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Course Criteria
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4.00 Credits
Study of Balzac, Stendhal, Flaubert, and Zola as a means of identifying the individual's changing relationship to the environment and the social, political, and intellectual contexts of his or her epoch. Problems of the 19th-century novel, narrative structure, point of view, invention, and observation.
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4.00 Credits
The historical framework of this course is the period between the two World Wars, a time in which the spirit of surrealism dominated the intellectual and artistic aspects of French culture. Studies the "surrealist revolution" through both detailed analyses of texts by Breton, Aragon, Eluard, and Desnos, and of painting and cinema. Explores the relation between theory and practice in literature and the arts.
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4.00 Credits
The major French novelists of the 20th century have moved the novel away from the traditional 19th-century concept. Proust and Gide developed a first-person-singular narrative in which the reader is participant. Breton uses the novel for a surrealist exploration. With Céline and Malraux, the novel of violent action becomes a mirror of man's situation in a chaotic time and leads to the work of Sartre and Camus, encompassing the existentialist viewpoint. Covers Beckett's sparse, complex narratives and Robbe-Grillet's "new" novels. Novels are studied with respect to structure, technique, themes, language, and significant passages.
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4.00 Credits
Major trends in French poetry from the late 19th century to the present. Beginning with the precursors of contemporary poetry in France and other countries' Baudelaire, Rimbaud, Mallarmé, and Laforgue-innovation is studied in the 20th-century writers: Apollinaire and the New Spirit; the surrealist poets, including Aragon and Breton; Saint-John Perse; Michaux and exorcism through the word; Ponge and the world of things; and the postwar poets. Includes textual analysis, poetic theory, and relationships of the works to their literary environment.
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4.00 Credits
Reaction in the post-World War II novel against traditional 19th-century novels. The novelist no longer controls his characters but limits himself to what can be seen. Emphasis on the world of objects and the difficulty of literary creation. The novels of Robbe-Grillet, Butor, Sarraute, Duras, Simon, and Pinget. On stage, the theatre of the absurd, antirealistic, with startling techniques, downgrading of language, and a stress on action; the theme of lack of communication in the world. The theories of Artaud and the plays of Ionesco, Beckett, Genet, Adamov, Vian, and others.
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4.00 Credits
Main expressions of existential thought in Jean-Paul Department of French Sartre, Simone de Beauvoir, and Albert Camus. Attention to the French existentialists' concern for commitment in political and social affairs of the times. Examines absurdist literature since the 1950s in the "theatre of the absurd," in fiction, and in critical work of other contemporary French writers. Covers Ionesco, Beckett, Genet, Robbe-Grillet, and Barthes; precursors of the absurd such as Kafka and Céline; and practitioners of the absurd outside of France (such as Pinter, Albee, and Barthelme).
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4.00 Credits
Reading of Remembrance of Things Past. Major topics include the novel as confession, the unconscious and creation, perception and language, sexuality, decadence, the artistic climate in Europe and France from the end of the 19th century through World War I, and the hero as artist.
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4.00 Credits
Study of Samuel Beckett's diverse work and the unifying element of the human condition as two complementary components: the impossibility of existence and the need to voice that impossibility. Works include Molloy, The Unnamable, Waiting for Godot, Endgame, Cascando, Not I, How It Is, Krapp's Last Tape, and First Love.
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4.00 Credits
Surveys French cinema from 1895 to the present day. Formal issues are discussed in the context of French civilization. Students are required to regularly cross the perspectives of history and cinema studies. The following movements and schools are discussed: the Lumière brothers' realism versus Méliès's transformation of reality; the international avant-garde of the 1920s (impressionism, surrealism, dadaism); poetic realism (Vigo, Carné, Renoir); the New Wave (Truffaut, Godard, Resnais); political modernism in the context of May 1968; the advent of the "Cinéma du Look"; and postmodernity (Besson, Beineix).
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2.00 Credits
A close reading of the classics of contemporary theatre, with emphasis on their use of vivid metaphors of the human condition and the theatre as metaphor and artistic process. Analyzes plays in detail, thematically and stylistically. Views each play as a highlight of nonrealistic theatre and as a brilliant example of the sensibilities of European artists and thinkers in the period beginning just after World War I (Pirandello) to World War II (Sartre) and the postwar period, the post-Hiroshima generation (Beckett).
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