The Department of Classics at Union College seeks to appoint a classicist for a one-year visiting appointment at the rank of instructor or assistant professor that will begin in September 2010. The area of specialization is open, but we look for evidence of successful beginning language instruction as well as an area of research that could serve as the basis for interdisciplinary contributions to the curriculum more widely (examples include, but are not limited to, ancient technology, art, archaeology, science, women’s studies, religion). Union employs a trimester system, and the normal teaching load is two courses per term. Teaching competencies must include ancient Greek and Latin at all undergraduate levels as well as general courses in translation. For higher rank and salary, the Ph.D. must be in hand by August 2010. Visiting faculty are eligible for travel and research support, and our salaries are competitive. Further information about Union College may be found at http://www.union.edu. Applicants should send a standard dossier, including cover letter, writing sample, c.v., and three letters of recommendation. The committee will interview selected applicants by phone. Applicants should indicate how they can be contacted most easily. Applications should be directed to the attention of Mark Toher, Department of Classics, Union College, Schenectady, New York, 12308. Review of applications will begin on April 30, 2010, and will continue until the position is filled.
Union College is an equal opportunity employer and strongly committed to student and workforce diversity.
Month: May 2010
CONF: Belief and its Alternatives in Greek and Roman Religion
Seen on Classicists (please send any responses to the folks mentioned in the quoted text, not to rogueclassicism!):
Belief and its Alternatives in Roman Religion
School of Classics, University of St Andrews, 2-3 July 2010Organiser: Ralph Anderson (St Andrews)
Speakers: Robert Parker (Oxford), Tom Harrison (Liverpool), John Cottingham
(Reading), Peter Harrison (Oxford), John Scheid (Collège de France), Hugh
Bowden (King’s College London), Pramit Chauduri (Dartmouth College), Esther
Eidinow (Newman University College, Birmingham), Ido Israelowich (Tel Aviv),
George van Kooten (Groningen), Jennifer Knust (Boston), Jacob Mackey
(Stanford), Teresa Morgan (Oxford), Peter van Nuffelen (Ghent), Ivana and
Andrej Petrovic (Durham), Shaul Tor (Cambridge), Ralph Anderson (St Andrews)Full details, including a booking form, are available at the conference
website http://www.st-andrews.ac.uk/classics/conferences/Belief/ and
registration is now open.
Carin Green on Tutulina, Sessia, and Messia
- Image via Wikipedia
I think this will be the last one from the Toledo series that I post today … one could kill a lot of time with these:
The Circus Maximus is generally considered a place of spectacle where emperors indulged an impotent public with displays of power and largess to ensure public complacency. Romans gave up their freedom for “bread and circuses” Juvenal famously says. It makes good copy (or Juvenal would not have said it), but it overlooks the importance of the goddesses whose place on the spina, the central spine of the Circus, put them at the heart of the drama, both in the races and in the theater, that took place there. Three goddesses, the protectress Tutulina and her companions Sessia and Messia, goddesses of Rome’s vitality and wealth, and the goddess Victory, all had shrines on the spina, which, not coincidentally, marked the sacred boundary of Rome. Rituals and ritual drama of crisis, sacrifice, and triumph, performed by the Vestal Virgins, among others, throughout the year at these shrines taught the audience about the power these goddesses had to defend Rome. The significance of the Circus as the place in which protection and safety were reified by divine power in feminine form was so much part of Roman culture that even after non-Christian rites were officially suppressed in Rome (ca. AD 380), Romans turned to it in times of crisis. Both St. Augustine and Pope Leo bitterly lament the fact that when the Goths sacked Rome in 410, and for decades after, the Romans sought the reassurance of the Circus at the times of the old rituals, rather than attending to the martyrs’ churches. Interestingly, the earliest martyrs’ churches in Rome seem to have been built in imitation of the layout of the Circus.
Carin M. C. Green is Professor and Chair of Classics at the University of Iowa. She received a B.A. in Latin from San Jose State College, an M.A. in Latin from the University of Texas, and a Ph.D. in Classics from the University of Virginia. She teaches courses in Latin composition, Augustan poetry, Roman religion, Lucan, and Greek prose. Her book, Roman Religion and the Cult of Diana at Aricia, was published by Cambridge University Press in 2007. She is currently—when not occupied with departmental administration—working on a monograph about the Roman deity Consus and the Vestal Virgins.
Andrea Mall on Roman Domestic Decor
- Image by Tintern via Flickr
I suspect this one from the Toledo Museum of Art will be popular among our readers:
Andrea Mall discussed room groupings in Roman domestic architecture and their decoration at the Toledo Museum of Art. These suites of rooms, or diaetae as they were called in Latin, likely had their origin in lavish villas along the Bay of Naples. She first examined the extraordinary prototypes at the Villa of the Mysteries and the Villa at Boscoreale, then shifted to explore how Pompeians incorporated these decorative schemes into their urban homes. The Romans used several ways to distinguish suites from the rest of the home. Rooms could be associated through their architectural design, as in the House of Vettii; which has a suite consisting of successive rooms that recede into the residence. Rooms could also be linked through mythological depictions as in the House of the Centenary, whose frescoes display several myths, all tied together by a common theme of sacrifice. In the House of the Gilded Cupids, a suite likely intended for use by a woman, is completely devoid of men and focuses on feminine iconography.
Andrea Mall received her undergraduate degree in Classical art and archaeology and Latin from Franklin and Marshall College in Lancaster, Pennsylvania, and her master’s degree in Art History from the University of Texas at Austin with a focus in ancient art. In 2002, she participated in an Etruscan excavation at Poggio Colla in Tuscany, Italy. She moved to Toledo in 2006 to work with Dr. Sandra Knudsen on the exhibition In Stabiano featuring frescoes from villas located on the Bay of Naples. She has since taken a permanent position at the Toledo Museum of Art as the Assistant Registrar for domestic loans and exhibition. She recently made her publishing debut by contributing entries to the Toledo Museum of Art’s Masterworks publication.
CFP: Scholia 20 (2011)
Seen on various lists (please send any responses to the folks mentioned in the quoted text, not to rogueclassicism!):
SCHOLIA
http://www.otago.ac.nz/classics/scholia
Studies in Classical Antiquity
ISSN 1018-9017Information about SCHOLIA and its contents is available at
http://www.otago.ac.nz/classics/scholia.After a period of three years of not accepting submissions in order
to clear a large backlog, SCHOLIA began list year to accept articles
for publication in volume 19 (2010). SCHOLIA is now accepting
articles for publication in volume 20 (2011). Potential contributors
should read the ‘Notes for Contributors’ located at the SCHOLIA
web site and at the back of the journal and follow the suggested
guidelines for the submission of manuscripts. Electronic submissions
are preferred and should be sent directly to the editor at
william.dominik AT otago.ac.nz.SCHOLIA features critical and pedagogical articles on a diverse
range of subjects dealing with classical antiquity, including late
antique, medieval, Renaissance and early modern studies related
to the classical tradition. It also includes review articles, reviews
and other sections dealing with classics.SCHOLIA and SCHOLIA REVIEWS (volumes 1–18) have
published 954 contributions by 360 scholars and academics at
179 universities and other institutions in 32 countries. SCHOLIA has
been distributed to institutions and scholars in 43 countries.SCHOLIA is archived in ProQuest and Informit, indexed and
abstracted in L’Année Philologique, indexed in Gnomon and
TOCS-IN, and listed in Ulrich’s International Periodicals
Directory. SCHOLIA REVIEWS, an electronic journal that
features the pre-publication versions of reviews that appear in
SCHOLIA, is available at http://www.classics.ukzn.ac.za/reviews.
rogueclassicism 