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  • GRMN 254: The Self-Portrait

    3.00 Credits
    University of Pennsylvania

    Arts & Letters Sector. All Classes. MacLeod & Coates (The class will be taught by two professors). All readings in English. Who am I What makes the creative act of representing the self different from representing another Can the essential self be depicted authentically Or is what is essential precisely that which can never be represented Does the act of self-representation change the subject Is a picture worth a thousand words, or can words provide more scope for self-representation These are the questions at the heart of humanistic studies and questions that every university student wrestles with in some form. "The Self-Portrait" will consider these questions from literary and visual perspectives, and will track these issues from the Renaissance to the twentieth century. The class will be taught by two professors, and will include both lectures and discussion sections. Students will be exposed to a wide range of self-portraits in literature, the fine arts, and film. Within this framework, we will emphasize the literary and visual examples of Cellini, Goethe, and the Surrealists. In addition to analytical assignments and a final exam, students will prepare their own self-portraits during the semester in the medium of their choice, and our course will culminate in an exhibition of their work.
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  • GRMN 255: Mann-Hesse-Kafka

    3.00 Credits
    University of Pennsylvania

    Arts & Letters Sector. All Classes. Jarosinski. All readings and discussions in English. Based on considerations of the cultural tradition and the intellectual currents of the twentieth century, the course presents a survey of the achievements of Mann, Hesse, and Kafka. The extensive study of representative works focuses on the problems of the artist in the modern age.
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  • GRMN 256: The Devil's Pact in Literature,Music and Film

    3.00 Credits
    University of Pennsylvania

    Arts & Letters Sector. All Classes. Richter. All readings and discussions in English General Requirement III: May be counted towards the General Requirement in Arts & Letters. For centuries the pact with the devil has signified humankind's desire to surpass the limits of human knowledge and power. From the reformation chap book to the rock lyrics of Randy Newman's Faust, from Marlowe and Goethe to key Hollywood films, the legend of the devil's pact continues to be useful for exploring our fascination with forbidden powers.
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  • GRMN 257: Nazi Cinema

    3.00 Credits
    University of Pennsylvania

    Distribution Course in Arts & Letters. Class of 2009 & prior only. Richter, MacLeod. Cinema played a crucial role in the cultural life of Nazi Germany. As cinema enthusiasts, Goebbels and Hitler were among the first to realize the important ideological potential of film as a mass medium and saw to it that Germany remained a cinema powerhouse producing more than 1000 films during the Nazi era. This course explores the world of Nazi cinema ranging from infamous propaganda pieces such as The Triumph of the Will and The Eternal Jew to entertainments by important directors such as Pabst and Douglas Sirk. More than sixty years later, Nazi Cinema challenges us to grapple with issues of more subtle ideological insinuation than we might think. The course also includes film responses to developments in Germany by exiled German directors (Lubitsch, Wilder). All lectures and readings in English. Weekly screenings with subtitles.
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  • GRMN 258: German Cinema

    3.00 Credits
    University of Pennsylvania

    Arts & Letters Sector. All Classes. MacLeod. General Requirement III: May be counted towards the General Requirement in Arts & Letters. An introduction to the momentous history of German film, from its beginnings before World War One to developments following the fall of the Berlin Wall in 1989 and German reunification in 1990. With an eye to film's place in its historical and political context, the course will explore the "Golden Age" of German cinema in the Weimar Republic, when Berlin vied with Hollywood; the complex relationship between Nazi ideology and entertainment during the Third Reich; the fate of German film-makers in exile during the Hitler years; post-war film production in both West and East Germany; the call for an alternative to "Papa's Kino" and the rise of New German Cinema in the 1960s.
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  • GRMN 259: Topics in Film History

    3.00 Credits
    University of Pennsylvania

    Katz, Corrigan, Decherney, Beckman. This topic course explores aspects of Film History intensively. Specific course topics vary from year to year. See the Cinema Studies website at http://cinemastudies.sas.upenn.edu for a description of the current offerings.
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  • GRMN 261: Jewish Films and Literature

    3.00 Credits
    University of Pennsylvania

    Arts & Letters Sector. All Classes. Hellerstein. From the 1922 silent film "Hungry Hearts" through the first "talkie," "The Jazz Singer," produced in 1927, and beyond "Schindler's List," Jewish characters have confronted the problems of their Jewishness on the silver screen for a general American audience. Alongside this Hollywood tradition of Jewish film, Yiddish film blossomed from independent producers between 1911 and 1939, and interpreted literary masterpieces, from Shakespeare's "King Lear" to Sholom Aleichem's "Teyve the Dairyman," primarily for an immigrant, urban Jewish audience. In this course, we will study a number of films and their literary sources (in fiction and drama), focusing on English language and Yiddish films within the framework of three dilemmas of interpretation: a) the different ways we "read" literature and film, b) the various ways that the media of fiction, drama, and film "translate" Jewish culture, and c) how these translations of Jewish culture affect and are affected by their implied audience.
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  • GRMN 262: Women in Jewish Literature

    3.00 Credits
    University of Pennsylvania

    Arts & Letters Sector. All Classes. Hellerstein. This course introduces students of literature, women's studies, and Jewish studies to the long tradition of women as readers, writers, and subjects in Jewish literature. All texts will be in translation from Yiddish and Hebrew, or in English. Through a variety of genres--devotional literature, memoir, fiction, and poetry -- we will study women's roles and selves, the relation of women and men, and the interaction between Jewish texts and women's lives. The legacy of women in Yiddish devotional literature will serve as background for our reading of modern Jewish fiction & poetry from the past century. The course is devided into five segments. The first presents a case study of the Matriarchs Rachel and Leah, as they are portrayed in the Hebrew Bible, in rabbinic commentary, in pre-modern prayers, and in modern poems. We then examine a modern novel that recasts the story of Dinah, Leah's daughter. Next we turn to the seventeenth century Glikl of Hamel, the first Jewish woman memoirist. The third segment focuses on devotional literature for and by women. In the fourth segment, we read modern women poets in Yiddish, Hebrew, and English. The course concludes with a fifth segment on fiction and a memoir written by women in Yiddish, Hebrew, and English. "Jewish woman, who knows your life In darkness you have come, in darkness do you go." J. L. Gordon (1890)
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  • GRMN 263: Jewish American Literature

    3.00 Credits
    University of Pennsylvania

    Arts & Letters Sector. All Classes. Hellerstein. What makes Jewish American literature Jewish What makes it American This course will address these questions about ethnic literature through fiction, poetry, drama, and other writings by Jews in America, from their arrival in 1654 to the present. We will discuss how Jewish identity and ethnicity shape literature and will consider how form and language develop as Jewish writers "immigrate" from Yiddish, Hebrew, and other languages to American English. Our readings, from Jewish American Literature: A Norton Anthology, will include a variety of stellar authors, both famous and less-known, including Isaac Mayer Wise, Emma Lazarus, Isaac Bashevis Singer, Celia Dropkin, Abraham Cahan, Anzia Yezierska, Saul Bellow, Philip Roth, Cynthia Ozick, and Allegra Goodman. Students will come away from this course having explored the ways that Jewish culture intertwines with American culture in literature.
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  • GRMN 264: Translating Cultures:Literature on and in Translation

    3.00 Credits
    University of Pennsylvania

    Hellerstein. Benjamin Franklin Seminar. "Languages are not strangers to one another," writes the great critic and translator Walter Benjamin. Yet two people who speak different languages have a difficult time talking to one another, unless they both know a third, common language or can find someone who knows both their languages to translate what they want to say. Without translation, most of us would not be able to read the Bible or Homer, the foundations of Western culture. Americans wouldn't know much about the cultures of Europe, China, Africa, South America, and the Middle East. And people who live in or come from these places would not know much about American culture. Without translation, Americans would not know much about the diversity of cultures within America. The very fabric of our world depend upon translation between people, between cultures, between texts. With a diverse group of readings--autobiography, fiction, poetry, anthrology, and literary theory--this course will address some fundamental questions about translating language and culture. What does it mean to translate How do we read a text in translation What does it mean to live between two languages Who is a translator What are different kinds of literary and cultural translation what are their principles and theories Their assumptions and practices Their effects on and implications for the individual and the society
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