11 - 20 of 166 results for: CLASSICS

(Formerly CLASSLAT 101.) Phonology, morphology, semantics, and syntax. Readings in prose and poetry. Analysis of literary language, including rhythm, meter, word order, narrative, and figures of speech.May be repeat for credit.

(Formerly CLASSGRK 102.) Classics majors and minors may repeat for credit with advance approval from the Director of Undergraduate Studies.

(Formerly CLASSLAT 102.) In this class you will practice with and reinforce the advanced vocabulary, forms, and syntax of classical Latin you have previously acquired by reading continuous works of Latin prose (Cicero) and poetry (Catullus). While the primary emphasis of this course is on developing fluency in reading Latin, you will have opportunities to discuss and research the biographical, political, and literary issues raised by the readings. Your knowledge of the content and syntax of the readings will be assessed by several short translation/grammar quizzes. You will also sit for mid-quarter and end-quarter tests. Classics majors and minors may repeat for credit with advance approval from the Director of Undergraduate Studies.

(Formerly CLASSGRK 103.) Classics majors and minors may repeat for credit with advance approval from the Director of Undergraduate Studies.

(Formerly CLASSLAT 103.) Vocabulary, forms and syntax. Discussion of biographical, political and literary issues in the text. Key readings will be the story of Dido and the journey of Aeneas into the underworld (we may also talk about the reception of some Virgilian figures in ancient and modern literature, music and the arts). Classics majors and minors may repeat for credit with advance approval from the Director of Undergraduate Studies.

(Formerly CLASSGEN 9) Goal is to improve vocabulary, comprehension of written English, and standardized test scores through learning the Greek and Latin components of English. Focus is on patterns and processes in the formation of the lexicon. Terminology used in medicine, business, education, law, and humanities; introduction to principles of language history and etymology. Greek or Latin not required.

(Formerly CLASSGEN 24N.) Preference to freshmen. Sappho's surviving fragments in English; traditions referring to or fantasizing about her disputed life. How her poetry and legend inspired women authors and male poets such as Swinburne, Baudelaire, and Pound. Paintings inspired by Sappho in ancient and modern times, and composers who put her poetry to music.

(Formerly CLASSGEN 6N.) Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.n nSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).n nThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.