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Course Criteria
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3.00 Credits
After a consideration of the three main threads of a Freudian psychoanalytic theory of art and literature, the course focuses on the analysis of the psychic mechanisms of writing, especially as regards love writing in the letters of Kafka to his fiance.
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3.00 Credits
Review of psychoanalytic reflections on the theme of the mirror, with particular attention to notions of death and of the Double in the dynamics of the portrait and the self-portrait.
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1.00 Credits
This course will introduce students to the dramatic developments in art during the Tudor and Stuart period, changes closely linked to the momentous shifts in the royal, religious and political landscape of Britain during this time. Henry VIII's Protestant Reformation marked a new start for English art: for the first time portraiture became the most important genre of art and the Tudor monarchs came to recognise the importance of their own images as a means of articulating their power. We will investigate how Holbein broke new ground in creating a wholly distinctive and instantly recognisable image of Henry VIII, and how Henry's youngest daughter, Queen Elizabeth I, cultivated her own personal mythology as the "Virgin Queen" in art which reached a new complexity of symbolism. The course will also explore the way in which the Stuart kings, James I and Charles I, introduced a more international style to Britain. Charles I built up a great art collection (including works by Raphael, Mantegna, Titian) and employed the great Flemish artists Rubens and Van Dyck to create images celebrating his absolute authority. His emphasis on the `Divine Right of Kings' would lead to Civil War and his own execution, but he left a great legacy to art in Britain. The course will give students a detailed introduction to the work of some of the greatest artists of the period within its historical context, and a first-hand experience of the works will be a major feature of the programme. We will be making full use of the magnificent collections of the National Gallery, the National Portrait Gallery, Tate Britain and the Victoria & Albert Museum not only to look at great paintings of the period but also to set these in the context of the wider visual culture of the time, including costume, portrait miniatures, tapestries and decorative arts.
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1.00 Credits
This course will focus on aspects of "British-ness" which are apparent in dress, by exploring the relationship between clothing and social history in a country where class has been a clear marker of rank. The traditional and hierarchical nature of British society allowed the monarch and the aristocracy to be leaders in fashionable style. Starting from the symbolism of State Ceremonial, this course will then explore social change since 1750 by introducing the relaxed informality of Country House styles, the idea of the "perfect" English gentleman and the middle class taste for "Tartan and Tweed" in Victorian Britain. The course will sum up by discussing recent social change by focussing on the "Swinging Sixties" and the greater democratization of fashion for young people.
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1.00 Credits
Trafalgar Square is the symbolic as well as the physical heart of London. Before it was a Square, however, it was a Royal stables, and part of the route from the City to Westminster. This course aims to study the early history of the site, the development of Trafalgar Square in the mid-nineteenth century, its meanings, its subsequent use, and its future. The objective of the course is to acquaint students with a slice of London's architectural and social history, as well as to think about how the Square has accumulated a host of different meanings during the course of its history. The course will consider the initial history of the site, and its relationship to the cities of London and Westminster, as well as James Gibbs's church of St Martins-in-the-Fields. We will then think about the British naval victory at Trafalgar in 1805, and the desire to commemorate the battle and its hero, Admiral Horatio Nelson. In the third class we'll look at the reasons behind the development of the Square in the mid 1800s, and the use of architectural styles in the National Gallery, Nelson's Column, and the surrounding buildings. In the fourth class we examine how the Square has been used since the late nineteenth-century, especially its role as a place of leisure, celebration and of protest and demonstration. The final class will be devoted to thinking about the recent redevelopment of the Square and the reasons behind it, as well as the development of the National Gallery, and also the plans that the London Authority has for the Square in the future, and in what ways it continues to occupy a central place in the mental and physical geographies of Londoners.
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2.00 Credits
Oral and written comprehension and expression; emphasis on language which constructs argument: cause, consequence, goal, comparison.
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2.00 Credits
The goal is to develop the four competencies - aural, oral, reading and writing so that the student can accomplish them with ease.
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2.00 Credits
LFRA 5301: Francais Moyen/Fort, Niveau III. Oral and written comprehension and expression; emphasis on language which constructs argument: cause, consequence, goal, comparison.
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2.00 Credits
LFRA 5401: Francais Fort, Niveau 4. The goal is to develop the four competencies - aural, oral, reading and writing so that the student can accomplish them with ease.
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3.00 Credits
Further study of the language: reading, composition, grammar, and conversation.
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