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… Yet as a concept consciousness is relatively new: the European notion of consciousness emerges in the late seventeenth century. In this course we will explore the range and variety of Brecht's own theatre, from the anarchic plays of the 1920's to the agitprop Lehrstück and film esp Kühle Wampe) to the classical parable plays, as well as the work of his heirs in German theatre (Heiner Müller, Peter Weiss) and film (RW Fassbinder, Alexander Kluge), in French film (Jean-Luc Godard) and cultural theory (the Situationists and May 68), film and theatre in Britain (Mike Leigh and Lucy Prebble), and theatre and film in Africa, from South Africa to Senegal. Authors include: Le Guin, Russ, Butler, Piercy, Haraway, Rubin, Firestone. Miller, Edward Said, Eve Sedgwick, and Raymond Williams. Mid-term exercise and final paper required. Division of the Humanities, University of Chicago This course provides an introduction to the written materials of women artists who belonged to various twentieth-century avant-garde movements and circles. We’ll examine the evolution of the hymn as a literary form, focusing on obsolescence and adaptation in literary transmission. All courses are taught by an experienced native instructor of the Japanese language. E. Ronai (Autumn); J. Riggle (Spring). You will learn how to craft insurgent objects out papier maché and other found materials. We first trace the Beat Generation's aesthetic roots within the experimental poetics of Romanticism and American Transcendentalism and then shift our focus to post-war Greenwich Village, Mexico, and the American West. We will complement discussions of these universal issues with material and historical considerations, examining how the works first appeared and were received. The BA programs are designed to give students knowledge of the literature and culture of their area of concentration, as well as to develop their linguistic competence in one or more o… We’ll then take up the development of congregational hymns, hymns sung by everyone in a congregation, to track the way that literary adaptation among Dissenters became both common and controversial. Students’ final projects will serve as the basis for a prospective library exhibition in concert with Special Collections. How did poems and their reception change in relation to the novel's development and standardization? Here's a roundup of several new features that Zoom has added over the last several months. The class meets for two eighty-minute sessions a week. (Genre Fundamentals, Theory). Drawing on the work of theorists such as Luce Irigaray, Julia Kristeva, and Judith Butler, we will explore what strategies these writers employ to depict an entity understood to be unrepresentable. Please Note: Due to the new canonical schedule, some classes may be shorter than they are scheduled for with the Registrar. This advanced language course helps students achieve mastery of composition and style through the acquisition of numerous writing techniques. We will focus primarily on novels and short stories, with a nod to the graphic novel at the conclusion of the course. This course examines Africa in film as well as films produced in Africa. Potential authors include Virginia Woolf, Gertrude Stein, Nella Larsen, William Faulkner, Zora Neale Hurston, and Claude McKay. Throughout, the course will draw on work from fields like sociology, history, and feminist and queer theory to consider changing conceptions of childhood, adolescence, and development, as well as the way that intersections of race, class, gender, sexuality, and ability shape categories and narratives of “girlhood.”. This introductory course is designed to provide a basic foundation in modern Korean language and culture by focusing on the balanced development of the four basic language skills of speaking, listening comprehension, reading, and writing. We’ll begin with a number of works from the eighteenth and nineteenth centuries (novels by Frances Burney, Jane Austen, Mary Wollstonecraft, Charlotte Bronte), and will move into novels, films, comics, and memoirs from the twentieth and twenty-first centuries that draw on or depart from some of those earlier texts. This course examines contemporary narratives about human rights and their violation, focusing in particular on “witnessing” and “testimony” as political and aesthetic forms. Along the way, we will ask how and why orientalist tropes have historically framed the exploration of issues like gender, sexuality, cultural decline, and futurity. How are the novel’s constructions of gender, race, and class related to the political status of colonized peoples? Through a survey of texts by and about Sally Hemings, Phillis Wheatley and Tituba, “the Indian,” we will consider the lives of three black women in colonial America. Brecht is indisputably the most influential playwright in the 20th century, but his influence on film theory and practice and on cultural theory generally is also considerable. This is a multi-genre course, in which we will read fiction, poetry, and non-fiction about migration. Starting with Said as a springboard, we’ll read a series of literary and cinematic texts—Gilbert and Sullivan’s comic opera The Mikado, Wong Kar-Wai’s film In the Mood For Love—alongside more recent theoretical accounts of orientalism by scholars such as Anne Anlin Cheng, Grace Lavery, and R John Williams. From the activist literature of the Chicano Civil Rights Movement to contemporary fiction and poetry, this course explores the forms, aesthetics, and political engagements of U.S. Latinx literature in the 20th and 21st centuries. Less Commonly Taught Languages of Latin America CLAS works with graduate students pursuing the less commonly taught languages of the region to recommend shared courses and summer options for Aymara, Haitian Kreyol, Mayan languages (including K'iche', Q'eqchi', … Course: Communicating Effectively: Free Expression, Civic Argument, and Public Advocacy. Students will also have the opportunity to work on later novelists whose work was importantly shaped by any writer in this influential trio: domestic fiction after Austen, historical fiction after Scott, and so on. We will pay close attention to not just how black artists have represented the city but the methodologies they have experimented with in studying and surviving it. (1650-1830, Theory). Centered around the twentieth century yet bookended by earlier and later poetry, the course is divided into four sections: African American, Native American, Latinx, and Asian American. Among many others, we’ll read poems by Myung Mi Kim, Amiri Baraka, Simon J. Ortiz, and Claudia Rankine. Orientalism: in the 19th century, this word referred both to the disciplined study of Asian cultures in Western academia, and to a school of European painting characterized by its fanciful and exotic depictions of Asia (and the Middle East in particular). Our readings on the New Woman will likewise guide our analysis of the period’s more intimate histories. And what does “unrequited” really mean anyway? Migration itself represents a physical relocation; writing about migration both expresses and requires an intellectual relocation. As we take up how storytellers "make it real" we will address key elements of narrative, including point of view, characterization, voice, tone, diction, syntax, setting, symbolism, pacing, modes of mediation, intertextuality, motifs, and figuration. Why do readers and audiences find unique pleasure in the agonizing tragedy of feelings not returned? One effect of early English capitalism is its raising of the question, what constitutes a lot? After some initial attention to the magazine and pulp culture that helped to establish the genre, we will spotlight major SF movements (Afro Futurism, Cyberpunk, Biopunk, etc.) We'll draw critical readings from Aristotle's Poetics, Jean-Jacque Rousseau, Anna Laetitia Barbauld, Mikhail Bakhtin, Gérard Genette, Jacques Derrida, and Gabrielle Starr, among others. *This course also includes a weekly screening session. All rights reserved. Our focus will be to connect narrative form with the realities of imperialism and colonial rule, but we will also draw on other genres of nineteenth-century cultural production such as print journalism, visual art, and political essays in order to help us trace the sociopolitical conditions that made empire possible. She produced a body work that was crucial for both Austen and Scott, different as they were between themselves, not to mention for later writers as different as Emily Bronte and Kasuo Ishiguro. This course explores the various strategies and techniques that authors have used to tell stories that claim in one way or another to be realistic. *Participants will be assigned to specific topics based on area of expertise. “Moððe word fræt.” These are the first words of a riddle that students will learn how to read in this course. At least six electives for the major must be courses offered by the Department of Linguistics (i.e., courses whose numbers begin with LING). This class will ask students to think between feminist science and technology studies, theoretical approaches to questions around social and biological reproduction, and the opening up of reproductive possibility found in feminist science fiction. Instructor consent required. We will study specific protest events, from pioneers of the artform like Bread and Puppet in the 1960s to the height of protest puppetry during the environmental and global justice movements in the 1980s-2000s. Disability, and Claudia Rankine and topics potential and notable language proficiency Arabic 30800/1! Black literary speculative fiction, literary criticism, travel literature, the immigrant source criticism! Poetry ‘ in the abstract ’ once called a “ postcolonial skeptic ” ), and Cicero last months! Can not bear your company. ” ( 20th/21st ) naipaul ( whom critic! Or Portuguese is required fifth year Chinese, plus content-based courses conclusion of the historical novel and photography stakes... 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