An archive of conferences and previous calls for papers is available here


February 2018


University College London: February 21, 2018

This is a call for proposals for a half-day interdisciplinary workshop to be held on the afternoon of 21st February 2018 at UCL on the topic of 'Rejecting the Classics', generously hosted by UCL's Department of Greek and Latin and Institute of Advanced Studies. Many of the most exciting writers and thinkers of modernity have defined their projects through a rejection of the legacy of ancient Greece and Rome, whether Nietzsche and Plato, Brecht and tragedy, or Fanon and the exclusionary humanism he glimpsed on the 'Graeco-Latin pedestal' of western culture. This workshop aims to engage critically with the narrative of rejection that such receptions mobilise, and to explore its role in the definition of classical reception as well as its implications for the place of classical reception within the broader discipline of classics. It hopes to consider the complex position that the study of such antagonistic responses to the classical legacy holds in a discipline committed to imparting the value and benefit of the classical past, and to reflect on the challenges of constructively integrating negative evaluations of literature and culture in the humanities more generally. To this end, although the workshop will be primarily focused on exploring the dynamics of this debate within classics, papers are particularly welcome from humanities disciplines beyond classics in order to facilitate discussion across disciplinary boundaries.

Proposals are sought for short, 5-10 minute presentations that focus on the value of the idea of 'Rejecting the Classics' to understanding the engagement with antiquity displayed by a particular author, text or artwork. Each presentation will have a 30-minute time slot so that the maximum amount of time can be devoted to discussion. Proposals should take the form of an abstract of at most 150 words.

Deadline for submission is 31st October 2017, and all abstracts and queries should be submitted to Adam Lecznar at Sources of funding are currently being explored for the workshop and 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 indicate so 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 still get in touch or submit a proposal even if you will not be in London next February.

Provisional schedule:

1.30-2: Registration and introduction

Panel 1

2-2.30: Samuel Agbamu (KCL) – 'The Arco dei Fileni: forgetting places of memory in the postcolony'.
2.30-3: Valeria Spacciante (Scuola Normale/UCL) – 'Divesting Ulysses of Myth in Alberto Savinio's Capitano Ulisse'.
3-3.30: Henry Stead (OU) – '"The poet is steeped is Street Fighter 2": Ross Sutherland, Anti-classicism and contemporary class conflict'.
3.30-4: Break

Panel 2

4-4.30: Jonathan Groß (Düsseldorf) – 'Magna gloria inde non nascitur: Adolph Philippi, Professor of Classics, on the irrelevance of classical scholarship'.
4.30-5: Rossana Zetti (Edinburgh) – 'Doubting the myths: the limits of Classics in a post-war world' on Bertolt Brecht.
5-5.45: Katie Fleming (Queen Mary) / Daniel Anderson (Cambridge) – 'Ulysses Wakes Up: the anticlassical James Joyce' and 'Anti-Platonism in James Joyce'.
5.45-6: Concluding remarks



(CFP closed October 31, 2017)




The Recital Room, Victoria Rooms, Bristol: Friday 23 February 2018, 17:00 – 18:30

The Institute of Greece, Rome, and the Classical Tradition (IGRCT), University of Bristol.

This year, for its Donors Celebration, the IGRCT has teamed up with the University of Bristol's Madrigal and Baroque Ensembles to present a rare concert performance of 'Mulier Fortis', or 'Strong Woman'. This musical drama, first produced in 1698 by Viennese Jesuit Johann Baptist Adolph and composer Johann Bernhardt Staudt, celebrates the martyrdom of a Japanese noblewoman who converted to Christianity in the 16th century.

Ethnomusicologist and baroque musician, Dr Makoto Harris Takao (Berlin), along with Professor Yasmin Haskell (Institute Director), will provide a short introduction to this fascinating piece, which portrays the collision between Christian values and Japanese tradition in a Classical context. The Ensembles will then perform extracts from 'Mulier Fortis' using period instruments to capture the drama's personified emotions, which, like the chorus in Greek tragedy, act as a symbolic commentary on the action.

Since its debut for the Holy Roman Empress, Eleonor Magdalene, and her husband, Leopold I, Mulier Fortis has only been performed rarely; in Tokyo, Cambridge, and Perth, Australia. Our celebration provides a unique opportunity to experience this exciting drama and meet the scholars and performers who have brought it to life.

The concert will be followed by a drinks reception. All are welcome at this free event.

Booking required via

More information on the Institute of Greece, Rome, and the Classical Tradition:


March 2018


John Rylands Library, Manchester: Friday 16 March 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 (; 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 (


For further information about the Society for Neo-Latin Studies, please visit the website:

(CFP closed February 2, 2018)




University of Patras, Greece: 17-18-19 March, 2018

Jocasta Classical Reception Greece is pleased to announce the 2nd Annual Postgraduate Symposium in Classical Reception, which will take 17-18-19 March 2018 at the Department of Philology, University of Patras, Greece.

Reception is conceived not as a subdivision of Classics but as a mode of historicised inquiry and constant self-critique intrinsic in Classical Studies. In this respect, the reader assumes the role of the decoder who examines reception of the ancient world from the 8th century BC onwards: from Antiquity to Byzantium, the Middle Ages, the Renaissance, Early and Late Modernity and the future, while ceaselessly moving from the West to the East and from the North to the South and vice versa. Classical Reception is studied through a variety of media ranging from literature to theatre and film, to materialised configurations of everyday experience and through a plurality of approaches ranging from Philosophy to Cultural and Social Studies to Performative arts and science-driven discourses, thus foregrounding interdisciplinary research.

The Jocasta Postgraduate Symposium seeks to create a venue for Classical Reception in Greece, where international postgraduate students can engage into interdisciplinary dialogue and share research. It enables students to present their work in a friendly environment, develop presentation skills and get constructive feedback. This year we expand our scope intergenerationally so as to include beyond MA and PhD students and early career researchers who are kindly invited to present a 20 minute paper followed by 10 minutes discussion and US undergraduate students who are kindly invited to deliver transatlantically a 10-minute paper presentation followed by 5 minute discussion via our partners at the Department of Classics and World Religions at Ohio University. This year’s theme is “Classical Reception and Gender”.

Suggested topics include, but are not limited to:

• Is there a third gender in the reception of antiquity or our understanding of it?
• Gender fluidity in classical antiquity (e.g. manifested in or conceptualised via transvestism, metamorphosis)
• How have classics been used for the idealization of the male body (eg. Laocoon, Nazism, current masculinity discourses), the corroboration of feminist discourses in theory and practice (eg. Greek heroines) the modern construction of homosexual identity (eg. the reception/ appropriation of Plato in 19th century) and the expression of queer identity (eg. queer adaptations of Greek tragedy)
• Why do initially female scholars work in the field of classical reception and how is this research orientation associated with notions of (in)authenticity and the hierarchically flavoured notion of hardcore and lesser classics.
• How do the notions “genre” and “gender” interrupt and cross-fertilize each other in antiquity and modernity (eg. Hall’s reading of tragedy as a genre for female emotions vs satyr drama as a genre of re-affirmation of masculinity, novels)
• Has antiquity been received as a gendered or genderless past? Does this gender changes through time and space? And if so in what ways does antiquity constitute a wide spectrum for representation of mutative conceptualizations of gender in the postclassical world.

We invite abstracts in either Greek or English of no more than 250 words to be sent to no later than 15th of December 2017. There is the possibility of notification of acceptance/ dismissal upon submission for those interested in funding options from their institutions, if requested in the email body.

Please include details of your current course of study, supervisor and academic institution in the body of your email (not in your abstract).


(CFP closed December 15, 2017)




Alma Mater Studiorum, Università di Bologna: March 21, 2018

The associations Rodopis - Experience Ancient History and Prolepsis are delighted to announce the call for paper for their joint event: The Old Lie. I Classici e la Grande Guerra.

[English version below]

The Old Lie. L'eco dell'antica bugia, "Dulce et decorum est pro patria mori" (Orazio, Odi III, 2), riecheggia a distanza di secoli nelle celebre ripresa di Wilfred Owen, posta quale polemico e amaro suggello di una poesia scritta tra il 1917 e il 1918, che è una spietata accusa delle atrocità della guerra, mistificata da una propaganda che la descrive, invece, come evento glorioso ed epocale. "Un'antica bugia", dunque, perpetuata nei secoli da chi si tiene, in realtà, lontano dai conflitti.

La poesia di Owen è solo un esempio del reimpiego dei Classici durante la Prima Guerra Mondiale. Essi divennero talvolta filtro o termine di paragone dell'esperienza dei giovani combattenti - come Patrick Shaw-Stewart -, talvolta irrinunciabili "ancore" in anni di aberrazione umana e culturale; talvolta, ancora, il loro messaggio fu riattualizzato in chiave antibellicista; è il caso, per esempio, del riadattamento de Le Troiane ad opera di Franz Werfel. D'altra parte, in quei tumultuosi anni alcuni classicisti ebbero un ruolo non solo culturale, ma anche politico e ideologico; si pensi, per esempio, a Giorgio Pasquali.

In occasione dell'ultimo anno di celebrazioni per il Centenario della Grande Guerra, l'associazione culturale Rodopis - Experience Ancient History e l'associazione culturale Prolepsis organizzano un Workshop Internazionale dal titolo "The old lie. I Classici e la Grande Guerra", per invitare a tornare su un tema che, nonostante l'attenzione recentemente dedicatavi, merita ancora indagini e riflessioni.

Le proposte di intervento potranno riguardare, anche se non in via esclusiva, i seguenti temi:

* Ricezione dei Classici durante la Prima Guerra Mondiale;
* Reimpiego ideologico di testi dell'antichità greco-latina durante il primo conflitto mondiale;
* Riflessioni novecentesche su tematiche di guerra attraverso il filtro dei Classici;
* Analisi dell'impegno politico di classicisti dell'epoca e relativa influenza sull'opera scientifica.

Il workshop sarà composto da tre sessioni, due mattutine e una pomeridiana, per un totale di nove relatori da selezionarsi. Ogni intervento avrà la durata massima di 20 minuti, con discussione alla fine di ciascuna sessione. È prevista una relazione introduttiva da parte del Prof. Giovanni Brizzi, in qualità di keynote speaker.

Le relazioni presentate possono essere oggetto di valutazione per un'eventuale pubblicazione.

Le lingue ammesse nel workshop sono italiano e inglese.

Dottorandi, dottori di ricerca e giovani studiosi sono invitati a inviare un abstract di massimo 300 parole, in italiano o in inglese, in forma anonima, all'indirizzo e-mail:, entro il 15 dicembre 2017.

I relatori selezionati saranno contattati entro il 31 dicembre 2017.


The Old Lie, “Dulce et decorum est pro patria mori” (Horace, Odes III, 2): more than two thousand years later, the line was resumed by Wilfred Owen as a polemical and bitter seal for one of his poems, written between 1917 and 1918, a sharp accusation against the atrocities of war, which is often mystified by some sort of propaganda describing it as a glorious and monumental event. “The old lie”, therefore, over the centuries perpetuated by people who are in fact far away from the conflict.

Owen’s poem is just an example of the the way Classics were reused during the First World War. They sometimes became filters or even benchmarks for the experience of young fighters (e.g. Patrick Shaw-Stewart); other times they were indispensable/essential “safety nets” during an age of human and cultural aberration; yet other times, their message underwent a shift in an antiwar direction (as for The Trojan Women in Franz Werfel’s adaptation). On the other hand, some classicists not only had a cultural role, but were also active in the political and ideological scene (as Giorgio Pasquali).

On the last year of celebration for the centenary of the Great War, the cultural associations Rodopis – Experience Ancient History and Prolepsis, are organising an International Workshop entitled “The old Iie: Classics and the Great War”, a recently explored topic, which still deserves to be investigated and debated.

Proposal for oral presentations can be about (but not limited to) the following topics:

* Reception of Classics during the First World War;
* Ideological reuse of Classical texts during the First World War;
* Twentieth century reflections on issues regarding the war, filtered by Classics;
* Analyses of the political engagement of classicists of the time and how their political views influenced their scientific production.

This Workshop will be structured in three sessions, two in the morning and one in the afternoon, with a total of nine speakers to be selected. Each paper will last 20 minutes at most, and a final discussion will follow each presentation. An introductory lecture by Prof. Giovanni Brizzi (University of Bologna) will precede the workshop.

The most valuable papers may be considered for publication.

Official languages of the workshop are Italian and English.

PhD students, post-docs and early career academic researchers are invited to send an anonymous abstract not exceeding 300 words, to the e-mail address:, by the 15th of December 2017.

Successful speakers will be notified by the 31st of December 2017.


(CFP closed December 15, 2017)




Hilton New Orleans Riverside, 22–24 March 2018

(1) Encountering the ancients: philological reception in the Renaissance:

(2) 'Deep Classics' and the Renaissance ?

(3) Unleashing the “mad Dogge”: Classical Reception in Early Modern Political Thought

Deadline for abstracts: May 31, 2017.

(CFP closed May 31, 2017)




Florida State University, Tallahassee, Florida: March 23-24, 2018

The Anachronism and Antiquity team is delighted to announce 'Anachronism and Antiquity: Configuring Temporalities in Ancient Literature and Scholarship', a conference to be held at Florida State University, Tallahassee, Florida, on March 23-24, 2018. Speakers and their titles are:

* Carol Atack, St Hugh's College, Oxford, 'Plato's Queer Time: Dialogic Moments in the Life and Death of Socrates'
* Emily Greenwood, Yale University, 'Reading Across Time: Thucydides' History as Literature of Witness'
* Constanze Güthenke, Corpus Christi College, Oxford, '"For Time is / nothing if not amenable" – Exemplarity, Time, Reception'
* Brooke Holmes, Princeton University, 'The Temporal Relation: Flow, Fold, Kairos'
* K. Scarlett Kingsley, Agnes Scott College, 'Euripides' Scholiasts: Blending Temporalities Heroic and Present'
* Ellen O'Gorman, University of Bristol, 'Reception and Recovery: Rancière's Authentic Plebeian Voice'
* Mark Payne, University of Chicago, 'The Future in the Past: Hesiod and Speculative Fiction'
* Tom Phillips, Merton College, Oxford, 'Shelley's Plastic Verse: the "Hymn to Mercury"'
* Barnaby Taylor, Exeter College, Oxford, 'Archaism and Anachronism in Lucretius'

The conference will run all day Friday and Saturday morning, ending with lunch on Saturday. There is no charge for registration but we ask that people register so that we can have an accurate account for meals. If you are interested in attending or have any questions, please email John Marincola at

Anachronism and Antiquity is a Leverhulme Trust-funded project, running from 2016 to 2019, which is undertaking the first systematic study of the concept of anachronism in Greco-Roman antiquity and of the role played by the idea of anachronism in the formation of the concept of antiquity itself. The project, led by Professor Tim Rood and Professor John Marincola, with research associates Dr Tom Phillips and Dr Carol Atack, looks at both classical and modern material, pairing close analysis of surviving literary and material evidence from classical antiquity with detailed study of the post-classical term 'anachronism', and with modern theoretical writings that link the notion of anachronism with the conceptualization of antiquity.

For further details please visit our blog at Twitter: @Anachron_Antiq.


April 2018


University of Leicester, UK: 6-9 April, 2018

CFP & Program:





University of Birmingham (Strathcona Lecture Theatre 2): April 11, 2018

Keynotes: Kate Nichols & Lara Pucci

Speakers: Harriet Lander, Robin Diver, Clare Matthews, Chiara Marabelli, Elizabeth O'Connor, Abbe Rees-Hales

Organisers: Abbey Rees-Hales, Rebecca Batty, Sean Richardson





Albuquerque, New Mexico: April 11-14, 2018

Classical Reception Panels:

Fashioning Ancient Women on Screen
Stacie Raucci (Union College), organizer and presider
1. Historicizing Women’s Costumes: Anachronisms and Appropriations. Margaret Toscano (University of Utah)
2. Costuming Lucilla in 20th and 21st -Century Screen Productions. Hunter H. Gardner (University of South Carolina)
3. Accessorizing the Ancient Roman Woman on Screen. Stacie Raucci (Union College)
4. Response. Monica S. Cyrino (University of New Mexico)

Classics and White Supremacism
Victoria Pagán (University of Florida), organizer and presider
1. The Summer of Our Discontent: Rethinking the Intersections of Ancient History and Modern Science in Contesting White Supremacy. Denise McCoskey (Miami University)
2. White Supremacists Respect Classical Scholarship…If It Was Written Before the 1970s. Rebecca Futo Kennedy (Denison University)
3. How to Save Western Civilization (for Men): White Supremacy and the New Kyrieia. Donna Zuckerberg (Eidolon, Editor)

Wonder Woman and Warrior Princesses
Anise K. Strong (Western Michigan University), organizer and presider
1. Gender-flipping the Katabatic Hero: Starbuck as Aeneas in Battlestar Galactica (2003-2009). Meredith Safran (Trinity College)
2. Same Sex, Different Day: the Amazon Communities of Wonder Woman (2017) and Xena: Warrior Princess. Grace Gillies (University of California, Los Angeles)
3. Paradise, Bodies, and Gods: The Reception of Amazons in Wonder Woman. Walter Penrose (San Diego State University)
4. Respondent. Anise K. Strong (Western Michigan University)

Ovid in China
Laurel Fulkerson (Florida State University), organizer and presider
1. Globalizing Classics: Ovid through the Looking Glass. Lisa Mignone (Brown University)
2. Translating Ovid into Chinese. Jinyu Liu (DePauw University)
3. Laughing at the Boundaries of Genre in Ovid’s Amores. Caleb Dance (Washington and Lee University)
4. Ovidian Scenes on 18th-century Chinese Porcelain. Thomas J. Sienkewicz (Monmouth College)
5. Respondent. John F. Miller (University of Virginia)

Popular Classics
Vincent E. Tomasso (Trinity College), organizer and presider
1. Textual Poachers: Scholars, Fans, and Fragments. Daniel Curley (Skidmore College)
2. The Elite and Popular Reception of Classical Antiquity in the Works of Cy Twombly and Roy Lichtenstein. Vincent E. Tomasso (Trinity College)
3. Replication, Reception, and Jeff Koons’s Gazing Ball Series. Marice Rose (Fairfield University)
4. The Passion of Cleopatra (2017): Anne Rice's Sequel to The Mummy (1989). Gregory Daugherty (Randolph-Macon College)

Travels, Treasures, and the Locus Terribilis: Myth in Children’s Media
Krishni Burns (University of Illinois at Urbana-Champaign), organizer and presider
1. Midas, Mixed Messages, and the “Museum” of Dugald Steer’s Mythology. Rebecca Resinski (Hendrix College)
2. Fairy-Tale Landscapes in the d’Aulaires Book of Greek Myths (1962). Alison Poe (Fairfield University)
3. Spiritual Odysseys in Children’s Television. Krishni Burns (University of Illinois at Urbana- Champaign)
4. Domesticating Classical Monsters on BBC Children’s Television: Gorgons, Minotaurs and Sirens in Doctor Who, the Sarah Jane Adventures and Atlantis. Amanda Potter (The Open University)

From the Theater of Dionysus to the Opera House
Carolin Hahnemann (Kenyon College), organizer and presider
1. What Happened to Euripides? Iphigenia among the Taurians and Handel’s Orestes. Robert Ketterer (University of Iowa)
2. From Medea to Norma. Duane Roller (Ohio State University)
3. Elements of Sophocles’ Oedipus the King in Verdi’s Don Carlo. Carolin Hahnemann (Kenyon College)
4. Opera as Social Medicine in Mikis Theodorakis’ Antigone. Sarah B. Ferrario (Catholic University of America) and Andrew Simpson (Catholic University of America)

Casting Die: Classical Reception in Gaming
William S. Duffy (St. Philip’s College) and Matthew Taylor (Beloit College), co-organizers and co-presiders
1. Imagining Classics: Towards a Pedagogy of Gaming Reception. Hamish Cameron (Bates College)
2. 20-sided monsters: The Adaptation of Greek Mythology to Dungeons and Dragons. William S. Duffy (St. Philip’s College)
3. Civilization and History: Ludological Frame vs. Historical Context. Rosemary Moore (University of Iowa)
4. Touching the Ancient World through God of War’s Kratos. Matthew Taylor (Beloit College)
5. Games and Ancient War: Serious Gaming as Outreach and Scholarship. Sarah Murray (University of Toronto)





Newcastle University, UK: 12th-14th April, 2018

I am pleased to release the Call for Papers for 'Locating the Ancient World in Early Modern Subversive Thought', a conference taking place at Newcastle University, 12th-14th April 2018, and featuring keynote speakers Marianne Pade and Peter Harrison. Please see below for further details:

Dichotomies have long been used to define the intellectual developments of early modern Europe - reason and faith; authority and subversion; science and humanism; radicalism and tradition; heterodoxy and orthodoxy — with classical thought usually located on the side of tradition, a behemoth of learning which inhibited man’s reason and his ability to learn through observation. Such unilinear accounts of the progression to modernity have been subjected to increasingly numerous challenges in the last two decades, as scholars have sought to demonstrate that the ideas which drove Europe towards the Enlightenment were far more complex and multi-layered than suggested by the traditional narratives.

The aim of this conference is to expand on this revived appreciation of the classical influence in early modernity by looking specifically at the role played by the ancient world in that sphere from which it has most usually been excluded: subversive literature. The idea that the texts, philosophies, and exempla of the ancient world might have served as significant tools for those who sought to undermine and challenge political, religious and cultural authority stands in direct opposition to the traditional role assigned to the classics in this period. Emphasising an interdisciplinary approach, this conference will draw scholars together to build a coherent picture of how the classical tradition functioned as a tool for subversion, illuminating a previously neglected aspect of the ancient world in the early modern thought.

The keynote speakers will be Peter Harrison (University of Queensland) and Marianne Pade (Danish Academy at Rome).

We are inviting abstracts for papers of thirty minutes on topics including, but not limited to:

• Ancient philosophical involvement in epistemological challenges to traditional understandings of knowledge and belief
• Ancient theories of natural philosophy in the debates concerning God and the universe in both religion and science
• The contribution of ancient texts to the arguments for natural religion, and against magic, miracles, and the supernatural
• Classical rhetoric and literary forms as models for argumentation in subversive treatises, polemics, pamphlets, poetry, and other literary genres
• Ancient religion in the construction of arguments in favour of toleration, and the establishment of a civil religion
• The function of ancient examples in radical political ideologies, including republicanism, democracy, and theories of resistance and revolution
• Classical scholarship as a tool for subversion, and print culture as a sphere facilitating this function of the classics

If you would like to offer a paper for the conference, please submit an abstract of 300 words to by 9th February 2018.


(CFP closed February 9, 2018)




Polis Institute in Jerusalem: April 16-17 2018

The Jerusalem Institute of Languages and Humanities is pleased to announce our 4th Interdisciplinary Conference: Transmitting a Heritage - The Teaching of Ancient Languages from Antiquity to the 21st Century (La transmission d’ un héritage – l ’enseignement des langues anciennes de l ’Antiquité à nos jours), which will be held on the 16th and 17th of April 2018, at the Polis Institute in Jerusalem.

Confirmed speakers include Randall Buth, Eleanor Dickey, Nancy Llewellyn, Milena Minkova, Jason Pedicone, Christophe Rico, Eran Shuali and Terence Tunberg.

Further paper proposals should be submitted until the 15th of February 2018. Every proposal should include a short abstract (max. 150 words; in English, French, or Latin), the title of your paper, a separate attachment containing your personal details (name, surname, university/affiliation, postal address, email ). All attachments should be doc , docx or pdf files. To submit your documents and for any further information please send an email to the following address:

Subjects may evolve around the following topics: current methods of teaching ancient languages in a living way – evolution of language instruction through the centuries – influence of the target language on the method (Classical, Semitic, Modern) – theoretical background of various methodological approaches to language teaching – history of the accessibility of knowledge and its influence on language teaching. As with the previous conferences, Polis wishes to provide an international and interdisciplinary framework, gathering linguists, historians, philosophers and specialists from other disciplines of the humanities in order to facilitate lively and profound debates among them. Consequently, every presentation (with a maximum duration of 20 minutes) will be followed by 15 minutes of discussion, in which the present experts and members of the general audience may exchange opinions and suggestions around the topic of the presentation.

These debates will be recorded, transcribed and published together with their articles in the proceedings. This book will also feature a general introduction that will show the points of convergence between participants as well as possible breakthroughs in research. The articles themselves will be published in the language in which they were presented (English, French , or Latin), preceded by a small summary in either Latin or Greek. The editors of the proceedings will be Christophe Rico, director of the Polis Institute, and Jason Pedicone, president of Paideia Institute. It is highly desirable that the resulting book, through its inner consistency, will renew and reinvigorate the scientific debate on this core topic within the humanities.



(CFP closed February 15, 2018)




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 relevant credentials.

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



(CFP closed January 10, 2018)




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 by 1 August, 2017. For enquiries, please contact:

(CFP closed August 1, 2017)




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.



May 2018


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 (; Romain Menini, Univ. Paris-Est Marne-la-Vallée (; Luigi-Alberto Sanchi, Cnrs-I.H.D., Paris (


(CFP closed 3 May, 2017)




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 and

For further queries please contact

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)




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 by 24th January 2018.

Organisers: Chiara Ciampa, Antonio Genova, Francesca Modini


(CFP closed January 24, 2018)


June 2018


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:

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.


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)




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 (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.

Website: TBA.




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 ( or Emma-Jayne Graham ( 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)




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
* Mummymania
* 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 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)




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 ( and Tobias Dänzer (

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)


July 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


(Applications closed January 31, 2018)




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 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 ( A conference website will be created in due course.





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 ( or Jason König ( 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)




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 ( or Rossana Zetti ( 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)




Celtic Conference in Classics, University of St Andrews, Scotland: 11-14 July 2018

Organizer: Amanda Potter





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 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)


August 2018


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 ( 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)


September 2018


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 by 16 April, 2018.





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 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)




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 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)




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 ( by March, 30 2018.





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 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

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).





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.”
Johannes Winckelmann

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 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.





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:

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.



October 2018


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 by January 15, 2018.


(CFP closed January 15, 2018)




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.





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 audience.

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 scent.

* 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 ( and Charlotte Ribeyrol ( 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)




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 (



November 2018


2018: TBA. Call for a host institution (deadline Feb 28)
2017: University of Edinburgh: 23-24 November 2017 - Twitter: @ampraw2017
2016: University of Oxford: 12-13 December 2016 -
2015: University of Nottingham: 14-15 December 2015 - - Twitter: @AMPRAW2015
2014: University of London: 24-25 November 2014 -
2013: University of Exeter.
2012: University of Birmingham.
2011: University College London.




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 or
• Prof Chris de Wet (Early Christian Studies) at

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.





University of Turin, Italy: November [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.

Themes discussed:
• 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 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



December 2018


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 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



January 2019


Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019

Sponsored by the Committee on Ancient and Modern Performance

Organizers: Anna Uhlig, (, University of California, Davis & Al Duncan, (, 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 ( by email to Timothy Wutrich (, not to the panel organizers. Review of abstracts will begin 1 March 2018. The deadline for submission is 15 March 2018.





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 ( 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.


(CFP closed February 19, 2018)




Society for Classical Studies Annual Meeting - San Diego: January 3-6, 2019

Chair: Amy Pistone ( and Kassandra Miller (

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).





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 ( 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: 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.





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 (, 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 (, except that works cited should be put at the end of the document, not in a separate text box.


(CFP closed January 31, 2018)




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 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 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.





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, Hannah Mason at, and Rob Matera at


(CFP closed February 1, 2018)




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





University of New England, Armidale (NSW): Dates TBA.

CFP & Conference website: TBA.


Abstracts due by: TBA.


February 2019


March 2019


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 March 2019.

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:



April 2019


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