Autumn

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).

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.

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.

PQ: TAPS and/or Hum Core required; no first years. Brecht is indisputably the most influential playwright in the twentieth century. In this course we will explore the range and variety of Brecht's own theatre, from the anarchic plays of the 1920's to the agitprop Lehrstück to the classical parable plays, as well as the works of his heirs in Germany (Heiner Müller, Franz Xaver Kroetz, Peter Weiss), Britain (John Arden, Edward Bond, Caryl Churchill), and sub-Saharan Africa (Soyinka, Ngugi, and various South African theatre practitioners). We will also consider the impact of Brechtian theory on film, from Brecht's own Kuhle Wampe to Jean-Luc Godard.

May be taken in sequence with CMLT 20600/30600 or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. This course is a survey of major trends and theatrical accomplishments in Western drama from the ancient Greeks through the Renaissance: Aeschylus, Sophocles, Euripides, Aristophanes, medieval religious drama, Marlowe, Shakespeare, and Jonson, along with some consideration of dramatic theory by Aristotle, Horace, Sir Philip Sidney, and Dryden. The goal is not to develop acting skill but, rather, 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 other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

PQ: Persian 20103 or equivalent. Introduction to the popular Persian romance of the 12th century, Samak-e 'ayyar, featuring a close reading of selected passages. Questions of genre; concepts of masculinity; chivalry and the character of the 'ayyar; the relationship of Samak to similar works in the Islamicate literatures as well as in the European traditions; oral story-telling and the performance context; folklore motifs; etc.

This course will examine texts like Shakespeare’s The Tempest, Defoe’s Robinson Crusoe, and Melville’s Typee alongside Reinaldo Arenas’s Farewell to the Sea (Cuba), Agualusa’s Creole (Angola), and Amitav Ghosh’s Sea of Poppies amongst others as transnational representations of the sea and human relationships to it. We will ask how these stories of oceanic journeys and the transnational affinities they produce generate accounts of language and history, and we will think comparatively about how the dangers these texts associate with the sea –such as shipwreck, cannibalism, death and loss –figure alongside its potentials –as a means of mobility and freedom, as a site of friendship and understanding. Discussing these fictional texts alongside theoretical works by writers such as Paul Gilroy, Mikhail Bakhtin, Isabel Hofmeyr, Emily Apter, and Michel Foucault, we will try to determine what new theoretical concepts and affiliations emerge when we untether these fictions from their national literary traditions. Students will have the opportunity to read originals in French, Spanish and Portuguese.

This seminar is an introduction to the formal study of narrative. Its purpose is to provide graduate students with a set of conceptual instruments that will be useful to them in a broad range of research contexts. Topics to be considered: 1) the structure of the narrative text; 2) the logic of story construction; 3) questions of perspective and voice; 4) character and identification; 5) narrative genres. After a brief consideration of Aristotle’s Poetics, we will move on to fundamental contributions by (among others) Propp, Lévi-Strauss, Barthes, Greimas, Genette, Eco, Lotman, Marin, Ricoeur, and then finish with recent work in analytic philosophy and cognitive science. Readings in theoretical/analytical texts will be combined with practical exercises.

The Bible, a complex anthology of literature from a variety of religious, political, and historical perspectives from ancient Israel, has been primary textual authority in Western culture, politics, and religion. This class will explore how the authority of the Bible has been understood and used by people in Western societies in their political, historical, religious, and aesthetic contexts. We will accomplish this by a close reading of both the biblical texts and their reception in the texts, music, and visual arts of Western civilization, with a special emphasis on the use of these receptions in particular societies. The material covered in this course is necessarily selective; the course will give a basic literacy in the Bible and its use, and, more importantly, it will also teach the student to recognize and analyze biblical allusions in their future research.

The course looks at the realities of the Arab Israel conflict as portrayed by Palestinian and Israeli writers. We will explore works of poets, novelists, short stories writers, filmmakers and artists, and the meanings they ascribe to such concepts as “homeland,” “exile,” “nation,” “struggle,” and “liberation.” We will study the analysis novelists offer to moments of politicized violence in the region, and the reception on these analysis in the Palestinian and Israeli publics. Finally, we will study the fields of power related to production of these works: who has the power to write/film, and thus represent, the realities of the Arab-Israeli conflict? Which voices are silenced in these processes? How can historians reconstruct radical voices in their analysis of the events by reading works of literature? Reading materials include works by Emile Habibi, Ghassan Kanafani, Mahmud Darwish, Amos Oz, Dahlia Ravikovitch and S. Yizhar.  The class is open to graduate and undergraduate students. No prior knowledge of Hebrew or Arabic is required.