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Course Criteria
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3.00 Credits
The first half of the 20th century witnessed the emergence of artistic movements characterized by revolt against tradition, emphasis on radical experimentation, and redefinition of the art work. This course familiarizes students with the avant garde's main currents: Italian Futurism, English Vorticism, Russian Constructivism, "stateless" Dadaism, and French Surrealism. We ask ourselves how to define the avant garde, how it is related to modernity, and whether its aesthetic is necessarily political. Texts include Futurist Manifestos, Cendrars' Trans-Siberian Prose, Stein's Tender Buttons, Breton's Nadja. We also examine art works such as Duchamp's "Large Glass" and films such as Buñuel's Un Chien Andalou.
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3.00 Credits
In this course we trace a tradition of writing on laughter. While we read texts that might explain laughter by way of comedy or humor, we are interested in laughter itself. What does the body in laughter look like? How does laughter sound? Where, when, and how does laughter happen? What is laughter's relation to language, to song, to thought? What kind of communities does laughter form? We read texts by Joubert, Erasmus, Hobbes, Descartes, Chesterfield, Kant, Bergson, Freud, Bataille, Sarraute, and Ellison. We listen to music such as Louis Armstrong's "Laughin' Louie" and we watch films, including Laughing Gas, The Man Who Laughs, and A Question of Silence.
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3.00 Credits
In this interdisciplinary course, we explore the long history of vision and visual representation from antiquity to the present so as to shed light on how people at different moments have understood vision, have seen their own seeing, and have encoded this seeing in different artifacts and media. More specifically, we explore the role of the visual in the historical production of subjectivity and collectivity; the political, religious, and ideological uses and abuses of vision; the relation of images to words and stories; the implication of sight in competing systems of truth, enlightenment, and scientific progress; and the function of seeing within different media of art, entertainment, and virtualization-from ancient cave painting, medieval icons and early modern church designs to modernist paintings and motion pictures.
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3.00 Credits
What binds society together? One of the most influential answers to this question was offered by French anthropologist Claude Lévi-Strauss. He argued that the fabric of a society is formed by a network of exchanges among kinship groups, which circulate three kinds of objects: economic goods, linguistic signs, and women. In this course, we inquire into the place of women in this argument. We trace rudiments of the traditional marriage system (a father figure still "gives away" the bride in the marriage ceremony), its range of displacements in a global economy (transnational wives, nannies, and domestic servants), the role of new media in the formation of new systems of trafficking (Internet brides), and the place of the debate on gay marriage within the larger conversation. We read texts by Friedrich Engels, Sigmund Freud, Marcel Mauss, Claude Lévi-Strauss, Gayle Rubin, Luce Irigaray, Judith Butler, Barbara Ehrenreich, and Arlie Russell Hochschild; and we watch a number of films that dramatize the traffic in women in the context of contemporary Europe: Coline Serreau's Chaos, Lukas Moodisson's Lilja 4-ever, Cristian Mungiu's Occident, Nilita Vachani's When Mother Comes Home for Christmas, Fatih Akin's Head-on, Jean-Pierre and Luc Dardenne's The Silence of Lorna.
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1.00 - 3.00 Credits
No course description available.
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1.00 - 3.00 Credits
No course description available.
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3.00 Credits
This course familiarizes advanced undergraduate and graduate students with some of the basic issues in humanistic study. It follows the conversations between Marxist, psychoanalytical, anthropological, historicist, and linguistic approaches. Our work highlights the boundaries between these fields and identifies incursions across them. Some of the questions that animate our discussions are: What does truth mean in the humanities? What is an object of study and how does one go about identifying it? Is it useful to view the past as a strange country? What is interpretation and what are its procedures? Preference given to Text and Tradition and IPH students.
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3.00 Credits
This course opens with a survey of the classical tradition in pastoral/bucolic. We consider questions of genre, intertextuality and ideology, and we ask how "the lives and loves of herders" became favored ground for literary meditation on issues of surface and depth, reality and illusion, artifice and sincerity. This portion involves intensive reading in translation of Theocritus, Vergil, and Longus. In the second half of the semester, we consider the survival, adaptation, and deformation of ancient pastoral themes; and forms and modes of thought in British and American writing from the 19th and 20th centuries. We read works of Mark Twain, Kenneth Grahame, Thomas Hardy, and Tom Stoppard.
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3.00 Credits
This course examines the use of the Roman textual and material inheritance in poets, novelists, and critics of the late 19th and 20th centuries working in Britain and asks how modernity addresses the claims of the classical tradition. We place Thomas Hardy's Poems of 1912-13 next to Vergil's Aeneid, then survey Hardy's relationship to the visible remainders of Rome and the people it conquered-roads, barrows, forts-in the landscape of Dorset. After examining the representation of the Celtic hill-fort in fiction, and the legacy of Vergilian representations of the countryside in poetry, we consider representations of Rome in light of modern imperialism (Joseph Conrad's Heart of Darkness and Ezra Pound's Homage to Sextus Propertius) and examine the place of Vergil in T. S. Eliot's critical and poetic practice.
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3.00 Credits
Social and cultural theorists have developed many perspectives on economic life, ranging from actor-network theory to new institutionalism. Yet recent ethnographic work, for instance in consumption studies and in the anthropology of financial markets, has raised all sorts of problems for theorists. Our course asks whether we really can generalize about economic life and, if so, how far such generalizations might extend into fields such as intimate relations or artistic production. Readings include work by Bourdieu, Callon, Geertz, Hochschild, Mauss, and Zelizer.
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