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 150
th
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. Dont 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 doesnt
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, 7
th
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 Egypts 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 Platos and Aristotles 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 Romes 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 artists 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 Lions 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.
Parchments 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