Inspiration of Time: A Book of Inspiring Poems by Charles Breitweiser

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The cartoonist Leslie Sternbergh recalls:. The text continues. For whatever reasons, she wanted a legal document. Last Gasp published Dori Stories , the definitive anthology of her art and life, in Although this was her beginning in the industry, her entrepreneurial drive ultimately led her to San Francisco in where she worked alongside other underground legends like Trina Robbins. Her passionate approach to comics and desire to create works that spoke to all kinds of women became a major inspiration for other women creators to get involved in the comics scene.

In a time when mainstream comics were still being heavily regulated and censored by the Code, the fledgling underground scene was really the only place where creators could express themselves freely and produce the books that they wanted. Instead of trying to be exclusively included in their comix, Marrs made her own. The Further Fattening Adventures of Pudge, Girl Blimp was born and would run from to —an incredible run for an independently created work.

She worked for men like Joe Orlando and Tex Blaisdell, and did work on some of the most popular mainstream books including House of Secrets , Wonder Woman , and Zatanna , but first and foremost she was her own creator and business woman. Roberta Gregory grew up surrounded by comic books, and started drawing her own comics at a very young age. The s found her both entering college in her native Southern California and encountering the feminist movement.

During this period, she also started work on Winging It , an ambitious and intricate graphic novel that used dark humor to explore the relationship between a suicidal woman and a fallen angel, and Sheila and the Unicorn , a comic strip about the unrequited love between a unicorn and a human being. Toward the end of the decade, Gregory relocated to Seattle and began working with Fantagraphics Books.

Bitchy appeared in 40 issues of Naughty Bits , which drew to a close in , but Gregory has more adventures planned for the character. Gregory uses frequently dark humor to explore the modern world from a feminist perspective, and her groundbreaking work garners a broad spectrum of reactions, from veneration to outright rejection. Gregory refuses to bow to pressure from those who oppose her work, and welcomes the negative feedback. In her own words:.

I am not writing for everyone. You may absolutely hate something that I have written but you may love something else. Believe me, I am used to it by now! A pioneer of the biographical and experimental comics form, Barry opened the door for many of the themes and styles that have taken over independent comics today. Born Linda Jean Barry in Wisconsin in , she moved with her family to Seattle, Washington shortly thereafter and spent most of her childhood there, exposed to a world of urban diversity and culture.

Mixing the free press of the underground with the accessibility of a broader educated readership, alternative press—specifically alternative weeklies—was born and Lynda Barry was at the forefront of this movement representing not only the voice of men and women both, but importantly herself—a giant step that would in later years bloom into a whole genre in and of itself in the comics industry. As her popularity grew and the alternative weekly scene and comics changed, Barry would further grow with it, becoming not only a comics creator, but an illustrator, writer, playwright, and teacher. Using the comics form, she experimented with collage and illustration as a means to get her voice and story across.

In Barry won the prestigious Eisner Award and R. Donnelly Award for her graphic novel What It Is. A memoir, a graphic novel, a piece of literature, and an instructional workbook for a new generation of creators to find and express themselves through the comics medium, What It Is represents explicitly who Barry is in the motley world of comics today—a creator, an educator, and an inspiration for an industry in motion and change.

The s were literally dynamic years for Doucet, as she moved from Montreal to New York to Seattle to Berlin and finally back to Montreal in After returning to her hometown, she ended Dirty Plotte and started a new strip about life in Montreal called The Madame Paul Affair , which was published in collective form in She still lives in Montreal, where she now publishes her own work through her press Le Pantalitaire and is deeply involved in the arts community, often exhibiting locally as well as internationally.

Lay got her start in the industry through lettering, then took on various jobs at independent and mainstream comics publishers including DC, Marvel, Hanna-Barbera, and Western Publishing. Meanwhile she also continued in commercial art and illustration for Mattel, and drew storyboards for both live-action and animated films. She was also able to express her more surreal sensibilities through her own independent comic Good Girls , a parody of romance comics that features an heiress who was adopted by an African tribe as an infant and received drastic facial modifications.

Throughout the s and s, Lay found her niche with her strip Story Minute , which later became Way Lay and appeared on Salon. These strips featured complete slice-of-life short stories economically packed into a page or half-page of panels, featuring characters who often wore sheepish sideways grins. Lay also delved into journalism and memoir via comics, as when she illustrated her experiences at Burning Man and the pinup convention Glamourcon. In January Lay launched a new online strip , Lay Lines , which mixes new content with newly-colored versions of her older work.

The underground comix movement was in full force and a truly unique voice full of spit and spunk emerged from this band of creators in Aline Kominsky-Crumb. Born Aline Goldsmith, Kominsky-Crumb was one of the expatriates of New York and mainstream comics who migrated to San Francisco to find a new arena for their works. Like most underground creators her gritty art and unabashedly honest narrative style complemented her equally honest approach to life.

It is her free and unrestrained voice and style that made her not only one of the most prominent creators in the underground, but also one of the most influential creators for the future alternative and independent comics scenes. Together with Diane Noomin she created Twisted Sisters , which took the underground in a whole new direction for women creators and women readers.

We preferred to have our flaws and show them. Her unabashed approach to comics, and ultimately freedom of speech as well, is what has made Kominsky-Crumb a leading and highly influential voice for a whole new generation of creator. Sue Coe grew up next to a slaughterhouse, a circumstance that has had a profound impact on her career as an artist.

In witnessing the horrors of factory farming, Coe decided that her work should bring to light the atrocities in the world around us. Born in in England, Coe moved to the United States in Coe uses various media, including paint, collage, drawing, and more, but she considers herself more a journalist than an artist. She uses her artwork to address social issues, often juxtaposing victims and perpetrators in evocative and impactful ways, conveying dreadful events in a way that cannot be ignored by the viewer. In , British censors shut down a portion of an exhibition at Ferens Gallery in the UK for displaying the piece.

Regardless of the attempts to censor her, Coe continues to create work that makes a statement, and she does extensive research for her pieces. For Dead Meat , which collects many of her pieces about factory farms and slaughterhouses, Coe visited stockyards, meatpacking plants, dairies, and chicken farms. The same research has influenced the pieces in her subsequent publications Sheep of Fools and Cruel Coe remains adamant that artwork should be used to address the cruelty of the world around us. Then in she created another character that became a well-loved French icon: Agrippine, the quintessentially dissatisfied teenager and rebellious daughter of aging leftists.

Carol Swain was born in London in , but spent most of her younger life in a remote village in Wales. Her foray into comics began in with her self-published Way Out Strips , and she released a short graphic novel, Invasion of the Mind Sappers , in In , Swain released Foodboy , an acclaimed study of friendship and how the bonds among friends are tested by adolescence and time.

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In , Swain released Giraffes in My Hair , a study of misspent youth during the tumultuous s and s, written by her partner Bruce Palley. Finally, late last year, Swain released Gast , an absurdist murder mystery that centers on a lonely girl and a cast of talking animals. Swain employs regimented panel layouts, and the format lends a finished quality to any story she creates, as if each panel emerged fully formed as a note in a much larger symphony. In the emerging new sexualities of inter-war modernist culture? What influence does the collaborative nature of the group have on their visual and literary art, aesthetic and philosophical theories, political and social commitments?

Finally, what role does? Virginia Woolf? Bloomsbury Group? Close readings of Twain? I am particularly interested in the interplay of humor and bitterness in Twain? Regular attendance and participation, along with two ten-page essays, will be required. Clemens, Samuel L. Other assigned reading will be available either online or photocopied. Reading, discussion , and writing about fiction, poetry, memoirs, and essays that have western settings, or that try to describe or account for western experience in?

De Quincey, T. Coleridge: Lyrical Ballads; Wordsworth, W. This class presents an intensive study of a group of writers and circle of friends: William Wordsworth, Dorothy Wordsworth, Samuel Taylor Coleridge, and Thomas de Quincey. As we read these writers? If this course advertisement were a trailer for Julien Temple? Ok, so it? We will address the nature of conversations, collaborations and competitions between writers, questions of literary property, theft and echo, the dynamics of inclusion, exclusion and betrayal, the rhythms of hope and disappointment, and figures of?

Winnicott, and others. What do literature and psychoanalysis have in common? For one, both are usually about two or more of the following: sex, death, love, hate, work, jealousy, obsession, parents, children, anxiety, and loss. Seemingly made for each other, literature and psychoanalysis have been in a more or less close conversation since the latter's emergence at the end of the nineteenth century. In this course, we will consider the relationship between literature and psychoanalysis in a number of ways: we will look at Freud's own writing as literature in the context of psychoanalysis's early days as practice, institution, and scandal; we will consider historical and intellectual connections between Freudian and post-Freudian psychoanalysis and different kinds of literary interpretation; and we will work to derive from the language of psychoanalysis tools to help us cope with the considerable formal and thematic complexity of literary texts.

The syllabus will include psychoanalytic writing by Freud, Lacan, Klein, Winnicott, and others as well as works by literary critics who derive some or all of their terms from psychoanalysis. We will also read some stories and watch some films along the way. M Location: Dwinelle. Gledhill, C. In this course we will examine a range of examples of the genre? We will also look at feminist film theory and its conceptualization of subjectivity and desire in the cinematic apparatus.

This course surveys the history of the English language from its Indo-European roots, through its Old, Middle and Early Modern periods, to its different forms in use throughout the world today. Topics include changes in the core grammatical systems of phonology sound structure , morphology word structure and syntax sentence structure ; in vocabulary; in writing and literary forms; and in the social position of English and its dialects.

In this class, we will read a selection of biblical texts as literature; that is, we will read them as anything but divine revelation. We will take up traditional literary questions of form, style, and structure, but we will also learn how to ask historical, political, and theoretical questions of a text that is multi-authored, thoroughly fissured, and historically sedimented.

Among other topics, we will pay special attention to how authority is established and contested in biblical texts; how biblical authors negotiate the ancient Hebrew prohibition against representing God in images; and how the gospels are socially and historically poised between the original Jesus movement that is their source and the institutionalization of the church that follows.

Assignments will include at least a take-home midterm and a final, perhaps more. Bacon, F. Religious Poets; Donne, J. I think I can teach you more about the seventeenth-century works I don't discuss in class by looking in detail at a few works than I could by scurrying through a handful of anthologies or by generalizing at length about either the particular qualities of particular authors or schools or by focusing on the particular qualities that characterize the culture that seventeenth-century literature reflects.

I'm not good at categorizing, and I deeply mistrust categorization as an intellectual tool. I will spend most of my time? That's mainly because verse was what the seventeenth century did best, but also because I don't have much that is worth listening to to say about much seventeenth-century prose.

Charles P breitweiser (author) on AuthorsDen

I will talk about Pilgrim? I want particularly to talk about things that most English majors have dealt with before? I realize that Paradise Lost might put some people off taking the course. Such people have probably tried, or been asked to try, to read Paradise Lost as if it got the stock Sunday-school responses it sounds as if it's trying to get. Given a chance to read the poem as something other than a failed effort to versify its editors' footnotes, such people are likely to see how beautiful Paradise Lost is and to wish it longer.

Three papers, each of a length determined by how much you have to say and how efficient you are in saying it. The third paper will take the place of a final examination and will be due in my box in Wheeler Hall any time between the last class meeting and p. In this course we will read all the plays conventionally attributed to the second half of Shakespeare? This period includes all the so-called great tragedies Hamlet, Othello, King Lear, Macbeth and some others that are sometimes considered not quite tragedies or not quite great Timon of Athens, Antony and Cleopatra, Coriolanus , the so-called problem plays Troilus and Cressida, All?

My lectures will tend to emphasize Shakespeare? In addition to a final exam and several required papers of varying lengths, you may be asked to work on a speech and a short scene in small groups to help you understand some aspects of Shakespeare? In this course, we will attempt to read as many Shakespeare plays as can be got through conveniently in fifteen weeks. In general we will try to cover one play per week, but along the way we will devote a week to an introduction of the author, his times, his poems, his plays, and his language; a week to the Sonnets; and we will take extra time for longer and more complex plays like Hamlet.

So we will manage about a dozen plays, trying also to cover a range of genres including comedy, history, tragedy, and so-called romance. We will be thinking of plot, character, and action, but above all of dramatic poetry. Information will be posted before the class begins, and throughout the semester, on the instructor's website see below.

Students should anticipate writing three short papers, a midterm and a final exam, and possible quizzes. Students should also anticipate attending lecture regularly, reading the assignments carefully and in advance of lecture, and indeed participating fully in the work of the class. An introduction to the poetry and prose of one of the greatest writers in English literature. Sexual radical, political revolutionary, and literary genius, Milton is a one-man introduction to the cultural ferment of the English Renaissance, the Reformation, and the English civil war.

Readings include: Milton? Scott, W. Focusing on key texts from English, French, and Russian traditions, this course examines how the genre of the novel approaches and appropriates historical material as well as reflects its own particular historical contexts. We will consider four major European novels from the nineteenth century, a?

The course encourages a range of critical approaches, from close reading, the theory of the novel and genre theory, to historicist and biographical inquiry. Course requirements include reading pages per week, attending occasional film screenings, 3 short response papers, a longer final paper, a midterm and a final exam. The relationships between changing conceptions of language and desire, of the individual subject, and of the pressures of history, as these are figured in the particular rhetorics and structures of this paradigmatic novel, will provide the central axes of our investigation.

Active in-class participation and a willingness to engage in both copious reading and regular dialogues are the only prerequisites for the course. Please note that we will be reading all of Proust's novel, rather than, as is often the case, only the first and last chapters volumes. I will lecture on the struggle to alter traditional modes of cultural understanding to account for the extraordinary circumstances of New World life as it is reflected and expressed in these books, together with the gradual emergence of novel social and political paradigms and linked transformations in the conception of personal identity.

Two seven-page midterm essays and a final exam will be required. Lauter, P. I; Fern, F. We will be concerned with issues of ""self"" the search for transcendence and the entanglement in relations ; sexuality; landscape; the Puritan legacy; the nature and role of the emotions; the efforts to reform the American character; the democratic experiment; and the struggles over the rights and roles of women, African Americans, and Native Americans in the expanding nation.

Two midterms and one final examination will be required. Harriet Beecher Stowe: Uncle Tom? There will also be a course reader of poetry, short stories, and journalism. A survey in United States literature from the Civil War to the beginning of the twentieth century.

The course pays special attention to matters of violence, urban life, and social reform as they were refracted within an increasingly stratified public sphere. There will be one midterm, one final exam, and two short papers. Kinnell, Galway, ed. This is a lecture course that surveys American poetry from Walt Whitman and Emily Dickinson to the present. There will be some attention to modernism, Poets of the ? An examination of the development of various themes in Toni Morrison's fiction and the aesthetic rendition of these themes. Adams, M et al. Much work on that ambiguous umbrella term? My aim in this course is to set up situations in which you can think about several of these categories simultaneously in the context of American cultures present and past.

To this end, we will take four historical examples as case studies. Each illustrates how racism and ableism have intertwined in American dis ability cultures. First we will examine immigration history with some emphasis on Angel Island and Chinese immigration. Second, we will focus on how American writers have remembered two women of color who performed in freak shows and on how race, disability and gender issues intersect on the freak show or today the talk show stage. In the third unit, on slavery, we will begin to unearth a history of disability in American slavery and in the Jim Crow South.

In the fourth module, we will discuss eugenics and the tight connections between race and disability in eugenic models of degeneration. The final section of the course will move into the present, first giving you some exposure to contemporary activist history that counters and undoes the dynamics we have been exploring, and then ending with three particular texts to anchor our analysis of the politics of representation of disability, gender, sexuality, class, race and ethnicity: Native American novelist Michael Dorris? A variety of guest speakers, including performance artists and disability movement activists, will visit us.

Written requirements: two midterms, informal journal writing, and a final project that students can tailor to their own interests. Such a historical trauma seemed to demand difficult and painful reconsiderations and redefinitions. Just as there developed an issue of defining masculinity and femininity in the period, there developed a problem about children and adolescents. Questions about boys and girls might be not only about gender definitions but also about the development of an ethical consciousness, what might be called everyday ethical coping.

Children seemed to represent the last vestige of a world that was being lost. In the aftermath of the elevation of the importance of children in the Romantic era earlier in the century, in the U. Agee, T.

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Readings also include Sandra Cisneros? Our special topics course will also look at the photographs of the U. Throughout this comparative special topics course, we will grapple with the question--do the Americas have a common literature? Coetzee, J. The texts in this course bear a troubled relationship to the language, English, in which and about which they write. Questions of cultural, ethnic, gendered and national identity suffuse both their content and their form.

One short and one longer paper, alongside active and regular class participation, are required. English Section: 1 Instructor: Abrams, Melanie a. Chandra, M. This course will introduce students to the study of creative writing? Students will learn to talk critically about these genres and begin to feel comfortable and confident with their own writing of them. Students will write in each of these genres and will partake in class workshops where their work will be edited and critiqued by other students in the class. Students will also be required to attend and review two outside readings or plays.

Attendance is mandatory. The aim of this course is to explore the genre of short fiction? Students will write two short stories, a number of shorter exercises, weekly critiques of their peers? The course will be organized as a workshop and attendance is mandatory. All student stories will be edited and critiqued by the instructor and by other students in the class. Students will write three short stories, generally pages in length. Each week, students will also turn in one-page written critiques of each of the three student stories being workshopped as well as a 2-page journal entry.

Probable semester total of written pages, including critiques: Class attendance mandatory. Jahan Ramazani, ed. In this course you will conduct a progressive series of experiments in which you will explore the fundamental options for writing poetry today? I have no? You will write a poem a week, and we? On alternate days, we? It will be delightful. English B Section: 2 Instructor: O? Brien, Geoffrey Time: Thurs.

The purpose of this class will be to produce an unfinished language in which to treat poetry. Writing your own poems will be a part of this task, but it will also require readings in contemporary poetry and essays in poetics, as well as some writing done under extreme formal constraints. In addition, there? Rooms and Lives: a creative nonfiction workshop open to students from any department. Drawing on narrative strategies found in memoir, the diary, travel writing, and fiction, students will have workshopped in class three page pieces.

Each will take as point of departure detailed description of a real room one knows well, the piece then expanding out from place to its occupants, past or present, including the authorial self. Each week, students will also turn in one-page critiques of the three student pieces being workshopped as well as a 2-page journal entry these entries may comprise part of the longer pieces.

This class will be conducted as a writing workshop to explore the art and craft of the personal essay. We will closely examine the essays in Phillip Lopate? Writing assignments will include 3 short writing exercises 2 pages each and two new essays pages each. Since the class meets only once a week, attendance is mandatory.

Stevens, W. We will go through Wallace Stevens? Some attention will be paid to related modernist writing and painting that best put his work in context. This seminar focuses on one of the most enduring historical legends in human history, the story of Troy and its fall. We will begin with Homer?

We will then move on to three of the many medieval versions of the story: Boccaccio? These texts focus on two characters hardly mentioned by Homer? Troilus and Criseyde? We will then turn to Shakespeare? To conclude the course, we will examine 19th, 20th, and 21st century attempts to find the historical Troy, beginning with Heinrich Schliemann? We will ask what, if anything, these excavations have to do with the literary tradition of Troy, and indeed, what literature can contribute to history.

Reading the legends of Troy is a way of examining a literary tradition from its inception to the present; we will question, investigate, and excavate the very idea of? Required texts include Virginia Woolf? Dalloway, A Room of One? A wide range of secondary materials will be placed on reserve. This seminar will be devoted to an intensive and extensive reading of Virginia Woolf?

We will trace the evolution of Woolf? We will also assess her contributions to modernist aesthetics and to gender theory. In preparation for writing the senior thesis, we will explore a range of critical approaches to Woolf? The seminar will culminate in a twenty-page thesis on a topic of your choice.

Emilio, eds. This course will look at a wide variety of materials and topics with an emphasis on nineteenth-century American women? We will examine the role of women in creating, contesting, and sustaining sexual ideologies through literary representation, voice, and style. Along with contemporary theory on the history of sexuality, we? At times, we? Also various cinematic adaptations of Alice. The central aim of this course is to understand the Alice books as a cultural phenomenon rather than as isolate texts themselves.

Thus, we will begin by surveying a number of seminal critical responses to Carroll? This final critical strategy will then lead to our investigation of various documented, and a few yet-to-be-authenticated, sources for the poetic parodies peppering each text as well as some overall models from which Carroll drew inspiration or even direction. Finally, we will reverse the trajectory of this historical genealogy into the future to study a number of permutations of the Alice books which followed their original publication. These spin-offs will range from Carroll?

We will conclude by studying a few radically different cinematic adaptations of the books, ranging from Disney? This course aims to increase awareness of a widespread intellectual trend? We will intensively explore the logic, formal traits, and varieties of alternate-history writing as it has been practiced over the last seventy years by avant-garde, mainstream, and science fiction writers, as well as by amateur and professional historians.

One of our tasks will be to distinguish between? We will also pursue alternate history? Pontecorvo: Quemada! We will want to articulate, along with these texts, the connections between the condition of ""postcoloniality"" on the one hand and the ongoing processes of ""globalization"" on the other. Active and regular class participation are required. James, H. Dalloway and The Waves; Faulkner, W.

In this senior seminar, we will ask why for modernists such as James, Woolf, Joyce, and Faulkner the perfection of the novel as a genre lay in the representation of characterological consciousness, and why the task of representing consciousness demanded radical technical innovation. Most of our attention will be given to the careful reading of difficult experimental novels.

We will consult key philosophers and psychologists? We will also consider how the call for a new novel, issued by the novelists themselves in aesthetic manifestoes, relates to recent narratological and sociological analyses of this experimental genre. Our course reading will be the jumping-off point for the research paper pages that is due at the end of the term. Other required assignments include a prospectus, bibliography, and full rough draft of the final essay. See below; the instructor will discuss the exact list at the first class meeting, so please do not buy any texts until then.

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The seminar will read a generous selection of Mark Twain? We will work our way chronologically through his life and career, beginning with his earliest extant writings and ending with Mysterious Stranger which he left unpublished. The class will have ready access to the Mark Twain Papers, whose extensive primary and secondary resources students are encouraged to take advantage of for their research. One brief oral report as the basis for class discussion and one research paper, due at the end of the term. A number of American writers, led by James and Howells, participated in this general movement which included British and European writers also.

What we have to consider here are some major American examples. I am interested in the way in which each writer endorses what James calls the ""realist faith. The Cask of Amontillado,? Masque of the Red Death? Benito Cereno? From the enlightenment through modernism and beyond, American literature is replete with scenarios of class antagonism and rebellion.

But consider the bad ends to which the vast majority of American rebels? Beginning with the foundational claims of American self-determination represented in Benjamin Franklin's enlightenment thinking, this course will explore a narrative tradition that responds to the promises of American democracy with representations of social violence and constraint.

We will consider, for example, how key texts of the American Renaissance illuminate the conflict between American democratic ideals and the practices of slavery and industrial capitalism. Among modernism's abundant narratives of social decline, we will explore the conflict between democratic idealism and enduring class prohibitions. Ultimately, our readings will serve to explore a series of questions: what is at stake in these critical portraits of American social democracy?

To what extent can American literature be figured as a sustained tradition of protest against the various failures of enlightenment principles? Why, in the view of this rich narrative tradition, is the American model of social democracy so impossible to achieve? This course aims to find out. Although some Utopian writing has succeeded in the sense of making converts, and inspiring some readers to try to realize the ideal society, most has had limited practical impact, yet has managed to provoke readers in various ways?

Among the critical questions posed by such material are the problematic status of fiction that is not primarily mimetic, but written in the service of some ulterior purpose; the shifting relationships between what is and what authors think might be or ought to be; how to create the new and strange other than by recombining the old and familiar; and so on.

The reading list will certainly include anti-Utopian as well as Utopian works, and may include some writings by Malthus, Owen, Engels and Marx that do not present themselves as flights of fancy. Required writing will consist of a single page term paper. Depending on enrollment, each student will be responsible for organizing and leading class discussion probably teamed with another student once during the semester.

There will be no quizzes or exams, but seminar attendance and participation will be expected, and will affect grades. This is a partial book list; it will be expanded. Please attend the first class meeting before you buy these books. Some of the texts for this course will be available in a course reader, which will include recent journalism on the print vs.

Digital media? Meanwhile, the? Is the book as object or technology in any danger of extinction?

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This course proposes to examine contemporary debates about the status of the book by placing them in context with a history of 20th-century print culture. Because digital media is often seen as a democratic alternative to conventional methods of publication, our historical survey will focus on previous examples of alternatives to commercial publication practices. Accordingly, we will initially concentrate on modernist print culture: the little magazines, small presses, and social networks that emerged to publish and promote Anglo-American modernism.

We will analyze famous case histories of modernist publication? From this foundation, we will move on to alternative print cultures in the later 20th century by examining productions from the small presses associated with the feminist movement, with experimental poetry, and with punk culture. Whenever possible, we will consider these texts? Throughout this course, we will ask ourselves whether the mode of publication influences how we read and interpret texts, whether we? We will focus on a range of film melodramas from early silents to contemporary examples, analyzing melodrama?

We will be interested in melodrama and modernity, and in the genre? Barthes, R. This course will serve as an introduction to literary and cultural theory. We will read closely a number of important and difficult theoretical texts while thinking about what relations exist between the different intellectual projects that we call theory structuralism, poststructuralism, psychoanalysis, and gender studies are only a few. We will also ask and ask again the more general question: what is theory anyway? Our topic will be the theory and practice of mass entertainment in ?

Flaubert, G. This course will focus on each author? Students will explore the intimate connection between narrative strategy and construction of meaning. English Section: 2 Instructor: Miller, D. Time: MW , plus film screenings Tuesdays P. M Location: Wheeler. In one sense, the division is a superficial one, since there is hardly any element of the? Accordingly, it will furnish us our main example. In another sense, however, this oeuvre is a legacy that, as such, belongs to the history of the thriller.

Two living Europrean artists, Claude Chabrol and Michael Haneke, inherit the Hitchcockian legacy in particularly significant ways, and will play a key part in our understanding of the form. The thesis: Central to the thriller is the? Something passes under the skin of the protagonist. What is transferred under it can be almost anything: an idea, an object, a word. The transference does not occur? That fate drives both the protagonist and his story forward to? To expel the transference?

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To project it onto another? To embrace it madly? In varying degrees of modification, the protagonist? Lord, A. This course will examine the linguistic features which mark a specifically? The topics covered will include meter, rhyme, repetitions, or grammatical patterns as well as the? We will also discuss Samuel Beckett? Some questions to be raised are: Can we define genres novel, lyric, etc. Are there differences between the linguistics of writing as opposed to that of oral forms?

But the course also aims to give you methods for analyzing literary texts that can be the first step to interpretation. No knowledge of linguistics will be presupposed, but linguistic concepts will be introduced and explained. In addition to the poems and texts in the course reader, we will be reading several full volumes of poetry: Ashbery, J. We will begin the semester with a brief history of lyric poetry as an act, a genre, and a form. We will then go on to examine the ways in which poetry, and lyric poetry specifically, was constructed and framed within mid- and late th century critical idioms.

After we have set these two paths, we will spend the bulk of the semester closely reading lyric poetry written after World War II, especially poetry of the last 30 years. Enrollment will be necessarily limited, and so the whole course will be run as a seminar. Course requirements: one very short informal response paper, one short essay pages , and one longer essay pages that may be critical, historical, or a hybrid critical-creative work this final paper will be in lieu of a final exam.

This is a continuation of section 1 of HA, taught by A.

2007 Audie Awards®

JanMohamed in Fall No new students will be admitted. No new application form needs to be filled out. This is a continuation of section 2 of HA, taught by C. Langan in Fall Female pleasure hovered in nether realms of lost history or aggressive male fantasies. In any case, my visual experiment was inspired by an equitable, loving relationship—so it could not possibly be pornography. Fuses was constantly censored as well as celebrated.

MG: At that time you also started a series of pieces which were even more openly political, as they engaged with current events and with the Vietnam war in particular. CS: There is always a double pull in my work between the ecstatic, sensuous, and the violent destructive militarisms which surround my privilege as an artist at this time. MG: The combination of the personal and the political was at the center of many of the demands of the feminist movement: the contrast between the individual and the group is also fundamental to your work.

How did you feel your work related to and was assimilated by the feminist discourse? CS: Female generative powers remain at the crux of cultural contradictions. The sexual dimension viscerally continues to be cloaked in glamour and artifice, while at the same time the actual experience of the female body is seldom given the bold clarification of our actual experience. Birth control and the sexual revolution of the s now seem buried by the subsequent force of feminist history. MG: Many of your most famous works—such as Interior Scroll for example—proved particularly divisive when they were first shown, especially within the feminist discourses at the time.

CS: Interior Scroll began as a simple drawing, a residual image from a dream in which I slowly extracted a text from my vagina. The dream text noted traditions of denigration of female creative energies. Many months passed before a feminist art event provoked the possibility of physically enacting the dreamt image. Interior Scroll was presented only twice, although it has taken on a life of its own.

A banker ecstatically said he finally understood the ticker-tape. MG: When it comes to performance art, the relationship of the artist to the audience has profoundly changed in the last decades, potentially turning every gesture into a form of empty spectacle. Who was the audience of your first performances? And I mean both the actual audience and the ideal viewers you imagined as your audience. And who would you say is your audience now? CS: The audiences from my first performances were other artists, usually aesthetic colleagues. I have never imagined an ideal viewer, nor do I prepare work with a sense of a potential audience.

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My work demands itself—that it be given form through me. In Up to And Including Her Limits , naked, suspended on the rope, drawing for many hours, I was purposefully indifferent to any potential audience. The audience is inspiring, enlivening, and I welcome the range of response from conflict to appreciation. The point for me is how the audience relates to me, not how I relate to the audience. How have these experiences shaped your work? CS: I began teaching on the beach when I was 11 or so.

Since college I have had to teach, to support my art. The early erotic enactments were too disturbing for collectors or institutions to support. The current interest which is bringing a denser, more complete context to my work is remarkable and quells the impact of years of rejection, marginalization and appropriation by other artists. I have never worked with a conscious intention for career or success, nor have I ever accepted a dominant theoretical construct. My sustaining support has always been my partner at the time and a small band of remarkable artists—and cats.

I hope my teaching can guide my students to refuse the traditions and critical implications which keep them from assessing their own capacity for rigorous visual discipline and wild embrace of materials. From the heart. MG: What would you say is the function of art, or at least of your art? CS: Flange — 6rpm is my most recent sculptural installation.