Seen on the Classics list:

We invite undergraduate and graduate students to take part in an archaeological fieldschool focusing on the remains of a large, 2nd century CE, probably imperial Roman villa in Genzano di Roma, about 20 miles south of the center of Rome next to the ancient Via Appia in the modern town of Genzano and the ancient territory of Lanuvium, during July 3-29. The 2011 season, which is our second campaign of investigation at the site, will further explore a large curving structure that is rich in multicolored glass mosaic fragments and in fragments of expensive floor and wall marble covering, as well as following up on results of geophysical surveying we conducted in 2011. No previous archaeological experience is required. Students will experience all aspects of archaeological fieldwork and will receive 6 semester hours of credit through the Department of Classics & General Humanities at Montclair State University. Cost is $3,500 plus airfare and tuition, which varies depending on in-state or out-of-state status.

People who are interested may contact Dr. Deborah Chatr Aryamontri, aryamontrid AT mail.montyclair.edu, or me, rennert AT mail.montclair.edu

Further information is available at
http://www.montclair.edu/GlobalEd/studyabroad/summer/institutes/summerabroad/Genzano/index.html

Seen on Aegeanet:

The Department of Greek and Roman Classics at Temple University invites
applications from candidates for a possible (pending final budgetary
authorization) non-tenure-track, full-time position for 2011-12. This
position will appear in the March Positions for Classicists.

The department has particular needs in Latin language and Roman culture.
Evidence of successful teaching experience, especially in first-year
language and civilization courses, is essential. Some of the teaching
will be in Temple’s foundational General Education course, Mosaic
(http://www.temple.edu/provost/gened/courses/MosaicHumanitiesSeminar.html).
This position has the possibility of renewal, pending continued funding
and satisfactory performance. Candidates should send *ONLY* a cover
letter, by e-mail, with curriculum vitae (as attachments, preferably in
PDF format), indicating ability and experience for teaching Greek, Latin
and classical culture courses at all undergraduate levels.

*Candidates should only send dossiers if requested.*

Address applications to Professor Robin Mitchell-Boyask,
robin AT temple.edu. Our mail address
is: Department of Greek and Roman Classics, 321 Anderson Hall, 1114 W.
Berks St., Temple University, Philadelphia, PA, 19122. Review of
applications will begin immediately, and will continue until the
position is filled. To receive full consideration initial applications
should arrive by 31 March 2011.

Questions and informal inquiries are welcome. More details about this
search are available at http://www.temple.edu/classics/jobs, and
candidates are urged to consult this page before sending their applications.

Temple University is an Affirmative Action/Equal Opportunity Employer
and encourages applications from women and minorities.

Seen on Aegeanet:

STAGING DEATH: FUNERARY PERFORMANCE, ARCHITECTURE AND LANDSCAPE IN THE AEGEAN

113th Archaeological Institute of America Annual Meeting, Philadelphia, JAN 5-8, 2012

Colloquium organizer: Anastasia Dakouri-Hild (University of Virginia)

The performance of funerary rituals reinforces a sense of community, being a means to revive social memory and legitimize links with an ancestral past. Such rituals tend to be highly formalized and performed in specific contexts, times and places which set them apart from everyday life. They require a ‘stage’ (such as the cemetery and the site of a grave), a performer (such as a priest or priestess) and an audience (e.g. the attending members of a funeral). Funerary performance is highly communicative, a form of enacted, symbolic language articulated through material culture. The study of performance casts light on how social relations and mortuary beliefs were conceived and communicated within a society on the occasion of a particular event.

In the Aegean, the concept of funerary performance has been explored primarily through the study of cultic implements and artifacts employed in ceremonial processions, libations, feasting, the treatment, adornment and purification of bodies, offerings to the deceased etc. This session is meant to further explore the performative aspects of mortuary space, landscape and architecture in particular. We invite contributions on the semiotics of landscape, choice of burial areas, cemetery arrangement, interrelationship of mortuary and residential space, relationship of cemeteries or particular graves with prominent natural (hills, rivers) or other features (e.g. roads); the monumentality of tombs as a factor contributing to their theatricality; the architectural design and ‘domesticity’ of chamber tombs (doors, thresholds, benches, platforms, wall paintings); the arrangement and usage of associated structures and features, both interior and exterior; iconographical representation o

f funerary architecture etc.

Please send a 200-word abstract toad9h AT virginia.edu by Friday, March 25th.

Seen on Aegeanet:

Re-creation: Musical Reception of Classical Antiquity
A conference at the University of Iowa, October 27-29, 2011

Conference organizers: Robert Ketterer (University of Iowa), Andrew Simpson (Catholic University), Greg Hand (University of Iowa)

The power of music in Greek and Roman myth to move gods, men and even inanimate objects, and the descriptions of music in the imaginative and theoretical literature of antiquity, have inspired musicians since the Middle Ages to interpret and transform the ancient experience. Composers, librettists, and song writers have responded to the passions of the ancientsin every available genre and style of musical expression. This conference will explore ways that vocal and instrumental music throughout the world has received and recreated the art and culture of the Greeks and Romans. A concomitant goal of this conference is to bring together artists and scholars in many fields – classics, music, theater, film – to engage in meaningful dialogue about the ways in which classical antiquity informs and shapes their own work. Presenters whose specialty is classics areasked to emphasize musical examples in support of their arguments; specialists in music and other performing arts are reque

sted to focus their presentations on the ancient paradigms that have influenced the music of their particular field.

Conference activities will include lectures, paper sessions, live concerts, and a screening of silent films accompanied by live music composed by Andrew Simpson. Speakers who have already committed to the project include Mary-Kay Gamel (UC Santa Cruz), Simon Goldhill (King’s College, Cambridge), Wendy Heller (Princeton University), Jon Solomon (University of Illinois, Urbana-Champaign), and Reinhard Strohm (Wadham College, Oxford). Concerts will include a performance by Iowa’s Center for New Music,and the first opera for which music survives, Jacopo Peri’s Euridice, premiered in Florence in 1600.

Scholars and artists interested in participating are asked to submit abstracts on relevant subjects that include, but need not be limited to:

• Stage music (e.g., opera, musical theater, incidental music)
• Choral and vocal music
• Instrumental music (e.g., chamber, orchestral, wind ensemble)
• Music for film, including silent film
• Electronic and digital music
• Interactive media including music
• Popular and folk music
• World (i.e., non-Western) musical responses to classical antiquity
• Social or political uses of antiquity in musical settings
• Ancient music theory and modern musical practice

The University of Iowa Classics Department’s journal Syllecta Classica will publish a collection of refereed papers from this conference. Syllecta Classica is available through Project Muse.

One-page abstracts should be sent as an electronic attachment to Professor Robert Ketterer, University of Iowa by April 15, 2011 (robert-ketterer AT uiowa.edu).

Seen on the Classics list (sorry for the short notice on this one)

Happy Talk: Diversity of Speech in Greco-Roman Comedy and Satire

Sponsored by the Society for the Oral Reading of Greek and Latin Literature
Organized by Andrew S. Becker and Jerise Fogel

This panel will examine linguistic diversification in Greek and Roman comedy
& satire (broadly meant, to including any comic or satiric texts), including
dialect, socio-politically differentiated speech, ethnic language,
obscenity, tragicomic or parodic diction, musical and metrical variations,
gendered speech, syntactical variation, or generic play. The study of
language and linguistic turns in Greek and Roman comedy has been flourishing
in the past decade (e.g., the work of Colvin and Willi). Scholarly work on
orality and written discourse has also been a fertile seedbed, including but
not limited to the use of conventions from mime, tragedy, and Homeric
diction (e.g., Slings on comic imitation of vernacular speech and poetic
modes). Perhaps the most fertile source of the energy in the study of the
representation of language in Greek and Roman comedy & satire has been the
growing interest among classicists in the broader cultural contexts within
which the Greeks and Romans worked, played, wrote, and responded to dramatic
performances & satire. We hope to solicit new contributions to these (and
others) areas of research from scholars and performers interested in
exploring linguistic aspects, with a particular emphasis on the spoken joke,
word choice, expression of dialect in the Greek or Latin language, and the
use of speech to differentiate characters with respect to, e.g., class,
gender, ethnicity, status, or age. Presenters are asked to support,
illustrate, and enliven their papers by performing orally their chosen
ancient text or texts.

Abstracts should be sent as attachments to both Andrew S. Becker (Virginia
Tech, andrew.becker AT vt.edu) and Chris Ann Matteo (Stone Bridge High School,
camatteo AT mac.com) by March 15, 2011.

Abstracts must be no more than one page and contain no indication of
authorship. In accordance with APA regulations, all abstracts for papers
will be read anonymously by three outside readers. Please follow the
instructions for the format of individual abstracts that will appear in the
APA Program Guide.