Author Archives: Jessica Hughes

Monarchs, Courtiers and Technocrats – Q&A with Dr Martin Dearne

Photo of Dr Martin DearneDr Martin Dearne has been an Associate Lecturer with The Open University for twenty years, and has taught on many of our Classical Studies modules (AA309, A209, A251, A330, A219, A229, A105, A151, A112). He is the author of six books, the most recent of which is an archaeological study of Elsyng Palace in the London Borough of Enfield. In this blog post, Martin tells us more about Monarchs, Courtiers and Technocrats; Elsyng Palace, Enfield: Place and People: The Documentary and Archaeological Evidence for a Fifteenth to Seventeenth Century Courtier’s House and Tudor and Stuart Royal Palace; and for the Lives of its Owners and House

Book cover of 'Monarchs, Courtiers and Technocrats'. The cover is blue with white writing and has a reconstruction drawing of Elsyng Palace in a panel below the titleHello Martin, and congratulations on your new book! Please could you start by introducing our readers to Enfield and its history?  

Enfield today is a London borough – at the top centre of Greater London just south of the M25 – made up of two or three distinct Medieval villages in the Lea Valley that expanded into towns and eventually got swallowed up in the urban sprawl of the capital. Enfield itself was the most northerly of them, from the Norman conquest on quite a small market town in what was then rural Middlesex, but dominated by the nearby royal hunting forest of Enfield Chase. It still has a market square opposite where a manor house used to stand, but as the town grew in the nineteenth and twentieth centuries it became best known for the industries that grew up east of the original town along the River Lea (the largest tributary of the River Thames) such as that making Lee-Enfield rifles.

Your first book on Enfield (First Stop North of Londinium: The Archaeology of Roman Enfield and its Roadline Settlement) dealt with the ancient history of the town. How did you come to write that book? And what did you discover about Enfield’s Roman past?

Book cover of 'First Stop North of Londinium'. The cover is deep red with orange writing, and shows two ceramic vessels below the title.

I was born in the borough and the first archaeological dig I ever went on was with the local archaeological society on a Roman site here. After many years at Sheffield University when I moved back to Enfield I got involved in that society which was active at the time in excavating a Roman settlement that lay on Ermine Street – the main Roman road north out of Londinium which ran ultimately to York and beyond – but a little at a time in people’s back gardens. Nobody had tried to take all these little pieces of a jigsaw and put them together and the book grew out of the process of doing that. The result was a picture of the first roadside settlement along the road once you left Roman London, a settlement that combined farming with providing for travellers, probably had a mansio (official ‘hotel’) and lay in a wider landscape that may have included a tannery site and a large estate farm.

This new book moves the story forward by looking at a later period of Enfield’s history, and at a particular site – the royal palace of Elsyng. How did you come to that topic?

Yes, that’s right. While I was working on the first book I was asked to direct new excavations on the site of this Tudor and Stuart palace. Some very impressive remains of it had been excavated in the 1960s, but nothing had been done on the site for about 40 years and, as it is a Scheduled Ancient Monument, English Heritage required a professional archaeologist to lead the local team who wanted to uncover more of it. And that fairly rapidly became an annual excavation taking in student training, community open days and even a TV documentary. But, as the team (which includes two other current or former OU Associate Lecturers) uncovered more and more of the palace, it became more and more important to publish what we had found and link it to the people who had once lived here. Surprisingly royal palaces like this are in fact a very under explored part of the national story and Elsyng was also the most important element in putting Enfield on the map over about 300 years. So once I finished the book on Roman Enfield I decided that I would try and research its history as well as publish the archaeological work I had led.

Can you introduce us to some of the historical figures you study in the book? Maybe you can tell us which figure interested you the most?

I could tell you about a variety of people who I look at, from an Earl of Worcester in the Wars of the Roses who was called ‘the Butcher of England’ to Elizabeth I who lived at Elsyng at times when she was a girl. But one I got particularly interested in was John Carleton. Before it was a royal palace, Elsyng was held by Sir Thomas Lovell – one of the technocrats who ran early Tudor government. He was very rich, had vast estates all over the country, many governmental positions and was constantly being visited here by Henry VII and VIII. But it was Carleton, his own ‘Receiver General’, who ran Lovell’s private affairs and then organised his lavish funeral when he died in 1524 and had to disentangle his complex financial affairs as his executor. And it is through Carleton’s accounts books with their detailed pay records and tradesmen’s bills that we get an insight into how Elsyng functioned as a ‘courtier’s palace’ with a staff of about a hundred. He is the sort of figure who stands just outside the spotlight of history, but without whom those in the spotlight couldn’t have functioned.

How did you go about researching the book? Was it archival research, archaeological fieldwork, or both?

The site of the furnace of the boiling house at Elsyng. Whole sides of meat were boiled in a large vat set over the furnace.

It was very much both. I reassessed the 1960s excavations and synthesised the 16 years of those I had up to that point directed myself, which in some ways was the easy part. The more difficult was writing the history of the site and the people who lived there because it meant getting into late Medieval and early Modern studies which I didn’t have a background in. Fortunately I had colleagues from the excavations, one of whom took on photographing hundreds of documents in the National Archives and elsewhere and another of whom taught himself to read and transcribe them – because often they were written in things like Tudor secretary hand which at first glance is as hard to read to the uninitiated as cursive Latin. Even then though it meant trawling through and cross referencing vast numbers of printed ‘calendars’ (summary publications) of documents. In fact it is only the fact that so many of these can now be read on line that made this side of the research possible.

Did you find many links between the Roman and later periods of Enfield’s history? 

To borrow a phrase, it’s about location, location, location. The Roman settlement in Enfield was here because it was a convenient distance out from Roman London for travellers to break a journey. In the same way the palace was near enough Medieval and Tudor London to easily reach it, but far enough away to escape its plague outbreaks and develop a prestigious house in a large estate. Then where exactly the palace was sited was in part determined by the survival of Ermine Street; in the 1430s, when it was first built, Roman roads like Ermine Street were still the backbone of the road network in Britain.

Which is your own favourite historical spot in the town of Enfield – and why?

Well, it would have to be the site of Elsyng palace, but one specific spot on the site. At that point you can see over 1,600 years of Enfield history in one go. Look in one direction and there is a modern road that follows the line of Ermine Street to an eighteenth century bridge over a brook that stands where a Roman bridge or ford once did. Turn round and across the modern park it edges you can still trace the approach road to the palace that ran off of it. And turn half way back and look uphill and there stands the early seventeenth century Forty Hall, the country home of a Lord Mayor of London (the excavations I have directed around and inside which look dangerously like turning into another publication !)

Thank you Martin, and congratulations again on this new book!

Monarchs, Courtiers and Technocrats is available to buy via the website of Enfield Archaeological Society: https://www.enfarchsoc.org/publications/

 

Q & A with Dr Gina May

This week we chatted with OU Classicist Gina May about her new book A Student’s Guide to Online Learning published by the Open University Press, which is due to go on sale on 12 August.

Hello Gina! Before we start talking about your book, could you introduce yourself to our readers? How did you get into Classics?

I have been an associate lecturer with the Open University since 2009 and have taught modules at stages 1, 2 and 3 as well as at postgraduate level.  Over the years I have also contributed to module content and TMA questions for a variety of Classical Studies modules – it is my dream job!  At the same time as teaching for the OU, I also taught in the Classical Studies department at the University of Kent for 10 years but left there 3 years ago to allow time to write and develop my own courses which I teach online as an independent educator.  I also do work as a consultant for universities and schools developing online teaching strategies and training staff to teach online.

I first discovered a love of Classics at school because our drama teacher had us reading Greek tragedies and our French teacher had us reading Racine’s versions of the same Greek tragedies, but in French.  I also did Latin at school which I loved but did not do any other ancient languages until I went to university as a mature student.  Although I had a long gap before starting a degree, I kept reading in the meantime and when my children were in their teens, I did a BA and PhD degree in Classical Studies and loved every single minute!  I am a lifelong learner and look enviously at OU modules wishing I could do them all.

What is your daily routine like, in your job as an OU associate lecturer in the Faculty of Arts & Social Sciences?

As associate lecturers we work from home and so I spend most of my days in a summer house at the end of my garden which is great!  I teach on 5 modules including A863 and A864 which are the first and second years of the Classical Studies MA.  My work includes writing and delivering tutorials, marking TMAs, talking to students via email and on the phone, as well as other general tasks such as monitoring and moderating forums.  There is a great feel of camaraderie between the members of the department and although ALs do not go onto the physical campus very often, we still feel very much a part of what goes on and have a great rapport with the central academics.

We are all excited about reading your new book A Student’s Guide to Online Learning!  How did you come to write the book?

The book came about because during the pandemic there was such a large shift towards online teaching for both universities and schools.  This made me realise that actually, the OU have been doing this really well for years so were well ahead of the game in terms of teaching.  However, there was nothing on the market that looked closely at the skills needed for learning online.  I started by talking to current and former students asking them what they wished they had known before they started and to tell me about some of the problems they encountered or were encountering along the way.  This, combined with the experience of teaching thousands of students both face to face and online, helped to decide on the content.

Who did you write it for? Is your target readership mainly OU students? Who else do you think will benefit from reading the book?

As an AL I had my own students at undergraduate and postgraduate levels in mind a lot of the time, but the content works equally well for any student of an online course whether that is as part of a degree or for work as part of continuing professional development.  A lot of the issues are the same such as developing the right persona, conversing with tutors and peers and demonstrating employability skills.   The use of social media as a tool for learning and networking is something that is new to many students so this is also covered.

Could you give us a sneak preview of the contents? How is the book structured (and was it difficult to decide how to structure it?)

The chapter headings are: Online Identity and Personas; Learning Online Environments; Accessing Learning and Peer Support; Recognising Strengths and Overcoming Difficulties and Disabilities; Academic Integrity and Employability; Researching Online; Digital Technologies for Online Learning; Using Social Media for Learning Online and Trouble Shooting, Staying Safe Online.

To decide on the structure, I thought about the order in which a student might need to know how to do things and went from there.  The book can be used by starting from the beginning and working through to the end but works equally well for just dipping in and out of.  Each chapter has advice and practical exercises together with quotes from students who have experience of dealing with the particular issue being talked about.

Which chapter was hardest to write, and why?

The hardest chapter to write was ‘Trouble Shooting’.  Current and former students sent me lots of examples of things that had happened to them and how they had resolved the issues.  I then had to combine these together with my own experience as a tutor and online student into a format that worked well.  I wanted to provide clear advice that would be both helpful and reassuring.

Which is your favourite chapter, and why?

I have two favourite chapters.  The first is ‘Recognising Strengths and Overcoming Difficulties and Disabilities’.  This is because students tend to focus on the negative, the things that they have done ‘wrong’, cannot do because of a difficulty or disability, or do not know how to do.  I wanted to turn this completely on its head and look at how to discover what you can do well, how this is being done and how to enhance it going forward.  The chapter also deals with practical issues such as how to use assistive technologies such as screen readers and voice activated software.  For me, the important thing about this chapter is that it empowers all students.

My other favourite is ‘Researching Online’ simply because I love research.  In this chapter I show how to narrow and deepen a search to avoid falling down rabbit holes that might well provide hours of pleasant reading but that may not actually be very useful.  I look at using library catalogues and other data bases as well as what does not form academic content and so should be avoided.

The book is written together with Tim Bentley – could you tell us a bit about this collaborative writing process?

My co-author (and husband) is now a paramedic and paramedic educator but is a former learning technologist who developed and implemented online learning platforms at two large UK universities.   Using this expertise, he contributed towards the explanation of how technologies work and can be best used in order to learn online, and what to do when things go wrong.  Content includes everything from making sure that your internet connection is secure to how to use the tools in FB and Twitter to enhance learning and to become part of the wider learning community in your discipline.

What is your next project after this book?

I am currently working on a number of projects.

The first is a companion book to A Student’s Guide to Online Learning which is aimed at those who teach online.  It looks at the practical skills of online and blended teaching as well as how to write or convert material to do so.  This combines my experience of many years teaching online with the wealth of experience that current and former students, and colleagues, continue to share with me.

My other current projects include:

  • A book which takes all the vocabulary used for GCSE, AS and A Level Latin and sets out all the tenses of the verbs and the cases of the nouns in full. This is almost finished and will be on Amazon by the end of the summer.  I have not quite decided on a final title for this so any suggestions would be gratefully received!
  • Academic Practice for Classical and Archaeological Studies which looks at the specific study skills needed in Classical Studies and includes content on using data bases, archaeological reports, coins and standing culture as well as ancient texts. I also look at how to use online dictionaries as a non-linguist and how to work with fragmentary evidence when writing essays and dissertations.   As well as all this, the book includes study skills such as critical reading, referencing, structuring written work, constructing an argument and much more.
  • A novel for Falcon Books Publishing which is about a little girl who gets lost in the crowds at Epidaurus and grows up in the temple there. I was so inspired by the way that Pat Barker wrote Silence of the Girls and The Women of Troy that I thought I would have a go myself!

I am on twitter @DrGinaMay and have a website: ginamay.co.uk which has details of all the courses that I teach as an Independent Course Provider outside of my work with the OU.

Congratulations, Gina – we can’t wait to read the book! 

 

Another letter from Provence…

We’re very pleased to share another update from “our alumnus in Provence”, Paul Jackson.  Thank you Paul, and good luck with the writing! 

So, this year’s Classical Association conference has just drawn to a close, and what a conference, with papers ranging from Tolkien’s Unique Reception of Pythagorean ‘Dissonance’ in the Ainulindalë of the Silmarillion to Cyrus the Great, Caught Between Persia and Iran.

Well, I say ‘this year’s’, but Swansea was of course meant to have hosted this event two years ago, only for the pandemic to put the dampers on that. Chapeau to Swansea, then, for being able to pick things back again, and though I wasn’t able to be there en presential this time, not able to follow Wordsworth to Tintern Abbey and then tour the West Country as I had planned to, the hybrid nature of the conference did at least allow me to present an updated version of my original paper, The Other Dumas: Alexandre Dumas and the Classics, albeit en distanciel, and to speak on the classical education, passions, and varied works of the popular and famous feuilletoniste by way of Zoom.

The pandemic has unfortunately also had an effect on the Classical Dumas Series I am working on with Noumena Press, with the publication of Isaac Laquedem: A Tale of the Wandering Jew being delayed until next year, though that will at least allow Acte of Corinth: A Tale of Greece and Rome to become the first in the series when it comes out later this year. Look out for news on this here, where you will also find a link to the eBook version of the prologue to Isaac Laquedem, for those who want a little taste of that in advance.

Circumstances have also allowed me to finish a first draft of a little novella I have been working on, which I suppose comes out of my doctoral thesis, De natura deorum Epicureorum. The Last Days of Epicurus is set in Hellenistic Athens, in the arconship of Lysitheides, when an Amynomachus, veteran of Thermopylae, finds what he is looking for, himself, in Epicurus’ Garden. More on this soon.

Back to Dumas, though, before I finish, for we did follow him – and Isaac ­– recently along the Appian Way, though on electric bikes, passing the likes of the Tomb of Caecilia Metella and the Casal Rotondo along that cobbled way like his eponymous protagonist. Here are some photos:

Here too is a little poem of the day that I penned, drawing on Dumas’ descriptions and culminating in a distinctively (Horatian) Epicurean couplet:

The Via Appia

For Paul-Jean Toulet

Who else hath trodden those antique, paved ways,

Gone from distant seas to loftiest walls,

Through those sweeps of green lined with marble halls,

‘Neath shady pines, those abodes of manes.

From within they watch, from within they gaze,

And to all who pass by, they calmly call,

Hoping to hold those strange souls in their thrall,

This now their life, these now their deathless days.

But who hath heard the silence of those stones,

Ever reaching for us with wraithlike arms,

Speaking to us in epitaphic tones,

Whispering so softly oracular charms,

“Seize the moment, whilst you still have some breath,

Knowing that with this life, comes deathless death…”

Oh, Paul-Jean Toulet, if you haven’t heard of him, was a French poet and fellow feuilletoniste, best known for his Contrerimes ­­­– a collection of poems in a verse form of his own invention, la contrerime – some of which the great French actor and director Daniel Auteuil put to music for his album Si vous m’aviez connu, one of the songs of which is entitled Les Alyscamps, that huge Roman necropolis outside of Arles which both Gauguin and Van Gogh painted. It was this song that really inspired my own poem, thus the nod to him.

Right, I suppose that ought to be enough for now. See you soon in our next episode,

Stay safe,

Paul x

 

John Stephen Kassman Memorial Essay Prize 2022

An annual prize is awarded for the best essay in a competition, open to all current Open University undergraduate students. It is likely to be of particular interest to students on A229, A276, A330 and A340. The essay, of not more than 3000 words, should be on any topic related to Greek and Roman Antiquity.

Submission dates for the next prize are as follows:

·         the closing date for notice of intention to enter the competition is 30 June 2022, and 

·         the deadline for submission of essays is 30 September 2022.

For further details, rules and regulations for the competition, see below.

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Information and Regulations for Entrants

1. The prize is an annual award based on the income from a donation given by the late Alec Kassman in memory of his son. Alec was an Arts Faculty Staff Tutor in London Region of the Open University and a contributor to Classical Studies courses. The purpose of the prize, which is awarded for the best essay in an annual competition, is to develop and foster study of Classical Antiquity in the Open University. The award takes the form of a book-token (or other academic related goods) to the approximate value of £100. 

2. The competition is open to all current OU Undergraduates and Associate students (i.e. current at the date of notice to enter the competition – see below 4). Candidates may compete in more than one year if they wish, but no candidate may submit an essay more than once on the same topic.

3. Details covering presentation of essay:

i) The essay may be on any topic related to Greek and Roman Antiquity; this regulation may be interpreted liberally – including e.g. comparative study, provided that a substantial part of the essay deals with a Greek or Roman aspect of the topic. The right is reserved to refuse proposals deemed unsuitable.

ii) The essay should be an original piece of work, written for the purpose of the competition, and should not replicate material submitted by candidates for previous assessment (TMAs and EMAs) at the OU or elsewhere.

iii) A word-limit of 3000 words, including notes, should be observed (if appropriate to the essay subject, a limited amount of additional illustrated and/or diagrammatic material may be included). A bibliography should be appended, together with a statement that the essay is the candidate’s own unaided work.

iv) Essays should be submitted as an attached file e.mailed to FASS-ClassicalStudies-Enquiries@open.ac.uk. In order to preserve anonymity for judges, the candidate’s name and address should not be written on the essay itself but enclosed on a separate cover-sheet.

4. Notice to enter the competition should be sent, together with the proposed essay title, by 30th June 2022 via email to FASS-ClassicalStudies-Enquiries@open.ac.uk

The deadline for receipt of essays is 30th September 2022. This timing is intended to give competitors an opportunity to work on their essays after the 2022 academic session. The decision of the judges, which will be final, will be announced to all competitors as soon as possible after the closing date.

5. The administration and adjudication of the competition will be by a Committee appointed by the Department of Classical Studies. The committee reserves the right not to award the prize in any given year if there is no essay of an acceptable standard.

6. Guidelines for competitors. The following criteria will be observed by the judges:

i) Quality of the Essay as a piece of English prose

ii) Appreciation of the issues involved in the selected topic

iii) Quality of thought displayed in setting out and addressing such issues

iv) Sensitivity to the historical ambience of the topic, and its significance within that setting

v) Capacity for independent critical analysis

vi) Imaginative choice of topic.

Asterion: Neurodiverse Classics

Over the last few months, several OU Classical Studies students and graduates have been involved in setting up a new organisation called Asterion, which aims to represent neurodiversity in Classics.

Asterion logo

For the OU Classical Studies Blog, Asterion Director and OU tutor Cora Beth Fraser caught up with two neurodivergent members of the Asterion Editorial Board, Hilary Forbes and Tony Potter, to talk about neurodiversity, OU study and Asterion.

Cora Beth: In setting up Asterion, I’ve been hearing a lot of late-diagnosis stories from people who’ve only found out in adulthood that they are neurodivergent. For many people the diagnosis explains traits and problems that go back a long way. It certainly has done for me. After I was diagnosed as autistic in my 30s, I could look back at my childhood and see all the quirks and difficulties that would have added up to an obviously autistic profile, if I hadn’t been trying so hard to hide them, and if autism hadn’t been so little understood in those days! How about you: when did you first realise that you experienced the world a little differently? 

Tony: I think I’ve always known I was different and that I experienced the world more sensitively than others from my early childhood. Even in primary school I was called a ‘quirky’ child. I remember being told off for having a sort of nervous tick when I got stressed out. I also remember it being referred to as a habit that I’d grow out of. Now however, I see it for what it was, it was a physical manifestation of a condition that at the time I knew nothing about and it was brought on by factors outside of my control. Plus, we’re talking about the late eighties and early nineties here and neurodiversity wasn’t really something that got loads of attention back then. This is the bizarre bit though; in my later teenage years I seemed to do exactly what had been predicted and grew out of it – well, at least that’s what I thought. I sailed through my early twenties with ease. I think this was because I lived in another country and was essentially a different person. I’d escaped my upbringing, so to speak. I worked as a holiday rep for five years and didn’t seem to experience one bit of OCD or anxiety. On the contrary, I would stand up in front of hundreds of people to conduct welcome meetings, I was outgoing, confident and very adventurous and I partied really hard (perhaps too hard if truth be told), but none of this bothered me one bit and any suggestion that I suffered from a mental condition would have had me rolling on the floor in fits of laughter.

It wasn’t until my late twenties to early thirties that I started to experience the world differently again. I could feel myself becoming more and more conscious of my surroundings and how I felt I was being perceived by other people. I think what triggered my OCD and anxiety after all those years was my working environment which at best could be described as stressful and at worst, toxic. There was a very unpleasant culture where I worked at the time, and day in day out people feared for their jobs because the company turned over staff like it was a competition. I personally think that spending three years in that environment sort of broke me. It wasn’t until I bit the bullet and left the business that I felt more secure, but unfortunately the damage had been done and the anxiety and OCD were back to stay. 

Hilary: I think I’ve always known this for as long as I can remember… but I couldn’t express it as a child. I used to think that all the other children at school were in on some secret which I didn’t know, and that’s why they all seemed to be able to communicate with one another, when I didn’t know how.

I have always wanted to know how things worked – from the time when I undid all the nuts on my pram (it nearly collapsed while I was being pushed in it because I did it so quietly and without being seen… but I was fine – it was saved just in time!), to taking radios to pieces. Everything that could come apart, I took apart to see how it worked, so science was a big draw to me. But so was English Literature because I enjoyed learning about how novels and plays were constructed and the context of them, so I was a big Shakespeare fan… so for me delving deep into the possible influences of the ancient world on current science was and is part of the same path. I tend to see history, science, theology etc as one thing rather than chop them up into different disciplines.

Cora Beth: I know you’ve both been studying for a long time. My own path through education has been a winding one: I’ve completed a bunch of degrees in different subjects – and gotten part-way through several more – because when I take an interest in something, I find myself needing to know everything about it! What have your education journeys been like, and how did you end up in Classical Studies?

Hilary: I came to Classical Studies as a natural (to me) progression from Astrophysics and Theology… I know it seems strange, but it makes sense to me! I have had a love of all things astronomy and the night sky since I was four years old and that developed into a BSc in it, and I followed this by a BD (specialising in Old Testament Lit and Lang). However I did these degrees many years ago back in the early 80s and so I have come to Classical Studies quite late in life after a career as a secondary school and then FE maths teacher and after thirteen years of also teaching Astronomy GCSE in FE. Then around fourteen years ago, I found Aristarchus of Samos, who lived around the end of the 3rd and throughout most of the 4th century BC. He was the first person who has been referred to as proposing that the Sun was at the centre of the then known Universe, and that he did this 1800 years before Copernicus did fascinated me.

After reading as much as I could for many years and considering various MA s, I came across the Classical Studies MA at the OU. I love context, and so it satisfied two aspects of study for me, studying the context of ancient cosmologies – and by context I mean, what was everyday life like for the ancient Greeks and Romans? It also gave me a way in to study more of the context of the Roman world in the time of Christ, and the events referred to in the New Testament. Of course, having come now to the end of this MA, I feel I have only just begun to dip my toe in the water…

Tony: I enrolled with the Open University in 2009 and at the time it wasn’t possible to do a degree in Classical Studies alone, so I registered for the BA (Hons) in History. Luckily for me there was a good range of modules available so I was able to tailor my degree pathway to my interests and ended up making up almost 50% of my degree with Classical Studies related modules. Starting in 2009 I studied one 60 credit module per year. I started with AA100: The Arts Past & Present, followed by A219: Exploring the Classical World. I then completed A200: Exploring History: Medieval to Modern followed by A330: Myth in the Greek & Roman World. In my final two years I studied A330: Empire, and finished my degree with A223: Early Modern Europe. So, as you can see, my degree was very varied – but I enjoyed every part of it! I caught the OU bug very shortly after enrolling on my first module so continuing with an MA in Classical Studies after my undergrad degree was finished was a no-brainer for me. Although it has taken me longer than I would’ve liked to complete my MA, owing mainly to a rather inconvenient flare-up in my OCD and anxiety, I’m very pleased to be at the stage I am now.

When I started with the OU in 2009 I wanted to get into secondary teaching. Although teaching in some form or other is still my long-term goal I now know that I’d be better suited to the type of teaching that takes place in further and/or higher education environments. Now that I’ve completed my MA, though, I’m planning a PhD, so hopefully I’ll be a student of the OU for bit a longer! I can’t honestly say with any certainty where I’ll end up after my OU journey, but I know whatever happens I’d love to be involved with Classics and Ancient History and I certainly want to continue researching. Perhaps I’ll apply to become an OU tutor!

Cora Beth: I know that in my own career as a student, and later as a teacher, I’ve had to put a lot of strategies in place to help me, because my autistic brain struggles with certain things. I’ve learned, for instance, that emails tend to overwhelm me – it can take me an hour to compose an answer to a simple query, because I find it so difficult to get my meaning across without misunderstanding. So for me, emails have to be tackled at the right time of day, and in short bursts. Do you find that you’ve had to make adjustments or invent ways of approaching your work differently, because of your neurodivergence?

Hilary: I much prefer learning in my own time and space at my own pace. I enjoy not having to engage with many other students in groups and I have enjoyed especially not having to have my webcam on during tutorials – thanks, Cora Beth, for not asking us to do this…!

This all makes me sound horribly unsociable! I am quite sociable really – but in particular ways when I have the energy to be so, and not in groups or crowds. I did attend one OU conference and it was really lovely to meet people but it also wiped me out for a week or two afterwards so there is a cost to being social around more than three people. The flexibility of the OU also allows study to fit in around work, which is the other major reason it works so well for me.

Tony: I suppose I’ve subconsciously adapted my study methods to appease my OCD and anxiety. For example, one problem I have resulting from my OCD is that I seek perfection in anything I do, or in this case, anything I write which is both physically and mentally exhausting. I’ve tried hard to accept that there’s a point when a piece of work is as good as it needs to be but this just doesn’t work for me so I still strive for perfection. Because my writing style (not sure if ‘style’ is the best word to describe this though!), is a relentless cycle of write, review, delete and repeat, it takes me much longer to get a polished piece of work across the finish line ready for submission. For this reason, over the years I’ve had to be very pro-active in my approach to TMAs. I would start early and work on the little but often approach. I tended to write my TMAs as I worked through the module readings, ending up with a conglomeration of ideas which I could then mould into a coherent piece of work. This approach was exhausting and time consuming, but it was the only workable method I could use.

Luckily for me, I developed a better approach throughout my MA. I still massively over complicated things and made my life very hard, but it worked better for me. I’m still striving for the elusive ‘perfect’ approach (I’m not even sure that exists), and hopefully if I do get on a PhD programme, I’ll have the time to work on that. Despite my convoluted processes though, I always seemed to produce very good work which was at least a reward for the hours I spent polishing my essays. 

Cora Beth: You’re both serving on the Editorial Board of Asterion, alongside neurodivergent classicists from schools and universities around the UK and overseas. Why do you think an organisation representing neurodiversity is needed in Classics?

Tony: Despite a great deal of hard work and tireless effort by a lot of very committed people in our field, the word ‘Classics’ still carries lots of negative connotations, and the perception of it being an ‘exclusive club’ of sorts still persists. Although our field is no longer dominated by elite white males with old-fashioned opinions, it remains difficult to shake off these historic biases. In a world where more and more people are coming to terms with their own mental health and neurodivergencies it’s never been more important to embrace this diversity in our field, particularly if it’s to survive well into the future and become an ‘all-inclusive’ discipline. Classics is a multifaceted and enormously varied area of study and researchers in our field are now regularly exploring the links between neurodiversity and the Classical World, which makes our presence as neurodivergent individuals more and more essential to the future of the discipline.

Hilary: There is a great need generally to raise awareness of neurodivergent people and how we view the world. In the world of Classical Studies – at any level of enjoyment – it is great to have a place which welcomes those who have had experiences of not fitting in anywhere. To be accepted and valued is the one thing we all need.

If you’d like to find out more about the work Asterion is doing, visit our website at https://asterion.uk/ and read our blog. We welcome enquiries and new members – so if you’d like to get in touch, do send us an email at enquiries@asterion.uk, or pitch us an article at content@asterion.uk!

John Stephen Kassman Memorial Essay Prize 2021

An annual prize is awarded for the best essay in a competition, open to all current Open University undergraduate students. It is likely to be of particular interest to students on A229, A276, A330 and A340. The essay, of not more than 3000 words, should be on any topic related to Greek and Roman Antiquity.

Submission dates for the next prize are as follows:

·         the closing date for notice of intention to enter the competition is 30 June 2021, and 

·         the deadline for submission of essays is 30 September 2021.

For further details, rules and regulations for the competition, see below.

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Information and Regulations for Entrants

1. The prize is an annual award based on the income from a donation given by the late Alec Kassman in memory of his son. Alec was an Arts Faculty Staff Tutor in London Region of the Open University and a contributor to Classical Studies courses. The purpose of the prize, which is awarded for the best essay in an annual competition, is to develop and foster study of Classical Antiquity in the Open University. The award takes the form of a book-token (or other academic related goods) to the approximate value of £100. 

2. The competition is open to all current OU Undergraduates and Associate students (i.e. current at the date of notice to enter the competition – see below 4). Candidates may compete in more than one year if they wish, but no candidate may submit an essay more than once on the same topic.

3. Details covering presentation of essay:

i) The essay may be on any topic related to Greek and Roman Antiquity; this regulation may be interpreted liberally – including e.g. comparative study, provided that a substantial part of the essay deals with a Greek or Roman aspect of the topic. The right is reserved to refuse proposals deemed unsuitable.

ii) The essay should be an original piece of work, written for the purpose of the competition, and should not replicate material submitted by candidates for previous assessment (TMAs and EMAs) at the OU or elsewhere.

iii) A word-limit of 3000 words, including notes, should be observed (if appropriate to the essay subject, a limited amount of additional illustrated and/or diagrammatic material may be included). A bibliography should be appended, together with a statement that the essay is the candidate’s own unaided work.

iv) Essays should be submitted as an attached file e.mailed to FASS-ClassicalStudies-Enquiries@open.ac.uk. In order to preserve anonymity for judges, the candidate’s name and address should not be written on the essay itself but enclosed on a separate cover-sheet.

4. Notice to enter the competition should be sent, together with the proposed essay title, by 30th June 2021 via email to FASS-ClassicalStudies-Enquiries@open.ac.uk

The deadline for receipt of essays is 30th September 2021. This timing is intended to give competitors an opportunity to work on their essays after the 2021 academic session. The decision of the judges, which will be final, will be announced to all competitors as soon as possible after the closing date.

5. The administration and adjudication of the competition will be by a Committee appointed by the Department of Classical Studies. The committee reserves the right not to award the prize in any given year if there is no essay of an acceptable standard.

6. Guidelines for competitors. The following criteria will be observed by the judges:

i) Quality of the Essay as a piece of English prose

ii) Appreciation of the issues involved in the selected topic

iii) Quality of thought displayed in setting out and addressing such issues

iv) Sensitivity to the historical ambience of the topic, and its significance within that setting

v) Capacity for independent critical analysis

vi) Imaginative choice of topic.

Another Letter from Paul Jackson in Provence

Two years ago we published a ‘Letter from Provence‘, sent by our recent PhD graduate, Paul Jackson. Since then, Paul has been busy  working on his Alexandre Dumas translations (and much more), and it’s a pleasure to receive this second letter updating us on his progress. We love keeping in touch with our graduates, and would welcome other letters like this from our OU Classical Studies alumni. You can email us on FASS-ClassicalStudies-Enquiries@open.ac.uk

Greetings, or should I say salut, from over here in Provence again, from Pont-du-Loup to be precise, which was apparently once one of Queen Victoria’s favourite haunts! Given the travel restrictions, I find myself working my way through Depardieu’s filmography and Pagnol’s bibliography as well as hunting down Romanesque chapels and local cheeses and wines, all of which are as numerous as the chickens, pheasants, quails, pigeons, tortoises, cats, and rabbits our garden seems to be accumulating, wannabee Cincinnatus I seem to be. Well, I haven’t completely dedicated myself to the plough yet, trying to maintain the philosophy of Émile Zola – and Pliny the Elder before him – “Nulla dies sine linea”, whether that be reading or writing, difficult as that is in these uniquely trying times…

Still collecting recipes and writing poems and penning travel diaries and delving into the legends of Roland, as well as recently providing consultancy for the development of a rather wonderful Italian pedagogical tool, Alatin, work on my Classical Dumas Series is also progressing, with Isaac Laquedem: A Tale of the Wandering Jew finally due for publication later this year, the first part of which was teased as an eBook last Christmas (https://gum.co/aGlOA). Unfortunately, circumstances prevented me from speaking on the project at last year’s Classical Association Annual Conference in Swansea as planned, but the paper I was to read, The Other Dumas: Alexandre Dumas and the Classics, was subsequently published in Classics for All’s online Ad Familiares journal (https://classicsforall.org.uk/reading-room/ad-familiares/alexandre-dumas-and-classics), and hot off the press, coming next in the series will be Acte of Corinth, The Convert of Saint Paul: A Tale of Greece and Rome, with several other exciting ones to come thereafter!

Again, further details and updates can as always be found on my website, https://paultmjackson.com

Valete,

Paul.

Podcasting Thucydides

Thucydides Mosaic from Jerash, Jordan, Roman, 3rd century CE at the Pergamon Museum in Berlin.

OU PhD student Liz Webb recently had the opportunity to record a podcast episode with James Renshaw, who teaches Classics at Godolphin and Latymer School and runs their weekly Ancient World Breakfast Club for both the school and community. The conversation centred on Liz’s PhD research on ‘Audience Sensory Experience in Thucydides’ History of the Peloponnesian War.

Click on this link or on the image above to listen to the podcast episode.

Liz’s research utilises theory from phenomenology, sensory archaeology and literary sensory theory to develop a framework for understanding how Thucydides deploys sensory hierarchies, time, space, emotion and movement in his narrative. The objective of illuminating this aspect of his work is to consider how his historiographical technique draws on sensory experience to underline the points at which Thucydides requires the audience to exercise its judgement, which contributes to our understanding of early ancient historiography.

You can follow Liz on Twitter at @WebbEA02. James’ Twitter handle is @jajrenshaw, and the Godolphin and Latymer School can be found at @gandlschool and @gandlclassics

Thank you to Liz and James for sharing this conversation!

Image on this page: Thucydides Mosaic from Jerash, Jordan, Roman, 3rd century CE. Now in the Pergamon Museum in Berlin. Photo: Wikimedia Commons.

 

The Battle for Latin: Reports from the front line of research into Latin teaching

This article was originally published over on the brand new ‘FASS Centre for Scholarship and Innovation’ blog. Visit that blog and follow @OU_FASSTEST on Twitter to find out more about how the Centre supports the critical, scholarly evaluation of approaches to teaching and learning in the Arts and Social Sciences.

Hiding behind any respectable project that seeks to improve the student experience is always an element of nerdiness – an obsessive love of stats and number-crunching – as well as a curtain-twitching urge to take a peek into the lives of others. What precisely do teachers and students get up to in their classrooms? How does it all go so right for students – and sometimes so wrong?

Well, that’s our experience anyway. We are James Robson (Professor of Classical Studies at the OU) and Dr Mair Lloyd (Associate Lecturer and former OU PhD student) and our story starts about seven years ago when we met up for the first time over multiple cups of tea, nursing the shared ambition of carrying out a bold project that hadn’t been attempted for a generation: a nuts-and-bolts survey of beginners’ Latin and Greek teaching in Classics departments across the UK. We carried out this survey in 2014 and as the data poured in and we feasted greedily on the diet of bar charts and pivot tables we were creating, one statistic kept jumping out at us: nearly one in four students who began studying Latin at university (23%) didn’t complete their module. Why was that? And how come the pass rates at different universities varied so greatly?

Image: Mair and James drinking tea in contrasting settings

Image: Mair and James drinking tea in contrasting settings

That is how The Battle for Latin was born, a project dedicated to examining the factors driving student success, failure and withdrawal amongst beginners’ Latin students. More in hope than expectation, we put together a bid for the British Academy small grants scheme, drawing on James’ long experience of classical language teaching at the Open University and Mair’s expertise in Modern Foreign Language and Latin pedagogy. Importantly for the bid, we were able to cite the statistically-rich research that we had already published. And crucially, too, we had a burning question that, to us at least, seemed so vital to answer: why were so many aspiring Latinists in UK universities unable to stay the distance?

A few months later, we learnt that our bid had been successful and when our spontaneous whooping and partying eventually subsided, we set to work. As stats fiends, one thing we felt we needed was more targeted, up-to-date data, so we ran a new survey of UK Latin instructors, who between them kindly furnished us with data on 30 different Latin modules covering 888 students nationwide. As our graph below shows, the variation in completion rates was striking once again. Remarkably, too, we also learnt that, while a greater number of students were completing and passing our own Latin module at the OU, this was not a picture reflected across the sector: nationwide the completion rate for beginners’ Latin modules was stuck at 76%.

Image: One of Mair’s and James’ signature graphs: Beginners’ Latin modules in UK universities listed by anonymized alphanumeric code, showing percentages of those starting the module who passed, failed and withdrew.

Image: One of Mair’s and James’ signature graphs: Beginners’ Latin modules in UK universities listed by anonymized alphanumeric code, showing percentages of those starting the module who passed, failed and withdrew.

So, what were the factors driving student success, withdrawal and failure? Our data allowed us to rule out elements such as module duration, credit value and even student contact hours to a large extent (the exception being a handful of particularly intensive modules which included five or more hours’ classroom time each week). Nor did the choice of textbook or assessment strategy appear to be determinative (although we did note a possible benefit of including substantial elements of assessed coursework). Ultimately, whatever hypothesis we investigated there always seemed to be modules that bucked the trend. Clearly, staring at the stats was only going to get us so far.

Fortunately, our project also built in human contact: a series of whole-class observations, interviews with instructors and students, and even an online student survey to allow us to understand better the obstacles to student success. We learnt a lot from our activities, not least the need to ask a small number of very focused questions if you hope to finish the interview on time! But we were also delighted to discover the warmth, dedication and reflectiveness not only of Latin instructors, but also of the students they teach, who were generous with their time and hugely thoughtful and thought-provoking in their responses to our questions.

So, is there a magic bullet for improving student success on beginners’ Latin modules? Well, maybe not, but our research nevertheless provides some useful trends and pointers, we hope. Plus, our forthcoming paper also distils some of the top tips that Latin students would pass on to new starters – all the more useful, we hope, for being direct quotations in the students’ own voices. If we have an overarching conclusion, however, it is perhaps that the magic lies somewhere in the dynamic interactions between the teacher, students, textbook, teaching methods and class as a whole. Of course, these are factors that are challenging to quantify and pin down – but this merely convinces restless enthusiasts like us that another research project is needed to scrutinize these more closely.

A paper with further details will be published shortly, we will post a link here when the article is live.

For further details please contact James and Mair:

James Robson, Professor of Classical Studies

Dr Mair Lloyd (Associate Lecturer and former OU PhD student)

2020 Classical Studies MA Essay Prize

We are delighted to announce that the winner of the 2020 Open University Classical Studies MA Essay Prize is Susan Marks, who submitted an essay entitled “The influence of Rome on Louis XIV’s triumphal arch at Porte Saint-Martin, Paris”.

We invited Susan to tell us a bit about her OU study journey:

“My first introduction to the OU was when, with the support of my employers, I achieved a Professional Diploma in Management. Some fifteen years later I took early retirement and this presented the opportunity to return to the OU. I decided to do a short course, Y180 Making Sense of the Arts, which I really enjoyed. This rapidly led to me enrolling for a BA Open degree with honours which I achieved in 2018.

I chose as my first optional module U214: Worlds of English, which was fascinating, but after completing A219: Exploring the Classical World, I found my real interest lay in Classical Studies. I went on to do A330: Myth in the Greek and Roman Worlds and A340: The Roman Empire, both of which I thoroughly enjoyed. I did Latin at ‘O’ Level many, many, years ago and I remember learning about Ancient Greece at primary school. The interest in these subjects that my teachers sparked has never really left me. I am currently about to start A864, the second year of the Classical Studies MA, and am contemplating the topic of my dissertation.

The subject of the essay for this competition was something I had been wanting to research for some time. I visited Paris a couple of years ago and travelled on one of the open-top sightseeing buses. I had been to Paris before but had not seen the city at that level. We passed a number of triumphal arches and I was struck by the Roman terms used in the inscriptions, in particular the titles that the person it honoured held such as consul, praefectus and aedilis. The essay competition gave me the impetus to explore one of these arches in detail and I found that not only the inscription but also the iconography used was aimed at closely aligning the French king, Louis XIV, with Imperial Rome and its emperors.

Classical Studies is such a wide-ranging subject there is something new to learn every day and so many paths to tread. I am not sure where I go after A864, but I think it would be impossible for me to give up studying now.”

Many congratulations to Susan from all of us in the Department of Classical Studies!

Porte Saint-Martin