We shall endeavor, thus, to discern the authenticity of the creative relationship of each artist with himself and subsequently with others. Our work will be based on three or four texts by Baudelaire and Flaubert, it being understood that additional works of criticism will illuminate the discussion of these texts.
Discussions in both French and English. A weekly session in French will be held for French majors and graduate students. PQ: Not open to first-year undergraduates. The French Enlightenment marks a blinding explosion of moral, philosophical, and artistic creativity. The dynamics of self and other are explored as vehicles for critical thought as well as a playful, even ironic understanding of a modern self that is being defined and constructed in and through many of the works that we will read for this course. The dialectics of passion and reason are examined in this unfurling of a newly self-conscious modernity.
This introductory-level course will examine some of the great works of the French Enlightenment in their specific relation to the world we have become. Works by Voltaire, Montesquieu, Diderot, and Rousseau, as well as Marivaux and Beaumarchais; genres: theater, novels, philosophical dialogues, and tales. This is an introductory-level course. Discussion, readings, and writing in French. The Caribbean is often described as enigmatic, uncommon, and supernatural. While foreigners assume that the Caribbean is exotic, this course will explore this assumption from a Caribbean perspective.
We will examine the links between Caribbean and Old World imagination, the relationship between exoticism and Caribbean notions of superstition, and the way in which the Caribbean fictional universe derives from a variety of cultural myths. The first half of this course will provide an overview of key performers, artistic collaborations, recordings, historical events, and stylistic innovations that shaped the evolution of French popular song in France and Europe from to the present.
Claire Denis is one of the major artistic voices in contemporary French cinema, and one of the most challenging filmmakers working today. In over 25 years, she has created an impressive body of work from across a wide variety of genres ranging from semi-autobiographical films informed by her own experiences during her childhood in Africa Chocolat, White Material to allegorical horror films Trouble Every Day.
Currently she is working on her first English language science-fiction film High-Life. We will also have a look at her lesser known films for television, her documentaries about dance and music, and her short films. Students taking the class for French credit are expected to complete written assignments and readings as applicable in French.
This seminar will present a critical survey of the principal authors, concepts, and the main though not exclusive emphasis will be the period of silent film and theorists writing in the context of French and German cinema. We will study the aesthetic debates of the period in their historical context, whose central questions include: Is film an art? If so, what specific and autonomous means of expression define it as an aesthetic medium?
What defines the social force and function of cinema as a mass art? We will pair readings of poetic, dramatic, and narrative works from the 17th-century e. Course taught in French. Questions we will address include how do we constitute and navigate these collections? How do we conceive of digital tools in ways that speak to humanists and humanistic social scientists?
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How do we incorporate these tools and approaches into discursive argumentation and other traditional humanistic and historical modes of inquiry. No technical background is required, but basic computer skills and reading knowledge of French would be welcome. History concentrators may direct their coursework in this class toward the completion of a pre-BA essay for the major using primary sources.
We will also examine their theatrical dimension, working in conjunction with the preparation for a Court Theatre staging of two of the comedies.
This course will be bilingual French and English , all texts will be read in French and most courses aside from those dedicated to theatrical adaptation conducted in French. This course proposes an overview of the contemporary auteur cinema in France. After examining the legacy of the New Wave and their concept of the auteur, we will screen works by a new generation of filmmakers who have been instrumental in creating innovative approaches to cinematic narrative, form, and style.
Course readings will include interviews with filmmakers, analyses of their films, as well as contributions providing theoretical frameworks for considerations of authorship, gender, sexuality, post-colonialism, ethnicity, and ethics. After examining the legacy of the New Wave, as well as the cultural and economic contexts for independent film production in France today, we will screen works by a new generation of filmmakers who have been instrumental in creating innovative approaches to cinematic narrative, form, and style.
Introductory-level; taught in French. Denis Diderot, philosophe paradoxal. In many ways Denis Diderot is the emblem of the French Enlightenment in all its seriousness. But for all his commitment to the cause of the philosophes, Diderot is the most elusive and self-mocking of them all. His novels turn the world on its head. His rationality is haunted by a mad derision that makes him the most complex, the most elusive, and perhaps the most delightful of all the philosophes.
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His novels are hilarious, his art criticism profoundly innovative, his philosophy deeply revolutionary, his libertinage scandalous. Readings and discussion in French, but English tolerated.
We will consider the relation between literature and other media including music, opera, and the visual arts and gauge the impact of French classical criticism on the broader European scene, considering its reception and contestation in Britain, Italy, Spain and Germany. Course conducted in English, but reading knowledge of French is required; students taking course for French credit must do all written work in French. Thinker, poet, historian, Edgar Quinet had a profound influence in nineteenth-century France. Very much a European, he had a deep understanding of Vico and was among the very first to introduce German thought into France.
He opened new perspectives in the understanding of medieval culture as well as the French Revolution and the Empire.
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Readings and discussion in French but comments in English are also welcome. Papers and student presentations in French or English depending on student's concentration. PQ: Undergrads must be in their third or fourth year. This course will consider the foundational transformations of Western thought from the end of the Middle Ages to the threshold of modernity. It will provide an overview of the three self-conscious and interlinked intellectual revolutions which reshaped early modern Europe: the Renaissance revival of antiquity, the "new philosophy" of the seventeenth century, and the light and dark faces of the Enlightenment.
First-year students and non-History majors welcome.
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PQ: Students seeking French credit must read French texts in that language. More than a school of philosophical thought, existentialism was an intellectual movement that dominated French culture in the years following World War II. Why did existentialist thinkers turn to forms of literary expression, writing plays and novels? How did they shape the reception of other writers, and how did later writers revisit existentialist concerns?
This course will focus on fictional texts that readers have misrecognized as factual accounts, as well as the less frequent case of factual texts misidentified as fictional. Feminism in Great Britain, France, and America has produced a rigorous intellectual, theoretical, and aesthetic legacy within the field of film studies.
This course will discuss the ways in which fiction imagines a multitude of individual cases meant to incite reflection on moral practices. How should a history of sexuality take into account scientific theories, social relations of power, and different experiences of the self? We discuss the contrasting descriptions and conceptions of sexual behavior before and after the emergence of a science of sexuality.
Other writers influenced by and critical of Foucault are also discussed.https://viepourlacom.tk
One prior philosophy course is strongly recommended. In our study of two decades in the history of French cinema, we will track the rise of the poetic realist style from the culture of experimentation that was alive in both the French film industry and its surrounding artistic and literary landscape. As an exercise in the excavation of a history of film style, we will consider the salient features of the socio-political, cultural, theoretical, and critical landscape that define the emergence and the apex of poetic realism, and that reveal it as a complicated nexus in the history of film aesthetics.
Main texts by Dudley Andrew and Richard Abel will accompany a wide range of primary texts. This class is cross-listed with the Department of Romance Language and Literatures and may be taken for French language credit in which class the student will follow the French language requirements for the course.
In our study of this important decade in the history of French cinema, we will track the rise of the poetic realist style from the culture of experimentation that was alive in both the French film industry and its surrounding artistic and literary landscape. It reviews major trends of this literature, from the pre-World War II assimilationist period to the contemporary creations in Africa and France. Additionally, individual creations representative of different periods are reviewed in detail in class or for a final paper produced by the students.
In the end, the students will be able to characterize the different trends of African literature of French expression and illustrate them with specific works. Students seeking French credit will need to complete readings as well as written work in French.
The idea that men and women use language differently is a common trope today, yet this was not always understood to be the case. In this course, we will investigate the origins of modern assumptions about the relationship between sex, gender, and language by tracing their conceptualization in a wide range of literary, theoretical, and scientific discourses.
Readings include texts from seventeenth-century ethnography, eighteenth- and nineteenth-century philosophy and philology, and twentieth-century literature, linguistics, and feminist theory. Reading and discussion in English; students who know German or French will have the opportunity to read in the original. The easing of political life and the relaxation of private morals which came to characterize the long reign of Louis XV was mirrored by the development of a new conception of art, an art more intimate, decorative, generally amorous and often erotic.
It is these last two related dimensions which are the basis of a new visual aesthetic which constitute the subject matter of this course. Artistic subjects, the mechanisms to represent them, their metaphorical stakes, and their phenomenological effects on the beholder will therefore be considered as the expression of a particular historical and ideological context.
It is in this context that love became the symbol of a king who privileged peace against war, and where emotional pleasure triumphed over moralizing values and asserted itself as a new aesthetic category. Taking up the French historical technologies of the guillotine and the barricade, this doctoral seminar explores the history of political spectacle, violence, death, and resistance as also part of a history of figuration—conceptualized by Julia Kristeva as the establishment of a relation between two historical realities—across media.
This seminar thus seeks to examine the methodological stakes of inter-medial and interdisciplinary history and historiography that draws equally from French history, literature, visual art including sculpture , architecture, and film. While our sessions, including film screenings, will at times be devoted to understanding the function of the guillotine and the barricade in French history, others will demand a more abstract conceptualization of these forms and technologies.
How do both figures suggest something of their value and development at various revolutionary moments that extend the political into the realm of signification, art and aesthetics?
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