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COURSE
DESCRIPTIONS
Spring
2010
RSCP.
82100 - Research Techniques in Renaissance Studies GC: T,
2:00-4:00 p.m., Rm. TBA, 3/4 credits, Prof. Clare Carroll, [10255] Cross
listed with C L 71000
The course is designed to help students work on their own research for their
dissertations, orals, or research papers in Renaissance Studies.
We will study how the material conditions of texts influence their
transmission and interpretation. Readings will include articles on the
history of the book, as well as on literary and cultural history.
We will also closely examine and read primary texts in manuscript and early
printed form. Students will receive instruction in topics specifically
related to research in the early modern period: codicology, paleography,
textual editing and analytical bibliography.
The major assignment for the course is an annotated bibliography. Other
assignments include exercises in paleography, analytical bibliography, and an
oral report related to one of the readings.
We will make visits to the Manuscript and Rare Book Collections at the Morgan
Library.
Reading list (texts from which weekly readings will be selected, and useful
reference works):
Michelle P. Brown, A Guide to Western Historical Scripts; Understanding
Illuminated Manuscripts
A. Cappelli, Dizionario di Abbreviature latine ed italiane;
Roger Chartier, Forms and Meanings: Texts, Performances, and Audiences
from Codex to Computer
Elizabeth Eisenstein, The Printing Revolution in Early Modern Europe
Adrian Johns, The Nature of the Book
Lucien Febvre and Henri-Jean Martin, The Coming of the Book: the
Impact of Printing 1450-1800
D. C.
Greetham, Textual Scholarship: An Introduction;
David Kastan, Shakespeare and the Book; James A. Knapp, Illustrating
the Past in Early Modern England
Articles by Blaise Agüera y Arcas, Cyndia Clegg, Robert Darnton, Arthur
Marotti.
RSCP.
83100 - Early Modern Reformations GC: R, 4:15-6:15 p.m.,
Rm. TBA, 3/4 credits, Prof. Sarah Covington [10256] Cross listed with HIST
70800
This
course will explore the religious reformations that took place in England and
Europe during the sixteenth and seventeenth centuries, focusing on the most
recent as well as classic research on subject.
In addition to an emphasis on historiography, students will read the major
protestant and Catholic theologians and mystics of the era, as well as
reformation-influenced literary texts by Erasmus, Spenser, Milton, and
others.
In addition, contemporary phenomena including persecution and the witch hunt,
will also be explored as they relate to Protestantism and Catholicism at a
key moment of crisis and transformation.
ART.
70010 - Art & Artists of Spain, 1450-1700 GC: M,
9:30-11:30 a.m., Rm. TBA, 3 credits, Prof. Wunder [10315]
This course will explore the visual arts in the Spanish Empire with special
attention to the place of the artist in early modern Spanish society.
We will explore a wide range of art objects, including processional
sculpture, the retablo (altarpiece), still life painting, and court
portraiture. Readings will familiarize students with classic historiography
and the growing recent scholarship on the arts in Golden-Age Spain and
colonial Latin America.
Some class sessions will be held at the Metropolitan Museum of Art and the Hispanic
Society of America. Auditors by permission of instructor.
Preliminary reading
Marjorie Trusted, The Arts of Spain: Iberia and Latin America,
1450-1700 (Penn State Press, 2007).
ART.
70010 - Italy, Spain & Islam 1450-1650 GC: M, 11:45
a.m.-1:45p.m., Rm. TBA, 3 credits, Prof. James Saslow, [10314]
Although
often studied in isolation, the arts of Spain, Italy, and the Ottoman Empire
had many fruitful interconnections in the early modern period, as ships,
artists, and artworks crisscrossed their shared Mediterranean basin for
trade, diplomacy, and war.
Beginning with the conquest of Naples by Aragon ca. 1450, which led to
Spanish domination of half the Italian peninsula, this lecture course will
examine selected case studies in cultural exchange among these three linked
areas, from the sultans' importation of Venetian artists to Istanbul, through
the imposition of Italianate styles to cement the Reconquista of Spain from
the Moors, to works ordered in Italy by successive Spanish kings and the
travels of important artists back and forth between various Italian and
Spanish territies (e.g., Francesco Laurana, Pedro Machuca, Sofonisba
Anguissola, El Greco, Ribera, Velazquez), including briefly the role of
Italians in the Spanish campaign to evangelize the Americas.
A class trip to the Hispanic Society collections is planned.
In addition to weekly readings and discussion, there will be a midterm slide
quiz; for their final project, students will have the choice of a written examination
or a research paper.
Four (4) auditors permitted.
Preliminary reading
Jonathan Brown, Painting
in Spain 1500-1700, chaps. 1 and 2.
Rosamond Mack, From
Bazaar to Piazza: Islamic Trade and Italian Art, 1300-1600,
introduction and chap. 1.
ART.
85020 - The Book of Hours Unbound: French & Netherlandish Manuscript
Illumination 15th-Century GC: T,
2:00-4:00 p.m., Rm. TBA, 3 credits, Prof. Barbara Lane, [10327]
Two
of the most elaborately illuminated manuscripts of the fifteenth century will
on view in New York this spring: the Belles Heures, executed for the
Duke of Berry between about 1404 and 1409 (The Art of Illumination: The
Limbourg Brothers and the Belles Heures of Jean de France, Duc de Berry,
Metropolitan Museum of Art, March 2 to June 13), and the Hours of
Catherine of Cleves, probably produced in Utrecht around 1440 (Demons
and Devotion: The Hours of Catherine of Cleves, Pierpont Morgan Library
and Museum, January 22- May 2).
Both of these manuscripts will be exhibited unbound, offering the
unprecedented and never-to-be-repeated opportunity to study their miniatures
as individual folios.
This
seminar will be organized around these exhibitions, studying the two
manuscripts in the context of fifteenth-century illumination in France and
the Netherlands.
Possible topics for seminar papers include the iconography of the unusual
cycles of miniatures in these manuscripts, their relationship to each other or
to panel paintings or other manuscripts produced in France and the Low
Countries during this period, and the problematic identity of the Master of
Catherine of Cleves.
A few auditors will be accepted if space permits. The total number of
students cannot exceed 12, because a few classes will be held in the museum
galleries where the manuscripts are exhibited.
Preliminary
Readings
Defoer,
Henri L.M., et al. The Golden Age of Dutch Manuscript Painting.
New York, 1990, especially pp. 146-164.
Husband, Timothy. The Art of Illumination. The Limbourg Brothers
and the Belles Heures of Jean deFrance, Duc de
Berry.
New York, 2008.
Wieck, Roger. Time Sanctified: The Book of Hours in Medieval Art and
Life. Second edition. New York and Baltimore, 2001.
C L. 70300 - Literature & the Ancient World: Latin GC:
W, 4:15-6:15 p.m., Rm. TBA, 4 credits, Prof. Jacob Stern, [10258]
Permission of instructor required.
This
course will begin with a review of Latin grammar and syntax.
We will then read weekly selections from various classical, medieval and
renaissance authors; these will be translated and discussed during class
meetings.
Readings will be chosen from the following: Augustine, Bede, Boccaccio,
Catullus, Cicero, Horace, Jerome, Livy, Lucretius, Medieval lyrics, More,
Nepos, Ovid, Pliny, Vergil.
This course, if passed with the grade of B+ or better, will satisfy the
ancient language requirement for the Ph.D. in Comparative Literature.
A suitable knowledge of Latin is prerequisite for the course and therefore
permission of the instructor is required in order to register.
C
L. 80102 - Court Culture in Renaissance Italy NYU: W, 3:30-6:10 p.m.,
Rm. TBA, 4 credits, Prof. Cox, [10270] Course taught in English.
ENGL. 81100 - Romance and Rapture GC: R,
2:00-4:00 p.m., Rm. TBA, 2/4 credits, Prof. Richard McCoy,
[10139]
From the middle ages through the Renaissance, audiences
thrilled to the heroic exploits, ardent loves, and astonishing incidents in
narrative, poetic, and theatrical romances, but a reaction began by the 18th
Century, with some, like William Congreve, contending that the “giddy delight”
of romance is ultimately supplanted by the recognition that “‘tis all a lye.”
Nevertheless, its attractions are inextinguishable, and many argue that its
extravagant fabrications constitute the “structural core of all fiction”
(Northrop Frye).
This course will analyze the motifs and patterns of romance – quests and
episodic detours, intimations of magic and miracle, disguise, duplicity, and
discovery, and recovery from recurrent loss – as well as the mixed reception
of its blend of absurdity and wonder.
We will also explore the roots of romance in late antiquity through chivalric
adventures of the middle ages to the hybrid creations of the Renaissance,
blending allegory, pastoral, epic, and tragicomedy. Readings will include
selections from the Odyssey and Aethiopica, Chrétien de Troyes and Chaucer,
Ariosto and Cervantes, Sidney and Spenser as well as plays by Shakespeare,
Beaumont, and Fletcher.
We will also consider ways in which romance continues to pervade the novel
with selections from Scott, Austen, and Nabokov as well as popular
contemporary romance fiction and film.
Finally, we will review theoretical discussions of romance from the sixteenth
century treatises through Mikhail Bakhtin, Patricia Parker, Margaret Doody,
Barbara Fuchs, Janice Radway, and others.
Assignments will consist of a short oral presentation on assigned readings
and critical sources, annotated bibliographies, and a research paper.
MUS.
76002 - Proseminar in Music History: Renaissance GC: R, 2:00-4:00
p.m., Rm. GC3389, 3 credits, Prof. Anne Stone, [10356] Co-requisite: MUS
81202 - Performance Workshop the Renaissance.
MUS. 81202 - Performance
Workshop: The Renaissance GC: R, 4:00-6:00 p.m., Rm.
GC3389, 2 credits, Prof. Ruth DeFord, [10361]
SPAN.
72300 - Don Quijote GC: R, 6:30-8:30 p.m., Rm. TBA, 3
credits, Prof. Isaias Lerner, [10153]
Textual Problems, Critical Practices and the Modern Reception of the
Cervantine Novel
This course will focus on the transmission of the text of Cervantes
Don Quijote in the seventeenth century and in the twentieth century.
The question of the relationship between the first and the second parts of
the novel will be also examined, as well as the most important semantic and
ideological aspects of the text.
To study problems of annotation, several modern editions will be analyzed,
among them, the best known ones of M. de Riquer, J.J. Allen, L. Murillo, J.B.
Avalle-Arce, V. Gaos, F. Sevilla-A. Rey Hazas and Francisco Rico.
Critical interpretations of the Quijote will be also considered so as to
recast the history of its reception in the twentieth century.
SPAN.
82200 - The Power of the Classics in the Poetry of L. de Góngora
& F. de Quevedo
GC: R, 4:15-6:15 p.m., Rm. TBA, 4 credits, Prof. Lia Schwartz,
[10159]
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 Dámaso Alonso’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.
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