Mohammad Almohanna obtained his PhD, Carnivalesque in Satyr Play (supervised by Alan Sommerstein), from the University of Nottingham in 2012. He is currently Assistant Professor at the Higher Institute of Dramatic Arts in Kuwait.
He returned to Nottingham in 2014 to give a paper, Antarah Ibn Shaddãd: Heracles of Arabia at the Classical Association AGM. He is a contributor to the Handbook to the Reception of Greek Drama. He is a contributor to the Encyclopaedia of Greek Comedy.
, Department of Classics, University of Buenos Aires, Argentina
Emiliano Buis studied in Nottingham in 2006; his PhD, Comic Justice: Uses and Abuses of Athenian Law in Aristophanes’ comedies, 427-414 (University of Buenos Aires, 2009), was co-supervised by Alan Sommerstein. Having qualified in both Classics and Law, he has always worked from an interdisciplinary perspective.
He is Assistant Professor in Greek at the University of Buenos Aires, a researcher at the National Council for Science and Technology (CONICET) in Greek Philology, and currently supervising a research project on normativity in classical Athens in Argentina. He also holds a tenured position at the Law School at Buenos Aires. He has held fellowships at the Harvard Center for Hellenic Studies in Washington DC and from the Alexander Onassis Foundation in Athens. He is a contributor to the Encyclopaedia of Greek Comedy and the Handbook to the Reception of Greek Tragedy.
Judith Fletcher was a regular visiting scholar at the University between 2004 and 2006. She was a key member of the Leverhulme Trust-funded Oaths Project, co-editing Horkos: The Oath in Greek Society (2007) with Alan Sommerstein and contributing to Oaths and Swearing in Ancient Greece (2014). See our publications page for more details.
She is Professor in the Department of History at Wilfrid Laurier University (Waterloo, Ontario). Her research on Greek Drama is concerned with the intersections of gender, law and religion in the context of the Athenian democracy; she is currently working on a book entitled Engendering Law in Ancient Greek Drama, funded by grants from the Social Science and Humanities Research Council of Canada (SSHRC).
Kyriaki Konstantinidou obtained her PhD, Legousa tēn kakēn aran: cursing in Aeschylus’ Oresteia (supervised by Alan Sommerstein), from the University of Nottingham in 2009 as part of the Leverhulme Trust-funded Oaths Project.
She is currently Onassis Foundation Teaching Fellow at Bosphorus University, Istanbul. Her research interests are in Archaic and Classical Greek Literature and Culture, Ancient Greek Religion and Literary Texts, and Greek Drama. She contributed the chapter “Oath and curse” to Oaths and Swearing in Ancient Greece (Sommerstein and Torrance, 2014). She is a contributor to the Encyclopaedia of Greek Comedy. See our publications page for more details.
, Department of Classical Philology, University of Zurich, Switzerland
Gunther Martin was postdoctoral Advanced Research Fellow at Nottingham in 2010-2011. He was previously SNSF fellow at the Institute for Classical Philology, University of Bern, and is now SNSF professor at the University of Zurich. He is interested in communication conventions in Greek drama and Greek oratory.
, Department of Classics and Ancient History, University of Durham
Sarah Miles obtained her PhD, Strattis, Comedy and Tragedy (supervised by Alan Sommerstein), from the University of Nottingham in 2009. She is currently Lecturer in Classics and her interests include Greek drama and paratragedy (5th–3rd centuries BCE); Greek cultural history; the popularisation of Greek drama in the ancient world; Greek and Roman comic genres and reception (esp. in animation).
Sarah returned to Nottingham in 2014 to contribute to the panel marking Alan Sommerstein’s retirement, Talking about Laughter: Responses to Aristophanes and Alan Sommerstein, at the Classical Association AGM.
She is a contributor to the Encyclopaedia of Greek Comedy and the Handbook to the Reception of Greek Drama (see our publications page), and is working on a monograph on Greek Tragedy and its Reception in the Fragments of Old Comedy.
Cressida Ryan obtained her PhD, Eighteenth-century responses to Sophocles' Oedipus at Colonus (supervised by Judith Mossman), from the University of Nottingham in 2010. She is currently Instructor in New Testament Greek in the Theology Faculty at the University of Oxford. She is working on Early Modern Latin drama, including Latin editions and translations of Greek tragedy, and Jesuit Neo-Latin drama, as well as on the relationship between Greek tragedy and musical theatre, particularly opera.
Cressida returned to Nottingham in 2014 to give a paper entitled: From Alexander to Xerxes, Triumphant Tragedy and Tragic Triumph on the British Stage at the Classical Association AGM.
, Associate Professor, Aarhus Institute of Advanced Studies, Aarhus University, Denmark
Isabelle Torrance was post-doctoral fellow on the Leverhulme Trust-funded Oath Project at the University of Nottingham from 2004 to 2007, which culminated in the publication of Oaths and Swearing in Ancient Greece (2014), co-edited with Alan Sommerstein. Before that she obtained her PhD, on Euripides' Iphigenia among the Taurians (supervised by Judith Mossman), from Trinity College Dublin in 2004.
She was previously Associate Professor of Classics at the University of Notre Dame, and is now Associate Professor, Aarhus Institute of Advanced Studies, Aarhus University, Denmark. She is working on Irish adaptations of Greek tragedy. She is a contributor to the Encyclopaedia of Greek Comedy.
, Department of Classical and Archaeological Studies, University of Kent
Rosie Wyles was Leverhulme Early Career Research Fellow at the University of Nottingham in 2009-2011. Before that she studied Classics at Oxford, and obtained her PhD on the role of costume in the ancient performance reception of Euripides’ Telephus, Heracles and Andromeda from the University of London.
She has been involved with the Archive of Performances of Greek and Roman Drama, Oxford since 2004. While at Nottingham, she co-edited The Pronomos Vase and its Context (2010) with Oliver Taplin and produced a monograph, Costume in Greek Tragedy (2011). She is currently Lecturer in Classical Literature and History at the University of Kent. She is a contributor to the Encyclopaedia of Greek Comedy and the Handbook to the Reception of Greek Drama.
Andreas Antonopoulos is post-doctoral fellow at the University of Patras in Greece. His research focused on ancient Greek satyr-play, and he hosted a conference on this topic in July 2016.
He is currently preparing a new edition with translation and commentary of Sophocles’ fragmentary satyr-play Ichneutai (‘The Trackers’), the best preserved satyr-play after Euripides’ Cyclops, so is very significant for our understanding of a genre of Greek drama much less known than Tragedy and Comedy. The project is funded by a fellowship from the C. Carathéodory Programme for Postdoctoral Research.
David Carter obtained his PhD, The Political Philosophy of Sophocles (supervised by Alan Sommerstein), from the University of Nottingham in 2002. He is currently Head of ISLI at the University of Reading.
His CADRE-related publications include The Politics of Greek Tragedy (2007) and Why Athens? A reappraisal of tragic politics (2011). He is a founder member and co-director of an international network on the Legacy of Greek Political Thought. His work focuses on the ancient Greek and modern theories of rights.
David returned to Nottingham in 2014 to contribute to the panel marking Alan Sommerstein’s retirement, Talking about Laughter: Responses to Aristophanes and Alan Sommerstein at the Classical Association AGM.
Laura Gianvittorio was a visiting scholar at the University of Nottingham in 2013. She obtained her PhD from the University of Palermo in 2008 and, following a series of posts in Germany and Austria, is currently working on a postdoctoral research project at the University of Vienna.
At both Nottingham and Vienna she has been working on Aeschylus’ diegetic drama, investigating the functions of narrative in Aeschylus. She is also very interested in ancient theatrical dances.
, Department of Classical Studies, McGill University, Canada
Lynn Kozak obtained her PhD, Hektor: Relationships and Characterisation in the Iliad (supervised by Alan Sommerstein), from the University of Nottingham in 2009, as part of the Leverhulme Trust-funded Oath Project. While in Nottingham she co-edited Playing around Aristophanes (2006) and directed a student production of Sophocles’ Trachiniae accompanied by a one-day conference on Modern Perceptions and Productions (2006).
She is currently Assistant Professor of Classical Studies at McGill University, where she organises the annual McGill Classics Play and is co-director of Oimoi Productions.
She contributed to Sommerstein and Torrance, Oaths and Swearing in Ancient Greece (2014), and returned to Nottingham in 2014 to convene a panel marking Alan Sommerstein’s retirement, Talking about Laughter: Responses to Aristophanes and Alan Sommerstein, at that year’s Classical Association AGM.
Peter Meineck obtained his PhD, Opsis: the visuality of Greek drama (supervised by Alan Sommerstein), from the University of Nottingham in 2011. He has worked in professional theatre as a technician, production manager, designer, producer and director.
In 1991 he founded Aquila Theatre, was its artistic director until 2011, and still serves on the board. He also created Aquila’s education programme at Frederick Douglass Academy in Harlem and Aquila’s national theatre education programmes.
He is currently Clinical Professor of Classics at New York University. He has published several volumes of translations of Greek comedy and tragedy with Hackett (his translation of Aeschylus’ Oresteia was awarded the 2001/2 Louis Galantiere Award). He is a contributor to the Handbook to the Reception of Greek Drama.
, School of History, Classics and Archaeology, University of Edinburgh
Richard Rawles was Teaching Associate in Classics at the University of Nottingham from 2011 to 2015, during which time he carried out extensive teaching on Greek tragedy, convening the first-year module Interpreting Ancient Literature and the third-year special subject Suffering on Stage: Approaches to Greek Tragedy, and leading seminars for Euripides: Experiments in Tragedy. See the related studies page.
He is currently Lecturer in Greek at the University of Edinburgh. Richard’s primary research focus is Greek lyric poetry, and he has also worked on Aeschylus and Aristophanes.
Giulia Torello-Hill obtained her PhD, Eupolis and Attic Comedy (supervised by Alan Sommerstein), from the University of Nottingham in 2006. She is a specialist in ancient drama and its reception in the Early Italian Renaissance. She has lectured at Monash University and the University of Queensland in Australia, and was previously the 2015-2016 Fellow at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies in Florence.
Her current research focuses on the humanist exegesis of classical dramatic texts, and on the intellectual developments that underpinned the revival of classical theatre at the end of the 15th century. She recently co-edited Terence between Late Antiquity and the Age of Printing (2015). She is a contributor to the Encyclopaedia of Greek Comedy.
Peter von Möllendorff visited the University of Nottingham in 2010. He is Professor of Classical Philology at the University of Giessen and works on Greek drama and Imperial literature.
He has published numerous works on Greek drama, including on the Aesthetics of Old Comedy (Grundlagen einer Ästhetik der Alten Komödie. Untersuchungen zu Aristophanes und Michail Bachtin (1995). He is particularly interested in the digital reconstruction of ancient theatre. He is a contributor to the Encyclopaedia of Greek Comedy.
Ioanna Papadopoulou is the modern Greek translator of Alan Sommerstein’s Greek Drama and Dramatists. She is Assistant Professor of Classics at the Democritus University of Thrace, where she teaches Greek and Roman theatre to undergraduates and postgraduates.
She is working on a translation into modern Greek of Seneca’s Oedipus, and on a monograph entitled Aeschylus on Love.