NITLE seminar to feature DCC

Members of the team who created the Dickinson College Commentaries will be featured in a seminar hosted by the National Institute for Technology in Liberal Education (NITLE). The event, which will take place on Thursday, December 6, 3:00-4:00 pm EST, will be hosted online via NITLE’s videoconferencing platform, and is open to NITLE consortium members.

“Collaborative Digital Scholarship Projects: The Liberal Art of Drupal,” will address the creation of collaborative digital projects in a liberal arts context, using the example of DCC site, which was built with the widely used content management system Drupal. The speakers will be Meredith Wilson (’13), Dickinson web developer Ryan Burke, and Prof. Christopher Francese.

For more details or to register, see: http://www.nitle.org/live/events/154-collaborative-digital-scholarship-projects-the

Spanish Latin, a curse, and a lusty postman

More epigraphical adventures in Google Books . . .

From the library of Francis Kelsey, author of a fine school edition of the Gallic War (1918 edition) comes a thorough publication of a set of curse tablets that came into the possession of the Department of Classical Archaeology of The Johns Hopkins University in 1908 (after the publication of Audollent’s Defixionum Tabellae), apparently found near Rome.

William Sherwood Fox, The Johns Hopkins Tabellae Defixionum. Baltimore: The Johns Hopkins Press, 1912. http://bit.ly/T70r9o

Here is a taste:

“A quartan fever, a tertian fever, every day, may they wrestle with her, overpower her, vanquish her, conquer her, until they steal away her life. And so I hand over this victim to you, Proserpina, or if I, Proserpina, or if I should call you Acherusia. Please send me to summon the three-headed dog to steal Avonia’s heart . . .”

Henry Martin, Notes on the Syntax of the Latin Inscriptions Found in Spain. Baltimore: J.H. Furst, 1909. http://bit.ly/Xj12IR or here at the Internet Archive http://archive.org/details/cu31924029794470

This book will be a delight to all those who suspect that the grammatical rules of classical Latin were not really followed by ordinary people. They often were not, and Mr. Martin gives a detailed survey of syntactical and grammatical peculiarities to be found in inscriptions from Spain.

The use of the genitive in Spanish Latin, for example, “often appears to indicate ignorance on the part of the writer of the idiomatic Latin turn or to be his method expressing an idea in the fewest possible words without reference to clearness.” (p. 13) Think that’s snarky? Just wait till you get to the part about pronouns.

W.M. Lindsay, Handbook of Latin Inscriptions Illustrating the History of the Language. Boston: Allyn and Bacon, 1897. http://bit.ly/U4X1DX

Written by the titan of early Latin studies from the turn of the 20th c., the editor of Plautus and Festus, this book has all sorts of goodies, treated with an eye to archaic or vulgar Latin features.

“While I am Vitalis and still alive, I have made a tomb. And I read my verses (on my own tomb) as I pass by. I carried letters all around the region on foot, and with my dogs I hunted rabbits and also wolves. Later, I enjoyed drinking the contents of my wine cup. I did many things like a young man, because I am going to die. Any wise young man should build a tomb for himself while still alive.”

–Chris Francese

Inscriptions from Syria and Sinope

I’ve been translating inscriptions lately, and that has gotten me interested in finding older publications of inscriptions available on Google books. There has to be a ton of this kind of thing, but I don’t know that they have been collected anywhere. Here are a few items that caught my eye, with snippets to give an impression of the kind of material to be found in each.

William Kelly Prentice, Greek and Latin Inscriptions. Part III of the Publications of an American Archaeological Expedition to Syria, 1899-1900. New York: The Century Co., 1908. http://bit.ly/QKsE6S

“May Odedon the teacher live, may he live!” Prentice believes that this inscription came from a tomb, “perhaps written … by some pupil who wished his master well enough, after he was dead.”

D.M. Robinson, Greek and Latin Inscriptions from Sinope and Environs. American School of Classical Studies at Athens (American Journal of Archaeology, second series, Journal of the Archaeological institute of America, v. IX (1905) no. 3.) http://bit.ly/WarqOS

From an Armenian village: “Manius Fulvius Pacatus, age 60, Fulvius Praetorenus, his son, age 20, lie here. Licinia Caesellia lies here, age 50.” Evidently Greek-speaking Romans of some means, to judge by the elegant lettering.

James C. Egbert, Introduction to the Study of Latin Inscriptions. New York: American Book Co., 1896. http://bit.ly/XeQj2a

Lippitudo or conjunctivitis was a scourge of Roman times, and the eye doctors have many terms for different varieties of it. It was often caused by smoke coming from braziers used indoors. The second of these documents seems to prescribe egg-white to be daubed on with a sponge (penecillus). For this latter vulgar Latin term is unknown in print in this particular sense until the middle ages. See See Rabanus Maurus, De Universo (ca. AD 842) 8.5 (PL 111.239C): mollissimum genus earum [sc. spongiarum] penecilli vocantur eo quod aptae sint ad oculorum tumores, et ad extergendas lippitudines utiles.

–Chris Francese

Rafael Alvarado and the future of DCC

Last month DCC benefited from an outstanding day of consulting with Rafael Alvarado, Associate Director of the SHANTI program at the University of Virginia, as well a lecturer in Anthropology and Media Studies there. A career digital humanist, he has divided his time between building software and organizations that support the scholarly use of technology and studying digital technology as a cultural form. His consulting business is called Ontoligent Design (Twitter @ontoligent), and his blog is called The Transducer.

Some of his key recommendations were to make DCC a citable scholarly resource, in conformity with widely accepted standards of citation in digital humanities; to consider making use of comments by readers; to make the site more friendly to tablet devices like the iPad; to create print and e-book versions of all commentaries; and to continue making innovative use of geographical tools to enhance the reader experience. As a sort of promissory note to follow up on some of his excellent suggestions, I have written a new lead “about” text, that I think concisely expresses what is different and important about our project. Certain aspects of this are in the future, but not that far in the future:

DCC publishes scholarly commentaries on classical texts intended to provide an effective reading and learning experience for classicists at all levels of experience. Though they are born digital, the commentaries will also be available in print and e-book formats. In contrast to other projects that conceive of classical texts as a database, or foreground hypertext—focusing on chunking or linking the text—DCC aims at a readerly approach, and one firmly grounded in the needs of readers, teachers, and students. Texts are presented in a clean, readable format, with custom-authored notes, specially selected images and maps, and original audio and video content. Core vocabulary lists of the most common Latin and Greek words are provided, and all words not in the core lists are fully and accurately defined in running vocabulary lists that accompany each section of text. DCC commentaries are citable scholarly resources, licensed under Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Many thanks to Raf for his insightful critique and help in framing the central ideas behind the project. In other news, Prof. Ariana Traill of the University of the Illinois at Urbana-Champaign has joined the editorial board. Prof. Traill is planning to work with some of her students in laying the groundwork for a future edition of the Advanced Placement selections from the Aeneid. Eric Casey of Sweet Briar College has agreed to take on substantial editing duties for our forthcoming Greek commentaries (see below). To recognize the large amount of work this represents we decided to split the editorial board along the lines of what the Bryn Mawr Classical Review does, into Senior and Associate Editors, with Eric and me as senior.

Stephen Nimis of Miami University of Ohio, who has produced a series of print-on-demand commentaries on Greek texts with Evan Hayes (the latest being some Plutarch), has offered us all his content to use to re-make in our format, and has offered to help create printed versions of our existing content through his distribution system. The first Nimis-Hayes commentary we will take on will be Lucian’s True History, which Prof. Casey will edit. Susan Stephens of Stanford has a well-advanced digital edition of Callimachus’ Aetia that ran into some technical problems, and she has agreed to let us put it in our series, with her continued help. This is a very exciting collaboration, with outstanding content that should raise the profile of DCC. Another very welcome addition will be Bret Mulligan’s edition of Nepos’ Life of Hannibal, which is largely done but in need of final editing and equipping with vocabulary lists and maps. So that makes three new commentaries, basic content largely complete, that we will try to equip with the various DCC enhancements this spring and summer. We are growing, and I am very pleased to see DCC developing as a kind of aggregator and editor of high quality online classical commentary.
–Chris Francese

Andrew Becker Latin performance workshop

Dickinson Latin Workshop
Saturday, March 23, 2013

Prof. Andrew Becker (Virginia Tech)

Sound (and Sometimes Sense) in Latin Verses: Accents, Rhythms, Meters, Poems

Place: Dickinson College, Tome 115, 10:00 am to 5:00 pm.

A Practical Workshop on Vergil’s hexameters, Ovid’s elegiacs, Horace’s lyrics, and Catullan hendecasyllables.
1. Making it Sing with numerosus Horatius (‘many-measured Horace’): Horace’s main meters—Alcaic, Sapphic, Asclepiadean.
2. altisonum Maronem (‘deeply/loftily resonant Maro’): In Search of the Sounds of Vergil’s hexameters
3. unum surripuisse pedem (‘[Cupid is said] to have snatched away one foot’): Ovid’s elegiac couplets
4. Adeste, hendecasyllabi (‘Come on, hendecasyllables!’): Catullus’s favored meter

This workshop will be of interest primarily to Latin teachers, but others are more than welcome to attend. The workshop is free of charge, but to order materials and food we need to have an accurate count of attendees. For directions and pre-registration please contact Terri Blumenthal: blumentt@dickinson.edu, by March 9, 2011.
Professor Becker is Associate Professor of Latin, Greek, and Classical Studies in the Department of Foreign Languages and Literatures at Virginia Tech. He specializes in the study of Greek and Latin poetry, with special emphasis on metrics and performance, and is a recipient of the William E. Wine Award, which recognizes “a history of university teaching excellence” at VT. His publications include “Non Oculis Sed Auribus: The Ancient Schoolroom and Learning to Hear the Latin Hexameter” (Classical Journal 2004), “Listening to Lyric: Accent and Ictus in the Latin Sapphic Stanza” (Classical World 2010), and “Rhythm in a Sinuous Stanza: The Anatomy and Acoustic Contour of the Latin Alcaic” (American Journal of Philology, 2012). Professor Becker has also served as President of the Classical Association of Virginia (2010-2012).

Act 48: The Dickinson Department of Classical Studies is an approved provider of professional development opportunities under Pennsylvania Act 48. Those who complete our workshops receive 5 hours of Act 48 credit.

Ovid, Amores Book 1

The DCC edition of Ovid’s Amores Book I, with notes and essays by William Turpin, is now up and ready to be used: http://dcc.dickinson.edu/

This is the first non-pilot, freshly authored and created digital edition in our series. I think it shows off nicely what can be done to enhance the reading experience of a classical text in the digital realm.

In addition to the notes, features include:

  • essays on each poem by William Turpin, with bibliography
  • images/illustrations for all poems chosen and annotated by Chris Francese
  • audio recordings for 1.1 and 1.5 by Meghan Reedy
  • vocabulary lists that gloss words not in the 1,000-word DCC core Latin vocabulary
  • an annotated Google Earth map of all places mentioned in the text, created by Dickinson student Merri Wilson

I am tremendously grateful to all who contributed time and advice and ideas. The list of acknowledgments will give an idea of how many people helped. Please let me know if you have any thoughts or suggestions.

–Chris Francese

Beyond PowerPoint

I think my favorite session at the recent Visual Learning conference at Carleton was the one on presentation and pedagogical modes. Despite its obvious utility, all of us who teach or give talks feel slightly oppressed by PowerPoint. Edward Tufte’s famous critique of PowerPoint as contributing to the Challenger disaster is extreme, but we all suffer, I think, from a twin PowerPoint dread: on the one hand, it seems to drive us to a mechanical, deadening style of speaking (“next slide please; as you can see from the outline . . .”); on the other hand, the desire not to be boring makes us want to use all the bells and whistles PowerPoint provides. The less said about those the better.

But how are we to escape? The folks at Viz conference had some ideas.
Robert Smythe of Temple University introduced a Japanese presentation mode known as Pecha Kucha, which was new to me. It uses PowerPoint as a base, but with the following limiting rules: you are allowed 20 slides, which show for exactly 20 seconds each. These slides do not contain text (though there may be photographs that include some text). You, the speaker, talk for the 6’40” available as the slides roll by. That’s it, very basic: “no nuts, no chocolate sauce, no whipped cream,” as Robert put it.

20 seconds gives the audience time to think, to absorb an image, to contemplate. But the slides move you along, and the speaker can’t ramble. It was invented, apparently, by Japanese architects who found that when people are passionate about a project they tend to go on to long. Robert emphasized that this is not so much for teachers as for students giving research presentations. Robert has his students work without script, without notes: just narrate the show.

The crucial beauty of this system is what it does to the speaker. Unlike PowerPoint, which brings out the bureaucrat in all of us, Pecha Kucha allows for an idiosyncratic voice to emerge, and encourages storytelling. Images are rich with implications. Pecha Kucha forces us to interpret them, to fill in the blanks. There are no fades, no transitions, not rotating flying text, just images that drive us to connect them and make sense out of them. The emerging sense is deeply personal, and results in a much more genuine connection between speaker and audience. The example that Robert played for us from his own class, a research assignment about post-war Europe, bore this out nicely. The speaker was almost giddy in communicating her research by explicating the images.

Robert does five per semester, so the students get gradually better at this rather strange type of communication. I have always said that college curricula way under-emphasize public speaking. Here is a way for students to find their own voices at the podium at a much younger age than most of us do. And they best part: it’s fun. People have been known to organize Pecha Kucha nights as entertainment.

Tamara Carley, a PhD candidate in Environmental Sciences at Vanderbilt University, gave a fascinating demonstration of the pedagogical uses of Prezi. After a geology lecture, students are asked to go out and find images to illustrate the main concepts (they can also use professor-supplied charts, etc.), then put it all with their notes into a Prezi canvass that shows the relationships between the concepts and details as the student understands it. It’s a blank canvass. The only requirement is that the composition needs to make sense to the student, and the student needs to be able to explain why it makes sense.

Prezi has a zooming feature that makes it handle differences of scale beautifully. You can zoom back to see the mega level (say, a whole art movement for instance), the macro level (a particular artist), and the micro level (a single work). The student receives new information and works it into their own “mind map” with various levels, and including all sorts of verbal, graphic, and video elements as needed. As it gets more and more elaborate, the composition is evaluated three times per semester, and ends up being in lieu of a final paper. In Tamara’s case this would traditionally be on a single mineral. With this format the final project can be on a broader variety of things, while still having substantial amounts of detail if you drill down.

Here again, the students use presentation technology to create their own meaning and organization out of given facts, not simply repackage what others are saying. Both Pecha Kucha and Prezi used in this fashion pretty much require than the student invest the material with his or her own voice and perspective, a good which seems well worth the trouble of adjusting routines to accommodate these new techniques.

What if you want to just use traditional PowerPoint, but do it well? Doug Foxgrover, Carleton’s Communication and Training Coordinator, gave a diverting history of presentation technology, based partly on Nancy Duarte’s history of visual aides, Slide:ology. He brought along as props a 1920s vintage lantern projector with some very cool glass slides, and an overhead projector. He gave a hilariously bad PowerPoint presentation, which he offers in his classes and asks the students to critique. Ideally, he argued (echoing keynoter Scott McCloud), you want to show and tell at the same time. Foxgrover’s laws of PowerPoint are three in number: 1. Text must be readable–and not much of it, please. 2. Show only what you want others to see. 3. Time your visuals to complement your talk. His laws of graphic design for PowerPoint were also three: 1. Make your objects as simple as possible, but not simpler. 2. Use contrast to draw attention, alignment of text to not draw attention. 3. Choose legible type for the screen.

All in all a fascinating panel. Thanks to all three presenters, and to the sponsors of the conference!

–Chris Francese

Comics and Visual Communication: Scott McCloud at Carleton Viz Conference

Comic artist and theorist Scott McCloud, author of Understanding Comics: The Invisible Art (1993), spoke at the recent conference Visual Learning: Transforming the Liberal Arts, at Carleton College in Northfield, Minnesota.

Of the many fascinating points in his keynote speech about the techniques of visual communication and learning, one was a critique of the way presentation software is commonly used, with outline slides that statically reproduce a series of points that a speaker is making. McCloud’s active principal, brilliantly put into practice in his own show, is synchronization: “When I’m telling you, I’m showing you. When I’m done telling you, I’m not showing you anymore.” Cognitive load time, the time it takes to “get” what you are looking at, is very quick, and continuing to display words or images long after their moment has past is deadening. Wordy, over-dense slides, he points out, are a legacy of print culture. The mind is quick, predisposed to fill in gaps, to create meaning and narrative from small, disparate pieces of visual information. This means that “visual rhetoric” can be very powerful. But we have not as yet figured out how that visual rhetoric can best be employed. This is one area he plans to explore in his future work.

McCloud wants to figure out how to use visual culture, including comics but also the whole history of visual culture back to ancient Egyptian tomb paintings, Roman triumphal columns, and medieval stained glass windows, to try create the visual rhetoric of the web. His main interest is finding a way to make comics work effectively on the web, and he had many fascinating examples of innovative and effective web-based comics. His sense of joyous experimentation in search of the right use of the medium was very inspiring to me as I work on finding ways to use the web to enhance classical commentary.

One of his interesting observations regarding comics is that comic strips–3 or 4 panels– have transferred quite well to the web, but that long form graphic novels (think Persepolis and Maus) have not. In his view this is because people have an in-built desire for immersion, to lose themselves in fictional worlds, and that this is simply not readily possible on a computer screen. Books allow us that immersion, that forgetting of the medium known as the proscenium arch phenomenon, in a way that screens do not.

Speaking of computer screens, McCloud was full of scorn for the preservation of upright rectangles of traditional comic pages in the digital realm. The sideways rectangle, wider than it is tall, is the more natural shape, based on the geometry of our two eyes. Theater stages and movie screens are shaped this way, as is the open print book—comics and web designers are foolish to ignore this, he says.

Another key point, and one quite relevant to the DCC, it seems to me, had to do with the relationship between text and image. “Form and content,” he said, “must never apologize for one another.” That is, to create an effective visual narrative, you have to believe both in the message and in the form. You can’t dress up a boring or lame content by adding pretty visuals, or it will just fall flat. By the same token, you shouldn’t simply add illustrations to a great text, because they will seem like afterthoughts, appendages. When creating graphic novels of existing stories the best ones (he singled out City of Glass, based on a Paul Auster story) are true adaptations that honor the potentialities both of visual art, and of the word. As we come to think at DCC of ways to use the visual to enhance the comprehension and enjoyment of Latin and Greek texts, all these reflections are highly relevant.

One more super cool idea I picked up: it is believed that there are six and only six primary facial expressions that express emotions across cultures: joy, surprise, fear, sadness, disgust, and anger. These can be combined: anger + joy = cruelty. A nifty piece of software called The Grimace Project allows the schematic mixing of these, a primitive analogue to the comic artist’s craft. Love, McCloud believes, is best conveyed by using a mixture of joy, surprise, and about 10% sadness–recognition that as wonderful as the emotion is, it is destined not to last. The Grimace Project, by the way, has been helpful to children on the Asperger’s specturm in learning about the visual expression of emotion and social cues.

McCloud’s 2005 TED talk may give you a flavor of what a treat it was to listen to him. Thank, Carleton (and the Mellon Foundation), for sponsoring a truly great conference. Future posts will provide details on some of the regular sessions.

–Chris Francese

The Plebs, Roman Snobbery, and Mary Beard

I love it that Mary Beard is using her Don’s Life pulpit to attack the use of the word plebs as if it were plural, and to combat the incorrect use of “pleb,” which is not  . . a . . . word. I thought I would add some observations on the word plebs as a complement to her excellent post. My only quibble with her is that the word is in fact seldom used as a term of abuse in surviving Latin (as are turba, multitudo, etc.). Its dignity is what is so interesting about it, given the extensive Latin lexicon of snobbery.

First, a few quotations:

(Lucius Ampelius, referring to events of 494/3, 449, 445 and 376-367 BC, Liber Memorialis 25:)

There were four secessions of the plebs from the fathers (i.e. the senate): the first secession because of the abuses of the moneylenders, when the plebs withdrew under arms to the Sacred Hill; the second because of the abuses of the Board of Ten when, after the murder of his daughter, Virginius surrounded Appius and his whole faction on the Aventine Hill and brought it about that Appius abdicated his magistracy and that those accused and condemned were punished by various penalties; the third was because of marriage, that plebeians be allowed to marry patricians, which Canuleius incited on the Janiculum Hill; the fourth secession, which Sulpicius Stolo incited, was in the forum because of magistracies, so that plebeians could become consuls.

(Julius Caesar, The Gallic War 6.13:)

(In Gaul) the plebs is held in a condition of near-slavery; they dare nothing on their own initiative, and are included in no decision-making. Most of them, oppressed as they are either by debt or heavy taxation or by the injustices inflicted by the powerful, consign themselves to servitude, and the nobles exercise over them all the rights of masters over slaves.

(Horace, expressing lack of interest in a political career, Letters 1.19.37-8:)

I don’t go hunting for votes cast by the fickle (ventosa) plebs by paying for their dinners and giving them used clothes.

Open class struggle was endemic to the early Roman Republic. The plebs, seeing itself shut out of priesthoods and magistracies by the patricians, and overwhelmed with debts held by wealthy landowners, responded by politicizing itself and forming its own organization. It was a phenomenon unparalleled in ancient history. Through strikes, demonstrations, and their trademark gesture of departing in a body to a hill and refusing to fight in the army (secessio), the plebs over the course of two hundred years of constant conflict with the senate achieved an end to debt-slavery, won official recognition for its representatives (the tribuni plebis, tribunes of the plebs), its own assembly (the comitia tributa, whose laws were made binding on everyone) and gained access to all the most coveted magistracies, even the consulship. The contemporaries of Machiavelli found all this class-based hostility and dissension deplorable and out of place in a well-ordered state. But Machiavelli himself, in his great commentary on the early books of Livy, disagreed. The lesson he drew from the Roman “struggle of the orders” was that in every Republic there are two opposed factions, that of the people and that of the rich, “and that all the laws made in favor of liberty result from their discord.” (Discourses 1.4) The place of the plebs in the Roman constitution was not as dominant as that of the Athenian demos in their democracy, but it was significant. Caesar draws an implicit contrast with the Roman way when he describes the supine condition of the plebs in Gaul.

As a result of this early history of political struggle and success, the word plebs never had the inbuilt sneer of other words for the non-rich, like turba (“mob”), multitutdo (“rabble”), or vulgus (“the common herd”). Livy, who tells the story of the early struggles, speaks of the plebs with considerable respect. And even through the much more violent clashes of the late Republic, rhetorical invective against the plebs itself (as opposed to their self-appointed elite representatives, the populares) is rare. The main criticism we hear is that the plebs is fickle, mobilis, or in the unusual phrase of Horace, ventosa, “windy,” that is, turned by every breeze. Orators and candidates had to cater to the plebs to get elected, and this naturally rankled the aristocrats. An orator is supposed to have said to a military man, when the two were competing for office of consul, that the latter’s chances were slim, “especially because—a thing which above all offends the minds of the plebs—you do not know how to beg.” (Calpurnius Flaccus, Declamations 47)

Under the principate things changed substantially. The Roman plebs lost its right to elect magistrates, and started receiving occasional distributions of grain. The emperors took a decidedly paternalistic attitude. The story goes that when an inventor offered Vespasian a device that would allow him to raise large columns with much less expense and manpower than the usual labor-intensive methods, he gave the man a reward for the device, but decided not to use it, allegedly saying, “let me feed my little plebs” (Vespasian 18). It is at this point that we start to hear denunciations of the plebs as a lazy urban rabble, addicted to free grain and chariot races (bread and circuses), the amenities provided by, or some would say extorted from, the government. In the later imperial historians the meaning of plebs becomes indistinguishable from that of turba or vulgus. To believe them, the disciplined political force of the early Republic has become a gawking mob. At the same time, Roman law was delimiting an ever-stricter barrier between elite and commons, so that the plebs was subject to certain “plebeian” punishments (flogging, torture, consignment to the mines) to which the upper classes were legally exempt. A late Roman compendium of law, the Codex Theodosianus, uses the word plebs to refer to the serfs irrevocably assigned to North African estates in the fourth century. This kind of wretched plebs was a long, long way from the fighting plebs of early Roman Republic, eight hundred years earlier.

Still, the essential dignity of the word made it appropriate in the first Latin translation in the Hebrew Bible for amo, the “people” of God, i.e. the Jews, and (from the fourth century on) an apt word for the Christian faithful (plebs Domini), and finally for a Christian “congregation,” the “laity,” as opposed to the clergy (clerus).

From Christopher Francese, Ancient Rome in So Many Words (New York: Hippocrene, 2007).

The Future of Ancient Greek

“The print textbook will be gone in ten years. What’s the Greek classroom going to look like?”  This is the question that Tom Sienkewicz put to Greek scholar and pedagogical innovator Wilfred Major of Louisiana State University. Major’s response, first given at a 2012 CAMWS panel he co-organized, has just been published in the latest issue of Classical Outlook (“Teaching and Testing Classical Greek in a Digital World,” CO 89.2 [2012], pp. 36-39). It’s an important article that should be read by anyone interested in the teaching of ancient Greek, and since it’s (ironically) not on line, I take the liberty of quoting in extenso.

“A future where digital platforms are the standard mechanism for teaching ancient Greek is nearly in sight,” he says. Crucial advances are being made. Advanced Greek readers are already very well-served on line by Perseus and the TLG. Intermediate Greek is also increasingly well-served by digital resources.

Computerized analysis of the lemmas and morphology of Greek texts has made it possible to prioritize the assistance new readers need at their fingertips, as they make the transition from beginners to intermediate and then to independent readers. Support for this transition includes providing vocabulary (entries appropriate to their level) and morphological data (in the form of parsing information).

Major points to developing projects like the DCC, Geoffrey Steadman’s downloadable Greek readers, and the ongoing series by Evan Hayes and Steve Nimis, which

make texts, facing vocabulary, and other support information accessible at a glance to intermediate students, saving the time and drudgery of flipping through pages and allowing both students and teachers to stay focused on the comprehension and benefits of what they are reading.

The stabilization of the core intermediate vocabulary in the DCC, he argues, means that advanced students can also get involved by generating running vocabulary in a clear, straightforward manner, and have the satisfaction of producing lasting pedagogical materials for other students.

The bottleneck, he argues, is in Introductory Greek, where high-quality but in some ways antiquated print resources have not yet been fully matched by digital counterparts.

with no disrespect to the authors and publishers of these volumes, in terms of presentation, information, layout and design, standard word processing programs can produce virtually everything found in these books. With the addition of images and slide programs (such as Power Point), a teacher can do more, and better, than anything in these books.

Such materials, he insists, must take full advantage of computerized analysis of Greek texts to help make students effective intermediate and advanced readers of digital Greek. This means taking into account vocabulary frequency and density of texts, and also statistical data about the frequency of morphology and syntactical structures (here Major sites Anne Mahoney, “The Forms You Really Need to Know,” Classical Outlook 81 (2004): 101–05, also ironically not on line!).

Beginning Greek must be reconceived as it moves to digital platforms. Merely transferring current print presentations to digital display monitors will strangle the learning of Greek, a shameful prospect when such treasures now loom just beyond the beginning stages.

Another interesting point in the article has to do with the typing of Greek. Students must be helped to become proficient in typing Greek as soon as possible, and must not be required to buy a new piece of software to do so. He urges keyboard designers to work with standard Modern Greek keyboards as a basis.

Both Windows and Apple devices now have polytonic Greek keyboards and inputs built in at the system level, which need only be activated. Both incorporate the Modern Greek keyboard. While the Apple system has more flexible input options, it includes all the same input options as the default Windows system. As things stand, therefore,we should promote this system for its widespread accessibility and compatibility. Expecting or requiring students to purchase and install additional software will inevitably lead to problems as they move from computers to phones, tablets, and so on.

Most important, Major stresses that digital platforms are ideal for encouraging the steady practice, repetition, and feedback with the core material of Greek in a way that best address the frustration and attrition that plague beginning classes.

The vocabulary and parsing tools already established for advanced and intermediate digital materials also provide a goal and clear purpose of method for introducing vocabulary and morphological identity from the earliest stages of beginning Greek. Doing so means we can dispense with relying on the dozens of pages of charts and paradigms that we, explicitly or implicitly, expect students to memorize as a precondition of just beginning to read the simplest continuous Greek passage.

If you are not familiar with Major’s work on this kind of pedagogy, I urge you to check out his articles “On Not Teaching Greek,” Classical Journal103 (2007): 93–98, and “Teaching Greek Verbs: A Manifesto,” Teaching Classical Languages 3 (2011): 23–42 (the latter co-authored with B. Stayskal), and the superb resources available on his frequently updated Greek resources page http://www.dramata.com/. My own thoughts about using the DCC and its core vocabulary in a sight reading-based approach can be found in an earlier post.