[US/TE/TR/TS] 

(Offered as HIST 128 [EU/TC/TE/^P] and EUST 128)

Independent reading course.

Fall and spring semesters. The Department.

The authors read in GREE 441 and 442 vary from year to year, but as a general practice are chosen from a list including Homer, choral and lyric poetry, historians, tragedians, and Plato, depending upon the interests and needs of the students. GREE 441 and 442 may be elected any number of times by a student, providing only that the topic is not the same. In 2021-22 GREE 441 will read Aeschylus's Prometheus Bound. Three class hours per week. Seminar course.

This course offers an introduction to New Testament Greek. We will read selections from the Gospels and Epistles and will discuss the social and philosophical context as well as the content of the texts. Three class hours per week.

Requisite: GREE 111 or equivalent. Fall semester. Visiting Lecturer D. Sinos. 

An introduction to Greek tragedy as a literary and ritual form through a close reading of one play. We will read the Bacchae of Euripides, with attention to poetic language, dramatic technique, and ritual context. This course aims to establish reading proficiency in Greek, with review of forms and syntax as needed. Three class hours per week.

Requisite: GREE 111 or equivalent. Fall semester. Professor R. Sinos.

This course prepares students in one term to read Plato, Greek tragedy, Homer, and other Greek literary, historical, and philosophical texts in the original and also provides sufficient competence to read New Testament Greek. The course will be taught synchronously at an hour convenient for the students enrolled. Three class hours per week.

In the Fall semester, this course is normally followed by GREE 212 and then GREE 215 or 217. In the Spring semester, this course is normally followed by GREE 215 or 217 and then GREE 212 or 318.

Independent reading course.

Fall and spring semesters. The Department.

(Offered as GERM 365, ARCH 365, and EUST 365) This is a course about what happens to difficult memories: memories that are intensely personal, but made public, memories that belong to communities, but which become ideologically possessed by history, politics, or the media. How are memories processed into memorials? What constitutes a memorial? What gets included or excluded? How is memory performed in cultural objects, spaces, and institutions? What is the relationship between the politics of representation and memory? Who owns memory? Who is authorized to convey it?

Why is drama an art form of such tremendous importance to Germans, Austrians, and the Swiss? Few cultures can boast a similar preoccupation with, interest in, and public support of, the theater. This course examines the rich legacy of dramatic innovation and experimentation from about 1890 to the present day, ranging from the scandals surrounding Frank Wedekind’s exposition of sexual hypocrisy to the iconoclastic provocations of present-day Regietheater.