This month, we spotlight the graduate research of Dr. Yoandy Cabrera Ortega, who recently defended his dissertation on the portrayal of human emotions in ancient Greek myths and in modern literature from Spain and Latin America.
My dissertation was an interdisciplinary one, intertwining different approaches and fields such as classical reception, queer studies, affect theory, and Hispanic studies.
This article was originally published in Amphora 11.1. It has been edited slightly to adhere to current SCS blog conventions.
This article was originally published in Amphora (12.1). It has been edited slightly to adhere to current SCS blog conventions.
This article was originally published in Amphora 12.1. It has been edited slightly to adhere to current SCS blog conventions.
Greek Myth is one of the standbys of Classics general-education courses at colleges and universities across the United States. These courses often have high enrollments and are populated by students with little prior knowledge about the ancient Mediterranean world who are taking the course to fulfill a degree requirement. They may take Myth because of a lifelong interest in the stories (or because they’ve read the Percy Jackson series), they may be inspired to major in Classics by the course, or they may never read or think about Graeco-Roman culture after the term ends.
A common way of teaching the Myth survey course is like a panorama, a wide-angle shot that tries to fit in as much content as possible from a high-altitude perspective. I took a different approach in my fall 2013 Greek Myth course at Wake Forest University — a closeup, zooming in on one specific ancient myth-cycle in elaborate detail. Rather than try to cover Graeco-Roman mythology from Chaos to Romulus, encountering tidbits of art and literature from Homer to Ovid, my course focused on just one mythic figure, and students studied every major visual and textual treatment of that figure that survives from the ancient world.
The myth-cycle I selected was Herakles/Hercules.