Level 500 Courses / Seminars (2023)

Assessment:

• Short term work 25%
• Long paper 50%
• presentation 10%
• translation 5%
• Participation 10%

Text:

• Robin Hood and Other Outlaw Stories
• Langland,labrador feathers
• choker,bird parliament
• lydgate,the crystal temple
• Being a"Mi Compleinte" and Other Poems
• Middle English Epistles of Christ
• Selected Heresy Trials
• Selected Mysterious Works
• Lectures on history and theory of law

Format:Seminar

Average monthly fees:maximum of 15 students

precondition: No formal requirement; however, all students should have read the entire textmetamorphosisbefore first grade. Knowledge of Ovid's other works and some history of Renaissance literature are also helpful.

Description:As the recent wave of translations and adaptations suggests, the Roman poet Ovid was a continuing source of inspiration for later artists and writers, transforming his love stories and metamorphoses. While it may seem fanciful to suggest that English literature begins with Ovid, it is clear that the burst of creative energy occurred in the sixteenth century.^ANDThe century we call the English Renaissance was fueled by the translations and adaptations of this multifaceted poet. In this course we will try to understand how and why Ovid approached the Elizabethan situation in particular. We examine how Ovid was taught at school and popularized through allegorical readings and English translations, and then look at how his stories and general verbal wit inspired and influenced the development of epyllia, drama, and love poetry. Does the poet associated with change help Elizabethans understand the changes that occur in their own time, just as he can help us in ours?

Assessment:seminar lecture (25%); 20-page thesis (50%); Participation (25%)

Text:

• On Web CT: Elizabethan Epilia Selections, Poetry, Translations, Commentary, and Emblems
• Marlowe:Hero and Leandro
• Spender: „Muiopotmos“;fairy queen3;changeable edges
• Shakespeare:Venus and Adonis,Rape of Lucrezia,a Midsummer Night's Dream,Andronicus Titus
• Ben Johnson:Cloridio;a poet
• Milton:com

Format:Seminar

Average monthly fees:maximum of 15 students

Expected student preparation:Past university-level courses that provide training in relevant fields: 18^AND- e 19^AND19th century British literature.

Description:This advanced seminar takes an in-depth look at the novels of Jane Austen (1775-1817), focusing on those she wrote in the second decade of the 19th century. Austen wrote drafts of her first three novels:sense and sensitivity,pride and Prejudice, jNorthanger Abbey– in the late 1790s and respond, often satirically, to Gothic, sentimental and Richardsonian fiction. Numerous critics have focused on Austen in her 18th-century context. This course begins with the first of the works he began writing in the 19th century: his interrupted novel The Watsons (c. 1805). Let's compare it to the novel "Lady Susan", probably written in the 1790s but copied by Austen in c. 1804. Let us now study his last three published novels,Parque Mansfield,ema, jconviction, as well as the novel "Sanditon", which he wrote but could not finish at the end of his life. We will also study his little-known manuscript Plan of a Novel. Special attention is paid to Austen's own comments on the art of fiction, both in her novels and in her letters. For this reason, the course also includes a study ofNorthanger Abbey, which contains Austen's most famous observations about novel writing.

Assessment:Participation (20%); Seminar lecture (30%); Seminar work (50%)

Text:

• Jane Austen,ema, Hrsg. George Justice, Norton
• Parque Mansfield, editor Claudia Johnson, Norton
• handwritten works, editors Linda Bree, Peter Sabor and Janet Todd, Broadview
• Northanger Abbey, Hrsg. Claire Grogan, Broadview
• conviction, Hrsg. Linda Bree, Broadview
• selected letters, hrsg. Vivien Jones, Oxford World Classics

Format:Seminar

Average monthly fees:maximum of 15 students

Expected student preparation:Earlier higher-level courses in the 19th century^AND19th century British literature, particularly the romance genre.

Description:This seminar examines constructions of national identity in canonical English novels of the 19th century. Our detailed analysis of the various national and religious rivalries depicted in these novels is complemented by a lively discussion of major scholarly works that have attempted to explain the phenomenon of national identity in Europe and beyond. With the support of this critical reading, we contextualize the representation of national identity in England in the 19th century in relation to important historical events such as the French Revolution; the emancipation of Catholics and Jews; the Oxford Movement; Colonialism; and continuing challenges to the stereotypical image of an "English gentleman" (or lady) in the late Victorian era.

Assessment:Participation (15%); three small critical essays (10% each); two short oral reports (5% each); final oral presentation (15%); 15-page thesis (30%)

Text:Walter ScottIvanhoe; Grace AguilarThe Valley of the Cedars; dickensianoA fairy tale about two cities; Burke and Carlyle on the French Revolution; by charlotte bronteShirleyand selection ofVillette, Por KonradHerr Jim; Critical readings by Benedict Anderson, Homi Bhabha, Asa Briggs, Liah Greenfeld, Michael Ragussis, Doris Sommer, Kate Trumpener and others.

Format:Seminar

Average monthly fees:maximum of 15 students

Description:In 1989, the Berlin Wall came down, marking the end of a period that not only affected the USA and the USSR, but encompassed the entire world. Following the latest research in the field, we will discuss literary works and films from the UK, US and countries of the Global South. What scientific and technological developments fueled the arms race, and how have they been portrayed in fiction? What literary genres emerged from the competition between East and West? What forms of masculinity and femininity were shaped by Cold War cultures? How does the Orient that is the subject of Cold War scholarship compare to the Orient that is discussed in postcolonial criticism? These questions form the starting point for our exploration of literary accounts of espionage and intrigue, the nuclear threat, the space race, new forms of imperialism, the Bandung Conference and the Non-Aligned Movement, African socialism, utopian and dystopian societies. In addition to films and literary works, we read essays by Jacques Derrida, Jean Franco, Timothy Brennan, Ann Douglas, Frantz Fanon, Aimé Césaire, etc.

Assessment(to try):presentation, 20%; Brief work on the theoretical text 20%, thesis 45%; Participation, 15%.

Course package:(available at McGill Bookstore)
Incluindo: Richard Wright,to colorful curtainand critical essays.

Books:

• Graham Verde,or american still
• Ngugi wa Thiong'o,diabo and cruz
• Marco Behr,the smell of apples
• Cristina Garcia,dream in cuban
• Salman Rushdie,Shalimar der Clown

Film:

• Dr. Strangelove, Dir. Stanley Kubrick
• The Manchurian Candidate, Here. Juan Frankenheimer
• Apocalypse now redux, Dir. Francisco Ford Coppola
• The hero,Director Zeze Gamboa
• delayed reaction, Dir. Johan Grimonprez

Format:Seminar

Average monthly fees:15 students

Text:Specific texts TBA.

Assessment:

• Presentation of the seminar 35%
• Long paper 50%
• Participation 15%

Format:Seminar

Average monthly fees:15 students

Expected student preparation:Previous university-level courses that provide some training in relevant areas: critical analysis of poetry and fiction; twenty^ANDCanadian literature of the 19th century.

Description:An in-depth look at the poetry and fiction of Michael Ondaatje, focusing on his evolving sense of the contemporary artist's responsibilities towards history, aesthetics and culture. The first half of the course will focus on Ondaatje's poetry, looking at many of the distinctive traits of his work: emphasis on the figure of the bandit, madness, eccentricity, eroticism and the temptations that silence offers. In this context, we will read short and long poems, for exampleThe Complete Works of Billy the Kid. The second half of the course is devoted to Ondaatje's fiction and its postmodern exploration of the centre, margins, historical reconstruction, modes of representation and the writer's political role. The course also covers two of Ondaatje's semi-autobiographical works, includingfamily runjthe cat's table.

Text:

• the cat's table
• cinnamon peeler
• The Complete Works of Billy the Kid
• go through the slaughter
• point of view
• the english patient
• In the skin of a lion
• family run

rating (preliminary): Participation (10%); 1 oral presentation (20%); short essay (30%); Thesis (40%)

Format:Seminar

Average monthly fees:maximum of 15 students

Description:This course is designed to bring together the Institute of English's streams of literary and cultural studies around the concept of the uncanny, a concept that, in its definition and practice, goes straight to the troubled heart of literature, film and other media. The course may also appeal to drama and theater students who are interested in theory, as the uncanny cannot be fully conceived without the concept of theatricality. Together we will try to trace over 150 years of American culture in some of its most poignant manifestations in literature, film, radio and television; it is the tradition where "things are not as they seem," where ordered complacency gives way to vast unknown forces, where time is disjointed and the individual character/reader/viewer/listener is radically lost. We will try to anticipate the uncanny in three overlapping realms: in social worlds that defy navigation, in natural environments that defy mastery, and in technologies that create their own imperatives. If each of these domains harbors American dreams of equality, borders, and progress, it can only go to show that there is nothing more sinister than the very idea of ​​America.

To use:For the first class meeting, all students read the first three items in the course packet: E.T.A. "The Sandman" by Hoffmann, "The Uncanny" by Freud and "Uncanny Thinking" by Samuel Weber.

Assessment:Magazines 50%, participation 40%, presentations 10%

Text:Possíveis autores incluem Nathaniel Hawthorne, Herman Melville, Edgar Allan Poe, Charlotte Perkins Gilman, Frank Norris, Edith Wharton, William Faulkner, James Baldwin, Shirley Jackson, Philip K. Dick, Thomas Pynchon, Cormac McCarthy e Colson Whitehead.

Possible movies includeSchwindel, Seconds, Chinatown, The Stepford Wives, Rite of the Daughter, Blue Velvet, Safe,jCorte de Meek.

Radio and TV will feature Orson Welles' Panic Broadcast, among otherswar two worldsand consequences ofLa zona del crepusculo.

Format:Seminar

Average monthly fees:15 students

Expected student preparation:Previous college-level courses in drama and theater, literature, or cultural studies of the type that taught you to conduct original research and disseminate your interpretations of that research to various academic institutions.

Description:This seminar will draw much of its theoretical orientation and conceptual concerns from the arguments developed by Peter Brooks inThe melodramatic imagination: Balzac, Henry James, melodrama and the modality of excess(1976; reprinted with a "new preface" in 1995) and in several book chapters and articles in which he postulates that "melodrama is a form for a post-sacral age in which the polarization and hyperdramatization of forces conflicting with need to locate and make evident, legible, and operational those broad possibilities of being that we hold to be extremely important, even if we cannot derive them from any transcendental belief system.To advance his case, Brooks examines recurring terms and concepts, including the confluence of verbal and non-verbal signal systems; hysteria as a bodywriting exercise; repressed affects and effects; psychoanalysis as a melodramatic heuristic device; aesthetic values ​​and ethical concerns of the sublime, the beautiful and the picturesque; the literal and figurative journey from which it would not be possible to return, to a kind of Konradian "heart of darkness", "somatic form" and somatic psychology; 'Expressionism'before the letteras inherently a kind of excess; guilt and what is often presented somewhat paradoxically as its antinomy, purification; "'Demonic Terror'", "Manichaean Demonology"; "the Gothic castle [as] an architectural approach to the Freudian model of the mind"; "an epistemology of depth"; "moral occultism"; the "romantic" conventions that govern and are articulated by the "case-exclusion-redemption" triad; the "naturalization of dream life"; "The Melodrama of Psychology"; the functions and forms of "rhetorical excess"; the poetics of torture and terror; the phenomenon of “autonomization”; "The moles ofblood voice;” "'the text of mutism'"; the appetite for miracles; the joys of virtuous acting; magical transformations of everyday life into the realm of the extraordinary; the closed space paradigm; "the language of presence used to express absences"; the "anaphoric" and "demantized" character of the vocabulary and syntax of sign language; try to speak “the unspeakable” and go beyond the limits of representation; and the ubiquitous presence of doubles.

Although Brooks includes a study of Balzac and James novels, this seminar will focus on stage plays, with perhaps some forays into the study of late 19th and early 20th century melodramatic films. In addition to Brooks, students are expected to draw for their essays and presentations on the large body of theoretical/historical work on melodrama, much of which Brooks references, much of which is suggested in discussions with me, including books, chapters, and articles. by Michael R. Booth, Eric Bentley, Laura Mulvey, Jacky Bratton, Jim Cook, Christine Gledhill, Elaine Hadley, Michael Hays, Anastasia Nikolopoulou, Maurice Willson Disher, Jeffrey N. Cox, Thomas Postlewait, Jane Moody, David Mayer, Marvin Carlson , Gary Richardson, Bruce McConachie, Simon Shepherd, Nina Auerbach, E Ann Kaplan, TS Eliot, Richard Altick, Louis James, Martha Vicinus, Robert Heilman and Denis Salter. An instructive work that serves as a kind of metatext for the study of Brooks is that of Martin Meisel.Achievements: Narrative, visual and theatrical art in 19th century England,reflecting a wide range of melodramas in connection with an engagement with painting and fiction. Study of these works will introduce the concerns found in Brooks, but will also introduce another complementary set of interrelated themes, themes, structures and modes of articulation, including the view of the melodramatic tableau as an exercise in affective pictorial anagnorisis generated by both movements. From stasis. ; the gentrification of melodrama; Christian mythical poetry; the surveillance and normalization of traditional gender roles, along with the incipient questioning of those roles; fears of industrialization; exploitation of workers, along with resistance by workers, along with ongoing rebellions and fears about the potential for full-scale political revolution; the dire consequences of land enclosures and the greedy actions of absentee landowners; the human suffering caused by rampant urbanization; interracial struggle and the creation and legitimation of racist discourse; what Jacky Bratton described as "the strong ironic influence of the comic dimension of Victorian melodrama", which in many ways was the element that added complexity to the sublime drama of good and evil; the juxtaposition of radical and conservative values ​​and value systems, some of which play the same game; the project of expressing 'voices from below', thus challenging the rigid divisions of the class system; what Emily Allen, in glossing over Elaine Hadley's work, referred to as the way in which "the melodramatic mode provided a public and theatrical paradigm for resistance to the hierarchies of market capitalism"; the phenomenon of defamation of a woman in at least one melodrama, a movement that raised questions about female agency and identity; and the use of melodrama as a tool to advance and legitimize the chauvinist project of world imperialism.

The works to be studied will not be considered as dramatic literature, but astheatrical textsis selected by Charles Robert MaturinBertram; or the Castle of San Aldobrand, de Thomas Holcrofta mysterious story, de Isaac PocockThe miller and his men, Tom Taylorthe ticket clerkSra Heinrich Holzit's from lynne, Henry Irving e Leopold LewisThe bells,Henry Arthur Jones e Henry Hermanthe silver king, Dion Boucicaultthe corsican brothers,Or Octoroon, jThe Poor of New York, David BelascoThe Girl from the Golden West, James Robinson PlatteThe Vampire, C. H. HazlewoodLady Audley's Secret, Douglas Jeroldblack eyed susanjthe day of rent,Henry M. MilnerMazepa; or the wild horse of Tartary,. . .Dramatized from the poem by Lord Byron, de John William BuckstoneLuke the Workman; or the prodigal son, JohnWalkerthe factory boy, von WilkieCollinsMondsteine Charles Dickens e Wilkie CollinsThere is no public road.While some of these works do not fall exclusively into the general category ofMelodramaHowever, they are children of melodrama, a generative, prolonged, multi, inter and intratextual mode of literary and theatrical expression.

Text:

• Brooks, Pedro.The melodramatic imagination: Balzac, Henry James, melodrama and the modality of excess. New Haven and London: Yale University Press, 1976, rpt. with a new preface, 1995.
• With the exception ofit's from lynnethe game,the silver king,Mondsteinthe game,the ticket clerk,The Factory Boy, Lady Audley's Secretthe game,black eyed susan, jthe rent day- All in one course package - All papers are available for download from LION (Literature Online).
• melodramatic fantasyjfindingsIt will be available on library reservation.

Assessment(provisional): full and continuous participation in the spiritual life of the seminary: 15%; presentation of a play and/or text on the history of theory: 15%; an 8-page essay that emerges from this presentation in the form of a distilled critical argument: 20%; a scientific article 50%, with an analytical line, to treat all themes/subjects individually, in the order of 15 to 20 pages.

Format:short lectures; conducted discussions; individual and collective presentations containing interrogative questions and answers; and mini-performances when warranted

Average monthly fees:10-15 students

Special note for prospective students:Many of the images we will examine can be offensive, difficult and/or emotional. By enrolling in this course, you agree to treat this material with the same care and seriousness that you would treat any other subject.

Assessment:

• Oral presentation (15 minutes): 20%
• Summary of the oral presentation: 15%
• Long paper 50% (20 pages)
• Participation 15%

Selection of possible films (subject to change):

• Fireworks(Kenneth Zorn, 1947)
• A love song(Jean Genet, France, 1950)
• morning meat(Stan Brakhage, 1956)
• window water baby movements(Stan Brakhag, 1959)
• kiss(Andy Warhol, 1963)
• Scorpio Ascendant(Kenneth Zorn, 1963)
• christmas on earth(Bárbara Rubin, 1963)
• Blowjob(Andy Warhol, 1964)
• Sofa(Andy Warhol, 1964)
• my cheater(Andy Warhol, 1965)
• fuses (Carolee Schneeman, 1964-1967)
• flaming creatures(Jack Smith, 1963)
• blonde snake(Ken Jacobs, 1963)
• Sins of the Fleshapoids(Mike Kuchar, 1965)
• Part of the End of War Mandala(Paul Sharits, 1966)
• Hold me while I'm naked(Georg Kuchar, 1967)
• TAP(Paul Sharits, 1968)
• volar(Yoko Ono, 1970)
• Deepthroating(Gerard Damiano, 1972)
• behind the green door(The Mitchell Brothers, 1972)
• boys in the arena(Wakefield-Poole, 1971)
• Rose Narzisse(James Bidgood, 1971)
• The last tango in Paris(Bernardo Bertolucci, 1972)
• two dikes(Barbara Hammer, 1974)
• double agent 73ÖSatan was a lady (Doris Wishman, 1973, 1975)
• Misty Beethoven Overture(Radley Metzger, 1975)

partial bibliography:This course contains a selection of

• David Alyn,Make Love, Not War: The Sexual Revolution, An Unrestrained History
• Sally Banes,Greenwich Village 1963
• Jennifer Barker,the tactile eye
• Leo Bersani,Is the rectum a tomb? and other essays
• Jonathan Crary,observation techniques
• douglas crimpado,"Our Kind of Movie" Andy Warhols Movie
• Jeffrey Escoffier,Larger than life: the history of gay porn cinema
• Michel Foucault,history of sexualityBanda 1.
• Sigmund Freud,Three essays on the theory of sexuality
• David James,cinema allegories
• amelia jones,Body art / professional interpretation
• Irigaray Light,This genre which is not a
• John Lewis,Hollywood tornou-se Hardcore
• Herbert Marcuse,Eros and Civilization
• Laura Marcos,Touch: Theory of the Senses and Multisensory Mediajthe skin of the movie
• Maurice Merleau Ponty,The Phenomenology of PerceptionjThe visible and the invisible
• José Esteban Muñoz,Cruising Utopia: the before and after of the queer future
• Yoko Ono,Pampelmuse
• Ara Osterweil,Flesh Cinema: the corporeal turn in American avant-garde cinema
• Guillermo Reich,The function of orgasm
• Andy Warhol,A filosofia de Andy Warhol
• Linda Williams,Hard Core: Power, Pleasure and the "Madness of the Visible"
• Linda Williams,sexual projection

Format:Seminar

Average monthly fees:15 students

Description:The course discusses silence and the mute figure in cinema and literature. The focus is not on silence as a sign of repression or oppression, but on silence as a productive place that has the effect of amplifying the voices, fears and forces around you. That is, we will ask what interests are fulfilled to replace the silence of the mute. You could say that this is a course in cultural ventriloquism. We will inevitably discuss the fetishization of truth, identity and voice. The theoretical framework starts from some of Michel Foucault's ideas about the productivity of power through silence; There are also some short readings on Silence and the Voice that take on a Foucauldian perspective. With that in mind, we will read a series of fictional works and analyze films in which there is a mute character.

Assessment (preliminary):attendance and participation, 10%; oral presentation, 20%; Summary of movies and books, 70%

Text(tentatively):

• Michel Foucault,The History of Sexuality, Volume 1, an introduction, trans. SOJA. Sheridan Schmied, Selection, (Harmondsworth: Penguin, 1979)
• Cloe Taylor, "Confession and Modern Subjectivity",The culture of confession from Augustine to Foucault: a genealogy of the "confessor animal"(Routledge, 2008)
• Miguel Chion,"The last words of the mute character",to voice not cinema,Edited and translated by Claudia Gorbman (New York: Columbia UP, 1999
• Valerie Hassel,Disconnected articulations: the politics of the voice and Jane Campion's theory.the piano“Journal of Women's Studies, 10:2 (September 1994)
• Kathryn Harrison,The Seal Woman(Nova York, Random House, 2002)
• Bárbara Gody,Senhor Sandman(Toronto: HarperCollins, 2007 [1995])
• Gunter Weed,or drum, Handel. Brion Mitchell (Nova York: Houghton Mifflin, 2009 [1959])
• Jonathan Safranfoer,Extremely Loud and Incredibly Close(Boston: Houghton Mifflin, 2005)

Film:

• the piano(Directed by Jane Campion, 1993)
• Persona(Director: Ingmar Bergmann, 1966)
• Johnny Belinda(Directed by Jean Negulesco, 1948)
• talk to her(Region: Pedro Almodóvar, 2002)
• sweet and low(Director: Woody Allen, 1999)
• One flew over the cuckoo's nest (Regie Milos Forman, 1975)

Format:Seminar

Average monthly fees:15 students