Lyric poetry: Archaic Greece and Classical Rome
|
M 1/15 |
Martin Luther King Day: No classes.
|
W 1/17 |
Introductions
|
F 1/19 |
Calling on Community: Tyrtaeus, Callinus
|
M 1/22 |
Songs of Experience: Archilochus, Semonides
|
W 1/24 |
Settings and Singers: Mimnermus, Alcman
|
F 1/26 |
Lesbians with Burning Hearts: Alcaeus, Sappho
|
M 1/29 |
Matters of Interpretation: Solon, Stesichorus
|
W 1/31 |
Professional Callings: Anacreon, Xenophanes, Simonides
|
F 2/2 |
Transcending Greatness: Pindar
- Greek Lyric 126-136, 192-196, 205-212, 224-230
- assignments will be distributed in class for Translation
Exercise, part 2
- resource (note caveats in introduction):
Early Greek Poets Chronology,
pub. ThoughtCo.
|
M 2/5 |
Lyrical Mythology and Tradition: Bacchylides, Corinna
|
W 2/7 |
Roman Lyric Breaks Out: Catullus
|
F 2/9 |
Refining Roman Lyric: Horace
|
M 2/12 |
Roman Erotic Elegy: Gallus, Sulpicia, Propertius
|
W 2/14 |
Exam 1: Lyric poetry of Archaic Greece, and Roman receptions
|
|
Athenian Drama |
F 2/16 |
Scene-Setting
- "Introduction to
Greek Stagecraft," pub. Didaskalia, the Journal
for Ancient Performance; supplementally (albeit less visually), "Theatre
Staging, Greek" in the Oxford Classical Dictionary, 4th edition; see too
"Layout of the
Ancient Greek Theater," pub.
ThoughtCo., with photographs of various sites
- resource: "Parode
and Related Terms in Ancient Greek Tragedy and Comedy," pub.
ThoughtCo. (my own habit is to Anglicize less far and say
parodos and exodos)
- Aeschylus, Agamemnon, prologue - parodos
(Fagles tr. pp.103-112 / ll.1-257 or Theodoridis tr.
pp.1-6 / ll.1-257)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- resource: Extant Athenian Drama - Dates, pub.
pub. jlong1.sites.luc.edu/
|
M 2/19 |
In the King's Absence
- Aeschylus, Agamemnon, episode 1 - stasimon 2
(Fagles tr. pp.112-131 / ll.258-766 or Theodoridis tr.
pp.6-15 / ll.258-782)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- Cultural Assumptions Exercise will be assigned in class
- resource: Extant Athenian Drama - Dates, pub.
jlong1.sites.luc.edu/
|
W 2/21 |
Veiled Truths of Clytaemnestra and Cassandra
- Aeschylus, Agamemnon, episode 3
(Fagles tr. pp.132-158 / ll.767-1354 or Theodoridis tr.
pp.15-26 / ll.783-1330)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- resource: Extant Athenian Drama - Dates, pub.
jlong1.sites.luc.edu/
|
F 2/23 |
Clytaemnestra's Present
|
M 2/26 |
Individual Desires
|
W 2/28 |
Interpersonal Consequences
- Euripides, Hippolytus, stasimon 1 - episode 3
(Morford tr. 54-70 / ll.525-1101 or
Theodoridis tr.
pp.14-29 / ll.525-1103)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- resource: Extant Athenian Drama - Dates,
pub. jlong1.sites.luc.edu/
|
F 3/1 |
Divine Actions
- Euripides, Hippolytus, stasimon 3 - exodos
(Morford tr. pp.70-80 / ll.1102-1468 or
Theodoridis tr.
pp.29-37 / ll.1104-1463)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- resource: Extant Athenian Drama - Dates,
pub. jlong1.sites.luc.edu/
|
M 3/4-Sa 3/9 |
Spring Break: No classes.
|
M 3/11 |
Making Poetry, in Character
|
W 3/13 |
What Comedic Women Worshipfully Want (?)
- Aristophanes, Thesmophoriazusae, parodos - parabasis
(Barrett tr. pp.87-107 / ll.280-849 or
Theodoridis tr.
pp.12-26 / ll.280-846)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- Argumentation Exercise will be assigned in class
- resource: Extant Athenian Drama - Dates,
pub. jlong1.sites.luc.edu/
|
F 3/15 |
Parody and Interpretation: Receiving Poetry
|
M 3/18 |
Yearnings
- Aristophanes, Frogs, prologue - parodos of the Initiates
(Barrett tr. pp.133-152 / ll.1-459 or
Theodoridis tr.
pp.1-18 / ll.1-459)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- resource: Extant Athenian Drama - Dates,
pub. jlong1.sites.luc.edu/
|
W 3/20 |
Familiarity Breeds
- Aristophanes, Frogs, episode 3 - episode 5
(Barrett tr. pp.152-166 / ll.460-829 or
Theodoridis tr.
pp.18-28 / ll.460-829)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- resource: Extant Athenian Drama - Dates,
pub. jlong1.sites.luc.edu/
- resource (when the definitive edition is posted for this year's exam, the date will be updated too): Study Guide for Exam 2
|
F 3/22 |
Critical Drama
- Aristophanes, Frogs, episode 6 - exodox
(Barrett tr. pp.166-190 / ll.830-1535 or
Theodoridis tr.
pp.28-46 / ll.830-1523)
- note: ancient Greek and
Roman scripts did not include stage-directions, but our translators insert them according to
their interpretations of the plays - base all your understanding of what the plays depict on
the dialogue
- resource: Extant Athenian Drama - Dates,
pub. jlong1.sites.luc.edu/
- resource (when the definitive edition is posted for this year's exam, the date will be updated too): Study Guide for Exam 2
|
M 3/25 |
Exam 2: Athenian Drama
|
|
Christian Self-Declaration |
W 3/27 |
Re-figuring Identity: Perpetua
|
4:15pm Th 3/28 - 4:00pm M 4/1 |
Easter Break: No classes.
|
W 4/3 |
Perpetua's Passion
|
F 4/5 |
Perpetuating Perpetua
|
M 4/8 |
First Things First
- Augustine, Confessions, Book 1
(Pine-Coffin tr. pp.21-41 or
Outler
tr. pp.11-23)
- Optional Creative Challenge 1, if undertaken -
due
- resource:
Augustine chronology, pub.
R. D. Wallin
- possibilities for Optional Creative Challenge 2 will be distributed in class
|
W 4/10 |
What's in a Pear?
|
F 4/12 |
Drama
|
M 4/15 |
Going Part-Way
|
W 4/17 |
Big Step
|
F 4/19 |
The Big City
|
M 4/22 |
Intellectual Discernment
|
W 4/24 |
Crisis
|
F 4/26 |
Resolution
|
9:00am - 4:15pm W 5/1 |
Study Day: No exams between 9:00am-4:15pm.
|
Sa 5/4
1:00pm-3:00pm |
Final Exam: Roman Christian Self-Representation.
Conformed with Loyola's
Final
Exam Schedule.
|
|