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Dr. Wayne Rebhorn, Director 208 W. 21st St. Stop B5003, Austin, Tx 78712 • 512-471-1925

Lynn R Wilkinson

Associate Professor Ph.D. Comparative Literature, University of California, Berkeley

Associate Professor of Germanic Languages
Lynn R Wilkinson

Contact

Biography

Research

Scandinavian and comparative literature; Scandinavian drama and film; modernism; the novel and narrative traditions; gender studies; literary and cultural theory

Research Subject Headings: Gender, Language, Performance, Popular culture

Affiliated Research/Academic Units

C L 323 • Women Filmmakers/N & Cent Euro

33913 • Fall 2014
Meets TTH 930am-1100am BUR 337
(also listed as EUS 347, GSD 330, WGS 340 )
show description

This is an introduction to the work of five women filmmakers from Sweden, Germany, the Netherlands, and Denmark, as well as to the viewing and interpretation of films in general.

ASSIGNMENTS AND GRADING: One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade). Class participation will count 10%.

REQUIRED TEXTS (for purchase and available on reserve at PCL):

Bordwell and Thompson: Film Art: An Introduction. 9th ed.; 6th ed. on reserve:

PN 1995 B617 2001

Braudy and Cohen: Film Theory and Criticism (FTC on syllabus), 6th ed. on reserve: PN1995 B617 2001

Hollinger: Feminist Film Studies.

RECOMMENDED:

Nordic National Cinemas. Ed. Soila et al. Routledge, 1998.

Hake: German National Cinema. 2nd ed. Routledge, 2007.

Matijs & Kumel: The Cinema of the Low Countries. Wallflower, 2004.

Hjort and Mackenzie: Purity and Provocation: Dogme 95. BFI 2008

FILMS:

Maj Zetterling: Loving Couples

The Girls

Margarethe von Trotta: The Lost Honor of Katharina Blum

The Second Awakening of Christina Klages

Rosenstrasse

Vision: From the Life of Hildegard von Bingen

Hannah Arendt

Marlene Gorris: A Question of Silence

Antonia’s Line

Mrs. Dalloway

Lone Scherfig: Italian for Beginners

An Education

Susanne Bier: Like It Never Was Before

Open Hearts

Brothers

Love Is All You Need

C L 381 • Modernisms And Modernity

33970 • Fall 2014
Meets TTH 200pm-330pm BUR 232
(also listed as GER 382M, WGS 393 )
show description

GER 382M or GER 386: Modernisms and Modernity, 1880-1925

MEETS WITH C L 381 , WGS 393.

This course offers an overview of approaches to European modernism, with a focus on major modernist texts in German, Scandinavian, and French literature.  It will be particularly useful to graduate students in Germanic Studies with an interest in modernism and early twentieth-century German literature and culture, Scandinavian literature and culture, cultural studies, or Comparative Literature.   We will focus especially on questions of literary and cultural interpretation across genres and across borders.  Other topics of emphasis will include representations of the city and the invention of the flâneur/flâneuse; genders and sexualities; feminisms; Walter Benjamin’s modernisms; transformations in the experience of time, technology, and memory; and language and the materiality of the work of art.

 

All texts will be available both in the original and in English translation, but students will be required to read the texts in their major area of study in the original.

 

Assignments and Grading:  two short presentations (10%); one final presentation (10%); one ten-page Forschungsbericht/research report (20%); abstract of final research paper (5%); final research paper (30%); class participation (25%)

 

Texts (available on reserve at PCL):

Hobsbawm:  The Age of Empire

McFarlane and Bradbury:  Modernism

Lewis, ed.:  The Cambridge Companion to European Modernism

Benjamin:  The Writer of Modern Life:  Essays on Baudelaire;  Selections from Das Passagen-Werk/The Arcades Project

Clark:  The Painting of Modern Life

Boym:  The Future of Nostalgia

 

Mann:  Der Tod in Venedig/Death in Venice, Buddenbrooks

Rilke:  Die Aufzeichnungen des Malte Laurids Brigge/The Notebooks of Malte Laurids Brigge; Selections from Auguste Rodin,, Neue Gedichte, Sonette an Orpheus

Hofmannsthal:  “Ein Brief” (The Lord Chandos Letter); Der Schwierige/A Difficult Man

Freud:  Dora; Selections from Die Traumdeutung/The Interpretation of Dreams

 

Ibsen:  A Doll’s House, Ghosts, Enemy of the People, Hedda Gabler

Strindberg:  The Father, Miss Julie,  A Dream Play, The Ghost Sonata

Selected novellas by Scandinavian women writers

 

Baudelaire:  Selections from Les fleurs du mal/Flowers of Evil; Peintre de la vie moderne/Painter of Modern Life

Selected poems by Mallarmé, Verlaine, and Rimbaud

Rachilde:  Monsieur Vénus

Proust:  Du côté de chez Swann/Swann’s Way, Selections from Sodome et Gomorrhe/Sodom and Gomorrah and Le temps retrouvé/The Past Recaptured

 

C L 323 • Films Of Ingmar Bergman

34340 • Spring 2014
Meets TTH 1100am-1230pm BUR 337
(also listed as EUS 347, SCA 327 )
show description

WRITING FLAG COURSE

Ingmar Bergman (1918-2007) was arguably the greatest filmmaker of the twentieth century.  His career spanned over sixty years and includes such works as the sophisticated comedy Smiles of a Summer Night (1955), the allegorical Seventh Seal (1957), the avant-garde Persona (1966), the masterful television adaptation of Mozart’s The Magic Flute (1975), and the television miniseries Fanny and Alexander (1982).  He also wrote novels, plays, and scripts for many other filmmakers, including Bille August and Liv Ullmann.  In 2003, he directed the television film Saraband (2003), and in recent years, many of his films have been adapted for the stage.

This course is an introduction both to the films of Ingmar Bergman and to the viewing of films in general.  We will look at representative films by this prolific and gifted filmmaker, considering them in the contexts of the director's life, Scandinavian culture, and issues of film theory and aesthetics. 

 

ASSIGNMENTS AND GRADING:  One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade).   Class participation will count 10%.

 

REQUIRED TEXTS (for purchase and available on reserve at PCL):

            Bordwell and Thompson:  Film Art:  An Introduction.  9th ed.; 6th ed. on reserve: 

                        PN 1995 B617 2001

            Peter Cowie:  Ingmar Bergman, PN 1998 A3 B46147 1982

Braudy and Cohen:  Film Theory and Criticism (FTC on syllabus), 6th ed. on reserve:  PN1995 B617 2001

 

RECOMMENDED:

Birgitta Steene:  Ingmar Bergman:  A Reference Guide.  (U of Amsterdam Press):  PN1998 A3 B46829 2005

            French and French:  Wild Strawberries (BFI Film Classics):  PN 1997 S63 F74 1995

 

FILMS:

Port of Call, Prison, Monika, Sawdust and Tinsel, Smiles of a Summer Night, Wild Strawberries, The Seventh Seal, Through a Glass Darkly,  Persona, Hour of the Wolf, The Passion of Anna, Cries and Whispers, Scenes from a Marriage,  The Magic Flute, Fanny and Alexander, Document:  Fanny and Alexander, Saraband

C L 323 • Scandinavian Cinema Since 1980

34373 • Spring 2014
Meets TTH 930am-1100am BUR 337
(also listed as EUS 347, SCA 327 )
show description

WRITING FLAG COURSE

What does it mean to be a Scandinavian in the last decades of the twentieth and early twenty-first century?   To what extent does film reflect or even construct a sense of national or transnational identity?

This course will begin with two detective films which tie these issues to the presence of new groups of people within the borders of Scandinavia and to the links between contemporary Scandinavian culture and society and the European past.  We will then turn back to Ingmar Bergman’s After the Rehearsal, which marked the end of one phase of the prolific filmmaker’s production, before moving on to films by younger filmmakers in the 1980s, 1990s, and 2000s.  Some, such s Lasse Hallström’s My Life as a Dog, Bille August’s Pelle the Conqueror, Liv Ullmann’s Sofie, and Lukas Moodysson’s Together, turn back to the past, at times reverently, at others critically.  Others, such as Thomas Vinterberg’s The Celebration, turn a scathing eye on contemporary Scandinavian culture.  Still others, such as Per Fly’s The Inheritance and Susanne Bier’s Open Hearts respond to economic and political crises of recent years. 

 

ASSIGNMENTS AND GRADING:  One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade).   Class participation will count 10%.

 

REQUIRED TEXTS:

            Tytti Soila et al.:  Nordic National Cinemas

Bordwell and Thompson:  Film Art

 

FILMS:

August:  Smilla’s Sense of Snow

Oplev:  The Girl with the Dragon Tattoo

Bergman:  After the Rehearsal

Hallström:  My Life as a Dog

August:  Pelle the Conqueror

Ullmann:  Sofie

Vinterberg:  The Celebration

Moodysson:  Together

Scherfig:  Italian for Beginners

Bier:  Open Hearts

Dagur Kári:  Noí albínói

Fly:  The Inheritance

Trier:  Dogville

Kaurismäki:  The Man without a Past

Bier:  In a Better World

C L 385 • Found Literary Thry & Critsm

34395 • Spring 2014
Meets TTH 200pm-330pm PAR 210
show description

Course Description

This course will aim to provide a reasonably representative introduction to literary theory from Socratic texts through Augustine’s important contributions into the late nineteenth century.  Throughout the course we shall have a double emphasis:  grappling with the original historical goals of these works and detecting the way in which the problems they address continue to define the terms of modern theoretical debates so as to remain pressing today.  Particular attention will be paid both to the Platonic attack upon poetry and rhetoric, particularly in the course of his remarks about tragedy, and to Aristotle’s complex and multiple responses.  The Roman revisers of the Greek inheritance will be viewed as a first reception, to be followed by several examples drawn from the Renaissance and from the eighteenth and nineteenth centuries.  The later texts will draw out implications from the classical material of India, Japan, Greece and the Hebrew tradition in ways which inflect the material for particular aesthetic and ideological purposes.  We shall be especially interested in the flurry of theoretical activity throughout the nineteenth century as the aesthetic and philosophical apparatus attempts to cope with the very real implications of the century: industrialism, empire, the decline of metaphysics, etc.  A final gesture will be made towards the implications of this historical trajectory for the twentieth century.

 

Readings

Required Texts:

Hazard Adams, Critical Theory Since Plato (HBJ, 1992)

Reader, available from Speedway, Dobie Mall, 2nd Level (469-5653)

 

All texts will be available in the original languages as well as in suitable English translations.  Students are encouraged to read texts in the original where possible. Selections will be drawn primarily from Hazard Adams, Critical Theory Since Plato with additional texts such as selections from the Natyasastra; Midrash, Tacitus, Dialogus, Giraldi Cinthio, Internal Discourse; Du Bellay, Defense and Illustration; Diderot, Rameau’s Nephew; Schiller, Naïve and Sentimental Poetry; Kleist, “On the Marionette Theater;” Shleiermacher, “1819 Lectures on Hermeneutics;” Derrida, Dissemination; Baudrillard, Simlulations.

C L F323 • Films Of Ingmar Bergman

82975 • Summer 2013
Meets MTWTHF 830am-1000am BUR 337
(also listed as EUS F347, SCA F327 )
show description

WRITING FLAG COURSE

Ingmar Bergman (1918-2007) was arguably the greatest filmmaker of the twentieth century.  His career spanned over sixty years and includes such works as the sophisticated comedy Smiles of a Summer Night (1955), the allegorical Seventh Seal (1957), the avant-garde Persona (1966), the masterful television adaptation of Mozart’s The Magic Flute (1975), and the television miniseries Fanny and Alexander (1982).  He also wrote novels, plays, and scripts for many other filmmakers, including Bille August and Liv Ullmann.  In 2003, he directed the television film Saraband (2003), and in recent years, many of his films have been adapted for the stage.

This course is an introduction both to the films of Ingmar Bergman and to the viewing of films in general.  We will look at representative films by this prolific and gifted filmmaker, considering them in the contexts of the director's life, Scandinavian culture, and issues of film theory and aesthetics. 

ASSIGNMENTS AND GRADING:  One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade).   Class participation will count 10%. 

REQUIRED TEXTS (for purchase and available on reserve at PCL):

Bordwell and Thompson:  Film Art:  An Introduction.  9th ed.; 6th ed. on reserve: PN 1995 B617 2001

Peter Cowie:  Ingmar Bergman, PN 1998 A3 B46147 1982

Braudy and Cohen:  Film Theory and Criticism (FTC on syllabus), 6th ed. on reserve:  PN1995 B617 2001

RECOMMENDED:

Birgitta Steene:  Ingmar Bergman:  A Reference Guide.  (U of Amsterdam Press):  PN1998 A3 B46829 2005

French and French:  Wild Strawberries (BFI Film Classics):  PN 1997 S63 F74 1995

FILMS:

Port of Call, Prison, Monika, Sawdust and Tinsel, Smiles of a Summer Night, Wild Strawberries, The Seventh Seal, Through a Glass Darkly,  Persona, Hour of the Wolf, The Passion of Anna, Cries and Whispers, Scenes from a Marriage,  The Magic Flute, Fanny and Alexander, Document:  Fanny and Alexander, Saraband

C L 323 • Films Of Ingmar Bergman

33858 • Spring 2013
Meets TTH 200pm-330pm BUR 337
(also listed as EUS 347, SCA 327 )
show description

DESCRIPTION:

Ingmar Bergman (1918-2007) was arguably the greatest filmmaker of the twentieth century.  His career spanned over sixty years and includes such works as the sophisticated comedy Smiles of a Summer Night (1955), the allegorical Seventh Seal (1957), the avant-garde Persona (1966), the masterful television adaptation of Mozart’s The Magic Flute (1975), and the television miniseries Fanny and Alexander (1982).  He also wrote scripts for many other filmmakers, including Bille August and Liv Ullmann.  In 2003, he directed the television film Saraband (2003), and in recent years many of his films have been adapted for the stage both in Sweden and elsewhere.

This course is intended as an introduction both to the films of Ingmar Bergman and to the viewing of films in general.  We will look at representative films by this prolific and gifted filmmaker, considering them in the contexts of the director's life, Scandinavian culture, and issues of film theory and aesthetics. 

ASSIGNMENTS AND GRADING:  One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade).   Class participation will count 10%. 

REQUIRED TEXTS (for purchase and available on reserve at PCL):

Bordwell and Thompson:  Film Art:  An Introduction.  8th or 9th ed.; 6th ed. on reserve:  PN 1995 B617 2001

Peter Cowie:  Ingmar Bergman, PN 1998 A3 B46147 1982

Braudy and Cohen:  Film Theory and Criticism (FTC on syllabus), 6th ed. on reserve:  PN 1995 B617 2001

RECOMMENDED:

Birgitta Steene:  Ingmar Bergman:  A Reference Guide.  (U of Amsterdam Press):  PN1998 A3 B46829 2005

French and French:  Wild Strawberries (BFI Film Classics):  PN 1997 S63 F74 1995

FILMS:

Port of Call, Prison, Monika, Sawdust and Tinsel, Smiles of a Summer Night, Wild Strawberries, The Seventh Seal, The Magician, Through a Glass Darkly,  Persona,  The Passion of Anna, Cries and Whispers,  The Magic Flute, Scenes from a Marriage; Fanny and Alexander, Document:  Fanny and Alexander, Saraband

Films are on reserve for library use only at the UGL Media Center.  Many are available for rental or purchase, and some can be streamed on Netflix.

C L 385 • Lit Thry And Criticism To 1900

33800 • Spring 2012
Meets TTH 330pm-500pm WAG 208
show description

Course Description

This course will aim to provide a reasonably representative introduction to literary theory from Socratic texts through Augustine’s important contributions into the late nineteenth century.  Throughout the course we shall have a double emphasis:  grappling with the original historical goals of these works and detecting the way in which the problems they address continue to define the terms of modern theoretical debates so as to remain pressing today.  Particular attention will be paid both to the Platonic attack upon poetry and rhetoric, particularly in the course of his remarks about tragedy, and to Aristotle’s complex and multiple responses.  The Roman revisers of the Greek inheritance will be viewed as a first reception, to be followed by several examples drawn from the Renaissance and from the eighteenth and nineteenth centuries.  The later texts will draw out implications from the classical material of India, Japan, Greece and the Hebrew tradition in ways which inflect the material for particular aesthetic and ideological purposes.  We shall be especially interested in the flurry of theoretical activity throughout the nineteenth century as the aesthetic and philosophical apparatus attempts to cope with the very real implications of the century: industrialism, empire, the decline of metaphysics, etc.  A final gesture will be made towards the implications of this historical trajectory for the twentieth century.

 

Readings

Required Texts:

Hazard Adams, Critical Theory Since Plato (HBJ, 1992)

Reader, available from Speedway, Dobie Mall, 2nd Level (469-5653)

 

All texts will be available in the original languages as well as in suitable English translations.  Students are encouraged to read texts in the original where possible. Selections will be drawn primarily from Hazard Adams, Critical Theory Since Plato with additional texts such as selections from the Natyasastra; Midrash, Tacitus, Dialogus, Giraldi Cinthio, Internal Discourse; Du Bellay, Defense and Illustration; Diderot, Rameau’s Nephew; Schiller, Naïve and Sentimental Poetry; Kleist, “On the Marionette Theater;” Shleiermacher, “1819 Lectures on Hermeneutics;” Derrida, Dissemination; Baudrillard, Simlulations.

C L 323 • Films Of Ingmar Bergman

33585 • Fall 2011
Meets TTH 200pm-330pm GEA 114
(also listed as EUS 347, SCA 327 )
show description

DESCRIPTION:

Ingmar Bergman (1918-2007) was arguably the greatest filmmaker of the twentieth century.  His career spanned over sixty years and includes such works as the sophisticated comedy Smiles of a Summer Night (1955), the allegorical Seventh Seal (1957), the avant-garde Persona (1966), the masterful television adaptation of Mozart’s The Magic Flute (1975), and the television miniseries Fanny and Alexander (1982).  He also wrote scripts for many other filmmakers, including Bille August and Liv Ullmann.  In 2003, he directed the television film Saraband (2003), and in recent years many of his films have been adapted for the stage both in Sweden and elsewhere.

This course is intended as an introduction both to the films of Ingmar Bergman and to the viewing of films in general.  We will look at representative films by this prolific and gifted filmmaker, considering them in the contexts of the director's life, Scandinavian culture, and issues of film theory and aesthetics. 

 

ASSIGNMENTS AND GRADING:  One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade).   Class participation will count 10%.

 

REQUIRED TEXTS (for purchase and available on reserve at PCL):

Bordwell and Thompson:  Film Art:  An Introduction.  8th or 9th ed.; 6th ed. on reserve:  PN 1995 B617 2001

            Peter Cowie:  Ingmar Bergman, PN 1998 A3 B46147 1982

Braudy and Cohen:  Film Theory and Criticism (FTC on syllabus), 6th ed. on reserve:  PN 1995 B617 2001

 

RECOMMENDED:

Birgitta Steene:  Ingmar Bergman:  A Reference Guide.  (U of Amsterdam Press):  PN1998 A3 B46829 2005

French and French:  Wild Strawberries (BFI Film Classics):  PN 1997 S63 F74 1995

 

FILMS:

Port of Call, Prison, Monika, Sawdust and Tinsel, Smiles of a Summer Night, Wild Strawberries, The Seventh Seal, The Magician, Through a Glass Darkly,  Persona,  The Passion of Anna, Cries and Whispers,  The Magic Flute, Scenes from a Marriage; Fanny and Alexander, Document:  Fanny and Alexander, Saraband

 

Films are on reserve for library use only at the UGL Media Center.  Many are available for rental or purchase, and some can be streamed on Netflix.

C L S323 • Films Of Ingmar Bergman

83190 • Summer 2011
Meets MTWTHF 830am-1000am BUR 337
(also listed as EUS S347, SCA S327 )
show description

Ingmar Bergman (1918-2007) was arguably the greatest filmmaker of the twentieth century.  His career spanned over sixty years and includes such works as the sophisticated comedy Smiles of a Summer Night (1955), the allegorical Seventh Seal (1957), the avant-garde Persona (1966), the masterful television adaptation of Mozart’s The Magic Flute (1975), and the television miniseries Fanny and Alexander (1982).  He also wrote scripts for many other filmmakers, including Bille August and Liv Ullmann.  In 2003, he directed the television film Saraband (2003), and in recent years many of his films have been adapted for the stage both in Sweden and elsewhere.  

This course is intended as an introduction both to the films of Ingmar Bergman and to the viewing of films in general.  We will look at representative films by this prolific and gifted filmmaker, considering them in the contexts of the director's life, Scandinavian culture, and issues of film theory and aesthetics.    

ASSIGNMENTS AND GRADING:  One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade).   Class participation will count 10%.  

REQUIRED TEXTS (for purchase and available on reserve at PCL):

Bordwell and Thompson:  Film Art:  An Introduction.  8th or 9th ed.; 6th ed. on reserve:  PN 1995 B617 2001  

Peter Cowie:  Ingmar Bergman, PN 1998 A3 B46147 1982

Braudy and Cohen:  Film Theory and Criticism (FTC on syllabus), 6th ed. on reserve:  PN 1995 B617 2001  

RECOMMENDED:

Birgitta Steene:  Ingmar Bergman:  A Reference Guide.  (U of Amsterdam Press):  PN1998 A3 B46829 2005  

French and French:  Wild Strawberries (BFI Film Classics):  PN 1997 S63 F74 1995  

FILMS:

Port of Call, Prison, Monika, Sawdust and Tinsel, Smiles of a Summer Night, Wild Strawberries, The Seventh Seal, The Magician, Through a Glass Darkly,  Persona,  The Passion of Anna, Cries and Whispers,  The Magic Flute, Scenes from a Marriage; Fanny and Alexander, Document:  Fanny and Alexander, Saraband  

Films are on reserve for library use only at the UGL Media Center.  Many are available for rental or purchase, and some can be streamed on Netflix.

C L 323 • Arendt And De Beauvoir

33940 • Spring 2011
Meets TTH 930am-1100am GAR 0.128
(also listed as E 322, EUS 347, GRC 323E, WGS 340 )
show description

Prerequisites: Upper-division standing.

Description: Simone de Beauvoir and Hannah Arendt: Intellectual Women/Women as Intellectuals --What does it mean to be a woman and an intellectual? This course focuses on major works by two women who helped define the field in the mid-twentieth century, the French writer Simone de Beauvoir and the German-Jewish-American Hannah Arendt.

We will consider their works from a variety of perspectives. To what extent are the preoccupations of these women intellectuals defined by gender? Do they define the relationship or relationships between public and private in ways that differ from many male writers? How do the lives shape the works? What kind of stories do they tell?

We will also consider the different contexts of the two writers, as well as some recent perspectives on the nature and origins of “intellectuals.”

Required Texts:

Simone de Beauvoir: She Came to Stay; The Second Sex (excerpts); The Blood of Others; Coming of Age; Mandarins; A Very Gentle Death.

Toril Moi: Simone de Beauvoir:  The Making of an Intellectual Woman.

Hannah Arendt: The Human Condition; Between Past and Future; On Revolution; Eichmann in Jerusalem; Men in Dark Times.

Requirements & Grading: Two three-page papers (20%), one final ten-page paper (50%), and one oral report (10%). Class participation will count 20%.

C L 323 • Films Of Ingmar Bergman

33965 • Spring 2011
Meets TTH 1230pm-200pm BUR 337
(also listed as EUS 347, SCA 327 )
show description

DESCRIPTION:

Ingmar Bergman (1918-2007) was arguably the greatest filmmaker of the twentieth century.  His career spanned over sixty years and includes such works as the sophisticated comedy Smiles of a Summer Night (1955), the allegorical Seventh Seal (1957), the avant-garde Persona (1966), the masterful television adaptation of Mozart’s The Magic Flute (1975), and the television miniseries Fanny and Alexander (1982).  He also wrote scripts for many other filmmakers, including Bille August and Liv Ullmann.  In 2003, he directed the television film Saraband (2003), and in recent years many of his films have been adapted for the stage both in Sweden and elsewhere.  This course is intended as an introduction both to the films of Ingmar Bergman and to the viewing of films in general.  We will look at representative films by this prolific and gifted filmmaker, considering them in the contexts of the director's life, Scandinavian culture, and issues of film theory and aesthetics.    

ASSIGNMENTS AND GRADING: 

One two-page paper (5%)

one five-page paper which may be rewritten (25%)

one storyboard (10%)

accompanied by a five-page essay (25%),

five quizzes (25%; you may drop the lowest grade).

Class participation will count 10%.  

REQUIRED TEXTS

(for purchase and available on reserve at PCL): Bordwell and Thompson:  Film Art:  An Introduction.  8th or 9th ed.; 6th ed. on reserve:  PN 1995 B617 2001  Peter Cowie:  Ingmar Bergman, PN 1998 A3 B46147 1982 Braudy and Cohen:  Film Theory and Criticism (FTC on syllabus), 6th ed. on reserve:  PN 1995 B617 2001  

RECOMMENDED:

Birgitta Steene:  Ingmar Bergman:  A Reference Guide.  (U of Amsterdam Press):  PN1998 A3 B46829 2005  French and French:  Wild Strawberries (BFI Film Classics):  PN 1997 S63 F74 1995  

FILMS:

Port of Call, Prison, Monika, Sawdust and Tinsel, Smiles of a Summer Night, Wild Strawberries, The Seventh Seal, The Magician, Through a Glass Darkly,  Persona,  The Passion of Anna, Cries and Whispers,  The Magic Flute, Scenes from a Marriage; Fanny and Alexander, Document:  Fanny and Alexander, Saraband  Films are on reserve for library use only at the UGL Media Center.  Many are available for rental or purchase, and some can be streamed on Netflix.

C L 390 • Literary & Cul Theory Snc 1900

32975 • Fall 2010
Meets MW 1230pm-200pm CBA 4.340
show description

“What’s left of theory?”  The title of a recent collection of essays speaks to anxieties voiced by many of us who study literature.  What is it we do as comparatists, as students of literature, and as humanists?  This survey of recent literary theories will begin with these questions.  Haun Shaussy’s anthology of essays on the status of the Comparative Literature suggests how the field has changed over the past six decades.  Selections from two essay collections on the humanities will help us situate transformations in Comparative Literature in a broader context.

In the weeks that follow, we will read texts that exemplify various critical positions and approaches, ranging from Anglo-American New Criticism to various schools inspired by developments in linguistics to recent interdisciplinary work that refuses traditional distinctions between literature and other forms of human expression.  Our focus on these texts will be twofold:  we will look at them closely, often reading them against themselves; but we will also try to come to grips with the usefulness of the theories they expound.

 

Assignments and grading:  One oral report of not more than twenty minutes on a theorist or text (10%); four short position papers (70%); class participation (20%).

 

REQUIRED TEXTS:

Leitch et al.:  The Norton Anthology of Theory and Criticism.  PN 86 N67 2001 PCL

 

RECOMMENDED:

Adams:  Critical Theory Since Plato 2nd edition.  PN49 C683 1992

Auerbach:  Mimesis:  PN 56 R3 A8313 1957 PCL Stacks

Bernheimer, ed.:  Comparative Literature in the Age of Multiculturalism PN 863 C586 1995 PCL Stacks

Casanova:  The World Republic of Letters  PN 703 C3713 2004

Eagleton:  Literary Theory:  PN94 E2 1983 PCL Stacks

Hall, ed.  Professions:  Conversations on the Future of Literary and Cultural Studies.  U of Illinois Press, 2001.  PR 51 U6 P76 2001 PCL

Hayward, Susan.  Cinema Studies:  The Key Concepts.  2nd ed.  Routledge, 2000.  PN 1993.45 H36 2000 PCL;  also online:  http://www.lib.utexas.edu:2048/login?url=http://www.netLibrary.com/urlapi.asp?action=summary&v=1&bookid=61022

Lodge:  Modern Criticism and Theory:  A Reader:  2nd ed. PN94 M57 2000 PCL Stacks

Lodge:  Twentieth-Century Literary Criticism:  A Reader (UTCAT entry begins with “20th-century”):  PN94 L6

Milner:  Literature, Culture & Society:  PN51 M48 1996B

Moi:  Sexual/Textual Politics:  Feminist Literary Theory.  PN 98 W64 M65 1991,  PN98 W64 M65 2002 PCL

Rimmon-Kenan:  Narrative Fiction:  Contemporary Poetics.  PN 212 R55 1983; 2nd edition online: 
http://www.lib.utexas.edu:2048/login?url=http://www.netLibrary.com/urlapi.asp?action=summary&v=1&bookid=102885

Rivkin and Ryan:  Literary Theory:  An Anthology.  PN 45 L512 1998 PCL Stacks

Saussy:  Comparative Literature in an Age of Globalization.  Johns Hopkins UP 2006.  PN 863 C585 2006 PCL Stacks

Warhol and Herndl:  Feminisms:  An Anthology of Literary Theory and Criticism.  1st ed.   PN 98 W64 F366 1991.  See also second edition, 1997.

C L 323 • Films Of Ingmar Bergman-W

82608 • Summer 2010
Meets MTWTHF 830am-1000am BUR 337
(also listed as EUS 347, SCA 327 )
show description

DESCRIPTION:  Ingmar Bergman (1918-2007) was arguably the greatest filmmaker of the twentieth century.  His career spanned over sixty years and includes such works as the sophisticated comedy Smiles of a Summer Night (1955), the allegorical Seventh Seal (1957), the avant-garde Persona (1966), the masterful television adaptation of Mozart’s The Magic Flute (1975), and the television miniseries Fanny and Alexander (1982).  He also wrote novels, plays, and scripts for many other filmmakers, including Bille August and Liv Ullmann.  In 2003, he directed the television film Saraband (2003), and in recent years, many of his films have been adapted for the stage.

This course is an introduction both to the films of Ingmar Bergman and to the viewing of films in general.  We will look at representative films by this prolific and gifted filmmaker, considering them in the contexts of the director's life, Scandinavian culture, and issues of film theory and aesthetics. 

ASSIGNMENTS AND GRADING: 
One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade).   Class participation will count 10%.

I have applied for flags in writing and global cultures, and also to offer this course as a signature course.

REQUIRED TEXTS (for purchase and available on reserve at PCL):
Bordwell and Thompson:  Film Art:  An Introduction.  8th ed.; 6th ed. on reserve:  PN 1995 B617 2001
Peter Cowie:  Ingmar Bergman, PN 1998 A3 B46147 1982
Braudy and Cohen:  Film Theory and Criticism (FTC on syllabus), 6th ed. on reserve:  PN1995 B617 2001
Hairston et al.:  The Scott Foresman Handbook for Writers

RECOMMENDED:

Birgitta Steene:  Ingmar Bergman:  A Reference Guide.  (U of Amsterdam Press):  PN1998 A3 B46829 2005
French and French:  Wild Strawberries (BFI Film Classics):  PN 1997 S63 F74 1995

FILMS:
Port of Call, Prison, Monika, Sawdust and Tinsel, Smiles of a Summer Night, Wild Strawberries, The Seventh Seal, Through a Glass Darkly,  Persona, The Passion of Anna, Cries and Whispers, Scenes from a Marriage,  The Magic Flute, Fanny and Alexander, Document:  Fanny and Alexander, Saraband

C L 323 • Arendt And De Beauvoir-W

33240 • Spring 2010
Meets TTH 1100-1230pm RLM 6.112
(also listed as E 322, EUS 347, GRC 323E, WGS 340 )
show description

See attachment.

Publications

“The Chamber Plays.”  Cambridge Companion to Strindberg.  Ed. Michael Robinson.  Cambridge:  Cambridge University Press, 2009.  107-120.

 

“Playful Performances: Ingmar Bergman’s Bildmakarna and Film Authorship.”TijdSchrift voor Skandinavistiek 30:1 (2009): 269-304.

Wilkinson, Lynn R.  (2008, September) Marriage, Remarriage, and Other Language Games:  Emma Gad's Ægtestand and De unge Drømme and the Comedy of Remarriage.” Orbis litterarum 63(3), 177-194.

Wilkinson, Lynn R.  (2008, September) "Culture and Power in Balzac's Rubempré Novels." Romance Quarterly 55(2), 153-160.
Wilkinson, L.R. (2008, March) Review of Women, Modernism, and Performance. South Central Review 25(1), 174-175.

Wilkinson, L.R. (2007) Review of Das Ich im Dialog mit dem Wir: Die Literarisierung kultureller Migration als kritische Auseinandersetzung mit der eigenen kollektiven Identität. The German Quarterly The German Quarterly 80(4), 550-551

Wilkinson, L.R. (2006, December) Review of Regions of Sorrow: Anxiety and Messianism in Hannah Arendt and W. H. Auden. Comparative Literature 58(1), 86-89.

“Gender and the Gaze in Anne Charlotte Leffler’s ‘En bal i “societeten.’” Scandinavian Studies 78(4), 429-460.

Wilkinson, Lynn R.  (2006, September)  Anne Charlotte Leffler and Bjørnstjerne Bjørnson’s De nygifte. TijdSchrift voor Skandinavistiek 27(1), 69-89.

Wilkinson, Lynn R. (2004, December) Hannah Arendt on Isak Dinesen: Between Storytelling and Theory. Comparative Literature, 56(1), 77-98.

Wilkinson, Lynn R. (2004, March) Feminism, Modernism, and the Morality Debate: Anne Charlotte Leffler's Tre komedier. Scandinavian Studies, 76(1), 47-70.

Wilkinson, Lynn R. (2003, November) Sketching Modernity: Elin Améen's Träldom och Lifsmål. Scandinavica, 42(2), 209-237.

Wilkinson, L. (2003, September) Feminism, Comedy, and Theatricality in Turn-of-the-Century Copenhagen: Emma Gad's Et Sølvbryllup och Den mystiske Arv. Edda: Nordisk tidsskrift for litteraturforskning/ Scandinavian Journal of Literary Research, 4, 352-364.

Wilkinson, Lynn R. (2002, September) Karin Boye. Twentieth-Century Swedish Writers Before World War II. Dictionary of Literary Biography 259. Ed. Anne Charlotte Gavel Adams. Bruccoli Clark Layman, 19-29.

Wilkinson, L. (2002, September) Ellen Key. Twentieth-Century Swedish Writers Before World War II.  Dictionary of Literary Biography 259.  Ed. Anne Charlotte Gavel Adams.  Bruccoli Clark Layman, 83-93.

Wilkinson, Lynn R (2001, September) Gender and Melodrama in Ibsen's Lady Inger. Modern Drama, 44(2), 155-173.

Wilkinson, Lynn R.  (1998, September) Henri Becque. French Dramatists from 1789 to 1914. Dictionary of Literary Biography 192. Ed. Barbara T. Cooper. Bruccoli Clark Layman, 12-18.

Wilkinson, Lynn R.  (1998, September) Maurice Maeterlinck.  French Dramatists from 1789 to 1914.  Dictionary of Literary Biography 192.  Ed. Barbara T. Cooper.  Bruccoli Clark Layman,, 232-243. 

Wilkinson, Lynn R. (1997, December) Strindberg, Peter Szondi, and the Origins of Modern (Tragic) Drama. Scandinavian Studies, 69(1), 1-28.

Wilkinson, Lynn R. (1996) The Dream of an Absolute Language: Emanuel Swedenborg and French Literary Culture. Albany: State University of New York Press.

Wilkinson, Lynn R. (1996, September) Isak Dinesen's "Sorrow-Acre" and the Ethics of Storytelling. Edda: Nordisk tidsskrift for litteraturforskning/ Scandinavian Journal of Literary Research, 1, 33-44.

Wilkinson, Lynn R. (1993, September) The Politics of the Interior: Strindberg's Chamber Plays. Scandinavian Studies, 65(4), 463-486.

Wilkinson, Lynn R. (1992, December) The Art of Distinction: Proust and the Dreyfus Affair. MLN, 107(5), 976-999.

Wilkinson, Lynn R. (1992, March) Le cousin Pons and the Invention of Ideology. PMLA, 107(2), 274-289.

Wilkinson, L. (1989, June) Embodying the Crowd: Balzac's L'envers de l'histoire contemporaine and the Languages of Class Consciousness. Symposium, 43(2), 127-137.

Wilkinson, L. (1989, January) Gender and Class in Stendhal's Lamiel. Romanic Review, 80(1), 57-74.

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