THE WESTERN HUMANITIES INDS 115

A GUIDE

BY

THE LEARNING COMMONS

The Western Humanities

The study of Western culture from pre-history through the

Current Era including the subjects of history, literature,

fine arts, religion, philosophy, and music.

Welcome to Thiel College. As an incoming student you

have become a part of something bigger than you may

realize. You are a member of the Thiel Class of 2016.

The 2016 class will be the 150th class to graduate from

Thiel. This fall may be the first time that you attend a col-

lege level class.

Academics (schoolwork) is a part of this tradition. You will

be joining a long tradition of student excellence at Thiel

College. You will find college courses and their workloads

more demanding than your high school classes. Our ex-

pectations are high.

In college you will spend less time in class, but more time

preparing for class. Unlike high school you may not have

a given class every day. Instead, you may have class on

Monday, Wednesday, and Friday, but you will have to

study every day to be prepared for class. Successful Thiel

students spend 1 to 2 hours of studying for every 1 hour

they spend in class. The actual time you spend on study-

ing, might be less, or it might be more, depending upon

your focus, skill level, and drive.

College is meant to challenge you. Academic rigor is seri-

ous business here. From The President, to your RDs, to

the faculty, we expect you to work hard in the classroom.

Do not make the mistake of thinking faculty will go easy

on you because you are a first year student. Every new

student must take 2 semesters of Western Humanities

(INDS 115 & INDS 116). Many students find this course

interesting; some claim it is easy. We expect a high level

of dedication from you toward academics.

This guide is designed to assist you with the Western Hu-

manities course all new students take in their first year.

This packet is intended to be a guide to the Western Hu-

GETTING STARTED

The Western Humanities INDS 115/116 What is it?

Western Humanities is a two part course all new students must take.

Before you graduate from Thiel College you are required to pass both

semesters of Western Humanities. The class covers western civilization

and how it influences our culture today. To paraphrase the textbook the

Western Humanities is the study of Western culture beginning with pre-

history through the Present era including the subjects of history, religion,

fine arts, literature, philosophy, and music. Faculty describe the class as

a broad foundation of common knowledge. That common knowledge will

help you across the spectrum of other classes you will take to fulfill re-

quirements, or to complete your major. Western Humanities is a unique

class; there is no other Thiel class like it.

What is Western Humanities about?

At first Humanities seems like a history class, but it includes a great deal

more. There is history, yes, but the material will also cover, art, litera-

ture, philosophy, and religion. You will also be expected to learn about

major figures related to those topics. The class will present a wide view

of our culture, which means you will be expected to learn about a lot of

people, places, art objects, great architecture, and ideas.

How is Western Humanities different from other Thiel Classes?

Most of your classes will meet 3 times a week. Humanities meets 4

times a week and is worth 4 credits. In other words, it counts more when

figuring your GPA. If you perform poorly in Humanities, it will take good

grades in two other classes to raise your GPA to an acceptable level.

Humanities, as many students call this class, is divided into two types of

class sessions. Two times a week there is a lecture class and two times

a week there are discussion groups.

The Western Humanities class will have more students in your classroom

than any other class. While most of your classes at Thiel will have

around 20 students, Humanities lectures may have 75, or more, stu-

dents in your classroom. Your discussion group will have about 20

students. With the large number of students, it is easy to get distracted

during the lectures. Don’t do it. Staying focused during the lectures is

critical to success in the class.

As stated above, the main class is held in a large lecture hall with 75+

students. Two times a week, you will meet in smaller groups called dis-

cussion. During a discussion class you will be expected to ask questions

and discuss lectures and reading assignments. You must speak up in

these sessions. If you do not contribute to the discussion, you will not

perform well in Humanities.

If you are not accustomed to speaking in class, then practice it. Talk to

other students, your family, or your friends. The skill of speaking intelli-

gently will help you in any class you take.

How can I be successful, academically at Thiel College?

Focus and hard work on your academics is extremely important. To be

successful in the classroom, you must work hard and stay focused on

learning the course material. Thiel honors students identify three key

steps any student can do to excel in the classroom.

1. Read the assignments, both from the textbook and reserve read-

ings.

2. Attend class and stay focused on the professor.

3. Study and review the course material, everyday.

All of these steps are required, if you expect to do well in Humanities.

You must develop good study skills. Expect to spend 1 to 2 hours study-

ing for every scheduled class. In The Learning Commons (TLC), we rec-

ommend uninterrupted study blocks of 90 minutes. Plan and set aside

blocks of time to devote to uninterrupted study.

Do not wait until the night before the test to study. Humanities covers

too much to absorb in one evening. You must study everyday, if you are

to learn enough of the material to pass.

Attend class. Faculty agree that most students who skip class, or sleep

in class, do not perform up to their potential. It is not enough to just

show up to class. Once you are there, pay close attention to the profes-

sor. Your professor is an expert on the material presented in class.

Anything they say, or share via technology, is important to the class.

Your professors want you to learn their subject. Their goal is that you

learn as much about the subject as possible. If you do that, you will earn

the best grade possible.

Turn off your cell phone. Not on silent, but completely off. Better, yet, do

not take your phone to class. You should not take it to class, either. If

you must have it on your person, have it off and hard to reach. Put it in

the bottom of your backpack. By all means do not touch it during the

class. The is no better way to do poorly in a class, than by using your cell

phone in that class.

Be prepared for class. Not using a cell phone is part of being focused in

class. Likewise, be prepared for class. Have a sharpened pencil and a

pen. It is not a bad idea to have two of each. Have a notebook, out and

ready when the class begins. Do not wait until the professor begins

speaking to rummage around your desk, or bag searching for pens and

paper. Have it ready before the actions starts. It is the same situation

with your classroom materials. Have your paper and pens ready to go.

Lastly, and most importantly, READ.

Read the assigned chapters before you go to class. Read

any additional readings. Read your notes from the last

class. Successful students spend more time reading than

on any other study skill.

Many of you may not like to read, or find reading difficult.

You will need to get over that. Start by reading the sports

page of the paper each day. Get a book at the library and

practice reading for 15, then 30, next 60 minutes at a

time. When you get your play book read that. It doesn’t

matter what you read, just read.

Reading does not come easily for everyone. The slower

you read, the longer it will take you to study. The more

you read the faster you will become. You may not enjoy

reading, but practicing reading will lead to academic suc-

cess.

So start reading today. Maybe you only read one page

today, but shoot for two pages tomorrow. Keep pressing

on to get faster. In college you will be assigned at least

100 pages to read each week.

The remainder of this booklet is a guide to your textbook. It is not a

replacement for the textbook. It is designed to use with your book. This

booklet covers the first six chapters. That should take you up to the

midterm exam. Since the class covers a variety of subjects, there are

several parts to the booklet.

The first part has questions for review. These questions are arranged by

chapter. After reading the chapter you should be able to answer these

questions. It would be good practice to write your answers. There is a

quiz over Humanities each week. Part of that quiz will be multiple

choice. There will be two essay questions on each quiz. To prepare for

these quizzes, practice writing answers to these questions. You will have

about 30 minutes to write your essay answers. Use a timer and write

It is not too early to read your textbook. The Western Humanities

textbook is:

The Western Humanities, 7th edition

by

Roy T. Matthews, Michigan State U-East Lansing

Dewitt E. Platt, Michigan State U-East Lansing

Thomas F.X. Noble, University of Notre Dame

ISBN: 0073376620 Copyright year: 2011

The book is available at the

Thiel College bookstore, or on-

line. It comes in one long vol-

ume, or in volume 1 and vol-

ume 2. There are two readings

volumes, which correspond

with the two volume version.

For the fall semester you will

need volume 1 and the first

volume of the readings. Buy it

now and start reading it. If you

are a slow reader, get started

on it now. Make sure you get the seventh edition. The seventh

edition has re arranged the chapters, so if you have the sixth, or

earlier edition, you will not be on the correct material.

Then read it.

your answers in 15 to 20 minutes. This will be good practice for the

quizzes.

The next section will cover art. Art maybe a new subject for you. Art has

its own vocabulary and terminology. You will have to master the termi-

nology of art and be able to identify art objects visually. Learn to look at

art. The art section defines basic art terms and includes examples of the

type of artwork you should know. Using the art section examine the

examples provided here. Identify the various art terms in each example.

Soon you will be “seeing” art in a scholarly way. Architecture is a major

part of the fall semester in Humanities. Become familiar with the parts

of a structure and how to “read” an architectural schematic.

The final section lists the key terms you will encounter up through mid-

term. Most of the multiple choice questions on the quizzes come from

these terms, Study the terms and their definitions. There is a page

number for each term in the list. Use the page number to find the term

Questions for Critical Thinking

From the online study guide

http://highered.mcgraw-hill.com/sites/0073376620/information_center_view0/

Read the questions before you read the chapters. Try to discover the

answers as you read. After you master the chapter answer the questions

in writing. This will prepare you to write your essay exams.

Chapter 1

1. Define the Neolithic Revolution. What was its importance in the devel-

opment of institutions and the arts in early civilizations?

2. In what ways did geography expand and constrain the development of

Mesopotamian and Egyptian civilizations?

3. What were the general characteristics of Mesopotamian art?

4. Describe the Egyptian religious system. How did Egypt’s religion affect

developments in art, architecture, and literature?

5. Why is the pyramid the supreme symbol of Egyptian civilization?

Chapter 2

1. What were the achievements of Minoan civilization? Discuss the im-

pact of Minoan civilization on Archaic Greece.

2. What were the achievements of Mycenaean civilization? Discuss the

impact of Mycenaean civilization on Archaic Greece.

3. Discuss the Greek “vision of humanity,” and show how this vision

made the Greeks different from the Mesopotamians and Egyptians.

4. Compare and contrast epic and lyric poetry. What audiences would be

attracted to each of these poetic genres?

5. In what ways did Archaic Greece lay the foundations for Western civili-

zation?

Chapter 3

1. Discuss the impact of the Peloponnesian War on the cultural life of

Athens and its citizens.

2. Define classicism and illustrate how Greek tragedy embodies it.

3. Discuss the pivotal role of Socrates in Greek philosophy.

4. Compare Plato’s and Aristotle’s approaches to truth.

5. What is meant by the high classical style? Discuss examples of this

style as found in Greek sculpture.

Chapter 4

1. How did the rise of Hellenistic cities affect Hellenistic cultural and

artistic developments?

2. Discuss the changes made to classicism by Hellenistic writers and

artists. What was retained from Greek classicism, and what became the

hallmarks of Hellenistic classicism?

3. Identify the four major philosophies that dominated the Hellenistic

period, and compare and contrast their differing principles and goals.

Indicate the relative long-term importance of each of these philosophies

to the Western tradition.

4. When a civilization expands successfully, it often encounters new

challenges and problems. What were some of Rome’s problems as a

result of its expansion, and how did these problems affect Roman val-

ues?

5. In what ways was early Roman literature indebted to Hellenistic norms

and tastes?

Chapter 5

1. Discuss the major historical periods of Hebrew history, and note how

each period influenced the evolution of Hebrew religion.

2. Identify the key beliefs of Judaism, and indicate the ones that were

later integrated into the Western tradition.

3. Compare and contrast the stages and evolution of the Hebrew Bible,

and the Christian Bible, noting their various parts, subjects, and sources.

4. Compare and contrast Judaism and Christianity using the following

terms: covenant, law, messiah, social justice, and canon.

5. Discuss early Christian art, its themes, symbols, and style. What was

the relationship of Christian art to Greco-Roman art?

Chapter 6

1. What were the most important changes in the structure and organiza-

tion of the Roman Empire from the reign of Augustus to that of Justinian?

2. What were the most important aspects of the growth of the Catholic

Church as an institution in the Roman world?

3. How did Golden Age and Silver Age writers differ? What did the writers

of each period owe to the Hellenistic world? In what ways were these

writers distinctively Roman?

4. What did the church fathers have in common with each other? What

did they have in common with the secular writers who preceded them?

5. What did the Christian visual arts owe to pagan art? In what ways did

Christian and pagan art differ?

In high school you may have taken a field to an Art Mu-

seum. If so, you know that art may take many forms,

shapes, and sizes. In the Western Humanities class you

will learn about art and architecture. You will learn some

basic tools to use when studying art and architecture.

Below are several art terms you need to know. You should

also know how to apply them when viewing, discussing, or

writing about art and architecture.

Art & Architecture

Line

Line – the most basic mark created by an artist on a work of

art. Lines can be made by a number a different tools, pencil,

brush, or pen. In a sculpture the lines can be created by the

shape of the sculpture. In painting, drawing, and etching, lines

work together to form the image.

When you view any type of art learn to look for lines in that ob-

ject. Think of these questions.

Are the lines curved, or straight, or both?

Are the lines thin, or thick?

Do the lines divide the picture, or do they make it one unified im-

age?

Statue of

Poseidon Page 81

How do the lines direct my eyes to what the artist wants me to see?

How do the lines define the space within the art ?

Color

Color – is a power tool which an artist uses to enhance, or distort the

reality of a visual image. Often derived from the light spectrum artists

attach meaning, or induce emotion using color.

How is the color used? Is it thin, or thick?

Do the colors divide the picture, or do they make it one unified

image?

How do the colors direct my eyes to what the artist wants me to

see?

How do the colors define the space within the art object?

Bust of Nefertiti Page 25

Composition

Composition – the artist’s plan and arrangement of the elements in the

art object. The artist uses composition to balance the visual image cre-

ate meaning from the individual part of the piece. Composition is used

to create relationships between those parts. Using the pictures in your

book, trace the art on a blank piece of paper. Trace the majors lines and

shapes. When you are finished, you will have a “copy” of the basic com-

position to study.

Does the composition divide the picture, or does it make one uni-

fied image?

How does the composition direct my eyes to what the artist wants

me to see?

Trace the composition of this work. How do your tracing lines show

the overall composition?

Steele of Hammurabi Page 11

Perspective

Perspective – the illusion of depth and distance on a two dimensional

surface. Using line, color, and composition an artist can create the look

of three dimensions on a single flat surface, such as a painting canvas.

What is the perspective of the image? From the artist? From some

other vantage point?

How does the composition direct my eyes to what the artist wants

me to see?

Does the photo have a vanishing point you can identify.

Photograph of the Lion’s Gate Page 38

Space

Space – the compositional area of a visual image created by line, or

color, which gives meaning to that image. Space can be created in a two

dimensional work in this way, or in a sculpture as a physical, surface

area. In architecture, space is “captured” by walls, vaults, or floors,

becoming enclosed by the building itself.

How does the artist use and define space in the art?

How is the space defined within the art object?

Is the space negative, or positive?

How does the space direct my eyes to what the artist wants me to

see?

Hagia Sophia Page 148

Shape

Shape – An artist creates shape by using lines to enclose certain parts of

the visual image.

How does the artist create shape in the artwork?

Is there more than one shape?

How is the shape defined within the art object?

How do the shapes direct my eyes to what the artist wants me to

see?

Venus of Willendorf Page 4

Setting

Setting – the time and place shown in a visual image It contains visual

cues, such as people, clothing, activity, time of day, and season of the

year. Usually this is term is applied to paintings, or prints. In architec-

ture these cues can be seen in the details, such as columns, arches,

doorways, etc.

What visual cues define the age of this art?

What does the structure say about the culture which created it?

How do I determine the age of the art object?

How does the setting change how I view this object?

Trace the building as described before. How do your lines show the

major parts of the building?

Ziggurat of Ur Page 15

Architecture

In architecture you may need to study a floor plan or other design draw-

ings of the structure.

These drawings are examples of this. These drawings represent the

building on the page entitled Space. Learn to visualize the structure by

looking only at the drawings.

Key terms

These terms are covered in the first 6 chapters of your textbook.. By

midterm you should be able to identify them, understand them, and

discuss all of them. Below you will get the terms and the definition as

listed in your book. The pronunciation is in the parenthesis. You also

have the page number where they appear in the text. They are listed

here in alphabetical order, rather than chapter order.

anthropomorphism [an-thro-po-MOR-

fizm] The attributing of humanlike

characteristics and traits to nonhuman

things or powers, such as a deity.

(Page 9)

apocalypse [uh-PAHK-uh-

lips] In Jewish and early Christian

thought, the expectation and hope of

the coming of God and his final judg-

ment; also closely identified with the

last book of the New Testament, Reve-

lation, in which many events are fore-

told, often in highly symbolic and

imaginative terms. (Page 118)

Archaic style The style in Greek sculp-

ture, dating from the seventh century

to 480 b.c., that was characterized by

heavy Egyptian influence; dominated

by the kouros and kore sculptural

forms. (Page 52)

architectural painting A type of wall

painting, which created the optical

illusion of either a wall opening or the

effect of looking through a window;

popular in imperial Rome. (Page 167)

architrave [AHR-kuh-trayv] The part of

the entablature that rests on the capi-

tal or column in Classical post-beam-

triangle construction. (Page 49)

ashlar [ASH-luhr] A massive hewn or

squared stone used in constructing a

fortress, palace, or large building.

(Page 155)

ataraxia [at-uh-RAK-see-uh] Greek,

"calmness"; in Hellenistic philosophy,

the state of desiring nothing. (Page

102)

aulos in music, a reed woodwind

instrument similar to the oboe, usually

played in pairs by one player as the

double aulos; used in Greek music.

(Page 169)

autarky [AW-tar-kee] Greek, "self-

sufficient"; in Hellenistic thought, the

state of being isolated and free from

the demands of society. (Page 100)

bard A tribal poet-singer who com-

poses and recites works, often of the

epicpoetry genre. (Page 44)

barrel vault A ceiling or

vault made of sets of arches placed

side by side and joined together. (Page

157)

canon A set of principles or rules that

are accepted as true and authoritative

for the various arts or fields of study; in

architecture, it refers to the standards

of proportion; in painting, the pre-

scribed ways of painting certain ob-

jects; in sculpture, the ideal propor-

tions of the human body; in literature,

the authentic list of an author's works;

in religion, the approved and authorita-

tive writings that are accepted as

divinely inspired, such as the Scrip-

tures for Jews and Christians; and in

religious and other contexts, certain

prescribed rituals or official rules and

laws. In music, a canon is a composi-

tion in which a melody sung by one

voice is repeated exactly by successive

voices as they enter. (Page 25)

capital In architecture, the upper or

crowning part of a column, on which

the entablature rests. (Page 49)

cella [SELL-uh] The inner sanctum or

walled room of a Classical temple

where sacred statues were housed.

(Page 49)

chorus In Greek drama, a group of

anthropomorphism [an-thro-po-MOR-

fizm] The attributing of humanlike

characteristics and traits to nonhuman

things or powers, such as a deity.

(Page 9)

apocalypse [uh-PAHK-uh-

lips] In Jewish and early Christian

thought, the expectation and hope of

the coming of God and his final judg-

ment; also closely identified with the

last book of the New Testament, Reve-

lation, in which many events are fore-

told, often in highly symbolic and

imaginative terms. (Page 118)

Archaic style The style in Greek sculp-

ture, dating from the seventh century

to 480 b.c., that was characterized by

heavy Egyptian influence; dominated

by the kouros and kore sculptural

forms. (Page 52)

architectural painting A type of wall

painting, which created the optical

illusion of either a wall opening or the

effect of looking through a window;

popular in imperial Rome. (Page 167)

architrave [AHR-kuh-trayv] The part of

the entablature that rests on the capi-

tal or column in Classical post-beam-

triangle construction. (Page 49)

ashlar [ASH-luhr] A massive hewn or

squared stone used in constructing a

fortress, palace, or large building.

(Page 155)

ataraxia [at-uh-RAK-see-uh] Greek,

"calmness"; in Hellenistic philosophy,

the state of desiring nothing. (Page

102)

aulos in music, a reed woodwind

instrument similar to the oboe, usually

played in pairs by one player as the

double aulos; used in Greek music.

(Page 169)

autarky [AW-tar-kee] Greek, "self-

sufficient"; in Hellenistic thought, the

state of being isolated and free from

the demands of society. (Page 100)

bard A tribal poet-singer who com-

poses and recites works, often of the

epicpoetry genre. (Page 44)

barrel vault A ceiling or

vault made of sets of arches placed

side by side and joined together. (Page

157)

canon A set of principles or rules that

are accepted as true and authoritative

for the various arts or fields of study; in

architecture, it refers to the standards

of proportion; in painting, the pre-

scribed ways of painting certain ob-

jects; in sculpture, the ideal propor-

tions of the human body; in literature,

the authentic list of an author's works;

in religion, the approved and authorita-

tive writings that are accepted as

divinely inspired, such as the Scrip-

tures for Jews and Christians; and in

religious and other contexts, certain

prescribed rituals or official rules and

laws. In music, a canon is a composi-

tion in which a melody sung by one

voice is repeated exactly by successive

voices as they enter. (Page 25)

capital In architecture, the upper or

crowning part of a column, on which

the entablature rests. (Page 49)

cella [SELL-uh] The inner sanctum or

walled room of a Classical temple

where sacred statues were housed.

(Page 49)

chorus In Greek drama, a group of

performers who sang and danced in

both tragedies and comedies, often

commenting on the action; in later

times, a group of singers who per-

formed with or without instrumental

accompaniment. (Page 67)

chthonian deities [THOE-nee-uhn] In

Greek religion, earth gods and god-

desses who lived underground and

were usually associated with peasants

and their religious beliefs. (Page 43)

civilization The way humans live in a

complex political, economic, and social

structure, usually in an urban environ-

ment, with some development in

technology, literature, and art. (Page 1)

Classic, or Classical Having the forms,

values, or standards embodied in the

art and literature of Greek and Roman

civilization; in music, an eighteenth-

century style characterized by simplic-

ity, proportion, and an emphasis on

structure. (Page 61)

Classicism A set of aesthetic princi-

ples found in Greek and Roman art

and literature emphasizing the search

for perfection or ideal forms. (Page 61)

codex [KO-deks] (plural, codices) The

earliest form of a bound book, made of

parchment pages, dating from about

the first century B.C.E. in pagan Rome.

(Page 196)

comedy of manners A humorous play

that focuses on the way people in a

particular social group or class interact

with one another, especially regarding

fashions and manners. (Page 97)

contrapposto [kon-truh-POH-stoh] In

sculpture and painting, the placement

of the human figure so the weight is

more on one leg than the other and

the shoulders and chest are turned in

the opposite direction from the hips

and legs. (Page 79)

Corinthian The third Greek architec-

tural order, in which temple columns

are slender and fluted, sit on a base,

and have capitals shaped like inverted

bells and decorated with carvings

representing the leaves of the acan-

thus bush; this style was popular in

Hellenistic times and widely adopted

by the Romans. (Page 105)

cornice In architecture, the crowning,

projecting part of the entablature.

(Page 49)

covenant In Judaism and Christianity,

a solemn and binding agreement or

contract between God and his follow-

ers. (Page 114)

culture The sum of human endeavors,

including the basic political, economic,

and social institutions and the values,

beliefs, and arts of those who share

them. (Page 1)

Cynicism A Hellenistic philosophy that

denounced society and its institutions

as artificial and called on the individual

to strive for autarky. (Page 100)

Diaspora [dye-AS-puhr-uh] From the

Greek, "to scatter"; the dispersion of

the Jews from their homeland in an-

cient Palestine, a process that began

with the Babylonian Captivity in the

sixth century b.c. and continued over

the centuries. (Page 117)

Dionysia [DYE-uh-NYSH-ee-ah] Any of

the religious festivals held in ancient

Athens honoring Dionysus, the god of

wine; especially the Great Dionysia,

celebrated in late winter and early

spring in which tragedy is thought to

have originated. (Page 61)

doric The simplest and oldest of the

Greek architectural orders, in which

temple columns have undecorated

capitals and rest directly on the stylo-

bate. (Page 49)

entablature [en-TAB-luh-choor] In

architecture, the part of the temple

above the columns and below the roof,

which, in Classical temples, included

the architrave, the frieze, and the

pediment. (Page 49)

entasis [EN-ta-sis] In architecture,

convex curving or enlarging of the

central part of a column to correct the

optical illusion that the column is too

thin. (Page 50)

Epic A poem, novel, or film that re-

counts at length the life of a hero or

the history of a people. (Page 44)

Epicureanism [ep-i-kyoo-REE-uh-niz-

uhm] A Hellenistic philosophy, founded

by Epicurus and later expounded by

the Roman Lucretius, that made its

highest goals the development of the

mind and an existence free from the

demands of everyday life. (Page 101)

eschatology [es-kuh-TAHL-

uh-jee] The concern with final events

or the end of the world, a belief popu-

lar in Jewish and early Christian com-

munities and linked to the concept of

the coming of a Messiah. (Page 118)

evangelists From the

Greek evangelion, a term generally

used for those who preach the Chris-

tian religion; more specifically, the four

evangelists, Matthew, Mark, Luke, and

John, who wrote about Jesus Christ

soon after his death in the first four

books of the New Testament. (Page

128)

fluting Decorative vertical grooves

carved in a column. (Page 50)

forum In Rome and many Roman

towns, the public place, located in the

center of the town, where people

gathered to socialize, transact busi-

ness, and administer the government.

(Page 158)

Fourth Century style The sculptural

style characteristic of the last phase of

the Hellenic period, when new interpre-

tations of beauty and movement were

adopted. (page 79)

fresco A painting done on wet or dry

plaster that becomes part of the plas-

tered wall. (Page 34)

frieze [FREEZ] A band of painted

designs or sculptured figures placed

on walls; also, the central portion of a

temple's entablature just above the

architrave. (Page 34)

genre [ZHON-ruh] From the French, "a

kind, a type, or a class"; a category of

artistic, musical, or literary composi-

tion, characterized by a particular style,

form, or content. (Page 19)

genre subject In art, a scene or a

person from everyday life, depicted

realistically and without religious or

symbolic significance. (Page 109)

Gospels The first four books of the

New Testament (Matthew, Mark, Luke,

and John) that record the life and

sayings of Jesus Christ; the word itself,

from Old English, means good news or

good tales. (Page 127)

groined vault, or cross vault A ceiling

or vault created when two barrel

vaults, set at right angles, intersect.

(Page 157)

Hellenic [hell-LENN-ik] Relating to the

time period in Greek civilization from

480 to 323 b.c., when the most influ-

ential Greek artists, playwrights, and

philosophers, such as Praxiteles,

Sophocles, and Plato, created their

greatest works; associated with the

Classical style. (Page 59)

Hellenistic [hell-uh-NIS-tik] Relating to

the time period from about 323 to 31

b.c., when Greek and oriental or Mid-

dle Eastern cultures and institutions

intermingled to create a heterogene-

ous and cosmopolitan civilization.

(Page 87)

hieroglyphs [HI-uhr-uh-glifs] Pictorial

characters used in Egyptian writing,

which is known as hieroglyphics. (Page

8)

High Classical style The style in Greek

sculpture associated with the ideal

physical form and perfected during the

zenith of the Athenian Empire, about

450-400 b.c. (Page 79)

Homeric epithet A recurring nick-

name, such as "Ox-eyed Hera," used in

Homer's Iliad or Odyssey. (Page 45)

hubris [HYOO-bris] In Greek thought,

human pride or arrogance that leads

an individual to challenge the gods,

usually provoking divine retribution.

(Page 43)

humanism An attitude that is con-

cerned with humanity, its achieve-

ments, and its potential; the study of

the humanities; in the Renaissance,

identified with studia humanitatis.

(Page 85)

hymn From the Greek and Latin, "ode

of praise of gods or heroes"; a song of

praise or thanksgiving to God or the

gods, performed both with and without

instrumental accompaniment. (Page

19)

idealism in Plato's philosophy, the

theory that reality and ultimate truth

are to be found not in the material

world but in the spiritual realm. (Page

74)

ideogram [ID-e-uh-gram] A picture

drawn to represent an idea or a

concept. (Page 7)

idyll A relatively short poem

that focuses on events and themes

of everyday life, such as family, love,

and religion; popular in the Hellenis-

tic Age and a standard form that has

been periodically revived in Western

literature throughout the centuries.

(Page 98)

Ionic The Greek architectural

order, developed in Ionia, in which

columns are slender, sit on a base,

and have capitals decorated with

scrolls. (Page 78)

keystone The central stone at the

top of an arch that locks the other

stones in place. (Page 155)

koine [KOI-nay] A colloquial Greek

language spoken in the Hellenistic

world that helped tie together that

civilization. (Page 96)

kore [KOH-ray] An Archaic Greek

standing statue of a young draped

female. (Page 52)

kouros [KOO-rus] An Archaic Greek

standing statue of a young naked

male. (Page 52)

Linear A In Minoan civilization, a

type of script still undeciphered that

lasted from about 1800 to 1400 b.c.

(Page 34)

Linear B In Minoan civilization, an

early form of Greek writing that flour-

ished on Crete from about 1400 until

about 1300b.c. and lasted in a few

scattered places on the Greek

mainland until about 1150 b.c.; used

to record commercial transactions.

(Page 37)

liturgy A rite or ritual, such as

prayers or ceremonies, practiced by a

religious group in public worship.

(Page 130)

logos [LOWG-os] In Stoicism,

the name for the supreme being or

for reason-the controlling principle of

the universe-believed to be present

both in nature and in each human

being. (Page 102)

lyre In music, a hand-held stringed

instrument, with or without a sound

box, used by ancient Egyptians,

Assyrians, and Greeks. In Greek

culture, the lyre was played to accom-

pany song and recitation. (Page 45)

Lyric poetry A short subjective poem

that expresses intense personal

emotion. (Page 45)

maenad [MEE-nad] A woman who

worshiped Dionysus, often in a state

of frenzy. (Page 61)

Messiah A Hebrew word meaning

"the anointed one," or one chosen by

God to be his representative on

earth; in Judaism, a savior who will

come bringing peace and justice; in

Christianity, Jesus Christ (Christ is

derived from a Greek word meaning

"the anointed one"). (Page 118)

metope [MET-uh-pee] In architec-

ture, a panel, often decorated, be-

tween two triglyphs on the entabla-

ture of a Doric Greek temple. (Page

50)

modes A series of musical scales

devised by the Greeks and believed

by them to create certain emotional

or ethical effects on the listener.

(Page 71)

monotheism From the Greek

monos, single, alone, and the Greek

theos, god; the belief that there is

only one God. (Page 114)

mosaic An art form or decoration,

usually on a wall or a floor, created by

inlaying small pieces of glass, shell,

or stone in cement or plaster to

create pictures or patterns. (Page

167)

mural A wall painting, usually quite

large, used to decorate a private or

public structure. (See fresco) (Page

166)

muse In Greek religion, any one of

the nine sister goddesses who pre-

side over the creative arts and sci-

ences. (Page 43)

natural law In Stoicism

and later in other philosophies, a body

of laws or principles that are believed

to be derived from nature and binding

on human society and that constitute a

higher form of justice than civil or

judicial law. (Page 157)

natural philosophy Science based on

philosophical speculation and experi-

ments or data, founded in Ionian

Greece in the sixth century B.C.E.; a

term that embraced both science and

philosophy until about 1800 C.E. (Page

47)

Neoclassicism In the late third cen-

tury b.c., an artistic movement in the

disintegrating Hellenistic world that

sought inspiration in the Athenian

Golden Age of the fifth and fourth

centuries b.c.; and, since 1970, Neo-

classicism has been a highly visible

submovement in Post-Modernism,

particularly prominent in painting and

architecture, that restates the princi-

ples of Classical art-balance, harmony,

idealism. (Page 109)

Neolithic Literally, "new stone"; used

to define the New Stone Age, when

human cultures evolved into agrarian

systems and settled communities;

dating from about 10,000 or 8000 b.c.

to about 3000 b.c. (Page 3)

Neo-Platonism A philosophy based on

Plato's ideas that was developed

during the Roman period in an attempt

to reconcile the dichotomy between

Plato's concept of an eternal World of

Ideas and the ever-changing physical

world; in the fifteenth-century Renais-

sance, it served as a philosophical

guide for Italian humanists who sought

to reconcile late medieval Christian

beliefs with Classical thinking. (Page

151)

New Comedy The style of comedy

favored by Hellenistic playwrights,

concentrating on gentle satirical

themes-in particular, romantic plots

with stock characters and predictable

endings. (Page 96)

oculus [AHK-yuh-lus] The circular

opening at the top of a dome; derived

from the Latin word for "eye." (Page

158)

Old Comedy The style of comedy

established by Aristophanes in the fifth

century b.c., distinguished by a strong

element of political and social satire.

(Page 70)

oligarchy From the Greek oligos, few;

a state ruled by the few, especially by a

small fraction of persons or families.

(Page 39)

Olympian deities In Greek religion, sky

gods and goddesses who lived on

mountaintops and were worshiped

mainly by the Greek aristocracy. (Page

43)

orchestra In Greek theaters, the

circular area where the chorus per-

formed in front of the audience; in

music, a group of instrumentalists,

including string players, who play

together. ()Page 67)

Orientalizing A phase of Greek art,

particularly Greek vase painting, last-

ing from about 700 to 530 B.C.E.,

which drew inspiration from Near

Eastern art, including artistic tech-

niques, vessel forms, decorative mo-

tifs, and subjects. (Page 48)

Paleolithic Literally, "old stone"; used

to define the Old Stone Age, when

crude stones and tools were used;

dating from about 2,000,000 b.c. to

about 10,000 b.c. (Page 2)

pantheism The doctrine of or belief in

multitudes of deities found in nature.

(Page 9)

pantomime In Roman

times, enormous dramatic productions

featuring instrumental music and

dances, favored by the masses; later, a

type of dramatic or dancing perform-

ance in which the story is told with

expressive or even exaggerated bodily

and facial movements. (Page 169)

parchment A writing surface, prepared

from calf-, sheep-, and goatskins,

developed in ancient Pergamum.

Parchment’s supple surface allowed

the storing of writing on both sides of a

page and thus opened the door to the

first books. (Page 107)

pastoral A type of Hellenistic poetry

that idealized rural customs and farm-

ing, especially the simple life of shep-

herds, and deprecated urban living.

(Page 98)

pediment In Classical-style architec-

ture, the triangular-shaped area or

gable at the end of the building formed

by the sloping roof and the cornice.

(Page 49)

phonogram A symbol used to repre-

sent a syllable, a word, or a sound.

(Page 7)

pictogram A carefully drawn, often

stylized, picture that represents a

particular object.

Platonism The collective beliefs and

arguments presented in Plato's writ-

ings stressing especially that actual

things are copies of ideas. (Page 74)

podium In architecture, a low wall

serving as a foundation; a platform.

(Page 106)

polytheism [PAHL-e-the-iz-uhm] The

doctrine of or belief in more than one

deity. (Page 9)

portico In architecture, a covered

entrance to a building, usually with a

separate roof supported by columns.

(Page 22)

post-and-lintel construction A basic

architectural form in which upright

posts, or columns, support a horizontal

lintel, or beam. (Page 13)

post-beam-triangle construction The

generic name given to Greek architec-

ture that includes the post, or column;

the beam, or lintel; and the triangular-

shaped area, or pediment. (Page 49)

Praxitelean curve [prak-sit-i-LEE-

an] The graceful line of the sculptured

body in the contrapposto stance,

perfected by the Fourth Century style

sculptor Praxiteles. (Page 82)

regalia Plural in form, often used with

a singular verb. The emblems and

symbols of royalty, as the crown and

scepter. (Page 25)

relief In sculpture, figures or forms

that are carved so they project from

the flat surface of a stone or metal

background. High relief projects

sharply from the surface; low relief, or

bas relief, is more shallow. (Page 13)

sarcophagus [sahr-KAHF-uh-guhs]

From the Greek meaning "flesh-eating

stone"; a marble or stone coffin or

tomb, usually decorated with carvings,

used first by Romans and later by

Christians for burial of the dead. (Page

132)

satire From the Latin, "medley"-a

cooking term; a literary genre that

originated in ancient Rome and that

was characterized by two basic forms:

(a) tolerant and amused observation of

the human scene, modeled on

Horace's style, and (b) bitter and sar-

castic denunciation of all behavior and

thought outside a civilized norm, mod-

eled on Juvenal's style. In modern

times, a literary work that holds up

human vices and follies to ridicule or

scorn. (Page 150)

satyr-play [SAT-uhr] A comic play,

often featuring sexual themes, per-

formed at the Greek drama festivals

along with the tragedies. (Page 68)

scripture The sacred writings of any

religion, as the Bible in Judaism and

Christianity. (Page 120)

Severe style The first sculp-

tural style of the Classical period in

Greece, which retained stylistic ele-

ments from the Archaic style. (Page

79)

shaft graves Deep pit burial sites; the

dead are usually placed at the bottom

of the shafts. (Page 37)

skene [SKEE-nee] A small building

behind the orchestra in a Greek thea-

ter, used as a prop and as a store-

house for theatrical materials. (Page

67)

Skepticism A Hellenistic philosophy

that questioned whether anything

could be known for certain, argued

that all beliefs were relative, and

concluded that autarky could be

achieved only by recognizing that

inquiry was fruitless. (Page 100)

stele [STEE-lee] A carved or inscribed

vertical stone pillar or slab, often used

for commemorative purposes. (Page

11)

stereobate In Greek architecture, the

stepped base on which a temple

stands. (Page 49)

Stoicism [STO-ih-sihz-uhm] The most

popular and influential Hellenistic

philosophy, advocating a restrained

way of life, a toleration for others, a

resignation to disappointments, and a

resolution to carry out one's responsi-

bilities; Stoicism appealed to many

Romans and had an impact on early

Christian thought. (Page 102)

stylobate [STY-luh-bate] In Greek

temples, the upper step of the base

that forms a platform on which the

columns stand. (Page 49)

syncretism [SIN-kruh-tiz-uhm] The

combining of different forms of reli-

gious beliefs or practices. (Pages 103-

104)

theocracy From the Greek theos, god; a

state governed by a god regarded as the

ruling power or by priests or officials

claiming divine sanction. (Page 18)

theology The application of philoso-

phy to the study of religious truth, focus-

ing especially on the nature of the deity

and the origin and teachings of an

organized religious figure. (Page 128)

theos Greek word for god. (Page 18)

tragedy A serious and deeply moral

drama, typically involving a noble pro-

tagonist brought down by excessive

pride (hubris) and describing a conflict

between seemingly irreconcilable values

or forces; in Greece, tragedies were

performed at the festivals associated

with the worship of Dionysus (page 64)

triglyph [TRY-glif] In Greek architecture,

a three-grooved rectangular panel on

the frieze of a Doric temple; triglyphs

alternated with metopes. (Page 50)

vault A ceiling or roof made from

a series of arches placed next to one

another. (Page 157)

voussoir [voo-SWAR] A carved, wedge-

shaped stone or block in an arch. (Page

155)

ziggurat [ZIG-oo-rat] A Mesopotamian

stepped pyramid, usually built with

external staircases (page 13)

Although this booklet focuses on Western Humanities,

many of the suggestions will apply to other classes you will

take in the upcoming year. All of you will take an FYS class

and an English class called Oral and Written Expression

(OWE). Developing study skills, increasing your reading

speed, and becoming comfortable with talking in front of a

group will help you in both OWE and FYS. It is extremely

important to keep up with assignments. If you fall behind,

there is little time at the end to catch up.

Thiel offers support through the Library and The Learning

Commons. The library helps with research papers, books,

and databases.

TLC has study groups for Western Humanities called PAL

groups. They also can find you a tutor for any class you are

taking. Do not wait too long to get a tutor. In Humanities

you will know after the first two quizzes if you need extra

help. Sign up for a tutor as soon as you feel lost in class.

Visit your professors. All professors have scheduled office

hours each week. They expect you to come and ask ques-

tions, or get extra help. Go talk to your professors. They

are the most valuable people for getting assistance with a

class. If you do not visit your professors, you are wasting a

valuable resource.

Get started on Western Humanities today.

Get a copy of the book and start reading.

Use this guide to help you. If you have

questions write them down and search the

book for the answers.

Practice reading for speed. Read the

sports page, or a magazine, or even Face-

book. Anything; just read.

Practice looking at art. Visit a museum.

Look at photos online, or in magazines, or

newspapers. Analyze them using the art

terms in this booklet.

Thiel has many services available to help

you with your academics, but we can not

help you unless you ask for help If you need further assistance, contact

The Learning Commons, or the Library front desk.

Work hard and make your own opportunities.

Important Help information:

Director TLC: George Branch-Trevathan

ext. 2145

Advising: Diane Donnelly ext. 2072

Carol Jones ext. 2071

Get a Tutor: Barb Samson ext. 2077

Disability Services: Tressa Snyder ext. 2063

Library Reference: Tressa Snyder ext. 2119

Allen Morrill ext. 2205

Executive Director of Langenheim Memorial Library and

The Learning Commons:

Allen Morrill ext. 2205

Prepared by the Langenheim

Memorial Library and The

Learning Commons

Summer 2012