CAAH Mods 2011 - Balliol College - University of Oxford
CAAH Mods 2011 - Balliol College - University of Oxford
CAAH Mods 2011 - Balliol College - University of Oxford
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UNIVERSITY OF OXFORD<br />
Board <strong>of</strong> the Faculty <strong>of</strong> Classics<br />
School <strong>of</strong> Archaeology<br />
Classical Archaeology<br />
and Ancient History<br />
<strong>Mods</strong> Handbook<br />
<strong>2011</strong><br />
Faculty <strong>of</strong> Classics<br />
Ioannou Centre for Classical & Byzantine Studies<br />
66 St Giles’<br />
<strong>Oxford</strong> OX1 3LU<br />
www.classics.ox.ac.uk
About this Handbook<br />
The information in this handbook applies to those students beginning their course in October<br />
<strong>2011</strong>. A Final Honour School Handbook will be issued at the start <strong>of</strong> Trinity Term 2012, which will<br />
include information on second and third year options. On any question the Examination<br />
Regulations (‘the grey book’) is the final word.<br />
Dates <strong>of</strong> Full Terms<br />
Michaelmas: Sunday 9 October – Saturday 3 December <strong>2011</strong><br />
Hilary: Sunday 15 January – Saturday 10 March 2012<br />
Trinity: Sunday 22 April – Saturday 16 June 2012<br />
Data Protection Act 1998<br />
You should have received from your <strong>College</strong> a statement regarding student personal data,<br />
including a declaration for you to sign indicating your acceptance <strong>of</strong> that statement. You<br />
should also have received a similar declaration for you to sign from the Faculty. Please contact<br />
your <strong>College</strong>’s Data Protection Officer or the Classics Faculty IT Officer, (whichever is<br />
relevant) if you have not. Further information on the Act can be obtained at<br />
www.admin.ox.ac.uk/councilsec/dp/index.shtml.<br />
1
Vitally Important Deadlines<br />
The following is a list <strong>of</strong> the most important deadlines that you MUST meet.<br />
YEAR 1<br />
Michaelmas Term<br />
Week 4, Wed: Special subject choices to Academic Administrative Officer (Ioannou<br />
Centre)<br />
Week 8, Fri: <strong>Mods</strong> exams entry forms due<br />
Hilary Term<br />
Week 4, Wed: Fieldwork choices to Academic Administrative Officer (Ioannou Centre)<br />
Trinity Term<br />
Week 4, Wed: Second and third year subject choices to Academic Administrative<br />
Officer (Ioannou Centre)<br />
Fieldwork grant application to Finance Officer (Ioannou Centre)<br />
Week 8, Fri: Signed Health and Safety forms to Academic Administrative Officer<br />
(Ioannou Centre)<br />
Forms relating to <strong>CAAH</strong> students can be found in WebLearn at:<br />
https://weblearn.ox.ac.uk/access/content/group/classics/undergraduate/Forms/<strong>CAAH</strong>/.<br />
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Contents<br />
Data Protection Act 1998 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1<br />
Vitally Important Deadlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2<br />
INTRODUCTION<br />
1. Statement <strong>of</strong> Aims and Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6<br />
2. Introduction to Classical Archaeology and Ancient History. . . . . . . . . . . . . . . . . . . 7<br />
3. Course Structure: An Outline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8<br />
Honour Moderations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8<br />
Fieldwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8<br />
Final Honour School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8<br />
PRACTICALITIES<br />
4.1 Your Tutor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9<br />
4.2 Tutorials, Classes and Collections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10<br />
4.3 Language Classes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10<br />
4.4 Essays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11<br />
4.5 Bibliographies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11<br />
4.6 Lectures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11<br />
4.7 Joint Consultative Committee for Undergraduate Matters. . . . . . . . . . . . . . . . . . . 12<br />
4.8 Students with Disabilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12<br />
4.9 Complaints. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12<br />
4.10 Illness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14<br />
4.11 Crises. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14<br />
4.12 Vacations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14<br />
4.13 The Ioannou Centre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15<br />
4.14 The Administration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15<br />
4.15 Libraries and Electronic Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15<br />
4.16 Bookshops. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17<br />
4.17 Information Technology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17<br />
4.18 Classical Greek and word processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18<br />
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4.19 Museums. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19<br />
4.20 Societies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19<br />
4.21 Scholarships, Prizes and Grants. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19<br />
4.22 Examinations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20<br />
4.23 Past Papers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21<br />
4.24 Marking Conventions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21<br />
FIRST YEAR: COURSE DETAILS<br />
5. First Year Teaching Structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22<br />
6. Classical Archaeology and Ancient History: First Year. . . . . . . . . . . . . . . . . . . . . . 22<br />
6.1 Integrated Class for Greek Core. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22<br />
6.2 Classical Archaeology and Ancient History Party. . . . . . . . . . . . . . . . . . . . . . . . . . 23<br />
6.3 Special Subject Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23<br />
6.4 <strong>Mods</strong> Entry Forms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23<br />
6.5 Fieldwork Requirement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23<br />
6.6 Fieldwork Opportunities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23<br />
6.7 Fieldwork Grant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24<br />
6.8 Fieldwork Health and Safety. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24<br />
6.9 Fieldwork: Brief Reports and Directors’ Reports. . . . . . . . . . . . . . . . . . . . . . . . . . 25<br />
6.10 Language Options in Second Year and Summer Schools. . . . . . . . . . . . . . . . . . 25<br />
6.11 Second and Third Year Choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25<br />
6.12 Summary for Classical Archaeology and Ancient History Year 1 . . . . . . . . . . . . 26<br />
COURSE DESCRIPTIONS<br />
7.1. Core Subjects: Approaches to Classical Archaeology and Ancient History. . . . . 27<br />
Aristocracy and democracy in the Greek World 550-450 BC. . . . . . . . . . . . . . . . . . . . 27<br />
Republic to Empire: Rome 50 BC to AD 50. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27<br />
7.2. Special Subjects and Languages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28<br />
A.1. Homeric Archaeology and Early Greece from 1550 to 700 BC. . . . . . . . . . . . . . . 28<br />
A.2. Greek Vases. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28<br />
A.3. Greek Sculpture c. 600-300 BC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28<br />
A.4. Roman Architecture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28<br />
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B.1. Thucydides and the West. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29<br />
B.2. Aristophanes’ Political Comedy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29<br />
B.3. Cicero and Catiline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29<br />
B.4. Tacitus and Tiberius. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30<br />
C.1. Beginning Ancient Greek. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30<br />
C.2. Beginning Latin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30<br />
C.3. Intermediate Ancient Greek. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30<br />
C.4. Intermediate Latin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31<br />
7.3. Fieldwork. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31<br />
GUIDELINES AND GENERAL INFORMATION<br />
8. Picture Questions: Guidelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32<br />
9. Ancient History Text ‘Gobbets’: Guidelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35<br />
10. Plagiarism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38<br />
11. List <strong>of</strong> Officers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41<br />
12. <strong>CAAH</strong> Tutors and Lecturers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42<br />
13. Telephone Numbers and Email. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
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1. Statement <strong>of</strong> Aims and Objectives<br />
Aims<br />
The principal academic aims <strong>of</strong> the degree are to study and interpret the complex cultures <strong>of</strong><br />
the ancient Mediterranean world through their extensive textual, material, and visual remains.<br />
Its principal broader educational aims are as follows:<br />
1. To stimulate and encourage intellectual confidence in students, working independently but<br />
in a well-guided framework.<br />
2. To use the study <strong>of</strong> key texts, artefacts, images, and issues systematically to examine and<br />
compare other cultures in an interdisciplinary way.<br />
3. To use such study to engender in students a thoughtful and critical attitude to major issues<br />
in their own cultures.<br />
4. To deliver to students a sustained and carefully-designed course which requires effort and<br />
rigour from them and which yields consistent intellectual reward and satisfaction.<br />
5. To train students in research and analytical skills to the highest possible standards.<br />
6. To train students to think critically, to formulate good questions, and to recognise bias and<br />
angle in written and visual representations.<br />
7. To produce graduates able to deal with challenging intellectual problems systematically,<br />
analytically and efficiently, suitable for a wide range <strong>of</strong> high-grade occupations and<br />
pr<strong>of</strong>essions.<br />
Objectives<br />
The more specific objectives <strong>of</strong> the degree are as follows:<br />
1. To provide expert guidance over a very wide range <strong>of</strong> options in challenging fields <strong>of</strong> study<br />
within the ancient Mediterranean world.<br />
2. To give students the skills to assess, summarise, and select key aspects from<br />
considerable amounts <strong>of</strong> material <strong>of</strong> diverse types.<br />
3. To develop effective skills in students' written and oral communication.<br />
4. To foster the organisational skills needed to plan work and meet a variety <strong>of</strong> demanding<br />
deadlines.<br />
5. To encourage the use and application <strong>of</strong> information technology to academic study at all<br />
levels.<br />
6. To provide a teaching environment in which close and regular criticism and evaluation <strong>of</strong><br />
the work <strong>of</strong> individual students and continuous monitoring <strong>of</strong> their academic progress are<br />
key features.<br />
7. To make full and effective use in our courses <strong>of</strong> the wide range <strong>of</strong> expertise in our subject<br />
area and the excellent specialist resources and collections available in the <strong>University</strong>.<br />
8. To encourage students in extra-curricular but course-related activities which set the<br />
subject in a broader context.<br />
9. To produce graduates who will maintain and expand <strong>Oxford</strong>'s international pre-eminence<br />
in the fields <strong>of</strong> Ancient History and Classical Archaeology.<br />
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2. Introduction to Classical Archaeology and Ancient History<br />
This honours degree is for anyone interested in the challenge <strong>of</strong> studying the history,<br />
archaeology, and art <strong>of</strong> the 'classical world' in an integrated way, and is designed to make<br />
study <strong>of</strong> that world more widely accessible.<br />
The course is concerned with the study <strong>of</strong> the societies and cultures <strong>of</strong> the ancient<br />
Mediterranean world through material, visual, and written evidence and has at its centre the<br />
cultures <strong>of</strong> Greece and Rome. Among the central themes are the dialogue <strong>of</strong> the Greek and<br />
Roman cultures with other Mediterranean and European societies and the endurance and<br />
transformation <strong>of</strong> classical cultural forms in new contexts far beyond their points <strong>of</strong> origin. The<br />
extensive choice <strong>of</strong> further subject options encourages wide-ranging study <strong>of</strong> neighbouring<br />
cultures, from the Bronze Age to the Early Middle Ages, from the Near East to Northwest<br />
Europe. The course does not require the study <strong>of</strong> ancient languages, but <strong>of</strong>fers opportunities<br />
to use and learn them.<br />
The <strong>University</strong>'s resources for this combined subject are excellent, in terms both <strong>of</strong> library<br />
facilities – much <strong>of</strong> the Sackler Library collections are built around ancient history and classical<br />
archaeology – and in the range and number <strong>of</strong> faculty members in the two fields.<br />
The degree is unique in <strong>of</strong>fering parallel and integrated courses in both archaeological and<br />
historical approaches to classical Mediterranean cultures. While still deploying distinctive skills<br />
and bodies <strong>of</strong> evidence, the two disciplines have come increasingly to converge and to<br />
complement each other. Studied together, the two registers <strong>of</strong> evidence produce a richer, more<br />
broad-based account <strong>of</strong> ancient cultures and societies and <strong>of</strong> their distinctive characteristics. A<br />
novel feature <strong>of</strong> the degree's teaching is the 'knitted' classes led by two Faculty members, one<br />
archaeologist and one historian, designed to ensure a thorough interdisciplinary integration in<br />
papers that deliberately combine archaeological and historical questions and evidence –<br />
something <strong>of</strong> real value from the points <strong>of</strong> view both <strong>of</strong> the students and <strong>of</strong> the teachers.<br />
The degree is administered from the Classics Office (66 St Giles’, OX1 3LU) and is overseen<br />
by a Standing Committee composed <strong>of</strong> members from both the Committee for the School <strong>of</strong><br />
Archaeology and the Faculty Board <strong>of</strong> Classics.<br />
7
3. Course Structure: An Outline<br />
The degree is a three-year course, and is divided into a first year, whose end-<strong>of</strong>-year<br />
examinations are called Honour Moderations or '<strong>Mods</strong>', and two further years leading up to the<br />
Honour School Examinations or 'Finals'.<br />
Honour Moderations<br />
In <strong>Mods</strong> you take four papers. Two are core papers on relatively short but revolutionary<br />
periods, one Greek and one Roman, that integrate history and archaeology and introduce you<br />
to different approaches to the subject and to the different kinds <strong>of</strong> evidence and the questions<br />
that they can answer. Two further papers are Special Subjects, one archaeological and one<br />
historical, chosen from lists <strong>of</strong> options. In place <strong>of</strong> one <strong>of</strong> the Special Subjects you may take an<br />
option to learn either Ancient Greek or Latin. The structure <strong>of</strong> <strong>Mods</strong> then is as follows:<br />
I-II. TWO CORE SUBJECTS<br />
I. Aristocracy and Democracy in the Greek World, 550 - 450 BC<br />
II. Republic to Empire: Rome, 50 BC - AD 50<br />
III-IV. TWO PAPERS FROM THE FOLLOWING SPECIAL SUBJECTS AND LANGUAGES<br />
A. Special subjects in Archaeology<br />
1. Homeric Archaeology and Early Greece from 1550 to 700 BC<br />
2. Greek Vases<br />
3. Greek Sculpture, c.600 - 300 BC<br />
4. Roman Architecture<br />
B. Special subjects in History<br />
1. Thucydides and the West<br />
2. Aristophanes' Political Comedy<br />
3. Cicero and Catiline<br />
4. Tacitus and Tiberius<br />
C. Ancient Languages<br />
1. Beginning Ancient Greek<br />
2. Beginning Latin<br />
3. Intermediate Ancient Greek<br />
4. Intermediate Latin<br />
Fieldwork<br />
Field work and training in excavation techniques and recording are a requirement fulfilled by<br />
participation in an excavation during the summer vacation after <strong>Mods</strong>, either <strong>Oxford</strong>'s own<br />
excavation at Dorchester, or another approved field project.<br />
Final Honour School<br />
In your second and third years, leading up to Finals, you build on the work done in <strong>Mods</strong> and<br />
expand your range in time and theme. You take six papers, including at least one integrated<br />
history and archaeology class, and at least two core papers in Greco-Roman subjects, as well<br />
as writing a site or museum report (equivalent to one paper). Of the six options, at least two<br />
must be in ancient history and at least two in archaeology, unless you take further Latin or<br />
further ancient Greek, which can count towards either total. Different combinations allow<br />
emphasis, according to preference, more on Archaeology or on History, and on different areas<br />
8
and periods, while ensuring that breadth is maintained.<br />
The site or museum report (max. 15,000 words) is the result <strong>of</strong> work based upon your own<br />
study <strong>of</strong> a site, <strong>of</strong> an excavation, or <strong>of</strong> a body <strong>of</strong> images or objects from one context or<br />
category <strong>of</strong> artefacts. You may also <strong>of</strong>fer, if you wish, an additional, optional thesis on an<br />
agreed topic within the field <strong>of</strong> Ancient History and Classical Archaeology (again, max. 15,000<br />
words).<br />
The following sections <strong>of</strong>fer information and advice on some aspects <strong>of</strong> undergraduate<br />
life.<br />
4.1 Your Tutor<br />
Whatever course you are taking, you will be meeting your college tutor during the first few<br />
days. He or she will have made arrangements for your tutorials and the various classes you<br />
will be taking, and will discuss your options with you and your timetable for studying them.<br />
When you have concerns or doubts, particularly if they are <strong>of</strong> an academic nature, your tutor<br />
will normally be the first person to consult: you should not hesitate to do this.<br />
It will probably be a rule <strong>of</strong> your college that you call on college tutors at the beginning <strong>of</strong> each<br />
term to arrange tuition, and at the end <strong>of</strong> term to arrange vacation reading and next term's<br />
subjects. In any case it would be wise to pay such calls, if necessary on your own initiative.<br />
<strong>College</strong>s have different rules about when term 'begins', but academic collections are usually<br />
set for the Friday and Saturday <strong>of</strong> 0 th week (the week before full term), so you should plan to<br />
be back by Thursday <strong>of</strong> 0 th week at the absolute latest. You should try to ensure that by the<br />
Thursday you know who your tutors for the term will be, have met or corresponded with them,<br />
and have been set work and assigned tutorial times by them.<br />
If you feel that you need a change <strong>of</strong> tutor, do something about it. Take the problem to<br />
someone else in your college - your <strong>College</strong> Adviser, the Senior Tutor, the Dean, the Women's<br />
Adviser, the Chaplain, or even the Head <strong>of</strong> <strong>College</strong>, if necessary. Most such problems arise<br />
from a personality-clash that has proved intractable; but since in a university <strong>of</strong> <strong>Oxford</strong>'s size<br />
there are likely to be alternative tutors for nearly all your subjects, there's no point in putting up<br />
with a relationship which is impeding your academic progress. In these circumstances you can<br />
usually expect a change, but not necessarily to the particular tutor whom you would prefer.<br />
In the unlikely instance <strong>of</strong> any problems arising which you do not wish to discuss with your<br />
college tutor, you should get in touch with the Chair <strong>of</strong> the <strong>CAAH</strong> Standing Committee, who for<br />
<strong>2011</strong>-2012 is Dr Peter Thonemann (Wadham <strong>College</strong>).<br />
Most colleges have a system <strong>of</strong> feedback whereby you can comment on your tutorials<br />
(including your own performance within them) and your tutors: this is normally done by a<br />
written questionnaire, though the format varies considerably. Please do use these<br />
questionnaires: confidentiality can always be assured if you wish, and comments (even if<br />
made anonymously) are extremely useful both to the college and to the tutors themselves.<br />
At the end <strong>of</strong> each term you can expect a formal report, perhaps with the Head <strong>of</strong> <strong>College</strong> and<br />
usually in the presence <strong>of</strong> your tutors. These are intended to be two-way exchanges: if you<br />
have concerns about your work or your tuition, do not hesitate to say so.<br />
Both <strong>University</strong> and colleges also have networks <strong>of</strong> welfare and pastoral care: details are given<br />
in the Essential Information for Students (Proctors’ and Assessor’s Memorandum), and in the<br />
literature which will have been given you by your college. See also Section 4.11 Crises.<br />
9
4.2 Tutorials, Classes and Collections<br />
One main focus <strong>of</strong> teaching throughout your time in <strong>Oxford</strong> will be tutorials. A tutorial is a<br />
meeting between the tutor and a single undergraduate, a pair, or a trio; a larger group is<br />
normally defined as a class. You can expect to have one or two <strong>of</strong> these tutorial encounters<br />
each week with one <strong>of</strong> your college tutors, or somebody else chosen by them for the particular<br />
option you are studying. There is great variety in the ways that tutors approach tutorials, and<br />
that is a strength <strong>of</strong> the system.<br />
Your core subjects in <strong>Mods</strong> are team-taught in classes <strong>of</strong> 6-8 by an archaeologist and an<br />
ancient historian. You will have one <strong>of</strong> these classes each week in the first two terms, and you<br />
will be asked to produce written work for them, as for a tutorial.<br />
The more you bring to a tutorial or class, the more you will gain from it. Tutorials are an<br />
opportunity for you to raise the issues and ask the questions which are troubling you, and to try<br />
out your own ideas in discussion with someone <strong>of</strong> greater experience; classes are an<br />
opportunity to explore issues together. Do not be afraid to speak up when something strikes<br />
you: those who contribute little in class get correspondingly little benefit from them.<br />
Before starting tutorials on a particular paper you will need to do some preparatory reading. If<br />
you have not received guidance from your tutor, you should consult the WebLearn site<br />
(https://weblearn.ox.ac.uk/access/site/classics), which contains bibliographies (with notes on<br />
preliminary reading) for each <strong>of</strong> these papers. Once you have finished a paper, you will also<br />
need to do some further work in the following vacation, normally in preparation for a collection.<br />
For most tutorials and classes, you will be asked to produce written work, and a good deal <strong>of</strong><br />
your time will be spent writing and preparing essays on topics suggested by your tutors. They<br />
will normally direct you towards some secondary reading. However, you should be careful not<br />
to let reading the bibliography detract from reading the primary texts and assessing the<br />
archaeological evidence, or to allow other scholars' writings to dictate the order <strong>of</strong> presentation<br />
<strong>of</strong> your own essays. The examination, and the course, are about the subjects and the works<br />
prescribed in the Examination Regulations, not about the modern books in bibliographies.<br />
Most colleges set at least one 'collection', i.e. a practice examination paper, at the beginning <strong>of</strong><br />
each term; many set two, and some expect a vacation essay as well, particularly in the long<br />
vacation. Collections will normally be on the reading which you will have covered over the<br />
vacation: on the importance <strong>of</strong> such vacation reading, see Section 4.12. There may also be<br />
faculty language collections: see Section 4.3.2.<br />
It is reasonable to expect written comments on any work a tutor takes in; but it is rare for tutors<br />
to put marks on written work, except for collections. If you are left uncertain <strong>of</strong> the general<br />
quality <strong>of</strong> your work, do not hesitate to ask.<br />
4.3 Language Classes<br />
1. Beginning Ancient Greek and Beginning Latin<br />
These are intensive elementary language classes running throughout the first two terms <strong>of</strong><br />
<strong>Mods</strong> for those wishing to begin Greek or Latin. The language teachers will be contacting<br />
those who have expressed an interest in Noughth Week (the week before term) to let you<br />
know which group you are in and where and when to attend.<br />
For your first two terms, you will have three hours <strong>of</strong> language teaching each week, and you<br />
will be expected to do a substantial amount <strong>of</strong> homework.<br />
The language teaching team will be happy to discuss any problems. Do not hesitate to consult them.<br />
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2. Faculty Language Collections<br />
Those taking the elementary language classes will be set collections to test their progress at<br />
2.00 p.m. on the Thursday <strong>of</strong> the week before the start <strong>of</strong> both Hilary and Trinity terms. You will<br />
be given details <strong>of</strong> these collections in due course.<br />
4.4 Essays<br />
Work on a class or tutorial essay involves library searches, reading, thinking, and writing. Read<br />
attentively and thoughtfully, skipping bits that obviously do not bear on your topic: one hour <strong>of</strong><br />
concentration is worth many hours <strong>of</strong> 'summarising' paragraph by paragraph with the music<br />
on. As your reading progresses, think up a clear structure for your essay. Use essays to<br />
develop an argument, not as places to store information. Include background material only<br />
when it is relevant for the question you have been asked: avoid the sort <strong>of</strong> essay which begins<br />
‘Cicero was born in ……’ (if you were asked the time, you would not begin by saying where<br />
your watch was made). You will learn a lot if you share ideas with fellow students, and if you<br />
chance your arm in class and tutorial discussion.<br />
Remember that classes and tutorials are not designed as a substitute for lectures, or for<br />
accumulating information, but to develop an ability to articulate and the capacity to think on<br />
one's feet, and to tackle specific difficulties and misunderstandings.<br />
There are arguments for and against word processing. On the one hand it makes one's notes<br />
and essays more 'inviting' to read later, and in writing an essay it becomes possible to<br />
postpone commitment to all the stages in an argument until the very end <strong>of</strong> the essay-writing<br />
process. On the other hand there is a danger <strong>of</strong> getting out <strong>of</strong> practice in writing time-limited<br />
examinations, especially <strong>University</strong> examinations, in which word processing is not allowed.<br />
<strong>Oxford</strong> trains you as a writer to deadlines; so equip yourself with a writer's tools – at least a<br />
dictionary, such as the Concise <strong>Oxford</strong> Dictionary, and, unless you are very confident, a<br />
thesaurus and a book such as H. W. Fowler's Modern English Usage. Spelling, punctuation,<br />
and literate English style do matter.<br />
4.5 Bibliographies<br />
Detailed faculty bibliographies are prepared regularly for most <strong>of</strong> the subjects on the course.<br />
You can download them from https://weblearn.ox.ac.uk/access/site/classics.<br />
4.6 Lectures<br />
Lectures for <strong>CAAH</strong> will be found on the Classics Lecture list. The most up to date version <strong>of</strong><br />
this is at www.classics.ox.ac.uk/lectures/index.asp. Click on the lecture title to see a short<br />
description <strong>of</strong> the lecture series.<br />
Your tutors will have advice on which lectures to attend, and if you are in doubt you should<br />
consult them before the lecture course begins.<br />
Lectures start on Monday <strong>of</strong> First Week <strong>of</strong> each term. Make sure you know where those you<br />
should attend take place. The lectures for your core courses are essential, and you should<br />
also attend any introductory lectures <strong>of</strong>fered on Ancient History and Classical Archaeology.<br />
You should also start attending lectures for the special subjects <strong>of</strong> your choice. Those taking a<br />
language would be well-advised to 'shadow' the lectures for a second special subject for the<br />
first few weeks in case they have a change <strong>of</strong> heart about studying the language (firm choices<br />
do not need to be declared until Fourth Week).<br />
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Do not expect lectures on a subject to coincide with the term in which you are writing<br />
essays on that subject. Important lectures may come a term or two before your tutorials;<br />
even so, you should read in advance any texts which are being lectured on. Equally, do not<br />
expect lectures to be repeated every year; In the first year, you should attend lectures in your<br />
first and second terms for the special subject you will be taking in your third term, and you<br />
should plan to attend lectures in your second year that are relevant to courses you will take in<br />
your third year.<br />
4.7 Joint Consultative Committee for Undergraduate Matters<br />
Each faculty or department has a Joint Consultative Committee for Undergraduates (JCC).<br />
The JCC is your forum, where Faculty <strong>of</strong>ficers will keep you informed <strong>of</strong> developments in the<br />
Faculty. Typical agenda items include proposals for change to the syllabus, lecture<br />
arrangements, library provision and IT. Senior members will be looking to you for comments<br />
and suggestions, which may bring beneficial changes. The JCC is also the forum in which you<br />
should raise any matters <strong>of</strong> concern to you relating to the organisation and content <strong>of</strong> the<br />
course (though matters relating to your actual tuition are more a college matter: see Section<br />
4.2). The JCC contains several Senior Members and although colleges are asked to appoint<br />
representatives, any undergraduate in <strong>CAAH</strong>, Classics, and Ancient and Modern History is<br />
welcome to attend. The committee meets once a term, and may make recommendations to<br />
the Sub-faculties, or through them to the Faculty board. It appoints two <strong>of</strong> its undergraduate<br />
members to attend Sub-faculty meetings as observers.<br />
A questionnaire is circulated regularly by the JCC for you to fill in with your comments on the<br />
course and on the lectures you have attended. It is important to fill this in because lecturers<br />
(who are given an indication <strong>of</strong> the comments), and indeed the Faculty as a whole, like to<br />
know whether they are providing what people need, and also because it strengthens the arm<br />
<strong>of</strong> the JCC in seeking changes and innovations. The comments made will remain totally<br />
anonymous, and only the Lecture List Secretary and the undergraduate compilers <strong>of</strong> the yearly<br />
report will see the actual returns. A sample questionnaire is printed in this Handbook (Section<br />
17).<br />
4.8 Students with Disabilities<br />
The Faculty is committed to ensuring that disabled students are not treated less favourably<br />
than other students, and to provide reasonable adjustment to provision where disabled<br />
students might otherwise be at a substantial disadvantage.<br />
For students who have declared a disability on entry to the <strong>University</strong>, the Faculty will have<br />
been informed if any special arrangements have to be made. Students who think that<br />
adjustments in Faculty teaching, learning facilities or assessment may need to be made should<br />
raise the matter first with their college tutor or contact the Academic Administrative Officer at<br />
the Ioannou Centre.<br />
General advice about provision for students with disabilities at <strong>Oxford</strong> <strong>University</strong> and how best<br />
to ensure that all appropriate bodies are informed can be found on the <strong>University</strong> Disability<br />
Services website at www.admin.ox.ac.uk/eop.<br />
4.9 Complaints<br />
1. The <strong>University</strong>, the Humanities Division and the Classics Faculty all hope that provision<br />
made for students at all stages <strong>of</strong> their programme <strong>of</strong> study will make the need for complaints<br />
(about that provision) or appeals (against the outcomes <strong>of</strong> any form <strong>of</strong> assessment) infrequent.<br />
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2. However, all those concerned believe that it is important for students to be clear about how<br />
to raise a concern or make a complaint, and how to appeal against the outcome <strong>of</strong><br />
assessment. The following guidance attempts to provide such information.<br />
3. Nothing in this guidance precludes an informal discussion with the person immediately<br />
responsible for the issue that you wish to complain about (and who may not be one <strong>of</strong> the<br />
individuals identified below). This is <strong>of</strong>ten the simplest way to achieve a satisfactory resolution.<br />
4. Many sources <strong>of</strong> advice are available within colleges, within faculties/departments and from<br />
bodies like OUSU or the Counselling Service, which have extensive experience in advising<br />
students. You may wish to take advice from one <strong>of</strong> these sources before pursuing your<br />
complaint.<br />
5. General areas <strong>of</strong> concern about provision affecting students as a whole should, <strong>of</strong> course,<br />
continue to be raised through Joint Consultative Committees or via student representation on<br />
the faculty’s committees.<br />
Complaints<br />
6. If your concern or complaint relates to teaching or other provision made by the faculty, then<br />
you should raise it either with the JCC or the Chair <strong>of</strong> the <strong>CAAH</strong> Standing Committee. Within<br />
the faculty the <strong>of</strong>ficer concerned will attempt to resolve your concern/complaint informally.<br />
7. If you are dissatisfied with the outcome, then you may take your concern further by making<br />
a formal complaint to the <strong>University</strong> Proctors. A complaint may cover aspects <strong>of</strong> teaching and<br />
learning (e.g. teaching facilities, supervision arrangements, etc.), and non-academic issues<br />
(e.g. support services, library services, university accommodation, university clubs and<br />
societies, etc.). A complaint to the Proctors should be made only if attempts at informal<br />
resolution have been unsuccessful. The procedures adopted by the Proctors for the<br />
consideration <strong>of</strong> complaints and appeals are described in the Proctors and Assessor’s<br />
Memorandum (www.admin.ox.ac.uk/proctors/pam) and the relevant Council regulations<br />
(www.admin.ox.ac.uk/statutes/regulations).<br />
8. If your concern or complaint relates to teaching or other provision made by your college,<br />
then you should raise it either with your tutor or with one <strong>of</strong> the college <strong>of</strong>ficers, such as the<br />
Senior Tutor. Your college will also be able to explain how to take your complaint further if you<br />
are dissatisfied with the outcome <strong>of</strong> its consideration.<br />
Academic appeals<br />
9. An appeal is defined as a formal questioning <strong>of</strong> a decision on an academic matter made by<br />
the responsible academic body.<br />
10. For undergraduate courses, a concern which might lead to an appeal should be raised with<br />
your college authorities and the individual responsible for overseeing your work. It must not<br />
be raised directly with examiners or assessors. If it is not possible to clear up your concern<br />
in this way, you may put your concern in writing and submit it to the Proctors via the Senior<br />
Tutor <strong>of</strong> your college. As noted above, the procedures adopted by the Proctors in relation to<br />
complaints and appeals are on the web (www.admin.ox.ac.uk/statutes/regulations).<br />
11. Please remember in connection with all the cases in paragraphs 9-10 that:<br />
(a) The Proctors are not empowered to challenge the academic judgement <strong>of</strong> examiners<br />
or academic bodies.<br />
(b) The Proctors can consider whether the procedures for reaching an academic<br />
decision were properly followed; i.e. whether there was a significant procedural<br />
administrative error; whether there is evidence <strong>of</strong> bias or inadequate assessment;<br />
whether the examiners failed to take into account special factors affecting a candidate’s<br />
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performance.<br />
(c) On no account should you contact your examiners or assessors directly.<br />
12. The Proctors will indicate what further action you can take if you are dissatisfied with the<br />
outcome <strong>of</strong> a complaint or appeal considered by them.<br />
4.10 Illness<br />
If illness interferes seriously with your academic work, make sure that your tutors know about<br />
it. If at all possible choose a Fellow or Lecturer <strong>of</strong> your college in whom to confide; otherwise it<br />
will be difficult for the college to help. Help may involve: excusing you from tutorials for a<br />
period; sending you home; asking the <strong>University</strong> to grant you dispensation from that term's<br />
residence (to qualify for the BA you must reside and study in <strong>Oxford</strong> for nine terms - or six if<br />
you have Senior Status - and a term for that purpose means forty-two nights); or permitting you<br />
to go out <strong>of</strong> residence for a number <strong>of</strong> terms, with consequent negotiations with your funding<br />
body.<br />
If illness has affected you during an examination, your college must report the fact to the Vice-<br />
Chancellor and Proctors, who will pass the information to your examiners 'if, in their opinion, it<br />
is likely to assist the examiners in the performance <strong>of</strong> their duties.' Your college also reports to<br />
the Proctors if illness or disability has prevented you from attending part <strong>of</strong> a <strong>University</strong><br />
examination, or makes it desirable that you should be examined in a special place or at a<br />
special time. The college <strong>of</strong>ficer concerned is the Senior Tutor. You, therefore, must deal with<br />
your Senior Tutor, never with the examiners. Give the Senior Tutor as much notice as possible;<br />
in particular, examinations specially invigilated in a special place (usually your college) take a<br />
lot <strong>of</strong> organising. If you anticipate difficulties (e.g. in the case <strong>of</strong> dyslexia), you should inform<br />
your tutor at the beginning <strong>of</strong> the term <strong>of</strong> the examination, or preferably before. You will<br />
probably need a medical certificate; college doctors have the right <strong>University</strong> forms.<br />
4.11 Crises<br />
You will <strong>of</strong>ten hear people talking jocularly about their 'essay crisis'; you may even hear your<br />
tutor talking about his or her 'lecture crisis'. But if you find yourself in real difficulties with your<br />
work, or any other difficulties, do not hesitate to contact your tutor (or any other tutor,<br />
especially your college adviser or 'Moral Tutor' if your college appoints one). They may look<br />
busy, but they will not be too busy to discuss your problems, many <strong>of</strong> which may get<br />
miraculously better just by being discussed with someone sympathetic. 'Nightline' (16<br />
Wellington Square, Tel: 270270) <strong>of</strong>fers a confidential source <strong>of</strong> advice for the small hours, and<br />
both <strong>University</strong> and <strong>College</strong>s <strong>of</strong>fer many other channels <strong>of</strong> help, comfort, and care: further<br />
details are given in the Essential Information for Students (Proctors’ and Assessor’s<br />
Memorandum).<br />
4.12 Vacations<br />
British degree courses are among the shortest in the world. They hold their own in<br />
international competition only because they are full-time courses, covering vacation as well as<br />
term. This is perhaps particularly true <strong>of</strong> <strong>Oxford</strong>, where the <strong>of</strong>ficial terms occupy less than half<br />
the year. Vacations have to include holiday time too; and everyone recognises that for many<br />
students they also have to include earning money. Nevertheless vacation study is vital, and for<br />
Classical Archaeology and Ancient History the long vacation is particularly important. It is also<br />
when you should fulfil your field work requirement.<br />
In term you will mostly rush from study <strong>of</strong> one particular site, monument or section <strong>of</strong> a text to<br />
14
another, from one article or chapter to another, pick their bones, and write out your reactions.<br />
Vacations are the time for less hectic attention to complete books, ancient and modern.<br />
Tutorials and classes break a subject up, vacations allow consolidation. They give depth and<br />
time for serious thought, and they are vital for the full reading <strong>of</strong> set texts and <strong>of</strong> key secondary<br />
works for the following term's tutorial work.<br />
4.13 The Ioannou Centre<br />
The Ioannou Centre for Classical and Byzantine Studies in located at 66 St Giles’, OX1 3LU.<br />
The Classics Office and some Research Projects are based in the building, including the<br />
Centre for the Study <strong>of</strong> Ancient Documents, The Lexicon <strong>of</strong> Greek Personal Names and the<br />
Archive <strong>of</strong> Performances <strong>of</strong> Greek and Roman Drama. There is also a common room, seminar<br />
rooms and lecture theatre.<br />
The Classics Office<br />
The Classics Office is in the Ioannou Centre for Classical and Byzantine Studies, and is the<br />
administrative section <strong>of</strong> the Classics Faculty. Office hours are 9.00 a.m. to 5.00 p.m., Monday<br />
to Friday (Tel: 288388 or email undergraduate@classics.ox.ac.uk). The Classics Office can<br />
provide information about scholarships, grants, prizes, study tours, summer schools,<br />
conferences and seminars in and outside <strong>Oxford</strong>.<br />
Entry to the Ioannou Centre<br />
There is an intercom box on the doors <strong>of</strong> the Ioannou Centre with connections to individual<br />
<strong>of</strong>fices. You can also operate the doors with your <strong>University</strong> card. Your card should already be<br />
registered for entry to the Ioannou Centre, but if you experience any difficulties please contact<br />
Reception on 288372 or email reception@classics.ox.ac.uk.<br />
4.14 The Administration<br />
The administration <strong>of</strong> Classical Archaeology and Ancient History lies with the Board <strong>of</strong> the<br />
Faculty <strong>of</strong> Classics and the Committee for the School <strong>of</strong> Archaeology. These bodies are<br />
elected, like other Faculty Boards in the <strong>University</strong>, by and from members <strong>of</strong> their associated<br />
Faculties. The Classics Faculty comprises the Sub-faculties <strong>of</strong> Ancient History and Classical<br />
Archaeology, Philosophy, and Classical Languages and Literature. Classical Archaeology is<br />
also part <strong>of</strong> the Sub-faculty <strong>of</strong> Archaeology. The members <strong>of</strong> the Sub-faculties are, roughly,<br />
those employed in teaching or research within the <strong>University</strong>. The Faculty Boards meet twice<br />
each term, and the Sub-faculties meet once or twice each term.<br />
4.15 Libraries and Electronic Resources<br />
In comparison with most universities, library provision at <strong>Oxford</strong> is generous. OLIS, the<br />
<strong>University</strong>’s online library information service, contains catalogues <strong>of</strong> many <strong>University</strong> and<br />
some college libraries. It is accessible from any workstation on the <strong>University</strong> network<br />
(http://library.ox.ac.uk).<br />
Your college library will probably have a wide range <strong>of</strong> borrowable books and a narrower range<br />
<strong>of</strong> periodicals. Find out how to suggest new purchases. You have no access to college libraries<br />
other than your own. There are many different <strong>University</strong> libraries. The most useful to you will<br />
be the Sackler Library, which contains the Classics Lending Library, and the Bodleian Library.<br />
The Bodleian Libraries website is the most useful place to find information on using the library<br />
system: www.bodleian.ox.ac.uk.<br />
The Sackler Library was formally opened in September 2001. It is located at 1 St John Street,<br />
15
close to the Ashmolean Museum: the entrance is through a doorway in a rotunda almost<br />
immediately on your right as you enter St John Street from Beaumont Street. Within its walls<br />
have been gathered a massive collection <strong>of</strong> books originally housed separately in several<br />
different libraries. It is an open shelf lending library indispensable to anyone studying Ancient<br />
History, Archaeology and Art; it is also extremely useful to those studying Literature or<br />
Philology. The Sackler Library also houses the Classics Lending Library, specifically intended<br />
to provide for the coursework needs <strong>of</strong> undergraduates in Classical Literature, Ancient History<br />
and Archaeology. Library hours are 9.00 a.m. to 10.00 p.m. on Mondays to Fridays, 10.00 a.m.<br />
to 5.00 p.m. on Saturdays.<br />
To be admitted to the Sackler Library you must register by producing your <strong>University</strong> Card.<br />
Self-service photocopiers are available. You may borrow up to nine items at a time from the<br />
combined collections but no more than six from each category/collection. The loan period for<br />
books and articles is one week and for periodicals is two days. From the Thursday <strong>of</strong> Eighth<br />
Week, books and articles from the Classics Lending Library may be borrowed for the following<br />
vacation.<br />
In order to use the Bodleian Library, you must be admitted: admission is through your college<br />
<strong>of</strong>fice, normally when you first arrive. Much <strong>of</strong> what you want will be on the open shelves,<br />
primarily in the Lower Reading Room <strong>of</strong> the Old Bodleian. This is open Mondays to Fridays<br />
9.00 a.m. - 10.00 p.m. (7.00 p.m. in vacations) and Saturdays 10.00 a.m. - 4.00 p.m., except<br />
for closed periods <strong>of</strong> about ten days at Christmas, four days at Easter, the day <strong>of</strong> Encaenia in<br />
late June, and the weekend at the end <strong>of</strong> August. There are numerous other reading rooms,<br />
each with a selection <strong>of</strong> books and periodicals on open shelves. Most <strong>of</strong> Bodley’s holdings,<br />
however, are kept in stacks. Works may be ordered from stack to any reading room, but<br />
delivery time is likely to be two to three hours; so advance planning is recommended. You<br />
must show your <strong>University</strong> Card to gain access to any part <strong>of</strong> the Bodleian. The Bodleian is not<br />
a lending library.<br />
Copyright Law<br />
The copying <strong>of</strong> books and journals and the use <strong>of</strong> self-service photocopiers are subject to the<br />
provisions <strong>of</strong> the Copyright Licence issued to the <strong>University</strong> <strong>of</strong> <strong>Oxford</strong> by the Copyright<br />
Licensing Agency for the copying (from paper on to paper) <strong>of</strong>: up to 5% or one complete<br />
chapter (whichever is the greater) from a book; up to 5% or one whole article (whichever is the<br />
greater) from a single issue <strong>of</strong> a journal; up to 5% or one paper (whichever is the greater) from<br />
a set <strong>of</strong> conference proceedings.<br />
Electronic Resources<br />
<strong>Oxford</strong> <strong>University</strong> subscribes to a substantial number <strong>of</strong> electronic datasets and periodicals<br />
(including the Thesaurus Linguae Graecae, L’Année Philologique, the Gnomon<br />
bibliographische Datenbank and many others).<br />
Access to electronic resources is provided by an interface known as Solo (Search <strong>Oxford</strong><br />
Libraries Online); the address is http://solo.ouls.ox.ac.uk. Solo is a search and discovery tool<br />
for the <strong>Oxford</strong> Libraries collection <strong>of</strong> resources including OLIS – http://library.ox.ac.uk (<strong>Oxford</strong>'s<br />
union catalogue <strong>of</strong> printed and electronic books and journals), ORA – http://ora.ouls.ox.ac.uk<br />
(<strong>Oxford</strong> <strong>University</strong> Research Archive), a title link to 1,000+ databases on OXLIP+ – http://oxlipplus.bodleian.ox.ac.uk<br />
and access to OU E-Journals (over 28,000 e-journals). Note that not all<br />
databases can be cross-searched from SOLO, so you will need to consult OXLIP+ for a full<br />
listing <strong>of</strong> databases.<br />
Many datasets are easily accessible through a web-browser on a computer connected to the<br />
<strong>University</strong> network and access is through single-sign on whether on or <strong>of</strong>f campus. Some<br />
restricted resources will require a VPN (virtual private network) connection to the <strong>University</strong><br />
network if attempting to access them from <strong>of</strong>f campus.<br />
16
For information on how to install and configure VPN see www.oucs.ox.ac.uk/network/vpn and<br />
to set a remote access password to use with VPN visit https://register.oucs.ox.ac.uk/self/index.<br />
<strong>University</strong>-wide library information may be found at www.lib.ox.ac.uk<br />
Many <strong>of</strong> the <strong>Oxford</strong> Research Projects <strong>of</strong>fer a wealth <strong>of</strong> digitised images and information.<br />
Investigate the following sites – some <strong>of</strong> which <strong>of</strong>fer databases you may search or browse<br />
online:<br />
• The Archive <strong>of</strong> Performances <strong>of</strong> Greek and Roman Drama – www.apgrd.ox.ac.uk<br />
• The Beazley Archive – www.beazley.ox.ac.uk<br />
• The Centre for the Study <strong>of</strong> Ancient Documents – www.csad.ox.ac.uk<br />
• The eScience and Ancients Documents Project – http://esad.classics.ox.ac.uk<br />
• The Lexicon <strong>of</strong> Greek Personal Names – www.lgpn.ox.ac.uk<br />
• The <strong>Oxford</strong> Roman Economy Project – www.oxrep.classics.ox.ac.uk<br />
• The Oxyrhynchus Papyri – www.papyrology.ox.ac.uk<br />
• The Research Archive for Greek and Roman Sculpture – www.beazley.ox.ac.uk/casts<br />
• The Sphakia Survey – http://sphakia.classics.ox.ac.uk<br />
Links to indices <strong>of</strong> Classics websites can be found on the Classics at <strong>Oxford</strong> website<br />
www.classics.ox.ac.uk/resources. The ‘Students’ link on the Classics at <strong>Oxford</strong> website<br />
(www.classics.ox.ac.uk) will take you to a number <strong>of</strong> useful pages, including online<br />
bibliographies, pdf versions <strong>of</strong> handbooks, lecture lists, the lectures prospectus, past<br />
examination papers etc. (For a number <strong>of</strong> these things you will be directed to WebLearn, a<br />
local site worth getting to know well; see section 17 below.) You can access these only if you<br />
are connected to the <strong>University</strong> network or using a <strong>University</strong> remote access account.<br />
4.16 Bookshops<br />
The main bookshops for ancient history and classical archaeology are Blackwell's on Broad<br />
Street and Oxbow Books (10 Hythe Bridge St): they both have second-hand departments. The<br />
Classics Bookshop which specialises in secondhand books is now in Burford<br />
(www.classicsbookshop.co.uk). It may be possible to buy useful items from students in the<br />
years above you.<br />
4.17 Information Technology<br />
Computing Facilities and Training<br />
Most colleges have a computer room, with s<strong>of</strong>tware for word processing and other<br />
applications, connections to the central <strong>University</strong> machines and the Internet, and printers.<br />
Many also have network connections in college accommodation. Most libraries have powerpoints<br />
for laptop computers.<br />
If you wish to connect your own computer to the <strong>University</strong> network using a network point in<br />
your college room or <strong>of</strong>fice, you should consult your <strong>College</strong> IT Officer who will be able to<br />
advise you.<br />
The <strong>University</strong>’s Virtual Private Network service (VPN) allows computers that are connected to<br />
the internet but not to the <strong>Oxford</strong> <strong>University</strong> network a virtual connection to the network so that<br />
you can use restricted web pages and services such as OxLIP, WebSPIRS and Oxam. Many<br />
<strong>of</strong> the classics specific online journals are only accessible this way. The VPN pages are at<br />
www.oucs.ox.ac.uk/network/vpn.<br />
Please note that if you wish to connect your own computer to the <strong>University</strong> network it<br />
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must be properly maintained. You must ensure that all relevant patches and updates for<br />
your machine have been applied and that your virus protection is up-to-date.<br />
If you have a computing problem, the <strong>Oxford</strong> <strong>University</strong> Computing Services (OUCS) Help<br />
Centre, located at 13 Banbury Road, provides a single point <strong>of</strong> contact for all-front line user<br />
support (Tel: 273200 or email help@oucs.ox.ac.uk). You may also wish to brush up your<br />
computing skills on some <strong>of</strong> the free training courses OUCS <strong>of</strong>fers.<br />
For current information, check the website at www.oucs.ox.ac.uk.<br />
Email<br />
Classical Archaeology and Ancient History students are required to consult their<br />
university email account at reasonable intervals, that is, daily Mon - Sat in Full Term, as<br />
<strong>of</strong>ficial communications may be sent to it. If you have another account as well (e.g. Hotmail)<br />
you should still check your university account daily.<br />
The Data Protection Act<br />
You should have received from your college a statement regarding personal student data,<br />
including a declaration for you to sign indicating your acceptance <strong>of</strong> that statement: please<br />
contact your college's Data Protection Officer if you have not. Further information about Data<br />
Protection within the <strong>University</strong> can be found at<br />
www.admin.ox.ac.uk/councilsec/dp/index.shtml.<br />
4.18 Classical Greek and Word Processing<br />
Word-processing and handling electronic documents are essential skills for all classicists<br />
today. For years undergraduates were content to leave blanks in their work and write in by<br />
hand Greek characters with breathings and accents, because <strong>of</strong> the difficulty <strong>of</strong> including them<br />
electronically, but Greek is now easy to incorporate into essays and this is a skill which all<br />
students should acquire.<br />
The precise method depends on what kind <strong>of</strong> computer you are using: Apple Macintosh<br />
computers function very differently from PCs. Because <strong>of</strong> this the faculty recommends that<br />
students use the international standard method <strong>of</strong> incorporating Greek into documents, namely<br />
Unicode, which is a cross-platform standard (making your documents equally readable on both<br />
PCs and Macs). This standard is supported by most modern word-processing packages,<br />
including recent versions <strong>of</strong> MS Word, and operating systems (for PCs from Windows 98<br />
onwards, and for Macs from OS X onwards).<br />
In order to use Unicode Greek on your own computer, you need two things. The first is a font,<br />
so that you can actually view the Greek. Not many fonts include a complete set <strong>of</strong> Greek<br />
characters including accents and breathings, but some common fonts do (e.g. New Athena<br />
Unicode, Palatino Linotype, Arial Unicode). There are also freeware fonts you can find online<br />
that contain the necessary characters, one popular such font is Gentium (which has an<br />
alternative version GentiumAlt with ‘proper’ circumflex accents). Any <strong>of</strong> these fonts will be able<br />
to display Greek and you can change the format <strong>of</strong> text between these fonts and they remain<br />
the same. [This is the great advantage <strong>of</strong> the Unicode standard, since in older encodings,<br />
changing the font usually scrambled the text entirely and left it as unreadable nonsense.]<br />
The second thing you need is some easy method to enter the Greek characters. You could <strong>of</strong><br />
course use the character map or insert symbol commands <strong>of</strong> your word-processor to do it, but<br />
this is time-consuming and inefficient even for a single word. Instead, there are various<br />
keyboard utilities available which allow you to use your normal keyboard as if it were a Greek<br />
keyboard (e.g. so that you type [a] and you get an alpha). These also allow you to access the<br />
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accents and breathings, usually by typing a key before the vowel in question (e.g. so that<br />
typing [2] then [i] gives an iota with a smooth breathing and acute accent). Some <strong>of</strong> these<br />
utilities work only in specific word-processing packages, while others will work with any. Two<br />
popular Greek input keyboards are Antioch (for Windows) by Ralph Hancock<br />
www.users.dircon.co.uk/~hancock/antioch.htm and GreekKeys (Mac & Windows)<br />
http://apagreekkeys.org/AboutGK2008.html from the American Philological Association. There<br />
is a small cost involved in purchasing fully functional licenced versions <strong>of</strong> these applications.<br />
Further information on IT in Classics, including questions <strong>of</strong> fonts etc. can be found on<br />
WebLearn: https://weblearn.ox.ac.uk/portal/hierarchy/humdiv/classics/page/home.<br />
4.19 Museums<br />
The Ashmolean Museum in Beaumont Street is second in the UK only to the British Museum in<br />
its collections <strong>of</strong> vases, sculpture (including a famous Cast Gallery), coins, and other objects:<br />
these are well worth getting to know whether or not you are doing one <strong>of</strong> the special subjects<br />
for which they are essential.<br />
4.20 Societies<br />
There is a <strong>University</strong> Classical Society, and a <strong>University</strong> Archaeology Society, details <strong>of</strong> their<br />
meetings will be sent to members each term. The Classical Drama Society also has meetings<br />
and puts on plays in the original languages and in English.<br />
4.21 Scholarships, Prizes and Grants<br />
After <strong>Mods</strong>, you will be eligible for a scholarship or exhibition from your college, on academic<br />
criteria which the college decides and applies. The <strong>University</strong> administers a number <strong>of</strong> trust<br />
scholarships. All are listed in the <strong>University</strong>’s Statutes and Regulations and in a supplement to<br />
the <strong>University</strong> Gazette (www.ox.ac.uk/gazette), which is published at the beginning <strong>of</strong><br />
Michaelmas Term. You can consult these in your college <strong>of</strong>fice or a library.<br />
Those which particularly concern Classical Archaeology and Ancient History are as follows:<br />
• Ireland and Craven Scholarships (Dean Ireland's Scholarship: £500; three<br />
Craven Scholarships: £250). An examination consisting <strong>of</strong> four papers, taken in<br />
the week before Michaelmas Full Term. Entry forms available the Academic<br />
Administrative Assistant, Ioannou Centre, 66 St Giles’, <strong>Oxford</strong> OX1 3LU<br />
(undergraduate@classics.ox.ac.uk). Candidates must send their names on an<br />
entry form to the Academic Administrative Assistant by 1 September each year.<br />
• C. E. Stevens and Charles Oldham Scholarships in Classical Studies (C.<br />
E. Stevens Scholarship: about £400; about 14 Charles Oldham Scholarships:<br />
about £300). These are grants for travel related to your studies. Application<br />
forms available from the Academic Administrative Assistant, Ioannou Centre, 66<br />
St Giles’, <strong>Oxford</strong> OX1 3LU (undergraduate@classics.ox.ac.uk). These<br />
applications are due in Hilary Term.<br />
Grants for special purposes such as research travel, or for hardship, are available from many<br />
colleges to their members. There are also two more general schemes:<br />
• Access Funds are provided by the state to give financial help to full-time<br />
'home' undergraduates and postgraduates where access to higher or further<br />
education might be inhibited by financial considerations, or where students, for<br />
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whatever reasons, including disabilities, face financial difficulties. Application<br />
should be made to your college.<br />
• The <strong>University</strong>'s Committee on Student Hardship makes grants and loans<br />
for the relief <strong>of</strong> financial hardship in cases where this was unforeseeable at the<br />
time <strong>of</strong> admission. The Committee meets once a term, and the application<br />
forms, which are held in your college <strong>of</strong>fice, must be completed and handed in<br />
to the designated college <strong>of</strong>ficer, probably the Senior Tutor, by the deadline,<br />
usually in Fourth Week (First Week in Trinity Term).<br />
4.22 Examinations<br />
Each year a board <strong>of</strong> examiners is drawn from the Faculty to examine Classical Archaeology<br />
and Ancient History <strong>Mods</strong> and Finals. The examiners are assisted by a number <strong>of</strong> assessors,<br />
also members <strong>of</strong> the Faculty, who spread the load and deal with some <strong>of</strong> the specialised<br />
subjects. It is chance whether any <strong>of</strong> your own tutors examines you. If that happens, the<br />
convention is that the tutor takes no part knowingly in deciding your result; but since scripts are<br />
anonymous, the convention is rarely operative.<br />
It is your personal responsibility to enter for <strong>University</strong> examinations, and if you enter, or<br />
change your options, after the due date, you must pay a late fee and gain the examiners'<br />
consent. Entry is through colleges. In the case <strong>of</strong> Classical Archaeology and Ancient History<br />
<strong>Mods</strong> you fill in the form towards the end <strong>of</strong> your first term. The forms are kept in college<br />
<strong>of</strong>fices, which may advertise times for applying. The <strong>University</strong> deadlines are listed each year<br />
in Examination Regulations.<br />
The starting dates <strong>of</strong> examinations are announced each year in Examination Regulations and<br />
the <strong>University</strong> Diary; your tutors can confirm that these dates remain valid. The examiners<br />
issue a timetable a few weeks before each examination; it is posted in the Examination<br />
Schools, and probably also in your college lodge. About a month before the exam, the<br />
examiners send a memorandum to all candidates about the conduct <strong>of</strong> the examination.<br />
When planning your examination strategy, it is sensible to keep before your mind the nature <strong>of</strong><br />
the examination method which the <strong>University</strong> uses (the conventional method in British higher<br />
education over the last two centuries). If the examiners allowed you to set the questions, you<br />
could prepare good answers in a few months; by setting the questions themselves, they<br />
ensure that a candidate cannot be adequately prepared without study over the whole course.<br />
They will therefore not be interested in answers which in any way are <strong>of</strong>f the point, and they<br />
will severely penalise 'short weight' - too few properly written out answers. The examiners are<br />
looking for your own ideas and convictions. When you have selected a question, work out what<br />
it means and decide what you think is the answer to it. Then, putting pen to paper, state the<br />
answer and defend it; or, if you think there is no answer, explain why not. Abstain from<br />
background material. Do use examples to back up your arguments and suggestions, for<br />
without such evidence they become mere assertions. Don't write too much: many <strong>of</strong> those who<br />
run out <strong>of</strong> time have themselves to blame for being distracted into irrelevance. Good<br />
examinees emerge from the examination room with most <strong>of</strong> their knowledge undisplayed.<br />
At <strong>University</strong> examinations you must wear academic dress with 'sub-fusc' clothing. Academic<br />
dress is a gown, and a regulation cap or mortar board (must be mortar board for men). Subfusc<br />
clothing is: for women, a dark skirt or trousers, a white blouse, black tie, black tights or<br />
stockings and shoes, and, if desired, a dark coat; for men, a dark suit and socks, black shoes,<br />
a white bow tie, and plain white shirt and collar.<br />
There are special <strong>University</strong> regulations on the typing <strong>of</strong> illegible scripts (NB 'the cost <strong>of</strong> typing<br />
and invigilation shall not be a charge on university funds'), on the use <strong>of</strong> typewriters in<br />
examinations, on visually-impaired candidates, on candidates unable to take papers on certain<br />
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days for religious reasons and on the use (where permitted) <strong>of</strong> computers in examinations; see<br />
the Examination Regulations. If your native language is not English, you may request to use<br />
your own bilingual dictionary during examinations. The request must go to the Proctors<br />
through your college, usually your Senior Tutor.<br />
The exam results (both the overall classification and marks on individual papers) are posted on<br />
the OSS system.<br />
If you have any problems connected with <strong>University</strong> examinations which you want to take<br />
further, never approach the examiners directly: always communicate through your Senior<br />
Tutor. This applies to complaints too (although every student has a statutory right to consult<br />
the Proctors directly on any matter at any time in their <strong>Oxford</strong> career).<br />
The regulations for Classical Archaeology and Ancient History are set out in the Examination<br />
Regulations, and are reproduced at the end <strong>of</strong> this Handbook.<br />
4.23 Past Papers<br />
Past papers are available from the Examination Schools at a small cost, and should also be in<br />
<strong>College</strong> libraries as well as in the Classics Lending Library. There are also old papers online at<br />
http://oxam.ox.ac.uk.<br />
4.24 Marking Conventions<br />
The conventions for marking and for assigning classes will be circulated to you some time<br />
before the examination, in a 'Circular to Candidates'. Each Board <strong>of</strong> Examiners takes over the<br />
practice <strong>of</strong> its predecessors and normally follows it closely, but some adjustment or<br />
modification is bound to take place over the years, as a result <strong>of</strong> changes in examination<br />
structure or in the interest <strong>of</strong> greater fairness.<br />
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5. First Year Teaching Structure<br />
In your first year, the first two terms follow the same pattern. In the first term (MT), you do the<br />
integrated Archaeology-History Greek core class (8 joint-taught classes), and half <strong>of</strong> the<br />
teaching for your chosen Ancient History Special Subject (4 tutorials). (Please note: you need<br />
to have chosen both your Special Subjects and reported them to the Standing Committee at<br />
the latest by Fourth Week <strong>of</strong> MT. See below, Section 6.3.) You will also have weekly standalone<br />
classes on Approaches to History, Archaeology and Ancient Greek in the first few weeks<br />
<strong>of</strong> term. In the second term (HT), you do the Roman core class (8 classes) and the second half<br />
<strong>of</strong> your chosen Ancient History Special Subject (4 tutorials). There will also be an Introduction<br />
to Latin to accompany the Roman Core class. Those doing a language instead <strong>of</strong> one <strong>of</strong> the<br />
Special Subjects will be doing it alongside the core classes in both these terms.<br />
It is important for you and your <strong>College</strong> tutor to understand that this is your full workload in<br />
your first two terms and that you should not be doing further tutorials and/or essay-writing on<br />
top <strong>of</strong> it. Those giving the integrated classes will cover your academic development but will not<br />
be able to give individual personal guidance. You should arrange to see your <strong>College</strong> tutor at<br />
fairly regular intervals to discuss your progress and any difficulties you are having with the<br />
material and work from the core classes.<br />
In the third term (TT), you do your other chosen Archaeology Special Subject and revise the<br />
work you did in MT and HT for your <strong>Mods</strong> exams. If you are doing a language and choose a<br />
History special subject rather than an archaeology one, you will also do that special subject in<br />
this term, not in MT-HT.<br />
The long summer vacation after your first year is the time you fulfil your fieldwork requirement.<br />
SUMMARY OF TEACHING STRUCTURE FOR THE FIRST YEAR<br />
Michaelmas Term Greek Core (8) Ancient History<br />
Special Subject (4) or<br />
Language<br />
Hilary Term Roman Core (8) Ancient History<br />
Special Subject (4) or<br />
Language<br />
Trinity Term Archaeology Special Subject (8) Revision<br />
Long Vacation Fieldwork<br />
6. Classical Archaeology and Ancient History: First Year<br />
The following sections describe in broad chronological sequence a number <strong>of</strong> varied events,<br />
obligations, and deadlines that you will have to meet during your first year, including<br />
information about your fieldwork requirement. They are summarised in Section 6.12. Note that<br />
the three terms <strong>of</strong> the academic year have the following local names and abbreviations which<br />
are widely used here. First term = Michaelmas Term (MT); Second term = Hilary Term (HT);<br />
Third term = Trinity Term (TT).<br />
6.1 Integrated Class for Greek Core<br />
The first, preliminary meeting for the joint-taught core class ('Aristocracy and Democracy in the<br />
Greek World, 550-450 BC') is essential and takes place before term proper starts, usually on<br />
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Thursday <strong>of</strong> Noughth Week. Look out for the circular telling you precisely where and when it<br />
takes place. You absolutely must attend this meeting. Be punctual!<br />
Those <strong>of</strong> you doing a language should also check in Noughth Week, through your tutor, what<br />
your class timetable will be and what the Language teachers expect <strong>of</strong> you.<br />
Alongside the Greek core class there will be weekly stand-alone sessions in the first half <strong>of</strong><br />
term on the approaches to working with historical and archaeological material, and texts in the<br />
Greek language, which are intended to support your work in the class. The Greek session(s)<br />
will not require you to know – or learn! – the language in any depth, but are intended to give<br />
you some familiarity with the script and some tools to deal with the short words and phrases<br />
you will come across on vases, grave markers, and so on. These sessions are compulsory.<br />
6.2 Classical Archaeology and Ancient History Party<br />
There will be a party to welcome new <strong>CAAH</strong>'ers in First Week. This is an opportunity to meet<br />
students in other years and some <strong>of</strong> the tutors and lecturers involved in teaching the course.<br />
All are invited, do please come!<br />
6.3 Special Subject Choices<br />
You need to start thinking early about which <strong>of</strong> the special subjects you would like to study in<br />
your first year, one in Ancient History, one in Archaeology. And you need to have reached a<br />
firm decision by Wednesday <strong>of</strong> 4th week <strong>of</strong> your first term (Michaelmas Term), by when you<br />
must inform the secretary <strong>of</strong> the Standing Committee (undergraduate@classics.ox.ac.uk). You<br />
should also start attending lectures for your special subjects in the first term (See Section 4.6).<br />
6.4 <strong>Mods</strong> Entry Forms<br />
These are the forms on which you are entered for the proper exams at the end <strong>of</strong> your first<br />
year. They indicate your various choices <strong>of</strong> subject, should be checked and discussed with<br />
your tutor, and submitted through your college to the Academic Records Office. They are<br />
normally due by the end <strong>of</strong> 8th week <strong>of</strong> Michaelmas Term.<br />
6.5 Fieldwork Requirement<br />
Classical Archaeology and Ancient History students are required to attend for at least two<br />
weeks EITHER the training excavation at Dorchester, directed by Pr<strong>of</strong>. Chris Gosden, OR<br />
another field project approved by the Standing Committee. This fieldwork should be carried out<br />
in the first summer vacation after <strong>Mods</strong>, that is, this coming summer. Requests to defer all or<br />
part <strong>of</strong> the fieldwork requirement will only be entertained when circumstances beyond your<br />
control (e.g. illness, family bereavement, cancellation <strong>of</strong> project) have prevented you from<br />
carrying it out in the summer after <strong>Mods</strong>.<br />
You need to have found your field project and been accepted for it by Wednesday <strong>of</strong> 4th week<br />
in Hilary Term - the date by which you must submit your choice to the Standing Committee (to<br />
undergraduate@classics.ox.ac.uk).<br />
6.6 Fieldwork Opportunities<br />
There are a number <strong>of</strong> <strong>Oxford</strong>-based archaeological projects that accept <strong>CAAH</strong> students as<br />
volunteers; these opportunities vary by year, so look out for more information nearer the time<br />
23
or ask you tutor or Core Class teachers at the beginning <strong>of</strong> Hilary Term. Worthy <strong>of</strong> particular<br />
note in the UK is the <strong>University</strong> <strong>of</strong> Reading's Silchester excavations, directed by Pr<strong>of</strong>. Mike<br />
Fulford, who has for many years welcomed <strong>CAAH</strong> students on the project. There are also<br />
many other fieldwork possibilities, both in the UK and abroad, which are most easily explored<br />
first through the websites and publications listed below. The most useful and comprehensive<br />
resources are: (1) Archaeology Abroad, published by the Council for British Archaeology, and<br />
(2) Archaeological Fieldwork Opportunities Bulletin, published twice a year by the<br />
Archaeological Institute <strong>of</strong> America. The second is now available online (see below).<br />
The following are some <strong>of</strong> the most useful institutions, publications, and websites:<br />
• Council for British Archaeology:<br />
www.britarch.ac.uk<br />
Produces listings in the CBA Briefing, either paper or online, with link to:<br />
• Archaeology Abroad:<br />
www.britarch.ac.uk/archabroad<br />
Their bulletin, published twice a year, lists opportunities for fieldwork. A copy is available for<br />
reference at the help desk in the Sackler Library.<br />
• American Institute <strong>of</strong> Archaeology:<br />
www.archaeological.org<br />
Their Archaeological Fieldwork Opportunities Bulletin lists opportunities for fieldwork throughout<br />
the world. A copy is available for reference as above and is now available online at<br />
www.archaeological.org/webinfo.phppage=10015. See sidebar ‘how to find fieldwork’.<br />
• Current Archaeology:<br />
www.archaeology.co.uk<br />
The website <strong>of</strong> the publication Current Archaeology with links, articles, and a searchable<br />
database ('data centre') for excavations and fieldwork opportunities.<br />
6.7 Fieldwork Grant<br />
In planning your fieldwork, you should know that the <strong>University</strong> allocates a sum (currently<br />
£410) per student for individual expenses related to your course. Up to this amount can be<br />
spent on your fieldwork project (for example, for travel to the site) or on a combination <strong>of</strong><br />
fieldwork expenses and expenses associated with researching your site or museum report,<br />
which you will do in your second and third years. You should also apply to your college for any<br />
travel funds available to undergraduates (look out for your college's deadlines for such grants).<br />
The Classics department awards a number <strong>of</strong> Oldham and Stevens travel scholarships, which<br />
you can apply for in Hilary Term.<br />
Those who are going on the Silchester dig for two weeks will have approximately £380 paid<br />
(out <strong>of</strong> their fieldwork grant) for them directly to cover their participation in the project.<br />
Funds from your fieldwork grant should be applied for on a form that you get from the Finance<br />
Officer, Ioannou Centre, 66 St Giles’, OX1 3LU to whom it should be returned and who will<br />
make the appropriate disbursements. Please note that the form needs to be counter-signed by<br />
your tutor.<br />
6.8 Fieldwork: Health and Safety<br />
The <strong>University</strong> Safety Office advises that all students doing fieldwork as a mandatory part <strong>of</strong><br />
their course must fill in a Health and Safety form, including the Risk Assessment that is part <strong>of</strong><br />
the form. You should use the School <strong>of</strong> Archaeology form, 'Safety in Fieldwork', which is<br />
24
available on the web at: www.arch.ox.ac.uk/undergraduate-fieldwork.html.<br />
You should fill in as much <strong>of</strong> it as you reasonably can. For help with the kind <strong>of</strong> things that<br />
might be listed in the Risk Assessment section (Section 7) and how they might be assessed,<br />
please see www.admin.ox.ac.uk/safety/0507.shtml. Keep your entries simple! For the projects<br />
most <strong>of</strong> you will be going on, the risks are likely to be at the 'Low' or 'Negligible' end <strong>of</strong> the<br />
spectrum.<br />
The form should be signed, in Section 8 ('Declarations'), by (1) you, the fieldworker, (2) your<br />
college tutor, and (3) the Chair <strong>of</strong> the Standing Committee, who is the nominal 'Head <strong>of</strong> the<br />
Unit' for this purpose. The fourth signature asked for, from the 'Head <strong>of</strong> the School', is<br />
unnecessary. Your signed form should then be lodged with Administrative Officer, in the<br />
Classics Office, 66 St Giles’, OX1 3LU by the end <strong>of</strong> 8th week in Trinity Term.<br />
Please do not be affronted by this piece <strong>of</strong> bureaucracy! The main ideas <strong>of</strong> the form are (a) to<br />
have on central file accurate details <strong>of</strong> where you are, and (b) to get all <strong>of</strong> us – students, tutors,<br />
project directors – to think seriously about safety issues.<br />
6.9 Fieldwork: Brief Reports and Directors’ Reports<br />
All students are required to send the Standing Committee a report on their fieldwork <strong>of</strong> 1,000<br />
(minimum) to 1,500 (maximum) words. You should devote most space to describing: (a) the<br />
nature <strong>of</strong> the site you went to, (b) the nature <strong>of</strong> the research project investigating the site and<br />
its main questions and most significant results, and (c) the role you played in the project and<br />
the work you did on the site. You should include a short bibliography <strong>of</strong> the most important<br />
publications <strong>of</strong> the project. You may also describe, more briefly, any particular good or bad<br />
things about the project that the Standing Committee and future students might usefully know.<br />
All students are also required to submit a satisfactory report on their work and progress on site<br />
from their field director or project director. Standard forms can be obtained from the<br />
Administrative Officer at the Ioannou Centre, 66 St Giles’; please have them completed before<br />
you leave your site, and then return both reports to the secretary <strong>of</strong> the Standing Committee<br />
with your fieldwork report by the end <strong>of</strong> 4th week <strong>of</strong> the Michaelmas Term following the<br />
vacation in which the fieldwork was done. The reports will be read by the Standing Committee,<br />
and unsatisfactory fieldwork reports will be returned for improvement. Although not an<br />
examined part <strong>of</strong> your degree, these reports are an integral part <strong>of</strong> your fieldwork requirement.<br />
6.10 Language Options in Second Year and Summer Schools<br />
If you think you would like to do one <strong>of</strong> the language options in the second year <strong>of</strong> the course,<br />
it is a good idea to prepare for it by attending a language Summer School in the long vacation.<br />
This should be discussed with your tutor, and the decision to take a language needs to be<br />
made in time to enrol for a Summer School by their deadline. The deadline for applications for<br />
the Language Summer Schools is usually in March.<br />
6.11 Second and Third Year Choices<br />
Towards the end <strong>of</strong> your first year, the Standing Committee needs to do detailed planning for<br />
the teaching <strong>of</strong> the core courses and special subjects in your second and third years.<br />
Therefore, in your third term (Trinity Term) you need to have thought about your firm or<br />
probable choices for years 2 and 3, and you need to send or email them to the Standing<br />
Committee's secretary (undergraduate@classics.ox.ac.uk) by Wednesday <strong>of</strong> 4th week <strong>of</strong><br />
Trinity Term. The Finals Handbook with details <strong>of</strong> the courses and options will be available at<br />
the beginning <strong>of</strong> Trinity Term.<br />
25
6.12 Summary for Classical Archaeology and Ancient History Year 1<br />
This calendar summarises the main events, obligations, and deadlines described above in<br />
Section 5. Deadlines are marked in bold.<br />
First Term (Michaelmas)<br />
Week 0<br />
Week 1<br />
Week 4<br />
Week 8<br />
Preliminary meeting for Greek Core class<br />
Mon: Lectures start<br />
Wed: <strong>CAAH</strong> Freshers' Party (5-7 pm) in Ioannou Centre<br />
Wed: Special subject choices to Standing Committee<br />
Secretary<br />
Fri: <strong>Mods</strong> entry forms to <strong>University</strong> Offices<br />
Second Term (Hilary)<br />
Week 4<br />
March<br />
Wed: Fieldwork choices to Standing Committee Secretary<br />
Applications for language summer schools<br />
Third Term (Trinity)<br />
Week 4<br />
Week 8<br />
Week 9<br />
Wed: 2nd and 3rd Year subject choices to Standing<br />
Committee Secretary<br />
Wed: Fieldwork grant applications to Departmental<br />
Administrator.<br />
Fri: Signed Health & Safety forms to Standing Committee<br />
Secretary<br />
Mon-Wed: <strong>Mods</strong> Exams.<br />
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Course Descriptions<br />
7.1 Core Subjects: Approaches to Classical Archaeology and<br />
Ancient History<br />
These core subjects look at two periods <strong>of</strong> revolution and rapid re-orientation, one Greek, one<br />
Roman. The periods are approached simultaneously from historical and archaeological<br />
perspectives, and are designed to introduce the methods and materials available for the study <strong>of</strong><br />
the ancient world and to cut across and between periods studied in Finals. Opportunity is taken to<br />
introduce the history <strong>of</strong> the two converging disciplines <strong>of</strong> ancient history and classical<br />
archaeology, and attention is paid to methodology and the complementary nature <strong>of</strong> written,<br />
material, and visual evidence. The broad subjects engaged are the effects <strong>of</strong> two quite different<br />
historical upheavals on the political, social, material, and visual environments <strong>of</strong> Early Greece on<br />
the one hand and Late Republican Rome on the other – as well as their effects on the forms and<br />
character <strong>of</strong> the surviving historical and archaeological records <strong>of</strong> the two periods and the ways<br />
they can be studied. Both these courses are taught in small classes led by an ancient historian<br />
and an archaeologist together.<br />
I. Aristocracy and democracy in the Greek world 550-450 BC<br />
The course studies the history and archaeology <strong>of</strong> the far reaching changes that occurred in the<br />
culture <strong>of</strong> the Greek polis states (and in particular Athens) between the heyday <strong>of</strong> the archaic<br />
aristocracies in the later sixth century and the emergence <strong>of</strong> the new demos culture in the first half<br />
<strong>of</strong> the fifth century, which involved far more people in the political process all across the Greek<br />
world, in aristocracies as well as democracies. The central themes <strong>of</strong> aristocracy and democracy<br />
are pursued throughout the period, as well as the history <strong>of</strong> the interacting archaic states and<br />
individuals; the Achaemenids and the Greek collision with Persia; competing models <strong>of</strong> social and<br />
political culture after the invasion; the archaeology <strong>of</strong> sanctuaries and cities; the demes, and<br />
cemeteries <strong>of</strong> Attica; and the visual revolution in statues, reliefs, and painted images. Typically,<br />
there would be classes on: 1. Aristocracy and Democracy; 2. Aristocratic Lifestyles; 3. Sanctuaries<br />
and Contests; 4. Tyrants; 5. Kingdoms <strong>of</strong> the East; 6. Athenian Ideology c. 510-475; 7. The<br />
Persian War; 8. Democratic Politics c. 475-450. (Convenor: J. Ma, Corpus)<br />
II. Republic to Empire: Rome 50 BC to AD 50<br />
The course studies the impact <strong>of</strong> the first emperors on the history and archaeology <strong>of</strong> Rome and<br />
its subject states in the period <strong>of</strong> revolution and transition from Late Republic to Early Empire.<br />
Some themes and topics are: Roman political culture in crisis, Republican war-lords to Augustan<br />
princeps; emperor, senate, and the evolving administration; the Julio-Claudian dynasty and court<br />
culture; the city <strong>of</strong> Rome, imperial building, and imperial representation; villas and villa culture –<br />
wallpainting, marbles, gardens and suburban parks; municipal culture - houses, amenities, tombs,<br />
and freedman art; land-use and the countryside – estates, vici, and centuriated settlement;<br />
manufacture, trade, and natural resources – coins, amphorae, and quarries; the archaeology <strong>of</strong><br />
the frontier armies; traditional religion and emperor cult. Typically, there would be classes on 1.<br />
Augustan Political Culture; 2. The Army and the Frontiers; 3. Municipal Culture; 4. Villas; 5.<br />
Julio-Claudian Self-Representation; 6. Manufacture, Commerce and Trade; 7. Romanisation<br />
and Colonisation; 8. Imperial Cult (Convenor: J. Quinn, Worcester)<br />
27
7.2 Special Subjects and Languages<br />
You choose two special subjects, one from each group below, or one special subject from either<br />
group and an ancient language.<br />
A. SPECIAL SUBJECTS IN ARCHAEOLOGY<br />
Archaeology: The subjects are concerned with the most characteristic products <strong>of</strong> several broad<br />
periods – the Bronze and Dark Ages to 700 BC, the Archaic and Classical periods, and the<br />
Roman period. Any one <strong>of</strong> these courses provides a good foundation in the materials and<br />
methods <strong>of</strong> Classical Archaeology. You learn here how to interpret monuments, images, and<br />
artefacts, how to relocate them in their ancient contexts and their own evolving traditions, and<br />
how they can be made to do broad historical work. These subjects provide training in the handling<br />
<strong>of</strong> material and visual evidence.<br />
A.1. Homeric Archaeology and Early Greece, 1550-700 BC<br />
This subject comprises the archaeological history <strong>of</strong> the last centuries <strong>of</strong> the Minoan and<br />
Mycenaean world, and the first <strong>of</strong> the Greek Iron Age, the setting in which the Homeric poems<br />
were formed and which they reflect in various ways. This is where classical Greek culture and<br />
literature begin. The course covers the full range <strong>of</strong> material evidence and artefacts surviving from<br />
this period <strong>of</strong> which there is an excellent representative collection in the Ashmolean Museum. The<br />
examination will consist <strong>of</strong> one picture question and three essay questions. (Convenor: L.<br />
Bendall, Keble).<br />
A.2. Greek Vases<br />
Painted vases give the fullest visual account <strong>of</strong> life and mythology in ancient Greece and provide<br />
important archaeological data for refining and adding to our knowledge <strong>of</strong> various aspects <strong>of</strong><br />
ancient culture. The course looks at the techniques and functions <strong>of</strong> painted ceramics as well as<br />
their subjects and styles, from the eighth to the fourth centuries BC. The Ashmolean Museum has<br />
a fine collection <strong>of</strong> painted pottery <strong>of</strong> the period covered by the course, and examples from the<br />
collection are used in classes and lectures. The examination will consist <strong>of</strong> one picture question<br />
and three essay questions (Convenor: Pr<strong>of</strong>. D.C. Kurtz, Beazley Archive, Ioannou Centre).<br />
A.3. Greek Sculpture, c. 600-300 BC<br />
Greek statues and reliefs in marble and bronze retain today a strong visual impact, and our<br />
knowledge <strong>of</strong> the subject is being constantly improved and revised by dramatic new discoveries,<br />
from excavation and shipwrecks. The course studies the emergence and uses <strong>of</strong> large marble<br />
statues in the archaic period, the development <strong>of</strong> bronze as a large-scale medium, and the<br />
revolution in seeing and representing that brought in the new visual system that we know as<br />
'classical', in the fifth and fourth centuries. The Cast Gallery, located behind the Ashmolean, has<br />
an excellent collection <strong>of</strong> plaster casts <strong>of</strong> major sculptures from this period. Practical classes are<br />
given in the Cast Gallery using the casts to illustrate ways <strong>of</strong> assessing and interpreting ancient<br />
statues and reliefs. The examination will consist <strong>of</strong> one picture question and three essay<br />
questions. (Convenor: Pr<strong>of</strong>. R.R.R. Smith, Cast Gallery).<br />
A.4. Roman Architecture<br />
Architecture was the Roman art par excellence, and Roman buildings provide some <strong>of</strong> the most<br />
impressive and best preserved monuments from the ancient world. The course studies the materials,<br />
technology, and functions <strong>of</strong> the buildings as well as their appearance and effect, from the Republic<br />
to the Tetrarchy, in Italy and the provinces as well as in Rome itself. The examination will consist <strong>of</strong><br />
one picture question and three essay questions. (Convenor: J. DeLaine, Institute <strong>of</strong> Archaeology).<br />
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B.1. Thucydides and the West<br />
B. SPECIAL SUBJECTS IN HISTORY<br />
The course studies the history <strong>of</strong> the Greek cities <strong>of</strong> Sicily and South Italy and their relations with<br />
mainland Greek states in the 5th century BC through the lens <strong>of</strong> Thucydides' penetrating account<br />
<strong>of</strong> the Athenian expedition to Sicily in 415 BC. Topics include: the earlier diplomatic and military<br />
involvement <strong>of</strong> Athens in the west; Syracuse and Syracusan politics; the background in Athenian<br />
politics and religion and the affairs <strong>of</strong> the Herms and the Mysteries; and Thucydides' presentation<br />
<strong>of</strong> individuals, especially Nicias and Alcibiades, compared with their presentation in Plutarch. The<br />
prescribed text for study in translation is Thucydides VI and VII (from M. Hammond (tr.), The<br />
Peloponnesian War (<strong>Oxford</strong>: <strong>Oxford</strong> <strong>University</strong> Press, 2009)). Candidates will also be expected to<br />
be familiar with Plutarch, Nicias. (Convenor: J. Prag, Merton).<br />
Translation: Thucydides VI and VII: M. Hammond (tr.), The Peloponnesian War (<strong>Oxford</strong>: <strong>Oxford</strong><br />
<strong>University</strong> Press, 2009)<br />
[Plutarch, Nicias (Loeb)]<br />
B.2. Aristophanes' Political Comedy<br />
The course studies Athenian politics and culture in the later fifth century BC as represented in the<br />
comedies <strong>of</strong> Aristophanes. Its subject is Old Comedy as a distorting mirror <strong>of</strong> the major events<br />
and currents <strong>of</strong> the day – the new-style politicians (Cleon and others), the new intellectuals (the<br />
'sophists'), strains in traditional religion, the roles <strong>of</strong> women, the Peloponnesian War, and social<br />
conflict in the city and countryside. The plays prescribed for study in translation are Knights,<br />
Wasps and Lysistrata. Compulsory passages for comment will be set from Wasps and Lysistrata.<br />
Candidates will also be expected to be familiar with Knights and the 'Old Oligarch' writing on the<br />
'Athenian Constitution'. (Convenor: L. Kallet, Univ).<br />
Translation: Knights, Lysistrata, Wasps: A.H Sommerstein, Aris and Phillips.<br />
The ‘Old Oligarch’: J. L. Marr, P. J. Rhodes (trans.), The 'Old Oligarch': The Constitution <strong>of</strong> the<br />
Athenians Attributed to Xenophon. Aris & Phillips Classical Texts. <strong>Oxford</strong>: Aris & Phillips, 2008<br />
B.3. Cicero and Catiline<br />
The course studies Catiline's conspiracy against the Roman state in 63 BC and Cicero's<br />
controversial role in its suppression. Topics covered include the following: the social and<br />
economic problems in Italy, particularly from the period <strong>of</strong> Sulla onwards, that contributed towards<br />
support for the conspiracy; the political and ideological background, particularly the Sullan<br />
constitutional reforms and subsequent struggles over them; the more immediate political<br />
background, notably the careers <strong>of</strong> Pompey, Caesar, Crassus, and Catiline himself; the events <strong>of</strong><br />
early 63; the relation <strong>of</strong> the revolutionary leaders to each other; the problem <strong>of</strong> the senatus<br />
consultum ultimum and the debate on the fate <strong>of</strong> the conspirators. The texts relating to the<br />
conspiracy are abundant and detailed but also biased and sometimes contradictory. Students<br />
learn the ways <strong>of</strong> Roman political and historical rhetoric. The texts prescribed for study in<br />
translation are: Sallust, Catiline; Cicero, In Catilinam I-IV, Pro Sulla; Asconius, In orationem in<br />
toga candida. (Convenor: E. Bispham, Brasenose).<br />
Translations:<br />
Sallust, Catiline (Loeb)<br />
Cicero, In Catilinam I-IV (Loeb)<br />
Cicero, Pro Sulla (Loeb)<br />
Asconius, In orationem in toga candida, in Asconius, Commentaries on Speeches by Cicero, ed.<br />
R.G. Lewis, <strong>Oxford</strong> 2006<br />
29
B.4. Tacitus and Tiberius<br />
Why did Tacitus, writing a century after the events he was describing, choose to begin his history<br />
<strong>of</strong> early imperial Rome with a long and jaundiced account <strong>of</strong> the grim Tiberius, rather than with the<br />
reign <strong>of</strong> the much-admired Augustus The course studies Tacitus' representation <strong>of</strong> Tiberius<br />
against the background <strong>of</strong> surviving contemporary evidence, and particular emphasis will be<br />
given to recently discovered inscriptions on bronze – the Tabula Siarensis, the Senatus<br />
Consultum de Cn. Pisone patre, and the Senatus Consultum from Larinum. Topics include the<br />
attitudes <strong>of</strong> both the Senate and Roman people towards Tiberius and to the imperial family as a<br />
whole. The text prescribed for study in translation is Tacitus, Annals I-VI, with gobbets to be set<br />
from books I and III. (Course convenor: K. Clarke, St Hilda’s).<br />
Translations: Tacitus, Annals, I, III [and II, IV-VI]. A.J. Woodman, tr., The Annals <strong>of</strong> Tacitus,<br />
Indianapolis, Hackett, 2004<br />
C. ANCIENT LANGUAGES<br />
C.1. Beginning Ancient Greek<br />
(This subject is not available to candidates with a qualification in ancient Greek above GCSElevel<br />
or equivalent.)<br />
The course will allow takers to read simple, if probably adapted, prose texts. Candidates will<br />
be required to show knowledge <strong>of</strong> some <strong>of</strong> the main grammatical structures <strong>of</strong> ancient Greek<br />
and <strong>of</strong> a small basic vocabulary. The paper will consist <strong>of</strong> prepared and unprepared prose<br />
translations, with grammatical questions on the prepared texts.<br />
Course book: (parts <strong>of</strong>) John Taylor: Greek to GCSE (Bristol Classical Press, 2003), in addition<br />
to extra material supplied in classes.<br />
C.2. Beginning Latin<br />
(This subject is not available to candidates with a qualification in Latin above GCSE-level or<br />
equivalent.)<br />
The course will allow takers to read simple, if probably adapted, prose texts. Candidates will<br />
be required to show knowledge <strong>of</strong> some <strong>of</strong> the main grammatical structures <strong>of</strong> Latin and <strong>of</strong> a<br />
small basic vocabulary. The paper will consist <strong>of</strong> prepared and unprepared prose translations,<br />
with grammatical questions on the prepared texts.<br />
Course book: John Taylor, Essential GCSE Latin (Bristol Classical Press, 2006), in addition to<br />
extra material supplied in classes.<br />
C.3. Intermediate Ancient Greek<br />
(This subject is not available to candidates with a qualification in ancient Greek above AS-level<br />
or equivalent.)<br />
Candidates will be required to show an intermediate level knowledge <strong>of</strong> Greek grammar and<br />
vocabulary (including all syntax and morphology, as laid out in Abbot and Mansfield, Primer <strong>of</strong><br />
Greek Accidence).<br />
The set texts for the course are: Xenophon, Hellenica I (<strong>Oxford</strong> Classical Text) and Lysias I<br />
(<strong>Oxford</strong> Classical Text). The paper will consist <strong>of</strong> a passage <strong>of</strong> unseen prose translation, three<br />
further passages for translation from the two prescribed texts, and grammatical questions on<br />
the prescribed texts.<br />
Useful editions with commentaries:<br />
Xenophon, Hellenika I-II.3.10, ed. P. Krentz (Warminster: Aris and Phillips, 1989);<br />
Lysias: Selected Speeches, ed. C. Carey (Cambridge: CUP, 1989).<br />
30
C.4. Intermediate Latin<br />
(This subject is not available to candidates with a qualification in Latin above AS-level or<br />
equivalent.)<br />
Candidates will be required to show an intermediate level knowledge <strong>of</strong> Latin grammar and<br />
vocabulary (including all syntax and morphology, as laid out in Kennedy’s Revised Latin<br />
Primer).<br />
The set texts for the course are: Cicero, letters in D. R. Shackleton Bailey, Cicero: Select<br />
Letters (Cambridge, 1980), nos 9, 17, 23, 27, 39, 42-3, 45; Tacitus, Agricola (<strong>Oxford</strong> Classical<br />
Text); Pliny, letters in A. N. Sherwin-White, Fifty Letters <strong>of</strong> Pliny, 2 nd edn (<strong>Oxford</strong>, 1969), nos<br />
25, 29.<br />
The paper will consist <strong>of</strong> a passage <strong>of</strong> unseen prose translation, three further passages for<br />
translation from the prescribed texts, and grammatical questions on the prescribed texts.<br />
Useful editions with commentaries:<br />
Cicero: Select Letters, ed. D. R. Shackleton Bailey (Cambridge: CUP, 1980);<br />
Cornelii Taciti, De Vita Agricolae, eds R. M. Ogilvie and I. RicMDond (<strong>Oxford</strong>: Clarendon<br />
Press, 1967);<br />
Fifty Letters <strong>of</strong> Pliny, ed. A. N. Sherwin-White, 2 nd edn (<strong>Oxford</strong>: OUP, 1969).<br />
These courses will be taught by Faculty classes, for three hours per week during Michaelmas<br />
and Hilary Terms.<br />
Convenor for Ancient Language Courses: Ms Kerkhecker.<br />
7.3 Fieldwork<br />
Students are required to participate for at least two weeks in a fieldwork project approved by<br />
the Standing Committee, where they will be given training in excavation techniques and<br />
recording. Attendance and satisfactory participation (unclassed) are to be confirmed in writing<br />
by the relevant project director. The fieldwork should normally be carried out in the first<br />
summer vacation after <strong>Mods</strong>. See above Sections 6.5-9.<br />
31
8. Picture Questions: Guidelines<br />
1. Introduction. There are compulsory picture questions set in many <strong>of</strong> your archaeology<br />
exam papers. These guidelines <strong>of</strong>fer ways <strong>of</strong> approach, aspects that might be discussed, and<br />
a sequence in which they might be addressed. Others are possible.<br />
2. Not primarily an identification test. A crucial sentence in the rubric governing all picture<br />
questions says they will be <strong>of</strong> things "<strong>of</strong> which you are not expected necessarily to have prior<br />
knowledge". In other words, the pictures may show familiar things that you may quickly<br />
recognise, or they may equally show things that you are unlikely to have seen before. There<br />
are so many objects that some candidates might have come across, others not, that<br />
Examiners are not thinking in terms <strong>of</strong> what should or should not be recognised. So:<br />
Identification is not the main point <strong>of</strong> the picture question. Examiners want to see you<br />
bring wide knowledge <strong>of</strong> the subject to bear in assessing a single specific example, and to see<br />
how you can use a specific example to make telling general points.<br />
3. Aspects, headings. The following headings and aspects might be covered, some briefly,<br />
some more fully.<br />
A: TITLE. Give a brief summarising title to your answer. If you recognise the item, give its<br />
familiar title and state quickly anything else you can remember <strong>of</strong> its material, subject, date,<br />
provenance, and current location: 'Artemision Zeus, over life-size bronze statue, ca. 470 BC,<br />
from Cape Artemision, Athens National Museum'. If you don't recognise the item, give a plain<br />
descriptive title, perhaps mentioning a preliminary assessment <strong>of</strong> its broad date and likely<br />
place <strong>of</strong> manufacture, if you know them, which you might come back to in your discussion:<br />
‘Athenian black-figure cup, 6th century BC’. ‘Marble portrait bust <strong>of</strong> bearded man, 2nd century<br />
AD’. After the title, you might need to say what kind <strong>of</strong> picture you have been set: photo,<br />
photo detail, drawing, reconstruction. Drawings <strong>of</strong> sites and buildings are <strong>of</strong> course different:<br />
state plan, restored plan, elevation, section, reconstruction.<br />
B: OBJECT (material, scale, function). What is it What kind <strong>of</strong> object or structure is shown<br />
What is it made <strong>of</strong> Gold earring, silver drinking cup, bronze helmet, terracotta statuette,<br />
marble temple. What was its function, what was it for Often this is self-evident (helmet,<br />
earring) or obvious enough to be quickly stated: ‘black-figure krater for mixing wine and water’,<br />
‘marble grave stele’, ‘amphitheatre for gladiatorial games and beast hunts’. Sometimes<br />
function requires discussion: a marble statue might be, for example, a cult, votive, or funerary<br />
figure, or a piece <strong>of</strong> Roman villa decor. Function might lead to discussion <strong>of</strong> contexts <strong>of</strong> use<br />
and to the effect <strong>of</strong> such an object in a sanctuary, cemetery, or villa.<br />
C: SUBJECT (iconography). If the item is figured, what does it represent Give a brief<br />
description <strong>of</strong> the subject, its iconography: pose, action, clothes, hairstyle, action, attributes <strong>of</strong><br />
a statue; the action, participants, subject <strong>of</strong> a narrative scene. How do you recognise the<br />
figure(s), what is the action, occasion, setting represented, how is the story told For nonfigured<br />
artefacts and structures, briefly describe their form and main components: a pebble<br />
mosaic floor with alternating black and white lozenge pattern, an engaged tetrastyle Ionic tomb<br />
facade with brightly painted red and blue pediment and akroteria.<br />
Learn and use the appropriate pr<strong>of</strong>essional terminology – for example, for pot shapes or<br />
parts <strong>of</strong> classical buildings. This is not exclusionary jargon but a way <strong>of</strong> being accurate and<br />
concise. In describing a temple, 'amphiprostyle' is shorter and clearer (once you have learned<br />
it) than 'has columned porches on both short ends but no columns on the long sides'. If you do<br />
not recognise the subject or the building type, you will spend longer here providing a careful<br />
description <strong>of</strong> what you see. Remark on any interesting details: show you have looked.<br />
D: STYLE (with technique, date, place). How is the subject represented, how is the figure<br />
styled, how was the object or structure made This can be shorter or longer, but the key is to<br />
32
find good descriptive words and to find one to three parallels or comparanda between or<br />
beside which the item in question can be placed. From this process you should deduce a<br />
precise or broad assessment <strong>of</strong> its place and date <strong>of</strong> manufacture. Style and technique are<br />
usually among the most time- and place-specific aspects. Do not be more precise than you<br />
can sustain from your knowledge or than the category <strong>of</strong> object in question can sustain.<br />
Remember not all things can be dated or placed with equal precision. Sometimes we may say<br />
confidently 'Corinthian aryballos, c. 650 BC'. Other times we must be broad: 'marble statue,<br />
probably 4th century BC'. If unsure, give a broad specification.<br />
Any points <strong>of</strong> interest that you know or can see in the picture that relate to technique, craft, or<br />
manufacturing aspects can be discussed with style. They are <strong>of</strong>ten closely connected to<br />
stylistic effect, and <strong>of</strong>ten carry indications <strong>of</strong> date. For example, whiteground lekythoi with<br />
'second' white belong 480-450 BC. Roman portraits with drilled eyes belong after c. AD 130.<br />
E: SIGNIFICANCE. If you have recognised the object or have been able quickly to diagnose<br />
its function, subject, date, and place, you will spend most time on this aspect. You will score<br />
higher the more you can make your points come out <strong>of</strong> observation or assessment <strong>of</strong> the<br />
specific item to hand. You might think about the object's significance in relation to one or more<br />
<strong>of</strong> the following overlapping questions.<br />
How typical or unusual is it How typical is it <strong>of</strong> other things like it How does it fit in to a<br />
larger category If not typical now, how unusual was it in antiquity Remember few things that<br />
survive can have been unique. If we have one or two, there were once lots. So beware the<br />
charge – much levelled at data-rich classical archaeology – <strong>of</strong> taking what we have <strong>of</strong> antiquity<br />
as typical <strong>of</strong> what there once was (the 'positivist fallacy'). What was the original effect <strong>of</strong> the<br />
object compared to the state we see it in now What needs to be restored – limbs, attributes,<br />
attachments, colours, pedestal, base, explanatory inscription What were the contexts <strong>of</strong> use<br />
– public, private, political, religious, in public square, sanctuary, house, symposium room<br />
bedroom, grave How do the contexts <strong>of</strong> use affect our assessment <strong>of</strong> the object Can we<br />
reconstruct any activities or rituals associated with it that gave the object its meaning<br />
What aspects <strong>of</strong> life in its place and period does it answer to – social, political, cultural,<br />
religious What does this particular example add, if anything, compared to others like it For<br />
example, some pieces, such as the Riace bronzes, were typical (high-quality lifesize bronze<br />
statues), but for us add a level <strong>of</strong> production and startling effect we didn't have before. Other<br />
things can be simply typical <strong>of</strong> well-attested categories. A few things were genuinely unusual,<br />
such as the Vix krater and Trajan's Column.<br />
What was the social level <strong>of</strong> the object, who commissioned and paid for it, with what target<br />
audience in mind How would the object's social level affect our assessment For example,<br />
classical temple projects were aimed at the whole community. Roman funerary monuments<br />
aimed <strong>of</strong>ten at a particular social group – fellow freedmen, for example. What ideas, values,<br />
aspirations did it articulate for its user group What kinds <strong>of</strong> things would ancient<br />
viewers/users do or say around this object, image, or structure<br />
What kinds <strong>of</strong> scholarly interpretation have been proposed for this object or for the category<br />
to which it belongs Do you agree with them, find them persuasive What weaknesses do they<br />
have Are other views possible, better What do you think is the important point<br />
4. SAMPLE A: ITEM RECOGNISED.<br />
Artemision Zeus, bronze statue, over-lifesize, ca. 460 BC, from the sea <strong>of</strong>f Cape<br />
Artemision (N. Euboea), Athens National Museum.<br />
The statue was probably a major votive in a sanctuary. It represents a naked and senior god,<br />
in striding pose, left arm held out, aiming, right arm bent holding a missile, now missing. The<br />
33
missile was either a trident (for Poseidon) or a thunderbolt (for Zeus). The best parallels in<br />
small bronzes from the late archaic and early classical periods (good example in Berlin) as<br />
well as the latest scholarship all suggest a thunderbolt and Zeus. The square head, regular<br />
features, and above all the long hairstyle wound in a plait around the head, visible in the back,<br />
indicate a senior god (rather than hero or mortal). The strong, simplified features, the hardmuscled<br />
body, and the organic pose and proportions all indicate a date in the 460s alongside<br />
the Olympia sculptures. The large eyes, now missing, were inlaid and were vital to the effect <strong>of</strong><br />
the figure. The twisted left foot looks damaged and affects the fluency <strong>of</strong> the composition.<br />
The statue belongs in the period after the Persian wars, when the hard, new realistic-looking<br />
style we know as 'Severe' was created in big votive figures like this one, set up in sanctuaries<br />
<strong>of</strong> the gods <strong>of</strong>ten as thank <strong>of</strong>ferings paid for from Persian wars booty.<br />
The figure is a powerful fifth-century-BC visualisation <strong>of</strong> a warring Hellenic divinity imperious,<br />
all-seeing, potentially devastating. It belongs in the same environment as the Riace bronzes<br />
and the statuesque figures on the large pots <strong>of</strong> the Niobid Painter and his group.<br />
5. SAMPLE B: ITEM NOT RECOGNISED.<br />
Reconstruction drawing <strong>of</strong> terrace sanctuary. Probably central Italian. Probably later<br />
second or first century BC.<br />
The drawing shows a huge raised platform (c. 130 by 70 m, according to scale), terraced<br />
against a steep slope that falls away to the left (north). The terrace is supported here on tall,<br />
buttressed sub-structures, which are cut away in the drawing to show they are made up <strong>of</strong><br />
parallel, no doubt concrete, vaults. The mouth <strong>of</strong> a tunnel emerges from the sub-structure at<br />
front left and is shown as a road or passageway () running under and through the<br />
substructures from front to back.<br />
The terrace is enclosed on three sides by complex, triple-aisled, two-storeyed stoas or portico<br />
buildings. The drawing seems to show these stoas have three aisles at terrace or ground level,<br />
stepped back to two aisles in the upper storey with a flat ro<strong>of</strong>/walkway () above the outer firststorey<br />
colonnade – an architectural configuration hard to parallel(). The temple is shown as<br />
prostyle hexastyle (order not specified in drawing) set on a tall podium with a tall flight <strong>of</strong> steps<br />
at the front only, flanked by cheek walls to each side. The front (west) side, in front <strong>of</strong> the<br />
temple, is open and looks out over the surrounding country.<br />
The massively engineered temple platform suggests a terrace sanctuary <strong>of</strong> the late Republic,<br />
like those at Praeneste and Terracina, built in central Italy in imitation <strong>of</strong> (and in competition<br />
with) Hellenistic terraced sanctuaries such as those at Kos, Lindos, and Pergamon. The scale,<br />
concrete vaulting, strict axiality <strong>of</strong> the plan, and the prostyle design <strong>of</strong> the temple are all typical<br />
Italian-Roman features – as also is the small theatre sunk into the front <strong>of</strong> the terrace. The<br />
money and ideas for such sanctuaries came from the new business and cultural opportunities<br />
opened by the Roman conquest <strong>of</strong> the Hellenistic east.<br />
6. Conclusion. Your task is to use careful description and relative comparison to make the<br />
item shown speak or look as it did for its ancient audience and users. You need to use your<br />
knowledge <strong>of</strong> the subject to create a useful context for it and so bring out its significance. If you<br />
know what the item is, do not waste time pretending you do not recognise it! This will be<br />
counterproductive. If you do not know what the item is, do not guess – look, describe,<br />
compare, deduce!<br />
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9. Ancient History Text ‘Gobbets’: Guidelines<br />
A gobbet is a passage <strong>of</strong> text on the content, the context and the significance <strong>of</strong> which you are<br />
asked to comment.<br />
1. Context. This can have two parts. The first (always relevant) is where you locate the<br />
passage in the historical work in which it appears. (This shows an agreeable familiarity with<br />
the work in question.) The second (relevant if an event is at issue) is where you locate the<br />
episode in its historical context, with attention to chronology, geography, and the like. (This<br />
shows agreeable familiarity with the historical setting.)<br />
2. Content. This is where you explain details necessary to the understanding <strong>of</strong> the passage,<br />
e.g. identify (briefly) named individuals, anyone or anything referred to by pronouns, any<br />
interesting places; explain constitutional details referred to and the like.<br />
3. Significance. This is where you explain why and how this particular passage is<br />
interesting/important. The passage might reveal something about the method, or whatever, <strong>of</strong><br />
the historian; it might <strong>of</strong>fer interesting comparison with one or more other ancient accounts,<br />
inscriptions, monuments, or artefacts; it might contain material central to the understanding or<br />
interpretation <strong>of</strong> the actions/policy/ ..... <strong>of</strong> some or all <strong>of</strong> the characters involved; it might<br />
contain a chronological problem; it might well do more than one <strong>of</strong> the above or other similar<br />
things besides. In any case, what difference does this passage and its interpretation make to<br />
our understanding <strong>of</strong> something<br />
It is not expected that people will have extensive recall <strong>of</strong> all that is to be found in<br />
Commentaries. This is not what is being looked for. What is being looked for is, rather,<br />
familiarity with prescribed texts and ability to deal, in an informed and perceptive way, with<br />
significant passages from those texts.<br />
DO read the passage carefully. DO focus your response on the passage in question. DO NOT<br />
spend time simply paraphrasing the passage.<br />
Specimen gobbet 1<br />
Atque interea statim admonitu Allobrogum C. Sulpicium praetorem, fortem virum, misi qui ex aedibus<br />
Cethegi si quid telorum esset efferret; ex quibus ille maximum sicarum numerum et gladiorum extulit.<br />
In the meantime, following the advice <strong>of</strong> the Allobroges, I immediately sent that gallant man, the<br />
praetor C. Sulpicius, to get from the house <strong>of</strong> Cethegus any weapons that were there, and he<br />
brought out a very large number <strong>of</strong> daggers and swords.<br />
(CICERO, In Cat. 3.8)<br />
This extract comes from Cicero’s speech to the people in the forum late in the afternoon <strong>of</strong> the<br />
3rd December 63 BC. In this speech he reported the events <strong>of</strong> the previous night, when<br />
Volturcius was captured at the Mulvian Bridge while trying to leave Rome with the Allobroges,<br />
and <strong>of</strong> the meeting in the senate the following day, when the urban conspiracy was revealed<br />
thanks to the evidence <strong>of</strong> the Allobroges and Volturcius.<br />
This passage describes how, on the morning <strong>of</strong> the 3rd December, while the senate was<br />
assembling (interea, l.1), Cicero instructed the praetor Gaius Sulpicius to search the house <strong>of</strong><br />
C. Cornelius Cethegus. When challenged before the senate to explain the presence <strong>of</strong> so<br />
many weapons in his house, Cethegus supposedly claimed that he had always enjoyed<br />
collecting good metalwork. Apart from the letters from the conspirators to the Allobroges and<br />
35
Lentulus’ letter to Catiline, this cache <strong>of</strong> arms was virtually the only hard evidence Cicero had<br />
for the urban conspiracy.<br />
Cicero elsewhere describes Cethegus as violent and impetuous; he is said to have been<br />
appointed to oversee the massacre <strong>of</strong> the senate. Cicero also says that although the other<br />
conspirators wanted to wait until the Saturnalia before launching the massacre, Cethegus<br />
wanted to bring the date forward. He was one <strong>of</strong> the five conspirators executed on the night <strong>of</strong><br />
the 5th December.<br />
The Allobroges were a tribe from Transalpine Gaul. They were heavily in debt to Roman<br />
businessmen at this period, and the envoys appear to have been sent to Rome to petition the<br />
senate for debt-relief. If they hoped for more favourable treatment through their betrayal <strong>of</strong> the<br />
conspirators, they were disappointed; the following year the Allobroges were driven to open<br />
revolt by the pressure <strong>of</strong> debt.<br />
It is interesting to find a praetor engaged in searching the house. Cicero made much use <strong>of</strong> the<br />
urban praetors in the course <strong>of</strong> his suppression <strong>of</strong> the conspiracy. Their main responsibility at<br />
this period was to preside over the law-courts, but they could also serve as the consul’s<br />
immediate ‘enforcers’ at a time <strong>of</strong> crisis. Cicero sent two praetors with an armed force to<br />
arrest Volturcius on the 2nd December, and at the start <strong>of</strong> November, as Sallust tells us, two<br />
more praetors had been sent out at the head <strong>of</strong> armies to quell unrest in other parts <strong>of</strong> Italy.<br />
Specimen gobbet 2<br />
Atque interea statim admonitu Allobrogum C. Sulpicium praetorem, fortem virum, misi qui ex aedibus<br />
Cethegi si quid telorum esset efferret; ex quibus ille maximum sicarum numerum et gladiorum extulit.<br />
In the meantime, following the advice <strong>of</strong> the Allobroges, I immediately sent that gallant man, the<br />
praetor C. Sulpicius, to get from the house <strong>of</strong> Cethegus any weapons that were there, and he<br />
brought out a very large number <strong>of</strong> daggers and swords.<br />
(CICERO, In Cat. 3.8)<br />
This passage is taken from Cicero’s third speech against Catiline. His four surviving speeches<br />
against Catiline are our main contemporary source for the Catilinarian conspiracy. The<br />
speeches as we have them may not represent exactly what was said by Cicero at the time,<br />
since we have evidence for Cicero revising his speeches later for publication (as in the case <strong>of</strong><br />
the pro Milone, as reported by Asconius).<br />
Here Cicero describes how, on the information <strong>of</strong> the Allobroges, he sent the praetor C.<br />
Sulpicius to bring whatever weapons he could find from the house <strong>of</strong> Cethegus, one <strong>of</strong> the<br />
conspirators. He is said to have found a very large number <strong>of</strong> daggers and swords, proving<br />
that Cethegus was involved in the conspiracy and that a massacre was being planned at<br />
Rome. However, it is not certain whether Catiline was actually involved in this plot or whether<br />
this was an independent conspiracy, as Seager has argued.<br />
Sulpicius is described as a ‘gallant man’ (fortem virum). Cicero must have been grateful to him<br />
for taking on this task, which might have been very dangerous. No-one knew how far the<br />
conspiracy went, and Cethegus could have tried to resist when Sulpicius searched his house.<br />
The mention <strong>of</strong> the Allobroges is interesting. They were Gallic tribesmen whom Cethegus and<br />
others had tried to bring into the conspiracy. Their decision to betray the conspiracy to Cicero<br />
was crucial to the uncovering <strong>of</strong> the plot, and they were later rewarded for this.<br />
Cethegus was convicted <strong>of</strong> involvement in the Catilinarian conspiracy, and was executed after<br />
the debate in the senate on the 5th December. The execution <strong>of</strong> Cethegus and the others<br />
brought Cicero great unpopularity in later years, since despite the passing <strong>of</strong> the SCU<br />
36
(senatus consultum ultimum) he was perceived to have acted unconstitutionally. This passage<br />
suggests that Cicero had some justification for his actions, since the cache <strong>of</strong> arms at<br />
Cethegus’ house proved that a major plot against the state was underway.<br />
Comments:<br />
Specimen gobbet 1 would normally expect to receive a good first-class mark; Specimen<br />
gobbet 2 a low-ish 2:2 mark. Why<br />
Paragraph 1. Both candidates provide general context. But Student 1 provides in the very<br />
first sentence four pieces <strong>of</strong> information which could not be gained simply by reading the<br />
passage: (1) to the people (2) in the forum (3) late afternoon [after the meeting <strong>of</strong> the senate]<br />
(4) 3rd Dec. 63 BC. In the rest <strong>of</strong> the paragraph, Student 1 accurately summarises enough <strong>of</strong><br />
the content <strong>of</strong> the speech to make sense <strong>of</strong> the passage at hand (uncovering <strong>of</strong> conspiracy<br />
thanks to Allobroges), and shows that she remembers the name <strong>of</strong> the crucial figure<br />
(Volturcius). Student 2, however, in her first sentence says nothing which couldn’t be learned<br />
by reading the reference (CICERO, In Cat. 3.8) at the bottom <strong>of</strong> the passage. The second and<br />
third sentences look at first sight somewhat more impressive, but in fact could be used for any<br />
gobbet from any part <strong>of</strong> the Catilinarians - hence they get no credit.<br />
Paragraph 2. Student 1 situates the passage precisely in time (reference <strong>of</strong> interea). Writing<br />
Gaius Cornelius rather than C. Cornelius takes half a second longer and shows that she<br />
knows what C. stands for. She remembers Cethegus’ defence against the accusation <strong>of</strong><br />
hoarding arms (shows pleasing knowledge <strong>of</strong> the rest <strong>of</strong> the speech). Student 2 summarises<br />
the whole passage, which Student 1 rightly doesn’t bother to do. The final sentence <strong>of</strong> Student<br />
2’s paragraph 2, on Catiline and Seager, again looks superficially impressive, but is in fact<br />
completely irrelevant to the passage at issue (could be inserted into almost any gobbet on any<br />
<strong>of</strong> the Catilinarians!).<br />
Paragraph 3. Student 1 tells us what else she knows about Cethegus. Not much detail, but<br />
that’s ok: does at least show that she has read the sources carefully enough to remember<br />
who’s who. Student 2 knows nothing else at all about Cethegus, so guesses (incorrectly) that<br />
the examiner might be interested in her views on the phrase fortem virum, which are all too<br />
obviously based on no knowledge whatsoever. This kind <strong>of</strong> ‘arguing from first principles’ is<br />
very characteristic <strong>of</strong> desperate exam candidates whose knowledge has run out two<br />
sentences into the gobbet...<br />
Paragraph 4 in both cases is a bit pointless: with a richer gobbet to work with, you could omit<br />
this altogether. Once again, Student 1 provides relevant argument (why the Allobroges got<br />
involved in the conspiracy, and why they betrayed it); Student 2 provides summary <strong>of</strong> events<br />
(what the Allobroges did).<br />
Paragraph 5. It doesn’t matter that Student 1 can’t remember any names here (an examiner<br />
would probably need to look them up too) - the point is that she shows she has been paying<br />
attention while reading the set texts. Student 2 has patently run out <strong>of</strong> information, and piles in<br />
some random information (the SCU, described in two different ways to fill space), before<br />
guessing at the ‘significance’ <strong>of</strong> the passage.<br />
In general: Student 1 can do names, dates, places, content <strong>of</strong> the speech, what happens<br />
immediately before and immediately afterwards. Student 2 has absolutely nothing to work with<br />
but the passage itself and a broad and general knowledge <strong>of</strong> the conspiracy as a whole.<br />
Student 1 knows what a praetor is and does, and worries about whether praetors usually got<br />
involved in house-searches; this leads her on to speculate (relevantly!) about what the<br />
praetors’ role might have been in the suppression <strong>of</strong> the conspiracy. Student 2 evidently<br />
thinks: praetor, quaestor, censor, proctor, whatever.<br />
37
10. Plagiarism<br />
1. Plagiarism is the use <strong>of</strong> material appropriated from another source or from other sources<br />
with the intention <strong>of</strong> passing it <strong>of</strong>f as one’s own work. Plagiarism may take the form <strong>of</strong><br />
unacknowledged quotation or substantial paraphrase. Sources <strong>of</strong> material include all printed<br />
and electronically available publications in English or other languages, or unpublished<br />
materials, including theses, written by others. You should be aware that there are now<br />
sophisticated electronic mechanisms for identifying plagiarised passages. The Proctors regard<br />
plagiarism as a serious form <strong>of</strong> cheating for which <strong>of</strong>fenders can expect to receive severe<br />
penalties, possibly including disqualification from the examination process. Plagiarism in<br />
tutorial essays or other work which is not formally examined is a disciplinary matter for<br />
<strong>College</strong>s, who may choose to apply a range <strong>of</strong> severe penalties, including rustication or even<br />
sending down. You should also be aware that anyone writing a reference for you in the future,<br />
who is aware that you have plagiarised work, may feel obliged to mention this fact in their<br />
reference.<br />
Unintentional plagiarism, that is improper or sloppy working practice which leads to failure to<br />
acknowledge properly the sources <strong>of</strong> your ideas or information, may also be penalised by the<br />
Examiners. 'Unintentional plagiarism' is recognised as a specific <strong>of</strong>fence by the Proctors.<br />
2. Your work will inevitably sometimes involve the use and discussion <strong>of</strong> critical material written<br />
by others with due acknowledgement and with references given. This is standard critical<br />
practice and can be clearly distinguished from appropriating without acknowledgement<br />
material produced by others and presenting it as your own, which is what constitutes<br />
plagiarism.<br />
3. A thesis or report is essentially your view <strong>of</strong> the subject. While you will be expected to be<br />
familiar with critical views and debates in relation to the subject on which you are writing, and<br />
to discuss them as necessary, it is your particular response to the theme or question at issue<br />
that is required.<br />
4. When you read the primary texts that you will be discussing, it is a good idea to find your<br />
own examples <strong>of</strong> episodes, themes, arguments, etc in them that you wish to discuss. If you<br />
work from your own examples, you will be much less likely to appropriate other people’s<br />
materials.<br />
5. When you are taking notes from secondary sources,<br />
a) Always note author, title (<strong>of</strong> book or journal, and essay or article title as appropriate), place<br />
<strong>of</strong> publication (for books), and page numbers.<br />
b) If you copy out material word for word from secondary sources, make sure that you identify<br />
it as quotation (by putting inverted commas round it) in your notes. This will ensure that you<br />
recognise it as such when you are reading it through in preparing your thesis.<br />
c) At the same time always note down page numbers <strong>of</strong> quoted material. This will make it<br />
easier for you to check back if you are in doubt about any aspect <strong>of</strong> a reference. It will also be<br />
a necessary part <strong>of</strong> citation (see 6 below).<br />
6. When you are writing make sure that you identify material quoted from critics or ideas and<br />
arguments that are particularly influenced by them. There are various ways <strong>of</strong> doing this, in<br />
your text and in footnotes: see the Site/Museum Report Guidelines above. If you are<br />
substantially indebted to a particular scholar’s arguments in the formulation <strong>of</strong> your materials, it<br />
may not be enough to cite his or her work once in a footnote at the start or the end <strong>of</strong> the<br />
essay. Make clear, if necessary in the body <strong>of</strong> your text, the extent <strong>of</strong> your dependence on<br />
these arguments in the generation <strong>of</strong> your own – and, ideally, how your views develop or<br />
diverge from this influence.<br />
You should also take care to allow readers / examiners to form a judgement as to the full<br />
extent <strong>of</strong> your engagement with particular sources or published discussions. In other words,<br />
38
you should flag the point at which your discussion begins to depend heavily on a published<br />
work, and the point(s) at which you introduce ideas or hypotheses derived from different<br />
published material. For example, you if you have a five-page discussion which is based on, or<br />
engages with, Source A, you should indicate this at the start <strong>of</strong>, and where appropriate, during,<br />
those five pages; it is misleading to cite Source A only at the end <strong>of</strong> the discussion based on<br />
it.<br />
In addition, it is not sufficient to simply to lift citations <strong>of</strong> relevant earlier literature from a recent<br />
discussion, and is a form <strong>of</strong> plagiarism to give the impression that you have read a number <strong>of</strong><br />
scholarly items when you have only lifted them from a footnote in the text you are using. You<br />
need to go and investigate them yourselves. Equally you should not cite publications unless<br />
you have read them. It is acceptable to refer the reader to the existence <strong>of</strong> older literature, or<br />
literature in a language other than English, which you have not read, as long as you make it<br />
clear that you have not read it (this can be denoted by saying 'not seen', or in Latin, 'non uidi').<br />
It is acceptable to say, for example, "the first significant discussion <strong>of</strong> the relationship between<br />
the consuls and the Senate was by Th. Mommsen (1887)"; but not to cite Mommsen's<br />
discussion as if you have read it, e.g. "the Senate was very much as an advisory body to the<br />
consuls (Mommsen 1887)".<br />
7. Example:<br />
This is a passage from P. Zanker, The Power <strong>of</strong> Images in the Age <strong>of</strong> Augustus (<strong>University</strong> <strong>of</strong><br />
Michigan Press, Ann Arbor 1988), pp. 210-11, discussing the sculptural programme in the<br />
Forum Augustum:<br />
‘But the most original and suggestive aspect <strong>of</strong> the whole program was that the counterpart to this Julian<br />
family portrait gallery, to the right <strong>of</strong> the temple, was a row <strong>of</strong> carefully selected great men <strong>of</strong> Rome<br />
(summi viri: Historia Augusta Alexander Severus 28.6). These stood beside Romulus and the kings <strong>of</strong><br />
Rome in the opposite colonnade. The juxtaposition <strong>of</strong> the two portrait galleries thus justified the position<br />
<strong>of</strong> the princeps’ family in the new Rome by proclaiming its unique historical importance. The reality <strong>of</strong><br />
competition between Rome’s leading families stretching back for centuries, all the ups and downs, and<br />
the relative insignificance <strong>of</strong> the Julii from the fourth to the second centuries B.C. were all thereby utterly<br />
obscured. In this version, the Julii had always been Rome’s most important family, for this family would<br />
produce her savior. A similar interpretation was already to be found in the poetry <strong>of</strong> Virgil.’<br />
A. Plagiarism:<br />
‘Augustus’ sculptural programme in his Forum is very interesting. Along the colonnade to the left <strong>of</strong> the<br />
temple were statues <strong>of</strong> Augustus’ ancestors, the Julian family. The most important aspect was that a row <strong>of</strong><br />
carefully selected great men (summi viri) were placed opposite the statues <strong>of</strong> the Julian family, in the<br />
colonnade to the right <strong>of</strong> the temple. Next to them were Romulus and the kings <strong>of</strong> Rome. This juxtaposition<br />
justified the position <strong>of</strong> the princeps’ family in the new order by proclaiming its unique historical importance.<br />
The line <strong>of</strong> statues <strong>of</strong> the Julian family made it look as though Augustus came from a line <strong>of</strong> important<br />
historical figures going right back to Aeneas, even though some <strong>of</strong> them had really been insignificant; they<br />
were instead equated with the great heroes <strong>of</strong> Roman history. Virgil’s poetry shows a similar view <strong>of</strong> history.’<br />
This version adds almost nothing to the original; it mixes direct appropriation with close<br />
paraphrase. There is no acknowledgement <strong>of</strong> the source; the writer suggests that the<br />
argument and the development <strong>of</strong> it is his or her own.<br />
B. Legitimate use <strong>of</strong> the passage:<br />
‘The sculptural programme in the Forum Augustum played an important part in Augustus’ self-projection<br />
aimed at legitimating his rule. At one end <strong>of</strong> the Forum stood the Temple <strong>of</strong> Mars Ultor; the flanking<br />
colonnades held lines <strong>of</strong> statues and the exedrae within them contained statues <strong>of</strong> Romulus and Remus to<br />
the right <strong>of</strong> the temple, and Aeneas and Ascanius/Iulus to the left. Zanker points out that the juxtaposition <strong>of</strong><br />
the ancestors <strong>of</strong> the gens Iulia on the left side and the line <strong>of</strong> Rome’s past heroes or summi viri on the right<br />
39
set up a historical equation for the viewer, suggesting that all <strong>of</strong> Augustus’ ancestors were themselves great<br />
men and that the gens Iulia was always the leading family <strong>of</strong> Rome. 1 But the programme does more than<br />
merely proclaim the greatness <strong>of</strong> Augustus’ ancestors within the context <strong>of</strong> a history stretching back to the<br />
mythical past; as with the Fasti triumphales and Fasti consulares, it emphasises Augustan continuity with<br />
the history <strong>of</strong> the Republic, supporting Augustus’ claim to have restored the Republic and glossing over the<br />
transition to monarchical rule. In Virgil’s Aeneid (Book VI, lines 756-853) Anchises shows Aeneas an<br />
analogous parade <strong>of</strong> the great men <strong>of</strong> Roman history, from mythical figures through the great Republican<br />
heroes up to Augustus and other members <strong>of</strong> his family. Virgil died in 19 B.C. and the Forum was not<br />
dedicated until 2 B.C.; conceivably therefore the sculptural programme could have been directly inspired by<br />
the Aeneid, but it is perhaps more likely that both the Aeneid’s procession <strong>of</strong> heroes and the Forum<br />
Augustum reflect a common ideology developed in circles close to Augustus.’<br />
_____________________________________________________________________________<br />
1<br />
P. Zanker, The Power <strong>of</strong> Images in the Age <strong>of</strong> Augustus (Ann Arbor 1988): 210-11.<br />
This version uses an acknowledged paraphrase <strong>of</strong> part <strong>of</strong> the passage in forming a wider<br />
argument, with some fresh ideas and developing the point about Virgilian poetry which Zanker<br />
made only in passing. (The footnote is sound scholarly practice, but its omission would not be<br />
a matter <strong>of</strong> plagiarism, as the source is indicated in the text.)<br />
For further help and information, see www.admin.ox.ac.uk/epsc/plagiarism and<br />
www.admin.ox.ac.uk/proctors/info/pam/section9.shtml#_toc95<br />
40
11. List <strong>of</strong> Officers<br />
This list gives the names <strong>of</strong> the various members <strong>of</strong> the Faculty who are holding major<br />
administrative jobs, some <strong>of</strong> whom are referred to in the course <strong>of</strong> this Handbook.<br />
Standing Committee for Classical Archaeology and Ancient History<br />
Chair: (until end <strong>of</strong> MT <strong>2011</strong>) Dr Peter Thonemann, Wadham <strong>College</strong><br />
(from HT 2012) Dr Maria Stamatopoulou, Lincoln <strong>College</strong><br />
Secretary: Academic Administrative Officer, Ioannou Centre, 66 St Giles’, OX1 3LU<br />
Sub-faculty <strong>of</strong> Ancient History and Classical Archaeology<br />
Chair: Dr Ed Bispham, Brasenose <strong>College</strong><br />
Secretary and Lecture List Secretary: Dr John Ma, Corpus Christi <strong>College</strong><br />
Chair <strong>of</strong> Joint Consultative Committee for Undergraduate Matters<br />
TBC<br />
Harassment Officers<br />
Dr Fiona Macintosh, St Hilda’s <strong>College</strong><br />
Dr Neil McLynn, Corpus Christi <strong>College</strong><br />
Schools Liaison Officer<br />
Dr Felix Budelmann, Jesus <strong>College</strong><br />
If you need to contact any <strong>of</strong> them, you can do so either direct by mail to their colleges or via<br />
the Classics Office. Contact details for academic staff can be found at<br />
www.classics.ox.ac.uk/faculty/directory.<br />
Email addresses and telephone numbers for the whole <strong>University</strong> are available at<br />
www.ox.ac.uk/contact.<br />
41
12. <strong>CAAH</strong> Tutors and Lecturers<br />
This list <strong>of</strong> staff includes those archaeologists, historians, and classicists whose interests lie in<br />
the broad area <strong>of</strong> Classical Archaeology and Ancient History and are involved in its teaching.<br />
Established<br />
Pr<strong>of</strong>essors and<br />
Readers<br />
Regius Pr<strong>of</strong>essor <strong>of</strong><br />
Greek<br />
Wykeham Pr<strong>of</strong>essor<br />
<strong>of</strong> Ancient History<br />
Camden Pr<strong>of</strong>essor <strong>of</strong><br />
Ancient History<br />
Lincoln Pr<strong>of</strong>essor <strong>of</strong><br />
Classical Art and<br />
Archaeology<br />
Pr<strong>of</strong>essor <strong>of</strong> European<br />
Archaeology<br />
Pr<strong>of</strong>essor <strong>of</strong> the<br />
Archaeology <strong>of</strong> the<br />
Roman Empire<br />
Reader in Classical<br />
Archaeology<br />
Name <strong>College</strong> Special Interests<br />
Chris Pelling Christ Church Greek Literature; Greek and Latin<br />
historiography<br />
Robert Parker New <strong>College</strong> Greek History and Religion<br />
Nicholas<br />
Purcell<br />
Brasenose<br />
<strong>College</strong><br />
Roman Social, Economic and<br />
Cultural History; City <strong>of</strong> Rome; the<br />
Mediterranean Sea and its History<br />
Bert Smith Lincoln Greek and Roman Sculpture;<br />
Portraits; Asia Minor<br />
Chris Gosden Keble Archaeology, Anthropology and<br />
Colonialism<br />
Andrew Wilson All Souls Archaeology <strong>of</strong> the Roman<br />
Empire; Ancient Technology; the<br />
Economy; Ancient Water Supply;<br />
Ancient North Africa<br />
Irene Lemos Merton Early Iron Age in Greece<br />
<strong>Balliol</strong> <strong>College</strong><br />
Pr<strong>of</strong>. Rosalind Thomas<br />
Brasenose <strong>College</strong><br />
Dr Ed Bispham<br />
Dr Llewelyn Morgan<br />
Christ Church<br />
Dr Dirk Obbink<br />
Dr Richard Rutherford<br />
Dr Anna Clark<br />
Greek History<br />
Roman History<br />
Latin Literature<br />
Greek Literature; Papyrology<br />
Homer; Fifth-Century Literature; Rhetoric; Historiography<br />
Roman History; Republican Political and Cultural History<br />
Corpus Christi <strong>College</strong><br />
Dr Neil McLynn<br />
Dr Jas Elsner<br />
Pr<strong>of</strong>. Stephen Harrison<br />
Dr John Ma<br />
Pr<strong>of</strong>. Tobias Reinhardt<br />
Exeter <strong>College</strong><br />
Pr<strong>of</strong>. Gregory Hutchinson<br />
Late Antiquity<br />
Classical and Late Antique Art; the Reception <strong>of</strong> Ancient Art;<br />
Ekphrasis<br />
Augustan Poetry; Ancient Novel, esp. Apuleius; Classical<br />
Tradition<br />
Greek History, especially Hellenistic; Asia Minor; Epigraphy<br />
Ancient Rhetoric; Ancient Philosophy; Latin Textual Criticism<br />
Greek Lyric; Greek Tragedy; Hellenistic Poetry; Cicero; Latin<br />
Elegy; Silver Latin<br />
42
Jesus <strong>College</strong><br />
Dr Armand D’Angour<br />
Keble <strong>College</strong><br />
Dr Lisa Bendall<br />
Pr<strong>of</strong>. Averil Cameron<br />
Lady Margaret Hall<br />
Dr Christina Kuhn<br />
Lincoln <strong>College</strong><br />
Dr Harry Sidebottom<br />
Dr Maria Stamatopoulou<br />
Magdalen <strong>College</strong><br />
Dr Mark Pobjoy<br />
Dr Felix Budelmann<br />
Dr Al Moreno<br />
Merton <strong>College</strong><br />
Dr Jonathan Prag<br />
Dr Rhiannon Ash<br />
New <strong>College</strong><br />
Mr Robin Lane Fox<br />
Dr Jane Lightfoot<br />
Oriel <strong>College</strong><br />
Dr Teresa Morgan<br />
Dr Bruno Currie<br />
The Queen’s <strong>College</strong><br />
Dr Angus Bowie<br />
Somerville <strong>College</strong><br />
Dr Beate Dignas<br />
Dr Lucy Audley-Miller<br />
St Anne’s <strong>College</strong><br />
Pr<strong>of</strong>. Matthew Leigh<br />
St Hilda’s <strong>College</strong><br />
Dr Katherine Clarke<br />
Dr Emily Kearns<br />
Dr Rebecca Armstrong<br />
St Hugh’s <strong>College</strong><br />
Dr Tim Rood<br />
Greek and Latin Literature; Greek Social and Cultural History<br />
Aegean Prehistory<br />
Literature and History <strong>of</strong> the Late Antique and Early Byzantine<br />
Periods<br />
The Political, Social and Cultural History <strong>of</strong> the Roman Empire;<br />
Roman Asia Minor; the Second Sophistic; Greek and Latin<br />
Epigraphy; Documentary Papyrology; Roman Egypt.<br />
Greek and Roman History<br />
Greek Archaeology<br />
Greek and Roman History; Latin Epigraphy; Republican Italy<br />
Greek drama; Greek Lyric; Elegiac and Iambic Poetry;<br />
Reception <strong>of</strong> Greek Literature<br />
Greek History<br />
Ancient Sicily; Roman Republic; Epigraphy<br />
Tacitus; Roman Historiography; Editor <strong>of</strong> Classical Quarterly<br />
Greek and Roman History; Alexander<br />
Hellenistic and Later Greek Literature<br />
Greek History; Cultural History; Historiography<br />
Greek Literature<br />
Literary Theory; Herodotus; Greece and Persia; Comedy; Greek<br />
Anthropology; Virgil<br />
Greek History<br />
Funerary portraiture in the Roman Empire<br />
Lucan; Latin Poetry; Livy; New Comedy<br />
Roman and Hellenistic History; Strabo<br />
Homer; Greek Tragedy; Religion<br />
Latin Poetry<br />
Greek Literature, esp. Historiography<br />
43
St John’s <strong>College</strong><br />
Dr Henrietta van der Blom<br />
Trinity <strong>College</strong><br />
Dr Gail Trimble<br />
<strong>University</strong> <strong>College</strong><br />
Dr Lisa Kallet<br />
Dr Bill Allan<br />
Wadham <strong>College</strong><br />
Dr Peter Thonemann<br />
Dr Stephen Heyworth<br />
Wolfson <strong>College</strong><br />
Pr<strong>of</strong>. Martin Goodman<br />
Pr<strong>of</strong>. Chris Howgego<br />
Pr<strong>of</strong>. Donna Kurtz<br />
Dr John Penney<br />
Dr Ellen Rice<br />
Dr Roger Tomlin<br />
Dr Janet DeLaine<br />
Worcester <strong>College</strong><br />
Dr Josephine Quinn<br />
Dr Scott Scullion<br />
Late Roman Republic; Cicero<br />
Catullus; Late Republican and Augustan Latin Poetry<br />
Greek History<br />
Greek Literature especially Tragedy and Epic<br />
Greek and Byzantine History; Epigraphy, History and<br />
Archaeology <strong>of</strong> Pre-Islamic Turkey<br />
Latin Literature<br />
Jewish History in the Graeco-Roman Period; History <strong>of</strong> the Early<br />
Roman Empire<br />
Greek and Roman Coinage<br />
Greek Vases; Anatomy and Greek Art; Classical Reception;<br />
History <strong>of</strong> Collections; Information Technology Applications<br />
Indo-European Philology; Languages <strong>of</strong> Pre-Roman Italy<br />
Greek Archaeology; Epigraphy; Hellenistic History; Alexander<br />
the Great<br />
Late Roman History; Roman Britain; Roman Epigraphy<br />
Roman Architecture and Archaeology<br />
Hellenistic and Republican History; North Africa; City <strong>of</strong> Rome;<br />
Gender<br />
Greek Literature and Religion<br />
The Ioannou Centre for Classical and Byzantine Studies<br />
66 St Giles’, OX1 3LU. Tel: 288372<br />
Dr Fiona Macintosh<br />
Dr Caroline White<br />
Dr Peter Haarer<br />
Dr Georgi Parpulov<br />
Dr Janet DeLaine<br />
Pr<strong>of</strong>. Irene Lemos<br />
Performance <strong>of</strong> Greek and Roman Drama<br />
Patristics and Medieval Latin<br />
Archaic Mediterranean History and Archaeology<br />
Byzantine Painting and Minor Arts; Greek and Slavonic<br />
Manuscripts; Bulgarian History and Culture<br />
Roman Architecture<br />
Greek and Graeco-Roman Architecture; Hellenistic and Roman<br />
Lycia<br />
The Language Teaching Team<br />
Ms Juliane Kerkhecker (Grocyn Lecturer)<br />
Mr Andrew Hobson (Grammatikos)<br />
Dr Marina Bazzani (Lector)<br />
Dr Mary Whitby (Lector)<br />
44
Institute <strong>of</strong> Archaeology<br />
36 Beaumont Street, <strong>Oxford</strong> OX1 2PG. Tel. 278240. Fax. 278254.<br />
Email: administrator@arch.ox.ac.uk<br />
Website: www.arch.ox.ac.uk<br />
Dr Lisa Bendall<br />
Pr<strong>of</strong>. Chris Gosden<br />
Dr Helena Hamerow<br />
Dr J. Hayes<br />
Dr M. E. Henig<br />
Dr Philipp Niewöhner<br />
Dr Damian Robinson<br />
Pr<strong>of</strong>. Andrew Wilson<br />
Bronze Age Aegean; Feasting in Mycenaean Greece; Linear<br />
B<br />
European Archaeology<br />
European Archaeology<br />
Research Associate<br />
Roman Pottery<br />
Roman Art and Archaeology, especially Roman Britain;<br />
Glyptics and the Minor Arts; Changes in Artistic Culture<br />
Byzantine Archaeology and Material Culture<br />
Roman Archaeology; Pompeii<br />
Archaeology <strong>of</strong> the Roman Empire; Ancient Technology; the<br />
Economy; Ancient Water Supply; Ancient North Africa<br />
Heberden Coin Room, Ashmolean Museum<br />
Beaumont Street, OX1 2PH. Tel: 278058. Fax: 278057<br />
Dr Volker Heuchert<br />
Pr<strong>of</strong>. Chris Howgego<br />
Mr Henry S. Kim<br />
Research Fellow<br />
Assistant Keeper<br />
Greek and Roman Coinage<br />
Assistant Keeper<br />
Greek Numismatics; Greek History<br />
Department <strong>of</strong> Antiquities, Ashmolean Museum<br />
Beaumont Street, OX1 2PH. Tel: 278020. Fax: 278032<br />
Pr<strong>of</strong>. Michael Vickers<br />
Dr A.G. MacGregor<br />
Dr Helen Whitehouse<br />
Dr Susan Walker<br />
Dr Ioannis Galanakis<br />
Senior Assistant Keeper<br />
Mediterranean Archaeology; Athenian Drama<br />
Assistant Keeper<br />
Roman and Anglo-Saxon Britain<br />
Assistant Keeper<br />
Roman Egypt; Legacy <strong>of</strong> Ancient Egypt in European Art<br />
Keeper<br />
Roman Art and Archaeology, especially Greece, Egypt and<br />
North Africa<br />
Sackler Fellow<br />
Aegean Archaeology<br />
45
The Cast Gallery, Ashmolean Museum<br />
Beaumont Street, OX1 2PH. Tel: 278083<br />
Dr Olympia Bobou<br />
Dr Milena Melfi<br />
Pr<strong>of</strong>. Bert Smith<br />
Greek Archaeology and Art<br />
Research Assistant<br />
Classical Archaeology; Hellenistic and Roman Greece<br />
Curator<br />
Classical Art and Archaeology<br />
The Beazley Archive, The Ioannou Centre for Classical and Byzantine Studies<br />
66 St Giles’, OX1 3LU<br />
Dr Peter Stewart<br />
Dr Thomas Mannack<br />
Dr Claudia Wagner<br />
Beazley Archivist<br />
Roman Art; Reception <strong>of</strong> Classical Art and the History <strong>of</strong><br />
Collecting<br />
Reader in Classical Iconography<br />
Greek Pottery<br />
Research Associate<br />
Greek Archaeology and Gems<br />
Site/Museum report supervisors: archaeologists other than core staff<br />
Mr Richard Catling<br />
Dr Ioannis Galanakis<br />
Dr Peter Haarer<br />
Pr<strong>of</strong>. Chris Howgego<br />
Ms Zena Kamash<br />
Mr Henry Kim<br />
Dr Arthur MacGregor<br />
Dr Thomas Mannack<br />
Dr Milena Melfi<br />
Ms Lucia Nixon<br />
Dr Ellen Rice<br />
Dr Judith Toms<br />
Dr Anja Ulbrich<br />
Dr Claudia Wagner<br />
Dr Susan Walker<br />
Lexicon <strong>of</strong> Greek Personal Names<br />
Greek Archaeology<br />
Worcester<br />
Aegean Archaeology<br />
Institute <strong>of</strong> Archaeology/Ioannou Centre<br />
Archaic Epigraphy; Archaic Greek History and Archaeology;<br />
Archaic Greek Iron<br />
Ashmolean Museum<br />
Greek and Roman Numismatics<br />
Magdalen<br />
Roman Archaeology; Near East; Water supply<br />
Ashmolean Museum<br />
Greek Numismatics<br />
Ashmolean Museum<br />
Roman and Medieval Art and Archaeology; Reception<br />
Beazley Archive<br />
Greek Pottery and Archaeology<br />
The Ioannou Centre for Classical and Byzantine Studies<br />
Classical Archaeology; Hellenistic and Roman Culture<br />
St Hilda’s<br />
Aegean Archaeology<br />
Wolfson<br />
Hellenistic History, Archaeology and Art<br />
Ashmolean Museum<br />
Etruscan Art and Archaeology<br />
Ashmolean Museum<br />
Greek and Cypriot Archaeology, Art and History<br />
Beazley Archive<br />
Greek Archaeology and Gems<br />
Ashmolean Museum<br />
Greek and Roman Archaeology<br />
46
14. Telephone Numbers and Email<br />
Contact details for those not listed here can be obtained through the website:<br />
www.ox.ac.uk/contact<br />
Dr Rhiannon Ash 286302 rhiannon.ash@classics.ox.ac.uk<br />
Dr Lisa Bendall 278244 lisa.bendall@arch.ox.ac.uk<br />
Dr Ed Bispham 277859 ed.bispham@bnc.ox.ac.uk<br />
Dr Lisa Bligh 286635 lisa.bligh@conted.ox.ac.uk<br />
Dr Olympia Bobou<br />
olympia.bobou@classics.ox.ac.uk<br />
Dr Angus Bowie 279172 angus.bowie@queens.ox.ac.uk<br />
Pr<strong>of</strong>. Alan Bowman 277874 alan.bowman@bnc.ox.ac.uk<br />
Pr<strong>of</strong>. Averil Cameron 272701 averil.cameron@keble.ox.ac.uk<br />
Mr Richard Catling 288395 richard.catling@classics.ox.ac.uk<br />
Dr Anna Clark 276228 anna.clark@chch.ox.ac.uk<br />
Dr Katherine Clarke 201367 katherine.clarke@st-hildas.ox.ac.uk<br />
Dr Bruno Currie 276510 bruno.currie@oriel.ox.ac.uk<br />
Dr Armand D'Angour 279684 armand.dangour@jesus.ox.ac.uk<br />
Dr Janet DeLaine 278248 janet.delaine@classics.ox.ac.uk<br />
Dr Beate Dignas 270611 beate.dignas@classics.ox.ac.uk<br />
Dr Jas Elsner 276721 jas.elsner@ccc.ox.ac.uk<br />
Dr Ioannis Galanakis<br />
Ioannis.galanakis@arch.ox.ac.uk<br />
Pr<strong>of</strong>. Martin Goodman 278208 martin.goodman@orinst.ox.ac.uk<br />
Pr<strong>of</strong>. Chris Gosden 288021 chris.gosden@arch.ox.ac.uk<br />
Dr Peter Haarer<br />
peter.haarer@classics.ox.ac.uk<br />
Dr Helena Hamerow 278245 helena.hamerow@arch.ox.ac.uk<br />
Pr<strong>of</strong>. Stephen Harrison 276762 stephen.harrison@ccc.ox.ac.uk<br />
Dr John Hayes<br />
john.hayes@arch.ox.ac.uk<br />
Dr Martin Henig 278265 martin.henig@classics.ox.ac.uk<br />
Dr Volker Heuchert 278058 volker.heuchert@ashmus.ox.ac.uk<br />
Dr Stephen Heyworth 288945 stephen.heyworth@wadh.ox.ac.uk<br />
Pr<strong>of</strong>. Chris Howgego 278063 chris.howgego@ashmus.ox.ac.uk<br />
Pr<strong>of</strong>. Gregory Hutchinson 279618 gregory.hutchinson@exeter@ox.ac.uk<br />
Dr Lisa Kallet<br />
lisa.kallet@univ.ox.ac.uk<br />
Dr Zena Kamash 278148 zena.kamash@arch.ox.ac.uk<br />
Dr Emily Kearns 276875 emily.kearns@st-hildas<br />
Mr Henry Kim 278060 henry.kim@ashmus.ox.ac.uk<br />
Dr Cathy King 278061 cathy.king@ashmus.ox.ac.uk<br />
Mr Robin Lane Fox 279529 c/o maggie.davis@new.ox.ac.uk<br />
Mr James Legg 277572 james.legg@saclib.ox.ac.uk<br />
Pr<strong>of</strong>. Irene Lemos 278286 irene.lemos@classics.ox.ac.uk<br />
Pr<strong>of</strong>. Matthew Leigh 274845 matthew.leigh@st-annes.ox.ac.uk<br />
Dr Jane Lightfoot 279555 jane.lightfoot@new.ox.ac.uk<br />
Dr John Ma 276759 john.ma@ccc.ox.ac.uk<br />
Dr Fiona Macintosh 288298 fiona.macintosh@classics.ox.ac.uk<br />
Dr Arther MacGregor 278028 arther.macgregor@ashmus.ox.ac.uk<br />
Dr Thomas Mannack 278086 thomas.mannack@ashmus.ox.ac.uk<br />
Mr Milena Melfi 278076 milena.melfi@classics.ox.ac.uk<br />
Dr Al Moreno 276014 al.moreno@classics.ox.ac.uk<br />
Dr Neil McLynn 276778 neil.mclynn@ccc.ox.ac.uk<br />
47
Dr Llewelyn Morgan 277890 llewelyn.morgan@bnc.ox.ac.uk<br />
Dr Teresa Morgan 276579 teresa.morgan@oriel.ox.ac.uk<br />
Ms Lucia Nixon 276117 lucia.nixon@st-hildas.ox.ac.uk<br />
Dr Dirk Obbink 276212 dirk.obbink@chch.ox.ac.uk<br />
Pr<strong>of</strong>. Robert Parker 279520 robert.parker@new.ox.ac.uk<br />
Pr<strong>of</strong>. Christopher Pelling 276150 christopher.pelling@chch.ox.ac.uk<br />
Dr John Penney 274072 john.penney@wolfson.ox.ac.uk<br />
Dr Mark Pobjoy 276099 mark.pobjoy@magd.ox.ac.uk<br />
Dr Jonathan Prag 276281 jonathan.prag@merton.ox.ac.uk<br />
Pr<strong>of</strong>. Nicholas Purcell<br />
nicholas.purcell@classics.ox.ac.uk<br />
Dr Josephine Quinn 278365 josephine.quinn@worc.ox.ac.uk<br />
Dr Ellen Rice 284378 ellen.rice@classics.ox.ac.uk<br />
Pr<strong>of</strong>. Tobias Reinhardt 276704 tobias.reinhardt@ccc.ox.ac.uk<br />
Dr Damian Robinson 288013 damian.robinson@arch.ox.ac.uk<br />
Dr Tim Rood 274416 tim.rood@st-hughs.ox.ac.uk<br />
Dr Richard Rutherford 276234 richard.rutherford@chch.ox.ac.uk<br />
Pr<strong>of</strong>. Bert Smith 278066 bert.smith@ashmus.ox.ac.uk<br />
Dr Maria Stamatopoulou 288261 maria.stamatopoulou@lincoln.ox.ac.uk<br />
Dr Peter Stewart<br />
peter.stewart@classics.ox.ac.uk<br />
Dr Matthew Symonds<br />
matthew.symonds@arch.ox.ac.uk<br />
Pr<strong>of</strong>. Rosalind Thomas 277749 rosalind.thomas@balliol.ox.ac.uk<br />
Dr Peter Thonemann 277998 peter.thonemann@wadh.ox.ac.uk<br />
Dr Roger Tomlin 274133 roger.tomlin@history.ox.ac.uk<br />
Dr Judith Toms<br />
judith.toms@ashmus.ox.ac.uk<br />
Dr Anja Ulbrich 278023 anja.ulbrich@ashmus.ox.ac.uk<br />
Pr<strong>of</strong>. Michael Vickers 278033 michael.vickers@ashmus.ox.ac.uk<br />
Dr Claudia Wagner 278103 claudia.wagner@ashmus.ox.ac.uk<br />
Dr Bryan Ward-Perkins 279856 bryan.ward-perkins@history.ox.ac.uk<br />
Dr Stephanie West 279452 stephanie.west@classics.ox.ac.uk<br />
Dr Caroline White 277631 caroline.white@classics.ox.ac.uk<br />
Dr Helen Whitehouse 274705 helen.whitehouse@ashmus.ox.ac.uk<br />
Pr<strong>of</strong>. Andrew Wilson 278247 andrew.wilson@arch.ox.ac.uk<br />
48