An archive of conferences and previous calls for papers is available here
INTERNATIONAL SOCIETY FOR BOARD GAME STUDIES
Benaki Museum, Athens: 23-26 April, 2018
The 21st annual Board Game Studies Colloquium will be hosted by the Benaki Museum at Athens (Greece), from Monday 23rd April to Thursday 26th April 2018. In collaboration with Véronique Dasen, professor of Classical Archaeology at the University of Fribourg, principal investigator of the ERC Advanced Grant Project "Locus Ludi. The Cultural Fabric of Play and Games in Classical Antiquity" , and Ulrich Schädler Director of the Swiss Museum of Games and partner of the ERC project, the organizers would like to dedicate one entire day to explore ancient game-related material evidence, putting special emphasis on the role of games as vehicle of cultural transmission and interactions. Continuity and reception of antiquity in board games-related materials of different ages, will be also explored. Papers on other aspects of board game studies, in any academic field, will also be equally welcome.
Proposals should aim at a 20-minute presentation in English or in French. They should include the following: • Title • Abstract (max. 200 words) • Author's brief bio, recent publications, institutional affiliations, and academic or other
They should be sent as an email attachment in doc, docx, or pdf format to Barbara Carè, Veronique Dasen and Ulrich Schädler before January 10th, 2018. You will be notified of whether your proposal is accepted by mid-February, and you should then provide a formal abstract of 200 – 500 words by March 15th, 2018. Presentations should not exceed twenty minutes to allow for questions and discussion. PowerPoint or Keynote-type slide documents to support your presentation are welcome. Detailed information on travelling to Athens, accommodation, arrangements for the cultural visits and colloquium dinner, and an online booking facility will be soon provided at http://www.bgs21.com
(CFP closed January 10, 2018)
PLACING MEDEA: TRANSFER, SPATIALITY, AND GENDER IN EUROPE 1750-1800
Uppsala and Stockholm, April 25-27, 2018
Confirmed keynote speakers:
Professor Edith Hall, King’s College London
Professor Fiona Macintosh, Oxford University
The late eighteenth century saw a variety of Medeas performed on stage in Europe ranging from Jean-Georges Noverre’s 1763 ballet Jason et Médée and Richard Glover’s tragedy Medea (1767) to Friedrich Wilhelm Gotter’s successful melodrama Medea (1775) and François Benoît Hoffmann’s and Luigi Cherubini’s opera Médée (1797). Performances took place in Stuttgart, London, Gotha, and Paris—just to mention a few venues. In the same decades texts and scores of these works were printed, reissued, translated, revised, and circulated throughout Europe. Some Medeas of the late eighteenth century never reached the stage but were printed as texts, for example, the Swedish author Bengt Lidner’s opera libretto Medea from 1784 and Friedrich Maximilian von Klinger’s two Medea tragedies, one from 1786 and the other from 1790.
The sheer number of Medea dramas is considerable, which raises questions about why this particular and rather extreme character of ancient tragedy is placed on stage and on the page throughout Europe in the second half of the eighteenth century. As a transgressive character Medea seems to overstep a number of eighteenth-century borders: language borders, nation borders, cultural borders, borders of ideal motherhood and femininity, and genre borders. How is this surging eighteenth-century interest in Medea, one that moves beyond national borders, to be interpreted within a European perspective?
The eighteenth-century Medea has recently received renewed attention from scholars of various disciplines and nationalities. The groundbreaking work of Edith Hall and Fiona Macintosh in publications such as Medea in Performance 1500-2000 (Oxford 2000; with Oliver Taplin) have paved the way for subsequent scholarship. However, several studies focus exclusively on a single nation or language area, and the transgressional trajectories of the European Medea story seem to be a neglected field of study. The conference aims at bringing together scholars from various language areas and disciplines with a focus on the late eighteenth-century Medea. It will address themes concerned with the transgressions of Medea, focussing particularly on space and gender.
The Medea story from Antiquity is certainly concerned with space—the Colchian enchantress betrays her family and flees to Greece with Jason—and the question is how and why this story is translated and transported to different parts of Europe in the late eighteenth century. Is a German Medea identical to a French or a Swedish one? In what sense does Medea in the eighteenth century connect to the literary models of Athens and of Rome respectively? How are Athens and Rome, as models, constructed as real or imagined spaces, in relation to Paris, London, or Stockholm? How does the transgression of genre borders affect the Medea theme?
Gender in the eighteenth-century is connected to spatiality, not least through the concept of the public-private divide. The discussion about Habermas’ conceptual framework was intensified after the 1989 English translation of his seminal Strukturwandel der Öffentlichkeit (1962). The Medea figure poses a challenge to the notions of eighteenth-century femininity as centred on the private sphere: on tenderness, sexual modesty, and motherhood. A question of interest is how this vengeful child murderess from Greek and Roman antiquity fits into the sentimental framework of European eighteenth-century culture.
The conference wishes to highlight the transcultural aspects of the various European Medeas, displayed by gendered spaces, local appropriations, and reconsiderations of otherness. How can we move beyond the national point of departure and incorporate an awareness of the specific local conditions of Paris, London, or Gotha? In what sense do the Medea texts and performances engage in a transfer across language borders, nation borders and cultural borders? And how are these spatial aspects interconnected with gender issues?
The conference is interdisciplinary, bridging disciplines such as literature (comparative literature as well as specific European languages and literatures), theatre studies, gender studies, classical reception, musicology, performance studies, and material culture, and it aims to relate Medea to issues about transcultural exchange in the late eighteenth-century European culture.
We welcome submissions in the form of individual papers (20 minutes). The following topics can serve as guidelines in exploring Medea from 1750-1800: cultural transfer; gender; spatiality; translation and adaptation; the barbarian; public and private; local adaptations and European classicisms; the stage as a gendered space; genre and space in Europe; circulation of performances, texts, and music in a European perspective; reception and performance; music, text, and gesture as a means of conveying passion.
The conference is organized by Prof. Anna Cullhed, Department of Culture and Aesthetics (Literature) at Stockholm University, in collaboration with Theatre Studies, Stockholm University, and the research network AGORA, Uppsala University. It is generously supported by Riksbankens Jubileumsfond (RJ), the Swedish Foundation for Humanities and Social Sciences, which is currently funding the project “Moving Medea: The Transcultural Stage in the Eighteenth Century”, and by the Faculty of Humanities, Stockholm University.
The general programme:
Wednesday, April 25: Keynote lectures in Uppsala—in collaboration with AGORA
Thursday, April 26: Conference in Stockholm
Friday, April 27: A visit to the Drottningholm Palace Theatre
Please send an abstract of 200 words and a five-line biography to email@example.com by 1 August, 2017. For enquiries, please contact: firstname.lastname@example.org
(CFP closed August 1, 2017)
WOMEN AND CLASSICAL SCHOLARSHIP: AN INTERNATIONAL COLLOQUIUM CELEBRATING THE RETIREMENT OF JUDITH P. HALLETT
University of Maryland, USA: April 27, 2018
A one-day international colloquium on women and classical scholarship will be held at the University of Maryland, College Park on Friday, April 27, 2018, to honor the retirement of Judith P. Hallett.
The speakers will include Eric Adler (Maryland), T. Corey Brennan (Rutgers), Sandra Messenger Cypess (Maryland), Sheila K. Dickison (Florida), Jane Donawerth (Maryland), Arthur Eckstein (Maryland), Jacqueline Fabre-Serris (Lille), Henriette Harich-Schwarzbauer (Basel), Donald Lateiner (Ohio Wesleyan), Amy Richlin (UCLA), Diana Robin (New Mexico) and John Weisweiler (Maryland).
A detailed program will be posted nearer the date.
LES NOCES DE PHILOLOGIE ET DE GUILLAUME BUDÉ: L’ŒUVRE DE GUILLAUME BUDÉ AU PRISME DU SAVOIR HUMANISTE, CINQ SIÈCLES ET DEMI APRÈS SA NAISSANCE
Paris, 3-5 mai 2018
Au cours de son existence bien remplie, Guillaume Budé (1468-1540) a conçu, publié, augmenté nombre d’œuvres dont la valeur littéraire et la portée scientifique ont profondément marqué son époque et la postérité, à l’égal de son contemporain Érasme. Or les productions de Budé sont connues de façon inégale, demeurent parfois peu étudiées, non traduites, dépourvues d’éditions modernes, malgré un regain d’intérêt qui s’est déployé tout au long du xxe siècle comme en ce début du xxie. Le colloque « Les Noces de Philologie et de Guillaume Budé » a pour ambition de revenir, à la lumière des recherches les plus récentes, sur les différentes facettes d’une œuvre polycentrique, allant de l’essai historique novateur qu’est le De Asse et partibus eius à l’épistolographie humaniste en grec et latin, des traductions de textes grecs en latin (de Plutarque à Basile de Césarée) à la lexicographie grecque (Commentarii linguæ Græcæ), de l’exégèse des sources du droit romain (Annotationes in Pandectas) aux recommandations politiques de l’« Institution du prince », en passant par les considérations morales et religieuses confiées tour à tour aux lettres, aux digressions et à deux traités indépendants, De Transitu hellenismi ad christianismum et De Contemptu rerum fortuitarum.
À travers l’analyse de ce corpus multiforme, il s’agit en premier lieu de retracer les différentes sources de Budé, intellectuelles et matérielles, filtrées par sa formation hybride de juriste humaniste au sein des cénacles de l’humanisme parisien, depuis le cercle d’hellénistes alimenté par Georges Hermonyme de Sparte, puis par Janus Lascaris, et le groupe de savants réuni autour de Jacques Lefèvre d’Étaples, jusqu’aux premiers lecteurs du roi et aux imprimeurs humanistes de la génération de Robert Estienne, sans oublier sa riche expérience à la cour. Il importe également de bien comprendre les méthodes de travail d’un atelier si surprenant, ce dont la documentation existante fournit d’intéressants échantillons en termes de cahiers autographes, d’annotations marginales, de réécritures diverses. Le style budéen pourrait aussi faire l’objet de nouvelles investigations : comment définir et caractériser la latinité si singulière du prosateur ? Avons-nous mesuré toutes les implications de son recours — et de son amour — pour la langue grecque ? Y aurait-il une manière philologique propre à l’auteur du De Asse, prompt à mettre en œuvre les savoirs antiques ? On n’oubliera pas que Budé le latiniste prit aussi sa part à l’illustration de la langue française, que ce soit avec l’ « Institution du Prince » ou avec l’ « Epitome » du De Asse.
À la convergence de plusieurs disciplines, nous nous proposons d’identifier les parcours que Guillaume Budé a tracés, cerner les passerelles entre les différents noyaux de son écriture, reconstituer l’unité intellectuelle de son œuvre à une époque où la diffusion du patrimoine écrit de l’Antiquité achevait sa première grande saison et ouvrait l’époque des études philologiques spécialisées.
Les propositions, d’un volume de 2000 caractères au plus, sont à adresser à l’un des organisateurs au plus tard le 3 mai 2017, assorties d’une brève présentation bio-bibliographique.
Organisation : Christine Bénévent, EnC, Paris (email@example.com); Romain Menini, Univ. Paris-Est Marne-la-Vallée (firstname.lastname@example.org); Luigi-Alberto Sanchi, Cnrs-I.H.D., Paris (email@example.com)
(CFP closed 3 May, 2017)
EPITOME. FROM FRAGMENTATION TO RE-COMPOSITION (AND BACK AGAIN)
Ghent University (Belgium): May 23-25, 2018
CONFIRMED KEYNOTE SPEAKERS: Virginia Burrus (University of Syracuse) – Jas Elsner (University of Cambridge) – Eva Geulen (Humboldt University of Berlin/Zentrum für Literatur- und Kulturforschung) – Philip Hardie (University of Cambridge) – Jesús H. Lobato (University of Salamanca) – Scott McGill (Rice University) – Grant Parker (Stanford University) – Sigrid Schottenius Cullhed (Uppsala University) – Jürgen P. Schwindt (Heidelberg University) – Michael Squire (King’s College London)
For centuries, the term epitome did not enjoy great appreciation, intuitively connected as it was to an idea of textual recycling and derivativeness. It is thus no coincidence that a number of ages in which epitomatory works witnessed a widespread diffusion - from Late Antiquity up to the long season of humanistic and late humanistic erudition - were equally doomed to an aesthetical damnatio memoriae.
Yet, in more recent years a renovated scholarly enthusiasm has been paving the way for both an aesthetic and heuristic revaluation of these “obscure objects”.
Our aim here is not so much to concentrate on the definition, indeed quite problematic, of a genre called epitome, nor to fall back to that theoretically limiting Quellenforschung whose only purpose was to treat epitomized texts as mines for lost textual sources. We would like, instead, to conceptualize epitomai as the result of two very basic movements, dismemberment and re-composition, and to survey the hermeneutic fields so disclosed. Among others:
• What do we mean by textual integrity? What is at stake here is, of course, the problem of different open, closed, and fluid textualities.
• At what and at how many textual levels can the dialectics dismemberment/re-composition take place?
• Far from being neutral objects or mere shortened reproductions of the so-called primary objects, epitomai establish with them a complex, dialectic relationship. They sometimes end up undermining the primary meaning (the apparent meaning of the primary object). Can we identify a semiotic principle which regulates such an overturning?
If then we take the “text” in its broadest sense, it is not hard to realize that to reflect on epitome means to wonder about the most fundamental mechanisms of cultural memory:
• Should epitomatory gestures be interpreted as auxiliary (continuity) or as contrasting (rupture) to the tradition?
• What kind of relationship can be identified between epitomatory practices and other forms of cultural archiving (chronologies, thematic repertoires, encyclopaedism, museification, cartography)?
• How did the evolution of media influence the epitomatory dimension?
• Can we define a socio-cultural figure to be named “The Epitomizer”? What is its ethos?
On a more literary and aesthetic ground, reflecting on these types of texts may lead us to further questions:
• How could they be related to modernist and post-modern techniques such as collage or montage?
• Generally speaking, we are referring to practices that fissure the textual surface – practices in which the pleasure of the subjects involved in the textual play originates from the creation of a primal void (dismemberment of the primary text) and then by the erasure of this void itself (re-composition), but in such a way that a sense of the void keeps on being perceivable: what about thinking of epitome as a textual embodiment of absence?
• Accordingly, and contrary to the common opinion which tends look at aesthetic systems dominated by the epitomatory dimension as to static ones, does not such an aesthetic configuration show a state of inexhaustible and dynamic tension, of perpetual self-projection towards perpetually absent objects – all the more so as they seem to be conjured up?
Late Antiquity (ca. III c. CE – VII c. CE) provides a fruitful field of investigation, not only for the obvious reason that a great number of surviving epitomai dates back to that period, but also because what we have called the epitomatory dimension seems to have attained at that time a previously unparalleled pervasiveness, retrievable in many cultural phenomena: from the spolia-aesthetics to the literary fondness for centones, as well as, just to mention Latin evidences, the tendency to create textual corpora (Historia Augusta, Panegyrici Latini, Anthologia Latina, hagiographic collections etc…) and the success of corpora-texts (Macrobius’s Saturnalia, Martianus Capella’s De nuptiis Philologiae et Mercurii, Nonius Marcellus’s De compendiosa doctrina etc…). Indeed, the list might easily be made longer by looking at the whole complexity of antique and late antique textual production (Greek, Syrian, etc…).
In the light of the above-mentioned broad theoretical problems we envisage contributions from any field of Classics, History, History of Art, Archaeology, Literary Studies, Cultural Studies, Media Theory, in order to take advantage of diverse expertise and promote an integrated approach to the subject. We would cherish contributions from artists, writers, composers etc. as well.
Abstracts in English, French, and German containing about 300-350 words should be sent
by 15 May 2017 by 18 June 2017 to Marco.Formisano@UGent.be and PaoloFelice.Sacchi@UGent.be.
For further queries please contact PaoloFelice.Sacchi@UGent.be.
ADVISORY BOARD: Prof. Virginia Burrus (University of Syracuse); Prof. Marco Formisano (Ghent University); Prof. Scott McGill (Rice University); Prof. Gert Partoens (University of Leuven); Paolo Felice Sacchi (Ghent University); Prof. Peter Van Nuffelen (Ghent University)
(CFP closed June 18, 2017)
LYRIC BEYOND LYRIC: 'SUBMERGED' TRADITIONS, GENERIC INTERACTIONS, AND LATER RECEPTIONS
King's College London: May 24th, 2018
As early as the Hellenistic period, the study of ancient Greek lyric poetry was identified most predominantly with the study of the nine, major canonical lyric poets and their texts. This process saw the redefinition of lyric as genre and the crystallisation of a lyric canon. The postclassical condition of lyric also influenced its Latin reception and adaptation, as it became an authoritative model for Roman poetry. The existence of an established canon, however, has often pushed to the side-lines of the lyric realm other 'minor' poets and song traditions. At the same time, the incorporation of lyric in other genres has been primarily acknowledged in order to detect quotations of poems or as a source of biographical information about poets. More recent scholarship, however, has broadened these narrow views of lyric by exploring the performative context and the socio-political dimension of lyric genres. Archaic song culture has been studied more and more with attention being paid both to the broader cultural discourses that lyric negotiated and to its interactions with other performative occasions and textual traditions. Equally, marginal lyric poets and texts have increasingly attracted scholarly attention.
In the wave of this trend, this postgraduate workshop seeks to further investigate Greek and Latin lyric poetry by focusing on some of its still under-explored aspects, in an attempt to go beyond what has been most traditionally conceived as 'lyric'. In order to broaden the conception of lyric, we aim at considering texts other than the canonical ones, as well as at exploring ancient receptions and reciprocal influences of lyric in other genres. On the one hand, we are interested in the fascinating variety of song traditions and 'peripheral' authors thriving in archaic and classical times, as well as in the development of lyric culture in the post-classical period. On the other, we are willing to consider how lyric poetry interacted with different literary genres, both synchronically and diachronically. We would like to look at the various ways in which lyric could overlap with contemporary genres such as philosophy and historiography, sharing not only literary patterns and motifs but also filtering thoughts and beliefs of the surrounding cultural and intellectual context. At the same time, we are interested in how lyric authors and poems have been the object of later receptions, acting as models and touchstones while being transformed and reshaped to fit new contexts and functions.
Confirmed keynote speaker will be Prof. Pauline LeVen (Yale University).
We gratefully acknowledge the support of the Department of Classics at King's College London, the Classical Association and the Gilbert Murray Trust. A number of postgraduate bursaries will be available to cover part of the travel expenses and/or accommodation.
We invite postgraduate students and early career researchers (within three years from PhD completion) to submit proposals for 30-minutes papers, to which academics from the Department with research interests in lyric poetry will respond chairing the discussion. Suggested topics include, but are not limited to:
* 'Submerged' song traditions: e.g. Carmina popularia; anonymous hymns and cult songs of the classical, Hellenistic, and Roman periods
* Relationship between the nine poets of the canon and 'minor'/non-canonical poets and texts
* Synchronic interactions with other genres: e.g. lyric poetry and the philosophical tradition; lyric poetry and historiography; lyric and rhetoric
* Later receptions of lyric in antiquity: e.g. quotations, appropriations of lyric themes, attitudes, and gestures
Abstracts of no more than 300 words should be sent to firstname.lastname@example.org by 24th January 2018.
Organisers: Chiara Ciampa, Antonio Genova, Francesca Modini
(CFP closed January 24, 2018)
ISRAEL SOCIETY FOR THE PROMOTION OF CLASSICAL STUDIES: 47TH ANNUAL CONFERENCE
Hebrew University of Jerusalem: 6-7 June 2018
Call for Papers
The ISRAEL SOCIETY FOR THE PROMOTION OF CLASSICAL STUDIES is pleased to announce its 47th annual conference to be held at the Hebrew University of Jerusalem on Wed-Thurs, 6-7 JUNE 2018.
Our keynote speaker in 2018 will be Professor Edith Hall, King's College London.
The conference is the annual meeting of the Israel Society for the Promotion of Classical Studies. Papers on a wide range of classical subjects, including but not limited to history, philology, philosophy, literature, reception, papyrology and archaeology of Greece and Rome and neighboring lands, are welcome. The time limit for each lecture is 20 minutes. The official languages of the conference are Hebrew and English. The conference fee is $50.
Accommodation at reduced prices will be available at local hotels.
Registration forms with a list of prices will be sent to participants in due course.
Proposals, abstracts and other correspondence may be forwarded to Dr.Lisa Maurice, Secretary of the ISPCS: email@example.com
All proposals should consist of a one page abstract (about 250-300 words). Proposals in Hebrew should also be accompanied by a one-page abstract in English to appear in the conference brochure.
ALL PROPOSALS SHOULD REACH THE SECRETARY BY 21st DECEMBER, 2017.
Decisions will be made after the organizing committee has duly considered all the proposals. If a decision is required prior to early February, please indicate this in your letter and we will try to accommodate your needs.
(CFP closed December 21, 2017)
SOCIETY FOR NEO-LATIN STUDIES: ANNUAL POSTGRADUATE EVENT
John Rylands Library, Manchester: June 15, 2018 (postponed from March 16, 2018)
The Society for Neo-Latin Studies has organised a one-day event to be held in Manchester next March to give postgraduate and post-doctoral researchers opportunities to discuss ideas, meet other scholars in the discipline, present papers on their current research, and to attend a special workshop on 'Editing Neo-Latin Texts' led by Prof. Sarah Knight. This will be the sixth in a successful series of meetings the Society has organised for researchers at relatively early stages of their careers. Masters and PhD students, as well as students who have recently received their doctorates, are encouraged to attend; advanced undergraduate students considering a postgraduate career are also very welcome. In the past, participants have come from a variety of departmental and disciplinary backgrounds, including classics, cultural and intellectual history, literary studies, philology, philosophy, rhetoric, and textual scholarship.
We invite proposals from any interested postgraduate or post-doctoral researchers to give 20-minute papers on their work. The papers will be organised into two- or three-speaker panels on related topics. Proposals should take the form of a brief outline of the speaker's affiliation and research interests; an abstract of the paper to be given (100-150 words) and a provisional paper title. Proposals should be submitted by the deadline of Friday 2 February 2018 and speakers will be notified as soon as possible of the outcome of the selection process.
Proposals should be submitted via email to the organiser Paul White (firstname.lastname@example.org); if you have any questions or require any further information about the event, please also contact Dr White. The event will be held at the John Rylands Library, Deansgate, Manchester (http://www.library.manchester.ac.uk/rylands/)
For further information about the Society for Neo-Latin Studies, please visit the website: http://www2.warwick.ac.uk/fac/arts/ren/snls/
(CFP closed February 2, 2018)
LUCRETIAN RECEPTIONS IN PROSE
University of Patras, Greece: 16-17 June, 2018
I am pleased to announce a two-day conference on 'Lucretian Receptions in Prose', which will take place at the University of Patras, Greece on the 16th and 17th of June 2018.
Confirmed speakers so far:
Bakker, Frederik (Radboud University, Nijmegen)
Berno, Francesca Romana (Sapienza University of Rome)
Campbell, Gordon (University of Maynooth)
Garani, Myrto (University of Athens)
Hardie, Philip (University of Cambridge)
Kazantzidis, George (University of Patras)
Lipka, Michael (University of Patras)
Markovic, Daniel (University of Cincinnati)
Nelis, Damien (University of Geneva)
Nicoli, Elena (Radboud University, Nijmegen)
Schiesaro, Alessandro (University of Manchester)
Shearin, Wilson (University of Miami)
Tutrone Fabio (University of Palermo)
Zinn, Pamela (Texas Tech University)
Those who wish to attend, send an e mail to email@example.com (there is no registration fee). Further details about the conference, including the venue and a preliminary program, will be circulated at the beginning of January 2018.
THE FORGOTTEN OTHER: DISABILITY STUDIES & THE CLASSICAL BODY
Kings College London, June 18-19 2018
Ellen Adams (Lecturer in Classical Art and Archaeology, Kings College London)
Emma-Jayne Graham (Senior Lecturer in Classical Studies, The Open University)
The influence of the classical bodily ideal on Western notions of beauty has been vast. But what of the broken body, as so many classical marble sculptures have become? While philosophical explorations of the body and the senses may reference the ancient world as a starting point, there is generally little engagement with the sensory body that is impaired or progressively failing. If we are interested in the body, past or present, experienced or represented, we must look to what happens when it ‘breaks’ – the challenges posed and met, the hurdles overcome or un-surmounted, and the remarkable strategies adopted to mitigate any disabling effects of physical and sensory impairments – by both individuals and their societies. Studying the disabled in the ancient past has yet to engage with Disability Studies in a way comparable with other areas of identity politics, such as gender, sexuality and race. Classics, and its cognate disciplines, has nevertheless played a role in shaping the modern concepts of impairment and disability that form the basis of contemporary Disability Studies, and this relationship deserves further exploration.
This conference seeks to explore shared ground by examining what modern debates concerning impairments and disabilities can add to our understanding of ancient bodies and identities. It will question why ‘non-normative’ bodies are so rarely brought into the mix by classicists, historians and archaeologists studying ancient social and cultural contexts, and how doing so can offer suggestive new ways of understanding the complex relationship between bodies, identities and divergent experiences of the world.
We invite papers which explore these issues from the standpoint of both Classical Studies and Disability Studies (of all periods). Plenty of time will be dedicated to discussion and, where possible, the organisers hope to ‘pair up’ speakers from different disciplinary backgrounds in order to encourage greater reflection on the synergies and differences of each approach. Free-standing papers will also be welcomed. Topics might include, but are not limited to:
- The ableism inherent in the Humanities
- Reference to the classical world and ancient thinkers in Disability Studies
- ‘Fixing’ impairments (including aids)
- The tension between ‘disabled’ and ‘unable’
- The terminology of disabilities
- Moving beyond etic objectification to the emic voice of the (impaired) person
- The application of social, medical and interactional models to the classical world
- Other approaches to treating disabilities (e.g. ritual)
- The phenomenology of impairment, including movement and kinaesthesia
- Sensory impairment and embodied experience
- The disabled ‘beautiful body’ and the beautiful disabled body
- Experiences of and attitudes towards progressive disabilities and sensory impairments.
Confirmed speakers include: Patty Baker, Eleanor Betts, Lennard Davis, Jane Draycott, Edith Hall, Brian Hurwitz, Helen King, Christian Laes, Michiel Meeusen, Georgia Petridou, Tom Shakespeare, Michael Squire, Hannah Thompson.
Papers should be 20 minutes in length and abstracts of approximately 200-300 words should be submitted to either Ellen Adams (Ellen.Adams@kcl.ac.uk) or Emma-Jayne Graham (Emmafirstname.lastname@example.org) by 31st July 2017. Successful contributions may be considered for publication in a conference volume. Funding may be available to support travel and accommodation for speakers where necessary.
(CFP closed July 31, 2017)
#CFP EDITING CONTEXTS: HISTORICAL EDITIONS OF LITERARY WORKS & THEIR AFTERLIVES
The Oxford Research Centre in the Humanities (TORCH): Friday June 22, 2018
Keynote Speaker: Dr. Rhiannon Daniels, Senior Lecturer in Italian, University of Bristol
Editing Contexts is a one-day interdisciplinary conference on historical editions of literary works, kindly supported by The Oxford Research Centre in the Humanities (TORCH). It will be held on Friday 22nd June at TORCH, Radcliffe Humanities, Radcliffe Observatory Quarter, Woodstock Road, Oxford. We invite abstracts from graduate students and early career researchers working on editorial practices in all periods of European literature.
Throughout history, editing has been a crucial stage in the reception of literary works. Editorial decisions could dramatically alter the experience of the audience and issues of interpretation. Beyond acts of correction and emendation, some editors have made substantial omissions, interpolations and rewritings, deliberately repurposing texts for new audiences. Although these non-authorial interventions are not always relevant to modern textual criticism, the work of historical editors nonetheless provides significant insights into how literary works were adapted in different eras, and how particular generations of readers would have known and understood them. These editions had currency in their day, and are integral to textual traditions as witnessed by their audiences.
Historical contexts – intellectual, cultural, political, religious – shaped the production, circulation, and influence of these editions. They played an important role in determining the aims and methods of editors, the extent of dissemination, and the responses of audiences. Some of the more influential editions had a lasting impact on the reception of particular works, provoking changes in scholarly method, in literature, and in wider society.
This one-day conference aims to bring together graduate students and early career researchers working in a wide range of disciplines from Classics to English Literature, Modern Languages, and History. We welcome papers across all periods, languages, and genres of European literature from Antiquity to the present. Possible themes include but are not limited to:
· Editions from Antiquity to the present;
· Interpolations and rewritings in manuscript traditions;
· Editorial practice through the ages;
· Editorial censorship;
· Ideological commitments of modern editors.
We welcome abstracts for twenty-minute papers (ca. 250 words). Please send all submissions to email@example.com by Friday 18th May 2018. There is a small conference fee (£5) to cover the costs and refreshments. The keynote speaker will be Dr. Rhiannon Daniels, Senior Lecturer in Italian at the University of Bristol.
For more information, please visit https://editingcontexts.wordpress.com/.
18th ANNUAL JOINT POSTGRADUATE SYMPOSIUM ON ANCIENT DRAMA
Ioannou Centre, Oxford / Royal Holloway, Egham: June 25-26, 2018
Theme: Misdirections and Misconceptions in the Theory and Practice of Greek and Roman Drama
The 18th Annual APGRD / Royal Holloway, University of London Joint Postgraduate Symposium on the Performance of Ancient Drama will take place on Monday 25 June (at the Ioannou Centre, Oxford) and Tuesday 26 June (at Royal Holloway, Egham). This year’s theme will be: ‘Misdirections and Misconceptions in the Theory and Practice of Greek and Roman Drama’.
ABOUT THE SYMPOSIUM: This annual Symposium focuses on the reception of Greek and Roman tragedy and comedy, exploring the afterlife of these ancient dramatic texts through their re-workings by both writers and practitioners across all genres and periods. This year’s theme invites discussions of old and new interpretations of Greek and Roman drama with a particular focus on their (non)conformity to ancient (and modern) models, as well as the way that they are shaped by theatre conventions. Speakers from a number of countries will give papers on the reception of Greek and Roman drama. This year’s guest respondent will be Dr Helen Eastman (Theatre Director/Writer). The following academics will attend this year: Prof. Fiona Macintosh (Oxford), Prof. Elizabeth Schafer (RHUL), Prof. Oliver Taplin (Oxford). There will be a performance of Tony Harrison’s The Labourers of Heracles on the evening of Monday 25 June in Oxford.
PARTICIPANTS: Postgraduates from around the world working on the reception of Greek and Roman drama are welcome to participate, as are those who have completed a doctorate but not yet taken up a post. The symposium is open to speakers from different disciplines, including researchers in the fields of Classics, modern languages and literature, and theatre and performance studies.
Practitioners are welcome to contribute their personal experience of working on ancient drama. Papers may also include demonstrations. Undergraduates are very welcome to attend.
Those who wish to offer a short paper (20 mins) or performance presentation on ‘misdirections and misconceptions in the theory and practice of ancient drama’ are invited to send an abstract of up to 200 words outlining the proposed subject of their discussion to firstname.lastname@example.org
by FRIDAY 6 APRIL 2018 - EXTENDED DEADLINE April 20th, 2018 - (please include details of your current course of study, supervisor and academic institution).
There will be no registration fee. Some travel bursaries will be available this year - please indicate if you would like to be considered for one of these.
(CFP closed April 20, 2018)
TEA WITH THE SPHINX: RECEPTION OF ANCIENT EGYPT’S MYTH, MAGIC AND MYSTICISM
University of Birmingham, UK: June 28-30, 2018
At the first roundtable of ‘Tea with the Sphinx: Defining the Field of Ancient Egypt Reception Studies’ in September 2017 a debate arose surrounding the idea of ‘truth’, ‘facts’, the ways in which knowledge is formed in the popular imagination, and how this relates to reception studies as a field. This prompted discussion surrounding how reception studies should define itself, but also, and just as importantly, how myth, incorrect ‘facts’, and changing knowledge can be valuable in constructing a picture of how the knowledge of the ancient past and cultures has been formed, used and re-used, contributing to an ever-evolving history of the representation of ancient Egypt and its cultural offshoots.
Thus, the organisers of Tea with the Sphinx 2018 invite papers on any aspect of the reception of ancient Egypt in the global imagination, and especially those which engage with the following themes:
* Myths, curses, and legends
* Magic and ritual
* Mysticism, occultism, and spiritualism
* Re-incarnation and transcendental experiences
* Orientalism and imperialism
* Literature and fiction
* Newspapers and the media
* Visual representations and the arts
* Replicas, souvenirs, and Egyptomania’s paraphernalia
* Museums and display
* Talismans and amulets
* Science and ‘rational truth’ vs superstition
* The ‘celebrity’ of Egyptology and Egyptologists
* Historical ‘fact’ and evolving knowledge of ancient Egypt
Abstracts of up to 300 words for 20 minute papers along with a short biographical note (in the same Word document) should be sent to email@example.com by February 9th 2018.
The organisers also encourage PGRs to submit ideas for poster presentations to be presented during lunch of the first day of the conference.
(CFP closed February 9, 2018)
[20TH] NEOLATINA SYMPOSIUM: PLAUTUS IN THE EARLY MODERN PERIOD
Würzburg (Germany): June 28-30, 2018
When Nicholas of Cusa transferred a manuscript containing 12 previously unknown Plautine comedies to Rome and handed them over to Cardinal Giordano Orsini (Cod. Ursinianus, Vat. lat. 3870), he increased the number of preserved plays to 20 and gave way to an intensive revival in the study and appreciation of Plautus in the Early modern period.
Textual criticism carried out on the comedies by Italian humanists contributed to the revaluation of Plautus, whom the Middle Ages had regarded as both stylistically and morally inferior to the school author Terence. Since the editio princeps of the comedies prepared by Giorgio Merula and published in 1472, humanists all over Europe showed increasing interest in the older playwright and made his dramatic work subject of numerous Latin and vernacular imitations, adaptions and stage performances. The complete edition of the Plautine comedies by the German humanist Joachim Camerarius (Hervagius: Basel, 1552) can be regarded as a milestone of Plautine philology. It was the artistic reception of Plautine comedy that prepared the ground for the broad tradition of vernacular comedy and established the important role of the theatre during the Early modern period.
The 20th NeoLatina Symposium aims to contribute significantly to the understanding of the Neo-Latin reception of Plautus from the 15th to the 17th century in Europe. We welcome proposals on topics such as: humanistic work on and distribution of Plautine comedies; images of Plautus; early modern theories on Plautine comedy; theory and practice of stage performances; relationship between Latin and vernacular imitations of Plautus.
Please submit working titles and abstracts (max. 200 words) by September 15th 2017 to Prof. Thomas Baier (firstname.lastname@example.org) and Tobias Dänzer (email@example.com).
Proposed papers should not exceed 20 minutes in length. They will be followed by 10 minutes of discussion. Papers may be given in German, English, French, Italian and Latin.
The organisers will reimburse travel and accommodation expenses. The publication of the conference proceedings in the series NeoLatina (Narr-Verlag, Tübingen) is planned for 2019.
Organiser: Institut für Klassische Philologie, Julius-Maximilians-Universität Würzburg in collaboration with the Ludwig Boltzmann Institute for Neo-Latin Studies (Innsbruck)
Venue: Würzburg, Toscanasaal and Philologische Bibliothek (Residence), Institut für Klassische Philologie, Lehrstuhl II (Latinistik) – Prof. Dr. Thomas Baier
Residenzplatz 2, Tor A, 97070 Würzburg
(CFP closed September 15, 2017)
CAVAFY AND ANTIQUITY: INTERNATIONAL CAVAFY SUMMER SCHOOL 2018
Onassis Foundation, Athens, Greece: July 9-15, 2018
The International Cavafy Summer School is a major international annual scholarly event organised by the Cavafy Archive and the Onassis Foundation, the first such regular event to be devoted exclusively to Cavafy and the impact of his work.
Following the inaugural summer school that took place in July 2017, on the theme of Cavafy in the World, this year's summer school will take place on 9-15 July 2018. The International Cavafy Summer School 2018 will focus on Cavafy and Antiquity, a theme that shares many points of connection with the first summer school and its global concerns. The study of antiquity is itself experiencing a junction where both the ancient world and the modern world relating to it have expanded and changed. To probe against this background Cavafy's antiquity, which is decentred yet concrete, untimely yet temporally specific, shared yet individually mediated, uncertain yet asserted, offers the potential for new insights and new second-order questions about the study of Cavafy and of the study of Classics alike.
Among the topics that the Summer School will aim to consider are: does Cavafy's approach to antiquity constitute a form of classicism, or post-classicism? Does it constitute a critical classicism, as well as enable a new, critical approach to canonicity? How capacious is Cavafy's ancient world, spatially and temporally? Can Cavafy's antiquity provide new impetus for thinking about the relationship of the classical, untimeliness, or lateness? What new models and theoretical insights for both Classical Reception Studies and Modern Greek Studies can Cavafy's antiquity offer? What mediators shaped and shape Cavafy's antiquity, such as scholarship, translations, or archaeology? To what extent has Cavafy shaped them in turn? What is Cavafy's relation to the archeological, museological and philological breakthroughs of his time? How is Cavafy's antiquity related to notions and histories of Greek nationalism or other forms of ethnic, community and affective belonging? How does Cavafy's Hellenism respond to the international movements of Aestheticism and Decadence? To what extent can we categorize Cavafy's antiquity as a “queer fiction of the past”? What media does Cavafy's antiquity communicate with, other than textuality? Does Cavafy offer us new forms of comparison and relationality with the past? Is Cavafy's antiquity an urgent antiquity for our time? We are encouraging research and thought that is open to theoretical, historical, and comparative issues, and that seeks to leverage Cavafy's antiquity to ask fresh questions about the knowledge of antiquity and the stances and practices this knowledge can involve.
The International Cavafy Summer School 2018 will be convened by Constanze Güthenke and Dimitris Papanikolaou (both at the University of Oxford). Tutors and presenters will include Johanna Hanink (Brown University), Brooke Holmes (Princeton University), Stefano Evangelista (University of Oxford), Alastair Blanshard (University of Queensland), Takis Kayalis (University of Ioannina) and Christodoulos Panayiotou (artist); it will take place at the historical building of the Onassis Foundation in the centre of Athens.
Workshops will run mornings and afternoons for 6 days (pending finalised timetable). Built around morning seminars and afternoon research presentations, this year's programme aims to enrich and enhance the participants' knowledge of Cavafy and his work, opening up new directions and comparative perspectives within world literature, while simultaneously broadening the scope of Cavafy research. The tutors, all senior experts in the field, will offer comprehensive 3-hour seminars in the mornings. Twelve junior participants (doctoral students, post-doctoral researchers and early career academics) will be invited to present their work in the afternoon sessions, receive feedback from their peers, and engage in discussion. Additional lectures, performances and events will also be scheduled for the duration of the School.
One of the aims of the Cavafy Summer School is to encourage future collaborations and research, especially among scholars who follow different methodologies and are at different stages of their career. For this reason, successful applicants will be notified by the end of February 2018, and will be required to submit a version of their presentation in advance.
Thanks to a generous grant from the Onassis Foundation and the Cavafy Archive, the Summer School will be able to cover all expenses for tuition, accommodation and subsistence for all participants. There is, therefore, no fee requirement for tuition. Students and early career researchers can also apply for a grant to cover all or part of their travel expenses for coming to Athens.
The Cavafy Summer School is a unique opportunity to attend world-class talks and to showcase new research. Doctoral students, postdoctoral researchers and early-career academics whose work relates to the fields of Comparative Literature, World Literature, Gender Studies, Cavafy Studies, Greek Studies and related areas, and who would like to take part in the Cavafy Summer School are encouraged to apply with:
a) a letter containing a short overview of their current research and their motivation for participating in the school (no more than 500 words)
b) a description of the specific topic they would be able to tackle in the Summer School in a 30 minute presentation (no more than 300 words), as well as
c) a full CV and
d) the name of one referee who can be contacted to provide support for their application.
In exceptional cases, one or two post-graduate students with verified skills and an apt interest in the theme of the summer school might also be accepted as participants.
The working language of the International Cavafy Summer School will be English. Proceedings will be recorded and parts of the talks published online on the Cavafy Archive Youtube Channel.
Knowledge of Modern Greek is not a prerequisite, but familiarity with Cavafy's work is.
Deadline for applications for the 2018 Cavafy Summer School: Wednesday 31 January 2018.
Please address all relevant material and any inquiries to: Theodoros Chiotis and Marianna Christofi at firstname.lastname@example.org.
(Applications closed January 31, 2018)
PACIFIC RIM ROMAN LITERATURE SEMINAR 32: INTERIORITY IN ROMAN LITERATURE
University of Sydney, 11-13 July 2018
The thirty-second meeting of the PacRim Roman Literature Seminar will be held at the University of Sydney from 11 to 13 July 2018. The theme for the 2018 conference will be interiority in Roman literature.
Papers are invited to explore Roman literature’s inner voices, visions and narratives; psychologies; inner lives; the ‘inward turn’ of Roman literature at various periods, such as the first and fourth centuries; interior spaces; inner sanctums and circles of power. Roman literature is conceived of as the literature of Roman world from its earliest beginnings to the end of antiquity. The theme may be interpreted broadly, and papers on other topics will also be considered.
Papers may be either 20 minutes (with ten minutes of discussion time), or 40 minutes (with 20 minutes of discussion). The Pacific Rim Seminar does not run parallel sessions; participants can attend any or all papers. Abstract proposals of 200-300 words should be sent to the convenor, Paul Roche, at email@example.com. Submissions from graduate students and early-career researchers are welcome. Please have abstracts submitted by 27 February 2018 (earlier submissions welcome; please indicate whether your paper is of 20 or 40 minutes duration).
The conference venue will be the University of Sydney’s Centre for Classical and Near Eastern Studies (http://sydney.edu.au/ccanesa/about/index.shtml). A conference website will be created in due course.
(CFP closed February 27, 2018)
[PANEL] APPROACHING LANDSCAPE IN THE CLASSICAL TRADITION
Celtic Conference in Classics, University of St Andrews, Scotland: 11-14 July 2018
We invite expressions of interest and abstracts for 'Approaching Landscape in the Classical Tradition', which will form a 3-day panel at the 11th Celtic Conference in Classics, to be held at the University of St Andrews from 11th-14th July 2018. We are actively seeking abstracts from scholars at all stages in their career and from a range of disciplines who are engaged in landscape research from historical and literary perspectives.
The panel will focus on the theories and methodologies underpinning the study of landscape within Classics and cognate fields. 'Approaching landscape' in a historical, literary, or critical sense is by no means straightforward. The humanities have come relatively late to the 'landscape turn' in cultural research, and researchers of space and landscape have often drawn on self-made toolkits of theories and methodologies collected from disparate disciplines – such as geography, anthropology, and sociology - to form their own approaches to landscape. Prospective speakers are invited to share their own toolkits, and to make explicit the assumptions and ideas underlying their analyses of human interaction with the landscape in past contexts.
Our goal is to assemble a series of 20-30 minute papers that focus especially on theoretical frameworks for analysis, and on the impact of different vocabularies, particularly anachronistic ones, for explicating past engagements with landscape. Broad themes may include, but are by no means limited to: landscape and memory, landscape and power, phenomenological, cognitive, ecocritical, anthropological, narratological and poststructuralist approaches to the representation of landscape.
At the same time, potential speakers are asked to base their discussions on a specific topic from their own research, to ensure that each paper not only offers new methodological insights but is also grounded in the context of a particular text or era. Our aim is to include papers on ancient Mediterranean literature and culture, across a wide geographical range and from archaic Greece through to late antiquity, side by side with others on the reception of ancient ideas about landscape in postclassical culture. Possible topics for discussion include locus amoenus and pastoral traditions, mountain landscapes, urban, sacred, mythical and battle landscapes, and landscape depictions in ancient art.
In addition to individual papers, the panel will feature extensive time for discussion between participants. As one output from the panel, we plan to produce a detailed report which will serve as a working guide to the different methodologies proposed, and the potential they might offer to future research on landscape.
Please contact either Dawn Hollis (firstname.lastname@example.org) or Jason König (email@example.com) with questions, expressions of interests, and abstracts. Abstracts should be no more than 300 words in length and should be submitted by 31st January 2018. We hope to notify potential participants of decisions regarding their papers by Friday 16th February, if not before.
(CFP closed January 31, 2018)
[PANEL] DEMOCRATISING CLASSICS
Celtic Conference in Classics, University of St Andrews, Scotland: 11-14 July 2018
Abstracts are sought for the 3-day panel "Democratising Classics", to be held at the Celtic Conference in Classics (University of St Andrews, 11-14 July 2018). Prospective speakers are asked to send a title and short abstract (max. 300 words) to Jenny Messenger (firstname.lastname@example.org) or Rossana Zetti (Rossana.Zetti@ed.ac.uk) by 31 January 2018. Outcomes will be communicated by 12 February 2018. Papers at the CCC are usually 35-40 minutes long; however, shorter presentations may also be considered. Please specify desired paper length in the submission. The languages of the CCC are English and French.
This panel aims to explore the "democratisation" of Classics in academia and the creative arts in the twentieth and twenty-first centuries, and to consider the impact of this process on Classics as a discipline, on classical receptions produced during this period, and on the interaction between art and academia.
Classical texts are now widely available in translation, allusions are rife in mass media, and comparisons between ancient and contemporary politics abound. But despite the presence of classical antiquity in popular discourse, Classics is not yet open to all. Barriers remain for students who want to study Classics at a high academic level—particularly if they have not had access to a traditional education in Latin and Ancient Greek. In the UK today, Latin and Greek teaching provision in schools varies greatly, and remains heavily concentrated in independent schools. Initiatives like the "Advocating Classics Education" and "Literacy Through Latin" projects, however, show there is significant interest in ensuring Classics is truly open to all students.
An overall interest in exploring Classics beyond the confines of elite institutions and social groups has been borne out in recent scholarship, such as Hardwick & Harrison (2013) on the "democratic turn" in Classics, and Stead & Hall (2015) on the role of class. Post-colonial receptions of classical material have played an important role in the destabilisation of the elite Western canon and its cultural hegemony, and increasingly innovative ways of discussing Classics with audiences far and wide (through platforms like the online journal Eidolon, blogs like Minus Plato, and hybrids of contemporary art and scholarship like Liquid Antiquity) have also begun to push all Classicists, not just Classical Reception scholars, to question the assumptions and biases that underpin their discipline.
Central to this debate—and to the process of "democratisation"—are creative practitioners, including translators, writers, visual artists, musicians, and filmmakers. Practitioners are often at the forefront of shaping the wider public's engagement with Classics, and frequently spearhead new ways of approaching classical antiquity which later permeate academic debate.
Practitioners also have varying levels of traditional classical expertise: they might inhabit both the "creative" and "academic" spheres, but their work may also challenge ideas of "authenticity" and "ownership", as in the case of Vincenzo Monti's Italian translation of Homer's Iliad (1810) and Christopher Logue's War Music (1959-2011), produced with little knowledge of the Greek language. Is this democratisation in action? Has Classics moved beyond its role as the "intellectual furniture of the well-to-do-middle class" (Brecht 2003: 77)? If so, what have been the implications for the discipline? Who was and is tasked with the translation of ancient works, with teaching others about classical antiquity, and with shaping the future of the subject? What has been the impact of "democratisation" on creative responses to the classical world, and how do these responses feed into academic debate and practice?
Possible topics include (but are not limited to):
Notions of democracy, authenticity, ownership and expertise in classical receptions and scholarship
Points of convergence and friction between the creative arts and academia
Twentieth and twenty-first classical receptions that confront ideas of "incomplete", "inauthentic", or "partial" knowledge of the Classics
Classics, class, and elitism
Challenges to the "classical canon"
The impact of post-colonial studies, and gender and sexuality studies in Classics
Classical reception in contemporary art, books, music and films
The history of classical scholarship
The role of Latin and Greek within the study and reception of Classics
Teaching and studying Classics today worldwide
(CFP closed January 31, 2018)
[PANEL] TWENTY-FIRST CENTURY POPULAR CLASSICS
Celtic Conference in Classics, University of St Andrews, Scotland: 11-14 July 2018
Organizer: Amanda Potter
CLASSICS, THE LEFT & THE SUBLIME
King's College London, July 18-19, 2018
Proposals of up to 400 words are invited for 30-minute papers to be delivered at this conference, convened jointly by Dr Tom Geue (St Andrews), Dr Henry Stead (OU) and Edith Hall (KCL) at KCL on July 18-19th 2018. Please send them to email@example.com in the first instance.
This conference addresses the 'missing' Marxist/materialist theory of the artistically beautiful. It aims to bring together an interdisciplinary team of philosophers, literary theorists, cultural critics, art historians and classicists to address questions including these: Why has the Left (defined as Marxists/Cultural and Historical Materialists/New Historicists/Postcolonial theorists and some Feminists) evaded concepts of the Beautiful, the Sublime, and cultural/aesthetic Value? Is the 'labour' theory of commodity value inadequate to explain the way that markets operate in relation to artworks, whether literary, musical or material? What attempts at producing a theory of cultural value sensitive to cultural relativism, aesthetic subjectivity and class-determination of taste can be identified and how have they been informed by classical concepts in e.g. Homer, Aristophanes, Gorgias, Plato, Aristotle, Longinus, Plutarch, Tacitus and Quintilian? Can the debate be pushed much beyond Lukacs, Benjamin, Adorno, Eagleton, Caudwell, Jameson, Bourdieu, and Zizek, none of whom is truly comfortable with talking about art's aesthetic impact, pleasure, sublimity and transcendence for fear of being identified as Eurocentric and culturally imperialist? What schools of thought and intellectual models from non-literary disciplines might offer promising avenues to illuminate the problem? Cognitive and Neurological Science? Evolutionary Psychology? Most importantly, How could a better 'Left' defence of aesthetic excellence and pleasure help make the case for Arts and Humanities as essential to the intellectual health of universities and societies at large? The Left has allowed the Right to hold monopoly ownership of the concepts of Great Art and The World's Best Books for far too long.
(CFP closed January 1, 2018)
#CFP [WORKSHOP] GREEK MATTERS
University of York, UK: July 19, 2018
This one-day workshop will consider the intersection of Hellenism and material culture in the early modern world (1400-1800). Expanding upon recent interest in the influence of Greek antiquity on early modernity, this workshop sets out to foster an interdisciplinary dialogue that explores the reception of texts alongside other encounters with the past: the circulation of images, the collecting of antiquities, archaeology, architecture, epigraphy, etc. From difficulties in printing the Greek alphabet to developments in Neoplatonism, is there a special dialogue between Hellenism and the engagement with matter and material form that emerges for the early modern period? How is the memory of ancient Greece imagined and reconstructed across different media? We are interested in materiality understood in its broadest sense and welcome proposals on anything from book historical approaches to those considering Hellenism in dialogue with art, architecture, the material world or the philosophy of matter. The early modern period is the intended focus but we welcome proposals from beyond this time period that engage with this intersection.
Abstracts are invited for 10 minute papers on the topic of the reception of Greek in the Renaissance at the intersection with materiality. The format invites scholars to give short presentations on work in progress with time for extended discussion. Proposals should take the form of 150 word abstracts and be sent to Camilla.Temple@york.ac.uk and Jane.Raisch@york.ac.uk by Friday 11th May 2018. There may be some funding available to contribute towards the travel expenses of junior scholars (PhD students and those within 5 years of submission): if you would like to be considered for this funding then please let us know in your submission email. Proposals for presentations that are accepted but which cannot be given for financial reasons will still be considered in future publication plans, so do please contact us or submit a proposal even if you will not be able to attend.
Victoria University of Wellington, 27-29 August 2018
Readers have been attracted to the remarkable and wondrous, the admirable and the uncanny in Tacitus. But in order to appreciate what is mirum or novum, we also need to understand the apparently mundane material between the monstra. Tacitus famously derides the praises of new public buildings as a topic more worthy of the daily gazette than illustres annales (A. 13.31.1); his own criteria for selection, however, and his own judgments on what is worthy of note, have often differed in interesting ways from the preoccupations of his readers.
Abstracts (250 words) are invited on the topic of Tacitus' wonders.
Submissions on comparative material are very much welcome.
Reflection is invited on the consequences of different methods of dividing or reconciling historical events and historiographical representation, e.g. Woodman (1993), O'Gorman (2001), Haynes (2003), and Sailor (2008). In preparing abstracts, it will be helpful to consider the challenge extended by Dench (in Feldherr, 2009), the 'awkward question' of whether the much admired Tacitean text 'represents anything other than itself'. Papers treating the Classical tradition, reception and history of scholarship are welcome.
Please send abstracts to James McNamara at Victoria University of Wellington (firstname.lastname@example.org) by Friday 26 January 2018.
Organizers: Prof. Arthur Pomeroy & Dr. James McNamara, Classics Programme, School of Art History, Classics and Religious Studies, Victoria University of Wellington, New Zealand
(CFP closed January 26, 2018)
ANCIENT GREEK DRAMA IN LATIN 1506-1590. READERSHIP, TRANSLATION, AND CIRCULATION
King’s College London: 3-4 September, 2018
In scholarly discussions of the strange and elusive presence of Greek drama, and tragedy especially, in and around sixteenth-century European drama, the availability of Latin translations of the ancient Greek plays has become an oft-invoked phenomenon.
This conference focuses on the ways in which Greek drama ‘lived’ in Latin, leading up to and coinciding with an extraordinary period of dramatic and literary composition across Europe in the Early Modern period. By bringing together scholars in Classics, Comparative and World Literature, English, Theatre, and Translation, this conference aims to create a forum for rich and nuanced discussion of the multiform and variously situated acts of reading and translation of Greek drama during this period.
It is hoped that case studies – where acts of reading or translation can be seen to have wide implications for our understanding of the presence of Greek drama in literature at this time – will be complemented by papers highlighting more thematic or methodological considerations.
Papers may address (but need not be limited to) any of the following questions:
* Who do we mean when we speak of ‘the’ readers and translators of Greek drama?
* What kinds of readers and translators took part in the circulation of drama in Latin during this period?
* What is ‘Greek’ about Greek drama in Latin?
* How can we construe these acts of translation beyond ‘ad verbum’ vs. ‘ad sensum’ e.g. as creation, as refraction, or as collaboration?
* How do we envisage translations of Greek drama ‘circulating’ in Europe during this period? As publications, in manuscript form, with prefaces or other paratexts, as partial translations, or as language learning exercises?
Confirmed Speakers: Malika Bastin-Hammou (Université Grenoble Alpes), Elia Borza (Université Catholique de Louvain), and Sarah Knight (University of Birmingham)
Please send an abstract of no more than 350 words (for a 30-minute paper), together with your name and contact details, to email@example.com by 16 April, 2018.
(CFP closed April 16, 2018)
#CFP VITRUVIUS’ HOMO BENE FIGURATUS INTER DISCIPLINAS: METHODOLOGICAL VARIATIONS ON A SINGLE PASSAGE (VITRUVIUS DE ARCHITECTURA III.1)
An experimental two-day workshop at Penn State University: September 7-8, 2018
In April 2016 a Fixed Handout Workshop was held at the University of Cambridge. Its aim was to encourage early-career Latinists to reflect on the impact that their varying academic influences and different methodological preferences have on the research they produce. In particular, the workshop tested the strengths and limits of each scholar’s intertextual practice. The participants delivered papers that were based on a pre-arranged selection of thematically connected passages, yet although several groups were presented with identical sets of Latin quotations, the papers they produced—and additional texts they adduced—varied widely.
The present workshop aims to continue this exploration of interpretative methodologies in a slightly altered format. We invite Classicists and scholars from other disciplines (especially Renaissance Studies, Art History, Philosophy, Architecture, Mathematics) to each present a paper on the same passage, but to use a different, clearly stated methodological approach. By asking scholars from different schools-of-thought and disciplines to focus their attention on a particular moment in Latin literature, we aim to:
a) measure the interpretive impact of different methodologies within the field of Classics;
b) explore how texts take different shapes under the lens of disciplines outside the Classics;
c) test in concrete terms the interpretative potential of an interdisciplinary dialogue.
The passage we have selected for the workshop is Vitruvius’ De Architectura III.1. While discussing the role of symmetry in the composition of temples, Vitruvius introduces the image of a well-formed human being (ad hominis bene figurati membrorum exactam rationem), from which proportional relations and principles of good measure are derived. The passage was famously the basis for Leonardo da Vinci’s interpretation of the “Vitruvian Man”, and continued to attract the attention of early modern exegetes and contemporary architectural specialists alike. With its textual, visual, philosophical, and scientific features, De Architectura III. 1 has an obvious and distinct interdisciplinary potential.
We are looking for speakers to deliver a methodologically informed reading of this Vitruvian chapter and/or its reception. We have six confirmed invited speakers (listed below), and we now invite applications for six more papers, especially (but not solely) from early-career researchers and finishing graduate students in Classics, Archaeology, Philosophy, Renaissance Studies, Art History, Architecture, and Mathematics.
If you wish to be considered as a speaker, please provide:
An abstract on De Architectura III.1, stating explicitly the approach that you wish to take;
A brief cv;
A list of 6 major academic and cultural influences, both from within and from outside your field.
Send these items (preferably in pdf format) to firstname.lastname@example.org by April 30, 2018. Decisions will be made by mid-June. Accommodation will be provided at Penn State for the nights of September 6 and 7, but we regret that speakers will be expected to cover their travel expenses. We aim to publish the contributions in a collected volume.
Tom Geue (St Andrews)
Mathias Hanses (Penn State)
Jared Hudson (Harvard)
Elizabeth Merrill (MPIWG)
Marden Nichols (Georgetown)
Kathrin Winter (Heidelberg)
For further information, please do not hesitate to contact the organizers:
Mathias Hanses (Penn State) email@example.com
Giovanna Laterza (Heidelberg) firstname.lastname@example.org
Elena Giusti (Warwick) E.Giusti@Warwick.ac.uk
Ca' Foscari, Venice, Italy: 7th-8th September 2018
John Tzetzes was a towering figure in the scholarly landscape of twelfth-century Constantinople, and his name crops up time and again in modern scholarship, Classical and Byzantine alike. He commented extensively on poets such as Homer, Hesiod, Aristophanes, and the intractable Lycophron. He is a source of the greatest importance for the history and transmission of scholarship in antiquity. He had access to works that are lost to us; he may have been the last person to read Hipponax at first hand before the age of papyrological discoveries.
Gifted with a cantankerous personality which he made no attempt to conceal, he had a very high opinion of his own worth as a scholar and a correspondingly low opinion of almost everybody else's. He was the sort of person who would pepper his letters with erudite references, then compose an enormous poem to elucidate them and write scholia to it. His idiosyncratic writerly persona has made him an easy target for the irony of twentieth-century scholars; Martin West dubbed him a 'lovable buffoon', and he was kinder to him than others.
It is all too easy, especially for classicists, not to see beyond a combination of Tzetzes the caricature and Tzetzes the footnote fodder; someone to use without engaging too closely. But his vast learning and the variety and influence of his writings demands a more discerning attention. The past few decades have witnessed an increasing interest in his works, with several editions (and more in progress), a steady flow of articles, and even a few translations into modern languages. The time is ripe for scholars in classical and Byzantine studies to join forces towards a better understanding of Tzetzes and his output.
The colloquium will take place in the scenic Aula Baratto of Ca' Foscari University, overlooking the Grand Canal, on 7th and 8th September 2018. Abstracts of no more than 400 words should be sent by email, preferably in PDF format, to email@example.com by 31st January 2018.
Possible themes include (but are not limited to):
Tzetzes as a commentator and critic
Tzetzes as a poet
Tzetzes as an epistolographer
Tzetzes on the Greek language
Tzetzes and his contemporaries
Tzetzes in the tradition of Byzantine scholarship
Editing Tzetzes' works
Tzetzes' legacy and his reception.
Speakers will be offered accommodation and a contribution to travel expenses can also be made available. The colloquium is funded by the European Union's Horizon 2020 research and innovation programme under Marie Sklodowska-Curie grant agreement no. 708556 (Ancient scholarship on archaic Greek iambic poetry / ASAGIP).
(CFP closed January 31, 2018)
DRAWING ON THE PAST: THE PRE-MODERN WORLD IN COMICS
Senate House, London: September 10-11, 2018
We invite abstracts for papers, posters and interactive workshops on any aspect of comics set in the pre-modern world to be presented at a two-day conference at Senate House in London on 10-11th September 2018.
Our brief has a broad chronological and geographical scope, from the Bronze Age onwards, including but not limited to Greece, Rome, Egypt, Near East, Ancient Norse, Mesoamerica etc. The concept of comics itself is similarly broadly interpreted, covering different traditions including but not limited to the American graphic novel, the Franco-Belgian tradition, and Japanese manga. Contributions may focus on series as well as on individual episodes, including those from series that do not consistently engage with the pre-modern world.
We hope to capture a wide variety of experiences of comics and the pre-modern world, so the conference will be aimed at academics (PGR, ECR and established), teachers, and artists.
Suitable topics for discussion might include:
* how and why writers and illustrators engage with these periods and cultures in comics;
* literary, historical or archaeological analysis of comics, for example:
- accuracy of representation and poetic licence
- engagement with sources
- cultural fusions
- allegorical uses
- connections to modern nationalistic histories;
* use as pedagogical tools in the classroom (including translations of comics into Latin or Ancient Greek);
* comics as methods for communicating historical research of the pre-modern world.
Papers should be 20 minutes each; workshops no more than 1 ½ hours; posters can be A1 or A2 size. Please submit 300-word abstracts or 500-word workshop proposals to firstname.lastname@example.org by 22 December 2017. Notifications of acceptance will be sent out no later than 31 January 2018.
Organisers: Leen Van Broeck, Royal Holloway; Dr Zena Kamash, Royal Holloway; Dr Katy Soar, University of Winchester. This conference is made possible with the generous assistance of the Institute of Classical Studies, School of Advanced Studies, University of London.
(CFP closed December 22, 2017)
BYZANTIUM AND THE MODERN IMAGINATION. PATTERNS OF THE RECEPTION OF BYZANTIUM IN MODERN CULTURE
Masaryk University, Brno: 12-14 September, 2018
Organisers: Marketa Kulhánková (Brno, Czech Republic) & Przemyslaw Marciniak (Katowice, Poland)
The conference is organised as part of the activities of the "Byzantine Receptions Network. Towards a New Field of Reception Studies" generously funded by the Alexander von Humboldt Stiftung.
The imagery of Byzantium in popular discourse is a culturally and historically constructed notion. As has been noted, the very name "Byzantium" is both a retronym and an exonym, and scholars today very often insist on using a more proper description – "The Eastern Roman Empire". Writers, playwrights, musicians, and politicians throughout centuries constructed their own versions of Byzantium, which depended on local artistic or political needs. In many cases these constructed versions had very little to do with the "historical" Byzantium. Yet, at the same time, academic discourse might – and did – influence the imagery of Byzantium in the popular imagination. During the conference we would like to discuss these imaginary visions of Byzantium, including the intersections of popular and academic images of Byzantium. We also welcome papers dealing with the use (and abuse) of key events in Byzantine history (such as the Fall of City) and their reworkings in literature and culture.
Topics of interest include but are not limited to:
- The reception of Byzantium in schoolbooks in Europe and beyond;
- Byzantium for the young – Byzantium in children's literature and games;
- Literary reworkings of key events and personages in the history of Byzantium;
- Byzantine Studies and its influence on the popular understanding of Byzantium;
- The ways of popularising Byzantium;
- Byzantium in the digital age;
- Byzantium in popular culture (games, speculative fiction, TV series, films).
Please send the abstract (no more than 300 words) for a 20 minutes presentation to Przemyslaw Marciniak (email@example.com) by March, 30 2018.
(CFP closed March 30, 2018)
ATHLETICS AND IDENTITY IN THE ANCIENT AND MODERN WORLD
School of Classics, University of St Andrews, Scotland: 20-21 September, 2018
The School of Classics of the University of St Andrews is happy to announce the call for papers for the conference "Athletics and Identity in the Ancient and Modern World", taking place in 20-21 September 2018 in St Andrews.
Despite the increasing inclusion of ancient sport into the mainstream of classical scholarship and the rise in research on the links between athletics and identity in ancient culture, there has been relatively little collaborative academic work on that subject. It is the aim of this conference to bring together scholars, especially postgraduates, researching across disciplines on different aspects of athletic practice, from a multitude of perspectives, methodologies and cultures. Through this initiative we aim to advance our understanding of the role of athletics in ancient Mediterranean society. We are not limiting ancient culture to just Greece or Rome. Recent scholarship has shown that the influence of the other earlier Mediterranean sporting cultures had a significant impact on the development of Greek sport (Decker 1992, Rolinger 1994, Scanlon 2006, Puhvel 2002). Taking this fact into consideration, we also plan to raise questions about near-Eastern as well as Greco-Roman sporting culture, and about the interrelations between them.
More specifically, this conference aims to understand what it meant to be an athlete in the ancient world, and what range of options were available for representing athletes in public commemoration. Do different kinds of sources (literature, inscriptions, art) represent athletic identity consistently? Lastly, how does the depiction of athlete and athletic identity change from the Archaic period to Late Antiquity? These are only a few of the main questions we will be addressing. We hope this conference will enlighten us on the complex relationships of identity formation, self-representation, sociopolitical identity, and the physical regime of becoming an athlete and how these aspects changed over time. We particularly welcome papers from postgraduate students on festivals, their participants and material culture; the athletic body and the culture of the gymnasion; other ancient cultures and their athletes; female athletes and their commemoration.
Those wishing to present a paper of 20-30 minutes should submit an abstract of up to 300 words to firstname.lastname@example.org by Monday 19 March 2018. Submissions must also include personal details (Name, affiliation, and email). We strongly encourage postgraduate submissions. If you have any further queries please don’t hesitate to email email@example.com.
Confirmed speakers: Prof Onno van Nijf (Groningen), Prof Zahra Newby (Warwick), Prof Stamatia Dova (Hellenic College Holy Cross and Center for Hellenic Studies), Dr Sofie Remijsen (Amsterdam), Dr. Sebastian Scharff (Mannheim).
(CFP closed March 19, 2018)
WINCKELMANN'S VICTIMS. THE CLASSICS: NORMS, EXCLUSIONS AND PREJUDICES
Ghent University (Belgium): September 20-22, 2018
Confirmed Keynote Speakers: Michelle Warren (University of Dartmouth) - Mark Vessey (University of British Columbia) - Irene Zwiep (University of Amsterdam)
“Der einzige Weg für uns, groß, ja, wenn
es möglich ist, unnachahmlich zu werden, is die Nachahmung der Alten.”
Classics played a major and fundamental role in the cultural history of Western Europe. Few would call this into question. Since the Carolingian period, notably ‘classical’ literature has served as a constant source and model of creativity and inspiration, by which the literary identity of Europe has been negotiated and (re-)defined. The tendency to return to the classics and resuscitate them remains sensible until today, as classical themes and stories are central to multiple contemporary literary works, both in ‘popular’ and ‘high’ culture. Think for instance of Rick Riordan’s fantastic tales about Percy Jackson or Colm Tóibín’s refined novels retelling the Oresteia.
At the same time, this orientation and fascination towards the classics throughout literary history has often —implicitly or explicitly— gone hand in hand with the cultivation of a certain normativity, regarding aesthetics, content, decency, theory, ... Classical works, and the ideals that were projected on them, have frequently been considered as the standard against which the quality of a literary work should be measured. Whether a text was evaluated as ‘good’ or ‘bad’ depended on the extent to which it could meet the ‘classical’ requirements. Probably the most famous example of someone advocating such a classical norm was the German art critic Johannes Winckelmann (1717-1768), whose death will be commemorated in 2018. His 'Geschichte der Kunst des Altertums' may be considered as the embodiment of the idea that the classics should be the norm for aesthetic or even any evaluation, such as, in Western Europe, it has recurrently cropped up, to a greater or lesser degree, from the Early Middle Ages until modern times.
Almost inevitably, this normativity has implied, shaped and fed prejudices and thoughts of exclusion towards literary features and aesthetic characteristics that seemed to deviate from classical ideals. Throughout literary history, examples occur of literary works, styles and genres that were generally appreciated within their time or context of origin, yet whose quality was retrospectively called into question because they were said not to be in accordance with the classical norm as it prevailed at the moment of judgement. Sometimes, this has even applied to whole periods. The persistence of similar assessments up until today is telling for the impact classical normativity still exercises. Besides, literary texts, though clearly not created to conform to the ‘classical’ standard, have been ‘classicized’ during judgement, being forced by a critic to fit into a classical framework and celebrated for its so-called imitation of antiquity. Even the Classics themselves often had and have to obey to this process of ‘classicization’. Therefore, with a sense for drama, one could say that all these works, literary forms, periods, etc. have seriously ‘suffered’ from the prejudices born from classics-based normativity, being the ‘victims’ of Winckelmann-like ideas concerning ‘classical’ standards.
This conference aims to consider classical normativity with its including prejudices and exclusions as a case-study for cultural self-fashioning by way of European literature. It seeks to explore how the normative status ascribed to the classics and the ensuing prejudices have, from the Early Middle Ages to modern times, influenced and shaped thoughts and views of the literary identity of Western Europe. Therefore, we propose the following questions:
• What are the processes behind this normativity of the Classics? Is it possible to discern a conceptual continuum behind the time and again revival of the Classics as the norm for ‘good’ literature? Or, rather, are there clear conceptual and concrete divergences between succeeding periods of such ‘classical’ normativity?
• What are the links (conceptual, historical, aesthetic, political, …) between the normativity of the Classics and the excluded ones, both in synchronic and diachronic terms? How does literary normativity of the Classics imply literary prejudices and exclusions?
• How has normativity of the Classics with its prejudices and exclusions imposed an identity on European literature (and literary culture)?
• What does this normativity of the Classics with its prejudices and exclusions mean for the conceptualization of European literary history?
Besides these conceptual questions, we also welcome case studies that may illustrate both the concrete impact of classical normativity and concrete examples of prejudice and exclusion as resulting from this normativity. We think of topics such as:
• the Classics themselves as victims of retrospective ‘classical’ normativity
• the exclusion of literary periods that are considered non- or even contra-classical (baroque, medieval, …) and the clash with non-European literature
• literary ‘renaissances’ and their implications
• classical normativity and its impact on literatures obedient to political aims (fascism, populism, …)
• literary appeal to the classics as a way of structuring and (re-)formulating society (‘higher’ liberal arts vs. ‘lower’ crafts and proficiencies, literary attitudes towards slavery, …)
We accept papers in English, French, German, Italian and Spanish. Please send an abstract of ca. 300 words and a five line biography to firstname.lastname@example.org by 15 April 2018.
ORGANISATION: Wim Verbaal, Paolo Felice Sacchi and Tim Noens are members of the research group RELICS (Researchers of European Literary Identities, Cosmopolitanism and the Schools). This research group studies historical literatures and the dynamics that shape a common, European literary identity. It sees this literary identity as particularly negotiated through languages that reached a cosmopolitan status due to fixed schooling systems (Latin, Greek and Arabic), and in their interaction with vernacular literatures. From a diachronic perspective, we aim to seek unity within the ever more diverse, literary Europe, from the first to the eighteenth century, i.e. from the beginning of (institutionally organized) education in the cosmopolitan language to the rise of more national oriented education.
(CFP closed April 15, 2018)
#CFP LVDI PLAVTINI SARSINATES. CHARACTERS ON STAGE: THE PARASITE
Sarsina, Italy: 29 September 2018
After twenty years of Lecturae Plautinae Sarsinates, the CISP (International Center for Plautine Studies of Urbino) and the PLAVTVS (Center of Plautine Research of Sarsina - Urbino), have the
pleasure of inviting you to the second in a new series of annual graduate conferences, the Ludi Plautini Sarsinates: Characters on Stage. As the title clearly highlights, the main focus of the conference will be on stage and theatrical issues as well as on a deeper evaluation of the personae scaenicae to be conducted every year on a different character. The conference aims at a fertile encounter between those who study Plautus and those who actually perform his plays on stage. Its scope will therefore encompass a wide set of themes, ranging from dramatical questions in the text to modern and contemporary adaptations of it. In order to enable a stimulating and interdisciplinary dialogue, we welcome any proposal dealing with these
issues from different cultural contexts and perspectives.
The second Ludus Plautinus will look at the character of the parasitus and its reception up to modern and contemporary drama. Applicants may wish to devote their attention to the following topics:
a) confronting philological and / or anthropological approaches with the techniques employed by professional actors and stage directors
b) translations aimed at reviving the parasitus on contemporary stage
c) literary, theatrical and cinematic reception of the parasitus.
We also very much encourage proposals beyond these topics, as long as they fit within the overall theme illustrated above. The conference will be held in Sarsina on 29th September 2018. Costs of accommodation and travel are NOT covered by the CISP. There will be 2 initial lectures given by the two Keynote
Speakers appointed by the CISP and 6 presentations (30 mins each) to be allotted through the present CfP. Applicants are kindly request to send (deadline 30 April 2018) a 600 words abstract and a brief academic CV to this address: email@example.com
Italian, English, German, French and Spanish are all permitted for presentation and publication.
Given the particular nature of the event, each paper should ideally be accompanied by images, movies, performances or any kind of multimedia. The CISP committee will select the best and most relevant papers through peer review and will announce the results by 31 May 2018.
#CFP FUTURE DIRECTIONS IN AUSTRALASIAN CLASSICAL RECEPTIONS
University of Newcastle, NSW, Australia: October 4-5, 2018
THURS 4 OCTOBER 9-5: A one-day conference, ‘Future Directions in Australasian Classical Receptions’; and / or
FRI 5 OCTOBER 10-3: A workshop for postgraduates and honours students on their current research in Classical Reception Studies.
Please send your abstracts for day one by 1 August to Marguerite Johnson, The University of Newcastle: firstname.lastname@example.org.
Abstracts should be approximately 300 words.
Presentation will be 30 minutes + 10 minutes for questions.
Professor Chris Mackie, La Trobe
Dr Laura Ginters, Sydney
Dr Sarah Midford, La Trobe
Dr Rachael White, Oxford
Postgraduates and honours students who wish to attend day two, should send an outline of their current – and/or future – projects, which will be workshopped with their peers and with scholars currently working in Classical Reception Studies.
Please send your outlines for day two by 1 August to Marguerite Johnson, The University of Newcastle: email@example.com.
It is hoped that scholars researching at all levels – from academics, independent researchers, postgraduates, and honours students – will participate in both days. Postgraduates and honours students are also welcome to submit abstracts for day one, and academics and independent researchers are welcome to participate in the workshop on day two. Undergraduates are welcome to attend either one or both days.
Two days: Waged: $120; Unwaged / Studying: $60
One day (either day one or day two): Waged: $60; Unwaged / Studying: $30.
There is a travel subsidy for up to three students who wish to participate in the workshop on day two.
Registration covers morning/afternoon tea and light lunch on day one; morning coffee and light lunch on day two.
The events will be held at The University of Newcastle, NSW.
As this is a preliminary call for papers, registration forms, venues, advice on travel and accommodation will be available in the next few weeks. In the meantime, please email to signal your interest, attendance and / or presentation.
Sponsored by The Centre for 21 Century Humanities, Faculty of Education and Arts, The University of Newcastle.
AUTHOR.NET: A TRANSDISCIPLINARY CONFERENCE ON DISTRIBUTED AUTHORSHIP
UCLA: October 5-7, 2018
Co-Organizers: Francesca Martelli and Sean Gurd
Long associated with pre-modern cultures, the notion of “distributed authorship” still serves as a mainstay for the study of Classical antiquity, which takes 'Homer' as its foundational point of orientation, and which, like many other disciplines in the humanities, has extended its insights into the open-endedness of oral and performance traditions into its study of textual dynamics as well. The rise of genetic criticism within textual studies bears witness to this urge to fray perceptions of the hermetic closure of the written, and to expose the multiple strands of collaboration and revision that a text may contain. And the increasingly widespread use of the multitext in literary editions of authors from Homer to Joyce offers a material manifestation of this impulse to display the multiple different levels and modes of distribution at work in the authorial process. In many areas of the humanities that rely on traditional textual media, then, the distributed author is alive and well, and remains a current object of study.
In recent years, however, the dynamic possibilities of distributed authorship have accelerated most rapidly in media associated with the virtual domain, where modes of communication have rendered artistic creation increasingly collaborative, multi-local and open-ended. These developments have prompted important questions on the part of scholars who study these new media about the ontological status of the artistic, musical and literary objects that such modes of distribution (re)create. In musicology, for example, musical modes such as jazz improvisation and digital experimentation are shown to exploit the complex relay of creativity within and between the ever-expanding networks of artists and audiences involved in their production and reception, and construct themselves in ways that invite others to continue the process of their ongoing distribution. The impact of such artistic developments on the identity of 'the author' may be measured by developments in copyright law, such as the emergence of the Creative Commons, an organization that enables artists and authors to waive copyright restrictions on co-creators in order to facilitate their collaborative participation. And this mode of distribution has in turn prompted important questions about the orientation of knowledge and power in the collectives and publics that it creates.
This conference seeks to deepen and expand the theorising of authorial distribution in all areas of human culture. Ultimately, our aim is to develop and refine a set of conceptual tools that will bring distributed authorship into a wider remit of familiarity, and to explore whether these tools are, in fact, unique to the new media that have inspired their most recent discursive formulation, or whether they have a range of application that extends beyond the virtual domain.
We invite contributions from those who are engaged directly with the processes and media that are pushing and complicating ideas of distributed authorship in the world today, and also from those who are actively drawing on insights derived from these contemporary developments in their interpretation of the textual and artistic processes of the past, on the following topics (among others):
* The distinctive features of the new artistic genres and objects generated by modes of authorial distribution, from musical mashups to literary centones.
* The impact that authorial distribution has on the temporality of its objects, as the multiple agents that form part of the distribution of those objects spread the processes of their decomposition/re-composition over time.
* The re-orienting of power relations that arises from the distribution of authorship among networks of senders and receivers, as also from the collapsing of 'sender' and 'receiver' functions into one another.
* The modes of 'self'-regulation that authorial collectives develop in order to sustain their identity.
* Fandom and participatory culture, in both virtual and traditional textual media.
* The operational dynamics of 'multitexts' and 'text networks', and their influence by/on virtual networks.
Paper proposals will be selected for their potential to open up questions that transcend the idiom of any single medium and/or discipline.
Please send a proposal of approximately 500 words to firstname.lastname@example.org by January 15, 2018.
(CFP closed January 15, 2018)
#CFP V INTERNATIONALCONFERENCE ON MYTHCRITICISM: MYTH AND AUDIOVISUAL CREATION - CLASSICAL MYTHS
Madrid (Universidad Autónoma de Madrid), Spain: 17-19 October 2018
The ÉTICAS GRIEGAS research group is pleased to announce the celebration of the international conference, dedicated to the study of Greek and Roman myths in audiovisual creation. On this occasion, “Classical Myths” is one of the four branches of the V International Congress of Mythcriticism “Myth and Myth and Audiovisual Creation”, which will be held at the UAH, UAM, UFV, and UCM from October 15 to 26, 2018.
Throughout the conference, the growing presence of the myths of Greece and Rome will be analyzed in the creative languages that fuse image and sound, especially in films, TV series and video games. We will also discuss the reception of classical myths in opera or theater, as well as their impact on contemporary arts that integrate the auditive and the visual to produce a new reality or language, as in comics, happenings, installations or performances.
What do we understand by classical mythology? Fundamentally and, usually, a set of Greek and Roman stories referring to gods and heroes, that is, to the two types of characters that were the object of worship in ancient cities.
The study of Greek and Roman mythologies is an indispensable piece to understand many of the keys of contemporary audiovisual creation. Starting from the Greek epic poems – the Iliad and Homer’s Odyssey – or the Latin epic – the Aeneid of Virgil -, we intend to approach the study of classical myths as a coherent whole in which each divinity, each mythological figure, exercises a concrete domain over the different spheres and institutions that structure social life. Likewise, we will study the audiovisual representation of the great mystery cults that arrive in Rome, imported from Egypt and the East, as well as the analysis of the conflictive relationships that primitive Christianity and the Fathers of the Church entered into with the myths of paganism.
During the conference, the mythical roots of the audiovisual themes will be explored, selecting from the corpus of the Greek and Roman myths those episodes that seem to lend themselves to a new reading, taking into account the most recent contributions of mythcriticism. For example, in The Warriors (Walter Hill, 1979), the withdrawal of Swan to his base in Coney Island “has something of a journey of Ulysses in his return to Ithaca”, which Roman Gubern identifies with “the theme of eternal return, of the return to the home”.
In the current audiovisual creation, we see the presence of the great themes of classical mythological structures: cosmogonies, theogonies, anthropogony, stories related to sacrifice, animals, gods and heroes of war and hunting, artisan gods, death, the erotic, philosophy and the city. It is, in short, to explore in what way the characteristic features and unique characters of Greco-Roman mythology, in the case of heroes, such as Odysseus, Achilles, Heracles / Hercules, the Amazons, the Argonauts, or the gods, as Zeus / Jupiter, Athena / Minerva, Apollo, Orpheus, Dionysus / Bacchus, Aphrodite / Venus, Hermes / Mercury or Bread, are translated into the language of audiovisual creation.
Deadline for abstracts: May 1, 2018.
THE FRAGRANT AND THE FOUL: THE SMELLS AND SENSES OF ANTIQUITY IN THE MODERN IMAGINATION
Toulouse, France: 18-20 October, 2018
Colloque international IMAGINES/ International Conference IMAGINES
The classical tradition has long confined Antiquity to an immaculate, sanitized whiteness : thus idealised, it was deprived of its multi-sensorial dimension, and conveniently limited to the visual paradigm. Olfaction, in particular, has often been overlooked in classical reception studies due to its evanescent nature which makes this sense difficult to apprehend. And yet, the smells associated with a given figure, or social group convey a rich imagery which conotes specific values : perfumes, scents and foul odours both reflect and mould the ways a society thinks or acts. The aim of this conference will be to analyse the underexplored role of smell – both fair or foul – in relation to the other senses, in the modern rejection, reappraisal or idealisation of Antiquity. We will pay particular attention to the visual and performative arts especially when they engage a sensorial response from the reader or the viewer.
We therefore invite contributions focusing not only on painting, literature, drama, and cinema but also on advertising, video games, television series, comic books and graphic novels, as well as on historical re-enactments which have recently helped reshape the perception and experience of the antique for a broader
Conference papers (in English or French) will be twenty minutes in length. Topics may include, but are not limited to:
* The materiality of smell: what are the substances, plants and/or objects associated with antique smells in the modern imagination? To what extent may we confront current archeological data concerning the fragrant objects used in Antiquity with representations of smell in modern works? What new technical means are now mobilized to make modern audiences ‘smell’ and sense Antiquity (for instance in museums and multi-media productions)? We also invite papers that address the role flowers play in the modern construction of the antique smellscape and how this connects with the other senses.
* The sensoriality of antique rituals: How do fragrances (incense, burnt offerings, perfumed oils) shape modern representations of antique ritualistic and magical practices? To what extent does the staging of ritualistic gestures and objects associated with smell (and notably the burning of incense) create a form of estrangement between past and present, and deepen the rift between polytheistic and monotheistic faiths?
* The erotics of smell and scent: How was the antique body (both male and female) made desirable thanks to the use of perfume and cosmetics? How was this in turn exploited in painting, films, advertisement etc. – especially in connection with Orientalism? What role does smell play in gendered constructions of the antique body? What relation can we establish between the fragrant and the (homo)erotic? We also welcome discussions of
modern representations of antique baths, hygiene and ‘sane’ classical bodies in relation to
* Foul smells and diseased bodies: to what extent did the hygienistic shift which affected Western societies in the modern age (as described by A. Corbin) influence the perception of the antique smellscape? When did Goethe’s conception of the classical as ‘sane’ start being challenged? More generally, how are antique illnesses and decaying bodies depicted in the modern imagination and for example performed on stage or in historical reenactments
aiming to recreate ‘authentically’ the experience of antique battles? Does smell have a specific social/national identity? Since Antiquity, whose bodies have been most recurrently perceived as pestilent: those of enemies, foreigners, lower social classes (artisans, peasants, slaves…)?
Proposals (300 words) and short biographies should be sent to Adeline Grand-Clément (email@example.com) and Charlotte Ribeyrol (firstname.lastname@example.org) no later than 15th December 2017.
The contributions must be original works not previously published. The abstract should clearly state the argument of the paper, in keeping with the topic of the conference.
A selection of contributions (in English) will be considered for a volume publication by Bloomsbury in the series ‘Imagines – Classical Receptions in the Visual and Performing Arts’.
(CFP closed December 15, 2017)
GALEN AND THE EARLY MODERNS
Ca’ Foscari University of Venice: October 25-26, 2018
Along with Hippocrates, Galen was the most celebrated physician of antiquity. Among ancient physicians, he was also the one who exerted the most persisting influence not only on western medical thought and practice but also on western culture and philosophy in general. In spite of their early medieval oblivion caused mainly by linguistic barriers, in the eleventh century Galen’s works began to circulate again in Europe through Arabic mediation. As soon as Latin translations made in Italy and Spain became available, Galen entered the canon of natural philosophy, medicine, and anatomy. This medieval and late-medieval revival of the Galenic tradition lasted throughout the early modern era up to the eighteenth century at least.
However, Galen’s influence was not limited to the medical field. Although his theories and practices certainly represented a mandatory reference for early modern anatomy, physiology, and therapeutics, Galen also contributed to orient the interpretation of Aristotle’s natural philosophy. In particular, his De usu partium was a reference work for any confrontation with the Aristotelian biological treatises. The famous Epode inserted as an appendix to this work strongly supported the theologically-oriented reading of Aristotle’s physics. Furthermore, the finalistic account of organic structures offered by De usu partium was an inspiring source for the eighteenth-century development of Teleology as an autonomous philosophical discipline.
So far, studies on Galen’s modern revival have focused mainly on the post-medieval period and the Renaissance. Frequent attention was paid especially to Galen’s presence in the medicine and physiology of the sixteenth century. The reasons for this emphasis are perfectly understandable, since the sixteenth-century edition of the Opera had the indeniable effect of reviving the interest in this author among both the medical and the philosophical communities.
On the other hand, this privileged focus on the sixteenth century may easily result in overlooking the long-term effect of Galen’s rediscovery, which in fact did not cease to exert its powerful influence both on medicine and philosophy during the seventeenth and eighteenth centuries. Galen’s theories appear to be mentioned, endorsed, discussed or even fought in the works of first-rank scientists and philosophers such as Boyle, Cudworth, Malebranche, and Leibniz – just to name the best known ones. A still open question, for instance, concerns the extent to which Descartes’ physiology and especially his sketch of embriology might contain some implicit reference to Galen’s work as their polemical target.
In light of these considerations, the Venice conference aims to broaden the study of Galen’s reception in the early modern philosophy of nature, teleology, physiology, medicine, and philosophy of medicine by investigating his presence from the sixteenth to the eighteenth century. We therefore invite submissions on all aspects of the early modern reception of Galen’s scientific and philosophical works. Proposals on iconographical or iconological issues related to the early modern Galenic tradition will also be considered.
Keynote speakers: Raphaële Andrault, Dennis DesChene, Guido Giglioni, Hiro Hirai.
Please submit your proposal (max. 1,000 words) as a Word or PDF attachment to email@example.com
Submission deadline: 15 March 2018. Notification of acceptance will be sent by the end of April.
We will cover both accommodation and travel costs for speakers, provided that they travel in economy class and buy their tickets at least one month before the conference.
Conference attendance is free. There are no registration fees.
This conference is organized by Emanuela Scribano and Matteo Favaretti Camposampiero.
CREMT – Center for Renaissance and Early Modern Thought, Department of Philosophy and Cultural Heritage, Ca’ Foscari University of Venice
(CFP closed March 15, 2018)
CONFERENCE IN HONOUR OF CHRIS STRAY
Corpus Christi College, Oxford: October 27, 2018
A one-day conference on select topics in the history of classical scholarship will be held at Corpus Christi College, Oxford on Saturday 27 October 2018, to mark the 75th birthday of Chris Stray. The speakers will include Mary Beard (Cambridge), Jas Elsner (Oxford), Edith Hall (KCL), Judy Hallett (Maryland), Lorna Hardwick (Open), Chris Kraus (Yale) and Chris Pelling (Oxford).
A detailed programme will be posted nearer the date. Any enquiries should be sent to Stephen Harrison (Stephen.firstname.lastname@example.org).
ANNUAL MEETING OF POSTGRADUATES IN RECEPTION OF THE ANCIENT WORLD (AMPRAW)
2018: TBA. Call for a host institution (deadline Feb 28)
2017: University of Edinburgh: 23-24 November 2017 - https://ampraw.wixsite.com/ampraw2017. Twitter: @ampraw2017
2016: University of Oxford: 12-13 December 2016 - https://amprawoxford.wordpress.com/
2015: University of Nottingham: 14-15 December 2015 - ampraw2015.wordpress.com/ - Twitter: @AMPRAW2015
2014: University of London: 24-25 November 2014 - ampraw2014.wordpress.com/.
2013: University of Exeter.
2012: University of Birmingham.
2011: University College London.
#CFP 19TH UNISA CLASSICS COLLOQUIUM IN COLLABORATION WITH THE ARC DISCOVERY PROJECT, 'MEMORIES OF UTOPIA: DESTROYING THE PAST TO CREATE THE FUTURE (300-650 CE)'
Pretoria, South Africa: 7-10 November, 2018
We are pleased to announce the first call for papers for the annual Unisa Classics Colloquium in collaboration with the Australian Research Council (ARC) Discovery Project: “Memories of Utopia: Destroying the Past to Create the Future (300-650 CE)”.
The conference aims to explore a wide variety of aspects relating to the building, dismantling and reconstructing of memory and reputation across the various cultures bordering on the ancient Mediterranean, and over a wide time-frame. We know that memory and history are not fixed, objective occurrences, but are subjective representations of reality, and we can see evidence of this in the way in which those items which transmit memory are manipulated and used throughout antiquity. Memory and history, for example, are often reconstructed in light of various utopian (or even dystopian) ideals, thereby creating visions of the future that are based on strategic manipulations of the past. The unmaking and reconstitution of memory can be discreet, but more often occurs through violent means, whether through discursive and/or physical violence, which is an important aspect for further investigation.
The proposed conference aims to create fruitful interaction between the disciplines of Classics, Early Christian Studies, Late Antiquity and Byzantine Studies, by exploring both ancient written material and/or ancient material culture within the stated theme. The conference thus offers plenty of areas for further exploration, of which the following fields are a sample:
• Methodological considerations on the use of Memory Studies and Utopia Studies in the field of Ancient History
• From damnatio to renovatio memoriae. The mutilation, transformation and/or re-use of items representing the past such as buildings, statues and iconography
• The effects of iconoclasm and intersectional violence
• Spolia: from the narrative of power to repurposing of architectural fragments
• The importance of promoting or undermining ancestry in the ancient world, for example in Greek or Roman portraiture and busts and the recutting of busts to new portraits
• Continuity and change in historiography – debates on the past among the ancient historians
• The making and breaking of reputations, e.g. techniques and strategies (and their effectiveness) in ancient biography and hagiography
• Memory, utopia and ancient religion
• Utopias and the building of collective identities
• Building genealogies and ancestry, and aristocratic genealogy-competition and rivalry
• The purpose of evoking memory though Classical reception
Paper proposals (approximately 300 words) are invited for papers of 30 minutes debating current issues and problems on any aspect of the above theme.
Abstracts and titles should include your name and university affiliation, and should be submitted to either:
• Prof Martine De Marre (Ancient History and Classics) at email@example.com or firstname.lastname@example.org
• Prof Chris de Wet (Early Christian Studies) at email@example.com
Deadline for abstracts: 30 June 2018
We look forward to hearing from you, and please do not hesitate to contact us at the addresses provided above if you have any queries.
#CFP [PANEL] CLASSICAL ANTIQUITY: SCREENING THE 'POLITICAL ANIMALS' OF THE ANCIENT MEDITERRANEAN WORLD
An area of multiple panels for the 2018 Film & History Conference: Citizenship and Sociopathy in Film, Television, and New Media
Madison Concourse Hotel and Governor’s Club, Madison, WI (USA): November 7-12, 2018
Full details at: www.filmandhistory.org/conference
Aristotle famously defined humans as “political animals”: organizing themselves within the social structure of the polis and its codes of conduct, defining members from outsiders and different types of member in relation to each other and to the whole. From the time of the city’s foundation, Romans were no less concerned with the civitas and citizen status — increasingly so as Roman imperium expanded to encompass ethnic “Others.” The narratives generated and consumed by these societies both acknowledged and questioned the clarity of these theoretical concepts: the Odyssey marks Penelope’s aristocratic suitors as morally base and condemns them to divinely-authorized death worthy of enemies; Herodotus and Thucydides observe the increasingly despotic behavior of democratic Athens, as compared to both “barbarian” and other Greek adversaries; Livy emphasizes how abducted Sabine women stopped a war by asserting their own status and moral authority as Roman wives. Perhaps Julius Caesar would have been reviled as a traitor for his march on Rome, like the failed insurrectionary Catiline, had Caesar’s heir Octavian not gained control over the state, proclaiming the assassinated dictator in perpetuo divine and himself princeps.
All depictions of socio-political relations within the frameworks of kingdom, ethnos, polis, civitas, and empire in the ancient Mediterranean world have been shaped and reshaped through the lens of subsequent interest—both in antiquity and in modernity. The Classical Antiquity area solicits abstracts for papers that discuss how film, television, video games, and other screen media represent these relations and frameworks, on topics including but not limited to:
--how representations help modern audiences to imagine those social relations through dramatization — or promise to, despite reshaping ancient accounts to modern tastes
--how representations radically re-envision ancient accounts of political actors and communities to suit contemporary purposes (e.g. the noble rebel Spartacus in Kubrick’s 1960 film or the vengeful survivor Artemisia in 2013’s 300: Rise of an Empire)
--how modern social constructs (e.g. race, sexuality, gender) have been retrojected into depictions of ancient communities and individuals’ relations to each other and that whole
--how depictions of epochal shifts (e.g. constitutional, epistemological) redefine enfranchised/disenfranchised, subversive/revolutionary, patriot/traitor, barbarian/civilized
--how a “bad ruler/system” is critiqued by focus on a good/conscientious community member, or a “good ruler/system” is destroyed by criminality/sociopathy
--“rise and/or fall” narratives that turn on revolution, civil war, tyrannical coup, restoration
--use of ancient Mediterranean societies to stage modern romance with e.g. democracy, republicanism, fascism, imperialism
Proposals for complete panels of three related presentations are also welcome, but should include an abstract and contact information (including email) for each presenter.
DEADLINE for abstracts: 1 June 2018
Please e-mail your 200-400-word proposal to the area chair:
Meredith Safran, Trinity College - firstname.lastname@example.org
#CFP CATULLUS IN THE TREEHOUSE RIDES AGAIN
University of Newcastle (NSW), Australia: November 9, 2018
In 2004, Catullus scholars gathered in the Treehouse at The University of Newcastle to talk Catullus. This memorable event, aptly named ‘Catullus in the Treehouse,’ resulted in the first Special Issue of Antichthon, ‘Catullus in Contemporary Perspective’ in 2006.
After 14 years, and due to popular demand, it’s time to revisit ‘Catullus in the Treehouse’ with another one-day conference to celebrate Catullus, his poetry, his life and his legacy.
‘Catullus in the Treehouse Rides Again’ will be held at The University of Newcastle on:
Friday 9 November 2018, 9 am – 5 pm.
If you would like to present a paper (30 or 40 minutes), please send an abstract between 300-500 words by 1 September to Marguerite Johnson (The University of Newcastle) email@example.com & Leah O’Hearn (La Trobe University) firstname.lastname@example.org.
Postgraduates and honours students who wish to present are welcome. Undergraduates are also welcome to attend the conference.
Registration: Waged: $60; Unwaged / Studying: $30
Registration covers morning/afternoon tea and light lunch.
The events will be held at The University of Newcastle, NSW (Callaghan Campus).
As this is a preliminary call for papers, registration forms and advice on travel and accommodation will be available in the next few weeks. In the meantime, please email to signal your interest, attendance and / or presentation.
#CFP [PANEL] MEDEA ON THE CONTEMPORARY STAGE & SCREEN
Pacific Ancient and Modern Language Association (PAMLA)
Western Washington University, Bellingham, WA: November 9-11, 2018
In recent years, the afterlives of Greek tragedy have received special attention in the rapidly expanding field of classical reception studies. With reincarnations ranging from Japanese Noh theater to the Mexican screen, Euripides’ Medea is now more than ever a truly global “classic.” The time is ripe for dedicated focus on Medea and its traditions in contemporary theater and film.
The panel organizers (Zina Giannopoulou, University of California, Irvine; Jesse Weiner, Hamilton College) invite proposals for papers on receptions of Euripides’ Medea on the contemporary stage and screen, to be presented at the annual meeting of the Pacific Ancient and Modern Language Association. The conference will take place Nov. 9-11, 2018 at Western Washington University in Bellingham, WA. Questions papers might address include but are not limited to:
* Medea assumes many roles in Euripides’ play, from abject suppliant to dea ex machina. How do recent adaptations of Medea portray Medea’s inherent theatricality?
* How have different translations of Medea affected the performance of the play?
* How have late 20th and 21st century stagings of Medea departed from previous models and trends?
* How have non-Western dramatic traditions (for example Japanese Noh) adapted Medea and how might they inflect our readings of their classical source text?
* How have recent dramatic productions of Medea staged or rewritten the infanticide?
* How have recent Medeas on stage and screen engaged with social and institutional hierarchies, including (but not limited to) issues of race, class, gender, nationality, and citizenship, and how have these issues and identities intersected with one another?
Paper proposals must be submitted through PAMLA’s online submission platform by May 30, 2018.
Please contact the session organizers, Zina Giannopoulou (email@example.com) and Jesse Weiner (firstname.lastname@example.org) with any questions.
#CFP HYBLAEA AVENA - RECEPTION OF THEOCRITUS IN GREEK AND LATIN LITERATURE OF THE ROMAN IMPERIAL AND EARLY MODERN PERIOD
Bergische Universität Wuppertal, Germany: November 15-16, 2018
Keynote Speaker: Prof. Richard Hunter, Trinity College, Cambridge
Pipes being handed down from one shepherd to another in the tradition of music making can easily be imagined as a scenario in real life, whether in ancient times or today. And indeed, some pipes from antiquity are still in use 2000 years later, at least metaphorically speaking. Easy to track are the ones Theocritus used in creating the genre of pastoral poetry with idyllic landscapes and characters that seem to be transported from their real life duties and dialogues into the realm of verses. His pipes are depicted as the instrument of the predecessor offered to a poet of a new era and language in Virgil’s 10th eclogue (Verg. ecl. 10,51: carmina pastoris Siculi modulabor avena), and are from there given to another even later poet in Theocritus’ and Virgil’s footsteps, Calpurnius Siculus (Calp. 4,62f.: Tityrus hanc [sc. fistulam] habuit, cecinit qui primus in istis / montibus Hyblaea modulabile carmen avena).
This tradition was renewed, when the Greek text of Theocritus was rediscovered and printed for the first time during the Renaissance. Thus, Joachim Camerarius, for instance, coined Greek and Latin verses inspired both by Virgil and Theocritus. Finally, the Leipzig schoolmaster Johann Gottfried Herrichen even staged his Greek idylls so that they came back to life using perhaps also real pipes.
Hence a tradition and continuity in the bucolic genre and beyond can be traced back to the inventor, still hundreds of years later. As others have recently concentrated on the reception of Theocritus in comparative studies beginning in antiquity moving to modern times and modern languages (e.g. M. Paschalis [ed.]: Pastoral Palimpsests. 2007; H. Seng/I. M. Weis [eds.]: Bukoliasmos. 2016), the two day-conference Hyblaea avena aims at a new focus in a selected and narrower timeframe, namely the reception of Theocritus in Greek and Latin literature in the Roman empire (1st-6th c.) and the early modern age (15th-17th c.). Within the early modern period, we would like to concentrate on imitations in Greek but of course not exclusively. A view into Byzantine literature is also welcome.
Beyond the passing of pipes the main focus of the meeting is exemplified by the following questions that can be asked or can be answered afresh:
- What role did the reception of Theocritus play in Greek and Roman literature?
- How is the imitation of Theocritus made explicit?
- Which part of Theocritus was used and which was neglected?
- Is the imitation of Theocritus sometimes deliberately left out and why?
- What are the new contexts and functions of Theocritean scenarios and allusions?
- How was Theocritus integrated into other literary genres (e.g. epic poetry or anacreontic verse)?
- What was the impact of the edition of Theocritus, either as the original text or as a translation?
- How did the renaissance of Theocritus during the early modern age change the way poetry was written?
We cordially invite papers of approx. 20-30 minutes in length, with following time for questions and discussion. The languages of the meeting are German and English.
Please submit titles and abstracts (as pdf-attachments) of approx. 500 words, along with a short CV and contact details by 30th April 2018 to either Stefan Weise or Anne-Elisabeth Beron. Applicants will be notified of the organizers’ decision shortly thereafter.
The publication of a conference volume is planned. Travel and lodging expenses will be covered for selected speakers.
Contact: Jun.-Prof. Dr. Stefan Weise (email@example.com) & Anne-Elisabeth Beron (firstname.lastname@example.org).
#CFP THE MAKING OF THE HUMANITIES VII
University of Amsterdam, The Netherlands: 15-17 November, 2018
‘The Making of the Humanities’ conference returns to Amsterdam! This is the place where the conference series started in 2008, 10 years ago. The University of Amsterdam will host the 7th Making of the Humanities conference at its CREA facilities, from 15 till 17 November 2018.
Goal of the Making of the Humanities (MoH) Conferences: The MoH conferences are organized by the Society for the History of the Humanities and bring together scholars and historians interested in the history of a wide variety of disciplines, including archaeology, art history, historiography, linguistics, literary studies, media studies, musicology, and philology, tracing these fields from their earliest developments to the modern day.
We welcome panels and papers on any period or region.
Deadline for paper and panel submissions: 1 June 2018.
For the full Call for Papers and Panels, see http://www.historyofhumanities.org/
#CFP 2ND INTERNATIONAL CONFERENCE IN ANCIENT DRAMA: THE FORGOTTEN THEATRE (IL TEATRO DIMENTICATO) #2
University of Turin, Italy: November, 28-30 [TBC], 2018
Studies and discussions about classic fragmentary theatre and its modern staging.
The Centro Studi sul Teatro Classico (Centre for Studies on Classic Theatre) has scheduled for November 2018 its second academic conference for Professors, Young Researchers and Ph.D. Students of Humanities.
The conference The Forgotten Theatre aims at revitalizing the scientific interest in dramatic Greek and Latin texts, both transmitted and fragmentary, which have been long confined in restricted areas of scientific research and limited to few modern staging. The conference will host academics - Professors, Young Researchers and Ph.D. Students – who wish to contribute in cast new light on the forgotten theatre through their studies, reflections and experiences.
• Criticism, commentary, and constitutio textus of complete and fragmentary texts (comedy and tragedy);
• Reasonable attempts of reconstructions of incomplete tetralogies;
• Research on theatrical plots known for indirect tradition;
• Developments of theatrical plots between the Greek and Latin world;
• Influence of foreign theater traditions on the Greek and Roman theatre;
• Influence of other forms of camouflage art (dance, mime) on the development of the Greek and Latin theatre;
• New scenographic considerations based on the testimonies of internal captions, marginalia and scholia to the texts;
• New proposals for modern staging of ancient dramatic texts;
• Medieval, humanistic, modern and contemporary traditions of ancient drama.
In order to participate, the candidates are required to send an e-mail to email@example.com containing:
• an abstract (about 300 words) of the lecture they intend to give at the conference and the title;
• a brief curriculum vitae et studiorum which highlights the educational qualifications of the candidate and the university they are attending.
The candidacies may be submitted until 31st July 2018. Each lecture should be 20-25 minutes long, plus a few minutes for questions from the public and discussion. The lectures may be given in Italian or English. Within the month of August 2018, the scientific committee will publish the list of the lecturers whose contribution has been accepted.
Refunds for the lecturers coming from other countries than Italy will be quantified thereafter. The scientific committee will also consider publishing the proceedings of the conference on the second issue of Frammenti sulla Scena, the official scientific series of The Centro Studi sul Teatro Classico (University of Turin), directed by Professor Francesco Carpanelli and published by Editore dell'Orso of Alessandria.
Scientific committee: The exact composition of the Scientific Committee, chaired by the Director of the Centro Studi sul Teatro Classico, prof. Francesco Carpanelli, will be announced in April 2018.
Organization: The organization of the conference is entrusted to the Secretary of the Centro Studi sul Teatro Classico, dott. Luca Austa; for any information about the technical and organizational aspects of the event please contact him at firstname.lastname@example.org.
#CFP PRELIMINARY CONSIDERATIONS ON THE CORPUS CORANICUM CHRISTIANUM. THE QURAN IN TRANSLATION – A SURVEY OF THE STATE-OF-THE-ART
Freie Universität Berlin (Germany), December 5th – 7th, 2018
We are delighted to announce the Call for Papers for our workshop ‘Preliminary Considerations on the Corpus Coranicum Christianum. The Quran in Translation – A Survey of the State-of-the-Art’ at the Freie Universität Berlin (Germany), December 5th – 7th, 2018. In this workshop, we aim to lay the groundwork for an interdisciplinary research project, which will focus on comparing the different translations of the Quran made within Christian cultural backgrounds. The project will study the Quran and its reception from the Christian perspective by analyzing all Greek, Syriac, and Latin translations of the Quran from the 7th century CE until the Early Modern period.
The keynote speech will be delivered by Professor Angelika Neuwirth, head of the project Corpus Coranicum (CC) at the Berlin-Brandenburg Academy of Sciences and Humanities. The workshop aims to map out the different scholars and research traditions dealing with varied translations of the Quran. In addition, it seeks to connect these experts and to facilitate the scientific exchange between the multitude of studies previously conducted in this field. Finally, the workshop will examine the possibilities of using methods in the Digital Humanities for building an open-access database for systematically collecting and presenting the material for further research.
The structure of the planned project will correspond with the languages that will be analyzed. The Corpus Coranicum Christianum (CCC) shall, in a first step, consist of the three subprojects: Corpus Coranicum Byzantinum (CCB), Corpus Coranicum Syriacum (CCS), and Corpus Coranicum Latinum (CCL). Papers for the workshop are welcome in one or more of the following four sections:
* Greek translations of the Quran (CCB)
* Syriac translations of the Quran (CCS)
* Latin translations of the Quran (CCL)
* Digital Humanities (DH)
The workshop is focused on interdisciplinary research, which will, the organizers hope, encourage fruitful discussions about the state-of-the-art of the field and highlight potential areas for future research cooperation. For this purpose, we welcome abstracts of up to 300 words, to be submitted in English by May 31st, 2018 to: email@example.com. Abstracts should include your name, affiliation, position, the title of the proposed paper, your specific source(s) you want to work on, and a brief curriculum vitae. Please also indicate the preferred section (see above: CCB, CCS, CCL, DH). Notifications will be sent out in June 2018. Full papers should be submitted by 15th November, 2018. Limited funding will be available for accommodation and/or travel. Proposed workshop languages: English, German, Spanish, and French. Papers will be published as edited volume.
The project initiative Corpus Coranicum Christianum is financed by the Presidency of the Freie Universität Berlin. For further information about the structure of the planned project and for a more detailed Call for Papers, please visit our website.
We are looking forward to welcoming you soon in Berlin!
THE ROMAN ART WORLD IN THE 18TH CENTURY AND THE BIRTH OF THE ART ACADEMY IN BRITAIN
The Accademia Nazionale di San Luca and the British School at Rome, Rome: December 10-11, 2018
The Accademia Nazionale di San Luca and the British School at Rome (BSR) invite submissions for papers for the conference The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain, to be held in Rome between 10 and 11 December 2018. The conference will focus on the role of the Roman pedagogical model in the formation of the British academic art world in the long 18th century.
Even as Paris progressively dominated the modern art world during the 18th century, Rome retained its status as the ‘academy’ of Europe, attracting a vibrant international community of artists and architects. Their exposure to the Antique and the Renaissance masters was supported by a complex pedagogical system. The Accademia Nazionale di San Luca, the Capitoline Accademia del Nudo, the Concorsi Clementini, and numerous studios and offices, provided a network of institutions and a whole theoretical and educational model for the relatively young British art world, which was still striving to create its own modern system for the arts. Reverberations of the Roman academy system were felt back in Britain through initiatives in London such as the Great Queen Street Academy, the Duke of Richmond’s Academy, the Saint Martin’s Lane Academy and the Royal Society of Arts. But it was a broader national phenomenon too, inspiring the likes of the Foulis Academy in Glasgow and the Liverpool Society of Artists. The foundation of the Royal Academy of Arts in London in 1768 officially sanctioned the affirmation of the Roman model.
If past scholarship has concentrated mainly on the activities of British artists while in Rome, this conference wishes to address the process of intellectual migration, adaptation and reinterpretation of academic, theoretical and pedagogical principles from Rome back into 18th- century Britain. It responds to the rise of intellectual history, building on prevalent trends in the genealogy of knowledge and the history of disciplines, as well as the mobility and exchange of ideas and cultural translation across borders.
The conference welcomes diverse approaches to investigating the dissemination of the academic ideal from Rome to Britain. These might address, but are by no means limited to, the following topics:
• The impact of the Roman academic structure, theory and pedagogy on British art academies, artists’ studios and architects’ offices.
• The impact of art and architectural theory in Rome on the formation of a public discourse on art and architecture in Britain.
• The process of adaptation and reinterpretation of Roman theoretical and pedagogical principles to the British artistic and architectural context, and the extent to which British art academies developed new principles, absorbed the Roman model, or derived them from elsewhere.
• The role played by Roman and Italian artists and architects in the formation and structuring of the 18th-century British art academies and, in particular, of the Royal Academy of Arts.
• The presence and activities of British artists and architects in Roman studios, offices and academies and the presence of Italian artists in British academies.
• The role played by other relevant academies – such as those at Parma and Florence – on the formation of British artists and architects in relationship/opposition to the Roman model.
This conference will conclude a series of events celebrating the 250th anniversary of the foundation of the Royal Academy of Arts in London. It will also be part of a series of conferences and exhibitions focusing on the role of the Accademia Nazionale di San Luca in the spread of the academic ideal in Europe and beyond, inaugurated in 2016 with an exhibition and conference on the relationship between Rome and the French academy, held at the Accademia Nazionale di San Luca and at the Académie de France à Rome.
Please provide a concise title and abstract (250 words maximum) for a 20-minute paper. Send your proposal, with a current CV of no more than two pages, to firstname.lastname@example.org. Proposals must be received by midnight, Monday 12 March 2018. Speakers will be notified of the committee’s decision in mid-April 2018. Travel grants will be available.
Organizers: Dr Adriano Aymonino, Professor Carolina Brook, Professor Gian Paolo Consoli, Dr Thomas-Leo True
(CFP closed March 12, 2018)
[PANEL] ANCIENT DRAMA, NEW WORLD
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
Sponsored by the Committee on Ancient and Modern Performance
Organizers: Anna Uhlig, (email@example.com), University of California, Davis & Al Duncan, (firstname.lastname@example.org), The University of North Carolina, Chapel Hill; Research Fellow, University of the Free State
The performance of ancient drama, whether in updated stagings or more radically adapted variations, represents one of the most significant influences on contemporary views of the ancient world. As Helene Foley and others have shown, the “reimagining” of ancient drama in the New World has a long and fascinating history, and one that continues to be written. The recent flurry of scholarly work on the performance of ancient drama in the Americas attests to the range and complexity of new-world engagement with Greece and Rome. Landmark studies include Foley’s Reimagining Greek Tragedy on the American Stage (2012) and the Oxford Handbook of Greek Drama in the Americas (2015) among diverse other publications. In the years since the publication of these volumes, ancient drama has continued to demonstrate its ability to speak to a changing New World, whether in Harrison David Rivers’ And She Would Stand Like This (2017), a transgender version of Euripides’ Trojan Women, Bryan Doerries’ evolving “Theater of War” Productions (2009-present), or Elise Kermani’s juxtaposition of contemporary and ancient in Iphigenia: Book of Change (2016). In many ways, theater artists in the Americas are once again redefining our relationships with ancient Greek and Roman culture.
In light of the overall goal of the Sesquicentennial Program to celebrate the past and future of Classical Studies in the Americas, this panel will focus on the dynamic forms that ancient drama has taken in new-world performances. This rich and still-unfolding history provides a powerful window on how the performance of classical drama constitutes a vital channel through which the future of Classics has taken—and continues to take—shape. As theater has long been recognized as a bellwether within our discipline, a goal of this panel is to highlight emergent trends in new-world theater that may presage future turns in Classical Studies as a whole.
We invite submissions on any aspect of the performance of ancient drama in the Americas, but are especially eager for contributions that focus on the cultural or political immediacy of ancient drama as demonstrated in staged productions from the last decade or so. Possible areas of focus include, but are not limited to:
* How does a synchronic approach facilitate our understanding of ancient drama within an interconnected world?
* How does the shared history of colonialism and/or slavery in the Americas shape approaches to ancient drama?
* What similarities/differences are found in the performance/adaptation of ancient drama in distinct linguistic communities of the Americas (e.g. Spanish, English, Portuguese, French)?
* How have recent changes in social or economic conditions in the Americas found form in the performance/adaptation of ancient drama?
* How are contentious issues of borders, identity, nationality, and culture reflected in the performance/adaptation of ancient drama in the Americas?
* How are shifting discourses on gender, sexuality, and race making themselves felt in the performance/adaptation of ancient drama?
The session will conclude with a response to the papers by Helene Foley.
Please send anonymous abstracts following SCS guidelines (http://apaclassics.org/annual-meeting/guidelines-authors-of-abstracts) by email to Timothy Wutrich (email@example.com), not to the panel organizers. Review of abstracts will begin 1 March 2018. The deadline for submission is 15 March 2018.
(CFP closed March 15, 2018)
[PANEL] CLASSICAL & EARLY MODERN EPIC: COMPARATIVE APPROACHES & NEW PERSPECTIVES
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
The Society for Early Modern Classical Reception (SEMCR) invites proposals for papers to be delivered at the 2019 meeting of the Society for Classical Studies in San Diego. For its fourth panel, SEMCR invites abstracts on the subject of “Classical and Early Modern Epic: Comparative Approaches and New Perspectives”. In particular, we welcome papers offering reassessments of the current state of the field from cross-cultural and cross-temporal perspectives, or proposing new approaches to the connections between classical and early modern epic using methodologies from philology, digital humanities, cognitive studies, visual studies, or world literature.
In the shadow of a rising nationalism, epic poetry has taken on an ever greater importance through its mediation of national identity and as a focal point of reference and contestation. Even within rarefied scholarly discussions, the study of the genre, like epic itself, can appear to dominate other material, whether less canonical genres or non-Western epic. While the genealogical bonds between classical and early modern epic can seem to strengthen national ideologies and academic conventions, however, the content of the poems often works against such assumptions. Moreover, increasing diversity in research methods and scope, especially through collaboration, enables the scholarly community to renew the study of epic in more expansive and imaginative ways. Our panel aims, therefore, to reflect on the reception of Greco-Roman epic in early modernity partly as a topic in its own right, and partly as a means of understanding more general issues of theory, practice, and canonicity in literature and culture at large.
Proposals responding to recent developments in the scholarship might address, but are not limited to, one of the following questions:
* In light of recent work by Mazzotta, Ramachandran, Laird, and others, how might attention to worldmaking, post-colonial thought, and classical reception in the New World reframe our understanding of the relationship between ancient and early modern epic?
* Does the study of the relationship between classical and early modern epic have anything to gain from comparison with non-Western material, e.g., the Indic tradition? More generally, what are the advantages and disadvantages of analysing these traditions in terms of genealogy, ecology (cf. Beecroft), cosmopolitanism (cf. Pollock), or other systemic relationships?
* What light can cross-disciplinary approaches, especially those using computational tools (cf. Coffee and Bernstein) or cognitive models (cf. Jaén and Simon), shed on continuities and disjunctions between ancient and early modern forms of the genre?
* How did the idea of epic change as a genre during the early modern period, in particular given the different transmission histories of classical epics, especially works in ancient Greek? How might the growing attention to neo-Latin literature affect the fields of epic and/or reception studies?
* Are there developments in the aesthetics of a particular period that shed light on goings-on elsewhere? Besides substantial interest in the sublime (Cheney) and the mock-epic (Rawson), recent work has also focused on the quotidian (Grogan). More generally, what comparative understanding of epic can be gleaned from a study of contemporary critics and theorists, e.g., Horace or Tasso?
* What areas of research in early modern epic might benefit from the contributions of classicists without an extensive background in the field, and vice versa?
We are committed to creating a congenial and collaborative forum for the infusion of new ideas into classics, and hence welcome abstracts that are exploratory in nature as well as abstracts of latter-stage research. Above all, we aim to show how the field of early modern classical reception can bear on a wide range of literary and cultural study, and to dispel the notion of an intimidating barrier to entry.
Abstracts of no more than 400 words, suitable for a 15-20 minute presentation, should be sent as an email attachment to Pramit Chaudhuri (firstname.lastname@example.org). All persons who submit abstracts must be SCS members in good standing. The abstracts will be judged anonymously: please do not identify yourself in any way on the abstract page.
Proposals must be received by February 19th, 2018.
February 19, 2018 EXTENDED DEADLINE March 1, 2018)
[PANEL] CLASSICS & SOCIAL JUSTICE AFFILIATED GROUP: WHO "OWNS" CLASSICS? WHO IS THE FIELD OF CLASSICS FOR? DEFINING THE FIELD/DIVERSIFYING THE FIELD.
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
Chair: Amy Pistone (email@example.com) and Kassandra Miller (firstname.lastname@example.org)
Many initiatives, many possibilities come to mind when we think of Classics and Social Justice. But as we pursue these initiatives, or even before, an important early task for us, is that of self-reflection. Classics traditionally has been the preserve of elites, and has served to exclude individuals and groups from power, institutions, and resources thereby perpetuating their definition as inferior. Let us examine and confront this element of our history carefully, and more particularly our behaviors. Is Classics white? In the light of the appropriation of classical themes and motifs by the alt right, we need to think about how we ourselves have presented the field so as to render such (mis)appropriations possible. At the same time "ownership" of classics has always been contested--and the classics deployed-- by those very same groups who have been defined as outsiders. What are we doing when we say “classics for all” or teach these ancient materials to members of marginalized groups? Why do we do what we do?
We solicit 650-word abstracts by Feb. 20, 2018, for 15-20 minute papers. Paper topics might include but are by no means limited to questions such as the following: the "gatekeeping" and imperialist traditions of classics; the pedagogy of canons and unchanging tradition; the challenges from perceived outsiders to the discipline, for instance working class individuals, people of color, women. How do such individuals fare in our national meetings? Or in our discipline?
Please submit anonymous abstracts of less than 650 words to Kaitlyn Boulding (boulding@UW.EDU).
(CFP closed February 20, 2018)
[PANEL] GLOBAL FEMINISM AND THE CLASSICS
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
WCC Sponsored Panel. Chairs: Andrea Gatzke (SUNY-New Paltz) and Jeremy LaBuff (Northern Arizona University)
Global/transnational feminism is a framework that challenges the universalizing tendencies of Western feminism, and works toward a more expansive appreciation of the diversity inherent to the experiences of women and sexual minorities across the globe. It accomplishes this by taking into consideration the wide variation of cultural, economic, religious, social, and political factors that differentially impact women in different places. Yet the potential utility of this concept to the discipline of classical studies remains largely untapped. For all of the modifications and corrections made to Foucault’s History of Sexuality, the Greco-Roman world’s position as ancestor to the Modern West too often frames how we situate the study of gender and sexuality in antiquity. Global/transnational feminism offers ways to make the discipline more inclusive by transcending this ancient-modern comparison and further contextualizing classical phenomena through contemporary cross-cultural study and consideration of how gender and sexuality might intersect with other social categories like ethnicity or class. Such approaches can help us identify important connections and differences between distinct cultures, but perhaps more importantly, can serve to establish the value and limitations of the theories and methodologies we implement in studying gender and sexuality.
This panel seeks to provide a venue for advancing discussions of gender and sexuality in classical antiquity in both scholarship and the classroom through the lens of global/transnational feminism. Among the questions we hope to explore are:
* How can we make fruitful comparisons between Greek and Roman constructions of gender and sexuality and those of other ancient societies, whether neighboring and interacting (e.g., Celtic, Egyptian, Persian) or disparate (China, Japan, South Asia, etc.)?
* How might a global/transnational feminist approach help us and our students more critically compare ancient constructions of gender and sexuality to our own modern ones?
* How might an emphasis on intersectionality complicate our understanding of the diverse experiences of women and sexual minority groups in antiquity?
* How does Western feminism limit our ability to understand and analyze concepts of gender and sexuality in antiquity?
* What does a global/transnational feminist approach mean for our relationship to the ancient past, more broadly conceived?
* We solicit papers from both scholarly and pedagogical perspectives that consider the above and related questions regarding the study of gender and/or sexuality in the ancient world from a global/transnational perspective.
Abstracts of ca. 450 words, suitable to a 15-20 presentation, should be sent as a .pdf file to Martha Teck (email@example.com). Please do not identify yourself in any way in the abstract itself so that all submitted abstracts can be evaluated anonymously. Please follow the formatting guidelines for abstracts that appear on the SCS website: https://classicalstudies.org/annual-meeting/guidelines-authors-abstracts. All persons who submit abstracts must be SCS or AIA members in good standing, and all proposals must be received by March 1, 2018. Any questions about the panel should be directed to the organizers.
(CFP closed March 1, 2018)
[PANEL] LITERARY TRANSLATION OF GREEK AND LATIN (SINCE 1869)
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
Organizers: SCS Committee on Translations of Classical Authors
From Livius Andronicus to the multifarious translation landscape of the twenty-first century, the re-creation of classic works in new languages has brought ancient literature to new audiences and new cultural contexts.
This panel seeks papers that focus on the art of literary translation. For our society’s sesquicentennial, we especially welcome papers that address translation into English since 1869.
All translation is interpretation: Textual decisions drive interpretations, yet interpretive stances also drive textual decisions. Translation is an especially intimate and visible active reading in which the reader of the source language work becomes the writer of the English work.
Possible areas of focus include, but are not limited to:
* How literary translations of single authors have changed over time.
* Trends in literary translation
* Translation in times of crisis
* The status of translation in classics
* How translation engages with scholarship
* The responsibilities of the translator
* Theories of and approaches to translation
* Political or cultural use of translation
The Committee on Translations of Classical Authors is in the process of producing a searchable database bibliography of all translations of Greek and Latin authors translated from 1869 (and ongoing) initially in English, French, German, Italian, and Spanish. Grand Valley State University developed the Tiresias database, before transferring it to UC-Irvine, who has agreed to host the project at the International Center for Writing and Translation.
Abstracts for papers should be submitted electronically as Word documents by January 31, 2018 to Donald Mastronarde (firstname.lastname@example.org), preferably with the subject heading “abstract_translation_SCS2019”. All abstracts will be judged anonymously and so should not reveal the author’s name, but the email should provide name, abstract title, and affiliation. Abstracts should be 650 words or fewer and should follow the guidelines for individual abstracts (https://classicalstudies.org/annual-meeting/guidelines-authors-abstracts), except that works cited should be put at the end of the document, not in a separate text box.
(CFP closed January 31, 2018)
[PANEL] MOISA (SCS 2019): MUSIC AND THE DIVINE
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
Many literary and philosophical sources throughout antiquity attest the view that music serves as a connection between human and the supernatural realities. The concept of music as a “gift of the gods,” also applicable to instruments and divine (or divinely inspired) musicians, already points at this relationship. From the Pythagoreans to Aristides Quintilianus and beyond, cosmological speculations are frequently aligned with the structure and dynamics of the human soul and described in musical terms. Hence the need of a deeper inquiry about the relationship between music and the divine.
Possible questions to be investigated and topics to discuss include (but are not limited to):
* What are historical, psychological, philosophical, and theological reasons for the perception that music is something divine, which surpasses what is properly human?
* Greek and Roman mythology is full of stories where gods or divine figures are related to or the origin and practice of music as such, instruments, tunes, practices, etc. What does divine patronage reveal about the character of music and its impact on human life?
* The “divinely inspired” musician: origin, role, and development of the concept of musical genius.
* Dionysian “frenzy”: how does the “dark side” of music become associated with divinities? How is this represented in other cultural traditions?
* Human music as a competition or rebellion against the divine (for instance, the stories of Marsyas or Orpheus).
* Cosmology and mathematical musicology: to what degree can modern science support the parallelism between musical and cosmic processes as first described by the Pythagoreans and still thoroughly developed by Kepler? How does such “ideal” music relate to “real” music?
* Contributions of individual classical authors or schools: what are the various views on the relationship between music and creation, and how do they compare? How are these theories reflected and further developed in post-classical traditions?
* Music as mediation between the human and the divine.
* Is the numinous character of music particular, or is it found similarly in other art forms?
* How do ethnomusicological findings support – or question – the idea of a universal notion of music being a privileged link between the human sphere and the divine?
* Is there a continuity or rather a discontinuity between the classical and the Christian (Western or Eastern) view on the role of music in worship or on its divine character?
In an effort to showcase the best papers and the most innovative research in the field of ancient music, we also welcome abstracts that deal with interdisciplinary aspects of Greek and Roman music and its cultural heritage within the framework of the panel theme.
Abstracts for 20-minute papers to be presented at the 2019 SCS annual meeting should observe the instructions for the format of individual abstracts that appear on the SCS web site. The deadline for submission is March 9th, 2018, and all prospective presenters should be SCS members in good standing at the time of submission. Please address your abstract to email@example.com and any question related to the panel to firstname.lastname@example.org. In accordance with SCS regulations, all abstracts for papers will be read anonymously by two referees.
(CFP closed March 9, 2018)
[WORKSHOP] THEORIZING AFRICANA RECEPTIONS
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
For our inaugural workshop at the annual meeting of the Society for Classical Studies, we invite abstracts for papers that develop trans-historical and transnational models of Africana reception. Contributions will be pre-circulated and then discussed at the 2019 SCS meeting in San Diego.
As Classical Reception Studies has burgeoned, existing models of appropriation, creativity, and dialogue have struggled to capture the complexity of the relationship between classical works and their receptions. For example, studies often focus exclusively on one temporal point over the other, trace a direct line of influence from source to target, or hierarchize in such a way that source works become the privileged creative inspiration to a later 'political' manifestation. This is not just a scholarly problem. Artists themselves have rejected attempts to categorize their refigurations without acknowledging their idiosyncratic perspectives: as Romare Bearden said, 'we must remember that people other than Spaniards can appreciate Goya, people other than Chinese can appreciate a Sung landscape, and people other than Negroes can appreciate a Benin bronze...an artist is an art lover who finds that in all the art that he sees, something is missing: to put there what he feels is missing becomes the center of his life's work' (S. Patton, Memory and Metaphor 1991: 31).
Classicists have already begun to find new paths forward. Drawing on the work of Deleuze and Guattari, Lorna Hardwick has argued for utilizing a rhizomatic network of classical connections that recognizes multiple, non-hierarchical points of entry ("Fuzzy Connections" 2011: 43). Emily Greenwood has further developed Hardwick's classical connectivity model by advocating the 'omni-localism' of classical works and of their Africana Receptions ("Omni-Local Classical Receptions" 2013). Striation or layering, as discussed in Deep Classics (Butler, ed. 2016) and "The Reception of Classical Texts in the Renaissance" (Gaisser 2002) respectively, has also been proposed as an alternative metaphor for conceptualizing the varied processes of reception.
To that end we seek papers that go beyond a focus on one point of entry, privileged viewpoint or implied 'tradition' into the network of classical connections and offer a distinctive methodological contribution, a case study of a model through multiple receptions, or a novel theoretical analysis.
Proposals may address (but are not limited to) the following sub-disciplines: intellectual history; literature; visual art and performance studies; music; political activism; and education.
Eos is committed to creating a congenial and collaborative forum for the infusion of new ideas into Classics, and hence welcomes abstracts that are exploratory in nature as well as abstracts of latter-stage research. Above all, we aim to create a supportive environment for scholars of all stages working on Africana Receptions of Greco-Roman antiquity.
Abstracts of no more than 400 words should be sent as an email attachment to email@example.com. All persons who submit abstracts must be SCS members in good standing. The abstracts will be judged anonymously: please do not identify yourself in any way on the abstract page. Proposals must be received by February 23rd, 2018.
February 23, 2018 EXTENDED DEADLINE March 2, 2018)
[PANEL] TURNING QUEER: QUEERNESS AND THE TROPE
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
The Lambda Classical Caucus invites abstracts for papers that investigate relationships between tropes and queerness in the ancient Mediterranean. Ancient and modern scholars have enumerated and explored tropes in visual arts, language, literature, politics, and other parts of ancient cultures. A trope may be “a figure which consists in using a word or a phrase in a sense other than that which is proper to it” (OED), such as a metaphor, or a theme or device used commonly in a particular style, genre, or discourse, such as the lament of the exclusus amator, and it may also be thought of in its root sense: a turning. We understand queerness broadly as questioning, ignoring, resisting, or in other ways not conforming with norms of gender, sex, sexuality, and/or erotics in a society. We welcome submissions on tropes and queerness in any part of an ancient Mediterranean culture or its later reception. We hope that, by examining ideas of turning, figurative representation, and commonly used themes or devices in relation to queer modes of non-conformity, this panel will reveal new dimensions of tropes and queerness.
Possible topics include but are not limited to the following:
How have tropes been used to represent queer people and queerness?
* Have people tried to control or limit non-conformity with tropes?
* How have non-conforming people found empowerment in tropes? Have they used tropes to understand themselves? To question norms? To communicate with each other?
* How does queerness interact with a particular trope or with an idea of a trope?
* How have modern queers troped cultures of the ancient Mediterranean or interacted with tropes of the ancient Mediterranean?
Please email abstracts for 20-minute papers to by February 1, 2018. Abstracts may be up to 500 words (not including works cited). Please submit abstracts as anonymized PDF’s, and include 1) the author’s name and 2) contact information and 3) the title of the proposed paper in the text of the email. Membership in the Society for Classical Studies is required for participation in this panel. Please email any questions to David Wray at firstname.lastname@example.org, Hannah Mason at email@example.com, and Rob Matera at firstname.lastname@example.org.
(CFP closed February 1, 2018)
[PANEL] WRITING THE HISTORY OF EPIGRAPHY & EPIGRAPHERS
Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019
The American Society of Greek and Latin Epigraphy invites submissions for a panel at the 2019 Annual Meeting of the Society for Classical Studies in San Diego. The history of epigraphy as a discipline stretches back to antiquity itself. In the same manner that Herodotus used inscriptions in order to list the temple inventories from Delphi and Delos and Suetonius appears to have drawn on the myriad inscriptions that dotted the Roman Forum, modern epigraphers continue to publish, interpret, and interweave epigraphic remains today. Although the focus is normally on the ancient content of these epigraphic remains, this panel turns its focus on the epigraphers themselves.
As the Society for Classical Studies looks back on 150 years of its existence as an academic organization in 2019, epigraphers should similarly take a moment to reflect on the evolution of our field. From the Rosetta Stone to the Vindolanda Tablets, behind every great inscription is a great woman, man, and sometimes an entire archaeological team. We often contextualize inscriptions in their original time and provenance as a means of understanding the context and historical milieu in which they were written, yet understanding the motives, biases, and ethics of an epigrapher are similarly enlightening. Moreover, the role of the epigrapher as both historian and philologist is extensive. Whether it be Louis Robert’s (1904-1985) and his wife Jeanne’s publication of the Bulletin épigraphique from 1938 to 1984 or Joyce Reynolds’ publication of The inscriptions of Roman Tripolitania in 1952, epigraphers have helped to influence classics, ancient history, and digital humanities in many meaningful ways.
The main objective of this panel is to explore broadly the relationship between classical antiquity and the epigrapher. This might include but is not limited to how ancient and early medieval writers used epigraphic evidence, how Renaissance antiquarians drew on classical epigraphy in order to create new fonts for the printing press, the impact of German scholars publishing over 250,000 inscriptions in the Corpus Inscriptionum Latinarum and the Inscriptiones Graecae from the latter half of the 19th century up until the present. The role of epigraphers in shaping the current state of digital humanities today is of equal import. Histories of epigraphers dedicated to working with ancient Near Eastern, Hebrew, Greek, Roman, Syriac, Etruscan, and any other language inscribed within the ancient Mediterranean world are welcome to apply.
Abstracts will be evaluated anonymously by members of the ASGLE Executive Committee and external readers, and should not be longer than 650 words (bibliography excluded): please follow the SCS “Guidelines for Authors of Abstracts.” All Greek should either be transliterated or employ a Unicode font. The Abstract should be sent electronically as a Word file, along with a PDF of the Submission Form by March 3, 2018 to Sarah E. Bond at email@example.com.
(CFP closed March 3, 2018)
#CFP GLACIE CIRCUMDATUS UROR – DER NEULATEINISCHE PETRARKISMUS
Einladung zur Teilnahme an einer internationalen Tagung an der Universität Bonn: January 24-26, 2019
Der Petrarkismus hat die volkssprachliche europäische Lyrik der Frühen Neuzeit entscheidend geprägt. Der Einfluss auf die frühneuzeitliche lateinische Literatur ist dabei bislang allenfalls konstatiert und vereinzelt besprochen, aber nur sporadisch in größerem Zusammenhang untersucht worden. Explizite Übersetzungen, wie etwa Nicolas Bourbons lateinische Übertragung von RVF 134 („Pace non trovo“), der sich das Zitat im Veranstaltungstitel verdankt, sind jedoch in der neulateinischen Liebesdichtung des gesamten frühneuzeitlichen Europas ebenso zu finden wie subtile sprachlich-formale, strukturelle und konzeptionelle Bezugnahmen auf das petrarkistische Modell.
Dem neulateinischen Petrarkismus kommt im Vergleich zu den nationalsprachlichen Petrarkismen aus zwei Gründen eine Sonderstellung zu: Zum einen steht das Neulateinische in einem besonderen Nahverhältnis zur lateinischen Literatur der Antike. Hierdurch ist mit starken sprachlichen, motivischen und inhaltlichen Interferenzen zwischen dem Petrarkismus und Modellen antiker (Liebes-)Dichtung zu rechnen. Die zweite besondere Eigenart des neulateinischen Petrarkismus liegt im soziokulturellen ,Sitz im Leben‘ des Lateinischen, das in der Frühen Neuzeit als paneuropäische lingua franca fungierte. Die neulateinische Literatur oszilliert hierdurch zwischen Regionalität und Internationalität, sie interagiert mit regional unterschiedlichen Kontexten und kann gleichzeitig international rezipiert werden.
Die Tagung möchte sich nun erstmals gezielt dem Phänomen des neulateinischen Petrarkismus widmen und in Fortsetzung der Arbeiten Scorsones 2004 und Cintis 2006 wesentliche Spielarten der Petrarkismus-Aneignung in der lateinischen Poesie der Frühen Neuzeit diskutieren. Es soll dabei insbesondere auch nach Gemeinsamkeiten und Unterschieden zwischen dem neulateinischen und volkssprachlichen Petrarkismus gefragt werden.
Den Vortragenden können die Kosten für Anreise und Übernachtung erstattet werden. Eine Veröffentlichung der Beiträge im Anschluss an die Tagung ist geplant.
Für Vorträge von ca. 30 Minuten werden Themenvorschläge zum neulateinischen Petrarkismus in Europa, insbesondere aber in England, Skandinavien, Osteuropa, Spanien und Portugal – vorzugsweise als Email-Attachment – bis zum 15.06.2018 erbeten an: Alexander Winkler (firstname.lastname@example.org). Der Themenformulierung sollte ein kurzes Exposé (max. 300 Wörter) beigefügt sein.
AUSTRALASIAN SOCIETY FOR CLASSICAL STUDIES 40TH ANNUAL CONFERENCE
University of New England, Armidale (NSW): Dates TBA.
CFP & Conference website: TBA.
Abstracts due by: TBA.
#CFP 2019 HISTORICAL FICTIONS RESEARCH CONFERENCE
Manchester, UK: 22-23 February, 2019
The Call for Papers is now open. Papers on all topics and from all disciplines are welcomed.
This year, in honour of the 100th anniversary of the “Peterloo Massacre” we welcome in particular papers on the loose topic “Radical Fictions”.
Historical fictions can be understood as an expanded mode of historiography. Scholars in literary, visual, historical and museum/re-creation studies have long been interested in the construction of the fictive past, understanding it as a locus for ideological expression. However, this is a key moment for the study of historical fictions as critical recognition of these texts and their convergence with lines of theory is expanding into new areas such as the philosophy of history, narratology, popular literature, historical narratives of national and cultural identity, and cross-disciplinary approaches to narrative constructions of the past.
Historical fictions measure the gap between the pasts we are permitted to know and those we wish to know: the interaction of the meaning-making narrative drive with the narrative-resistant nature of the past. They constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships and charged tensions between the complexity of societies in time and the teleology of lived experience. The licences of fiction, especially in mass culture, define a space of thought in which the pursuit of narrative forms of meaning is permitted to slip the chains of sanctioned historical truths to explore the deep desires and dreams that lie beneath all constructions of the past.
We welcome paper proposals from Archaeology, Architecture, Literature, Media, Art History, Musicology, Reception Studies, Museum Studies, Recreation, Gaming, Transformative Works and others. We welcome paper proposals across historical periods, with ambitious, high-quality, inter-disciplinary approaches and new methodologies that will support research into larger trends and which will lead to more theoretically informed understandings of the mode across historical periods, cultures and languages.
We aim to create a disciplinary core, where researchers can engage in issues of philosophy and methodology and generate a collective discourse around historical fictions in a range of media and across period specialities.
Paper proposals consisting of a title and abstract of no more than 250 words should be submitted to: email@example.com. The CfP closes on July 1st 2018.
#CFP ORALITY & LITERACY IN THE ANCIENT WORLD XIII: REPETITION
The University of Texas at Austin, USA: March 27-31, 2019
The Department of Classics at the University of Texas at Austin invites
all classicists, historians, religious studies and biblical scholars,
and scholars with an interest in oral cultures to participate in the
Thirteenth Conference on Orality and Literacy in the Ancient World, to
take place in Austin (TX) from Wednesday 27 March 2019 to Sunday 31
The conference will follow the same format as the previous conferences,
held in Hobart (1994), Durban (1996), Wellington (1998), Columbia,
Missouri (2000), Melbourne (2002), Winnipeg (2004), Auckland (2006),
Nijmegen (2008), Canberra (2010), Ann Arbor (2012), Atlanta (2014), and
Lausanne (2016). It is planned that the refereed proceedings once again
be published by E.J. Brill as Volume 13 in the "Orality and Literacy in
the Ancient World" series.
The theme for the conference is "Repetition", and papers in response to
this theme are invited on topics related to the ancient Mediterranean
world or, for comparative purposes, other times, places, and cultures.
Also welcome are papers that engage with the transition from an oral to
a literate society, or which consider the topic of reception.
Further details about accommodations and other conference-related
activities will be circulated later.
Papers should be 30 minutes in length. Any graduate student who would
prefer a 20-minute paper slot is invited to express their preference in
the cover email accompanying their abstract. Anonymous abstracts of up
to 350 words (not including bibliography) should be submitted as Word
files by June 30, 2018. Please send abstracts to:
#CFP RITRATTI DI CICERONE - PORTRAYING CICERO
Rome, Italy: May 15-17, 2019
The Department of Ancient World Studies, Sapienza University of Rome (http://www.antichita.uniroma1.it/), and the International Society of Cicero’s Friends (SIAC, www.tulliana.eu), with the support of the Cultural Association Italia Fenice (http://www.italiafenice.it/), are pleased to announce the International Conference ‘Portraying Cicero’, to be held in Rome from 15th to 17th May 2019.
Cicero has exerted a durable impact on intellectual life throughout the centuries. Universally recognized as a master of Roman prose and the embodiment of the art of words, he has influenced the history of ideas and contributed to the intellectual maturation of generations of students and scholars. Yet his controversial position in Roman politics has elicited different reactions since late Republic. As a historical figure, he has encountered criticism from intellectuals and men of culture. As Zielinski (Cicero im Wandel der Jahrundherte) has shown, each age has reacted to Cicero with its own sensibility. This conference aims to explore how Cicero has been represented- and interpreted- over the times. It seeks to shed light on the multiple, often contrasting, ways in which Cicero was received by later scholars and intellectuals. Special attention will be paid then to the reception of Cicero as an individual and man of letters, including his fortune as philosopher, epistolographer, and orator and his presence in literature and culture in modern times.
PhD students and young or early career scholars are invited to submit a proposal (400 words max) on the reception of Cicero as a historical figure and man of letters over the centuries.
Papers should be 20 minutes long (followed by discussion of 5-10 minutes). All the papers will be considered for publication in the peer-reviewed Series ‘Cicero’, edited by the Patrum Lumen SustineFoundation (Basel), under the supervision of the SIAC, and published by De Gruyter (Berlin).
Please send an abstract of no more of 400 words to Giuseppe La Bua (firstname.lastname@example.org) by the end of October 2018. Notification of acceptance will be sent by the end of November 2018.
Confirmed speakers are: Y. Baraz, F.R. Berno, A. Casamento, R.A. Kaster, T. Keeline, G. La Bua, R. Pierini, F. Prost, Ph.Rousselot, C. Steel, H. van der Blom, J. Zeztel.
The Conference is organized by:
Francesca Romana Berno,
Giuseppe La Bua,
#CFP CLASSICAL ASSOCIATION ANNUAL CONFERENCE 2019 / 15TH FIEC CONGRESS
Institute of Education (University College Longon), July 4-8, 2019
Call for Panels & Posters: http://fiecnet.blogspot.com.au/2018/04/fiec-congress-call-for-panels-and.html. Deadline: July 1, 2018
Call for Individual Papers: TBA.