The first GIS of 2013-14 got the year off to a good (and very interdisciplinary!) start. First up was Laura Viidebaum with a paper on “Rhetorical Performance”. After a suitably rhetorical but wholly unnecessary apologia for her lack of oratorical skill, Laura told us about her investigation of ancient statements about performance as a feature of rhetoric, particularly the issue of character portrayal (ἠθοποιία); she discussed the ways in which various ancient authors use this term, and its particular importance in Lysias’ rhetoric. Continue reading “Graduate Interdisciplinary Seminar – 18/10/2013”
If you haven’t already been to the Cambridge Greek Play – a double bill of Prometheus and The Frogs – or bought tickets for today’s or tomorrow’s performance, then before you read this review – STOP, and book your tickets now, because everyone ought to go to see this!
Done that? OK, you can read on now.*
Why has no-one else thought of this before? No need to keep having these endless scholarly debates, just hold a trial and have a judge decide once and for all. Think of all the paper we’d save!
… apparently there’s going to be a mock trial do decide which of the potamonial (if that isn’t a word, it should be) claimants’ cases hold water. Excerpts from the Guardian’s hype:
On Saturday, in the usually peaceful town of San Mauro Pascoli, near Rimini, the centuries-old debate will be reopened in a mock trial that aims to deliver a verdict, once and for all, on the identity of the real Rubicon. It is a battle that pitches neighbouring towns against each other and divides impassioned locals into three equally zealous camps – one for each river in question.
Fierce as Caesar’s battle with Pompey was, it may have nothing on this. The judge, however, is expected to draw the line at severed heads.
In 1933, a time when Benito Mussolini was fully versed in the rehabilitation of Rome’s ancient glory for contemporary political purposes, he decided the debate…
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I feel I have to share my recent discovery (sadly made via the internet rather than in person) that Wallsend Metro Station in Newcastle has bilingual signage in English and Latin:
It also has pictures of “Romanised” local shops, of which the one of the Job Centre labelled “Forum Venalicium” – “slave market” – seems to be the most popular.
The vast majority of recent ‘Classical’ movies are, almost universally, completely mangled versions of the Classical history/mythology/literature on which they were supposedly based, without even the potentially redeeming feature of decent acting (I’m thinking of ‘Troy‘, ‘300‘, ‘Centurion‘…I’m sure you can fill in others). Classical movies from several decades ago, on the other hand, are, almost universally, completely mangled versions of the Classical history/mythology/literature on which they were supposedly based, without even the potentially redeeming feature of decent acting…and yet possessed of a certain vintage charm that somehow makes them utterly hilarious and hugely entertaining to watch.
In our never-ending quest to bring our readers the best in home entertainment, therefore, Res Gerendae‘s dedicated team of film critics selflessly set out to investigate and judge a series of cult Classics films – broadly defined as films relating (or claiming to relate) in some way to Greek or Roman history or mythology, dating from the 1950s-1980s. Ladies and gentlemen, without further ado, I give you – the Cult Classics Oscars!
We’ve been having a ‘Phoenician for Classicists’ seminar in the Faculty this term, for anyone
mad *ahem* keen enough to spend their Friday lunchtimes attempting to read inscriptions in a language they don’t know, written in a script that doesn’t represent vowels and in which about half of the consonants look essentially identical to each other. Put like that, who wouldn’t come along and join us?
Anyway, it’s been great fun, if mind-blowing (I blame the very little work I’ve got done any Friday afternoon this term on having expended all my brain cells trying to understand Phoenician), and it seemed appropriate to celebrate the last of these seminars with cake. And so, I hereby present the Phoenician Epigraphy Cake: