Ten minutes of birdsong from the English countryside
All beginnings are dangerous.--The poet has the choice of either raising feeling from one step to the next and thus eventually increasing it to a very high level--or else attempting a sudden onslaught and pulling the bell-rope with all his might from the beginning: both have their dangers: in the first case, that his audience may flee out of boredom, in the second, out of fear.
--Friedrich Nietzsche, Human, All Too Human II, "Mixed Opinions and and Maxims," section 163, ed. Gary Handwerk (Stanford UP, 2013), 67.
Please read the Class Policies now.
You will need to watch all assigned films on your own. You may rent, borrow, or purchase them (as downloads or discs).
Email all work for the course to me at firstname.lastname@example.org
TENTATIVE SCHEDULE (Please expect minor adjustments to be made in the schedule from time to time; all changes will be announced both in class and on the class email listserv; this webpage will also be updated)
Samuel Taylor Coleridge, "Rime of the Ancient Mariner"
T.S. Eliot, "The Wasteland"
William Empson, "Obscurity and Annotation"
Friedrich Theodor Vischer, The Rabid Philosopher and Auch Einer: Eine Reisebekanntschaft (in English)
Heimito, Von Doderer, The Merowingians; or, The Total Family
Heimito von Doderer, "Eight Attacks of Rage" and "The Torture of the
Little Leather Pouches," in A Person Made of Porcelain and Other
Thomas Bernhard, The Loser
Thomas Bernhard, Extinction
Thomas Bernhard, Correction
Franz Kafka, The Verdict
Franz Kafka, Before the Law
Edgar Allen Poe, The Man of the Crowd
Edgar Allen Poe, William Wilson
Herman Melville, Bartleby the Scrivener
Nathaniel Hawthorne, Wakefield
Vladmir Nabokov, Pale Fire
Fyodor Dostevesky, The Gambler
Stefan Zweig, Amok
Paul de Man, "The Concept of Irony"
Friedrich Nietzsche, Ecce Homo
Edouard Levé, Suicide and Auto-Portrait
John T. Irwin, The Poetry of Weldon Kees: Vanishing as Presence
"The Disappearing Poet
What Ever Happened to Weldon Kees?"
Hart Crane, selected poems
Fredriech Schlegel, "On Incomprehensibility"
Sigmund Freud, A Child Is Being Beaten
Paul Roazen, Brother Animal: The Story of Freud and Tausk
Jörgm Kreienbrock, Malicious Objects, Anger Management, and the
Question of Modern Literature
Samuel Beckett, From an Abandoned Work
James Joyce, "The Dead"
Pareidolia and apophenia
Oblique Perspective in Hans Holbein's The Ambassadors; Jacques Derrida on oblique reading in Passion: An Oblique Offering.
Here is your first assignment, due tomorrow, Wednesday, August 23 by 5 p.m. email@example.com
You can rent or buy it online. UF may have a copy.
Create a word document with your last name as the title of your document. Write two discussion questions, numbered one and two. Put your name at the top of the document. Email your word document (as an attachment) to me at firstname.lastname@example.org 5 p.m. tomorrow, August 24.
Due Two discussion questions on, numbered one and two. Put your name at the top of the document. Email all work to me at email@example.com
Due August 28 by 5 p.m. Two discussion questions numbered one and two, with your name at the top of the document. Email your DQs in one word document with last name as the document title to me at firstname.lastname@example.org.
First Paper (700 words) DUE Saturday September 17 by 11:59 p.m.
Click here for the assignment Email all work to me at email@example.com
Second Paper (500 words) DUE Sunday November 5 by 11:59 p.m. WHAT YOU NEED TO KNOW: Your assignment is to do a close reading of an assigned text. Focus on a passage or a scene and discuss it in detail. That passage or scene is your paper topic. Cite the text or film to make your points. Develop your thesis. The text or is your evidence. If you don't know what a close reading is and have never done one before, be sure to go to http://writingcenter.fas.harvard.edu/pages/how-do-close-reading. You may also ask me for clarification. You must also know how to write a research paper, or analytical essay. You will need a title for your paper and a thesis, an argument that you can state in one sentence. Your thesis should go at the end of your first paragraph. To make sure we share the same understanding of the assigned paper, please read http://users.clas.ufl.edu/burt/paper.html before you begin writing. You may figure out your title before you write your paper, but usually, you only figure out your title after you figure out your thesis. And you figure out your thesis by writing your paper. What you think is your conclusion often needs to be moved up from the end of the essay to the front. Then you are ready to make your final revisions and add a new concluding paragraph. You may also have come up with a new title in the course of writing the paper. And then you are ready to proofread your paper. And then you will have finished writing your paper. Congratulations! :)
Email your paper (as an attachment) to me at firstname.lastname@example.org. Put your name in the subject title or header of your title. Put your name in your paper.
Grading: I will meet with you in person to discuss your paper with you. PLEASE BE ADVISED: If you didn't do the asignment, a close reading, your grade is an automatic E. If didn't put your name on your paper, it's an automatic E. If you didn't have a proper title, it's an automatic E. If you didn't have a thesis, it's an automatic E. One third of your grade will be based on your title; one third on your thesis; and one third on the rest of your paper.
Paper (500 words) due December 5 by 5:00 p.m. (please email it to me at email@example.com).
Class partly about understanding history through film, understanding film history and history in relation to a decade or a period, and partly showing repetition and cultural stagnation in the present. We will put into question: what is film? What is history? How does film allegorize rather than document history?
What is an ideologue? What is an intellectual? What is fake news? How do you decide if a source is reliable? Glenn greenwald at the Intercept versus Jimmy Dore show versus Max Keiser Report versus Alex Jones at infowars
Have a group of students lead for each week on the film--cover itin depth for two classes--and be experts on the film research, divide it up--in the film, listen to the commentary, compile a bibliography. Be experts on the film., ocys on formal aspects that define these films and their relation to violence, sexuality, sexism, misogyny, misanthropy, and nationalism.
Turn in your notes to me a week in advance. Be prepared to bring in the information you've learned as it is relevant to discussion.
Get the DVD yourselves.
Build to a reasearch paper using your notes and biblio to discuss one film you have led on, if you wish,and one filmyou havenot.
SENIORS WITH STUDENTS / THE RE-ABLED BODY