Classical Mythology and Its Media
A.Y. 2024/2025
Learning objectives
The course will consist of a preliminar section that will present some key tools related to the study of classical mythology, with a specific interest in the definition of the peculiar nature of the ancient hero and the presence of some narrative patterns related to it in the Mediterranean area. A specific focus will also be devoted to the survival of the mythical "heroic" narrative in modern and contemporary culture, through literary, iconographic, musical sources, and more generally in new media.
In the second part of the course, the figure of the hero Heracles will be specifically examined: his mythical biography, his deeds, but also permanence in a broad geographic area that includes, in addition to East and West Greek world, the Phoenician-Punic area, the Sumerian culture, the Etruscan world, and again Central Asia, India, and Medieval China. A specific in-depth study will be devoted to the adaptations of the hero in new media (performance art, cinema, music).
In the second part of the course, the figure of the hero Heracles will be specifically examined: his mythical biography, his deeds, but also permanence in a broad geographic area that includes, in addition to East and West Greek world, the Phoenician-Punic area, the Sumerian culture, the Etruscan world, and again Central Asia, India, and Medieval China. A specific in-depth study will be devoted to the adaptations of the hero in new media (performance art, cinema, music).
Expected learning outcomes
1.Knowledge and understanding: Knowledge of the limits and perspectives of historiographical traditions and the problems associated with reading and interpreting the history of classical mythology; knowledge of the basic lines of development of the history of mythology and its channels of communication.
2.Ability to apply knowledge and understanding: Ability to critically use the main bibliographical tools to search for information in the history of classical mythology; ability to read (synchronic and diachronic) the main historical dynamics with reference to classical mythology; ability to recognise the value of the complexity and multiplicity of interpretations of the sources; ability to understand, analyse, and reuse the scientific literature related to the discipline covered in the syllabus; ability to compare different hypotheses formulated in the scientific literature and to understand what arguments are brought to support them.
3.Making judgments: ability to form an autonomous, reasoned idea, free from fashions and preconceived theories, in relation to the historical and cultural phenomena of classical mythology; ability to grasp and critically interpret and historically contextualise the complex elements of diversity and otherness of the various mythical traditions; ability to select information for the purpose of formulating one's own autonomous and critically examined judgements; ability to critically intervene in a debate on the value and role of classical mythology for understanding the present.
4.Communication skills: ability to express with logical rigour in written and/or oral form (in English) the knowledge and skills learnt in the course of study of classical mythology.
5.Learning skills: ability to autonomously find and consult resources and tools for learning and updating knowledge and skills in the area of the study of religions; autonomous ability to interpret sources in the study of the religion of one or more civilisations; ability to develop questions in a clear and articulate manner in order to deepen, complete and integrate the knowledge and skills learnt.
2.Ability to apply knowledge and understanding: Ability to critically use the main bibliographical tools to search for information in the history of classical mythology; ability to read (synchronic and diachronic) the main historical dynamics with reference to classical mythology; ability to recognise the value of the complexity and multiplicity of interpretations of the sources; ability to understand, analyse, and reuse the scientific literature related to the discipline covered in the syllabus; ability to compare different hypotheses formulated in the scientific literature and to understand what arguments are brought to support them.
3.Making judgments: ability to form an autonomous, reasoned idea, free from fashions and preconceived theories, in relation to the historical and cultural phenomena of classical mythology; ability to grasp and critically interpret and historically contextualise the complex elements of diversity and otherness of the various mythical traditions; ability to select information for the purpose of formulating one's own autonomous and critically examined judgements; ability to critically intervene in a debate on the value and role of classical mythology for understanding the present.
4.Communication skills: ability to express with logical rigour in written and/or oral form (in English) the knowledge and skills learnt in the course of study of classical mythology.
5.Learning skills: ability to autonomously find and consult resources and tools for learning and updating knowledge and skills in the area of the study of religions; autonomous ability to interpret sources in the study of the religion of one or more civilisations; ability to develop questions in a clear and articulate manner in order to deepen, complete and integrate the knowledge and skills learnt.
Lesson period: First semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course can be attended as a single course.
Course syllabus and organization
Single session
Responsible
Lesson period
First semester
Course syllabus
The course aims at providing some key tools related to the study of ancient mythology, with a specific focus on the spread of storytelling patterns in both a synchronic and diachronic sense, from antiquity to contemporaneity. This year's class program is dedicated to the presentation of the great female figures of ancient mythology who dominated the collective imagination in classical antiquity and continue to do so in contemporary 21st-century culture.
The first part of the course will present examples of strong women in mythology, namely Circe, Medea and Clytemnestra. The ancient sources in which their myths are described will be presented, after which we will turn to the phenomenon of the so-called novelisation of ancient myth.
Starting with Emily Wilson's translations of Homer's Odyssey and the remarkable success of Madeline Miller's books, we will then investigate the phenomenon of contemporary female authors rewriting ancient myths in contemporary novels, as well as the success of a narrative trend that, through the rewriting of female figures in myth, proposes a new lens through which to investigate the female world, both ancient and contemporary.
The second part of the course aims to engage the class with a more "laboratory" approach. The module intends to explore the role of passions such as anger and revenge in some female figures of myth, in particular focusing on Erinni and Clytemnestra in the Aeschylean trilogy of Oresteia. The focus will therefore be directed on some productions of the saga of the Atreids in contemporary theater from the second half of the 1960s to the 2000s, analyzing how the mythical device acts as a catalyst for reflections on the present for many artists on the international scene.
Shows analyzed: Orestea by Vittorio Gassman translated by Pier Paolo Pasolini (INDA production, 1960), Orestea by Luca Ronconi (1972), Orestea by Peter Stein (1980), Oresteia by Romeo Castellucci (1995-2016), Oresteia by Theodoros Terzopoulos (2024)
The first part of the course will present examples of strong women in mythology, namely Circe, Medea and Clytemnestra. The ancient sources in which their myths are described will be presented, after which we will turn to the phenomenon of the so-called novelisation of ancient myth.
Starting with Emily Wilson's translations of Homer's Odyssey and the remarkable success of Madeline Miller's books, we will then investigate the phenomenon of contemporary female authors rewriting ancient myths in contemporary novels, as well as the success of a narrative trend that, through the rewriting of female figures in myth, proposes a new lens through which to investigate the female world, both ancient and contemporary.
The second part of the course aims to engage the class with a more "laboratory" approach. The module intends to explore the role of passions such as anger and revenge in some female figures of myth, in particular focusing on Erinni and Clytemnestra in the Aeschylean trilogy of Oresteia. The focus will therefore be directed on some productions of the saga of the Atreids in contemporary theater from the second half of the 1960s to the 2000s, analyzing how the mythical device acts as a catalyst for reflections on the present for many artists on the international scene.
Shows analyzed: Orestea by Vittorio Gassman translated by Pier Paolo Pasolini (INDA production, 1960), Orestea by Luca Ronconi (1972), Orestea by Peter Stein (1980), Oresteia by Romeo Castellucci (1995-2016), Oresteia by Theodoros Terzopoulos (2024)
Prerequisites for admission
This course has no access requirements and is not restricted to students in classics. Equally, an introductory knowledge of classical mythology is certainly helpful.
Teaching methods
Teaching methods: The teaching method is lecture based. However, lecturing will be intermingled with workshop lessons. This course has no formal entry requirements. Nonetheless, attendance is highly recommended.
Teaching Resources
Teaching section one
Two books to be selected out of:
C. Casati, Clytemnestra
M. Miller, Circe
E. Quin, Medea: A Novel
J. Saint, Ariandne: A Novel
Teaching/workshop section two
Reference bibliography: O. Taplin, Greek tragedy in action (1981); M. Evans, Aeschilus' Oresteia. Translation and Theatrical Commentary (2024); M. Carlson, Postdramatic theater and post-dramatic theory (2015)*
* the study of these books (section II) is not mandatory, but suggested under the guidance of the professor
Two books to be selected out of:
C. Casati, Clytemnestra
M. Miller, Circe
E. Quin, Medea: A Novel
J. Saint, Ariandne: A Novel
Teaching/workshop section two
Reference bibliography: O. Taplin, Greek tragedy in action (1981); M. Evans, Aeschilus' Oresteia. Translation and Theatrical Commentary (2024); M. Carlson, Postdramatic theater and post-dramatic theory (2015)*
* the study of these books (section II) is not mandatory, but suggested under the guidance of the professor
Assessment methods and Criteria
The examination is exclusively oral, and the grading system is based on a 30 points scale (18 is the minimum passing grade).
The exam also aims at testing the ability both to discuss critically the topics studied and to use the appropriate discipline-specific vocabulary. Performance descriptors are: knowledge accuracy, ability to present critically a topic, speech organization, fluency and appropriate vocabulary. The examination procedures for students with disabilities and/or with DSA must be agreed with the teacher, in agreement with the competent office.
Assessment of knowledge: Assessment will consist of an oral examination, in which students will be evaluated as to the knowledge and the competencies they acquired during the course and in the subsequent preparation for the exam.
The exam also aims at testing the ability both to discuss critically the topics studied and to use the appropriate discipline-specific vocabulary. Performance descriptors are: knowledge accuracy, ability to present critically a topic, speech organization, fluency and appropriate vocabulary. The examination procedures for students with disabilities and/or with DSA must be agreed with the teacher, in agreement with the competent office.
Assessment of knowledge: Assessment will consist of an oral examination, in which students will be evaluated as to the knowledge and the competencies they acquired during the course and in the subsequent preparation for the exam.
Educational website(s)
Professor(s)
Reception:
Wednesday 10.45 a.m.
in person, cortile della legnaia, ground floor, via festa del perdono 7; on line via teams (scheduled only)