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The Cambridge Greek and Latin Classics Series is central to the University's commitment to the teaching and spread of knowledge of Greek and Latin at a time when these languages are under increasing pressure in schools and HEIs. Hardie, Hunter and Oakley are General Editors of a series of Greek and Latin texts with commentaries aimed at a broad public readership, from the higher levels of school onwards. This series, now numbering 94 volumes in print, has, through its international adoption in schools and colleges, greatly broadened the range of texts which are accessible at all levels and changed the way these texts are read and studied. The series has huge brand recognition as `the Green and Yellows' (or `Green and Golds' in the USA) and has had considerable economic impact within the book market.
Diogenes, created solely by Peter Heslin, is a freely distributed, open-source programme which enables access to all the major databases of classical Greek and Latin texts that have been in public circulation since the mid 1980s. Diogenes has had a significant and lasting impact on the education and cultural life of many of its tens of thousands of users. Some of these are professional classicists, who utilize it for both research and teaching. But a much larger part of the user population consists of students and non-academic readers of ancient Greek and Latin. Diogenes makes available to them the whole corpus of classical literature in the original languages. It also provides integrated morphological tools and lexica to support the needs of both language learners and more advanced readers. Diogenes has also had a significant and enduring impact on the movement towards open access publishing of digital resources for classics worldwide.
Papyrological research since 1993 by Oxford scholars has led to important new discoveries that have promoted increased public understanding and discussion of ancient literature and history. Research on documentary papyri has led to greater awareness of daily life in Oxyrhynchus, a Graeco-Roman provincial capital in central Egypt. The publication and translation of a new poem by Sappho has led to its inclusion in new translations of Sappho and ancient Greek lyric by leading publishers. Major Digital Humanities projects, Oxyrhynchus Online and Ancient Lives, have made the Oxyrhynchus papyri available to the public through the use of a web interface. Mass participation facilitated by the project has received wide publicity for increasing the engagement of the public with the methods and materials of scientific research. The website has had a major pedagogical impact through its use in schools.
Research at Newcastle has been instrumental in developing an internationally recognised research collection of ancient Greek and Etruscan artefacts. Research insights directly influenced how the Shefton Gallery was presented in the Great North Museum: Hancock (GNM), and in particular informed the labelling and interpretation of the objects. By adding meaning and context to the artefacts, the research thus enabled museum staff to: i) deliver public lectures on the research collection thereby resulting in loans to national and international museums; and ii) develop educational resources and events (including worksheets, workshops and object loan boxes) to support innovative teaching in schools and universities. The research has therefore informed the understanding of the Ancient Greek and Etruscan past of the hundreds of thousands of visitors who visit the GNM annually as well as thousands of school-age children and students.
University of Glasgow researchers have utilised cutting-edge 3D imaging techniques to enlarge miniature 4th century Greek theatre masks into life sized objects, transforming how these masks are displayed as museums artefacts and used in performance. Full-size reconstructions of the masks are now on permanent display in the Kelvingrove Art Gallery and Museum, Glasgow — seen by more than 1 million visitors annually — and exhibitions featuring the reconstructions have toured across the UK and Ireland. These masks are also now incorporated into the work of theatre groups in the UK and Italy, highlighting the influence of a lost European masked theatre practice on the foundation of modern drama.