feel free to get in touch for further information.

Professor Barbara Goff (

Call for Papers: Rome’s Forgotten Poetry

Rome’s forgotten poetry:

Poetic production between community-based art, folklore, and avant-garde entertainment


Panel in the 13th Celtic Conference in Classics, Lyon 15-18 July 2020


Poetry was an omnipresent element of cultural practice of the Roman world. The corpus of ‘published’ (literary) poetry that survives until the present day, to a very large extent, was the product of individuals who, as members of Rome’s ruling classes or their protégés, would find a medium for personal expression and declaration of feelings and beliefs in their poetic compositions, a way to demonstrate artistic skills and aspirations, a ticket to the limelight, etc. Persius’ first satire, for example, is abundant in references to this role of literature in the 1st c. AD: the satirist finds in his little book the way to express his innermost thoughts (1.120), whereas the majority of poets publish their work in the hope of public attention (1.26-77). 

Not all of the poetic activity of the Romans was made public, however. Poetry was written also casually and shared among friends, either expressing affection or wittiness, as Cicero (Fam. 12.16) tells us about one of his friends. And although the surviving remnants of published evidence is more easily accessible to us, poetic activity was documented more conspicuously in everyday life in the Roman world. For one, messages conveyed in verses inscribed in the walls of Pompeii testify to this, whereas verse inscriptions are visible and tangible reminders of poetic compositions that belonged to the people outside the educated elite and beyond the city of Rome.

Beyond its production, poetic activity was also apparent in recitations and manifold performances that are not necessarily best described as examples of dramatic or performing genres. In a notorious passage, Livy (7.2.1-8) explores the development of what one might loosely describe as forms of scenic entertainment in its various manifestations before the paradigmatic shift associated with Livius Andronicus. However, performances of this type with casual verse composition and exchanges between actors have survived until much later, with the participation and active as well as passive involvement of people regardless their social class. Petronius (Sat. 90) reports such a poetic recitation without the expected results, whereas Persius again in his first satire gives examples of poetic recitations that provoke his criticism (1.15-23, 88-90). All these examples elevate Latin poetry from compositions that were merely produced for publication, recitations and performances with specific settings, and artistic products associated with an educated upper class, to a predominantly cultural activity which was inclusive, with the engagement of people that we do not need to understand as historically or socially determined communities.

Disentangling the widespread, shared cultural practice  from dogmatically imposed social and spatial constraints, we propose to examine the poetry of ‘the people’ in its own right, while including its social dynamics, with a view to how poetry as a cultural activity interacted with society, which role(s) it played to its heterogeneous audiences, and how the Romans construed poetry by perpetually interacting with it. Thus, we will look into the poetics of these compositions and enquire into the extent to which people complied to traditional norms and genres. From a different angle, it is also possible to investigate this evidence and examples as parts or variables of ‘popular culture’, exploiting the framework that has been developed recently by Horsfall (2003), Toner (2009), and Grig (2017). Finally, research on literary developments and poetic compositions as cultural activities will contribute to a better understanding of the Roman poetic landscape, as well as of the Roman literary culture (Fantham 1996). Overall, we believe that this approach is designed to bridge the gap between composition and activity in our studying of Roman poetry, considering literary production across social, ethnic, and linguistic groups.

Within this context, we would like to invite proposals for a panel in the 13th Celtic Conference in Classics (Lyon, 15-18 July 2020). Proposals can address themes and answer questions related, but not limited, to:


  • Evidence for documented but not survived poetic activity and its reception in the historical, social, and literary context.
  • Poetic compositions shared within communities and networks without any intention to be published can be examples of this.
  • Poetic compositions publicly displayed (e.g. inscriptions), but not published.
  • Testimonia of oral composition.


  • Poetics of the poetry of the people: stylization; metres and canons; compliance with or divergence from the traditional forms?
  • Themes in the poetry of the people: love, death, wittiness, satire.
  • Short poetic compositions that cannot be defined in terms of genre.

Poetry as cultural activity

  • Forms and contexts of poetic recitations and performing acts in their historical and literary contexts; the evidence for mime.
  • Literary production that is deliberately associated with or disassociated from social classes and its implications. Poetic composition beyond the city of Rome.
  • Poetic production and/against consumption; different compositions in private/public spheres of cultural activities; was the consumed poetry the same or correspondent to the poetry they composed and/or published?
  • Poetry of the people and interaction with the historical, social, and political contexts. E.g. Suetonius (Ner. 39.1) reports the short compositions against Nero that people circulated or posted.


Confirmed speakers:

Yelena Baraz (Princeton University)

Hans Bork (Stanford University)

Maria Jennifer Falcone (University of Pavia)

Jan Kwapisz (University of Warsaw)

Marie Ledentu (Université Lyon III – Jean Moulin)

Luke Roman (Memorial University)

Christoph Schubert (Friedrich-Alexander-Universität)


Please, send your abstracts (300 words) to either of or both the organisers: Dr Andreas Gavrielatos ( and Professor Peter Kruschwitz ( by the 28th February 2020. We aim to complete the selection of papers by the Ides of March.

Due to some secured funding, a limited amount of money will be used to support participants towards travel expenses and/or registration fees. Priority will be given to those without a permanent post, independent researchers, scholars from under-represented groups, etc.

A Reading student on the island of Chios

(By Naomi Miller, third-year undergraduate in the Department of Classics)

Those who live on the island of Chios will tell you that is the island where Homer was born, lived, and composed the legendary epics. Whilst this in itself may be highly debated among the Classical field, it is easy to be blown away by the landscape – sitting in the hills, overlooking the Aegean Sea, you can easily feel the magic and inspiration that could have inspired such great works.

I was lucky enough to be able to spend some time in Chios over the Summer and had plenty of opportunities to see the island for myself. If you get the opportunity to visit it, there are several sites to visit (for both the Homer and non-Homer fans!):

The south of Chios is the only area of the world in which mastic is produced. Surrounded by the fields that farm these trees are many picturesque medieval villages. Pyrgi is one of them, known famously as the painted village. Almost every house in the village is covered in carved with geometric designs, and it is a beautiful place to enjoy a cold coffee and spend an afternoon wandering around.











Another site worth visiting is perhaps the largest archaeological site in Chios, part of it believed to be a Mycenaean settlement. Interestingly, the Temple of Athena is argued by some academics to be similar to that of a temple described in Iliad, perhaps further adding to the idea that Homer actually lived on Chios and was inspired by what he saw there. Certainly, the views from the top of the settlement could inspire any poet.


















Finally, the site of Daskalopetra, otherwise known as Teacher’s Rock, the rumoured site where Homer sat and composed the Iliad and Odyssey. Although it is now believed to be a temple dedicated to Cybele, it is definitely still a cult site for those who adore the works of Homer. Over the years it has played host to many readings of the epic poems, and dramas in Ancient Greek still are performed in the summer. And if this isn’t enough to interest you, then the Homer Taverna next to the site does wonderful mezze dishes!

I feel very privileged to have had the chance to explore Chios, meet the incredibly hospitable people, and bask in the Homeric world. Whilst I was there I not only was able to further my own learning and understanding for my own research and dissertation, but also learn a great deal about what Homer means to the modern Chians, and experience Greek xenia for myself.


(All photos by the author.)

Reading Classics doctoral student takes part in the Casa della Regina Carolina Excavation Project at Pompeii

(Written by Jessie Feito, PhD student in the Department of Classics, UoR)

In June of 2019, I was fortunate to participate in the Casa della Regina Carolina Excavation Project at Pompeii, a joint enterprise between Cornell University and the University of Reading. The project aims to combine the results obtained from modern technological techniques and excavation practices with data from much earlier excavations in order to investigate domestic material culture and historical change.

Modern excavations of the elite residence, now referred to as the Casa della Regina Carolina (VIII.3.14), began with a small team in the summer of 2018, and were greatly expanded in 2019. The 2019 season focused on trenches in the garden area, and, rather than excavation, I was primarily involved in the archaeobotany.

Archaeobotany refers the study of plant remains preserved in the archaeological record, often by processes including carbonisatioin, mineralisation, or, more commonly in wetter environs, waterlogging. In studying plant remains, archaeobotanists are able to shed light on many aspects of ancient life, including (but not limited to) diet, agricultural practices, past environments and environmental change.

In order to obtain seeds, or ‘macroremains,’ archaeobotanists employ a technique called flotation. During flotation, a soil sample is submerged in water and gently agitated. This allows the plant remains, which are less dense, to float to the surface, while the heavier material such as rocks and pottery, sink to the bottom. The floating material- or ‘light fraction’- is skimmed off the topped and dried, so that it can later be examined under a microscope. The heavier material is often sorted on site.

The samples from the 2019 season have the potential to provide insight into the landscape of the ancient garden, as well as into any activities that may have taken place in such a setting. Previous archaeobotanical work in gardens at Pompeii have yielded carbonised plant remains that have been interpreted as representing the burning of plants as ritual offerings and sacrifices (see Robinson 2002). It will be interesting to see what the results of the archaeobotanical analysis are able to say about the landscape of the garden of the Casa della Regina Carolina, as well as about the uses of the space and how these compare with other garden contexts.

The following photos give a sense of the meticulous procedures involved in archaeobotanical work; they were all taken by Danielle Vander Horst, MA student at Cornell.








Flotation: the flots (plant remains that floated) may be seen hanging in the background.


Flotation in progress













Sorting the ‘heavy fraction’ (the material that sank)










Flotation equipment in its natural setting, a Pompeii street!

A report from the International Congress of Egyptologists 2019

(Written by research associate of Reading Classics, Dr Hana Navratilova.)

The International Congress of Egyptologists 2019 took place in Cairo, where it returned after nearly 20 years. It is a regular occurrence of every four years. This time the meetings took place in one of Cairo’s historic hotels, the Mena House, a place of wartime meetings of the Allied leaders in the 1940s – and with a direct view of the pyramids. However, the programme was both attentive to historical roots, reflected in the conference venue surroundings, and very outward- and forward looking, and as it encompassed several hundred papers of scholars from all over the world, concerned with all historical periods of Egypt between early dynastic to late Antiquity and a rich variety of methodologies. Graeco-Roman Egypt was also represented, as was history of Egyptology and Oriental Studies. One might have wished for even more interdisciplinary papers showcasing the character of modern studies of ancient Egypt, but, truth be said, a full week of intense papers could not have been much extended.

As one of the session chairs, I had the opportunity to appreciate the diversity and depth of ongoing research projects. The afternoon text and languages session on Monday, 4th of November offered a rich outline of ongoing work in Egyptological philology, linguistics, text editing and text materiality. The trends included diversity of approaches, methodological openness and contextualisation. We also discussed the teaching of Greek and Latin versus teaching of ancient Egyptian!