COURSE DESCRIPTIONS

Fall 2000

RSCP. 72100-The Renaissance & the Prestige of Modernity. M, 4:15-6:15 p.m., Rm. TBA, 3/4 credits, Prof. Elsky Cross listed with Engl 80900 & C L 80900

Since Burckhardt's founding study of the Renaissance in the 19th century, the prestige of the period has rested on its claim to be the inaugurating moment of modernity. Starting with Burckhardt, this course will review a variety of theories of modernity (some of the late 19th, but mostly of the 20th century) as they relate to the Renaissance, and as they appear in literature, history, art history, and philosophy. We will explore how the evolving definitions of Renaissance modernity responded to 20th century movements and ideas such as republicanism, fascism, feminism, the Early Modern, popular culture, and post-coloniality. Topics will include the pre-World War I American model of the Renaissance, the creation of a new American Renaissance school by emigres fleeing European fascism, and the reconfiguration of Renaissance modernity in Early Modernism and Transatlanticism. Primary texts will be drawn from, and will address issues in English, continental, and transatlantic cultures, and will be read in conjunction with representative theories of the modernity of the Renaissance. An oral report and either one long or two short papers are required. Because this is a cross-disciplinary course, students are encouraged to introduce materials from their home discipline.

RSCP 83100 - Anthony van Dyck: Art for the Courts and Counter-Reformation F, 11:45 a.m.-1:45 p.m., Rm. 3416, 3 credits, Prof. Koslow Cross listed with ART. 72100

In 1641 Anthony van Dyck expired at the age of 42. Though brief, his career is surely one of the most interesting of his age and his achievements among the most important. To mention but one: portraiture as we know it today would be inconceivable without van Dyck's innovations. Native to the great Flemish city Antwerp, in the Habsburg Netherlands, van Dyck matured at an auspicious moment, when his prodigious talent had ample occasion to develop. On the one hand, his talent was enlisted by the Catholic church in its reformatory program, the Counter-Reformation, while on the other hand, his unique gift in fashioning a likeness, a portrait, made him invaluable to the courts of Europe. Thanks to the numerous exhibitions held in 1999 marking van Dyck's birth four hundred years ago, study of the artist's oeuvre has been significantly facilitated. This monographic course will introduce the man and his art, and examine issues of particular historical and aesthetic interest. Among these are van Dyck's relationship to Rubens, his interest in Titian, patronage circles, working processes, crafting male and female identity, picturing children, gazing and glancing, fashion as art, tenderness and brutish violence, responses to the classical and humanistic culture, and, finally, van Dyck's impact on art, both contemporary and posthumous. Auditors permitted.

RSCP 83100 - Renaissance Survey: Gender Issues. M, 6:30-8:30 p.m., Rm. TBA, 2/4 credits, Prof. Hayes Cross listed with ENGL. 80900

The current (postmodern) argument that gender identity should be unfixed and fluid has its roots in the Renaissance. It is not simply that some Renaissance texts construct heterosexuality while others open the subliminal possibilities for homosexuality, but that in several Renaissance texts gender--and hence sexuality itself--is unstable and ambiguous. With this hypothesis in mind we will try to determine how and why puritanism and homophobia became dominant modes of thought in early modern England. We will also try to understand why there can be no direct, unmediated relation between masculine and feminine subject positions and how we might define sexual difference in a way that encourages diversity and change.

We will read the following primary texts: Philip Sidney, The Countess of Pembroke's Arcadia; Christopher Marlowe, Edward II; Shakespeare, The Sonnets and Richard II; Ben Jonson, Epicoene and The Sad Shepherd; Thomas Middleton, The Family of Love and Women Beware Women; John Webster, The White Devil; Aemilia Lanyer, Salve Deus Rex Judaeorum; Elizabeth Cary, The Tragedy of Miriam; Eleanor Davies, Prophetic Writings; Anna Trapnel, Visions and Poems; Andrew Marvell, Lyric Poems; John Milton, Samson Agonistes.

Theoretical and historical studies: Michel Foucault, The History of Sexuality and Herculine Barbin; Thomas Laqueur, Making Sex; Jonathan Goldberg,Sodometries;AllenBray, Homosexuality in Renaissance England;Valerie Traub, Desire and Anxiety; Catherine Belsey, The Subject of Tragedy Comensoli; and Russell, eds., Enacting Gender; Epstein and Straub, eds., Body Guards.

ART. 71500 - The High Renaissance in Italy. T, 4:15-6:15 p.m., Rm. 3416, 3 credits, Prof. Adams

This course traces the development of painting, sculpture, and architecture from the latter 15th century in Italy through the High Renaissance. Emphasis will be placed on the major artists in the context of their time. Some Mannerist works are also considered. The effects of religion's upheaval on art and society were particularly significant in the 16th century and these are also taken up in the course. Auditors by permission of instructor.

ART. 81500 -The Interaction of Italian and Northern Renaissance Art M, 4:15-6:15 p.m., Rm. 3416, 3 credits, Prof. Lane

A seminar dealing with the interchange of ideas north and south of the Alps from 1300 to 1525 in painting, manuscript illumination, and printmaking. Students will study such problems as the influence of Trecento painting and sculpture on Jean Pucelle, the parallels between the paintings of Jan van Eyck and Masaccio, Flemish influences on

Filippo Lipppi, the impact of Hugo van der Goes' Portinari Altarpiece on Florentine painting of the late fifteenth century, the influence of Memling's portraits on those of Perugino and Raphael, the impact of Schongauer's prints in Italy and Italian influences on Dürer's paintings and prints. Five (5) auditors permitted.

ENGL. 71400 - Shakespeare's Histories. T, 6:30-8:30 p.m., Rm. TBA, 2/4 credits, Prof. Elton

Of the three dramatic genres listed in the Contents of Shakespeare's First Folio (1623), this Histories remain the least adequately studied, though certainly among his most important works. This course will examine, among the histories, Henry IV, parts I and II Henry V. Richard II, and Richard III. Other histories may be included as time allows. These plays will be studied in their dramatic and poetic structure; in relation to the comedies and tragedies; and in relation to the historical texts (e.g., Holinshed) from which they derive. Requirements: One ten-page paper, whose first draft is due at midterm. Texts: Use the New Arden (now in its third edition), wherever possible. Become acquainted with the techniques of research and bibliographical tools. Acquire and read through the New Companion to Shakespeare; and note Elton essay on "Shakespeare and Ideas." Acquire a sense of the relations and descent of English monarchy. Be especially aware of the role of Falstaff with these plays, and relations to comedy.

ENGL. 71600 - Shakespeare in Context. T, 2:00-4:00 p.m., Rm. TBA, 2/4 credits, Prof. Levin

Shakespeare is regularly thought of as a unique and, by implication, solitary genius: a playwright without peer -- and without peers. This course seeks to correct that impression by reading a sampling of his plays alongside plays by some of his contemporaries, colleagues and inspirations, including Marlowe, Jonson and Middleton. In addition to striving for alert, nuanced readings of all the plays we survey, the following questions may shape our inquiries: What is specifically "Shakespearean" about Shakespeare's language or dramaturgy? How much of his work depends on conventions established and promoted by others? How do the playwrights we are reading register the influence of other writers? Why has Shakespeare been canonized to the exlusion of other members of the extraordinarily talented community of theater artists in which he worked?

Requirements will include an oral presentation and related short paper, and a longer final essay.

FREN. 72000 - Sixteenth-Century Poetry. T, 4:15-6:15 p.m., Rm. TBA, 3 credits, Prof. Nichols

Le seizième est un siècle riche en poésie, une époque à la fois complexe et agitée. Nous lirons les oeuvres choisies de cinq grands poètes de l'époque, Maurice Scève, Louise Labé et Pernette du Guillet de l'école lyonnaise, et Joachim de Bellay et Pierre de Ronsard de la Pléiade. Notre but sera de les comprendre dans le contexte d'une culture littéraire souvent déroutante pour un lecteur moderne.

HIST. 70800 - Reformation & Religious Wars, 1517-1648. T, 4:15-6:15 p.m., Rm. TBA, 3 credits, Prof. Prall

The course will look at the Protestant Reformation and the Catholic Reformation as theological conflicts, as well as the political, economic, and social changes which resulted. Attention will be given to the somewhat different history of the English Reformation. The Revolt of the Netherlands, the French Religious Wars, the Puritan Revolution, and the Thirty Years' War will all be examined.

Students will read approximately one book each week, in the process building a bibliography consisting both of classics in the field and current contributions. Students will write three papers of 8-10 pages each on assigned topics.

HIST. 79000 - Lit Early Modern Jewish Hist, Thurs, 4:15-6:15 p.m., Rm. TBA, 3 credits, Prof. Gerber

SPAN. 71900 - Span Prose Fiction of the 16th Century. T, 4:15-6:15 p.m., Rm. TBA, 3 credits, Prof. Lerner

En este curso se analizarán textos representativos de los diferentes géneros narrativos y la prosa del siglo XVI español. De esta compleja diversidad se han seleccionado cuatro obras conocidas en la historia literaria como modelos de la novela pastoril, la novela morisca, la novela de tradición celestinesca y el diálogo. Se analizarán las características narrativas e ideológicas que las definen y se explorará el contexto histórico en que se desarrollaron y alcanzaron gran difusión en el público lector. Además, se insistirá en el significado que adquieren para el lector actual. La blbliografía crítica correspondiente a los temas tratados se dará en clase. Los requisitos del curso incluyen, además de la participación en clase y cumplimiento de las lecturas asignadas para cada una, la presentación de una monografía final sobre otros ejemplos de los géneros analizados.

Textos
Jorge de Montemayor, Diana ed. Asunción Rallo, Madrid: Cátedra ed. Juan Montero, Barcelona: Crítica
El abencerraje, ed. Francisco López Estrada, Madrid: Cátedra
Francisco Delicado, La lozana andaluza, ed. Claude Allaigre,Madrid: Cátedra ed. Bruno Damiani, Madrid: Castalia
Juan de Valdés, Diálogo de la lengua, ed. José F. Montesinos, Madrid: Espasa-Calpe ed. Cristina Barbolani Madrid: Cátedra

SPAN. 82200 - Sem: Span Lit of the Baroque:Transmission and reception of Baroque poetry: Quevedo's corpus. Thurs, 6:30-8:30 p.m., Rm. TBA 4 credits, Prof. Schwartz

The purpose of this seminar will be to examine the constitution of Quevedo's poetical corpus, from the perspective of its production and transmission by manuscript and/or printed books, as well as its reading public. Issues to be studied include the problem of establishing the chronology of composition of certain sub-genres; the ms. transmission of his satirical poetry vis-à-vis the limited circulation of his love and moral poetry; the case of his circumstantial poetry ("poesía de elogio") and how these problems impinge on its reception.

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