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Martin Kevorkian, Chair CAL 226, Mailcode B5000, Austin, TX 78712 • 512-471-4991

David Kornhaber

Assistant Professor Ph.D., 2009, Columbia University

David Kornhaber

Contact

Biography

David Kornhaber is Assistant Professor of English and Comparative Literature at the University of Texas at Austin.  He is currently completing a manuscript entitled The Birth of Theatre from the Spirit of Philosophy: Friedrich Nietzsche and the Development of the Modern Drama.  His work has appeared or is forthcoming in Theatre Journal, Modern Drama, Theatre Research International, and Philosophy and Literature, among other journals.  He has served as Assistant Editor of Theatre Survey (2006-2008), as an Affiliated Writer with American Theatre (2005-2008), and as a contributor to the theatre sections of The New York Times and The Village Voice.  He received his Ph.D. from Columbia University and his A.B. from Harvard College.

Interests

Modern and contemporary drama; intersections of theatre and philosophy; critical theory; modernism and the avant-garde

E 379P • Drama In Performance

35980 • Fall 2014
Meets MWF 100pm-200pm CAL 419
(also listed as LAH 350 )
show description

Instructor:  Kornhaber, David

Unique #:  35980

Semester:  Fall 2014

Cross-lists:  LAH 350

Flags:  No

Restrictions:  English Honors

Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course offers an introduction to the study of twentieth-century drama through performance. Ranging from the avant-garde experiments of the early twentieth century to some of the pivotal works of the last thirty years, the course will provide a broad overview of major trends in English, American, and European drama after 1900. Students should expect a highly participatory and hands-on approach to studying these classic playtexts: extensive class time will be devoted to staging, performing, and experimenting with scenes from the selected plays. No acting experience (or ability) is required, however. The goal of these in-class performances will be to better understand the dramatic texts themselves by putting them “on their feet,” and students will be expected to look for and analyze trends within and across the plays being studied from an academic perspective. Key questions to be considered over the course of the class include the changing conceptions of character and narrative in modern drama, the influence of the avant-garde, the politics of modern drama, and the perpetual tension between text and performance.

Texts (tentative): Antonin Artaud, The Spurt of Blood; Bertolt Brecht, A Man’s A Man; Samuel Beckett, Endgame; Eugene Ionesco, The Bald Soprano; Harold Pinter, The Homecoming; Adrienne Kennedy, A Move Star Has to Star in Black and White; Maria Irene Fornes, Mud; Sam Shepard, True West.

Requirements & Grading: 1) Participation, 35%; 2) Short reflective essays, 20% + 20%; 3) Final essay, 25%.

E S321 • Shakespeare: Selected Plays

83385 • Summer 2014
Meets MTWTHF 100pm-230pm CLA 0.104
show description

Instructor:  Kornhaber, David

Unique #:  83385

Semester:  Summer 2014, second session

Cross-lists:  n/a

Flags:  Global cultures

Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course offers an introduction to some of Shakespeare’s major plays with a particular focus on their place within the theatrical culture of early modern England and within theatre history more generally. Students can expect to receive a grounding in the history of staging and production practices in Elizabethan and Jacobean England and to consider Shakespeare’s work in light of their engagement with contemporary theatrical traditions. Students will also consider how some of Shakespeare’s key works have been adapted to changing theatrical mores by leading actors and directors of the eighteenth, nineteenth, and twentieth centuries. Key questions to be considered include how Shakespeare’s works engage with issues of dramatic genre, how they deploy and play with aspects of theatrical craft and technique, and how they engage with the issues of theatricality and metatheatricality alongside other concerns. Students will also begin to consider in what ways Shakespeare’s works sustain adaptation to changing theatrical traditions and in what ways new production approaches can recast the plays themselves.

Texts: (tentative) Titus Andronicus, A Midsummer Night’s Dream, Richard III, Hamlet, Macbeth, King Lear, Twelfth Night, The Tempest.

Requirements and Grading: 1) Regular reading quizzes, 20%; 2) Midterm essay exam, 30%; 3) End-of-term essay exam, 30%; 4) Class participation, 10%; 5) Production review, 10%.

E 369 • Twentieth-Century Drama

35635 • Spring 2013
Meets MWF 1200pm-100pm PAR 308
show description

Instructor:  Kornhaber, David            Areas:  III / U

Unique #:  35635            Flags:  Writing

Semester:  Spring 2013            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course presents a survey of the major playwrights and theatrical movements in British drama over the course of the twentieth century. The organizing framework of the course is the tension between the theatre of social engagement and the theatre of aesthetic detachment as advocated and articulated by playwrights from the 1890s to century’s end. In addition to considering each work as part of a common body of British dramatic literature, attention will be paid throughout the course to the changing currents and institutions of British stagecraft and theatrical production—from the influence of stage designers like Edward Gordon Craig and directors like Harley Granville Barker to the role of the leading playhouses of twentieth-century England, including the National Theatre, Royal Shakespeare Company, and Royal Court Theatre. Extensive consideration will also be given to British drama’s relationship to the major historical and cultural trends of the British twentieth century, from the Easter uprising, to the impact of the World Wars, to decolonization and the decline of the British Empire, to mid-century post-war malaise, to the rise of Thatcherism, to the post-Thatcher era of New Labour and “Cool Britannia.” Ongoing attention will also be paid to British drama’s relationship to, dialogue with, and influence from the drama of its colonies and former colonies, in particular Irish drama and the drama of the African Commonwealth nations.

Possible Texts: Shaw, Major Barbara; Wilde, The Importance of Being Earnest; Yeats, At the Hawk’s Well; Synge, The Playboy of the Western World; Barrie, Peter Pan; Lawrence, The Widowing of Mrs. Holroyd; Coward, The Vortex; Priestly, An Inspector Calls; Rattigan, The Winslow Boy; Beckett, Waiting for Godot and Endgame; Osborne, Look Back in Anger; Pinter, The Birthday Party; Bond, Saved; Orton, Loot; Ayckbourn, The Norman Conquests; Frayn, Noises Off; Soyinka, Death and the King’s Horseman; Fugard, Master Harold… and the Boys; Churchill, Top Girls; Kane, Blasted; MacPherson, The Weir; McDonagh, The Cripple of Inishmaan; Hare, The Absence of War; Stoppard, Arcadia.

Requirements & Grading: Attendance and participation, including in-class essay workshops 15%; two short essays (5 pages each) with opportunity for revision, 25%+25%; one 8-10 page essay, 35%.

E 390M • Avant-Garde Theatre

35800 • Spring 2013
Meets MW 100pm-230pm MEZ 1.104
(also listed as C L 381 )
show description

Avant-Garde Theatre

In this course, we will investigate the histories, philosophies, and theatre pieces of the theatrical avant-garde from the nineteenth century to the present day.  Key questions include the relationship between the avant-garde and the modern, the interplay between the avant-garde and concepts of high and low culture, and the degree of continuity and discord between movements and works that group themselves under the avant-garde banner.  We will begin with the avant-garde theatre's nineteenth century origins, from Richard Wagner to Alfred Jarry, and will continue through the avant-garde movements of the early twentieth century (Symbolism, Surrealism, Dadaism), the work of early-to-mid century theatre artists who draw from the avant-garde (Antonin Artaud, Bertolt Brecht, Samuel Beckett), the rise of performance happenings in the 1960s, and the pillars of the contemporary avant-garde (Robert Wilson, The Wooster Group, Ariane Mnouchkine). The course will make use of relevant holdings in the Harry Ransom Center, and students will be assessed through a combination of discussion participation, a formal presentation, a short paper, and a final paper.

E 343L • Modernism And Literature

35425 • Fall 2012
Meets TTH 1230pm-200pm PAR 303
show description

Instructor:  Kornhaber, David            Areas:  V / F

Unique #:  35425            Flags:  Global cultures; Writing

Semester:  Fall 2012            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: In his 1905 preface to Major Barbara, George Bernard Shaw speaks of an intellectual “world movement,” with proponents from Darwin to Nietzsche, that had altered the scientific and philosophical thought of the nineteenth century and was in the process of transforming the literature of the twentieth. In this course, we will examine some of the central thinkers and texts of the 1800s and early 1900s that helped to lay the intellectual groundwork for the transformations of Modern Literature. Ranging across science, philosophy, psychology, and politics, we will look at how a series of revolutionary ideas transformed contemporary notions of morality, consciousness, and even time and space themselves and how these intellectual developments ultimately shaped and were reflected in the new literary structures and thematics of the twentieth century. Major thinkers to be addressed in this class include Marx, Darwin, Nietzsche, and Freud, with background readings on their precursors, peers, and inheritors. For our literary readings we will consider work across genres, with a special emphasis on dramatic literature as a tradition particularly engaged with philosophy and social thought. A background in philosophy or science is not required, and the course assumes no prior study in this area.

Texts: Thinkers: Marx, The Communist Manifesto, Das Kapital; Darwin, On the Origin of Species, The Descent of Man; Nietzsche, Thus Spake Zarathustra, The Genealogy of Morals; Freud, The Interpretation of Dreams, Civilization and Its Discontents; Course Reader with additional selections.

Authors: Strindberg, The Father; Shaw, Major Barbara; O’Neill, Strange Interlude; Brecht, A Man’s a Man; Course Reader with selections from Eliot, Pound, Woolf, Joyce, and Stein.

Requirements & Grading: Attendance and participation: 15%; two short essays (5 pages each): 25%+25%; one eight-page essay: 35%.

E 679HA • Honors Tutorial Course

35690 • Fall 2012
Meets TTH 330pm-500pm CAL 221
show description

Instructor: Kornhaber, David            Areas:  IV / U

Unique #:  35690            Flags:  n/a

Semester:  Fall 2012            Restrictions:  English Honors

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Enrollment in or completion of at least one Honors section of an English course, admission to the English Honors Program, and consent of the honors adviser. Enrollment restricted by department.

Description: According to the Honors Thesis Manual, a thesis is “a sustained examination of a central idea or question, developed in a professional and mature manner under the guidance of a faculty supervisor and a second reader.” That sounds easy enough, but how does one get there from here? This course offers something of a roadmap. Over the course of the term we will examine literary criticism from the “inside out” and hone skills essential to a successful honors thesis.

Along the way, we will address a number of questions, both practical—How do I use the MLA Bibliography? What’s the difference between a footnote and an endnote?—and theoretical—What counts as a valid argument about a literary work? What is the relation between literature and theory? Theory and practice? This course will: first and foremost prepare students to write an honors thesis. Members of this course will explore various methods of literary and cultural interpretation, consider what it means to conduct literary research, and learn how to take their research and writing to new levels of expertise.

Texts: Required Core Texts:  Tom Stoppard, Arcadia (Faber and Faber, 1994).  0571169341A. Sir Gawain and the Green Knight, ed. and trans. Burton Raffel (Signet, 2009).  0451531191. Required Secondary Texts: Wayne Booth, et al, The Craft of Research (Third Edition) (University Of Chicago Press, 2008). #978-0226065663; Marjorie Garber, A Manifesto for Literary Studies (University of Washington Press, 2003). #978-0295983448; Gerald Graff, Cathy Birkenstein, They Say/I Say: The Moves That Matter in Academic Writing (Norton, 2005). # 978-0393924091.

Optional Supplementary Text: Eviatar Zerubavel, The Clockwork Muse: A Practical Guide to Writing Theses, Dissertations, & Books (Harvard, 1999) #0-674-13586-5; Richard Bullock and Francine Weinberg, The Little Seagull (Norton, 2011). 039311519.

Requirements & Grading: (assignment logistics, rationales, and approaches will be discussed at length during class)

Final Thesis Prospectus (4-6 pp.) & Annotated Bibliography (20-25+ items)            30%

Writing Sample (15-20 pp. section or sections of your actual thesis)            30%

In-Class Performance (quality & consistency of discussion; preparation; engagement;

informal writing; writing-process & bibliography tasks; peer feedback; Symposium)            30%

On-time Completion of Reading, Writing-Process, Research, & Peer Feedback Assignments            10%

On-time Attendance (note: every absence beginning with #4 will reduce grade; NC at #9)            Required

Plus/minus grades will be assigned for the final grade of the course. The university does not recognize the grade of A+. Evaluation percentages approximate & subject to minor change.

E S321 • Shakespeare: Selected Plays

83845 • Summer 2012
Meets MTWTHF 230pm-400pm PAR 105
show description

Instructor:  Kornhaber, David            Areas:  I / D

Unique #:  83845            Flags:  Global cultures

Semester:  Summer 2012, second session            Restrictions:  n/a

Cross-lists:  n/a            Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course offers an introduction to some of Shakespeare’s major plays with a particular focus on their place within the theatrical culture of early modern England and within theatre history more generally. Students can expect to receive a grounding in the history of staging and production practices in Elizabethan and Jacobean England and to consider Shakespeare’s work in light of their engagement with contemporary theatrical traditions. Students will also consider how some of Shakespeare’s key works have been adapted to changing theatrical mores by leading actors and directors of the eighteenth, nineteenth, and twentieth centuries. Key questions to be considered include how Shakespeare’s works engage with issues of dramatic genre, how they deploy and play with aspects of theatrical craft and technique, and how they engage with the issues of theatricality and metatheatricality alongside other concerns. Students will also begin to consider in what ways Shakespeare’s works sustain adaptation to changing theatrical traditions and in what ways new production approaches can recast the plays themselves.

Texts: (tentative) Titus Andronicus, A Midsummer Night’s Dream, Richard III, Hamlet, Macbeth, King Lear, Twelfth Night, The Tempest.

Requirements and Grading: 1) Regular reading quizzes, 20%; 2) Midterm essay exam, 30%; 3) End-of-term essay exam, 30%; 4) Class participation, 10%; 5) Production review, 10%.

E F379L • Contemporary Drama

83665 • Summer 2011
Meets MTWTHF 100pm-230pm PAR 303
show description

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

 

Description: This course presents an introduction to the major playwrights and themes of contemporary drama in England and America. Beginning with a consideration of the origins of contemporary drama in the theatrical revolutions of the late 1950s to early 1970s, the course moves on to an examination of some of the major plays and playwrights of the last twenty-five years organized around three recurrent areas of concern: re-adaptations and revisions of classical themes and techniques; reflections on and reconsiderations of issues of modern identity, both personal and national; and explorations of contemporary political and social issues. Works will be considered as examples of dramatic literature in dialogue with their dramatic predecessors and contemporaries and as documents of contemporary theatrical culture, influenced and often determined by the institutional structures of New York’s Broadway and Off-Broadway or London’s West End and Fringe production arrangements. 

 

Texts: Osborne, Look Back in Anger; Pinter, The Homecoming; Kennedy, Funnyhouse of a Negro and The Owl Answers; Baraka, Dutchman; Mamet, Glengarry, Glen Ross; Shepard, Buried Child; Kane, Phaedra in Love; Mee, Big Love; Vogel, How I Learned to Drive; Bond, Lear; Ruhl, Passion Play; Wilson, Fences; Parks, The America Play; Guare, Six Degrees of Separation; Letts, August: Osage County; Hwang, M. Butterfly; Durang, The Marriage of Bette and Boo; Fornes, Mud; Albee, The Goat, or Who Is Sylvia?; Kushner, Angels in America; Hare, Stuff Happens; Churchill, A Number; Frayne, Copenhagen; Stoppard, The Coast of Utopia; Wilson, Einstein on the Beach.

 

Requirements & Grading: Attendance and participation, including in-class essay workshops 15%; two short essays (3-5 pages each) with opportunity for revision, 25%+25%; one 6-8-page essay, 35%.

E 369 • Twentieth-Century Drama

35735 • Spring 2011
Meets TTH 200pm-330pm PAR 208
show description

May be counted toward the writing flag requirement. 

 

Description: This course presents a survey of the major playwrights and theatrical movements in British drama over the course of the twentieth century.  The organizing framework of the course is the tension between the theatre of social engagement and the theatre of aesthetic detachment as advocated and articulated by playwrights from the 1890s to century’s end.  In addition to considering each work as part of a common body of British dramatic literature, attention will be paid throughout the course to the changing currents and institutions of British stagecraft and theatrical production—from the influence of stage designers like Edward Gordon Craig and directors like Harley Granville Barker to the role of the leading playhouses of twentieth-century England, including the National Theatre, Royal Shakespeare Company, and Royal Court Theatre.  Extensive consideration will also be given to British drama’s relationship to the major historical and cultural trends of the British twentieth century, from the Easter uprising, to the impact of the World Wars, to decolonization and the decline of the British Empire, to mid-century post-war malaise, to the rise of Thatcherism, to the post-Thatcher era of New Labour and “Cool Britannia.”  Ongoing attention will also be paid to British drama’s relationship to, dialogue with, and influence from the drama of its colonies and former colonies, in particular Irish drama and the drama of the African Commonwealth nations.

Texts: Shaw, Major Barbara; Wilde, The Importance of Being Earnest; Yeats, At the Hawk’s Well; Synge, The Playboy of the Western World; Barrie, Peter Pan; Lawrence, The Widowing of Mrs. Holroyd; Coward, The Vortex; Priestly, An Inspector Calls; Rattigan, The Winslow Boy; Beckett, Waiting for Godot and Endgame; Osborne, Look Back in Anger; Pinter, The Birthday Party; Bond, Saved; Orton, Loot; Ayckbourn, The Norman Conquests; Frayn, Noises Off; Soyinka, Death and the King’s Horseman; Fugard, Master Harold… and the Boys; Churchill, Top Girls; Kane, Blasted; MacPherson, The Weir; McDonagh, The Cripple of Inishmaan; Hare, The Absence of War; Stoppard, Arcadia;

Grading Policy: Attendance and participation, including in-class essay workshops 15%; two short essays (5 pages each) with opportunity for revision, 25%+25%; one 8-10 page essay, 35%

Prerequisite: Nine semester hours of coursework in English or rhetoric and writing.

English Major Area:  III

E 379L • Contemporary Drama

35815 • Spring 2011
Meets TTH 1100am-1230pm PAR 308
show description

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Course Description: This course presents an introduction to the major playwrights and themes of contemporary drama in the English-speaking world, focusing primarily on the United States and England. Beginning with a consideration of the origins of contemporary drama in the theatrical revolutions of the late 1950s to early 1970s, the course moves on to an examination of some of the major plays and playwrights of the last twenty-five years organized around three recurrent areas of concern: re-adaptations and revisions of classical themes and techniques; reflections on and reconsiderations of issues of modern identity, both personal and national; and epic re-stagings of history to current political ends. Works will be considered as examples of dramatic literature in dialogue with their dramatic predecessors and contemporaries and as documents of contemporary theatrical culture, influenced and often determined by the institutional structures of New York’s Broadway and Off-Broadway or London’s West End and Fringe production arrangements.

Texts: Osborne, Look Back in Anger; Pinter, The Birthday Party; Kennedy, Funnyhouse of a Negro; Baraka, The Duthchman; Mamet, American Buffalo; Shepard, Buried Child; Kane, Phaedra in Love; Mee, Big Love; Walcott, Odyssey: A Stage Version; Bond, Lear; Vogel, How I Learned to Drive; Ruhl, Passion Play; Parks, The America Play; Letts, August: Osage County; Hwang, M. Butterfly; Greenberg, Take Me Out; Fornes, Fefu and Her Friends; Cruz, Anna in the Tropics; Kushner, Angels in America; Hare, The Absence of War; Churchill, The Skriker; Stoppard, The Coast of Utopia

Grading: Attendance and participation, including in-class essay workshops 15%; two short essays (5 pages each) with opportunity for revision, 25%+25%; one 8-10 page essay, 35%

E 397M • Intersectns Of Theatre/Philos

35110 • Fall 2010
Meets M 600pm-900pm BEN 1.106
(also listed as C L 382 )
show description

It has become a commonplace in many critical studies to speak of a growing convergence between philosophy and theatre.  Over the course of the last century and a half, philosophy has become increasingly invested in interrogating issues of the stage, with contemporary thinkers like Alain Badiou, Jacques Derrida, Peter Sloterdijk, and Gilles Deleuze turning to the playhouse for questions or importing into their own work a consciously “theatrical” style.  Likewise, drama has become increasingly interested in exploring issues taken up by contemporary philosophers and deploying philosophical language to its own devices, from George Bernard Shaw’s Nietzschean postulations to Tony Kushner’s indebtedness to Walter Benjamin to Tom Stoppard’s ongoing engagement with philosophers past and present.  In this course, we will examine several key points of intersection between the institutions of philosophy and the theatre to better understand what each intellectual approach takes from the other, where they talk past one another, and where we might locate true synergies of thought or expression.  Rather than attempting a broad sample of all the theatrical-philosophical interactions of the last century, the course will be organized thematically, with four distinct segments devoted to a specific way of looking at the interplay of philosophers and theater-makers.

For the first half of the course, we will look specifically at philosophers or playwrights writing on or in the other’s discipline, with themed segments on “Philosophers Writing on the Theatre” and “Playwrights Writing on Philosophy.”  Key questions to interrogate here include how practitioners of one subject view the practices of the other, what philosophy thinks it has to say to the theatre, and what the theatre thinks it can tell philosophy.  The second half of the course will look at how philosophers and theatre-makers import each others’ techniques or subjects into their own works, with themed segments on “Theatrically-Informed Philosophy” and “Philosophically-Informed Theatre.”  Here we will investigate how an interest in each others’ discipline transforms the stylistics, the intellectual assumptions, and the core matters of concern in works of philosophy or the theatre, examining what is gained in the exchange and what, if anything, is lost.

The course will assume no prior training in philosophy.  Though the subjects of our inquiry will be targeted, taken together they will offer students a broad introduction to some of the major trends and themes in twentieth-century philosophy and literary theory and a chance to engage with some of the century’s most pivotal playwrights.  In total, students will gain an appreciation for the manifold ways in which this ongoing exchange between two very different means of inquiry and communication has manifested itself over the last century and a half and how each subject has been changed by the encounter.

Requirements

Course requirements include participation in class discussions, an oral presentation, and a final paper.  Participation in class discussions will consist of active engagement in classroom exchanges and will count for 15% of the final grade.  Each student will be required to prepare a 10-minute oral presentation for the class on a course reading of their choosing, which will count for 15% of the final grade.  Each student will also be required to complete an 18-20 page final paper on a topic of their choosing, which will count for 70% of the final grade.

Readings

Course readings are organized thematically into four units.  For “Philosophers Writing on the Theatre”: Friedrich Nietzsche, The Birth of Tragedy; Alain Badiou, A Theatre Without Theatre; Jacques Derrida, “The Theatre of Cruelty and the Closure of Representation.”  For “Playwrights Writing on Philosophy”: George Bernard Shaw, The Quintessence of Ibsenism; Richard Schechner, The End of Humanism; Tony Kushner, Thinking about the Longstanding Problems of Virtue and Happiness.  For “Theatrically-Informed Philosophy”: Peter Sloterdijk, Thinker on Stage; Gilles Deleuze, Difference and Repetition; Judith Butler, Antigone’s Claim.  For “Philosophically-Informed Theatre”: George Bernard Shaw, Man and Superman; Jean-Paul Sartre, No Exit; Tom Stoppard, Jumpers; Caryl Churchill, Softcops; Tony Kushner, Angels in America; Yasmina Reza, Art.

E 343L • Backgrounds Of Modern Lit-W

34835 • Spring 2010
Meets TTH 500pm-630pm PAR 206
show description

Backgrounds of Modern Literature

English 344L
Class Unique Number: 34835
Spring 2010
PAR 206
Tuesdays and Thursdays, 5:00-6:30pm
Instructor: David Kornhaber
  Office: Parlin 22
  Email: david.kornhaber@mail.utexas.edu
  Office phone: 512-471-8712
   
Office Hours: Mondays and Wednesdays 7:15 – 8:15pm

I. Description

In his 1905 preface to Major Barbara, George Bernard Shaw speaks of an intellectual "world movement" with proponents from Darwin to Nietzsche that had altered the scientific and philosophical thought of the nineteenth century and was in the process of transforming the literature of the next century as well. In this course, we will examine some of the central thinkers and texts of the 1800s and early 1900s that helped to lay the intellectual groundwork for the revolution in literary form and content known as Modern Literature. Ranging across science, philosophy, psychology, and politics, we will look at how a series of revolutionary ideas transformed contemporary notions of morality, consciousness, and even time and space themselves and how these intellectual developments ultimately shaped and were reflected in the new literary structures and thematics of the twentieth century. Major thinkers to be addressed in this class include Marx, Darwin, Nietzsche, and Freud. For our literary readings we will consider work across genres, with a special emphasis on dramatic literature as a tradition particularly engaged with philosophy and social thought. A background in philosophy is not required, and the course assumes no prior study in this area.

II. Course Requirements: 

1. Class attendance and participation policy:

    a. Attend all scheduled classes and arrive on time

  • Missed Classes: In the event you must miss a class, you can do so on 3 instances without it affecting your final grade.  These 3 missed classes do not need to be excused, but please let me know of your absence as far in advance as possible.  Beyond these 3 classes, all absences must be excused.  Reasons for excused absences include illness (with doctor’s note), team sports or approved activities, and family emergencies.  Any unexcused absences beyond the allowed 3 missed classes will lower your final class grade by 1/3 of a letter.
  • Religious Holy Days: By UT Austin policy, you must notify me of your pending absence at least fourteen days prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, I will give you an opportunity to complete the missed work within a reasonable time after the absence.

2. Course Readings/Materials:  

            a. Please refer to the end of this syllabus for a full list of required course readings
            b. Additional readings and materials may also be provided by the instructor in the form of handouts or electronic attachments throughout the course

3. Assignments, Assessment, and Evaluation

           a. Term papers and other assignments are due at the start of class on the dates listed in the Tentative Course Schedule unless otherwise rescheduled by the instructor
           b. Unless arrangements for an extension are made in advance with the instructor, late papers or assignments will be marked down 1/3 of a letter for every class period they are late
           c. All assignments and due dates listed are subject to change with notice from the instructor to better suit class development and progression

III. Grading Procedures:

Grades will be based on:

(a)  Class Participation / Reading Quizzes 15%
(b)  Short essay #1 (5 pages) 25%
(c)  Short essay #2 (5 pages) 25%
(d)  Long essay (8-10 pages) 35%

Participation will be evaluated based on periodic reading quizzes and frequency of engagement in the classroom discussion.  Engagement does not, however, mean verbal expression for its own sake.  Active listening and responding to peers are critical components of classroom engagement.  There is no particular quota for discussion contributions; rather the expectation is that all students will be continuously engaged in listening and responding to one another’s thoughts and opinions.

A list of potential topics for short and long essays will be distributed by the instructor prior to the due date for each assignment.  Students are welcome to develop their own paper topics for any of the assigned essays but must receive approval from the instructor for their topic prior to beginning the paper.  Papers will be evaluated not only on the quality of the ideas and supporting analysis presented but also on the effectiveness of the organization and communication of those ideas.  More specific expectations will be discussed in class at the time that paper topics are distributed.  Any student with questions regarding paper expectations should speak individually with the instructor prior to beginning the paper.

For each of the short papers, students will be assigned a revision partner; partners will exchange papers with one another prior to the submission date and provide peer feedback for each other.  In addition, students will be able to select one of the two short papers to revise for a new grade based on instructor feedback and direction, if they so choose.   

IV. Other University Notices and Policies

University of Texas Honor Code

The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.

Documented Disability Statement

Any student with a documented disability who requires academic accommodations should contact Services for Students with Disabilities (SSD) at (512) 471-6259 (voice) or 1-866-329-3986 (video phone).  Faculty are not required to provide accommodations without an official accommodation letter from SSD.   

  • Please notify me as quickly as possible if the material being presented in class is not accessible (e.g., instructional videos need captioning, course packets are not readable for proper alternative text conversion, etc.).
  • Please notify me as early in the semester as possible if disability-related accommodations for field trips are required.  Advanced notice will permit the arrangement of accommodations on the given day (e.g., transportation, site accessibility, etc.).

For more information, please download the full syllabus.

E 379L • Contemporary Drama-W

35065 • Spring 2010
Meets MW 500pm-630pm PAR 105
show description

Contemporary Drama

English 379L
Class Unique Number: 35065
 
Spring 2010
PAR 105
Mondays and Wednesdays, 5:00-6:30

 

Instructor: David Kornhaber
  Office: Parlin 22
  Email: david.kornhaber@mail.utexas.edu
  Office phone: 512-471-8712
   
Office Hours: Mondays and Wednesdays 7:15 – 8:15pm

 

I. Description

This course presents an introduction to the major playwrights and themes of contemporary drama in the English-speaking world, focusing primarily on the United States and England.  Beginning with a consideration of the origins of contemporary drama in the theatrical revolutions of the late 1950s to 1970s, the course moves on to an examination of some of the major plays and playwrights of the last thirty years organized around three recurrent areas of concern: re-adaptations and revisions of classical themes and techniques; reflections on and reconsiderations of issues of modern identity, both personal and national; and epic re-stagings of history to current political ends.  Works will be considered as examples of dramatic literature in dialogue with their dramatic predecessors and contemporaries and as documents of contemporary theatrical culture, influenced and often determined by the institutional structures of New York’s Broadway and Off-Broadway or London’s West End and Fringe production arrangements.  

II. Course Requirements: 

   1. Class attendance and participation policy:

  • Attend all scheduled classes and arrive on time:
  1. ¤ Missed Classes: In the event you must miss a class, you can do so on 3 instances without it affecting your final grade.  These 3 missed classes do not need to be excused, but please let me know of your absence as far in advance as possible.  Beyond these 3 classes, all absences must be excused.  Reasons for excused absences include illness (with doctor’s note), team sports or approved activities, and family emergencies.  Any unexcused absences beyond the allowed 3 missed classes will lower your final class grade by 1/3 of a letter.
  2. ¤ Religious Holy Days: By UT Austin policy, you must notify me of your pending absence at least fourteen days prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, I will give you an opportunity to complete the missed work within a reasonable time after the absence.

   2. Course Readings/Materials: 

  • Please refer to the end of this syllabus for a full list of required course readings
  • Additional readings and materials may also be provided by the instructor in the form of handouts or electronic attachments throughout the course

   3. Assignments, Assessment, and Evaluation

  • Term papers and other assignments are due at the start of class on the dates listed in the Tentative Course Schedule unless otherwise rescheduled by the instructor
  • Unless arrangements for an extension are made in advance with the instructor, late papers or assignments will be marked down 1/3 of a letter for every class period they are late
  • All assignments and due dates listed are subject to change with notice from the instructor to better suit class development and progression

III. Grading Procedures:

Grades will be based on:

  • (a)  Class Participation / Reading Quizzes 15%
  • (b)  Short essay #1 (5 pages) 25%
  • (c)  Short essay #2 (5 pages) 25%
  • (d)  Long essay (8-10 pages) 35%

Participation will be evaluated based on periodic reading quizzes and frequency of engagement in the classroom discussion.  Engagement does not, however, mean verbal expression for its own sake.  Active listening and responding to peers are critical components of classroom engagement.  There is no particular quota for discussion contributions; rather the expectation is that all students will be continuously engaged in listening and responding to one another’s thoughts and opinions.

A list of potential topics for short and long essays will be distributed by the instructor prior to the due date for each assignment.  Students are welcome to develop their own paper topics for any of the assigned essays but must receive approval from the instructor for their topic prior to beginning the paper.  Papers will be evaluated not only on the quality of the ideas and supporting analysis presented but also on the effectiveness of the organization and communication of those ideas.  More specific expectations will be discussed in class at the time that paper topics are distributed.  Any student with questions regarding paper expectations should speak individually with the instructor prior to beginning the paper.

For each of the short papers, students will be assigned a revision partner; partners will exchange papers with one another prior to the submission date and provide peer feedback for each other.  In addition, students will be able to select one of the two short papers to revise for a new grade based on instructor feedback and direction, if they so choose. 

IV. Other University Notices and Policies

   University of Texas Honor Code

The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.

   Documented Disability Statement

Any student with a documented disability who requires academic accommodations should contact Services for Students with Disabilities (SSD) at (512) 471-6259 (voice) or 1-866-329-3986 (video phone).  Faculty are not required to provide accommodations without an official accommodation letter from SSD. 

  • Please notify me as quickly as possible if the material being presented in class is not accessible (e.g., instructional videos need captioning, course packets are not readable for proper alternative text conversion, etc.).
  • Please notify me as early in the semester as possible if disability-related accommodations for field trips are required.  Advanced notice will permit the arrangement of accommodations on the given day (e.g., transportation, site accessibility, etc.).
  • Contact Services for Students with Disabilities at 471-6259 (voice) or 1-866-329-3986 (video phone) or reference SSD’s website for more disability-related information: http://www.utexas.edu/diversity/ddce/ssd/for_cstudents.php

For more information, please download the full syllabus.

E 369 • Twentieth-Century Drama

35198 • Fall 2009
Meets TTH 1100-1230pm PAR 306
show description

TBD

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