In lieu of an abstract, here is a brief excerpt of the content:

• Parergon (New Series) at 40
• Elizabeth Jeffreys (bio), Diane Speed (bio), Andrew Lynch (bio), Toby Burrows (bio), and Susan Broomhall (bio)

Venturing into the Unknown, 1983–89

So Parergon is celebrating its fortieth issue—a red-letter day indeed! To be accurate, however, what is being celebrated is the fortieth issue of the New Series, for the handsome biannual journal of today started off in 1983 as the revamped version of the annual bulletin (named Parergon) issued between December 1971 and April 1982 by the Australian and New Zealand Association for Medieval and Renaissance Studies. Under the editorship of Chris Eade of The Australian National University this bulletin (itself the transformation of an earlier newsletter) was initially intended to combine reports of academic activity in Australia and New Zealand in medieval and Renaissance studies with two or three articles ‘of modest length’. Quite rapidly the reports fell away and the bulletin Parergon came to consist entirely of some six or seven shortish papers usually originally presented at an ANZAMRS conference. The title page of the journal Parergon continued to refer to itself as the ‘Bulletin’ of ANZAMRS until issue 14.1 in July 1996, while the formulation New Series was not dropped until issue 20.1 in January 2003.

I was much involved with the discussions that led up to the transformations introduced into Parergon’s New Series. These were intended to turn the deliberately modest bulletin into a fully fledged academic journal, to widen the publication’s scope from predominantly literary topics to cover ‘the whole field of medieval and renaissance studies’ and to give a more international platform for the contributors and readers. To achieve this, all contributions were to be peer-reviewed (later blind peer-reviewing was stressed) and there was to be a board of international advisers (not listed in the journal until issue 4 in 1986). The peer-reviewing worked quite well, but the international advisers, though vital initially, could have been used more frequently.

So how did I get involved and why did I end up as editor? My background is as a classicist who has turned into a Byzantinist. After an undergraduate degree in Classics from Cambridge and a postgraduate degree from Oxford focusing on Franco-Greek literary interactions in twelfth-century Constantinople, and a period spent schoolteaching, I was lucky enough to enjoy a sequence of research fellowships in the Warburg Institute in London, Harvard’s Dumbarton Oaks in Washington, DC, and the University of Ioannina in Greece. The main topic of my research was an edition of a huge, largely unknown and unedited medieval Greek translation of Benoit de Ste Maure’s Roman de Troie (eventually published in 1996). I also married, and Michael, my husband and likewise an erstwhile classicist, had developed his own interest in medieval Greek literature. These internationally peripatetic years gave Michael and me an amazing opportunity to explore the byways of medieval culture, attend a wide range of seminars on [End Page 7] medieval and Renaissance life, both eastern and western, and amass a host of international friends and colleagues; we also produced a daughter. In 1976, as we were wondering what our next step could be, there came an unexpected suggestion that we should both apply to Sydney University to be considered for a newly announced lectureship in Modern Greek. The recent surge in immigration from Greece had led to a demand that universities in Australia should set up courses in Modern Greek to assist the new migrants and their families; some eighteen months previously Alfred Vincent from Birmingham and Cambridge had been the pioneer in Sydney. To be brief, Michael was offered the position, while I had asked not to be considered as we had a young child to care for (!). The culture shock when we arrived in Sydney was monumental. Teaching Modern Greek in Sydney was nothing like teaching Modern Greek in England: students of Greek origin enrolled in daunting numbers, and their English-speaking instructors had to discover how to teach Greek to near-native speakers of Greek. For several years my role was to support Michael in his demanding teaching load, and to discover a purpose for myself.

The discovery came...

中文翻译：

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Parergon（新系列）40 岁

以下是内容的简短摘录，以代替摘要：

• Parergon（新系列）40 岁
• 伊丽莎白·杰弗里斯（简介）、黛安·斯皮德（简介）、安德鲁·林奇（简介）、托比·布罗斯（简介）和苏珊·布鲁姆霍尔（简介）

冒险进入未知，1983-89

因此，Parergon正在庆祝其第四十期——这确实是一个值得庆祝的日子！然而，准确地说，值得庆祝的是《新系列》的第四十期，因为今天这本漂亮的半年刊始于 1983 年，是 1971 年 12 月至 1982 年 4 月之间发行的年度公报（名为 Parergon）的修改版本。澳大利亚和新西兰中世纪和文艺复兴研究协会。在澳大利亚国立大学的克里斯·伊德 (Chris Eade) 的编辑下，这份简报（本身是早期时事通讯的转变）最初旨在将澳大利亚和新西兰在中世纪和文艺复兴研究方面的学术活动报告与两到三篇“长度适中”的文章结合起来'。很快，这些报道就消失了，公告也消失了。Parergon完全由六七篇简短的论文组成，这些论文最初通常在 ANZAMRS 会议上发表。直到 1996 年 7 月第 14.1 期， 《Parergon》杂志的扉页继续将自己称为“ANZAMRS 公报”，而直到 2003 年 1 月第 20.1 期，“New Series”这一表述才被删除。

我积极参与了帕瑞贡新系列中引入变革的讨论。这些旨在将刻意谦虚的公报变成一份成熟的学术期刊，将出版物的范围从主要的文学主题扩大到涵盖“中世纪和文艺复兴研究的整个领域”，并为投稿者和读者提供一个更加国际化的平台。为了实现这一目标，所有贡献都必须经过同行评审（后来强调盲目同行评审），并且需要成立一个国际顾问委员会（直到 1986 年第 4 期才在期刊中列出）。同行评审的效果相当好，但国际顾问虽然最初很重要，但可以更频繁地使用。

那么我是如何参与其中的以及为什么最终成为编辑呢？我的背景是从古典主义者变成了拜占庭主义者。在获得剑桥大学古典文学学士学位和牛津大学研究生学位（专注于十二世纪君士坦丁堡的法国与希腊文学互动）并在学校教学一段时间后，我很幸运地在伦敦瓦尔堡研究所获得了一系列研究奖学金、哈佛大学位于华盛顿特区的敦巴顿橡树园和希腊约阿尼纳大学。我研究的主要主题是伯努瓦·德·圣·莫雷 (Benoit de Ste Maure) 的《罗马特洛伊》(Roman de Troie)的一部巨大的、很大程度上不为人所知且未经编辑的中世纪希腊语译本的一个版本。（最终于 1996 年出版）。我也结婚了，我的丈夫迈克尔也曾经是一位古典主义者，他对中世纪希腊文学产生了自己的兴趣。这些国际漫游的岁月给了迈克尔和我一个绝佳的机会来探索中世纪文化的小道，参加各种研讨会[结束第7页]中世纪和文艺复兴时期的东方和西方生活，并聚集了许多国际朋友和同事；我们还生了一个女儿。1976 年，当我们想知道下一步该做什么时，突然出现了一个意想不到的建议，即我们都应该向悉尼大学申请新宣布的现代希腊语讲师职位。最近来自希腊的移民激增，要求澳大利亚的大学开设现代希腊语课程，以帮助新移民及其家人；大约十八个月前，来自伯明翰和剑桥的阿尔弗雷德·文森特（Alfred Vincent）是悉尼的先驱。简而言之，迈克尔获得了这个职位，而我则要求不要被考虑，因为我们有一个年幼的孩子需要照顾（！）。当我们到达悉尼时，文化冲击是巨大的。在悉尼教授现代希腊语与在英国教授现代希腊语完全不同：希腊裔学生的入学人数令人畏惧，而他们的英语教师必须找到如何向接近希腊语母语的人教授希腊语。几年来，我的角色是支持迈克尔完成他艰巨的教学任务，并为自己找到一个目标。

结果发现...