(Offered as GERM 260, ARCH 260 and EUST 260) This research-based sophomore seminar will explore the often dynamic representations of race and place in works of primarily German and European performance, narrative, the graphic novel, architecture and landscape design, and the visual and electronic arts.
(Offered as RUSS 241 and FAMS 341) Lenin proclaimed, famously, that cinema was “the most important art of all” for the new Soviet republic. This course explores the dramatic rise of Russian film to state-sanctioned prominence and the complex role it came to play in modern Russia’s cultural history. We examine the radical experiments of visionary filmmakers who invented the language of film art (Bauer, Kuleshov, Eisenstein, Vertov, Dovzhenko); the self-conscious masterpieces of auteurs who probed the limits of that language (Tarkovsky, Paradzhanov, Sokurov); and the surpri
(Offered as GERM 222, AMST 222 and EUST 217) What happens when we try to see the U.S. from abroad, from elsewhere? Might the American Dream and its successes and failures appear in a different light when seen by, say, a German-Jewish writer in exile in 1940s L.A.?
(Offered as GERM 222, AMST 222 and EUST 217) What happens when we try to see the U.S. from abroad, from elsewhere? Might the American Dream and its successes and failures appear in a different light when seen by, say, a German-Jewish writer in exile in 1940s L.A.?
(Offered as EUST 122 and HIST 122[EU/TC/TE]) Readings in European Traditions II will provide an overview of major historical developments in modern European history, including the development of the modern state and society, the transformation of early modern political and social structures under the impact of modern ideologies, revolutions and mass politics, the emergence of nation-states in imperial contexts, the contested definition of boundaries of Europeanness. Limited to 25 students. Spring semester. Professor Semyonov.
(Offered as ENGL 487 and FAMS 425) In the years following WWII, a series of social, economic, and political transformations dramatically reconfigured American life. Cinema served as both mirror and catalyst during this period, reflecting national crises while also contributing to the reorganization of American culture. This seminar explores both sides of this dynamic, examining how filmmakers represented the dilemmas of the post-WWII period, and how artists, studios, and lawmakers sought to intervene in such dilemmas via the cinema.
(Offered as ENGL 441 and EUST 374) [Before 1800] In this course, we read a selection of English and other European lyrics (in translation) from the twelfth through the seventeenth centuries.
(Offered as ENGL 435 and THDA 335) We don’t just think, speak, or write our ideas; we perform them, too. Think TED Talks, political rallies, or 400-level seminars in English. In this course, you will read plays that are fueled by an argument and arguments that look like plays. Readings will range from ancient philosophical dialogues to modern “plays of ideas”–from essays on pedagogy to works of social theory. As the semester wears on, you will begin to research your own angle on our central theme: ideas performed.
(Offered as ENGL 388 and FAMS 240.)
(Offered as ENGL 385, FAMS 308, SWAG 309) As an artistic and industrial form, film depends on acts of collaboration. Such acts take place at the level of production, whether on a Hollywood lot that might employ hundreds if not thousands of people to make a single film or in an independent artisan’s work in which one primary maker works with the subjects she films.
