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Course Criteria
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3.00 Credits
Given the importance of the written word in Russian culture, it is no surprise that writers were full-blooded participants in Russia's tumultuous recent history, which has lurched from war to war, and from revolution to revolution. The change of political regimes has only been outpaced by the change of aesthetic regimes, from realism to symbolism, and then from socialist realism to post-modernism. We sample the major writers, texts, and literary doctrines, paying close attention to the way they responded and contributed to historical events. This course counts as the third part of the survey of Russian literature. Texts in English. Spring.
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3.00 Credits
PQ: LATN 20600 or equivalent. Substantial selections from books 1 through 9 of the Confessions are read in Latin (and all thirteen books in English), with particular attention to Augustine' s style and thought. Further readings in English provide background about the historical and religious situation of the late fourth century AD . P. White. Spring.
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0.00 Credits
PQ: Third- or fourth-year standing. May be taken for P/F grading by students who are not majoring in English. Materials fee $20. L. McEnerney, K. Cochran, T. Weiner. Winter, Spring.
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3.00 Credits
From the 1830s to the 1890s, most Russian prose writers and playwrights were either engaged in the European-wide cultural movement known as "realistic school," which set for itself the task of engaging with social processes from the standpoint of political ideologies. The ultimate goal of this course is to distill more precise meanings of "realism," "critical realism," and "naturalism" in nineteenth-century Russian through analysis of works by Gogol, Turgenev, Tolstoy, Dostoevsky, Aleksandr Ostrovsky, Goncharov, Saltykov-Shchedrin, and Kuprin. W
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3.00 Credits
PQ: MATH 10600, or placement into 13100 or equivalent; or consent of instructor. Either course in this sequence meets the general education requirement in the mathematical sciences. Like other classic Chicago general education courses, this sequence provides students with both practical programming skills and core ideas in computer science in interdisciplinary applications. Our ideas of the arts, the character of "images" and "texts," and the ways we form communities are being transformed by the conjunction of media and computing (e.g., QuickTime, scripting). Students program on an Apple Macintosh using an advanced programming language. This course presents techniques of problem solving, program coding, algorithm construction, and debugging using a high-level prototyping environment. We treat programs as genres of argume nt. This course is offered in alternate years. W. Sterner. Winter, Spring
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3.00 Credits
PQ: Third- or fourth-year standing. This course explores several structures of knowledge that students may have encountered in their core and specialized education, with the goal of enabling students to identify and explore the implications of these different structures. We ask whether all knowledge is relative, and if so, to what When things are structured differently, does that mean that knowledge is lost Or are there several diverse ways of structuring knowledge, each of which may be viable We read a wide range of classical and modern thinkers in various disciplines. H. Sinaiko, W. Sterner. Spring.
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3.00 Credits
The diversity of critical theory and practice derives from a more fundamental diversity of views about the nature of a work of art and its relations to the artist, the audience, and the world. This course focuses on four contrasting, but seminal, statements on the nature of art and its relations to the artist, the audience, and kind of criticism appropriate to it: Aristotle's Politics, Plato' s Phaedrus , Nietzche ? Birth of Traged y, a nd Croche 's Aesthetics. H. Sinaiko. Autum
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3.00 Credits
Required of students who are majoring in ISHU; open to other students if space permits. This course is designed as an in-depth seminar on the critical theory that has been most influential and productive in the reading of contemporary culture across disciplines. We concentrate on short but prickly essays and excerpts from such works as Theodore Adorno and Max Horkheimer's Dialectic of Enlightenment, Jean Baudrillard' s Simulacra and Simulations , Jacque s Lacan ? Ecrit s, Susan Bu ck-Morss 's Dreamworld and Catastrop he, Michael Hardt and Anto nio Negr i's Emp ire, Sl avoj Ziz ek's The Parallax View, Gi orgio Agam ben's Means Withou t End, Susan So ntag's Regarding the Pain of Others, and Gayatri S pivak's Death of a Discipline. M. Sternstein.
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3.00 Credits
This course explores the question: Who was Socrates as portrayed in Plato's Dialogues, and what did he do We look at the Apology with respect to the way Socrates presents himself to his city; at the Protagoras with respect to his relationship to the Sophistic movement; and at the Republic as an exemplary Socratic conversation-as well as other dialogues that our investigations suggest . H. Sinaiko. Autumn.
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3.00 Credits
PQ: Third- or fourth-year standing. Tolstoy' s great nove l Anna Karenin a may be the finest and most compelling depiction in literature of the diverse aspects and outcomes of romantic love. Combining humanistic and social scientific perspectives, this course undertakes an intensive study of the novel to examine the joys and sorrows of romantic love, and the successes and tragedies that follow from it, as well as the aesthetic achievement of the novel as a major work of art. Resources for understanding the development of th e novel ? characters and the fate of their relationships are drawn fr om Freud 's Introductory Lectures on Psychoanaly sis and other works. Bases for a critical appreciation of the novel are drawn f rom Aristotl e's Poe tics and Nietzsc he's The Birth of Tragedy. D. Orlinsky, H. Sinaiko. Spr
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