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.

2015-03-09 001 2015-03-09 002It 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.

New Voices in Classical Reception Studies – Issue 10 out now!

We are very pleased to announce that Issue 10 of our e-journal New Voices in Classical Reception Studies has now been published, and is available to view on the journal’s website. This issue includes articles on Homeric narrative motifs in L. Frank Baum’s novel The Wonderful Wizard of Oz, classical imagery in pre-Raphaelite paintings of sorceresses, ancient mythological archetypes in The Hunger Games, and much more.  We hope you enjoy reading!

 

 

Latin in Brno – adventures ancient and modernist

by Mair Lloyd

When I was fortunate enough to land a PhD place at the Open University researching eLearning for ancient languages, I had no idea how far this adventure was going to take me! As I wrestle my way through my third year, I can now look back on visits to such diverse places as Kentucky, Antwerp and Glasgow, as well as a couple of marvellous Classical Association conferences in Reading and Nottingham. My recent adventure in the Czech Republic stands out as one of my most memorable outings though.

View across Brno

View across Brno

By some miracle of fate, I found myself invited to go out to Brno with our Head of Classics, Helen King, to speak at an international conference on Language Centres in Higher Education. We were invited by the Faculty of Medicine division of the language centre at the host institution, Masaryk University. Helen had been asked to share her research on the plague of Athens. Meanwhile, I was to bring along my expertise in eLearning for ancient languages because the centre teaches Latin medical terminology for recording diagnoses and treatments. They use only a small subset of Latin vocabulary and morphology, mostly nouns, adjectives and prepositions. Verbs, apart from participle forms, and the dative and vocative cases are not required. I therefore focused my workshop on approaches and technologies which can help with memorising vocabulary and endings. You can view my slides here, and I think that eventually Masaryk University will publish them in sync with an audio-recording on the conference website.

I also learned a lot from other contributors. A poster presented by the University of Pécs in Hungary explained the tremendous importance of accurate Latin when recording medical diagnoses for soft tissue injuries where, for example, distinguishing between a stab wound and a slash wound can have legal implications for offender punishment and financial implications for subsequent victim compensation. I was also particularly excited by the work going on in Masaryk to build a corpus of authentic medical diagnoses to be used, in conjunction with the Sketch Engine query system, as a teaching tool. This is an approach which might well be emulated with ancient texts to the advantage of Classics language students.

Inside Villa Tugendhat

Inside Villa Tugendhat

As well as the exchange of ideas, I really enjoyed the warm welcome we were given and the insight we gained into a fascinating city and culture. Our lovely ‘minders’ from the language centre, Katka and Pepina, took great pains to make sure we were well cared-for and entertained. We shared some wonderful food, beautiful music and lively folk dancing (from a safe distance!), and we were given an excellent tour of the various historical landmarks in the city. I was especially delighted with our visit to the Villa Tugendhat, a modernist home and European Heritage site which overlooks the city. It made a huge impression on me despite my almost total ignorance of anything relating to architecture or indeed modernism! It would be worth at least one blog post to itself, but, tearing myself away from that, I will return to my PhD adventures. I count myself hugely privileged to be on the receiving end of the many wonderful opportunities the Open University has given me as a student, encouraging me to extend both my academic and cultural frontiers. In both respects, my time in Brno was extremely well spent.

Journeys across time and space: researching classical reception

by Emma Bridges

A common thread running through the research and teaching of many of us who work in the department of Classical Studies at the OU is the study of classical reception – that is to say that we think about the ways in which, and the reasons why, ancient Greek and Roman ideas, texts and material culture have been revisited and refigured by later cultures and societies.

One of the most challenging aspects of thinking about classical reception is also, for me, one of the most exciting. In order to develop an understanding of the ways in which themes and ideas have been adopted and adapted in new contexts, a researcher must frequently step outside her own comfort zone, looking beyond the texts with which she is most familiar and exploring a range of genres, historical periods and geographical settings. Following the journey of a theme across time and space can yield fascinating and sometimes unexpected results, and the researcher who does so often needs to become familiar with areas of study of which she had little prior knowledge.

My recent book, Imagining Xerxes, took me on one such journey; in tracing the ancient cultural responses to the figure of the Persian king whose invasion of Greece was famously defeated against seemingly overwhelming odds, I found myself examining ancient sources which spanned a period of around 700 years, with a geographical spread incorporating Greece, the Roman empire and ancient Persia itself, and in a vast – and sometimes daunting – array of diverse literary genres.

Xerxes crosses the Hellespont. Original illustration from Imagining Xerxes (2014). Image copyright Asa Taulbut. Reproduced by permission of the artist.

Xerxes crosses the Hellespont.
Original illustration from Imagining Xerxes (2014). Image copyright Asa Taulbut. Reproduced by permission of the artist.

As a scholar, I have always felt most at home with the Greek texts which were written in the fifth century BC – thus, when I started out, I knew a fair bit about Aeschylus’ Persians, in which a defeated Xerxes appeared on the Athenian tragic stage, and about Herodotus’ historiographical account of the course of the Persian Wars. In the course of my research, however, I also needed to tackle sources ranging from the inscriptions and relief sculptures of the royal palace complex at Persepolis, to biblical texts (Xerxes appears – named as Ahasuerus – as a key figure in the Book of Esther), to Roman and rhetoric and satirical poetry. Along the way I would discover that the historical figure of Xerxes was reimagined and reshaped in astonishingly diverse cultural settings, and that portrayals of his character – shaped by the historical circumstances in which they were produced as well as by the literary agendas of the authors who wrote of him – ranged from images of him as the archetypal and destructive enslaving aggressor, to a figure synonymous with the luxury and exoticism of the Persian court, or as an example of the vacillations of human fortune.

The joy of this kind of work is that there is always more to discover; every text or artefact encountered, every ‘reception’ of an ancient work or idea, has a context – literary, artistic, intellectual, historical – which needs to be investigated and explained if we are to understand why themes from the ancient world recur where and when they do. That’s good news for people like me, who love the challenge of getting to grips with something new!

The Tiny and the Fragmented: A postcard from the CAA annual conference

petsofa

by Jessica Hughes

I’m at the annual College Art Association conference, which this year is being held in New York. The CAA is a huge conference taking place over four days; it’s packed with hundreds of papers, panel discussions, and an array of networking events. I arrived two days ago and gave my paper yesterday, in a session called ‘The Tiny and the Fragmented: Miniature, Broken and Otherwise Incomplete Objects in the Ancient World’. I’d been invited to speak about my research on anatomical votive offerings, which are always ‘fragmented’ and occasionally ‘tiny’ (see image: these are miniature offerings from a peak sanctuary on Crete, now in the collections of the British Museum).

The whole session was really interesting, with five papers addressing different but complementary aspects of ‘incompleteness’ in the ancient world. Highlights included Verity Platt’s exploration of the unfinished paintings recorded in ancient literary texts, and Douglass Bailey’s paper on ‘holes in the landscape’ from the Neolithic to Contemporary Art. The session chairs Becky Martin and Stephanie Langin-Hooper did a great job of tying everything together in their introductory and concluding comments, which underlined the need for new theoretical approaches to the ‘archaeology of the incomplete’.

Now the session is over, it’s time to relax a bit and enjoy the rest of the conference, and of course to explore some of the city’s museums. It’s 5.30 am on Friday (thanks, jetlag!) and I’m putting together my itinerary for the day ahead. To begin, there’s an early morning paper on ‘Spolia and Souvenirs’, which looks very relevant to my new research project on modern-day souvenirs from classical sites; then I’ll go off to the Metropolitan Museum to do some fieldwork for that same project in their gift shop (trying very hard not to buy too many fridge magnets!). Then it’ll be back to the conference for our ‘sister’ session on ancient art, followed by a browse around the book fair to discover the latest trends in Art History. Finally, I’m having a dinner this evening on the Upper West side with some new US friends who also work on material religion – we’ll discuss our shared interests and maybe come up with some new collaborative projects.

Coming to a big overseas conference like this one does involve a lot of time, money and effort – and I should mention here that I’m extremely grateful to Kress Foundation and the OU for help with subsidising the trip. But the effort is more than worth it, because I’ll be returning to the UK with new contacts, ideas and inspiration for my research, and will hopefully reap the benefits of this trip for many months to come!

You can follow the conference on Twitter at #CAA2015 

Welcome to the OU Classical Studies blog

Helen King photo

by Helen King

As the current head of department, it’s great to welcome you to our blog. Whatever brings you here – whether you are a current or prospective student, or just someone interested in all things classical – I hope you enjoy hearing more about what we’re doing and that it inspires you to find out even more about the classical world!

At the Open University we cover a wide range of aspects of the classical world, from texts to images to material culture. Many of us also think about the reception of the classical past, from the ancient world itself – Romans thinking about the Greek world – to the present. So there should be something here to interest pretty well everyone.

I’m spending part of today speaking to a Classical Association branch in Southampton. Maybe some readers of this blog will be there…?