CFP: The Ancient Lives of Virgil. History and Myth, Sources and Reception

Seen on the Classicists list:

‘The Ancient Lives of Virgil. History and Myth, Sources and Reception’
Cambridge, 5-7 September 2013
Call for papers

The tradition of ancient lives of poets (and other intellectuals) has attracted considerable attention in recent years, and the reception of Virgil has been studied over an increasing range of literary-historical, cultural-historical, and political perspectives. This conference in September 2013,organized by Philip Hardie and Anton Powell, will aim to bring into dialogue philological and historical scholarship on the Lives of Virgil together with more recent approaches to ancient
biographical traditions and to legends about poets. There will also be papers on the reception and elaboration of the Lives in the post-classical world, and on the relationship of the Lives to portraits of Virgil.

The provisional list of speakers includes Marco Fernandelli, Barbara Graziosi, Philip Hardie, Stephen Harrison, Andrew Laird, Irene Peirano, Anton Powell, Hans-Peter Stahl, Fabio Stok, David Scott Wilson-Okamura.

This is a call for short papers of c. 20 minutes, on any aspect of the topic. Please direct
expressions of interest to Philip Hardie: prh1004 AT cam.ac.uk

CONF: Gendered Perspectives on Reading and Reception of Classical Texts

Seen on the Classicists list:

International Interdisciplinary Conference on Classical Greek and Roman Literature: Gendered Perspectives in Reading and Reception
April 1, 2012

Sponsored by the Department of Classics at the University of Maryland, College Park
Organized by Judith P. Hallett (Classics); Jane Donawerth (English); Caroline Eades (French: School of Languages, Literatures and Cultures)
Honoring the scholarship and teaching of Barbara McManus, Professor Emerita of Classics, College of New Rochelle

The conference features a series of presentations by distinguished classical scholars from North America and abroad whose work has provided gendered perspectives on both ancient Greek and Roman literary texts and later responses to these texts. It also highlights the work of UMCP faculty members engaged in classical reception research from the vantage point of many other disciplines, spotlighting the arts and in particular film.

Speakers will include Izumi Azikawa (Theatre, Dance and Performance, UMCP), Joan Burton (Classics and Undergraduate Studies, UMCP), Silvia Carlorosi (Italian-SLLC UMCP), Theresa Coletti (English, UMCP), Michael Collier (English, UMCP), Sandra Cypess, Spanish-SLLC, UMCP) , Lillian Doherty (Classics, UMCP), Caroline Eades, Arthur Eckstein (History UMCP), Jacqueline Fabre-Serris (Lille), Barbara Gold (Hamilton), Edith Hall (Royal Holloway, London), Henriette Harich (Basel), filmmaker Judith Dwan Hallet, Madeleine Henry (Iowa State), Alison Keith (Toronto), Melanie Kill (English, UMCP), Helen King (Open University), Julie Koser (Germanic Studies-SLLC, UMCP), Rose-Marie Oster (Germanic Studies-SLLC, UMCP), Nancy Rabinowitz (Hamilton), Amy Richlin (UCLA), Martha Nell Smith (English, UMCP), Christopher Stray (Wales and Institute for Advanced Study), Francoise Letoublon (Grenoble).

This conference has been made possible by funding from the UMCP ADVANCE Project for Women (itself funded by the National Science Foundation), a Presidential Initiative Grant from the Classical Association of the Atlantic States, and the Departments of Classics and English, the School of Languages, Literatures and Cultures, and the College of Arts and Humanities at UMCP. It is being held in conjunction with the new seminar series for Classics faculty affiliates as well as with a series of workshops on women and gender in Latin and classics pedagogy held during the spring 2012 semester.

For further information, please contact Judith P Hallett at jeph AT umd.edu

CFP:The Classical Urban Plan: Monumentality, Continuity and Change

Seen on the Classicists list:

Call for papers: European Architectural History Network (EAHN) Conference
Brussels: 31 May-3 June, 2012

Conference Session:
The Classical Urban Plan: Monumentality, Continuity and Change

Greek and Roman monuments have been disappearing from the collective psyche
for millennia; as soon as a new Roman emperor assumed power, for example,
the architectural landscape was reshaped and adapted to suit the new rule.
More recently, the rapid acceleration in the loss of collective memory
through the obliteration of monuments has made clear that ancient
architecture as we have come to know it, is moving away from the physical
realm, to the imaginary psyche. One aspect of it, however, remains: the
urban grid. Even where ancient architecture has been decimated to make room
for new urban and at times, rural spaces, substantial portions of an earlier
ancient grid can be retraced and the wider plan can, to varying extents, be
recovered. This session will shed light on these ‘lost’ urban and rural plans.

We know that individual monuments as well as monumental architectural
ensembles can today be harnessed in the service of memory scripting, just as
it was – as Paul Zanker so brilliantly showed – in Roman Republican times.
Can the same approach be extended to the planning grid? Does meaning change
as the plan is altered? Does memory change? Can an ancient plan reflect a
new cultural, political or social order?

Whether intentional or not, each Classical plan has the capacity embody
specific messages linked to such notions as ‘heritage’ and ‘identity’. While
this is arguably most significant when considering the formal orthogonal
grid, the weight that this infrastructure can bear in terms of cultural
meaning has been underappreciated by current scholia. As such, this session
invites papers focussing on Greek and Roman grid traces – both literal and
figurative. Proposals are particularly welcome which consider ways through
which the collective memory of cities and smaller settlements is altered, if
at all, with the introduction of newly constructed monuments within an
ancient plan. Participants might also address the reciprocity between the
institutional and architectural order of cities; or explore how an entire
city can be monumentalised by virtue of ‘inheriting’ a Classical plan.
Overall, this session will inform theoretical frameworks, thereby broadening
as well as reassessing the existing discourse on ancient urban plans.

Abstracts of no more than 300 words should be sent directly to both the
session chairs (details below) no later than *September 30, 2011*. Abstracts
are to be headed with the applicant’s name, professional affiliation
[graduate students in brackets], and title of paper. Submit with the
abstract, a short curriculum vitae, home and work addresses, email
addresses, telephone and fax numbers.

Session co-chairs:
Dr. Daniel Millette
School of Architecture and Landscape Architecture
University of British Columbia
E: millette.daniel AT yahoo.com
T: 001-604-642-2436

and

Dr. Samantha Martin-McAuliffe
School of Architecture
University College Dublin
Richview, Clonskeagh, Dublin 14
Republic of Ireland
E: samantha.martinmcauliffe AT ucd.ie
F: +353.1.283.7778
T: +353.1.716.2757

Further information can be found at:
http://eahn2012.org/

Also Seen: What That ‘Ides of March’ Coin Fetched at Auction

The incipit of an item at Numismaster:

One of the most sought-after of all coins was included in the September Long Beach sale of Heritage Auction Galleries: an EID MAR (“Ides of March”) denarius struck by Marcus Junius Brutus, assassin of Julius Caesar. In a 2008 vote of leading numismatists to find the 100 Greatest Ancient Coins, this coin was chosen by as #1. At hammer-fall the Heritage offering had found a new home for $546,250 including premium, making it by far and away the most valuable ancient coin ever sold by Heritage. […]

via: Brutus Denarius Commands $546,250

On the Iliad’s ‘Sudden’ Popularity in the UK

Item from Channel Four, largely on the efforts of the Classics for All folks, but also delving into Madeline Miller’s recent gloss on Homer:

I have a confession. I never studied Latin, let alone ancient Greek. And I’ve never read the Iliad. That probably puts me in the majority. However, I now want to. That’s down to Madeline Miller, an american classicist with a total passion for all things mythological.

Ms Miller has rewritten the Iliad as a gay love story. ‘Song of Achilles’ movingly tells the tale of the swift-footed warrior of the Trojan War and his relationship with his friend Patroclus. If you look back to Homer, it’s not a stretch to conceive of their relationship as a homosexual one (Plato did too). Achilles’ grief when his friend is killed in battle is always epic – tragic – even over the top.

Ms Miller seems to be tapping into a new interest in a story that’s more than 2,500 years old. There are three new translations of Homer’s Iliad out this month and next, plus an Iliad-related poem, Memorial, by Alice Oswald.

But the world of publishing isn’t alone in turning to the classics – there’s also a drive to get them back into schools. Classics For All – backed and funded by amongst others, the Mayor of London Boris Johnson – aims to get 100 extra state schools teaching the classics every year until 2020.

Who knows – perhaps one of those pupils will end up doing to the Odyssey what Madeline Miller has done to the Iliad – now what could you do with that tale?

There’s a nice little video report at the above link … worth a look …

 

UPDATE (the next day): my spiders found the video:

Another Krater Returning to Italy

This time, from the Minnesota Institute of Arts … in a press release therefrom we read:

The Minneapolis Institute of Arts (MIA) has agreed to transfer a 5th century B.C. Greek volute krater acquired by the MIA in 1983 to U.S. Immigration and Customs Enforcement’s (ICE) Homeland Security Investigations (HSI) for delivery to Italy.

The MIA became concerned with the provenance of the object and contacted the Ministry for Cultural Assets and Activities of the Italian Republic (Ministry). Both the Ministry and ICE HSI provided information about the krater to the Museum. Working collaboratively with the Ministry and ICE HSI and after evaluating the information provided by the Comando Carabinieri per la Tutela del Patrimonio Culturale, as well as its own research, the Museum determined that the krater should be transferred to Italy.

After analysis by an archaeology professor at La Sapienza University in Rome, it was determined that the krater in possession of the MIA is, in fact, the same krater depicted in photographs seized in the course of an investigation conducted by the Comando Carabinieri per la Tutela del Patrimonio Culturale in 1995. The krater likely originated from the archaeological area of Rutigliano, in the Province of Bari, located in the Italian region of Puglia in Southern Italy according to the professor.

The Italian Minister of Culture, Giancarlo Galan expressed his satisfaction about the successful outcome. “This success was possible because Italy has chosen the diplomatic route in order to obtain the return of certain objects which might have provenance questions. I take this occasion to thank the Minneapolis Institute of Arts for its cooperation and look forward to future collaboration with them in many areas of mutual benefit.” “The decision to transfer the Volute Krater demonstrates the MIA’s commitment to the highest ethical standards in developing and maintaining our collection,” said Kaywin Feldman, director and president of the Minneapolis Institute of Arts. “Like so many mysteries, this one began with a fragmentary series of clues, calling into question the provenance of work. We are grateful to our colleagues at the Ministry for Cultural Assets and Activities and officials at Homeland Security Investigations for working collaboratively with us to provide information and resolve any ambiguity about this object.”

A krater is a vessel used for mixing wine and water in ancient Greece. “Volute” refers to the vase’s ornate, scrolling handles. The vase is decorated in the “red-figure style” showing a lively procession with the wine god, Dionysus, and an entourage of satyrs and maenads, or female devotees. The krater is believed to have been decorated by an artist known today as the Methyse Painter (the actual names of early artists were rarely recorded), from whom about twenty works have been identified.

A delivery date to the Italian government is being finalized.