Course Schedule

Please note that this schedule may be adjusted based on class needs and interests.

Content Warning

This course examines textual evidence that sometimes reflects difficult aspects of Roman society, including slavery, violence, and cultural suppression. We will approach these topics critically and analytically, but I understand they can be challenging to discuss. I will provide content warnings before particularly sensitive material and am happy to discuss any concerns you may have about course content.

Introducing Tragedy and Cultural Perspectives (Weeks 1-3)

Week 1: Introduction to Greek Tragedy

  • Understanding tragic form and context
  • Critical approaches to ancient performance
  • Multiple cultural perspectives on tragedy

Readings:

Justice and Transformation (Weeks 4-6)

Week 4: Oresteia - Cycles of Violence

  • Libation Bearers and vengeance
  • Family obligations across cultures
  • Maternal power and resistance

Readings:

  • Libation Bearers (complete)
  • Patricia Johnson, "Blood-Stained Hands: Female Power and Ritual"
  • Contemporary adaptations of Clytemnestra's story

First Critical Analysis Project Due

Week 5: Oresteia - Justice Transformed

  • The Furies and social change
  • Transformation of justice systems
  • Gender and divine power

Readings:

Week 6: The Oresteia in Modern Context

  • Contemporary productions
  • Cultural adaptations
  • Political interpretations

Readings:

  • Selected modern adaptations
  • Helene Foley, "Reimagining Greek Tragedy on the American Stage"

First Reaction Paper Due

Fate and Individual Choice (Weeks 7-9)

Week 7: Oedipus the King

  • Free will versus fate
  • Knowledge and power
  • Cultural approaches to prophecy

Readings:

  • Oedipus the King (first half)
  • Wole Soyinka on tragedy and Yoruba drama
    • (Watch performance) ↗
  • Rush Rehm, "Understanding Greek Tragic Theatre"

Week 8: Oedipus and Identity

  • Personal versus public identity
  • Cross-cultural views of incest taboos
  • Leadership and responsibility

Readings:

  • Oedipus the King (second half)
  • Fred Moten, "In the Break"

Second Critical Analysis Project Workshop

Week 9: Antigone and Resistance

  • Civil disobedience
  • Gender and political power
  • Family versus state

Readings:

  • Antigone (complete)
  • Judith Butler, "Antigone's Claim"
  • Tina Chanter, "Whose Antigone?"

Second Reaction Paper Due

Gender and Power (Weeks 10-13)

Week 10: Medea and Cultural Identity

  • Outsider status and power
  • Gender and colonialism
  • Vengeance across cultures

Readings:

  • Medea (first half)
  • Edith Hall, "Medea and Cultural Identity"
  • Contemporary feminist interpretations
  • Non-Western adaptations of Medea

Week 11: Medea's Choices

  • Infanticide in tragic context
  • Women's agency and power
  • Marriage across cultures

Readings:

Third Reaction Paper Due

Week 12: Bacchae and Religious Identity

  • Divine and human power
  • Gender performance and identity
  • Religious ecstasy and control

Readings:

  • Bacchae (complete)
  • Charles Segal on dionysiac religion
  • Contemporary queer readings
  • Performances in non-Western contexts

Week 13: The Bacchae in Modern Context

  • Contemporary religious parallels
  • Gender fluidity in ancient/modern context
  • Violence and society

Readings:

  • Helen Foley on modern productions
  • Froma Zeitlin on gender performance
  • Global religious perspectives

Roman Reception and Transformation (Weeks 14-16)

Week 14: Seneca's Tragic Vision

  • Stoic philosophy and tragedy
  • Roman adaptation of Greek models
  • Political power and performance

Individual Project Consultations

Workshop Sessions

Week 15: Contemporary Resonance

  • Student Presentations
  • Modern Adaptations
  • Global Reception

Final Project Development

Group Discussions

Week 16: Looking Forward

  • Synthesizing Perspectives
  • Contemporary Applications
  • Future Directions

Final Projects Due

Course Reflection