Electra Atlantis: Digital Approaches to Antiquity

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Tom Elliott (tom.elliott@nyu.edu)

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February 23, 2017

Charles Ellwood Jones (AWOL: The Ancient World Online)

eDiAna: Digital Philological-Etymological Dictionary of the Minor Ancient Anatolian Corpus Languages

eDiAna: Digital Philological-Etymological Dictionary of the Minor Ancient Anatolian Corpus Languages
The aim of the Digital Philological/Etymological Dictionary of the Minor Language Corpora of Ancient Anatolia is to provide the first exhaustive lexical assessment of the entire corpus of the lesser attested ancient Anatolian languages, i.e. Hieroglyphic and Cuneiform Luwian, Lycian, Carian, Lydian, Palaic, Sidetic and Milyan (Lycian B). This includes the philological documentation of word usage with regard to semantics, grammar and context as well as cultural background and the historical linguistic interrelationships of the minor languages with Hittite and the other Indo-European languages, whereby the methodology of comparative historical linguistics plays an important role. The Digital Philological/Etymological Dictionary of the Minor Language Corpora of Ancient Anatolia is intended to serve as a fundamental resource for Hittitology and for Ancient Anatolian and Ancient Near Eastern Studies as well as for Indo-Europeanists. It will be published online (with multiple search options), printed (print-on-demand) and thus made accessible to a wide public including scholars of many different disciplines and other interested parties.
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  • Revue de presse égyptienne

    Revue de presse égyptienne
    Revue de presse égyptienne compilée régulièrement à partir du Bulletin d’Information Archéologique (BIA) qui paraît sous le double parrainage de l’IFAO et de la chaire « Civilisation pharaonique : archéologie, philologie et histoire » du Collège de France sur le site :
    http://www.egyptologues.net/archeologie/bia.htm
    Revue mise à jour le 16 février 2017.

    I - Recherches et découvertes archéologiques

    II - Restauration, préservation

    III - Musées

    IV - Expositions archéologiques

    V - Thèmes généraux


    I - Recherches et découvertes archéologiques

    Alexandrie

    Al-Ahram Hebdo du 9 nov 16 : 20 années de recherches sous-marines…
    La ville d’Alexandrie fête cette semaine la fondation du département d’archéologie sous-marine créé en 1996. Retour sur la création de ce département qui relève du ministère des Antiquités, et passage en revue de ses plus belles découvertes. Lire la suite…Al-Ahram Hebdo du 9 nov 16 : Ibrâhîm Darwîsh : Les pièces que nous avons ressorties des eaux ne représentent que 2 % du trésor archéologique sous-marin…
    3 questions à Ibrâhîm Darwîsh, premier directeur du département d’archéologie sous-marine. Lire la suite…

    Aswân

    Al-Ahram Weekly du 26 jan 17 : Aswân discoveries…
    New discoveries in the Gabal al-Silsila area of Aswân have changed perceptions of this ancient Egyptian quarry, reports Nevine El-Aref. Read Full Story…Al-Ahram Weekly du 10 nov 16 : Aswân: The unfinished obelisk…
    New discoveries are being made in Aswân in Upper Egypt, one of the country’s most romantic destinations, writes Zâhî Hawwâs. Read Full Story…

    Barque de Chéops

    Al-Ahram Hebdo du 18 jan 17 : Les barques solaires n’ont pas dit leur dernier mot…
    De nouvelles planches en bois appartenant à la seconde barque solaire du roi Chéops révèlent de nouveaux secrets sur la construction des embarcations au temps des pharaons. Lire la suite…Al-Ahram Hebdo du 18 jan 17 : Barque solaire ou funéraire ?…
    Depuis la découverte de la première barque solaire de Chéops en 1954, les archéologues débattent sur la valeur et la fonction de ces objets de culte. Lire la suite…

    CFEETK

    Al-Ahram Hebdo du 1er fév 17 : Christophe Thiers : La préservation des monuments de Karnak est au cœur de notre préoccupation…
    Entretien avec Christophe Thiers, directeur du Centre Franco-Égyptien des Études des Temples de Karnak (CFEETK), qui fait le point sur l’œuvre du Centre. Lire la suite…

    Haute-Égypte

    Al-Ahram Hebdo du 30 nov 16 : Découverte en série…
    Au cours des deux dernières semaines, plusieurs monuments importants ont été mis au jour dans les régions d’Abydos, de Louqsor et d’Aswân. Retour sur ces découvertes archéologiques d’une grande portée. Lire la suite…Al-Ahram Weekly du 24 nov 16 : New discoveries in Upper Egypt…
    Three major discoveries were recently made in Suhâg, Luxor and Aswân in Upper Egypt, reports Nevine El-Aref. Read Full Story…

    Louqsor

    Al-Ahram Weekly du 9 fév 17 : Necropolis finds in Luxor…
    The discovery of a Ramesside-era scribal tomb in the Al-Khokha area of Luxor shows that this necropolis could contain more tombs from the same period. Read Full Story…Al-Ahram Hebdo du 8 fév 17 : L’époque ramesside révèle ses secrets…
    Une tombe remontant à la XVIIIe dynastie pharaonique vient d’être mise au jour dans la région d’Al-Khokha, près de Louqsor en Haute-Égypte. Lire la suite…Al-Ahram Weekly du 15 déc 16 : New discoveries in Luxor…
    New discoveries in the Temple of Amenhotep III and an exhibition of other important finds are marking the anniversary of the Luxor Museum, reports Nevine El-Aref. Read Full Story…

    Matariyya

    Al-Ahram Hebdo du 5 oct 16 : Ramsès II se dévoile petit à petit…
    La mission archéologique égypto-allemande, opérant sur le site de Matariya au nord-est du Caire et dirigée par Dietrich Raue, a découvert de nouvelles preuves qui peuvent conduire à un temple du roi Ramsès II, 3e pharaon de la XIXe dynastie (1279-1213 av. J.-C.). Lire la suite…

    Papyrus

    Al-Ahram Hebdo du 14 déc 16 : L’héritage fiscal byzantin…
    Une collection de papyri révèle l’influence de l’Empire byzantin sur le système fiscal arabe et égyptien en particulier. Focus. Lire la suite…Al-Ahram Hebdo du 14 déc 16 : Le trésor des papyri arabes…
    Les papyri arabes retrouvés en Égypte sont un matériel précieux pour les archéologues et historiens du monde entier, qui continuent à les étudier avec passion. Lire la suite…

    Pi-Ramsès

    Al-Ahram Hebdo du 15 fév 17 : Les secrets de Pi-Ramsès…
    La mission archéologique allemande du Musée Roemer et Pelizaeus d’Hildesheim a mis au jour un ensemble de bâtiments dans le Delta, à Pi-Ramsès (actuelle Qantir). Lire la suite…

    Pyramide de Chéops

    Al-Ahram Hebdo du 26 oct 16 : La grande énigme de la pyramide de Chéops…
    La mission Scan Pyramids a annoncé, jeudi 13 octobre, la découverte de deux cavités dans la grande pyramide de Chéops. Une annonce qui soulève un débat dans les milieux archéologiques. Lire la suite…Al-Ahram Weekly du 20 oct 16 : Pyramid anomalies found…
    The ScanPyramids team has found two anomalies in the Khufu Pyramid after one year of research, reports Nevine El-Aref. Read Full Story…

    II - Restauration, préservation

    Banî Swayf

    Al-Ahram Weekly du 13 oct 16 : Banî Swayf tombs to open…
    Two tombs and the remains of a Ptolemaic temple will soon be open to visitors near the Upper Egyptian town of Banî Swayf, reports Nevine El-Aref. Read Full Story…

    Caire historique

    Al-Ahram Weekly du 12 jan 17 : New life for the sabil-kuttabs…
    The sabil-kuttabs of Islamic Cairo are to be converted into cultural centres for children, writes Nevine El-Aref. Read Full Story…

    CFEETK

    Al-Ahram Hebdo du 1er fév 17 : Un demi-siècle de restaurations…
    Le Centre Franco-Égyptien d’Étude des Temples de Karnak (CFEETK) célèbre ces jours-ci son jubilé d’or. Créé en 1967, le centre a pour mission d’étudier et de restaurer les temples réaménagés par les pharaons successifs. Lire la suite…

    Complexe Qalâwwûn

    Al-Ahram Hebdo du 14 déc 16 : Qalâwwûn désormais hors de danger…
    Le ministère des Antiquités a réussi à protéger le complexe mamelouk de Qalâwwûn, situé dans Le Caire historique, d’une montée anormale des eaux souterraines. Lire la suite…

    Divers

    Al-Ahram Hebdo du 4 jan 17 : Ahmad al-Nimr : Nous suivons les critères internationaux établis par l’Unesco…
    Ahmad al-Nimr, superviseur général de l’enregistrement des monuments coptes au ministère des Antiquités, explique les étapes à suivre pour la valorisation de ce patrimoine. Entretien. Lire la suite…Al-Ahram Hebdo du 7 déc 16 : À la rescousse du patrimoine menacé par les guerres…
    À l’initiative de la France et des Émirats, une conférence internationale sur le patrimoine en péril dans les régions de conflit armé s’est tenue les 2 et 3 décembre dernier à Abu-Dhabi. Plusieurs décisions importantes ont été prises. Lire la suite…Al-Ahram Hebdo du 26 oct 16 : Des activités sportives au service du patrimoine…
    Il est 7h du matin. Près de 2 000 personnes en tenue sportive se trouvent devant la célèbre basilique de la Vierge à Héliopolis pour participer à la « course patrimoniale d’Héliopolis ». Lire la suite…Al-Ahram Hebdo du 26 oct 16 : 5 gouvernorats, 1 association…
    Les ONG de cinq gouvernorats se sont regroupées en une seule association pour préserver la richesse patrimoniale de l’Égypte. Lire la suite…

    Église al-Butrusiyya

    Al-Ahram Hebdo du 4 jan 17 : Al-Botrossiya retrouve son lustre…
    Après une restauration en un temps record suite à l’attaque terroriste du 11 décembre dernier, la messe du nouvel an a pu être célébrée à l’église Saint-Pierre et Saint-Paul. Lire la suite…

    Mer Rouge

    Al-Ahram Hebdo du 12 oct 16 : Le phare Eiffel, déclaré patrimoine national…
    Le comité du ministère égyptien des Antiquités vient d’inscrire le phare Eiffel, sur la mer Rouge, sur la liste du secteur des monuments islamiques égyptiens. Lire la suite…

    Mosquée al-Tunbugha al-Mardânî

    Al-Ahram Weekly du 27 oct 16 : Mosque restoration begins…
    Restoration work on the al-Tunbugha al-Mardânî Mosque in Cairo is to begin at the end of October, Nevine El-Aref reports. Read Full Story…

    Parlement égyptien

    Al-Ahram Hebdo du 19 oct 16 : Des joyaux architecturaux…
    Les bâtiments du parlement sont construits dans le style raffiné de la seconde moitié du XIXe siècle et la première moitié du XXe siècle. Ils sont enregistrés comme monuments à conserver par le Conseil suprême des antiquités. Lire la suite…

    Ramesseum

    Al-Ahram Hebdo du 23 nov 16 : Une collaboration exemplaire…
    Depuis plus de vingt ans, des équipes franco-égyptiennes travaillent main dans la main pour mettre au jour et restaurer le patrimoine exceptionnel de la rive ouest de Thèbes. Des efforts récompensés par de nombreuses découvertes. Focus. Lire la suite…

    Suhâg

    Al-Ahram Weekly du 1er déc 16 : Suhâg under development…
    A programme has been put in place to preserve and develop the monumental sites of the Upper Egyptian governorate of Suhâg, reports Nevine El-Aref. Read Full Story…

    Temple de Karnak

    Al-Ahram Hebdo du 26 oct 16 : La chapelle de Thoutmosis III retrouve sa splendeur…
    Après de longues années de restauration, la chapelle de Thoutmosis III au temple de Karnak est finalement à nouveau rouverte aux visiteurs. Lire la suite…

    Unesco

    Al-Ahram Weekly du 9 fév 17 : UNESCO report sent…
    A report on the condition of the World Heritage Sites of the St Abu Mena Monastery and the Memphis Necropolis has been sent to UNESCO in Paris. Read Full Story…

    Wâdî al-Natrûn

    Al-Ahram Hebdo du 4 jan 17 : L’art copte sous toutes ses formes…
    Les découvertes de la mission hollandaise en charge des restaurations de l’église de la Vierge du monastère al-Souriane n’en finissent pas. Explications. Lire la suite…

    III - Musées

    Alexandrie

    Al-Ahram Hebdo du 9 nov 16 : Le musée sous-marin, pour quand ?…
    La construction d’un musée sous-marin est un rêve et un besoin urgent, afin de ressortir les antiquités sous-marines englouties. Lire la suite…

    Divers

    Al-Ahram Hebdo du 16 nov 16 : Sha‘bân ‘Abd al-Gawwâd : Nous avons voulu adresser un message au monde entier…
    Après la vente par le Musée d’art de Toledo aux États-Unis de pièces d’antiquités égyptiennes, l’Égypte a suspendu toute coopération avec cette institution. Explications de Sha‘bân ‘Abd al-Gawwâd, directeur général du département des antiquités restituées. Lire la suite…

    Grand Musée Égyptien

    Al-Ahram Hebdo du 11 jan 17 : Un futur complexe pharaonique…
    Le Nouveau Grand Musée égyptien est supposé être inauguré dans un an. Le chantier est en ébullition, les travaux vont bon train avec en parallèle la restauration de nombreux anciens objets. Visite dans les coulisses. Lire la suite…Al-Ahram Weekly du 15 déc 16 : GEM design awarded…
    A journey towards ancient Egyptian culture will be the main theme of the Grand Egyptian Museum’s exhibition design, writes Nevine El-Aref. Read Full Story…Al-Ahram Weekly du 27 oct 16 : Work on the GEM continues…
    A soft loan agreement with the Japan International Cooperation Agency will enable construction work on the Grand Egyptian Museum to continue, writes Nevine El-Aref. Read Full Story…

    Musée Copte

    Al-Ahram Weekly du 9 fév 17 : Martyrs at the museum…
    An exhibition commemorating Egyptian martyrs was inaugurated at Cairo’s Coptic Museum earlier this week. Read Full Story…

    Musée d'Art islamique

    Al-Ahram Hebdo du 25 jan 17 : Le musée d’Art islamique fait peau neuve…
    Le musée d’Art islamique a été inauguré la semaine dernière par le président de la République, après trois ans de fermeture, suite à l’attentat terroriste du 24 janvier 2014 qui l’avait endommagé. Après un long travail de restauration et une nouvelle muséographie, il rouvre ses portes aux visiteurs. Lire la suite…Al-Ahram Hebdo du 25 jan 17 : Hamdî ‘Abd al-Mun‘im : 95 % des pièces endommagées ont retrouvé leur splendeur…
    Hamdî ‘Abd al-Mun‘im, chef des laboratoires de restauration du musée d’Art islamique, revient sur les efforts visant à sauver les pièces d’antiquité gravement endommagées par l’explosion du 24 janvier 2014. Entretien. Lire la suite…Al-Ahram Weekly du 19 jan 17 : Islamic Museum to reopen…
    The Museum of Islamic Art, damaged by a car bomb in 2014, will soon once again light up the Bab Al-Khalq district of downtown Cairo. Read Full Story…

    Musée de Louqsor

    Al-Ahram Hebdo du 23 nov 16 : 25 ans de coopération archéologique…
    Le Musée de Louqsor accueille une exposition exceptionnelle pour célébrer les 25 ans de coopération archéologique franco-égyptienne au Ramesseum. Un événement qui réunit experts, professeurs et amateurs du 4 novembre au 4 décembre. Lire la suite…

    Musée Égyptien

    Al-Ahram Weekly du 1er déc 16 : Adventures in the Egyptian Museum…
    What lies hidden in the basement maze of Cairo’s Egyptian Museum, asks Zâhî Hawwâs. Read Full Story…Al-Ahram Weekly du 24 nov 16 : Happy birthday to you!…
    The Egyptian Museum in Tahrîr Square celebrated its 114th birthday this week with a gala ceremony in its garden, Nevine El-Aref reports. Read Full Story…

    Musée Gamâl ‘Abd al-Nâsir

    Al-Ahram Weekly du 6 oct 16 : Nasser Museum opens…
    The long-awaited Gamal Abdel-Nasser Museum was finally opened to the public last week, reports Nevine El-Aref. Read Full Story…Al-Ahram Hebdo du 5 oct 16 : Abdel-Nasser honoré chez lui…
    Le président Abdel-Fattah Al-Sissi a inauguré cette semaine le musée Gamal Abdel-Nasser. Un musée qui retrace la vie du leader mais aussi une importante tranche de l’histoire de l’Égypte et du monde arabe. Lire la suite…

    Musée Kom Ushîm

    Al-Ahram Hebdo du 16 nov 16 : Kom Ushîm enfin inauguré…
    La région de Karânîs au Fayyûm a témoigné cette semaine de l’inauguration du musée de Kom Ushîm, fermé depuis 10 ans. Un centre de visiteurs et un musée en plein air ont également été ouverts au public. Lire la suite…

    Musée Kom Ûshîm

    Al-Ahram Weekly du 10 nov 16 : Openings in Fayyûm…
    The Kom Ûshîm Museum has been reopened after 10 years of closure and the Karânîs archaeological site developed in Fayyûm, reports Nevine El-Aref. Read Full Story…

    Musée Manyal

    Al-Ahram Weekly du 26 jan 17 : Hunting Museum reopens…
    After a decade of closure, the Hunting Museum in Manyal Palace is to be reopened soon, writes Nevine El-Aref. Read Full Story…

    Musée national de la Civilisation égyptienne

    Al-Ahram Weekly du 16 fév 17 : The NMEC opens in Cairo…
    A temporary exhibition on the development of Egyptian crafts through the ages is marking the soft opening of the new National Museum of Egyptian Civilisation in Cairo. Read Full Story…

    Musée parlementaire

    Al-Ahram Hebdo du 19 oct 16 : Le Musée parlementaire : Témoin d’un passé riche en péripéties…
    Situé au cœur du conseil des députés, le Musée parlementaire retrace la grande histoire du parlement égyptien. Visite guidée. Lire la suite…

    IV - Expositions archéologiques

    Japon

    Al-Ahram Weekly du 19 jan 17 : Pyramids treasure in Toyama…
    Nevine El-Aref enjoys a trip back to the age of the pyramid builders in the Japanese city of Toyama. Read Full Story…

    Musée Copte

    Al-Ahram Hebdo du 15 fév 17 : Célébrer les « Martyrs » au Musée Copte…
    Intitulée Martyrs de l’Égypte, une exposition au Musée Copte rend hommage aux martyrs égyptiens à travers les siècles en mettant l’accent sur les coptes qui ont été persécutés par les Romains au début de l’ère chrétienne. L’exposition vient d’être inaugurée pour 18 jours, elle prendra fin le 20 février. Lire la suite…

    Musée de Louqsor

    Al-Ahram Weekly du 13 oct 16 : Paintings on display…
    Paintings of al-Qurna Village have been put on display at the Luxor Museum in Upper Egypt, reports Nevine El-Aref. Read Full Story…

    Musée de Suez

    Al-Ahram Hebdo du 9 nov 16 : Suez l’islamique…
    À l’occasion de la journée de la ville de Suez, le 24 octobre, le musée de la ville a organisé une exposition sur les trésors islamiques de la ville. Visite guidée. Lire la suite…

    Musée Égyptien

    Al-Ahram Hebdo du 15 fév 17 : L’Égypte, berceau des religions…
    Deux grandes expositions se tiennent actuellement au Musée Égyptien et au Musée Copte. Les pièces choisies relatent l’histoire des religions à travers les différentes étapes de la civilisation égyptienne. Lire la suite…Al-Ahram Hebdo du 7 déc 16 : Une exposition doublée d’un hommage…
    Le Musée égyptien du Caire accueille une exposition exceptionnelle regroupant des pièces antiques issues de la contrebande. Il s’agit au passage de saluer les efforts des unités de lutte contre le trafic d’antiquités. Lire la suite…Al-Ahram Hebdo du 30 nov 16 : L’héritage de Silîm Hasan au Musée Égyptien…
    L’œuvre complète du célèbre égyptologue Silîm Hasan a été le thème d’une exposition tenue cette semaine au Musée Égyptien. Lire la suite…Al-Ahram Hebdo du 9 nov 16 : Le roi enfant accueille les visiteurs du Musée du Caire…
    Le Musée égyptien du Caire célèbre, le mois de novembre, le 94e anniversaire de la découverte de la tombe du jeune pharaon, Toutankhamon. Le musée expose à l’entrée cinq pièces de la magnifique collection en or du jeune roi. Lire la suite…Al-Ahram Hebdo du 12 oct 16 : Les militaires de l’antiquité…
    Le Musée Égyptien commémore la victoire du 6 Octobre 1973, en organisant une exposition temporaire qui retrace l’évolution de l’armée égyptienne à travers les siècles. Lire la suite…

    Queens of The Nile

    Al-Ahram Hebdo du 7 déc 16 : Les reines du Nil aux Pays-Bas…
    L’Égypte est présente avec plus de 300 pièces antiques à l’exposition « Les Reines du Nil » au Musée national hollandais, à Amsterdam. L’exposition est ouverte jusqu’en avril 2017. Lire la suite…

    V - Thèmes généraux

    Coopération

    Al-Ahram Weekly du 8 déc 16 : New fund for heritage…
    The creation of a US$100 million international fund to safeguard endangered cultural heritage in areas of armed conflict was one main outcome of this week’s Abu Dhabi Conference, writes Nevine El-Aref. Read Full Story…Al-Ahram Weekly du 13 oct 16 : Aga Khan memorandum signed…
    EGYPT’s Ministry of Antiquities signed a memorandum of understanding with the Aga Khan Trust for Culture (AKTC) last week that is intended to broaden institutional engagements through joint ventures and exchange programmes in the field of museums and archaeology, reports Nevine El-Aref. Read Full Story…

    Divers

    Al-Ahram Hebdo du 8 fév 17 : Vivre avec les pharaons…
    Le Centre pour les enfants de la civilisation et la créativité accueille les familles pendant les vacances de la mi-année, une invitation à mieux connaître l’histoire et le patrimoine égyptiens. Lire la suite…Al-Ahram Hebdo du 8 fév 17 : Ossama Abdel-Wareth : J’espère que ce centre permettra à des jeunes de découvrir leur vocation…
    Pour l’égyptologue Ossama Abdel-Wareth, nouveau directeur du Centre pour les enfants de la civilisation et la créativité, l’objectif de cet établissement est d’éveiller la conscience patrimoniale chez les plus jeunes. Lire la suite…Al-Ahram Weekly du 26 jan 17 : Archaeology, my love…
    Young people and others often ask me how I became an archaeologist, writes Zâhî Hawwâs. Read Full Story…Al-Ahram Weekly du 19 jan 17 : Naguib Mahfouz and ancient Egypt…
    The Egyptian Nobel laureate Naguib Mahfouz often wrote about ancient Egypt throughout his long and distinguished career. Read Full Story…Al-Ahram Hebdo du 30 nov 16 : Excursion dans une époque lointaine…
    Le Centre de documentation du patrimoine culturel et naturel (Cultnat) vient de faire une reconstitution numérique de la chaussée du complexe funéraire du roi Wanis, dernier souverain de la Ve dynastie. Un travail qui vaut le détour. Lire la suite…Al-Ahram Weekly du 10 nov 16 : Cultural feast in Luxor…
    The Upper Egyptian city of Luxor saw a feast of cultural heritage events this week. Read Full Story…Al-Ahram Weekly du 27 oct 16 : Sunshine for Ramses II in Aswan…
    Dignitaries, tourists and journalists watched the sun’s rays strike the face of Ramses II at the Abu Simbel Temples at Aswân, reports Nevine El-Aref. Read Full Story…Al-Ahram Weekly du 27 oct 16 : A man we loved and lost…
    Zâhî Hawwâs remembers the late Egyptian writer Anis Mansour and his sometimes unsung expertise in Egyptology. Read Full Story…

    In Memoriam

    Al-Ahram Weekly du 12 jan 17 : Mistress of the Cairo Museum. Obituary: May Trad (1930-2016)…
    “Mistress of the Cairo Museum” May Trad passed away in December 2016 in Lebanon. Read Full Story…Al-Ahram Weekly du 24 nov 16 : Obituary: Father of Egyptian archaeologists ‘Abd al-Halîm Nûr al-Dîn (1943-2016)…
    Muhammad ‘Abd al-Halîm Nûr al-Dîn, a pioneer in Egyptology, died Wednesday 16 November. Read Full Story…

    Pillage archéologique

    Al-Ahram Weekly du 5 jan 17 : Mosque lamps stolen…
    Six Islamic lamps out of the 15 that decorate the tombs of the former Egyptian royal family in the al-Rifâ‘î Mosque in Cairo have been stolen, reports Nevine El-Aref. Read Full Story…

    Publications

    Al-Ahram Hebdo du 11 jan 17 : 100 ans d’archéologie en images…
    Un ouvrage retraçant un siècle d’archéologie franco-égyptienne vient de paraître. Il regroupe 184 photographies d’une grande valeur historique et esthétique. Lire la suite…

    Restitutions archéologiques

    Al-Ahram Weekly du 12 jan 17 : The great Oxford debate…
    A recent Oxford Union debate was a further step towards the return of Egypt’s stolen cultural artefacts from abroad, writes Zâhî Hawwâs. Read Full Story…Al-Ahram Hebdo du 14 déc 16 : Genève rend une stèle appartenant à l’Égypte…
    Le Parquet de Genève a décidé de rendre à l’Égypte une stèle volée il y a trente ans dans le temple de Bahbît al-Hagar, bâti durant l’Antiquité dans le delta du Nil, à côté de la ville de Mansûra. Lire la suite…Al-Ahram Weekly du 8 déc 16 : A historic agreement…
    The United States and Egypt signed a historic agreement this week aimed at thwarting the trafficking of antiquities, with artefacts being recovered from the US, Switzerland and the UAE, writes Nevine El-Aref. Read Full Story…Al-Ahram Weekly du 24 nov 16 : Repatriation wins the debate…
    Supporters of the repatriation of Arab artefacts acquired under colonial rule won a debate held at Oxford University last week, reports Nevine El-Aref. Read Full Story…

    Unesco

    Al-Ahram Weekly du 16 fév 17 : A visit by UNESCO’s chief…
    UNESCO Director-General Irina Bokova is in Egypt on an official visit. Al-Ahram Weekly reviews her schedule. Read Full Story…

    Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

    Let’s not shout at the Vatican library for digitising microfilms

    The Vatican library digitisation has made a bit of a left turn lately, and I’ve certainly complained about it, and I’m sure I’m not alone in this.  Instead of the high quality brand new full colour photographs, they’ve started to digitise vast numbers of rather rubbish quality microfilms.

    Today a correspondent from the library gently took me to task for this, and I admit that I accept the reproof.

    It’s easy for us to forget that the Vatican state has no tax base.  The whole enterprise relies upon the generosity of people who do not live there.  We are accustomed to thinking of the mighty Roman Catholic Church as a rich institution, and so it is; but mostly in things like the roof of the Sistine chapel, which are actually a responsibility and a drain on resources, rather than a source of profit.

    Among this, the digitisation of the Vatican manuscripts is a mighty expense.  It has been paid for by donations, notably from the Polonsky Foundation, to whom the world now owes a huge debt.  But the digitisation can only go forward with the support of donations.

    What the Vatican library has chosen to do, in the meantime, is to make as much of its manuscript collection available as possible.  They may not be able to afford to rephotograph everything just yet.  But they can afford to scan the microfilms, for which they used to charge a pretty sum – so they are being generous here – and make these available online for free to us all.

    To their credit, this is what they have chosen to do.  I think we should applaud, not criticise.  Would that other libraries, like the British Library, or the Bodleian, would do the same.  It does give us some access to the manuscripts right now.

    Well done, the Vatican Library.  They have lost a revenue stream, in order to benefit us all.  We should be grateful.

    If you, reading this, are a wealthy man, please consider whether you could do anything so easily beneficial to scholarship as to sponsor the digitisation of the Vatican library.  If you are an ordinary mortal, like myself, please consider donating at the link here.

    A close up of the Meta Sudans from 1910

    The invaluable Roma Ieri Oggi site continues to upload photographs of old Rome, including photographs of vanished sites like the ancient fountain, the Meta Sudans.  A new one appeared a couple of days ago here.  It’s a close-up of the Meta Sudans, although I had to disable my anti-virus software (Kaspersky) in order to view it.  It seems that the site owner is very keen to monetise his site, and I suppose we cannot blame him for that.

    Here’s the image anyway:

    Meta Sudans, ca. 1910. Via Roma Ieri Oggi.

    I wondered if we adjusted the light levels, whether we might get a little more; but sadly darkness is darkness.  Worth a try tho:

    Wonderful to see these old photographs, tho. More! Note to non-Italian readers: remember that you can always view the Roma Ieri Oggi site using the Chrome browser, with built-in translation as you click. Google’s translator works really very well for Italian to English. So don’t be shy about visiting Roma Ieri Oggi.

    A new work by Apuleius!

    This story passed me by completely, until the excellent J.-B. Piggin tweeted about it, as part of his lists of Vatican manuscripts coming online.  Justin Stover has more here.

    In 1949, the historian of philosophy Raymond Klibansky made a dramatic announcement to the British Academy: a new Latin philosophical text dating from antiquity, a Summarium librorum Platonis, had been discovered in a manuscript of the Vatican (although he did not disclose its shelfmark). During the remaining fifty-six years of his life, until his death in 2005, his promised edition never appeared (Proceedings 1949).

    The work was transmitted with the other works of Apuleius, where it was treated as book 3 of De Platone, hitherto presumed lost.

    Piggin notes (after Justin Stover added a comment) that Klibansky did reveal the shelfmark in 1993, in his catalogue of the manuscripts of Apuleius’ philosophical works, with Frank Regen, Die Handschriften der philosophischen Werke des Apuleius.

    The manuscript is in fact Vatican Reginensis Latinus 1572, online here, although only in a wretched digitised microfilm.  The online catalogue entry is here.  The Vatican catalogue describes this as a 14th century manuscript, but R.H.Rouse has identified it as one of the manuscripts of the 13th century French bibliophile, Richard de Fournival.[1] It contains works of Apuleius, plus notes.  Justin Stover has a paper online here discussing how the manuscript fits within the stemma of the philosophical works of Apuleius.[2]

    The new work begins on folio 77r (frame 78), and here’s the opening portion.  The text starts with the Quod in the third column.

    Piggin adds that

    Stover’s edition, A New Work by Apuleius: The Lost Third Book of the De Platone, has since appeared with OUP. (HT to Pieter Buellens (@LatinAristotle).)

    Furthermore, there is also a paper online here from Justin Stover and Yaron Winter, in which the proposed authorship of the work is assessed using computational linguistics.[3]

    I think we all owe a debt to Justin Stover for his work on this one.

    And if you don’t follow J.-B. Piggin’s blog, with its endless notices of Vatican manuscripts as they come online, you should.

    UPDATE: My thanks to Pieter Bullens for correcting my mistake about the date of the manuscript on twitter.  I’ve updated the reference.

    1. [1]R.H. Rouse, “Manuscripts belonging to Richard de Fournival”, Revue d’histoire de textes 3 (1974), 253-269; p.266, where it is identified as number 85 in the Biblionomia of Richard de Fournival.  Online here.
    2. [2]J. A. Stover, “Apuleius and the Codex Reginensis”, Exemplaria Classica: Journal of Classical Philology 19 (2015), 131-154.
    3. [3]J.A.Stover & Y. Winter, “Computational Authorship Verification Method Attributes a New Work to a Major 2nd Century African Author”, Journal of the Association for Information Science and Technology 67, 2016, 239-242.

    Bill Caraher (The New Archaeology of the Mediterranean World)

    Data, Interpretation, Publishing

    I’ve been chewing on a blog post for a few days now and it just so happens that it coincides with the third installment of Dimitri Nakassis’s Archaeological Futures series over at his blog “Aegean Prehistory.” One of his more compelling points (and one that he has made several times in his blog) is that there persists a rhetorical divide between data collection and interpretation. Data collection continues to attract a particular kind of attention that generally focuses on issues of accuracy, efficiency, and productivity. In many ways, it represents a meaningful fork from a larger discussion of methodology prompted in large part by the emergence of New Archaeology in the 1960s and 1970s. The concern is that this emphasis on data collection as digital practice fragments how we talk about archaeological knowledge production and separates collecting datas in the field from analyzing them. If you’ve read my blog and some of my recent publications, you know my critical of this: slow archaeology.    

    It is probably valuable to stress that this division between data collection and interpretation is artificial and represents a divide in how we talk about archaeological practice and not archaeological practice in the field. The most eloquent advocates for sophisticated, more accurate, and more efficient data collection methods are generally fine field archaeologists who continuously draw on embodied knowledge, best practices, and their own data to make decisions on the fly at trench side or during survey. 

    The problem, then, becomes an issue of presentation. The generic divide between archaeological methods as an area of study and the analysis and interpretation of archaeological data has fostered what appears to be a divergent interests in the field. In practice, these interests deeply intertwined, of course, but on paper (so to speak!) they are not.

    Last week, I excitedly touted the release of a digital version of our bookPyla-Koutsopetria I: Archaeological Survey of an Ancient Coast Town. It’s free. Download it today

    The chief asset of the digital version (aside from it being free and digital) is that a reader can “drill down” into the archaeological data upon which our arguments are based. This data was published by Open Context on their platform and was open and free. Earlier this week, Sarah Bond, introduced the Gabii projects remarkable 3D publication to a wide audience. University of Michigan’s press published the 3D book, which retails for $150, but the data on which the book is based is available for free. In other words, publishing practice has largely followed the scholarly conversation that separated data collection (and data itself) from analysis. The analysis in these cases, will run you about $150 for Gabii, and before we released our book for free, $75. To be clear, my point here isn’t to disparage either of these efforts or Open Context or Michigan. The material reality of archaeological publishing is such that the tools, skills, and infrastructure used to publish data remains distinct from those required to publish a traditional book. As a result, these two aspect of publishing have remained separate. While one could argue that archaeological publications long separated “data” which tended to appear in the form of catalogues as either separate volumes or in separate sections, digital publishing practices have seemingly expanded that divide. 

    I’ve just started working on a pilot project to publish a 3D dataset that would require – in its current formulation – at least three and perhaps four different platforms ranging from a archaeological data publishing platform (like Open Context) to platforms best suited to publish 3D data, a portable digital version of the data and analysis that does not require a internet connection, and, perhaps, a paper version that – like we did with Mobilizing the Past – that offers a way for a read more at ease with conventional paper publications to access the digital elements of the project. To my way of thinking, this distributed form of publishing provides someone interested in this project with multiple avenues to access the data and the analysis and interpretation.

    At the same time (and as some of my collaborators in this project have pointed out), this distributed model of publishing exacerbates the distinction between various forms of archaeological knowledge. The traditional codex (and page) represents the most familiar way to present linear arguments that move systematically from point to point to build their case. Data, however, is never as neat and linear as an argument, but the further it stands apart from the argument (whether through format, platform, or media) the less reciprocal or “entangled” the relationship between data and argument will appear. 

    So as I look toward the future of archaeology, I’m simultaneously excited about the impact of technology on how archaeology is practiced and published and completely humbled by my inability to think about how an entangled discipline that preserves both the linearity of archaeological arguments and the non-linearity of archaeological practice would appear. 


    Tom Brughmans (Archaeological Network Analysis)

    New journal: network analysis in the humanities and social sciences

    Looks like a lot is happening in our young community recently. A few months ago the Historical Network Research journal was announced and now there is the journal for network analysis in the humanities and social sciences. They very much welcome humanities contributions, and there are a number of archaeologists and historians on the board. Do […]

    February 22, 2017

    Archeomatica: Tecnologie per i Beni Culturali

    GetCOO lo "Shazam dell'arte" Made in Italy

    Siete dei Turisti seriali e appassionati? Quante volte vi siete imbattuti in un quadro o un monumento e non avete trovato le informazioni che cercavate? Nessuna guida turistica in borsa e nessun cartello informativo all'orizzonte, nemmeno una piccola targhetta col nome per cercare su Google. 

    Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

    Piranesi’s engraving of the Arco di Portogallo

    The “Arco di Portogallo” or “Arch of Portugal”, so called because it was located in the Corso in Rome near the residence of the Portugese ambassador, was demolished in 1662.  I had never heard of it, I confess, until Anna Blennow tweeted an engraving by Piranesi.  It stood near the Palazzo Fiano.  It seems to have been a late edifice, perhaps of the time of Marcus Aurelius, perhaps later.

    Let’s enjoy this image of another bit of vanished Rome.

    Charles Ellwood Jones (AWOL: The Ancient World Online)

    AKDC debuts new data visualization tool: Layer Cake

    AKDC debuts new data visualization tool: Layer Cake
     
    The Aga Khan Documentation Center at MIT has released its prototype of Layer Cake, a 3-axes mapping tool that enables users to build maps layering narrative, time, and space simultaneously. Envisioned by AKDC Program Head, Sharon C. Smith, Ph.D., the tool has become a reality thanks to the programming expertise of James Yamada (Master in Design Studies, Harvard GSD).

    Ali Asgar Alibhai (Ph.D. candidate, Harvard NELC) provided the content for the pilot project by analyzing textual sources of Ibn Jubayr’s 12th century pilgrimage from  Spain to Mecca.  The resulting map documents Ibn Jubayr’s travels temporally, geographically, and with accompanying descriptions of the cities and sites he visited.  Images and information about those cities and sites is linked to Archnet–AKDC’s globally-accessible, intellectual resource focused on architecture, urbanism, environmental and landscape design, visual culture, and conservation issues related to the Muslim world–to provide more context.

    While James, Ali, and Sharon continue to develop the tool and refine the interface, we welcome users to view Ibn Jubayr’s travels in Layer Cake and provide feedback for this test case.  Please send questions, comments, and suggestions to the project PI, Sharon C. Smith.

    Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

    From my diary

    It’s been a busy few days.  I have a few blog posts backed up, which I shall now be able to get to.   The last few days have been taken up with life stuff, and also with thinking about the post by Richard Carrier that I responded to earlier.

    Reading polemic is a tedious business, and responding to it more so.  I’m going to have to get back into the habit of declining to be involved.  None of us must spend much time on it, or it will rot our souls.  Nobody wants to hear why other people are wrong anyway.  We want to hear about enthusiasms, not hatreds.

    A friend to whom I mentioned this reminded me that, as Christians, we are called to love those who hate us.  That does apply to atheists too, tempting as it is to respond in kind.

    Once I clear the backlog, I shall return to Eutychius.

    More on the sestertius of Titus showing the Meta Sudans

    A correspondent kindly drew my attention to the following piece in the Daily Express.

    Rare Roman coin featuring early depiction of the Colosseum sells for £372,000

    AN INCREDIBLE rare Roman coin featuring one of the earliest depictions of the Colosseum has sold for £372,000 – nearly five times its estimate.

    The bronze Sestertius coin that dates back to AD81 is believed to be only one of 10 that exist today.

    Seven are in museums around the world while the other three are in private hands.

    This one, appearing in public for the first time in almost 80 years, was acquired by a wealthy British connoisseur of Roman bronze coins in 1939.

    It had remained in the late collector’s family ever since but was today sold to a European private collector through London coin dealers Dix Noonan Webb.

    A packed auction room watched on in amazement as the relic far exceeded its £80,000 estimate.

    One side of the coin features an image of the famous Colosseum in Rome, which had only just been built.

    It’s very interesting to learn that his coin is so rare.  In case they vanish from the web, I’d like to place here copies of the marvellous large photographs of the coin.  Note the depiction of the fountain, the Meta Sudans, to the left of the Colosseum, and some kind of long-vanished portico to the right.

    Words, Words, Words: A response to Richard Carrier on Feldman and Eusebius

    It’s always nice when my blog posts attract attention. I learned last week that an old post of mine, from 2013, has attracted a response from a professional atheist polemicist named Richard Carrier. In a rather excitable post here on his own blog he roundly denounces my casual remarks, and indeed myself (!), and offers a new theory of his own. A correspondent drew my attention to this, and asked me to comment.

    My original post was written after I happened to see an article by the excellent Josephus scholar Louis Feldman. This tentatively endorsed the fringe idea that Eusebius of Caesarea (fl. early 4th century) may have composed the so-called Testimonium Flavianum (TF), the rather odd passage in Josephus Antiquities 18 which mentions Christ.[1] This claim is not one that anybody has previously had much time for, and I didn’t see any purpose in rebutting it. Feldman was only summarising work by others, I felt.

    But then I saw something interesting. The article made the claim that, if you search the Thesaurus Linguae Graecae database for a phrase towards the end of the TF, “And the tribe of Christians has not died out even to this day” (eis eti te nuneven/still to this day),[2] then it gives a bunch of hits in Eusebius’ works, and pretty much nowhere else.

    I do computer searches. I’m interested in Eusebius. So I did the search for the phrase, but I got only a handful of results. Disappointed, I blogged about it, added some cautions on rushing to conclusions from these kinds of matches, and thought no more about it.

    Last week I learned that, after four years, Richard Carrier has written a blog post in which he asserts rather over-enthusiastically that I simply did the search wrong – that instead I should have searched for eis eti nun; the te is just a particle, with the vague sense of “and”, and the two phrases are pretty much the same in meaning. Of course the two are indeed more or less identical in meaning.

    Carrier’s search produces splendid results. It gets 94 matches.[3] Of these, 6 are later than Eusebius; one each in six authors. The other 88 are entirely in Eusebius. In other words, practically nobody in all Greek literature ever uses the phrase other than Eusebius, if we can trust this search.  It looks like the claim that Eusebius wrote the TF is proved!

    But 88 out of 94 is not just a good result for the theory. It’s a fabulous result! In fact, it’s too good to be true. It’s like a Soviet election result with 99% voting for the official candidate. The number is supposed to produce confidence in the result, and does the opposite. It’s a sign that we need to sanity-check what we are doing.

    Doing so produces instant discomfort. Surely “even to this day” is a trivial phrase? Are we really saying that Eusebius invented something as obvious as that? It seems unlikely. Imagine a Greek, complaining about his neighbour, as man has done since time immemorial. Would he not say, “How long has this been a problem?” “Oh it started when we landed, and it has continued even to this day.” How else would you express that idea?[4]

    In fact, if we look at little further we find that the idea in rather similar words is indeed kicking around well before Eusebius, six centuries earlier, in the third century BC.   Apollonius Rhodius uses the idea in his Argonautica. He uses it to tie together past and present, in precisely the way that Eusebius does. [5]   The historian Polybius uses it, the poet Callimachus uses it. Nobody in our corpus uses it like Eusebius does; but then nobody is writing quite the kinds of works that Eusebius is.

    So why didn’t these authors appear in the results, when we do the search? Because these rely on searching for versions of eiseti nun, which differs only by a word-division and means much the same thing.[6] We can omit te; we can replace it with the stronger equivalent kai; we can run eis and eti together, especially when we know that Greek manuscripts did not feature word division.  Any claim that depends on the presence of a space in the text is a pretty fragile one.

    In fact there are quite a number of things we can do to twiddle the search, once we start thinking about it. Let’s just give the numbers from the TLG for a few versions of this search string, all of which mean much the same:

    • eis eti te nun – 4 hits. Josephus (1 hit), Eusebius (3 hits).
    • eiseti te nun – 7 hits. Eusebius (4), Sozomen (2), Oecumenius (1).
    • eis eti nun – 94 hits. 88 are from works of Eusebius, and the other 6 are later: Didymus the Blind (d.398) On Genesis, Procopius of Gaza (5th c.) Commentary on Isaiah, Stobaeus (6th c.), Chronicon Paschale (6th c.) and two 12th century Byzantine writers.
    • eiseti nun – 142 hits. Mostly pre-Eusebius; 7 hits in Apollonius Rhodius (3rd c. BC), Timaeus Historicus (3rd c. BC), Polybius (2nd c. BC), Philo (1st c. AD), Aelius Aristides (2nd c. AD), Lucian (2nd c.), Oppian (2nd c.), Clement of Alexandria (ca. 200), and others.  But Eusebius (63 hits) and Sozomen (41 hits) do appear.
    • eis eti kai nun – 23 hits. 2 hits from Porphyry (3rd c.) from different works. Some from Eusebius, Gregory of Nyssa, Gregory Nazianzen, and then Byzantine writers.
    • eiseti kai nun – 110 hits. Callimachus (3rd c. BC), Herennius Philo (ca. 100 AD), Lucian, the Book of Jubilees (ca. 150 BC), Eusebius (56 hits) – especially in the commentaries on Isaiah and Psalms – Eutropius, Chrysostom, Palladius, and Byzantine writers.  Also an LXX variant reading for Isaiah 9:6 (given by Eusebius).

    All of these do show significant use by Eusebius. Some of these show pre-Eusebian use; others don’t.

    In fact Carrier is quite well aware of the pre-Eusebian results, which he proceeds to mention briefly in a paragraph that reads as if it was tacked on afterwards.   But it’s terrible stuff. Clement of Alexandria is just a Christian, so he doesn’t count (?!).  Polybius doesn’t count because no other historical writer after him uses this phrase.  In fact Carrier has changed his argument; from “only Eusebius uses this, so it proves that Eusebius forged the TF” – a defensible argument, if wrong – to “Eusebius uses this more than anyone, so that proves that he forged the TF”.  Which, of course, it does not.  Carrier has defeated himself.[7]

    Here’s the rub; the success or failure of our search comes to depend on us, on our judgement, on our ingenuity, on our knowledge of Greek.   This subjectivity was precisely why, in my first blog post, I never proceeded beyond the exact match.

    There are further possible issues with this method. Only 1% of Greek literature has survived. Much of that is biased towards technical, classical or ecclesiastical writings, those that were useful to copyists in the Dark Ages. The TLG contains only a portion of that 1%. Someone who knew more about computational linguistics than I do could easily point out more problems.

    The database itself is not “clean”;[8] it is comprised of texts edited by many different editors, whose choices from the manuscript tradition will reflect their preferences. One example of this may be found in searching outside the TLG for eis eti nun. The TLG gives no hits before Eusebius. But I find that the 1831 R. Klotz edition of Clement of Alexandria, Protrepicus, has three hits for it.[9] In the TLG, based on the GCS edition, eis eti is replaced by eiseti. There is no indication in the apparatus as to why. The results of each database search are therefore a reflection of editorial choices.

    Stylistic analysis, whether manual or automated, can be something of a trap. It’s terribly easy to forget how little we really know about the texts before us, the language which none of us speak as a native and which changes considerably over the thousand years before us, the vagaries of editors, the influence of ammanuenses and copyists, and of the non-literary spoken language, which surrounds the literary text like a warm bath at every instant but is almost invisible to us.

    To sum up, we saw that a search for the exact phrase does not confirm Carrier’s claim. A search for revised phrases which mean the same does not confirm the claim either.  Attempts to dodge this simply destroy the argument.

    *   *   *   *

    Now let’s go back to where we started. The argument in Feldman’s article was that the use of this phrase proved that Eusebius wrote the TF.   We don’t want any implicit assumptions here, so let’s lay the argument out explicitly.

    The claim is: (1) we have no evidence that eis eti te nun (etc) was used in Greek literature before Eusebius; (2) the search proves that Eusebius uses it extensively; therefore (3) any use of the term proves that Eusebius composed that bit of text; and (4) the TF as found in the Church History of Eusebius does contain it; so (5) Eusebius composed the TF.

    The second point is correct. Eusebius does use the eis eti nun phrase extensively, once or twice in every book of the Church History, and elsewhere.

    But the first point is dodgy, and so is the third. We have seen that in fact we do have evidence of its use for 6 centuries before Eusebius.

    But let us suppose for a moment that the TLG searches did in fact show, as Carrier contended (before he discovered otherwise), that nobody used eis eti nun before Eusebius. The argument still is flawed. For this argument is an argument from silence – that we have no evidence that anyone else … so it must have been him. Arguments from silence are not valid.

    The archaeologists never tire of telling us that absence of evidence is not evidence of absence. It is the first thing that we must remember. And we’re searching only a subset of 1% of Greek literature, as we saw.  According to Carrier this means that we don’t have any evidence of use before Eusebius … very well. But even then we don’t have all the evidence. We have only a fraction of it.

    In conclusion, the claim that examining the use of eis eti nun proves that Eusebius composed the TF is not correct. The claim itself seems to involve an argument from silence. And the silence itself can only be sustained by ignoring the exact matches, using a related search, and then finding reasons to ignore other related searches.

    1. [1]There is another brief mention in Ant. 20 which also does so.
    2. [2]I have transliterated the Greek so that general readers can follow along.
    3. [3]This from a search of the TLG-E disk; I am currently unable to access the online system.
    4. [4]In fact it would be rather interesting to know how this was expressed in the classical period, as eis eti nun does not seem to be classical.
    5. [5]M.P. Cuypers, “Apollonius of Rhodes”, In: Irene J. F. De Jong, René Nünlist, Angus M. Bowie, “Narrators, Narratees, and Narratives in Ancient Greek Literature: Studies in Ancient Greek Narrative”, vol. 1. Brill, 2004, p.56 and n.24.
    6. [6]My thanks to Ken Olson for pointing this out in a comment on my original post. Dr O. is clearly no bigot, for he did so despite this information working against the interest of his theory: clearly a gentleman and a scholar.
    7. [7]Full disclosure: I wrote the majority of this post without Carrier’s post before me, so I did not remember his change of mind at this point.
    8. [8]See further M. Eder, “Mind your corpus: systematic errors in authorship attribution”, Literary and Linguistic Computing 28, 2013, 603-14.
    9. [9]Page 9 line 29, p.12  l.17, p.18 l.16. The first of these reads “καταδουλοῦται καὶ αΐκίζεται εἰς ἔτι νῦν τοιὶς άνθρώπους,”

    Charles Ellwood Jones (AWOL: The Ancient World Online)

    Wall Map now Available: Asia Minor in the Second Century C.E.

    Wall Map now Available: Asia Minor in the Second Century C.E.
    After several years of preparation, AWMC’s newest wall map is now available online.  This map is a successor to that of J.G.C. Anderson (1903) and its partial revision by W.M. Calder and G.E. Bean (1958).  It was displayed in draft at the ‘Roads and Routes in Anatolia’ conference organized by the British Institute at Ankara (March 2014).  It was then revised with a view to being issued with the volume planned to follow that meeting in due course.  Meantime the Center is now making the map available online.

    The map may be downloaded from Dropbox at this link: https://www.dropbox.com/s/mf0r8zw9rk1ckiv/Asia%20Minor%20Map%20FINAL.tif?dl=0

    This work is licensed under CC-by-4.0
    Share

    Ancient World Mapping Center

    Wall Map now Available: Asia Minor in the Second Century C.E.

    After several years of preparation, AWMC’s newest wall map is now available online.  This map is a successor to that of J.G.C. Anderson (1903) and its partial revision by W.M. Calder and G.E. Bean (1958).  It was displayed in draft at the ‘Roads and Routes in Anatolia’ conference organized by the British Institute at Ankara (March 2014).  It was then revised with a view to being issued with the volume planned to follow that meeting in due course.  Meantime the Center is now making the map available online.

    For a link to download the map, please email awmc@unc.edu.

    This work is licensed under CC-by-4.0

    Share

    The Signal: Digital Preservation

    Assembling the Whole: An Interview with Librarian|Artist Oliver Baez Bendorf

    Bendorf_headshot

    Oliver Baez Bendorf is a poet, cartoonist, librarian, teaching artist and activist. He holds an MFA in Poetry and MLIS from the University of Wisconsin-Madison, author of the book of poems The Spectral Wilderness (Kent State University Press 2015) and an essay on activism in the forthcoming Poet-Librarians in the Library of Babel (Library Juice Press Spring 2017).

    We commissioned Oliver to create a poster series inspired by our Collections as Data summit in September 2016 that represent key themes of what it means to serve and use library collections computationally.

    We caught up with Oliver to ask about his process and why he decided on this physical approach to represent a digital event.

    You call yourself a Queer poet, cartoonist, teacher, librarian. Why librarian?

    I started working part-time on campus at a library at UW Madison when I was finishing my MFA in poetry. I was working with the humanities librarian (I had a great mentor in Susan Barribeau) and I worked closely in Special Collections, and it blew my mind that librarians got to spend time with these amazing items and could help make them accessible to other people. It deepened my understanding of the role of poetry in an information landscape: how it circulates, how it reaches new readers. So I decided to pursue an MLIS (also at UW Madison) and continue to follow my interests.

    When I was in library school I did a semester-long practicum at The Bubbler, which was Madison Public Library’s then brand new kind-of makerspace…a lot more than a makerspace…super arts focused (instead of more fabrication focused) and that opened things up for me. People need access to creativity as much as they need access to information, and libraries are really well-positioned to facilitate that. What’s most exciting for me is where those overlap– learning as a creative experience at or through a library and vice versa. The library program at Wisconsin was a good fit.I did an art project for almost every assignment I could, and they let me do that (thank you!), so my experience learning about the field was also a process of integrating hands-on creativity into learning. The intersection of the super-material hands-on and the digital is really exciting to me.

    This project that I did after the Pulse Orlando shooting was to collect handmade posters and make them available online for people to download, print and hang up. People made them on their own or in groups-signs of protest, love, resistance- many different angles and sentiments- all hand-made. People sent me photos of the flyers hanging up on their campus, in their office, etc. I love things that you can tell a human made, but I also love the way that digital collections let those be in more places, almost like a chain letter or something like that, the intimacy of passing it on and letting it circulate farther than it might have otherwise.

    Which is the same concept as the posters you made for our Collections as Data event.

    Yes, totally. I love it when people print something out again. I know it’s bad for the trees, I know a lot of emails say “Do you really need to print this out?” But yes, I love it when something becomes paper again.

    We were pleasantly shocked when we saw your poster drafts and they were so physically worked with the collaging. It was a surprising representation of a digital conference.

    Thanks. There was a lot to synthesize from the conference and collage as a thinking process was a really effective method for me. I moved things around so much before even gluing anything down and shuffling things around was super helpful in a kinesthetic way. I love collage for that. I have a big Nike shoe box where I keep scraps of paper. Eve Sedgwick has written about this kind of texxture, where she uses two Xs in it to signify materials that carry a history with them. My MLIS advisor Jonathan Senchyne changed the way I think about how paper relates to information.  So collage seemed fitting to me, how all of these scraps hold other meanings and histories that they bring to this new context.

    Arranging.

    Arranging.

    Can you walk us through the process for making “The Whole”?

    I was really struck by that question [originally posed by Ricky Punzalan] “what does it mean to assemble the whole?” and knew that I wanted to do something with that. I was also thinking a lot about patterns: how to convey something that’s machine readable…data points. But when you zoom in, might be something a human is really drawn to, actually luscious and vivid, each data point expanded into a whole story. So I think of these different scraps of paper and watercolors as data points that are all connected but have the capacity to be these luscious stories on their own, and that assembling them together is part of the work and mission of people at the symposium. The lives inside these collections and how to approach them,both as individual stories that people can play with and learn about and also what they mean when taken together and how to give access to those stories and angles.

    BendorfVisuals-20161101-LOC-NDI-AsData-A-v5-01

    So I just started playing with these scraps and moving them around. The lines are the least interesting aesthetic part of this [poster], but that’s what connects them. The points without the lines here would just be scattered on the page but there is a way to connect all of them, different ways to connect all of them that haven’t even been drawn yet. I think of the web of it as intentionally unfinished, as a way to represent an invitation for more work to be done connecting points.

    The pieces look so placed, it makes me want to pick them up and move them around, lift them off the poster and place them in a different cluster. It picks up on that theme of inviting engagement with our collections, that computation allows you to act on them.

    So since we’re on this theme of patterns, let’s go to the “Calling All Storytellers” poster.

    When I started it, I was thinking about invitations to artists and writers to interact with and act on data and collections at the library. But by the time I finished it, it had expanded from that —  anyone who downloads the data and interacts with it is telling a story about it or trying to find a story to tell with it. It could be an artist or writer but it could also be a researcher or anyone who has some interest or some story that they want to tell with the data.

    BendorfVisuals-20161101-LOC-NDI-AsData-D-v4-01

    With this one too, I was thinking about things that might look alike but are not exactly alike and how each one of those data points again is a way in. Those questions that I got interested in – “Is the pattern the story or is the story where the pattern breaks?”–  I think of it almost like a prompt to someone who might want to interact with data. I was excited to think about what kinds of questions can be asked about data, about a collection, about an archive, and is the story where the pattern breaks, thinking about what isn’t there. Then I got this phrase please report to your nearest library stuck in my head and I kinda kept hearing it in my head as over a PA system. I want people to feel paged to their nearest library — maybe particularly artists and writers, but also anyone with curiosity. Paged to their library with questions like this as an invitation and also a kind of civic participation.

    One of my takeaways coming out of Collections as Data was this idea of access. Not necessarily people having to go to the library but also there’s an excitement that feels like a convening at the library. Even if you can access the data from home, there’s still something about going to the library, reporting to the library, showing up to the library and maybe that doesn’t necessarily have to mean at the physical library, although I’m good with it if it does. But at least the spirit of it, of showing up.

    The last one, let’s call it “The Fish” is a crowd favorite. What was your process here?

    BendorfVisuals-20161101-LOC-NDI-AsData-C-v4-01

    I was thinking about collections with a natural-history bent. A lot of the threads that Thomas [Padilla] and Marisa [Parham] brought up in their talks – what is in collections and why? – and the invitation to interact, toward the lives there are traces of in collections and towards people’s lives now that collections can be in service of.  The fish asking this question “What are you going to do with those?” was on my mind after the symposium; collections not just for collections’ sake but how to remember and foreground the human or animal element or more generally speaking the life element. To remember also when thinking about data the luscious or historical or beautiful human complex animal lives behind and inside of collections and influenced by collections…and how the work of collections as data can be in service of that. That ties into Ricky’s [Punzalan] talk about reunification of items. How can what is in these collections be put to service those who need it most? There are lives, bodies, sentient beings that are in the collections and could be influenced by work done with them.

    The buffalo kept getting cut off and the buffalo had to be there, so I kept shuffling things around with this one,  trying to get everything visible.

    I like their physicality and how approachable they are.

    Thanks. Yeah, the feather is actually sewn on. I had to hold the top of the scanner down to keep the light out, cause otherwise a little bit of light was sneaking in on the edge right there. One of my MLIS professors (hi Dorothea Salo!) called me a “materiality wonk” and I embrace it. I really like an approach and aesthetic unmistakably made by hand and I love especially bringing that to digital library contexts because there are so many conversations in the digital library world right now about how to manage computational advances with keeping humans at the center. I like the unexpected, super-handmade aesthetic that deals with digital library topics. That’s something I was doing a lot of with illustration and visual work when I was at DLF, so it was fun to dive more into that in this conceptual way with collages.

    One of my big influences in this intersection is my teacher from [the University of ]Wisconsin, Lynda Barry, who is fond of saying the human hand is the original digital device. We also talk about the fingers as “digits” and I do think, in so many ways, that handmade and hands-on work is very “digital” in this way. I loved being able to play in that space with these posters.


    What are five sources of inspiration for you right now? 

    Small Science Collective Zine Library: from a group of scientists, artists, teachers, and students who believe in zines in science education. This is their collection of fact-based zines in science-y categories (creatures, insects, ecology, evolution, space and physics, etc.) available for free download

    Aspen groves: looks like many separate trees; actually one massive organism! With a giant root system underground.

    United in Anger: A History of ACT UP: inspiring documentary with archival footage and oral histories of the AIDS Coalition to Unleash Power activist movement.

    “All of Us or None” Archive Project: ever-expanding online collection of social justice posters maintained by the Oakland Museum of Contemporary Art – currently over 24,500 items strong. 

    Emily Dickinson Archive Lexicon: over 9,000 words used in Dickinson’s collected poems- with definitions from her 1944 Webster dictionary (check out “accessible” and “library” and “pattern”)

    Oliver’s posters are now available for download on the Collections as Data event page.

    ASOR Blog (American Schools of Oriental Research)

    How to Use Photography to Document Ancient Sites and Why It’s Important

    Archaeological excavation photography (AEP) is a means of documentation vital to both the historical and archaeological record. [...]

    The post How to Use Photography to Document Ancient Sites and Why It’s Important appeared first on The ASOR Blog.

    Bill Caraher (The New Archaeology of the Mediterranean World)

    Call for Papers: The Medieval Countryside

    Years ago, Kostis Kourelis and I collaborated with a group of interested archaeologists of the Medieval Mediterranean to create an Archaeological Institute of American Interest Group. Since that time, the members of that group have hosted panels at the annual AIA meetings, collaborated on edited volumes, and served as a center of gravity for promoting Medieval archaeology.  

    Last year, they hosted two panels dedicated to the archaeology of abandoned villages and they were really good. 

    This year, they’ve proposed a panel on the Medieval Countryside. Here is the information:

    Call for Papers

    The Medieval Countryside: An Archaeological Perspective

    Proposed Colloquium Session for the 2018 Annual Meeting of the Archaeological Institute of America, Boston, MA, January 4-7, 2018

    Organizer: Effie Athanassopoulos on behalf of the AIA Medieval and Post-Medieval Archaeology Interest Group

    The proposed colloquium will examine the contribution of archaeology to our broader understanding of the medieval period in Greece and the Aegean region, especially rural settlements. Since the early 1980s, when large-scale, intensive surveys were undertaken in several areas of Greece, a rich and diverse database of sites and off-site material pertaining to the medieval period has been generated. Thus, for the first time we can approach the rural landscape, habitation and land use, from the perspective of archaeology. Prior to this development, we were constrained by the lack of textual sources, such as tax registers or monastic archives, which are available only for few areas. Archaeological surveys, along with excavations, have expanded our options and provided a more even geographical coverage.

    However, the rich databases that have been generated by regional projects have not had significant impact on related fields, such as history, or existing narratives of Byzantium. Prominent publications in the field of Byzantine studies that include archaeological results tend to focus on excavations, with survey contributions rarely mentioned. So, why haven’t survey data been incorporated into broader historical themes involving settlement, land use, social history or cultural identity? Why hasn’t the promise of a broader impact of landscape archaeology projects materialized? What are the obstacles that discourage the engagement of a wider group of scholars with survey data? Is it simply a matter of time, because most survey projects have been slow to disseminate their results? What other issues need to be addressed?

    The purpose of this session is to identify obstacles that have limited the impact of this body of archaeological work and propose solutions. The goal is to bring together past and ongoing archaeological projects that focus on the medieval landscape, initiate collaboration, facilitate comparative research, and take steps towards enhancing data sharing and dissemination.

    If interested to contribute, please email the following information to Effie Athanassopoulos (efa@unl.edu) by March 3, 2017.

    1. Name(s), institutional affiliation and contact information
    2. Paper title and abstract (maximum 400 words) conforming to the AIA Style Guidelines

     

     


    Tom Gewecke (Multilingual Mac)

    Apple Support Communities Now In French and German

    The Apple forums (Apple Support Communities - ASC) now have French and German versions, in addition to those for Chinese, Japanese, Korean, Spanish, and Portuguese established earlier: French German

    Charles Ellwood Jones (AWOL: The Ancient World Online)

    Shaping the Mediterranean basin: islands, coastlines and cultures across time

    Shaping the Mediterranean basin: islands, coastlines and cultures across time
    By bridging approaches and methodologies from geosciences, archaeology and history, geoarchaeology is transforming our understanding of the history and cultures that have shaped the Mediterranean basin over millennia. The sheer diversity of current research offers an excellent opportunity for moving beyond geographical frontiers and to begin addressing the needs of a multifaceted and evolving Mediterranean world. This workshop calls upon environmental scientists, archaeologists and historians to discuss and share research advances in the geoarchaeology of Mediterranean islands and coastlines. The workshop will address issues, challenges and prospects of current research on Mediterranean island and coastal environments.

    Table of Contents

    Oral papers

    Marco Anzidei, Fabrizio Antonioli, Rita Auriemma, Alessandra Benini, Elena F. Castagnino Berlinghieri, Flavio Enei, Stefano Giorgi, Eleni Kolaiti, Nikos Mourtzas, Emanuela Solinas
    Carla Buosi, Paola Pittau, Paolo Orrù, Anna Maria Porcu, Giovanni Giuseppe Scanu, Marcella Sconamila
    Fekri Hassan
    Robyn Inglis, Lucy Farr, Charles French, Chris Hunt, Graeme Barker
    Giuseppe Mastronuzzi, Cristiano Alfonso, Fabrizio Antonioli, Marco Anzidei, Rita Auriemma
    Paolo E. Orrù, Fabrizio Antonioli, Giuseppe Mastronuzzi, Emanuela Solinas, Pier Giorgio Spano, Raimondo Zucca
    Yoann Poher, Philippe Ponel, Frédéric Guiter, Frédéric Frédéric Médail
    Jamie Woodward, Philip Hughes, Kathryn Adamson
    Andrea Luca Balbo, Jaime Frigola, Arnald Puy, Felix Retamero, Isabel Cacho, Helena Kirchner
    Helen Dawson
    Carlo Donadio, Micla Pennetta
    Alba Mazza
    Arnald Puy
    Steffen Schneider, Marlen Schlöffel, Albrecht Matthaei, Barbara Horeis, Brigitta Schütt
    Martin Seeliger, Lyudmila S. Shumilovskikh, Anna Pint, Peter Frenzel, Stefan Feuser, Daniel Kelterbaum, Melanie Bartz, Dominik Brill, Helmut Brückner
    Simone Sèstito
    Aleksey V. Zinko, Victor N. Zinko

    Posters

    Cristiano Alfonso
    Domenico Aringoli, Federica Erbacci, Marco Materazzi, Gilberto Pambianchi
    Guénaëlle Bony, Nicolas Nicolas Carayon, Clément Flaux, Nick Marriner, Christophe Morhanges
    Carla Buosi, Paola Pittau, Paolo Orrù, Emanuela Solinas, Giuseppe Giovanni Scanu
    Valentina Caminneci, Vincenzo Cucchiara, Giuseppe Presti
    Elena Flavia Castagnino Berlinghieri, Fabrizio Antonioli
    Riccardo Cicilloni, Antonio Forci, Marco Cabras
    Anna Depalmas, Claudio Bulla, Giovanna Fundoni
    Benoît Devillers, Guénaëlle Bony, Jean-Philippe Degeai, Jean Gasco, Hamza Oueslati, Morgane Sutra, Florian Yung
    Federico Di Rita, Giulia Margaritelli, Fabrizio Lirer, Mattia Vallefuoco, Sergio Bonomo, Lucilla Capotondi, Antonio Cascella, Luciana Ferraro, Donatella D. Insinga, Donatella Magri, Paola Petrosino
    Federico Di Rita, Donatella Magri
    Enrico Giannitrapani
    Rita T. Melis, Giovanni Azzena, Anna Depalmas, Elisabetta Garau, Francesca Montis, Giorgia Ratto, Marco Rendeli
    Rita T. Melis, Anna Depalmas, Giovanna Fundoni, Francesca Montis, Giorgia Ratto, Serafina Sechi, Silvia Vidili, Marco Zedda
    Gasmi Nabil, Felice Di Gregorio, Barbara Aldighieri
    Paolo E. Orrù, Giacomo Deiana, Giuseppe Mastronuzzi, Enrico M. Paliaga, Cosimo Pignatelli, Arcangelo Piscitelli, Emanuela Solinas, Pier Giorgio Spanu, Raimondo Zucca
    Giacomo Paglietti, Carla Buosi, Giovanni Giuseppe Scanu, Paola Pittau
    Vincenzo Pascucci, Carla Del Vais, Stefano Andreucci, Giovanni De Falco, Anna Depalmas, Anna C. Fariselli, Rita T. Melis, Giuseppe Pisanu, Ignazio Sanna
    Micla Pennetta, Alfredo Trocciola, Carmine Minopoli, Renata Valente, Corrado Stanislao, Carlo Donadio
    Anna Pint, Martin Seeliger, Daniel Hoppe, Sabine Faas, Thomas Schmidts, Dennis Wilken, Tina Wunderlich, Sait Başaran, Peter Frenzel, Helmut Brückner
    Sebastian Ramallo Asensio, Milagros Ros Sala, Francisca Navarro Hervas, Jose Ignacio Manteca Martinez, Tomas Rodriguez Estrella, Josefina Garcia Leon, Miguel Martinez Andreu, Felipe Cerezo Andreo, Elena Ruiz Valderas, Alicia Fernández Diaz
    Tiphaine Salel
    Marlen Schlöffel, Steffen Schneider, Albrecht Matthaei, Brigitta Schütt
    Marco Serra, Valentina Mameli, C. Cannas
    Federica Sulas, Rita T. Melis, Charles French, David Redhouse, Sean Taylor, Giovanni Serreli, Francesca Montis, Giorgia Ratto

    Archeomatica: Tecnologie per i Beni Culturali

    Eighth International Conference on Science and Technology in Archaeology and Conservation (STAC 8) in Amman (Jordan)

    Riconoscendo la crescente domanda di un approccio multidisciplinare e inter-settoriale e di una politica partecipativa nella conservazione, la promozione e la protezione dei beni culturali, la VIII° conferenza internazionale sulla Scienza e la Tecnologia in Archeologia e la Conservazione, si terrà ad Amman dal 21 al 25 maggio 2017 con sessioni tematiche dedicate alle Scienze, le Tecnologie, la Conservazione, le Politiche, la Legislazione e l'Economia applicata al patrimonio culturale. E' aperta la Call for Paper.

    February 21, 2017

    Charles Ellwood Jones (AWOL: The Ancient World Online)

    Open Access Journal: ArcheoArte. Rivista elettronica di Archeologia e Arte

     [First posted in AWOL 13 January 2011. Updated 21 February 2017]

    ArcheoArte. Rivista elettronica di Archeologia e Arte
    ISSN 2039-4543
    Rivista elettronica di Archeologia e Arte - Università degli studi di Cagliari

    2014

    V. 3 (2014)

    Terzo numero di ArcheoArte. Rivista elettronica di Archeologia e Arte Università degli Studi di Cagliari, Dipartimento di Storia, Beni Culturali e Territorio


    2013

    V. 2 (2013)

    Secondo numero di ArcheoArte. Rivista elettronica di Archeologia e Arte Università degli Studi di Cagliari, Dipartimento di Storia, Beni Culturali e Territorio


    2012

    Ricerca e Confronti 2010

    Ricerca e Confronti 2010 (Supplemento ArcheoArte 1)

    Atti delle giornate di studio di archeologia e storia dell'arte a 20 anni dall'istituzione del Dipartimento di Scienze archeologiche e storico-artistiche dell'Università di Cagliari (Cagliari, 1-5 marzo 2010)


    2010

    V. 1 (2010)

    New Open Access Journal: Layers. Archeologia Territorio Contesti

    Layers. Archeologia Territorio Contesti
    ISSN: 2532-0289 
    Page Header
    Layers. Archeologia Territorio Contesti is a peer-reviewed open access journal which focuses on archaeological research into the Landscape Archaeology. Studies of sites, results of scientific excavations and studies on artefacts found in the excavations fall into this field. The journal accepts unpublished scientific contributions characterized by originality and innovation. The journal accepts contributions related to any specific geographical region and relevant to any period, from prehistory to the Middle Ages.

    2016

    No 1 (2016)

    Questo 1° numero contiene gli Atti del Convegno di Studi
    Daedaleia. Le torri nuragiche oltre lʼetà del Bronzo
    (Cagliari, Cittadella dei Musei, 19-21 aprile 2012)
    curati da E. Trudu, G. Paglietti, M. Muresu

    Impaginazione a cura di E. Cruccas, M. Cabras, G. A. Arca,  M. Todde, C. Parodo



    News from the PSI – Papiri della Società Italiana

    PSI – Papiri della Società Italiana Project News
    Dear colleagues,
    just a quick update about the psi-online project, on behalf of all the
    friends (and all the Institutions) involved in it. On our website
    (www.psi-online.it) it is now possible to browse images and datas about
    P. Flor. I, PSI inv. (around 300 papyri kept in the Istituto Vitelli but
    not published in the main PSI series, as PSI Com9, PSI Congr.XX; see the
    list in PSI XVI, pp. 313-334), P. Tebt. Pad. I and a number of P. Tebt.
    Pad. inv. (i.e., not yet published).
    During next months we will add also P.Prag. II-III and P.Flor. II-III to
    the database, as well as more informations on the collections involved.

    Carissimi saluti,
    Lucio Del Corso
    Università degli Studi di Cassino e del Lazio Meridionale
    Dipartimento di scienze umane, sociali e della salute -
    Laboratorio di ricerche storiche e archeologiche dell'antichità

    Digital Humanities Center (Indiana University)

    Keywords Chat - Interactive Fiction, Weds 3/1

    Graduate student Zainab Younus will lead the next chat in the #Keywords series. Interactive Fiction is considered a form of born-digital literature and forerunner to contemporary narrative video games. Ranging from text based adventures, to commercial products in the 1980s and 1990s, to contemporary fan fiction in the present -- IF continues to fascinate reader/players and writer/programmers.

    #Keywords Chats on Digital Culture aim to foster a conversation on diverse digital culture topics outside of the classroom. Participants join in the round table discussion, enjoy illuminating "demos" and benefit from the expertise of a student or faculty chat leader.

    Ancient World Mapping Center

    Two Publications of Interest

    Anyone interested in ancient space and geography should take a look at Dr. Daniel Gargola’s new book, The Shape of the Roman Order: The Republic and Its Spaces, out soon from UNC Press.  Featuring several maps produced by the Ancient World Mapping Center, this fascinating monograph examines how Roman Republican elites conceived of the territories and spaces under their control.  The book is available for preorder here.

     

     

     

     

    Those who enjoyed Dr. Richard Talbert’s recent work on Roman portable sundials may be interested in a recent write-up of his work in Smithsonian Magazine; it is available here.

    Share

    Bill Caraher (The New Archaeology of the Mediterranean World)

    Picking the President on Facebook Live

    I’m excited for the first Facebook Live event hosted by The Digital Press at the University of North Dakota. It happens at 1 pm CST today and will feature Eric Burin, editor of Picking the President: Understanding the Electoral College

    The event is free and open to everyone to watch on Picking the President’s Facebook page.

    First, if you haven’t already, download the book for free. If you haven’t had a chance to read it all, that’s ok, there won’t be a quiz.

    Then, show up at 1 pm CST.

    If you have a question or a comment, use the hashtag #PickingthePres on Twitter or Facebook or comment directly on the Facebook feed. 

    It will be fun! 

    Picking the President Cover


    ASOR Blog (American Schools of Oriental Research)

    Masculinities and Third Gender: Gendered Otherness in the Ancient Near East

    Their masculine identity was considered to be ambiguous. These persons can be classified as belonging to a third gender. [...]

    The post Masculinities and Third Gender: Gendered Otherness in the Ancient Near East appeared first on The ASOR Blog.

    Charles Ellwood Jones (AWOL: The Ancient World Online)

    Filming Antiquity

    Filming Antiquity
    Filming Antiquity is an interdisciplinary collaboration and digitisation project funded by a grant from the Centre for Humanities Interdisciplinary Research Projects (CHIRP) at University College London (UCL).  Over the next two years, Filming Antiquity will be digitising excavation films from the Harding archive held in the UCL Institute of Archaeology and making these films accessible through a project website.  The project team members come from three different UCL departments: Archaeology, English and Information Studies.

    The project has three main objectives: a) the digitisation of excavation films currently held in the UCL Institute of Archaeology (IoA), b) an interdisciplinary symposium with screenings of a sample of the digitised films and discussion and c) the construction of an online archive of these films and supporting materials. 

    The films we propose to digitise feature excavations and local context in 1930s British Mandate Palestine.  The early 20th century saw radical developments in technologies of transmission and mass communication.  In this period archaeology gradually shifted from amateur to professional practice, as the first generations of trained archaeologists solidified their techniques in the field.  Supported by the industrialists and museums who funded their work, these archaeologists embraced moving image technology to record life and work on site.  These amateur productions were sometimes shown alongside public exhibitions of artefacts as cinematic proof of the spadework tackling the problems of ancient civilisations within a changing modern context. 

    The collection of these artefacts into an online archive will contribute to dialogues on information storage and knowledge production through digital resources.  Filming Antiquity provides a model for making excavation films accessible and inviting public discussions and interdisciplinary scholarship through online platforms.

    Sean Gillies Blog

    Pays de Sault

    We spent the first week of winter break with friends in Bessède-de-Sault, a little village of 50 people on a small plateau in the foothills of the Pyrénées. There's not much going on in the village other than a couple dairy cow operations, sheep herding, and vacation homes. There's not even a tabac or boulangerie. The closest stores are in Axat, 15 km down the Aude River gorge, or Mijanès, 15 km up at the head of the valley. Our friends restored a old house 40 years ago and have been spending summers and winter vacations here ever since.

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    Bessède-de-Sault

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    Bessède-de-Sault from above

    I went for several long runs in the snow. The forest here at 900-1500 meters elevation is a mix of evergreen and deciduous trees. Empty chestnut husks still cling to the trees, giving the mountainsides a distinct ruddy color.

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    Road to Aunat and Rodome

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    View toward Col de Pailhères and Col de Trabesses

    Spring is yet a few months away in the Pays de Sault. The brightest colors I saw in the woods were these abundant yellow-green lichen.

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    Xanthoria parietina

    This was largely a ski trip and we skied 3 days at Mijanès-Donezan, a tiny ski station on the east side of the Col de Pailhères. It was like going back in time: Donezan has only surface lifts and a 3-day adult pass costs only €50. A glass of beer is only €2.50. The mountain and its trails is about the same size as the front of Eldora (Challenge Mountain). One short surface lift, what French skiers call a tire-fesse, and then a longer one take skiers from the base at 1500 meters to 2000 meters on a shoulder of Pic de Canrusc (2133 m). Our first attempt to ski was denied due to rain, not unusual in the Pyrénées. Conditions soon improved: 8" of fresh snow fell on Wednesday, followed by 3 straight days of sunny and mild weather.

    On every trip to the station, we passed beneath the ruined Château d'Usson. The region is dotted with 11th and 12th century fortresses, remnants of the region's struggles against the Pope and France. This part of France might be Catalan or Spanish today if not for the defeat of the Count of Toulouse and the King of Aragon in 1213 during the Albigensian Crusade. The red and gold of the royal arms of Aragon can still be seen today in emblems of southwestern France.

    The Albigensian Crusade was a five decade program of Catharist Christian extermination carried out by the Roman Catholic Church and its military allies, eventually including the King of France. Hundreds of thousands of people were condemned as heretics and murdered in this corner of France. 20,000 were massacred on 22 July 1209 during the Sack of Béziers.

    Bessède-de-Sault is two hours south of Carcassone, two and a half hours southwest of Béziers. Both the D117 and D118 routes pass by and through spectactular limestone badlands. I took photos of the Gorges de St Georges, but its essence mostly evaded my G4's camera. The Gorges de Galamus is another that's popular with canyoneers and vacationers looking for a place to cool off in the summer. The Gorges de Joucou is the closest to Bessède-de-Sault and one I'm eager to see. That web page about it is a work of love.

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    Gorges de St Georges

    Many things about this part of France remind me of my favorite places in the Intermountain West of the United States: the wildness, the rock formations, the mixed grazing-forestry-tourism economy. Towns like Axat and Quillan have plenty in common with Salida, Colorado or Dubois, Wyoming.

    I'm coming back to the region at the end of March to run in a race at Quillan. The course goes up and over and around bluffs like these ones outside Maury. I'm hoping to do a little bit of wine tasting and shopping at Mas Amiel and other Maury vineyards on the way.

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    Dormant vineyards of Mas Amiel and the Château de Quéribus

    Archeomatica: Tecnologie per i Beni Culturali

    Dipinto da una donna fra le donne Artemisia Gentileschi e il suo tempo nell’Europa tra ieri e oggi.

    In mostra a Roma a Palazzo Braschi fino al 7 maggio 2017. 

    Caravaggio si dipinge nei panni di Micone lo Zoppo come una statua di Pigmalione nel cantiere della Cappella Contarelli. A figura intera dietro Giovanni Baglione di spalle con il suo Caravaggino, l’autoritratto commosso del Martirio di S. Matteo a S. Luigi dei Francesi. Alla scuola di Zeusi fra la moltitudine… dalla costola di Eva nisi fabula est, Artemisia Gentileschi

    Prima esposta nel percorso integrato del Museo di Capodimonte, la Giuditta e Oloferne di Artemisia Gentileschi (1593-1653) a Napoli è entrata nella pertinente sezione della mostra intitolata alla pittrice romana, che si è aperta al Museo di Roma di Palazzo Braschi a novembre 2016. Artemisia Gentileschi e il suo tempo è densa di dipinti anche inediti ed in collezione privata, tra i quali non ultima nello spazio del suo periodo napoletano, la Salomé a Battistello Caracciolo (Christie’s 1982), che venne presentata nella vasta rassegna catalografica campana del 2009. Non tutta e non tutto Artemisia, l’esibizione rivisita l’iniziativa del Musée Maillol di Parigi del 2012, suscitando un'attrattiva sul pubblico del suo primo museo ideale meno introspettiva e analiticamente monografica, oltrefrontiera l’apertura della filiera di cantiere e di mercato alla pittrice italiana. Il confronto con le sue opere in rapporto al collezionismo messinese dei Ruffo vorrebbe nei titoli di testa, esposta al Prado nel 2016 con saggio a cura di Cristina Terzaghi, la Salomé del Palazzo Reale di Madrid, il quadro a Napoli nel 1657 in possesso di Garzìa d’Avellaneda conte di Castrillo e Haro, vicerè di Napoli dal 1653, che fu portato in Spagna nel 1666 ed entrò nella raccolta di Carlo III. Itinerante in questi giorni a Dublino e poi a Edinburgo, si è chiusa a Londra l’esibizione ‘Beyond Caravaggio’ alla National Gallery, che, nell’ampia carrellata di caravaggeschi dei musei inglesi curata anche da italiani, tra loro Gabriele Finaldi, ha incluso tra i suoi originali il Ragazzo morso da un ramarro e, faccia a faccia con l’analoga di Mathias Stom, la Salomé (National Gallery, Londra), la tela che, storicamente non sottintesa soltanto nelle Lettere scritte a Lanfranco Massa a Napoli nel 1610 (ASN), a quella data sarebbe tornata in città per la seconda volta senza entrare a far parte della sua raccolta[1]. In contemporanea a Roma alla Galleria Borghese, fino a marzo 2017, ‘Le origini della natura morta’ accentua la distanza tra Caravaggio e l’anonimo Maestro di Hartford, in rapporto alla propria collezione e alle nature morte ambrosiane, accentrando su Giovan Battista Crescenzi e Jan Brughel dei Velluti un lay-out critico, non senza avvalersi di approfondimenti di ricerca e giungere a dibattere il pertinente diario di materiali di lavoro di Federico Zeri, animandone con nuovi spunti il primo repertorio catalografico on-line  nella sezione tematica dedicata della Fondazione omonima. La mostra madrilena ‘Da Caravaggio a Bernini’ si è svolta in contemporanea ad una prospettiva su ‘Caravaggio e i pittori del Nord’ al Museo Thyssen Bornemisza, curata da Gert Jan Van der Sman, che ha concentrato il suo profilo, nell’ambito del prestito intermuseale di opere, su una selezione dei caravaggeschi tra i pittori europei, che nei primi due decenni del Seicento a migliaia avranno percorso l'Italia, appena chiusa al suo culmine un’altra retrospettiva ancora al Metropolitan Museum di New York, focalizzata inoltre sulla figura di Valentin de Boulogne. La smentita degli Het-Schilderboeck di Karel van Mander, il ‘Libro dei pittori’ andato in stampa con un’incisione datata 1603, ha scivolato nell’aneddotica il David e Golia (fg1) (Roma, Galleria Borghese) appartenuto al poeta Juan de Tassis y Peralta. Van Mander postillerà di essere stato male informato, scorgendo un mostro che sbeffeggiava le Storie di S. Lorenzo di Giuseppe Cesari D’Arpino a S. Lorenzo in Damaso, secondo Giulio Mancini e Filippo Titi nella navata destra, cui Gaspare Celio aveva aggiunto “sotto la zuffitta, alla sinistra dell’altar maggiore” della chiesa[2]. Dall’equivoco di un ‘tableau vivant’ dell’autoritratto di Golia soffocato dalla sua lingua, prominente nella definizione di Joachim von Sandrart, era smascherato David, che sarebbe stato impersonato dal suo Caravaggino (Manilli 1650), da sottinsù, a mezza figura coi calzoni sbracati, l’eroe con il suo gigante un Pigmalione e un Morgante Nano. Nella deposizione di Caravaggio del 1603 Tommaso Salini, il Caravaggino per antonomasia[3], era: “... uno che va sempre con lui [n.d.r.: Giovanni Baglione] che lo chiamano l’angelo custode... che lo chiamano per Mao.” Ovunque lo si voglia sostenere (Sotheby’s 2016), il candore marmoreo di Valentin del David e Golia a Madrid, al Museo del Prado, faceva precedere questo dipinto nel Libro di spesa, estratto del cardinale Ascanio Filomarino a Palazzo della Cancelleria e nell’inventario Barberini del quarto decennio del Seicento. Un doppio autoritratto di Artemisia sarebbe invece la Giuditta e Oloferne (fg5a,b, c), mentre Giuditta e Abra (Firenze, Uffizi, 1637) è raffrontata negli scenari espositivi alla Salomé di Budapest (Szépmüveszti Mùzeum), in mostra sempre a Milano nel 2011, in occasione di un altro recente riesame dei caravaggeschi, poi nel 2014 a Budapest, che aveva visto protagoniste le due Salomé di Londra e di Madrid.

    Fig.1- Caravaggio, Davide e Golia (Galleria Borghese, Roma)

    Ridando vita alla scultura romana abbattuta, dipinta da Tommaso Laureti nella volta della Stanza di Costantino vaticana, Caravaggio si era dipinto proprio come una statua di Pigmalione nei panni di Micone lo Zoppo (fg2) in fuga dalla scuola di Zeusi, nel cantiere della Cappella Contarelli, a figura intera dietro Giovanni Baglione, per il quale sembra avesse posato Mario Minniti, con il suo Caravaggino di spalle. L’autoritratto commosso del Martirio di S. Matteo a S. Luigi dei Francesi fra la moltitudine, mettendone a fuoco il volto barbato paragonato a Golia, indeboliva il profilo della figura di Malco con la lanterna al margine destro nella Presa di Cristo, variato nelle copie (fg5a, b). Un viso che sarà magro e accasciato nel domenicano, sempre dal fondo entrato sulla scena della Madonna del Rosario (Kunsthistorisches, Wien), in cui lo sguardo ha vigore.

    Fig. 2 - Caravaggio, Martirio di S. Matteo (Cappella Contarelli, S. Luigi dei Francesi, Roma), dettaglio

    Le figure a sinistra nella scena del Martirio hanno i volti del cardinale Francesco Maria Del Monte, Vescovo di Porto e di S. Rufina, con la porpora sotto il mantello, e di Francesco II di Lorena, un re Irtaco abbacinato, forse Carlo Saraceni, l’abbaglio della pittura al lume del candeliere nel movimentato ferimento dell’Evangelista (che si avvale nell’abito di Matteo di una sensibilità baroccesca). In primo piano, palpabile, la ritrosia del devoto alla confirmazione del celebrante ed il raccapriccio verso il carnefice fulminato, impersonato forse da Bartolomeo Manfredi, nel mezzo un ragazzo, o piuttosto una bambina con la tonsura del crisma in fuga a gambe levate, che con i capelli lunghi sarà ancora in fuga in controparte maschile nelle vesti di S. Giovanni nella Presa di Cristo Mattei, in luce la parola del Vangelo secondo Matteo nella predicazione degli oratoriani e la devozione del raccoglimento nel discernimento delle vocazioni tra gli accoliti. Sul lato opposto, la satira di Giambattista Marino non avrà risparmiato il ritratto allibito del committente Melchiorre Crescenzi tra i pubblicani, con le mani al fianco e dietro la schiena, la cui fisionomia era còlta non solo dal ritratto a mezzo busto romano del chierico di camera dalla Giustiniani, dov’era inciso (Gemäldegalerie, Berlino), ma anche nella flagranza del modello, Lionello Spada, ingaggiato a Roma al seguito di Pietro Aldobrandini. Per Ferdinando Gonzaga doveva essersi prestato un seguace dei Carracci, Giambattista Viola, seduto con il cappello piumato di fronte a lui al tavolo del gabelliere Matteo. Pietro, accanto a Cristo in primo piano, figura molto discussa in rapporto alle spettrografie che hanno mostrato fosse eseguita di getto, identificherebbe in Pierpaolo Crescenzi, quale referendario di Tiberio Cerasi, nel 1596 tesoriere del pontefice Clemente VIII, Ippolito Aldobrandini, che a sua volta è ritratto alle spalle di Matteo, colui al quale era spettata l’elargizione in luogo di Virgilio e di Giambattista Crescenzi della liberalità di Mathieu Cointreil, Matteo Contarelli sepolto nel 1590 nella Cappella di S. Luigi dei Francesi. Fintanto che, nel 1601, beneficiario della Fabbrica di S. Pietro sarà Berlinghiero Gessi, accademico dei Gelati, estimatore di Angelo Caroselli, di Alessandro Albini, pittore di Agostino Carracci con Francesco Gessi e il Mastelletta, Giovanni Andrea Donducci, che Caravaggio eleggerà nel fatidico 1603 tra i più valenti pittori. Il peccatore Matteo era l’uomo che maneggia denaro delle elemosine dei poveri, soggetto all’aggio nei pubblici offiicj non solo romani, un servo scettico dell’ausilio della legge sadducèa chiamato dal gesto michelangiolesco di Cristo alla contemplazione della grazia, dalla quale riceve ricompensa prima che dalla voce, schietto almeno quanto penetrante parabola fosse l’apofatismo di Paolo Sarpi, avverso con veemenza al gioco ai dadi e alle carte e alle scommesse di bravi e signori, che si sarebbe potuto trovare alle Terme Alessandrine alla chiesa francese, anche quando, nello scenario romano del 1601, tra la potenza delle fazioni domenicana e gesuita il priorato eleggerà Alof  Wignacourt nel magisterio di Gran Conestabile dell’Ordine Gerosolimitano dei Cavalieri di Malta. Saranno i pittori caravaggeschi, spesso stimati maestri d’imitazione, ad assimilare i tavoli ed i banchi di monete dei pubblicani nella ‘Vocazione di Matteo’ alle ore di attesa alle carte e ai dadi dei soldati di guardia ai piedi della croce e degli Atti degli Apostoli. Nell’alveo della Cappella di San Matteo, il ruolo della committenza Crescenzi faceva risalire al 1595 l’udienza pontificia a Ripetta, la Tesoreria nel privilegio mediceo di Piazza di Firenze, in cui Caravaggio avrebbe incontrato Filippo Neri e ne sarebbe resa testimoniale nel laterale della Vocazione da un possibile ritratto giovane del contabile Piero del Nero, nipote di Leone XI, se, loro concorrenti al pari dei Crivelli e dei Tassi Della Torre ambrosiani, fossero stati i Banchi Costa e Giustiniani, tra i non ultimi suoi fautori, sostenitori di Filippo. Nella lunga sequenza di contratti della Cappella Contarelli si sarebbe avvicendato Onorio Longhi, almeno una volta contraente per esteso negli ultimi documenti cronologicamente approssimabili anche per la scala di grandezza alla committenza delle tele romane, presente alla stipula del Banco della Curia romana a Rione Ponte, il Banco del Monte S. Spirito (la Croce bianca dell’altare del Martirio), ancora nell’egida del senese Fabio Nuti nel palazzo del notariato sulla piazza del Governatore dei tribunali Alessandro Medici a S. Eustachio. Sarà stato sempre Caravaggio a costringere in uno stanzino Lionello Spada con uno specchio in mano per osservarsi a capo chino da uno sportello e, invece di farne tre in un giorno solo, ad impiegarne diversi per la testa del Battista della Salomé (Londra, National Gallery) soltanto, come suggerito da Carlo Cesare Malvasia. Nel dipinto di Oloferne esibito a Tolosa da Eric Turquin, e a cura di Nicola Spinosa a Milano alla Pinacoteca di Brera fino al mese prossimo, affiorano sfumature ed enfietà di Frans Pourbus il giovane nella vecchia Abra, che, al pari di Abraham Vinx, era a Napoli. A tinte più apprezzabilmente caravaggesche è la Giuditta e Oloferne di Palazzo Zevallos - altro museo napoletano che annovera più di un’opera di Artemisia - dipinto stimato da tempo Louis Finson o concretamente anonimo, anche esposto a Brera. Nel catalogo dall’estesissima bibliografia della mostra a Palazzo Braschi, tra autori immancabili, Judith Mann e Nicola Spinosa sull’onda delle ultimissime monografie dedicate alla pittrice, i contributi di Francesca Baldassari, Jesse Locker e molti altri. Penetranti gli spunti biografici tratti dalle opere di Artemisia del periodo fiorentino dal vivo delle riflessioni galileiane e della scienza archeologica nell’Accademia del Cimento. Ampiamente riepilogativa degli apparati bibliografici della Giuditta e Oloferne di Caravaggio alla Galleria Barberini è la scheda relativa nel catalogo dell’esposizione, che vi riproietta il documento ancora ‘senza quadro’ della ricevuta rilasciata dal pittore ad Ottavio Costa nel 1602 dell’Archivio di Stato di Siena (Fondo Origo del Palagio) estratta dai Libri dei Conti del Banco, approssimando il termine ante quem non alla committenza della chiesa della Trinità, che Giacomo Manilli nel 1650 voleva tra i quadri recuperati della Villa Borghese. Alla considerazione della Giuditta Costa il testo di Giovanni Baglione aggiungeva: “…e diversi quadri per altri, che per non stare in luoghi publici, io trapasso…” Senza specificare se gli fosse stata dipinta un’Incredulità di S. Tommaso da destinare a qualche cappella come farà Giovanni Baglione, sarà stato Giulio Mancini a dirne almeno uno degli acquirenti il Costa: “Christo che va in Emaus che lo comprò a Roma il Costa.” Un’Incredulità di S. Tommaso, che, con il dipinto ad Hampton Court degli apostoli ‘Giovanni, Pietro e Giacomo’ prima indescritto, era entrata nella collezione della corona inglese - tra le più ricercate (Sotheby’s 1803; British Museum, Londra) le rispettive stampe ‘da Caravaggio’ alla maniera nera dei Murphy - ha trovato spazio nella mostra londinese con l’attribuzione a Giovanni Antonio Galli, lo Spadarino (Wrotham Park) (fg3a, b, c, d).  

     

     Fig. 3a - Pietro e Giacomo  

     Fig. 3b - Incredulità di S. Tommaso 
       
    Fg- 3c, d - John Murphy (Michael Angelo da Caravaggio pinxit) 

    La concretezza di dettaglio dei pesci mostrati da Pietro e del gesto ermetico di Giacomo accostava la terna di figure, tra i soggetti più interpretati dalla letteratura artistica, ancora ad un altro episodio del protagonismo di Giacomo, quale apostolo anziano nel ‘Tributo a Cesare’. Lo storico Stefano Ticozzi, nel rilevare la zincotipia in coppia con l’Incredulità di S. Tommaso del 1783, rendendo dialetticamente esortativa la terza mezza figura, la descriveva come “Pietro, e Giacomo, che conversano insieme”, senza cogliervi un passo determinato dei Vangeli, fosse pure aderente alla Trasfigurazione (Mt, 17, 1-9): “Sei giorni dopo, Gesù prese con sé Pietro, Giacomo e Giovanni suo fratello e li condusse con sé su un alto monte [n.d.r.: Monte Tabor]”, non meno celebre la Vocazione di Pietro e Andrea di Federico Barocci (Musées Royaux des Beaux Arts, Bruxelles), proveniente da Pesaro la replica che, sullo scorcio dell’Ottocento, era nel palazzo romano dei Mattei (collezione Sterbini, Roma). Nella collezione Patrizi una Cena in Emmaus (Pinacoteca di Brera, Milano), capiente anche di un ‘San Giovanni Evangelista’ attribuitovi a Caravaggio, è la prima tela ad essere stata nuovamente sottoposta nel 2010 a riflettografia elettronica ad infrarosso in modalità a 16 bande, migliorativa della tecnologia a banda unica. La scansione a colonne si è dimostrata efficace a penetrarne lo spessore della preparazione rossastra, dove a nero, evidenziandone l’abbozzo fine, a carbone. La provenienza Coppi (1951) della Giuditta della Galleria Barberini dalla residenza dei Costa sulla via Appia, eredi di Maria Costa, sepolta a Roma a S. Francesco a Ripa nel 1852, era attestata anche da Giuseppe Tomassetti nella Campagna romana, che vi documentava la prossimità nei primi decenni del Novecento alla Villa dei Coppi. Se non la stessa imbambolata nella Madonna del Rosario e della Salomé, la ricerca dei tratti di un’altra modella della Giuditta Barberini, stimata nello studio napoletano nel 1607 anche da Annibale Carracci, insegue un’Artemisia poco più che adolescente apprendista del padre Orazio al Casino delle Muse sul Quirinale, non senza che la scheda di Michele Cuppone tenti di accantonare la caratterizzazione di modelli maschili e attrici del teatro di posa che frequentavano il pittore, gli uni e le altre qualche volta scambievoli l’un l’altro, o di modelli di controfigura scelti per la somiglianza fisionomica, Fillide Melandroni che, in casa Giustiniani, aveva posato con Giulio Strozzi nella Buona Ventura, altrimenti insonne il delirio di Lena Antognetti in carne ed ossa della Madonna di Loreto e della Morte della Madonna. Il dipinto Gentileschi di Giuditta e Oloferne da Palazzo Zambeccari della Pinacoteca di Bologna (fg4c) restaurato ed esposto nel 2015, nei venezianismi cromatici, non è annunciato in mostra a Palazzo Braschi. Questo quadro, considerato replica della Giuditta di Capodimonte (fg4a), era definito flagrante nella sua terribilità da Charles Nicolas Cochin (1758), aggiungendo all’ormai sterminato caravaggismo letterario che: “On a perdu le souvenir du nom de l’auteur: mais on croit que c’est M. A. de Caravage”, come tale ammirato anche da Jerome Richard. Con qualche probabilità di essere stato commissionato alla pittrice a Firenze, da Laura Corsini secondo i curatori dell’esposizione, sarà stato Louis Viardot nel panorama europeo del 1842 a riconoscervi Artemisia, senza precisare con la dipendenza del quadro bolognese dalla Giuditta che a Napoli stimava di Caravaggio, l’appartenenza o meno di quest’ultimo all’Accademia di Capodimonte e ai Farnese. Nell’attuale mole di dipinti in numero a tre cifre della rassegna romana, che abbiano ruotato o appartengano al cromatismo delle ombre, se si eccettua una Samaritana al pozzo, Maddalena e forse Sant’Orsola, può dirsi biblica più che conformista la carrellata di dejà vu della pittrice, che stravolgeva l’eterno femminino caravaggesco. 

     

     Fig. 4a - Artemisia Gentileschi, Giuditta
    e Oloferne (Capodimonte, Napoli)  

    Fg - 4b -  Giuditta e Oloferne (Uffizi, Firenze) 

     

     Fig. 4c - Giuditta e  Oloferne (Pinacoteca
    Nazionale, Bologna) 

     

    Sfuggente una sua Cattura o Presa di Cristo, neanche tentato un accostamento alla descrizione della tela, forse non l’unica rappresentativa come originale esibita anche nella città partenopea, che era a Caravaggio tra i beni dell’inventario testamentale di Lanfranco Massa (1630, ASR), che a Napoli aveva soggiornato a lungo. Pubblicata per prima nel secolo scorso, con fotografia in bianco e nero e colore, la Presa già Ladis Sannini a Firenze aveva reso armato il profilo al margine destro con la lanterna (Antiquario Bigetti, Roma 2003), svecchiato nel restauro del 2003. Deludente, anche se l’altra a questa assimilabile per le angolosità dei visi, fedele alla scala cromatica precocemente nitida del pittore di Pastrana Juan Bautista Maìno, la copia della Presa di Cristo Mattei della Cattedrale di Sucre in Bolivia (Fig. 5a)                                                                                                                                                  

    Fig. 5a - Presa di Cristo, copia da (Museo Catedralico de Sucre, Bolivia) 

    Fig. 5b- Copia da (Museo d’arte orientale e occidentale, Odessa)

    (Museo Eclésiastico di Sucre) di provenienza spagnola, forse appartenuta ad Antonio José de Sucre. Maìno, aderente al primo caravaggismo e, com’è noto, attivo nella Cattedrale di Toledo, era personalità dotata di senso dell’osservazione e di una pratica devozionale della pittura sacra particolarmente felice nella chiarità degli incarnati, non senza una leziosità di dettaglio da caposcuola nella tecnica dei ‘Bodegones’, insistenti nella tela del San Giovanni Battista della Cattedrale dove si svolse un maestrato di Giovanni Battista Crescenzi. Di proporzioni e sviluppo analoghi alla Presa di Cristo di Sucre - la sua figura di S. Giovanni, priva di un qualche espediente di allungamento delle braccia e divaricazione della scena sulla tela, ed altrettanto consistente la gestualità di Giuda che, afferrandolo, fa vacillare la testa, i riccioli e il corpo di Cristo - il quadro a Valencia (Giacomo Di Castro) contraddistinto come ‘Bacio di Giuda’ nel Museo del Patriarca del Collegio del Corpus Christi (Fig. 6) annesso alla chiesa, omogeneo non senza appiattire l’originale (Firenze, Uffizi, depositi) (Fig. 7). Nel Collegio anche una Crocefissione di S. Pietro (Roma, S. Maria del Popolo), forse l’unico soggetto di Caravaggio presto rappresentato a Siviglia e Valencia da almeno un’autorevole copia presso il Duca di Alcalà, a dire di Francisco

    Fig. 6 - Presa di Cristo o Bacio di Giuda (Museo del Patriarca, Valencia)

     

    Pacheco (ed. 1649), che nel passo sui pittori valenzani, accademicamente in antinomia a Guido Reni, alludeva a Jusepe Ribera. Baglione e Pellegrino Orlandi avranno inoltre sottolineato le commissioni eseguite in competizione con Gaspare Celio da Orazio Borgianni per l’agostiniano Juan de Ribera, il patriarca d’Antiochia del Museo, procuratore di opere d’arte dei Collegi di Spagna. Confrontate entrambe alla riquadrata Hamilton-Nisbet (Dublino, National Gallery), commissionata dai Mattei a Roma sull’originale e venduta come Gherardo delle Notti, non ne dimostrano che l’iconicità nella copiosità accademica. Jerome De Lalande e Dominique Magnan avranno visitato nel 1765 il palazzo romano dei Mattei, la cui galleria da oltre un secolo conservava la Presa di Cristo di Caravaggio (Firenze, Uffizi) e una copia ordinata dagli stessi Mattei nella quarta camera[4], presto attribuita negli inventari a Gherardo delle Notti. De Lalande demanderà all’edizione in lingua francese di guide romane la descrizione della città, uscita nel 1769 dallo stesso editore del Voyage a Yverdon non senza riserve da parte dell’autore e l’edizione della Ville de Rome di Magnan, che la reputava a Roma, uscirà nel 1777. Nell’Itinéraire di Roma di Giuseppe e Mariano Vasi del 1786 sarà annotata nel Palazzo Mattei, tornata dal Castello Mattei a Giove nella quarta camera del piano nobile romano, solo la copia del Caravaggio, eseguita da Gherardo delle Notti, che, come tale, vi era stata portata: “Jesus-Christ arrété dans le jardin, de Gherard delle Notti” e che il diplomatico prussiano Friedrich von Ramdhor nel 1787 esalterà, invece che originale, con la circonlocuzione di ‘identica’, tela pervenuta da Edinburgo a Dublino nel secolo scorso (National Gallery, Dublino). Scorciando la guida d’Italia scritta in lingua francese da Charles Nicolas Cochin, neppure Jerome Richard si era soffermato, nella Description, sulla rassegna delle gallerie del palazzo romano dei Mattei, che si stava svuotando: “J’en ai vu plusieurs [n.d.r.: statue, 1761] sur l’escalier et dans les galleries du Palais Mathei à Rome”, andata in stampa nel 1766, postuma l’edizione contemporanea di Ridolfino Venuti con la “Presa del Salvatore nell’Orto del Caravaggio” a Palazzo Mattei, assegnando lo stesso Richard a Gherardo Honthorst una Cattura nell’orto a lume di candela a Palazzo Spada, il Cristo nell’orto  di “Monsù Gherardo delle notti” nello Studio di Filippo Titi (1763), dalla seconda metà del secolo scorso radicalmente dibattuto nella cerchia di Trophime Bigot, dall’Ecce homo di Honthorst (Rijksmuseum, Amsterdam). Innumerevoli gli imprimatur degli itinerari romani tradotti, che non descriveranno che in poche righe il Palazzo Mattei, del 1801 una relazione di Carlo Fea nella galleria che da Gerard van Honthorst oscillava a Rubens, al fine della prelazione della Camera Apostolica, la copia del quadro di Caravaggio nella vendita ad Hamilton-Nisbet, che menzionano ancora a Roma gli itinerari di Andrea Manazzale, curati per l’archeologia da Stefano Piale. Fintanto che, tra i dipinti stipulati dal Nisbet (1802), quest’ultima non sarà infine stata esportata ad Hamilton Palace ad Edinburgo, e, dal terzo decennio dell’Ottocento, la collezione Mattei non sarà stata ormai del tutto smembrata. La Hamilton, documentata distintintamente negli atti di esportazione dallo Stato Pontificio, nuovamente venduta (Dowells Ltd. 1922), avrà conservato nelle due ultime destinazioni di Dublino la cornice con il cartiglio di ‘Gherardo delle Notti’. Con un’Incoronazione di spine (Firenze, Uffizi), Bartolomeo Manfredi aveva replicato la Presa di Cristo nel giardino degli olivi di Caravaggio a Palazzo Mattei, invertendo e avanzando nello spazio in un profilo baroccesco anche la figura di Cristo, che nella rotazione e nello spessore luministico del paesaggio, ritraendosi, scansava la presenza di Giuda, sbaragliatane dallo specchio la ‘rondeur’, pubblicate e

    Fig. 7 - Caravaggio, Presa di Cristo  (Uffizi, Firenze) 

    Fg - 8- Bartolomeo Manfredi, Presa di Cristo, (Museo Nazionale d’Arte Occidentale, Tokyo) 

    segnalate nel secolo scorso rispettivamente la prima, sia nella Collezione Silvano Lodi che agli Uffizi e la seconda al Palais Dorotheum di Vienna nel 2002, in due repliche (G. Papi, 2006; 2010). Inciso in controparte nel 1658 (Pieter van Liesbetten, ‘P. Liesebetten fecit, Monfredo pinxit’, Th. Pict. ed. 1684), con provenienza dalla raccolta di Leopoldo Guglielmo l’esemplare in Collezione Koelliker a Milano della fortunata Presa di Cristo di Manfredi (Fig. 8), esposto a Roma nel 2006 (Sotheby’s 2014; National Museum of Western Art, Tokyo 2015), è entrato in rassegna a Tokyo nel 2016, da questo dipinto la versione di Dirck van Baburen (Galleria Borghese, Roma). L’appartenenza agli Asburgo della copia in cui Giuda si presenta per baciare Cristo, realizzata da Manfredi allo specchio dalla Presa di Cristo di Caravaggio (fg7) (Firenze, Uffizi), attribuita nella galleria fiorentina a Tiziano da Nicolas Cochin nel 1758 e da Jerome Richard, non toglie che l’Incoronazione di spine a mezze figure dal Tiziano di S. Maria delle Grazie a Milano o Derisione di Cristo, appannaggio del Granduca agli Uffizi, sia stata inventariata a Caravaggio nella ‘Guardaroba’ nel 1793, ascrittagli da Luigi Lanzi, non soggiacendo a donazioni di Leopoldo II ai propri familiari e a Lucien Bonaparte, come anche il Cristo portacroce tizianesco (Scuola di San Rocco, Venezia; Uffizi, Firenze) nel genere ‘lombardo’, che aveva indotto Francesco Scannelli nel 1657 a riferire senz’altro a Caravaggio la tecnica rudimentale del Cavadenti (Uffizi, Firenze), immaginazione alla lettera scaturita dai diavoli cavadenti del Baldus di Teofilo Folengo.[5] Tuttora è agli Uffizi (fg.7) la Presa di Cristo o Bacio di Giuda di Caravaggio nella Galleria Palatina, che sarà inventariata nel 1802, ‘dipintovi Giuda che bacia Nostro Signore’. Tra Guido Cagnacci da Casteldurante e Michele Desubleo, la flagranza allo stesso tempo autobiografica ed antiquaria di Nicolas Régnier, ancora un altro cavaliere della decretata Accademia romana del disegno al servizio del marchese Vincenzo Giustiniani, è discutibile nella mostra di Palazzo Braschi entro i termini biografici della pittrice Gentileschi. Dalla collezione di questo artista francese sarà pervenuto agli Uffizi (1698), identificato da Giovanni Morelli, il quadro della raccolta di Gabriele e Andrea Vendramin dalla Scuola di San Giovanni Evangelista a Venezia, le ‘Tre età dell’uomo’ di Giorgione (Fig. 9), che parla di sé ad ogni protagonismo di apprendista, un triplice ritratto della famiglia Vendramin, se confrontato al S. Girolamo di Leonardo (Roma, Pinacoteca Vaticana) e agli oli di Girolamo Alibrandi. L’anziano Matteo si volta nell’udire la parola di Cristo, toccata da Giacomo e taciuta da Giovanni, il ragazzo con il berretto che vi fissa le righe di un foglio: “Io non ci vedo altro, che il pensiero di Giorgione quando Christo il [n.d.r.: Matteo] chiamò all’Apostolato nella tavola del Santo”, il celebrato paragone della tavola veneziana alla Cappella Contarelli, che Federico Zuccari susciterà all’immaginazione di Giovanni Baglione.

    Fig. 9 - Giorgione, Vocazione di Matteo  (Uffizi, Firenze) 

    Dalla raccolta Contarini la tela della Scuola d’Atene di Giorgione (Kunsthistorisches, Wien), o dei ‘Tre filosofi’(ritratti di Pietro Bembo, Paolo Sadoleto e Niccolò Copernico), nel 1651 era alle pareti del Gabinetto dei pittori italiani della collezione di Leopoldo Guglielmo in più di uno dei dipinti di David Teniers il Giovane che lo raffigurano (Fig. 10) (Schleissheim; Musées Royaux des Beaux Arts de Belgique, Bruxelles). Virtù dei Magi e dei filosofi, la ‘commensuratio’ dell’evangelista Giovanni penetra la luminosità rarefatta, ruotando con la squadra nello spazio il compasso, strumenti dell’acuità visiva, alle sue spalle Aristotele con l’abito turco e Platone in quello del mercante, che a sua volta ha in mano un compasso e le tavole astronomiche del sole e della luna, visioni dell’esilio di Patmos, all’orizzonte della ‘Conspiratio totius mundi’ di Porfirio, la corruzione della terra e dell’aria dalle comete e dalle eclissi, dalle eruzioni e dai terremoti, compaiono, a segnare l’orografia peninsulare a volo d’uccello un cimiteriale arco di Gallieno ed un cratere dell’Etna, vulcano cui Bembo avrà dedicato l’omonimo dialogo. La sua eruzione e la rotazione terrestre all’origine dello sciame di meteoriti che precipitò a Padova nel 1510, oscurandone il cielo, nella contingenza fenomenica e nell’accidentalità della carestia e dell’epidemia di peste che avevano colpito Venezia, dominati dall’atmosfera divinamente tersa (Zosimo, Storia nuova, I, 26). Questo quadro, come anche la Presa di Cristo di Manfredi, qualche volta sarà stato dipinto alle pareti della Galleria di Leopoldo Guglielmo (Schleissheim) da Teniers dallo specchio, proiettandolo inversamente destra-sinistra nelle serie che raffigurano il teatro della sua collezione (open in Media Viewer, relazionato con i singoli dipinti, le localizzazioni attuali e qualche incisione del Theatrum). 

    Fig. 10 - David Teniers il Giovane, Gabinetto dei pittori italiani di Leopoldo Guglielmo (Schleissheim)

    In mostra a Tokyo nel 2016 nella rassegna ‘Botticelli e il suo tempo’, anche il Sant’Agostino (Fig. 12) nello studio della chiesa di Ognissanti a Firenze, ritenuto nei primi decenni del secolo scorso un autoritratto, ha trovato nelle Confessioni la 

     Fg11- Domenico Ghirlandaio, Madonna
    della Misericordia
    (Chiesa di Ognissanti, Firenze) 
     Fig. 12 - Sandro Botticelli, Sant’Agostino 
    (Chiesa di Ognissanti, Firenze) 

    professione di apostolato dello studente dell’Università di Cartagine, dipinto non più giovane, ammutolito e assorto dal Tolle Lege dell’angelo, ad un tavolo in marmo ornato da un racemo. Dipinto da Domenico Ghirlandaio l’affresco di San Gerolamo datato 1480, con la sua iscrizione allusiva all’ombra, ritenuta anche posteriore al dipinto, Botticelli avrà ritratto Amerigo Vespucci nel Santo allo scrittoio, posati tra gli arredi liturgici della sua biblioteca gli strumenti di un’armilla, di un oroscopio di Eufraste dalla lectio vitruviana, che si vuole costruito dai Della Volpaia, e, sulla punta della mitria, la preziosa ghirlanda della mira adoperata dall’astrolabio nel calcolo della longitudine. Dalla posizione degli astri era calcolato lo spostamento nel moto della terra, cui allude l’iscrizione soprastante il dipinto, sulla rotta alle Indie aperta da Ippona in Algeria alle Isole Canarie, percorsa da Palos alla quarta parte del globo da Cristoforo Colombo e da Siviglia da Amerigo. Descritti entrambi da Giorgio Vasari, durante il loro distacco dal coro tra il 1564 e il 1566, le righe vergate di scrittura curiale su una pagina del manoscritto aperto del S. Agostino, ingrandite come attraverso una lente, alludono alla confessione agostiniana osservata nel Convento di San Martino al Mugnone e alla laicità sollevata da apocrifia (Giovanni Lami, 1766): “Domus Samartino id est in arno per dove andate di fuori dela porta al prato”. Caravaggio innalzerà a sua volta nella chiesa di S. Agostino, sull’altare della Cappella Cavalletti, un S. Agostino non più giovane e sua madre Monica, pellegrini allo studio agostiniano della Santa Casa, in ginocchio sul portale della chiesa romana davanti alla Vergine in piedi con il bambino. Dietro di loro si sarebbero ritrovati i fedeli che fossero entrati nella Cappella, ai piedi della scalinata della chiesa e alla soglia del sacello della Vita di Maria. Compiuta nel 1472 la conquista di Smirne nell’impresa contro i Turchi, il cardinale Oliviero Carafa sarà stato ritratto di spalle da Ghirlandaio nella Cappella di Ognissanti fondata da Simone di Piero Vespucci. La Madonna della Misericordia sovrasta Gerusalemme nel sottostante Compianto, una proiezione ideale della città fiorentina che aveva prestato le sue galee, svettata dalla verticale della Croce sul Golgota (‘Misericordia Domini Plena Est Terra’ il salmo sulla base scultorea ai piedi di Maria). Suggestivo e altrettanto frammentario era l’affresco staccato all’interno della chiesa di un coro soave, dove Amerigo sarebbe stato ritratto da Ghirlandaio nel 1474 nel committente col mazzocchio in preghiera, a fianco di Pier Soderini e alle spalle del cardinale Basilio Bessarione (ritratto da Melozzo da Forlì nella cappella a Santi Apostoli) con il vescovo Pietro Riario nell’abito canonico bianco del Santo Sepolcro, specularmente alla veneranda Giovanna e alla madre a sua volta di spalle, Lisa Mini. Tra loro erano anche, sotto il manto blu notte della Vergine, idealizzata adolescente nel 1470 da Botticelli nella Fortezza, Simonetta Vespucci, Suor Cristiana di Lapo de’ Vespucci conversa di Santa Maria Novella ed il piccolo Giovanni che indossa una collana di corallo, il monile prezioso per rilucere al lume di candela, la cui pesca era praticata fino all’isola di Tabarca a Valencia. Ai piedi della Vergine era forse il giovane committente del Cenacolo di Ognissanti, dove Ghirlandaio dipingerà un finto chiostro con lo splendore della Villa di Livia a Prima Porta (Museo Nazionale Romano, Roma), che sarà scavata nei secoli a venire. Ma la pittrice che più è amata e ricordata nei panni di Psiche nell’accademia della Villa pompeiana dei Misteri è anche la prima testimone ad essere dimenticata del ritrovamento archeologico delle Nozze Aldobrandini, il frammento di Apollo e le Muse (Musei Vaticani, Roma) dallo scavo monumentale del 1606 nel sito dei Trofei di Mario a S. Vito[6], tra i più copiati (Galleria Doria Pamphilj, Roma) nella storia del classicismo della scultura e della pittura: Artemisia Gentileschi[7]. Sulla fronte di sarcofago su cui sedeva Venere nell’Amor sacro e profano (Galleria Borghese, Roma), o delle Quattro Stagioni, erano state finte in marmo da Tiziano la Cacciata di Adamo ed Eva e le Offerte di Caino e Abele. Un saggio accademico di scavo archeologico di Artemisia sarà il pulpito di S. Luca dei professori di disegno Giovanni Baglione e Federico Zuccari, dal bassorilievo a racemi sulla Torre dei Colonna della Salita di Montecavallo, nella Susanna e i vecchioni (Fig. 13,13a) (Graf von Schönborn, Pommersfelden), dipinta da una donna fra le donne dalla costola di Venere dell’Eva prima Pandora di Tiziano. Non sarà Baglione a tacere lei nelle prospettive ribassate di Agostino Tassi tra le nove Muse nell’affresco del padre Orazio dell’omonimo Casino al Quirinale, dove risiedeva Scipione Borghese e dove dal 1608 si troveranno i dipinti della confisca a Giuseppe e Bernardino Cesari D’Arpino. Salutato come un novello Apollo tra le Muse da Ludovico Leporèo, il cardinale a Villa Borghese avrà presso di sé il Tiziano nel 1628, che alla morte di Paolo Borghese si troverà tra i quadri della raccolta di Villa Aldobrandini.

    Fig. 13 - Artemisia Gentileschi, Susanna e i vecchioni  (Pommersfelden)

    Fig, 13a -  Bassorilievo a racemi, dettaglio (Torre dei Colonna, Roma)

     

    Giambattista Marino avrà dedicato versi celebri nelle ‘Favole’ al dipinto di Callisto di Guido Reni, a lungo dibattuti nella letteratura artistica per essere più che attillati al concettismo del dipinto Kress (Annibale Carracci, Venere adornata dalle Grazie; London Christie’s 1878; Samuel Kress Collection, National Gallery of Art, Washington), in cui Diana ad un’olimpica fontana che vagheggia il bronzo di Benvenuto Cellini e al cui limitare siedono Marte e Zeus, scorge alle sue spalle nello specchio [“il vago simulacro”] la scoperta flagranza della ferina nudità di Callisto, mentre all’orizzonte il bosco si accende del bagliore dell’Orsa. Carlo Cesare Malvasia scrisse che in cambio dell’alloro poetico di questi suoi versi sarebbe stato Reni ad effigiare Marino. Ritratto nelle Sette Opere di Misericordia nel pellegrino votato alla professione di apostolato di Giacomo, nel sonetto della Galeria dal titolo Sopra il proprio ritratto dell’Autore di mano di Michelangelo da Caravaggio’, il poeta s’immedesimava liricamente nel Suonatore di liuto di Caravaggio (Museo dell’Ermitage, San Pietroburgo). L’ossimoro “Angel non già, ma Dio”, pronunciato “ut picura poësis” nel paragone del busto ad un’Erma di Giano, alludeva nei versi all’‘a solo’ del Liuto della partitura intitolata Caltus del secondo strumento di violino, raffigurato nel dipinto sopra il piano di marmo. Il capoverso nello spartito aperto ‘Voi sapete che v’amo’ rivendicava per un duetto di solisti la composizione cantata come sua da Giambattista Viola, vergata nel sopraporta da camera con il nome del fiore di campo sbocciato nel vaso. Ancora Marino, scrivendo al padre Agostino Berti, affermava in suo possesso una ‘Susanna’ di Caravaggio e se questo dipinto, a sua volta nel segno del ‘Sus Minervam docet’, di una tentazione della casta Susanna dal rustico serpe apollineo, a lungo considerato perduto, fosse sincreticamente rappresentato, nella dimensione da busto romano, dal broletto della caraffa di fiori in cui immerge il dito la Ragazza, od il ‘Ragazzo morso dalla lucertola’ nella definizione di Joachim von Sandrart, dalla collezione Vincent Korda[8] alla National Gallery di Londra, non ha trovato finora commentatori.


     

    [1] Lanfranco Massa era tra i committenti della Cappella omonima nella chiesa dei SS. Severino e Sossio a Napoli.

    [2] Nell’Accademia di Joachim von Sandrart: “…prope historiam quondam ab illo [n.d.r.: Giuseppe Cesari] picta nudum quendam pingebat Gigantem.”

    [3] Tommaso Luini (Pellegrino Orlandi 1763).

    [4] Nel soffitto Giuseppe e la moglie di Putifarre.

    [5] Bernardo Picciché, 2013.

    [6] Nel 1638 i Trofei erano collocati sulla scalinata del Campidoglio e ne furono temporaneamente rimossi nel 1721 nella costruzione della salita o cordonata a gradoni, percorribile in carrozza (Gaspare Celio 1638).

    [7] Il poeta Giovanni Canale canterà in versi dedicati ad Artemisia l’Apollo da lei dipinto per Girolamo Fontanella, che, alla data del ritrovamento, secondo studi recenti, era nato. Generalmente ascritta con provenienza dalla collezione di Cassiano Dal Pozzo e a Nicolas Poussin la copia del frammento alla Galleria Doria Pamphilj.

    [8] Pseudonimo di Vincent Kellner.

    Charles Ellwood Jones (AWOL: The Ancient World Online)

    Syriaca.org: The Syriac Reference Portal

    [First posted in AWOL  26 March 2014, updated 20 February 2017]

    Syriaca.org
    http://syriaca.org/$app-root/resources/img/bhse-home.jpg 

    What is Syriac?

    Syriac is a language which once flourished on the Mesopotamian plateau. A dialect of Aramaic, Syriac was widely used during much of the first millenium of the common era. Syriac speaking communities could be found in what today would be Turkey, Lebanon, Syria, Iraq, Iran, India, Central Asia, China, and Mongolia. Sources in Syriac hold immense value for increasing our historical understanding of the Mediterranean, the Middle East and Asia. In particular, Syriac sources document key moments in the development and interaction of Judaism, Christianity, Islam, and other religions of Late Antiquity. Learn more…

    What is Syriaca.org?

    Syriaca.org: The Syriac Reference Portal is a digital project for the study of Syriac literature, culture, and history. Today, a number of heritage communities around the world have linguistic, religious or cultural identities with roots in Syriac language and culture. Syriaca.org exists to document and preserve these Syriac cultural heritages. The online tools published by Syriaca.org are intended for use by a wide audience including researchers and students, members of Syriac heritage communities and the interested general public. In order to meet the diverse needs of users, the design of Syriaca.org is inherently collaborative and fluid.

    The primary function of Syriaca.org is to be a reference hub for digitally linking research findings. Syriaca.org's publications compile and classify core data for the study of Syriac sources, offer the scholarly community digital tools for freely disseminating that data, and facilitate further research through the creation of shared digital tools and infrastructure. Learn more…

    February 20, 2017

    Digital Classicist Berlin

    From E19 to MATCH and MERGE. Mapping the CIDOC CRM to graph databases as an environment for archaeological network research

    Talk: Aline Deicke (Mainz), “From E19 to MATCH and MERGE. Mapping the CIDOC CRM to graph databases as an environment for archaeological network research”.

    Permalink: http://hdl.handle.net/11858/00-1780-0000-002C-E274-B

    Date: Tuesday, 21 February 2017

    Time: starting at 17:00 c.t. (i.e. 17:15)

    Venue: TOPOI Building Dahlem, Hittorfstraße 18 D-14195 Berlin (map)


    Abstract

    Throughout the last decade, network analysis has become an increasingly popular method of archaeological research (Brughmans 2010; Brughmans u. a. 2012; Collar u. a. 2015; Knappett 2013), incorporating methods of sociology as well as mathematical network science. So far, a wide range of thematical subjects has been covered, from theories of trade and exchange (Brughmans/Poblome 2016; Sindbæk 2007) over spatial distributions of ethnic groups (Blake 2013) to mortuary remains (Donnellan 2016; Sosna u. a. 2012) and more. The diversity of these approaches is testament to the diverse nature of the archaeological record itself, and the questions we can ask from it.

    This complexity also poses a fundamental challenge. Unlike sociological research, where from the very start studies are designed with network research in mind, scholars in archaeology often build their analyses upon already existing, detailed data sets. They can be comprised of hundreds or thousands of entities as well as several types of objects. This heterogeneity of the base material poses special challenges for the design of the study as well as to the tools used to conduct the actual analysis. For example, two-mode- or even multi-mode-networks are common, and at times it might be necessary to create and manage multiple networks between different types of objects to grasp the whole complexity and interactions of the source material. Therefore, an appropriate way of storing and querying data is a crucial first step essential to the design of network analytical studies.

    For this purpose, graph databases are especially well suited. The storing of data as nodes and edges introduces relationship-based thinking already in the early stages of data preparation and acquisition and avoids the cognitive dissonance of e.g. relational or XML databases.

    For archaeological use-cases concerned with material culture, the CIDOC CRM suggests itself as the ontology after which to model the structure of the database. Apart from the fact that it is an established standard in cultural heritage, its structure of classes and properties in itself already forms a graph and as such is easily adaptable to the requirements of such a model. Its use guarantees the semantic interoperability of the database with other data sets and facilitates exchange. At the same time, its capacity for extension allows for the irregularities and specifics of individual studies.

    The talk will present a mapping of the CIDOC CRM to the model of a graph database containing Late Bronze Age elite graves. Through a closer look at the resulting structure as well as some exemplary queries, the possibilities of graph databases to archaeological network analysis will be explored in further detail.

    References

    Blake 2013: E. Blake, Social Networks, Path Dependence, and the Rise of Ethnic Groups in pre-Roman Italy. In: C. Knappett (Hrsg.), Network analysis in archaeology. New approaches to regional interaction (Oxford 2013) 203–221.

    Brughmans 2010: T. Brughmans, Connecting the dots: Towards archaeological network analysis. Oxford Journal Arch. 29, 3, 2010, 277–303.

    Brughmans u. a. 2012: T. Brughmans/L. Isaksen/G. Earl, Connecting the Dots: an Introduction to Critical Approaches in Archaeological Network Analysis. In: M. Zhou (Hrsg.), Revive the past. Proceeding of the 39th Conference on Computer Applications and Quantitative Methods in Archaeology, Beijing, 12 - 16 April 2011 (Amsterdam 2012) 359– 369.

    Brughmans/Poblome 2016: T. Brughmans/J. Poblome, Roman bazaar or market economy? Explaining tableware distributions through computational modelling. Antiquity 90, 2016, 393–408.

    Collar u. a. 2015: A. Collar/F. Coward/T. Brughmans u. a., Networks in Archaeology: Phenomena, Abstraction, Representation. Journal Archeol. Method Theory 22, 2015, 1–32.

    Donnellan 2016: L. Donnellan, A networked view on ‘Euboean’ colonisation. In: L. Donnellan/V. Nizzo/G.-J. Burgers (Hrsg.), Conceptualising Early Colonisation (Bruxelles- Roma 2016) 149–166.

    Knappett 2013: C. Knappett (Hrsg.), Network analysis in archaeology. New approaches to regional interaction (Oxford 2013)

    Sindbæk 2007: S. M. Sindbæk, The Small World of the Vikings: Networks in Early Medieval Communication and Exchange. Norwegian Archaeological Review 40, 1, 2007, 59–74.

    Sosna u. a. 2012: D. Sosna/P. Galeta/L. Šmejda u. a., Burials and Graphs: Relational Approach to Mortuary Analysis. Social Science Computer Review 31, 1, 2012, 56–70.

    Charles Ellwood Jones (AWOL: The Ancient World Online)

    Open Access Journal: Polymnia

    Polymnia
    ISSN: 2491-1704
    http://polymnia.recherche.univ-lille3.fr/revue/eng/wp-content/uploads/2015/12/polymnia-banner.jpg
    The international network Polymnia, created in 1999 by Jacqueline Fabre-Serris and Françoise Graziani to promote the study of the mythographical tradition in Europe from Antiquity to the 17th Century has developed two types of activities: a programme of conferences in the various partner institutions and the publications of bilingual texts with translations and notes in the series Mythographes (Presses Universitaires du Septentrion).

    The journal Polymnia continues the research programme of the network. It offers a space for interdisciplinary and diachronic reflection and debate about mythographical texts in Antiquity, in the Middles Ages, and in the Renaissance.

    Le réseau de recherche international Polymnia, créé en 1999 par Jacqueline Fabre-Serris et Françoise Graziani pour promouvoir l’étude de la tradition mythographique de l’Antiquité au 17° siècle, a développé deux sortes d’activités: des colloques entre les universités partenaires et une collection de textes bilingues, la collection « Mythographes », publiée aux Presses Universitaires du Septentrion.

    La revue électronique Polymnia poursuit le programme de recherche du réseau. Elle propose un espace de réflexion et de débat, interdisciplinaire et diachronique, spécifiquement consacré aux textes mythographiques de l’Antiquité à la Renaissance.
    Numéro 1 | 2015
    Avant-Propos [Texte]
    Minerva Alganza Roldán¿Historiadores, logógrafos o mitógrafos? (Sobre la recepción de Hecateo, Ferécides y Helánico) [Résumé][Texte intégral]
    David BouvierPalaiphatos ou le mythe du mythographe [Résumé][Texte intégral]
    Jacqueline Fabre-SerrisLa pratique mythographique de Parthénius de Nicée et l’usage des Ἐρωτικὰ Παθήματα chez Gallus, Properce et Ovide [Résumé][Texte intégral]
    Arnaud ZuckerHygin et Ératosthène. Variation mythographique ou restitution d’un original perdu
     [Résumé][Texte intégral]

    Etienne WolffLes spécificités de Fulgence dans les Mitologiae [Résumé][Texte intégral]
    Franck CollinL’inscription mythographique dans le projet encyclopédiste du De Naturis rerum d’Alexandre Neckam [Résumé][Texte intégral]
    Gisèle BessonPseustis avait-il une chance contre Alithia ? Le regard porté sur la mythologie païenne dans l’Ecloga Theoduli [Résumé][Texte intégral]
    Consuelo Álvarez Morán & Rosa Iglésias MonteilLos Diez libros de la Mitologia de Natale Conti en su segunda redacción [Résumé][Texte intégral]
    Françoise GrazianiLa confabulation poétique de Boccace [Résumé][Texte intégral]
    Numéro 2 | 2016
    Jacqueline Fabre-SerrisJeux et enjeux dans les reconstructions mythographiques des origines chez Virgile et Ovide : les exemples de Faunus et de Pan dans le Latium [Résumé][Texte intégral]
    Arnaud ZuckerPlutarque et les noms des dieux étrangers [Résumé][Texte intégral]
    Charles DelattreProvincial, étranger, barbare ? L’intégration de la diversité linguistique dans le De fluviis du ps. Plutarque [Résumé][Texte intégral]
    R. Scott SmithBetween Narrative and Allusion: Mythography in Pomponius Mela’s Chorography [Résumé][Texte intégral]
    Séverine Clément-TarantinoServius mythographe ? Réflexions à partir du commentaire au chant 1
    de l’Énéide
    [Résumé][Texte intégral]

    Rachel DarmonTraités sur les dieux et pratiques mythographiques de la première modernité : tradition et actualisation [Résumé][Texte intégral]

    Open Access Journal: Gerda Henkel Stiftung: Jahresbericht

     [First posted in AWOL 23 May 2013, updated 20 February 2017]

    Gerda Henkel Stiftung: Jahresbericht
    The Gerda Henkel Foundation was established in 1976 by Lisa Maskell (1914 - 1998) in memory of her mother Gerda Henkel. Headquartered in Düsseldorf, the Gerda Henkel Foundation is a charitable organisation under private law that is independent of today's Henkel Group. The Foundation supports national and international academic projects in the following subjects: Archaeology, History, Historical Islamic Studies, Art History, History of Law, and Pre- and Protohistory. The Foundation is active both inside and outside Germany.

    Jahresbericht 2015

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    Jahresbericht 2014

    Jahresbericht 2013

    Jahresbericht 2012

    Jahresbericht 2011

    Jahresbericht 2010

    Jahresbericht 2009

    Jahresbericht 2008

    Jahresbericht 2007

    Jahresbericht 2006

    Jahresbericht 2005

    Jahresbericht 2004

    Jahresbericht 2003

    Jahresbericht 2002

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    Elyonim veTachtonim: Electronic inventory of angels, demons and ghosts in the early rabbinic literature

    Elyonim veTachtonim: Electronic inventory of angels, demons and ghosts in the early rabbinic literature
    What's in the name?

    A passage in tractate bMegillah 11a-b conveys a tradition of three kings who have “ruled over the whole firmament” (Heb. shloshah malkhu bakipah): Ahab, Ahasuerus and Nebuchadnezzar. These emperors, however, are surpassed in proficiency and the range of power by king Solomon about whom it is said that “he ruled over the denizens of the upper world as well as of the lower (Heb. al haelyonim veal hatachtonim)”. The phrase itself came to function as a merism denoting the totality of the supernatural creatures, both good and evil.

    What's inside?

    Elyonim veTachtonim is also the code name for the project aimed at reconstructing the comprehensive inventory of the entities of various classes in the early rabbinic literature [ERL]. Since the task is laborious, the sources vast and the human resources scarce, the project expands gradually but slowly.

    What's the purpose?

    First of all, the database serves the function of a specialized thematic concordance and as such provides the means for a quick localization and juxtaposition of all the appearances of a given entity. Second, the detailed division into separate units allows the introduction of the quantitative methods of analysis, some of which are already published in the "summaries" sheets of the database. Third, the manipulation with the hashtags and filtering commands makes it possible to discern some particular regularities like the correlation between the given entity, topic and genre. This is just a small fraction of the potential applications, and the larger the database the more diverse the purposes. 

    Open Access Journal: Oriental Institute Annual Report

    [First posted in AWOL 5 November 2009. Most recently updated 19 February 2017]

    Oriental Institute Annual Report
    The print versions of the Oriental Institute Annual Report are available for members as one of the privileges of membership. They are not for sale to the general public. They contain yearly summaries of the activities of the Institute’s faculty, staff, and research projects, as well as descriptions of special events and other Institute functions.

    Oriental Institute 2015-2016 Annual Report




    Download the Entire 2015-2016 Annual Report in a Single Adobe Acrobat Document



    INTRODUCTION


    RESEARCH


    INDIVIDUAL RESEARCH


    RESEARCH SUPPORT


    MUSEUM


    PUBLIC EDUCATION


    Public Education and Outreach. Carol Ng-He and Leila Makdisi


    • Adult and Community Programs. Carol Ng-He
    • K-12 Educator Programs. Carol Ng-He
    • Family and Youth Programs. Leila Makdisi
    • K-12 Teacher Programs. Carol Ng-He 

    Volunteer Program. Susan Geshwender


    DEVELOPMENT AND MEMBERSHIP


    PERSONNEL


    ar2014-15-cover-web.jpg
    2014–2015 Annual Report
    13-14_AnnualReport-cover-web.jpg
    2013–2014 Annual Report


    For an up to date list of all Oriental Institute publications available online see:

    Juan Garcés (Digitised Manuscripts Blog)

    Old English 'Spell' Books

    In the list of books bequeathed by Bishop Leofric of Exeter (d. 1072) to his cathedral, one entry might, at first glance, take a modern reader by surprise: a ‘ful spelboc’, or a full spell book. This is not, however, evidence that the learned bishop was dabbling in magic. In...

    ASOR Blog (American Schools of Oriental Research)

    Lessons Learned from a New Collaborative Archaeological Adventure

    It all began over a decade ago. Then Director General of the Department of Antiquities of Jordan (DoA), Fawwaz Al-Kraysheh, sat me down in his office, looked me straight [...]

    The post Lessons Learned from a New Collaborative Archaeological Adventure appeared first on The ASOR Blog.

    Bill Caraher (The New Archaeology of the Mediterranean World)

    An Idea for the University of North Dakota Budget

    Over the last few months the University of North Dakota’s campus has absorbed the sobering reality that we will need to undergo another round of budget reductions. As with anything like this, there is much flailing, wringing of hands, gnashing of teeth, and slashing away at campus institutions like a drunken pirate in a beer hall brawl. In response, there are anguished letters to the editor, earnest petitions, and all manner of cluck-clucking, eye-rolling, “first world problem”ing, and other forms of cynical, ironic, and condescending rhetoric. Good times!

    One of the interesting things that these budget cuts have forced me to consider is the organization of the university because there is some expectations among campus leaders (i.e. the provost and president) that these cuts are structural not simply nibbling around the edges of programs and existing departments and faculties. To stimulate thinking about these kinds of cuts critically, the university has started to make vigorous cuts both to the administration (particularly at the level of Vice President) and to departments and programs. As I’ve noted, my department (History) saw its graduate program defunded and other departments and programs are poised to be trimmed, adjusted, or combined. The deans of the various colleges (Arts and Sciences, Engineering and Mines, Business and Public Administration, Aerospace, Education, and Nursing) are responsible for most of the departmental and program level adjustments. Colleges serve as intermediaries between the upper administration and the department levels.

    What is curious is that no one has suggested eliminating the colleges at UND. So that’s what I’m going to propose now. 

    First, we have to recognize that two colleges – the Medical School and the Law School – need to be left untouched. In part, because the Medical School gets separate appropriations from the legislature and the Law School is largely autonomous owing the requirements of accreditation and the like. I also recognize that some programs require directors or deans with particular kinds of training and this would have to be folded into a new university system. I might be, for example, that certain programs become “schools” within the university with a director who has the kinds of qualifications that accreditors require.

    Here are my rational:

    1. Duplication of Work. Most universities and colleges are organized around autonomous departments which, in turn, house autonomous faculty who each fulfill a particular, typically discrete function. In other words, there is very little duplication of work or expertise at the level of departments or individual faculty. When you eliminate a department or a faculty line there is usually no-one to pick up the slack. The reasons for this are intellectual (i.e. most departments have a distinct method or epistemology that is related to disciplinary standards), externally maintained (i.e. most departments and disciplines have professional organizations that either offer guidelines or require accreditation on a national or even international level), and historically constituted (i.e. internal and external pressures have consolidated academic disciplines and eliminated duplication across campus).  

    This same lack of duplication is largely the case at the upper levels of university administration as well. While faculty love to rail against the proliferation of Vice Presidents, Associate Vice Presidents, and other administrative posts, generally speaking each position has a discrete function that is not duplicated by another position in the administration. Many of these positions serve functions that faculty do not want and protect and promote student life, manage the complexities of budgets, ensure compliance with a myriad of state and federal policies and laws, market the university to various groups, and maintain core services (email, websites, classroom spaces, offices, et c.) for everyone on campus. The talk about administrative bloat often fails to acknowledge that administrators do have functions even if these functions are seen as subordinate or ancillary to the “proper business of the university.  

    Colleges are not like this. Each college has staff and administration that basically do the same (or at least a similar) job to the staff and administration in the other colleges. While I understand that some of these positions are necessary for the functioning of the university, the colleges on campus as not rationally constituted and, to some extent, arbitrary divisions. For example, certain kinds of engineering exist in the College of Engineering and Mines and in Aerospace. Political Science and Economics are in the College of Business whereas the other social sciences are in the College of Arts and Sciences. Chemical Engineering is in Engineering and Chemistry is in Arts and Sciences. Geology, however, is in Engineering with Geological Engineering. There are always local, historical reasons for this arrangement, but these are often quite contingent. In other words, the duplication of functions across colleges is not a reflection of an academic or intellectual division of labor, but of historical contingency. Colleges try to do the same thing despite being different sizes and having different resources with the primary goal of supporting the programs in the college. The limits of this goal is arbitrary and not distinct from that of the university itself.

    Of course, I recognize that eliminating the colleges will not eliminate the jobs of most personnel within the colleges. At the same time, it will allow us to organize this in a rational way across campus that reflects the needs of departments and students without concern for arbitrary administrative divisions.

    2. Centralization. One of the watch words of the recent set of budget cuts has been centralization of both basic functions and message: “One UND” and all that. Historically (at least since I’ve been on campus) colleges has pushed back against that pleading their uniqueness and chaffing at the idea that they would have to give up autonomy to a distant and perhaps differently motivated center. In my favorite example, one college on campus refused to use the university-wide content management system for their website and built an identical site without the CMS to demonstrate its independence. Bizarre, but true. More recently, the college deans were asked to revise their budget cutting strategies because they didn’t do enough and did not coincide closely enough with the larger strategic plan of the institution. Without impugning the motives of any particular dean, it seems safe to say that the rejection of the budget cuts reflects inherent inefficiencies in the college system as well as a bit of resistance from the college offices who are doing all they can to promote their own programs and existence. 

    The structural arrangement of the college system both inserts a degree of largely irrational, inefficiency in the administration of the university and draw upon the same pool of resources as the central administration to sometimes resist its interests. If this resistance was connected to issues of disciplinary integrity or even functional imperatives, then I’d accept or even embrace the fight, but in most cases the resistance, jockeying, and horse trading is the product of historically contingent institutional divisions.  

    3. Competition. It has been popular in recent years on college and university campuses to celebrate the “marketplace of ideas” and to promote competition for both intellectual ascendency, resources, and recognition across campus. While I don’t love this particularly neoliberal approach to knowledge production, I think that many on campus have accepted it. If you’re not growing, improving, innovating, embettering, engoodening, or whatever, you’re falling behind, failing, and irrelevant.

    Hierarchy tends to stifle competition and innovation by limiting the ability of individuals to operate freely (as well as inefficiency).  Colleges limit competition in very practical ways at UND. First and foremost, the current funding model provides resources to colleges based on their enrollment (among other things) and this serves as a disincentive to collaborate across college boundaries. It remains challenging to collaborate – in even very basic ways – with colleagues across campuses. Certain kind of internal grant money is awarded according to college programs. Curriculum is decided on the college level (before going to another committee at the campus wide level). 

    It is a fair critique to note that these institutional barriers are not too significant and easy work arounds exist, but I am not entirely clear how these institutional barriers benefit competition, collaboration, and innovation across campus. This is all the more significant when we consider that the growing interest in collaboration between STEM field and the humanities and social sciences. At present, engineering and technology is institutionally separated from the humanities (as well as certain kinds of science and math)! The existing organization of the university reflects older views of disciplinary organization (at best) and arbitrary divisions (at worst) that reduce the opportunities for strategies that will accelerate innovation and competition across campus. 

    On a more cynical level, I have often wondered how oversight and strategic planning by deans has tempered innovation at the department level. If we eliminated the colleges and deans, I suspect this would free departments to negotiate their place within the marketplace of departments and ideas on campus and move more strategically and fluidly to develop partnerships and alliances. 

    ~

    To be clear, I recognize that eliminating colleges will not solve all of the university’s budget problems, but the calls for the upper administration for serious, structural changes would seem to point in the direction of improving efficiency across campus. The low-hanging fruit for this kind of change is the outdated college system. Many of the basic functions immediately relevant to students and faculty could be consolidated and centralized with some benefits in efficiency. 

    I suspect it is inevitable that departments and programs form alliances to promote their interests on campus. There would also have to be a form of representation to ensure that the basic functioning of various programs. Here are my thoughts in that direction:

    1. Organize by Degree. It would make sense to establish for some overarching committees perhaps organized around degrees with all the programs that offer B.A., B.S., B.F.A. degrees, for example, to vet curriculum and ensure that the degree requirements and courses existed.

    2. Re-establish an Autonomous Graduate School. For the last 5 years or so, the School of Graduate and Professional Studies at UND has lost most of its autonomy. It is now largely a service division with a dean that does not have tenure in a department. This ensures that the individual colleges have a significant amount of control over graduate programs served by their departments. This is irrational for all the reasons that colleges are irrational, but made sense inasmuch as the individual colleges were responsible for the faculty who taught graduate classes and advised graduate students. A more rational plan would be for the Graduate School to gain significant autonomy and work closely with departments and programs to ensure that resources exist to support various degrees at the graduate level. In other words, organization follows the degrees rather than the arbitrary and historically contingent colleges. 

    3. Faculty Leadership and Governance. There would be risk, of course, that a more dynamic and competitive university structure would be more prone to administrative interference. Deans do serve as checks on the power of the president and the provost and their various minions. They are conservative institutions that make change more difficult and reinforce entrenched views of the university. To my mind, this inefficiency has hurt our ability to deliver education and support research, collaboration, and cooperation across campus more than it has helped, but there are those who will point out that the departure of deans will leave a leadership vacuum on campus that faculty will have to step into. 

    While faculty love to complain about the burdens of service and the incompetence of administrators, a university without deans and college organization will require faculty to step into this gap and to balance their own and their program’s ambition against the greater good of the university. Committees will have the responsibility of working with various administrators who do much of the work to ensure that a university can function. 

    Decisions on the distribution of tenure track lines, program changes, funding for adjuncts and temporary faculty, and other responsibilities could involve the entire faculty rather than existing as deals negotiated between departments and the deans. This could, of course, get messy and quickly, but maybe that kind of messiness isn’t a bad thing when it reflects the dynamism of faculty governance rather than the arbitrary accretions of administrative structures.    


    Juan Garcés (Digitised Manuscripts Blog)

    Medieval Shelfies

    Our colleagues in the British Library's publishing team (otherwise known as @bl_publishing) recently spent a day managing the Library's Twitter account. Throughout the day, they encouraged followers to send in their shelfies, i.e. selfies of their bookcases. Sharing shelfies has recently become a popular social media trend among bibliophiles and...

    February 19, 2017

    Sean Gillies Blog

    Halfway

    On August 8, 2016, I blogged about arriving in Montpellier with my family and the start of our 12 month séjour. Today we're a little more than halfway through.

    Thursday I picked up my Titre de Séjour from the Prefecture. The Titre de Séjour (formerly Carte de Séjour, or just CD) is a residence permit required by French law for non-European Union citizens staying in France for a longer than three months. I can now travel around the EU like any other French citizen until August 1, 2017. This is good since I'm planning to visit a few places outside France this spring like Bologna and Berlin.

    Our previous séjour in 2009 opened my eyes to what less-privileged, poorly-connected people are going through when they try to establish residence in France. We stood in the same lines and waited in the same waiting rooms as African families. In 2016, immigration is much more segregated. Visiting scientists and their families get to deposit their dossiers at a much more welcoming Office Français Immigration Intégration (OFFI) annex at the university. We're presumed healthy and there are no medical exams or scans. My only time spent with other immigrants was waiting to pick up my card at the Prefecture. Immigration to France (short term, at least) is easier today for well-connected white folks. I suspect it's more difficult for others.

    And now our return to the US in August is beginning to rear its head. We're signing our oldest up for her new school. Discussions with our tax preparer are starting. We have a family reunion in California to arrange. Orthodontia appointments to schedule. House repairs.

    12 months is too short for a trip like this; just when we're finally settled in it's time to start planning to leave.

    https://c2.staticflickr.com/4/3697/32895039165_d19068c032_b.jpg

    Chien de traineau, Mijanès-Donezan

    Charles Ellwood Jones (AWOL: The Ancient World Online)

    Open Access Library: ETANA Core Texts

    [First posted at ANCIENT WORLD BLOGGERS GROUP (AWBG), 30 June 2008 . Most recently updated 19 February 2017]

    ETANA Core Texts
    http://www.etana.org/sites/default/files/images/glyph.png
    The civilizations of the ancient Near East produced the world's earliest written texts — in hieroglyphs, cuneiform, and alphabets — with which they described the first empires, recorded the first legal codifications, preserved the first love songs, and registered the first contracts, among states or individuals. Not surprisingly, these cultures elicited broad curiosity among later civilizations, our own not excepted, resulting in a flood of evaluation, scholarly or otherwise. While the discovery of new texts always leads to new evaluation, it is remarkable how assessments arrived at decades ago continue to be of much value, not only because they often carry editions of original documents, but because they contain insights minted freshly after first exposure to major documents.
    ETANA (Electronic Texts and Ancient Near Eastern Archives) has digitized, and continues to digitize, texts selected as valuable for teaching and research relating to ancient Near Eastern studies. We have selected primarily editions that are outside of copyright, or with the permission of copyright holders. While the new electronic editions we have produced are under copyright, the ETANA project chooses to make these freely available for noncommercial teaching and research purposes.

    Open Access Journal: McDonald Institute for Archaeological Research Annual Report

    [First posted in AWOL 20 November 2012, updated 19 February 2017]

    McDonald Institute for Archaeological Research Annual Report
    The McDonald Institute for Archaeological Research produces an annual report called ‘Archaeology at Cambridge’ which showcases the research of archaeologists in Cambridge, the work being undertaken by members of the Institute’s laboratories as well as projects funded by the DM McDonald Grants and Awards Fund.
      2015-2016   2014-2015   2013-2014    2012–2013   2011–2012     2009–2010  2010–2011  2008–2009   2007–2008   2006–2007   2005–2006     2003–2004  2004–2005  2002–2003   2001–2002

        Mia Ridge (Open Objects)

        Trying computational data generation and entity extraction

        I’ve developed this exercise on computational data generation and entity extraction for various information/data visualisation workshops I’ve been teaching lately. As these methods have become more accessible, my dataviz workshops have included more discussion of computational methods for generating data to be visualised. It’s also a chance to talk about the uses of these technologies … Continue reading Trying computational data generation and entity extraction

        The post Trying computational data generation and entity extraction appeared first on Open Objects.

        Charles Ellwood Jones (AWOL: The Ancient World Online)

        Open Access Journal: Lettre du Répertoire des Inscriptions Libyco-Berbères

        Lettre du Répertoire des Inscriptions Libyco-Berbères
        ISSN: 1260-9676
        Épigraphie Libyco-Berbère
        La Lettre du RILB (Répertoire des Inscriptions Libyco-Berbères)

        EPHE - Section des sciences historiques et philologiques
        Directeur de la publication : Lionel Galand

        Available Online

        Why are Glasgow museum websites so out of date?

        The recent release of 375,000 images by the Metropolitan Museum of New York for full and complete re-use (ie with a Creative Commons Zero mark) throws into sharp relief how far many art galleries are from making their collections fully available online.

        The situation is particularly bad in Glasgow. The Scottish city hosts some fine collections (such as the Burrell Collection, Kelvingrove Art Gallery and Museum, or the University’s Hunterian Art Gallery and Museum), displaying the eclectic tastes of Glasgow’s businessmen, scholars and philanthropists. Tapestries, jewellery, stained glass mingle with Old Masters and bright Scottish landscapists.

        Chardin, Jean-Baptiste Simeon, 1699-1779; A Lady Taking TeaChardin, Jean-Baptiste Simeon; A Lady Taking Tea; Hunterian Art Gallery, University of Glasgow. Copyright Uni of Glasgow (!!)

        However, the digital collections are stuck somewhere in the dark ages.

        Kelvingrove Art Gallery and Museum has no independent facility to search over its entire collections. Indeed, it’s not made clear how much of the collection is actually available in digital form. Some collections can be browsed, and after clicking through a jungle of hyperlinks you can get to items and metadata as part of another website (http://www.csgimages.org.uk/) that collates images from Glasgow museums.

         

        Screen Shot 2017-02-19 at 09.08.13.pngScreenshot of ‘Collection Highlights’, Kelvingrove Art Gallery and Museum

         

        On this website you find that if you want to want to re-use an image …. you need to pay for it (pdf). I’m sure managing these rights loses them money. If you want to a cite a page, good luck with finding a trustable, permanent identifier. Screen width is a distinctly ungenerous 800 pixels. Don’t even bother going there with your smartphone. The whole website looks like a brochure, not an online collection. The maximum image size seems to be a miniscule 400 pixels in width.

        When given such treatment paintings become indistinct, inexplicable relics, rather than living, breathing works of art.

        The Hunterian Art Gallery and Museum at least has a searchable interface. But the design is primitive, the functionality rudimentary, and the images are tiny, many shrouded in unnecessary copyright.

        Screen Shot 2017-02-19 at 09.10.03.pngScreenshot for searching Hunterian collections

        The situation is particularly egregious for the Burrell Collection. The museum is closed until 2020 for refurbishment, so the full extent of the collection is visible neither in digital and physical form. A whole treasure chest of art locked and buried. A few years ago, the trustees decided to ignore William Burrell’s request that items in the collection should not travel outside Glasgow. This was controversial, but made sense. But this current lack of access betrays Burrell’s original vision in more a fundamental way.

        Why then, along with many other museums in Glasgow, are these websites so poor?

        I suspect the reason is political rather than technical. My guess is that around 15 years ago, an unholy alliance of corporate communications and technical convenience meant that all government-funded museums (the Hunterian is part of the University and therefore has separate funding, or probably lack-of-funding streams) were obliged to use the Glasgow Life platform.

        This may have made sense then, but now it means the collections are trapped. They need need financial, strategic and technical leverage if they are to move to more open, generous interfaces and to be exposed more fully on the web. This takes time and effort to convince the right people that this needs to be done.

        What makes it particularly galling for any Glaswegian is that the situation for the art galleries in Edinburgh is much much better. Edinburgh’s National, Portrait and Modern Galleries have worked together to create a networked collection of online artwork, designed for the 21st century. The artworks shine on the Edinburgh interface. It’s rare for Glaswegians to be envious of Edinburgh, but in this occasion, they can be nothing but.

        Screen Shot 2017-02-19 at 09.12.33.pngScreenshot from search results page for National Galleries of Scotland

        February 18, 2017

        Charles Ellwood Jones (AWOL: The Ancient World Online)

        Open Access Journal: Intellectual Property Issues in Cultural Heritage Newsletter

         [First posted in AWOL 7 November 2013, updates 18 February 2017]

        IPinCH Newsletters: Intellectual Property Issues in Cultural Heritage
        http://www.sfu.ca/ipinch/sites/all/themes/zeropoint/images/ipinch_header.png

        Mission

        The Intellectual Property Issues in Cultural Heritage (IPinCH) research project is an international collaboration of archaeologists, Indigenous organizations, lawyers, anthropologists, ethicists, policy makers, and others, working to explore and facilitate fair and equitable exchanges of knowledge relating to heritage. We are concerned with the theoretical, ethical, and practical implications of commodification, appropriation, and other flows of knowledge about the past, and how these may affect communities, researchers, and other stakeholders.

        Vision

        IPinCH provides a foundation of research, knowledge and resources to assist archaeologists, academic institutions, descendant communities, scholars, policy makers, and other stakeholders in negotiating more equitable and successful terms of research and policies through an agenda of community-based research and topical exploration of intellectual property (IP) issues. Our focus is on archaeology as a primary component of cultural heritage; however, this project is ultimately concerned with larger issues of the nature of knowledge and rights based on culture—how these are defined and used, who has control and access, and especially how fair and appropriate use and access can be achieved to the benefit of all stakeholders in the past.

        May 05, 2016
        November 04, 2014
        October 15, 2013
        January 14, 2013
        IPinCH Newsletter 3 (1+2)
        April 16, 2012
        November 01, 2010
        IPinCH Newsletter 2.1 (Summer 2010)
        July 16, 2010
        IPinCH Newsletter Vol. 1 No. 2 (November 2009)
        November 03, 2009
        June 01, 2009

        Open Access Journal: Historische Literatur: Rezensionszeitschrift von H-Soz-u-Kult

        [First posted in AWOL 6 June 2013, updates 18 February 2017]

        Historische Literatur: Rezensionszeitschrift von H-Soz-u-Kult
        ISSN: 1611-9509
        http://edoc.hu-berlin.de/e_images/hub_logo2.jpg
        Historische Literatur ist eine vier Mal jährlich erscheinende Rezensionszeitschrift von H-Soz-u-Kult, einem verbreiteten Internetforum für die Geschichtswissenschaften. Der Name steht für das Programm der Zeitschrift, denn Historische Literatur veröffentlicht ausschließlich Besprechungen aktueller historischer Publikationen und thematische Forschungs- und Literaturüberblicke. Sie berücksichtigt dabei ohne Privilegierung spezieller Forschungsansätze und Methoden ein möglichst breites Spektrum historisch relevanter Publikationen, die alle Epochen adäquat abdecken und fachliche, methodische wie regionale Aspekte angemessen einbinden. Dabei stehen die deutschsprachigen Neuerscheinungen im Vordergrund, jedoch findet die fremdsprachige Fachliteratur zunehmend Berücksichtigung.

        Historische Literatur steht zudem auch für ein Experiment, denn die Zeitschrift bzw. deren Inhalt erscheint in mehrfacher Weise in hybrider Form. Die in den jeweiligen Quartalsbänden der Rezensionszeitschrift abgedruckten Besprechungen und Artikel wurden für H-Soz-u-Kult geschrieben und sowohl über den Mailverteiler einzeln an die Subskribenten des Forums verteilt als auch über die Websites von H-Soz-u-Kult in Berlin und des H-Net in Michigan der Fachöffentlichkeit zugänglich gemacht. Die Besprechungen eines jeden Quartals wurden zwischen 2003 und 2008 zusätzlich in sowohl elektronisch wie gedruckt verfügbaren Heften zusammengefasst. Ende 2008 wurde die Druckausgabe aus finanziellen Erwägungen eingestellt; seit 2009 erscheinen die Quartalshefte nur noch in elektronischer Form auf dem Dokumenten- und Publikationsserver der Humboldt-Universität zu Berlin. Die Rezensionszeitschrift Historische Literatur ist ein Kooperationsprojekt in mehrfacher Hinsicht: den Inhalt steuern die Fachredakteure von H-Soz-u-Kult durch ihre fortlaufende Arbeit bei, weshalb sie auch das gemeinsame Herausgeberkollektiv der Zeitschrift stellen. Die technische Realisation geht zurück auf eine Zusammenarbeit zwischen dem Kooperationsprojekt Clio-online und den Mitarbeitern des von Einrichtungen der Humboldt-Universität, der Universitätsbibliothek und dem Computer- und Medienzentrum, getragenen Projektes edoc-Server (Dokumenten- und Publikationsserver).
        Band 9• 2011 • Heft 2 (April - Juni)
        Band 9• 2011 • Heft 1 (Januar - März)
        Band 8• 2010 • Heft 4 (Oktober - Dezember)
        Band 8• 2010 • Heft 3 (Juli - September)
        Band 8 • 2010 • Heft 2 (April - Juni)
        Band 8 • 2010 • Heft 1 (Januar - März)
        Band 7 • 2009 • Heft 4 (Oktober - Dezember)
        Band 7 • 2009 • Heft 3 (Juli - September)
        Band 7 • 2009 • Heft 2 (April - Juni)
        Band 7 • 2009 • Heft 1 (Januar - März)
        Band 6 • 2008 • Heft 4 (Oktober - Dezember)
        Band 6 • 2008 • Heft 3 (Juli - September)
        Band 6 • 2008 • Heft 2 (April - Juni)
        Band 6 • 2008 • Heft 1 (Januar - März)
        Band 5 • 2007 • Heft 4 (Oktober - Dezember)
        Band 5 • 2007 • Heft 3 (Juli - September)
        Band 5 • 2007 • Heft 2 (April - Juni)
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        Band 4 • 2006 • Heft 4 (Oktober - Dezember)
        Band 4 • 2006 • Heft 3 (Juli - September)
        Band 4 • 2006 • Heft 2 (April - Juni)
        Band 4 • 2006 • Heft 1 (Januar - März)
        Band 3 • 2005 • Heft 4 (Oktober - Dezember)
        Themenschwerpunkt: Das Historische Buch 2004
        Band 3 • 2005 • Heft 3 (Juli - September)
        Band 3 • 2005 • Heft 2 (April - Juni)
        Band 3 • 2005 • Heft 1 (Januar - März)
        Band 2 • 2004 • Heft 4 (Oktober - Dezember)
        Themenschwerpunkt: Jüdische Geschichte
        Band 2 • 2004 • Heft 3 (Juli - September)
        Themenschwerpunkt: Konfessionen und religiöse Weltdeutung in der Frühen Neuzeit
        Band 2 • 2004 • Heft 2 (April - Juni)
        Band 2 • 2004 • Heft 1 (Januar - März)
        Themenschwerpunkt: Das Historische Buch 2003
        Band 1 • 2003 • Heft 4 (Oktober - Dezember)
        Band 1 • 2003 • Heft 3 (Juli - September)
        Themenschwerpunkt: Das Historische Buch 2002
        Band 1 • 2003 • Heft 2 (April - Juni)
        Themenschwerpunkt: Historische Frauen- und Geschlechterforschung
        Band 1 • 2003 • Heft 1 (Januar-März)
        Themenschwerpunkt: Das Jahr 1968

        Roger Pearse (Thoughts on Antiquity, Patristics, putting things online, and more)

        Solomon in Coptic Songs – text and translation by Anthony Alcock

        Anthony Alcock continues his series of translations from the Coptic.  This new item consists of 10th century AD Coptic songs – folk-stories – which mention Solomon.

        Thank you, Dr A., for sharing this with us!

        Cultural Heritage Informatics Initiative

        Querying the Collection of the British Museum for Propositional Objects

        As I mentioned last month, one of the ideas of the semantic web is to render data from specialized, disparate sources comparable, and this is achieved by developing specifications like CIDOC-CRM. One implementation of CIDOC-CRM is the Erlangen CRM. Heritage institutions like the British Museum use implementations like this to organize their collection. It is implemented in the Web Ontology Language (OWL) and can be browsed in an ontology explorer like Protégé or by just reading the XML.

        The CIDOC-CRM includes a class called Conceptual Object. Conceptual Object is a subclass of Man-Made Thing and a superclass of both Propositional Object and Symbolic Object. I’m particularly interested in exploring the Propositional Object class, which includes

        “immaterial items, including but not limited to stories, plots, procedural prescriptions, algorithms, laws of physics or images that are, or represent in some sense, sets of propositions about real or imaginary things and that are documented as single units or serve as topic of discourse” (CIDOC-CRM, n.d.).

        According to the documentation, a set of exemplary instances of this class are the common plot points of Kurosawa’s The Seven Samurai and Sturges’ The Magnificent Seven. A query to a SPARQL endpoint in order to materialize that collection’s Propositional Objects might read as follows:

        # declare a prefix
        # this allows us to refer to objects in the schema directly rather than by their full URI
        # e.g., in the query below, crm:E89_Propositional_Object rather than the full URI http://erlangen-crm.org/current/E89_Propositional_Object
        PREFIX crm: <http://erlangen-crm.org/current/>
        
        # specify:
        # a) the variable that the server should return (?instance)
        # b) that the server should return unique instances only (with the DISTINCT modifier)
        SELECT DISTINCT ?instance
        # specify the pattern for the server to try to match
        WHERE { 
         ?instance a crm:E89_Propositional_Object 
        }
        # state how the response should be ordered…
        ORDER BY ?instance
        # and the quantity of instances to limit the response to
        LIMIT 100

        Applying this query to the British Museum’s SPARQL endpoint returns 100 instances of Propositional Object, including Afghan Studies, Annual Reports, and Annual Review of the Royal Inscriptions of Mesopotamia Project.

        Find the British Museum’s SPARQL endpoint and some helpful examples here.

        Dickinson College Commentaries

        Improving Perseus

        The flagship digital classics site Perseus is preparing to re-design its interface, amidst a whirlwind of infrastructure upgrades, tool development, and ambitious plans for multilingual support. It’s a daunting task, and in acknowledgment of the difficulty project director Gregory Crane has floated a draft RFP, with a tentative list of desiderata, for public comment. It is extraordinary and wonderful to invite the whole user community to comment on the development of a site that is so central to digital classics, indeed digital humanities itself, at such an early stage of the design process. So . . . here are my thoughts, offered with the utmost respect for the revolutionary impact of Perseus on our field and on digital humanities, and the massive contribution Perseus makes to global learning about the Greek and Roman classics.

        It’s no secret that many users have been unhappy with the existing Perseus interface for a long time. Old concerns with speed seem to have been addressed. But navigation issues remain. The Word Study Tool continues to be inadequate. Translation and commentary content continue to be outdated. Aesthetics leave a lot to be desired. And the glut of information on the page that is often of unclear value and relevance to readers continues to be a major concern. How to proceed?

        Users

        It’s crucial to let an awareness of the audience drive the design discussion. Crane defines three types of users: a) advanced researchers; b) somewhat knowledgeable students; and c) readers who have no knowledge of a language at all but want to study a text as deeply as possible. Which pieces of Perseus content will be each be most interested in? Professional scholars have historically had little interest in, and even hostility towards, Perseus, which was not originally conceived with them in mind, has little to offer them, and which they often perceive as a way for their students to avoid learning morphology, and a source of misinformation about morphology and poor translations. The plans articulated in the RFP, with their focus on treebanking, linked data infrastructure, continued reliance on automatic parsing tools, and no discussion about updating text and translation content, don’t seem set to change that. The professional audience also has access to research libraries and high quality, edited databases like TLG, LLT, TLL, LCL, and Brills New Pauly, which far surpass Perseus in terms of accuracy and completeness. Somewhat knowledgeable students are the core constituency. They typically need accurate texts, translations, and word-level definitions and parsing. A huge boon to this group is Perseus’ digitization of older but still very valuable encyclopedias, such as Smith’s Dictionaries (e.g. this), and the various lexica. The total neophytes would also value word-by-word definitions and parsing, analogous to the interlinear trots of an earlier age, but badly need concise and consistently accurate dictionary entries, which Word Study Tool does not yet provide. An audience implicit in Crane’s whole discussion is the global, non-English speaking audience who would like to encounter classical texts with helps in their native languages, and not have to go through English. This is a massive undertaking, given the lack of legacy reference works of the kind on which English Perseus is based. It would involve Russian 5-year-plan style mobilization of scholarly time and effort, and will be the work of many decades. So it seems unwise to make design decisions now for an audience for whom you don’t yet have much in the way of content. Another implicit audience is corpus linguists. But this is a very small audience and not worth catering to in terms of design decisions.

        So from a design perspective it seems imperative to focus on the needs of the intermediate student or self-taught learner who wants to encounter texts in historical languages. What resources does Perseus provide to that audience?

        Content:

        • Original language texts: a major service provided by Perseus, the crown jewel.
        • English Translations: often seriously outdated or even (in cases such as the translation of Ovid’s Amores by Christopher Marlowe) downright archaic. There are also many gaps (see below). Sometimes good contemporary translators have contributed their work (Vincent Katz for Propertius and Anne Mahoney for Sulpicia). 
        • Commentaries: seriously outdated, except in cases where good scholars have contributed material, such as Jim O’Donnell’s notes for Boethius’ Consolation of Philosophy. Some of the older material is still valuable for specialists, e.g. T. Rice Holmes on Caesar.
        • Grammars: very valuable, but not easy to navigate, and not effectively tied to individual passages that might need elucidation
        • Encyclopedias: very valuable, but not easy to navigate, and not effectively tied to individual passages that might need elucidation. The navigation and searching in Smith’s invaluable mythological and biographical dictionary is particularly bad (try searching, for example, for Ajax or Helen)
        • Lexica: supremely valuable, but not easy to navigate. Perseus’ digitization of lexica has been one of its most significant contributions. Logeion has in essence fixed the navigation and interface problems Perseus (adding new content, too) and become a fundamental part of the field for all the above-mentioned core audience, and specialists as well.
        • Textbooks, such as Benner’s selections from the Iliad and Allen & Greenough on Caesar.

        Tools:

        • Word Study Tool (pop-up dictionary and parsing tool that activates on clicking a word). This is perhaps the most controversial item, the heart of the digital services Perseus provides, but the source of much of the distrust from professionals and love but also frustration from students. The new way forward is going to be via Alpheios and treebank data, with which I am not familiar enough to comment. In my opinion, though, we’re still many years away from a reliable automatic parser, even though some texts, like Homer, are fully parsed by humans and ready to go. One current issue is that the Word Study Tool sometimes directly contradicts definitions and parses in handmade notes like those of O’Donnell.

        So, prima facie, if I were setting out to improve Perseus, I would try to serve that core audience of students and autodidacts by a) finding or commissioning competent, up-to-date translations of classical works; b) commissioning commentary content that explains the texts for learners and connects it thoughtfully to the various reference works; c) improving the accuracy of the word study tool; d) improving the interfaces of the grammars and encyclopedias, to do for them what Logeion did for the lexica; e) digitizing better, author-specific lexica so learners have just the information they need to read, say Xenophon or Cicero, not the firehose of a large lexicon or the very unreliable scattershot of “short defs” (a world in which the Latin scribo [“write”] means “to scratch, grave, engrave, draw”).

        Improving the interface, not the content, is the focus of the RFP, so I’ll take some of the issues raised there, in order.

        Chunking and Browsing

        Perseus confronts an important problem: how do we divide up and tag classical texts so as to allow individual passages to be located easily in a digital environment? This key infrastructure and navigation issue is also being worked on by Harvard University Press and the Loeb series. Perseus is focused on the emerging standard CITE architecture which will create a new, machine readable reference system for classical texts. But there is also the existing “system”—chaotic, not readily machine readable, but very widely used.  Ideally, readers should be able to take a citation they find in their reading (e.g “Tertullian, On the Shows 22”), plug it into a search box, and find the relevant primary text in the original and translation, so as to check the accuracy of the use of the primary text in the scholarly literature (or for that matter Wikipedia or elsewhere on the internet). It is hard to overstate the existing barriers to this basic, crucial scholarly and intellectual process on the internet. Students without specialized knowledge cannot readily do it. I recently charged a class of 35 undergraduates in an introductory course taught in English to look up and check a single scholarly reference of their choice from an article  (one which didn’t use that many abbreviations and was written for a general audience). I asked them simply to find the original source, read it, and say whether the primary source backed up the point the scholarly author was making. Only 6 of the 35 were able to find what they were looking for successfully on the first try, and one of the main obstacles is that you can’t just go even to the Loeb Digital Library (much less the open internet) for a mainline classical text and put in a citation and find a translation. If you have specialized knowledge of classical texts, or unusual tenacity, you can do it, but that is not the way things should be in the age of Perseus. So I would prioritize this, and work if possible with Harvard UP to develop standard tags that reflect traditional reference systems, in addition to working on the CITE URN system for the long term.

        I would also like to put in a plug for the virtues of the traditional “card” breaks of Perseus. In the proposal this is treated as something of a holdover from primitive versions of Perseus, but in fact such medium-size chunking, though somewhat arbitrary and not as precise as sentence by sentence or line by line systems of reference, carries distinct advantages. One unsolved problem in digital classics is the aggregation of commentary traditions. Notes in the existing classical commentary tradition are often, but not always, tied to particular words via a lemma (specific words from the source text repeated at the beginning of the comment). So ideally you would want to see all the comments on a particular word. But the fact is that editors used no standard system of lemmas, and often commented on ranges of lines, not specific words. So an agreed-upon card chunking would be immensely useful for aggregating notes in a sensible way that really catches all the relevant material. DCC has adopted Perseus card chunks as standard, and I think they should not lightly be abandoned.

        Word frequencies

        “We need information about word frequencies—this is a very important function for critical reading.” (p.10) Important for corpus linguists perhaps, but not for most readers. The main issue the core audience would want to know is: is this word common (one that I should memorize or write down) or is it unusual (and hence not worth the time focusing on now).  The focus of Perseus on statistical word frequencies (themselves based on the often faulty parses of the WST), and the devotion of screen space to this, is an example of catering to the vanishingly small corpus linguist audience. The Max/Mix figures are confusing rather than illuminating for most people. I did not understand them fully until I read the explanation in this RFP I would remove all this information to some secluded spot where the interested can find it.

        Left hand workspace

        Metadata at the top: “Do we even need this? Does it deserve this scree real estate?” (p. 13) No, definitely not.

        Canned searches: “Do we need this on the left hand side?” No.

        Table of contents: left nav like this seems to be standard web design. Removing all the stuff above will put it in its rightful, prominent place. I would also remove the browsing bar navigation above, which is not standard web design, is not terribly attractive, and which I personally rarely use. Left nav is sufficient.

        Right hand work space

        Focus/Load: “this is a very attractive feature.” Agreed.

        “Provide an index of relevant works that cite the focus text” (p. 18) This References panel seems like information glut to me. To actually utilize this information to interpret a given passage requires time and skill and courage beyond what most users will possess. I consider this to be clutter, to be removed to some more discrete location.

        Alignment with manuscripts: this seems too ambitious, and beyond what the core users of Perseus need to have. It makes sense as a separate project, like the Homer Multitext, which really is for specialists.

        Here now is my personal list of desiderata, chosen based on what is not there now. I realize some of this may be in the works.

        Texts lacking (e.g.):

        Archimedes, Augustine (except for a few letters), Galen (only one treatise), Lactantius, Libanius, Orosius, Arnobius

        Texts with no translations (e.g.):

        Apuleius, Aelius Aristeides, Arrian, Augustus RG, Marcus Aurelius Meditations, Ausonius, Bede, Cicero De Oratore, De Re Publica; Cassius Dio, Dionysius of Halicarnassus, Eusebius, Greek Anthology, Juvenal, Lucian, Martial, Scriptores Historiae Augustae, Seneca the Younger (except Apocol.), Valerius Maximus

        Outdated things, e.g.:

        Aristophanes trans. (1907); Allen-Sykes commentary on the Homeric Hymns; Catullus translation; Horace Odes trans. 1882 by Conington; Lucretius trans. Leonard (1916)

        Reference Desiderata

        Good English-Greek and English-Latin dictionaries

        These reflections are based on an admittedly rather hasty survey of what’s there now, and I am sure the Perseus team is working hard on many of these problems. But this is the direction I would take to simultaneously streamline the interface and enrich the content.

        The lesson of Logeion is that we can help. Take some Perseus content and improve the navigation issues and whatever else you see that needs fixing. We did that with the Latin grammar of Allen & Greenough, and it has become one of the most popular parts of our site. If I had time and money, I would do that to every grammar that Perseus has digitized, and add Munro’s Homeric Grammar for good measure. Perseus has shown us how to build the future of classical studies. Let’s all contribute to making that future serve our scholarly communities.

         

        February 17, 2017

        Charles Ellwood Jones (AWOL: The Ancient World Online)

        Open Access Journal: Абарис

        Абарис
        Начиная с 1999 года Bibliotheca classica Pertopolitana совместно в Санкт-Петербургской классической гимназией издается журнал “Абарис», в котором печатаются статьи, доклады, стихи, переводы, рассказы о летних поездках, рисунки учеников, выпускников, учителей школы и ученых-антиковедов. Материалы каждого выпуска журнала посвящены какой-то теме — путешествиям в древнем мире, отдельным античным авторам, диковинным животным и т. д. Много внимания уделяется рассказам о постановках гимназического театра.

        Since 1999, the Bibliotheca classica Pertopolitana and the Gymnasium classicum Petropolitanum publish ‘Abaris’ (the Magazine of Friends of Gymnasium classicum Petropolitanum), which includes articles, reports, poems, translations, summer travel accounts by pupils, graduates, teachers and classicists. Each issue is dedicated to a particular topic – such as travel in the ancient world, ancient Greek or Latin authors, fantastic creatures, etc. One of the sections tells about last performances of the school’s theatre.


        IT-Empfehlungen: Für den nachhaltigen Umgang mit digitalen Daten in den Altertumswissenschaften

        IT-Empfehlungen: Für den nachhaltigen Umgang mit digitalen Daten in den Altertumswissenschaften
        Für die Durchführung archäologischer und altertumswissenschaftlicher Forschungsprojekte ist die Anwendung von In­formationstechnologien verschiedener Art immer geläufiger und selbstverständlicher. Dennoch fehlt es bis­lang an etablierten Strukturen, Standards und Verfahrensweisen, die allen Pro­jekten den erprobten und effizienten Einsatz von IT ermöglichen, Vergleichbarkeit ge­wonnener Datenbestände erlauben, übergreifend gleichwertige Qualität digitalen Ma­terials sicher­stellen und die langfristige Les- und Nutzbarkeit von Forschungsergebnissen in digi­taler Form garan­tieren. Durch die Einhaltung von Standards können nicht nur redundante Entwicklungsarbeiten mit zusätzlichen Finanzierungs-, Zeit- und Arbeits­aufwänden vermieden werden, sondern auch der Austausch von wissenschaftlichen Inhalten vereinfacht werden.

        In zunehmendem Maße fordern auch wissenschaftspolitische Gremien (DFG, Wissenschaftsrat, Schwerpunktinitiative "Digitale Informationen") die Nachhaltigkeit und die Vernetzbarkeit digitaler wissenschaftlicher Informationen ein, was eine Auseinandersetzung mit Dateiformaten, Datenmanagement, Normen, Mindeststandards, semantischen Referenzmodellen, Dokumentations- und Austauschverfahren erforderlich macht - sowohl bei kleineren Projekten eines Einzelnen als auch bei größeren disziplinen- und institutionenübergreifenden Forschungen. Einheitliche und in den jeweiligen Fachcommunities abgestimmte Vorgehen eröffnen für die aktuelle und zukünftige Forschung neue Möglichkeiten, um auf einer größeren, qualitätvolleren und homogeneren Datengrundlage komplexe Fragestellungen besser als bisher beantworten zu können.

        LatinPerDiem: Daily Latin lessons in about four minutes, drawn from 2300 years of the corpus

        LatinPerDiem: Daily Latin lessons in about four minutes, drawn from 2300 years of the corpus
        How to use this site:
        1. subscribe for daily updates Monday-Saturday
        2. Check out our resources page for help with pronouncing Latin and Greek, finding grammars and guides, and much more
        3. Send us your selection for analysis via our Viewer’s Choice feature. The world of Latin is rich and varied, waiting to be explored. Sometimes you need a pedagogus, an Orpheus to take you down into the details (and bring you back up katabatically).
        4. Tell your friends and spread the word of simple, interesting Latin instruction with lots of variety
        Exemplum regulam praecedit – show them, don’t just tell them!
        Our pedagogical philosophy is that people learn language best when they see real-life uses in context, not merely abstractions. That is why each and every instance of Latin instruction is drawn from actual authors and texts, not manufactured exempla.
        This site is the work of David C. Noe, Associate Prof. of Classics at Calvin College. Click here for his c.v.
        And see also AWOL's  list of

        Archeomatica: Tecnologie per i Beni Culturali

        Digitalizzazione e Modellazione 3D del plastico in sughero di Pompei del 1861

        Dopo uno scrupoloso lavoro effettuato dal team di specialisti del Laboratorio di Archeologia Immersiva e Multimedia (LAIM) dell'Istituto per i Beni Archeologici e Monumentali del Consiglio Nazionale delle Ricerche, il giorno 20 febbraio alle ore 16:00 presso il Museo Archeologico Nazionale di Napoli si terrà la presentazione dei primi risultati del progetto di digitalizzazione sul Plastico in sughero di Pompei del 1861.

        Cultural Heritage Informatics Initiative

        Timeglider JS: moving right along

        Construction of my timeline project is moving right along.  I have almost completely entered in all of the basic events, and have formatted the website into what it will basically look like. It is really coming together! I am using Timeglider JS as the framework for the timeline portion of my project and coding the rest of the pages with html/css. So far, it has been pretty easy to manipulate the basic components of Timeglider to enter in my own data points and re-do the icons (I’m pretty proud of my legend).  It has definitely been a learning process, but I think it will do what I want. Assuming I keep all my commas where they are supposed to be.

        While the content is not yet as complete as it will be by the end of the project, I welcome feedback (just understand that nothing is yet in its final version!). You can view my timeline here.     Perhaps more importantly, I need a catchy title! Timeline of Michigan Archaeology is just too long. What do you think, internet? Take a peak through the site, then give me your feedback.  If I choose your title, I’ll give you an acknowledgement on my page! 🙂

         

         

        Charles Ellwood Jones (AWOL: The Ancient World Online)

        Open Access Paulys Realencyclopädie der classischen Altertumswissenschaft

         [First posted in AWOL 17 February 2010, updated 13 May 2017]

        Paulys Realencyclopädie der classischen Altertumswissenschaft
        At Wikisource
        http://upload.wikimedia.org/wikipedia/commons/thumb/7/7f/Pauly-Wissowa_3_retouched.jpg/500px-Pauly-Wissowa_3_retouched.jpg
        Paulys Realencyclopädie der classischen Altertumswissenschaft (RE) ist die umfangreichste Enzyklopädie zum Altertum. Sie wurde ab 1890 von Georg Wissowa (1859–1931) herausgegeben und 1980 abgeschlossen. Sie führte die von August Friedrich Pauly (1796–1845) begründete Real-Encyclopädie der classischen Alterthumswissenschaft in alphabetischer Ordnung (1837–1864) fort und war als komplette Neubearbeitung konzipiert. Bis heute gilt die RE als Standardwerk der Altertumswissenschaft. Viele Artikel aus den ersten Bänden dieser Enzyklopädie sind mittlerweile gemeinfrei. Möglichst viele Artikel sollen hier sukzessive mit Hilfe von Scans digitalisiert werden.
        Bis jetzt wurden 26.210 Stichwörter erfasst, darunter 3.217 bloße Verweisungen.
        Eine vollständige Liste der bisher transkribierten Artikel gibt die Kategorie:Paulys Realencyclopädie der classischen Altertumswissenschaft.
        Register und Hilfen zur Benutzung:
        • Eine Kurzübersicht über die Bände der RE findet sich unten. Eine ausführlichere Liste, u. a. mit den frei zugänglichen Digitalisaten, findet sich auf einer Unterseite.
        • Liste der RE-Autoren.
        • Listen sämtlicher Stichwörter, alphabetisch oder nach Band, und ein Autoren-Register findet man im Register.
        • Hilfe zu einigen Abkürzungen in den Artikeln. (Siehe auch Liste der Abkürzungen antiker Autoren und Werktitel in der Wikipedia.)
        • Hilfe zu den bei den Quellen in den RE-Artikeln angegebenen Autoren (sofern nicht schon im Artikel verlinkt).
        • Etwas Statistik zum RE-Projekt in Wikisource.

        Die Mitarbeiter des Projekts RE erfüllen gerne Digitalisierungswünsche, die auf der Seite Artikelwunsch eingetragen werden können.

        Erste Reihe: A – Q
        Zweite Reihe: R – Z
        Supplemente
        Register
        • Register der Nachträge und Supplemente, 1980
        • Gesamtregister Teil 1, Realencyclopädie der classischen Altertumswissenschaft: Register Teil 1: Alphabetischer Teil. / Hrsg. von T. Erler, Ch. Frateantonio, M. Kopp, D. Sigel und D. Steiner. Stuttgart: J. B. Metzler Verlag, 1997. – VIII, 1158 S. – (mit CD-ROM). – ISBN 3-476-01193-3, ISBN 3-476-01195-X (Gesamtreg.)
        • Gesamtregister Teil 2, Realencyclopädie der classischen Altertumswissenschaft: Register Teil 2: Systematisches Sach- und Suchregister. [Elektronische Daten] / Erarb. von Ch. Frateantonio und M. Fuchs. Stuttgart: J. B. Metzler Verlag, 2000. – (nur CD-ROM) + 1 Beilage (35 S.). – ISBN 3-476-01194-1, ISBN 3-476-01195-X (Gesamtreg.)
        Außer der Reihe
        • John P. Murphy: Index to the supplements and suppl. volumes of «Pauly-Wissowa’s» R.E.² : Index to the «Nachträge» and «Berichtigungen» in vols. I–XXIV of the first series, vols. I–X of the second series, and supplementary vols. I–XIV of Pauly-Wissowa-Kroll’s «Realenzyklopädie». Chicago: Ares, 1976. – 138 p. – ISBN 0-89005-174-7
          • John P. Murphy: Paulys Realencyclopädie der classischen Altertumwissenschaft. Index to the supplements and supplementary volumes of Pauly-Wissowa’s 'Realenzyklopädie'. 2d ed. with an appendix containing an index to suppl. vol. XV (Final). Chicago: Ares, 1980. – 144 p. – ISBN 0-89005-174-7