CLASS-UA 2 Intensive Elementary Latin
M-F, 8:00-9:15, Ari Zatlin
Introduction to the essentials of Latin vocabulary, morphology, and syntax. Open to students with no previous training in Latin. Completes the equivalent of a year's elementary level in one semester.
CLASS-UA 4 001 Elementary Latin
001. M-TH, 9:30-1045, Del Maticic
002. M-TH, 3:30-4:45, Nicholas Rynearson
Continuation of Elementary Latin I. Introduction to the essentials of Latin vocabulary, morphology, and syntax. Five hours of instruction weekly, with both oral and written drills and an emphasis on the ability to read Latin rather than merely translate it.
CLASS-UA 6 Intermediate Latin
001. M, T, TH, 9:30-10:45, Calloway Scott
002. M,T,W, 3:30-4:45, Matthew Santirocco
Intermediate Latin II: Virgil: Writings of the greatest Roman poet, focusing on the most generally read portions of his most celebrated poem, the Aeneid. The meter of the poem is studied, and the student learns to read Latin metrically to reflect the necessary sound for full appreciation of the writing. Readings in political and literary history illustrate the setting in the Augustan Age in which the Aeneid was written and enjoyed, the relationship of the poem to the other classical epics, and its influence on the poetry of later times.
CLASS-UA 8 Elementary Greek II
M-TH 11:00-12:15, Calloway Scott
Introduction to the complex but highly beautiful language of ancient Greece--the language of Homer, Sophocles, Thucydides, and Plato. Students learn the essentials of ancient Greek vocabulary, morphology, and syntax. Five hours of instruction weekly, with both oral and written drills and an emphasis on the ability to read Greek rather than merely translate it.
CLASS-UA 10 Intermediate Ancient Greek II: Homer
M, T, W, 9:30-10:45, Laura Viidebaum
Prerequisite: V27.0009 or equivalent.
Extensive readings from the Iliad or Odyssey. Proficiency in Homeric grammar is expected, as well as a good command of Homeric vocabulary; the course will also address scansion and metre in Homeric epic. Relevant topics ranging from the problems of oral tradition to questions of heroism, divine intervention and 'Homeric Society' in Dark and Iron Age Greece will be discussed in class or developed by the student through oral or written reports.
CLASS-UA 143, same as as DRLIT-UA 301.5, Greek Drama: Aeschylus, Sophocles, and Euripides
Friday 12:30-3:00, Laura Viidebaum
Of the ancient Greeks' many gifts to Western culture, one of the most celebrated and influential is the art of drama. We cover, through the best available translations, the masterpieces of the three great Athenian dramatists. Analysis of the place of the plays in the history of tragedy and the continuing influence they have had on serious playwrights, including those of the 20th century.
CLASS-UA 146 Greek and Roman Epic
T&TH, 9:30-10:45, Alessandro Barchiesi
Survey-style introduction to the whole genre of Greek and Roman epic, including the reading of the entire Iliad, Odyssey, and Aeneid, and parts of Lucan's Civil War (all in modern English translations). No prior knowledge about the Classical world and its mythology is required.
CLASS-UA 206, same as POL-UA2 206 Ancient Political Theory
M&W, 2:00-3:15 Andrew Monson
This course will introduce the foundations of ancient democracy and republicanism through reading and critical discussion of the works of Thucydides, Plato, Aristotle, Polybius, Cicero, and others. Ancient political thinkers used observations on history and contemporary politics to demonstrate the merits of different constitutions, which we can compare with the approach of modern political scientists. We will discuss the theory as well as the practice of ancient government, paying due attention to its enormous influence on modern thought and its relevance to problems in our time.
CLASS-UA 278, same as HIST-UA 206, History of Rome: Empire
T&TH, 2:00-3:15 Michael Peachin
The political history of the Early Roman Empire confronts us with a curious story. In a nutshell, it is this. A man, ultimately best known as Augustus, manages to orchestrate the dissolution of the old governmental system, nominally a democratic republic, and creates an autocracy, with himself as the sole decider of everything. However, since one of the Romans’ most deeply and emotionally held political ideals had always demanded that there should never, ever be rule by a king (or emperor), Augustus could not possibly admit to what he was doing. He therefore pretended to be restoring the traditional form of government, after, and as the solution to, a long period of horrific civil strife. What is more, he managed to persuade, as it would seem, the entire Roman world to play this charade with him. So, the Romans suddenly found themselves being ruled by one man, while they steadfastly refused formally to admit that fact, and contrived in every conceivable way to maintain the fiction that they were still living under a regime that somehow resembled their old, quasi-democratic, republic. This breathtakingly paradoxical situation led to many years of fear, anxiety, confusion, doublespeak, terror, and more. And then, we face what is perhaps the greatest paradox altogether. This was the period of the High Roman Empire, often viewed from the distance of modernity as one of the most successful and happy political regimes in all of human history.
This, then, will be the history that we follow in this course. We will try to understand how a group, which assiduously lies to itself about its own most basic political institutions, nonetheless contrives to function – and to function, in many senses – quite well. We will attempt to understand this all, though, trough Roman eyes – not our own.
CLASS-UA 291.001 Roman Comedy and Its Influence
T&TH, 11:00-12:15 David Konstan
In this course, we read various ancient Greek and Roman comedies (in translation), and then examine how the ancient comic tradition is continued in the popular comedy of the Renaissance and early modern period (Machiavelli, Shakespeare, Molière, Congreve) and more in recent times (Shaw, Wilde, Ionesco); we conclude with a discussion of television sit-coms (scripts will be provided). There are three short papers in the course of the semester, plus a final paper.
CLASS-UA 293.002, same as HBRJD-UA 150.001, Ancient Egyptian Mythology & Religion
M&W, 2:00-3:15, Ann Roth
Ancient Egyptian Mythology and Religion will focus on many aspects of Egyptian religion: conceptions of the divine in a polytheistic context, temple ritual, hymns, personal piety, the relationship between religion and magic, mortuary religion and its evolution and material consequences. Questions will be approached through both study of the primary sources in English translation: myths (very broadly conceived), other religious writings (including mortuary texts such as the Book of the Dead and the Underworld books), as well as art and artifacts connected with religious practice, such as amulets and votives. In addition, students will read the standard secondary source analyses by noted historians of Egyptian religion and critique them based on the primary sources.
CLASS-UA 294.001, Dreams and Dreaming in Ancient Greece and Rome
T&TH, 4:55-6:10, Calloway Scott
Where do dreams come from? What do they mean? What might they reveal about ourselves, our families, and the wider world around us? For the Greeks and the Romans these questions were just as pressing—if not more so—than they are for us today. In Dreams and Dreaming, we will explore ancient dreaming from a variety of sources and perspectives. Looking to the accounts of dreams' origins and questions about the nature of their reality, to their interpretation as signs about the future or revelations from the gods, we will examine the many ways that Greeks and Romans experienced dreams and incorporated them into their daily lives. This class will thus survey a wide range of literatures and materials—from the epics of Homer and the biological works of Aristotle and Galen; from Classical Greek miracle inscriptions to early Christian dream manuals—to uncover how dreams and dreaming formed a common cultural space for seemingly very different actors and enterprises. All readings will be in English.
CLASS-UA 296, Greeks and Romans on Writing History (2 points)
Friday, 11:00-12:15, Michael Peachin
To anyone interested in the writing of history, Graeco-Roman antiquity offers an arguably unparalleled treasure trove. Herodotus, Thucydides, Livy, Tacitus – here are four duly famous men, who represent a significantly larger crowd of investigators, all of them perched around the inland sea (i.e., the Mediterranean) between roughly the fifth century BC and the fourth AD. These individuals looked intently into their pasts. And then, they sought to represent what they discovered to those who would come after them. They created, and attempted to perfect, the art of history. However: “What is history and how should it be written? How does it differ from other forms of writing? What responsibility does the historian bear?” These are some of the questions posed by Professor John Marincola, a former member of the Classics Department at NYU, in a book just published: On Writing History from Herodotus to Herodian. In response to these questions, Marincola engages the ancients to talk for themselves, translating all of the most important passages written by Herodotus and the rest, in which these men grapple with the parameters of the task they had undertaken. Marincola’s book will be our chief text during the semester (it is almost 600 pages). Via his translations of the ancients, and then through the comments he makes about these texts, we will discover what history meant to the ancient historians, as well as what those early historians meant the writing of history to be.
CLASS-UA 314, same as HEL-UA 124 & ARTH-UA 850.005, Greek Sculpture: Prayers in Stone
M&W, 11:00-12:15, Joan Connelly
From the “Snake Goddesses” of Minoan Crete, to the marble kouroi of archaic sanctuaries, from the Parthenon sculptures to the Pergamene Altar, the Greeks devoted enormous resources to the sculpting of images. This course examines sculptural production in Greece from the Bronze Age through the Hellenistic period, with careful attention to materials, techniques, styles, iconography, authorship, patronage, and settings. The votive function of images as “pleasing gifts” for the gods, their apotropaic role in protecting tombs and temples, and the commemorative function of sculptured grave markers will be considered within the broader context of signification. Special topics include: divine images, corporality, athletic statuary, portraiture, and architectural decoration. Sculptures will be examined within the framework of critical theories of representation, mimesis, aesthetics, and reception, as well as within their broader social, political, and historical contexts.
CLASS-UA 404, Identical to RELST-UA 404 Classical Mythology
T&TH, 11:00-12:15, Raymond Capra
This course is an examination of the meaning, form and function of Greek and Roman mythology especially its transmission via the literature, art and material culture of the ancient Mediterranean world. We explore the way in which these stories operated in Greek and Roman culture and seek to understand what they were articulating in contemporary social, political, military, economic and artistic life. Consequently, a number of ancient texts will be read in translation and set against iconographic evidence from vase paintings, sculpture and architecture. The course begins by surveying the various ways in which mythology has been catalogued and studied from the ancient mythographers to Freud, Propp. Levi-Strauss, and Burkert. Then ancient texts are used to explore how myth developed throughout the classical period. These will include Homer’s Iliad and Odyssey, Hesiod’s Work and Days and Theogony, the Homeric hymns to the gods, Greek tragedy and comedy, Virgil’s Aeneid and Ovid’s Metamorphoses. The influence of mythology on the works of Chaucer, Shakespeare and in film will also be discussed. The class meets twice a week and students are expected to complete bi-weekly readings, contribute to in class discussions and a class Blackboard discussion board, sit a mid term and a final complete one essay and attend at least one related theatre performance.
CLASS-UA 701, Identical to COLIT-UA 852 Socrates and His Critics
T&TH, 11:00-12:15, Vincent Renzi
Despite having written nothing himself, Socrates is—if not the most influential—certainly one of the most influential intellectual figures in the Western tradition, for it is with Socrates that “philosophy” seems first to move from natural history to an explicit concern for human affairs. Indeed, so great is the magnitude of this change that we continue to term earlier thinkers “pre-Socratic philosophers.” His stature is marked again in the name given to a distinctive form of philosophical literature, the Socratic discourse, and an approach to philosophical inquiry and instruction, the Socratic method. In antiquity, his thought, importantly, inspired Plato, Xenophon, the Stoics, the Skeptics, and the Cynics, beyond those thinkers stretching to influence in Rome and Judea...and four centuries before the presumed time of Jesus, Socrates had already suffered martyrdom for his idiosyncratic political, philosophical, and religious views. In modernity, his life both fascinates and repels the attention, notably, of Nietzsche; though criticisms of his mode of existence he had already endured in his own time at the hands of the comedian Aristophanes, among others. Given the state of the evidence, one can look only to the Despite having written nothing himself, Socrates is—if not the most influential—certainly one of the most influential intellectual figures in the Western tradition, for it is with Socrates that “philosophy” seems first to move from natural history to an explicit concern for human affairs. Indeed, so great is the magnitude of this change that we continue to term earlier thinkers “pre-Socratic philosophers.” His stature is marked again in the name given to a distinctive form of philosophical literature, the Socratic discourse, and an approach to philosophical inquiry and instruction, the Socratic method. In antiquity, his thought, importantly, inspired Plato, Xenophon, the Stoics, the Skeptics, and the Cynics, beyond those thinkers stretching to influence in Rome and Judea...and four centuries before the presumed time of Jesus, Socrates had already suffered martyrdom for his idiosyncratic political, philosophical, and religious views. In modernity, his life both fascinates and repels the attention, notably, of Nietzsche; though criticisms of his mode of existence he had already endured in his own time at the hands of the comedian Aristophanes, among others.
CLASS-UA 874 Advanced Latin
T&TH, 3:30-4:45, Alessandro Barchiesi
The class is a close reading of one of the most surprising masterpieces of Latin Literature, book XI of Apuleius Metamorphoses, where a human turned ass then human again becomes a mystic follower of the religion of Isis, the 'Egyptian' goddess. Issues of grammar, syntax, diction and style will be discussed in class, and participants will improve their grasp of the language as well the literature of ancient Rome.
Prior experience of the Latin Language is required.
CLASS-UA 972, Advanced Greek, Greek Tragedy: Sophocles, Oedipus Tyrannos
M&W, 9:30-10:45, David Sider
CLASS-UA 210, same as SCA-UA 744.003, Representing Ancient Gender Sexuality in Greece & Rome
M&W 11:00-12:15, David Sider
An examination of the complexity of classical Greek and Roman attitudes towards gender roles (some relaxed and some strict) and sexual practices. Our main sources will be their own contemporary texts (Aeschylus, Aristophanes, Euripides, Theophrastus, etc., as well as graffiti) and paintings, supported by several modern books and handouts on the subject. A term paper will be expected.
CLASS-UA 291.002, same as HEL-320, Greek Tragedy and Modern Greece
TH, 3:30PM-6:00PM Liana Theodoratou and Olga Taxidou
This course examines the ways in which Greek Tragedy is re-imagined within the broader context of Modern Greek culture from the early twentieth century to today. It is based on the premise that the encounter with the ancient texts enables Modern Greek writers, playwrights, and directors to think through, embody, and sometimes problematize concerns about nationhood, tradition and modernity, classicism and experimentation. Greek Tragedy is approached both thematically and formally, as text and vehicle for performance. This interface between the ancients and the moderns acquires particular relevance and urgency at moments of political crisis, such as the civil war, the military dictatorship, and the contemporary refugee crisis. This course will approach this dialogue within these specific historico-political contexts and concentrate on the modes of writing and re-writing it has helped to shape. We will examine the classical play-texts and the ways they have been re-imagined not only on the stage, but also in Greek poetry, fiction, music, and film. Visits from Greek filmmakers, theater directors, and artists will be an essential component of this course.
CLASS-UA 291.003, same as DRLIT-UA 200.001, Tracing the (Post-)Tragic from Antiquity to Today
T&TH, 9:30AM - 10:45AM, Charlotte Farrell
This course examines the emergence of classical tragedy in Ancient Greece, and the continued relevance of the plays’ today. Various classical tragedies and their performance at key moments throughout history will be examined and discussed, including Sophocles’ Antigone, Euripides’ Women of Troy and The Bacchae. Video footage of key productions, as well as attendance of live performances in New York City, will operate as material for detailed comparative analyses between text and stage. A notion of ‘post-tragedy’ will be introduced to examine dramaturgical strategies of duration and bodily excess in contemporary adaptations of classical tragedy. These bodily excesses will be shown to operate as socio-politically significant within a neoliberal milieu. Watching contemporary adaptations of classical tragedy will inform a critical engagement with how the tragic body is (re)configured on the post-tragic stage.
CLASS-UA 293.001, same as HEL-UA 140, Re-imagining Greek Tragedy
T, 3:30PM-6:00PM, Olga Taxidou
The encounters with Greek Tragedy throughout the ages have not only shaped our understanding of theatre in the Western canon, but have also informed basic concepts and theories of classicism, neo-classicism and humanism more broadly. A privileged genre in aesthetic theory, its powerful roles (like Clytemnestra, Oedipus, Antigone) have had a huge impact on modern thinking, from psychoanalysis and philosophy to legal and political theory. This course will take an interdisciplinary approach to Greek Tragedy, bringing together critical languages from Classics, Theatre Studies, Performance Theory, but also philosophy and critical theory. Through a series of close readings of key play-texts by the three tragedians – Aeschylus, Sophocles and Euripides – this course will analyse the development of Greek tragedy as a dramatic genre and vehicle for performance within the context of the democratic city-state. It will also look at the ways these texts have been re-written and re-imagined for performance within the broader context of modernity.