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Course Criteria
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4.00 Credits
Explore the arts as social resources! Starting with a "Cultural Agents Fair" to meet local change artists as possible partners for collaborative projects (on mayors, music, murals, mimes, etc.), students will consider how defamiliarization and the counterfactual make change thinkable. Then we will track how aesthetic effects and side-effects can promote social change. Theoretical readings (Schiller, Kant, Dewey, Freire, Gramsci, Ranciere, Mockus, Boal, Nussbaum, Pasolini, inter alia) are grounded in concrete cases of agency.
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4.00 Credits
Just as a pine or a willow is known from the shape of its branching, so human culture can be understood as a growth-pattern, a ramifying of artistic, intellectual, and political action. This course tries to find the center of the Modernist movement (1872-1927) by studying the literature, music, and painting of the period, to see whether some congruence of effort in all these media can be found. By looking at the range of artistic production in a few key years, we come to know this age of aesthetic extremism, perhaps unparalleled in Western history.
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4.00 Credits
A study of poetry as the history and science of feeling: readings in major lyric poems of England and America. Emphasis on problems of invention and execution, and on the poet's choice of genre, stance, context, and structure. Other topics to be raised include the process of composition, the situating of a poem in its historical and poetic contexts, the notion of a poet's development, the lyric as dramatic speech, and the experimental lyric of the 20th century.
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4.00 Credits
Begins with the Aeneid, paradigmatic epic of the West, from various perspectives, involving literary aesthetics and translation theory, Homeric and other intertextuality, concepts of heroism and anti-heroism, individual choice vs. public responsibility, critique of empire then, now, and in between. Concurrent attention to Virgil tradition in early Christianity, Dante, Milton, Dryden, the Romantics, post-WWI Modernists; influence on music, art, and iconography. Subsequent focus on the Eclogues and Georgics, their place in the traditions of European pastoral and didactic, status as works of early Augustan poetry, and reception from Petrarch to Heaney.
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4.00 Credits
A study of five famous pieces of music, both as timeless works of art and as moments of cultural history. Close attention is given to techniques of musical listening, and to the details of the first performance of each work, with a consideration of the problems involved in assembling such a picture. Works studied are Beethoven, Symphony no. 9; Berlioz, Symphonie fantastique; Stravinsky, Le sacre du printemps; Handel, Messiah; Monteverdi, Orfeo. The course concludes with the first performance of a new work especially commissioned for this course.
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4.00 Credits
An overview of Surrealism in the context of European culture and politics of the 20th century. Focus on major works of writers, artists, and filmmakers associated with the Surrealist movement, chiefly in the period between the two world wars; some attention also paid to earlier works and movements, and to the influence of and reactions to Surrealism after 1945. Discussion of works by Breton, Aragon, Tzara, Lautreamont, Artaud, Eluard, Carrington, Bunuel and Dali, Dulac, Magritte, Tanning, Ernst, Man Ray, Bellmer, and others. Includes examination of rare books and original art works in Houghton Library and the University art museums.
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4.00 Credits
An exploration of love in five genres of classical South Asian literature-epic history, story literature, plays, poetic miniatures, and court poetry. We will pay particular attention to the nature of literary genres and practices and how they were theorized by South Asian intellectuals. Especially relevant are theories of poetic language, aestheticized emotion (especially love), and literary ornamentation.
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4.00 Credits
During much of the 20th century, the Broadway musical stood at the center of American culture, producing tunes and tales that became the hits of their day. It commented-wittily, satirically, relentlessly-on the ever-shifting social and political landscape, with subjects ranging from new immigrants to poverty, power, westward expansion, and issues of race. This course explores the musical artistry and cultural resonances of a cluster of iconic Broadway musicals on stage and screen, including Shuffle Along, Show Boat, Stormy Weather, The Cradle Will Rock, Oklahoma!, and Pacific Overtures. Readings focus on primary sources drawn from Harvard's illustrious Theatre Collection.
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4.00 Credits
Did the Greeks and Romans read novels? Fictional prose narratives about adventure and romance in exotic lands were immensely popular in antiquity. We will explore this tradition by reading the five surviving Greek novels, the Golden Ass of the Roman Apuleius, and selected other texts, along with works by contemporary theorists and critics. Topics include: definitions of the "novel;" ancient representations of desire; gender and class politics; relationships between secular and religious narratives.
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4.00 Credits
This course starts with Korea's self-presentation through the Korea Wave, then turns to the features of twentieth century modernity. The third part examines historical case studies in cultural survival. Korea Indigenous pursues two modes of study, academic and aesthetic: the study of texts, pictures and other formulations of Korean identities, through discussions and writing; and the creation of the aesthetic, for example through writing poems in the Korean sijo form.
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