Mia Carter

Instructor:  Carter, M

Unique #:  35755

Semester:  Fall 2017

Cross-lists:  n/a

Restrictions:  n/a

Computer instruction:  No

Prerequisites:  Nine semester hours of coursework in English or rhetoric and writing.

Description:  In this course, we will be examining a series of literature to film adaptations, ones that boldly flout “proper” adaptation theory and, what some argue are outdated notions of fidelity to the original source text.  “Slant” adaptations boldly exhibit what Julie Grossman calls “elasTEXTity,” an inventive exploration of apparent or submerged aspects of the literary source text; she argues that these exploratory adaptations often “are born of new concerns, new desires to express human themes in a different medium… reflecting new cultural priorities” (Grossman, “‘It’s Alive! Alive!’: Hideous Progeny”).

Our source materials include canonical classics, a philosophical essay, short stories, a graphic novel, and a European cinema classic. Students are free to work on literature to film adaptations beyond the class’s required materials (e.g., Tarell Alvin McCraney’s In Moonlight Black Boys Look Blue, (2003-07)and Barry Jenkins’ Moonlight, 2016).

Proposed Adaptations: 

Required critical readings:  Christa Albrecht-Crane and Dennis Crutchins, eds. Adaptation Studies: New Approaches (2010), selected essays; David L. Kranz and Nancy C. Mellerski, eds. In/Fidelity: Essays on Film Adaptation (2008), selected essays; Brett Westbrook, “Being Adaptation: The Resistance to Theory”; Glenn Jellenik, “Quiet, Music at Work: the Soundtrack and Adaptation”; Kamilla Elliott, “Rethinking Formal-Cultural and Textual Contextual Divides in Adaptation Studies,” Literature/Film Quarterly (Oct. 2014); Linda Hutcheon, A Theory of Adaptation (2006), selections; Leitch, T.M., Film Adaptation and Its Discontents (2007), selections; Julie Grossman, Literature, Film, and Their Hideous Progeny: Adaptation and ElasTEXTity (2015), selections.

Requirements & Grading:  Two short 2-3-page critical analysis essays, one of which must be revised (15% each; 30% of final grade); first draft of 10-12-page seminar essay (10%); final 10-12-page seminar essay (40% of final grade); consistently substantial and significant participation, a portion of which will be comprised of reading quizzes (20% of final grade).

Instructor:  Carter, M

Unique #:  81580

Semester:  Summer 2017, first session

Cross-lists:  n/a

Restrictions:  n/a

Computer Instruction:  No

Prerequisites:  E 603A, RHE 306, 306Q, or T C 603A.

Adolescence on Screen and Page:  Modernist and Contemporary artists have had a fascination with the developmental stage of adolescence, a period of self-definition, discovery, rebellion, and evolution.  This course begins with Modernist authors’ representations of adolescence (Hemingway & Mansfield) and moves through different eras’ fascination with the adolescent character and his/her psychic and social situation.

The primary aim of this course is to help students develop and improve the critical and analytical reading, writing, and thinking skills needed for success in upper-division courses in English and other disciplines.  The required course materials include short stories, novels, documentary and feature films, and critical and historical essays.

This is a writing flag course.  The writing assignments in the course focus on analysis and argumentation; the synthesis of critical and contextual information and interpretive/close-reading; and the development and enhancement of writing and thinking skills through instructor and peer feedback, and revision.  Writing assignments comprise a major part of the final grade (60%).  No late papers will be accepted.

Proposed texts:  Ernest Hemingway, The Nick Adams’ Stories; James Baldwin, If Beale Street Could Talk; selected short stories by Katherine Mansfield, George Saunders, and Karen Russell; Pheobe Gloeckner, The Diary of A Teenage Girl (selections); Coe Booth, Bronxwood, YA novel; Meredith Russo, If I Were Your Girl, YA novel.

Class Reader:  essays by G. Stanley Hall (Adolescence), Vicky LeBeau (Childhood and Cinema, selections), Sarah Chinn (The Invention of Modern Adolescence: Children of Immigrants in Turn-of-the Century America, selections), and Jo-Anne Dillabough and Jacqueline Kennelly ("Urban Imaginaries and Youth Geographies of Emotion: Ambivalence, Anxiety and Class Fantasies of Home").

Proposed films:  François Truffaut, The 400 Blows/Les Quatre Cents Coups (1959); Steve James, Hoop Dreams (1994); Mathieu Kassovitz’s Hate/La Haine (1995); Tomas Alfredson’s Let the Right One In/Låt den rätta komma in (2008); Marielle Heller, The Diary of a Teenage Girl (2013); Deniz Gamze Ergüven, Mustang (2015).

Requirements & Grading:  There will be 2 required short (4-6 page) essays, the first of which must be revised and resubmitted (30% ea.).  The revised essay must be attached to the originally graded and assessed essay in order to receive credit for the revision.  The subsequent essay may be revised and resubmitted by arrangement with the Instructor, and within the designated “revise and resubmit” deadline (essays comprise 60% of the final grade).  Late revisions will not be accepted and the original grade on the essay will be the essay’s final grade.

Consistently active, substantial and significant participation comprises 20% of the final grade.  Being well prepared for class is an absolute necessity; this means having the required reading or viewing completed and rigorously analyzed by the day on which we are scheduled to discuss it in class.

There will be unannounced short reading quizzes (10% of the final grade).

Class policies:  This is a computer-free class; all notes must be taken in notebooks.  The use of computers and cell phones is strictly prohibited; if you are caught texting in class you will be dismissed and marked absent.  Non-web connected readers are permitted.  Exceptions for full compliance to the computer-ban will be granted only for students with a documented medical need.

Attendance Policy:  Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

Instructor:  Carter, M

Unique #:  81630

Semester:  Summer 2017, first session

Cross-lists:  WGS 345

Restrictions:  n/a

Computer Instruction:  No

Prerequisites:  Nine semester hours of coursework in English or rhetoric and writing.

Description:  This course will examine some of the major critical and fictional works of Virginia Woolf.  We will start with Woolf’s modernist manifestos (essays) and selections from Woolf’s short stories; we will also read three of Woolf’s major experimental novels.  Some of the areas of inquiry the class will be exploring are the value and limitations of high modernism, aesthetics and politics, English literary heritage and tradition, and feminism (Woolf’s critiques of patriarchy, war, fascism).

Texts:  Selected essays, including “Mr. Bennett and Mrs. Brown” (1923) and “Modern Fiction” (1925).

The Complete Shorter Fiction of Virginia Woolf; Jacob’s Room (1922); To the Lighthouse (1927); The Waves (1931)

Requirements & Grading:  Two 4-6-page critical analysis essays (25% each: 50% of final grade); regular reading quizzes (20% of final grade); consistently active, substantial and significant participation (30% of final grade).

In order to succeed in this class, you must make sure that you keep up with the reading assignments; if you are too busy to do heavy reading, you might want to enroll in another class.  This is an analysis and discussion based course and you absolutely have to keep up with the syllabus throughout the summer session.  Demonstrate that you have completed the required reading and have thought about it--analyzed it closely, rigorously, critically, and creatively.  Consistently active, significant, and substantial participation comprises a considerable portion of your final grade (30%); therefore, neither silence nor lack of preparedness will serve you well in this class.  Since I cannot tell you what these texts mean, your success depends--to a great extent--on your willingness to engage with the texts and with your fellow classmates.  No one has the final, correct, absolute interpretation of these books.  I invite you to take risks, to challenge yourself, and to share your understanding of each novel or essay.

Attendance Policy:  Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

*No late papers will be accepted; incomplete grades will only be given in cases of documented medical emergencies.

Instructor:  Carter, M

Unique #:  35395

Semester:  Spring 2017

Cross-lists:  n/a

Restrictions:  n/a

Computer Instruction:  No

Prerequisites:  Nine semester hours of coursework in English or rhetoric and writing.

Description:  Literary Modernism’s temporal, aesthetic, and geographical parameters have been debated and redefined since the inception of the cultural movement.  In this course we will survey a variety of international modernisms; the course’s genres will include the manifesto, poetry, drama, the essay, the short story, and the novel.  The literatures for the course will be supplemented by historical, political and contextual readings and selected films.

Prospective Texts:  Mia Carter and Alan Friedman, eds. Modernism and Literature: An Introduction and Reader. Selected essays • D. H. Lawrence, “Surgery for the Novel, or, A Bomb,” Women in Love (1920) • T.S. Eliot, The Waste Land (1922) • Virginia Woolf, To the Lighthouse (1927), “Mr. Bennett and Mrs. Brown”and “Modern Fiction.” • Aimé Césaire, A Notebook of A Return to the Native Land (1947, 1939) • Mina Loy, Feminist Manifesto, The Lost Lunar Baedeker and Other Poems (1914-1923) • Mulk Raj Anand, Untouchable (1935) • Bertolt Brecht, Mother Courage and Her Children (1939, play) • Ryosuke Akutagawa, Mandarins (1920’s), selected stories • Samuel Beckett, Shorts • Harlem Renaissance essays and poems by Langston Hughes, Alain Locke, Jean Toomer, Marita Bonner, and Zora Neale Hurston • Modernist Manifestos: Surrealist, Futurist, Légitime Défense, Vorticist/Blast Manifesto, All-India Progressive Writers’ Association (PWA), Feminist Manifesto (Loy).

Required Films:  Dziga Vertov, Man with a Movie Camera (aka, Living Russia)(1929) •Salvador Dalí and Luis Buñuel, Un Chien Andalou (1929) • Maya Deren, Meshes of the Afternoon (1943) • Akira Kurosawa, Rashômon (1950).

Requirements & Grading:  Two short 2-3-page critical analysis essays: 15% each (30% of final grade) • Comprehensive final examination: 50% of final grade • Consistently active, significant and substantial participation: 20% of final grade.

Class policies:  This is a computer-free class; all notes must be taken in notebooks. The use of computers and cell phones is strictly prohibited; if you are caught texting in class you will be dismissed and marked absent. Non-web connected readers are permitted. Exceptions for full compliance to the computer-ban will be granted only for students with a documented medical need.

Attendance Policy:  Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

Instructor:  Carter, M

Unique #:  34570

Semester:  Fall 2016

Cross-lists:  n/a

Restrictions:  n/a

Computer Instruction:  No

Prerequisites:  E 603A, RHE 306, 306Q, or T C 603A.

Adolescence on Screen and Page:  Modernist and Contemporary artists have had a fascination with the developmental stage of adolescence, a period of self-definition, discovery, and evolution.  This course begins with Modernist authors’ representations of adolescence (Hemingway, Joyce, Mansfield) and moves through different eras’ fascination with the adolescent character and his/her psychic and social situation.

The primary aim of this course is to help students develop and improve the critical reading, writing, and thinking skills needed for success in upper-division courses in English and other disciplines.  The required course materials include short stories, novels, films, and critical and historical essays.  The final assignment for the course is a one-page research paper abstract, with an annotated bibliography, an assignment that will help to prepare you for some of the expectations of upper-level coursework.

This is a writing flag course.  The writing assignments in the course focus on analysis and argumentation, invention and interpretation, development through instructor and peer feedback, and revision.  Writing assignments comprise a major part of the final grade (60%).

Required texts: Ernest Hemingway, The Nick Adams’ Stories; Jamaica Kincaid, Lucy; Walter Dean Meyers, Monster, YA novel; Geneviève Castrée, Susceptible, graphic novel.

Class Reader: essays by G. Stanley Hall (Adolescence) and Vicky LeBeau (Childhood and Cinema), short stories by James Joyce, Katherine Mansfield, and George Saunders.

Proposed films: François Truffaut, The 400 Blows/Les Quatre Cents Coups (1959); Bahman Ghobadi, Turtles Can Fly (2004); Shane Meadows, This Is England (2006); Ryan Coogler, Fruitvale Station (2013); Marielle Heller, The Diary of a Teenage Girl (2013); Deniz Gamze Ergüven, Mustang (2015).

Requirements & Grading:  There will be 3 required short (3-5 page) essays, the first of which must be revised and resubmitted (20% ea.).  Subsequent essays may be revised and resubmitted by arrangement with the Instructor, and within the designated “revise and resubmit” deadline (essays comprise 60% of the final grade).  Late revisions will not be accepted and the original grade on the essay will be the essay’s final grade.

There will be unannounced short reading quizzes (10% of the final grade).

1-page research Paper Abstract/Prospectus, with annotated short bibliography (a minimum of three items required): 10% of final grade.

Consistently active, substantial and significant participation comprises 20% of the final grade.  Being well prepared for class is an absolute necessity; this means having the required reading or viewing completed and rigorously analyzed by the day on which we are scheduled to discuss it in class.

Class policies:  This is a computer-free class; all notes must be taken in notebooks.  The use of computers and cell phones is strictly prohibited; if you are caught texting in class you will be dismissed and marked absent.  Non-web connected readers are permitted.  Exceptions for full compliance to the computer-ban will be granted only for students with a documented medical need.

Attendance Policy:  Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

E 344L  l  5-Representations of Childhood and Adolescence in Literature and Film

Instructor:  Carter, M

Unique #:  35390

Semester:  Fall 2016

Cross-lists:  n/a

Restrictions:  n/a

Computer Instruction:  No

Prerequisites:  Nine semester hours of coursework in English or rhetoric and writing.

Description:  In her groundbreaking study of children's psychology The Psycho-Analysis of Children (1932), Melanie Klein announced that the mythical paradise of childhood innocence could no longer sustain belief.  In the wake of the modern understanding of development and sexuality initiated by Sigmund Freud's psychoanalytic case studies, children like adults, were understood to experience a complex range of fears and desires, anxieties and fantasies.  Klein's play experiments were designed to help children articulate the interior world of consciousness; artists would explore children's interior and emotional lives in a range of expressive forms.  In this course we will be examining post-Romantic modern and contemporary representations of childhood and adolescence.  Some of the topical concerns covered in the class will be racial-ethnic, sexual-gender, class and regional identities; genre and narrative experimentation (the bildungsroman; Young Adult literature (YA); neo-realism; the Nouvelle Vague/New Wave; speculative fiction); narratives of war, exile, and immigration; childhood as a social imaginary for justice and ethical change.

Proposed literature:  James Joyce, Dubliners, Selected Stories(1916); Katherine Mansfield, Selected Stories (1918); Ernest Hemingway, The Nick Adams Stories (1920s); Colin MacInnes, Absolute Beginners (1959); Ken Saro Wiwa, Sozaboy: A Novel in Rotten English (1986); George Saunders, The Tenth of December (2013), In Persuasion Nation, Selected Stories (2006); The Diem Thuy Le, The Gangster We Are All Looking For (2004); Walter Dean Meyers, Monster (2004), YA novel; Geneviève Castrée, Susceptible (2013) graphic novel.

Selected critical essays:  Walter Benjamin, "Berlin Childhood around 1900," "A Child's View of Color," Selected Writings, I & II; Danielle Egan, Theorizing the Sexual Child in Modernity (2010); Vicky Lebeau, Childhood and Cinema (2012); Jo-Anne Dillabough and Jacqueline Kennelly, eds.Lost Youth in the Global City: Class, Culture and the Urban Imaginary (2010); Steedman, Carolyn Kay, Strange Dislocations: Childhood and the Idea of Human Interiority, 1780-1930 (1995).

Proposed Films:  Satyajit Ray, Pather Panchali (1955); François Truffaut, Les quarte cents coups/The 400 Blows (1959); Victor Erice, El Espiritu de la Colmena/The Spirit of the Beehive (1973); Michael Haneke, Benny’s Video (1992); David Gordon Green, George Washington (2000); Bahman Ghobadi, Turtles Can Fly (2004); Shane Meadows, This Is England (2006); Luc & Jean-Pierre Dardennes, The Promise/La Promesse (1996) or L'Enfant/The Child (2005); Thomas Alfredson, Lat den rätte komma in/ Let the Right One In (2008); Ryan Coogler, Fruitvale Station (2013); Céline Sciamma, Bande de Filles/Girlhood (2014) and Tomboy (2012); Deniz Gamze Ergüven, Mustang (2015).

Requirements & Grading:  consistently active, significant, and substantial participation (20%).  This is a demanding, reading intensive course; the critical essays, films and literary assignments are required and integrally important assignments.  Students will be expected to engage with the creative texts and the critical-theoretical ones with equal commitment and attentiveness.

Two short 2-3-page critical analysis essays: one must be on a critical essay, the other on a film (10% each: 20% of final grade); reading quizzes (10%); required 1-page paper abstract/prospectus—ungraded, but critically assessed; and one long 10-page paper (50%).

E 349S  l  8-Virginia Woolf

Instructor:  Carter, M

Unique #:  35430

Semester:  Fall 2016

Cross-lists:  WGS 345

Restrictions:  n/a

Computer Instruction:  No

Prerequisites:  Nine semester hours of coursework in English or rhetoric and writing.

Description:  This course will examine the critical and fictional works of Virginia Woolf.  We will also be examining Woolf’s continuing legacy and influence.  Some of the areas of inquiry the class will be exploring are the value and limitations of high modernism, English literary heritage and tradition, feminism, creative and critical definitions of gender and sexuality, intellectual activism (Woolf’s critiques of patriarchy, war, fascism), Woolf and imperialism-colonialism.

Required Readings (all editions Harcourt Brace Jovanovich; please buy the required HBJ editions):  Selected essays, including “Mr. Bennett and Mrs. Brown” and “Modern Fiction” • The Complete Shorter Fiction of Virginia Woolf • The Voyage Out • Jacob’s Room • Mrs. Dalloway • To the Lighthouse • The Waves • The Years • Three Guineas (long essay).

Requirements & Grading:  No late papers will be accepted. • Two 2-3-page critical analysis essays (15% each): 30% of final grade. • One ungraded, but critically assessed seminar paper abstract/prospectus. • One 10-page paper: 40% of final grade.

Consistently active, substantial, and significant participation: 30%, a portion of which will be determined by reading quizzes.  There will be 4-5 unannounced reading quizzes during the course of the semester.

Class policies:  This is a computer-free class; all notes must be taken in notebooks.  The use of computers and cell phones is strictly prohibited; if you are caught texting in class you will be dismissed and marked absent.  Non-web connected readers are permitted.  Exceptions for full compliance to the computer-ban will be granted only for students with a documented medical need.

Come to class thoroughly prepared, which means keep up with the reading assignments; demonstrate that you have completed the required reading and have thought about it--have analyzed the literature rigorously, critically, and creatively.  Consistently active and intellectually substantial and significant participation comprises a large portion of your final grade (30%); therefore, silence will not serve you well in this class.  Since I cannot tell you what these texts mean, your success depends--to a great extent--on your willingness to engage with the texts and with your fellow classmates.  No one has the final, correct, absolute interpretation of these books.  I invite you to take risks, to challenge yourself, and to share your understanding of each novel or film.  In-class quizzes will comprise a portion of the active, significant and substantial participation grade.

Attendance Policy:  Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

E f349S  l  8-Virginia Woolf

Instructor:  Carter, M

Unique #:  81925

Semester:  Summer 2016, first session

Cross-lists:  WGS 345

Restrictions:  n/a

Computer Instruction:  No

Prerequisites:  Nine semester hours of coursework in English or rhetoric and writing.

Description:  This course will examine some of the major critical and fictional works of Virginia Woolf.  We will start with Woolf’s modernist manifestos (essays) and selections from Woolf’s short stories; we will also read three of Woolf’s major novels.  Some of the areas of inquiry the class will be exploring are the value and limitations of high modernism, aesthetics and politics, English literary heritage and tradition, and feminism (Woolf’s critiques of patriarchy, war, fascism).

Texts:  Selected essays, including “Mr. Bennett and Mrs. Brown” (1923) and “Modern Fiction” (1925).

The Complete Shorter Fiction of Virginia Woolf; Jacob’s Room (1922); To the Lighthouse (1927); The Waves (1931)

Requirements & Grading:  Two 6-8-page critical analysis essays (25% each: 50% of final grade); regular reading quizzes (20% of final grade); active, substantial and significant participation (30% of final grade).

In order to succeed in this class, you must make sure that you keep up with the reading assignments; if you are too busy to do heavy reading, you might want to enroll in another class.  This is an analysis and discussion based course and you absolutely have to keep up with the syllabus throughout the summer session.  Demonstrate that you have completed the required reading and have thought about it--analyzed it closely, rigorously, critically, and creatively.  Active and significant participation comprises a substantial portion of your final grade (30%); therefore, neither silence nor lack of preparedness will serve you well in this class.  Since I cannot tell you what these texts mean, your success depends--to a great extent--on your willingness to engage with the texts and with your fellow classmates.  No one has the final, correct, absolute interpretation of these books. I invite you to take risks, to challenge yourself, and to share your understanding of each novel or essay.

Attendance Policy:  Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

*No late papers will be accepted; incomplete grades will only be given in cases of documented medical emergencies.

E 343L  l  Modernism and Literature

Instructor:  Carter, M

Unique #:  34480

Semester:  Fall 2015

Cross-lists:  n/a

Flags:  Global Cultures

Restrictions:  n/a

Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Literary Modernism’s temporal, aesthetic, and geographical parameters have been debated and redefined since the inception of the cultural movement. In this course we will survey a variety of international modernisms; the course’s genres will include the manifesto, poetry, drama, the essay, the short story, and the novel. The literatures for the course will be supplemented by historical, political and contextual readings and selected films.

Prospective Texts: Mia Carter and Alan Friedman, eds. Modernism and Literature: An Introduction and Reader. Selected essays; James Joyce, “Drama and Life,” A Portrait of The Artist As A Young Man (1916); T.S. Eliot, The Waste Land (1922); Virginia Woolf, To the Lighthouse (1927), “Mr. Bennett and Mrs. Brown”and “Modern Fiction”; Aimé Césaire, A Notebook of A Return to the Native Land (1947, 1939); Mina Loy, Feminist Manifesto, The Lost Lunar Baedeker and Other Poems (1914-1923); Marita Bonner, The Purple Flower (1927); Mulk Raj Anand, Untouchable (1935); Bertolt Brecht, Mother Courage and Her Children (1939); Katherine Mansfield, Selected Stories; Ryosuke Akutagawa, Mandarins (1920’s), selected stories; “In a Grove”; Harlem Renaissance essays and poems by Langston Hughes, Alain Locke, Zora Neale Hurston; Modernist Manifestos: Surrealist, Futurist, Légitime Défense, Vorticist/Blast Manifesto, Feminist Manifesto (Loy).

Required Films: Dziga Vertov, Man with a Movie Camera (aka, Living Russia)(1929);Salvador Dalí and Luis Buñuel, Un Chien Andalou (1929); Maya Deren, Meshes of the Afternoon (1943); Akira Kurosawa, Roshomon (1950).

Requirements & Grading: Three short 2-3-page critical analysis essays: 10% each (30% of final grade); Comprehensive final examination: 50% of final grade; Consistently active, significant and substantial participation: 20% of final grade.

E 344L  l  6-Writer-Directors: European Literary Cinema

Instructor:  Carter, M

Unique #:  34500

Semester:  Fall 2015

Cross-lists:  n/a

Flags:  Global Cultures

Restrictions:  n/a

Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: In this course we will be examining some of the intersections of literature, cinema and Cultural Studies. We will begin with foundations of European cinema: for example, Sergei Eisenstein and the influence of Japanese poetry and theatre on his theories of montage; Dziga Vertov and his modernist and experimental influences on later movements like Cinéma vérité; Surrealism, Realism and Neo-Realism (Rossellini, The Dardenne Brothers, Loach); the Nouveau Roman (Resnais & Robbe-Grillet), and the Nouvelle Vague/New Wave (Godard). We will focus on directors who write their screenplays and will also examine the works of film collectives and the influences of manifesto movements, for example the Rive Gauche Collective (Marker, Varda), the Situationists, and the Dogme 95 Collective. The historical and contextual range of the films covers 1920’s Soviet Constructivist cinema, WWII propaganda, the post-war nuclear age, the emergence of working class artists, Queer cinema (Davies), European reactions to Hollywood and cultural imperialism (Adorno & Horkheimer, Benjamin, Godard, Guy Debord and the Situationists, the Dogme 95 Collective), and the realities of postcolonial and contemporary immigrant Europe (Akin, Audiard, the Dardennes, Kassovitz, Haneke). We will examine two writer-directors’ adaptations of others’ literary works (Antonioni’s adaptation of Cortázar’s “Las Babas del Diablo”); Kes, Ken Loach’s adaptation of Barry Hines’ A Kestrel for a Knave). We will also be examining the adaptation of and experimentation with genres like science fiction and the gangster film, the women’s film, and the musical.

            Students will have the freedom to work on other European writer-directors, who may not be included on the syllabus (possibilities include Jacques Demy, Krysztof Kieslowski, Werner Herzog, Claire Denis, Andrey Tarkovskiy, Ingmar Bergman, Rainer Werner Fassbinder, Derek Jarman, Pedro Almodóvar, Leos Carax, etc.).

            Introduction to cinematic vocabulary and techniques (montage, mise en-scène, dissolves, tracking shots, etc.) will be included in the instruction. All of the non-English films will be subtitled.

Possible range of writer-directors and films: Sergei Eisenstein (USSR/Russia). Bronenosets Potymkin/Battleship Potemkin (1925). • Dziga Vertov (USSR/Russia). Living Russia, or Man with a Camera (1929). • Leni Riefenstahl (Germany). Triumph des Willens/Triumph of the Will (1935). Excerpts. • Roberto Rossellini (Italy). Roma città aperta/Rome Open City (1945). • Alain Resnais & Alain Robbe-Grillet (France). Last Year at Marienbad (1961). • Chris Marker (France). La Jetée (1962). • Agnès Varda (France). Cléo de 5 à 7/Cléo from 5 to 7 (1962). • Michelangelo Antonioni (Italy). L’Eclisse/The Eclipse (1962), Blow Up (1966). • Jean-Luc Godard (France). Alphaville (1965), Pierrot Le Fou (1965). • Lina Wertmuller (Italy). Pasqualino Settebellezze/Seven Beauties (1975). • Wim Wenders (Germany). Der Himmel über Berlin/Wings of Desire (1987). • Terence Davies (England). Distant Voices, Still Lives (1988), The Long Day Closes (1992). • Mathieu Kassovitz (France). La Haine/Hate (1995). • Thomas Vinterberg (Denmark). Festen/The Celebration (1998). • Claire Denis (France). Beau Travail (1999). • Jørgen Leth (Denmark). Det Perfekte menneske/The Perfect Human (1967) and The Five Obstructions (2003). • Jean-Pierre and Luc Dardennes (Belgium). L’Enfant/The Child (2005). • Michael Haneke (Austria/Germany). Caché/Hidden (2005). • Fatih Akin (Turkey-Germany). Auf der Anderen Seite/The Edge of Heaven (2007). • Steve McQueen (England). Hunger (2008). • Jacques Audiard (France). Un Prophète/A Prophet (2009). • Lars von Trier (Denmark). Antichrist (2009) and Melancholia (2011). • Ulrich Seidl (Austria). Paradise: Love (2012). • Jonathan Glazer (England). Under the Skin (2013). • Andrey Zvyaginstev (Russia). Léviathan (2014).

Literature and Criticism: Sergei Eisenstein, “Methods of Montage.” • Dziga Vertov, The Writings of Dziga Vertov. • Theodor Adorno and Max Horkheimer, “The Culture Industry: Enlightenment as Mass Deception.” • Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction.” • Michelangelo Antonioni. The Architecture of Vision; Writings and Interviews on Cinema. • André Bazin, “The Evolution of Film Language” and “Cinematic Realism and the Italian School of Liberation.” • Roberto Rossellini, “A Discussion of Neorealism.” • Gilles Deleuze, “The Origin of the Crisis: Italian Neo-Realism and the French New Wave,” Cinema 1. • Julio Cortázar. Blow-Up and Other Stories. • Jean-Luc Godard, “From Critic to Film-Maker” and “Struggling on Two Fronts.” • Alain Robbe-Grillet, “A Future for the Novel,” “From Realism to Reality,” and “New Novel, New Man.” • Michel Faber, Under the Skin.

Requirements & Grading: This is a very demanding, time-consuming, reading- and viewing intensive class. There will be at least one required film per week, along with additional suggested viewings. Please note that some weeks, we will be watching two films; that comprises at least four hours of prep time for class. It is absolutely necessary for students to have viewed the required film(s) before class analysis and discussion. On-campus screenings will be arranged by the Professor; if you cannot attend a scheduled screening, make sure to view the film independently before the class discussion. Active, significant, and substantial participation comprises a substantial portion of the final grade (25%); silence, passivity, or a lack of preparedness will not serve you well in this class. Regular attendance is required: 3 non-medically excused absences will lower your grade by a full grade (an A will become a B); 4 or more absences will guarantee your failure of the class.

Writing assignments and Final Grade distribution: Two short 2-3-page essays on selected writer-directors and films (15% each); one long10-12 page paper (50%) of final grade. Consistently active, significant, and substantial participation (20%)

E f343L  l  Modernism and Literature

Instructor:  Carter, M

Unique #:  82560

Semester:  Summer 2015, first session

Cross-lists:  n/a

Flags:  Global Cultures

Restrictions:  n/a

Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Literary Modernism’s temporal, aesthetic, and geographical parameters have been debated and redefined since the inception of the cultural movement. In this course we will survey a variety of international modernisms; the course’s genres will include the manifesto, poetry, drama, the essay, the short story, and the novel. The literatures for the course will be supplemented by historical, political and contextual readings and selected films.

Required Texts (subject to change):

Mia Carter and Alan Friedman, eds. Modernism and Literature: An Introduction and Reader. Selected essays.

James Joyce, “Drama and Life,” A Portrait of the Artist as A Young Man (1916)

Virginia Woolf, Jacob’s Room (1922), “Mr. Bennett and Mrs. Brown”and “Modern Fiction”

T.S. Eliot, The Waste Land (1922)

Aimé Césaire, A Notebook of A Return to the Native Land (1947, 1939)

Ryonsuke Akutagawa, selected stories from Mandarins and Rashomon (1920s)

Mina Loy, “Feminist Manifesto,” “Modern Poetry,” and selected poems from The Lost Lunar Baedeker… (1914-1923)

Marita Bonner, The Purple Flower (1927)

Bertolt Brecht, Mother Courage and Her Children (1939)

Modernist Manifestos: Surrealist, Futurist, Légitime Défense, Feminist Manifesto (Loy)

Harlem Renaissance essays by Alain Locke, Langston Hughes, Marita Bonner, and Zora Neale Hurston

Langston Hughes, Rabindinath Tagore, Selected poems

Required Films (subject to change): Dziga Vertov, Man with a Movie Camera (aka, Living Russia)(1929);Salvador Dalí and Luis Buñuel, Un Chien Andalou (1929); Maya Deren, Meshes of the Afternoon (1943).

Requirements & Grading: two short 2-3-page critical analysis essays: 20% each (40% of final grade); Comprehensive final examination: 40% of final grade; Consistently active, significant and substantial participation: 20% of final grade. Regular attendance: 3 absences will drop you a full letter grade (an A will become a B), 4 or more absences will guarantee your failure of the course.

E 343L  l  Modernism and Literature

Instructor:  Carter, M

Unique #:  34715

Semester:  Spring 2015

Cross-lists:  n/a

Restrictions:  n/a

Computer Instruction:  No

Flags:  Global Cultures

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Literary Modernism’s temporal, aesthetic, and geographical parameters have been debated and redefined since the inception of the cultural movement.  In this course we will survey a variety of international modernisms; the course’s genres will include the manifesto, poetry, drama, the essay, the short story, and the novel.  The literatures for the course will be supplemented by historical, political and contextual readings and selected films.

Prospective Texts: Mia Carter and Alan Friedman, eds. Modernism and Literature: An Introduction and Reader. Selected essays; Virginia Woolf, Jacob’s Room (1922), “Mr. Bennett and Mrs. Brown”and “Modern Fiction”; D. H. Lawrence, Women in Love (1920), “Why the Novel Matters” and “Surgery for the Novel—or, A Bomb”; T.S. Eliot, The Waste Land (1922); Aimé Césaire, A Notebook of A Return to the Native Land (1947, 1939); Mina Loy, Feminist Manifesto, The Lost Lunar Baedeker and Other Poems (1923 &); Marita Bonner, The Purple Flower (1927); Bertolt Brecht, Mother Courage and Her Children (1939); Katherine Mansfield, Selected Stories; Ryosuke Akutagawa, Mandarins (1920’s), selected stories; “In a Grove”; Modernist Manifestos: Surrealist, Futurist, Légitime Défense, Vorticist/Blast Manifesto, Feminist Manifesto (Loy).

Required Films: Dziga Vertov, Man with a Movie Camera (aka, Living Russia)(1929);Salvador Dalí and Luis Buñuel, Un Chien Andalou (1929); Maya Deren, Meshes of the Afternoon (1943); Akira Kurosawa, Roshomon (1950).

Requirements & Grading: Four short 2-3-page critical analysis essays: 10% each (40% of final grade); Comprehensive final examination: 40% of final grade; Consistently active, significant and substantial participation: 20% of final grade.

Instructor:  Carter, M

Unique #:  35820

Semester:  Fall 2014

Cross-lists:  WGS 345

Flags:  n/a

Computer Instruction:  No

Prerequisites: Six semester hours of upper-division coursework in English.

Description: This course will examine the critical and fictional works of Virginia Woolf. We will also be examining Woolf’s continuing legacy and influence. Some of the areas of inquiry the class will be exploring are the value and limitations of high modernism, English literary heritage and tradition, feminism, creative and critical definitions of gender and sexuality, intellectual activism (Woolf’s critiques of patriarchy, war, fascism), Woolf and imperialism-colonialism.

Required Readings (all editions Harcourt Brace Jovanovich; please buy the required HBJ editions)

Selected essays, including “Mr. Bennett and Mrs. Brown” and “Modern Fiction.”

The Complete Shorter Fiction of Virginia Woolf; The Voyage Out; Jacob’s Room; Mrs. Dalloway; To the Lighthouse; Orlando; The Waves; Three Guineas (long essay)

Requirements & Grading: No late papers will be accepted.

* Three 2-3-page critical analysis essays: 30% of final grade

* One ungraded, but critically assessed seminar paper prospectus.

* One 10-12-page: 40% of final grade

Consistently active, substantial, and significant participation: 30%, a portion of which will be determined by reading quizzes. There will be 4-5 unannounced reading quizzes during the course of the semester.

Class policies: This is a technology-free class; all notes must be taken in notebooks. The use of computers, Blackberries, cell phones is strictly prohibited; exception for full compliance to this rule will be granted only for students with a documented medical need.

Come to class thoroughly prepared, which means keep up with the reading assignments; demonstrate that you have completed the required reading and have thought about it--have analyzed the literature rigorously, critically, and creatively. Consistently active and intellectually substantial and significant participation comprises a large portion of your final grade (30%); therefore silence will not serve you well in this class.  Since I cannot tell you what these texts mean, your success depends--to a great extent--on your willingness to engage with the texts and with your fellow classmates. No one has the final, correct, absolute interpretation of these books. I invite you to take risks, to challenge yourself, and to share your understanding of each novel or film. I also reserve the right to give spontaneous, in-class quizzes if silence appears to be a lack of preparedness.

Attendance Policy: Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

Modernism and Imperialism: Virginia Woolf and the Bloomsbury Circle

In this course we will be examining the works of Virginia and Leonard Woolf, along with additional Bloomsbury Circle members and affiliates. One of the guiding questions for the seminar is: what is the relationship between the age, energy, aesthetics and politics of empire and imperialism and the era of literary “high” and late modernism?  How are these novelists, art historians, biographers, and essayists of the Bloomsbury Circle negotiating, revising, rejecting, or transforming their shared and respective liberal and Victorian-Edwardian ideological, cultural and intellectual heritages and legacies.  We will be reading Bloomsbury travel narratives, novels, essays, poetry, autobiographies, journalism, and literary criticism; research on the non-literary, anti imperialist Hogarth Press publications is also a required component of the seminar (for example, C.L.R. James’s The Case for West Indian Self-Government (1933); Mark Starr’s Lies and Hate in Education (1929), the 1930’s Merttens Lecture on War and Peace, etc.) .

Proposed Readings:      

Virginia Woolf.  The Voyage Out (1915), The Waves (1931), The Years (1937), Three Guineas (1938), and selected essays.

Leonard Woolf.  The Village in the Jungle (1913), Stories of the East (1921), Growing: An Autobiography of the Years 1904-1911 (1961).          

William Plomer.  Turbott Wolfe (1926), “Conversation with my Younger Self” (1962), and selected poems.

Vita Sackville-West.  Passenger to Tehran (1926), The Land (1927).

Winifred Holtby. Mandoa, Mandoa! A Comedy of Irrelevance (1933).

Mulk Raj Anand.  Untouchable (1935), Coolie (1936) and Conversations in Bloomsbury (1981).

Christopher Isherwood, Lions and Shadows (1938).

W. H. Auden and Christopher Isherwood, The Dog Beneath the Skin, or, Where Is Francis? (1935).

Raymond Williams, Politics of Modernism: Against the New Conformists (1989).

Patrick Collier, Modernism on Fleet Street (2006).

Christopher Hilliard, To Exercise Our Talents: The Democratization of Writing in Britain (2006).

Selected poems by W. H. Auden, Stephen Spender, and Louis MacNeice.

Additional assigned readings from Time and Tide, Folios of New Writing, Voorslag, and the New Left Review, and by Jed Esty, Saikat Majumdar, Jane Marcus, Tyrus Miller, Anna Snaith, and Laura Winkiel.

Requirements:

Bi-weekly 1-2 page reading response papers: 30% of final grade.

15-20 page seminar paper: 40% of final grade.

Presentation on contemporary journalism, or non-literary Hogarth Press publication: 10% of final grade.

Consistently active, significant, and substantial classroom participation: 20% of final grade.

Instructor:  Carter, M

Unique #:  83190

Semester:  Summer 2014, first session

Flags:  Global Cultures

Cross-lists:  n/a

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Literary Modernism’s temporal, aesthetic, and geographical parameters have been debated and redefined since the inception of the cultural movement.  In this course we will survey a variety of international modernisms; the course’s genres will include the manifesto, poetry, drama, the essay, the short story, and the novel.  The literatures for the course will be supplemented by historical, political and contextual readings and selected films.

Required Texts (subject to change): Mia Carter and Alan Friedman, eds. Modernism and Literature: An Introduction and Reader. Selected essays; James Joyce, “Drama and Life,” A Portrait of the Artist as A Young Man (1916); Virginia Woolf, Jacob’s Room (1922), “Mr. Bennett and Mrs. Brown”and “Modern Fiction”; T.S. Eliot, The Waste Land (1922); Aimé Césaire, A Notebook of A Return to the Native Land (1947, 1939); Mina Loy, “Feminist Manifesto,” The Lost Lunar Baedeker and Other Poems (1923 &); Marita Bonner, The Purple Flower (1927); Bertolt Brecht, Mother Courage and Her Children (1939);” Modernist Manifestos: Surrealist, Futurist, Légitime Défense, Feminist Manifesto (Loy).

Required Films (subject to change): Dziga Vertov, Man with a Movie Camera (aka, Living Russia)(1929);Salvador Dalí and Luis Buñuel, Un Chien Andalou (1929); Maya Deren, Meshes of the Afternoon (1943).

Requirements & Grading: two short 2-3-page critical analysis essays: 20% each (40% of final grade); Comprehensive final examination: 40% of final grade; Consistently active, significant and substantial participation: 20% of final grade.

Instructor:  Carter, M

Unique #:  83400

Semester:  Summer 2014

Cross-lists:  n/a

Flags:  Writing

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: In her groundbreaking study of children's psychology The Psycho-Analysis of Children (1932), Melanie Klein announced that the mythical paradise of childhood innocence could no longer sustain belief. In the wake of the modern understanding of development and sexuality initiated by Sigmund Freud's psychoanalytic case studies, children like adults, were understood to experience a complex range of fears and desires, anxieties and fantasies. Klein's play experiments were designed to help children articulate the interior world of consciousness; artists would explore children's interior and emotional lives in a range of expressive forms. In this course we will be examining post-Romantic modern and contemporary representations of childhood and adolescence; some of the topical concerns covered in the class will be racial-ethnic, sexual, class, and regional identity formation; genre and narrative experimentation (the bildungsroman, autobiographical performance); childhood as a social imaginary for justice and ethical change.

Proposed literature (subject to change): James Joyce, A Portrait of the Artist as a Young Man (1916); Katherine Mansfield, Selected Stories (1918); Gwendolyn Brooks, Maud Martha (1953); Jamaica Kincaid, Lucy (2002); Gene Luen Yang, American Born Chinese (2008); Nelly Reifler, Elect H. Mouse State Judge (2013); Kate DiCamillo, Flora & Ulysses: The Illuminated Adventures (2013).

Selected critical essays (subject to change): Vicky LeBeau, Childhood and Cinema (2008), selections; Danielle Egan, Theorizing the Sexual Child in Modernity (2010); James Holt McGavran, Ed. Literature and the Child: Romantic Continuations, Postmodern Contestations (1999); Steedman, Carolyn Kay.  Strange Dislocations: Childhood and the Idea of Human Interiority, 1780-1930 (1995); Goodenough, Heberle and Sokoloff, Eds. Infant Tongues: The Voice of the Child in Literature (1994).

Proposed Films (subject to change): François Truffault, The 400 Blows/Les quarte cents coups (1959); Ken Loach, Kes (1969); Benning, Selected Videos: Girl Power (1993), It Wasn’t Love (1992), If Every Girl Had A Diary (1991), Living Inside (1989); Luc & Jean-Pierre Dardennes, The Promise/La Promesse (1996) and The Kid with a Bike/Le Gamin au Velo (2011); David Gordon Green, George Washington (2000); Thomas Alfredson, Let the Right One In/Lat den rätte komma in (2008); Debra Granik, Winter's Bone (2010).

Requirements & Grading: consistently active, significant, and substantial participation (20%). This is a demanding, reading intensive course; the critical essays, films and literary assignments are required and integrally important assignments. Students will be expected to engage with the creative texts and the critical-theoretical ones with commitment and attentiveness.

Two short 2-3-page critical analysis essays: (20%; each 40% of final grade); comprehensive final exam (40% of final grade).

Instructor:  Carter, M

Unique #:  35990

Semester:  Spring 2014

Cross-lists:  n/a

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Literary Modernism’s temporal, aesthetic, and geographical parameters have been debated and redefined since the inception of the cultural movement.  In this course we will survey a variety of international modernisms; the course’s genres will include the manifesto, poetry, drama, the essay, the short story, and the novel.  The literatures for the course will be supplemented by historical, political and contextual readings and selected films.

Required Texts: Mia Carter and Alan Friedman, eds. Modernism and Literature: An Introduction and Reader. Selected essays; Virginia Woolf, Jacob’s Room (1922), “Mr. Bennett and Mrs. Brown”and “Modern Fiction”; D. H. Lawrence, Women in Love (1920), “Why the Novel Matters” and “Surgery for the Novel—or, A Bomb”; T.S. Eliot, The Waste Land (1922); Aimé Césaire, A Notebook of A Return to the Native Land (1947, 1939); Mina Loy, Feminist Manifesto, The Lost Lunar Baedeker and Other Poems (1923 &); Marita Bonner, The Purple Flower (1927); Bertolt Brecht, Mother Courage and Her Children (1939); Katherine Mansfield, Selected Stories; Ryosuke Akutagawa, Mandarins (1920’s), selected stories; “In a Grove”; Modernist Manifestos: Surrealist, Futurist, Légitime Défense, Vorticist/Blast Manifesto, Feminist Manifesto (Loy).

Required Films: Dziga Vertov, Man with a Movie Camera (aka, Living Russia)(1929);Salvador Dalí and Luis Buñuel, Un Chien Andalou (1929); Maya Deren, Meshes of the Afternoon (1943); Akira Kurosawa, Roshomon (1950).

Requirements & Grading: Four short 2-3-page critical analysis essays: 10% each (40% of final grade); Comprehensive final examination: 40% of final grade; Consistently active, significant and substantial participation: 20% of final grade.

Instructor:  Carter, M

Unique #:  83660

Semester:  Spring 2014

Cross-lists:  n/a

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: In her groundbreaking study of children's psychology The Psycho-Analysis of Children (1932), Melanie Klein announced that the mythical paradise of childhood innocence could no longer sustain belief; in the wake of the modern understanding of development and sexuality initiated by Sigmund Freud's psychoanalytic case studies children, like adults, were understood to experience a complex range of fears and desires, anxieties and fantasies. The preciousness and innocence of childhood that is sometimes assumed to be a universal experience is certainly not available to children around the world; at present, more than half of the worlds millions of refugees are children. In this course we will be examining modern and contemporary representations of childhood and adolescence; some of the topical concerns covered in the class will be racial-ethnic, sexual, class and regional identity formation; genre and narrative experimentation (the bildungsroman, autobiographical performance); war and displacement; and childhood as a social imaginary for justice and ethical change.

Proposed literature: Ernest Hemingway, The Nick Adams Stories; Katherine Mansfield, Selected Stories (1918); James Joyce, “An Encounter” (1905); Jamaica Kincaid, Lucy (2002); Ken Saro Wiwa, Sozaboy: A Novel in Rotten English (1986); John Green, The Fault in Our Stars (2012); Matt de la Peña, The Living (2013); Curtis Sittenfeld, Sisterland (2013).

Selected critical essays: G. Stanley Hall, Adolescence… (selections); Walter Benjamin, "Berlin Childhood around 1900," "A Child's View of Color," "Children's Literature," Selected Writings, Vol. I & II; Danielle Egan, Theorizing the Sexual Child in Modernity (2010); James Holt McGavran, Ed. Literature and the Child: Romantic Continuations, Postmodern Contestations (1999); Steedman, Carolyn Kay. Strange Dislocations: Childhood and the Idea of Human Interiority, 1780-1930 (1995); Goodenough, Heberle and Sokoloff, Eds. Infant Tongues: The Voice of the Child in Literature (1994).

Proposed Films: François Truffault, The 400 Blows/Les quarte cents coups (1959); Frederick Wiseman, High School (1968); Mira Nair, Salaam Bombay! (1998); Jacques Doillon, Ponette (1996); Sadie Benning, Selected Videos: Girl Power (1993), It Wasn’t Love (1992), If Every Girl Had A Diary (1991), Living Inside (1989); Michael Haneke, Benny’s Video (1992); Bahman Gobadi, Turtles Can Fly/Lakpostha parvaz mikonand (2004); Luc & Jean-Pierre Dardennes, The Promise/La Promesse (1996) and L'Enfant/The Child (2005); Thomas Alfredson, Let the Right One In/Lat den rätte komma in (2008); Dee Rees, Pariah (2011); Behn Zeitlin, Beasts of the Southern Wild (2012); Céline Sciamma, Tomboy (2012); James Ponsoldt, The Spectacular Now (2013); Ryan Coogler, Fruitvale Station (2013).

Requirements & Grading: Consistently active, significant, and substantial participation (20%). This is a demanding, reading intensive course; the critical essays, films and literary assignments are required and integrally important assignments. Students will be expected to engage with the creative texts and the critical-theoretical ones with commitment and attentiveness.

Three short 2-3 page critical analysis essays: one must be on a critical essay, another on a film; the third may be on a subject of the student’s choosing (each 10% of final grade). Required 1 page paper abstract/prospectus—ungraded, but critically assessed. One long 8-10-page term paper (50%).

Instructor:  Carter, M            Areas:  V / U

Unique #:  35795            Flags:  n/a

Semester:  Fall 2013            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: C L 315, E 603B, 316K, or T C 603B.

Description: In this course we will be examining some of the intersections of literature, cinema and Cultural Studies. We will begin with foundations of European cinema: for example, Sergei Eisenstein and the influence of Japanese poetry and theatre on his theories of montage; Dziga Vertov and his modernist and experimental influences on later movements like Cinéma vérité; Surrealism, Realism and Neo-Realism (Rossellini, The Dardennes Brothers, Loach); the Nouveau Roman (Resnais & Robbe-Grillet), and the Nouvelle Vague/New Wave (Godard). We will focus on directors who write their screenplays and will also examine the works of film collectives and the influences of manifesto movements, for example the Rive Gauche Collective (Marker, Varda), the Situationists, and the Dogme 95 Collective. The historical and contextual range of the films covers 1920’s Soviet Constructivist cinema, WWII propaganda, the post-war nuclear age, the emergence of working class artists, Queer cinema (Davies), European reactions to Hollywood and cultural imperialism (Adorno & Horkheimer, Benjamin, Godard, Guy Debord and the Situationists, the Dogme 95 Collective), and the realities of postcolonial and contemporary immigrant Europe (Akin, Audiard, the Dardennes, Kassovitz, Haneke). We will examine two writer-directors’ adaptations of others’ literary works (Antonioni’s adaptation of Cortázar’s “Las Babas del Diablo”); Kes, Ken Loach’s adaptation of Barry Hines’ A Kestrel for a Knave). We will also be examining the adaptation of and experimentation with genres like science fiction and the gangster film, the women’s film, and the musical.

            Students will have the freedom to work on other European writer-directors, who may not be included on the syllabus (possibilities include Jacques Demy, Krysztof Kieslowski, Werner Herzog, Claire Denis, Andrey Tarkovskiy, Ingmar Bergman, Rainer Werner Fassbinder, Derek Jarman, Pedro Almodóvar, Leos Carax, etc.).

            Introduction to cinematic vocabulary and techniques (montage, mise en-scène, dissolves, tracking shots, etc.) will be included in the instruction. All of the non-English films will be subtitled.

Possible range of writer-directors and films:

Sergei Eisenstein (USSR/Russia). Bronenosets Potymkin/Battleship Potemkin (1925).

Dziga Vertov (USSR/Russia). Living Russia, or Man with a Camera (1929).

Luis Buñuel (Spain). Un Chien Andalou/An Andalusian Dog (1929).

Leni Riefenstahl (Germany). Triumph des Willens/Triumph of the Will (1935). Excerpts.

Roberto Rossellini (Italy). Roma città aperta/Rome Open City (1945).

Alain Resnais & Alain Robbe-Grillet (France). Last Year at Marienbad (1961).

Chris Marker (France). La Jetée (1962).

Agnès Varda (France). Cléo de 5 à 7/Cléo from 5 to 7 (1962).

Michelangelo Antonioni (Italy). L’Eclisse/The Eclipse (1962), Blow Up (1966).

Jean-Luc Godard (France). Alphaville (1965), Pierrot Le Fou (1965).

Ken Loach (England).  Kes (1969).

Lina Wertmuller (Italy). Pasqualino Settebellezze/Seven Beauties (1975).

Terence Davies (England). Distant Voices, Still Lives (1988), The Long Day Closes (1992).

Mathieu Kassovitz (France). La Haine/Hate (1995).

Thomas Vinterberg (Denmark). Festen/The Celebration (1998).

Jørgen Leth (Denmark). Det Perfekte menneske/The Perfect Human (1967) and The Five Obstructions (2003).

Jean-Pierre and Luc Dardennes (Belgium). L’Enfant/The Child (2005).

Michael Haneke (Austria/Germany). Caché/Hidden (2005).

Fatih Akin (Turkey-Germany). Auf der Anderen Seite/The Edge of Heaven (2007).

Steve McQueen, Hunger (2008).

Jacques Audiard (France), Un Prophète/A Prophet (2009).

Lars von Trier (Denmark). Antichrist (2009) and Melancholia (2011).

Literature and Criticism:

Sergei Eisenstein, “Methods of Montage.”

Dziga Vertov, The Writings of Dziga Vertov.

Theodor Adorno and Max Horkheimer, “The Culture Industry: Enlightenment as Mass Deception.”

Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction.”

Michelangelo Antonioni. The Architecture of Vision; Writings and Interviews on Cinema.

André Bazin, “The Evolution of Film Language” and “Cinematic Realism and the Italian School of Liberation.”

Roberto Rossellini, “A Discussion of Neorealism.”

Emmanuel Levinas, “Totality and Infinity.”

Julio Cortázar. Blow-Up and Other Stories.

Jean-Luc Godard, “From Critic to Film-Maker” and “Struggling on Two Fronts.”

Barry Hines, A Kestrel for a Knave.

Alain Robbe-Grillet, “A Future for the Novel,” “From Realism to Reality,” and “New Novel, New Man.”

Requirements & Grading: This is a very demanding, time-consuming, reading- and viewing intensive class. There will be at least one required film per week, along with additional suggested viewings. Please note that some weeks, we will be watching two films; that comprises at least four hours of prep time for class. It is absolutely necessary for students to have viewed the required film(s) before class analysis and discussion. On-campus screenings will be arranged by the Professor; if you cannot attend a scheduled screening, make sure to view the film independently before the class discussion. Active, significant, and substantial participation comprises a substantial portion of the final grade (25%); silence, passivity, or a lack of preparedness will not serve you well in this class. Regular attendance is required: 3 non-medically excused absences will lower your grade by a full grade (an A will become a B); 4 or more absences will guarantee your failure of the class.

Writing assignments: Three short 2-3 page essays on selected writer-directors and films (10% each); One long 8-10-page paper (50%) of final grade.

Final Grade distribution: Consistently active, significant, and substantial participation (20%); Three short 2-3 page essays (30%); One long 8-10-page paper (50%).

In this World Cinema seminar we will be examining debates about realism, modernism and the avant-garde; capitalism, colonialism, and cultural imperialism/globalism; cinema and oral and literary traditions; war, revolution, reparation, immigration, exile and diaspora; cosmopolitanism and national cinema; and First and Third World cinematic distinctions and intersections.  We will primarily focus on feature films, although many of the films include feature-documentary hybrids; additional documentary and experimental films may be added, depending on availability.  The course will begin with silent cinema, Soviet Constructivism, Surrealism, and the early 20th century’s montage/formalism and Culture Industry debates.  We will additionally be examining literary and theoretical influences on cinema (e.g. the realist novel, Situationism, the nouveau roman, Dogma/e95). Over the course of the semester, we will be analyzing the cinema and the social imaginary--the socio-political and cultural significance and limitations of film.

Proposed films:

Sergei Eisenstein, Battleship Potemkin/Bronenosets Potyomkin (1925).

Dziga Vertov, Man with a Movie Camera; or, Living Russia (1929).

Luis Buñuel and Salvador Dali, Un Chien Andalou (1929).

Basil Wright, Song of Ceylon (1934).

Leni Riefenstahl, Triumph of the Will/Triumph des Willens (1935).

Maya Deren, Meshes of the Afternoon (1943).

Roberto Rossellini, Rome: Open City/Roma, città aperta (1945).

Alain Resnais, Last Year at Marienbad (1961).

Michelangelo Antonioni, The Eclipse/L’eclisse (1962).

Jean-Luc Godard, Pierrot le Fou (1965).

Gillo Pontecorvo, Battle of Algiers/La Battaglia di Algeri (1966).

Maureen Blackwood and Isaac Julien, The Passion of Remembrance (1986).

Thomas Vinterberg, Festen (1998).

Ousmane Sembene, Moolaadé (2004).

Abderrahmane Sissako, Bamako (2006).

Claire Denis, The Intruder/L’Intrus (2004).

Ramin Bahrani, Man Push Cart (2005).

Philippe Aractingi, Sous Les Bombes (2007).

Jafar Panahi, This Is Not a Film (2011).

Proposed texts:

Sergei Eisenstein, “A Dialectical Approach to Film Form” (1929) and “Methods of Montage,” (1929).

Dziga Vertov, Kino-Eye: The Writings of Dziga Vertov (1920's).

Walter Benjamin, “The Work of Art in the Age of Its Technological Reproducibility” (1935), “Theory of Distraction” (1935-36).

Theodor Adorno and Max Horkheimer, “The Culture Industry: Enlightenment as Mass Deception” (1944).

André Bazin, “The Ontological Realism of the Photographic Image” (1945), "In Defense of Rossellini," What Is Cinema?

Alain Robbe-Grillet, “From Realism to Reality” (1955 & 1963), “A Future for the Novel” (1956), and “New Novel, New Man” (1961).

Michelangelo Antonioni, “The Event and the Image” (1963), and “Reality and Cinema Verité” (1964).

Jim Pines and Paul Willemen, Eds., Questions of Third Cinema (1990).

Anthony R. Guneratne and Wimal Dissanayake, Eds. Rethinking Third Cinema (2003).

Hamid Naficy, An Accented Cinema: Exilic and Diasporic Filmmaking (2001), Home, Exile, Homeland: Film, Media, and the Politics of Place (1991).

Ella Shohat and Robert Stam, Eds. Unthinking Eurocentrism: Multiculturalism and the Media (1994).

Martin Stollery, Alternative Empires: European Modernist Cinemas and Cultures of Imperialism (2000).

Art/Cinema manifestos from the Futurists, Surrrealists, Situationists, Dogma95, etc.

Required assignments:

Bi-weekly 1-2 page typed critical response essays, due in-class on day of class discussion. Collectively worth 30% of final grade.

15 page conference paper/publication draft: worth 50% of final grade.

Consistently active, significant and substantial participation. Worth 20% of final grade.

Instructor:  Carter, M            Areas:  II / F

Unique #:  35430            Flags:  n/a

Semester:  Spring 2013            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing

Description: This course surveys Victorian to Modern literatures and concentrates on four genres—the essay, poetry, the novel and the short story. We will be examining Victorian to Modern debates and dialogues on culture, its value, uses and purposes; we will also be examining literary heritage and tradition (Ruskin, Arnold, Morris, comedy and satire, empire and its aftermath, etc.) and the evolution of genres, like the detective genre. Literary responses to modernity (Eliot, Conrad, Lawrence, Strachey), the World Wars I & II (Trench Poets, Lawrence, Woolf, Jennings, Wyler), feminism (Loy, Woolf) and migration (Zaheer) are topics that will be examined during the course of the semester.

Proposed Literature: Selected essays from Thomas Babington Macaulay, Matthew Arnold, Coventry Patmore, John Ruskin, and Lytton Strachey; William Morris, News From Nowhere and Other Writings; Charlotte Bronte, Jane Eyre; Jerome K. Jerome, Three Men in a Boat; Arthur Conan Doyle, Sherlock Holmes: The Complete Novels and Stories, Vol. 1; Christina Rossetti, Goblin Market and Other Poems; Alfred Tennyson, Selected Poems’ Joseph Conrad, Heart of Darkness; World War I British Poets: Brooke, Owen, Sassoon, Rosenberg and Others; T. S. Eliot, The Waste Land and Other Poems; Mina Loy, Lost Lunar Baedecker; D. H. Lawrence, Women in Love; Stella Gibbons, Cold Comfort Farm; Sajjad Zaheer, A Night in London; Virginia Woolf, The Years and sections from Three Guineas.

Proposed Films: Mike Leigh, Topsy-Turvy (1999); Cary Fukunaga, Jane Eyre (2011); Ken Russell, Women in Love (1968); Humphrey Jennings, Listen to Britain (1942); William Wyler, Mrs. Miniver (1942).

Requirements & Grading: Three 2-3-page critical analysis essays on selected text or film: 10% each (30% of final grade). One of the short essays may be revised. All revised papers will be due two weeks after the original version of the graded and assessed essay has been returned to the student; in order to receive credit for the second version, the original essay must be passed in with the revised one.

One-page research paper prospectus/abstract (un-graded, but assessed). One 8-10-page critical analysis essay: 50% of final grade.

Consistently active, significant and substantial participation: 20% of final grade, a portion of which will be determined by reading quizzes. There will be 4-5 unannounced reading/interpretation quizzes during the course of the semester.

Performance expectations: Come to class thoroughly prepared, which means keep up with the reading and viewing assignments; demonstrate that you have completed the required assignment and have thought about it--have analyzed the required literary, critical or cinematic text rigorously, critically, and creatively. This is a very demanding, time-consuming, reading- and viewing intensive class. Some weeks there will be a required film, along with required reading assignments. Writing about film, like writing about literature requires re-viewing and closer sustained analysis. It is absolutely necessary for students to have viewed the required film(s) before class analysis and discussion. On-campus screenings will be arranged by the Professor; if you cannot attend a scheduled screening, it is your responsibility to view the film independently before the class discussion. If you have not viewed a required film on the discussion date, you will be marked absent for that day. Active, significant, and substantial participation comprises a substantial portion of the final grade (20%); silence, passivity, or a lack of preparedness will not serve you well in this class.

Absence policy: regular attendance is a substantial requirement for this course. 3 non-medically excused absences will lower your grade by a full grade (an A will become a B); 4 or more absences will guarantee your failure of the class. An incomplete grade (X grade) will be granted only in the case of a documented medical emergency

Class policies: This is a technology-free class; all notes must be taken in notebooks. The use of computers, Blackberries, cell phones is strictly prohibited; exception for full compliance to this rule will be granted only for students with a documented medical need.

Instructor:  Carter, M            Areas:  I / H

Unique #:  35515            Flags:  n/a

Semester:  Spring 2013            Restrictions:  n/a

Cross-lists:  WGS 345            Computer Instruction:  No

E 370W (Topic 10: Major Authors: Virginia Woolf) may not also be counted.

Prerequisites: Six semester hours of upper-division coursework in English.

Description: This course will examine the critical and fictional works of Virginia Woolf. We will also be examining Woolf’s continuing legacy and influence. Some of the areas of inquiry the class will be exploring are the value and limitations of high modernism, English literary heritage and tradition, feminism, creative and critical definitions of gender and sexuality, intellectual activism (Woolf’s critiques of patriarchy, war, fascism), Woolf and imperialism-colonialism.

Required Readings (all editions Harcourt Brace Jovanovich; please buy the required HBJ editions)

Selected essays, including “Mr. Bennett and Mrs. Brown” and “Modern Fiction.”

The Complete Shorter Fiction of Virginia Woolf; The Voyage Out; Jacob’s Room; Mrs. Dalloway; To the Lighthouse; Orlando; The Waves; Three Guineas (long essay)

Requirements & Grading: No late papers will be accepted.

* Three 2-3-page critical analysis essays: 30% of final grade

* One ungraded, but critically assessed seminar paper prospectus.

* One 10-12-page: 40% of final grade

Consistently active, substantial, and significant participation: 30%, a portion of which will be determined by reading quizzes. There will be 4-5 unannounced reading quizzes during the course of the semester.

Class policies: This is a technology-free class; all notes must be taken in notebooks. The use of computers, Blackberries, cell phones is strictly prohibited; exception for full compliance to this rule will be granted only for students with a documented medical need.

Come to class thoroughly prepared, which means keep up with the reading assignments; demonstrate that you have completed the required reading and have thought about it--have analyzed the literature rigorously, critically, and creatively. Consistently active and intellectually substantial and significant participation comprises a large portion of your final grade (30%); therefore silence will not serve you well in this class.  Since I cannot tell you what these texts mean, your success depends--to a great extent--on your willingness to engage with the texts and with your fellow classmates. No one has the final, correct, absolute interpretation of these books. I invite you to take risks, to challenge yourself, and to share your understanding of each novel or film. I also reserve the right to give spontaneous, in-class quizzes if silence appears to be a lack of preparedness.

Attendance Policy: Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

Instructor:  Carter, M            Areas:  VI / I

Unique #:  35715            Flags:  Independent Inquiry, Writing

Semester:  Fall 2012            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

E 379S (Embedded Topic: Envisioning England: 20th Century Literature and Film) may not also be counted.

Prerequisites: Six semester hours of upper-division coursework in English.

Description: This course features ethnic, immigrant, gay, working-class, and canonical British literature and film. A number of the works are concerned with post-imperial and post-colonial legacies, class, English and British tradition and cultural inheritance, and the intricacies, complexities and contradictions of national and personal identity. We will be examining the works aesthetically and formally; we will additionally consider the works in light of their specific social, political, and historical contexts. Some of the assigned works are shaped by critical and theoretical turns; these include Modernism (Woolf), Documentary realism (Apted, Richardson, Leigh), Poststructuralism and Cultural Studies (Steedman, Samuel, Higson), Postcolonial Studies (Naipaul, Selvon, Hollinghurst).

Texts (proposed): Virginia Woolf, The Years; Sam Selvon, The Lonely Londoners; Allan Sillitoe, The Loneliness of a Long Distance Runner; Raymond Williams, The Country and the City (sections); Carolyn Steedman, Landscape for a Good Woman; Linton Kwesi Johnson, Mi Revalueshanary Fren; Allan Hollinghurst, The Line of Beauty; Jeanette Winterson, Why Be Happy When You Could be Normal?; selected essays and speeches by Virginia Woolf, Enoch Powell, Margaret Thatcher and others.

Films: (proposed): Humphrey Jennings, Listen to Britain (1942); Tony Richardson, A Taste of Honey (1961); Basil Dearden, Victim (1961) & All Night Long (1962); Lindsay Anderson, If... (1968); Terence Davies, The Long Day Closes (1992) and Of Time and the City (2008); Michael Apted, 28-Up (1985), 35-Up (1991); Shane Meadows, This Is England (2006); Mike Leigh, Happy-Go-Lucky (2008); Christopher Morris, Four Lions (2010), Andrew Haigh, Weekend (2011).

Requirements & Grading: Two 2-3 page critical analysis essays on selected text or film: 10% each (20% of final grade); One 3 page research paper outline, with annotated bibliography with 6 required items, 2 of which must be book-length studies or an anthology of collected essays; the other 4 items must be print articles or essays: 15% of final grade; One 10-12 page critical analysis essay: 45% of final grade; Consistently active, significant and substantial participation: 20% of final grade.

Absence policy: regular attendance is absolutely necessary. This is a very demanding, time-consuming, reading- and viewing intensive class. Some weeks there will be a required film, along with required reading assignments. Writing about film, like writing about literature requires re-viewing and closer sustained analysis. It is absolutely necessary for students to have viewed the required film(s) before class analysis and discussion. On-campus screenings will be arranged by the Professor; if you cannot attend a scheduled screening, it is your responsibility to view the film independently before the class discussion. If you have not viewed a required film on the discussion date, you will be marked absent for that day. Active, significant, and substantial participation comprises a substantial portion of the final grade (30%); silence, passivity, or a lack of preparedness will not serve you well in this class.

Regular attendance is required: 3 non-medically excused absences will lower your grade by a full grade (an A will become a B); 4 or more absences will guarantee your failure of the class. An incomplete grade (X grade) will be granted only in the case of a documented medical emergency.

Class policies: This is a technology-free class; all notes must be taken in notebooks. The use of computers, Blackberries, cell phones is strictly prohibited; exception for full compliance to this rule will be granted only for students with a documented medical need.

Landscape and Legacy: 20th Century British Literature, Culture, Film.  Dr. Mia Carter. 

Fall 2012. British Literature, cross-listed with Popular Culture, Ethnic and Third World, and Cultural Studies.

This course surveys 20th C. canonical and popular British literature and film from the Interwar period to the Thatcher Era.  The enrolled students' research presentations for the class will focus on post-Thatcher and contemporary 21st C. British culture (e.g., the Blair-Bush era, 7/7 bombings, Islamaphobia, etc.).  A number of the works are concerned with post-imperial and post-colonial legacies, social class, gender and sexuality, heritage studies, cultural inheritance, and the intricacies and contradictions of national identity.  We will be examining the works aesthetically and formally; we will additionally consider the works in light of their specific socio-historical and cultural contexts (from WWII to immigrant panics, race riots [e.g., Notting Hill, 1958; Brixton 1981], Art-Culture Movements [CAM, the Caribbean Arts Movement, Mass Observation] youth subcultures, the rise of the New Right, Clause 28, etc.).

Proposed literature and criticism:

Virginia Woolf, The Years (1937).

Christopher Isherwood, Lions and Shadows: An Education in the Twenties (1938).

Sam Selvon, The Lonely Londoners (1956) and Eldorado West One (1988).

Colin MacInnes, Absolute Beginners (1959).

Patrick Wright, On Living in An Old Country: The National Past in Contemporary Britain (2009             Oxford UP updated issue).

Carolyn Steedman, Landscape for a Good Woman (1987).

Allan Hollinghurst, The Swimming-Pool Library (1989).

Linton Kwesi Johsnson, Mi Revalueshanary Fren (2006).

And readings by Virginia Woolf, Enoch Powell, Margaret Thatcher, Stuart Hall, Dick Hebdidge, Jackie Stacey, Andrew Higson, Raphael Samuel, Terry Lovell, Raymond Williams, and others.

Proposed films:

Humphrey Jennings, Listen to Britain (1942).

Edgar Anstey & Arthur Elton, Housing Problems (1935).

J. Clayton, Room at the Top (1958).

Anthony Richardson, A Taste of Honey (1961).

Basil Dearden, Sapphire (1959) and All Night Long (1962).

Maureen Blackwood and Isaac Julien, The Passion of Remembrance (1986).

Patrick Keiller, London (1993).

Recommended contemporary films:

Shane Meadows, This Is England (2006).

Mike Leigh, Happy-Go-Lucky (2008).

Christopher Morris, Four Lions (2010).

Assignments:

Bi-weekly 1-2- page critical analysis essays, worth 30% of final grade.

Research presentation: post-Thatcher/contemporary British Cultural Studies, worth 20% of final grade.

Consistently active, significant and substantial in-class participation, worth 20% of final grade.

Seminar paper, worth 30% of final grade.

Instructor:  Carter, M            Areas:  V / U

Unique #:  83660            Flags:  n/a

Semester:  Summer 2012, first session            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Comparative Literature 315, English 603B, 316K, or Tutorial Course 603B.

Description: In her groundbreaking study of children's psychology The Psycho-Analysis of Children (1932), Melanie Klein announced that the mythical paradise of childhood innocence could no longer sustain belief. In the wake of the modern understanding of development and sexuality initiated by Sigmund Freud's psychoanalytic case studies, children like adults, were understood to experience a complex range of fears and desires, anxieties and fantasies. Klein's play experiments were designed to help children articulate the interior world of consciousness; artists would explore children's interior and emotional lives in a range of expressive forms. In this course we will be examining post-Romantic modern and contemporary representations of childhood and adolescence; some of the topical concerns covered in the class will be racial-ethnic, sexual, class, and regional identity formation; genre and narrative experimentation (modernist representations of childhood and adolescence; the bildungsroman, fantasy and horror genres); childhood in the age of media; children and/of violence; childhood as a social imaginary for justice and ethical change.

Proposed literature: James Joyce, "Araby" and "An Encounter," Dubliners (1914); Katherine Mansfield, "Prelude" (1918); Virginia Woolf, "Solid Objects" (1920); Ernest Hemingway, The Nick Adams Stories (1925); Ken Saro-Wiwa, Sozaboy (1985); Jamaica Kincaid, Lucy (2002); Suzanne Collins, Catching Fire (2009); Gary Shteyngart, Super Sad True Love Story (2010), John Green, The Fault in Our Stars (2011).

Selected critical essays: Walter Benjamin, "Berlin Childhood around 1900," "A Child's View of Color," Selected Writings, Vol. I & II; Danielle Egan, Theorizing the Sexual Child in Modernity (2010); Vicky LeBeau, Childhood and Cinema; Carolyn Kay Steedman, Strange Dislocations: Childhood and the Idea of Human Interiority, 1780-1930 (1995); Goodenough, Heberle and Sokoloff, Eds. Infant Tongues: The Voice of the Child in Literature (1994).

Proposed Films: Mervyn LeRoy, The Bad Seed (1956), François Truffaut, The 400 Blows/Les quarte cents coups (1959); Ken Loach, Kes (1969); Michael Haneke, Benny's Video (1992); Jacques Doillon, Ponette (1996); Gus Van Sant, Elephant (2003); Luc & Jean-Pierre Dardennes, The Promise/La Promesse (1996) or L'Enfant/The Child (2005); Thomas Alfredson, Let the Right One In/Lat den rätte komma in (2008); Debra Granik, Winter's Bone (2010); Dee Rees, Pariah (2011).

Requirements & Grading: consistently active, significant, and substantial participation (20%). This is a demanding, reading intensive course; the critical essays, films and literary assignments are required and integrally important assignments. Students will be expected to engage with the creative texts and the critical-theoretical ones with commitment and attentiveness.

Three short 2-3-page critical analysis essays (30% of final grade: 10% each); individual or group oral research presentation (30% of final grade); consistently active, significant and substantial participation (20% of final grade); reading/viewing quizzes (20% of final grade).

Instructor:  Carter, M            Areas:  I / H

Unique #:  83670            Flags:  n/a

Semester:  Summer 2012, first session            Restrictions:  n/a

Cross-lists:  WGS 345            Computer Instruction:  No

E 370W (Topic 10: Major Authors: Virginia Woolf) may not also be counted.

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course will examine some of the major critical and fictional works of Virginia Woolf. We will start with Woolf’s modernist manifestos (essays) and selections from Woolf’s short stories; we will also read three of Woolf’s major novels. Some of the areas of inquiry the class will be exploring are the value and limitations of high modernism, aesthetics and politics, English literary heritage and tradition, and feminism (Woolf’s critiques of patriarchy, war, fascism).

Texts: Selected essays, including “Mr. Bennett and Mrs. Brown” (1923) and “Modern Fiction” (1925).

The Complete Shorter Fiction of Virginia Woolf; Jacob’s Room (1922); To the Lighthouse (1927); The Waves (1931)

Requirements & Grading: Three 2-3-page critical analysis essays (30% of final grade); regular Reading quizzes (20% of final grade); Mid-session objective exam (20% of final grade); active, substantial and significant participation (30% of final grade).

In order to succeed in this class, you must make sure that you keep up with the reading assignments; if you are too busy to do heavy reading, you might want to enroll in another class. This is an analysis and discussion based course and you absolutely have to keep up with the syllabus throughout the summer session. Demonstrate that you have completed the required reading and have thought about it--analyzed it closely, rigorously, critically, and creatively. Active and significant participation comprises a substantial portion of your final grade (30%); therefore neither silence nor lack of preparedness will serve you well in this class. Since I cannot tell you what these texts mean, your success depends--to a great extent--on your willingness to engage with the texts and with your fellow classmates. No one has the final, correct, absolute interpretation of these books. I invite you to take risks, to challenge yourself, and to share your understanding of each novel or essay.

Attendance Policy: Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

*No late papers will be accepted; incomplete grades will only be given in cases of documented medical emergencies.

Instructor:  Carter, M            Areas:  V / U

Unique #:  35310            Flags:  n/a

Semester:  Spring 2012            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Comparative Literature 315, English 603B, 316K, or Tutorial Course 603B.

Description: In her groundbreaking study of children's psychology The Psycho-Analysis of Children (1932), Melanie Klein announced that the mythical paradise of childhood innocence could no longer sustain belief. In the wake of the modern understanding of development and sexuality initiated by Sigmund Freud's psychoanalytic case studies, children like adults, were understood to experience a complex range of fears and desires, anxieties and fantasies. Klein's play experiments were designed to help children articulate the interior world of consciousness; artists would explore children's interior and emotional lives in a range of expressive forms. In this course we will be examining post-Romantic modern and contemporary representations of childhood and adolescence; some of the topical concerns covered in the class will be racial-ethnic, sexual, class, and regional identity formation; genre and narrative experimentation (the bildungsroman, autobiographical performance); childhood as a social imaginary for justice and ethical change.

Proposed literature: James Joyce, A Portrait of the Artist as a Young Man (1916); Katherine Mansfield, Selected Stories (1918); Richard Wright, Native Son (1940); Barry Hines, A Kestrel for a Knave (1968); Shyam Selvadurai, Swimming in the Monsoon Sea (2005); Jamaica Kincaid, Lucy (2002); Emma Donoghue, Room (2010); John Brandon, Citrus County (2010).

Selected critical essays: Walter Benjamin, "Berlin Childhood around 1900," "A Child's View of Color," "Children's Literature," Selected Writings, Vol. I & II; Danielle Egan, Theorizing the Sexual Child in Modernity (2010); James Holt McGavran, Ed. Literature and the Child: Romantic Continuations, Postmodern Contestations (1999); Steedman, Carolyn Kay.  Strange Dislocations: Childhood and the Idea of Human Interiority, 1780-1930 (1995); Goodenough, Heberle and Sokoloff, Eds. Infant Tongues: The Voice of the Child in Literature (1994).

Proposed Films:

François Truffault, The 400 Blows/Les quarte cents coups (1959); Ken Loach, Kes (1969); Jacques Doillon, Ponette (1996); Sadie Benning, Selected Videos: Girl Power (1993), It Wasn’t Love (1992), If Every Girl Had A Diary (1991), Living Inside (1989); Peter Sollett, Raising Victor Vargas (2002); Gus Van Sant, Elephant (2003); Luc & Jean-Pierre Dardennes, The Promise/La Promesse (1996) or L'Enfant/The Child (2005); David Gordon Green, George Washington (2000); Hirokazu Kore-eda, Nobody Knows/Ws Sub Dol (2004); Thomas Alfredson, Let the Right One In/Lat den rätte komma in (2008); Debra Granik, Winter's Bone (2010); Aaron Burns, Blacktino (2011).

Requirements & Grading: Consistently active, significant, and substantial participation (20%). This is a demanding, reading intensive course; the critical essays, films and literary assignments are required and integrally important assignments. Students will be expected to engage with the creative texts and the critical-theoretical ones with commitment and attentiveness.

Two short 2-3-page critical analysis essays: one must be on a critical essay, the other on a film (20%; each 10% of final grade); and one long 10-12-page term paper (60%).

Instructor:  Carter, M            Areas:  VI / I

Unique #:  35525            Flags:  Writing; Independent Inquiry

Semester:  Spring 2012            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

E 379S (Embedded Topic: Envisioning England: 20th Century Literature and Film) may not also be counted.

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course features ethnic, immigrant, gay, working-class, and canonical British literature and film. A number of the works are concerned with post-imperial and post-colonial legacies, class, English and British tradition and cultural inheritance, and the intricacies, complexities and contradictions of national and personal identity. We will be examining the works aesthetically and formally; we will additionally consider the works in light of their specific social, political, and historical contexts. Some of the assigned works are shaped by critical and theoretical turns; these include Modernism (Woolf, Keiller and, arguably, Naipaul), Documentary realism (Apted, Richardson, Leigh), Poststructuralism and Cultural Studies (Keiller, Steedman, Samuel, Higson), Postcolonial Studies (Naipaul, Selvon, Hollinghurst).

Texts (proposed): Virginia Woolf, The Years; Sam Selvon, The Lonely Londoners; Allan Sillitoe, The Loneliness of a Long Distance Runner; Raymond Williams, The Country and the City; Carolyn Steedman, Landscape for a Good Woman; Linton Kwesi Johnson, Mi Revalueshanary Fren; V. S. Naipaul, The Enigma of Arrival; Allan Hollinghurst, The Line of Beauty; selected essays and speeches by Virginia Woolf, Enoch Powell, Margaret Thatcher, Andrew Higson, Raphael Samuel, and others.

Films: (proposed): Humphrey Jennings, Listen to Britain (1942); Tony Richardson, A Taste of Honey (1961); Patrick Keiller, London (1993); Mike Leigh, Naked (1993); Terence Davies, The Long Day Closes (1992) and Of Time and the City (2008); Michael Apted, 28-Up (1985), 35-Up (1991), 42-Up (1998); Shane Meadows, This Is England (2006); Mike Leigh, Happy-Go-Lucky (2008); Christopher Morris, Four Lions (2010).

Requirements & Grading: Two 2-3-page critical analysis essays on selected film: 10% each (20% of final grade); Two 8-10-page critical analysis essays: 25% each (50% of final grade); Consistently active, significant, and substantial participation: 30%.

Absence policy: regular attendance is absolutely necessary. This is a very demanding, time-consuming, reading- and viewing intensive class. Some weeks there will be a required film, along with required reading assignments. Writing about film, like writing about literature requires re-viewing and closer sustained analysis. It is absolutely necessary for students to have viewed the required film(s) before class analysis and discussion. On-campus screenings will be arranged by the Professor; if you cannot attend a scheduled screening, it is your responsibility to view the film independently before the class discussion. If you have not viewed a required film on the discussion date, you will be marked absent for that day. Active, significant, and substantial participation comprises a substantial portion of the final grade (30%); silence, passivity, or a lack of preparedness will not serve you well in this class.

Regular attendance is required: 3 non-medically excused absences will lower your grade by a full grade (an A will become a B); 4 or more absences will guarantee your failure of the class. An incomplete grade (X grade) will be granted only in the case of a documented medical emergency.

Prerequisites: Comparative Literature 315, English 603B, 316K, or Tutorial Course 603B.

Description: In this course we will be examining some of the intersections of literature, cinema and Cultural Studies. We will begin with foundations of European cinema: for example, Sergei Eisenstein and the influence of Japanese poetry and theatre on his theories of montage; Dziga Vertov and his modernist and experimental influences on later movements like Cinéma vérité; Surrealism, Realism and Neo-Realism (Rossellini, The Dardennes Brothers, Loach); the Noveau Roman (Resnais & Robbe-Grillet), and the Nouvelle Vague/New Wave (Godard). We will focus on directors who write their screenplays and will also examine the works of film collectives and the influences of manifesto movements, for example the Rive Gauche Collective (Marker, Varda), the Situationists, and the Dogme 95 Collective. The historical and contextual range of the films covers 1920’s Soviet cinema, WWII propaganda, the post-war nuclear age, Thatcherism, the emergence of working class artists, Queer cinema (Almodóvar, Davies, Julien), European reactions to Hollywood and cultural imperialism (Adorno & Horkheimer, Benjamin, Godard, the Dogme 95 Collective), and the realities of postcolonial and contemporary immigrant Europe (Akin, Audiard, the Dardennes, Julien, Kassovitz, Haneke). We will examine two writer-directors’ adaptations of others’ literary works (Antonioni’s adaptation of Cortázar’s “Blow Up”; Kes, Ken Loach’s adaptation of Barry Hines’ A Kestrel for a Knave). We will also be examining the adaptation of and experimentation with genres like science fiction and the gangster film, the women’s film, and the musical.

            Students will have the freedom to work on other European writer-directors, who may not be included on the syllabus (possibilities include Jacques Demy, Krysztof Kieslowski, Werner Herzog, Claire Denis, Ingmar Bergman, Rainer Werner Fassbinder, Derek Jarman, Andre Tarkovsy, etc.).

            Introduction to cinematic vocabulary and techniques (montage, mise en-scène, dissolves, tracking shots, etc.) will be included in the instruction. All of the non-English films will be subtitled. 

Possible range of writer-directors and films:

Sergei Eisenstein (USSR/Russia). Bronenosets Potymkin/Battleship Potemkin (1925).

Dziga Vertov (USSR/Russia). Living Russia, or Man with a Camera (1929).

Luis Buñuel (Spain). Un Chien Andalou/An Andalusian Dog (1929).

Leni Riefenstahl (Germany). Triumph des Willens/Triumph of the Will (1935). Excerpts.

Roberto Rossellini (Italy). Roma città aperta/Rome Open City (1945).

Alain Resnais & Alain Robbe-Grillet (France). Last Year at Marienbad (1961).

Chris Marker (France). La Jetée (1962).

Agnès Varda (France). Cléo de 5 à 7/Cléo from 5 to 7 (1962).

Michelangelo Antonioni (Italy). L’Eclisse/The Eclipse (1962), Blow Up (1966).

Jean-Luc Godard (France). Alphaville (1965), Pierrot Le Fou (1965).

Ken Loach (England).  Kes (1969).

Lina Wertmuller (Italy). Pasqualino Settebellezze/Seven Beauties (1975).

Isaac Julien (England). Young Soul Rebels (1991).

Terence Davies (England). Distant Voices, Still Lives (1988), The Long Day Closes (1992).

Mathieu Kassovitz (France). La Haine/Hate (1995).

Thomas Vinterberg (Denmark). Festen/The Celebration (1998).

Pedro Almodóvar (Spain). Todo sobre mi madre/All About My Mother (1999).

Jørgen Leth (Denmark). Det Perfekte menneske/The Perfect Human (1967) and The Five Obstructions (2003).

Jean-Pierre and Luc Dardennes (Belgium). L’Enfant/The Child (2005).

Michael Haneke (Austria/Germany). Caché/Hidden (2005).

Fatih Akin (Turkey-Germany). Auf der Anderen Seite/The Edge of Heaven (2007).

Lars von Trier (Denmark). Antichrist (2009).

Literature and Criticism:

Sergei Eisenstein, “Methods of Montage.”

Theodor Adorno and Max Horkheimer, “The Culture Industry: Enlightenment as Mass Deception.”

Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction.”

Michelangelo Antonioni. The Architecture of Vision; Writings and Interviews on Cinema.

André Bazin, “The Evolution of Film Language” and “Cinematic Realism and the Italian School of             Liberation.”

Roberto Rossellini, “A Discussion of Neorealism.”

Emmanuel Levinas, “Totality and Infinity.”

Julio Cortázar. Blow-Up and Other Stories.

Jean-Luc Godard, “From Critic to Film-Maker” and “Struggling on Two Fronts.”

Barry Hines, A Kestrel for a Knave.

Alain Robbe-Grillet, “A Future for the Novel,” “From Realism to Reality,” and “New Novel, New Man.”

Requirements & Grading: This is a very demanding, time-consuming, reading- and viewing intensive class. There will be at least one required film per week, along with additional suggested viewings. Please note that some weeks, we will be watching two films; that comprises at least four hours of prep time for class. It is absolutely necessary for students to have viewed the required film(s) before class analysis and discussion. On-campus screenings will be arranged by the Professor; if you cannot attend a scheduled screening, make sure to view the film independently before the class discussion. Active, significant, and substantial participation comprises a substantial portion of the final grade (25%); silence, passivity, or a lack of preparedness will not serve you well in this class. Regular attendance is required: 3 non-medically excused absences will lower your grade by a full grade (an A will become a B); 4 or more absences will guarantee your failure of the class.

Writing assignments: Three short 2 pages essays on selected writer-directors and films (worth 25% of final grade); One long 8-10-page paper (50%) of final grade.

Final Grade distribution: Consistently active, significant, and substantial participation (25%); Three short 2-page essays (25%); One long 8-10-page paper (50%).

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: In this literature, film, and cultural studies seminar we will be reading a series of books and essays on the dynamics and formation of imperial-colonial and postcolonial cities, contemporary global cities, social imaginaries, and urban landscapes. We will additionally be examining both real and cinematic landscapes; travel narratives and memoirs; cultural histories and fiction. Some of the subjects we will be examining include imperial cartography and urban planning as both uplift/improvement or development projects, as well as strategies of order and control, containment and surveillance; globalization, migration, and immigration; local and global economies; and the utopian/dystopian city. 

Texts: Proposed Readings

Walter Benjamin, The Arcades Project; Italo Calvino, Invisible Cities; Mike Davis, City of Quartz: Excavating the Future in Los Angeles; Maria Golia, Cairo: City of Sand; Ivan Vladislavic, Portrait with Keys: City of Johannesburg Unlocked; Xi Xu, Evanescent Isles: From My City-Village.

Proposed Reader Selections

Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization (selections); Mike Davis, Planet of Slums (selections); Michel de Certeau, The Practice of Every Day Life (selections); Shail Mayaram, The Other Global City (selections); Suketa Mehta, Maximum City: Bombay Lost and Found (selections); Timothy Mitchell, Colonising Egypt (selections); Saskia Sassen, Deciphering the Global: Its Scales, Spaces and Subjects (selections).

Proposed Films

Thom Andersen, Los Angeles Plays Itself (2003); Mohamed Fadel, Nasser 56 (1996); Patrick Keiller, London (1994); Chris Marker, Sans Soleil (1983); Abderrahmane Sissako, Bamako (2006).

Requirements & Grading: Five 1-2-page critical response essays due in-class on day of class discussion, collectively worth 30% of final grade; 1 page seminar paper abstract (critically assessed; no grade); 12-15-page seminar paper, worth 50% of final grade; consistently active, significant, and substantial participation, worth 20% of final grade.

E 370W (Topic 10: Major Authors: Virginia Woolf) may not also be counted.

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course will examine some of the major critical and fictional works of Virginia Woolf. We will start with Woolf’s modernist manifestos (essays) and selections from Woolf’s short stories; we will also read three of Woolf’s major novels. Some of the areas of inquiry the class will be exploring are the value and limitations of high modernism, aesthetics and politics, English literary heritage and tradition, and feminism (Woolf’s critiques of patriarchy, war, fascism).

Texts: Selected essays, including “Mr. Bennett and Mrs. Brown” (1923) and “Modern Fiction” (1925).

The Complete Shorter Fiction of Virginia Woolf; Jacob’s Room (1922); Mrs. Dalloway (1925); To the Lighthouse (1927)

Requirements & Grading: Three 1-2-page critical analysis essays (20% of final grade); Reading quizzes (20% of final grade); Active, substantial and significant participation (30% of final grade); Final 5-page critical essay (30% of final grade)

In order to succeed in this class, you must make sure that you keep up with the reading assignments; if you are too busy to do heavy reading, you might want to enroll in another class. This is an analysis and discussion based course and you absolutely have to keep up with the syllabus throughout the summer session. Demonstrate that you have completed the required reading and have thought about it--analyzed it closely, rigorously, critically, and creatively. Active and significant participation comprises a substantial portion of your final grade (30%); therefore neither silence nor lack of preparedness will serve you well in this class. Since I cannot tell you what these texts mean, your success depends--to a great extent--on your willingness to engage with the texts and with your fellow classmates. No one has the final, correct, absolute interpretation of these books. I invite you to take risks, to challenge yourself, and to share your understanding of each novel or essay.

Attendance Policy: Three absences will drop you a full letter grade (an A will become a B, etc.); four or more absences will guarantee your failure of this class.

*No late papers will be accepted; incomplete grades will only be given in cases of documented medical emergencies.

Course Description: This course will examine the critical and fictional works of Virginia Woolf. We will also be examining Woolf’s continuing legacy and influence. Some of the areas of inquiry the class will be exploring are the value and limitations of high modernism, English literary heritage and tradition, feminism, creative and critical definitions of gender and sexuality, intellectual activism (Woolf’s critiques of patriarchy, war, fascism), Woolf and imperialism-colonialism.

Possible Texts: Selected essays, including “Mr. Bennett and Mrs. Brown” and “Modern Fiction;” The Voyage Out; Mrs. Dalloway; Jacob’s Room; To the Lighthouse; Orlando; The Waves; Between the Acts; Three Guineas (long essay).

In this World Cinema seminar we will be examining debates about realism, modernism and the avant-garde; capitalism, colonialism, and cultural imperialism/globalism; cinema and oral and literary traditions; war, reparation, immigration, exile and diaspora; cosmopolitanism and national cinema; and First and Third World cinematic distinctions and intersections.  We will primarily focus on feature films, although many of the films include feature-documentary hybrids; additional documentary and experimental films may be added, depending on availability.  The course will begin with the early 20th century’s montage-realism debates; we will additionally be examining literary influences on cinema. Over the course of the semester, we will be analyzing the cinema and the social imaginary--the socio-political and cultural significance and limitations of film.

Proposed films

Sergei Eisenstein, Battleship Potemkin/Bronenosets Potyomkin (1925). October 1917: Ten Days That Shook the World/Oktyabr (1928).

Roberto Rossellini, Rome: Open City/Roma, città aperta (1945).

Michelangelo Antonioni, The Eclipse/L’eclisse (1962).

Jean-Luc Godard, Les Carabiniers (1963); Pierrot le Fou (1965).

Gillo Pontecorvo, Battle of Algiers/La Battaglia di Algeri (1966).

Chris Marker, Sans Soleil (1983).

Claire Denis, The Intruder/L’Intrus (2004).

Michael Winterbottom, In This World (2002).

Ousmane Sembene, Mooladé (2004).

Tony Gatlif, Exils (2004).

Ramin Bahrani, Man Push Cart (2005).

Abderrahmane Sissako, Bamako (2006).

Philippe Aractingi, Sous Les Bombes (2007).

Philippe Lioret, Welcome (2009).

Proposed texts

Sergei Eisenstein, “A Dialectical Approach to Film Form” (1929) and “Methods of Montage,” (1929)

Walter Benjamin, “The Work of Art in the Age of Its Technological Reproducibility” (1935), “Theory of Distraction” (1935-36).

Theodor Adorno and Max Horkheimer, “The Culture Industry: Enlightenment as Mass Deception” (1944).

André Bazin, “The Ontological Realism of the Photographic Image” (1945) and other selections from What Is Cinema? (Timothy Barnard, Trans., Caboose, 2009).

Sigfried Kracauer, Theory of Film: The Redemption of Physical Reality (1960).

Alain Robbe-Grillet, “From Realism to Reality” (1955 & 1963), “A Future for the Novel” (1956), and “New Novel, New Man” (1961).

Michelangelo Antonioni, “The Event and the Image” (1963), and “Reality and Cinema Verité” (1964).

Roy Armes, “Theory and Practice of Third World Film Making,” from Third World Film Making and the West (1987).

Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media, Chaps. 1, 3, 7-9  (1994).

Melissa Thackway, Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone and African Film (2003).

Jim Pines and Paul Willemen, Eds., Questions of Third Cinema (1990) [selections].

Anthony R. Guneratne and Wimal Dissanayake, Eds. Rethinking Third Cinema (2003) [selections].

Priya Jaikumar, “Imperial Governmentality” and “Imperial Redemption” from Cinema at the End of Empire (2006).

Hamid Naficy, An Accented Cinema: Exilic and Diasporic Filmmaking (2001), Home, Exile, Homeland: Film, Media, and the Politics of Place (1991) [selections].

Gilles Deleuze, Cinema I, Cinema II: The Time-Image (2005) [selections].

Kwame Anthony Appiah, Cosmopolitanism: Ethics in a World of Strangers (2006).

Cinema manifestos from the Surrrealists, Nouvelle Vague, Sankofa Collective, Situationists, Dogma95, etc.

Required assignments

• 1-2 page typed bi-weekly critical response essays due in-class on day of class discussion.  Collectively worth 30% of final grade.
• 15-20 page seminar paper.  Worth 50% of final grade.
• Consistently active, substantial, and significant participation. Worth 20% of final grade.

TBD