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Course Criteria
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1.00 Credits
This course focuses on two major issues: policing traditional theater and "model revolutionary drama" as "a new proletarian culture." The course will begin with a study of Mao Zedong's ideas on literature and art in the light of contemporary cultural theory. It will then look at examples of the "new opera" and "new history play," examining them in relation to a complex of censorship issues concerning the exercise of political power in administering human life and the body, literature and drama as political representation, and the hermeneutics of censorship.
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1.00 Credits
An introduction to the dramatic literature of 18th-century England in the context of contemporary theatrical conventions and innovations. Plays read alongside treatises on acting techniques, stage design, and contemporary theatrical pamphlet-debates. The sociopolitical contexts of the London patent theaters and the coexistent "illegitimate" entertainments are explored, as well as the influential effects of Continental theatrical theory and innovation.
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1.00 Credits
Surveys traditional Japanese theatre from the lofty medieval No drama to the more popular genres of Joruri (puppet theatre) and Kabuki in the Edo period (1600-1868). Through playscripts, related secondary criticism, videotapes, and films, we will examine the function of spectacle and theatre, the problem of representation or mimesis, the notion of audience, and the relation of text to performance. Concludes with more recent examples of Japanese drama and performance.
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1.00 Credits
How drama developed in northwestern Europe between the tenth and early sixteenth century-from liturgical tropes and miracle plays to mystery cycles and morality plays, from popular feasts and minstrel performances to fool's plays, farces, and other secular comedies. Emphasis on the cultural context and social functions of dramatic games and performances in premodern Europe.
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1.00 Credits
The course aims to familiarize students with Balkan Cinema (Greece, Former Yugoslavia, FYRO Macedonia, Turkey, and Bosnia-Herzegovina),as well as to examine the historical, literary, cultural, and political subtext(s) of the assigned films. The course methodology is comparative and interdisciplinary as it includes literary texts (fictional and poetry) in addition to theoretical commentaries (film theory, critical theory, reviews, etc).
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1.00 Credits
An introduction to early modern drama in the French, Italian, Spanish, and English traditions. The goal is to explore a wide range of imaginative impulses in the Renaissance and Baroque periods. Readings will include plays by Corneille, Racine, Calderón, Lope de Vega, Shakespeare, Machiavelli, and Molière.
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1.00 Credits
Explores the intersection of philosophy and tragedy in western literature. Readings include Aeschylus, Sophocles, Seneca, Plato, Aristotle, Racine, Calderón, Descartes, Pascal, Kant, Schelling, Hölderlin, Hegel, Nietzsche, and Heidegger.
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1.00 Credits
Explores the relationship between Shakespeare and philosophy. Readings include philosophers who have written about Shakespeare (Hegel, Nietzsche, Cavell, and others), as well as philosophers who may illuminate interpretive problems in Shakespeare (Plato, Seneca, Spinoza, and others).
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1.00 Credits
Contrasting the demands of the text versus the screen, we will read eight to ten works of modern Japanese literature and view the film versions of each in order to discuss the problem of translation from one medium to another. Possible works for inclusion are Rashomon, Harp of Burma, Woman in the Dunes, and The Makioka Sisters. Finally, we will consider manga (the graphic novel) and its adaptation into anime.
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1.00 Credits
Canon formation and disciplinary divisions have deformed the way in which we read Shakespeare. Frequently presented as a post-romantic singular "author," cut off from the sources, texts and genres on which he drew and the collaborators with whom he worked, Shakespeare looks, reads and performs differently in relation to the rich contexts in which the plays were produced and through which they are produced today. We will read plays and other materials with attention to formal and historical questions including genre, the Shakespearean text, gender, sexuality, status, degree, and nation.
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