Author Archives: Chris Francese

Rafael Alvarado and the future of DCC

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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

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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

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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

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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

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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

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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

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“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.

The APA and Digital Populism

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It’s election season at the American Philological Association. I opened up my ballot for next year’s officers and discovered that digital classics and digital outreach have vaulted to the forefront of debate in ways that would have been hard to predict only a few years ago. The APA is known as one of the more conservative of academic professional associations when it comes to matters digital, and its own web presence has until recently been very minimal. But now not only are they on Facebook and Twitter, but the new Digital Classics Association has been approved as a Type II Affiliated group, and there are plans for a new multi-million dollar portal of classics digital outreach. This is new and big and exciting, so I wanted to offer a little outsider’s guide to the candidates’ personal statements which, combined with some recent posts on the APA website, help to predict the near future of things digital at the APA.

A dash of context: Since 1989 the APA has been a major force behind the digitization of the nonpareil bibliographic research tool L’Annee Philologique. This is primarily for advanced scholars. But the APA has been much slower to engage with social media and the popular ferment of classics on the web. Previous efforts at outreach to secondary teachers and the popular audience (long a strong point of the AIA, for example), have generally been viewed as well-meant but not very successful. The APA has traditionally been a group that focuses on advanced research, and very successfully so. Big new initiatives are now aimed at speaking to the popular audience. A successful capital campaign is well underway to raise $4 million, part of that to be devoted to a new web portal called “The American Center for Classics Research and Teaching.” Ward Briggs’ capital campaign video predicts that the new portal will be “the authoritative site on the web for classical study,” and “will offer the highest quality information about classical civilization to the widest possible audience in the format best suited to each segment of that audience.” It will open the gates of classical learning, so that “a privileged background and an elite education will no longer be requirements . . . in this digital age.”

Briggs seems to see the site as encyclopedic, a kind of more open version of Perseus, with links to a broader variety of approved sites, organized by topic. This would obviously be a massive undertaking. Current President Jeffry Henderson, putting a different spin on the project, connects an APA web presence with public advocacy and improvements in pedagogy. The APA should “build information paths that connect professionals in the field and the lay public to data and information about the state and value of Classics, to 21st century resources for research, and about materials for pedagogical development.” The website, he hopes, will “make full use of social media on all media platforms, so that users can find information, follow developments in the field, enjoy presentations and other learning opportunities, and connect with colleagues.”

This year’s candidates for President and VP for Publications and Research do not exactly endorse all of these extremely ambitious goals. All support some kind of portal or gateway to classics as a way of bringing to bear the scholarly expertise of the APA membership in the digital realm. But how is this actually supposed to work?

Presidential candidate Kathryn Gutzwiller embraces neither Briggs’ expansive Perseus-like vision of an omnibus reference site, nor Henderson’s focus on professional networking and pedagogy. She sees it as more about announcing discoveries and aggregating (free? paid?) research tools: “The APA website should be a place where important discoveries in classics are announced and through which there is easy access to information about publications, to electronic resources, and to research tools. A well-constructed and accessible portal should appeal to classicists and non-classicists alike.”

Gutzwiller’s fellow-candidate for the presidential spot, James Tatum, sees the web site more in terms of teacher development: “It will enable us to support teaching at every level, even more than we do now.” He highlights the need for more dialogue between secondary teachers and college faculty, and thinks the site could help “Increas[e] collaboration between college and university teachers and teachers in secondary schools.” The site will “make it clear that the road between university and secondary education can run in both directions.”

David Blank, a candidate for VP for Publications and Research, helpfully acknowledges the difficulty of these tasks. It will not necessarily be easy to “mak[e] ourselves heard by scholars, students, and the general public amidst the profusion of digital divulgation, diversion, and distraction.” He floats the idea of adding scholarly video content to the APA website, although his specific example–reports from the TLL fellows on their experiences in Munich–would seem to have limited popular appeal.

Blank’s fellow-candidate for Publications and Research VP, Michael Gagarin, wants to make knowledge of the classical world as widely available as possible, but acknowledges that the digital is something of a problem for current modes of production. He identifies “dealing with digitization” as “the biggest long-term challenge for both research and publication.” I’m not sure if he means dealing with the problem of properly evaluating digital work (something the MLA has been grappling with), or if the challenge has to do with the economics of scholarly publishing, or intellectual property, or what. In any case, he is loathe to have the APA take on dissemination roles traditionally assumed by print publishers: “my preference is that the APA should play largely a support role, working with publishers and libraries to promote digital publication and with universities, foundations, individuals, and others to produce digitized resources and make them as widely available as possible.” The distinction between digital “publication” (presumably peer reviewed in some traditional way, and paid for), versus digital “resources” (presumably free but evaluated only after the fact by the APA) is implicit in Gutzwiller’s remarks as well. In both cases the APA should identify “the most reliable and useful” electronic resources and “provide access to these materials for all our members,” presumably through the new portal.

These are all exciting ideas, but implementation would probably take ten or twenty times the money being raised by the capital campaign. Moreover, none of the candidates or current officers mentions a model in another field for the kind of site they have in mind, or mentions any current classics sites that they could build on.

Perhaps a good model would be physics.org. Rather than trying to be the final authority on all matters physical, it merely attempts to keep tabs on what is happening in physics on the web from day to day. It is jaunty and fresh and delightful to explore. This kind of crucial curatorial work is now being done in classics by lone heroes such as David Meadows and Charles Jones. It is highly useful, very popular, and not unduly resource-intensive. It seems to me that the APA could usefully give such work a more well-appointed home. The current APA Facebook page is mostly press releases. Going out and aggregating classical news and projects from around the world would be a great service to the profession.

As for professional networking and pedagogy, a good professional website model is probably the American Mathematical Association or the American Physical Society. But  I’m not sure we need a new APA-sponsored teacher community. The best thing would be for APA members to become more active on existing listservs and social media platforms for teachers, and of course to get out and visit classrooms and meet teachers in their own areas.The College Board’s AP Latin teacher community is very impressive example of collaboration between college, university, and secondary teachers, backed by some (not-for-profit!) corporate web development heft. And there is now Romae.org, a kind of Facebook for classical languages and studies. This is still small, but it is populated by college faculty, secondary and primary teachers, and some students as well.

So it’s great to see this kind of energy coming from the APA. Thanks to all the candidates for volunteering to run and help pilot our profession through the tricky waters that lie ahead.

Summer Accomplishments, part 2

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Jimmy Martin (’13) passes on this summary of his work over the summer:

He focused on creating the Greek Core list organized by parts of speech and by TLG frequency, and the Latin list as organized by parts of speech.
He read through the Amores helping create the vocabulary lists as he went. He read  through Cicero’s Pro Caelio, creating vocabulary list for his assigned sections. He read through most of Book 5 of the Gallic Wars, adding and subtracting vocabulary according to the updated Core Latin Vocabulary List.

Thanks, Jimmy, for all your important contributions to the project!

–Chris Francese

Summer 2012 accomplishments

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We had a productive summer at DCC, thanks largely to the four wonderful Dickinson students who worked for eight weeks on the project. Here’s a roundup from Alice Ettling (’12) about her accomplishments.

Along with the rest of the group she started out the summer editing the various Latin and Greek vocabulary lists. The Core Greek and Latin lists are now sliced and diced various ways: alphabetically, by parts of speech, by tiered frequency, and by semantic groups.  Alice worked particularly on the Latin semantic grouping list and on organizing the Latin and Greek morphology lists.

With the rest of the crew she read Ovid, Amores 1, to prepare for the compilation of its vocabulary lists. She put together PDFs of all the core vocabulary lists, and kept these updated during the last minute editing process.

As the Amores 1 commentary developed, she checked the Allen and Greenough references already in Prof. Turpin’s commentary and added a few more. She read through a small portion of the Pro Caelio to create vocabulary lists for Prof. Reedy’s Latin 111 course in the fall. She put the Amores introduction online, and finally returned to the Greek list. Once that was done, she refined most of the vocabulary lists in Book 6 of Caesar and implemented some edits I made to the Amores commentary.
Alice is also the one who put together the map animations for Caesar, which have gotten so much positive attention. Thanks, Alice, for all your great contributions to the project, and good luck in all your future endeavors!

–Chris Francese