Meroë Augustus, “Outer Worlds”, Maurice Blanchot; tempora cum causis (4)

Ancient. The Meroë Head of Augustus (British Museum). 

It’s hard for me to say that I have a favourite art object from the ancient world, but one which I come back to somewhat regularly is the head of Augustus (27-25 BCE) from Meroë which is now in the British Museum. This is a striking example of a phenomenon which occurs so much with objects (and texts) from antiquity; an act of ancient destruction ironically preserves the artefact into modernity. Strabo (17.54) tells us that in the Roman period, statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them when they raided Roman forts and settlements in Upper Egypt in 25 BCE. Most were later returned as a result of negotiations between the Meroitic Candace (Queen) Amanirenas and the Roman general Gaius Petronius. This bronze head from an over-life-sized statue of Augustus was excavated from under the step of a shrine of Victory in the Kushite city of Meroë. It is thought to have been ritualistically placed there after the head was deliberately removed from the rest of the statue, as a symbol of Meroitic victory over Rome. The history of this object documents a history of defiance. And the x-rays are totally creepy. See more images from the British Museum. 

Modern. This week we’ve been playing the newly released Outer Worlds. We’re only a few hours in because, as elder- and middle-aged-millennials, we find ourselves too tired after our day’s work to be able to focus for very long on our beloved video games. As I play, Outer Worlds makes me think about some very dear favourites: the suite of companions and the resulting cross-chatter calls to mind the Bioware games I love (the original Mass Effect trilogy and Dragon Age: Inquisition in particular); the layout of the Unreliable resembles the interior of the Serenity from Firefly (and there are correspondences between the crews: e.g. Parvati/Kaylee; the presence of a priest-figure: Vicar Max/Shepherd Book); and, of course, the visual aesthetic, sound design, game design, and textual components of the Fallout games. (Although, I will say this: while Fallout games felt immeasurably vast, full of adventure, Outer Worlds feels small; deliberately, claustrophobically small.) The moon-headed Spacer’s Choice person reminds me of Futurama’s moon-headed Luna Park person (“Craterface“); which itself recalls the Man in the Moon in Georges Méliès’ Le Voyage dans la Lune (1902).

I’m sure it has been said before that some video games function like literature. In Classics, we regularly talk about literary intertextuality: i.e., when one text draws (usually consciously) on a prior text. Ovid’s Metamorphoses 14.814 is a verbatim verse of Ennius’ Annales 54 (Skutsch; cf. Hinds 1998: 14-15), consciously pointing out the fact of allusion in the act of making it. This is indeed how Stephen Hinds in the famous Allusion and Intertext (1998), introduces textual reflexivity (p1):

“…alluding poets exert themselves to draw attention to the fact that they are alluding and to reflect upon the nature of their allusive activity. Certain allusions are so constructed as to carry a kind of built-in commentary, a kind of reflexive annotation, which underlines or intensifies their demand to be interpreted as allusions.”

It strikes me that this recursively citational mechanism is something that also happens in video games, but we don’t usually name it as a good thing. Too much of a precursor in your game makes you derivative, not a cleverly tongue-in-cheek auteur who knows well what came before and is trying to outdo, or signal respect towards, the past even in the act of alluding to it. What I’m trying to say is that the intertextuality of video games is an inherently interesting thing. Reframing the relationship of games to one another within the context of  literary intertextuality allows us to observe a conscious response to how culture is absorbed and redeployed. Sci-fi has the tropes which belong specifically to itself, and so new artefacts in the science fiction genre will have to deal allusively with that enormous baggage: sifting out which references to forefront, which to reject. The sampling and referential nature of Outer Worlds has invited me to reflect (pleasantly) on how video games build on and subvert one another, as well as the broader traditions which inform them. There’s another dynamic here as well: yes, games take stories from precursors; they also take mechanics. If one game has pleasing and satisfying play, then another might adopt parts of that gameplay not only as an allusion, but an acceptance that the embodied nature of play is moving in one direction over another, based on user experience. Citationality is an operative part of video game design, and when it’s done well it can be very good indeed.

Internet.

Excerpt. Maurice Blanchot 1995: 2 (Ann Smock trans.): “The circle, uncurled along a straight line rigorously prolonged, reforms a circle eternally bereft of a centre.”

Daily Life. I started my little lending library in my office! I will be adding so many more books soon. 

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Martha Graham, essays on the internet, Sarah Ahmed; tempora cum causis (3)

Ancient. This week at BU we had an incredible visit from the Martha Graham Dance company. Artistic director, Janet Eilber, lectured on Martha Graham‘s innovations in dance, showing clips of past productions, as well as bringing on stage two dancers, Charlotte Landreau and Lloyd Mayor, who performed parts of works by Graham which draw from Greek mythology, Night Journey and Errand Into the MazeNight Journey dramatizes Jocasta in the moment of devastating self-knowledge, Errand Into the Maze has Ariadne encounter the Minotaur. Eilber vividly described the Graham dance technique as one focused on the effortful physicality of contraction and release, coiling; how the body behaves when it experiences intense pleasure or pain. This effortful physicality was brought before our eyes by the dancers themselves in their demonstration. It was an incredible thing to witness. Up close, in an intimate environment. 

This week I also took a trip to the University of Toronto Mississauga to speak in the UTM-JHI annual seminar series, this year on Fragments. I spoke about the fragments of Latin verse in the Ciceronian corpus (the topic of my book), as well as on the theory of the “fragment” more abstractly; here’s the handout and the slides.

 

Modern. I find myself with a large appetite for personal essays about the internet. A lot of them are ultimately negative. Famously, there’s Lindy West’s account of the troll who pretended to be her dead father to harass her online; also told in Shrill (2016) and on This American Life. West eventually quit twitter, though not because of that; plus, she has a happy life on instagram. Jia Tolentino’s Trick Mirror (2019) starts with an essay — “The I in the Internet” — describing how the performative construction of the self is pushed to the limits when faced with an ever present, internalized, and usually hostile audience. Not to mention, as Tolentino notes, the fact that internet hostility is deliberately manufactured to make money; we seem not to be drawn so much “to the puddles and blossoms of other people’s curiosity and expertise” (pp4-5) but choose instead to engage in an economy designed to thrive on the heightened emotional state of its users.

Maeve Higgins is more optimistic. In the final essay — “The Golden Record” — of her most recent book, Maeve in America (2018), she describes the phonograph records carried by the Voyager spacecrafts launched in 1977. These 12-inch gold-plated copper disks hold sights and sounds carefully chosen to represent life on earth at that moment by a committee chaired by Carl Sagan. Voyager 1 and 2 have reached interstellar space; the images and sounds on the Golden Record can be played, as Sagan said, “only if there are advanced spacefaring civilizations in interstellar space.” For Higgens, instagram stories, which show videos and images on a feed that disappears after 24h, have something in common with the golden record. Hope, for one thing. Hope that someone will encounter the message and understand it: the golden records are inscribed with instructions on how to play the media contained within. Higgens writes (p239): “Today, with these images I get to share with anyone who cares to look, I am asking the question: Do you understand me now? Here is what I’m trying to tell you.

An optimistic view of the internet is hard for many reasons. In classics, we have to reckon with the ways toxic online communities use ancient material for malicious ends, as Donna Zuckerberg’s Not All Dead White Men (2018) so vividly describes. We also seem unable to escape the idea so often repeated that social media is inherently superficial, vain, vapid; and that it is these qualities in particular which harm us. The first episode of Broad City season 5 (“Stories”) presents itself as an instagram story, documenting a day in the life of Abbi and Ilana, coopting the forms of the medium to undercut and satirize it. In the last scene, Abbi says: “because we were filming it, it’s not even our ‘story’ anymore.” With these final words (of the premier of the final season), Abbi and Ilana ask their audience to contemplate how a comedy act between two friends, developed out of the sparkling chemistry of their private intimacy, has grown beyond itself into a stage play for a massive audience. Real life performativity is amplified when we make ourselves public: via “publication,” art no longer belongs just to you, and on the internet your image takes part in more than just your own selfhood. 

Internet.

Excerpt. Sarah Ahmed 2017: 15-16: “My citation policy has given me more room to attend to those feminists who came before me. Citation is feminist memory. Citation is how we acknowledge our debt to those who came before; those who helped us find our [p16] way when the way was obscured because we deviated from the paths we were told to follow.”

Daily Life. In Toronto the autumn leaves were just nuts! 

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Horace, “Steven Universe”, Jia Tolentino; tempora cum causis (2)

Ancient. In the Greco-Roman world there is a persistent idea that the people of the past were better than those who are alive today and that, as time passes, humanity only continues to degrade more and more. Hesiod’s metallic ages of mankind is an early (and very famous) example of this. A passage of Horace which expresses this idea nicely and particularly cynically is Odes 3.6.45-58 (here comes the Loeb):

damnosa quid non imminuit dies?
aetas parentum peior auis tulit
nos nequiores, mox daturos
progeniem vitiosiorem.

Iniquitous time! What does it not impair? Our fathers’ age, worse than our grandfathers’, gave birth to us, an inferior breed, who will in due course produce still more degenerate offspring.”

The Romans were deeply invested in the idea that an individual was a living reinstantiation of his forebears (a classic example of this is the Barberini Togatus statue). Yet, no one, no matter how hard they try, can be an exact “copy” of a precursor. Simply by being a distinct iteration, we introduce differences, breaking points. Such breakages with a recursive path are, in the Roman formulation, an opportunity for corruption to take place. Like so many who are alive today, I find these cracks in the iterative veneer to be the space where creativity and originality live. And I’m wondering, too, whether it is the case that in 2019 the youngest generation is, in reality, worse than those who have come before.

Modern. Steven Universe is so beautifully written and touching that there is a good chance I’ll get misty-eyed as I watch. The training montage between Connie and Pearl and the song Do It for Her always makes me cry, for some reason. There is so much to love about Steven Universe: the concerted recuperation of the colour pink, the secret behind Garnet (no spoilers), Sadie’s journey to self-acceptance, and, of course, Stevonnie — an experience. When the Steven Universe movie came out, I held off on watching it at first because I knew I had to be in the right frame of mind, emotionally speaking. Animation has always held the power to elicit deep emotions from its audience, even if at times there has been a perception that it is childish or superficial (“it’s just a cartoon” — same thing goes for video games). But especially now, with so many examples of emotionally complex and affecting animation flooding the market, we can break with that perception. Recently, I did watch the Steven Universe movie (The Tale of Steven). One of the standout moments for me was the reappearance of Opal and her duet with the Steven-Greg fusion (Steg), included below. I hadn’t realized that Opal was voiced by Aimee Mann! And Steg in the movie is voiced by her bandmate, Ted Leo. The creator of Steven Universe, Rebecca Sugar, has said that Aimee Mann’s It’s Not (from the album Lost in Space) is her favourite song of all time; there’s a video (I also include it below) of her covering It’s Not, and introducing her performance with: “it’s probably the reason I like to do comics and stories about space, and also it keeps having new meaning for me now; it starts to feel like it’s about television animation.”

Internet.

Excerpt. Jia Tolentino 2019: 14: “The self is not a fixed, organic thing, but a dramatic effect that emerges from a performance. This effect can be believed or disbelieved at will. Online — assuming you buy this framework — the system metastasizes into a wreck. The presentation of self in everyday internet still corresponds to Goffman’s playacting metaphor: there are stages, there is an audience. But the internet adds a host of other, nightmarish metaphorical structures: the mirror, the echo, the panopticon.”

Jia Tolentino illustrated by Joanna Neborsky, from Jacqueline Rose’s review of Trick Mirror.

Jia Tolentino; illustration by Joanna Neborsky

Daily life. Austin started painting again, and now our shed is an art studio!

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Cicero, “Disenchantment”, Anthony Grafton; tempora cum causis (1)

Ancient. De Senectute 24-25 is one of my favourite passages of Cicero (here’s the Loeb): 

nemo enim est tam senex qui se annum non putet posse uiuere; sed idem in eis elaborant, quae sciunt nihil ad se omnino pertinere: serit arbores, quae alteri saeclo prosint, [25] ut ait Statius noster in Synephebis. nec uero dubitat agricola, quamuis sit senex, quaerenti cui serat respondere: dis immortalibus, qui me non accipere modo haec a maioribus uoluerunt, sed etiam posteris prodere.

“No one is so old as to think that he cannot live one more year—yet these same men labour at things which they know will not profit them in the least. ‘He plants the trees to serve another age,’ as our Caecilius Statius says in his Young Comrades. And if you ask a farmer, however old, for whom he is planting, he will unhesitatingly reply: for the immortal gods, who have willed not only that I should receive these blessings from my ancestors, but also that I should hand them on to posterity.”

Not just because the passage contains a lovely and proverbial fragment of the 2nd century BCE comic playwright, Caecilius Statius. I want to hold on to this idea that what we do here during our lifetime will not only be for ourselves. And I like the idea that preserving and building resources for people yet to come can be something we value and take pride in. 

Modern. For the last year or so I’ve been listening to the Talking Simpsons podcast network with Bob Mackey and Henry Gilbert. This week they discussed the new episodes of Disenchantment that dropped on Netflix. I’ve been enjoying this show a lot. Futurama is one of my all time favourites, and it’s exciting to me to feel like I’m observing another potential Futurama happen right before my eyes. Bob and Henry discuss an interesting problem, though, which is this: if you watched the Simpsons as it aired in the 90s, you probably saw some episodes a number of times in reruns (or by choice). I had a box set with seasons 1-4 of Futurama that I rewatched a lot when I was young, way before streaming media. But now the same creators of the Simpsons are making a show which most people will watch in more or less one sitting (or, say, over a weekend). And you might not rewatch it, given that there is such an overabundance of content right now. It’s interesting to think about: you’re a seasoned tv writer for one of the most famous and long lasting franchises of the modern era, and you have a certain way of doing things. But tv is now consumed in a profoundly different way. Trained by this institution, this creative machine, you now face an audience with different expectations. There is enormous competition for the attention space, and there is no guarantee of securing a captive audience via the power of syndication or otherwise. Watching and rewatching, reading and rereading — this is something that is built in to our experience of culture, especially the things we really love. Our favourite book. Our favourite film. I have basically been listening to the same music since about 2007. Recursiveness is part of cultural work. But we might not return to Disenchantment much. (Btw I do enjoy this new role for Abbi Jacobson, and all The Mighty Boosh alumni are *chef’s kiss*) 

Internet. 

Excerpt. Anthony Grafton 1997: 124: “In the modern world, fragments and revolutions have gone together. From 1789 to 1989, the politics of the street have always involved iconoclasm. Symbols of previous authorities have been smashed, the colossal heads of dictators separated from their even more outsized torsos, stately lines of busts and statues transformed into politically charged rubble. Tsar and Stalin in turn become Ozymandias.” 

Daily life. Speaking of trees, Max found one which is without a doubt a portal to another dimension.  

Digital pedagogy with the Ciceronian corpus

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In Spring 2019, I taught a class at BU which I called “New Approaches to Cicero.” In my course design, I aimed at “newness” in two ways: 1) I wanted to have students read a wider variety of Ciceronian works than is usually done in one class (in the end, we read examples of every genre: speeches, oratorical treatises, philosophical treatises, letters, poems — see the schedule of readings); I also wanted to emphasize how the reception of Cicero has impacted how he has historically been read. And 2) instead of writing a traditional essay for their final project, I wanted students to apply a digital technique to a Ciceronian text (or set of texts). The class was an experiment in many ways, but the results were successful and interesting, so I wanted to share my reflections. If you want to skip ahead and look at samples of the student’s final projects, they are available on the Cicero course blog

The class revolved around a course blog: https://cicero.blog/. Here, the students found the schedule of readings (there was no physical syllabus for them to lose track of), and other pertinent pieces of information, such as an outline of tasks and expectations, guides to digital tools, and general Cicero bibliography.

Students in this class were required to give two in-class presentations: 1) a text report: an analysis of an assigned passage of Cicero (e.g. In Pisonem 21-22); 2) a scholarship report: summary and comment on an assigned scholarly work (an article or a book chapter). If they were not giving a classroom presentation, they were required to send me a ‘selection’ (a small excerpt either of Cicero, or of a secondary source which we had read) by email before each class. I then collected these and put them in the blog post for that day’s meeting.

When we met in person, I projected the blog in the classroom and would read out the passages one by one. In class, I would ask the student who sent it in why they were interested in it, they would respond, and then we opened it up to general discussion. I would myself occasionally add Cicero passages from the readings which I felt were really important, but I did this less and less as the class continued. This was technically a class in translation, but we regularly looked at the Latin and took the time to consider different translator’s choices. (My general outlook was: those who had Latin should use it; those who didn’t could still take the class and find it fruitful.) Over time, the students were individually developing their specific interests, and we also, as a class, had a set of questions that we would regularly return to. I would also always include an image of a Cicero manuscript – as a constant reminder of how Cicero’s texts are remediated. Take for example the week in which we read the Tusculan Disputations (I included TD 1.3, but the rest were student selected):

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For their final projects, the students were to develop a research question, based on their own interests, and to use a digital tool to explore it. They knew from the beginning that this was where they had to end up; in week 9, they had to submit a written prospectus of their intended research (which helped them commit to their topic, and begin early prep work).

In the first week we discussed some of the options: mapping, textual annotation, data visualization. I understood going into this class that some students might be intimidated by digital approaches, so I included the option of doing something visual and remediating that would not necessarily be “data” heavy. And none of the tools which I suggested required the students to have any knowledge of coding (I don’t know how to code).

Not all data visualization has to be done digitally (or even visually). With that in mind, in the first week we discussed the work of the British data journalist, Mona Chalabi (@MonaChalabi) who draws her data visualizations by hand. Chalabi’s visualizations aim at immediate “reader” comprehension, and usually include part of the object of study as part of the image. I had it in mind that this class would help students theorize continuity and discontinuity with ancient and modern cultural practices and knowledge production (a discussion that digital humanities helps very much to facilitate), so I was attracted to Chalabi’s outlook on data that emphasized the humanness of data-gathering and its presentation. An excerpt from an interview with Chalabi in It’s Nice That (March 8, 2018)

A big part of my philosophy is that computer-generated images overstate certainty, my hand-drawn graphics show the real margin of error in the numbers while reminding people that a human was responsible for the data gathering and analysis.

The digital tool which we spent the most time with, and which the majority of the students used for their final project, is Gephi, which provides an interactive visualization and exploration platform for all kinds of networks and complex systems. Caitlin Marley has recently explored the entire Ciceronian corpus using the software programs R and Gephi. Our own Ryan Pasco (@rympasco, PhD student in BU Classics) has been working on small batch applications of Gephi to Cicero’s letters; and a UROP project by Ryan with BU undergrad and Classics major, Joseph Salzo (who was also in this class), is currently underway looking at how a specific historical event in the beginning of 56 BCE can be charted via social relationships in Cicero’s letters. In week 6, Ryan came to the class do a Gephi workshop with the students. Afterwards, Ryan wrote a twitter thread recapping his presentation. Read it here: 

I owe Ryan enormous thanks for his help with this class. Not only did he do this workshop, but he also helped students troubleshoot problems with Gephi as their research developed. 

I gave the students complete freedom to choose what they wanted to research, and as a result they individually produced very different projects, even if they were using the same digital tool. The samples of the final projects demonstrate the range: an exploration of Ciceronian invective (Willingham); a verbal analysis of the Pro Caelio (Solovay); a study of Cicero’s quotation of Plautus and Terence (Droegemuller); an exploration of the difference between Cicero’s relationship with Atticus and Terentia while in exile (Jiang); an analysis of the relationships between Tiro and the Cicero family (Salzo); a chart of the relationship between Pompey and Cicero between 55 and 48 BCE, as it appears in Cicero’s letters (Kennedy). In the last two cases, the students (unprompted by me), decided to present their findings in a digital format as well: Salzo used a blog format to present his annotations on the Gephi images produced for different letters involving Tiro; Kennedy used github to present his categorizing of 150 Cicero letters (!) – with each point of data linked to the actual letter in Perseus:

Haydn Kennedy

Going into teaching this class, I wondered whether the use of digital tools would produce something superficial, but in fact the result was quite the opposite. My broader intention with this course was to demonstrate that Cicero’s works, while by no means simple representations of Roman life, could nonetheless be pushed through, in certain ways, to reveal things about Roman cultural practices, as well as about Cicero himself. In this I was inspired, at any early stage in my career, by my predecessor at BU, Professor Ann Vasaly, and her 1993 book, Representations – widely believed to have produced a seachange in Ciceronian scholarship. 

By the time students began to put together their projects, they were well aware of the problems with Cicero. They knew that his oratory was so often a smoke screen; they knew how complicated his enomorous corpus of letters was a source (we spent some time with Peter White’s Cicero in Letters, 2010); they knew that if they wanted to hear the voices of women or former slaves, they would have to work hard to disentangle them from Cicero’s own voice. In addition to giving me a prospectus of their research idea early on in the semester, they had to present their results to their peers in the last two weeks of class, and, after incorporating their classmates’ suggestions, submit to me a written reflection alongside their images and data.

The student presentations were striking: all of the students reflected on how their research focus had shifted and complexified as they worked to create and visualize their data; and they all talked about the potential limitations and subjectivities of their particular approach. That is, they displayed a level of self-reflection and the knowledge of their own relationship to the research problem in a sophisticated and nuanced way. Each student was able to stand up and talk for at least 20 minutes on the intricacies of their project, and all the students ended up submitting write-ups on their data visualizations which were longer than a traditional essay would have been (!); and in many ways more sophisticated. Since the majority of the projects examined Cicero’s use of specific Latin terms, the students ended up with a greater intimacy with the text than either they or I had anticipated.

Overall, then, my fears about superficiality were unfounded. Their efforts to create data visualizations resulted in more writing, and better writing, than perhaps they would have otherwise, because the digital tool allowed them a close intimacy with the text. 

A final note that I will add is that alongside what we did in and outside of the classroom, there was a twitter hashtag for this course: #newcicero. For the most part, this is populated by my tweeting out Cicero materials and links to the lessons twice a week. I.e.: students would send me their ‘selections’, I collected them and posted them to the blog, and then I would tweet out the link to that blog (the same thing which I projected in the classroom so that we could work through and discuss their selections). This meant that anyone who was interested could see what we were doing. E.g.: 

I offered extra credit to students for tweeting on the hashtag. The student who deserves kudos here is Cory Willingham (@coriolanussum), who not only tweeted out an early version of his Gephi results (first tweet), but regularly reflected critically on the reading materials (second tweet). 

Although I would understand anyone’s reservations regarding exposing students to twitter in the social climate of 2019, I have found that it has had enormous benefits. Last semester, in my Women in Antiquity class (#womenancient), we were reading translations by Emily Wilson (@EmilyRCWilson) and Josephine Balmer (@jobalmer), as well as Adrienne Mayor’s (@amayor) recent book on the Amazons; all of the scholars engaged with the class hashtag, and the students were thrilled to see the immediacy and power of Classics playing out textually and interconnectively via social media. 

The Cicero course may have been the most explicitly digital class which I have taught, but all of my non-translation classes have course blogs. I also teach Women in Antiquity and World of Rome (Roman civ.) via a digital medium. 

 

Increased Connectivity: SCS Boston 2018

During and after the Bomb Cyclone, view of the Boston Public Library, Copley Square. Photos by John Dugan (@sicsicsinefine).

For the last few years I’ve written about my experiences at the annual meeting of the Society for Classical Studies (2016, 2017). This year was different in many ways. For one thing, my involvement in a number of projects — Classics and Social Justice, putting together and moderating the final panel for the Ancient MakerSpaces workshop organized by Patrick Burns (@diyclassics) and David Ratzan (@papyrologus) where the panelists were: Sarah Bond (@sarahebond), Casey Dué (@caseyduehackney), Cora Sowa (minervaclassics.com), and Donna Zuckerberg (@donnazuck), the Ancient Books roundtable — meant that I was not able to livetweet as many panels as I usually do.

More importantly, the fact that the Bomb Cyclone arrived in Boston on the main travel day for the SCS meant that many participants either got here late, or couldn’t get here at all. I mentioned at the time that this would make livetweeting even more important than ever; those who were supposed to be here could still see how their own work was being received, and interact with their audience, long range. For example, Amy Pistone (@apistone), who skyped in to the Classics and Social Justice Panel, was able to give her paper and see it tweeted and engage in the discussion online. Immediately before she skyped in she tweeted the handout to her presentation. Of course, I feel that livetweeting the SCS is always important, since it helps a broader range of people spend their intellectual time with us. At last year’s SCS in Toronto, I livetweeted the outreach panel, and the discussion from twitter was this: we’re here, we’re doing this kind of work. But the blizzard, I think, highlighted for many the true power of livetweeting. In a world where not all of can travel for these conferences, livetweeting lets us broaden our audience and the range of participants in our discussions.

One of the fundamental threads throughout the conference, from my perspective, was this idea: as a scholar you don’t have to go it alone anymore. This is a lesson that some in the digital humanities learned a long time ago. Casey Dué, speaking during the Homeric Multitext session of the #ancmakers workshop, and at the panel afterwards, hit home the collaborative nature of this kind of work: she runs the Homeric Multitext project with Mary Ebott, and Christopher Blackwell and Neel Smith are in charge of the technical aspects of the work. Dué mentioned at the panel that this collaboration was one of the real joys of her professional life. Looking at the “Collaborators” page, you can see that the network of scholars involved in this project is very large indeed. A project like this demands a number of different technical abilities, which in turn requires many individuals. Working together in the context of digital humanities means sharing different skill sets, different strengths, different areas of expertise. And the project itself is a solution to a very significant question in Classics: how do we deal with the oral composition of the Homeric epics and how they manifest in written form? The digital approach to answering this question came not out of an attempt to use digital tools but rather simply to find a way to answer the question. One of my favourite audience comments made during the #ancmakers panel was from Thomas Koentges (@ThomasKoentges), who said that if Wilamowitz were alive today he would be using the same tools as us, but he wouldn’t call himself a “digital” anything. At a certain point, as Sarah Bond said, what we now call “digital humanities” will simply be “humanities”. For many that is already basically the case. There are of course still die-hard sceptics. And Sarah Bond, asked what we can do in the face of this kind of scepticism replied: peer pressure. Those of us interested in this kind of work should still keep doing what we’re doing, and we should show the world (via twitter, blogs etc.) that we’re doing so. The panelists, asked how we can try to legitimize public scholarship, answered: include substantial, scholarly blog posts you write on your CV (Dué), use blog posts as part of your teaching (Zuckerberg), cite blogs you use in your bibliography (Bond), think of blogs as articles: pieces on Eidolon are articles (Zuckerberg). 

One of the things which is always on my mind when it comes to digital humanities is the fact that I tend towards the humanities part rather than the digital. But one of the reasons that I think of myself in this way is because I have been following the path set for me of the scholar who works alone. Coming into the field with a philological training (in the broadest sense) seeded in me a kind of antagonism and territorialism that even now I have trouble letting go of. I’ve been thinking of myself as someone who has to “get there first”, have original research that came principally from my own creative and intellectual engine (accompanied by the correct citations and bibliography of course), and carve out a unique area for myself. And along the way that has made me competitive with, hostile towards, and afraid of other people’s ideas. This is not the way that the model of digital humanities operates. If you try to do everything yourself, you will come up against insurmountable obstacles. Daniel Libatique (@DLibatique10) and Ryan Pasco (@rympasco) said it best in this twitter thread, where they discussed the fact that their assumption that they had to do everything on their own in their digital projects was slowing them down, both practically and psychologically:

It seems to me that if we can bring the collaborative mindset of digital humanities into the more traditional area of classics, we’ll all benefit. Part of this will involve letting go of the sense of territorialism that I mentioned before. But those who are working on projects which are pedagogical or public facing are already making their knowledge and resources more openly accessible. I think, for example, of the speakers at the Classics and Social Justice panel organized by Jess Wright and Amit Shilo. Molly Harris spoke about the The Warrior Book Club, a group that reads stories of war from antiquity and modernity with combat veterans as well as civilians. While Harris was speaking she described the evolution of the group, her experiences doing this work, but also spent time giving her audience a detailed description of the resources that the project used. In essence, she was giving us a roadmap: are you interested in this kind of work? Well, here’s my bibliography (thread), and here are the texts which we read together: you could do the same.

This kind of collaborative spirit is also at the heart of the ancient books project organized by Stephanie Frampton (@saframpton), Joe Howley (@hashtagoras), and myself, the Materia Network (@materianetwork). This group’s aim is to bring together the many specialists who work on material writing in the ancient world but come at it from different perspectives: papyrologists, paleographers, literary scholars, bibliographers etc. etc. The spirit of the project comes from the idea that none of us can all be experts in these very specialized fields: if we want to get a better idea of the ancient book as a concept, we can learn a lot from each other. At one point in our roundtable discussion, I saw Stephanie Frampton write down the note “Kill the Author”, based on (I think) something that Joe Howley had said: let’s move away from the model of the centrality of the sole “genius” who writes literature, and add in the human labour, the modes of production that are necessary to make book culture in the ancient world possible. But I think that many of us are also in the midst of a shift towards a mindset in which we individually “kill the Author”. Our research and our teaching seem to be less and less about the Authors, and more about something more elusive.

I find the Materia network to have something in common with the spirit of the digital humanities workshop (#ancmakers) and the Classics and Social Justice group. None of us individually has the whole picture. And, especially for social justice work and digital tools, we need to work harder to broaden the audience: things will be better if social justice people are not just listened to by other social justice people; those working hard  to make digital tools should have an audience of humanists who are ready and interested to implement them, even if they don’t understand how they were built. That is actually the role that I see taking: I don’t make digital tools, and that’s exactly why I need to pay attention to them; I don’t research social justice, but I should pay attention to that research so I can incorporate its results into my teaching, mentorship, scholarship. As I often say, one of the benefits of the internet is plurality of perspective, if you’re willing to see it. And if you’re willing to listen as much as you broadcast, and to signal-boost as much as possible. Perhaps this increased willingness to collaborate in Classics is a by-product of the ways in which the internet is embedded within and structures our lives. Although, one thing that I had planned to talk about as part of the #ancmakers panel was the long memory of the internet within the field of Classics. We did speak at the panel about the fact that there have always been classicists who are early adopters of technology and digital tools: Cora Sowa described hand punching Hesiod’s Theogony, and watching the moon landing at the original Summer Institute for Computers and Classics held at the University of Illinois. Sowa also made the 1969 report to this meeting available online: 

As part of my preparations to moderate this panel, I asked twitterati to let me know when they first started using the internet as part of their scholarly lives. The thread itself is pretty fascinating. Classics has been part of the internet since its very beginning. Perseus Digital Library went online in 1995; William Thayer’s LacusCurtius went online in August 1997; Barbara McManus’ and Suzanne Bonefas’ vroma.org appeared around the same time. 

So it’s not exactly the case that digital Classics has recently arrived. Although it is true that our use of the internet as a society is more intense than it has ever been. But we are scholars of intellectual modes of production, so we can study our own involvement and entanglement in the digital world. We can see twitter and the internet as our own inscriptional culture: when we write ourselves into the internet, the persistence of that data means that we’re making our mark on the “material” of our own time.

If anyone wants to get involved with the Classics and Social Justice group, including writing a blog post, please get in touch (@classics_sj). Likewise, if you want to get involved with the Materia network, you can add your email address to our mailing list and follow us on twitter (@materianetwork).

I want to thank Sarah Bond, Casey Dué, Cora Sowa, and Donna Zuckerberg for agreeing to be panelists and for creating such a fantastic, important discussion. Last but not least, I want to thank Patrick Burns (@diyclassics) for asking me to moderate the panel at his workshop. I’m so grateful that there is someone working to expand digital spaces, make them inclusive, make them into conversations. Kudos to him for being enthusiastic and supportive of a panel of women. Patrick and I met at the SCS in San Francisco (2016) when he introduced himself to me at the WCC reception after our having only ever met through twitter, and that’s how our professional relationship began. Academic twitter is powerful.

 

#Itinera

In July 2017 after the Pac Rim in San Diego, Dr Scott Lepisto (@scottlepisto) interviewed me for an episode of the #Itinera podcast, where Classicists discuss their research, teaching, and lives as scholars. Notable guests have been: Alex Purves, Helen Morales, and Amy Richlin. Listen to my interview here.

How to teach

Note: Feel free to pick and choose from what follows; some things will appeal or seem helpful to you, others not so much. When it comes to teaching, given the personal nature of it, you yourself will develop best practices from your own readings, explorations, and experience. Long story short, what follows is not prescriptive.

1) introductory remarks re the ethos of teaching, emphasizing the role of the personal in the teaching persona

2) brief outline of responsibilities in student safety/wellbeing (title IX, immigrant students); be sensitive + mindful with your language

3) a basic structure of a “lesson” plan; suggestions how to plan a lesson, how to create discussion; how teaching languages requires different kinds of planning and structure

  • for language instruction: 
    • handouts for Wheelock: http://www.wheelockslatin.com/wheelocksteacherguide.html 
    • have specific daily lessons dictated by the textbook; e.g. one chapter of Wheelock a session is a good pace
      • first part of class introduce new material, second part of class use practice sentences with students to solidify that material
    • for language instruction testing is an important and useful way to make sure students commit to memorizing vocabulary/internalizing constructions; I usually do two a week:
      • one short quiz just on vocabulary/principal parts [an example];
      • one more substantial test on material covered in class that week [an example] (both egs from Latin 2 class taught 2015).
    • take at least one session a week to read a longer passage with your students so that they can get used to longer translation
    • try to foster a good group dynamic with your Latin students; one idea is to make them a facebook group, so that they can arrange study sessions together (I did this and it was very successful)
    • if you can, it can be nice to offer extra credit reading sessions outside of class, where students can come and sight read Latin together with you in an informal (but rewarded) setting
    • here is the structure I use for beginning Latin language instruction (can be adapted for different schedule)

Monday: vocab quiz (10 mins) + go over homework (a longer passage from Wheelock, or from 38 Latin Stories)
Tuesday: chapter of Wheelock
Wednesday: chapter of Wheelock
Thursday: weekly test (15-20 mins) + read a longer passage from Wheelock

  • for discussion section:
    • set the tone for discussion sections by setting up rules and expectations up front (don’t take for granted that students know how to disagree respectfully!)
    • structure the class around specific questions which have arisen out of the course lectures
    • but don’t be afraid to bring in external material from outside the classroom to generate discussion

    • try to engage all students by having a variety of possible formats (small group, pair, written)

    • ask individual questions, specifically varying Bloom’s taxonomy

    • offer support for developing paper assignment ideas 

    • have a handout/powerpoint with specific texts or images which you discuss together with your students; giving your students material to respond to which is immediately in front of them can help break the silence
    • split your students into groups to discuss specific passages of text or images
    • have your students submit questions to you ahead of time for discussion
    • have your students use an online forum format to discuss the week’s material in advance (an example: Miranda Butler’s use of tumblr and blackboard)
    • have your students do short (5 min) presentations on primary materials
    • show your students excerpts of other media (audio, video) which relate to ancient material; can be helpful for helping imagination and creating inroads, e.g. this video taken by someone walking to the Purpose Built Lupanar in Pompeii demonstrates the narrowness of space; or this video of the Nikandre Kore demonstrates the surprising slimness of the statue, and what it looks like in its museum context

4) brief overview of digital tools/resources:

5) brief overview of pedagogy bibliography/other resources:

How to write a student commentary

*NB this assignment is modelled on the Companion Text-Commentary exercise.

Student Commentaries (#CL351) on Cicero De Natura Deorum or De Divinatione

You must include the following elements:

  1. Choose a passage of at least 350 words; you may copy + paste the text from thelatinlibrary.com, but note that there may be textual differences, so make sure to check against the text
  2. Write an introduction to the passage that contains information about the author’s life and work, the genre of the selection, and an overview or outline of the work from which the passage is taken
  3. Write a reflection, based on research (use bibliography on syllabus), about the broader significance of the content of the passage, and how it relates to the rest of the work
  4. Write a translation of the Latin passage in your own words
  5. Give a bibliography of print and internet sources consulted
  6. [optional: A print-out of images that illustrate the text, with references]
  7. Comments to the text arising from student reading, such as:
    • complete dictionary entries for less-common words with the recommended translation for the word, as it is used in the immediate context, placed first, followed by a range of possible meanings
    • explication of grammatical forms, syntax, word order, rhetorical devices
    • identification of people, places, events, references
    • interpretation of ideas in the text and meaning that is not readily apparent

An example of a student commentary on Aeneid 2.771-775.

Students of the current CL 351 produced the following (partial) commentary with me on ND 1.3ff., Tuesday 12th October. Asterisks denote passages which will need to be filled in by further reference and research. What is nice about this, the product of a very short workshop, is how many ideas can be generated from even a little piece of text. And the asterisks are an index of initial thoughts which can be developed with further investigation.


Classroom test case:
De Natura Deorum 1.3-7

[3] Sunt enim philosophi et fuerunt, qui omnino nullam habere censerent rerum humanarum procurationem deos. Quorum si vera sententia est, quae potest esse pietas, quae sanctitas, quae religio? Haec enim omnia pure atque caste tribuenda deorum numini ita sunt, si animadvertuntur ab iis et si est aliquid a deis inmortalibus hominum generi tributum; sin autem dei neque possunt nos iuvare nec volunt nec omnino curant nec, quid agamus, animadvertunt nec est, quod ab is ad hominum vitam permanare possit, quid est, quod ullos deis inmortalibus cultus, honores, preces adhibeamus? In specie autem fictae simulationis sicut reliquae virtutes item pietas inesse non potest; cum qua simul sanctitatem et religionem tolli necesse est, quibus sublatis perturbatio vitae sequitur et magna confusio; [4] atque haut scio, an pietate adversus deos sublata fides etiam et societas generis humani et una excellentissuma virtus iustitia tollatur. Sunt autem alii philosophi, et hi quidem magni atque nobiles, qui deorum mente atque ratione omnem mundum administrari et regi censeant, neque vero id solum, sed etiam ab isdem hominum vitae consuli et provideri; nam et fruges et reliqua, quae terra pariat, et tempestates ac temporum varietates caelique mutationes, quibus omnia, quae terra gignat, maturata pubescant, a dis inmortalibus tribui generi humano putant, multaque, quae dicentur, in his libris colligunt, quae talia sunt, ut ea ipsa dei inmortales ad usum hominum fabricati paene videantur. Contra quos Carneades ita multa disseruit, ut excitaret homines non socordes ad veri investigandi cupiditatem. [5] Res enim nulla est, de qua tantopere non solum indocti, sed etiam docti dissentiant; quorum opiniones cum tam variae sint tamque inter se dissidentes, alterum fieri profecto potest, ut earum nulla, alterum certe non potest, ut plus una vera sit. Qua quidem in causa et benivolos obiurgatores placare et invidos vituperatores confutare possumus, ut alteros reprehendisse paeniteat, alteri didicisse se gaudeant; nam qui admonent amice, docendi sunt, qui inimice insectantur, repellendi. [6] Multum autem fluxisse video de libris nostris, quos compluris brevi tempore edidimus, variumque sermonem partim admirantium, unde hoc philosophandi nobis subito studium extitisset, partim, quid quaque de re certi haberemus, scire cupientium; multis etiam sensi mirabile videri eam nobis potissimum probatam esse philosophiam, quae lucem eriperet et quasi noctem quandam rebus offunderet, desertaeque disciplinae et iam pridem relictae patrocinium necopinatum a nobis esse susceptum.

Commentaries:
— Pease commentary [available online thro’ Haithi]; this is at the more dense end of the spectrum
— Dyck commentary [Mugar: PA6296 .D4 2003]
— P. G. Walsh commentary [Mugar: PA6308.D4 W35 1997]

Databases:
phi latin corpus < use this to find how other authors use words or phrases
Brill New Pauly < use this to look up unknown names
Logeion < use this to look up words in Lewis & Short
Allen & Greenough online < use this to look up and reference grammar/syntax
jstor.org < use this to look up scholarly articles

Additional resources. Enormous thanks to Dr. Katrina Dickson for sending these along!