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Course Criteria
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3.00 Credits
A close analysis of James Joyce's Ulysses
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3.00 Credits
The distinction between late modernist and postmodernist has an ethical bearing, marked respectively by resistance to corruption and celebration of hybridity, although these strains may be mixed and politically intricate. This course considers the theories, assumptions and practice associated with work either riding or riven by such ethical and political tension, notably by Barbara Guest, John Wieners, Susan Howe, Marjorie Welish, J.H. Prynne, Barry MacSweeney, Denise Riley and Lisa Robertson.
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3.00 Credits
This courses discusses how representations of gender were explored in a survey of 19th and 20th-century short stories from England, Ireland, France, Russia, and the southern United States.
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3.00 Credits
In this course we will read and watch Samuel Beckett's plays, read some of his art criticism and view work by artists he admired--where possible, we will seek out paintings by these artists in the L.A. area. As a dramatist, Beckett makes extensive use of painterly effects, both in stage design and in direction. We will be able to watch both TV productions of plays like Krapp's Last Tape, Not I and Eh Joe that Beckett himself closely supervised, and the newly-completed film versions of his plays (including Waiting for Godot, Endgame, and Happy Days) by directors that range from Neil Jordan and Atom Egoyan to Damien Hirst and David Mamet. Artists we will look at will include the Irish painter Jack B. Yeats (brother of W.B. Yeats), Bram Van Velde, the Dutch abstract painter, and Avigdor Arikha, the Israeli figurative painter and close friend of the writer from the late 1950s. We will, accordingly, read Beckett as dramatist in the context of the visual arts and their influence on his work, and learn to read visual material--painting, film, plays. We will try to understand Beckett both in the context of Irish drama and art (reading a little of the drama of Synge and W.B. Yeats) and in the context of the international avant-garde of which he was part. The dramas and visual material will be supplemented by a small number of critical works that will aid students in understanding Beckett's works. Students will be expected to do response papers and one longer research paper.
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3.00 Credits
The globalization of capital and labor over the course of the 20th century, as well as innovations in technology, telecommunications and international travel has created a political, social and economic interdependence among nation states. This globalization, however, has created a paradox where the transnationalization of capital, and advances in communication and technology promote a porosity of borders which increases and even advocates the mobility of people, while at the same time individual nation-states consciously control their borders in an attempt to contain the presumed homogeneity of their cultures. This is particularly evident in Europe, where European national borders have become unstable due to geopolitical changes like the fall of the Berlin Wall and the Balkan wars, and the constant growth of the European Union. This seminar will examine fundamental aspects of immigration in the European Union and the way this is represented in contemporary film. The course is loosely divided into four thematic units. The first will consider the paradox where on the one hand the European Union in its constant growth promotes a cosmopolitan, borderless society, while on the other hand it attempts to curb what it considers an invasion by the immigrant other. In the second unit we will examine the legacies of France's and England's colonial past and how second- and third-generation national subjects enrich and complicate the countries' cultural terrains. In addition, we will also examine how the effects of Germany's gasterbeiter (guest worker) program were initially represented in German cinema of the 1970s. In the the third unit we will study how the immigration wave of the early 1990s affected the southern European countries of Spain, Italy and Greece, and how the massive influx of immigrants challenges each country's preconceived notion of a homogeneously imagined community. We will spend the last part of the semester concentrating on subtler issues of nation, gender, politics and religion, and the possible solutions that directors offer in the beginning of the 21st century as a way of escaping the ideological and cultural impasse of the end of the 20th century.
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3.00 Credits
This course focuses on English theatre during the two-century 'run' from c. 1350-1576 of the great civic religious dramas known as cycle plays, which depict the breadth of cosmic and human history from the Creation to Doomsday. The study of drama and theatre of this period will help to establish the context for Shakespeare and his contemporaries by examining not only the surviving plays but also the sources that provide external evidence of drama, secular music, and other communal entertainment and ceremony.
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3.00 Credits
This course will examine constructions of gender in the works of Irish playwrights.
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3.00 Credits
A survey of British and American modernist poets, with a particular emphasis on the aesthetic innovations made on poetry as a result of their works.
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3.00 Credits
This course will look at how political conflict in Ireland from the 1916 Rebellion and the War of Independence up to and including what became known as "The Troubles" in the north of Ireland has been represented on the screen. Students will analyze a wide variety of cinematic texts, mainstream commercial Hollywood features as well as independent Irish and British films. Documentary film will also be analyzed. Certain seminal events such as Bloody Sunday and the 1981 Hunger Strikes, which have a diverse representational history on screen, will be given particular attention. Among the films discussed will be Mise Eire, Saoirse, Michael Collins, The Wind that Shakes the Barley, Some Mother's Son, In the Name of the Father, and Bloody Sunday.
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3.00 Credits
This course will examine the compelling poetry produced in Irish since the Gaelic Revival of the turn of the twentieth century running right up to very recent publications of the first decade of the twenty-first century. We will consider major authors whose influence on the tradition has been profound, more recent international stars, as well as emergent figures whose work is only very recently in print. Our method will be that sine qua non of literary study, close reading, the dogged and unsparing analysis of the inner workings of the text at hand, an enduring and essential skill for both scholars of liberal arts and the educated, thinking individual more generally. To this will we join attention to the sociocultural, linguistic and political context of the works, relating to the aftermath of Irish independence, economic hardship and emigration, the crisis of the Catholic church, transformations in gender and familial expectations, the Troubles in the north, and the new composition of Irish society with immigration and globalization. Poetry as well as selected criticism will be read in English.
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