Sappho 44: Creativity and 
Pedagogy with Ancient 
Poetry, Pottery, and 
Modern Animation
Sonya Nevin*
Stories told from alternative perspectives; beautiful poetry ad-
dressing women’s lives; a female artist making such an impact that 
other artists create imaginative portraits of her; a fan fiction prequel 
of a popular classic. This is not a combination that immediately scre-
ams “classical antiquity,” yet this is what Sappho can offer us. While 
she is little-known beyond those who are already ancient world en-
thusiasts, she is a compelling figure whose life and work can inspire 
real interest and engagement amongst non-specialists. This article 
will discuss the creation and pedagogy of a new Sappho-focused ani-
mation, a freely available resource featuring ancient pottery, poetry, 
and music, which will facilitate teaching and learning on a variety 
of topics.
The animation was created by the Panoply Vase Animation Pro­
ject, a project which combines my work as an ancient historian with 
that of animator Steve Simons to create original animations from 
ancient artifacts. The animations are made from the scenes which 
decorate ancient pottery, with the images adapted for movement in 
order to draw out the content of the original scenes. We have been 
making these animations for ten years and they have proved popular 
in museums, schools, universities, and amongst those simply explo-
ring antiquity for pleasure. The animations can be seen in a num-
ber of museums and on the project website. There, they are housed 
alongside supporting materials such as information about the pots 
that they are made from, relevant ancient topics, activity sheets, and 
a blog with details of ancient pottery-related projects and research. 
* University of Roehampton, Grove House, Roehampton Lane, London, sw15 5pj, 
uk; sonya.nevin@roehampton.ac.uk.
doi: https://doi.org/10.4312/clotho.1.2.5–15
SONYA NEVIN6
The Sappho animation belongs to a group of five and was crea-
ted as part of a wider project, the erc-funded Our Mythical Child­
hood … The Reception of Classical Antiquity in Children’s and Young 
Adults’ Culture in Response to Regional and Global Challenges.1 This 
is an international project analyzing the roles that classical antiquity 
plays in modern young people’s culture around the world. The ani-
mation’s full name is Sappho 44: Hector and Andromache; A Wed­
ding at Troy. It is being created from a vase in the National Museum 
in Warsaw (142333 mnw). The four further animations are being 
made from pots in the same collection. They are: Heracles and the 
Erymanthian Boar, made from a black-figure amphora and telling 
the story of that Labour; Iris – Rainbow Goddess, a 3D animation 
made from a red-figure hydria; Libation, featuring Zeus and Athena 
on a red-figure hydria; and Dionysus, a theatrical extravaganza on a 
red-figure krater.2
Sappho 44 has been created from an Attic hydria of the kalpis 
type, a three-handled pot with rounded shoulders.3 The pot dates 
from the late sixth century, around 510‒500 bc. It is rendered stri-
kingly in the Six technique – all black except for the loop-patterned 
vertical section of the rim and the marks creating the single decora-
tive figure, Sappho. She is positioned centrally, opposite the pouring 
handle. Her image is rendered via the lines that create the outlines 
and spots of her half-length sleeved, black, spotted dress. Her face, 
forearm, hands and feet are picked out in white, which forms a con-
trast with the dark tone of the whole. Her back foot is raised at the 
heel, suggesting gentle movement and adding a degree of vitality. 
Her black hair is held up in a loose bun at the nape of her neck and 
dressed. A pendant earring hangs down from her earlobe within an 
escaped loop of hair that appears golden having not fired in the same 
1 This project has received funding from the European Research Council (erc) 
under the European Union’s Horizon 2020 Research and Innovation Pro-
gramme under Grant Agreement No. 681202, Our Mythical Childhood … The 
Reception of Classical Antiquity in Children’s and Young Adults’ Culture in 
Response to Regional and Global Challenges, erc Consolidator Grant (2016–21). 
It is led by Professor Katarzyna Marciniak of the Faculty of Artes Liberales at the 
University of Warsaw.
2 These animations have been created from vases in the National Museum in 
Warsaw: Heracles and the Erymanthian Boar, 198042/a-b mnw; Iris, 142289 mnw; 
The Gods, 142460 mnw; Dionysus, 142355 mnw. We would like to acknowledge 
the assistance of Dr. Alfred Twardecki in accessing the vases.
3 Sappho: National Museum in Warsaw (142333 mnw); Corpus of Attic Vase 
Inscriptions (cavi) Vase Number 51; Attic Vase Inscriptions (avi) 8002; www.
beazley.ox.ac.uk/record/A3F0DFBF-E6C8-4255-8147-18AD8A567F5B. 
SAPPHO 44 7
manner as the rest of her hair. A double-string necklace encircles her 
throat. Her head is positioned very slightly forward atop her neck, 
not tipped back in the manner frequently used to depict singing. Her 
eye is large, and her eye and mouth together suggest a slight smile. 
She is holding a barbiton, a kind of large deep-toned lyre. The base 
of it sits against her midriff, with her left hand just visible against 
the seven strings. Her right hand, palm down, contains a plectrum, 
which is attached to the lyre by a long white loop that hands down 
loosely. The hand with the plectrum is held out slightly as if she has 
just strummed the barbiton. In case there was any doubt who this 
figure is, her name is inscribed in between her right hand and the in-
strument, although it is not the clearest caption, reading: “Φ ΣΑΦΟ,” 
with irregular phi and the “s” a three-stroke sigma.
In his Greek Lyric 1: Sappho and Alcaeus, David A. Campbell 
provides the text for fragment 44 (from P. Oxy. 1232 fr. 1 coll. ii, iii, 
fr. 2 + 2076 col. ii), as follows:
Κυπρο. [ ]ας· 
κάρυξ ἦλθε θε[ ]ελε[ … ] . θεις
Ἴδαος ταδεκα … φ[ . . ] . ις τάχυς ἄγγελος
deest unus versus
τάς τ᾿ ἄλλας Ἀσίας . [ . ]δε . αν κλέος ἄφθιτον·
Ἔκτωρ καὶ συνέταιρ[ο]ι ἄγοισ᾿ ἐλικώπιδα
Θήβας ἐξ ἰέρας Πλακίας τ᾿ ἀ [π᾿ ἀι]ν <ν>άω
ἄβραν Ἀνδρομάχαν ἐνὶ ναῦσιν ἐπ᾿ ἄλμυρον
πόντον· πόλλα δ᾿ [ἐλί]γματα χρύσια κἄμματα
πορφύρ[α] καταΰτ[με]να, ποίκιλ̓  ἀθύρματα,
ἀργύρα τ᾿ ἀνάριθμα ποτήρια κἀλέφαις.
ὢς εἶπ ·̓ ὀτραλέως δ᾿ ἀνόρουσε πάτ[η]ρ φίλος·
φάμα δ᾿ ἦλθε κατὰ πτόλιν εὐρύχορον φίλοις·
αὔτικ᾿ Ἰλίαδαι σατίναι[ς] ὐπ᾿ ἐυτρόχοις
ἆγον αἰμιόνοις, ἐπ[έ]βαινε δὲ παῖς ὄχλος
γυναίκων τ᾿ ἄμα παρθενίκα[ν] τ . . [ . . ]οσφύρων,
χῶρις δ᾿ αὖ Περάμοιο θύγ[α]τρες[
ἴππ[οις] δ᾿ ἄνδρες ὔπαγον ὐπ᾿ ἀρ[ματ-
π[ ]ες ἠίθεοι μεγάλω[σ]τι δ[ 
δ[ ]. ἀνίοχοι φ[ … . . ] . [
π[ ʹ]ξα.ο[
desunt aliquot versus
   ἴ]κελοι θέοι[ς
   ]ἄγνον ἀολ[λε-
ὄρμαται [ ]νον ἐς  Ἴλιο[ν,
αὖλος δ᾿ ἀδυ[μ]έλης [κίθαρίς] τ᾿ ὀνεμίγνυ[το
SONYA NEVIN8
καὶ ψ[ό]φο[ς κ]ροτάλ[ων, λιγέ]ως δ᾿ ἄρα πάρ[θενοι
ἄειδον μέλος ἄγν[ον, ἴκα]νε δ᾿ ἐς αἴθ[ερα
ἄχω θεσπεσία γελ[ πάνται δ᾿ ἦς κὰτ ὄδο[ις
κράτηρες φίαλαί τ᾿ ὀ[ … ]υεδε[ . . ] . . εακ[ . ] . [
μύρρα καὶ κασία λίβανός τ᾿ ὀνεμείχνυτο·
γύναικες δ᾿ ἐλέλυσδον ὄσαι προγενέστερα[ι,
πάντες δ᾿ ἄνδρες ἐπήρατον ἴαχον ὄρθιον
Πάον᾿ ὀνκαλέοντες ἐκάβολον εὐλύραν,
ὔμνην δ᾿  Ἔκτορα κ᾿ Ἀνδρομάχαν θεοεικέλο[ις.
… Cyprus … the herald came (running …, and when he had 
stopped spoke) these words, Idaeus (= Trojan herald, see Il. 7.248 
ff., 24.325 ff.), the swift messenger and of the rest of Asia … un dying 
fame. Hector and his companions are bringing the lively-eyed, 
graceful Andromache from holy Thebe and ever-flowing Placia in 
their ships over the salt sea; and (there are) many golden bracelets 
and (perfumed?) purple robes, ornate trinkets, and countless silver 
drinking-cups and ivory.” So he spoke; and nimbly his dear father 
leapt up, and the news went to his friends throughout the spacious 
city. At once the sons of Ilus yoked the mules to the smooth-running 
carriages, and the whole crowd of women and (tender?-) ankled 
maidens climbed on board. Apart (drove) the daughters of Priam 
… and unmarried men yoked horses to chariots, … and greatly … 
charioteers … (gap of several verses) … like gods [of Hector and 
Andromache] … holy … all together … set out … to Ilium, and the 
sweet-sounding pipe and cithara were mingled and the sound of 
castanets, and maidens sang clearly a holy song, and a marvelous 
echo reached the sky … and everywhere in the streets was … bowls 
and cups … myrrh and cassia and frankincense were mingled. The 
elder women cried out joyfully, and all the men let forth a lovely 
high-pitched strain calling on Paean (= Apollo), the Archer skilled 
in the lyre, and they sang in praise of the godlike Hector and An-
dromache. 
When we approached this vase to animate, we determined to draw 
out its emphasis on Sappho herself and her music. As such, we 
planned that we would show her playing, thereby helping viewers 
to understand the image and to see the movement and action that 
is implied within it. That developed into a decision to include an 
aspect of her poetry, to link her work with her representation more 
directly. As Our Mythical Childhood has a focus on mythology 
(while also examining the reception of other aspects of antiquity), 
Sappho’s Fragment 44 seemed to be the most appropriate piece of 
SAPPHO 44 9
poetry to choose as it has a mythological subject. That fragment de-
scribes Hector and Andromache’s arrival in Troy at the time of their 
marriage. The herald Idaeus brings the news to Priam, and the city 
celebrates as the young couple process through the streets. It is a 
joyful and lively glimpse of a prosperous city at peace. This seemed 
a particularly constructive subject as so many people learning about 
antiquity study Troy and the Trojan War, which increases the edu-
cational potential of the animation. From there, we went on to the 
idea that Sappho could be shown to “create” the figures in her poetry 
through her playing. Now, as she plays, a section of black slip fades 
out and figures begin to appear and act out the events described in 
the poem. This adds an engaging visual element to the animation of 
her playing and conveys a clearer sense of her poetry and its ability 
to evoke people, places, and the past.   
The figures Sappho “creates” are depicted in a geometric style. 
These small, simple figures based on the pottery of the eighth cen-
tury have a more puppet-like quality than those from later eras, 
which re-enforces the sense of them being manipulated by Sappho. 
As they are from an earlier period, they also act as a visual indicator 
of an earlier age, a time that would have been “long ago” even for 
Sappho. That compliments the teaching potential of the material by 
drawing attention to the period difference between pottery styles 
and between different generations of poets addressing Trojan War 
themes. The geometric figures are not taken from any one particu-
lar pot; they are drawn from a combination of pots of that era. We 
applied the convention of interpreting figures with triangular upper 
bodies and unskirted legs as men, and figures with long skirts as 
women. The Trojan princesses were given one sort of hairstyle that 
is seen on geometric women, and Andromache has another – a sig-
nifier of her entrance from an outside community. The chariots and 
ship used imitated common motifs on geometric-ware, while the 
scene in Priam’s throne room reflects later black-figure conventions 
for depicting a high-status man amongst his subordinates – a man 
seated on a cross-legged stool with female figures behind him and 
males standing before him. Likewise, the herald carries a staff that 
imitates those held by messengers in black-figure ware. It helps to 
mark his specific position, even though it is not an image familiar 
from geometric-era pottery.
Most of our animations come without text or verbal audio, as 
that absence of language makes the animations more internationally 
relevant, and it retains the focus on the artifact. We differed from 
that practice in this instance, and lines of the poem appear above 
the action, clarifying the connection between Sappho’s playing and 
SONYA NEVIN10
poetry and the events unfolding onscreen. There are two versions of 
the animation, one with the poem translated into English, another 
with it in Polish. On YouTube, the English-language version can be 
viewed with Italian subtitles. The Greek original appears at the end 
of the animation.
The animation begins with Sappho strumming the barbiton and 
beginning to play. A central section of black slip begins to disap-
pear, and Sappho takes a few steps backwards. A little text appears 
to set the scene: Sappho is singing about Troy in the years before the 
Trojan War; the Trojans are awaiting the return of Prince Hector 
with Andromache. The geometric figures then begin to appear in the 
exposed red-clay space. Fragment 44 begins with the herald, Idaeus, 
observing Hector’s ship returning, so the first characters in the an-
imation are Idaeus, straining to look out to sea, and an accompany-
ing soldier carrying the two-spear and Dipylon shield combination 
frequently seen in geometric-ware. The focus of the scene moves out 
to reveal a chariot pulled by one of the stylized horses of the geomet-
ric era. Idaeus mounts the chariot and departs. Kάρυξ ἦλθε appears 
on the screen, followed by a translated extension “The herald came. 
Idaeus, the swift messenger.” The scene moves to Priam’s throne 
room. He is seated with two of his daughters standing behind him. 
He beckons Idaeus in. The herald enters, bowing low, and delivers 
his message. The scene moves again to reveal the ship that Idaeus 
heralds. One man handles the tiller at the rear, a soldier occupies the 
middle of the deck, and Hector and Andromache can be seen at the 
prow. Hector stands with one foot raised and one hand shading his 
eyes as he looks for the shore. His posture conveys a keenness to get 
home. He turns to Andromache and takes her hand, a small gesture 
that expresses affection between them and thoughtful concern for 
whatever she may be feeling on approaching her new home.
A similar degree of affection is conveyed in the following sce-
ne, where they stand together upon the sand touching each other at 
the waist. The ship is beached beside them, and sailors carry heavy 
boxes from ship to shore. Hector bends down to show Androma-
che some of the valuables within. The lines of the poem continue to 
appear above their heads, still with the words of Idaeus to Priam: 
“They have brought many gold bracelets and purple robes, finely 
made ornaments, countless silver drinking cups and ivory.” The 
scene returns to the throne-room. The princesses respond happily 
to the news of their brother’s return while Priam stands up, slaps 
Idaeus appreciatively on the shoulder, and summons the chariots. 
They mount the chariots and depart, then reappear at the beach. 
Hector introduces his sisters to Andromache and the scene fades as 
SAPPHO 44 11
they all return to the chariots. A more extended scene then plays out, 
depicting Hector and Andromache’s joyful procession into Troy. The 
floor is littered with branches, smoking bowls of incense, ampho-
rae, and cups. Three musicians play the aulos, the kithara, and the 
castanets, in-keeping with the poem. Crowds cheer in celebration 
as the royals glide past on their chariots, waving. This is where the 
fragment is cut off. Black slip refills the gap. Sappho steps back into 
the center of the vase, playing the final notes. She stops in the posi-
tion that she initially held, although there is still a slight movement 
in her earring and the plectrum loop as the vase fades out, replaced 
by an image of the Fragment 44 papyrus.
The depiction of Sappho with her barbiton provides a reminder 
that ancient poetry was accompanied by music. In many of the Pa-
noply animations, we have featured work by ancient music speci-
alists such as Professor Conrad Steinmann of the music academy 
Schola Cantorum Basiliensis in Basel, Switzerland, and the Thiasos 
Theatre Company. For Sappho 44, we collaborated with Professor 
Armand D’Angour, whose research at the University of Oxford 
includes Greek music and meter and reconstituting the sounds of 
ancient Greek music. Professor D’Angour drew on that research to 
score music for the animation that is based on the rhythms and notes 
indicated in the fragment of Sappho’s poetry. As a result, the tune 
that can be heard playing throughout the animation is the same tune 
that the poem would have been sung to, now re-performed for the 
first time since antiquity. It is a little more somber than one might 
expect, perhaps a little strange to the modern ear, but it is accessible 
as music and is an effective way to bring poetry and image to life, 
with Sappho’s portrait, poetry, storytelling and music combined in 
a modern medium.
It is intended that the Sappho 44 animation will give viewers an 
enjoyable experience of ancient culture. There is also a potential for 
it to be used educationally within schools, universities, museums, 
and similar settings. Being three minutes long, it does not consume 
a great deal of class time, yet it is an opportunity to see and hear 
Sappho’s poetry and Greek pottery presented in a clear and striking 
form. A variety of activities and discussions can be carried out to 
extend the learning opportunity further and develop its themes. For 
example, some learners may not be aware of the musical element of 
ancient poetry or may not have had an opportunity to hear it recon-
structed. The soundtrack alone creates an opportunity to explore 
this and to extend students’ soundscapes through its unusual tones 
and rhythms. Teachers with younger learners might ask students 
to try and describe the music: What does it sound like? How is it 
SONYA NEVIN12
similar to or different from modern music? Would the animation 
seem different if the music was different? This final question can 
be tested by inviting students to create new soundtracks (typically 
using percussion instruments) and to play those soundtracks over 
the muted animation. 
The appearance of figures from different eras of pottery alongside 
one another offers an opportunity for students to analyze the con-
trasting styles and to consider how styles of art change over time. 
Younger learners will typically lack the background information 
with which to contextualize the geometric figures, so they are li-
kely to benefit from seeing images of geometric-ware before they 
watch Sappho 44, and from having it explained explicitly that figures 
from an earlier age have been included in the animation although 
they are not on the same vase as Sappho. The Six technique is itself 
distinctive, and this is an opportunity to compare this depiction of 
Sappho with others, or with other depictions of musicians (ancient 
or modern).4 School teachers might invite their pupils to analyze an 
image of the vase before they watch the animation in order to de-
termine what they can see and interpret, and what they think might 
happen if the image could move. This encourages viewers to notice 
details such as the plectrum, strings, hands and feet, and earrings. 
Once they have seen the animation, they might consider how their 
ideas corresponded to what happened. Those who have understood 
that the animation represents what happens in a fragment of ancient 
poetry can be challenged to create storyboards of alternative ways of 
representing the poem, or to storyboard a different Sappho fragment 
of their choosing. It can also be thought-provoking for learners to 
consider how they would present the vase and its animation with-
in an exhibition: What themes would they draw out? What would 
they want viewers to get out of it? What artifacts would they present 
alongside? What text would they include? And so on.
The Sappho 44 animation may also form the basis for construc-
tive discussions on social and historical themes. What are the pros 
and cons of depicting a heterosexual wedding story by someone 
famous for lesbian poetry, for example? What does the inclusion 
of a name inscription suggest about ancient concepts of fame and 
reputation? What does the poem indicate about marriage in Sap-
pho’s era or earlier eras? For groups exploring the Trojan War, the 
animation offers an accessible way of considering the creativity fo-
cused on that topic in antiquity beyond the Homeric epics. Learners 
might be encouraged to explore questions such as: Why were people 
4 For Sappho, e.g.: cavi 4979; 6421; 204129 (Sappho with Alcaeus); 213777.
SAPPHO 44 13
still writing about Troy so long after the epics? What is the effect of 
addressing life at Troy before the war? Andromache is a powerful 
figure for approaching topics connected to military conflict and dis-
placement. Fragment 44 is optimistic, celebrating the beginning of 
Andromache’s married life, but her father and seven brothers will 
die in the coming conflict, as will her new family; she herself will be 
enslaved and held captive in Greece. Focus on her life and its rep-
resentations can be a way of addressing difficult issues having to do 
with loss and change, while also exploring the role of memory and 
art in preserving good times and moments of celebration. Materials 
will be released along with the animation which will support teach-
ers in implementing these types of activities and discussions.
Sappho 44 is a modern artwork drawing directly on ancient pot-
tery, poetry, music, and storytelling. It is a celebration of all these 
mediums and an example of how the ancient continues to inspire 
the modern. The animation itself and the supporting materials will 
be available online for free from 2020 on the official project website, 
and a short documentary exploring its themes will follow in 2021. 
Feedback from all ages has been very positive so far and we look 
forward to hearing more responses to the animation, to Sappho, and 
to “godlike Hector and Andromache.”5
5 Sappho 44, line 34.
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BIBLIOGRAPHY
Campbell, David A., ed. and trans. Greek Lyric, Volume I: Sappho and Al­
caeus. Loeb Classical Library 142. Cambridge, ma: Harvard University 
Press, 1982.
——— , ed. and trans. Greek Lyric Poetry: A Selection of Early Greek Lyric, 
Elegiac and Iambic Poetry. Bristol: Bristol Classical Press, 2002.
D’Angour, Armand, and Tom Phillips, eds. Music, Text, and Culture in An­
cient Greece. Oxford: Oxford University Press, 2018.
——— . “Vocables and Microtones in Ancient Greek Music.” Greek and Ro­
man Musical Studies 4, no. 2 (2016): 273–285.
——— . “How Did Ancient Greek Music Sound?” bbc News website (2013): 
available online.
DuBois, Page. Sappho. London: I.B. Tauris, 2015.
Johnson, Marguerite. Ancients in Action: Sappho. Bristol: Bristol Classical 
Press, 2007.
Nevin, Sonya. “Vase Animations and Primary-Aged Learners.” In Teaching 
Classics with Technology, edited by Steven Hunt and Bartolo Natoli, 121–
130. London: Bloomsbury Academic Publishing, 2019.
——— . “Animating Ancient Warfare: The Spectacle of War in the Panoply 
Vase Animations.” In War as Spectacle: Ancient and Modern Perspecti­
ves on the Display of Armed Conflict, edited by Anastasia Bakogianni 
and Valerie Hope, 335–352. London: Bloomsbury Academic Publishing, 
2015.
——— . “Animations of Ancient Vase Scenes in the Classics Classroom.” 
Journal of Classics Teaching 16 (2015): 32–37.
——— , and Steve Simons. “Animating Antiquity: An Interview with Classi-
cal Scholar Sonya Nevin and Animator Steve K. Simons.” Thersites: 
Jour nal for Transcultural Presences and Diachronic Identities from An­
tiquity to Date 3 (2016): 37–48.
Yatromanolakis, Dimitrios. Sappho in the Making, The Early Reception. 
Cambridge, ma: Harvard University Centre for Hellenic Studies, 2008. 
SAPPHO 44 15
ABSTRACT
The Panoply Vase Animation Project has created a new animati-
on from the decoration on an ancient Greek hydria. The vase de-
picts the poet Sappho with a lyre. The animation enables her to 
move, touch the strings, and play the instrument. It also features 
the words from Fragment 44 of her poetry and geometric figures 
acting out the poem. The music accompanying the animation was 
scored from the original poem and therefore offers the melody that 
the poem would have been sung to. This article discusses the deci-
sion-making process that informed the creation of the animation 
and suggests ways in which the animation and its vase can be used 
in the classroom or lecture-hall as a flexible learning resource.
KEYWORDS: digital, pedagogy, pottery, Sappho, Troy
SAPFO 44: KREATIVNOST IN PEDAGOGIKA 
TER ANTIČNI VERZI, VREZI IN SODOBNA ANIMACIJA
IZVLEČEK
V okviru projekta Panoply Vase Animation je nastala nova anima-
cija, ki temelji na okrasju antične grške posode tipa hydria. Upo-
dablja Sapfo z liro. Animacija pesnici omogoča gibanje, ubiranje 
strun, igranje na inštrument. Ob tem se pojavijo verzi iz njene pe-
smi, iz fragmenta 44, spremljajo pa jih geometrično oblikovani liki, 
ki ponazarjajo vsebino tega fragmenta. Glasba, ki dopolnjuje ani-
macijo, je nastala ob izvirniku in predstavlja melodijo, ki bi lah ko 
spremljala izvajanje takšnih pesmi. Članek opisuje postopek nas-
tanka ter utemelji odločitve, do katerih je prišlo pri animaciji. Ob 
tem predlaga več možnosti za vključevanje takšne animacije, ki je 
zelo prilagodljiv učni pripomoček, pri pouku na različnih stopnjah 
izobraževanja.
KLJUČNE BESEDE: digitalije, pedagogika, keramika, Sapfo, Troja