The Poetics of War: Remembering Conflict from Ancient Greece to the Great War

by Emma Bridges

Last week I attended an international conference entitled ‘The Poetics of War’ at University College London. For researchers like me, whose work focuses on cultural responses to armed conflict in the ancient world, reflections on the centenary of the First World War provide the opportunity for drawing comparisons between the memorialisation of wars in more recent history and those of the classical past. This conference brought together classical scholars as well as those working in other fields, and our shared interests in the ways in which war is remembered from a range of different perspectives – personal, local, and national – and via different written and artistic media made for some thought-provoking discussions.

Topics covered ranged from ancient Greek and Roman literary, monumental and artistic commemorations of war to the ways in which more recent conflicts – the Crimean War as well as World War I – have been memorialised. We thought too about the overlap between these periods, and in particular about many of the ways in which the classical tradition has influenced more recent responses to war. Particular highlights for me included Edith Hall’s keynote lecture on David Jones’ modernist war poem In Parenthesis, and a talk by Elizabeth Vandiver, whose important work on classical influences on the poetry of the First World War is an outstanding example of recent work in classical reception studies.

In my own paper I sought to bring something of my own research into female perspectives on war to the conference. I focused on a twentieth century historical novel by Naomi Mitchison, Cloud Cuckoo Land (1925) which, although set in the closing years of the Peloponnesian War in the fifth century BC, also reflects some of the wartime experiences of the generation of women who had lived through World War I. Although 1920s literature is something of a departure for me in relation to previous research I’ve undertaken, the opportunity to think about how some of the themes of my work might resurface in this historical period was a valuable one. In particular it led to interesting conversations about gender roles in wartime and the extent to which war narratives are often dominated by male voices, as well as women’s engagement with the classical tradition.

As always at such an event it is those exchanges with other scholars working in related fields which offer the opportunity to make fresh connections – both in terms of meeting new people and in thinking about the material on which we are working. If it’s a sign of a successful conference to return home with both a reading list and a contacts list that are longer than they were at the start of the event, this occasion was certainly a fruitful one!

All talks from the conference were recorded and will be available in due course via the YouTube channel of UCL’s Classics department; I’ll post the link here when they are live.

Classical Studies at The Student Hub Live 2015

Earlier this week I participated in The Student Hub Live 2015 (no login required!). This was a three day event streamed live online from Walton Hall in which different people from across the OU, including both staff and students, were invited to talk about what they do, conduct live experiments, engage in lively debate on everything from serial killers to language and literacy, and even have a go at this year’s quiz show: Wheel of Ologies.

This sort of online event is a great opportunity for students (and potential students!) to get a better sense of what we all do and to understand what makes the OU tick. Students who perhaps wouldn’t normally come to the campus in Milton Keynes can hear from a whole host of people who have a variety of roles in the university and can even interact with them via a chat stream or Twitter. This time around participants ranged from the new Vice Chancellor Peter Horrocks and the senior leadership team of the university, to those who run Library Services and the Careers Advisory Service, as well as central academic staff and other students.

The theme of this event was interdisciplinary study and it was tied closely to the BA/BSc(Hons) Open Degree. If you sign up to study for this degree you can tailor your studies to suit your own needs and interests. Not many other universities will let their students range quite so broadly across subjects as diverse as English literature, biology, Spanish, statistics, retail management, child psychology and of course Classical Studies! Effectively, then, the Open Degree lets you put together an entire degree programme that matches exactly what you want to study, even if these are subjects that might not normally be studied in parallel. For me, the Open Degree represents what the OU is all about: letting people who want to study do so in a way that works for them.

On the sofa for some chat with colleagues from Social Sciences and Health and Social Care

As part of the event, I was asked to contribute to a short ‘chat show’ on Tuesday evening, sharing a sofa with colleagues from the Faculties of Social Sciences and Health and Social Care who were talking about their research on subjects as wide-ranging as Scottish Independence, the recent General Election and the upcoming EU referendum, EU citizenship and identity, as well as the practical needs of an ageing population in Britain. It was a bit daunting being amongst people who work on issues that are so very ‘now’ but as I talked a bit about identity in the Roman empire and about how my work on anatomical votive offerings helps us to understanding how ancient people thought about their identities in relation to their ever changing (i.e. ageing) bodies, I realised that we had more in common than I first thought. Our methodologies are very different, the evidence and data that we work with is also very different, but we are all interested in people, how they think and how they understand and experience the cultural contexts in which they live.

Team ‘Ologies for Dummies’ getting quizzical.

On Wednesday I took part in the Wheel of Ologies quiz which involved two teams with buzzers trying to outdo each other on general knowledge questions linked to different ‘ologies’ (e.g. zoology, epistemology, pantology, and the wildcard bonus category of ‘ninjology’ or the study of ninjas!). My team didn’t exactly romp to victory. In fact, we lost fairly dismally, although I was relieved to get a question about Caligula’s horse correct! It was great fun to mix in with current students, heads of other faculties and people based ‘behind the scenes’ at the Library, whilst the audience played along online (possibly with some help from Google!). For me, and I think for many students, this was one of the highlights of the whole event, reminding everyone that regardless of our roles in the university we are all just ordinary people who like to have a bit of a laugh, even if general knowledge quizzes are not everyone’s strong point!

Some catch up versions of the different Hub Live sessions should be available to watch on the website before too long and you might want to keep an eye out for the next Student Hub Live and even take part!

Emma-Jayne Graham

OU Classical Studies on Twitter

The department now has a Twitter account!

Several members of the OU Classical Studies community also have their own personal Twitter accounts. Here’s a list, which we’ll keep updating over the coming months.

@eltonteb Elton Barker (Reader in Classical Studies, tweeting about Digital Humanities and more)

@emmabridges Emma Bridges (Lecturer in Classical Studies, ‘mostly tweets with a classical theme’)

@fluff35 Helen King (Professor and Head of Classical Studies department)

@jash147 James Hutchinson (Associate Lecturer in Classical Studies, tweeting about classical languages and (mainly Greek) culture)

@joannapaul Joanna Paul (Lecturer in Classical Studies, tweets about classical reception and more)

@ClassicalJG Juliette Harrisson (Associate Lecturer in Classical Studies, ‘tweeting about whatever takes her fancy’)

@LASwiftClassics Laura Swift (Lecturer in Classical Studies)

@mairlloyd Mair Lloyd (PhD student in Classical Studies, tweets about Classics, e-learning and more)

@MariaRelaki Maria Relaki (Associate Lecturer in Classical Studies, tweets about Archaeology, Classics and Heritage)

@TonyKeen46 Tony Keen (Associate Lecturer in Classical Studies, ‘tweets irregularly in a personal capacity on a variety of subjects close to his heart’)

Other Twitter feeds with an OU connection include:

@CRSN_UK Classical Reception Studies Network (tweeting upcoming cultural and academic events)

@pvcrs Practitioners’ Voices in Classical Reception Studies (OU Open Access journal – interviews with actors, directors, artists, writers and other practitioners who work with classical material)

@classicsconfide Classics Confidential (‘Vodcasting Classicists, Sharing Research’)

Behind the Scenes: On location with A340 The Roman empire

Something that makes OU module materials unique is their combination of different media: printed books, audio, video, interactive activities and online materials. In the second of our ‘behind the scenes of module production’ series I thought I’d share some of our experiences of making the films for one of our new modules, due for presentation in October 2015: A340 The Roman empire.

The Roman empire covered a huge amount of territory and a range of different environments, landscapes and cultures. Some of the earliest discussions that we had as a module team were about how we could bring this diversity to life without actually being able to take students on the ultimate archaeological fieldtrip. How could we help people to understand the essential differences between the landscape of a city in North Africa and the experiences of soldiers stationed on the northern frontier of the empire? Film was the obvious solution, allowing us not only to convey what these places are (or were) like, but also to actually move around them, providing a dynamic context for the artefacts, monuments, activities and even people who lived in the Roman empire.

Professor Phil Perkins gets up close and personal with some inscriptions in the forum at Volubilis (Morocco).

But we faced some decisions: we couldn’t film the whole empire so where would we go? After much discussion we chose three locations: Hadrian’s Wall, Rome and Hadrian’s villa at Tivoli, and the city of Volubilis in Morocco. We picked these because they are places which allow us to share the types of evidence that are important to us, but also to tell the stories that we want to tell about how the empire can be understood from the remains it has left behind. Each also has its own interesting history to explore.

We had to do a lot of preparation in advance – filming educational materials is not just about turning up at an archaeological site and pointing a camera at whatever looks nice! We had to decide exactly what it was that we wanted to use the films for and how they would be divided up, what we wanted A340 students to learn about, how we could use the fact that we were on location to communicate a sense of scale and of landscape, as well as finding and then talking about evidence that was still in situ. So it was essential that we did our research, making sure that we knew what we needed film and why.

Dr Emma-Jayne Graham filming by the river at Chesters Fort (Hadrian’s Wall) with Lindsay Allason-Jones.

The filming teams themselves were very small, made up of an academic or two to do the talking to camera and to make sure that the right things were being shot and explained appropriately, a director (who was also often operating the camera) and, in Italy and Morocco, a local fixer to smooth the way, arrange transportation and secure filming permits. It certainly isn’t glamorous! But filming is an opportunity for a module team to think creatively about how we can best share our enthusiasm for the Roman empire and make it possible to understand these places as if you were there for yourself. We all love talking to people about how fascinating we find the Roman world and to do it surrounded by columns, mosaics and Roman artefacts only heightened our excitement, something which will hopefully be clear to those who watch! Film is also our chance to draw attention to things that you might not actually notice even if you were there: an unprepossessing line of dusty rocks is the only remaining evidence for the earliest city wall at Volubilis; that pile of stones in the corner of a milecastle on Hadrian’s Wall is actually a staircase which allows us to estimate the height of the Wall; a crumbling concrete dome at Hadrian’s Villa was at one time the latest innovation in Roman architecture.

Roman leather shoe from the excavations at Vindolanda.

Filming also gives us an opportunity to invite experts to talk about the very spot on which they are standing. Lindsay Allason-Jones shared with us her enthusiasm and unparalleled knowledge about Chester’s fort on Hadrian’s Wall, whilst Andrew Birley, Director of the Vindolanda Trust, allowed us to get hands on with some of the precious finds from the site. Going to Vindolanda meant we could film archaeology in action, but it also let us talk to ordinary people and get a range of different perspectives on how we know about the Roman empire.

Each location of course had its own complications. Rome is a busy city, with traffic noise and large numbers of tourists, not to mention being prone to summer downpours and, at Tivoli, the dreaded zanzara (mosquito)! Sites on Hadrian’s Wall are spread out, meaning clambering over styles, tramping over rough ground and, in the case of our director Nick, having to walk backwards whilst filming, hoping not to fall into the 3 metre deep v-ditch! Volubilis threw up different issues, besides the heat there were cultural considerations associated with filming in an Islamic country, language difficulties and an unforeseen airline strike which led to an extra day at Casablanca airport for the team.

Dr Eleanor Betts braves the mosquitoes by the canopus at Hadrian’s villa, Tivoli (Italy).

So, whilst we didn’t perhaps travel as widely as the emperor Hadrian once did, and certainly didn’t return home to fill our offices with quite as many spectacular souvenirs as he placed in his grand villa at Tivoli, we had a lot of fun exploring the empire and hope that students of A340 will enjoy these virtual fieldtrips to far flung (and not so far flung) parts of the Roman empire.

Watch this space for a taster film of A340 The Roman empire coming soon!

By Emma-Jayne Graham (A340 Module Team Chair)

Penelope RETOLD: remaking myth in the twenty-first century

by Emma Bridges

Recently I’ve been making some headway with a new research project which looks at the wives of soldiers in ancient myth, and the ways in which the stories of these ‘military wives’ might be compared with the experiences of modern day women whose partners are serving in the armed forces. I have a special interest in the figure of Penelope who, as the archetypal faithful ‘waiting wife’ of ancient literature, has been reimagined by authors and artists in a vast range of contexts ever since the composition of Homer’s Odyssey.

I’ve talked in an earlier blog post about my broader interest in the reception of ancient themes and texts, an interest which I share with other members of the OU Classical Studies department. It’s a rare event, however, when a contemporary reworking of an ancient story comes along which tunes in so precisely with one’s own individual research project. The recent production of Penelope RETOLD, however, did just that for me. This one-woman play written by Caroline Horton, who herself plays Penelope in the show, finds its title character marooned on the bed she shared with Odysseus in the days after he has returned to Ithaca and then left her alone again. In contrast with the Odyssey, where Penelope is very much on the sidelines, this version of the myth allows her to tell her own story, and it is a story which paints a picture of Penelope as a ‘military wife’, many of whose emotions and experiences would be recognisable today to the spouses of serving military personnel the world over.

I was lucky enough to have the opportunity to talk to Caroline as she was rehearsing for the play earlier this year, and to record an interview with her for our online journal Practitioners’ Voices in Classical Reception Studies (you can read the interview here). In light of my own research it was fascinating to learn about how, in devising the show, she too had spent a lot of time reading about, and talking to, women who had been through the ordeal of separation from a loved one who is away at war. This weekend the play reached the end of its 2015 run, and yesterday I was able to see the final show at the HUB theatre in Leeds. This intimate performance space, housed beneath disused railway arches and with a seating capacity of only 80, was the perfect venue for a sold-out audience to encounter Penelope at close quarters.

Caroline Horton as Penelope.
Photograph by Robert Day.

At times playful and at others simply heart-breaking, this Penelope has a voice of her own, one which is largely absent from the Homeric version of her story. Her recollections of her relationship with Odysseus – from her loneliness and isolation in his absence, to her jealousy of Calypso, her pride in her husband’s reputation and the complex mix of disbelief, joy, and anger on his return – are both enthralling and moving. Aspects of the myth recognisable to those familiar with ancient poetry are woven seamlessly together with contemporary elements, as Penelope records an interview for a website aimed at an online community of military wives, or anxiously listens to the shipping forecast in the hope that it will shed light on the whereabouts of her husband. Penelope RETOLD thus gives us a Penelope whose situation is recognisable in the twenty-first century, yet one who is nonetheless firmly rooted in the ancient tradition within which her story was conceived.

Coincidentally at the weekend I also spent some time teaching students on our module Myth in the Ancient Greek and Roman Worlds; in the course of the tutorial we discussed some of the reasons behind the longevity of the ancient myths. We came to the conclusion that a key factor which has contributed to their continuing appeal is the sheer flexibility of these stories; they can be almost infinitely adapted and updated to appeal to new audiences and to shed fresh light on issues of contemporary relevance. That the story of Penelope, a story which originated thousands of years ago, still has the power to captivate a twenty-first century audience is testimony both to the universal human appeal of ancient myth and to the brilliance of the creative practitioners who have revisited this enduring tale from a new perspective.

Psychology and the Classics meeting in Leuven

John Harrison is currently writing his PhD thesis on ‘Myth in reception: Insights from Stourhead house and gardens 1714-1830‘

I remember vividly during the course of studying A330 how excitedly I opened Chapter 3 of Eric Csapo’s Theories of Mythology. I remember also my surprise at finding that the chapter titled ‘Psychology’ begins and ends with Freud – with most of the pages in between dealing with Freud. It was (and is) curious to psychologists like myself how psychoanalysis seems to have become the dominant psychological approach for explaining myth, especially given the richness of psychological paradigms such as the cognitive, developmental and neo-behaviourist approaches. How refreshing then to see a call for papers announcement for Psychology and the Classics: A Dialogue of Disciplines, which was held in at the Katholieke Universiteit in Leuven between 24^th & 27^th March.

So many highlights, but here is a selection of the sessions I enjoyed most:

Prof Jennifer Radden opened the meeting with her fascinating key-note in which she offered the view that Richard Burton’s The Anatomy of Melancholy is not just a fascinating seventeenth-century view of emotion, but also a text relevant to modern day psychiatry and neuroscience.
The Day 1 evening reception was held at the Leuven Museum and in addition to Belgian beer tasting, we were engaged by the Making Learning to make votives. Huge fun, I would do it all again in a snip 🙂
A highlight of Day 2 for me was Luca Grillo’s wonderful presentation, in which he sought to apply cognitive psychology models to our understanding to Cicero’s multiple uses of irony. Two competing models appear to explain Cicero’s irony, and Luca’s call to arms was for psychologists and philologists to collaborate to determine which model is the best fit.
In Prof. Christopher Gill’s excellent keynote he sought to show that the roots of modern Cognitive Behavioural Therapy (CBT) can be found in the work of the Stoics, especially in the writing of Epictetus. Since the Leuven meeting I have had the opportunity to discuss this issue with CBT expert colleagues from the THINC task force, who were content to agree the point.
Friday’s opening session, titled ‘What can the cognitive sciences offer Classics?’ was a fascinating session. We were treated to presentations on the application of cognitive analysis of Odysseus’ behavior during his 10 year journey home, as well as a second invocation of schema theory (I had discussed this cognitive theory in my Day 1 presentation) by William Short. This block of presentations was helpfully drawn together by Prof. Douglas Cairns, whose current research interests include classical emotions and metaphor.
The application of cognitive psychological theory to a classical theme for me found its zenith in Lilah Grace Canevaro’s entrancing presentation ‘Anticipating audiences: Hesiod’s Works and day and cognitive psychology’, in which she interpreted aspects of Hesiod in cognitive psychological terms. A further treat was Joel Christensen’s premise that theories of learned helplessness could be applied to aspects of Odysseus’ behavior, and especially whilst he was Calypso’s guest on Ogygia.

Odysseus and Calypso, red-figure vase, 5th century BC, Naples Archaeological Museum The close of the meeting brought deservedly warm applause for the organisers, and especially Jeroen Lauwers. A wish expressed by many of the presenters was that this event should be beginning of what promises to be a fruitful and mutually beneficial interdisciplinary approach. As one with ‘a foot in both camps’, I’d willingly endorse such a view. Perhaps the next step is for psychologists to repay the compliment by hosting their classical colleagues at a reciprocal event?

John Harrison

Image: Odysseus and Calypso, Red-figured vase, 5th century BC, Naples Archaeological Museum.

Behind the Scenes: Creating the New MA Part 2 (A864)

I’m the chair of the team currently putting the finishing touches on the brand-new module for Part 2 of the MA in Classical Studies, and I think I speak for the whole team when I say it has been quite a journey! When we started out, we knew we had to follow up the more thematically broad-based and skills-oriented MA Part 1 with a more specific subject-based module; we settled on the topic of the human body in the ancient world, as it seemed broad enough to be able to cover a variety of themes and types of evidence, but specific enough for students to feel that they have an in-depth knowledge of the subject. It also happens to be one of the most dynamic and fast-growing areas of classics right now, with several of the field’s key scholars amongst our staff at the OU. Because of this, of course, we have all been very excited to work on this module in particular, and many of us have been able to bring our own research expertise into the teaching material, which is always fun!

In Block 3 of A864 we look at religious healing in the ancient world. This votive stele shows the healing hero Amphiaraos treating the shoulder of Archinos, who is also shown being bitten on the same shoulder by a snake whilst sleeping. Sanctuary of Amphiaros, Oropus, Attica. Marble, c.400-380 BCE. (This file comes from Wellcome Images, a website operated by Wellcome Trust, a global charitable foundation based in the United Kingdom)

Once the initial excitement subsided, however, it was clear that it wasn’t going to be the easiest module in the world to put together. What exactly did we want to get across to students? How could we choose topics that would teach students not just about the ins and outs of that topic, but what they tell us about different types of evidence, or investigation techniques, or periods of scholarship? And how were we going to manage the fact that much of our material would inevitably go very close to the bone for many of our students? Topics like disability, sexuality, birth and death can be difficult to teach because they lie at the very heart of some of the central concerns – and taboos – of human society. Rather than seeing this as a disadvantage, however, we have embraced this fact, because it means that students will be thinking about, discussing and formulating thoughts on matters that have profound significance for the way we live our lives. We think that by learning about how Greeks and Romans used and regarded their bodies, we can go some way to understanding not just the interesting things that make our societies very different, but also the commonalities that make us all human.

As the start date (3^rd Oct.) looms, we are now putting together the final items of teaching material and starting to populate the module VLE. We are very much looking forward to seeing how the first year of presentation goes, and to those of you registered on the module, we hope very much that you enjoy it!

To find out more information and the latest news on the module, visit the MA in Classical Studies Facebook page at https://www.facebook.com/ClassicsMA .

Ursula Rothe on behalf of the Module Team for Part 2 of the MA in Classical Studies

The OU at the Classical Association annual conference

We’re delighted that the Open University’s Department of Classical Studies is going to have a strong presence at this year’s Classical Association annual conference, with several of our colleagues presenting papers on topics which represent the range of our research interests. PhD student Mair Lloyd, who has convened a panel on ‘Sustainable Classics’, has written a post on her personal blog giving a taste of what to expect; you can read it here. If you’re going to be at the conference do come and say hello to us! We’re also looking forward to 2017, when the conference will be jointly convened by the Open University and the University of Kent.

Producing ‘New Voices’

gardening

New Voices in Classical Reception Studies is one of two e-journals published out of the Classical Studies Department of the Open University. Classical Reception Studies has been one of the fastest growing areas of Classical Studies in recent years and has been a traditional strength of our department. We therefore felt it would be particularly apt to harness this strength to the wider OU vision of expanding participation and access and promote a journal that particularly targeted early career researchers looking to publish their work for the first time.

In line with this mission, we aim to provide early career researchers with a highly supportive pathway through the publication process. Submissions to the journal go through the due process of peer review by anonymous readers but we also endeavour to maintain very high standards in giving feedback to authors and in supporting them during the editing and revision stages. This means authors can work towards publication in a quality journal (New Voices was an ‘A’ ranked journal in the 2010 ERA and is included in the MLA Directory of Periodicals and the databases of EBSCO Publishing) but can also feel that this process helps in their wider development as scholars and researchers. We aim to give the contributors to the journal a sense of a wider supportive research community in this subject area, and we hope that authors will move on from their interaction with the journal with confidence in their ability to thrive within this community.

The journal publishes a very wide variety of content (this reflects the field of Classical Reception Studies) and actively encourages submissions that cross discipline boundaries. We attract submissions from a wide international community: published authors have come from not only the UK but also from Argentina, Australia, Finland, Germany, Greece, Holland, Iran, Ireland, Italy, Norway and Spain. We always work with our international contributors to ensure that language won’t be a barrier to publication in the journal. Our international advisory board means the editorial team has access to wide-ranging expertise over the broad spectrum of the subject area that the journal covers.

We used to publish New Voices at a set time of year, following an annual call for papers. Instead, we publish each issue as soon as there are sufficient finished articles available. This enhances the turnaround time of the journal so that early career researchers to see their publication plans come to fruition. There is also now a conference proceedings imprint of the journal which similarly aims to bring research in Classical Reception into the public domain in as timely a fashion as possible (whilst still maintaining peer review).

In his final tweet before he passed away, Leonard Nimoy compared life to a garden full of perfect if transitory moments. For an academic one of life’s fleeting perfect moments ought to be the publication of one’s first article. At New Voices we aim to provide the gardening advice to make this happen.

by Trevor Fear (‘New Voices’ Editor)

Saturdays well spent: teaching and learning at the OU

by Emma Bridges

As well as working with the Classical Studies team based in Milton Keynes, I’m also one of the Open University’s Associate Lecturers. For the uninitiated, this is the name given by the OU to a veritable army of tutors who are subject experts and who deliver face-to-face teaching to students across the regions and nations served by the university. OU students tend to have a whole range of other commitments outside their studies which means that tutorials at ‘regular’ hours during weekdays aren’t ideal for most; evenings and weekends are usually more convenient for the majority. Hence, as I live in Yorkshire, I often spend my Saturdays giving tutorials in Leeds, at one of our many study centres.

It may come as a surprise to those unfamiliar with the OU teaching/learning model that students at a ‘distance learning’ institution actually have regular opportunities to engage in person with a tutor, and with other students. The job of an Associate Lecturer involves monitoring student progress, marking assignments and offering guidance on how best to approach the module materials (some of this is also done online and over the ‘phone), as well as an element of pastoral care; but for me one of the most enjoyable aspects is getting to meet some of my students in person and to talk to them about the things in which we all share an interest. Last Saturday’s teaching involved working with two separate groups of students; the morning featured a discussion of Ovid’s Metamorphoses and its reception as part of our module Myth in the Greek and Roman Worlds and in the afternoon there was a good helping of Greek grammar along with analysis of some different translations of Aristophanes’ Clouds with students of Reading Classical Greek: Language and Literature.

For me, one of the best things about teaching adult learners is the sheer diversity of experience and knowledge which students bring with them to their OU work. Many of my students have their own challenges to face – competing responsibilities at home or at work, health problems, or difficult personal circumstances. Over the years I’ve taught a whole range of people from all walks of life: those for whom caring responsibilities or health issues make part-time study the ideal way for them to pursue their own education; students who have chosen to combine their degree with work immediately post-‘A‘ levels or have done a degree elsewhere in a subject unrelated to Classical Studies (I’ve taught a fair few mathematicians and scientists whose introduction to ancient Greek has been through mathematical symbols!); some who are returning to study after a gap of sometimes decades since they were last in formal education; and still others who are studying from prison.

This rich mix of life experiences means that every student brings something different and of value to the table, and makes every tutorial a learning process for me as well as for them. At one time, for example, I had a student who was a relationship counsellor offering fresh insights into the emotional state of Euripides’ Medea; last weekend, one of my group who is also studying art history with the OU had some fascinating thoughts to share on the ways in which themes from Ovid’s poetry are depicted in the paintings we’ve been looking at; meanwhile a member of my Greek class has also studied several modern languages so is able to offer her peers some valuable advice on different elements of language learning.

I’m frequently blown away by the enthusiasm and dedication of this diverse bunch of people whom I have the privilege to teach. I’m sure that I learn at least as much as my students do from the discussions which we share; that’s just one of the many reasons why I feel lucky to be able to do this job.