Maia Atlantis: Ancient World Blogs

0 sec ago XIVe Congrès de la Fédération Internationale des Associations d'Etudes Classiques << Laboratoire Orient et Méditerranée

Après celui de Berlin (2009), ce congrès permettra de réunir les classicisants du monde entier, de faire se rencontrer des chercheurs à différents stades de leur carrière et de dresser un état des recherches actuelles.

Les trois associations françaises membres de la FIEC (l'Association Guillaume Budé, l'Association pour l'Encouragement des Études grecques en France et la Société des Études latines) ont confié l'organisation de cet événement à l'université Bordeaux Montaigne et à l'Institut Ausonius, un centre de recherche très actif et internationalement reconnu dans le domaine des sciences de l'Antiquité.

Pour en savoir plus

4 hours 15 min ago Latin Proverbs and Fables Round-Up: July 28 << Laura Gibbs (Bestiaria Latina Blog) Here is a round-up of today's proverbs and fables - and for previous posts, check out the Bestiaria Latina Blog archives. If you have not downloaded a free PDF copy of Brevissima: 1001 Tiny Latin Poems, it's ready and waiting.

HODIE (Roman Calendar): ante diem quintum Kalendas Augustas.

MYTHS and LEGENDS: The art image for today's legend shows The Gigantomachy; you can also see the legends for the current week listed together here.


TINY PROVERBS: Today's tiny proverb is: Nocumentum documentum (English: An injury is a lesson).

3-WORD MOTTOES: Today's 3-word verb-less motto is Paulatim, sed firmiter (English: Slowly but surely).

ANIMAL PROVERBS: Today's animal proverb is Scit multa vulpes, magnum echinus unicum (English: The fox knows many things; the hedgehog knows one big thing).

POLYDORUS: Today's proverb from Polydorus is: Ovem lupo commisisti (English: You've turned your sheep over to the wolf).

PROPER NAME PROVERBS: Today's proper name proverb from Erasmus is Pasetis semiobolus (English: The half-penny of Pases; from Adagia 2.7.31 - Pases was a famous magician who would pay for his purchases and would then use a conjuring trick so that the coins ended up back in his own pocket).

GREEK PROVERBS: Today's proverb is Πτωχοῦ φίλοι οὐδ' οἱ γεννήτορες (English: A poor man has neither friends nor parents).

BREVISSIMA: The distich poster for today is Credo Quod Video. Click here for a full-sized view.

And here are today's proverbial LOLcats:


FABULAE FACILES: The fable from the Fabulae Faciles widget is Tigris et Venatores, the sad story of the mother tiger and her cub (this fable has a vocabulary list).

MILLE FABULAE: The fable from the Mille Fabulae et Una widget is Verveces et Lanius, a story about the lack of sheep solidarity.

verveces et lanius

Words from Mythology. For more about CHAOS, see this blog post.

4 hours 20 min ago Heroides 7: Giving and taking (II) << Tom Matrullo (Classics in Sarasota)
The previous post offered the notion that Dido's passion for Aeneas issues in a mode of giving that is complex, implicative, and carries the power of a taking. Ovid is entirely coherent in depicting this symmetrical model of giving in his Heroides 7, which begins, Accipe, Dardanide.

What does Dido ask of Aeneas in return for her gift? At first blush, she appears to ask nothing more than what any author asks -- to be read. What she is giving in the opening lines is her carmen (song, charm), the last words, in writing, of the dying author. She has no hope of his accepting what she had offered him -- everything, basically -- though at moments she'll seem to waver. After losing all, a few words is a light thing:
Sed merita et famam corpusque animumque pudicum     
Cum male perdiderimperdere verba leve est.
But since I may have wholly lost my name for merit
and for modesty of body and soul, to lose words is little.
Within her carmen, Dido details all the things the Trojan prince has refused. And, she says,
Urorut inducto ceratae sulpure taedae,     
Ut pia fumosis addita tura focis.
I burn like waxen torches smeared with sulphur,
or pious incense cast into the smoking censer.
As she runs through her arguments, her reasonings and pleadings, Dido is also building inferential reckonings. If Aeneas leaves in midwinter on stormy seas, it is because he must hate her so much as to prefer death to staying with her. And, if his ship sinks, he'll have quite a lot on his plate:
Wicked man, you abandon both pregnant Dido
and that part of you hidden enclosed by my body.
You add the infant’s death to the unhappy mother’s,
and you’ll be author of the funeral of your unborn child. (133-ff)
The tacit perils of gift reciprocity are played out in Dido's gift of herself in the cave. Aeneas, until this moment unaware of the fruit of their amor, now knows and must reckon with the embryonic result of acceptance.


Her impetuous generosity stands in marked contrast to his refusal to even say farewell:
When the waves had thrown you on the shore, I welcomed you to my kingdom, and entrusted you with the government, scarcely knowing even your name.  (Vixque bene audito nomine regna dedi.)
Readers of the Aeneid are well aware of the source of Dido's burning and of her impetuosity: Hera and Venus and Cupid were employing all the powers of amor to ensure that Dido didn't harm Aeneas. But the rapidity of Dido's offering to share her rule with a man she's barely met again stands in contrast to the painstaking, slow labor, the work (opus) that makes something not because it is desired, but because it is necessary and right.

Amor vincit omnia - Caravaggio
Ovid is playing upon key Virgilian themes. The poet of the pastoral Eclogues has a character sing:
Omnia vincit Amor; et nos cedamus Amori. (Eclogue 10, 69)
"Love conquers all; let us all yield to love."
The more mature Virgil of the Georgics, the poem of humans working the Earth, sings another tune even as it echoes the pastoral:
labor omnia uicit
improbus et duris urgens in rebus egestas.
"Work conquered all;
unrelenting toil, and need that pinches when life is hard." (Georgics I. 145-6)
Dido moves with the magical facility of love, and with her love for Aeneas come promises to remove all labor from his future. The hero is faced with a temptation that confronted Odysseus living at ease with Calypso: do I remain inert -- charmed by passion, passivity, ease, and luxury, an adjunct to the mistress of the house -- or do I claw my way back to Ithaka and Penelope?

Let's recall one more famous Virgilian line about labor. When Aeneas prepares to descend to the Underworld, the Sibyl tells him:
facilis descensus Averno;
noctes atque dies patet atri ianua Ditis;
sed revocare gradum superasque evadere ad auras,
hoc opus, hic labor est.
"The gates of hell are open night and day;
Smooth the descent, and easy is the way:
But to return, and view the cheerful skies,
In this the task and mighty labor lies."
The facility of eros seems to produce spectacular wonders with dreamlike ease. Returning from those dreams takes work, persistent intentional application. Dido's letter to Aeneas is rife with the tension between amor and labor, ease and drive, closure and open-ended challenge, dream and waking, shadow and substance, id and superego.

Dido has everything to offer, and willingly gives it. She doesn't even ask for marriage:
Si pudet uxorisnon nuptased hospita dicar;
Dum tua sitDido quidlibet esse feret.
If it’s shameful to marry me, call me not wife, but hostess:
so long as Dido is yours, Dido will endure anything. (167-68)
The carmen that was simply to be lost words here is still negotiating, still claiming that no claims upon Aeneas will accompany the gifts of Dido. This is rather late in the letter. She will in a moment turn to asking him just to stay tempora parva, until the season proper for sailing - a small respite:
Pro meritis et siqua tibi debebimus ultra,
Pro spe coniugii tempora parva peto —
Dum freta mitescunt et amordum tempore et usuFortiter edisco tristia posse pati.
I also ask a small respite, if I have any merit with you; if you value my love, or the ties by which I am yours; that the waves and my love may assuage; that by time and use I may learn to bear my sorrows with fortitude.
 The request for respite comes with a "si minus" -- "if not."

She writes -
Si minusest animus nobis effundere vitam;     
In me crudelis non potes esse diu.
If not, I will end my misery with my life; nor shall it be long in your power to use me thus barbarously.
Why does Aeneas leave? Consider this: between Dido's center and his no symmetry, no reciprocal relation is possible. Where Dido, whose name means wandering, sees only a meandering world of chance, Aeneas is burdened with purpose that admits of virtually no deviation from the mission -- every part of his journey, even when not immediately apparent, belongs to an ineluctable line culminating in a new city, a new people, a new kind of world.

Yet the line from Troy to Rome will, if one believes the legend of Dardanus, prove to be a circle, or perhaps a spiral. A going forward that is in fact a return to an earlier, happier place. Nothing of this is in evidence for Dido or Aeneas or anyone else to witness. But forces are moving this along, as Virgil's poem shows in abundant detail.

Seeing no reason to believe Aeneas has a future, Dido's gift encloses one condition that eclipses all else: the requirement that Aeneas abandon the shaping hypothesis of his life, the burdensome quest. She who is building a center to anchor her spatially in a wandering world asks that he give up his center, which exists only in a clouded negation of the present. Her gift demands he exchange his future, a temporal center, so that he can orbit around the axis of her rising city (a circle that goes nowhere).

In Dido's dream of a joined house, the wars of Aeneas and Iulus's future, upon which so much will hang, are reduced to a kind of unreal pastime, indulged in for pleasure:
Si tibi mens avida est belli, si quaerit Iulus,
Unde suo partus Marte triumphus eat,
Quem superet, nequid desit,praebebimus hostem;
If you are fond of war, if Iulus is impatient to gather laurels in the field; that every thing may be to your wish, he shall find foes to conquer.
Instead of authoring their own future, Aeneas and Iulus will play in Dido's sandbox.

What makes leaving more difficult for Aeneas, as Virgil's epic makes clear, is that he as yet has no clear idea of where he's going, or why, or how.
  et magno persentit pectore curas;
mens immota manet, lacrimae volvuntur inanes. (Aeneid 4, 449-50)
in his mighty heart, he feels the thrill of grief;
steadfast stands his mind; the tears fall in vain.
 He'll understand more after his descent to the Underworld, but at this point, as he rushes to get his fractured fleet moving, he is transfixed by amor and labor.

to be concluded . . .
6 hours 36 min ago Suda News: "A translation of the last of the Suda’s 31000+ entries was submitted to the database on July 21, 2014 and vetted the next day." << Charles Ellwood Jones (AWOL: The Ancient World Online) Suda On Line: Byzantine Lexicography
... At present (July 2014), the family of active and emerita/us SOL contributors comprises over 200 individuals from five continents and more than 20 countries, but geography is not the only aspect that makes this group diverse and eclectic. In addition to research-active university faculty, our roster has included retired professors, scholars in countries where the internet provides an invaluable supplement to meager local resources, and talented classicists who for one reason or another have ended up in careers other than higher education. One of the great benefits of SOL is the opportunity the project gives to such scholars to make a valuable contribution to the field. SOL has also been used to good effect in the classroom. Instructors at several colleges and universities have assigned entries to graduate and advanced undergraduate students for supervised translating and annotating, and hundreds of their contributions are now a permanent part of the database and can be listed as published scholarly works on the students’ CV's. One of our most prolific contributors, Jennifer Benedict (over 4500 translations), did most of her work on the SOL as an undergraduate at William & Mary. Several scholars, including Peter Green, Malcolm Heath and John Melville-Jones, donated translations of entries that they had done previously for other purposes. 

A translation of the last of the Suda’s 31000+ entries was submitted to the database on July 21, 2014 and vetted the next day. This milestone is very gratifying, but the work of the project is far from over. As mentioned above, one of the founding principles of the project is that the process of improving and annotating our translations will go on indefinitely. Much important work remains to be done. We are also constantly thinking of ways to improve SOL's infrastructure and to add new tools and features. If you are interested in helping us with the continuing betterment of SOL, please read about how you can register as an editor and/or contact the managing editors
7 hours 19 min ago Review of Brankaer's Coptic Grammar Published << Brice C. Jones Picture
My review of Johanna Brankaer's Coptic: A Learning Grammar (Sahidic) (SILO 1. Wiesbaden: Harrassowitz, 2010) has been published in Laval théologique et philosophique 69. You may find an electronic offprint here.
Coptic: A Le. SILO 1.Wiesbaden:Harrassowitz, 2010. 

7 hours 45 min ago What Is Your Biblical Profession? << Peter Konieczny and Sandra Sadowski (History of the Ancient World)

What would you do if you lived during biblical times? Would you be a peasant or a ruler?

You can also find out:

What Greek Mythology Creature Are You?

What Historical Era Do You Belong In?

Who Would You Be in Medieval Times?

What Is Your Biblical Profession

<a href=";ServiceVersion=20070822&#038;MarketPlace=US&#038;ID=V20070822%2FUS%2Fmedievalistsn-20%2F8003%2F2368b845-19da-485b-8c94-7f68ff6ea8af&#038;Operation=NoScript"> Widgets</a>

8 hours 43 sec ago The history and culture of wine << Peter Konieczny and Sandra Sadowski (History of the Ancient World)

The history and culture of wine

By Kathleen Burk

UCL History Magazine (Spring 2012)

history and culture of wine

Introduction: Wine for me is an avocation rather than a vocation. My primary work is as an historian of Anglo-American relations, but it will not be the first time that an increasing interest in a hobby has developed into an interest in its origins, its history, its importance – and in this instance, in the way in which it is intertwined with the culture of many parts of the world. Who invented it? Why are there so many myths about it? Why has it played such a part in art? And, perhaps closer to more mundane concerns, why do we need guides? Certainly I find these questions almost as interesting as the current contents of my cellar.

So who first invented wine? It is probably more to the point to ask, who first discovered wine? It is not difficult to make it. On the outside skin of the grape is the yeast and on the inside is the sweet juice: mix them together, leave it for a few days for the yeast to ferment the sugar and turn it into alcohol, and the result is wine. All you really need are grapes. One claimant for first place is Noah. According to Genesis chapter 9, verses 20-21: ‘And Noah began to be a husbandman, and he planted a vineyard: And he drank of the wine, and was drunken.’ So for Christians and Jews, at least historically, it was Noah. For the ancient Greeks, the discovery of wine by men was the gift of Dionysos, the god of wine, the avatar who burst out of Thrace – or perhaps Phrygia – and brought the knowledge of wine to Attica. Certainly, the vine was widely cultivated in Greece and Grecian areas by the early Bronze Age – both Homer and Hesiod make it clear that wine was an essential part of life – and clay tablets dating from the late Bronze Age, about 1200 BC, connect Dionysos with wine.

Another candidate is the legendary, or mythical, Persian King Jamshíd, a great lover of grapes. One day it was discovered that a jar of them had spoiled, and it was taken to a warehouse and labelled ‘poison’. Not long after, a very depressed lady of his harem went to find the jar. According to one source, he had banished her from his kingdom; according to another, she was plagued with horrendous migraines. In any case, having lost the will to live, she found the jar and drank deeply, after which she fell into a deep and healing sleep. She went back to the King and revealed what she had found: he and his court drank it with pleasure, and she was welcomed back into the harem. This Persian legend has some plausibility. By the use of micro-chemical techniques on archaeological residues in some of the earliest wine jars known, which were found at Hajji Firuz Tepe in the northern Zagros Mountains of north-western Iran, it has become clear that wine was being produced in the highlands of Persia in the Neolithic Period from about 5400 BC.

Click here to read this article from University College London

<a href=";ServiceVersion=20070822&#038;MarketPlace=US&#038;ID=V20070822%2FUS%2Fmedievalistsn-20%2F8003%2Fc07641e3-f5fc-4630-92e8-7c9844fdf9fe&#038;Operation=NoScript"> Widgets</a> <a href=";ServiceVersion=20070822&#038;MarketPlace=US&#038;ID=V20070822%2FUS%2Fmedievalistsn-20%2F8003%2F7558ed7e-58ec-416e-899c-8f06c170377f&#038;Operation=NoScript"> Widgets</a>

8 hours 14 min ago These discs are from the collection of offerings found in El... << Ancient Art

These discs are from the collection of offerings found in El Castillo at Chichen Itza, Yucatán, Mexico. Chichen Itza, pictured in the second photo, is a city built by the Maya people, and was one of the greatest Maya centres on the Yucatán peninsula.

The disks shown are courtesy of & currently located the National Museum of Anthropology, Mexico. This photo was taken by Kim F, the second is by Tony Hisgett.

9 hours 45 min ago rsbenedict: This week’s Sumerian sign is saĝ, meaning head. The... << All Mesopotamia


This week’s Sumerian sign is saĝ, meaning head. The sign is meant to resemble a man’s head. Earlier versions looked much more head-like, but by the Ur-III period the cuneiform had gotten pretty abstract.

The word is often used figuratively to mean the most important or the best in compounds.

The cuneiform comes from the Pennsylvania Sumerian Dictionary.

11 hours 55 min ago Open Access Archaeology Digest #492 << Open Access Archaeology Your Open Access (free to read) Archaeology daily:

The Chronicle of John of Worcester, previously assigned to Florence of Worcester

Avances de investigación

Roman glass bracelets as a means to understaning Orešac in Antiquity

Learn more about Open Access and Archaeology at:

12 hours 55 min ago Stone panel from the North-West Palace of Ashurnasirpal II... << Ancient Peoples

Stone panel from the North-West Palace of Ashurnasirpal II (Court D, no. 7)

Nimrud (ancient Kalhu), northern Iraq

c. 883-859 BC

This relief panel comes from the walls of the courtyard which led to the throne room of the Assyrian king Ashurnasirpal II (883-859 BC). It was positioned next to a side-door through which his throne was sometimes visible.

Although many of the sculptures decorating the palace depicted magical spirits, away from the main central door and buttresses the scenes in the courtyard were secular. This scene was part of series showing a group of foreigners bringing tribute. Their dress shows that they were from the west. The turban suggests one man is from north-western Syria, his clenched fists are a token of submission. At this time Assyria was expanding westward to acquired booty and tribute from states in the geographical region of Syria. The man with monkeys may be Phoenician. They bring luxury goods and status symbols. The monkeys may have come from Egypt or from the lands of southern Arabia from which incense was imported.

Mesopotamian kings prided themselves in the collections of exotic animals they acquired as booty or tribute. Monkeys were popular animals in the art of Mesopotamia. They were often depicted playing musical instruments, perhaps representing animals accompanying travelling entertainers. 

Source: British Museum

13 hours 54 min ago 40 Years of Grade Inflation in British Archaeology << Doug's Archaeology: Investigating the Profession and Research

For the last week I have been posting on the subject of grade inflation: how it works with getting a job, the causes, and an actual look at the UK numbers for Archaeology. I am going to finish off this series of posts with some more UK data .

Pushing it back 20 years

In my last post I used data from HESA to look at grades in UK Archaeology all the way back to 1994. Why only 1994? That was the year that HESA first started collecting data, replacing the job done by the Universities Statistical Record (USR) which was closed down at that time too. Luckily, after USR folded the data it collected, since 1972, was deposited in the the UK Data Service. I downloaded this data and separated out the Archaeology degrees to look at the marks given for the years 1972-1993 and combined it with my earlier work.

Who would have guessed it? Grades have been going up for 40 years. It really took off 25 years ago but the trend has been going on for as far back as we have data.

Grade Inflation in UK Archaeology from 1972-1913

Grade Inflation in UK Archaeology from 1972-1913


15 hours 7 min ago Pilgrimage to St Nicholas << Mary Beard (A Don's Life)


One of the most extraordinary sights we came across in Turkey was the pilgrimage church of St Nicholas in Demre (ancient Myra).

There is a long association of St Nicholas with the town. He was Bishop of Myra, and died there on 6 December 343. His church became a pilgrimage church, centred around his relics -- until in the eleventh century the relics were nicked (pardon pun) and taken to Bari, where they still are.

The saint was still a ghostly presence in Demre, but recently the touristic allure of the place, was as the birthplace of Father Christmas, rather than as the shrine of a more sober orthodox saint. In fact those in IMG_3649 Demre-santa-smour party who had visited the place a few years ago remembered the Father Christmas side of it. That is still visible in some of the old adornments, such as this (right) Santa Claus plus three grateful children - though the bakelite version (on the left) that used to stand there has apparently been removed, or at least moved..

It's quite different. The whole place is literally heaving with pious Russian pilgrims, each of whom is shuffling past a coffin, protected by a glass screen, which does not contain the relics of St Nicholas anyway.

We arrived quite early in the morning, and by the time we left around 11.30, there must have been thousands of the faithful already passed through.


It has clearly completely changed the town, where now every shop is geared to Russians, the orthodox church and the Russian language.


What I could not help wondering was how to explain it. I dont think it is being too cynical to says that it can hardly be a spontaneous outpouring of modern Russian piety. Someone is driving it. Someone is providing the pilgrimage packages and making money out of the coaches in which the faithful arrive. But beyond some combination of Mr Putin and the local Chamber of Commerce, we didnt get far on the cui bono question.

What is clear is that others are hoping for a slice of the action. We went also went to visit Gemiler (St Nicholas) Island -- which certainly has a connection with the Saint (one of the churches in the place is dedicated to him), but how strong was a bit uncertain. One idea is that this is actually the place he died and was originally buried.


 Be that as it may, there is more to this place that the late antique pilgrimage site that it is claimed to be. The archaeologists in the party thought it looked more like a little late antique town (and they rather felt that one of the so-called churches there wasnt actually a church at all).

The most impressive thing of all though was a long covered ramp leading up some from point unknown near the shore to very close to the church at the top. It's a massive piece of skilled building work (it reminded me a bit of the Palatine ramp in Rome), but what on earth was it for??


If you plan to go, I would make it soon. The fabric is in a very ropey state and looks like it will be very dangerous very soon. Try this vault. It will need more than St Nicholas to keep this in the air.


15 hours 35 min ago The Dying Lion, a stone panel from the North Palace of... << Ancient Peoples

The Dying Lion, a stone panel from the North Palace of Ashurbanipal

Nineveh, northern Iraq

c.645 BC

This small alabaster panel was part of a series of wall panels that showed a royal hunt. It has long been acclaimed as a masterpiece; the skill of the Assyrian artist in the observation and realistic portrayal of the animal is clear.

Struck by one of the king’s arrows, blood gushes from the lion’s mouth. Veins stand out on its face. From a modern viewpoint, it is tempting to think that the artist sympathized with the dying animal. However, lions were regarded as symbolizing everything that was hostile to urban civilization and it is more probable that the viewer was meant to laugh, not cry.

There was a very long tradition of royal lion hunts in Mesopotamia, with similar scenes known from the late fourth millennium BC. The connection between kingship and lions was probably brought to western Europe as a result of the crusades in the twelfth and thirteenth centuries AD, when lions begin to decorate royal coats of arms.

Source: British Museum

15 hours 51 min ago Jesus the Exception? << James F. McGrath (Exploring Our Matrix)

While I was traveling recently, lots more appeared in the blogosphere related to the historical Jesus in general, and Bart Ehrman’s book on Christology in particular. Larry Hurtado had a review of the latter published. Jonathan Burke blogged about whether Jesus existed. Cassandra Farrin discussed Jesus’ unique voiceprint.

Bart Ehrman has had a series of posts on his blog related to Craig Evans’ objections to Ehrman’s view that Jesus’ corpse was probably never buried. The posts about crucifixion nails and Josephus deal with what Ehrman feels are Evans’ strongest points.

Both are arguing that Jesus was not an exception to the norm when it came to burials in that time and place. The disagreement is about whether the Romans normally allowed the crucified to be buried. I have yet to read Ehrman’s case in full, but at present my own conclusions agree with Evans’. Josephus emphasizes the importance of prompt burial to Jews, and if observance of this law in the Torah were regularly prohibited, we should expect to hear not only some but a significant outcry about that in our sources.

Matthew Ferguson discussed whether the Gospels are ancient biographies, as well as discussing history and the divine.

Lawrence Schiffman blogged about the Jewish-Christian schism.

Paul Davidson discussed Matthew’s genealogy.

17 hours 45 min ago Side comment… << ἐν ἐφέσῳ: Thoughts and Meditations

Has anyone ever noticed that Daniel Wallace’s intermediate grammar uses a strangely large number of exclamation points considering its genre?

What’s up with that?

Filed under: Greek
18 hours 4 min ago Fools for Christ << James F. McGrath (Exploring Our Matrix)

Aric Clark Fools for Christ quote

Believing in inerrancy doesn’t make you a fool for Christ anymore than believing the world was flat contra Galileo made the Catholic church fools for Christ. Resisting injustice, sacrificing your life for others, showing solidarity with the oppressed, selling your goods and embracing poverty – these are the sorts of actions that make one a fool for Christ.

– Aric Clark

18 hours 21 min ago New sunken ships discovered in Aegean << Archaeological News on Tumblr

A group of researchers from İzmir’s Dokuz Eylül University’s Institute of Marine Science and Technology (IMST), who conduct research on sunken ships located between Muğla’s Datça peninsula and Antalya, have discovered eight new sunken ships.

The latest research project by the IMST, which receives funding from the Culture and Tourism Ministry, Development Ministry and Bodrum Municipality, has taken three months to complete.

The institute’s deputy director Associate professor Harun Özdaş said the first stage of the Aegean and Mediterranean research had been finished in 2004, adding: “The main purpose of the project is to expand the inventory of sunken ships. Read more.

18 hours 35 min ago Negende Landschapscontactdag op 3 oktober: het programma << ArcheoNet BE

Op vrijdag 3 oktober vindt in Zonhoven de negende Landschapscontactdag plaats. Elk jaar presenteert deze dag een staalkaart van recent landschapsonderzoek en relevante ontwikkelingen in de landschapswereld. Dit jaar staat het thema ‘De constructie van de wildernis’ centraal. De deelnemers van de dag zullen zich veriepen in de dualiteit van oude cultuurlandschappen en hun natuurwaarde. Onlangs werd het programma van de contactdag bekend gemaakt.


9u00 Ontvangst en registratie

9u30 Verwelkoming

9u45 Nieuwe wildernis in Vlaanderen – Kris Vandekerkhove (INBO)

10u15 Het Maldegemveld van wildernis tot cultuurlandschap tot wildernis – Wim De Clercq (UGent)

10u45 Koffiepauze

11u05 Natuurherstel in het eeuwenoude cultuurlandschap van de grootste kwelder van West-Europa – Marjan Vroom

11u35 De wilgen van de Biesbosch – Arnout Zwaenepoel (WVI)

12u05 Heide in Vlaanderen: ‘wildernis of kalmernis’? – Hans Leinfelder (KUL-LUCA)

12u35 Broodjeslunch

13u35 Historische ecologie in Limburg – Dries Tys (VYB) & Ilse Ideler (RLLK) m.m.v. Ruben Jarych, Eric Cosyns, Joël Burny, Arnout Zwaenepoel

14u15 Excursie
De Wijers: relicten van voormalig landschapsgebruik – Dries Tys, Ilse Ideler & Ruben Jarych

16u30-18u Afsluitende receptie

Praktisch: meer info en een inschrijvingsformulier vind je op Inschrijven kan nog tot 22 september.

18 hours 58 min ago Open Access Journal: Discentes: The Undergraduate Magazine for the Department of Classical Studies at the University of Pennsylvania << Charles Ellwood Jones (AWOL: The Ancient World Online) Discentes: The Undergraduate Magazine for the Department of Classical Studies at the University of Pennsylvania

19 hours 16 min ago POTENZA Valley Project << Charles Ellwood Jones (AWOL: The Ancient World Online) POTENZA Valley Project
In 2000 a team of Ghent University (Belgium), under the direction of Prof. Frank Vermeulen, started a very intensive survey of an Adriatic valley. Denominated 'Potenza Valley Survey' (PVS), this research project aims at measuring the evolution of social complexity during Antiquity in a specific part of Central Italy. The fieldwork operations in the valley of the river Potenza included systematic archaeological field walking, active aerial photography, artefact studies, re-study of excavated evidence, detailed geomorphologic field mapping, geophysical surveys and topographic analysis. During the years these interdisciplinary and mostly non-invasive approaches allowed to obtain a new holistic synthesis of the occupation history in this territory, with a special emphasis on the protohistoric, Roman and early medieval periods.  

This website wants to take the PVS online, by offering up-to-date information on the aims of the project, the methodologies applied and the results gained. As frequently as possible, this site will be updated with more texts, maps and pictures. So please check regularly.

19 hours 23 min ago Tombes de Deir el Medina: Couverture photographique << Charles Ellwood Jones (AWOL: The Ancient World Online) Tombes de Deir el Medina: Couverture photographique
La nécropole de Deir el-Medina, concession de l’Ifao, a déjà fait l’objet de plusieurs publications. Toutefois, ces monographies ne reprennent pas toutes les photographies dont dispose l’Ifao ; en outre, dans le passé, les illustrations se limitaient souvent à des clichés en noir et blanc, voire à des planches au trait. 

La base de données ci-jointe réunit l’ensemble des clichés faits par l’Ifao (plaques de verre, diapositives couleurs, négatifs n/b, photos numériques), tombe par tombe, et, pour chaque tombe, paroi par paroi, en suivant la numérotation du « Porter & Moss »1 , universellement utilisée. Le classement permet ainsi une comparaison immédiate des clichés entre eux. Pour chaque photographie, le nom du photographe et la date de prise de vue sont indiqués. 

Nous avons pris le parti de mettre en ligne un certain nombre de clichés techniquement « imparfaits » (voire des diapositives qui ont « viré » au rose ou au violet), pour les raisons suivantes : certains clichés très anciens donnent un état du monument qui n’existe plus ; d’autres clichés ont un cadrage ou un éclairage différent de celui des photographies de bonne qualité et permettent ainsi de voir des détails différents. 

Concernant les datations : certaines datations ont fait l’objet d’une étude approfondie de la part des auteurs, d’autres sont simplement reprises à Porter & Moss en attendant mieux.

Pour l’instant, seules les images des tombes publiées s’affichent sur le site. Au fur et à mesure que sortiront de nouvelles publications de tombes, la base de données sera mise à jour.

Les photos sont en basse définition. Les chercheurs qui le souhaitent peuvent obtenir, à des fins scientifiques ou pédagogiques, ces mêmes photos en haute définition et sans légende incrustée via le lien Demande de reproduction, avec obligation de mentionner le copyright fourni par l’Ifao. La qualité de la photo affichée ne présage pas de la qualité finale de la photo demandée, en particulier pour les vues en noir et blanc. 

Le Service des Archives remercie Vincent Razanajao, Editor of the Topographical Bibliography and Keeper of the Archive, Griffith Institute (Oxford), pour nous avoir autorisés à reproduire les croquis de position établis par Miss Porter et Miss Moss (« the sketch plans in the Bibliography are not drawn to scale, and while giving a general idea of shape and proportions, are simply intended as a guide to the position of scenes and texts », Vol. I, first edition, 1927, p. XII). Grâce à l'aimable collaboration de V. Razanajao, des liens sont établis, pour chaque tombe (et bientôt pour chaque paroi), entre la base de données de l'Ifao et la nouvelle version, électronique, du Porter & Moss, le TopBib (
Pour citer la base, on peut soit
19 hours 49 min ago Parables, by Robert Aldridge << James F. McGrath (Exploring Our Matrix)

Click here to view the embedded video.

This modern oratorio by Robert Livingston Aldridge, “Parables,” uses texts from Judaism, Christianity, and Islam, originally setting out with the intent to highlight similarities between the three traditions, but ending up highlighting differences as well in very striking ways. See the composer’s interview with Ronnie Reich and a piece by Minnesota Public Radio for more information, as well as this document with notes by librettist Herschel Garfein as well as the composer.

22 hours 21 min ago WdO 44/1 (2014) << Végh Zsuzsanna and Simon Zsolt (Agyagtábla, papirusz)
Michele Cammarosano et al.: Schriftmetrologie des Keils

Jan Dietrich: Von der Freundschaft im Alten Testament und Alten Orient

Evelyn Korn, Jürgen Lorenz: Staatsverträge der Bronzezeit: Lizenzen zur Bereicherung?

Wolfgang Oswald: Das Gesetz, das Volk und der König

Christoffer Theis: Bemerkungen zu Manetho und zur manethonischen Tradition

Filip Vukosavovic: On Some Early Dynastic Lagas Temples
1 day 48 sec ago Review of Swartz, The Ancient Jews from Alexander to Muhammad << Jim Davila ( KRISTA DALTON: Who Exactly Were The Ancient Jews? At least according to Seth Schwartz. Excerpt:
In a more condensed and perhaps more self-reflective form of his earlier chronology in Imperialism and Jewish Society, 200 BCE to 640 CE, Schwartz produces a succinct minimalist historical narrative, heavily nuanced by archeological evidence and Neusnarian skepticism.
Via Antquitopia. The Ancient Jews from Alexander to Muhammad was noted last month as forthcoming here. It's now out and already reviewed. Things move fast in the Blogosphere!