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Courses

 

Spring 2014 Courses

 

Monday


French 77020

Techniques of Literary Research II
Professor Evelyne Ender

Course conducted in French.

GC 4:15-6:15pm
Room 4202.11, 4 credits

Tuesday


French 75000

Le Romantisme et ses marges
Professor Ali Nematollahy

Course conducted in French.

GC 6:30-8:30pm
Room TBA, 2/4 credits

Wednesday


French 77200

Energetic Aesthetics: Symbolism to Surrealism and After
Professor Mary Ann Caws

Course conducted in English and French.

GC 4:15-6:15pm
Room TBA, 2/4 credits

Thursday


French 73000

Corps, sensibilité, et passions au XVIIème siècle (The Body, Sensibility, and Passion in Seventeenth-Century France)
Professor Erec Koch

Course conducted in French.

GC 4:15-6:15pm
Room TBA, 2/4 credits

French 87200

Une forme qui pense: modernités du cinéma français
Professor Sam Di Iorio

Course conducted in French.

GC 6:30-8:30pm
Room TBA, 2/4 credits
Additional weekly sessions for film screenings will be discussed.

Course Descriptions


FRENCH 77020

Techniques of Literary Research II (In French)
GC: Mondays, 4:15-6:15pm, 4 credits, Professor Evelyne Ender

This course, which is required for first year students in the PhD program, is devoted, on the one hand, to an exploration of significant currents in French theory and, on the other, to the guided preparation of an article, a conference abstract and paper, or the revision of the mémoire written in the fall.

Built around a course package and the selected works by Gérard de Nerval, it involves readings in phenomenological criticism, in psychoanalytic criticism, in post-structuralism, in feminist theory (among others Poulet, Bachelard, Foucault, Barthes, Kristeva, Felman, and Derrida).

FRENCH 75000

Le Romantisme et ses marges (In French)
GC: Tuesdays, 6:30-8:30pm, 2/4 credits, Professor Ali Nematollahy

If the concept of poetae minores can be traced to Rome, it was Romanticism that first conceived of the literary field in terms of major and minor writers, of center and periphery, of success and failure. It invented a sleuth of categories that explored the margins of literature: les petits romantiques, les fous littéraires, les écrivains ratés, le guignol. Bohemia, born of the armies of young men dislocated by the new society ushered in by the Revolution who had moved from the country to Paris to seek fortune and glory, challenged the very concepts that had governed literary history so far and sought to invert them: success and failure, discipline and creativity, center and margin, or high and low.

Readings will include the “Great” texts of the Romantic movement considered in the light of their margins: Hugo and Pixérécourt, Musset and Rabbe, Baudelaire and Privat d’Anglemont, as well as Petrus Borel, Hégésippe Moreau, Henry Murger, Nerval, Barbey d’Aurevilly and Vallès, among others.

FRENCH 77200

Energetic Aesthetics: Symbolism to Surrealism and After (In English and French)
GC: Wednesdays, 4:15-6:15pm, 2/4 credits, Professor Mary Ann Caws

The view we want to take here is directed toward the dynamic interference of genres: text and image, poetic and theoretical, critical and lyrical. We will look at some symbolists (Baudelaire, Laforgue, Mallarmé, Claudel) and the artists associated with them, some cubists (Max Jacob, Reverdy, Juan Gris), some Dadas and surrealists (Tzara, Duchamp, Breton, Eluard, Desnos, Miro, Masson, Dali), and some interchanges that seem to us now especially vitalizing, for example Rilke on Cézanne, Artaud on Van Gogh, Bachelard on how we imagine. We might be, at one point, comparing Derrida and Bonnefoy on Mallarmé, or René Char and T.J. Clark on Picasso: in short an intermesh of writing and perceiving, in the vein we think of as modernist and in the style we mean to be informal.

The course discussions will be in English; reading knowledge of French is required; written work may be completed in English or French.

FRENCH 73000

Corps, sensibilité, et passions au XVIIème siècle (The Body, Sensibility, and Passion in Seventeenth-Century France) (In French)
GC: Thursdays, 4:15-6:15pm, 2/4 credits. Professor Erec Koch

In this course, we will examine the transformation of the understanding of the biological body during the seventeenth century and elaborate the profound effects of new corporal models on contemporary culture. Two new determinations of the biological body emerge in that period: the body is deemed the source and site of passion and sensibility; and affectivity becomes the product of forces of a universe of plenitude acting on the body. This course will trace the construction of that sensing body and the importance of corporal sensibility and passion in seventeenth-century French culture. Readings will include Descartes, Corneille, Mersenne, B. Lamy, Méré, Morvan de Bellegarde, Malebranche and Pascal. Readings and discussion in French. Students not pursuing a Ph.D. in French may write their papers in English.

FRENCH 87200

Une forme qui pense: Modernités du cinéma français (In French)
GC: Thursdays, 6:30-8:30pm, 2/4 credits, Professor Sam Di Iorio
Additional weekly sessions for film screenings will be discussed.

Taught in French, films and readings in French. Accommodation will be made for English speakers when possible, but some films will not have English subtitles and some readings have never been translated. This course explores connections between philosophy, technology, and aesthetics in French film after 1945. We will track the complex relationship between classicist and modernist currents in the French context and explore how these currents are tied to the broader theoretical drift from the postwar era’s phenomenological base to the broadly-framed structuralisms of the 1960s and 70s and the scattered materialism of more recent decades. We will also pay particular attention to cinema’s technical evolution during this period and consider the extent to which formal innovations can inspire conceptual change. Readings include texts by Nicole Brenez, André Bazin, Antoine de Baecque, Edgar Morin, Jacques Rivette, Jean-Louis Comolli, Jean Narboni, Hélène Fleckinger, and Serge Daney. Films include (subject to change): Les 400 Coups, Nuit et Brouillard, Chronique d’un été, Portrait de Michel Simon par Jean Renoir ou Portrait de Jean Renoir par Michel Simon ou La direction d’acteurs: dialogue, Playtime, La Reprise du travail aux usines Wonder, Christiane et Monique (Lip V), Les Hautes Solitudes, Un vivant qui passe, La France.