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History and Theory of Drama II

Submitted by Anonymous on
20600
30600
=ENGL 13900/31100, ISHU 24300/34300
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
David Bevington, Heidi Coleman

May be taken in sequence with CMLT 20500/30500 or individually. This course is a survey of major trends and theatrical accomplishments in Western drama from the late seventeenth century into the twentieth: Molire, Goldsmith, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, and Stoppard. Attention is also paid to theorists of the drama, including Stanislavsky, Artaud, and Grotowski. The goal is not to develop acting skill but, rather, the goal is to discover what is at work in the scene and to write up that process in a somewhat informal report. Students have the option of writing essays or putting on short scenes in cooperation with some other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

The Manifesto, Revolution, and Modernity

Submitted by Anonymous on
22000
32000
=SLAV 21800/31800
  • Graduate/Undergraduate
  • Spring
  • 2006-2007
Radoslav Borislavov

As a genre the manifesto provides a unique opportunity for studying the political and aesthetic movements of modernity. It thrives on a culture of crisis by articulating demands, galvanizing public opinion, and dividing the body politic. This class will study the politics, poetics, and geography of the manifesto form between 1870 and 1930. Readings will include symbolist, futurist, dada, and surrealist manifestoes. Additional texts by Karl Marx, Walter Benjamin, Carl Schmitt, Leon Trotsky, Hugo Ball, Andre Breton, Kazimir Malevich, Wyndham Lewis, Sergei Eisenstein, Sergei Tretiakov. Films by Rene Clair, Eisenstein, Dziga Vertov, Luis Bunuel.

Nineteenth Century Literature of the Balkans

Submitted by Anonymous on
22101
32101
=SOSL 26600/36600
  • Graduate/Undergraduate
  • Spring
  • 2006-2007
Angelina Ilieva

In this course, we will look at the works of the major nineteenth century writers and poets from the Balkans. We will examine how their works grapple with the issues of national identity, with the emergence of their nations from the Austro-Hungarian and Ottoman Empires, and with their countries? place in the Balkans and in Europe. We will map our work on two major axes: syntagmatic difference-how each work develops its own rules of reading-and paradigmatic similarity-how working through the difference, one uncovers systematic correlations in the ways the texts go about structuring their universe. We will pay attention to the historical context and will investigate the main philosophical categories through which these works make sense of the world. It is the hope of the instructor that by the end of the course, these older foreign texts will no longer seem impenetrable and strange because we will have learnt to understand the power and beauty with which these texts speak.

History of International Cinema I: Silent Era

Submitted by Anonymous on
22400
32400
=ARTH 28500/38500, ARTV 26500, CMST 28500/48500, ENGL 29300/47800, MAPH 33600
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
Yuri Tsivian

This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful . The aim of this course is to introduce what was singular about the art and craft of silent film. Its general outline is chronological. We also discuss main national schools and international trends of filmmaking.

History of International Cinema II: Sound Era to 1960

Submitted by Anonymous on
22500
32500
=ARTH 28600/38600, ARTV 26600, CMST 28600/48600, ENGL 29600/48900, MAPH 33700
  • Graduate/Undergraduate
  • Spring
  • 2006-2007
Ronald Gregg

PQ: Prior or current registration in CMST 10100 required; CMLT 22400/32400 strongly recommended. The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History, An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

Ekphrasis on Stage: From Cervantes to Caldern

Submitted by Anonymous on
26800
36800
=SPAN 24301/34301
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
Frederick de Armas

During the early modern age, writing had a strong visual component. Poets and playwrights utilized the sense of sight since it was the highest of the Platonic senses and a mnemonic key to lead spectators to remember vividly what they had read or heard, long before spectacle plays were in fashion. One important technique for visualization was ekphrasis, the description of an art work within a text. For this purpose, playwrights often turned to the mythological canvases of the Italian Renaissance along with the portraits of great rulers and images of battle. Thus, early modern theater could rely on ekphrasis to help the audience visualize a heroic figure, the mysteries love, or an epic conflict. And, noblewomen, in order to acquire agency, would take on the guise of a goddess as portrayed in Italian canvases. Their rule would be most often portrayed in comic plays. We will read plays by Cervantes, Lope de Vega, Tirso de Molina and Caldern as well as ancient, early modern French and Italian plays. Numerous Italian Renaissance paintings will be discussed.

Lucretius and Karl Marx

Submitted by Anonymous on
27900
37900
=ANST 25606, CLAS 35606, CLCV 25606, FNDL 24211
  • Graduate/Undergraduate
  • Autumn
  • 2006-2007
Elizabeth Asmis

Lucretius was a follower of Epicurus, whom Marx called the greatest representative of Greek enlightenment. In his poem On the Nature of Things, Lucretius seeks to convert his fellow Romans to an Epicurean way of life. He explains in detail what the world is made of (atoms) and that there is no reason to fear the gods or death. Marx wrote his doctoral dissertation on Epicurus and Lucretius. He was especially enthusiastic about the idea, which was developed by Lucretius, that humans are free to shape their own lives.

Spiritual Exercises and Moral Perfectionism

Submitted by Anonymous on
28200
38200
=DVPR 31202. PHIL 21202/31202, RLST 23501
  • Graduate/Undergraduate
  • Autumn
  • 2006-2007
Arnold Davidson

A number of philosophers have recently proposed a new way of approaching ethics (and of reconceiving the task of philosophy) that focuses on exercises of self-transformation and ideals of moral perfection (sometimes conceived of as forms of wisdom). A distinctive set of notions, such as spiritual exercises, practices of the self, ways of life, the aesthetics of existence, the care of the self, conversion, and moral exemplarity, is meant to displace the picture of morality as primarily a code of good conduct. We shall study three contemporary authors who are central to reviving this way of thinking about ethical practice - Pierre Hadot, Michel Foucault, and Stanley Cavell. Their work will be read against the background of some classic texts in the history of philosophy in an attempt to uncover the historical tradition and the contemporary significance of this conception of the moral life.

Poetic Cinema

Submitted by Anonymous on
29000
39000
=CMST 25501/35501, ISHU 29002, RLIT 39000, RLST 28401, RUSS 29001/39001
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
Robert Bird

Films are frequently denoted as poetic or lyrical in a vague sort of way. It has been applied equally to religious cinema and to the experimental avant-garde. Our task will be to interrogate this concept and to try to define what it actually is denoting. Films and critical texts will mainly be drawn from Soviet and French cinema of the 1920s-1930s and 1960s-1990s. Directors include Dovzhenko, Renoir, Cocteau, Resnais, Maya Deren, Tarkovsky, Pasolini, Jarman, and Sokurov. In addition to sampling these directors? own writings, we shall examine theories of poetic cinema by major critics from the Russian formalists to Andre Bazin beyond.

Extremist Poetry: Paul Celan and Sylvia Plath

Submitted by Anonymous on
29200
39200
=ENGL 27802/47802, GRMN 29206/39206
  • Graduate/Undergraduate
  • Spring
  • 2006-2007
Robert von Hallberg

PQ: Reading knowledge of German is required. This course will focus largely on the relation of lyric poetry to extreme historical experience, to the Shoah in particular. We will focus on Celan's poems for seven weeks, and then on Plath's late work for three weeks.

Classic Yiddish Fiction: Scholem-Aleichem and the Diasporic Imagination

Submitted by Anonymous on
29400
39400
=GRMN 27700/37700, YDDH 25500/35500
  • Graduate/Undergraduate
  • Autumn
  • 2006-2007
Jan Schwarz

The seminar will examine the Yiddish writer Scholem-Aleichem's work as a prime example of the diasporic imagination in modern Jewish culture. The writer's greatest achievement was his monologues, oral narrative performances such as Tevye the Dairyman, the Railroad Stories and Menakhem Mendel. These key texts will be discussed in the context of Russian Jewry's crisis and transformation at the turn of the twentieth century. Scholem-Aleichem's political development will be traced in his relationship to the two dominant ideologies in Jewish Eastern Europe prior to World War I: Socialism and Zionism. Finally, Scholem-Aleichem's encounter with America during his visit in 1905-1906 and his immigration in 1914 will be discussed in connection with his play writing for the Yiddish stage and cinema. The course will delineate Scholem-Aleichem's unique literary universe and style, the pivotal expression of classic Yiddish fiction that remains one of the most original expressions of the diasporic imagination in modern Jewish culture. No prior knowledge of Yiddish is required. All readings will be in English. Students wanting to study the primary material in the original languages (Yiddish, Hebrew and Russian) are encouraged to do so.

Le rgne des passions dans la littrature du XVIIe sicle

Submitted by Anonymous on
29500
39500
=FREN 24301/34301
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
Thomas Pavel

A study of the vision of human passions, as reflected in 17th-century literature. We will discuss influential passages from Plato's Republic, Aristotle's Nicomachean Ethics, and Pascal's Pensées, a selection of narratives from L'Astre by Honor d'Urf, as well as The Ill-advised curiosity by Cervantes, The Princess of Clves by Mme de La Fayette, King Lear by Shakespeare, Rodogune by Corneille and Britannucus by Racine. The course will be taught in French and the French texts will be read in the original language.

Jewish American Literature after 1945

Submitted by Anonymous on
29800
39800
=ENGL 25004/45002, GRMN 27800/37800, YDDH 27800/37800
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
Jan Schwarz

No prior knowledge of Yiddish is required. All texts will be available in English. Students with reading proficiency in Yiddish are encouraged to read the Yiddish texts in the original. The course will develop a multilingual model for the study of American literature by examining Yiddish and English literature by Jewish writers in America after 1945. Despite the fact that Jewish literature in America exists in several languages, the study of Jewish American literature is overwhelmingly defined by an English-only approach. The main goal of the course is to expand the conception of the field of Jewish American literature from English-only to English-plus. In discussing novels and short stories by bilingual writers such as I.B.Singer and Scholem Asch, we will discuss the permeable borders that existed between American literature in Yiddish and English after 1945. The course will address how the Yiddish literary landscape influenced the resurgence of Jewish American literature in the 1950s and 1960s as represented by the works of Saul Bellow, Philip Roth, Cynthia Ozick and Bernard Malamud. We will compare literature of the Holocaust by John Hersey, Chaim Grade and I.B.Singer with more recent works in the genre. Finally, we will examine how Dara Horn's In the Image (2002) and Pearl Abraham's The Seventh Beggar (2005) have renewed the engagement with the Yiddish literary tradition among a young generation of Jewish American writers. Primary texts: I.B.Singer, The Shadows on the Hudson (1957-1958); Chaim Grade, My Quarrel With Hersh Rasayner (1952); Sholem Ash, East River (1946); John Hersey, The Wall (1950); Saul Bellow, Mr. Sammler's Planet (1971) and Something to Remember Me By (1990); Cynthia Ozick, Envy: or, Yiddish in America (1969) and The Shawl (1983); Philip Roth, The Ghost Writer (1978); Jonathan Safran Foer, Everything is Illuminated (2000); Pearl Abraham, The Seventh Beggar (2005); Dara Horn, In the Image (2002).

Non-Discursive Representation from Goethe to Wittgenstein - I

Submitted by Anonymous on
36900
36900
=GRMN 36500, PHIL 50500, SCTH 50500
  • Graduate/Undergraduate
  • Autumn
  • 2006-2007
David Wellbery, James Conant

Must be taken in sequence. This seminar is a regular graduate seminar held in conjunction with a Sawyer Seminar sponsored by the Andrew W. Mellon Foundation. The course will examine philosophical and aesthetic issues associated with the problem of non-discursive representation in both major texts of the philosophical and literary tradition running, roughly speaking, from Kant to the present. Relevant works by contemporary philosophers and critics will also be discussed. The seminar is linked to two conferences on the topic and will include individual visits to the seminar by conference participants.

Non-Discursive Representation from Goethe to Wittgenstein - II

Submitted by Anonymous on
37000
37000
=GRMN 36600, PHIL 50501
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
David Wellbery, James Conant

Must be taken in sequence. This seminar is a regular graduate seminar held in conjunction with a Sawyer Seminar sponsored by the Andrew W. Mellon Foundation. The course will examine philosophical and aesthetic issues associated with the problem of non-discursive representation in both major texts of the philosophical and literary tradition running, roughly speaking, from Kant to the present. Relevant works by contemporary philosophers and critics will also be discussed. The seminar is linked to two conferences on the topic and will include individual visits to the seminar by conference participants.

On Creaturely Life: Literature, Philosophy, and Theology

Submitted by Anonymous on
38700
38700
=GRMN 37500
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
Eric Santner

This course will address the concept of creaturely life as a dimension that places the human in intimate proximity to the animal without collapsing the human-animal distinction. Readings will include texts by Rilke, Kafka, Benjamin, Heidegger, Agamben, Coetzee, Sebald, Cixous, Derrida.