Spring Quarter
| Dept | Course No and Title | Instructor |
|---|---|---|
| FRENCH (S19) | 150 SELF-LOVE, NARCISSISM AND THE COMMON GOOD | LITWIN, C |
| In the age of social media, we tend to associate human self-love with the myth of Narcissus trapped in the love of his self-reflected image. Self-love, however, was conceived of much more positively in the Antiquity. Aristotle and the Stoics, for instance, used the argument that we love people to whom we do good more than we love those who do good to us to oppose generous self-love to both selfishness and altruism. To them, self-love was in fact the natural reward of virtue and, as such, the core principle of friendship and active participation in the common good. This interpretation of self-love was, however, largely opposed by Christian theology. Saint Augustine described original sin as the corruption of man’s love of God into self-love. Since pagan virtues derive from self-love they are sinful and false. Outside of Christian charity all human virtues are but disguised vices. | ||
| FRENCH (S19) | 50 PARIS: ART CAPITAL OF EUROPE | NOLAND, C. |
| At the dawn of the 20th century, Paris became the unrivaled magnet for artists from all over the world. Many of the most original, outrageous, and talented artists and writers felt compelled to live in the French capital, leaving homes in Germany, Russia, Romania, Spain, Italy, Ireland, Senegal, Martinique, and the United States to explore life in the city of light. Against the background of the history of Paris, we will study the lives and works of artists and writers involved in movements such as Impressionism, Cubism, Surrealism, Modernism, Negritude, and the “Lost Generation,” asking: “Why was Paris the hot place to be?” | ||
| FRENCH (S19) | 180 LANGUAGE AND POWER | FREI, P. |
| This class will offer an introduction to the works of two key figures of 20th century French and Critical Theory: Roland Barthes and Michel Foucault who both renewed our understanding of the relationship between language and power. Words and images are never neutral. Language, as Barthes put it, is “fascist”: “for fascism does not prevent speech, it compels it.” We will be looking at key notions such as subjectivity, representation and ideology in order to open up a discussion on the political and social implications of words and ideas, especially when it comes to literature and its fictions. All texts will be made available on the course’s Canvas page at the beginning of the quarter. Readings and discussions will be in English. Grading: Midterm and final exams as well as short reading/writing assignments. | ||
| FRENCH (S19) | 2C INTERMEDIATE | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (S19) | 2C INTERMEDIATE | KLEIN TOPAN, L. |
| No detailed description available. | ||
| FRENCH (S19) | 1BC INTENSV FUND FRENCH | KLEIN TOPAN, L. |
| No detailed description available. | ||
| FRENCH (S19) | 1C FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (S19) | 1C FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (S19) | 1C FUNDAMENTALS | MIJALSKI, M. |
| No detailed description available. | ||
| FRENCH (S19) | 1C FUNDAMENTALS | HEBERLE, O. |
| No detailed description available. | ||
| FRENCH (S19) | 160 FRENCH NEW WAVE FILM (S19) | FARBMAN, H. |
| In the late fifties and early sixties, a new kind of cinema emerged in France, as a group of film critics, formed in the shared experience of viewing classic film in ciné-clubs and at the Cinémathèque Française of Henri Langlois, attempted to put their theories about cinema into practice in films of their own. This course looks into how both theory and practice were shaken in this process. We will study films (some from in and some from around the “New Wave”) by Chabrol, Demy, Godard, Truffaut, Resnais, Rivette, Rohmer, and Varda alongside short selections from Bazin, Daney, and Deleuze. | ||
| FRENCH (S19) | 120 FRENCH FILM, 1900-59 | FARBMAN, H. |
| An introduction to French film from its beginnings through the end of the 1950’s, through close analysis of selected major works. Topics to be discussed will include the relation between fiction and documentary; the shifting relation between film and the other arts in the early twentieth century; issues surrounding the advent of sound; and questions concerning the representation of gender and sexuality. | ||