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Course Criteria
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5.00 Credits
With the restoration of the monarchy in 1660, the Puritan ban on dramatic representation was lifted, and British theatre returned with a vengeance: women appeared on stage for the first time; dramatic dialogue reached new heights of shocking innuendo; comedy crowned the libertine rake as its new hero. But this sexual liberation was paired with an equally bold movement toward generic and social experimentation: dramatists pushed the limits of traditional forms; they examined the relationship between verbal wit and social power; they took up issues surrounding gender, marriage, and the new “middle class.” Authors incl: Wycherley, Etherege, Behn, Congreve, Steele, Fielding, Gay, Goldsmith, & Sheridan. Critical texts will explore (in addition to the above-cited topics) questions of performance and spectacle, the rise of celebrity culture, and the alleged “shift” at mid-century from drama to novel.
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5.00 Credits
This course will examine the interconnections between the literary, anthropological, and political economic discourses during the nineteenth century and their role in the concept of “culture.” The aim of this course is to situate canonical Victorian novelists like George Eliot, Thomas Hardy, Charles Dickens, and Anthony Trollope in relation to the gradual emergence of various “sciences” during the nineteenth century. How did Victorian novelists integrate these new forms of knowledge into their narratives as they addressed such questions as human motives, social interdependence, shifting forms of property and finance, race, kinship, marriage, and sexuality? While the primary focus will be Victorian novels, the course will supplement readings of novels with selections from canonical figures in political economy, anthropology, and sociology such as Adam Smith, Thomas Malthus, Charles Darwin, Herbert Spencer, and E.B. Tylor.
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5.00 Credits
The task of any discussion of frames and framing in the visual arts whether in painting, sculpture, film, performance, architecture, graphic novels and cartoon strips, or digital media - is first and foremost to counter the tendency of framing devices to invisibility with respect to the artwork they supposedly contain. We see the work, but we do not see the frame. It is against this tendency to ignore the frame that this seminar is directed. At first glance the frame may seem to be as unproblematic. Starting from a consideration of the foundational texts of frame theory in the philosophy of Immanuel Kant, we will examine the discursive limits of the material and non-material border in the writings of, among others, Mayer Schapiro, Martin Heidegger, Jean-Claude Lebensztejn, Louis Marin, Craig Owens, and Jacques Derrida.
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5.00 Credits
The goal of Text and Medium is an understanding of the relationship between the "text" that we generally assume is some kind of "content" and the "medium" that communicates it. The perspective of the seminar is historical and critical. The key assumption is that media—the human voice, film, electronic files--shape their "content"--words, pictures, sounds—and their authors and their audiences. There have always been media because life cannot be lived without them. This year's topic is print—the dominant medium of communication for five centuries, its power and influence only now waning in the face of a digital revolution. This remarkable media shift puts us among the first explorers to arrive on the scene of epoch-making changes. We should take advantage of our own unique intellectual opportunity to look back on the history of print from the powerful new perspective of digital media. We shall enlist the traditional tools that critics have developed to analyze and understand literary works.
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2.00 Credits
No course description available.
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0.00 Credits
Credit to be arranged.
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2.00 Credits
No course description available.
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0.00 Credits
No course description available.
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0.00 Credits
No course description available.
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0.00 Credits
No course description available.
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