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Projected Courses

 
 

Projected Courses

 

Spring 2015 Courses

Monday


French 86500

Poésie/Modernité
Professor Peter Consenstein

Course conducted in French.

GC 4:15-6:15pm
Room TBA, 2/4 credits

Tuesday


French 87000

Feminist Theories
Professor Domna Stanton

Course conducted in English.

GC 4:15-6:15pm
Room TBA, 2/4 credits

French 86200

Textes et théories du théâtre au vingtième siècle
Professor David Andrew Jones

Course conducted in French.

GC 6:30-8:30pm
Room TBA, 2/4 credits

Wednesday


French 79140

Crowds and North Africa
Professor Andrea Khaliil

Course conducted in English.

GC 4:15-6:15pm
Room TBA, 2/4 credits

Thursday


French 77020

Techniques of Literary Research
Professor Francesca Sautman

Course conducted in French.
First-year Ph.D. Program in French students only.

GC 11:45-1:45pm
Room TBA, 4 credits

See Also

Course Descriptions


FRENCH 86500

Poésie/Modernité (in French)
GC: Mondays, 4:15-6:15pm, 2/4 credits, Professor Peter Consenstein

Parmi les nombreuses définitions de la modernité, deux en particuliers nous aideront à cerner l'objet de notre cours. Pour le poète Charles Baudelaire, « la modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable ». Pour le critique Henri Meschonnic, la modernité préfère « oublier » l'individu pour donner naissance à un sujet qui se définit par la création littéraire et artistique. Or ce sujet entend un certain « rire dont l’écho retentit dans l’avenir… du présent qui reste présent. La modernité, c’est lui ». Ces deux concepts de la modernité ont en commun la notion du temps : un temps qui résonne, un temps dont les traits principaux sont l’instabilité et le changement. En effet, Baudelaire, Lautréamont, Rimbaud, Verlaine, Mallarmé et bien d’autres poètes encore, représentent non pas une mais des modernités aussi complexes que le siècle qui les a vu naître. Il s'agira pour nous d’entrer dans le jeu pluriel de la modernité et d’analyser les œuvres poétiques à la lumière des différentes théories de la modernité.

Liste préliminaire d’ouvrages critiques :

  • Paul Benichou, Selon Mallarmé
  • Yves Bonnefoy, Notre besoin de Rimbaud
  • Walter Benjamin, The Writer of Modern Life: Charles Baudelaire
  • Matei Calinescu, Five Faces of Modernity
  • Cecil Arthur Hackett, Autour de Rimbaud
  • Françoise Meltzer, Baudelaire's Modernity
  • Henri Meschonnic, Modernité modernité
  • Michel Mural, Le Coup de dés de Mallarmé—Un recommencement de la poésie
  • Marshall Olds, Desire Seeking Expression: Mallarmé's "Prose Pour Des Esseintes"
  • Georges Poulet, La poésie éclatée
  • Roger Shattuck, The Innocent Eye: On Modern Literature and the Arts
  • Seth Whidden, ed. La Poésie jubilatoire: Rimbaud, Verlaine et l'Album zutique

FRENCH 87000

Feminist Theories (in English)
GC: Tuesdays, 4:15-6:15pm, 2/4 credits, Professor Domna Stanton

This course will examine the various strains of feminist thought since the l970s, and strains within feminist theoretical positions. Beginning with conflicts around postructuralism and postmodernism, we will then analyze the women's studies/ gender studiesissue; the paradigm shift that writing of women of color represented; the sex wars; écriture féminine; the essentialist debates; Foucault and feminism; postcolonial and transnational feminisms; women's rights as human rights; material feminisms, class and social inequalities; and queer, transgender and ze. We will also consider the necessary but often problematic connections between advocacy and activism to theoretical work (praxis); and the future of feminist theories and their relation to other oppositional practices. The course will end with a brief presentation of some of the theories we did not discuss: ecocriticism, disability studies, the posthuman.

Work for the course: Whether the course is taken for 2, 3, or 4 credits, all students will be reponsible for doing the readings closely and for engaging consistently in class discussion. a Students who take the course for 2 credits will present in class a critical reading of one theoretical text, a reading that will also be submitted in writing (c 5-7 pp); these students will also take the final exam. b Students who take the course for 3 credits, will do all of the above and in addition, they will do a 10-page paper on a topic they select, in consultation with the instructor. They will also submit a thesis statement, a bibliography and an outline (the schedule will be indicated on the syllabus). c Students who take the course for 4 credits will do all of the above, but instead of a 10-page paper, they will do a 20-25 page paper on a topic they select, after consultation with the instructor; they will also submit a thesis statement, a bibliography and an outline (the scheduled will be indicated on the syllabus).

All readings and the syllabus for the course will be posted on Blackboard by January 26, 2015 at the latest.

Goals of the course:

  1. to be become conversant in the various theoretical strains in feminist thought from 1970s to today.
  2. to develop a capacity to read feminist theoretical texts critically
  3. to write analyses and critiques of theoretical texts (for the final exam; for their class presentations; and either in the 10 -page paper (3 credits) or the 20-25 page paper (4 credits).
Please address all questions to domna stanton (dstanton112@yahoo.com).

FRENCH 86200

Textes et théories du théâtre au vingtième siècle (in French)
GC: Tuesdays, 6:30-8:30pm, 2/4 credits, Professor David Andrew Jones

Ubu Roi marque une rupture avec le théâtre du dix-neuvième siècle, et la lecture de cette pièce sera notre point de départ pour une exploration des mouvements et innovations dans le théâtre au vingtième siècle. On parlera des sujets et des auteurs suivants : le surréalisme (Vitrac, Cocteau), le théâtre de la cruauté (Artaud), l’existentialisme (Sartre), le théâtre dit de « l’absurde » (Genet, Beckett), et l’influence de la critique poststructuraliste (déconstruction, féminisme, postcolonialisme) sur le théâtre (Duras, Gatti, Cixous, Tremblay, Césaire).

Liste facultative de lectures:

  • Artaud : Le Théâtre et son double
  • Beckett : En Attendant Godot; Pas moi Césaire : Une Tempête
  • Cixous : L’Histoire terrible mais inachevée de Norodom Sihanouk, roi du Cambodge
  • Cocteau : Orphée
  • Duras : India Song
  • Gatti : La Vie imaginaire de l’éboueur Auguste G.
  • Genet : Les Bonnes; Les Nègres
  • Jarry : Ubu Roi
  • Sartre : Huis clos
  • Tremblay : Les Belles sœurs
  • Vitrac : Victor ou les enfants au pouvoir

FRENCH 79140

Crowds in North Africa (in English)
GC: Wednesdays, 4:15-6:15pm, 2/4 credits, Professor Andrea Khalil

Course description: In this course we will study North African francophone novelists (e.g. Kateb Yacine, Yasmina Khadra, Assia Djebar, Anouar Benmalek). We will look at literature in light of predominant crowd theories including European theory (Le Bon and Canetti) as well as theorists specifically concerned with North Africa (e.g. Ibn Khaldoun, Pierre Bourdieu, Edmund Burke). We will consider the notion of ‘group feeling’ as a concept with deep roots in the region’s cultural history and how this concept has manifested in literatures of national liberation and post-colonial resistance movements.

Course expectations: Students will read on average one book per week, whether a theory text or a novel. In addition to the weekly readings and classroom discussions, each student will be asked to give a presentation either on one of the novels or on a crowd event and present a theoretical analysis of the event/novel engaging one or more of the assigned theoretical texts. Before turning in their research paper students will submit a proposal, first draft and final draft. For students taking the course for 4 credits, the final paper will be 25 pages and for 2 credits the final paper will be 10 pages.

The class will be conducted in English and the texts are available in English. A significant number of these texts exist in French (many are written originally in French) and French original versions can be used.

Goals: After having taken this course students will have an in depth knowledge of several North African novels and authors. Students will not only gain an understanding of various crowd theories but also learn how to apply them critically to the interpretation of literary texts as well as political and social events in North Africa. For any questions write to: andrea.khalil@qc.cuny.edu.

Preliminary reading list:

  • Anouar Benmalek, Abduction.
  • Gustave Le Bon. La psychologie des foules/ The Crowd: A Study of the Popular Mind.
  • Pierre Bourdieu. ‘The Social Space and the Genesis of Groups’ in Theory and Society 14: 723-44.
  • Edmund Burke III. ‘Understanding Arab Protest Movements.’ in Arab Studies Quarterly 8: 333–45.
  • Elias Canetti, Crowds and Power/Pouvoir et puissance.
  • Assia Djebar, Le blanc d’Algérie/Algerian White.
  • Assia Djebar, Les enfants du nouveau monde/Children of the New World.
  • Michael Hardt and Antonio Negri. Multitude: War and Democracy in the Age of Empire.
  • Yasmina Khadra, La part du mort/Dead Man’s Share.
  • Ibn Khaldoun,The Muqqadimah. (Translation by F. Rosenthal, Princeton UP).
  • Kateb Yacine, Nedjma.

FRENCH 77020

Techniques of Literary Research (in French)
GC: Thursdays, 11:45am-1:45pm, 4 credits, Professor Francesca Sautman

Ainsi que l’indique la description contenue dans le Handbook, la deuxième partie du cours “Techniques of Literary Research : se fixe deux buts. Continuer votre préparation théorique sur la base de textes particulièrement importants pour votre discipline et de leur application à des textes littéraires ou autres (films, par exemple) et développer votre propre voix intellectuelle à travers un travail écrit ou une communication de conférence.

Ce cours est aussi construit d’une manière très particulière. Dans la première moitié du semestre, nous effectuons des lectures appliquées de textes théoriques et prêtons attention à l’état de vos travaux personnels, présentés et discutes en classe régulièrement. Nos dernières lectures dans ce groupe sont tirées de deux ouvrages récents de Cathy Davidson, innovatrice reconnue dans le domaine des « digital humanities » et des nouvelles techniques et stratégies d’étude.

Ces textes seront : 1. Michel Foucault, *L’Ordre du Discours. 2. Judith Butler extraits de Gender Trouble. Feminism and the Subversion of Gender Identity (1990) et de Undoing Gender (2004) 3. Julia Kristeva, extraits de Pouvoirs de l’horreur. Essai sur l’abjection (1980). 4. Jean Baudrillard, extraits de Simulacres et simulation (1981). 5. Jacques Derrida, extraits de Mal d’archive (1995). 6. Giorgio Agamben *L’Ouvert. De l’homme et de l’animal [l’Aperto, 2002] 7. L’ère des « digital humaniities » : textes de Cathy Davidson. (Les textes marqués d’un astérisque seront lus en entier).

Dans la deuxième moitié du semestre, nous envisagerons l’impact des « digital humanities » sur votre préparation dans un programme de doctorat de français, et appliquerons certaines de ces nouvelles théories (travail collectif, travail partagé, investissement direct des étudiants dans tout le processus d’enseignement dans un cours, publicité de nos recherches). Ce sera A VOUS de décider des quatre dernières lectures du semestre (une liste de suggestions vous aidera à faire un choix, mais vous pourrez y ajouter d’autres titres). Chaque texte choisi par chacun des quatre étudiant/e/s dans le cours fera l’objet d’une discussion préparée par cet étudiant/e, qui rédigera un commentaire d’une dizaine de pages environ sur le texte. Ce commentaire peut être un essai d’application à un autre type de texte, ou une discussion générale des implications du texte choisi. Ce commentaire sera soumis à toute la classe et édité par nous tous. Le texte final vous appartiendra évidemment pour votre propre utilisation, mais nous réaliserons aussi un texte-bilan collectif de ces quatre interventions à rendre accessible à d’autres, et le niveau de cet accès sera discuté et fera partie de l’exerce théorique et pédagogique total.

Dès que le système Blackboard ouvrira les sites des cours pour le semestre prochain, certains textes et de nombreux détails d’organisation seront affichés. Pour accès avant la date officielle d’enregistrement dans les cours, prière de me contacter par courrier électronique.

See Also


COMPARATIVE LITERATURE 80100

Translation, Adaptation (in English)
GC: Wednesdays, 4:15-6:15pm, 4 credits, Professor Mary Ann Caws

Roger Fry would frequently request that his painter friends “translate” some work of art into another, of their own creation. We want to work with this notion of visual translation alongside the more usual linguistic one of transporting a text into a different language. Such experimentation entails a certain delight in adaptation, in reconfiguring various givens into some other construction, altering structure, style, and profile. The subjects will, in the best of moments, set up a positive interference, as the elements are configured in ways sometimes predictable, sometimes unexpected. For beginning examples: how the baroque and the surrealist impulse coincide in art and text, how an enlightenment figure can become sublimely modernist, how the translation of a poem in diverse epochs and languages may change its impact, how one story or novel can be presented in several films or plays with massive differences between them. The presentations, readings, and viewings and the periods, genres, and languages concerned will depend to a large extent on the visual and verbal interests of the participants. We are open to experiments.

MSCP 70100

Introduction to Medieval Studies: Contours of the Medieval West (in English)
GC: Wednesdays, 4:15-6:15pm, 3 credits, Professor Francesca Canadé Sautman

This introduction to Medieval Studies course is offered to prospective medievalists at the Graduate Center by the Medieval Studies Certificate program. It is a general course which addresses at once methods, sources, and major issues and themes of the Western Middle Ages and does so across disciplines. It can thus be also helpful to students in various disciplines with a Middle Ages requirement for their Program and are allowed to cover it with this one course. Finally, for those who already have completed medieval course work in their own field, but have not yet worked with the Certificate Program, it can be good way to tie in diverse aspects of medieval studies with their own discipline. The course is thus structured to address the needs of all three groups of doctoral students.

This semester’s course combines these general needs with a somewhat tighter focus around the three themes of time; space, and power--the latter envisaged also through those who lack power, and are disenfranchised or marginalized.

At the end of the course, students should have a good general understanding of the major historical and cultural issues of the European Middle Ages, such as the relationship of art, architecture and society, for instance; they should be aware of the major interpretation issues in the field of Medieval Studies; and be informed of the most current critical, theoretical and methodological trends in Medieval Studies. They should also have developed a preliminary sense of how cultural regions and budding nation states interacted and impacted each other during that period.

Semester Meeting Themes:

  1. “Medieval”: What does it mean? What are the issues of “periodization” and “temporalities? ” What does “touching the past” (Carolyn Dinshaw) mean?
  2. Time and Events. Rencesvals [Roncesvalles] (778), Hastings (1066),
  3. Real Time and Labor: Work, Labor, and their Symbolic Expression
  4. Inside and Outside of Time: Feast and Celebration
  5. Proximity of the Sacred: Cathedral and Church Space, Cemeteries, and Lived Space.
  6. Touching the Sacred, Material Traces: Relics, Cult Objects.
  7. Political Power Asserted.
  8. Power and Gender
  9. Power, Gender, Patronage and the Arts
  10. Transgression: Heresy
  11. Transgression: Heresy 2
  12. Transgression: Sexualities
  13. “Minding Animals”: the Border(s) between Human and Animal
  14. Exclusion Systems and Creating the Margin

The course requirements include:

  • Completion of assigned readings,
  • Class attendance,
  • A take-home midterm essay,
  • A final research project (about 20 pages),
  • A presentation of the individual project to the class.

There will also be the option of a different sort of individualized format for completing written work, based on the “portfolio” concept, to be discussed early in the semester with those interested. This format is best suited to those who have specific discipline-based needs and want to expand their practice of medieval studies in relation to their own field.

In all cases, students taking the course for 3 or four credits must expect to complete a full term paper (20-25 pages with bibliography), as well as a midterm and class presentation, or the equivalent, measured in size and time dedicated to the work.

Students taking the course for two credits (French Program and other Programs that offer that credit option) complete the readings, the midterm, and a presentation or short paper (but NO full term paper).