Featured Courses

Please check the University's Course Descriptions for course pre-requisites.
* Course fulfills CMRS program requirements.

2019 Spring and Summer Courses

* ARTH 308.3, Art of the High Renaissance and Reformation Era, 1500-1550: Summer term (June 27 - July 18), MTWR 0930-1220. Instructor: Sandra Herron.
The High Renaissance, Mannerism, and other trends in European painting and sculpture will be considered in the context of the Reformation. Study Raphael, Michelangelo, Dürer, and others.

Selected Courses, Term 1 (Sept-Dec 2019)

* CMRS 110.3, The Graeco-Roman Tradition, Evolution and Reception. Special edition: Ancient Comedy, Tragedy, and the Modern Domestic Comedy. MWF 1030-1120. Instructor: John Porter.
Explore some of the less celebrated by-ways of the ancient Graeco-Roman comic tradition and get some interesting insights into the Early Modern novel and the modern sit-com!

* CMRS 401.3, CMRS Texts and Themes -- Curating the Classics in Medieval and Renaissance Scotland: Tue 0930-1150. Instructor: David Parkinson.
A goal of this seminar is to increase understanding of the ways in which Greek and Latin texts shaped understandings of self and society in medieval and early modern Scotland. More practically, the seminar will offer its participants the opportunity to apply principles and techniques from book history, comparative literary studies, cultural studies, and gender studies in developing their independent research projects.

Selected Courses, Term 2 (Jan-Apr 2020)

* HIST 207.3, Greek Tragedy and the Culture of Fifth-Century Athens. TR 1300-1420. Instructor: John Porter.
An examination of the dramatic, literary, social, and intellectual contexts that inform fifth-century Athenian tragedy. We’ll begin by taking perhaps the most famous of all Greek tragedies, Sophocles’ Oedipus the King, and using it as a case-study to examine the questions that arise as one attempts to make sense of such a work — how one sets about understanding a piece composed for performance rather than for silent reading, but that survives only as a text, with no stage-directions or other introductory material, and that was produced in accordance with a set of performance traditions that are quite alien to those familiar to the modern Western play-goer, before an audience who held very different views regarding such fundamental matters as the nature of the gods, of justice, and of what constitutes honorable behavior. Having laid the groundwork with our discussion of Sophocles’ Oedipus, we’ll then back up and consider what Athenian tragedy looked like prior to Sophocles before going on to examine how it evolved in the last decades of the fifth century BC. Along the way, we’ll also have occasion to look at the influence of Greek tragedy on later drama and various ways it has been adapted for the modern cinema.