The student will acquire the basic information on the material and structural aspects of ancient theatre (actor, chorus, material organization of the representation, agonistic occasion, scenic space, public) and the story of the transmission of the dramatic texts from the "first" performance to us.

Through the reading from the original language of Euripide's Trojan Women, the student will learn to understand a classical dramatic text in its linguistic, metrical-musical, thematic, historical-literary aspects, and its theatrical dynamics.

The course will begin (I-III week) from a general introduction to the Attic theatre, to its historical-evolutionary (from the initial stages to the time of maturity), and historical-cultural (society, historical events) aspects as well as to its material and dramaturgical features (shape and structure of the theatrical building, mask, actors, scenic space, theatrical machines, roles and movements on the scene).

It will continue (IV week) illustrating the figure and work of Euripides, whose tragedy will be the specific object of reading and analysis.

The remaining part of the course (V-IX week) will be entirely devoted to the original language reading of the Trojan Women, whose text will be translated and commented in a critical-textual, historical-literary perspective, as well as in terms of plot and dramaturgy. The iambic trimeter will be introduced and illustrated, with reading exercises, and some notes will be given about the structure of the lyrical sections.

The student will be guided to an essential knowledge of Classical Greek theatre, and to the ability to independently read a classical theatrical text with the complexity it presents.

From the point of view of the information obtained, the student will acquire an in-depth knowledge of issues relating to the transmission of the text (through a careful reading of the critical apparatus and of the transmitted lectiones), its performance and representation on the stage, the treatment of the plot in relation to the mythographical tradition.

More generally, the process of analytical reading of the chosen text will have important consequences on the student's ability to deal proficiently with an independent, rigorous reading of every kind of source (literary, historiographical, etc.), and to develop analytical skills of close reading, synthesis and critical thinking on the data and sources.

From the educational point of view, the student will deepen their awareness of specific methodological aspects characterizing literary research and, in particular, his/her dramatic and aesthetic sensitivity to the formal aspects of the poetic and rhetorical and, namely, theatrical discourse.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

Teaching

Lectures and supplementary materials in blended mode.

Attendance

A good command of the ancient Greek language is required.

Attending students should regularly take part in the lectures and any supplementary seminars.

Course books

I. the reference edition:

Euripides Troades, Edited with Introduction and Commentary by David Kovacs, Oxford 2018

II. the reference handbook:

 G. Mastromarco, P. Totaro, Storia del Teatro greco, Firenze 2008

III. Supplementary readings (mandatory)

a. The student is required to read two out of the following essays:

1.  Kristine Gilmartin, Talthybius in the Trojan Women, The American Journal of Philology 91, 1970, pp. 213-222

2.  C. A. E. Luschnig, Euripides' "Trojan Women:" All Is Vanity, The Classical World 65, 1971, pp. 8-12

3.  Adrian Poole, Total Disaster: Euripides' the Trojan Women, Arion: A Journal of Humanities and the Classics 3, 1976, pp. 257-287

4.  Michael Lloyd, The Helen Scene in Euripides' Troades, The Classical Quarterly 34, 1984, pp. 303-313

5.  Francis M. Dunn, Beginning at the End in Euripides’ Trojan Women, Rheinisches Museum für Philologie 136, 1993, pp. 22-35

6.  Ann Suter, Lament in Euripides' "Trojan Women", Mnemosyne , 56, 2003, pp. 1-28

7.  James Jan Sullivan, The Agency of the Herald Talthybius in Euripides' "Trojan Women", Mnemosyne 60, 2007, pp. 472-477

8.  ANASTASIA BAKOGIANNI, VOICES OF RESISTANCE: MICHAEL CACOYANNIS' "THE TROJAN WOMEN" (1911), Bulletin of the Institute of Classical Studies 52, 2009, pp. 45-68

9.  DANA LACOURSE MUNTEANU, THE TRAGIC MUSE AND THE ANTI-EPIC GLORY OF WOMEN IN EURIPIDES’ TROADES, The Classical Journal 106, 2011, pp. 129-147

10.   Niall W. Slater, "The Greatest Anti-War Poem Imaginable": Granville Barker's Trojan Women in America, Illinois Classical Studies 40, 2015, pp. 347-371

11.   Elizabeth W. Son, Korean Trojan Women: Performing Wartime Sexual Violence, Asian Theatre Journal 33, 2016, pp. 369-394

12.   Paolo Babbiotti and Luca Torrente, Euripides’s Trojan Women: A Critique of Asymmetric Conflict?, in  Conflict and Competition: Agon in Western Greece. Selected Essays from the 2019 Symposium on the Heritage of Western Greece, eds Heather L. Reid, John Serrati, Tim Sorg, Parnassos Press – Fonte Aretusa, 2020

b. The student is required to read the following works in Italian translation:

- Aristophanes, Lysistrata

- Euripides, Hecuba

- Euripides, Andromacha

Assessment

Oral exam.

The aim of the test is to check knowledge of the history of Greek theatre (authors, works, chronological aspects), Greek theatre in its historical context (social framework, socio-political context, ritual context), historical-literary aspects (treatment of myth, comparison with other coeve plays), its functioning (theater building, actors, stage roles, stage machines, music, dramaturgy).
It also intends to ascertain the linguistic competence of the students, and their acquired ability to translate and interpret a dramatic text in the original language. Particular attention will be paid to this aspect of the text.

Evaluations will be sized as follows:

assessments of excellence: an excellent knowledge of the ancient Greek language; the student's possession of good critical and in-depth skills; knowing how to relate safely the main issues addressed in the course; the use of a language appropriate to the specificity of the discipline.

discrete assessments: a fair knowledge of the ancient Greek language; the student's possession of a mnemonic knowledge of the contents; a modest critical capacity and connection between the topics discussed: the use of an appropriate language.

sufficient assessment: a sufficient knowledge of the ancient Greek language; the achievement of a minimal knowledge base on the topics dealt with by the student, even in the presence of some training gaps; the use of inappropriate language.

negative evaluations: an insufficient knowledge of the ancient Greek language; difficulty of orientation of the student with respect to the topics dealt with in the exam texts; training gaps; the use of inappropriate language.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

Supplementary materials in blended mode.

Attendance

The student is requires to carefully observe the program indicated in the vademecum.

In case of specific needs, which require a variation of the indicated program, the student should contact the teacher to arrange an alternative program.

The student is expected to have a sure knowledge of the Greek language.

Course books

I. the reference edition:

Euripides Troades, Edited with Introduction and Commentary by David Kovacs, Oxford 2018

II. the reference handbook:

 G. Mastromarco, P. Totaro, Storia del Teatro greco, Firenze 2008

III. Supplementary readings (mandatory)

a. The student is required to read two out of the following essays:

1.  Kristine Gilmartin, Talthybius in the Trojan Women, The American Journal of Philology 91, 1970, pp. 213-222

2.  C. A. E. Luschnig, Euripides' "Trojan Women:" All Is Vanity, The Classical World 65, 1971, pp. 8-12

3.  Adrian Poole, Total Disaster: Euripides' the Trojan Women, Arion: A Journal of Humanities and the Classics 3, 1976, pp. 257-287

4.  Michael Lloyd, The Helen Scene in Euripides' Troades, The Classical Quarterly 34, 1984, pp. 303-313

5.  Francis M. Dunn, Beginning at the End in Euripides’ Trojan Women, Rheinisches Museum für Philologie 136, 1993, pp. 22-35

6.  Ann Suter, Lament in Euripides' "Trojan Women", Mnemosyne , 56, 2003, pp. 1-28

7.  James Jan Sullivan, The Agency of the Herald Talthybius in Euripides' "Trojan Women", Mnemosyne 60, 2007, pp. 472-477

8.  ANASTASIA BAKOGIANNI, VOICES OF RESISTANCE: MICHAEL CACOYANNIS' "THE TROJAN WOMEN" (1911), Bulletin of the Institute of Classical Studies 52, 2009, pp. 45-68

9.  DANA LACOURSE MUNTEANU, THE TRAGIC MUSE AND THE ANTI-EPIC GLORY OF WOMEN IN EURIPIDES’ TROADES, The Classical Journal 106, 2011, pp. 129-147

10.   Niall W. Slater, "The Greatest Anti-War Poem Imaginable": Granville Barker's Trojan Women in America, Illinois Classical Studies 40, 2015, pp. 347-371

11.   Elizabeth W. Son, Korean Trojan Women: Performing Wartime Sexual Violence, Asian Theatre Journal 33, 2016, pp. 369-394

12.   Paolo Babbiotti and Luca Torrente, Euripides’s Trojan Women: A Critique of Asymmetric Conflict?, in  Conflict and Competition: Agon in Western Greece. Selected Essays from the 2019 Symposium on the Heritage of Western Greece, eds Heather L. Reid, John Serrati, Tim Sorg, Parnassos Press – Fonte Aretusa, 2020

b. The student is required to read the following works in Italian translation:

- Aristophanes, Lysistrata

- Euripides, Hecuba

- Euripides, Andromacha

Assessment

Oral exam.

The aim of the test is to check knowledge of the history of Greek theatre (authors, works, chronological aspects), Greek theatre in its historical context (social framework, socio-political context, ritual context), historical-literary aspects (treatment of myth, comparison with other coeve plays), its functioning (theater building, actors, stage roles, stage machines, music, dramaturgy).
It also intends to ascertain the linguistic competence of the students, and their acquired ability to translate and interpret a dramatic text in the original language. Particular attention will be paid to this aspect of the text.

Evaluations will be sized as follows:

assessments of excellence: an excellent knowledge of the ancient Greek language; the student's possession of good critical and in-depth skills; knowing how to relate safely the main issues addressed in the course; the use of a language appropriate to the specificity of the discipline.

discrete assessments: a fair knowledge of the ancient Greek language; the student's possession of a mnemonic knowledge of the contents; a modest critical capacity and connection between the topics discussed: the use of an appropriate language.

sufficient assessment: a sufficient knowledge of the ancient Greek language; the achievement of a minimal knowledge base on the topics dealt with by the student, even in the presence of some training gaps; the use of inappropriate language.

negative evaluations: an insufficient knowledge of the ancient Greek language; difficulty of orientation of the student with respect to the topics dealt with in the exam texts; training gaps; the use of inappropriate language.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Further useful bibliography might be indicated by the professor during the lessons.