In this article Karl Hostetler portrays teachers as tragic ironists whose existence is prone to "playful disruptions of the soul," when the meaning and value of ideas pertinent to teaching--including "teaching" itself--become puzzling, prompting a reassessment and reinvigoration of those ideas. In developing his concept of…

Masks can represent so many things, such as emotions (happy, sad, fearful) and power. The familiar "comedy and tragedy" masks, derived from ancient Greek theater, are just one example from mask history. Death masks from the ancient Egyptians influenced the ancient Romans into creating similar masks for their departed. Masks can represent many…

"Tragedy," both in what the author calls the strict and nuclear ancient Greek sense of the term (which does not imply that tragedy is clearly and distinctly defined, even in ancient Greece) and in the looser, derived sense of the word, has a long and compelling history. It is not only true that tragedy as practice and performance has a…

Compares suicide in Greek tragedy and Hebrew Bible, concentrating on life situations portrayed in two sets of narratives promoting or preventing suicide. Notes frequency of suicides in Greek tragedy and infrequency of suicides in Bible. Compares stories of Narcissus and Jonah in attempt to pinpoint what is suicide-promoting in Greek narratives and…

The author has a new idea of relating Greek Tragedies to present times. (MR)

Describes the rewards and challenges of using the Patchwork Text to teach Greek Tragedy to Cambridge University English final-year students. The article uses close reading of the students' texts, analysis and reflection to discuss both the products and the process of Patchwork writing. (Author/AEF)

Discusses the function of the chorus in Greek tragedy and highlights interpretations of Aristotle's statements on the chorus. Concludes that the chorus' role was that of alienating the audience and was basically theatrical, not dramatic. (JMF)

Stresses that metaphorical thinking encourages students to see relationships and requires them to use higher level critical thinking, particularly analysis and synthesis. Describes strategies to get students to think metaphorically in order to understand the elements of Greek tragedy. (MS)

Explores the differences between shame and guilt in suicide, with a focus on experiential and developmental factors and on behavioral reactions to these emotions. Illustrates the role of shame as a motive for suicidal behavior and provides examples of suicidal behavior in Greek tragedy, Asian cultures, jails, and famous individuals. (RJM)

This booklet addresses itself to the problem of whether Greek tragedy can be produced today in schools as a vital theatrical experience. The main thesis of the first of two articles points out that while a producer's first concern must be to communicate the context and spirit of a particular drama to a modern audience, he must also bring out the…

The aim of the Quinmester course "Greek and Roman Mythology" is to help students understand mythological references in literature, art, music, science and technology. The subject matter includes: creation myths; myths of gods and heroes; mythological allusions in astrology, astronomy, literature, science, business, puzzles, and everyday…

TRAGIC AND COMIC FORMS OF DRAMA ARE EXPLORED IN THIS TWO-PART 11TH-GRADE LITERATURE UNIT. A SECTION ON TRAGEDY, TREATING THREE PLAYS, EMPHASIZES STRUCTURAL DIVISIONS, CONVENTIONS, AND SUBJECT MATTER PECULIAR TO THIS TYPE OF DRAMA. FOLLOWING A DISCUSSION OF THE CLASSICAL GREEK THEATRE AND THE ARISTOTELIAN VIEW OF TRAGEDY, THE FORM AND THEME OF…

This book takes a broad look at the problems of hazing and binge drinking on college campuses. It includes a history of hazing and suggestions for reform. The chapters are: (1) The Tradition; (2) Greekthink; (3) Alcohol Misuse; (4) A Weed in the Garden of Academe; (5) Greek Traditions and Tragedies; (6) Sororities; (7) The Law and Hazing; (8)…

In "The Renaissance Rediscovery of Linear Perspective," one of Samuel Edgerton's claims is that Filippo Brunelleschi and his contemporaries did not develop a three-dimensional style of representing the world in painting as much as they reappropriated a way to depict the natural world in painting that most mirrored the human perception of it.…

This paper presents a theorised classroom-based narrative discussing the author's interdisciplinary approach to the teaching of English dramatic literatures--in particular, Sophocles' "Oedipus the King" and Shakespeare's "Macbeth"--to i-Taukei, Indo-Fijian and Pacific Islander tertiary students at a South Pacific university.…