Author Archives: Emma Bridges

Translating Myth: A Q&A with Pietra Palazzolo and Ben Pestell

Pietra Palazzolo is an Associate Lecturer at the Open University, and has taught a number of OU modules with Classical Studies components. She also serves on the executive committee of the Centre for Myth Studies at the University of Essex, and is a Visiting Fellow there. Along with her Essex colleagues Ben Pestell and Leon Burnett, she is co-editor of a new book, Translating Myth, which was published by Legenda in June 2016. This week we talked to Pietra and Ben to find out more about the volume and their work on myth.

Q: Congratulations on the publication of your book! Could you tell us about where the idea for the volume came from?

Ben: Thank you. We’re very pleased with how the book has turned out and the job that Legenda has done with it. The idea for the book developed from discussions between Leon Burnett, the founding director of the Centre for Myth Studies at Essex, and a former colleague, Kopal Gautam. Leon and Kopal share an interest in myth and literary translation, and these two areas seem natural companions in the distinct ways they both evoke the migration of ideas across cultures. The theme ‘translating myth’ informed an international conference in 2013 and an MA module before finding lasting form in the book.

Q: Your title is Translating Myth, but you explain in the book’s introduction that for you and your co‐editors ‘translating’ means something broader than simply the act of rendering a story written in one language into a different language. Can you explain what other kinds of things ‘translation’ might mean in the sense in which the book’s contributors have interpreted it?

Ben: A myth is always translated: whether from a mythologem or an image or idea. Our experience of myth is mediated through tales or pictures which adapt primordial material. While some chapters in the book look very specifically at instances of literary translation (as in Eliza Borkowska’s illuminating investigation of Blake’s Polish reception), we felt it important to state at the outset that we adopt a broad definition – what is sometimes called ‘cultural translation’. For example, Jessica Allen Hanssen examines the repurposing of Greco‐ Roman myth for children in Hawthorne’s Wonder Book; Sheila A. Spector explores the evolution of Blake’s mythopoeia through his reconfiguration of Christian and kabbalistic motifs; Rached Khalifa re-examines Yeats’s assimilation of diverse mythologies; Terence Dawson charts the twentieth‐century renewal of the Faust myth in Pessoa’s poetry and Jung’s Red Book; and Suman Sigroha considers the reception of Indian myth by European writers. The unifying principle is the re‐emergence and translation of mythic material in new contexts.

Pietra: What emerges from all the contributions to the volume and in our own work as editors is that literary translation and cultural translation work in unison. When considering adaptations of myth, it is impossible to talk about literary translation without considering cultural translation.

Q: The British Centre for Literary Translation (BCLT) at the University of East Anglia recently held a launch for Translating Myth. Could you tell us more about the event and the way translation studies and myth studies intersect in your book?

Pietra: We were very pleased with the Book Launch Symposium organised by Duncan Large at the British Centre for Literary Translation. The event offered the opportunity to explore the links between myth and translation through a series of contributions by Ben Pestell and myself, by Giuseppe Sofo, who contributed the final chapter to the book, and Tom Rutledge of UEA. The event ended with a lively round table debate led by Leon Burnett, where we were joined by another of our contributors, Sharihan Al-Akhras (whose chapter is an impressive study of the Middle Eastern influences on Paradise Lost).

If myth is an act of communication, an experiential act, it is also an act of translation, to use George Steiner’s useful formulation that ‘to hear significance is to translate’. Myth studies and translation studies are cognate disciplines, as they both deal with ways in which translation can be carried out. In applying the concept of ‘cultural translation’ to myth we follow some of the key approaches to translation studies. One, offered by our co-editor, Leon Burnett, proposes the concept of translation as accommodation and reflux. The concept of accommodation takes the focus away from the dichotomy of source text and target text to encompass, instead, a more dynamic understanding of the process involved in translation. In this sense, we can view translations as ‘conduits for cross-currents between native and foreign traditions, whose influence and interaction shape, renew, re-focus and refresh the literary traditions that receive them.’

The concept of accommodation can be aptly applied to myth, since the work of myth entails a transfer of meaning from one spatiotemporal context to another. Our volume reflects myth’s versatility and malleability, its capacity to retain a constant core while showing a high margin of variation, as Hans Blumenberg observed in Work on Myth. The stories of myth relate to specific groups but also travel across periods and cultures.

Q: The book looks at myths from a whole range of different societies, including those from ancient Greece and Rome. Why do you think it is important or interesting to compare the ways in which different cultures use myth?

Ben: Although the word ‘myth’ derives from Greek, the religious or social characteristics of mythology are essentially universal. Yet, as Harish Trivedi shows in his opening chapter on Indian myth, the pre-eminent ‘classical’ status which is conferred on the Greco-Roman tradition has not historically been attributed to myths from other sources. Even now, non‐Greco‐Roman myths tend to be ironically exoticised. Trivedi’s chapter pithily describes a world of myth and religion – and its secular reception – which is as rich and wondrous as the Greek and Roman worlds. Moreover, his reading of the comparative responses to Indian and Classical myths allows us to see the more familiar mythologies in a new light.

Q: For the benefit of our readers who are interested particularly in classical mythology, could you give us a taster of the Greek and Roman themes or stories which are discussed in the volume?

Ben: The book combines an international outlook with a focus on transactions with English or European literature. As such, it is suffused with the Greek and Roman heritage of Western culture. Thus, in addition to Jessica Allan Hanssen’s chapter which I mentioned earlier, we have Leon Burnett’s survey of nineteenth‐century depictions of the Sphinx (of both Greek and Egyptian varieties), which emphasises the pictorial primacy of myth over the narrative element. Similarly, Michaela Keck applies Warburg’s pathos formula to echoes of Pygmalion in Alcott’s A Modern Mephistopheles, while elsewhere Christina Dokou considers structural echoes of classical epic in the poetry of the early years of the United States. Three chapters will be of particular interest to classical reception studies. Emanuela Zirzotti’s discussion of Seamus Heaney’s appropriation of Virgilian katabasis finds Aeneas returning in the guise of ‘Pius Seamus’; Barbara Goff analyses the structural and political implications of Jacqueline Leloup’s Guéidô, which relocates Oedipus to Cameroon; and Giuseppe Sofo’s concluding chapter follows Derek Walcott’s stage Odyssey as it undertakes a further voyage into Italian, illuminating Walcott’s revivification of Homeric dialect techniques.

Q: What else have you got planned at the Centre for Myth Studies, and where can our readers find out more about the Centre’s work?

Pietra: The Centre for Myth Studies promotes the study of myth with weekly sessions of the Myth Reading Group, together with open seminars, international conferences and publications. We would be very happy to hear from people and institutions interested in myth and mythology from an interdisciplinary perspective. We would especially welcome suggestions for topics to discuss at our reading group. The format we use in these sessions is quite informal, with a short presentation (up to 30 minutes) addressing the theme we have each term, followed by group discussion. Our theme for the Spring term is ‘Journeys’, understood as journeys within myth and in mythical tales as well as in relation to the way texts or mythical objects—such as the image of the Golden Fleece used in our call for proposals—travel across cultures and historical periods. Our next theme, for the Summer term sessions, will be ‘Myth and Magic’, and we would be delighted to have proposals from anyone who is interested either in the intersection between these two dimensions or in interrogating the possibilities of such a connection.

In addition to weekly meetings at the Myth Reading Group, we also organise open seminars and special events. Our latest event was a performance of ‘Babayaga’s Daughter’ by storyteller Sally Pomme Clayton followed by discussion about the forest in Russian fairytales. This year we are planning a one-day symposium entitled ‘Translating Eurydice’ to be held at the University of East London (Stratford campus) in the autumn.

Our centre has an active presence on social media with Twitter and Facebook accounts, and a dedicated WordPress website. If you wish to keep track of our events, I recommend that you subscribe to our website, and send us an email to be included in the mailing list (mythic@essex.ac.uk). We are also very interested in networking with scholars and institutions working on myth and mythology across disciplines, cultures, and periods.

Bibliography

Blumenberg, Hans, Work on Myth, trans. by Robert M. Wallace (Cambridge, MA: MIT Press, 1985)

Burnett, Leon, and Emily Lygo (eds), The Art of Accommodation: Literary Translation in Russia (Oxford: Peter Lang, 2013)

Steiner, George, After Babel: Aspects of Language and Translation (Oxford: Oxford University Press, 1975)

Farewell to Helen King

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Earlier this month the Classical Studies team met up to bid farewell to Professor Helen King, who retired from the Open University at the end of January; she remains affiliated to the university as Professor Emerita. James Robson reflects on her involvement in OU Classical Studies over the last six years.

Helen joined the department as Professor of Classical Studies back in 2011, moving to the OU from the University of Reading. She came to us with a formidable reputation as a scholar of ancient medicine and its reception, her particular focus being on women both as patients and medical practitioners. But what Helen also brought with her was a genuine enthusiasm to understand how the Open University and distance learning work in practice and to find new and effective ways to engage with students.

Helen certainly threw herself into Departmental, Faculty and OU life during her six years with us. Her list of commitments and achievements during this time is ludicrously long, including a stint as Head of Department (2014-16), the chairing of our gateway module, A219 Exploring the Classical World, and also the key role she played in the production of our brilliant new MA in Classical Studies. But however busy she has been, both with internal and external commitments, one quality that has characterized Helen is just the sheer fun she has been to work with. OK, other qualities readily suggest themselves, too: her extraordinary energy; her supportiveness towards colleagues; her enthusiasm for engaging with both students and the public at large; the high standards she demands of herself and others; and the time she is prepared to dedicate to projects and people she believes in. But for me, it is the fun that steals the show.

Helen is certainly going to be missed by her colleagues, but, as her must-read blog, The Retiring Academic, reveals, her retirement promises to be full of a similar level of busyness as before (albeit on her terms). Research, engaging with students on her MOOC on Health and Wellbeing in the Ancient World, various community projects are just some of the things in store. Plus just a touch of taking it easy.

by James Robson

Kassman essay prize 2016 – winner announced!

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In Classical Studies we have an annual essay competition. The John Stephen Kassman Memorial Essay 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 the London Region and a contributor to Classical Studies modules. The purpose of the prize is to develop and foster study of classical antiquity in the Open University.

We’re delighted to announce that this year’s winner is Westley McCallum.

From Glasgow, Westley has been studying with the Open University since 2013, and is on the Classical Studies degree pathway. So far he has completed the two broad-based level 1 humanities modules, A219 (Exploring the Classical World), and A276 (Classical Latin). Westley is currently studying A330 (Myth in the Greek and Roman Worlds) and will finish his degree next year with A340 (The Roman Empire). After that Westley hopes to apply for an MA in the field of Classical Studies.

Westley tells us: ‘I have had a great experience on the OU Classics degree so far. My main area of interest, and accordingly the part of my studies which I have most enjoyed, is Roman social history. I am especially interested in uncovering voices and perspectives which have been ignored or erased; ranging from the socially suppressed voices of women, children and slaves, through to the maligned and crude elements of entertainment forms such as Atellan farce. I also have interest in Roman Scotland, particularly the Antonine occupation.’

Westley’s winning essay was centred on an analysis of one of Cicero’s letters (Fam. 7.1) in which Cicero writes to Marcus Marius about Pompey’s recent shows. The essay explored the contextual and emotional circumstances that shaped the letter, and highlighted the importance of these factors in modern reappraisals of Cicero’s work.

The annual competition is open to all current OU undergraduates, with a notification date usually at the end of June, with submission at the end of September. This year’s winner is keen for other students to enter in future, and says, ‘For me, working on my submission for the Kassman essay competition helped to keep my essay skills sharp during the summer break between modules, and allowed me to begin developing my own interests within the field of classics. I’d encourage any and all OU Classics students to enter next year, because it is a fantastic experience.’

Warm congratulations to Westley from everyone here at OU Classical Studies.

Reflections on ‘Married to the Military: Soldiers’ Families in the Ancient World and Beyond’ (OU in London, November 11th-12th 2016)

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by Emma Bridges

Earlier this month, to coincide with Remembrance Day, Classical Studies at the OU hosted a two-day international conference in London on the theme of ‘Married to the Military: Soldiers’ Families in the Ancient World and Beyond’. The idea of thinking about ways in which we might compare the experiences of soldiers’ families in the ancient Greek and Roman worlds with those of their post-classical counterparts was born several years ago when my own marriage to a serving member of the armed forces led me to reflect on the ‘military spouses’ of ancient myth (think of, for example, the Homeric Penelope as the waiting wife of the Odyssey, or Andromache as a war widow in the Iliad). It was as a result of a conversation with my OU colleague Ursula Rothe, however, that the possibility of taking a broader view, in order to consider other areas of the classical world where we might explore the theme of military families, presented itself.

While my own work tends to focus primarily on literary texts, and is grounded in the ancient Greek world, Ursula’s research looks at material culture, and has a decidedly Roman emphasis. By bringing together our complementary approaches to our discipline, and our expertise in different areas of the classical world, Ursula and I were able to put together a conference programme which drew on a cross-section of the range of sources, historical periods and geographical areas with which classicists work. For a flavour of what was discussed at the event, take a look at the conference programme and abstracts, and the Storify of livetweets (#OUMTTM) from across the two days. The conference took in ancient perspectives on military families drawn from a variety of different types of evidence, ranging from Greek epic poetry and classical Athenian rhetoric through historiography and ancient material culture, including epigraphic and archaeological sources. Papers ranged across the whole geographical and chronological spread of the classical world, with case studies looking at material not just from Greece and Rome but from locations across the Roman empire, including the provinces of Pannonia, Dacia and Egypt. The topics of presentations extended beyond the field of Classics too, and included an overview of the development of modern attitudes towards the military family from the period before the First World War to the present, which opened up the possibilities for rich discussions relating to comparative study and a consideration of where our own area of specialism might sit in relation to other historical periods up to the modern day.

We were also treated to two keynote lectures which highlighted elements of the range of possible approaches which scholars might take when looking at this theme. Edith Hall’s talk explored classical reception studies with a discussion of Spike Lee’s 2015 film Chi-Raq and its relationship to Aristophanes’ 411 BCE comic play Lysistrata and the soldiers’ wives portrayed there. For our second keynote Penelope Allison, whose work on Roman archaeology and gender has been instrumental in shaping this field of study in recent years, took us on an illuminating tour of the development of scholarship relating to the presence of women and children inside Roman military bases.

One of the great pleasures of studying Classics has always been, for me, its inherent interdisciplinarity; the field offers opportunities to work with a whole range of different kinds of evidence, from diverse geographical areas and across a wide chronological span. Working with a far-reaching theme such as that of this conference, which resonates throughout and beyond the ancient world, allows us to make fresh connections and draw fruitful comparisons between our own work and that of scholars working in other fields. The conversations which began at the event are set to continue; I look forward to seeing how this emerging network based on our shared interests develops in future.

The organisers of the conference would like to extend our thanks to the Institute of Classical Studies and the Hellenic Centre for their generous support of the event.

Conference: Married to the Military: Soldiers’ Families in the Ancient World and Beyond

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Registration is now open for ‘Married to the Military: Soldiers’ Families in the Ancient World and Beyond’, an international conference commemorating Remembrance Day to be held at the Open University in London (1-11 Hawley Crescent, Camden, London NW1 8NP), 11^th-12^th November 2016. The conference comprises two days of academic papers and includes keynote lectures by Prof. Edith Hall (King’s College London) and Prof. Penelope Allison (University of Leicester). The first of these is a free public event generously sponsored by the Hellenic Centre – all are welcome to attend. The full conference programme can be viewed here.

The cost of the conference is £30 for two days or £20 for one day, to include lunch and refreshments as well as a wine reception prior to the first keynote lecture, hosted by the Hellenic Centre (16-18 Paddington Street, London W1U 5AS) on Friday 11^th November. The conference dinner will be held at Opso Restaurant (10, Paddington Street, London W1U 5QL) on Friday 11th at an additional cost of £28.60 per person (excluding wine). Payment is possible by cheque, credit card or BACS transfer.

To register, and for payment details, please email Emma Bridges (e.e.bridges@open.ac.uk) by 1^st November 2016, stating whether you wish to attend the full conference or for one day only, and whether you will be attending the conference dinner.

Thanks to the generous support of the Institute of Classical Studies a limited number of bursaries to cover the conference fee (excluding the cost of the conference dinner) and to assist with travel expenses (from within the UK) is available to support the attendance of postgraduate students and those who are under- or unemployed. If you would like to be considered for a bursary please email the organisers (Emma Bridges, e.e.bridges@open.ac.uk and Ursula Rothe, ursula.rothe@open.ac.uk) directly by 14^th October 2016, outlining briefly your reasons for wishing to attend the conference and stating whether you require a bursary to cover the cost of the conference fee alone, or to assist with travel expenses in addition (if the latter, please give an indication of the expected cost of travel). Those who have no access to an alternative source of funding (e.g. from an institution to which they are affiliated) will be given priority.

Conversations in classical reception: #OU21Cmyth

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Arachne weaving her final tapestry, by Carlyn Becchia (www.carlynbeccia.com/) Reproduced by kind permission of the artist.

Emma Bridges reports on ‘Remaking ancient Greek and Roman myths in the twenty-first century’

Earlier this month the Open University’s Camden office hosted an event entitled ‘Remaking ancient Greek and Roman myths in the twenty-first century’. The aim of the day was to bring together academics and practitioners whose work focuses on contemporary versions of the mythical tales of ancient Greece and Rome. Myth is by its very nature pliable, and this means that it has always offered a rich source of inspiration for creative practitioners who have sought to rework these ancient stories in new contexts – historical, geographical and artistic. For those of us who study the reception of the ancient world in the post-classical era there is a wealth of myth-themed material which provides us with the opportunity to think about how these new contexts shape such creative responses, and to consider some of the reasons why these stories have enjoyed such longevity.

Since joining the department of Classical Studies I’ve particularly relished the chance to work on our online journal Practitioners’ Voices in Classical Reception Studies, interviewing some of those for whom sources and themes from the ancient world have provided a stimulus for their own creative endeavours. This opportunity to engage with those whose creative work intersects with some of my own academic interests has been particularly valuable and thought-provoking, and it was with this in mind that I sought to bring together a whole range of practitioners and academics working on ancient mythical themes for this one-day colloquium. The day featured poets, playwrights and novelists, as well as those working on visual art and digital media; it was a huge privilege to hear these creative voices presenting, reading from and discussing their own artistic outputs. The colloquium culminated in a spell-binding performance from members of Blazon Theatre (one of whom, actress Laura Martin-Simpson, is studying for a Classical Studies degree at the OU), who brought to us a rehearsed reading of extracts from their new play, ICONS, which reimagines the myths of the Amazons for the twenty-first century.

You can read the abstracts of talks which were given here, and there is a Storify of livetweets from the day (via #OU21Cmyth), featuring images and audio clips, here. Thanks also to one of the participants, the poet Gareth Prior, who has put together a blog post reflecting on the day’s events. The conversations which the event opened up are set to continue in various forms; in light of the number of offers of papers received, we are discussing running a follow-up event, and there will be further news in due course as to how we plan to disseminate more widely the day’s proceedings. Watch this space!

Borders and Boundaries: a report on the Leeds postgraduate interdisciplinary conference

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OU PhD student Sophie Raudnitz reports on the 7th annual postgraduate interdisciplinary conference hosted by the University of Leeds.

On Monday 20th June, in a week when the issue of national borders and where we draw them was the focus of such intense political attention, I was delighted to attend the 7th Annual Postgraduate Interdisciplinary Conference at the University of Leeds, entitled Borders and Boundaries. The aim of this conference was to bring together postgraduate students from different disciplines and different universities to think about borders—cultural, social, psychological and geographical—how we define them and how they are or might be transgressed.

The conference took place at the beautiful Devonshire Hall in Leeds and was hosted by the Classics Department. There were two short keynotes speeches, one from Dr Ingrid Sharp from the Department of German and the other from Dr Emma Stafford from the Department of Classics, both of the University of Leeds. Dr Sharp spoke about ‘Crossing Gender Boundaries: Expressions of Feminist Rage in German Crime Fiction’ – a thought provoking and entertaining look at the way in which German feminist crime writers use humour as a way of affirming rather than denigrating women’s existence. Dr Stafford spoke later on ‘Thinking About Impact’ and research which crosses the boundary between the academic setting and the wider world.

The programme was packed, with five sessions timetabled and two panels running simultaneously in each. Panel topics included ‘Human and Divine’, ‘Aquatic Boundaries’, ‘Home and Away’, ‘Intertextuality’ and ‘Memory’. Though most speakers were classicists, we also heard papers about wearing the veil as a Muslim feminist issue (by Sadia Seddiki, University of Leeds) and ‘transnational’, as opposed to ‘global’ memories of the Holocaust (by Jade Douglas, University of Leeds). I especially enjoyed Jade Douglas’s paper as her study of transnational Holocaust memory intersected with my own research in very interesting ways but as usual with conferences of this kind, just hearing the range of topics which people are researching, and the energy and enthusiasm with which they speak about them, is inspiring in itself. Given this, it seems churlish to mention individual papers but highlights for me included Natalie Enright (University of Leeds) speaking about ‘Crossing Psychic Boundaries: Humoral Infection of the Soul in Plato’s Timaeus’, Devon Allen (University of Leeds) discussing ‘To What Extent is There a Mythological influence over the Folkloric Type of a Mermaid’ and Maria Haley (University of Leeds) on ‘Beyond Justice: Atreus’ Transgressive Revenge in Greek Tragedy’. You can read Henry Clarke’s Storify of tweets from the event here.

My own paper, the last of the day, was on ‘The Politics of Empathy: a Memory-Centred Approach to Euripides’ Trojan Women’ and it suggested that the notion of empathy might unite political and aesthetic approaches to tragedy but also might be a way into reading across genres and considering, for example, discussions around the legitimacy or morality of Holocaust fictions. The paper centred on the ways in which rhetoric generates empathy to sway political responses, and giving it at this conference on Borders and Boundaries, attended by delegates from across the EU, in that week when political rhetoric regarding borders and immigration was at its height, I could suddenly feel its ‘impact’.

In all these respects, it was a very worthwhile trip. It was also great to compare experiences with postgraduate students from other universities and to meet people face to face I had hitherto only met on Twitter. My thanks to the committee from the University of Leeds Classics Department, and to Natalie Enright in particular, for organising such a great day.

by Sophie Raudnitz

ICONS: giving life to the Amazons via the modern female gaze

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We are delighted to invite you to a free public event taking place at The Open University in London (1-11 Hawley Crescent, Camden, London NW1 8NP) at 5.45pm on 7th July 2016.

Laura Martin-Simpson and Rachel Bagshaw of Blazon Theatre will be presenting readings from ICONS, a new play about the Amazons by Paula B. Stanic. All are welcome and attendance is free. To reserve a space please contact Emma Bridges: e.e.bridges@open.ac.uk.

Wham, #BAM: Linking the Big Ancient Mediterranean

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This week Elton Barker, Reader in Classical Studies at the OU, tells us about his recent trip to the University of Iowa for the ‘Linking the Big Ancient Mediterranean’ (#BAM2016) conference.

With this month’s news in the UK being dominated by the EU referendum and specifically the issue of migration, a fortnight ago I was making good my escape, so I thought, to the relative sanctuary of the American Mid-West. But, in addition to being detained upon entry to the US at Chicago O’Hare airport (the inconvenience of a missed flight a merest hint of the difficulty many experience when travelling), participants at the conference to which I had been invited time and again came back to a matrix of contemporary concerns, relating to ideas of networks and mobility; standards, services and accessibility; and transformation.

Perhaps I shouldn’t have been surprised: the conference was entitled “Linking the Big Ancient Mediterranean” (BAM) after all, and came with the promise of “leveraging the ancient world’s impressive and growing body of linked data to provide an innovative platform for research and teaching”. Organised by our Iowa hosts Sarah Bond and Paul Dilley, #BAM2016 brought together an array of scholars and research developers to talk about not only what digital work they were undertaking but how and why that was important for understanding their topic. The work represented was highly diverse: language texts ranged from Greek, Latin and Persian (Open Philology; Digital Latin Library), to Coptic (Coptic Scriptorium) and Syriac (Syriaca.org); disciplines from epigraphy (Inscriptions of Israel/Palestine; http://www.trismegistos.org/) and papyrology (http://papyri.info/), to graffiti (Ancient Graffiti Project), numismatics (Nomisma.org) and archaeology (3-D modelling of cultural heritage sites); and approaches from focusing on linking places (Pelagios), to linking people (SNAP:DRGN) and time (PeriodO). There were also a number of useful resources presented, such as the Classical Language Toolkit and a gazetteer of ancient place names (Pleiades Project). (You can see the full line-up at the BAM conference website.)

Far from occluding the hard graft and uncertainty that goes into research, digital activity was shown to shine a light on scholarly practices. Nowhere was this better exemplified that in the project presented by Adam Rabinowitz, called PeriodO. Where a gazetteer like Pleiades has allowed researchers to agree on what place they are talking about (whether one uses the character string “Athens” or another “Athina” or even “Αθήνα”), which means that online documents referring to the same place can now be linked together (by Pelagios—the project I’m working on, more on which in a future post), there is no such agreement on time. Different scholars can—and frequently do—use the same period terms to mean widely different things, or with respect to widely different spaces. For example, how does a computer know that 323 BC, the Hellenistic period, the age of Alexander, etc. all specify more or less the same time? PeriodO, a Gazetteer of Period Definitions, is an attempt to bring some order to this category chaos. Thus, an element of scholarly publications so familiar as the expression of time was revealed to be hugely complex and complicated because of the attempt to apply it in a digital realm. The same is true too, as Ryan Horne (Technical Director at BAM and map guru at the Ancient World Mapping Center) pointed out, of maps—and visualisations more generally: how do you visualise uncertain or ambiguous data?

So, ambiguity and uncertainty were key take home messages—ironically, arguably, given how precise and certain digital data first appear. (We all need to be educated in reading visualisations and interpreting search results, not just our students.) But there are at least three further points to make about the projects presented:

1. Collaboration: as is clear from the brief narrative about PeriodO, it has built on previous and on-going work in the field, specifically by adapting an approach to connecting data taken from Pelagios’s focus on places; and Pelagios itself has been possible only because of Pleiades (among a whole host of other partners). There are various ways of doing collaboration of course: at Iowa, they have a dedicated in-house Digital Scholarship & Publishing Studio, which helps to support scholars and provide assistance in addressing critical issues such as preservation and sustainability (more longstanding problems that haven’t gone away now that we’ve moved to the digital realm). What #BAM2016 revealed, however, is that collaboration also takes the form of teams of scholars and research developers that cross not only institution but also continents. (Pelagios’s Commons Committee is formed of both groups from European, US and South American institutions. And such collaboration as being developed by PeriodO, Pelagios and others is at its basis a way of connecting data and facilitating further collaboration—an infrastructure from the ground up, as it were.

2. Openness: a common element of all the projects (including Iowa’s Walt Whitman archive), which underpins the collaborative practices noted above, is the fact that they are open and accessible to all. At the very least openness means being able to access data and material openly—so, for data providers/curators, this means not holding data behind a paywall or making them accessible only via institutional networks. An indication of openness is the use of permissive Creative Commons (CC) licenses, such as those recently advertised by the AWMC for maps or those used by Perseus, which are importantly for not only allowing use but also enabling re-use. (The Hestia project was able to “reuse” the Perseus text of Herodotus, to conduct various digital mapping experiments. I write more about this experience, in the context of digital texts more generally, with Melissa Terras.) In fact, sharing extends beyond data: a number of the projects are using the GitHub online repository to make their tools and code available, which can then be used and improved upon by the community.

3. Community: and so we get to the c-word—the human factor in the digital world. As part of their goal of openness, all the projects had in mind a public audience that includes but also somehow extends beyond academia. (How to address different audiences was a major concern highlighted by a number of speakers.) As part of their interest in collaboration, all the projects had in mind, too, building common methods and processes for working with digital data and tools. In fact, together with technical development, community building is the aim of Pelagios Commons, on the understanding that digital resources will remain a niche product and the preserve of the few unless they can be embedded in everyday practice. This is not only a question of how data can be produced but also how data can be consumed: while digital classics guru, Sebastian Heath, was presenting his work on Mapping Roman Amphitheaters, thoughts turned to how his combination of narrative and modelling approaches could form a recognisable scholarly publication. (Or, rather, how they currently don’t.) More challenging still: now that we are able to link between datasets of highly varied nature—texts, databases (of archaeological material), images (of maps, artefacts, etc.)—what happens then? How does one read archaeological excavation data alongside a literary text? And, even if one has as the target the Bigger Ancient Mediterranean picture, how can we put these diverse data together to make sense of this highly contested, rapidly changing, transforming space?

I’ll finish my summary on this note of caution about the possible transformative, even disruptive, effects of the digital on traditional scholarship, though other opinions are available. (See, for example, the excellent blog posts on #BAM2016 by Michael Satlow and Ryan Horne, while an archive of all the tweets—and there were many—has been created in storify.) But to end, paradoxically, I’d like to briefly sketch how I began my presentation, with Herodotus. We are all by now familiar with the Greek – barbarian axis by which Herodotus introduces his inquiry into the Persian Wars, and which has proven influential for how space—at least the Mediterranean space—is still viewed as divided between West and East (or a European vs. Oriental/African other). We even hear an echo of Herodotus’s opening concerns just a few chapters into his narrative, when it is said that the Persians consider “Asia and the barbarian nations dwelling there” their own, while considering Europe and Greece (or, more accurately, the “Greek thing”, to Hellenikon) separate (1.4.4). Yet, that viewpoint is pointedly attributed to Persian wise men; observing how Herodotus begins his attempt to put together (sumballesthai—a word Herodotus uses to describe moments of interpretation) his Big Ancient Mediterranean suggests a far more complex and uncertain route. Immediately the category distinction between Greek and barbarian is complicated and compromised by the introduction of not only Persians but also Phoenicians (1.1: Are they both barbarian? To what extent? In the same way?) And not only do the Phoenicians enter the scene already networking (carrying Egyptian and Assyrian merchandise here and there and to Argos), but they have a different story of the origins of the conflict (1.5.2). The Mediterranean comes across as an already highly interconnected, diverse and contested space, and Herodotus’s way of putting that space together—to borrow a contemporary idea—highly networked. (For more on Herodotus’s networked thinking, see Hestia’s New Worlds OUP book.)

Putting aside these opening skirmishes of accusation and counter-accusation, Herodotus asserts that he’ll investigate cites both small and large alike, since, he reckons, happiness does not reside “in the same place” (1.5.4)—a striking metaphor carried over from the spatial realm to the analysis of human life. For Herodotus, the Mediterranean was already a world in motion. In antiquity this insight anticipated Thucydides’s anatomisation of the great “movement”, kinesis, of his time, the war between the Athenians and Spartans. So it is again now, and we have an obligation as researchers to inquire into its causes and unpick as best we can the various threads that provide the dominant stories of our day.

Editor’s note: You can find Elton on Twitter @eltonteb

Avid for Ovid: A Q&A with Malcolm Atkins

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This week we chatted to Malcolm Atkins, an Open University Associate Lecturer in Music, who also has a degree in Classics. Malcolm is one of the founders of Avid for Ovid, a group of performers who reinterpret ancient myth through dance and music.

Thank you for talking to us, Malcolm. Where did the idea for Avid for Ovid came from?

Malcolm and Ségolène performing ‘Lycaon’ at Modern Art Oxford, September 2014. Photo credit Pier Corona

Avid for Ovid (A4O) was formed by three Oxford-based artists (dancers Susie Crow and Ségolène Tarte, and musician Malcolm Atkins) after an involvement in the Oxford University research project Ancient Dance in Modern Dancers, where we had brought our practical knowledge as performers to explore the long forgotten form of tragoedia saltata, or ancient Roman pantomime, solo storytelling through dance and music. We formed A4O as a group of performing artists to explore from our perspective as artists the potential of using principles and ideas from ancient dance and music in contemporary performance. We later invited Birmingham-based dancer Marie-Louise Crawley to join the group. We found the potential of this solo dance form to be enormous – it can really communicate with an audience of any background and can be performed almost anywhere (and in this we seem to be continuing the Roman tradition).

Susie and Malcolm performing ‘Tisiphone’ at a Classics Colloquium in Oxford in 2013.

Can you tell us a little more about the performers? Did any of them, other than you, have any prior knowledge of ancient poetry?

Susie Crow is a ballet dancer and choreographer interested in the expressive and narrative potential of ballet, and how skills and approaches from Roman pantomime may have informed its inception; Ségolène Tarte is an academic as well as a ballet dancer and researches as a Digital Humanist in close collaboration with classicists at the University of Oxford; Marie-Louise Crawley is a choreographer and contemporary dance theatre artist who also studied Classics at Oxford.

What might someone who comes to one of your performances expect to see?

We attempt to create narrative through movement and sound. The choice of movement and sound is eclectic and represents the diverse practices and genres we have all worked in. I use a range of instruments (in the spirit of this dance practice which seems to have used all available resources) and create soundscapes as well as direct motivic and thematic interactions, word setting and word painting. The dancers often choreograph a setting of a myth and as with the Roman practice shift from one character to another in unfolding a narrative. They are informed by a range of practices including ballet, mime, kathak [1] and butoh [2] – all of which have a unique relation to narrative. In fact this is also similar to the way musically I use traditions of leitmotif, thematic transformation, rhythmic pattern and power and dissonance as appropriate. Much of this is inevitably informed by our cinematic and visual culture.

What you will see is something exciting and engaging in a way that is far more accessible than much contemporary dance because the focus on narrative allows communication with all – just as the Roman practice did.

What is it about Ovid’s poetry in particular which lends itself to this kind of performative storytelling?

Within the Metamorphoses there is an incredible range of narrative and characterisation and perhaps this is why this was such a favourite of Shakespeare. We have the opportunity to select from so many different styles of story and presentation of character through the music and dance we create. The poetry as a compendium of myths also seems to have an incredibly challenging and subversive meta-narrative. Unlike the overt challenge of the radical exploration of myth in Euripides, Ovid is far more subtle in the way he relentlessly punctures male patriarchal pomposity although more often through flawed divinities than mortals. This ambivalence towards authority and emphasis on its malign side lends to the possibilities of exploration in dance and musical interpretation as does the breezy tone of Ovid as he skips from one scene of abject and unjustified misery to another often juxtaposing farce and tragedy.

Do you personally have any favourite episodes from Ovid? Could you tell us why you are drawn to certain parts of his poetry over others?

One of those awkward lycanthrope moments. Ségolène performing ‘Lycaon’ at Modern Art Oxford, September 2014. Photo credit Pier Corona

I have become particularly attached to passages that we have performed because my engagement with the text has deepened (often as I recite or sing it in Latin). The visceral power of the description of Lycaon’s transformation to a wolf was captured through a recording suggested by Ségolène where the text was recited like ‘maggots in the brain’. When Ségolène performed her interpretation a child had to be led out crying from a performance that had no graphic violence. The pathos of Aurora’s grief at the death of her son – particularly relevant in a time of so much desolation that we see daily on the news – was so well expressed by Susie’s exploration of archetypes of grieving. Marie-Louise’s exploration of Myrrha and the desperation that leads to her transformation to a tree (and the very powerful subtext of the girl as a victim of patriarchal desire that resonates with our time) was particularly unsettling (as was the subject) and to me lent to an expressionist theme and the solipsistic musical misery of fin de siècle Vienna. On top of this the subversive story of Arachne who studiously reports the misdemeanours of our betters against the strident defence of Athene was brought home to me by Ségolène’s inspired interpretation. Ovid’s lack of a decisive judgement is all the more powerful in highlighting the abuse of power – something else that strikes a chord with contemporary politics and conflicting media narratives sponsored by corporate power.

Marie-Louise performing ‘Myrrha’ at the MAC Birmingham, October 2015. Photo credit Christian Hunt

For readers of our blog who are interested in seeing Avid for Ovid perform, could you tell us when and where your next performance is taking place?

We are next performing at the opening of a recreation of Ovid’s Garden in Winterbourne Gardens at the University of Birmingham (58 Edgbaston Park Road, Edgbaston, Birmingham) on the 18th June at 3pm. This is a free performance to celebrate the opening of the garden. More details are available here.

Where can our readers find out more about the project?

They can visit our blog and Facebook page, find us on Twitter (@Avid4Ovid) or contact me via email: Malcolm.Atkins1@ntlworld.com.

[1] Butoh is an expressive dance theatre form which arose in Japan in the late 1950s; often incorporating playful and grotesque imagery, extreme or absurd situations and slowly evolving movement, performed in white body make-up.

[2] Kathak is one of eight Indian classical dance forms; originating in North India, it combines the telling of stories through codified gestural movement with a more formal vocabulary incorporating virtuosic and percussive footwork, rhythmic complexity and spins. (With thanks to Susie Crow for providing definitions.)