Rebecca Kerns, the 2027 Samuel H. Kress Foundation Rome Prize in Ancient Studies, is a PhD candidate in Classics specializing in Roman archaeology and urban history. She has done fieldwork at the Punic-Roman site of Tharros in Sardinia, the Bronze Age site of Pylos in the Greek Peloponnese, and the Gioiella-Vaiano Villa in Umbria. Her work explores forces of change and stasis in Roman cities, with a particular focus on urban disasters.
What project will you be embarking upon during your time at the Academy?
My project is my dissertation, "Roman Fire Prevention and the Development of the Urbs Nova," which analyzes the relationship between disaster management and urban change in ancient Roman cities. In particular, I argue that the Great Fire of 64 CE ushered in a major change in urban priorities, not only in the city of Rome itself but also in cities throughout the broader empire. The "New Rome" (urbs nova) constructed in the aftermath of the Great Fire constituted a watershed moment in Roman urbanism: resulting from Rome’s destruction by fire, the urbs nova represented a vision of urban reformulation inherently invested in the prevention of future disasters.
The dynamics that I explore show that this scale of urban reconceptualization could only happen at this specific moment in Rome’s history—the change is catalyzed by the Great Fire, but it is enabled by technological innovation in building materials; its adoption is prompted by economic and demographic needs from the later first through the second century; and its extension throughout the empire is fostered by imperialism. On the whole, my project offers a new understanding of the dynamics of creation and re-creation in the Roman city, as well as the development, implementation, and limitations of an urban ideal and its impact on the people who lived in those cities.
What aspects of the city and Academy life are you most interested in exploring?
All of it! Each weekend, I pick at least one new place to see and dedicate the day to experiencing it and learning as much about it as possible. The Centrale Montemartini has been a highlight so far: the ancient materials were wonderfully curated within a former electrical power station in a way that conveyed both the ancient and modern stories. It's a great place to reflect on the ways Rome's ancient and more recent past shape the future of the city.
What encounters, experiences, or moments in your first days at the Academy have inspired, surprised, or encouraged you thus far?
So far, I have been most inspired by the interactions that I've had with the Academy community. In conversations over meals, walks around our neighborhood, and visits to the sites, I've found so many intersecting interests with the other community members.
There is always something new to learn from one another—for instance, I have been trying to see the world through the eyes of artists and architects, which has really opened my mind to alternative ways of thinking about my work. The generosity in the sharing of ideas, skills, and insights has made this a truly inspiring place to live and work.
How did you prepare to move to Rome and the Academy?
This wasn't in preparation for the move, but more of a fun fact: I got married less than a month before moving to Rome! It was a very busy month, in the best way possible.