Autumn Term 2022 Reading Classics Research Seminars

We are pleased to announce the launch of our Reading Classics Seminar Series for Autumn Term 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 5 October, we welcome a diverse group of speakers from both the UK and abroad in our Departmental seminars. Our Autumn seminar series, ex Africa Semper Aliquid Novi, 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/3BYG7Td! Below you can find a poster with all titles.

 

Full list of titles

5 October

Robert Wisniewski, Warsaw/Reading, ‘Four sermons, some relics, a bishop and a curse: Constructing the cult of saints in late antique Hippo’

12 October

Jo Quinn, Oxford, ‘North African monumental architecture in the Hellenistic period within the frame of regionalism’

19 October

Sam Agbamu, Royal Holloway, ‘Petrarch’s Carthage: Between ‘race’ and religion’

26 October

Elena Giusti, Warwick, ‘Rome’s imagined Africa’

9 November

Jacke Phillips, SOAS/Cambridge, ‘Connecting ancient Egypt, Bubia and Ethiopia and even beyond’

16 November

Timothy Penn, Oxford, ‘The boardgames of Roman and post-Roman North Africa: A regional perspective on personal leisure in the past’

23 November

Elena Chepel, Vienna, ‘Dramatic competitions in Ptolemaic Egypt: New papyrus programme for the royal festival of Theadelpheia’

 

Professor Smith visits the Antipodes

During August 2022 Professor Amy Smith served as R.D. Milns Visiting Professor at University of Queensland, in Brisbane, Australia. Since Australia’s seasons are the opposite of ours, August is a great time of year to find hives of academic energy in antipodean Universities. Queensland’s early Spring feels like a comfortable Reading Summer: Amy’s hosts did a good job of getting her to meet the local flora & fauna and enjoy the watersports!

Classics at Queensland is part of a larger School of Historical and Philosophical Inquiry, just as we at Reading join with historians and philosophers in a School of Humanities. At Queensland, however, these postgraduates have an open plan work area that includes a kitchen and is surrounded by their teachers’ offices, one of which Amy was allocated during her short stay. And just as we have our Ure Museum, UQ Classics benefits from its own museum, named in honour of Prof. R.D. (Bob) Milns. On her first few days, therefore, Prof. Smith explored the Museum’s immense collection of fragments and spoke to the students—UQ’s Classical Society—about ‘Disiecta Membra or How to find value in fragmentary pots’.

Many of these pots were—unsuprisingly—late black figure Attic (Athenian) fragments, which fed into Prof. Smith’s presentation to UQ’s ancient history research seminar, on ‘The search for ancient Greek women at the feast’. The R.D. Milns Museum and perpetual endowment fund, which funded Amy’s visit, were created in large part with support from the Friends of Antiquity, a group of alumni, scholars and other teachers, who meet at UQ on a monthly basis to hear from local and international speakers. A highlight of Amy’s visit therefore was her public talk to the Friends of Antiquity, on Festival ware for Athenian women’. This and her ancient history seminar talk relate to research she’s preparing with Katerina Volioti (Roehampton) for a book to be published by University of Wisconsin. At her last public lecture, for something completely different, however, Prof. Smith spoke on ‘Hercules: dancing queen’, bringing together her research interests in Herakles, myth, & dance.

On her way to Queensland, Amy took time out of her NZ holiday to catch up with colleagues & collections in Auckland and Christchurch. The University of Canterbury in Christchurch has restored its James Logie Memorial Collection of antiquities, much of which was broken in their 2011 earthquake and redisplayed in the Teece Museum of Classical Antiquities in UC’s Arts Centre, just around the corner of the Canterbury Museum and on the same block that the (jn)famous Wizard of New Zealand could be found during her visit.

Winthrop Hall, University of Western Australia, flanked by statues of Sokrates & Diotima

After her travels to Western Australia, Amy found herself on the doorstep of University of Western Australia (UWA) in Perth where, as in Reading, Classics and Ancient History is ensconced in the School of Humanities. She was kindly welcomed to their Friday seminar, with excellent presentations of current work from two of their postgraduate students, while Emeritus Professor John Melville-Jones, a numismatist, regaled her with stories about ‘referential’ style of the University’s Hackett Buildings, graced even with busts of Sokrates and Diotima. And the next week Reading and UWA postgraduates come together in a conference and exhibition on Monsters: From ancient to modern. Stay tuned for the upcoming release of the Monsters video tour and the online exhibition!

Reading Classics at Rome: A review of the first post-covid study trip

Our undergraduate student, Kieran Evans, shares their experience from the first departmental study trip to Rome after the pandemic—in April 2022—along with a series of exciting and wonderful pictures of Rome! Thank you to everyone who participated to this trip, and particularly to Profs Amy Smith and Matthew Nicholls who organised it and led the tour!   

It started with a 2:15am meetup at the Sports Park building on campus to catch a coach for Heathrow. We left extra early just to make sure we had enough time for any delays or queues caused by COVID-19 restrictions at the airport. Despite being early hours of the morning, everyone was raring to go to Rome, bags packed, and the anticipation of getting to the airport was at a high. We just had to get through security then a rather long wait for the flight at 7am.  

The arrival into Rome, after the flight and coach journey, was only the start of the day in the ‘Eternal city’. We checked into our hotel in the afternoon, to get set for the first trek of the trip. Matthew Nicholls, our tour lead who came over from Oxford University, but in his role as Visiting Professor at University of Reading, walked us through some parts of the southern part of the city, checking out Roman building remains, seeing what remained of the concrete. One major theme of the trip was the material left behind in buildings, mostly the concrete that the marble would have covered up. From the first tour we saw how the massive structures, like the Porticus Aemilia, a long series of arched warehouses for food storage, or acting as a naval dockyard. They were impressive to look at, considering the size and how long they’ve been around, but like many Roman buildings the concrete lost the marble exterior, looted for other construction, or turned into lime. That same afternoon we came across one of the best views of the trip. From the top of the Aventine Hill, you could see across the city with St. Peter’s Basilica to the north peeking above the buildings before it. It became somewhat a preview of what to expect for the coming days, just spectacular. 

On day Two we visited monuments fitting the theme ‘Landscape of Victory’. Amy and Matthew had organised entering the Mausoleum of Augustus, very recently opened to the public. Such a grand monument which held the first imperial dynasty, was left in a state of ruin for years and recently restored for visitors to re-enter. Walking through the crypt we saw how the material again was laid bare, and how the diamond patterns bricks were organised into in the concrete. Some marble—the only marble left—greeted us at the entrance telling of how this place held the ashes of Augustus and his family. The building was remarkable to walk through. Like at all sites on the trip, Matthew and Amy told us everything there was to know, the way it looked when constructed, a wedding cake style of tiers of earth and trees planted on top and the history following. Somewhat surprising to hear was that, when the top tier collapsed, it filled the interior to create a new ground level above the original entrance and a space for a bull fighting arena. 16th-century entertainment turned it into a stage for the sport, then a theatre in the 20th century. It’s restored and the grand entrance is the only way in now, not the archway some 30 feet above it. 

My personal highlight of the trip was later in the day on visiting another monument, the Pantheon. Despite looking majestic from the front with the granite columns and inscription to Agrippa, it took a second to realise what I was looking at when we approached it from the south, only seeing the circular, brick building. Of course, when I finally recognised it, I got a little giddy. About an hour and a half before entering we had a lunch break and some of us found a restaurant on the piazza of the Pantheon. It was somewhat surreal sitting there eating proper Italian pizza and looking at the entrance of this building less than a hundred metres to my left.  

 

The group that went on the trip were great, insofar as everyone got on so well with each other, making meals out easier and so much more fun. Especially the final evening we all had in Rome, dining at Il Matto and drinking plenty of red wine with the excellent food. Amy and Matthew organised an amazing series of tours across the 6 days we were there. I cannot think of how that trip could have been better… maybe if we had another day there?

Summer Term 2022 Reading Classics Research Seminar Series

We are pleased to announce the launch of our Reading Classics Seminar Series for Summer Term 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 27 April, 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/3K8h5lg! Below you can find a poster with all titles and a QR code leading to the attendance link!

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

Full list of titles

27 April

Marion Meyer, Institut für Klassische Archäologie, Universität Wien, ‘Worshiping Athena in Athens: the Panathenaia, the peplos for the goddess, and Some Open Questions’.

4th May

Bernardo Ballesteros Petrella, Corpus Christi College Oxford, ‘Comparing early Greek, Babylonian and Sanskrit epic: the overburdened earth motif’.

11th May 2-5pm, a symposium on ‘Rome: city and country’, in honour of Professor Annalisa Marzano. NB this is an all-afternoon event.

18th May

Carol Dougherty, Wellesley College, ‘ “I’m a strange new kind of in-between thing aren’t I?”: Antigone and the Question of the Foreigner’.

25th May

no seminar

1st June

Michelle Zerba, Louisiana State University, ‘Eleusis at the Intersection of Antiquity and Modernity: The Mysteria, Altered Consciousness, and the Neuroscience of Transformational Experience’.

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

WHAT’s IT LIKE? Episode 5: Prof. Amy Smith –- A Specialist in Art History, Ancient Greek Ceramics & Classical Antiquities.

Interviewee: Prof. Amy Smith. Interviewer: Bunny Waring.
Date: 18th June 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: Prof. Amy Smith

A Specialist in Art History, Ancient Greek Ceramics & Classical Antiquities.

 

 

Name: Prof. Amy Smith.
Area of Specialism: I am a classical archaeologist, with a particular interest in: ancient Greek ceramics; ancient iconography; digital classics; ancient religion & politics; museology; reception of Classical antiquities.
Topics of Interest: All of the above, plus female goddesses (esp. Athena, Aphrodite), heroes (esp. Herakles); red-figure painters (esp. the Pan Painter); sensory archaeology (esp. music); materiality.
Job Title: Professor of Classical Archaeology; Joint Head of the Department of Classics; Curator of the Ure Museum.
Job Responsibilities:

Professor of Classical Archaeology: Teach and research Classical archaeology & related subjects (e.g. ancient Greek language, Greek history); encourage, recruit (i.e. find funding for) & supervise postdocs (currently Signe Barfoed, on a Norwegian Research Council Grant) & PhD students. I get a two new PhD students next year, namely Summer Courts, working on ‘The Archaeology of Hidden Identity’ & Caitlin Laurence, working on ‘Statistical and Digital analysis of 6th-4th c. BC Attic pottery found in Anatolia’; engage with the worldwide community of scholars incl. external examining undergrads (currently at KCL) & postgrads (currently external examiner to Leeds PhD); serving on advisory boards & committees (e.g. editorial board for New Classicists & Claros); outreach to schools & other national audiences); & much else!

Joint Head of Department: I share this job with Barbara Goff (which is a godsend) because both of us have other big administrative jobs that we can’t really get rid of—she’s Departmental Director of Teaching & Learning; I’m Curator of the Ure; we divided it along lines that fit with those roles. So while she does the student-facing things I do the outreach & research, incl. postgraduates for the most part. That entails amongst other things organising and hosting our department’s online research seminars, which we’re now (with the speakers’ permission) beginning to share on our Department’s YouTube account. This term I’ve been working with marketing partners on devising a new department website: fun finding pictures & stories but challenging like so many such projects that come from ‘above’ because fitting into the dreaded ‘template’ stifles our creativity.

Curator of the Ure Museum: Of all of my jobs this is the one that is most variable from day to day, week to week, year to year. I’ve been doing it for nearly 21 years now, during which time we’ve had major analogue and digital projects, like redesigning the Ure’s learning environment (i.e. restyling the place) in 2004-5, creating our own bespoke database (https://uremuseum.org/cgi-bin/ure/uredb.cgi), redesigning (twice) & maintaining our museum website, temporary exhibitions, e.g. our upcoming Spotlight Loan from the British Museum: ‘Troy: Beauty and Heroism’ (21 September-12 December 2021; already twice postponed!). Normal day-to-day stuff includes answering scholarly requests about visiting, studying & using our artefacts & archives for research; representing the Ure Museum at network meetings, conferences, etc.; supervising & supporting but not line-managing two part-time members of staff—Jayne Holly (Assistant Curator) & Claudina Romero Mayorga (Education Officer)—and with them recruiting & supervising (& seeking funding for) interns, volunteers, & other helpers; chivvying members of the department staff to help us out from time to time; seeking small and large pots of money to do pretty much everything; and running our own research activities including seminars etc. We have no internal funding, except for staff, & no external funding unless we go out & find it, so everything is on a shoestring, which means we’re very good at putting interns & volunteers to good use (e.g. on our Museum in a box projects & a forthcoming lesson in a box on democracy with Study Higher).

Introduction

I was born in Libya & my dad took credit for my becoming an archaeologist because he took my mum to Leptis Magna when she was pregnant. I think it more likely that my childhood in London inspired me: museums were free, we lived near them, & I ducked into them when it was raining! My English teacher in preparatory school loved the painter J.M.W. Turner so she developed my art historical interests, while my history teacher in secondary school told us all about Minoan civilisations! Shortly after that, I visited Corfu, which I still remember as my favourite childhood holiday (I was already a Gerald Durrell fan). Archaeology finally won out in university when I was lucky enough to be taught Greek mythology by a bronze age archaeologist (Jerry Rutter at Dartmouth). Before I pursued postgraduate studies at Yale, I took a detour into publishing & after a few years as Assistant Editor of the American Journal of Archaeology (a brilliant opportunity, and fun to live in Boston) I realised that I enjoyed the content of the articles slightly more than fiddling with the layout, proofreading etc. At Yale I got to work with Curator Susan Matheson at the Yale Art Gallery & was torn whether to pursue a university or museum career. So when Reading interviewed me in the Ure Museum I jumped at the chance to combine both.

I am very lucky to have a job doing lots of things I love: teaching, helping younger people develop skills, both in the classroom & in the museum, research & much else. Being an archaeologist I am genuinely interdisciplinary: (1) I like how a combination of sources—material culture, ancient texts, scientific analysis, etc.—help us piece it all together; (2) I don’t have to restrict myself to one time period, culture group, or place, because of course cultures have always bumped shoulders with each other and (3) the more I study antiquity the more I realise the importance of intellectual history, that is, understanding how and why our society has inherited perspectives gained from other cultures & societies that have responded to the ‘Classics’ since antiquity

What is your daily life really like?

Working from home during lockdown gives me more of a pattern than I used to have, but either way, I tend to wake up early, take a swim or a run or both, eat a big breakfast (I keep chickens!) and then settle down to my laptop, reading, answering and/or deleting the tonnes of emails I receive. This is all interspersed with meetings & classes in term time, checking my schedule for upcoming deadlines for grant applications, presentations or papers I’ve promised to give, references I need to write, teaching sessions to prepare and the associated marking. Summer term, which is never-ending in times of COVID19, is dominated by marking. If the sun is shining, I might try to take a midday break in the garden or take a walk/cycle ride to an errand, just to get me out of the house. For research, (that I prefer to do in a library), I try to block off time either a whole day or at least a whole afternoon to let me get in the right mindset, but there’s never enough time for research, especially during term time. If I’m doing research or writing at home sometimes a quiet evening might give me the chance to focus without noticing the time passing. I’m a big multitasker so I might cook at the same time (I’m a firm believer in slow cooking, including sourdough bread). Now that we’re allowed into the Oxford libraries again I’m booking as much time as I can—including weekends—to research there.

The Museum work is interspersed throughout my Professor work and often indistinguishable from it, visavis research. A lot of people both within & beyond the University treat me like I’m either Curator or Professor or Head of Department or even web editor, i.e. like I’ve only got one job! Since the first lockdown, I’ve had had weekly meetings with my Ure colleagues so that we can touch base with each other on our many initiatives & what the various interns/volunteers are doing with/for us. In many ways, my curatorial work is my most important ‘teaching’. I’m very proud of the huge number of assistant curators, interns & volunteers we’ve had in the Ure over the years: some have gone on to get their MAs or PhDs & become successful curators or other museum professionals, teachers, lecturers, researchers, editors, filmmakers. I’m just as proud of the others who have developed skills from time spent in museums & academia, such as event planning and marketing.

What is the best part of your job?

The best thing about my job is that no two days or weeks or years are the same: I have worked in lots of different & very wonderful places, with amazing & interesting people.  I have flexibility with my schedule, although—especially nowadays—our work is never done (and this is the worst part). Like most academics, I do maybe an average of 1.5 x more hours than my employers think.

Why do you think your specialism is important?

My work is important for 3 big reasons.
(1) Teaching, (i.e. helping young people learn about their world & how they might contribute to it), is an essential thing & a great privilege.
(2) We need to learn from the past! Archaeology helps us fill in the gaps provided by the biased texts, giving us perhaps a more honest glimpse at real people. To be fair, as an art historical archaeologist I tend to look at the stuff that richer people used, yet it still helps everyone to understand how it has been used, seen & understood by humble people too.
(3) Helping audiences young and old, academic & general to engage with museum content is a brilliant way to bring together teaching, learning about the past, & developing peoples’ interpretative confidence. Anyone can have a good and inspiring interpretation of an artefact that contributes to our understanding of (pre)history. In these three ways, I think I can, and do, make a difference.

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

If you’ve read this far you’ll know that I’ve dabbled in editorial & museum work; I was taught my proofreading skills when I worked as a paralegal intern! So I’m sure I could apply myself to all of those tasks, ‘tho my best friend in high school & I dreamed of opening a bakery, & I sometimes think that I might enjoy running a pub or café on the river.

Did you always want to be what you are today?

No, only since I watched Indiana Jones (Raiders of the Lost Ark). Actually, that film gave me the excuse to study ‘Classical Archaeology’ as an undergraduate, but throughout that degree, my MA, MPhil & PhD, I just thought I’d push it as far as I could (& as long as I could get funding for my studies—see below). Imagine my surprise when I actually got a job (at Tufts University) & started to think I might actually become a Classical Archaeologist!

Where do you hope to be in 5 years time?

I hope to be a Professor, still at Reading (perfectly situated between London & Oxford, with excellent access to airports), but perhaps not Joint Head of Department anymore. I hope that I’d have had the chance to visit China (I was scheduled to go there in March 2020!) & to take up my Visiting Professorship at University of Queensland (postponed since Autumn 2020) & much more in terms of travel to collections, conferences, etc. If universities go belly up then I’d like to be sailing around the world.

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

Don’t pursue academia unless you’re doing it for the knowledge & fun; that is, don’t just do it for the career/job because that might not ever happen. So keep your eyes opened for other opportunities & don’t be afraid to jump out of your comfort zone. The best advice (which I’d like to pass on) was from a friend of a friend in the finance office at Boston University. She said ‘don’t bother with a PhD unless you get a fellowship’. The logic, that if you don’t rise to the top of the pile (of students) at that stage then it will be hard for you to rise to the top later in your career, is unfortunately true. That said, whatever you choose to do, put your all into it, make it work, and have fun: your own enjoyment will enthuse others & make everyone (including yourself) enjoy it that much more.

What to know more?

Head over to the Ure Museum for our new exhibition on Troy or read about the fascinating foot vase at the top of this article here.

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).

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: https://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)

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.

Microsoft Teams meeting

Join on your computer or mobile app Click here to join the meeting

Or call in (audio only) +44 20 3443 6294,,199742746# United Kingdom, London

Phone Conference ID: 199 742 746#