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161 - 170 of 865 results for: all courses

CLASSICS 154: Sailing the Wine-Dark Sea: Maritime Archaeology of the Ancient Mediterranean (ARCHLGY 145)

(Formerly CLASSART 145.) Why do we care about shipwrecks? What can sunken sites and abandoned ports tell us about our past? Focusing primarily on the archaeological record of shipwrecks and harbors, along with literary evidence and contemporary theory, this course examines how and why ancient mariners ventured across the "wine-dark seas" of the Mediterranean for travel, warfare, pilgrimage, and especially commerce. We will explore interdisciplinary approaches to the development of maritime contacts and communication from the Bronze Age through the end of Roman era. At the same time, we will engage with practical techniques of maritime archaeology, which allows us to explore the material record first hand.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-SI | Grading: Letter (ABCD/NP)

CLASSICS 161: Archaic Greek Art (ARTHIST 101)

In the decades 480-460, just before work began on the Parthenon, the sculptor Myron, creator of the Discus-Thrower, was even more celebrated for his bronze cow. Ancient authors describe an image so palpably alive that shepherds threw stones at her, thinking that she had strayed from the herd, and bulls vied for her attention. A century later, the quest for mimesis prompted a contest between two artists. Zeuxis painted a bunch of grapes seductive enough to attract hungry birds; Parrhasios then added a linen curtain, which Zeuxis asked to be removed from his painting. Zeuxis conceded defeat since he had fooled only birds, whereas Parrhasios had deceived an artist. nnThis course explores the art and culture of the ancestors of these men. The Greeks of the archaic period (1000-480) would have understood the painters¿ competitive zeal, but only toward the end of the period would they have recognized naturalism as an artistic aim. nnEarlier Greek art is more abstract than life-like, closer to Calder than Michelangelo. In the eighth century Homer¿s descriptions of the rippling muscles (and egos) of his heroes, and the grief of Achilles¿ horses, evoke living men and sentient animals, but his fellow sculptors and painters prefer abstraction.nnThis changes in the seventh century as a result of commercial contacts with the Near East and Egypt. Imported bronzes, ivories and other Near Eastern exotica alerted Greek artists to a wider range of subjects, techniques and intentions, including naturalism. Later in the century, Greek expatriates learned the art of carving hard stone from Egyptian masters and soon marble sculpture and architecture spread throughout Greece. nnIn the course of the sixth and early fifth centuries Greek artists assimilate what they had borrowed, compete with one another, obey and disobey their teachers, test the tolerance of the gods and eventually produce works of art that speak with a Greek accent. When the Persians invaded the Acropolis in 480 and 479, they encountered artifacts with little trace of alien influence or imprint and, at Salamis and Plataea, fought decisive battles in which the Greeks prevailed. In the aftermath of the war, as the Greeks rebuilt their cities and their lives, Myron¿s cow reminded them of their debts to other cultures and their resolve to remain true to their own.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Maxmin, J. (PI)

CLASSICS 162: Empire and Aftermath: Greek Art from the Parthenon to Scopas (ARTHIST 102, ARTHIST 302)

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 Athens and the rest of Greece proceed in the fourth century to rebuild their lives and the monuments that define them. Earlier artistic 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 depictions of 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 inner 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 famous Maenad, a devotee of Dionysos 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. In the work of these and other fourth century personalities, the stage is set for Alexander the Great and his conquest of a kingdom extending from Greece to the Indus River. (Formerly CLASSART 102)
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Maxmin, J. (PI)

CLASSICS 163: Greek Art In and Out of Context (ARTHIST 203)

The seminar considers Greek artifacts in the context of Greek life (including the life of the workshop), and the endless ways in which craftsmen served the needs of Greek society. Their foundries, factories and ceramic studios produced the material goods that defined Greek life: temples, statues and other offerings for the gods; arms and armor for warriors; sporting equipment and prizes for athletes; houses, clothing and crockery for the family; ships and sailcloth, wagons and ploughs, wine and oil-presses for a thriving domestic and overseas economy; gravestones and funeral vases for the dead. (Formerly CLASSART 109.) nMost of the antiquities exhibited in museums, or purchased by private collectors from galleries and auction houses, survive because they were buried with people who used and cherished them. The Greeks¿ belief that the artifacts they valued in life would serve them in the afterlife informs the second part of the seminar, which is devoted to the recent history of tomb looting and the illicit trafficking in antiquities.
Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Maxmin, J. (PI)

CLASSICS 168: Engineering the Roman Empire (ARCHLGY 118)

(Formerly CLASSART 117.) Roman monuments and monumental space were designed to impress. 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 arches, columns and domes to road networks, machines and landscape modification, we investigate not only the materials, methods, and knowledge behind Roman architectural innovation, but the communication of imperial messages through designed space.
Terms: Spr | Units: 4-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

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

(Formerly CLASSART 106/206.) This course and its study trip to the Getty (Los Angeles) to view the new Byzantine exhibition 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.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

CLASSICS 173: Hagia Sophia (ARTHIST 208)

By employing a methodology based in psychoacoustics, semiotics, and phenomenology, this course explores the relationship among sound, water, marble, meaning, and religious experience in the sixth-century church of HagianSophia built by emperor Justinian in Constantinople. We will read medieval sources describing the interior and ritual, make short movies exploring the shimmer of marble in buildings on campus, and study the acoustics of domed buildings through computer auralization done at Stanford's CCRMA (Center for Computer Research in Music and Acoustics)
Terms: not given this year | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)

CLASSICS 181: Classical Seminar: Origins of Political Thought (CLASSICS 381, PHIL 176A, PHIL 276A, POLISCI 230A, POLISCI 330A)

(Formerly CLASSHIS 133/333.) Political philosophy in classical antiquity, focusing on canonical works of Thucydides, Plato, Aristotle, and Cicero. Historical background. Topics include: political obligation, citizenship, and leadership; origins and development of democracy; and law, civic strife, and constitutional change.
Terms: Win | Units: 4-5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ER | Grading: Letter or Credit/No Credit

CLASSICS 41: Herodotus

For Ancient History field of study majors; others by consent of instructor. Close reading technique. Historical background to the Greco-Persian Wars; ancient views of empire, culture, and geography; the wars and their aftermath; ancient ethnography and historiography, including the first narrative of ancient Egypt.
Terms: not given this year | Units: 4-5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit

CLASSICS 124: Ancient and Modern Medicine

Imagine a world where the Universe has a built-in purpose and point. How would this belief impact man's place in nature? Imagine a world where natural substances have "powers." How might this impact diet and pharmacology? Magical vs. scientific healing: a clear divide? Disease and dehumanization: epilepsy, rabies. Physical and mental health: black bile and melancholy. The ethical and scientific assumptions hidden in medical language and imagery. How ancient medicine and modern medicine (especially alternative medicine) illuminate each other.
Terms: not given this year | Units: 3-4 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)
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