In last year’s introductory Greek class, I watched a student rejoice when asked to give a (partial) synopsis of the verb ‘λύω.’ While synopses are rarely met with enthusiastic responses, this student knew that the synopsis, if correctly produced, would make him stronger. My class was playing Olympus, a term-length board game played in one-hour instalments throughout the quarter, and he had just drawn the Agōgē card.
Fighting racism, or any wicked, wrongheaded, or simply false idea, demands persuasion, person to person. All non-violent activism and efforts at social change depend on rhetoric. It is fashionable now to believe that persuasion—the political kind, anyway—is something of a mirage, that much of our thinking is “motivated,” driven primarily not by argument and evidence but by self-interest, tribal loyalties, enduring personality traits, and demographic facts. Identity comes first; the rationalizations that make us feel that we are correct in our prejudices hobble along after.
The Classics Everywhere initiative, launched by the SCS in 2019, supports projects that seek to engage communities worldwide with the study of Greek and Roman antiquity in new and meaningful ways. In this post we focus on three projects that continue their activity through the COVID-19 pandemic.
The Classics Everywhere initiative, launched by the SCS in 2019, supports projects that seek to engage communities worldwide with the study of Greek and Roman antiquity in new and meaningful ways.
As the pandemic known as COVID-19 grips the globe, thousands of instructors in the United States and elsewhere have been asked to transition their courses online for the remainder of the semester.
Greek vases, with their distinctive red and black, are one of the most recognizable faces of ancient Greece. Their decorative scenes of deities, myth, and everyday life offer a beautiful and informative window into classical culture. With the Panoply Vase Animation Project we’re encouraging people to enjoy and learn about ancient vases and society by placing the artifacts center-stage in short, lively animations made from the vase-scenes themselves. The animations keep as close as possible to the original artwork, using the existing figures and decoration and drawing on existing iconography. But the figures can now move, and the animations explore the possibilities within the vase scenes: runners can sprint past, dice are thrown, and those poised to strike can use their weapons. The tone of the animations varies.