Lynn R Wilkinson

CL 382:  Writers and Intellectuals:  Theories and Practices

Lynn R. Wilkinson

Meets TTh 3:30-5 in Mezes 1.104

What is an intellectual?  This course will begin by exploring a variety of critical perspectives on intellectuals before moving on to four clusters of texts related to particularly important moments in the history of intellectuals in the twentieth and the beginning of the twenty-first centuries.  We will then turn to case studies based on the interests and research projects of the members of the class.  These projects may take many forms:  for example, they may consider one or two writers whose work combines traditional genres with publications or other activities that engage political or social issues; they may investigate one or two theories or theorists of intellectuals:  they may look at the role of journals in fostering the work of such writers; or they may focus on biographies or autobiographies as genres that help us to understand the particular nature of intellectuals and what they do.  The assigned readings for the first half of the class focus on western texts published during the past 125 years.  But I welcome projects on earlier writers and writers from non-western countries and traditions.  And I am particularly interested in questions of gender:  women often do intellectual work, but seldom figure in histories or theoretical considerations of intellectuals.

ASSIGNMENTS:  one class presentation during the first half of the class (10%); one five-page paper (15%); an abstract of the research project (5%); one class presentation on the research project (10%); a final research paper (50%); class participation (10%)

Theoretical Perspectives

Pierre Bourdieu:  The Rules of Art:  Genesis and Structure of the Literary Field. 

Karl Mannheim:  Ideology and Utopia:  An Introduction to the Sociology of Knowledge.

Antonio Gramsci:  Selections from The Prison Notebooks.

Paolo Freire:  Pedagogy of the Oppressed.

Russell Jacoby:  The Last Intellectuals:  American Culture in the Age of Academe

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

The Dreyfus Affair

Émile Zola:  The Dreyfus Affair:  J’Accuse and Other Writings.

Sigmund Freud:   “An Autobiographical Study”

Henrik Ibsen:  An Enemy of the People.

Post-War Paris

Jean Paul Sartre:  “What Is Literature?”  Baudelaire

Simone de Beauvoir:  The Mandarins

Raymond Aron:  The Opium of the Intellectuals

New York

Neil Jumonville.  Critical Crossings:  The New York Intellectuals in Postwar America.

Hannah Arendt:  Eichmann in Jerusalem;  Men in Dark Times.

Edith Kurzweil, ed.:  Writers and Politics:  A Partisan Review Reader”; Full Circle:  A Memoir

The Theorist as Intellectual

Michel Foucault:  “What Is an Author?”  Discipline and Punish

Pierre Bourdieu:  Sketch for a Self-Analysis

Julia Kristeva:  The Samurai:  A Novel; Selections from Feminine Genius: Hannah Arendt, Melanie Klein, Colette

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

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.

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.

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.

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.

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%.

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.

“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.  2^nd 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:  2^nd 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; 2^nd 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.  1^st ed.   PN 98 W64 F366 1991.  See also second edition, 1997.

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

See attachment.