Course Syllabus

JOHN CABOT UNIVERSITY

COURSE CODE: "AH 220"
COURSE NAME: "Ancient Greek Art and Archaeology"
SEMESTER & YEAR: Spring 2021

SYLLABUS

INSTRUCTOR: Sharon Salvadori
EMAIL: [email protected]
HOURS: MW 8:30 AM 9:45 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Mandatory overnight trip to Naples and Paestum
OFFICE HOURS:

COURSE DESCRIPTION:
This upper level survey of Greek art and archaeology focuses on the visual culture of Ancient Greece in the Aegean and Western Mediterranean during the first millennium BCE. Students are introduced to a broad range of the extant evidence: architecture, sculpture, painted pottery, and objects of daily life. Emphasis is placed on the interrelationships between visual culture and religion, mythology, politics. The course begins with an introduction to the history of the discipline of Classical Archaeology and an overview of pre-historic Greece. Mandatory field trip may require a fee.

SUMMARY OF COURSE CONTENT:

The primary focus of the course is on the art and architecture of the Aegean and the western Mediterranean (Italy in particular) from the Geometric to the late Classical periods (c. 1100-300 BC). As stated in the course description, emphasis will be placed on the interrelationships between art and architecture and ancient religion, mythology, politics and society.

The course material is organized in two main categories.

The first and the larger of the two consists of monuments- temples, treasuries, free standing sculpture and reliefs- set up collectively or by individuals for public viewing in sanctuaries, cemeteries and other communal spaces.

The second is art intended primarily for private consumption, such as the fantastic series of black- and red-figure painted vases that have survived from the Archaic and Classical periods.

Classes take place at JCU or on-line Via Teams. Hopefully, depending on Italian government mandates regarding Covid, there will also be a mandatory field trip to Paestum and Naples (estimated cost per student, c. 120€)

LEARNING OUTCOMES:

COURSE AIMS AND LEARNING OUTCOMES

The primary aim of the course is to become familiar with the multifaceted nature of Ancient Greek visual culture in its original historical context.

Students gain:

Ø knowledge and understanding of key typological, functional, iconographic, formal, stylistic and aesthetic elements in Ancient Greek art and architecture

Ø knowledge and understanding of the most important media and techniques used n Ancient Greek art and architecture

Ø knowledge and understanding of key Ancient Greek monuments (e.g. the Parthenon), iconic image-types (e.g. statues of divinities), mythological imagery (in the form of pictorial narratives), and a number of other pictorial genres in their original historical contexts (e.g. painted vases are examined in the context of funerary ritual and commemoration and in the context of aristocratic banquets)

Ø skills for the critical analysis of visual and material culture general, including familiarity with different methods of archeological and art historical analysis and terminology and the ability to deploy them successfully

Ø ability to apply critical thinking and analysis generally

Ø ability to select and organize material to produce a coherent and cogent argument both orally and in writing- and to do so to so respecting deadlines

Ø ability to exchange ideas and engage in discussion with peers

TEXTBOOK:

Book Title	Author	Publisher	ISBN number	Library Call Number	Comments	Format	Local Bookstore	Online Purchase
The Art and Arcaheology of Ancient Greece	Barringer; Judith	Cambridge University Press	xxxxxx
Greek Art and Archaeology, 5th edition	Pedley, John Griffith	Prentice Hall	10-:o-205-00133-0

REQUIRED RESERVED READING:

Book Title	Author	Publisher	ISBN number	Library Call Number	Comments
Greek Art	Fullerton, Mark	Cambridge University Press	0-52-77973-1

RECOMMENDED RESERVED READING:

NONE

GRADING POLICY
-ASSESSMENT METHODS:

Assignment	Guidelines	Weight
Participation	PARTICIPATION (5%) In addition to attendance (see attendance guidelknes), active class participation is expected of all students. Participating effectively entails completing and taking notes on all "Required Reading" (see "Course Schedule" before class so that during class you can effectively engage: prepared to ask and answer questions and to share any pertinent observations. Remember too that the more you engage, the more fun the class will be not only for you but also for everyone else (prof. included!). Moreover, although participation is only 5% of the course grade it could ensure an A rather than an A- as your final grade.	5
Quizzes	Your preparation in the course of the semester will also be evaluated through 6 quizzes based on the "Required Reading" (texts and images) and in-class lectures. The quiz with the lowest score will be excluded from the final tally. That means that each of the remaining 5 quizzes is worth 4% of your course grade. Please be aware that if you miss a quiz -for any reason, including illness- you will not be able to make it up (it will be the one not tallied). All the quizzes will be on material we have previously discussed in class and will be drawn exclusively from the PPoint "Study Images" posted on Moodle. This means that they are all review quizzes. The quizzes are designed to assess your knowledge of key facts concerning representative monuments and artworks and your ability to critically interpret their historical significance. Each quiz will consist in one or more questions on specific areas, monument or object types, individual monuments or artworks or sets of monuments or artworks. You may be asked the name of an area, monument, building or artwork, as well as its location, date, function and/or patronage; you may also be asked to describe it (structural and decorative components, materials used, style, iconography, etc.); or you may be asked to a question on some aspect of its significance (e.g. the possible motivations for locating a temple in specific area of a city or the intended meaning- political, religious, social, aesthetic- of the iconography of a given statue or statue-type.) Depending on the number and nature of the questions, you will be given anywhere between 10 and 15 minutes to answer. The dates and topics of the quizzes are listed in the Course Schedule.	20
Visual Analysis	To be submitted electronically on Moodle. Length: 1500 words The visual analysis must focus on a single artwork or monument from c. 1100 B.C. to c. 300 BC. The choice is at your discretion, but ideally the artwork must be seen and sketched in person. The paper must combine formal, iconographic and contextual readings. The visual analysis should ideally be related to your term paper. Visual Analysis Guidelines with suggested topics (specifically art works and monuments from Paestum and Naples) will be posted on posted on Moodle at the beginning of term. We will review them in during the class after the mid-term exam. But I encourage you to read them before; and please feel free to set up an appointment with me via Teams to discuss the assignment any time before mid-term (or after!). *Early visual analyses welcome. Late visual analyses not accepted.	15
Term Paper	The assignment has two parts: 1. a paper abstract and annotated bibliography (15% of assignment grade) and 2. the term paper itself (85% of assignment grade) Both assignments are to be submitted electronically on Moodle. The abstract should be 100 words (max). It is essentially a thesis statement, but it must mention what works you will be focusing on (no more than 4). The annotated bibliography must contain a minimum of 5 titles. Each publication must be briefly summarized and its relevance to your paper explained (150 words per title) The Term Paper must be 3000 words, exclusive of footnotes, bibliography. It is intended to develop skills of independent research, ability to evaluate and interpret materials and their inherent interests, and capability for discussing these in a nuanced manner in writing. The paper must combine visual analysis, iconographic and historical research and contextual interpretation. In other words, it should be a formal essay that demonstrates the skills that you have developed and/or honed during the semester. The paper must include a complete bibliography of primary and secondary sources used and all references must be fully cited in the paper itself. **Paper guidelines with suggested topics, suggestions on how to write an abstract, annotated bibliography, and other specifications will be posted on Moodle in the first weeks of term. We will review them in the class after the mid-term exam. But I encourage you to read them before; and please feel free to set up an appointment with me to discuss the assignment any time before mid-term (or after!).	20
Exams	Both exams are structured to assess your knowledge of essential facts about individual sites, monuments, and artworks in Ancient Greek centers in the Aegean and Western Mediterranean from c. 1100 B.C. to 300 B.C. and your ability to critically interpret and assess their historical significance. The mid-term exam for the duration of regular class time. It will take place on class 13 and cover material studied up to class 12. It consists in: 5 comparisons: 10 minutes each. The final exam takes place during exam week (exact date, time and classroom TBA) and lasts 2 hours and 30 minutes. It is cumulative, although with a much greater emphasis on material studied in the second half of term. The format is the same as that of the mid-term, but being a longer exam, there are more questions and more time for each: 8 comparisons, 15 minutes each Review Sheets will be provided a week before each exam. A review session is also scheduled for each exam.	mid-term 15; Final 20

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:

Attendance is required, but not graded

All scheduled classes are mandatory. Roll will be taken at the beginning of each class (i.e. you must also be on time!) Lectures do more than simply complement required reading assignments so being absent inevitably results in extra work to catch up. Typically, missing 4 or more classes results in poor performance, if not a failing grade. Please also be aware that missing classes may entail missing quizzes, which may not be made up (but there is one "throw away" quiz- see assignments). For this and other more obvious reasons, it is imperative to attend all classes.

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Suggested reading:

Introduction

overview of course content: chronology and geography, main themes, approaches and learning aims
logistics: intro to syllabus and course schedule: course texts, assignments, etc.

The study of Greek Art and Archaeology past and present

Pedley (2012) "Introduction"

•CB Background and Context: Smith (2002)

Required Reading:

Suggested reading:

The study of Greek Art and Archaeology past and present, cont./

Bronze Age: highlights

Pedley (2012) "Introduction"

•CB Reserve: Fullerton (2000), "Introduction: Concepts of the Classical"; Pedley (2012), Chs. 1-3 (Bronze Age Greece)

•CB Background and Context: Smith (2002)

Required Reading:

Suggested reading:

Forging new identities in Iron Greece, c.1100 BC-700 BC

Pedley (2012): Ch. 4; Study Images: A. ProtoGeometric and Geometric vases, B. ProtoGeometric and Geometric sites, and C. 8th cent. sanctuaries and votives

CB Reserve: Fullerton (2000): 35-43 ("The Emergence of the Polis and Geometric Art"); Osborne (1998), Ch. 2 ("From Praying to Playing: Art in the 8th century BC"); Coldstream in Rasmussen and Spivey (1991): Geometric vases; •CB Vases: van Wees (1998): gendering on Late Geometric vases •CB Background and Context: Pomeroy et. al (1999): Ch. 2 (“The Dark Age of Greece and the 8^th-century Renaissance”) • CB Funerary Context: Antonaccio (1995) and (2002): Lefkandi heroon; Harrel (2014): Lefkandi heroon; Liston and Papadopoulos (2004): “Rich Athenian Lady”

Required Reading:

Suggested reading:

Forging new identities in Iron Age Greece, c.1100 BC-700 BC, cont.

see previous class

**Discussion of Field Trip to Paestum and Naples**

Required Reading:

Suggested reading:

Forging new identities in Iron Age Greece, c.1100 BC-700 BC, cont.

see previous class

*Quiz 1: Proto-Geometric and Geometric vases

Study Images A (Recommended reading: Coldstream article)

Required Reading:

Suggested reading:

Greece and the Mediterranean in the 7th cent. BC

Pedley (2012): Ch. 5; Study Images: D. 7^th cent sanctuaries and votives.

•CB Reserve: Fullerton (2000): 59-66 ("Orientalizing and the Formation of Greek Art"); Osborne (1998): Ch. 3 ("Reflections in an Eastern Mirror") and Ch. 5 ("Life Enlarged"); CB Background and Context: Pomeroy et. al (1999), Ch. 3 (“Archaic Greece c. 700-500”)

Required Reading:

Suggested reading:

Greece and the Mediterranean in the 7th cent. BC, cont.

Pedley (2012): Ch. 5; Study Images: E. ProtoCorinthian pottery and F. ProtoAttic pottery

•CB Reserve: Fullerton (2000): 59-66 ("Orientalizing and the Formation of Greek Art"); Osborne (1998): Ch. 3 ("Reflections in an Eastern Mirror"); Rasmussen in Rasmussen and Spivey (1991): ProtoCorinthian and Corinthian painted vases •CB Vases: Ebbinghaus (2005): Mykonos Trojan War pithos; Hurwit (2002): Chigi Vase; CB Background and Context: Pomeroy et. al (1999), Ch. 3 (“Archaic Greece c. 700-500”)

*Quiz 2: Sanctuaries and votives: 8th-7th centuries

Study Images C and D

Recommended reading: Fullerton 2000, 35-43 and 9-66

and Osborne 1998, Chs. 2 and 3

Required Reading:

Suggested reading:

Archaic Sanctuaries: Architecture and Architectural Sculpture

Pedley (2012): Ch. 6, pp. 147-171; Study Images: G. Archaic Sanctuaries I and H. Archaic Sanctuaries II •CB Sanctuaries: Marconi, (2004): Archaic temples function and meaning (posted on MYJCU)

•CB Reserve: Fullerton (2000): 88-97 ("Archaic Art in Context"); 43-51 ("Political Aspects of Greek Art"), 67- 77 ("Self-definition") and 97-107 ("Greek narrative"); Osborne (1998): Ch. 5 ("Life Enlarged") and Ch. 7 (“Enter Politics”) •CB Sanctuaries: Marconi (2006): Temples Selinus; Neer (2001): Siphnian treasury at Delphi; Osborne (2000): temple sculpture and the viewer; Symeonoglou (1985): Doric Temples Poseidonia; CB Background and Context: Pomeroy et. al (1999), Ch. 3 (“Archaic Greece c. 700-500”) and Ch. 5, 159-178 (Athens 6^th century)

Required Reading:

Suggested reading:

Archaic Sanctuaries: Architecture and Architectural Sculpture, cont.

see previous class

10.

Required Reading:

Suggested reading:

Archaic Sculpture: votive and funerary sculpture

Pedley (2012): Ch. 6, pp. 171-189; Study Images: I. Archaic Votive and Funerary Sculpture I and J. Archaic Votive and Funerary Sculpture II

•CB Reserve: Fullerton (2000): 88-97 ("Archaic Art in Context"), 43-51 ("Political Aspects of Greek Art") and 67- 77 ("Self-definition"); Osborne (1998): Ch. 5 ("Life Enlarged") and Ch. 7 (“Enter Politics”) •CB Sculpture: Karakasi (2003): korai - browse for picture (thesis problematic); Keesling,(2003): votive sculpture Athenian Akropolis, especially Ch. 1, 2 and 3 (definitions of votives and meaning korai); Osborne (1998b): male nudes •CB Formal and Iconographic Studies: Bonfante (1989): nudity as costume; Osborne (1998b) heroic male nudes •CB Funerary Context: Shapiro (1991): Iconography of Mourning, esp. 629-644; •CB Background and Context: Pomeroy et. al (1999), Ch. 3 (“Archaic Greece c. 700-500”) and Ch. 5, 159-178 (Athens 6^th century)

*Quiz 3: Archaic Temples form and meaning

Study Images G and H

make sure to carefully re-read Marconi article

11.

Required Reading:

Suggested reading:

Archaic Sculpture: votive and funerary sculpture, cont.

see previous class

12.

Required Reading:

Suggested reading:

Archaic Sculpture: votive and funerary sculpture, cont.

see previous class

**Review for mid-term **

13.

*********Mid-term exam*********

14.

Required Reading:

Suggested reading:

The Black and the Red:

painted vases in the Archaic and early Classical periods

Pedley (2012): Ch. 6, pp. 189-205, Ch. 7, pp. 242-244 and Ch. 8, pp. 281-287; Study Images: K. Black-figure and L. Red-figure

•CB Reserve: Robertson and Beard in Rasmussen and Spivey (1991): approaches to the study of vase painting; Boardman in Rasmussen and Spivey (1991): 6th century vase painting: artists and audience; Williams in Rasmussen and Spivey (1991): invention of red-figure; Fullerton (2000): 88-97 ("Archaic Art in Context") and 97-107 ("Greek narrative"); Osborne (1998): Ch. 6 ("Marketing an Image") and Ch. 8 ("Gay Abandon"); •CB Vases: Shapiro (1999): Attic black-figure narrative, composition and subject •CB Formal and Iconographic Studies: Bonfante (1989): Nudity as Costume; Osborne (1998b) and Osborne (1998c):male nudes; CB Background and Context: Pomeroy et. al (1999), Ch. 3 (“Archaic Greece c. 700-500”) and Ch. 5, 159-178 (Athens 6^th century)

**Review of Visual Analysis and Paper Guidelines**

15.

Required Reading:

Suggested reading:

The Black and the Red, cont.

see previous class

16.

Required Reading:

Suggested reading:

The Black and the Red, cont.

see previous class

17.

Required Reading:

Suggested reading:

The "Classical" Body I: sculpture, c.480-450

Pedley (2012), Ch. 7, pp. 207-242; Study Images: M. Re-presenting the "Classical" Body I and N. Early Classical Sanctuaries

•CB Reserve: Fullerton (2000): 43-51 ("Political Aspects of Greek Art"), 67- 77 ("Self-definition"), 97-107 ("Greek narrative") and 116-139 (Style); Osborne (1998): pp. 124-131 (early Classical relief sculpture), 157-163 (free-standing sculpture), and pp. 169-174 (sculpture Temple of Zeus at Olympia); Pollitt (1972): Art and experience in classical Greece: Chs. 1-2 •CB Sculpture: Bell (1995): Mozia Charioteer; Elsner (2006): rise of naturalism viewing and subjectivity; Hallet (1986): origins classical style; Hurwit (1989): Kritios Boy; Hurwit (2007): male nudes; Marconi (2014) ): Mozia Charioteer; Osborne (1998b) and Osborne (1998c): male nudes •CB Formal and Iconographic Studies: Bonfante (1989): nudity as costume; CB Sanctuaries: Barringer (2005): Temple of Zeus at Olympia; Hurwit (1987): East Pediment Olympia iconography and meaning; Hurwit (2005) Parthenon and Temple of Zeus at Olympia; Osborne (2000) temple Sculpture and the viewer; Stehle and Day (1996) pediments Olympia gendered reading •CB Regions and Cities: Holscher (1998): Political identity in Athens (good on Tyrannicides); CB Background and Context: Pomeroy et. al (1999), 179-245 and 255-274 (5^th century Greece)

*Quiz 4: Black- and Red-figure vases

Study Images K and L

Recommended reading: Robertson and Beard in Rasmussen and Spivey (1991)

18.

Required Reading:

Suggested reading:

The "Classical" Body I: sculpture, c. 480-450, cont.

see previous class

19.

Required Reading:

Suggested reading:

The "Classical" Body II: sculpture c. 450-400

Pedley (2012); Ch. 8, pp. 249-251 and pp. 276-281; Study Images: O. Re-presenting the "Classical" Body II

•CB Reserve: Fullerton (2000): 43-51 ("Political Aspects of Greek Art"), 67- 77 ("Self-definition") and 116-139 (Style); Osborne (1998): 157-163 (free-standing sculpture); CB Greek Art, Architecture & Archaeology: Pollitt (1972): Art and experience in classical Greece: Ch. 3 •CB Sculpture: Elsner (2006): rise of naturalism viewing and subjectivity; Hallet (1986): origins classical style; Hurwit (2007): male nudes; Osborne (1998b) and Osborne (1998c): male nudes; Moon (1995): Polykleitos and the Doryphoros •CB Formal and Iconographic Studies: Bonfante (1989): nudity as costume; Background and Context: Pomeroy et. al (1999), 179-245 and 255-274 (5^th century Greece)

*Quiz 5: Early Classical free-standing and architectural sculpture

Recommended reading: Osborne 1998: pp. 124-131, 157-163 and 169-174

20.

Required Reading:

Suggested reading:

The "Classical" Body II: sculpture c. 450-400, cont.

see previous class

**Term Paper abstract and annotated bibliography due**

21.

Required Reading:

Suggested reading:

Monumentalizing Athens in the 5^th century

Pedley (2012): Ch. 7, pp. 227-229 (Athenian Agora c. 480-450) and Ch. 8, pp. 249-274; Study Images: P. Parthenon and Athena Parthenos

•CB Reserve: Fullerton (2000), 27-35 (Parthenon Pediments), 53-59 (Parthenon Metopes), 79-88 (Parthenon frieze), 109-116 (Parthenon Style), 141-150 (Athena Parthenos); Osborne (1998): 174-187 (Parthenon); Pollitt (1972): Art and experience in classical Greece, Ch. 3 •CB Sanctuaries: Hurwit (1995): Athena Parthenos, Hurwit (1999): 154-188 (intro Acropolis High Classical Period) and 222-244 (Meanings Athenian Acropolis High Classical Period); Hurwit (2005) Parthenon and Temple of Zeus at Olympia; Jenkins (2005): Parthenon frieze horsemen; Jenkins (2006), Ch. 4 ("The Parthenon and its Sculptures"); Osborne (1987): Parthenon frieze; Younger (1997): gender and sexuality Parthenon frieze; •CB Regions and Cities: Boedecker (1998): presenting the past in 5^th cent. Athens; Castriota, D. (2005): Stoa Poikile; Holscher (1998): art and political identity in Athens; Osborne (2007): Democracy and Athenian topography; Stansbury-O’Donnel (2005) Stoa Poikile; Von Reden (1998): topography 5^th cent. Athens; •CB Background and Context: Pomeroy et. al (1999), 179-245 and 255-286 (5^th century Greece; Athens features prominently)

***Visual analysis due***

22.

Required Reading:

Suggested reading:

Monumentalizing Athens in the 5^th century, Parthenon cont.

Pedley (2012): Ch. 8, pp. 249-274; Study Images: P. Parthenon and Athena Parthenos

See publications on Parthenon in previous class

23.

Required Reading:

Suggested reading:

Monumentalizing Athens in the 5^th century, Parthenon, cont.

see previous class

24.

Required Reading:

Suggested reading:

Monumentalizing Athens in the 5^th century, Parthenon, cont.

see previous class

25.

Required Reading:

Suggested reading:

Monumentalizing Athens in the 5^th century:

Propylaia, Erechtheion, Temple of Athena Nike, Hephasteion, and Agora

Pedley (2012): Ch. 8, pp. 265-274; Study Images: Q. The Athenian Akropolis and Agora in the later 5^th century

•CB Reserve: Pollitt (1972): Art and experience in classical Greece, Ch. 4 •CB Sanctuaries: Hurwit (1999): 190-221 (Acropolis in the High Classical Period except Parthenon) and 222-244 (Meanings Athenian Acropolis High Classical Period); Jenkins (2006), Ch. 5 (Propylea, Athena Nike Temple and Erechtheum); Palagia (2005): frieze Temple of Athena Nike

26.

Required Reading:

Suggested reading:

The "Classical" Body III: sculpture, late 5^th- late 4^th fourth century

Pedley (2012): pp. 279-281 (late 5^th c. grave reliefs) and Ch. 9, pp. 289-317; Study Images: R. Re-presenting the "Classical" Body III

•CB Reserve: Osborne (1998), Ch. 10 (The Claims of the Dead), Ch. 11 ("Individuals within and without the city") and Ch. 12 ("The Sensation of Art"); Pollitt (1972): Art and experience in classical Greece, Ch. 4 and 5 •CB Sculpture: Hurwit (2007): male nudes; Osborne (1998b) and Osborne (1998c): male nudes; Ridgway (1997): 4^th century sculpture; Salomon (1997): nudes and gender asymmetry

****Term Paper Due ***

28.

Required Reading:

Suggested reading:

The "Classical" Body III: sculpture, late 5^th- late 4^th fourth century, cont./

Loose ends /Review for Final Exam

see previous class

Quiz 6: The Classical Body, c. 480-323 BC

(Study Images: M-Q - a review quiz!)

May 3-7

Final Exams

***************FINAL EXAM**************

day, time and classroom TBA