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231 - 240 of 1219 results for: all courses

CLASSICS 133: Socrates and Social Justice (CLASSICS 233)

In this class, we examine whether Socrates is a model for social justice. Socrates presents a complicated figure regarding issues of political action and social justice. Some view Socrates as a champion of liberty and individual conscience. Others see him as quiescent when Athenian democracy needed defenders or, even worse, allied with those who undermined democracy. By reading relevant selections from Plato in conjunction with contemporary scholarship, we will decide for ourselves whether Socrates is an exemplar of social justice.
Last offered: Spring 2022 | UG Reqs: WAY-A-II, WAY-ER

CLASSICS 136: The Greek Invention of Mathematics

How was mathematics invented? A survey of the main creative ideas of ancient Greek mathematics. Among the issues explored are the axiomatic system of Euclid's Elements, the origins of the calculus in Greek measurements of solids and surfaces, and Archimedes' creation of mathematical physics. We will provide proofs of ancient theorems, and also learn how such theorems are even known today thanks to the recovery of ancient manuscripts.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II

CLASSICS 139: Refugees, Race and the Greco-Roman World (ASNAMST 139, CSRE 139)

Who is a refugee and who gets to decide? How does race impact who is welcomed into a new community and who is turned away? And what does the Greco-Roman world have to do this? This course will explore these questions by surveying different forms of forced displacement in and beyond antiquity through the lens of Critical Race Theory and Critical Refugee Studies. We will examine how forcibly displaced people were portrayed and treated in ancient Greece and Rome and investigate how racialization contributed to xenophobic immigration policies as well as imperial agendas. We will then evaluate the impact of ancient discourses of forced displacement on the modern world, with a focus on American immigration policies. Understanding that refugees are not objects of investigation, but are powerful knowledge producers, we will also engage with works created by refugees throughout the course.
Last offered: Spring 2023 | UG Reqs: WAY-A-II, WAY-EDP

CLASSICS 147R: Building Heaven and Hell (CEE 147, RELIGST 147)

How did early Greeks, Romans, Jews, and Christians imagine space? How did they construct heaven and hell and the afterlife through their written texts? Can we take written images of the earthly and heavenly Jerusalem and her temple, such as those found in Ezekiel, the Book of Revelation and the Apocalypse of Paul and transform them into three-dimensional space? Can we visualize Homer's Hades or Dante's Inferno? We are going to try! We will meet in the architecture studio and build out of foam board and hot glue. A number of themes will emerge through the course: the interpretive move in rendering a once real space as a literary icon, the relationship between text and imagined space, the connection between space and ritual, and how to construct an image of a society from whom it imagines in hell. Learn more about the course here: https://youtu.be/J9q8CCQ9NkA
| UG Reqs: WAY-A-II

CLASSICS 151: Ten Things: An Archaeology of Design (ARCHLGY 151)

Connections among science, technology, society and culture by examining the design of a prehistoric hand axe, Egyptian pyramid, ancient Greek perfume jar, medieval castle, Wedgewood teapot, Edison's electric light bulb, computer mouse, Sony Walkman, supersonic aircraft, and BMW Mini. Interdisciplinary perspectives include archaeology, cultural anthropology, science studies, history and sociology of technology, cognitive science, and evolutionary psychology.
Terms: Win | Units: 3 | UG Reqs: GER:DB-SocSci, WAY-A-II, WAY-SI

CLASSICS 161: Introduction to Greek Art I: The Archaic Period (ARTHIST 101)

The class considers the development of Greek art from 1000-480 and poses the question, how Greek was Greek art? In the beginning, as Greece emerges from 200 years of Dark Ages, their art is cautious, conservative and more abstract than life-like, closer to Calder than Michelangelo. While Homer describes the rippling muscles (and egos) of Bronze Age heroes, his fellow painters and sculptors prefer abstraction. This changes in the 7th century, when travel to and trade with the Near East transform Greek culture. What had been an insular society becomes cosmopolitan, enriched by the sophisticated artistic traditions of lands beyond the Aegean "frog pond." Imported Near Eastern bronzes and ivories awaken Greek artists to a wider range of subjects, techniques and ambitions. Later in the century, Greeks in Egypt learn to quarry and carve hard stone from Egyptian masters. Throughout the 6th century, Greek artists absorb what they had borrowed, compete with one another, defy their teachers, tes more »
The class considers the development of Greek art from 1000-480 and poses the question, how Greek was Greek art? In the beginning, as Greece emerges from 200 years of Dark Ages, their art is cautious, conservative and more abstract than life-like, closer to Calder than Michelangelo. While Homer describes the rippling muscles (and egos) of Bronze Age heroes, his fellow painters and sculptors prefer abstraction. This changes in the 7th century, when travel to and trade with the Near East transform Greek culture. What had been an insular society becomes cosmopolitan, enriched by the sophisticated artistic traditions of lands beyond the Aegean "frog pond." Imported Near Eastern bronzes and ivories awaken Greek artists to a wider range of subjects, techniques and ambitions. Later in the century, Greeks in Egypt learn to quarry and carve hard stone from Egyptian masters. Throughout the 6th century, Greek artists absorb what they had borrowed, compete with one another, defy their teachers, test the tolerance of the gods and eventually produce works of art that speak with a Greek accent. By the end of the archaic period, images of gods and mortals bear little trace of alien influence or imprint, yet without the contributions of Egypt and the Near East, Greek art as we know it would have been unthinkable.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

CLASSICS 162: Introduction to Greek Art II: From the Parthenon to Scopas (ARTHIST 102)

The class begins with the art, architecture and political ideals of Periclean Athens, from the emergence of the city as the political and cultural center of Greece in 450 to its defeat in the Peloponnesian War in 404. It then considers how the Athenians (shell-shocked from war and three outbreaks of plague) and the rest of 4th century Greece rebuild their lives and the monuments that define them. Earlier 5th century traditions endure, with subtle changes, in the work of sculptors such as Kephisodotos. Less subtle are the outlook and output of his son Praxiteles. In collaboration with Phryne, his muse and mistress, Praxiteles challenged the canons and constraints of the past with the first female nude in the history of Greek sculpture. His gender-bending gods and men were equally audacious, their shiny surfaces reflecting Plato's discussion of Eros and androgyny. Scopas was also a man of his time, but pursued different interests. Drawn to the interior lives of men and woman, his torment more »
The class begins with the art, architecture and political ideals of Periclean Athens, from the emergence of the city as the political and cultural center of Greece in 450 to its defeat in the Peloponnesian War in 404. It then considers how the Athenians (shell-shocked from war and three outbreaks of plague) and the rest of 4th century Greece rebuild their lives and the monuments that define them. Earlier 5th century traditions endure, with subtle changes, in the work of sculptors such as Kephisodotos. Less subtle are the outlook and output of his son Praxiteles. In collaboration with Phryne, his muse and mistress, Praxiteles challenged the canons and constraints of the past with the first female nude in the history of Greek sculpture. His gender-bending gods and men were equally audacious, their shiny surfaces reflecting Plato's discussion of Eros and androgyny. Scopas was also a man of his time, but pursued different interests. Drawn to the interior lives of men and woman, his tormented Trojan War heroes and victims are still scarred by memories of the Peloponnesian War, and a world away from the serene faces of the Parthenon. His Maenad, who has left this world for another, belongs to the same years as Euripides' Bacchae and, at the same time, anticipates the torsion and turbulence of Bernini and the Italian Baroque. The history and visual culture of these years remind us that we are not alone, that the Greeks grappled as we do with the inevitability and consequences of war, disease and inner daemons.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

CLASSICS 163: Artists, Athletes, Courtesans and Crooks (ARTHIST 203)

The seminar examines a range of topics devoted to the makers of Greek art and artifacts, the men and women who used them in life and the afterlife, and the miscreants - from Lord Elgin to contemporary tomb-looters and dealers - whose deeds have damaged, deracinated and desecrated temples, sculptures and grave goods. Readings include ancient texts in translation, books and articles by classicists and art historians, legal texts and lively page-turners. Students will discuss weekly readings, give brief slide lectures and a final presentation on a topic of their choice, which need not be confined to the ancient Mediterranean.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

CLASSICS 168: Engineering the Roman Empire (ARCHLGY 118)

Enter the mind, the drafting room, and the building site of the Roman architects and engineers whose monumental projects impressed ancient and modern spectators alike. This class explores the interrelated aesthetics and mechanics of construction that led to one of the most extensive building programs undertaken by a pre-modern state. Through case studies ranging from columns, domes and obelisks to road networks, machines and landscape modification, we investigate the materials, methods, and knowledge behind Roman innovation, and the role of designed space in communicating imperial identity.
Last offered: Spring 2023 | UG Reqs: GER:DB-Hum, WAY-A-II

CLASSICS 171: Byzantine Art and Architecture, 300-1453 C.E. (ARTHIST 106, ARTHIST 306)

This course explores the art and architecture of the Eastern Mediterranean: Constantinople, Jerusalem, Alexandria, Antioch, Damascus, Thessaloniki, and Palermo, 4th-15th centuries. Applying an innovative approach, we will probe questions of phenomenology and aesthetics, focusing our discussion on the performance and appearance of spaces and objects in the changing diurnal light, in the glitter of mosaics and in the mirror reflection and translucency of marble.
Last offered: Spring 2021 | UG Reqs: GER:DB-Hum, WAY-A-II
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