Miriam al Jamil has a B.Ed. in English and Education from Wolfson College, Cambridge, and MAs from The University of Kent, Canterbury, and King's College, London. She is now researching towards a PhD at Birkbeck College, London. Her current research is on women’s engagement with Classical sculpture in the eighteenth century, a subject which was inspired by her earlier work on the Townley collection of Grand Tour sculpture at the British Museum. Miriam has given conference papers at BSECS Oxford, King’s College, London, the British Museum and the V&A. She is part of the Burney Society UK, the Johnson Society of London and is a key member of The Women’s Studies Group, 1558-1837; she regularly gives talks, papers and chairs panels for all three academic groups. She has contributed a chapter to Antiquity and Enlightenment, a forthcoming Brill Publication, regularly writes reviews for London Student and is fine arts review editor for BSECS Criticks online. She can be contacted on firstname.lastname@example.org or via twitter @MiriamJamil
Throughout history Eurydice has been portrayed as a voiceless cypher next to the vocal brilliance of her husband Orpheus. But does the ENO’s 2019 programme of Gluck, Offenbach and Glass alter this? asks our writer Miriam Al Jamil.
Two exhibitions at the British Museum and Watts Gallery strive to re-contextualise European Orientalism and emphasise artistic relationships between east and west, but do they succeed? asks our arts writer Miriam Al Jamil.
Renowned works by Titian, da Vinci, Dürer and Raphael feature in the Royal Academy’s recent exhibition, The Renaissance Nude, all of which throw light on the female as well as male gaze, observes our contributor Miriam al Jamil.