Statement of Solidarity: UK Classics representative bodies deplore attacks on Arts and Humanities across Higher Education institutions
As a united group comprising Chairs and Presidents of the primary representative bodies for Classics professionals in the UK – the Council of University Classical Departments, the Classical Association, the Institute of Classical Studies, the Women’s Classical Committee UK, the Society for the Promotion of Hellenic Studies, and the Society for the Promotion of Roman Studies – we wish to express our solidarity with all those affected by the deeply worrying programme of closures and redundancies in the Arts and Humanities announced this month across institutions, including Bishop Grosseteste, De Montfort, Dundee, Roehampton, and Wolverhampton.
As institutions working in Classics, we deplore, and are angry at, attacks on Classics at Roehampton. The University’s decision to close Classics comes only months after a celebration of 21 years of Classics at Roehampton – two decades of pioneering research and teaching. The University’s research culture has historically stressed and rewarded the production of high-quality academic publications, and many areas of its School of Humanities and Social Sciences have been strong in this regard, notably Classics, which has led the way in terms of the institutional aims around practical humanities, applied research and innovation.
Classics at Roehampton has been at the forefront of world-leading research in feminist and disability studies in Classics, and its closure would be damaging to the discipline as a whole. Roehampton has also been exemplary in creating teaching practices for neurodivergent students in Classics, and the loss of this Equalities, Diversity and Inclusion work sets back efforts in this area, which are of incalculable value to all students. Indeed, major publications are forthcoming from Roehampton Classicists around their projects on Classics and autistic children, involving partners such as English Heritage, Keats House, and Pupil Referral Units. Other important, ongoing, collaborations include the Acropolis Museum, Athens, and Heritage of London’s ‘Proud Places’; these are precisely the kinds of projects and partnerships through which Classics at Roehampton has fantastic potential to develop its already highly successful practical and employability training for students.
Classics at Roehampton, since its inception, has championed employability; as a team it earned the Roehampton Teaching Fellowship for embedding employability into the classical programme, and its research and teaching staff have published around pedagogy and employability in Classics in high quality, peer-reviewed journals and held sessions on student employability at major national and international conferences. This work has blazed a trail, and has directly and positively impacted on the development of comparable initiatives at other institutions. Classics at Roehampton is in fact at the forefront of moving the subject, and by extension the institution, towards practical focused and employability training with potential for exceptional Graduate Outcomes.
More broadly, the effects that these cuts would have on access to Higher Educationare potentially devastating. Classics and Ancient History in particular are far too often considered the preserve of Russell Group institutions with Classics or Greek & Latin departments, whose entrance criteria and history of systemic under-privileging of first-generation students, BAME students, and state-school-educated students are well-known; Roehampton Classics colleagues have in fact been instrumental in working with colleagues in such departments to make headway in terms of inclusion. Classics at Roehampton bucks this entry trend and is already significantly boosting and broadening access to these subjects: Roehampton’s Classics courses were ranked fifth in the UK in the 2020 Guardian league table, one of only two non-Russell Group universities in the top ten for the subject, with exceptionally high scores for teaching satisfaction (96%), on a par with Durham and St. Andrews. In the most recent NSS survey, Classics received a score of 100%, showing colleagues’ outstanding level of successful teaching.
Roehampton has great experience in teaching students who have had little previous formal education in Classics, and who have entered university from less privileged backgrounds. Many of them are the first in their family to go to university. Roehampton Classics is a partner in a growing number of non-RG institutions offering this subject to diverse student bodies, the Post92Classics Network, who are collectively at the heart of invigorating the shape of the discipline for future generations in a changing world; indeed Roehampton Classics is very much a leading light in this regard.
As with Arts and Humanities subjects more broadly, Classics encourages and develops appreciation of cultural, religious and linguistic diversity, while broadening students’ horizons to a global range of philosophical and intellectual outlooks that have influenced modern thought; it teaches critical thinking and analysis of complex source material in a range of languages, and requires students to view humanity through a critical lens, with empathy. Classics in such educational contexts has the transformative power to engage students in discussion around a wide range of cultures, religions, ethnicities, genders, sexualities and disabilities, across huge spans of space and time. These are not soft skills, nor are they fringe topics. They are vital skills and perspectives for modern life, and indeed the cornerstone of good training both for social and civic participation, and for employability.
Studying the Arts and Humanities can be transformative for students: over their time at Roehampton, students expand their cultural horizons, and build their employable and creative skills. Further, they become active, empowered citizens. The University’s stated rationale for its decision to close these subjects is in fact at odds with the likely outcome of this action. The University’s objective in terms of sustainability of programmes in growing fields, especially those with emerging markets of future economy and society, is one which Classics is extremely well positioned to achieve and at which to excel. There is potential here for multidisciplinary work to develop and further embed employability into its teaching, as evidenced by recent programme revalidations, particularly in areas of institutional strategic importance such as Roehampton’s BA in Liberal Arts and its MAs in Cultural Heritage and Environmental Studies.
The loss of any Classics provision will undoubtedly hurt the Classics community as a whole, but the loss of Roehampton in particular would diminish our field, and its potential loss is symptomatic of the damage caused by competition for its own sake, that has been actively encouraged by successive governments. Higher Education departments need time, space, collaboration and long-term team-building to provide an excellent education and student experience. Roehampton Classics has built up such a team and collaborations both national and international, including for example major international AHRC, ERC, DFG, Loeb Foundation and Leverhulme Trust grants. The loss of Classics at Roehampton would leave a massive hole. University management and government higher education policy are together destroying a long-cherished site, like Erysichthon cutting down the grove of Demeter. Such willful destruction of Arts and Humanities in UK Higher Education cannot be allowed to stand.
CUCD, Council of University Classics Departments, Chair: Prof Helen Lovatt
WCC UK, Women’s Classical Committee UK, Co-Chairs: Dr April Pudsey & Dr Ulriika Vihervalli, Administrator: Prof Laurence Totelin
ICS, Institute of Classical Studies, Director: Prof Katherine Harloe
SPHS, Society for the Promotion of Hellenic Studies, President: Prof Paul Cartledge
SPRS, Society for the Promotion of Roman Studies, President: Prof Roy Gibson
CA, Classical Association, Chair of Council: Prof Douglas Cairns
Elizabeth Schafer is Professor of Drama and Theatre Studies at Royal Holloway. Her work focuses on Shakespeare in production; women’s theatre work; Australian drama and theatre; and Caroline playwright Richard Brome. In this guest post, she pays tribute to her secondary school teacher and the influence that she had on Prof. Schafer’s own personal and professional journey.
Elizabeth Warren, who died late last year, was an extraordinary Woman in Classics, with a particular passion for teaching Greek. From 1969 onwards, Elizabeth taught Greek, Latin, Ancient History and Classical Civilisation in a wide range of educational contexts including Bristol University and the Joint Association of Classical Teachers (JACT) Greek summer courses at Bryanston school, Blandford Forum.
I first met Elizabeth when she joined the staff of King Edward VI High School for Girls, Birmingham, in the mid 1970s. She looked like no other teacher I’d ever met: tall, willowy, with Pre-Raphaelite yellow hair and phenomenal reserves of energy. As my Latin and Greek teacher she helped me navigate Catullus, Virgil, Livy, Homer and Thucydides, but she was also my form teacher for one year, concerned and supportive – often with a twinkle in her eye – as 24 teenagers over-shared their problems. Meanwhile in Latin classes she tactfully steered discussions of Catullus’ poetry, sensitive to her pupils’ different levels of worldly experience, and understanding. She led us through the newly introduced Cambridge Latin course, collapsing with laughter at the howls of protests that erupted when we found out that the irritating Quintus had survived the eruption of Vesuvius, along with boring Grumio, when clearly poor Melissa should have been the one to escape.
Elizabeth’s confidence that girls could achieve what they wanted intellectually was inspirational. Setbacks became challenges, mistakes became learning. She told memorable stories of her solo travel adventures; one came back to me as, around 35 years ago, I was interrailing around Europe and my (very slow) train stopped at Trasimeno. Elizabeth had enlivened Livy’s account of the battle of Lake Trasimeno by telling us how she had once, in her enthusiasm for seeing the site of the battle, jumped off the train at Trasimeno and set off to explore. What she found was very little lake, squadrons of mosquitoes and that there wasn’t another train for days.
My entire class was also convinced that when Elizabeth, aged 20, had married Peter Warren, a research fellow at Corpus Christi, in 1966, they had eloped to Gretna Green. So when Elizabeth brought Peter into school to deliver a sixth form general knowledge lecture on archaeology, there was great interest in seeing this romantic figure. I was entrusted with Peter’s slides, stacked neatly in a carousel. I promptly dropped the lot (I still feel mortified about this). Peter and Elizabeth were totally unfazed and years later when I read Elizabeth’s ‘Memories of Myrtos’ in Aegean Archaeology, I realised why. Archaeologists are used to dealing with stuff scattered all over the floor. What really impressed me, however, as Peter lectured from his unpredictably sequenced slides, illustrating Early Bronze Age Crete and the discovery of the Goddess of Myrtos, was his emphasis on how pivotal Elizabeth had been to the success of the excavations during the two seasons in 1967 and 1968. She managed food and accommodation with no electricity, drains, rubbish collection, or tarmac in 44 degrees centigrade. She also helped carry out study seasons after the excavations had finished, drawing and tracing vases and small objects for subsequent publications.
Elizabeth instilled a passion for the Classics in me, and I continued with Latin as part of my London University English degree, taking an option in the Classical Background to English Literature which included translating a significant amount of Senenca’s Medea. I lectured on Greek tragedy at La Trobe University and I put Greek drama on the first year core Drama course at Royal Holloway. I love working with the APGRD, and all that Seneca paid off when I was researching Elizabeth Cary and her neo-classical dramaturgy.
Although some of Elizabeth’s achievements were conventional – mayor for five years and deputy mayor for two – Elizabeth’s kind of brilliance, her ability to engage, interest and inspire students was of the sort that can easily be undervalued. When she left KEHS, her then form missed her so much that they hired a bus to go and see her (the catering experience in Myrtos probably came in handy that day). But for me, the most telling tribute to her came from a friend and class mate, Susan Clarke, who was no Classicist and who was ready to drop Latin as soon as she could:
For someone who was really only good at maths and science I remember her lessons being a safe and comfortable place and her making Latin a fun subject.
We are delighted that the WCC UK will be well-represented at the upcoming Classical Association conference in Swansea and on-line. As well as two panels, we also intend to run our mentoring scheme for members – stay tuned for more details!
Saturday 9th April 11.30am-1pm – Session 2, Panel 5
This workshop has been organised by Victoria Leonard, Anna Judson, Katie Shields and Kate Cook on behalf of the WCC UK, and represents the continuing activity of the #WCCWiki project.
Following the success of #WCCWiki’s workshop at the FIEC/Classical Association in 2019, the Women’s Classical Committee (UK) will hold a Wikipedia editathon at the CA in 2022 to improve the online representation of classicists who identify as women or non-binary. Classicists are broadly conceived, to include archaeologists, ancient historians, religious studies experts, theorists, and art historians, and others who work on the ancient world.
The workshop seeks to improve the representation of classicists who identify as women or non-binary on Wikipedia, with a particular focus on overlooked Welsh women or non-binary classicists, such as Kathleen Freeman, Käthe Bosse-Griffiths, Jacqui Mulville and Juliette Wood, or those whose research focuses on Wales’s culture and history, such as Catherine Clarke. Of those six women historians who are Fellows of the Learned Society of Wales, an important notability criterion for Wikipedia, five need their pages improving and one lacks a page entirely. The workshop will be an important starting point to addressing this imbalance and promoting the online visibility of Welsh classicists (broadly conceived) who identify as women or non-binary.
The workshop welcomes people of all genders, and it is aimed at those who have never edited Wikipedia before, as well as more experienced contributors. Training will be provided for the first 30 minutes, followed by a supported editing session.
This panel has been organised by Ellie Mackin Roberts, Claire Stocks, Penny Coombe and Thea Lawrence on behalf of the WCC UK and in conjunction with Assemblywomen: The Video-Journal of the WCC UK.
This panel seeks to investigate the ways that women and girls (broadly defined) were politicised in the Greek and Roman worlds. Politicisation, whether imposed internally or externally, is a lens through which we can interrogate the lives of women in a world that is patriarchal and socially constructed. Women’s lives are not simply about the production of new generations of citizens, but they are integral to the political, economic, and social fabric of the ancient past. By looking at several cases from Greece and Rome the papers of this panel will trace the lives of distinct women, and then men and societies that frame them as political.
Elena Duce Pastor (Universidad de Zaragoza) – Peisistratos and the politicisation of marriage
Briana King (University of St Andrews)- “Brides of Disaster”: Homeric Heroines and the Ideology of Male Victory
Laura Fontana (Università degli Studi di Milano) – Politicising matrons’ mourning in the early Roman Republic
Caitlin C. Gillespie (Brandeis University) – Death Becomes Her: Poppaea Sabina’s Political Beauty
This week’s guest post comes from Hannah Morrish, an actor and screenwriter who has among other things played a number of roles in Shakespeare’s classical plays, about her latest project.
Ceres is a short film, currently in development, that tells the story of a daughter seeking refuge from her abusive relationship at the home of her estranged mother. It follows their attempt to reconnect, and move forward, before the daughter’s inevitable decision to return to what she knows. But now with earth underneath her fingernails.
The film is a modern retelling of the myth of Ceres and Proserpina, a film about mothers, daughters, regrowth, and the complexities of abuse.
I grew attached to the myth while working on it as an actor at the RSC, at a time when I found myself having frequent conversations with friends and colleagues about their experiences with coercive-controlling relationships.
Ceres uses the roots of the myth to look at the everyday shadows of emotional abuse, the far-reaching effects it has on those close to the victim, and the near-impossibility of extricating oneself from its hold.
Set in modern-day suburban Norfolk, this fifteen-minute film is about the subtle psychological movements that can often only take place in safe female spaces.
This section of Ted Hughes’ translation of the Proserpina myth is the essence of the film:
From this day, Proserpina,
The goddess who shares both kingdoms, divides her year
Between her husband in hell, among spectres,
And her mother on earth, among flowers.
Her nature, too, is divided. One moment
Gloomy as hell’s king, but the next
Bright as the sun’s mass, bursting through clouds.
The Rape of Proserpina, Tales from Ovid by Ted Hughes
The film will be directed by Amelia Sears and the parts of Ceres and Proserpina will be played by Juliet Stevenson and myself respectively. Due to the subject matter of the film, we aim to assemble an all female, trans, and non-binary crew for the shoot.
Ceres aims to shed light on the nuances and complexities of emotional abuse, the scars left on women that can’t be seen, and the female connections that help to bring women back to themselves.
We are currently in the fundraising stages of production with one week to go to reach our goal. If this film and the subject matter resonate with you, and you felt like supporting in any way, or indeed sharing with others, you can find more information on Kickstarter.
We are thrilled to be opening Assemblywomen: the Video Journal of the Women’s Classical Committee (UK) for the first Call for Pitches. Please find further details about the journal and the types of submissions below. Please do not hesitate to get in touch with us at email@example.com with any queries you may have.
Assemblywomen is the video journal of the Women’s Classical Committee (UK).The Women’s Classical Committee was founded in 2015 in the United Kingdom with the following aims:
Support women* in classics**
Promote feminist and gender-informed perspectives in classics
Raise the profile of the study of women in antiquity and classical reception
Advance equality and diversity in classics
*By ‘women’ we include all those who self-define as women, including (if they wish) those with complex gender identities which include ‘woman’, and those who experience oppression as women.
**By ‘classics’ we understand the study of the ancient Mediterranean world and its reception, including but not limited to scholarship by students and post-holders in academic departments of Classics, Ancient History and Archaeology.
Assemblywomen furthers the general aims of the WCC by providing an innovative platform for the open access publication of research on women and gender in the ancient world. We will accept submissions that focus on women, or take feminist or gender-informed approaches to the ancient Mediterranean world, work that undertakes comparatives studies between the Mediterranean world and global cultures or which examines global cultures in relation to the ancient Mediterranean. While we are actively working to create a platform in which we can accept work that does not have a connection with the Mediterranean world, at this point in time we do not have the sufficient breadth of knowledge in order to do this.
There are three types of submissions currently being accepted.
Video Essays: these are our peer reviewed submissions. These may undergo several stages of peer review depending on the submission, including review of the pitch and the final script. Video essays should present original research and be between ten and twenty minutes in length (around 2000-4000 words, depending on speech patterns).
Work in Progress Shorts: these are not peer reviewed, but undergo the same pitch development process with an editor as video essays. They should present original research, but as the name suggests this will likely be ‘work in progress’ and does not need to present firm conclusions. These should be between 5 and 15 minutes in length (1000-3000 words approximately).
Review or Response videos: These videos will vary in length but should be no longer than 15 minutes. These are videos that either:
Review a body of work (more like a review essay than the review of a single book). These may take the form of ‘state of the field’ type essays, and should make some general observations about the place of each of the books/articles/videos within the (sub)discipline more broadly).
Videos that respond to another Assemblywomen video or to an article or book. The original author will usually be given an opportunity to respond also. Please note: these are not places for criticism, but for constructive critique and/or dialogue. These may take the form of “here is another example that illustrates this point”, “this responds well to X methodology”.
Following this year’s election, we are delighted to announce that Dr Cora Beth Fraser and Dr Emma-Jayne Graham have been elected to the Steering Committee of the Women’s Classical Committee UK.
We would like to extend our thanks to all of the excellent nominees, and to the many members of the WCC who participated in the election. During such a turbulent year, it was wonderful to see so many members enthusiastic to participate in the running of the Committee.
Dr. Fraser and Dr. Graham will officially assume their positions in the Steering Committee at the AGM on Friday 14th of May. We look forward to welcoming them and congratulating them in person!
The Women’s Classical Committee UK is pleased to announce its 2021 Annual General Meeting, ‘Care and Caring‘, on Friday 14th May 2021. The AGM will be held via Zoom: please register for the event on Eventbrite and you will be sent details of how to join the meeting.
People of any gender expression or identity who support the WCC’s aims are welcome to attend this event. Further details are available here. Around the website you can also find more information on the Women’s Classical Committee UK, including our aims and activities and how to join.
9.15am: Room opens; welcome and housekeeping.
9.30am: Business meeting
10.30am: Coffee break
11am: Keynote – Véronique Dasen (University of Fribourg) – “Amulets and Women’s Agency: Heracles and Omphale, a Knotted Life”.
1pm: Spotlight talks
Lenia Kouneni – (Re)Introducing Greek embroidery in Classical Reception studies.
Jennifer Stager – Towards an archaeology of care
Helen Tank – Motherhood as a colonised concept: an ancient perspective
1.50pm: Screen break
2pm: Break-out discussion rooms on the theme of care. Each group will be given the same prompts to begin discussion.
3pm: Wrap-up and close
Spotlight talks – call for papers – now closed
We are reserving time during the day’s schedule for a series of short (five-minute) spotlight talks by delegates. Through this session, we hope to provide a chance for delegates to share projects, experiences or research connected to the WCC UK’s aims. We are particularly interested in talks that address the AGM’s theme of care and caring; that highlight new, feminist, intersectional and gender-informed work in Classics, ancient history, classical reception or pedagogy (inside and outside the university sector); and that feature new work by postgraduate students and early-career researchers. If you would like more information or to volunteer to give one of these talks, please e-mail Liz Gloyn (liz.gloyn at rhul.ac.uk). The deadline for expressing interest was 5pm on Monday 3rd May.
Please feel free to pass on this CFP to anyone you think may be interested in participating or saving the date.
The Women’s Classical Committee UK is committed to making our events as inclusive as possible, and recognises that the financial and practical challenges of childcare often impede people from participating in workshops and conferences. Anyone who needs to bring a dependent child or children with them in order to participate in one of our events is usually welcome to do so, but we ask you to inform us of this in advance so that we can take them into account in our event planning and risk assessment. The safety and well-being of any children brought to our events remain at all times the responsibility of the parent or carer. While we do our best to ensure that rest and changing facilities are available for those who may need them, this will depend on the individual venue we are using. Again, please contact us in advance to discuss your needs, and we will do our best to accommodate them.
The Women’s Classical Committee UK is very pleased to launch the Caring in Classics Network. The Network aims to support people of all genders and at all career stages who are affected by caring. This includes, but is not limited to, care for older people, care for younger people, children, and infants, care for disabled people, and kinship care. Whilst COVID-19 has impacted on every country in the world, the pandemic is not universally experienced. Stark inequalities experienced by those who provide or receive care have been revealed by the pandemic, which has worsened existing disadvantages. The Network aims to provide support particularly during, but also beyond, the pandemic.
The Network has created a new WCC UK policy document, Guidelines for Supporting Carers and Organising Events. It is available for download here. These guidelines are designed to assist those who are organising conferences and other events to support those participating in events who have or are affected by caring responsibilities. The provision of support for those with caring responsibilities is a central strategy for ensuring gender diversity and inclusion.
The Network is organising regular and online ‘coffee-hour’ style meet-ups for members of the Women’s Classical Committee (UK) who are affected by care to come together in an informal and private community setting.
The next Caring in Classics Network Meet-up will be held on Zoom on Wednesday 24 February, 15.00-16.00 GMT. Please email victoria.leonard at coventry.ac.uk for details of how to join the meeting. The time and date of the meetings will not be within a set pattern in order to maximise attendance. There will be break-out rooms available within the meeting, depending on attendance numbers.
The Network is led by Ellie Mackin Roberts, Adrastos Omissi, Rosalind Janssen, and Victoria Leonard. If you would like to get more involved with the Network, please email womensclassicalcommittee at gmail.com.
We would like to circulate a second callfor nominees to run for election for the Steering Committee of the Women’s Classical Committee UK. The Steering Committee runs the WCC UK, including organizing events, workshops, and future development of the WCC UK. Two new Committee members will be elected by the membership, and will serve for four years, with the option to run for re-election for a further four year term. The Steering Committee wishes to encourage a diverse organization comprised of representatives from any background, location, or career level.
In addition to nominations of others, we also strongly encourage members to nominate themselves if they are interested in the roles. Nominees must be members of the WCC UK in good standing (please check with Christine Plastow at christine.plastow[at]open.ac.uk) if you are unsure of your membership status). Names of nominees should be submitted to Thea Lawrence, the Elections Officer, at TLawrence[at]Lincoln.ac.uk, by Monday 1st February 2021.
The Elections Officer will contact nominees for permission to place their candidacy on the ticket. The Elections Officer will require a short CV (1 page) and an election statement from each nominee. These will be made available on the WCC UK website for members to review prior to voting. For previous examples of such materials, see here.
Voting will open on Monday 8th February and run until Monday the 1st of March 2021. The elected members will be announced shortly afterwards, and then assume office at the AGM in April.
If you have any questions about the Steering Committee or the process of elections, please e-mail us atwomensclassicalcommittee[at].gmail.com
Assemblywomen is the new video-journal of the Women’s Classical Committee, which is to be hosted on the WCC’s YouTube channel. It will provide an online, open-access platform to disseminate research about women and gender in the ancient world (broadly conceived, including receptions of women in the ancient world). The aim of the journal is to promote new research, presented in an innovative way, that will appeal to both scholars and the general public.
The WCC is currently seeking two co-editors to join the editorial team alongside editor-in-chief Dr Ellie Mackin Roberts. Together, the editorial team will be responsible for soliciting pitches (though regular calls and direct contact), reading and responding to pitches, assisting in development of ideas, organising peer-review for video essay scripts, organising captioning of finished videos, providing advice and assistance to video editing (where appropriate), and promoting the journal. Co-editors coming on board at this stage will be instrumental in determining the direction of the journal.
Candidates should have or be working towards a PhD in classics, ancient history, or a cognate discipline and have a research interest in women and/or gender, and an interest in promoting and upholding the aims of the WCC. All other things being equal, preference will be given to WCC members. Please refer to the role description below.
About the Journal
Assemblywomen is an innovative avenue for the dissemination of research on women and gender in the ancient world published by the Women’s Classical Committee UK. The journal publishes both ‘pre-print’ and peer-reviewed work in video format on YouTube. All content is therefore open access, and available to be used in a variety of settings including in the classroom. It will present current scholarly research in an engaging and accessible way, and is therefore suitable not only for professional scholars, but also for undergraduates and a general audience. The journal presents one issue per year, with content published on a rolling basis, as soon as possible following acceptance.
The video-journal will accept three types of submission:
1. Video Essays. These are 10-20 minute video essays, the scripts of which will have been peer reviewed prior to filming and publication on the site
2. ‘Work-in-Progress Shorts’. These will be 5-15 minute videos of work in progress, these are conceived as less formal as video essays and provide an opportunity for ‘pre-print’ sharing of ideas and conversations
3. Responses, these may either be to video essays or work in progress shorts that have been published on the site, or to wider debates within the field and will be 5-10 minutes in length
Expressions of Interest
If you are interested in applying for one of the positions please forward a brief expression of interest of no more than one page and CV to Ellie (ellie.roberts[at]sas.ac.uk). Letters should include a short summary of your research interests, a statement of why you are interested in joining the editorial team, and any experience you think may be useful for the position. Some knowledge of video editing and/or YouTube will be an advantage but is not required. Informal inquiries can be directed to Ellie on the above email address.
Editor Role Description
Work with contributors, peer reviewers, and the editorial board to ensure the content of the journal reflects the breadth and depth of work on women and gender in the ancient world
Uphold a commitment to compassionate and constructive support for contributors throughout the pitch and review process
Work with contributors to refine pitches to ensure that finished videos have the highest chance of acceptance
Where necessary, commission contributions for individual videos and short series of videos with interconnected themes
Liaise with editorial team and the steering committee of the WCC to ensure the smooth running and development of the journal
Represent the journal at conferences and workshops where appropriate, and to develop the profile of the journal
Expressions of interest should be received by Friday February 12th, 2021.