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Course Criteria
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3.00 Credits
Arts & Letters Sector. All Classes. Weissberg. What is the "Fantastic" And how can we describe the "Uncanny" The course will examine these questions, and investigate the historical background of our understanding of "phantasy," as well as our concepts of the "fantastic" and "uncanny" in literature. Our discussions will be based on a reading of Sigmund Freud's essay on the uncanny, a choice of Friedrich Schlegel's and Novalis' aphorisms, and Romantic narratives by Ludwig Tieck, E.T.A. Hoffman, Edgar llan Poe, Nathaniel Hawthorne, and others. All of the texts will be available in English/in English translation, and no knowledge of a foreign language is required.
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3.00 Credits
Arts & Letters Sector. All Classes. Platt. All readings and discussions in English. The object of the course is to analyze a series of 19C and 20C novels (and a few short stories) about adultery. Our reading will teach us about novelistic traditions of the period in question and about the relationship of Russian literature to the European models to which it responded. The course begins with a novel not about families falling apart, but about families coming together - Jane Austen's Pride and Prejudice. We then will turn to what is arguably the most well-known adultery novel ever written, Flaubert's Madame Bovary. Following this, we investigate a series of Russian revisions of the same thematic territory that range from "great literature" to pulp fiction, including Tolstoy's Anna Karenina and other works by Tolstoy, Chekhov, Leskov and Nagrodskaia. As something of an epilogue to the course, we will read Milan Kundera's backward glance at this same tradition in nineteenth-century writing, The Unbearable Lightness of Being. In our coursework we will apply various critical approaches in order to place adultery into its social and cultural context, including: sociological descriptions of modernity, Marxist examinations of family as a social and economic institution, Freudian/Psychoanalytic interpretations of family life and transgressive sexuality, Feminist work on the construction of gender.
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3.00 Credits
Humanities & Social Science Sector. Class of 2010 & beyond. Platt. Representations of war are created for as many reasons as wars are fought: to legitimate armed conflict, to critique brutality, to vilify an enemy, to mobilize popular support, to generate national pride, etc. In this course we will examine a series of representations of war drawn from the literature, film, state propaganda, memoirs, visual art, etc. of Russia, Europe and the United States. We will pursue an investigation of these images of conflict and bloodshed in the larger context of the history of military technology, social life, and communications media over the last two centuries. Students will be expected to write two papers, take part in a group presentation on an assigned topic, and take a final exa. The goal of the course will be to gain knowledge of literary history in social and historical context, and to acquire critical skills for analysis of rhetoric and visual representations.
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3.00 Credits
Staff. The ancient Greek and Roman novels include some of the most enjoyable and interliterary works from antiquity. Ignored by ancient critics, they were until faidismissed by classical scholars as mere popular entertainment. But these narraenormous influence on the later development of the novel, and in their sophistiplayfulness, they often seem peculiarly modern -- or even postmodern. They areimportant source for any understanding of ancient cultur and society. In thiswill discuss the social, religious and philosophical contexts for the ancient nwill think about the relationship of the novel to other ancient genres, such asepic. Texts to be read will include Lucian's parodic science fiction story abothe moon; Longus' touching pastoral romance about young love and sexual awakeniHeliodorus' gripping and exotic thriller about pirates and long-lost children; Golden Ass, which contains the story of Cupid and Psyche; and Petronius' Satyrihilarious evocation of an orgiastic Roman banquet.
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Kim. The Jury Award for Best Feature Film at the 2005 Philadelphia Film Festival was awarded to a South Korean film The Road directed by Pae Chang-ho. Hong Sang-soo's the Tale of Cinema was invited to compete in the 2005 Cannes Film Festival where Park Chan-wook's Old Boy won the Grand Prix a year ago. To date, the remake rights for over ten Korean films have been sold to US film companies. As this short list shows, Korean films have not only been gaining wide popularity amongst the general audience in Korea and its neighboring countries in Asia, but have also received critical acclaim from critics and scholars, in particular through international film festival circuits. Korean cinema, in fact, is experiencing a "renaissance" in the 21st century. We will take the recent surge of success behind Korean cinema as a way to explore our object of study: Korea and the cinema. We will situate Korean cinema in broader (and at times narrow) cultural, social, and aesthetic contexts to investigate transnational media production and circulation, globalization, consumer culture, commercialization, Hollywoodization, and construction of national, ethnic, gender identities, etc. The course will focus on the works of prominent filmmakers of Korea's past and present, such as Shin Sang-ok, Im Kwon-taek, Kim Ki-duk, and Lee Chang-dong, as well as paying special attention to genres of Korean film such as the melodrama, slapstick comdey, and erotica. No prerequisites. All films with English subtitles.
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Chance. A man from Tennessee writes *Memoirs of a Geisha*. A Japanese novelist tells the story of the "comfort women" who served the Japanese army. A tenth-century courtier poses as a woman writing the first woman's diary. Poets from Byron to Robert Lowell, through Ezra Pound to Li Po, have written as though they were women, decrying their painful situations. Is something wrong with this picture, or is "woman" such a fascinating position from which to speak that writers can hardly help trying it on for size In this course we will look at male literary impersonators of women as well as women writers. Our questions will include who speaks in literature for prostitutes--whose bodies are the property of men--and what happens when women inhabit the bodies of other women via spirit possession. Readings will draw on the Japanese traditions, which is especially rich in such cases, and will also include Western and Chinese literature, anthropological work on possession, legal treatments of prostitution, and film. Participants will keep a reading journal and write a paper of their own choosing.
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3.00 Credits
Arts & Letters Sector. All Classes. Staff. This course will approach selected classic works of Western culture up to the Middle Ages with two purposes in mind. First, we will try to see how our notions of authority, agency, will and history have been shaped by these texts, in particular by epic and tragedy; further, we will consider how such concepts in turn have been complicated by the author's recognition of the power of desire and shifting definitions of gender and identity. Second, we will look at how we identify a "classic" in our culture, and will try to understand what sort of work it does for us. Texts to be read will include: Homer's ILIAD and ODYSSEY; Euripides' BACCHAE; Sophocles' OEDIPUS THE KING; Aeschylus' PROMETHEUS BOUND; Aristophanes' FROGS; Virgil's AENEID; THE CONFESSIONS OF ST AUGUSTINE, and Dante's DIVINE COMEDY. All works will be read in translation.
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3.00 Credits
May be counted as a General Requirement Course in Arts & Letters. Class of 2009 & prior only. Staff. This class provides a survey of works drawn from the Western literary canon from the Renaissance to the 20th century. Work may be drawn in part from the following authors: Montaigne, Shakespeare, Webster, Moliere, Milton, Behn, Laclos, Rousseau, Sterne, the Romantic poets, Austen, Dickens, Bronte, Wilde, Woolf and Joyce.
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3.00 Credits
May be counted as a General Requirement Course in Arts & Letters. Class of 2009 & prior only. Staff. The Great Story Collections moves backwards in time from Chaucer's CANTERBURY TALES and Boccaccio's DECAMERON through the 1001 NIGHTS and Persian mystical story collections to the Indian PANCHATANTRA, exploring the development of the literary story collection and its connections with oral narrative traditions of the present and the past.
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3.00 Credits
Humanities & Social Science Sector. Class of 2010 & beyond. Vinitsky. This course will explore the theme of madness in Russian literature and arts from the medieval period through the October Revolution of 1917. The discussion will include formative masterpieces by Russian writers (Pushkin, Dostoevsky, Tolstoy, Chekhov, and Bulgakov), painters (Repin, Vrubel, Filonov), composers (Mussorgsky, Tchaikovsky, and Stravinsky), and film-directors (Protazanov, Eisenstein), as well as non-fictional documents such as Russian medical, judicial, political, and philosophical treatises and essays on madness. The problem of madness has preoccupied Russian minds since the very beginning of Russia's troubled history. This subject has been dealt with repeatedly in medieval vitae and modern stories, plays, paintings, films, and operas, as well as medical, political and philosophical essays. This issue has been treated by a number of brilliant Russian authors and artists not only as a medical or psychological matter, but also as a metaphysical one, touching the deepest levels of human consciousness, encompassing problems of suffering, imagination, history, sex, social and world order, evil, retribution, death, and the after-life. Therefore it is illuminating for a deeper understanding of Russian culture to examine how major Russian authors have depicted madness and madmen in their works, how these works reflected the authors' psychological, aesthetic and ideological views, as well as historical and cultural processes in Russia.
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