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Course Criteria
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3.00 Credits
M. Allen. Autumn.
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3.00 Credits
May be taken in sequence with CMLT 20600/30600 or individually. 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. D. Bevington, H. Coleman. Autumn.
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3.00 Credits
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 (i.e., Molière, Goldsmith, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, Stoppard). Attention is also paid to theorists of the drama (e.g., Stanislavsky, Artaud, Grotowski). 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 students. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended. D. Bevington, H. Coleman.Winter.
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3.00 Credits
PQ: Third- or fourth-year standing, and at least one prior course in modern drama or film. This course meets the critical/intellectual methods course requirement for students who are majoring in Comparative Literature. Working knowledge of French helpful but not required. Beckett is conventionally typed as the playwright of minimalist scenes of unremitting bleakness. But his experiments with theater and film echo the irreverent play of popular culture (vaudeville on stage and film, including Chaplin and Keaton) and the artistic avant-garde (Dreyer in film; Jarry and Artaud in theater). This course juxtaposes this early twentieth-century work with Beckett's plays on stage and screen, as well as those of his contemporaries (Ionesco, Duras) and successors. Contemporary authors depend on availability but may include Vinaver, Minyana, and Lagarce (France); Pinter and Greenaway (England); and Foreman and Wellman (United States). Theoretical work may include texts by Artaud, Barthes, Derrida, Josette Feral, Peggy Phelan, and Bert States. L. Kruger. Spring.
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3.00 Credits
The first part of this course considers Martin Heidegger's critique of humanism and various attempts to formulate alternative versions of humanism. We also study Emmanuel L évinas ' conception of ethics as first philosophy and its effect on political philosophy and philosophy of religion, Jacqu es Derrida 's politics of hospitality and cosmopolitanism, and Pie rre Hado t's conception of spiritual exercises and philosophy as a way of life. In the second part of this course, we discuss the status of ethical, political, and religious concepts after the experience of Auschwitz. In addition to P rimo Le vi's If This Is a Man, other readings may come from Lévinas, Robert Antelme, Sara Kofman, and Hans Jonas. Texts in English and the ori ginal. A. Davidson, Wi
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3.00 Credits
For some, fairy tales count as sacred tales meant to enchant rather than edify. For others, they are cautionary tales, replete with obvious moral lessons. Critics have come to apply all sorts of literary approaches to fairy tale texts, ranging from stylistic analyses to psychoanalytical and feminist readings. For the purposes of this course, we assume that these critics are correct in their contention that fairy tales contain essential underlying meanings. We conduct our own readings of fairy tales from the German Brothers Grimm; the Norwegians, Asbj rnsen and Moe; and the Dane, Hans Christian Andersen. We rely on our own critical skills as well as on selected secondary readings. This course is offered in alternate years. K. Kenny. Winter. Not offered 2009 C10; will be offered 201 0 -11.
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3.00 Credits
In Bringing Up Girls in Bohemia, Michal Viewegh engages with thinkers ranging from the Czech critic Jan Mukarovsky to the French theoretician Roland Barthes and writers from world literature (e.g., Graham Greene, Jorge Borges) to the paragons of the Czech novel (e.g., Karel Capek, Milan Kundera). This course explores the history of the Czech novel that begins with Jan Amos Comenius and Bo ena Nemcová. We then look at the development of the Czech novel through the works of Franz Kafka, Karel Capek, Milan Kundera, Josef kvorecky, and Bohumil Hrabal. Finally we reread Viewegh and some of his contemporaries (e.g., Jachym Topol, Daniela Hodrová) within the context of this newly formed history of the Czech novel . E. Peters. Spring.
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3.00 Credits
In this course, we ask whether there is such a thing as a "Balkan" type of magic realism and think about the differences between the genres of magic realism and the fantastic, while reading some of the most interesting writing to have come out of the Balkans. We also look at the similarities of the works from different countries (e.g., lyricism of expression, eroticism, nostalgia) and argue for and against considering such similarities constitutive of an overall Balkan sensibility . A. Ilieva. Spring.
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2.00 Credits
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. J. Lastra. Autumn.
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3.00 Credits
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. Y. Tsivian. Spring.
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