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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
  • Autumn
  • 2011-2012
J Lastra

PQ: Prior or concurrent enrollment in CMST 10100. This is the first part of a two-quarter course. Taking these courses in sequence is strongly recommended but not required. This course introduces 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 I: Silent Era

Submitted by Anonymous on
22400
32400
=ARTH 28500/38500, ARTV 26500, CMST 28500/48500, ENGL 29300/47800, MAPH 33600
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
James Lastra

PQ: Prior or concurrent enrollment in CMST 10100. This is the first part of a two-quarter course. Taking these courses in sequence is strongly recommended but not required. This course introduces 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 I: Silent Era

Submitted by Anonymous on
22400
32400
=ARTH 28500/38500, ARTV 26500, CMST 28500/48500, ENGL 29300/47800, MAPH 33600
  • Graduate/Undergraduate
  • Autumn
  • 2008-2009
James Lastra

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 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.

US Latino Literary Intellectual History: Subject to Citizen

Submitted by Anonymous on
22401
=ENGL 228/42815, CRES 22815, GNDR 22802, LACS 22815
  • Undergraduate
  • Autumn
  • 2011-2012
R Coronado

Reading knowledge of Spanish and French helpful. How does one go from being a subject of the king to becoming a citizen? From where does one acquire the language to think of equality? In the late eighteenth century, many revolutionary Spaniards and Spanish Americans travelled throughout the Atlantic world seeking to make the philosophy of equality a reality and gain independence of the Spanish colonies. They travelled to and from Europe and Spanish America; and on to New Orleans, Charleston, Washington DC, Philadelphia, and New York. Through their voyages, these individuals would bring this new political language of rights to the places they visited, imbibing of this political philosophy by reading and through conversations and discussions. They produced, as well, a plethora of publications and writings that circulated throughout the Atlantic world. Through lecture and discussion, students in this interdisciplinary course learn of these individuals, their circuits of travel, and their desire to create a modern world. Our focus is on the communities, individuals, and texts that were published and circulated in what is today the United States. We begin with the late eighteenth century and work our way through the nineteenth century. Classes conducted in English; most texts in English.

U.S. Literary and Intellectual History: From Subject to Citizen

Submitted by Anonymous on
22401
=ENGL 22815, CRES 22815, LACS 22815
  • Undergraduate
  • Autumn
  • 2010-2011
Raul Coronado

How does one go from being a subject of the King to becoming a citizen? From where does one acquire the language to think of equality? In the late eighteenth century, many revolutionary Spaniards and Spanish Americans travelled throughout the Atlantic world seeking to make the philosophy of equality a reality and gain independence of the Spanish colonies. They travelled to and from Europe and Spanish America; and on to New Orleans, Charleston, DC, Philadelphia, and New York. Through their voyages, these individuals would bring this new political language of rights to the places they visited, imbibing of this political philosophy by reading and through conversations and discussions. They produced, as well, a plethora of publications and writings that circulated throughout the Atlantic world. Through lecture and class discussion, we'll learn of these individuals, their circuits of travel, and their desire to create a modern world. Our focus will be on the communities, individuals, and texts that were published and circulated in what is today the United States. We'll begin with the late eighteenth century and work our way through the nineteenth century. The course will be interdisciplinary. Lecture, discussion, and most of the readings will be in English. Spanish and French reading skills will be useful.

Fate and Duty: European Tragedy from Aeschylus to Brecht

Submitted by isagor on
22402
32402
GRMN 22402, CLCV 22117, CLAS 32117, REES 22402
  • Graduate/Undergraduate
  • Autumn
  • 2017-2018
Boris Maslov

This class will explore the development of European drama from Attic tragedy and comedy and their reception in Ancient Rome and French Neoclassicism to the transformation of dramatic form in 18-20th c. European literatures. The focus will be on the evolution of plot, characterization, time-and-space of dramatic action, ethical notions (free will, guilt, conscience), as well as on representations of affect. All readings in English. No prerequisites.

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
  • 2011-2012
Y Tsivian

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.

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
  • 2010-2011
Yuri Tsivian

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.

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
  • Winter
  • 2008-2009
Yuri Tsivian

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.

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
  • Winter
  • 2007-2008
Tom Gunning

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.

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.

Vico's New Science

Submitted by Anonymous on
22501
32501
=ITAL 22900/32900,FNDL 21408
  • Graduate/Undergraduate
  • Winter
  • 2009-2010
Rocco Rubini

This course offers a close reading of Giambattista Vico's masterpiece, New Science (1744) – a work that sets out to refute all opinions hitherto held about the principles of humanity. Vico, who is acknowledged as the most resolute scourge of any form of rationalism, breathed new life into rhetoric, imagination, poetry, metaphor, history, and philology in order to promote in his readers that originary wonder and pathos which sets human beings on the search for truth. However, Vico argues, the truths that are most available and interesting to us are the ones humanity authored by means of its culture and history-creating activities. For this reason the study of myth and folklore as well as archeology, anthropology, and ethnology must all play a role in the rediscovery of man. The New Science builds an alternative philosophy for a new age and reads like a novel of formation recounting the (hi)story of the entire human race and our divine ancestors. In Vico, a prophetic spirit, one recognizes the fulfillment of the Renaissance, the spokesperson of a particular Enlightenment, the precursor of the Kantian revolution, and the forefather of the philosophy of history (Herder, Hegel, and Marx). The New Science remained a strong source of inspiration in the twentieth century (Cassirer, Gadamer, Berlin, Joyce, Beckett, etc.) and may prove relevant in disclosing our own responsibilities in postmodernity. Course taught in English.

Money and Literature

Submitted by vickylim on
22504
GNSE 22504
  • Undergraduate
  • Spring
  • 2011-2012
Tamara Chin

This course explores a set of imaginative, anthropological, and economic writings about money.  Topics will include economic rhetoric and genres, market values, housework, and ancient and modern economies.  We will read Gide’s The Counterfeiters, Adiga’s White Tiger, biographies of coins, Chinese economic dialogues, and watch an episode of Suze Orman’s Money Class. Critical readings will include Mauss, Simmel, Marx, Goux, Rubin, Spivak.

Cinema from the Balkans

Submitted by Anonymous on
22601
32601
=SOSL 27600/37600
  • Graduate/Undergraduate
  • Autumn
  • 2011-2012
A Ilieva

This course is designed as an overview of major cinematic works from Bulgaria, Albania, Greece, Rumania, former Yugoslavia and Turkey. While the main criterion for selection is the artistic quality of the work, the main issues under consideration are those of identity, gender, the poignant relation with the “Western World,” memories of conflict and violence, and socialism and its disintegration and subsequent emigration. We compare the conceptual categories through which these films make sense of the world, especially the sense of humor with which they come to terms with that world. Directors whose work we examine include Vulchanov and Andonova (Bulgaria); Kusturica, Makavejev, and Grlic (Former Yugoslavia); Guney (Turkey); Boulmetis (Greece); and Manchevski (Macedonia).

Cinema from the Balkans

Submitted by Anonymous on
22601
32601
=SOSL 27600/37600, CMST 24402/34402
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
Angelina Ilieva

This course is designed as an overview of major cinematic works from Bulgaria, Albania, Greece, Rumania, former Yugoslavia and Turkey. While the main criterion for selection is the artistic quality of the work, the main issues under consideration are those of identity, gender, the poignant relation with the Western World, memories of conflict and violence, and socialism and its disintegration and subsequent emigration. We compare the conceptual categories through which these films make sense of the world, especially the sense of humor with which they come to terms with that world. Directors whose work we examine include Vulchanov and Andonova (Bulgaria); Kusturica, Makavejev, and Grlic (Former Yugoslavia); Guney (Turkey); Boulmetis (Greece); and Manchevski (Macedonia).

Cinema from the Balkans

Submitted by Anonymous on
22601
32601
=ISHU 27603, SOSL 27600/37600
  • Graduate/Undergraduate
  • Autumn
  • 2008-2009
Angelina Ilieva

This course is designed as an overview of major cinematic works from Bulgaria, Albania, Greece, Rumania, former Yugsolavia and Turkey. While the main criterion for selection will be the artistic quality of the work, the main issues under consideration will be those of identity, gender, the poignant relation with the Western World, memories of conflict and violence, socialism, its disintegration and subsequent emigration. We will compare the conceptual categories through which these films make sense of the world and especially the sense of humor with which they come to terms with that world. Some directors whose work we will examine: Vulchanov, Andonova (Bulgaria), Kusturica, Makavejev, Grlic (Former Yugoslavia), Guney (Turkey), Boulmetis (Greece), Manchevski (Macedonia).

Beyond Cinema Novo: New Cinema from Brazil, Portugal and Lusophone Africa

Submitted by Anonymous on
22701
=PORT 21701
  • Undergraduate
  • Autumn
  • 2007-2008
Pedro Pereira

We will explore new tendencies in the cinema of Portugal, Brazil and Portuguese-speaking African countries such as Mozambique, Angola and Guinea-Bissau. Under analysis will be recent productions in a variety of formats and genres such as fiction and documentary, publicity, and TV series. We will assess the contributions of these cinematic objects to contemporary socio-political discourse focusing both on the Portuguese-speaking world and beyond. Course conducted in English.

Isaac Bashevis Singer and Saul Bellow: Jewish Novelists of the Twentieth Century

Submitted by Anonymous on
22801
32801
=GRMN 23709/33709, YDDH 23709/33709
  • Graduate/Undergraduate
  • Winter
  • 2008-2009
Jan Schwarz

The course will examine the novels of arguably the two most important Jewish novelists of the twentieth century. Isaac Bashevis Singer's debut Satan in Goray (1933) was followed by many novels in various sub-genres: family chronicle, historical, and autobiographical. Singer's novels were initially serialized in the Yiddish press in Poland and after 1935 in the US, and then adapted in English translation. Saul Bellow's main contribution was his novels from his debut Dangling Man (1944) to Ravelstein (2000). Using current methodological approaches to the novel as presented in Franco Moretti's The Novel (2006), we will discuss how Bellow and Singer renewed novelistic forms and styles. The course will discuss the main features of the Jewish novel in the twentieth century (Franz Kafka, Joseph Roth, and Shmuel Agnon) that influenced Bellow and Singer.

Cinema in Africa

Submitted by Anonymous on
22900
42900
=AFAM 21900, CMST 24201/34201, CRES 24201/34201, ENGL 27600/48601, SOSC 27600
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
Loren Kruger

PQ: Prior college-level course in either African studies or film studies. This course examines cinema in Africa and films produced in Africa. It places cinema in SubSaharan Africa in its social, cultural, and aesthetic contexts ranging from neocolonial to postcolonial, Western to Southern Africa, documentary to fiction, and art cinema to TV. We begin with La Noire de... (1966), a groundbreaking film by the father of African cinema, Ousmane Sembene. We compare this film to a South African film, The Magic Garden (1960), that more closely resembles African American musical film. Other films discussed in the first part of the course include anti-colonial and anti-apartheid films from Lionel Rogosin's Come Back Africa (1959) to Sarah Maldoror's Sambizanga , Ousmane Sembene's Camp de Thiaroye (1984), and Jean Marie Teno's Afrique , Je te Plumerai (1995). We then examine cinematic representations of tensions between urban and rural, traditional and modern life, and the different implications of these tensions for men and women, Western and Southern Africa, in fiction, documentary and ethnographic film.

Film Noir: French and American

Submitted by Anonymous on
22901
32901
=ENGL 28911/47214
  • Graduate/Undergraduate
  • Spring
  • 2009-2010
Robert von Hallberg

This course focuses on film noir in a broad sense, including neo-noir. We attend to some of the conventions of the genre in terms of plot, characterization, and cinematography. There is also a thematic focus: How is trust constructed in these films? What are the features of trust that most directly affect political systems? Is trust among men much different from that among men and women in heterosexual relationships? We interpret a set of films as utopian efforts to imagine trusting lives. Films include The Maltese Falcon, The Big Sleep, Kiss Me Deadly, Out of the Past, Touch of Evil, Notorious, Narrow Margin, Blast of Silence, Night and the City, Criss Cross, The Postman Always Rings Twice, Gilda, Double Indemnity, Rififi, Chinatown, LA Confidential, Band of Outsiders, Bob le Flambeur , and Le Samourai .

Sex and Gender in Russian Culture, 1830-Present

Submitted by Anonymous on
23001
33001
=RUSS 24402/34402
  • Graduate/Undergraduate
  • Autumn
  • 2007-2008
Susan Larsen

This course traces the history of Russian debates about gender and sexuality from the 19th through the 21st centuries as registered in literary, visual, political, and material culture. Course topics include: the emergence of Russian women as writers in the 1830s; gender roles and radical politics in the 1860s and 1870s; decadent art and homoeroticism in the 1890s and 1900s; utopian social goals and revolutionary sexualities in the 1920s; shifting Soviet and post-Soviet constructions of gender and sexuality; Russian feminisms and nascent queer movements. Primary texts will include fiction, memoir, poetry, drama, political manifestos, fashion design, posters, paintings, popular song, and cinema. Short secondary readings will provide both theoretical and historical contexts. Discussions will be conducted in English. All texts will be available in both English and Russian.

Twentieth Century Literature from the Balkans

Submitted by Anonymous on
23101
=SOSL 26500/36500
  • Undergraduate
  • Autumn
  • 2007-2008
Angelina Ilieva

In this course, we will examine the works of major writers from former Yugoslavia, Bulgaria, Albania, Rumania, Greece, and Turkey from the twentieth and twenty-first centuries. We will examine how their works grapple with the issues of national identity and their countries' place in the Balkans and in Europe, with the legacies of the Austro-Hungarian and the Ottoman Empires, with socialism and its demise, with emigration, as well as simply with the modern experience of being. We will compare the conceptual and mythic categories through which these works make sense of the world and argue for and against considering such categories constitutive of an overall Balkan sensibility. The readings will include works by Orhan Pamuk, Ivo Andri, Norman Manea, Mesa Selimovi, Danilo Kis, Miroslav Krlea, Ismail Kadare and others.

Twentieth Century Literature from the Balkans

Submitted by Anonymous on
23101
33101
=SOSL 26500/36500
  • Graduate/Undergraduate
  • Winter
  • 2008-2009
Angelina Ilieva

In this course, we will examine the works of major writers from former Yugoslavia, Bulgaria, Albania, Rumania, Greece, and Turkey from the twentieth and twenty-first centuries. We will examine how their works grapple with the issues of national identity and their countries' place in the Balkans and in Europe, with the legacies of the Austro-Hungarian and the Ottoman Empires, with socialism and its demise, with emigration, as well as simply with the modern experience of being. We will compare the conceptual and mythic categories through which these works make sense of the world and argue for and against considering such categories constitutive of an overall Balkan sensibility. The readings will include works by Orhan Pamuk, Ivo Andri, Norman Manea, Mesa Selimovi, Danilo Kis, Miroslav Krle a, Ismail Kadare and others.

Returning the Gaze: The Balkans and Western Europe

Submitted by Anonymous on
23201
=SOSL 27200/37200
  • Undergraduate
  • Autumn
  • 2007-2008
Angelina Ilieva

This course will investigate the complex relationship between South East European self-representations and the imagined Western gaze for whose benefit the nations stage their quest for identity and their aspirations for recognition. We will focus on the problems of Orientalism, Balkanism and nesting orientalisms, as well as on self-mythologization and self-exoticization. We will also think about differing models of masculinity, and of the figure of the gypsy as a metaphor for the national self in relation to the West. The course will conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslavian wars of the 1990s.

Returning the Gaze: the West and the Rest

Submitted by jenniequ on
23201
33201
REES 2/39012, NEHC 2/30885
  • Graduate/Undergraduate
  • Autumn
  • 2016-2017
Angelina Ilieva

Aware of being observed. And judged. Inferior... Abject… Angry... Proud…
This course provides insight into identity dynamics between the “West,” as the center of economic power and self-proclaimed normative humanity, and the “Rest,” as the poor, backward, volatile periphery.  We investigate the relationship between South East European,  Russian, Turkish self-representations and the imagined Western gaze. Inherent in the act of looking at oneself through the eyes of another is the privileging of that other’s standard.  We will contemplate the responses to this existential position of identifying symbolically with a normative site outside of oneself -- self-consciousness, defiance, arrogance, self-exoticization -- and consider how these responses have been incorporated in the texture of the national, gender, and social identities in the region.  Orhan Pamuk, Ivo Andrić, Nikos Kazantzakis, Aleko Konstantinov, Emir Kusturica, Milcho Manchevski, Alexander Herzen, Fyodor Dostoevsky

Returning the Gaze: The Balkans and Western Europe

Submitted by vickylim on
23201
33201
SOSL 27200/37200, NEHC 20885/30885
  • Graduate/Undergraduate
  • Autumn
  • 2014-2015
Angelina Ilieva

The Other Within the Self: Identity in Balkan Literature and Film. This two-course sequence examines discursive practices in a number of literary and cinematic works from the South East corner of Europe through which identities in the region become defined by two distinct others: the “barbaric, demonic” Ottoman and the “civilized” Western European.

This course investigates the complex relationship between South East European self-representations and the imagined Western "gaze" for whose benefit the nations stage their quest for identity and their aspirations for recognition. We also think about differing models of masculinity, the figure of the gypsy as a metaphor for the national self in relation to the West, and the myths Balkans tell about themselves. We conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslav wars of succession. Some possible texts/films are Ivo Andric, Bosnian Chronicle; Aleko Konstantinov, Baj Ganyo; Emir Kusturica, Underground; and Milcho Manchevski, Before the Rain.

Returning the Gaze: Balkans & Western Europe

Submitted by vickylim on
23201
33201
NEHC 20885/30885
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Angelina Ilieva

This course investigates the complex relationship between South East European self-representations and the imagined Western "gaze" for whose benefit the nations stage their quest for identity and their aspirations for recognition. We also think about differing models of masculinity, the figure of the gypsy as a metaphor for the national self in relation to the West, and the myths Balkans tell about themselves. We conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslav wars of succession. Some possible texts/films are Ivo Andric, Bosnian Chronicle; Aleko Konstantinov, Baj Ganyo; Emir Kusturica, Underground; and Milcho Manchevski, Before the Rain.

Returning the Gaze: The Balkans and Western Europe

Submitted by Anonymous on
23201
33201
=NEHC 20885/30885, SOSL 27200/37200
  • Graduate/Undergraduate
  • Autumn
  • 2011-2012
A Ilieva

This course investigates the complex relationship between South East European self-representations and the imagined Western “gaze” for whose benefit the nations stage their quest for identity and their aspirations for recognition. We also think about differing models of masculinity, the figure of the gypsy as a metaphor for the national self in relation to the West, and the myths Balkans tell about themselves. We conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslav wars of succession. Some possible texts/films are Ivo Andric, Bosnian Chronicle ; Aleko Konstantinov, Baj Ganyo ; Emir Kusturica, Underground ; and Milcho Manchevski, Before the Rain .

The Other within the Self: Identity in Balkan Literature and Film

Submitted by Anonymous on
23201
33201
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
Staff

This two-course sequence examines discursive practices in a number of literary and cinematic works from the South East corner of Europe through which identities in the region become defined by two distinct others: the barbaric, demonic Ottoman and the civilized Western European.

Returning the Gaze: The Balkans and Western Europe

Submitted by Anonymous on
23201
33201
=NEHC 20885/30885, SOSL 27200/37200
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
Angelina Ilieva

This course investigates the complex relationship between South East European self-representations and the imagined Western gaze for whose benefit the nations stage their quest for identity and their aspirations for recognition. We also think about differing models of masculinity, the figure of the gypsy as a metaphor for the national self in relation to the West, and the myths Balkans tell about themselves. We conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslav wars of succession. Some possible texts/films are Ivo Andric, Bosnian Chronicle ; Aleko Konstantinov, Baj Ganyo ; Emir Kusturica, Underground ; and Milcho Manchevski, Before the Rain .

Returning the Gaze: The Balkans and Western Europe

Submitted by Anonymous on
23201
33201
=SOSL 27200/37200
  • Graduate/Undergraduate
  • Autumn
  • 2008-2009
Angelina Ilieva

This course will investigate the complex relationship between South East European self-representations and the imagined Western gaze for whose benefit the nations stage their quest for identity and their aspirations for recognition. We will focus on the problems of Orientalism, Balkanism and nesting orientalisms, as well as on self-mythologization and self-exoticization. We will also think about differing models of masculinity, and of the figure of the gypsy as a metaphor for the national self in relation to the West. The course will conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslavian wars of the 1990s.

Balkan Folklore

Submitted by vickylim on
23301
SOSL 26800
  • Undergraduate
  • Winter
  • 2012-2013
Angelina Ilieva

Immerse yourself in the magic world of vampires and dragons, bagpipes and uneven beats, quick-step circle dance. This course give an introduction to Balkan folklore from anthropological, historical/political, and performative perspectives. We become acquainted with folk tales, lyric and epic songs, music, and dance. The work of Milman Parry and Albert Lord, who developed their theory of oral composition through work among epic singers in the Balkans, helps us understand folk tradition as a dynamic process – how is oral tradition transmitted, preserved, changed, forgotten? how do illiterate singers learn their long narrative poems, how do musicians learn to play? We consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. The historical/political part will survey the emergence of folklore studies as a discipline as well as the ways it has served in the formation and propagation of the nation in the Balkans. The class will also experience this living tradition first hand through our in-class workshop with the Chicago based dance ensemble “Balkanski igri.” The Annual Balkan Folklore Spring Festival will be held in March at the International House.

Balkan Folklore

Submitted by Anonymous on
23301
=NEHC 20568/30568, SOSL 26800/36800
  • Undergraduate
  • Winter
  • 2010-2011
Angelina Ilieva

This course is an overview of Balkan folklore from ethnographic, anthropological, historical/political, and performative perspectives. We become acquainted with folk tales, lyric and epic songs, music, and dance. The work of Milman Parry and Albert Lord, who developed their theory of oral composition through work among epic singers in the Balkans, help us understand folk tradition as a dynamic process. We also consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. We also experience this living tradition first hand through our visit to the classes and rehearsals of the Chicago-based ensemble Balkanske igre.

Balkan Folklore

Submitted by jenniequ on
23301
33301
REES 29009/39009, NEHC 20568/30568, ANTH 25908/35908
  • Graduate/Undergraduate
  • Winter
  • 2016-2017
Angelina Ilieva

Vampires, fire-breathing dragons, vengeful mountain nymphs. 7/8 and other uneven dance beats, heart-rending laments and a living epic tradition.
 This course is an overview of Balkan folklore from historical, political and anthropological, perspectives. We seek to understand folk tradition as a dynamic process and consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. We also experience this living tradition first-hand through visits of a Chicago-based folk dance ensemble, “Balkan Dance.”

Balkan Folklore

Submitted by vickylim on
23301
33301
SOSL 26800/36800, NEHC 20568,NEHC 30568,ANTH 25908,ANTH 35908
  • Graduate/Undergraduate
  • Winter
  • 2014-2015
Angelina Ilieva

Immerse yourself in the magic world of vampires and dragons, bagpipes and uneven beats, quick-step circle dance. This course give an introduction to Balkan folklore from anthropological, historical/political, and performative perspectives. We become acquainted with folk tales, lyric and epic songs, music, and dance. The work of Milman Parry and Albert Lord, who developed their theory of oral composition through work among epic singers in the Balkans, helps us understand folk tradition as a dynamic process – how is oral tradition transmitted, preserved, changed, forgotten? how do illiterate singers learn their long narrative poems, how do musicians learn to play? We consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. The historical/political part will survey the emergence of folklore studies as a discipline as well as the ways it has served in the formation and propagation of the nation in the Balkans. The class will also experience this living tradition first hand through our in-class workshop with the Chicago based dance ensemble “Balkanski igri.” The Annual Balkan Folklore Spring Festival will be held in March at the International House.

Balkan Folklore

Submitted by Anonymous on
23301
33301
=NEHC 20568/30568, SOSL 26800/36800
  • Graduate/Undergraduate
  • Winter
  • 2011-2012
A Ilieva

This course is an overview of Balkan folklore from ethnographic, anthropological, historical/political, and performative perspectives. We become acquainted with folk tales, lyric and epic songs, music, and dance. The work of Milman Parry and Albert Lord, who developed their theory of oral composition through work among epic singers in the Balkans, help us understand folk tradition as a dynamic process. We also consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. We also experience this living tradition first hand through our visit to the classes and rehearsals of the Chicago-based ensemble “Balkanske igre”.

Kurosawa and his Literary Sources

Submitted by jenniequ on
23302
33302
EALC 23312/33312, REES 29814/39814, SCTH 34012
  • Graduate/Undergraduate
  • Spring
  • 2016-2017
Olga Solovieva

This interdisciplinary graduate and advanced undergraduate course focuses on ten films of Akira Kurosawa which were based on literary sources ranging from Ryunosuke Akutagawa, Georges Simenon, and Shakespeare to Dostoevsky, Tolstoy, Gorky, and Arseniev. The course not only introduces some theoretical and intermedial problems of adaptation of literature to film but also address cultural and political implications of Kurosawa’s adaptation of classic and foreign sources. We will study how Kurosawa’s turn to literary adaptation provided a vehicle for circumventing social taboos of his time and offered a screen for addressing politically sensitive and sometimes censored topics of Japan’s militarist past, war crimes, defeat in the Second World War, and ideological conflicts of reconstruction. The course combines film analysis with close reading of relevant literary sources, contextualized by current work of political, economic, and cultural historians of postwar Japan. The course is meant to provide hands-on training in the interdisciplinary methodology of Comparative Literature.

Cross-Listed with East Asian Studies and Committee on Social Thought.

 

Directors and Directing: Theory, Stage, Text

Submitted by isagor on
23305
  • Undergraduate
  • Spring
  • 2017-2018
Michal Peles-Almagor

Theatre has always needed the concept of directing when staging a play. However, the role of the director as we know it has emerged only with the beginning of modern drama. This course will investigate the role of the director as an intersection between text, theory, and performance. The course explores the impact of the director in shaping modern drama, as well as critical approaches of literary and theatrical theory. We will deal not only with the historical development of the director’s role and textual interpretation, but also with the dynamics between theory and practice, and the changes in the concepts of space, acting, and performing. We will focus on approaches and writings by André Antoine, Vsevolod Meyerhold, Yevgeny Vakhtangov, Konstantin Stanislavski, Gordon Craig, Max Reinhardt, Jacques Copeau, Leopold Jessner, Erwin Piscator, Bertolt Brecht, and Samuel Beckett. We will examine these approaches in relation to literary theories of performativity (John Austin, John Searle, Judith Butler, Mikhail Bakhtin). We will also be interested in testing whether these theories match the practice, and discuss the potential of constructing a theory of acting, performing, and directing today.    

Classical Art in the Literature of Renaissance &Early Modern Italy, Spain and France

Submitted by vickylim on
23310
33310
SPAN 23300, SPAN 33300
  • Graduate/Undergraduate
  • Spring
  • 2015-2016
Frederick de Armas

As classical statues emerged from the ground as if they were corpses revived by ancient necromancers, delight and curiosity concerning these artistic findings spread from Renaissance Italy to the rest of Europe. Even so, there was one aspect that was missing. The great paintings of antiquity were mostly lost due to their fragility. Only some of the wall paintings of later periods remained. Thus, the names and works of famous Greek painters came to be known mainly through Pliny´s Natural History. This course will focus on three of these painters whose works, although destroyed, are preserved in writing and ekphrasis: Apelles, Timanthes and Zeuxis. We will investigate how they come to be painted and described anew in the art and literature of the Renaissance and Early Modern periods, from Vasari to Rubens; and from Boscán and Tirso de Molina to Cervantes and Montaigne. Although the course is taught in English, students need to have a reading knowledge of Spanish.

The Burden of History: A Nation and its Lost Paradise

Submitted by vickylim on
23401
SOSL 27300
  • Undergraduate
  • Winter
  • 2012-2013
Angelina Ilieva

How and why do national identities provoke the deep emotional attachments that they do? In this course we try to understand these emotional attachments by examining the narrative of loss and redemption through which most nations in the Balkans retell their Ottoman past. We begin by considering the mythic temporality of the Romantic national narrative while focusing on specific national literary texts where the national past is retold through the formula of original wholeness, foreign invasion, Passion, and Salvation. We then proceed to unpack the structural role of the different elements of that narrative. With the help of Žižek’s theory of the subject as constituted by trauma, we think about the national fixation on the trauma of loss, and the role of trauma in the formation of national consciousness. Specific theme inquiries involve the figure of the Janissary as self and other, brotherhood and fratricide, and the writing of the national trauma on the individual physical body. Special attention is given to the general aesthetic of victimhood, the casting of the victimized national self as the object of the “other’s perverse desire.” With the help of Freud, Žižek and Kant we consider the transformation of national victimhood into the sublimity of the national self. The main primary texts include Petar Njegoš’ Mountain Wreath (Serbia and Montenegro), Ismail Kadare’s The Castle (Albania), Anton Donchev’s Time of Parting (Bulgaria).

The Burden of History: A Nation and Its Lost Paradise

Submitted by Anonymous on
23401
=SOSL 27300/37300
  • Undergraduate
  • Spring
  • 2008-2009
Angelina Ilieva

We will look at the narrative of loss and redemption through which Balkan countries retell the Ottoman past. With the help of Freud‚s analysis of masochistic desire and Zizek's theory of the subject as constituted by trauma, we will contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity. The figure of the Janissary will highlight the significance of the other in the definition of the self. Some possible texts are Petar Njego'‚ Mountain Wreath, Ismail Kadare's The Castle, and Anton Donchev's Time of Parting.

Burden of History: The Nation and Its Lost Paradise

Submitted by jenniequ on
23401
33401
REES 29013/39013, NEHC 2/30573, HIST 2/34005
  • Graduate/Undergraduate
  • Spring
  • 2016-2017
Angelina Ilieva

How and why do national identities provoke the deep emotional attachments that they do? In this course we try to understand these emotional attachments by examining the narrative of loss and redemption through which most nations in the Balkans retell their Ottoman past. We begin by considering the mythic temporality of the Romantic national narrative while focusing on specific national literary texts where the national past is retold through the formula of original wholeness, foreign invasion, Passion, and Salvation. We then proceed to unpack the structural role of the different elements of that narrative. With the help of Žižek’s theory of the subject as constituted by trauma, we think about the national fixation on the trauma of loss, and the role of trauma in the formation of national consciousness. Specific theme inquiries involve the figure of the Janissary as self and other, brotherhood and fratricide, and the writing of the national trauma on the individual physical body. Special attention is given to the general aesthetic of victimhood, the casting of the victimized national self as the object of the “other’s perverse desire.” With the help of Freud, Žižek and Kant we consider the transformation of national victimhood into the sublimity of the national self. The main primary texts include Petar Njegoš’ Mountain Wreath (Serbia and Montenegro), Ismail Kadare’s The Castle (Albania), Anton Donchev’s Time of Parting (Bulgaria).

The Burden of History: The Nation and Its Lost Paradise

Submitted by vickylim on
23401
33401
SOSL 27300 / 37300, NEHC 20573,NEHC 30573,HIST 24005,HIST 34005
  • Graduate/Undergraduate
  • Winter
  • 2014-2015
Angelina Ilieva

The Other Within the Self: Identity in Balkan Literature and Film. This two-course sequence examines discursive practices in a number of literary and cinematic works from the South East corner of Europe through which identities in the region become defined by two distinct others: the “barbaric, demonic” Ottoman and the “civilized” Western European.

This course begins by defining the nation both historically and conceptually, with attention to Romantic nationalism and its flourishing in Southeastern Europe. We then look at the narrative of original wholeness, loss, and redemption through which Balkan countries retell their Ottoman past. With the help of Freud's analysis of masochistic desire and Žižek's theory of the subject as constituted by trauma, we contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity. The figure of the Janissary highlights the significance of the other in the definition of the self. Some possible texts are Petar Njegoš's Mountain Wreath; Ismail Kadare's The Castle; and Anton Donchev's Time of Parting.

The Burden of History: A Nation and Its Lost Paradise

Submitted by Anonymous on
23401
33401
=NEHC 20573/30573, SOSL 27300/37300
  • Graduate/Undergraduate
  • Winter
  • 2011-2012
A Ilieva

This course begins by defining the nation both historically and conceptually, with attention to Romantic nationalism and its flourishing in Southeastern Europe. We then look at the narrative of original wholeness, loss, and redemption through which Balkan countries retell their Ottoman past. With the help of Freud's analysis of masochistic desire and Å_iÅ_ek's theory of the subject as constituted by trauma, we contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity. The figure of the Janissary highlights the significance of the other in the definition of the self. Some possible texts are Petar NjegoÅ¡'s Mountain Wreath ; Ismail Kadare's The Castle ; and Anton Donchev's Time of Parting .

The Other within the Self: Identity in Balkan Literature and Film

Submitted by Anonymous on
23401
33401
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Staff

This two-course sequence examines discursive practices in a number of literary and cinematic works from the South East corner of Europe through which identities in the region become defined by two distinct others: the barbaric, demonic Ottoman and the civilized Western European.

The Burden of History: A Nation and Its Lost Paradise

Submitted by Anonymous on
23401
33401
=NEHC 20573/30573, SOSL 27300/37300
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Angelina Ilieva

This course begins by defining the nation both historically and conceptually, with attention to Romantic nationalism and its flourishing in Southeastern Europe. We then look at the narrative of original wholeness, loss, and redemption through which Balkan countries retell their Ottoman past. With the help of Freud's analysis of masochistic desire and Žižek's theory of the subject as constituted by trauma, we contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity. The figure of the Janissary highlights the significance of the other in the definition of the self. Some possible texts are Petar Njegoš's Mountain Wreath ; Ismail Kadare's The Castle ; and Anton Donchev's Time of Parting .

The Burden of History: A Nation and Its Lost Paradise

Submitted by Anonymous on
23401
33401
=SOSL 27300/37300
  • Graduate/Undergraduate
  • Winter
  • 2007-2008
Angelina Ilieva

We will look at the narrative of loss and redemption through which Balkan countries retell the Ottoman past. With the help of Freud‚s analysis of masochistic desire and Zizek's theory of the subject as constituted by trauma, we will contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity. The figure of the Janissary will highlight the significance of the other in the definition of the self. Some possible texts are Petar Njego'‚ Mountain Wreath , Ismail Kadare's The Castle , and Anton Donchev's Time of Parting.

Theories of the Novel

Submitted by vickylim on
23415
ENGL 23415
  • Undergraduate
  • Spring
  • 2014-2015
Lawrence Rothfield

Theories of the Novel: This course explores some of the fundamental conceptual issues raised by novels: in what way do plot, character, and authorial intention function in the novel, as opposed to other genres? How are novels formally unified (if they are)? What special problems are associated with beginnings and endings of novels? How do such basic features as titles and chapter divisions contribute to novelistic meanings? What are the ideological presuppositions – about gender, race, class, but also about the nature of social reality, of historicity, and of modernity -- inherent in a novelistic view? What ethical practices and structures of affect do novels encourage?

Gender and Literature in South Asia

Submitted by Anonymous on
23500
=GNDR 23001/33001, SALC 23002/33002
  • Undergraduate
  • Spring
  • 2008-2009
Valerie Ritter

Prior knowledge of South Asia not required. This course investigates representations of gender and sexuality, especially of females and the feminine in South Asian literature (i.e., from areas now included in the nations of Bangladesh, India, Nepal, Pakistan, and Sri Lanka). Topics include classical Indian literature and sexual motifs, the female voice as a devotional/literary stance, gendered nationalism, the feminist movements, class and gender, and women's songs. Texts in English.

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