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Level 6

6AACTL06 Values & Subversion in Roman Literature & Society

Credit value: 30
Module convenor/tutor: Dr Ismene Lada-Richards
Teaching pattern: 20 x 2-hour seminars (weekly)
Availability: Please see module list for relevant year
Assessment:  1 x 3-hour examination (100%)

Assessment pattern for Graduate Diploma students

Assessment: 3 x 3,000-word essays (100%, essays worth 1/3 each)

The modules offered in each academic year are subject to change in line with staff availability and student demand, there is no guarantee every module will run. Module descriptions and information may vary between years.

In this module we will be taking a broad look at the ideals of Roman culture and society and the various ways in which these ideals were challenged or subverted. A wide range of primary texts, mainly but not exclusively literary. will be read. The purpose of the module is to understand the tensions and conflicts that underlay the Roman self-image and to put some major literary works in the context of the tensions that characterized the Roman value system.

Suggested introductory readings

This is suggested reading and purchase of these books is not mandatory.

  • P. Easterling, “Form and Performance” and “From Repertoire to Canon”, in P. E. Easterling (ed), The Cambridge Companion to Greek Tragedy (Cambridge 1997), 151-77 and 211-27.
  • S. Goldhill and R. Osborne (eds), Performance Culture and Athenian Democracy (Cambridge 1999): look at the Chapters by Oliver Taplin, Edith Hall, Pat Easterling and Jon Hesk.
  • M. S. Silk (ed), Tragedy and the Tragic: Greek Theatre and Beyond (Oxford 1996): look at the contributions of C. Segal, P.Easterling, I. Lada-Richards
  • E Hall, The Theatrical Cast of Athens: Interactions between Ancient Greek Drama and Society (Oxford 2006), Read “Introduction” and Ch. 1.
  • E. Hall, “Greek Tragedy 430-380 BC”, in R.Osborne (ed), Debating the Athenian Cultural Revolution (Cambridge 2009) 264-328
  • E. Hall and S. Harrop (eds), Theorising Performance: Greek Drama, Cultural History and Critical Practice (London 2010): have a look at the chapters by E. Hall and E. Fischer-Lichte
  • M. McDonald and M. J. Walton (eds), The Cambridge Companion to Greek and Roman Theatre (Cambridge 2007): look at the contributions of M. Griffith, R. Martin, D. Wiles, and H. Denard.
  • C. Segal, “Spectator and Listener”, in J.P.Vernant (ed), The Greeks (Chicago and London 1995), 184-217.
  • I. Lada-Richards, “Greek Tragedy and Western Perceptions of Actors and Acting”, in J. Gregory (ed), The Blackwell Companion to Greek Tragedy (Oxford 2005) 459-71
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