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Course Criteria
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3.00 Credits
We all know a novel when we see one, but it’s surprisingly hard to say just what one is. This seminar will introduce the theory of the novel by reading a number of novels along with the works of central thinkers about the novel. We will look at the connection of the rise of the novel form with historical and cultural changes and investigate key stylistic elements. Novelists will likely include Miguel de Cervantes, Johann Wolfgang von Goethe, Jane Austen, Gustave Flaubert, and Virginia Woolf.
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3.00 Credits
All texts have contexts. In this course we will explore the relationship of literature to history from a variety of perspectives. Part of the course will be devoted to literary texts which require contextual analysis if one is to arrive at anything like a sufficient interpretation—including Jane Austen’s “Pride and Prejudice”, Herman Melville’s “Billy Budd”, and the poetry of William Blake and T. S. Eliot. We will also look at literary depictions of history—perhaps Shakespeare’s “Richard II”, Daniel Defoe’s “Journal of a Plague Year”, George Bernard Shaw’s “Heartbreak House”, and Bertolt Brecht’s “Galileo”. Along the way we will ask what it means to recover “historical meaning,” consider the representation of history in literature and literature’s impact on history, and think about concepts of “literary history.”The last reading of the semester will be Tom Stoppard’s brilliant historical play “Arcadia”, a lively but forceful commentary on human attempts to reconstruct the past. Students will be free to write their papers either on historicist theory or on plays, poems, or fiction from any period, medieval to contemporary
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3.00 Credits
Prereq: ILS A survey of major lyric poets and prose writers from 1601-1660. Works by Bacon, Burton, Donne, Herbert, Hobbes, Jonson, Lanyer, Marvell, and others. Pre 1800 course.
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3.00 Credits
In this course, we will read a wide range of plays and novels written by women from as far back as Aphra Behn at the end of the seventeenth century to living writers. Works and writers likely to be featured in discussions and in suggested paper topics include: Behn’s Oroonoko, Jane Austen’s "Persuasion" (very different angle from Pride and Prejudice), Charlotte Brontë’s Jane Eyre and Jean Rhys’s "Wide Sargasso Sea" (a “prequel” to Brontë’s masterpiece), Gertrude Stein’s "Three Lives", Virginia Woolf’s "Orlando", Arundhati Roy’s "The God of Small Things", Timberlake Wertenbaker’s "Our Country’s Good" (on early Australian convicts), Patricia Duncker’s "The Doctor", and Jane Smiley’s "A Thousand Acres" (King Lear in Iowa). Women have produced a lot of wonderful and drastically different kinds of narrative work; there is no single ideological agenda in this course. Readings will be all over the map—some are ideologically and technically conservative, some radical; some are angry and strident, some funny and light; some are sober, some wild. Students should emerge from the course with a far richer sense of the issues and questions and crises with which women have concerned themselves over the last two centuries.
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3.00 Credits
Introduction to Cinema, 1941-present provides an overview of American and international cinema from the post World War II era to the present. Through lectures and discussion, weekly screenings, and intensive visual analysis of individual films, we will explore the aesthetic, cultural, political, and economic forces that have shaped the art and industry of film over the past 60 years. Regular quizzes, writing assignments, class participation required. Lecture Tuesday 1:30-3:50pm, Screening Monday 7:30-10pm.
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2.00 Credits
Stand-up comics uniquely reflect the collision of cultures that produced them. Students study and analyze influential comics, then create, workshop, perform, and ultimately perform their own five-minute stand-up routine.
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3.00 Credits
This course introduces students to the basic considerations of shooting 16mm film. Through lectures, the course approaches the basics of light meter readings, basic camera operations and shot composition. Each week students, working in groups of three, shoot film exercises providing a general overview of film production. For the final project, each student shoots and edits (physical edits) a short (3-5 minutes) film on 16mm black and white reversal film stock.
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3.00 Credits
This course provides an introduction to the critical analysis of popular culture through the major theoretical paradigms of media and cultural theory. The teaching method uses a combination of media studies and sociology to explore popular culture and is designed to encourage students to become more active critics. The course presents a range of media from contemporary popular music to film and television. Smaller subjects include the teen "pop" love song, the politics of representation, and the forming of subcultures.
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3.00 Credits
This course will explore the history and current state of video and performance art, two of the most important movements in contemporary art. How have they influenced each other and how have they affected mainstream media and cultural notions of art? Students will view significant works and their presentation in galleries, museums, and public spaces, and will create individual and collaborative performance pieces of their own. Lecture Tuesday 4:30-7pm, Screening 7:30-10pm.
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3.00 Credits
Law and economics shape the movie business. This course will survey the legal doctrine and financial concepts of film production and distribution, providing both an overview of one particular industry (i.e., Hollywood) as well as an introduction to fundamental principles applicable to any industry. $40 Lab fee
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