RSCP. 83100 - Theatre & Theatricality Renaisance Art & Architecture GC: M, 2:00-4:00 p.m., Rm. TBA, 3 credits, Prof. Saslow, [92322] Cross listed with ART 81000 & THEA 85200. Permission of instructor required for students not enrolled in the Ph.D. Programs in Art History and Theatre.

"All the world's a stage" wrote Shakespeare, and all the arts of the early modern era were profoundly imbued with metaphors, images, and techniques of the theatre.

This lecture course will examine the interrelations between the performing and visual arts from ca. 1300-1750, when dramatic performance and the buildings to house it developed the forms we know today.

In tandem with literature and architecture, painting, sculpture, and graphic art explored theatricality through naturalistic narratives that aimed to involve the viewer as if they were dramas, with the picture frame assuming the same role as the proscenium .

From sacred drama performed in or around churches like Giotto's Arena Chapel, through the court masques and operas of the Baroque, to the emerging commercial popular theatre of Hogarth's London, this course ranges in scope from literal to metaphorical: from theatre "proper" (spaces dedicated to performance) to the ephemeral art of festival and pageant, to architecture and decoration that aimed to theatricalize other activities, and to theatricality as subject matter and metaphor in the visual arts.

In addition to providing a chronological overview, the course will emphasize several broad interdisciplinary themes: secularization, patronage, political uses of theatrical self-display, and theatre as material culture (the intersection of art and technology).

While designed to meet the needs of students in Theatre, Art History, and Renaissance Studies, the course will also cut across these fields: for however academia may categorize them today, in Renaissance culture the art of theatre and the theatricality of art were inextricable.

Course requirements: Regular attendance and weekly readings. Choice of a final examination or a research paper (ca. 15 pages) on a topic approved by the instructor; interdisciplinary research encouraged.

ART. 85000 - Michelangelo & His World GC: M, 9:30-11:30 a.m., Rm. 3421, 3 credits, Prof. Saslow, [91917] Open to Art History Students only permission of EO required for all others.

This seminar will examine in depth the life, work, and social context of one of the most influential artists of the western tradition.

In his seven-decade career, Michelangelo Buonarroti (1475-1564) worked in painting, sculpture, architecture, and poetry, and was the first artist to receive the epithet “divine,” a landmark in the development of the modernartist as a unique, inspired genius.

Lectures will outline his achievements and their relation to the changing society of the High Renaissance, Mannerism, and Counter-Reformation, with special attention to issues of patronage, personal expression, the interrelation of literature and the visual arts, and psychobiography, particularly the artist’s conflicted response to his own homosexual desires.

We will also examine the historiography of the artist from Vasari to modern critics, and the role he has continued to play in western culture and the homosexual imaginary down to the present.

Course requirements: Regular attendance and weekly readings. Seminar report of 35-40 minutes on a topic to be developed with instructor’s approval.

ART. 87000 - Mesoamerican Cities: Tenochtitlan and Cuzco, from Pre-Columbian to Colonial  GC: W, 2:00-4:00 p.m., Rm. 3421, 3 credits, Prof. Quinones-Keber, [91921] Open to Art History Students only permission of EO required for all others.

This seminar focuses on the transformation of the Aztec (Mexica) capital of Tenochtitlan in Mexico and the Inca capital of Cuzco in Peru into colonial cities.

The two capitals were dynamic artistic as well as political and religious centers for their respective empires. Their early capitulation, in 1521 and 1534 respectively, to Spanish military forces belies the vibrant aspects of indigenous life, ideology, and cultural expression that continued into the colonial (viceregal) period, which terminated with independence in the early 19^th century.

Introductory lectures will explore the intersection of indigenous and imported European and Asian art forms, techniques, and styles in the creation of the distinctive "colonial" art produced in each city (for example, casta painting in the renamed Mexico City and the Cuzco school in Cuzco).

Oral and written seminar reports will explore the singular forms of art and architecture generated in colonial Mexico City and Cuzco.

Other requirements include weekly readings, written responses, and discussions.

Three auditors permitted, but they will be expected to do all readings and participate in discussions.

Instead of preliminary readings, student should view the collections of Aztec and Inca art at the Metropolitan Museum of Art and the American Museum of Natural History.

C L. 71000 - Cervantes & Crisis in European Fiction GC: T, 6:30-8:30 p.m., Rm. TBA, 3 credits, Prof. Schwartz, [91668] Course taught in English

This course will focus on the study of Cervantes’s Don Quijote (1605-1615) as a text that recreates early modern literary forms, while questioning the writing of fiction, from the perspective of Aristotle’s Poetics and related Italian theories of the novel.

Cervantes’s work will be also analyzed in relation to its literary models - romances of chivalry, pastoral, picaresque and Moorish novels, Boccaccio’s Decameron and other stories of adventures – and their philosophical contexts.

The function of madness as a fictional device will be also examined in connection with Erasmus’s The Praise of Folly.

Other aspects of this complex narrative to be considered include its rhetorical and ethical background, as well as the treatment of popular discourses and of classical adages.

Among the works to be read, in addition to Don Quijote, are Sannazaro’s Arcadia, Lazarillo de Tormes, The Praise of Folly, and some novelle of the Decameron.

ENGL. 81400 - All About Hamlet GC: F, 2:00-4:00 p.m., Rm. TBA, 2/4 credits, Prof. Hayes, [91725]

In this course we will study the texts of Hamlet, including the so-called Ur-Hamlet, the two Quartos, and the First Folio.

We will then examine the critical history of Hamlet as it is represented in Susanne L. Wofford's edition, which contains examples of psychoanalytic, new historicist, marxist, and feminist criticisms.

Of course it is impossible to keep up with the vast number of essays on Hamlet published every year. We will read classic commentaries on the play by Ernest Jones, T.S. Eliot, Jacques Lacan, G. Wilson Knight, and Harry Levin, as well as such influential recent interpretations as those by Jacqueline Rose, Harold Bloom, Janet Adelman, Marjorie Garber, Catherine Belsey, Margreta de Grazia, and Steven Greenblatt.

We will also discuss film versions of Hamlet by Olivier, Burton, Branugh, and Mel Gibson. At least one in-class presentation and a term paper are required.

ENGL. 82300 - Epic Milton GC: M, 6:30-8:30 p.m., Rm. TBA, 2/4 credits, Prof. Wittreich, [91726]

Claudio Guillén once proposed that there are two great periods of generic transformation: one is the early modern period, and the other the age we call Romanticism.

The focus of this seminar will be on the epic Milton, his early gestures toward epic in Lycidas and his later encounters with the same genre in Paradise Lost and Paradise Regained.

The size of this project is evident when we remember that epic poetry was placed at the apex of the genres during the early modern period in part because, subsuming all other genres, it also transcended them.

Once we have examined Milton’s transformations of epic tradition, itself an anthology of literary forms, we will turn at the end of the semester to several Romantic encounters with Miltonic epic: Blake’s Milton, Wordsworth’s Home at Grasmere, and Mary Shelley’s Frankenstein.

Requirements: one oral presentation, and a final term paper (15 to 20 pages in length).

FREN. 72000 - Rabelais GC: M, 6:30-8:30 p.m., Rm. TBA, 3 credits, Prof. Renner, [91853] Course taught in French.

Nous voudrons explorer les courants politiques, intellectuels et religieux de la premi re moitié du seizi me si cle travers l’ uvre de François Rabelais.

Les quatre livres authentiques seront au centre de nos préoccupations et serviront d’illustration de ce qu’on appelle fréquemment la "Grande Renaissance".

Parmi les humanistes contemporains, nous nous intéresserons Budé, Castiglione et Machiavelli, mais surtout Erasme que Rabelais considérait comme son p re et sa m re.

De surcroît, nous étudierons un nombre d’approches critiques modernes qui nous aideront cerner les enjeux de cette littérature engagée et parfois difficile et qui ne manqueront de faire surgir des questions pertinentes pour nos discussions.

Il est important que tous les étudiants se servent des éditions indiquées ci-dessous pour faciliter le travail en cours.

Il y aura aussi une collection de documents photocopiés qui inclut un choix représentatif d’articles théoriques et critiques.

Chaque étudiant présentera un exposé oral de 20 minutes et rédigera deux travaux écrits (de 3 5 pages la mi-semestre et de 12 15 pages la fin du semestre). Les sujets respectifs seront déterminer au cours du semestre.

Textes: L’édition bilingue (texte original et français moderne) récente des quatre premiers livres (Pantagruel, Gargantua, Le Tiers Livre, Le Quart Livre) parue aux Editions du Seuil, éd, G. Demerson, Paris, 1996-97.

MUS. 76000 - Proseminar in Music History: Renaissance (3 credits)/ MUS. 81202 --Performance Workshop: Renaissance (2 credits) GC: R, 1:30-3:30 p.m. (3 credits) -4:30 - 6:30 p.m., Rm. 3491, 3 credits, Profs. DeFord/Stone, [91886]

This pair of courses serves as an introduction to the advanced study of late medieval and Renaissance music, focusing on issues of rhythm and rhythmic notation from ca. 1300 to ca. 1550.

It consists of two co-requisite components: proseminar (1:30-3:30) and performance workshop (4:30-6:30), the latter devoted to singing pieces discussed in the proseminar from copies of original sources.

Topics are organized  chronologically.