Saturday, February 28, 2026

Achilles Unbound: Multiformity and Tradition in the Homeric Epics

Achilles Unbound: Multiformity and Tradition in the Homeric Epics 
Casey Dué
  

Hellenic Studies Series 

Though Achilles the character is bound by fate and by narrative tradition, Achilles’s poem, the Iliad, was never fixed and monolithic in antiquity—it was multiform. And the wider epic tradition, from which the Iliad emerged, was yet more multiform. In Achilles Unbound, Casey Dué, building on nearly twenty years of work as coeditor of the Homer Multitext, explores both the traditionality and multiformity of the Iliad in a way that gives us a greater appreciation of the epic that has been handed down to us.

Dué argues that the attested multiforms of the Iliad—in ancient quotations, on papyrus, and in the scholia of medieval manuscripts—give us glimpses of the very long history of the text, access to even earlier Iliads, and a greater awareness of the mechanisms by which such a remarkable poem could be composed in performance. Using methodologies grounded in an understanding of Homeric poetry as a system, Achilles Unbound argues for nothing short of a paradigm shift in our approach to the Homeric epics, one that embraces their long evolution and the totality of the world of epic song, in which each performance was newly composed and received by its audience.

 

Dué, Casey. 2018. Achilles Unbound: Multiformity and Tradition in the Homeric Epics. Hellenic Studies Series 81. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Due.Achilles_Unbound.2018.


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Practitioners of the Divine: Greek Priests and Religious Officials from Homer to Heliodorus

  

“What is a Greek priest?” This volume, which has its origins in a symposium held at the Center for Hellenic Studies in Washington, D.C., focuses on the question through a variety of lenses: the visual representation of cult personnel, priests as ritual experts, variations of priesthood, ideal concepts and their transformation, and the role of manteis. Each chapter looks at how priests and religious officials used a potential authority to promote themselves and their posts, how they played a role in conserving, shaping and reviving cult activity, how they acted behind the curtain of polis institutions, and how they performed as mediators between men and gods. It becomes clear that Greek priests had many faces, and that the factors that determined their roles and activities are political as well as historical, religious as well as economic, idealistic as well as pragmatic, personal as well as communal.

Dignas, Beate, and Kai Trampedach, eds. 2008. Practitioners of the Divine: Greek Priests and Religious Figures from Homer to Heliodorus. Hellenic Studies Series 30. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_DignasB_and_TrampedachK_eds.Practitioners_of_the_Divine.2008.


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Comparative Anthropology of Ancient Greece

 
 
Comparative Anthropology of Ancient Greece looks at the anthropology of the Greeks and other cultures across space and time, and in the process discovers aspects of the art of comparability. Historians and ethnologists can pool a wealth of knowledge about different cultures across space and time. Their joint task is to analyze human societies and to understand cultural products. Comparative analysis involves working together in an experimental and constructive enterprise. Marcel Detienne, alerted by dissonances, tries to see how cultural systems react not just to a touchstone category, but also to the questions and concepts that arise from the reaction. What does it mean to found something, or rather to establish a territory, or to have or not have roots? What is a site or a place? 

 

Detienne, Marcel. 2009. Comparative Anthropology of Ancient Greece. Hellenic Studies Series 17. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Detienne.Comparative_Anthropology_of_Ancient_Greece.2009.


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The Theban Epics

  

In antiquity, the story of the failed assault of the Seven against Thebes ranked second only to the Trojan War. But whereas the latter was immortalized by Homer’s Iliad, the account of the former in the epic Thebais survives only in fragments preserved in later authors. The same is true of the Oedipodeia and Epigoni, which dealt respectively with events leading up to the Seven’s campaign and with the successful assault on the city in the next generation. The Thebais was probably the most important of the three—certainly more and longer fragments of it have survived—and it has been alleged that its recovery would tell us more about Homer than any comparable discovery.

Paradoxically, these fragments suggest very un-Homeric content and style (in particular its detail of the hero Tydeus forfeiting immortality by gnawing on the head of a dying enemy). The same is true of the epic Alcmaeonis, named after one of the Epigoni, whose few surviving fragments pullulate with un-Homeric features. Malcolm Davies provides the first full commentary on all four epics’ fragments. He attempts to set them in context and examines whether artistic depictions of the relevant myths can help reconstruct the lost epics’ contents.

Davies, Malcolm. 2015. The Theban Epics. Hellenic Studies Series 69. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_DaviesM.The_Theban_Epics.2015.

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Friday, February 27, 2026

The Cypria

 

Hellenic Studies Series

The Cypria, so named because its poet supposedly came from the island of Cyprus, was an early Greek epic that is known to us primarily through quotations and references to passages by later authors, as well as through a prose summary of its plot and contents. Malcolm Davies uses linguistic evidence from the available verbatim fragments, along with other considerations, to suggest that the Cypria was written after Homer and was intended as a sort of prequel to the plot of the Iliad. In light of this evidence, it is noteworthy that many of the incidents described in the Cypria seem markedly un-Homeric; to give just one example, the Judgment of Paris, a popular subject in later Greek literature and art, most likely received its first detailed treatment in the Cypria, whereas the Iliad mentions it only fleetingly. Here Davies collects and translates the extant fragments of the Cypria and provides a commentary that anchors it in the Homeric context as well as in the broader world of ancient Greek art and literature 

Davies, Malcolm. 2019. The Cypria. Hellenic Studies Series 83. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_DaviesM.The_Cypria.2019.


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The Aethiopis: Neo-Neoanalysis Reanalyzed

 

Hellenic Studies Series 

It may seem odd to devote an entire book, however short, to a lost epic of which hardly any fragments (as normally defined) survive. The existence of a late prose summary of the epic’s contents hardly dispels that oddness. One (rather long) word may supply justification: Neoanalysis.

This once influential theory held that motifs and episodes in the Iliad derive from the Aethiopis, called thus after an Ethiopian prince who allied with Troy against the Greeks, only to be killed by the Greeks’ greatest hero, Achilles. The death of that hero himself, at the hands of Paris, was then described, followed by the suicide of Ajax and preparations for the sack of Troy. The prose summary thus suggests a sequel to Homer’s poem, rather than its source, and for various reasons, especially the theory’s apparent failure to allow for the concept of oral composition, Neoanalysis fell into disfavor. Its recent revival in subtler form, given its vast potential implications for the Iliad’s origins, has inspired this volume’s critical reappraisal of that theory’s more sophisticated reincarnation. In addition, even more than with other lost early epics, the possibility that Greek vase paintings may reflect episodes of the poem must be examined.

 

Davies, Malcolm. 2016. The Aethiopis: Neo-Neoanalysis Reanalyzed. Hellenic Studies Series 71. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_DaviesM.The_Aethiopis.2016.

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Open Access Journal: Dotawo: A Journal of Nubian Studies

 [First posted in AWOL 13 June 2014, updated (new URLs) 27 February 2026]

Dotawo: A Journal of Nubian Studies
Nubian studies needs a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-­Saharan linguistics, and critical and theoretical approaches present in post­colonial and African studies.

 The journal Dotawo: A Journal of Nubian Studies brings these disparate fields together within the same fold, opening a cross­-cultural and diachronic field where divergent approaches meet on common soil. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.

 We embrace a powerful alternative to the dominant paradigms of academic publishing. We believe in free access to information. Accordingly, we are proud to collaborate with DigitalCommons@Fairfield, an institutional repository of Fairfield University in Connecticut, USA, and with open-access publishing house punctum books. Thanks to these collaborations, every volume of Dotawo will be available both as a free online pdf and in online bookstores.
Volume 9, 2026

Articles

Introduction

From Homescape to Flora Landscape

In Sudan, the study of earthen construction materials is very rare, mudbricks were and still are widely used as building materials in many regions. This paper gives a new perspective for applying the technique of extorted plant remains from mudbrick in Sudan. The material was collected during the fieldwork of Mahas Archaeological project in April 2019 from four Christian mudbrick sites, approximately four kilograms (one kilogram from each site). The material was soaked in water for six hours to dissolve the hard mud and sand. Two metal sieves with a mesh size of 0.5 and 1 mm were used. The separated material was dried and examined under binoculars and for identification fresh seed was used as a reference collection and determination literature. Seven plant species were as seeds, fruits were extracted and identified. These include *Triticum aestivum, Hordeum vulgare, Sorghum bicolor, Setaria italica, Adansonia digitate, Acacia nilotica* and *Cyperus rotundus*. In addition, some large unidentified deposits of glumes of wild grasses (of the Poaceae family) were presented in the samples from the four sites. Some animal dung and insect remains were separated during the sorting processing of the plant macro-remains. The archaeobotanical evidence from these four Christian mudbrick sites in El Mahas region provided evidence of the economy and flora landscape in this area. This flora can be divided into three types, i.e. riverine wild flora, cultivated flora, and wild trees.

A Bioarchaeological Approach to Everyday Life: Squatting Facets at Abu Fatima

Human skeletal remains adapt throughout the life course, thereby recording a lived experience. Bioarchaeologists can interpret skeletal data in light of everyday life, a crucial component to social practice, structure, and transformation. In this article, I examine tibial squatting facets, as an embodied product of repetitive squatting, to elucidate everyday life in Bronze Age Nubia. I use the site of Abu Fatima (2500-1500 BCE, Third Cataract) as a case study. At Abu Fatima, 95% of individuals (20/21) had squatting facets, suggesting the vast majority of the population repetitively engaged in a squatting position throughout their lifecourse. This included men and women of all ages. This is much higher than most other comparative studies on tibial squatting facets. Additionally, I reference previous strontium isotope analysis to speak to whether or not migrants or locals were more likely to squat. Both groups, were squatting with regularity. While we cannot speak to the exact activities that were being done while squatting, this study posits a few suggestions and draws an interesting line of continuity between the daily lives of ancient and modern Nubian populations.

Textiles Activities in Context: An Example of Craft Organization in Meroitic Sudan

In Sudan and Nubia, textile implements such as spindle whorls and loom weights are common finds, especially in the excavations of both rural and urban Meroitic settlements. This paper will focus on restoring the textile implements to their archeological locations in order to identify and understand the context of textile activities within the two settlements of Tila Island and Meroe-city. The two sites - a small rural settlement on one hand and the royal capital city on the other hand - offer various examples of how craft production was integrated amidst the Meroitic urban landscape. From domestic production inside living quarters to the creation of multi-tasking industrial areas, the making of textiles was tightly woven into the economic fabric of the Meroitic kingdom.

The Use and Experience of Painting Materials in Ancient and Modern Nubia

Homes in Nubia are decorated by their inhabitants, using materials from the landscape around them. This has been the case for thousands of years. Taking the ancient town of Amara West (c. 1250 BC--800 BC) and the modern residents of its environs as a case study, the procurement and application of painting materials and their social implications are considered, using archaeological evidence and recently conducted interviews. The ancient evidence includes paint on walls, pigments, paint palettes, grindstones, and painted coffins, samples of which were scientifically analysed to determine the pigments and binders used. Twelve interviews were conducted via translator with modern residents living near to Amara West about their use of paint in their houses, including how they collected painting materials, when painting took place, and who was responsible. Several paints were re-created with tools and materials that were used by the ancient population in order to experience the process and consider it from a sensory perspective. Taking all of this evidence as inspiration, several fictional passages have been added to attempt to imagine ancient events relating to paint making and use.

A House Against Housing: Post-Displacement Nubian Domesticity

This text discusses the displacement of the Nubian community and their houses due to hydropower projects, particularly the Aswan Low Dam, and subsequent developments. The impact of these projects led to economic hardships, male migration to urban areas for work, and women managing the Nubian houses. Despite these challenges, the Nubian community displayed resilience in rebuilding their villages. The text also examines the housing project initiated by the state for resettlement, known as \"New Nubia", by the state but referred to unfavorably as \"*Al Tagheer*\" by Nubians. The planning and implementation of this project were criticized for not adequately considering the Nubian culture and community needs, resulting in dissatisfaction among residents. Here, I highlight how Nubians took matters into their own hands, making modifications to the state-built dwellings to align them with their cultural norms. Nubian women played a crucial role in these modifications and the construction of houses, displaying their resilience and adaptability.

Nubian Architectural and Environmental Features Before and After Displacement: The Model of the Village Tūmās wa ʿĀfya

This essay concerns the history of the three main Nubian groups that were displaced as a result of the building of the Aswan High Dam, and their reactions to this displacement. The loss of their homes was a traumatic experience for most Nubians, as the house was more than just a physical object for them. These were valued spaces, where day-to-day existence, festivities, and family customs unfurled. The Nubian house was imbued with social importance, addressing the heredity of a family and a community. The resettlement that the families had to endure cut off the associations with these social and hereditary spaces, leaving a void that the new homes couldn't fill. This paper compares traditional old Nubian homescapes before relocation with the new governmental dwellings built for them following their forced displacement. I have focussed upon the village of Tomas wa 'Afya, which was located 220 kilometers south of the town of Aswan, discussing the history of the village, the houses that were built there, and the failures of the government's promises to the people. While the families that were displaced were deeply disappointed in the new area and houses, they were eventually able, through their resilience and resourcefulness, to retain a lot of the aspects and details of their heritage, habits, and traditions.

Remaking Home After Displacement: A Case Study From Egyptian Nubia

For centuries, the Nubians lived between the First and Fourth Cataracts of the Nile as an ethno-linguistic group united by their language, customs and distinctive architecture. However, the construction of the High Dam in 1964 forced the displacement of Nubians from their homeland to another location completely different to the environment in which the Nubian culture arose and developed. In this research I examine the daily life in the Nubian village Abu Hor in Old and New Nubia as a case study to explore how the Nubians tried to regain the sense og being-at-home in the aftermath of their displacement. I use auto-ethnographic tools to explore the material and social techniques they had developed to create a sense of home in New Nubia. The research demonstrates how the displacement of Nubians and the changing spatial context have deeply affected their culture, and how they used and adapted their culture to overcome alienation feelings and displacement by remaking their homes and homeland in the new settlement.

Nubian Women’s Bridal Rooms

The article discusses the decoration of wedding rooms in Egyptian Nubia before the resettlement of the population due to the construction of the Aswan High Dam in 1964. In the former Nubian villages, it was the task of a bride to decorate a special place, the so-called bride’s room, before the marriage. This activity was part of the extensive house-decoration, consisting foremost of wall paintings, which the women painted with earth colors on their home’s outer and inner walls. Their rich and often opulent adornment with three-dimensional objects made the Nubian bridal rooms particular. Homemade handiwork hung up on the walls or suspended from the ceilings formed the main feature of the room’s design. On top of this, a mixture of peculiar items was displayed. These could be anything the brides considered valuable and composed inventively into an artistic design, whether as an assemblage or as “objets trouvés”. The custom to furnish a bridal room in this manner was discontinued after the Nubians were moved to the new villages north of Aswan. The article is a part of my forthcoming publication “Colors of Nubia, the lost art of women’s house decoration”.

Houses of Egyptian Nubia: West Aswan — Then and Now

Most of the Nubians in Sudan and Egypt were relocated when the Egyptian High Dam was constructed in 1964, but not all of them were. Several Nuban villages sitting north of the High Dam were in no danger of inundation, and were not evacuated. The houses which the Nubians built and continue to build in these villages, distinctive and beautiful, continue to be cherished by their owners. Here I present photographs of the houses in the village of West Aswan, where I lived for 3 ½ years, showing traditional as well as more modern styles, to demonstrate that the extraordinary Nubian culture, ancient as it is, has not disappeared despite great change.

Stereotypes and Negative Indexes of the Nubians in Egypt

This paper examines the stigmatized portrayal of Nubians, particularly Fadija and Kunuz speakers, in Egyptian media, focusing on negative stereotypes that continue to permeate these representations. Nubian speakers of Fadija and Mattoki are frequently depicted as unintelligible in Arabic, blackfaced, and confined to lower-class roles. Terms such as 'barbari' (barbarian), and 'bijtkalem ʕarabi mekasar' (speaking broken Arabic) reinforce social and racial biases, fostering prejudice and discrimination. As a result, some Nubians feel compelled to adopt Arabic to avoid mockery and marginalization. Nonetheless, many Nubians remain resolute in preserving their mother tongues to maintain cultural identity, linguistic heritage, and ideological values. Applying the theory of indexicality, this study explores how both linguistic and non-linguistic elements—including language, dress, occupation, skin color, and character traits—are utilized in media to perpetuate negative stereotypes. It underscores the importance of learning Nubian languages at home to sustain linguistic diversity and preserve cultural values deeply rooted in Nubian homescapes. The study reveals how media producers deliberately create and reinforce negative racial and social indexes, shaping public perceptions of Nubians. It also investigates how Nubian speakers perceive and resist these stereotypes by preserving their language and culture within their households. Nubian homes are presented not merely as physical dwellings but as vibrant embodiments of history, identity, and social structure. While Arabic proficiency is associated with prestige and social status in domains such as education, religion, and media, the paper emphasizes the need for public awareness and counter-narratives to foster positive representations of Nubian language and culture. It concludes that language preservation within the home is crucial for cultural continuity and combating negative portrayals of Nubians in Egyptian media.

The Homescapes of the Manasir: A Book Review of Welsby, Derek A. (ed.), Archaeology by the Fourth Nile Cataract.

This book review discusses the first volume in the series announced by the Sudan Archaeological Research Society to present the results of their work within the Merowe Dam Archaeological Salvage Project. It places particular emphasis on how the theme of the volume—“Homescapes”—is expressed in the context of the Archaeology of the Fourth Nile Cataract, with a focus on the homescapes of the Manasir, the people who lived in this region.

A Conversation with Khalid Shatta

Anna Boozer interviewed visual artist Khalid Shatta about his artwork and its relationship to homelife over Zoom on August 22nd 2024. The following interview offers a transcript of that conversation, while smoothing over side comments and transitions.

 

 


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