weekly
or for 9 classes
含まれるもの
9 ライブミーティング
9 授業時間宿題:
週あたり 2-4 時間. The students are asked to read in advance the assigned three works, one per three weeks during the course (or 15 to 20 pages per week). It is imperrative that they do all the readings in order to help them better participate in class discussion, as well as really enjoy and easier absorbe the material. Also, I strongly suggest that students either write an academic essay (using any of the plays or comparing them on any topic that interests the students) or have a creative project in their minds throught the course, based on the class material, and after having discussed it with me in private (as many times as they want), according to each student's needs, strengths and passions, and which they will have to produce by the end of the entire course. There is NO requirement about sharing it with the rest of the class.テスト
I do not believe that a letter grade is meaningful for a course on ancient theatre. However, as I often do with my one-time classes, which are always small classes (up to 5 or 6 students), I communicate with the parents and the children directly, providing my personal comments, private feedback and an informal assessment. At the same time, I offer optionally the possibility to choose between an academic essay and an artistic project (see also above: Homework section)評価
含まれるこの文章は自動翻訳されています
このクラスで学べること
英語レベル - 不明
米国の学年 8 - 11
Advanced レベル向け
(A) Required Experience: This is a 9-week course addressed to students who have (at least) a basic background on ancient civilizations, and a special interest in the Ancient Greek literary production, or in the ancient Greek artistic and cultural production in general. N.B.: The students do not need to have taken the other classes on ancient Greek theatrical plays, but it would be an asset to have done so. (B) Teaching style and students interaction: The learning process of this class is based mostly on students' class participation, class dialogue, questions based on the ongoing discussion, and new ideas based on the participants. There is not one universal solution to teach. Rather I combine techniques to achieve the maximum of my strengths and of my students. Having taught so far young kids, teenagers, University students and mature learners, I know that teachers need to approach students with understanding. After all, such a small class has the advantage of making the combined technique of dialogue-discussion-lecture feasible and efficient. (C) Class structure: Weeks 1 to 3: Discussion and Interpretation of Sophocles' play "Oedipus", which students are asked to read and prepare in advance. It is, without doubt, the most famous tragic play of all in the history of theatre. The story is not just about the notorious hero Oedipus, so well-known from his confrontation with monstruous Sphinx in Greek mythology, but also an exercise in arrogance: Oedipus is convinced that his intellect can surmount any obstacle of his, as he had done before, solving the riddle of the Sphinx. But his intellect is far too little to confront divine preordinace. But what about the idea of autonomous individual will which we so much cherish today? Weeks 4 to 6: Discussion and Interpretation of Sophocles' play "Antigone", which students are asked to read and prepare in advance. "Antigone" is, out of all Sophocles' tragedies, the most overly political one, with the heroine living in Thebes during political strife, tyranny and domestic chaos. It have, thus, inspired numerous modern anachronistic adaptations, with Antigone fighting sometimes Nazism, sometimes communism, or South African apartheid or British imperialism in Ireland. In the original play, Antigone resists her uncle's (and new king of Thebes's) despotic and erratic behavior, especially when he goes against, the divine, unwritten law. Weeks 7 to 9: Discussion and Interpretation of Sophocles' play "Electra", which students are asked to read and prepare in advance. "Electra" is the only surviving Sophoclean tragedy set at Mycenae, whereas her myth has also been portrayed by the other two great Athenian tragedians, Aeschylus and Euripides. Sophocles, though, instead of focusing on whether Orestes was justified or not to committ his crime, and the results of it (like in Aeschylus and Euripides), he chooses to focus on the the remarkable figure of Electra and her psychological disturbances, making her the most dominant of all of his characters ever on stage.
学習到達目標
First of all, as a general rule, in my series of ancient Greek and Roman literature classes, the most important goal is for young students, who genuinely love mythology, to read not a modern book about mythology (as they most often do) but an ancient Greek or Roman work containing the original myths.
In this course the students will be able to appreciate the beauty and importance of the study of these ancient literary masterpieces. Having studied myself history and literature at a graduate, postgraduate and doctoral level, and trained in scientific research, ancient languages (Greek, Latin, Coptic), and the use of various aspects of ancient material culture (art, architecture, coins etc), I want to bring this bigger picture of ancient society to this course.
The students and myself, we will discuss together in class not just about events and characters of these theatrical plays in particular, but also about major aspects of human life, as they were perceived in the past by another culture, the ancient Greek culture, which is so far from us, and yet so modern and relevant.
In this multi-day course in particular, we are going to approach these theatrical plays of Sophocles by keeping the following observations constantly in our mind:
(i) Sophocles was enormously popular within his own lifetime, and had won twenty times in dramatic competitions (including one with "Antigone")
(ii) Sophocles's works have a long list of admirers, like John Milton, Percy Shelley, George Eliot, Virginia Woolf, W.B. Yeats, Hegel, Freud and others
(iii) his works have been revived in translation and played on stage since the 1580s !!!
(iv) a distinctive feature of Sophoclean tragedy is the titanic central heroic figure (Oedipus, Antigone, Electra) defiantly refusing to compromise and bend to other people's different perceptions of reality
(v) mortals in his tragedies who transgress the unwritten, unchanging, eternal divine laws must come to see the error of their ways.
その他の情報
保護者へのお知らせ
In the ancient Greek art gods are depicted often (but not always) naked. The Greek word for a naked man is "gymnos" and that is why in English today we say "gymnastics" or "gym" although our children and athletes wear uniforms. This being said, any artistic reproduction of Sophocles' works in ancient art should be expected to show nude gods. I try to use as less as possible, but it is not always within my hands since this is the nature of the ancient Greek art itself. Since, it is an art that comes from an era where there were no photographs, or videos, the art is found only on painted vases, wall paintings and sculpture. Nudity was never meant to provoke, but to tell to the ancient viewer that gods are not mortal humans, and, thus, they do not really need clothes, or that heroes are not just ordinary humans, and need to be singled out with their god-like depiction.
Most important of all, I want to point out that there are often bigger issues dealt by Sophocles in his artistically advanced poetry. This is the very nature of theatre! This is why theatre stills captivates us! This being said, if students raise any of the sensitive issues in class, I cannot pretend they are not there. They are part of Sophocles's work. Sooner or later, they will learn that Sophocles and Greek literature are the basis of western literature, considered masterpieces and world intellectual heritage, and that this does not mean they are polished, good-looking Hollywood movies. Humans are not like this, and the ancient Greek theatre reflects that.
Truth is that I can change neither Greek art nor Greek literature. Only, to put them in their own historical context. My best weapon is that the ancient Greek artists do not use sensitive topics to horrify or entertain, but to provoke people change their way of thinking where there is wrong, educate and sensibilize society or, at least, explain deeper ideas.
受講に必要なもの
A great series of translations, Oxford World's Classics, which comes from a leading publication house in classical studies, the Oxford University Press, includes a translation of Sophocles's three theatrical plays we will be discussing in this class: Sophocles, Antigone, Oedipus the King and Electra, trans. H.D.F. Kitto, Oxford Classics Paperback 2008.
外部リソース
学習者は、Outschoolが提供する基本ツール以外のアプリやウェブサイトを使用する必要はありません。
使用する教材
A great online source which I personally use is Perseus Digital Library (section Collections/Texts), under the auspices of Tufts University (http://www.perseus.tufts.edu/hopper/collections) which contains most of the works of ancient Greek and Roman authors which we will be using as our primary sources. However, if you acquire the book I propose in the Supply List section (see below), you will not need to use this source.
In addition, images of art (related to the work of Sophocles), if any, will be provided to students through the online collections of Greek and Roman artifacts painted or sculpted that are available around the world (e.g. from major public Museums such as the Museum of Louvre, the British Museum, or the Metropolitan Museum, from Museums of major Universities such as Harvard, Yale, UPenn, Cornell, or Chicago, from Art Museums such as The Walters Art Museum, or the Boston Fine Arts Museum, and from professional photographers whose work is available at flickr).
先生について
教師の専門知識と資格
I have a BA in ancient Greek History and Archaeology, an MA in ancient Greek Archaeology and History of Art and an MA in the History and Philosophy of Religions, and I am a PhD Candidate of Religions and Cultures, specialized in ancient Greek and Roman religions and cultures. Using ancient primary sources, like the works of Sophocles, is necessary in my scientific work and in my professional career as teacher.
My experience includes teaching on OutSchool the Iliad, the Odyssey, the Argonautica, the Aeneid, the works of Euripides, and partially many historical sources (Thucydides, Herodotus, Xenophon, Livy, Polybius, Cicero, Caesar, Suetonius and Tacitus, amonst others).
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