We are keen to encourage applications from postgraduate students who wish to work on any aspect of Greek/Latin literature and Greco-Roman thought. We offer the following programs:
• MA by Research
– 40,000-word dissertation or 25,000-word dissertation plus 2 x 5,000-word essays + language dossier/ training in Latin or Greek; 1 year full-time; 2 years part-time. Our MA by research is designed to help students acquire the skills needed for doctoral research, whilst also being an intellectually stimulating year for those not necessarily intending to continue in academia.
– 60,000-word dissertation, 2 years full-time; 4 years part-time. • PhD – 80,000-word thesis; 3 years full-time, 5 years part-time.
Postgraduate students spend a lot of their time working independently, researching their own specialist topic, but are part of an active and ever-expanding research community in Classics (based around the weekly departmental seminar, which is student-led), and also across our neighbouring departments of English and Comparative Literature, Philosophy, History, and Modern Languages. We also work closely with Warwick’s Centre for Research in Philosophy, Literature and the Arts (CRPLA) and the Centre for the Study of the Renaissance, both of which hold regular seminars, conferences and events. In addition, we maintain close contact with the Warwick Institute of Advanced Study (IAS), which is dedicated to enriching the University’s research environment by supporting Warwick academics, hosting a number of international visitors and enhancing the experience of postgraduate students and early career scholars. We regularly invite distinguished external speakers to present their research within the department of Classics, but we also encourage students to make the most of the distinctive interdisciplinary dimension that Warwick has to offer to postgraduates working in or across the fields of literary and cultural studies, philosophy, languages and history.
Members of staff
Emmanuela Bakola works primarily on Greek theatre (tragedy, comedy and satyr plays). She is the author of Cratinus and the art of comedy (Oxford, 2010) and co-editor of Greek comedy and the Discourse of Genres (Cambridge, 2013), both of which explore the relationship between ancient comedy and other literary genres, and pursue methodological questions of working with fragments. More recently, she has focused her attention on space in Greek tragedy, and has worked on Greek religion and on the intersection of classics and anthropology. Dr Bakola is currently working on a monograph entitled The Erinyes and the Wealth of the Earth: Cosmos, Nature and Resources in Aeschylean Tragedy, which seeks to demonstrate that Aeschylean tragedy is profoundly preoccupied with humanity’s relationship to the earth and its resources. The book offers a close (re-)reading of five plays that is informed by theoretical work on space, cultural anthropology and classical scholarship. In parallel with this project, she has organised two major symposia, namely Greek Theatre, Landscape and Environment (KCL, Feb 2014), and Locating the Daimonic: Daimones, Spaces and Places in the Greek World (KCL, March 2015) and one workshop, Craft Process and Cultural Response: Making, and thinking about making, in Greco-Roman antiquity (KCL, Oct 2015).
Alison Cooley's research has recently explored literary approaches to epigraphy, analysing how Genette's theory of paratexts can be applied to the Res Gestae and the Senatus Consultum de Cn Pisone Patre. She has interests in bilingualism and translation theory, as presented in her work on the Res Gestae, which tackles the fundamental problem of how the text translated into Greek makes sense within its provincial contexts. She studies the interaction of literature and epigraphy as part of an exploration of the emergence of early imperial ideologies, and is intending to pursue in more detail her work on the SCPP over the next couple of years, which will include detailed analysis of the inscription and Tacitus' response to the trial of Piso in Annales 3. She is also interested in Roman historiography and the construction of the past via monumenta, both literary and epigraphic. She has supervised MAs on Suetonius and the Representation of barbarians in Roman historiography.
David Fearn works on the politics and aesthetics of archaic and classical Greek literature, with a principal interest in the cultural challenges posed by Greek lyric poetry. He is also interested in contemporary approaches to Herodotean historiography and to classical rhetoric. His research focus on lyric, Pindar, and victory odes means that he is particularly interested in the ways literary texts project their voices and raise basic questions about their contextualizability within historical temporalities and social frameworks. He has spent a number of years working on a broad comparativist approach to Pindar’s aesthetics, incorporating recent trends in critical theory, art history, and word and image in classical thought. This culminates in a major new book, Pindar’s Eyes: Visual and Material Culture in Epinician Poetry (OUP, 2017 forthcoming), which includes the first ever treatment of the interconnectedness of ecphrasis, deixis, and the modalities of the lyric voice in Pindar. This work also includes a reassessment of the fundamental position of Simonides within the study of classical art and text. David has forthcoming papers reframing the politics of Alcaeus, and on the challenges of narrative in Greek lyric poetry. He has published articles not only on Pindar and Bacchylides, but also on reception studies and papyrology, and on Herodotus. He edited the 2010 volume Aegina: Contexts for Choral Lyric Poetry (OUP); his first monograph was published in 2007: Bacchylides: Politics, Performance, Poetic Tradition (also OUP). His current project is a new study of the aesthetics and cultural value of Gorgias’ Encomium of Helen. Dr Fearn collaborates with colleagues in Oxford and North America, working to foster comparativist approaches to the poetics of Greek literature, in ways that engage directly with contemporary trends in critical theory and aim to transcend the kinds of historicist approaches often prioritized in the 1990s and 2000s.
Elena Giusti, works on Augustan and imperial Latin literature, and is interested in exploring the junctures between traditional philology, cultural and intellectual history and literary theory. She has published a number of substantial articles and chapters, and her first book, The Enemy on Stage: Carthage and Rome in Virgil’s Aeneid, is forthcoming with Cambridge University Press. Future projects include a further monograph which considers the ‘great unmentioned’ characters and events in Augustan literature, whose unexpected absence can be attributed to conscious or subconscious forms of censorship and repression. The project is taking shape in parallel with an international conference at the University of St Andrews (June 2017) co-organised with Dr Tom Geue, on Absence in Latin literature.
Caroline Petit’s research is focused on the textual transmission, translation and interpretation of ancient medical texts (in particular Galen and Pseudo-Galenic texts) and on medical rhetoric and pharmacology. Her doctoral thesis was dedicated to the pseudo-Galenic Introductio sive medicus (published in 2009 as Galien. Oeuvres, Volume III: Introduction, ou Médecin, Collection des Universités de France, Les Belles Lettres: Paris) and won two national awards in France (Prix Lantier 2010; Prix Raymond Weil 2010). Following a number of substantial articles on the textual transmission of Galen (particularly his major work on simple medicines, De fac. ac temp. simpl. med.), Galenic pharmacology, Galen’s rhetoric, and late antique medicine, she is now completing several new books: a monograph on Galen’s rhetoric (Galien ou la rhétorique de la Providence: médecine, littérature et pouvoir à Rome, under contract with Brill, Mnemosyne Supplements); a shorter essay on medicine ancient and modern (Medicine: Antiquity and its Legacy. Ancients and Moderns. London: I. B. Tauris); and two edited collections, one on Galen’s newly discovered De indolentia (under contract with Brill, Studies in Ancient Medicine) and one on the formation of the Galenic corpus, focusing on pseudo-Galenic texts (with S. C. R. Swain and K. D. Fischer). As a Wellcome Trust University Award Holder (2013-2018), Dr Petit runs a project on ‘Medical Prognosis in Late Antiquity’. This involves producing the first critical edition of five texts from the Galenic corpus devoted to various aspects of diagnostic and prognostic, together with a monograph on medical prognosis in late antiquity. Dr. Petit’s research interests include the reception of ancient medical authors, especially Galen, in the Renaissance, with special interest in Symphorien Champier, Prospero Alpini, and the “Paris Hippocratics” such as Guillaume de Baillou.
Victoria Rimell’s research, which spans many different authors and genres, engages critically with major themes in Roman literature and culture and aims to promote dialogue between classical philology and modern philosophical and political thought. Her main focus is Latin literature from the first century BCE to the second century CE, and she has published books (all with CUP) on Petronius’ Satyricon, Martial’s Epigrams and Ovid’s erotic poetry. Her latest book, The Closure of Space in Roman Poetics (Cambridge, 2015), which won an Honorable Mention in the prestigious 2016 Prose Awards, investigates the relationship in the Roman imagination between retreat, enclosure or compressed space and the idea of a vast, expanding empire. She explores how a spectrum of Roman authors – from Horace, Virgil, Ovid and Statius to Vitruvius, Seneca, Tacitus and Suetonius – explore the trade-off between safe refuge and the intensity of creative and philosophical interaction with the imperial world. More broadly, the book explores the role Rome continues to play in the Western history of ideas to do with dwelling and the uncanny, and includes comparative readings of modern conceptual artworks, as well as of a French novel (Jean-Philippe Toussaint’s Salle de Bain). Victoria has also edited volumes on the ancient novel, and (forthcoming with Winter Press) on imagining imperial space in Greek and Latin texts. She is currently working on a commentary in English and Italian of Ovid’s Remedia Amoris for the Lorenzo Valla series. Also in the pipeline is a project that aims to reassess Senecan philosophical texts in the light of recent work in the emerging field of vulnerability studies, and to explore potential interactions between Senecan texts and the work of continental philosophers. The first research product related to this project, an article entitled ‘Philosophy’s folds: Seneca, Cavarero and the history of rectitude’ was published in 2017 in the feminist philosophy journal Hypatia.
Maude Vanhaelen works on the reception of Antiquity in Renaissance Italy, with a specific focus on the revival of Greek texts through Latin translation and the interaction between paganism and Christianity in the Renaissance. She is particularly interested in the various ways in which Renaissance intellectuals and artists have used imitation as a creative principle to produce new works that imitate Antiquity and at the same time seek to go beyond classical models. She also works on the revival of Greek astrology and magic in the Renaissance, and more specifically on the way in which Renaissance intellectuals negotiated their fascination for esoteric doctrines with their need to conform to Christian dogmas. She is also interested in the process of translation from Latin into vernacular languages, issues of readership, and the role Renaissance women played in the cultural production of the time. Dr Vanhaelen’s latest project, Plato and His Readers, 1400-1600, seeks to provide the first complete census of all Platonic works produced in Italy between 1400 and 1600, and to explore who commissioned Platonic works, who read them, and which Platonic doctrines were of interest. By adopting a new perspective—that of textual circulation and readership—the project demonstrates that a direct transmission of Plato occurred in the 16th century around a new set of cultural, religious and political ideas, (such as the reform of university teaching, Counter-reformation, political/ideological appropriation of culture).
Present and recent MA and PhD students
• Desiree Arbo (PhD): ‘The Uses of Classical Learning in the Rio de la Plata 1750-1820’ (Prof Andrew Laird, Prof Rebecca Earle)
• Ovanes Akopyan (PhD): 'Controversies on astrology in Renaissance Italy' (Dr Maude Vanhaelen)
• Nick Brown (PhD) ‘The poetics of the inscribed body in archaic Greek sculpture’ (Dr David Fearn, Dr Michael Scott)
• Rocco di Dio (PhD): 'Marsilio Ficino's notebooks: a case of renaissance reading practices' (Dr Maude Vanhaelen)
• Aileen Das (PhD): 'Galen's commentary on Plato's Timaeus' (Dr Maude Vanhaelen, Prof. Simon Swain)
• Abigail Flack (MA by Research): 'Suetonius’ approach to biography' (Prof. Alison Cooley)
• Cassia Lonsdale (MA by Research): ‘Translating Euripides’ (Dr David Fearn)
• Simone Mollea (PhD): 'The concept of humanitas in antiquity' (Dr Victoria Rimell, Dr Maude Vanhaelen)
• Dharaa Patel (MA by research): 'The poetics of flight in Ovid' (Dr Victoria Rimell)
• Alexander Peck: 'Haec patria est: the conceptualisation, function and nature of patria in the Roman world’ (Prof. Alison Cooley)
• Paloma Perez-Galvan (MPhil/PhD): ‘From manuscript to printed collection: exploring Latin epigraphy in Italy and Southern France’ (Prof. Ingrid De Smet, Prof. Alison Cooley)
• John Roberts (PhD): 'The prolegomena of La Cerda'a commentary on Virgil: a commented edition' (Prof Andrew Laird)
• Martina Russo (PhD): 'Adulatio in Seneca the Younger' (Dr Victoria Rimell)
• Emmy Stavropoulou (PhD): ‘Metals and metalurgy in archaic and classical Greek Literature’ (Dr David Fearn, Dr Emmanuela Bakola)
• Alessandra Tafaro (Mphil/PhD): 'Martial and the Epigraphic Tradition' (Prof. Alison Cooley, Dr Victoria Rimell)
• Rebecca Taylor (PhD): 'Micro- and macrocosm: the human body and the natural environment in archaic and classical thought' (Prof Simon Swain)