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Course Criteria
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3.00 Credits
) 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) . A. Ilieva. Winter.
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3.00 Credits
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. R. von Hallberg. Autumn.
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3.00 Credits
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. A. Ilieva. Autumn.
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2.00 Credits
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
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3.00 Credits
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 i 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 Peta r Njego ? Mountain Wreat h; Isma il Kadare 's The Cast le; and An ton Donche v's Time of Parting. A. Ilieva. Spri
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3.00 Credits
This introductory course examines the poetics of femininity and masculinity in some of the best works of the Balkan region. We contemplate how the experiences of masculinity and femininity are constituted and the issues of socialization related to these modes of being. Topics include the traditional family model, the challenges of modernization and urbanization, the socialist paradigm, and the post-socialist changes. Finally, we consider the relation between gender and nation, especially in the context of the dissolution of Yugoslavia. All work in English. A. Ilieva. Winter.
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3.00 Credits
This course meets the critical/intellectual methods course requirement for students who are majoring in Comparative Literature. Moving beyond the modern perception of lyric as a direct expression of the poet's subjectivity, this course confronts the remarkable longevity of poetic genres that have remained in use over centuries and millennia, such as the hymn, ode, pastoral, elegy, epistle, and epigram. What kept these classical genres alive for so long and, conversely, what made them serviceable to poets working in very different cultural milieus In an effort to develop a theory and a history of Western lyric genres, we sample such poets as Sappho, Horace, Marvell, H lderlin, Whitman, Mandel'shtam , Brodsky, and Milosz. Texts in English. Optional discussion sessions offered in the original (i.e., Greek, Latin, German, Russian) . B. Maslov. Spring.
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3.00 Credits
This course meets the critical/intellectual methods course requirement for students who are majoring in Comparative Literature. This course explores notions of cosmopolitanism in philosophy, historiography, and literature. Topics include ancient world systems, world literature, hospitality, and hybridity. Readings may include Derek Walcott's Omeros, the Hellenistic Life of Aesop, early Chinese prose-poetry, Derrida, Frank, and Spivak. T. Chin. Spring.
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3.00 Credits
A. Davidson. Autumn.
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3.00 Credits
This course traces a genealogy of affect by focusing on the representation and incitement of emotions in nineteenth-century fiction. Readings include Goethe, The Sorrows of Young Werther; Austen, Sense and Sensibility; Flaubert, Madame Bovary; and Hardy, Far from the Madding Crowd. L. Rothfield. Autumn.
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