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Course Criteria
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3.00 Credits
No course description available.
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3.00 Credits
The invention of the modern self and the modern culture of spectacle in relation to (and in agonistic struggle with) the political and social upheavals of the 18th and 19th centuries. European theatre, performance, and visual culture (revolutionary street theatre, the fairground, boulevard, and puppet show, the birth of the circus and the zoo, the rise of celebrity culture, the rise of advertising, automatons, panoramas, and other forms of proto-cinema, opera, commedia dell'arte, melodrama, romantic spectacle, the social problem play, etc.) as the backdrop for thinking about revolution as performance, the human and the animal, acting and being, nature and nurture, passion and reason, the body and disembodied imagination, the real and the virtual, the commodity and the inalienable self (etc.), from the Enlightenment and the age of revolution, through the industrial revolution, to the brink of modernism. Texts include visual images, contemporary documents, and films, as well as English, French, Italian, and German plays and operas: those that were the most influential for modern drama (Mozart, Goethe, Schiller, Kleist, Büchner, Wagner, Ibsen, Shaw, etc.); and those that best capture the culture of popular spectacle during the period.
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3.00 Credits
A study of landmarks of French cinema from its origins to the 1970s. We will pay particular attention to the relation between cinema and social and political events in France. We will study films by Jean Vigo, Jean Renoir, Rene Clair, Alain Resnais, Francois Truffaut and Jean-Luc Godard.
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3.00 Credits
The point is to examine democracy, not as political system, but as a historical phenomenon characterized by a specific culture: a body of ideas and values, stories and myths. This culture is not homogenous; it has a variety of historical manifestations through the ages but remains nonetheless cohesive. The objective is twofold: 1) to determine which elements in democratic culture remain current, no matter what form they take in various historical instances; 2) to understand that the culture of democracy is indeed not abstract and transcendental but historical, with its central impetus being the interrogation and transformation of society.
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3.00 Credits
An intensive study of problems relating to the interpretation and performance of Greek and Roman tragedy, including modern stage versions. Special consideration is given to staging, the changing role of actors and the chorus, Aristotle's Poetics, and the reception of ancient tragedy, as well as social and philosophical issues, including gender conflict.
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3.00 Credits
Overview of Greek and Roman literature. Close analysis of selected texts from the major genres accompanied by lectures on literary history. Topics include the context out of which the genres arose, the suitability of various modern critical approaches to the ancient texts, the problem of translation, and the transmission of the classical authors and their influence on modern literature. Overview of Greek and Roman literature. Close analysis of selected texts from the major genres accompanied by lectures on literary history. Topics include the context of which the genres rose. the suitability of various modern critical approaches to the ancient texts, the problem of translation, and the transmission of the classical authors and their influence on modern literature.
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3.00 Credits
The concept of "nation" and ongoing "national" struggles still remain potent, despite or perhaps because of unbound globalization. We will consider "nation" in relation to "state" and "diaspora," weighing its implications for literary nation-formation with readings in Armenian Diaspora literature. Theoretical readings from Renan, Bhabha, Anderson, Chatterjee, among others. Primary texts from Shahnour, Vorpuni, V. Oshagan and Beledian in translation.
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3.00 Credits
This seminar is designed to offer an overview of Post-1989 Polish prose. The literary output of what is now called post-dependent literature demonstrates how political transformations influenced social and intellectual movements and transformed the narrative genre itself. The aesthetic and formal developments in Polish prose will be explored as a manifestation of a complex phenomenon bringing the reassesment of national myths, and cultural aspirations. Works by Dorota Maslowska, Andrzej Stasiuk, Pawel Huelle, Olga Tokarczuk, Magdalena Tulli and others will be read and discussed. Knowledge of Polish not required.
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3.00 Credits
The critics who dislike Don Quixote the novel far outnumber those who dislike Don Quixote the character. Some cast doubt on Cervantes as a literary craftsman, questioning the degree of prescience and self-consciousness that seems to make this seventeenth-century work "modern." The Philosopher and writer Miguel de Unamuno is the standard-bearer for those who argue that it is the character of Don Quixote - rather than author's writing style - that has made this work so fruitful. The classic translator of Cervantes into English, Samuel Putman, follows suit, citing the novel's myriad of mistakes and incongruities as evidence that its success is based on Don Quixote's charms. Even the most scathing Cervantes critic, Vladimir Nabokov, who found the novel "cruel and crude." found Don himself sympathetic.
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3.00 Credits
No knowledge of Russian is required.
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