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Seminar Lit Themes

CWL 581

Study of a theme or type (the Faust myth, the romantic hero, etc.) to discover its essential components in all the literatures studied and the significance of national variations. The subject of the seminar varies each term. May be repeated to a maximum of 12 hours if topics vary.

49410
JS 502/CWL 581: Introduction to Holocaust, Genocide, and Memory Studies, Brett Ashley Kaplan This seminar will provide a graduate-level introduction to the field of Holocaust, Genocide, and Memory Studies. We will survey some of the significant theorists of memory from the last century. Topics will include the relations between history, memory, and identity; power, politics, and contestation; media, generational change, and modes of transmission; and remembrance, justice, and globalization. Students will have the opportunity to design research projects in their own areas of interest. Requirements will include active participation, an oral presentation, one short response paper, and a final research paper. This course is recommended (but not required) for those contemplating the Certificate in Holocaust, Genocide, and Memory Studies and will be of interest to students across a broad range of disciplines and interests including but not limited to those working on the Holocaust, the Armenian genocide, the Rwandan genocide, Cambodia, Indonesia, and/or memory and violence more generally. Class meets in English 109

47179
The “Moving” Image: Feeling & Film We take it for granted that film should move us—to tears, to laughter, to arousal, to fear and other states. In this course, we will look broadly at some of the connections between the “moving” image and feeling, from phenomenological approaches to cinema to more recent work on cinema and the body, the haptic, and affect. After looking at some foundational texts of phenomenology (Hegel and Merleau-Ponty), we will move to work on phenomenology and the moving image, particularly Deleuze’s Cinema 1 & 2 (Movement-Image, Time-Image). In the last two decades, numerous scholars, often inspired by Deleuze, have turned to the question of feeling and film; we’ll look at Sobchack, Casebier, Marks, and Barker, and the “haptic turn” in film studies. At the end of the course we’ll examine some recent scholarship (Väliaho, Massumi, Shaviro, Harbord and Chen) that looks at feeling and the moving image that moves beyond traditional narrative cinema (from the earliest days of the moving image to art installations to YouTube videos).