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Course Criteria
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4.00 Credits
Explores changing cultural meanings of country and city from early 20th century urban culture through revolution and to the present era of mass migration and urban destruction and renewal.
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4.00 Credits
Film Studies involves the critical analysis of the pictorial and narrative qualities of motion pictures, film theory, and film history, understanding film as both industry and creative art. This course unconventionally focuses on the tangible object at the origin of the onscreen image, and what we can learn about the social, cultural and historical value of motion pictures and national film cinemas through an understanding of “Film” as an organic element with a finite life cycle. Focus is on the photographic element, but includes a consideration of alternative “capture media.”
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4.00 Credits
This course examines the singular contribution of French thinkers to the development of the social sciences (or the “sciences of man,” as they are known in France) in the twentieth century. We will examine the theory of gift exchange in Marcel Mauss, the rise of structural anthropology in Claude Lévi-Strauss, the sociology of Pierre Bourdieu, and the theories of religion and culture of René Girard and Marcel Gauchet. We will also study post-structuralist thinkers such as Jacques Derrida and Jean-Luc Nancy when their work touches on issues of society and religion. Class taught in English.
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4.00 Credits
This course is a study of Black Paris, as imagined by three generations of Black cultural producers from the United States, the Caribbean and Africa. Paris is as a space of freedom and artistic glory that African American writers, solders and artists were denied back home. For colonized Africans, and Caribbeans, Paris was the birthace of the Negritude, the ultimate cultural renaissance influenced by the Harlem Renaissance. From Josephine Baker, Richard Wright, James Baldwin to Shay Youngblood's Black girl in Paris, from Aime Cesaire to Maryse Conde, from Bernard Dadie's An African in Paris and to contemporary Franco-African writing, we will investigate how the representation of Paris functions in the construction of a black identities. Readings include: Black Girl in Paris (Shay Youngblood), Desirada (Maryse Conde), The Josephine Baker Story. Paris Noir: African Americans in the City of Light (Tyler Stovall), An Aftrican in Paris.(Bernard Dadie).
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4.00 Credits
This course explores the cultural politics of Chinese visual culture through an examination of its mediums. We’ll consider how in pre-20th century China paintings structured relations of gender and of inner and outer worlds; how the inscription of calligraphy on land mediated image and writing, nature and culture; and how the mass production of artworks intersected with conceptions of nature and social organization. We’ll then consider the new media culture of the 1920s-1930s, iconoclasm and idolatry during the Cultural Revolution, and the emergence of experimental and documentary art in recent decades. Our concern will be how mediums, as assemblages of images and surfaces with specific material qualities and practices function within real social spaces and create virtual spaces of representation and imagination.
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4.00 Credits
The course will deal with some 20th century American and European (especially East European) poets in a manner that foregrounds the transfer of particular styles beyond the languages in which the poems were originally written. We will pair some names together and through that discuss how post-1945 poetry translations inspired or influenced the ways of writing and the ways of thinking about poetry, both in USA and in Europe. Through close reading of the poems written in English and translated into English we will also talk about how some of the local cultural contexts become part of the contemporary international tradition. The poems discussed will include work by C. P. Cavafy, Derek Mahon, Zbigniew Herbert, Aleksander Wat, W. H. Auden, Miron Bialoszewski, Wislawa Szymborska, Miroslav Holub, Charles Reznikoff, John Cage, Bertolt Brecht, D. J. Enright, Frank O’Hara, Kenneth Koch, John Ashbery.
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4.00 Credits
This century's major periods of social and political upheaval in Spanish America are well documented by a variety of texts that claim to tell the truth about historical events. Many of these texts acquire the status of "literature" and not mere "reporting." This course will ask the following questions: How have Spanish American writers constructed factual, truth-telling texts? What impact has photography had on the writing of nonfiction? What expectations do we as readers bring to documentary literature? How are the lines drawn -- and blurred -- between factual and fictional discourses? Readings will be chosen to represent revolutionary Mexico, labor struggles of the 1920s, revolutionary Cuba, the repression in the Southern Cone, the Central American insurgencies, and the survival of indigenous cultures. Short essays; research term paper. Class taught in English.
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4.00 Credits
With the recent revival of Wagner’s Ring Cycle at the Metropolitan Opera in New York City, the continued popularity of J.R.R. Tolkein’s Lord of the Rings novels and recent film adaptations of Beowulf and Tristan and Isolde , it’s easy to see that people still regularly like to “get medieval”. In this course we’re going to look at the German origins of these modern texts by reading the original source material: The Nibelungenlied , Parzival , Tristan as well as many other important medieval works. We will also look at modern variations on those texts, from Wagner and Tolkein to modern role-playing and video games that use the medieval period as their settings.
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4.00 Credits
The course approaches The Divine Comedy both as a poetic masterpiece and as an encyclopedia of medieval culture. Through a close textual analysis of selected cantos from Inferno, Purgatorio, and Paradiso, students learn how to approach poetry as a vehicle for thought, an instrument of self-discovery, and a way to understand and affect the world. They also gain a perspective on the Biblical, Christian, and Classical traditions as they intersect with the multiple levels of Dante's concern ranging from literature to history, from politics to government, from philosophy to theology. Class format includes lectures and discussion. Intensive class participation is encouraged. No prerequisites.
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4.00 Credits
The course approaches The Divine Comedy both as a poetic masterpiece and as an encyclopedia of medieval culture. Through a close textual analysis of selected cantos from Inferno, Purgatorio, and Paradiso, students learn how to approach poetry as a vehicle for thought, an instrument of self-discovery, and a way to understand and affect the world. They also gain a perspective on the Biblical, Christian, and Classical traditions as they intersect with the multiple levels of Dante's concern ranging from literature to history, from politics to government, from philosophy to theology. Class format includes lectures and discussion. Intensive class participation is encouraged. No prerequisites.
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