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Indiana University Bloomington - - Media History (Topic: Media and Technology)

M, 1:00 PM-3:30 PM, C2 272 Open to Graduates Only! Instructor: Max Dawson E-Mail: maxdawso@indiana.edu Office: C2 214 Phone: 856-5367 This class surveys a variety of historical and theoretical approaches to the study of new media. Though the class will examine the histories of digital media technologies such as the Internet and video games, our focus will not be digital media exclusively. Rather, we will take the term “new media” quite literally, concentrating on media during their period of novelty, when their material properties and cultural meanings are undefined, making them the subjects of intense negotiations between interested individuals and publics. By defining “new media” in this broad fashion, we will explore the ways that technology manufacturers, artists, cultural intermediaries, consumers, and audience members have deployed historically-specific conceptions of novelty at various points through the last two centuries in relation to a range of media innovations. In this respect, the class is both a history of new media technologies (including telegraphy, telephony, radio, television, cinema, the Internet, and video games) and a history of the concept of “new media,” particularly as it has been mobilized in various political projects. Though this course primarily draws on literature from the field of media and cultural studies, readings will also introduce students to foundational work in the sociology and history of technology, a field that has produced a number of landmark studies of media technologies. Class readings will be divided between case studies examining the histories of specific media innovations (especially studies that employ innovative methodologies or that consult unlikely sources), works of critical historiography, and theoretical work on such topics as medium specificity, technological determinism and social constructivism, the agency of users and non-users, failed technologies, the relationships between technology and aesthetics, etc. Authors studied are likely to include Raymond Williams, Marshall McLuhan, Michel Foucault, Brian Winston, Claude Fischer, Carolyn Marvin, Jay David Bolter and Richard Grusin, Lisa Gitelman, Ann Douglas, Lynn Spigel, Kristen Haring, Lev Manovich, Weibe Bijker and Trevor Pinch, and Ruth Schwartz Cowan. Assignments will include weekly reading responses, in-class discussion leadership, a book review, a paper prospectus, a twenty- minute conference style presentation, and a seminar paper of between twenty and thirty pages in length. The seminar paper may either take the form of a historical study or a consideration of historiographic theories or methods.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - National Cinemas (Topic: Latin American Cinema)

TuTh, 2:30 PM-3:45 PM, JH A107 Required film screening: Tu, 6:30 PM-9:00 PM, BH 135 Meets with HISP-S 695, CMCL-C 398, and LTAM-L 520 and L420 Open to Graduates Only! Instructor: Darlene Sadlier E-Mail: sadlier@indiana.edu Office: BH 844 Dating back to the 1950s, Latin American “New Cinema” has created the basic rationale and the practical strategies for what is sometimes called “Third Cinema”–a type of filmmaking that defines itself in opposition to both Hollywood commercialism and European aestheticism. The New Cinema movement produced numerous important films and theoretical writings, and strongly influenced media production throughout the world. Since the mid-1970s, film critics everywhere have acknowledged that it represents one the most innovative developments in the contemporary media, at least as significant historically as Italian Neo-realism or the French New Wave. This course will be devoted to major films and writings associated with New Cinema and to the works of a new generation of filmmakers in Latin America, whose growing international success has been compared to the acclaim achieved earlier by New Cinema directors. Taught in English, the course is interdisciplinary and cross- cultural in nature, emphasizing socio-economic and political issues that gave rise to a specific movement or trends. Knowledge of Spanish and Portuguese is desirable but not required. Assignments include two exams and a short research paper.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Rhetoric and Visual Culture

M, 10:00 AM-12:30 PM, C2 272 Meets with CULS-C 701 Open to Graduates Only! Instructor: Michael Kaplan E-Mail: mikaplan@indiana.edu Office: C2 219 Phone: 856-1365 Life in late modernity is lived with, among and through a staggering array of images—visual discourses that define the world and render it sensible, if not always unitary, stable and coherent. This mutual co- implication of the social and the visual is increasingly coming to be understood as at once the scene and effect of rhetorical operations, calling for theoretical approaches and critical methods that integrate but also push beyond the historiographic, institutional, formalist, philosophical, and sociological modes of inquiry typically associated with the study of images. In this course, we will examine several prominent attempts to theorize the rhetorical dimensions of the visual, focusing especially on the ways visual discourses engender and mediate relations of power that animate social life in late modernity. We will endeavor to identify and consider the challenges to and opportunities for approaching the visual culture we inhabit as radically rhetorical. Accordingly, we will have occasion to attend both to the processes of visual signification and to questions of social structure, dynamics of identity and difference, and forms of agency as these emerge in the context of the visual constitution of social sensibility. Seminar participants will write and present one or more position papers (3-4 pages) on course readings, as well as a seminar paper (15-20 pages) that performs a theoretically inflected, methodologically reflexive and critically productive analysis of some instance of visual rhetoric. Students will be encouraged to pay special attention to the ways problems related to citizenship, nationality, ethnicity, race, class, gender, and sexuality are negotiated in visual discourses.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Research Seminar in Rhetoric and Public Culture (Topic: Rhetorical Genealogy of Political Myth)

W, 9:30 AM-12:00 PM, C2 272 Meets with AMST-G 751 and CULS-C 701 Open to Graduates Only! Instructor: Robert Ivie E-Mail: rivie@indiana.edu Office: C2 247 Phone: 855-5467 Instructor Website: http://www.indiana.edu/~ivieweb/ As a research seminar, this course is organized around the original research undertaken by the students on the subject of political myth and its rhetorical genealogy. The first few weeks will be devoted to discussing some common readings on genealogy as a mode of cultural and rhetorical critique and myth as a constitutive property of political culture. Student projects will then become the focus of class discussions. Each student will outline a research project that may take a number of different directions. For example, some students may wish to undertake a genealogical critique of a given mythic formation (such as American exceptionalism) that is operative in a problematic discourse of national identity, homelessness, racism, etc. Other projects may pursue a theoretical focus, such as critically reviewing the scholarship on genealogy from the perspective of applying it to myth studies. Another option is to critically review the scholarship on a given political myth (in a historical and/or contemporary context) from the perspective of genealogy. There is no restriction on topic or approach so long as it addresses the genealogy of political myth. Students will share their paper proposal, an early draft, and a final draft with the class to facilitate a productive exchange of viewpoints in class meetings. Students will also facilitate class discussion by suggesting and providing access to one or two readings related to their research projects. The final paper should be the length and format of a typical journal article or book chapter in the student’s primary field of study. Initial readings in the course will be selected from the likes of Michel Foucault, Hayden White, Rene Girard, Joseph Mali, Richard Hughes, Stephen Daniel, Mircea Eliade, Northrop Frye, Bruce Lincoln, Carl Jung, Richard Slotkin, and Janice Rushing and Thomas Frentz. I will also share with the class my current project in genealogical critique, called “hunt the devil,” which critically examines origins of the mythic projection of evil in the age of terror.
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Indiana University Bloomington - - Seminar in Intercultural Communication (Topic: Beyond Mountains: Issues in Public Discourse, the Global and the Local)

M, 2:30 PM-5:00 PM, C2 102 Meets with AAAD-A 697 Open to Graduates Only! Instructor: Carolyn Calloway-Thomas E-Mail: calloway@indiana.edu Office: C2 249 Phone: 855-0524 In her compelling book, Bury Me Standing: The Gypsies and Their Journey, Isabel Fonseca quotes a weary Albanian Roma as saying, “When I die, bury me standing, because I have been on my knees all my life.” This poignant quotation has embedded within it implicit connections between class and politics and between the global and the local. The quotation is also hugely emblematic of what some scholars term the “underbelly” of the world’s globalization. The word, “underbelly, “ implies that researchers have insufficiently interrogated some of the most crucial global issues of our time, ranging from rampant epidemic diseases to the brain drain of health-care personnel from the developing world. Terry Eagleton suggests that one reason for the omission is that “much post-colonial theory (has) shifted the focus from class and nation to ethnicity.” Eagleton’s comment raises several key questions: Is post-colonial thought a substitute for liberation? Do postmodern norms of elitism work against new forms of politics and belonging? What is the local and global divide between rich and poor societies across a range of critical issues? And what discourses have the potential to change inequalities among world citizens? This seminar creates a forum for debate and discussion about the ways in which intersections between and among the politics of global health, global demands for democracy, environment, economic grievances, and ideological perspectives influence people who are thrust to the periphery. This course will also highlight the importance of understanding how discourses manifest themselves in debates over social justice and marginality. We will look strategically at public arguments centered on who gets to say what, when, how, and with what effect. We will be reading a disciplinary range of authors and speeches that have contributed to an understanding of relationships that obtain between the global and the local. India’s Navdanya environmental movement, health care efforts in sub- Saharan Africa, the “White Overalls” movement in Italy, and the 1999 Seattle World Trade Organization (WTO) and Genoa G-8 protests will be used as illustrative cases, along with other reform movements. Key texts will include speeches and writings by James Aune, Jagdish Bhagwati, Celeste Condit, Hernando De Soto, James Farmer, Michele Foucault, Laurie Garrett, Paul Gilroy, G. Thomas Goodnight, Parag Khanna, Wangari Maathai, Michael McGee, Arundhati Roy, Vandana Shiva, Cornel West, and others. Course Format: Although the class will be taught in a seminar atmosphere, some sections will begin with a min-lecture by the instructor, which will contextualize the particular topic or approach taken in the assigned readings. At each session students will give short presentations (10-20) minutes on the assigned readings, and will prepare and hand out a list of questions intended to facilitate class discussions of the readings. Course Requirements: Students are expected to attend classes, participate in class discussions, and complete assigned readings. Additional requirements include the following: 1. One Paper. You are required to write a 15-20 page paper which will incorporate your readings and draw upon the knowledge that you gained throughout the semester. The paper may relate to a particular theme, include a textual analysis of a body of speeches related to aspects of the environment, or it may analyze the rhetorical practices of a specific social justice movement. 2. Two short (3-4) reaction papers and two sets of discussion questions. Twice during the semester each student will be required to hand in a short paper which reacts to the week’s readings and discussion questions designed to facilitate discussions of that reading. These are not summaries, but rather papers which raise questions, criticism, and make connections with previous readings. Your individual oral presentation will focus on the same reading. The readings will be assigned collectively, and the short reaction papers will be due on the day of your presentation. Course Evaluation: 20% Class participation 30% Reaction papers & oral presentations 50% Research paper
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Seminar in Media Theory (Topic: Everyday Life & Cultural Studies)

M, 4:00 PM-6:30 PM, C2 272 Meets with CULS-C 701 Open to Graduates Only! Instructor: Ted Striphas E-Mail: striphas@indiana.edu Office: C2 213 Phone: 856-7868 Website: http://www.indiana.edu/~bookworm This graduate seminar is about everyday life as both problem and possibility for cultural politics. On the one hand, the humdrum routines associated with everyday life—waking, bathing, working, eating, consuming, playing, and resting every single day—may stifle human creativity and foster complacency. On the other hand, as Michel de Certeau, Henri Lefebvre, and others affirm, these very same routines also can be resources from which innovation might flow, to the extent that they present opportunities for doing the same thing all over again . . . but differently. This course will address this tension through four principal questions: what is everyday life? how does everyday life enable and constrain social and political action? in what ways has cultural studies engaged everyday life? and how might it continue to do so in ways that resist the field’s becoming intellectually and politically unimaginative—its becoming, in the banal sense, everyday? Roughly the first half to two-thirds of this seminar will be dedicated to exploring specific theories and practices of everyday life. Thereafter, we’ll investigate how the field of cultural studies can find itself subjected to everyday life’s deadening routines. Specifically, we’ll focus on everyday problems stemming from cultural studies’ institutionalization and internationalization. Our aim in this course, ultimately, is to think through the conditions necessary to reinvent the project of cultural studies for the 21st century—a more imaginative, effective, and globally relevant cultural studies which, with any luck, might help to reinvigorate everyday life as both theoretical category and domain of human practice. Books are likely to include: Michel de Certeau, The Practice of Everyday Life, vol. I; Michael E. Gardiner, Critiques of Everyday Life; Erving Goffman, The Presentation of Self in Everyday Life; Agnes Heller, Everyday Life; Gary Hall, Digitize This Book!; Henri Lefebvre, Critique of Everyday Life, vol. II; Henri Lefebvre, Rhythmanalysis; Meaghan Morris, Identity Anecdotes: Translation and Media Culture; and Kathleen Stewart, Ordinary Affects. We also will read essays by Mikhail Bakhtin, Rita Felski, Melissa Gregg, Lawrence Grossberg, Martin Heidegger, Michèle Mattelart, Meaghan Morris, Naoki Sakai, Gregory J. Seigworth, Dorothy Smith, Carolyn Steedman, and Raymond Williams, among possible others.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Seminar in Media (Topic: Fans and Participatory Cultures)

W, 1:00 PM-3:30 PM, BH 335 Required film screening: Tu, 7:15 PM-10:15 PM, FA 102 Meets with CULS-C 706 and AMST-G 751 Open to Graduates Only! Instructor: Barbara Klinger E-Mail: klinger@indiana.edu Office: C2 225 Phone: 855-1796 Over the last twenty-five years, media studies and Cultural Studies have seen increasing attention to reception, to the ways that audiences decode media texts. Previous theories had constructed the spectator as an abstract, disembodied entity who passively responded to the strategies and messages of media texts and industries. In reaction, scholars began to employ historical, ethnographic, and empirical research to examine how individual viewers or groups of viewers responded to films, TV shows, and other media within specific social contexts. These scholars helped diversify ideas of who spectators are and how they use media texts, showing the importance of age, gender, race, ethnicity, and nationality to discussions of viewing. Within this context, the study of fans has emerged as a particularly vital area of inquiry. Working against the commonplace misunderstanding of fans as crazies or misfits, researchers analyze the fan as a spectator par excellence–an avid, participatory consumer of media texts whose practices speak volumes about the interpretive strategies and pleasures of viewers. In this course, we will begin by examining the methodological tools used in fan studies (particularly ethnographic and empirical methods). As we proceed, we will examine a number of questions that have structured this area of research, particularly in relation to film, television, and new media. Who are fans and what makes their viewing habits and strategies distinct? What are the interpretive practices of fans and how do they affect textual decoding? How do fans use media as a resource in their everyday lives? How have new media, such as the Internet and multiple platforms of access to film and television, affected the formation of fan communities and interactions with media texts? Can we consider fan activities as subversive? What challenges do cases of transnational fandom represent for fan studies? These questions are posed as a means of understanding the intricate relationships between viewers and mass culture particularly, but not exclusively, in a U.S. context. Weekly screenings will showcase films about fans, as well as a broad range of media texts favored by avid viewers, from cult film and TV programs to fan-made videos. These screenings will provide the opportunity to think through the fan theory and criticism we will read in class. In turn, assigned readings (by Henry Jenkins, Matt Hills, and many others) will acquaint the student with the development of fan studies in the field and the major schools of thought that have helped to define this area of scholarship. Assignments will also include presentations and a research paper.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Major Characters in Literature: Bad Company

Please see Schedule of Classes for sections/times. meets A&H, Cultural Studies Requirements and fulfills the COLLEGE, School of Business and School of Education composition requirements when taken with English W143. Finally, a good reason to hang out with the wrong people and get credit for it: charismatic, deceitful, mysterious, cursed, unpredictable people. We will see just what makes a character a bad influence, how that influence spreads, and what other characters do about it. All sections will read Shakespeare’s Othello, Sophocles’ Oedipus at Colonus, and Herman Melville’s final masterpiece Billy Budd. This is your chance to meet Iago, Othello’s friend and one of Shakespeare’s most famous villains. Sophocles shows us what happens to the man who killed his father and married his mother, while Melville’s hero is so angelic he creates a scandal on the high seas. Each section will read additional works unique to that section that may include short stories, poetry, novels, and drama. Individual sections may also include television, art, music, and film. This course focuses on developing skills in critical thinking, clear communication, and persuasive composition. The workload includes three essays, mid-term and final exams, as well as shorter writing assignments. For composition credit, students must follow this course with CMLT-BE 146 (“Major Themes in Literature”) in the spring semester. Both BE 145 and BE 146 are automatically bundled with English W143, a one credit hour addition, to certify composition credit on your transcript.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Images of the Self: East and West

MW 2:30 pm - 3:45 pm Fulfills CS & A & H requirements What are Yin and Yang and how are they represented in Feng Shui? Why do Asians put their last name first? Our inquiry into the East will illuminate the ways in which these everyday, mundane questions are in fact related to much deeper issues such as the tension between self and society and the meaning of one's existence. Am I dreaming this dream of butterfly or is the butterfly dreaming of me? Or is the reality that I call nothing but the shadows on the wall while I am stuck in a cave? What does a ball of wax have to do with proving my existence? How has the idea of "good life" been imagined and formulated in the East and the West? How does the force of globalization affect and shape the relationship between the two? This class aims to provide a survey of Eastern and Western conceptions of the self and society through discussing literature, painting and film without privileging either perspective. By pairing Eastern texts with comparable Western counterparts, the understanding of both sides will be enhanced. The readings range from classical texts such as Plato, Descartes and Confucius to modern works by Friedrich Nietzsche, Jean Paul Sartre and Murakami Haruki. Assignments include one short essay (4-5pp), midterm exam and final paper (7-8pp). No prior knowledge of either Western or Eastern philosophy and literature is expected.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Pop Culture and Literature: The Green Movement

TR 5:45 PM - 8:00 PM Fulfills A & H and CS requirements What is "popular" culture and what is its relationship with that which appears to be its opposite, "high" culture? What does Oh Brother, Where Art Thou? have to do with Homer? What does Bride and Prejudice, or, for that matter, what do zombies have to do with Jane Austen’s Pride and Prejudice? How and why would popular culture revisit ancient myths or canonical authors? In this course we will try to answer these questions by pitting contemporary movies and texts against ancient epics, Shakespeare’s plays, and "established" novels. In order to define "popular" as well as "culture," we will be exploring the strange and perplexing ways in which old tales are retooled in order to tell new stories about facing adulthood in contemporary America: the expectations, fears, and responsibilities that various "popular" characters need to give a voice to. Course requirements: one exam, one presentation, two papers and several short assignments. This course will require your presence for several film screenings in the evening.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Culture and the Popular

TR 1:00 pm - 2:15 pm Fulfills A&H and CS requirements What is "popular" culture and what is its relationship with that which appears to be its opposite, "high" culture? What does Oh Brother, Where Art Thou? have to do with Homer? What does Bride and Prejudice, or, for that matter, what do zombies have to do with Jane Austen's Pride and Prejudice? How and why would popular culture revisit ancient myths or canonical authors? In this course we will try to answer these questions by pitting contemporary movies and texts against ancient epics, Shakespeare's plays, and "established" novels. In order to define "popular" as well as "culture," we will be exploring the strange and perplexing ways in which old tales are retooled in order to tell new stories about facing adulthood in contemporary America: the expectations, fears, and responsibilities that various "popular" characters need to give a voice to. Course requirements: one exam, one presentation, two papers and several short assignments. This course will require your presence for several film screenings in the evening.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Cul/Mod Exp: Interdis/Intl App: Hollywood Versus Nollywood

MW 9:30-10:45 3 cr. fulfills A&H, CS requirements Different in terms of production, international appeal and longevity, Hollywood and Nollywood (Nigeria) cinema industries are today producers of a genre of movie heavily marked by elements of the supernatural. The popularity of this specific film genre among spectators on both sides of the Atlantic begs for a comparative study of Hollywood movies such as Harry Potter, The Lord of Rings and Nollywood films such as Thunderbolt that make extensive use of the occult. Adding documentaries, scholarly and popular magazine articles to our tools of investigation, we will look for more points of convergence and/or divergence between the Hollywood and Nollywood occult movies, reasons for their appeal among spectators, and we will see what they suggest about the modern viewer.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Book Bites: Food Literature

TR 9:30-10:45 3 cr. A&H and IW credit In this course, we will read examples of influential food writing from the nineteenth century until today to learn more about how people use food to express their needs, desires and particular predilections. By juxtaposing texts from multiple genres—philosophy, memoir, novel, food reviews, and journalistic exposé—and from various countries, this course asks you to appreciate the wide impact that food has on how people see themselves, their relationship to each other and to their environment. You will learn how to critique writing about food, whether in fiction or literary nonfiction, as well as to write analytically about food yourself. This class carries A&H and Intensive Writing credit. Assignments will include four short, formal essays and a revision. Also, you will be required to eat out at least once and formally review your meal.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Comparative Literary Analysis: Writing about Writing

TR 2:30-3:45 *required for CMLT majors* This course introduces students to methods of comparative literary analysis. We will study works from a range of genres, periods, and national traditions, with a focus on texts that are themselves about writing or otherwise conscious of themselves as texts. By exploring the literary techniques that these works use to call attention to their status as works of art, we will trace the development of ideas about what literature is and how it creates meaning. We will also learn to expose additional, hidden potential readings and meanings in these and other literary texts. Students will refine their close- reading skills and improve their ability to craft essays in literary criticism—to write about writing themselves. Readings may include selections from Ovid, Metamorphoses, and Miguel de Cervantes, Don Quixote; William Shakespeare, The Tempest; short stories by Jorge Luis Borges or Italo Calvino; A. S. Byatt, Possession; Tom Stoppard, Rosencrantz and Guildenstern Are Dead; and a selection of lyric poems.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Science Fiction, Fantasy, and the Western Tradition

TR 2:30-3:45pm 3 credits Fulfills A&H requirements This class will examine various trends in the genres of fantasy and science fiction. We will deal with works of imagination produced both in the so-called free West and in totalitarian societies. While exploring larger themes of technology, religion and gender, we will also consider the ideological dimension of artistic creations born under different political regimes. Our reading list will include works by Ray Bradbury, Robert Sheckley, Stanislaw Lem, Mikhail Bulgakov and others.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Literary and Television Genres

TR 4:00 pm - 5:15 pm Fulfills A & H requirment In this course, we will examine the nature of genre in a variety of television shows, stories and other texts. We will discuss the ideological and practical implications and limits of genres by comparing the differences within each genre as it is represented in literature and television. These genres include: biography/memoirs, reality TV, detective fiction, SciFi, diaspora literature, comedy and others. Some of the questions we will try to answer include: What is a genre and what are the possibilities and limitations of genre? Has the 20th century evolution in the media (tv, internet videos, etc.) changed the idea of a genre? How did literature depict the same genres before the advent of television? How do both television and literature blur the boundaries between fiction and reality? Has television created genres that cannot exist in literature, or vice versa? To answer these questions, we will compare texts with TV shows every week, as well as other media. (There will be a separate time for TV showings). Texts/shows may include Kings (Bible & TV), Battlestar Galactica, Little Mosque on the Prairie, Sherlock Holmes, CSI or Bones, Bridget Jones’ Diary, Sex and the City, Kafka, the 7- Up series, Sarte and Red Dwarf.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Modern Literature and the Other Arts

TR 9:30 am - 10:45 am Fulfills CS & A & H requirements This is the course that takes us into the creative mind of the modern artist, composer and poet and into the analytical mind of the critic. In C255, we analyze works of art (painting, music and literature) of the 18th, 19th and 20th centuries, compare how these works interrelate and discover how they are unique. We learn what motivates the creative personality and how such a person turns materials, sounds, silences and language into art. We also observe how styles in the arts change over time. Students of C255 see, hear and comprehend art in new, exciting and discriminating ways. For example, we discover how a musician paints a seascape, how a painter composes motion and how a poet creates musical and visual effects in verbal expression. We also study how the arts evolved from the 18th century, through the Romantic era, and the early modern period. By the end of the course, the student-through her/his own secured powers of discernment, increased confidence and strengthened abilities of perception - will determine what constitutes a work of art. Requirements, Assignments and Course Activities: Visits to the IU Art Museum. Two 3-4 page papers and one 6-8 page comparative paper. Midterm and final exam; possible group or individual project. No prerequisites and no previous experience in literature, painting or music is required or expected. Attend at least three cultural events. Required readings (subject to minor change): Goethe, Sorrows of Young Werther Poetry anthology, revised throughout semester (Oncourse) Maupassant, selected short stories (Oncourse or e-reserve) Vaughan, Romanticism and Art Gay, Modernism Other short readings to be assigned throughout the semester (check Oncourse and e-reserve and stay tuned)
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Cross-Cultural Encounters: Culture Clash

Meets: MW 11:15 – 12:30 Provides Art and Humanities and Cultural Studies A credits When cultures collide, what happens to the people who get caught in the middle? Can they save their culture, create a new one, or learn to live in someone else’s? What do they see when they look across the cultural divide: themselves, an alien, a lover, a better way of life, the demise of civilization itself? We will see cultures and their conflicts defined by language, religion, politics, gender, love, and economics. Our authors come from ancient Rome (Tacitus), medieval France (Christine de Pizan), 19th century America (Herman Melville), and modern South Africa (J.M. Coetzee). The scope of the course welcomes students interested in literature, history, geography, cultural studies, religion, political science, sociology, and gender studies. We will examine how authors represent the meeting of cultures real and imagined, and especially how tales of foreign lands reflect on the cultures of the characters’ homelands. Workload will consist of two analytical essays, a final exam, short papers, and quizzes. There are no prerequisites for this course; however, completion of the university composition requirement is highly recommended. For more information: jwjohnso@indiana.edu
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Topics in Non-Western Film: African Cinema and Politics

MW 11:15-12:30 This is a course which focuses on politics as a topical issue in contemporary African cinema. Working through the popular assumption that new generation African filmmakers prefer to deal with formal and aesthetic issues at the expense of the kind of political filmmaking which preoccupied their precursors, the course looks at recent films which give equal weight to politics and aesthetics. Readings, screenings and class discussions will focus on a number of issues, including the relationship between art and everyday life, the impact of immigration and professional mobility on contemporary cinema, and the economics of filmmaking. Films to be studied may include Bamako, The Night of Truth, Moolaade, Amazing Grace, Sometimes in April, and Ezra.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Special Topics in Comparative Literature: Gender, Form and Language in Lyric Poetry

TR 1:00-2:15 This course will address questions of gender as they arise in the reading, analysis and interpretation of poetry. We will examine both poems whose relation to gender might seem obvious - love poems, poems written by men speaking in a woman's voice and vice versa, poems about abortion - as well as more formal aspects of poetry whose intersection with gender issues may be less obvious - genre, poetic language, intertextuality. Is the sonnet an inherently feminine genre? In what ways does the history of poetic address (often dead to women) create gendered expectations for the speaker? What is the relationship between the gender of the poet and modes of allusion?
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Special Topics in Comparative Literature: The Agnostic Bible

MW 6:15-7:30 Fulfills: A&H There is arguably no book of world literature that has been more embroidered, distorted, and misread than the Hebrew Bible. As the basis of Christian theology and the ultimate source of Jewish law, it is routinely commended even today as a moral and metaphysical guide,or as a repository of dogmatic truth. But there is a significant strain in the Bible--perhaps the predominant strain-- that is impatient with piety and suspicious of dogmatic wisdom, particularly the wisdom of those who presume on their knowledge of the uncanny central figure it calls God or Yahweh. Indeed, if one reads against the grain of tradition, the Bible is a book that revels in contradiction, invites questions but frustrates answers, views human morality, like divine "goodness," with skepticism, and treats its characters, legendary or historical, with irreverent license. In this course, we shall be exploring this skeptical strain in biblical literature, beginning with the books of Ecclesiastes and Job, continuing with parts of the Pentateuch and the Deuteronomistic history, and concluding with the Gospel of Mark. Theoretical questions about the epistemology of reading (how we know what we know) will be a constant focus, but we shall approach them through specific readings and narrowly focused discussion. Secondary texts will include essays on general and special hermeneutics as well as selections from modern biblical scholarship. Students will be asked to write several short exercises and a final paper. Prerequisite: a good background or active interest in literature or philosophy. A prior course on the Bible would be helpful but is not essential.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Special Topics in Comparative Literature: The Vanity of Power

Class meets 5:45 - 8:15 pm TW Fulfills CS & AH credit This course covers the study and interpretation of a playscript on the theme of power, taught by Senegalese filmmaker Joseph Gai Ramaka. Since the dawn of history and never more than today, political regimes abuse power, perpetrate violence on their own people with ripple effects reaching well beyond national borders, and are sometimes toppled. Through reading, reciting, gesture, and movement, the class will explore the meaning of Joseph Gai Ramaka's allegorical play Two and One-Thousand Voiced Fragments, about dictatorship in a fictive country.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Drama: The Enigmatic Guest

Meets TR 11:15-12:30 A guest arrives and a drama is set in motion. This is what happens in tragedies, comedies, and other dramatic forms from ancient Greece and Rome to modern Europe, America, Asia and Africa. The guests may be invited and welcome or else surprise visitors whose presence is highly undesirable; they may be imposing on the hospitality of an individual, a family or an entire city. Regal or humble, beneficent or malevolent, these guests and their hosts engage in ways that have created some of the most stimulating and enjoyable dramas of world literature. We will examine the staging of the guest/host relationship and its perversion in various theatrical and cultural contexts. The works we will be reading include: Sophocles (Oedipus at Colonus, Philoctetes), Euripides (Medea), Shakespeare (King Lear), Molière (Tartuffe), Racine (Andromache), Ibsen (Hedda Gabler), Chekhov (The Seagull), Wilde (The Importance of Being Earnest), Pirandello (Henry IV), Lorca (Blood Wedding),Brecht (The Good Woman of Setzuan), Mishima (Lady Aoi, Hanjo), Pinter (The Birthday Party, The Room), Soyinka (Death and the King’s Horseman). Assignments: one 5-6 page paper, one 7-8 page paper, a final exam.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - Narrative: The History and Theory of Narrative Forms

TR 1:00-2:15 *This course satisfies A&H requirements* This course will introduce students to the variety of narrative forms found in literatures from different times and cultures. We will examine some of the ways in which critics and theorists interpret the aesthetic, psychological, and philosophical aspects of narrative. Among the issues we will explore are the social functions of narrative texts, the relationship of gender and narrative form, the role of inter-textuality in narrative tradition, and the interplay of closed and open forms of narrative. In addition to examples of myth, fairy tale, parable, and legend, we will study more complex forms such as epic, romance, frame narrative, and novel. The readings for the course will include texts from ancient times to the twentieth century. We will begin with a selection of myths, fairy tales, legends, and ancient and modern fables, and then turn to longer narrative forms: The Odyssey, The Tale of Genji, The Arabian Nights, Yvain, Inferno, The Decameron, Lazarillo de Tormes, The Sorrows of Young Werther, Pride and Prejudice, To the Lighthouse, Things Fall Apart, and In the Labyrinth. Writing Requirements: Students will write one comparative essay (5-7 pages), complete two short projects on critical terms, and take a final exam.
Score: 6.9374547 Details | Listing | Web page

Indiana University Bloomington - - World Literature Before 1500

Tue/Thurs 2:30-3:45 This course carries the College Arts & Humanities credit. There is a literary world much bigger than Charles Dickens, and much older than the English language. This course surveys the world heritage of literature in translation from the beginning of history to 1500 AD. Rather than focusing on a small number of authors and books, this course will offer a smorgasbord of texts organized around themes such as: creation myths across the world, epic poetry from Greece, Rome, and India, the lyric imagination of China and Japan, Islamic and Buddhist conversion, the courtly love of medieval Europe, drama in the civic realm, philosophies of death and the good life, and much more. Homer, Virgil, and Dante are not neglected, though they are trimmed for those eager to see what the non-Western world has to offer. The performative context of these texts will be explored through reconstructed music, drama, and recitation. We will reflect on a number of key questions such as: how can we define a truly inclusive notion of world humanity? What can our pre-modern forebears teach us about existence? What is world literature?
Score: 6.9374547 Details | Listing | Web page

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