RSCP. 83100 - Dialogue: The Uses of Humanism, GC: W, 4:15-6:15 p.m., Rm. TBA, 3/4 credits, Prof. Carroll,  Cross listed with CL 80100
Beginning with Plato’s Symposium and Renaissance translations and adaptations of it, we will explore dialogue as both genre and mode of discourse, with late 20th and early 21st century theoretical readings from Bakhtin (Problems of Dostoyevsky’s Poetics, Rabelais and His World), Habermas (Theory of Communicative Action), and Agamben (State of Exception). Following the trajectory of classical dialogue through its diverse iterations in the work of Cicero and Lucian, we will then read some early modern translations of their work. With this necessary classical foundation, we will consider perhaps the most famous dialogue of the Renaissance Castiglione’s Il Cortegiano and its translations. Examining what Walter Ong called "the decay of dialogue" in the late sixteenth century, we will consider such late Renaissance texts as Guazzo’s La civil conversatione and Spenser’s A View of the Present State of Ireland (a case of scribal publication) in relation to the emerging discipline of the self and the state. All texts will be read in original languages, but translations will be provided. There will be opportunities for work with digital manuscript versions of some texts for those who are so inclined.
THE FOLLOWING COURSES WILL FULFILL PROGRAM REQUIRMENTS:
ART 85000 Material Culture and the Arts of the Early Modern Iberian World, GC M, 1:00-3:00pm, Room TBA, 3 credits, Prof. Amanda Wunder 
Students in this seminar will explore methodologies from material culture studies and apply them to art objects made in and for the vast territories of the early modern Iberian world (ca. 1500- 1700). This course is being offered in conjunction with a panel on the same topic at the College Art Association on Feb. 17 (5:30-7:00), which students are expected to attend. During the semester, we will read classic works on material culture and the most recent scholarship from Spanish/Latin American/global studies. Some classes will meet at the Metropolitan Museum of Art, where we will examine objects made from various materials (textiles, paintings, domestic furnishings, prints, and more). There we will be paying special attention to the relationship between the academic study of art history and museum-based conservation and scholarship. This is an interdisciplinary course that welcomes graduate students from different departments and programs--it is not restricted to art history students. Please email Prof. Wunder if you need permission to enroll.
Active participation during classroom discussions and museum visits; oral presentation on one week's readings. Written assignments: One catalogue entry based on a museum object due mid-semester; object-based final research paper and conference-style presentation at the end of the term.
CL 87000 Recitar cantando: Opera Librettos from their Origins to Gluck, GC, R, 6:30-8:30pm, Room TBA, 4 credits, Prof. Paolo Fasoli 
Opera was born in Florence at the end of the 16th century as an attempt to revive Greek classical theater, or what at the time Greek drama was thought to have been. It was the product of a collaboration and a compromise between poets and composers. Poets would abandon the then prevailing style that called for the use of endless conceits for one that favored linear understandability, while composers renounced to the extensive use of polyphony and counterpoint, adopting a monodic style and resorting to recitatives and later, increasingly, to arias. In this course, we will study the literary aspect of this still flourishing endeavor, in a historical period that stretches from the invention of opera, to Gluck’s post-Baroque "reform." Librettos will include some of those centered on opera’s mythical numen, Orpheus (set to music by Caccini, Peri, Monteverdi, Gluck), and others adapted from early modern narrative masterpieces such as Ariosto’s Orlando furioso and Tasso’s Gerusalemme liberata. Librettos based on Ariosto’s poem will include texts written for composers like Lully (Roland), Vivaldi (Orlando furioso, Orlando finto pazzo), Handel (Ariodante, one of his three Ariostean operas), while those inspired by Tasso will be limited, for practical and historical reasons, to librettos used by Lully (Armide, a text later set to music by Gluck), Vivaldi (Armida al campo d’Egitto), and Jommelli (Armida abbandonata). We will also read a libretto based on the last novella of Boccaccio’s Decameron, set to music by, among others, Alessandro Scarlatti and Vivaldi for their operas Griselda. We will also read librettos of operas by Cavalli (Statira) and Purcell (Dido and Aeneas).
CL 89000 Masculinity and the Renaissance Man, GC, W, 2:00-4:00pm, Room TBA, 4 credits, Prof. Gerry Milligan 
The course will examine representations of Renaissance masculinity by focusing on the Italian literary canon as well as some examples from European literary and artistic traditions. We will read fifteenth and sixteenth-century authors including Leon Battista Alberti, Baldessar Castiglione, Ludovico Ariosto, and Torquato Tasso and then consider how modes of masculinity, such as the refined courtier or the chivalric knight were adopted and refashioned when they were translated across linguistic, historic, or cultural lines. The course will spend a significant amount of time on prescriptive literature so that we might study both the construct of masculinity as well as how authors manipulated the rhetoric of masculinity and effeminacy to achieve their desired ends. Some important themes we will consider are the role of women in the construction of male identity, the implications of male sexuality, and the association of effeminacy with foreigners, homosexuals, and military defeat. Readings will include historical, sociological, and philosophical texts that help provide both historical context as well as a theoretical framework through which we can (re)-read the canon. We will begin by considering the notion of the "Renaissance Man" as presented by Jacob Burkhardt in his famous study Civilization of the Renaissance in Italy and move quickly to contemporary masculinity theories such as those by Connell, Frosh, and Gillmore. Students are expected to complete brief reading response papers, one oral presentation, and a final research paper of 25 pages. The class will also participate in a site visit to the Metropolitan Museum of Art. All texts read in the class are available in English translation.
ENGL 72400 Romance and Rapture, GC, R, 11:45am-1:45pm, Room TBA, 2/4 credits, Prof. Richard McCoy 
From the middle ages through the Renaissance, audiences thrilled to the heroic exploits, ardent loves, and astonishing incidents in narrative, poetic, and dramatic romances. Nevertheless, a backlash began in the Enlightenment, with some, like William Congreve, contending that the "giddy delight" of romance is ultimately supplanted by the recognition that "‘tis all a lye." Yet its attractions remain irresistible, and many argue, as Northrop Frye does, that its extravagant fabrications constitute the "structural core of all fiction." This course will analyze the motifs and patterns of romance – quests and episodic detours, intimations of magic and miracle, disguise, duplicity, and discovery, multiple, androgynous identities, and recovery from recurrent loss – as well as the mixed reception of the genre’s blend of absurdity and wonder. We will explore the roots of romance in late antiquity through chivalric adventures of the middle ages to the hybrid creations of the Renaissance, blending allegory, pastoral, epic, and tragicomedy. Readings will include selections from the Homer’s Odyssey and Heliodorus’ Aethiopica, Chrétien de Troyes and Chaucer, Ariosto and Cervantes, Sidney and Spenser as well as plays by Shakespeare, Beaumont, and Fletcher. We will also consider ways in which romance continues to pervade the novel with selections from Austen and Nabokov as well as popular contemporary romance fiction and film. And we will review theoretical discussions of romance from the sixteenth century treatises through Mikhail Bakhtin, Patricia Parker, Margaret Doody, Barbara Fuchs, Janice Radway, and others. Course assignments are designed to fulfill several of the new Portfolio Examination requirements: an annotated bibliography will be required of each student, and every student has the option of submitting either a 15-page research essay, a syllabus with a 1500-word account of a pedagogical approach to assigned texts, or a 10-page conference paper. Each student will be required to make a brief oral presentation on one of the assigned readings.
ENGL 82300 Badiou and Milton, GC, W, 2:00-4:00pm, Room TBA, 2/4 credits, Prof. Feisal Mohamed 
The title of this course creates an unlikely duet. What does the contemporary Maoist and philosopher have to do with the seventeenth-century poet and statesman? In considering them together, we will see how each has an abiding concern with the formation of an enlightened revolutionary subject. For both Badiou and Milton, that concern is necessarily a literary one. Each formulates at key moments the relationship between literary performance and truth, both from the perspective of writer and of audience. Each strongly resists a response to literature that is only aesthetic, arguing for a literary imaginary fundamental to the human experience of liberating universalism. In engaging in this inquiry, we will look not only at Badiou’s philosophical writings, but also his literary criticism and his recently translated tragedy, The Incident at Antioch. Along with Milton’s three major poems—Paradise Lost, Paradise Regained, and Samson Agonistes—we will read key works of his radical prose. As a bridge between these two writers, we will spend some time on philosophical treatments of the "event" a0 and on the recent "religious turn," exploring the work of Giorgio Agamben, Creston Davis, Gilles Deleuze, John Milbank, and Catherine Pickstock.
Assignments on Milton may be used for the pre-1800 component of the Portfolio Examination.
Alain Badiou, Ahmed the Philosopher: Thirty-Four Short Plays for Children and Everyone Else; The Age of the Poets; Ethics; Saint Paul: The Foundation of Universalism; The Incident at Antioch; Rhapsody for the Theatre.
John Milton, Areopagitica, The Doctrine and Discipline of Divorce, Lycidas, The Tenure of Kings and Magistrates, Paradise Lost, Paradise Regained, Samson Agonistes.
FREN 83000 (Un)Classical Bodies (in English), GC: T, 4:15-6:15pm, 2/3/4 credits,Prof. Domna Stanton
This course will examine diverse and dissimilar constructions of the body in seventeenth-century France. We will begin by examining recent theories of the early-modern body in Bakhtin, Elias, Lacqueur, and Bordo, but most notably (and influentially) in Foucault and his notion of "the classical" and disciplined body. These readings will inform our discussion of different – and potentially contradictory – discourses imbricated in the production of early-modern gendered bodies over and beyond the Cartesian body: the medical (anatomical), sexual (sodomitical and tribadic), reproductive, perverse and grotesque body; the social, civilized, courtly (honnete) body; the cross-dressed body; the rhetoric of the face and the portrait; the king’s bodies; and the religious and mystical (ecstatic) body.
Authors to be read include: Bourgeois, Chorier, De Grenailles, Descartes, Duval, Faret, Foigny, Guyon, Héroard, La Fontaine, La Rochefoucauld, Molière, Montpensier, Paré, Pascal, Poulain de la Barre, Saint-Simon and Venette. If we can arrange it, we will also visit the collections of anatomical drawings at the New York Academy of Medicine.
Class discussions will be conducted in English; readings will be in French (although some, eg Descartes, Poulain, La Fontaine can also be found in translations). Work for the course will include a 25-page paper and an oral presentation of one of the primary readings for those taking it for 4 credits; for those taking the course for 3 credits, there will be a 10-12 page paper, as well as the oral presentation; for two-credit students, the oral presentation will be written up (5-7 pp.). Everyone in the course will take the final exam.
A prior knowledge of seventeenth-century French literature and culture is recommended, but not required.
For any questions about the course, please contact Domna Stanton (email@example.com<mailto:firstname.lastname@example.org>)
Hist. 72100 The Protestant Reformation and Its Impact GC: R, 4:15-6:15 pm, 3 credits, Prof. Sarah Covington 
The year 2017 marks the 500th anniversary of Martin Luther unleashing onto the world the monumental religious revolution that came to be known as the Protestant reformation. But the story of the reformation—which was not one reformation but many, not simply "protestant" but multi-confessional and Catholic—was much more complex than the traditional narratives convey, and presents enormous challenges to scholars wishing to understand the shattering of western Christendom in the sixteenth century. Equally challenging is the attempt to understand the long-terms impact of the reformation, beyond the fact that it changed the history of Europe, the United States, and indeed the world. Weber, of course, attributed the spirit of capitalism to Protestantism, while Marx and Engels believed that it portended the proletarian revolution. Cultural critics discuss the transformation of literature and the arts under Protestant influence, while scholars still debate its role in the rise of modernity, however defined, more generally.
Such conclusions about influence are enriching, but they are too often based on a superficial and often sometimes error-prone understanding of what the reformation actually was. This seminar will therefore plunge students into the world of theological battles and religious wars, of persecutions and martyrdom, and not least the often ferocious debates between historians themselves, in order to understand the age on its own terms. Interdisciplinary in scope, the class will read the works of Luther, Zwingli, and Calvin, as well as literature; we will also extend ahead to later centuries, to discover what Americans or Europeans had to say about their forebears, or how interpretations of the reformation changed over time. The goal of the seminar is to therefore deepen students’ knowledge of this key period and the theological and political developments that propelled it, thereby illuminating its impact on states and empires, science and culture, economics and society in the centuries to come.
MUS 81502 Performance Practice: Baroque, GC, R, 2:00-5:00pm, Room 3491, 3 credits, Prof. Raymond Erickson 
This course, intended for performance majors at the doctoral level, is designed to provide students with the following: 1. A broad, basic knowledge of the contexts and conventions of musical performance during the period 1600-1750, with particular emphasis on the music of J.S. Bach; 2. Acquaintance with the development of musical instruments during the period; 3. Acquaintance with the principal pedagogical publications of the period as well as current bibliography dealing with performance practices 1600-1750; 4. Acquaintance with a wide range of specific performance-practice issues of current interest, especially, but not only, documented in the leading journal of the field, Early Music; 5. Practical knowledge of how to apply historically-documented performance practice techniques in their own performances on modern instruments; 6. Elementary knowledge of and experience in improvisation (unwritten ornamentation, cadenzas, preludes, etc.) as employed by performers active during the period under study; 7. Experience in formally documenting sources (in the manner required for a dissertation).
P SC 80303 Spinoza, GC, W, 2:00-4:00pm, Room TBA, 4 credits, Prof. TBA  Crosslisted with PHIL 76200
SPAN 82200 Las sátiras de Quevedo: transmisión, fuentes y recepción, GC, R, 4:15-6:15pm, Room TBA, Prof. Lía Schwartz 
Las estudiaremos en cuanto a su transmisión: su circulación en manuscrito en las primeras décadas del siglo XVII y más tarde, una breve historia de las primeras ediciones. En segundo lugar, se las examinará desde la perspectiva del género literario: sátiras grecolatinas y sátiras españolas con las que se relaciona. Finalmente se considerará la recepción de estos textos en su época: tipos humanos representados, crítica de costumbres y especialmente, los rasgos centrales de la crítica política de Quevedo, desde perspectivas ideológicas neo estoicas.