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RSCP. 83100 - Remembering & Repressing: Early Modern Cultural Appropriation and Historical Trauma   [27038] 3 or 4 four credits,  M, 6:30-8:30pm, Elsky, Martin Cross listed with ENGL 81100 One of the consequences of the mounting critique of historicism has been the rise of memory studies. This course will explore the various ways anachronic memory seeks to replace history in early modern literature and culture.  We will begin with an introduction to cultural memory studies, with special emphasis on the construction of a coherent personal and social identity by projecting the past into the present as overlapping temporalities.  We will look at the various ways the arts made the past part of everyday life, but we will place special emphasis on works in which the most startling effects are produced by resistance to integration.  Throughout the course we will explore the role of memory at a time of uncertain, ambivalent, and conflicted national and religious boundaries.  We will look at the period’s most ambitious memory project, the retrieval of classical antiquity. We will attempt to redefine the concept of imitation as anxious and conflicted memory, especially in Petrarch,  and then move to classical imitation in England as repressed memory of Roman tyranny in Britain filtered through a variety of ethnic pasts—Celtic, Gothic, and Norman, leading to the manipulation of overlapping pasts to establish national identity, as in Shakespeare.  The second half of the course will turn to the period’s other major memory project, religious memory, specifically representations of traumatic memory during England’s Catholic and Protestant reigns. We will consider how Catholics and Protestants remembered their own pasts and expropriated each other’s during times of persecution. We will end this half of the course by considering the memorial re-mapping of the scriptural and medieval Jewish past, including the discovery of Jewish remains in London. The course will conclude with a refreshing reminder look at the period’s iconic meditation on the futility of memory, Thomas Browne’s Urn Burial. In addition to Petrarch, Shakespeare and Browne, readings will include Jonson, Herbert, and Stow, as well as excerpts from Early Modern historiography, both Catholic and Protestant, and art historical materials. Assignments include oral report and longer term project.



CL 88300 Machiavelli & the Problem of Evil [27058] M, 6:30-8:30pm, Oppenheimer, Paul Niccolò di Machiavelli (1469-1527) is not only recognized as the first modern political scientist, distinguished by his empirical approach to political and historical questions, but as the first and possibly foremost investigator of the role of treachery in politics as well as the problem of evil. This course examines along these lines his ideas about politics, history, Fortuna, destiny and chance, together with his influence on the history of drama (through his Mandragola), considering especially his The Prince, The Discourses, and assorted selections from other works. Machiavelli’s influence on philosophy, fiction, drama, and film will be taken up in terms of Shakespeare’s Richard III, Nietzsche, Conrad’s Heart of Darkness, Pirandello’s Six Characters in Search of an Author, Riefenstahl’s film Triumph of the Will, and Orwell’s Animal Farm. The instructor’s biography, Machiavelli: A Life Beyond Ideology, is recommended but not required, as is his Evil and the Demonic: A New Theory of Monstrous Behavior. — One research paper, plus a brief in-class presentation.

CLAS 70200 Latin Rhetoric and Stylistics [27009] R, 6:30-8:30pm, McGowan, Matthew This course offers an introduction to composition in Latin and a survey of prose styles from Cato the Elder to the Vulgate. Each week we will tackle a different genus scribendi and review individual points of syntax and stylistics via practice exercises and free composition. It is hoped that by the end of the course students will have gained a deeper knowledge of Latin sentence structure and idiom and a greater appreciation for a broad range of prose styles in Latin. There will be weekly assignments (pensa) that will include sentences for translation and free composition. There will also be weekly reading assignments from E.C. Woodcock's A New Latin Syntax and from other scholars analyzing a particular author's style. The scholarly essays will provide the background for the brief report (= breviarium, c.15 mins.) that every student will be asked to do at least once over the course of the semester. In addition, each week we will read select passages from D.A. Russell's Anthology of Latin Prose (Oxford). Required Texts (all available on Amazon):D.A. Russell, Anthology of Latin Prose (Oxford). E.C. Woodcock, A New Latin Syntax. Gildersleeve's Latin Grammar by B. Gildersleeve and G. Lodge. Course meets at Fordham, LC Lowenstein, Room 404 PERMISSION OF EO REQUIRED

HIST 75000 Colonial Americas, 1492-1776 [27257] R, 2:00-4:00pm, Waldstreicher, David  If “colonial America” is not -- or not merely -- the prehistory of the United States, then what is it?  In recent decades there has been a turn away from approaching North American and Caribbean colonies as a series of emergent and distinct communities or societies, and toward seeing them, first as “contacts,” “contests” or “conquests," then an “Atlantic world”-in-formation. Most recently, these approaches seem to meld and, interestingly, return in part  to perhaps the oldest of approaches to early American history: a notion of the period as shaped fundamentally by the creation, entanglements, and  clashes of Spanish, British, Dutch, French, and Amerindian empires. Our readings will focus on attempts to use “empire” to understand both the big picture and the local lived realities, including work that takes a neo-imperial approach to the coming of the American Revolution. Among the key questions that will occupy us: does “empire” offer something analytically valuable that “atlantic” or “global” approaches do not? Do neo-imperial histories have a bias toward certain subjects, interpretations? Do they bring Africans and Native Americans into something like the prominence they actually had? Have correctives that emphasize transatlantic or imperial economies, politics, and wars come at the cost of the advances social historians made in delineating the making (and unmaking) of communities or the local experiences of natives, of settlers, of slaves? Where does “empire” leave seemingly separate subjects like religion and gender? In a historiographical moment in which cultural history seems to have triumphed, does a culturalist sensibility enable, or set appropriate limits to, a revised imperial approach? 

SPAN 82200 Seminar: Spanish Literature of the Baroque: The Power of the Classics in the Poetry of L. de Góngora and F. de Quevedo [27209] M, 4:15-6:15pm, Schwartz, Lia The purpose of this seminar will be to “re-historicize” the work of these two masters of the Baroque, so as to get acquainted with forms of production of poetical texts.

At the same time, attention will be given to their aesthetics, the “rhetoric of wit”, later explained and codified by B. Gracián in his Agudeza y arte de ingenio. In order to understand their conception of the creative process, a map will be drawn of Greek and Roman authors, whose works were published in new editions in their original languages, and in translations into Spanish, between the end of the fifteenth- and the beginning of the seventeenth-centuries.

At the same time, a basic review of the anthologies and manuals used as textbooks in school and university will allow students to perceive innovation in the context of what had become common knowledge. From this perspective some important works by Góngora will be studied among his sonnets, canciones, romances and his Fábula de Polifemo y Galatea, and Quevedo’s poetic innovations, in particular the neo-classical forms that he adapted into Spanish, the Anacreontic ode, the Greek epigram, the Pindaric ode, Roman elegy and Roman satire.

Concepts of criticism such as imitation and specific aspects of Baroque poetics will be also examined. Modern editions of Góngora’s work will include Jesús Ponce’s edition of Fábula de Polifemo y Galatea, Biruté Ciplijauskaite’s edition of his sonnets in Clásicos Castalia, and José María Micó of his Canciones; for Quevedo’s poetry, see J.M. Blecua’s edition of Poesía original, and Schwartz’s and Arellano’s ,Un Heráclito cristiano, Canta sola a Lisi y otros poemas Barcelona: Crítica, 1998. A more complete bibliography of editions and critical studies will be distributed in class.

SPAN 87200 El Quijote [27186] R, 2:00-4:00pm, Alvar, Carlos Pires de Afinales del siglo XIX había empezado a incorporarse al mundo del espectáculo el cinematógrafo. Nacido en Francia, las primeras películas, de apenas un minuto de duración, no tardaron en buscar en el Quijote su fuente de inspiración: si el tema triunfaba en el teatro, en el circo y en la música, sin duda sería también un éxito en su versión para la pantalla. Y, en efecto, todo parece indicar que en fecha tan temprana como 1898 se rodó en Francia un Quijote, que no tardaría en ser seguido por otro de 1903, de Lucien Nonguet y Ferdinand Zecca, que en 430 metros recogía quince escenas de la novela. Los méritos de la película de Nonguet y Zecca fueron numerosos, pues la duración de la misma les exigió soluciones para que el conjunto no fuera la simple unión de escenas inconexas: la presencia de letreros impresos entre los diferentes episodios aseguraba –por primera vez en la historia del cine- la continuidad narrativa, a la vez que la fastuosidad de los decorados transformaba la imagen en un mundo maravilloso, desconocido hasta entonces. Esta película se vio en España en exhibiciones gratuitas con motivo del III Centenario de la publicación del Quijote, en 1905. Algo más tarde, en 1908, Narcís Cuyás dirigió El ingenioso hidalgo don Quijote de la Mancha, que no era sino la puesta en movimiento de unos pocos fotogramas relativos al episodio de Grisóstomo y Marcela. Era la primera incursión del cine español en el tema. En el curso propongo analizar los temas más destacados en la filmografía quijotesca, el tratamiento dado a la obra de Cervantes, el papel desempeñado por los protagonistas –incluyendo a las mujeres-, y el tono general que transmiten las distintas versiones, adaptaciones y continuaciones, de acuerdo con el momento histórico. El objetivo no es otro que estudiar las relaciones que se establecen entre la literatura y el cine, tomando como base un texto bien conocido y adaptado numerosas veces en España y fuera de España: todo ello, aprovechando el IV Centenario de la publicación de la segunda parte del Quijote, que tendrá lugar en el año 2015.