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AS/HUMA 1110 9.0A


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  • 1. UPDATED: MARCH 28, 2006 HUMANITIES CALENDAR FW2006/2007 1000 LEVEL COURSES AS/HUMA 1105 9.0A MYTH AND IMAGINATION IN GREECE AND ROME The myths of ancient Greece and Rome have exercised an enduring fascination and influence, as shown in literature, art, psychoanalysis, and philosophy. In this course we examine the myths in their cultural context and explore how the Greeks and Romans used the myths to explore the nature of the gods, the place of human beings in the universe, politics and history, morality and family relationships. Evidence will include both literary texts and works of visual art. Attention will be given to modern theories and critical approaches that can be used to illuminate the classical myths. The course will also include readings from ancient Near Eastern tradition, including the Bible, to give a broader perspective on the topic. FORMAT: Two one-hour lectures and one two-hour seminar per week. ASSIGNMENTS: Two essays, one each term, 15% each; two in-class tests, one each term, 10% each; in-class exercises and class participation, 25%; final examination, 25%. (subject to change) REPRESENTATIVE READINGS: The Epic of Gilgamesh; Genesis; Hesiod, Theogony; Homer, The Odyssey; Aeschylus, Agamemnon; Sophocles, Oedipus Rex; Euripides, The Bacchae; Ovid, Metamorphoses; Seneca, Thyestes; Vergil, The Aeneid. (subject to change) COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 250 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1110 9.0A GREEK AND BIBLICAL TRADITIONS A study of early Mesopotamian, Greek, Jewish and Christian literature (1) to understand its original meanings and (2) to explore its relevance to our search for personal ethical norms, images of female and male, models of the just society and conceptions of transcendent reality. The course aims to teach students methods of literary criticism, textual interpretation, historical inquiry, conceptual analysis, and cross-cultural comparisons. FORMAT: The course will meet for a weekly two hour lecture, and for a two hour tutorial. ASSIGNMENTS: Each student will be evaluated on the basis of two tests (30% each) and one final examination (40%).
  • 2. REPRESENTATIVE READINGS: Myths From Mesopotamia; The Hebrew Bible; Hesiod, Theogony, the dialogues of Plato; the plays of Aeschylus, Sophocles and Euripides; Pirke Avot: Jewish Ethics; The New Testament. COURSE DIRECTOR: S. Ford, 041 McLaughlin College, ext. 77085 PROJECTED ENROLMENT: 175 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1115 9.0A TRANSFORMATIONS OF ANCIENT LITERATURE Classical literature forms the basis for the work of many authors in the later Western tradition. This course examines works of literature from ancient Greece and Rome and modern adaptations and transformations of those works. Particular attention will be paid to changes linked to differences in religion, politics, and social structure. Topics may include Comedy, Tragedy, Satire, Essays, and Fables; ancient authors studied may include Aeschylus, Sophocles, Euripides, Plautus, Horace, Ovid, Seneca, and Plutarch, and modern authors may include Shakespeare, Racine, Goethe, Montaigne, Sartre and Shaw. There will also be some attention to the use of classical themes in visual art. FORMAT: Two lecture hours, two tutorial hours. ASSIGNMENTS: 1st term essay: 20%; 2nd term essay: 20%; 1st term test: 10%; 2nd term test: 10%; research exercise: 20%; class participation: 20%. (subject to change) REPRESENTATIVE READINGS: selected poems by Sappho, Catullus, Horace, Propertius, and Goethe; Plautus, The Brothers Menaechmi; Shakespeare, The Comedy of Errors; Sophocles, Antigone; Jean Anouilh, Antigone; Euripides, Orestes; Sartre, The Flies; Aeschylus, Agamemnon; James M. Cain, The Postman Always Rings Twice; Euripides, Hippolytus; Seneca, Phaedra; Jean Racine, Phaedra; Plutarch, selections; Shakespeare, Antony and Cleopatra; Shaw, Ceasar and Cleopatra; Plautus, Amphitruo; Jean Giradoux, Amphitryon 38; Sophocles, Oedipus the King; Robert Heinlein, Double Star; Seneca, selected essays; Montaigne, selected essays. COURSE DIRECTOR: M. Clark, 251 Vanier College, ext. 77396 PROJECTED ENROLMENT: 100 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1125 9.0A CIVILIZATION OF MEDIEVAL AND RENAISSANCE EUROPE COURSE CREDIT EXCLUSIONS: AS/HUMA 1120 9.0 & AS/HUMA 1130 9.0
  • 3. The course explores two stages in European civilization -- the Middle Ages and the Renaissance -- to which our present politics, religion, intellectual and artistic culture owe much. We look for the themes, tensions, habits of thought, values and manias that link and distinguish these two eras. The Middle Ages began when Rome collapsed (ca. 500) and shaded slowly into the Renaissance (1350-1630), just after the Black Death swept through Europe. The Middle Ages were not "dark." Though turbulent and at first impoverished, they produced feudal kingdoms, gothic cathedrals, and brilliant logical philosophy. In the first term we meet medieval hermits, saints, dragons, knights, crusaders, burghers, and assorted lovers, happy and unhappy. The Renaissance saw the beginnings of modernity emerge out of the medieval past. Great individual achievements blossomed in a world reshaped by commercial expansion, political consolidation and religious crisis. It was a time of cultural flux and growth, where novelty challenged tradition, and optimism vied with deep anxiety. In the second term, we encounter poets, storytellers, philosophers, sly politicians, acute scientists, and, again, men and women of deep faith. As a Foundations course, Humanities 1125 9.0 puts great stress on critical skills, and particularly on writing. FORMAT: two lecture hours and two tutorial hours. ASSIGNMENTS: Short papers: 50%; Mid-term: 15%; Final: 25%; Participation: 10%. (subject to change) REPRESENTATIVE READINGS: St. Benedict, Rule; Beowulf; Abelard and Heloise, Letters; Song of Roland; Gottfried von Strassburg, Tristan; Villehardouin, Conquest of Constantinople; Catherine of Siena, Selected letters, Cellini, Autobiography, More, Utopia, Machiavelli, Prince; Montaigne, Essays; Maguérite de Navarre, Heptameron; Castiglione, Courtier; Shakespeare, Julius Caesar; and writings by Luther and St. Ignatius Loyola. (subject to change) COURSE DIRECTOR: T. Cohen, 2156 Vari Hall, ext. 66977 PROJECTED ENROLMENT: 175 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1160 9.0A THE ENLIGHTENMENT AND HUMAN UNDERSTANDING A fundamental feature of the Enlightenment is the view that human experience is the foundation of gaining knowledge and truth. We focus on selected Enlightenment writers and thinkers in order to understand this approach to learning. This course, which is interdisciplinary in its approach, will begin with an examination of pre- Enlightenment views of method and truth. We will then examine the scientific revolution which influenced writers and thinkers in the Enlightenment period. Once this has been completed, we will turn to the writings of selected Enlightenment thinkers. Authors to be studied include Thomas Hobbes, René Descartes, Baruch Spinoza, Blaise Pascal, John Locke, George Berkeley, and David Hume. We will examine their methodological concerns as well as how the choice of method guides their respective investigations.
  • 4. FORMAT: two lecture hours and two tutorial hours. ASSIGNMENTS: 4 assignments associated with the lectures and the seminars. The nature of these assignments will be discussed at our first meeting. REPRESENTATIVE READINGS: Inventing Human Science: Eighteenth-century Domains, edited by Christopher Fox, Roy Porter, and Robert Wokler; Philosophy and Science in the Scottish Enlightenment, essays edited by Peter Jones; Scepticism in the Enlightenment, edited by Richard H. Popkin, Ezequiel de Olaso, Georgio Tonelli; Leviathan, Thomas Hobbes; Meditations on First Philosophy, René Descartes; Essay Concerning Human Understanding, John Locke; Three Dialogues, George Berkeley; Dialogues Concerning Natural Religion, David Hume; The Enlightenment, Hugh Dunthorne; The Enlightenment: The Culture of the Eighteenth Century, Schneider, Isidor. COURSE DIRECTOR: S. Tweyman, 279 Winters College, ext. 33478 PROJECTED ENROLMENT: 200 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1170 9.0A THE MODERN AGE: SHAPERS & DEFINERS The course will introduce the student to some of the important 'shapers and definers' of the Modern (Western) artistic and intellectual spirit (1775-1960), along with the various cultural movements and counter-movements that framed their work (Romanticism, Realism, Symbol- ism, Modernism, etc.). It will do so from a particular point of view: the search by these novel- ists, artists, composers, philosophers, and psychologists for new languages (language used here in the broadest sense), new forms, new methodologies, commensurate with what human nature has become, what it knows (or thinks it knows) about itself and the world at large. FORMAT: Two hour lecture plus two hour seminar weekly. ASSIGNMENTS: five mini essays (3-4 typed pages in length) 40% of grade; participation in seminars 20% of grade; final examination 40% of grade. (subject to change) REPRESENTATIVE READINGS: Johann Wolfgang von Goethe, The Sufferings Of Young Werther, trans. Harry Steinhauer; Vincent van Gogh, The Letters Of Vincent Van Gogh, edited Mark Roskill; James Joyce, A Portrait Of The Artist As A Young Man, edited with introduction by Seamus Deane; Virginia Woolf, Moments Of Being; Thomas Mann, Death In Venice And Other Stories; Carl G. Jung, Man & His Symbols; Sebastian Haffner, The Meaning of Hitler; Gustav Mahler, Symphony #1 (any recording). (subject to change) COURSE DIRECTOR: T.B.A.
  • 5. PROJECTED ENROLMENT: 100 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1200 9.0M (WINTER) CONTEXTS OF CANADIAN CULTURE How can we understand Canada? How can we approach the major themes and issues that have shaped Canadian society? This course explores a series of major themes and issues in Canadian culture through a careful examination of a number of texts. More specifically, it examines how works of fiction, autobiography, history, drama, and film represent issues of native/white relations, land settlement, immigration, work, and gender. The course is especially concerned with the interplay between the structure of material conditions and the construction of systems of meaning. ASSIGNMENTS: First term writing assignments 20%; mid-term test 10%; second term writing assignment 25%; class participation and presentations 20%; final examination 25%. (subject to change) REPRESENTATIVE READINGS: Pierre Berton, The Great Railway; Maria Campbell, Halfbreed; Timothy Findley, The Wars; Louis Hemon, Maria Chapdelaine; Stephen Leacock, Arcadian Adventures with the Idle Rich; Susanna Moodie, Roughing it in the Bush; Brian Moore, Black Robe; Alice Munro, Who Do You Think You Are?; Michael Ondaatje, In the Skin of a Lion; Nino Ricci, Lives of the Saints; Mordecai Richler, Son of a Smaller Hero; Michel Tremblay, Sainte- Carmen of the Main. (subject to change) COURSE DIRECTOR: W. Westfall, 602 Atkinson College, ext. 33958 PROJECTED ENROLMENT: 75 RESERVED SPACES: All spaces are reserved for first year new students starting in the January session (2007). AS/HUMA 1220 9.0 AS/ESL 1000 9.0 CANADIAN LANGUAGE AND CULTURE  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016 PREREQUISITE: Native language other than English. Students must have taken a language proficiency test. This course continues the linguistic and academic development of students who come from English as a Second Language backgrounds, and develops their understanding of Canadian language and culture. To this end, the course is run as an integrated lecture/seminar, with students expected to participate actively in the course in a variety of ways: taking part in class discussions, making oral presentations, writing academic essays, doing library research, and
  • 6. undertaking course activities designed to support both understanding of the course themes and to develop effective language use. Academic skills such as effective reading, writing, and argumentation are stressed. Language in general, and English in particular, is central to the course as a subject of study. The relationship of language to human values and attitudes, its identity as a complex means of learning and interaction, and its role in society and culture are also studied. In addition to reading a number of pieces of Canadian fiction, some of the themes explored in the course include: Language, Communication, Gender; Identity, Immigration, Multiculturalism; Economics and Work; Canada's Aboriginal People; Quebec. FORMAT: Students meet for four hours per week. Note: This course is normally open for credit only to students in their first academic session. This is a first year Humanities Foundations course. ASSIGNMENTS: Throughout the course, students receive marks based on assignments and course activities. Final grades in the course are based on term essays, major oral presentations, small assignments (oral and written), class participation and final examination. REPRESENTATIVE READINGS: A list of required texts is distributed to students during the first week of classes. Students are also required to purchase a kit of materials for use in the course. Course kits are available in the first week of classes. COURSE DIRECTORS: T.B.A AS/HUMA 1300 9.0A CULTURES OF RESISTANCE IN THE AMERICAS: THE AFRICAN AMERICAN EXPERIENCE This course addresses the ways in which diasporic Africans have responded to and resisted their enslaved and subordinated status in the Americas. Resistance is first addressed in relationship to slavery, but later in the course resistance is seen in a much broader context: in response to post-colonial and post-civil rights, and as an engagement of national, economic, cultural and social forces. Thus, resistance might be understood as a continuing legacy of black peoples' existence in the Americas. Resistance is, first, read in relationship to European domination in the Americas and, second, to national and other post-emancipation forms of domination which force us to think of resistance in increasingly more complex ways. The "anatomy of prejudices"—sexism, homophobia, class oppression, racism—come under scrutiny as the course attempts to articulate the libratory project. The course focuses, then, on the cultural experiences of African diasporic peoples, examining the issues raised through a close study of black cultures in the Caribbean, the United States and Canada. It critically engages the ways in which cultural practices and traditions have survived and been transformed in the context of black subordination. It addresses the aesthetic, religious and ethical practices that enable black people to survive and build "communities of resistance" and allow them both to carve out a space in the Americas they can call home and to contribute variously to the cultures of the region.
  • 7. FORMAT: two lecture hours and two tutorial hours per week. ASSIGNMENTS: media review (5%), two essays (30%), research assignment (20%), oral report (10%), class participation (10%), final exam (25%); (subject to change). REPRESENTATIVE READINGS: Henry Louis Gates Jr, ed., The Classic Slave Narratives; Gloria Naylor, Mama Day; Earl Lovelace, The Dragon Can’t Dance; Edwidge Danticat, Breath, Eyes, Memory; Course Kit of articles from selected journals and anthologies. COURSE DIRECTOR: A. Davis, 324 Founders College, ext. 33320 www.arts/ PROJECTED ENROLMENT: 175 RESERVED SPACES: All spaces are reserved for incoming first year students AS/HUMA 1400 9.0A CULTURE AND SOCIETY IN EAST ASIA  AS/HUMA 1401 0.0A COMPUTER LAB COMPONENT FOR 1400 9.0A [CULTURE & SOCIETY IN EAST ASIA] NOTE: students must enrol in a computer lab when enrolling in 1400 9.0A tutorial.  To introduce students within a single course to the complex matrix of socio-political, religious, artistic and philosophical strands of the traditional civilisations of East Asia that flourished for some 3,000 years is a near impossible task. The approach taken by this course is to provide an understanding of the cultural traditions by exploring in-depth a "moment" frozen in time and space. Our time is the eighteenth century, the height of indigenous cultural development prior to the Western intrusion of the nineteenth century. Our focus will be on both the major urban centres and rural areas of China and Japan. We shall look at selected aspects of the everyday life and lifestyles of all classes of society, concentrating especially on concepts of authority, nature, religious practices and values, and attitudes toward education, class and gender. Our sources will be varied, drawing on the rich legacy of the humanities encountered within the East Asian cultural zone. We shall explore selected sources drawn from the period, including novels, plays and short stories. As well, extensive use will be made of films. This course includes required labs which rely on a Computer Assisted Instruction & Learning (CAIL). While coursework is accessible remotely by either Macintosh or Windows PCs, this is not a distant learning or remote access course. Attendance at scheduled lab sessions is
  • 8. mandatory. Ownership of or prior experience with computers or computerized word processing is not required, but all students will gain such experience in this course. FORMAT: one and a half lecture hours and one and a half hour discussion session per week, one hour computer lab. ASSIGNMENTS: First essay 10%; second essay 20%; mid-term exam 20%; final exam 30%; participation 20%. NOTE: All Critical Skills assignments must be satisfactorily completed in order to receive a passing grade. REPRESENTATIVE READINGS: Tsao Hsueh-Chin, Dream of the Red Chamber; Spence, Jonathan, The Death of Woman Wang; Shen Fu, Six Records of a Floating Life; Keene, Donald (trans.), Four Major Plays of Chikamatsu; Ihara Saikaku, The Life of an Amorous Woman; Rehner, Jan, Practical Strategies for Critical Thinking. Course Reading Kit. COURSE DIRECTOR: G. Shen, 224 Founders College, ext. 20415 PROJECTED ENROLMENT: 198 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1625 9.0A FANTASY AND TOPOGRAPHIES OF IMAGINATION COURSE CREDIT EXCLUSION: AS/HUMA 1630 9.0 This interdisciplinary course utilizes a variety of materials to explore fantasy in the West, not as the opposite of reality, but as how people imagine and give meaning to their experiences, thereby both shaping and resisting the realities of Western cultures. This course examines some of the dominating fantasies in the West. It explores how individuals (as well as groups) are influenced by them not simply in how they make meaning of their experiences, but also in how the dominating fantasies come to influence even what individuals might imagine. Throughout the course we will examine how individuals draw upon the dominating fantasies of the West to maintain and perpetuate cultural knowledges about the values of the culture, as well as definitions about what is human and what is "other", and what are appropriate human and non-human behaviours/relationships. We will also ask how it is possible for individuals to critique dominating fantasies by creating counter-fantasies that subvert and resist accepted knowledges and interpretations of experience and allow people to imagine things otherwise. FORMAT: two lecture hours and two tutorial hours. ASSIGNMENTS: 5% Visual response paper (best 1 of 2); 15% Textual response paper (best 2 of 5 per term); 10% Annotated bibliography; 15% Essay (in stages); 15% Group project/ presentation; 10% Critical Thinking/Learning Portfolio; 10% Participation; 20% Final Exam. (subject to change)
  • 9. REPRESENTATIVE READINGS: Alexie, Sherman. The Lone Ranger and Tonto Fist Fight in Heaven. New York: HarperCollins, 1994; Carroll, Lewis. Alice in Wonderland and Alice Through the Looking Glass. New York: Oxford University Press, 1998; Course Kit. Available at Yorklanes Bookstore; Ozeki, Ruth L. My Year of Meats. Toronto: Penguin Books Canada, Ltd., 1998; Piercy, Marge. He, She and It. Toronto: Random House, 1993. (subject to change) REQUIRED FILMS: Please note: this list is subject to availability and may change without notice. Bob Roberts; Dogma; Like Water for Chocolate; Monty Python and the Holy Grail; Princess Bride; Psycho (Hitchcock); Pink Floyd's The Wall. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 175 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1650 9.0A THE NETWORKED IMAGINATION The Internet and World Wide Web have created new ways of encountering and experiencing literature, art, and music by dramatically changing the relationship between new media and the arts and culture, and the promises and pitfalls of these changes, using the tools and content of the Internet. Students will contribute to each other’s learning through active participation in online conferences and collaborative projects. Skills learned in this course will be of value in subsequent university courses, as the use of online materials and computer networks increases. FORMAT: Two lecture hours and two tutorials/week. Students will need to be able to connect to the York computer network, preferably from home or residence, as most of the work in the course will be done online. ASSIGNMENTS: T.B.A. REPRESENTATIVE READINGS: T.B.A. COURSE DIRECTOR: J. Allen, 2077 Vari Hall, ext. 60312 PROJECTED ENROLMENT: 175 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1825 9.0A LAW AND MORALITY
  • 10. This course examines aspects of the relationships between law and morality, asking, “What is law?” “What is morality?” How do they overlap?” How are they different?” “Should the law enforce morality?” “When is civil disobedience justified?” “How do these issues affect our daily lives?” We often hear people say that something may be morally reprehensible but it is not legally wrong. To take a contemporary example, recent cases have dealt with the issue of HIV infected persons knowingly infecting their partners. Some defense lawyers have argued that their client’s conduct may be blameworthy from a moral perspective, but it is not legally culpable. Looking to the past, we know that the government in Nazi Germany came to power legally. Many persons in authority who were later indicted for Nazi crimes argued that they were obeying the law and therefore ought not to be punished. In everyday life we are constantly confronted with issues such as euthanasia, pornography, hate propaganda, abortion, and most recently, same sex marriage – issues that deal with the legal enforcement of morality. On occasion, we may ask when we are justified in disobeying the law, or when civil disobedience is warranted. We begin by reading both Sophocles’ Antigone (produced in 441 B.C.) and an updated version by Jean Anouilh (produced in 1944). These plays, specifically the conflict between Antigone and her uncle, King Creon, constitute a preamble to, or frame for the two analytical components of the course: the moral discourse and the legal discourse. FORMAT: two lecture hours and two tutorial hours. ASSIGNMENTS: There will be three writing assignments for a total of 40%, a mid-term examination worth 15%, a final examination worth 35%, and tutorial participation worth 10%. REPRESENTATIVE READINGS: The portion of the course dealing with the moral discourse includes selections from Aristotle’s Nichomachean Ethics (concentrating on Book 5, “Justice”) and selections from Summa Theologica, “Concerning the Nature of Law” by Thomas Aquinas. The portion of the course dealing with the legal discourse includes selections from legal theorists who discuss the issues that arise between the proponents of positive law and of natural law. The former are more concerned with the sources of law and issues of process, whereas the latter are more concerned with the law’s content, in particular its moral content. The legal theorists we are reading include the leading contemporary legal positivist, H. L. A. Hart, as well as Lon. L. Fuller, Ronald Dworkin and Martha Minow. We then examine the issue of morality in law. Readings include Mill’s On Liberty, Patrick Devlin’s “Morals and the Criminal Law,” concerning the decriminalization in Britain of homosexuality and prostitution, and Dworkin’s critique of Devlin and legal moralism, “Liberty and Moralism.” We also examine the issue of moral objections to law. Readings include Rawls’ “Civil Disobedience” and Martin Luther King Jr.'s “Letter from Birmingham City Jail.” Briefly put, this course considers three thematic approaches to law and morality:
  • 11. (a) the inter-relation between concepts of law and concepts of morality (positivism vs. natural law); (b) the legal enforcement of morality (sometimes referred to as “legal moralism”); and (c) moral objections to the law (civil disobedience). Throughout, we read court cases to illustrate the practical import of the theoretical issues. We read several seminal Supreme Court of Canada decisions dealing with moral issues, including Lavallée (battered wife syndrome), Keegstra (hate propaganda) and Butler (pornography). Films are an integral part of this course. We view films that deal with trials and examine the concept of justice, which is at the apex of both moral and legal virtues. Films include “To Kill a Mockingbird,” “The Trial,” “Judgment at Nuremberg,” and “Hotel Terminus: The Life and Times of Klaus Barbie,” a documentary film by Marcel Ophuls. This film by Ophuls deals with the trial of Klaus Barbie, the so-called “Butcher of Lyons,” who was tried in France in 1987 for crimes against humanity committed during World War II. This course is a Foundations course, with an emphasis on critical skills: critical thinking, reading and writing. A general background text for this course is Law and Morality: Readings in Legal Philosophy, Second Edition, edited by David Dyzenhaus and Arthur Ripstein, University of Toronto Press, 2001. There will also be a Course Kit of readings. A writing text that will be used in this course is The Bare Essentials, Form A, Fifth Edition, by Sarah Norton and Brian Green, Nelson Thomson Learning, 2001. There may be changes to the above readings (i.e., additions, deletions or substitutions) in response to time or other constraints, or in response to the interests of the students. COURSE DIRECTOR: S. Katz, 124 McLaughlin College, ext. 40238 PROJECTED ENROLMENT: 200 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1840 9.0A EXISTENCE, FREEDOM, AND MEANING: THE IDEA OF THE HUMAN IN EUROPEAN THOUGHT The course addresses itself to three main themes: (1) the quest for truth in light of religious understanding--faith, skepticism, and the problem of knowledge; (2) the quest for order-- human values in light of relativism and the plurality of meaning; (3) and the quest for personal meaning in a social context: -- the paradoxes of freedom, responsibility, and self- consciousness. The course is dedicated to the reading and discussion of major works of literature, philosophy, and religion so that the search for the distinctively human may be made as intense and as meaningful as possible.
  • 12. FORMAT: Students and faculty meet weekly in individual two-hour discussion groups. In addition, colloquia, which bring together all students and faculty in the course, are held regularly throughout the year. There are no formal lectures. ASSIGNMENTS: three essays, 25% each; final take-home examination essay 25%. REPRESENTATIVE READINGS: Nietzsche, Joyful Wisdom; Kierkegaard, Fear and Trembling; Montaigne, Essays; Descartes, Discourse on Method; Pascal, Thoughts; Shakespeare, Hamlet; Berger, Invitation to Sociology; Kant, Grounding for the Metaphysics of Morals; Ibsen, Ghosts and Rosmersholm; Kafka, The Trial; Buber, I and Thou; Dostoevsky, Notes from Underground. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 125 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1905 9.0A DANGEROUS VISIONS: BRAVE NEW WORLDS: THE SCIENCE FICTION CULTURE OF OUR SCIENTIFIC AGE Science fiction has emerged as one of the most popular media in our contemporary culture. Why are science fiction texts, including novels, short stories, films, and television shows, so culturally pervasive, and what does this popularity tell us about the impact of science and technology? This course will examine how the medium of science fiction, from its origins with Mary Shelley’s Frankenstein to its more recent manifestations, has given cultural expression to changing – and often ambivalent – attitudes towards modern science and technology. The first half of the course will focus on the historical development of science fiction and the parallel developments in science and technology in their cultural context. Among the topics to be covered are responses to Enlightenment and Victorian science, representations of the scientist, scientific utopias, the mechanized society, and the reactions of science fiction authors to the brave new world of genetics, the Bomb, space travel. In the second term we will concentrate on the attitude of contemporary science fiction writers and film makers towards the cultural significance of science and technology. Themes to be discussed include feminist science, and SF, the infinite universes of some interpretations of quantum mechanics, the threat of Catastrophe due to technological progress, depictions of the process of scientific discovery, the complex relationship between science and religion, the ethical dilemmas of the biotechnology revolution, and the disappearing boundaries between human and computer. FORMAT: There will be one two-hour lecture and one two-hour discussion class per week. The lecture will set the broader context for understanding that week’s readings and themes, and will also deal with the development of critical skills in reading, writing and thinking. The discussion class will focus directly on the texts assigned for each week. All students will be expected to come to class having completed the assigned reading so that they are prepared to discuss it. ASSIGNMENTS: First Term short essay, 10%; First term long essay, 20%; Second term long essay, 20%; Group report on one of the second term themes 10%; Class Participation 15%; Final Exam 25%. (subject to change)
  • 13. REPRESENTATIVE READINGS: Mary Shelley, Frankenstein; Jules Verne, From The Earth to the Moon; Charlotte Perkins Gilman, Herland; Karel and Josef Capek, R.U.R. and The Insect Play; Yevgeny Zamyatin, We; Aldous Huxley, Brave New World; H.G. Wells, The Time Machine; Robert Charles Wilson, Bios; Phyllis Gotlieb, Sunburst; Ursula Le Guin, Left Hand of Darkness; Maria Doria Russell, The Sparrow; Greg Bear, Blood Music (xeroxed in separate course kit); Philip K. Dick, Do Androids Dream of Electric Sheep? ** All other readings (short stories and articles) are found in the course kit. COURSE DIRECTOR: A. Weiss, 307 Stong College, ext. 77318 PROJECTED ENROLMENT: 100 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1910 9.0A SCIENCE AND THE HUMANITIES Our experiences as individuals and as societies are shaped by our encounters with the natural world. Our personal identities, our social worlds, our physical environment, our faiths and beliefs, all emerge from these encounters, and our ideas about nature are accordingly a deeply influential part of human culture. Science, the systematic study of nature, has come to mediate our cultural experience. In this course, we will consider the mutual influences of the sciences and the humanities, using a rich variety of texts and visual materials, from fiction to philosophy to scientific articles, from anatomical illustrations to nature documentaries and modern art. Scientific and humanistic knowledge are not detached and separate enterprises, but part of a common human endeavour to understand ourselves and our place in the natural world. FORMAT: two lecture hours and two tutorial hours weekly. ASSIGNMENTS: Class participation 15%; reading analyses 30%; essay 30%; final exam 25%. REPRESENTATIVE READINGS: De Fontenelle, Conversations on the Plurality of Worlds; Shelley, Frankenstein; Darwin, Origin of the Species; Frayn, Copenhagen. COURSE DIRECTOR: M. Fichman, 313 Bethune College, ext. 70475 PROJECTED ENROLMENT: 125 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1950 9.0A CONCEPTS OF MALE & FEMALE IN THE WEST This course will explore concepts of ‘male’ and ‘female’ in Western culture mainly in the light of culturally constructed oppositions between them. Taking a feminist approach it will look at
  • 14. dualisms such as mind-body, culture-nature, reason-emotion, masculinity-femininity, heterosexual-homosexual, and consider how these oppositions affect views of what it is to be male and female. In particular, it will examine areas such as gender; sex and sexuality; spirituality; love and marriage; creativity; heroism; and resistance. As a Foundations course we will concentrate on the study and application of a wide range of theoretical perspectives to the analysis and critique of cultural productions which will include scholarly works, works of literature and theology, film and music. The theoretical frameworks we will encounter will include a variety of feminist theories, psychoanalytic theory, critical theory, semiotics, and postmodern approaches. FORMAT: Two lecture hours, two tutorial hours. ASSIGNMENTS: Book Report 10%; Abstract 10%; First Term Test 10%; Internet Reseach 15%; Second Term Essay 15%; Class Work 15%; Final Examination 25%. (subject to change) REPRESENTATIVE READINGS: Atwood, The Edible Woman; Winterson, Sexing the Cherry; Chopin, The Awakening; Morrison, Sula; Hurston, Their Eyes Were Watching God; Brown, Rubyfruit Jungle; Bedier-Belloc, Tristan and Isuelt; Shakespeare, “Romeo and Juliet”; Hwang, “M. Butterfly”; Bornstein, Gender Outlaw; Finnbogason and Valleau, Canadian Writer’s Pocket Guide; A Course Kit is available from the York Bookstore. COURSE DIRECTOR: D. Orr, 044 McLaughlin College, ext. 77024 PROJECTED ENROLMENT: 175 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1970 9.0A WORLDS OF CHILDHOOD This course explores the significance of childhood being constructed differently in various times and cultures. We will study the history of childhood with an emphasis on Western culture. We will analyze representations of children and childhood in a variety of cultural forms: children's fiction and poetry, film and television (fiction and documentary), visual arts (including painting and photography), and music. We will investigate cultural products created for children, including children's toys, video games, and other artifacts from popular culture. We will study children as consumers, but we will also research the culture children create and transmit for themselves, including their folklore, art, writing, activism, and responses to the world. We will focus on issues of children's rights and child power, with an eye to present and future developments in "the worlds of childhood." A required component of this course is the “Shoreham P.S. / Vanier College Literacy Partnership,” in which each student in the course becomes a “literacy buddy” with an elementary school student at Shoreham Public School (just west of York’s Keele Campus) for one hour per week; to participate in this program, each York student needs to obtain a “vulnerable sector screening” police check (exact details will be sent to each course registrant),
  • 15. which requires students to pay a police fee, typically ranging from $15 to $45, depending on the jurisdiction of the student’s permanent residence. (Students not wishing to be part of this important and rewarding “Literacy Buddy” program should enroll in Section B of this course.) FORMAT: Two lecture hours and two tutorial hours. ASSIGNMENTS: In this Foundations course, the assignments will focus on the development of skills in critical thinking, reading, viewing, speaking, and writing. Diagnostic Essay; Tutorial Participation - 10%; 3 Online Quizzes (WebCT) - 15%; Shoreham P.S. / Vanier College Literacy Partnership – 10%; Literacy Journal – 10%; Textual Analysis of a Representation of Childhood - 10%; “Hearing the Voices of Children” Fieldwork Project - 15%; Comparative Research Essay - 15%; Final Exam - 15%. REPRESENTATIVE READINGS: Foundations: Critical Thinking, Readinq, and Writing; Understanding Childhood: an Interdisciplinary Approach; a substantial Course Kit consisting of a few primary texts and many secondary texts (articles and chapters about childhood and children’s culture); nursery rhymes; fairy tales ("Little Red Riding Hood" variants); children's poetry (Wordsworth, Blake, Watts, Lee, Prelutsky, Silverstein, etc.); picture books (Sendak, Potter, Munsch, etc.); short stories (Edgeworth, More, etc.); children's novels (Peter Pan, The Story of the Treasure-Seekers, Parvana’s Journey, The Adventures of Captain Underpants, etc.); young adult novels (Theories of Relativity, The Maestro, The Golden Compass, etc.); films (The Hockey Sweater, excerpts from Angela's Ashes, excerpts from Lolita, etc.); life writing (Hear Me Out: True Stories of Teens Educating and Confronting Homophobia); adult memoirs (excerpts from Roald Dahl’s Boy, etc.). COURSE DIRECTOR: P. Cumming, 244 Vanier College, ext. 66984 PROJECTED ENROLMENT: 250 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1970 9.0B WORLDS OF CHILDHOOD This course explores childhood in various cultures over time, considering the images of the child and childhood as presented in a range of forms, and the artifacts produced for, or given to, children as a result of prevailing ideas about who and what they are or should be. Cross- cultural comparisons will be made, though the emphasis will be on Western culture in order to permit students to relate the materials covered to contemporary circumstances of childhood in Canada. Following a brief introduction, the course is divided into three approximately equal sections. The first involves an analysis of the child and childhood as historical-cultural constructions, examined through various representations in literature, philosophy, history, and film. The
  • 16. second considers the uses, meanings, and functions of cultural products – literature, toys, film, and the like – given to, or created for, children as a result of ideas about their nature, needs, and cultural positions. The third section focuses on the means of accessing and representing the child’s voice across various genres and discourses, including children’s folklore, diaries, autobiographies, and law, as well as various retrospective representations of childhood by adults. The course concludes by raising questions about the future of childhood, the implications of modern childhood for contemporary global culture, and the moral issues involved in the contemporary agendas of child concern, especially as they relate to the best interest of the child. FORMAT: two lecture hours and two tutorial hours weekly. ASSIGNMENTS: Assignments will be a diagnostic essay (5 pp) - 10%; a midterm test - 15%; a television critique (5 pp) - 15%; a major essay (8 pp) - 20%; a final exam - 25%; and tutorial participation - 15%. (subject to change) REPRESENTATIVE READINGS: J. M. Barrie, Peter and Wendy; Simon Bronner, American Children’s Folklore; Roald Dahl, Boy, and Charlie and the Chocolate Factory; Anne Frank, Diary of a Young Girl; Jean Little, Little by Little; L. M. Montgomery, Anne of Green Gables; Robert Munsch, The Paperbag Princess; Dav Pilkey, Captain Underpants and the Attack of the Talking Toilets; J. K. Rowling, Harry Potter and the Philosopher’s Stone; Maurice Sendak, Where the Wild Things Are; Victor Shea and William Whitla, Foundations: Critical Thinking, Reading, and Writing; Shirley Sterling, My Name is Seepeetza; R. L. Stevenson, Treasure Island; Mark Twain, Huckleberry Finn; and E. B. White, Charlotte’s Web. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 200 RESERVED SPACES: All spaces are reserved for first year students. AS/HUMA 1980 9.0A AS/EN 1980 9.0A AS/WRIT 1980 9.0A PROFESSIONAL WRITING: PROCESS AND PRACTICE  CONTACT THE DEPARTMENT OF ENGLISH OR PROFESSIONAL WRITING PROGRAM FOR MORE INFORMATION: 208 STONG COLLEGE, 416-736-5166 This course considers a wide range of written expression with an emphasis on the theory and practice of writing. The particular writing, research, and discussion in this course will center on the concept of cultural critique and debates around representations of sexuality, gender, race, nationality, and class. We’ll play with a variety of multimedia texts, exploring the questions these texts raise, and the implications of the rhetorical strategies of these texts for our own writing practices. We’ll intervene in these textual conversations by writing our own cultural critiques in a variety
  • 17. of forms, including a resistant reading of a popular culture text, a mini-ethnography or screenplay excerpt, a creative nonfiction/critical fiction, a manifesto, and a collaborative zine. We will also consider what role(s) writing can or cannot play in transforming cultural practices, and bringing about social and political change. The course will emphasize writing as a process. Consequently, revision will be an integral part of the work of the course. Class members will have the opportunity to have one of their papers workshopped in a whole-class workshop, and to facilitate the whole-class workshop of a colleague’s paper. These workshops (around which the tutorials will be organized) will give us all a chance to articulate and negotiate our criteria for effective writing, and to discuss and practice a variety of rhetorical strategies in the context of specific student papers. The culminating project of the course will be a portfolio that includes revised work and a preface introducing the work in the portfolio. ASSIGNMENTS: Portfolio—70%; weekly assignments, WebCT posts, and tutorial participation— 30%. Students must complete all major assignments in order to be eligible to receive a passing grade for the course. REPRESENTATIVE READINGS: Texts for the course will include a course kit, books, student writing, films, and videos. Possible written texts: bell hooks’ Outlaw Culture: Resisting Representations; Gloria Anzaldúa’s Borderlands La Frontera: The New Mestiza; Rebbeca Brittenham and Hildegard Hoeller’s Key Words for Academic Writers; Lynn Crosbie’s Paul’s Case. Stephen Duncombe’s Notes from the Underground: Zines and the Politics of Alternative Culture; Carole Maso’s Break Every Rule: Essays on Language, Longing, and Moments of Desire; Rodney Sappington and Tyler Stallings’ Uncontrollable Bodies: Testimonies of Identity and Culture; Valerie Solanas’ S.C.U.M. Manifesto; Sanjay Talreja and Nurjehan Aziz’s Strangers in the Mirror: In and Out of the Mainstream of Culture in Canada; a zine (of your choice); current issues of This Magazine and Fuse. Possible films and videos: Madonna’s Justify My Love; Jennie Livingston’s Paris is Burning; Miguel Picker’s Mickey Mouse Monopoly; Coco Fusco and Paula Heredia’s The Couple in the Cage; Paul Haggis’ Crash. COURSE DIRECTOR: A. Rallin, 317 Calumet College, ext. 33985 PROJECTED ENROLMENT: 200 RESERVED SPACES: All spaces are reserved for Professional Writing Majors and Minors. 2000 LEVEL COURSES
  • 18. RESERVED SPACES WILL BE MONITORED AND ADJUSTED THROUGHOUT THE ENROLMENT SESSION. AS/HUMA 2005 9.0A AS/FR 2005 9.0A KEY ASPECTS OF FRENCH CULTURE  CONTACT THE DEPARTMENT OF FRENCH STUDIES FOR MORE INFORMATION: N727 Ross Building, 416-736-5086 This course explores key aspects of French culture and thought through readings from major representative figures in literature, art, philosophy and social and political thought, from the Renaissance to post-war France. The course concentrates on figures who, since the Renaissance, have had significant impact in shaping and defining French character, thought, tradition, and national identity. The following ten topics are studied in depth: Montaigne and Humanism; Descartes and Rationalism; Voltaire and Enlightenment Thought; Rousseau, Civilization and Equality; The French Revolution(s); Napoléon and Eurocentrism; Baudelaire, Art and Modernism; De Gaulle and Nationalism; Sartre, Camus and Existentialism; Simone de Beauvoir and Feminism. Lectures, with PowerPoint support, are structured to contextualize the readings and to illustrate critical approaches to the material. During the weekly tutorial sessions, students will have the opportunity to ask questions, give oral presentations and participate in group discussions. This course is part of the Faculty of Art Foundations Program and focuses on developing the following skills: i) acquire an interdisciplinary appreciation of various aspects of French culture; ii) stimulate the student’s intellectual curiosity; iii) develop critical thinking through selected readings, oral presentations and written assignments; iv) develop research methods skills through searches of articles in e-journals, referencing and bibliographic notations. The tutorial sessions will allow students to explore collectively the readings and investigate the ramifications of the contextual information and approaches presented in the lectures. The course web site will provide access to the course materials and facilitate communication among students as well as between students and instructors. Students in the course will have access to the Multimedia Language Centre which will ensure access for all students, to electronic resources for the research assignments. N.B. This course is given entirely in English. Students majoring in French may take the course only as an elective. FORMAT: 2 hours of lectures and 2 hours of tutorial weekly. ASSIGNMENTS: Participation: 15%; Oral presentation: 15%; Written assignments: 40 %; Mid- term exam: 15%; Final exam: 15%.
  • 19. REPRESENTATIVE READINGS: (to be confirmed in September) Michel de Montaigne. The Essays : A Selection. Tr. M.A. Screech. New York: Penguin Books, 1993; René Descartes. Discourse on Method and Related Writings. Tr. Desmond M. Clarke. N.Y.: Penguin Books, 2003; Voltaire. Candide. Tr. John Butt. N.Y. Penguin Books, 1947; J.-J. Rouseau. The Social Contract. Tr. M Cranston. N. Y. : Penguin Classic, 1985; Napoleon Bonaparte. The Mind of Napoleon: A Selection from his Written and Spoken Words. Tr. J.C. Herold. N.Y.: Columbia Univ. Press, 1961; Baudelaire, Charles. Flowers of Evil. N.Y. : New Directions, 1989; André Malraux. Felled Oaks : a Conversation with De Gaulle. Tr. I. Clephone. N.Y.: Holt, Rinehart and Winston, 1977; J.-P. Sartre. No Exit; and Three Other Plays. Tr. L. Abel. N.Y.: Vintage Books, 1955; Albet Camus. The Plague. Tr. S. Gilbert. N. Y.: Penguin/Allen Lane, 2001; Simone de Beauvoir. The Second Sex. N.Y.: Bantom Books, 1961. General Reading (reference) Maurice Larkin. France Since the Popular Front; Government and People, 1936-1996. Oxford: Clarendon press, 1997; Lawrence Wylie. Village in the Vaucluse. Cambridge (MA) : Harvard Univ. Press, 1964. Materials fee: $10.00. COURSE DIRECTORS: Sergio Villani and Diane Beelen Woody AS/HUMA 2100 9.0A THE WORLD OF ANCIENT GREEKS A study of the culture of the Greek speaking peoples of the Hellenic and Hellenistic Mediterranean at various points in their development and evolution. Areas of cultural endeavours to be explored include drama, epic, gender, law, philosophy, history, and rhetoric. The course has two distinct but interlocked objectives. The first is a very close reading of the cultural records of the Greek speaking population of the Greek and Roman Mediterranean with a view to understanding the many accomplishments and cultural inventions and conventions of this civilization during its rich history. The second objective is that students in examining the wealth and variety of this civilization develop within themselves important critical skills in thinking logically and clearly, in writing with care and understanding, and in arguing persuasively and convincingly from evidence at hand. FORMAT: two hour lecture and two hour seminar. ASSIGNMENTS: T.B.A. REPRESENTATIVE READINGS: Selections from Homer, Hesiod, lyric poets, Aeschylus, Sophocles, Euripides, Aristophanes, Herodotus, Thucydides, Demosthenes, Lysias, Plato, Aristotle, Menander, Callimachus, Theocritus COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 84 RESERVED SPACES: Some spaces reserved for Humanities & Classical Studies Majors and Minors. AS/HUMA 2110 9.0A
  • 20. EGYPT IN GREEK AND ROMAN MEDITERRANEAN An examination of Egypt and Egyptians in the imagination and history of the cultures of the Greek and Roman Mediterranean. The place of Egypt in the imagination of the cultures of the Greek and Roman Mediterranean was an important and pervasive fact of both ancient myth and history. Athenians from the Golden Age, Jews from Judea, Alexander the son of Philip, Roman warriors like Caesar and Antonius became directly involved in the life of Egypt of their own day and fascinated by the monumental and exotic features of Egyptian culture. What they heard and saw made its way into the cultural narratives and even the reconstructed histories of the visitors. Many visitors stayed and provided in turn a fertile home for many important cultural and ritual events of the ancient Mediterranean. The Judean sections of Alexandria, Macedonian monarchs like Cleopatra Philopator, native and imported poets, scientists and scholars contributed to the rich mixture of Egyptian cultures and, in turn, informed the Greek and Roman culture of the rest of the Mediterranean. This course seeks to examine carefully the details of the imaginative and complicated portraits of Egypt and Egyptians fashioned in a variety of cultures around the Greek and Roman Mediterranean and to compare these to the rich remains and narratives created by Egyptians themselves over three millennia of monuments, artifacts and written records. Students are required to become familiar both with the Egyptians of the Greek and Roman Mediterranean and with the Egyptians who stood behind these artistic and cultural events. FORMAT: Two hour lecture/two hour seminar. ASSIGNMENTS: Essays and Reports 50%; Four Tests and Examinations 50%. REPRESENTATIVE READINGS: Herodotus, The Histories, translated by Aubrey de Slincourt; Euripides, Euripides II: Four Tragedies, edited by Lattimore and Grene; Juvenal, The Satires of Juvenal, translated by Niall Rudd; Genesis, Exodus, Matthew. Any translation approved by the course director; Plutarch, The Age of Alexander, translated by Ian Scott-Kilvert; Plutarch, The Makers of Rome, translated by Ian Scott-Kilvert; Selected Readings, edited and translated by Paul Swarney and Robyn Gillam. (Translations of Plutarch and Euripides are available on the internet.) COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 56 RESERVED SPACES: Some spaces reserved for Humanities & Classical Studies Majors and Minors. AS/HUMA 2140 6.0A FA/VISA 2560 6.0A RENAISSANCE AND BAROQUE ART AND ARCHITECTURE  CONTACT THE DEPARTMENT OF VISUAL ARTS FOR MORE INFORMATION: 232 CFA, 416-736-5187 This survey examines the art of northern and southern Europe in the Renaissance and Baroque periods from a variety of approaches including analysis of style, iconography, social
  • 21. context, and technique. In addition to the analysis of individual artists' works (including Masaccio, Leonardo, Michelangelo, Jan van Eyck, Dürer, Caravaggio, Bernini, Rubens and Rembrandt), topics include the rise of the professional artist, the role of patrons and the function of works of art. AS/HUMA 2160 9.0A ROMANTICISM AND ITS LEGACY Phases of the Romantic movement sufficiently differed intra- and internationally to speak of a plurality of Romanticisms, yet they shared some core ideas in reaction to the “crisis of reason” and to the obsolescence of the old political order. These ideas include such new sources of authority as the genius and his (!) imagination, of feeling, spontaneity, and individuality, as well as the new episteme of organicism. We shall study the roots, beginnings, unfoldings, and eventual repudiations of Romanticism as well as the continuance of its major concerns into modernism. The focus will be on literary and philosophical texts, with occasional forays into music, painting, historiography, and science. We shall attend to genre-specific reading and to the practical and methodological know-how of essay writing. FORMAT: two lecture hours and two tutorial hours. ASSIGNMENTS: Two essays (20% and 25%); in-lecture assignments (10%); participation including oral presentation (15%); mid-term test (15%); final test (15%). REPRESENTATIVE READINGS: Goethe, The Sufferings of Young Werther, Norton; Wordsworth, Lyrical Ballads, Oxford; W. Vaughan, Romanticism and Art, Thames and Hudson; M. Shelley, Frankenstein, Penguin; Baudelaire, Flowers of Evil and Other Works, Dover; E.A. Poe, The Fall of the House of Usher, Penguin; E. Brontë, Wuthering Heights, Penguin. Plus Course Kit from York University Bookstore. COURSE DIRECTOR: S. Ingram, 236 Vanier College, ext. 77314 PROJECTED ENROLMENT: 112 RESERVED SPACES: Some spaces reserved for Humanities Majors and Minors. AS/HUMA 2170 6.0A FA/VISA 2620 6.0A MODERN ART: 1750 TO THE PRESENT  CONTACT THE DEPARTMENT OF VISUAL ARTS FOR MORE INFORMATION: 232 CFA, 416-736-5187 This survey examines the history and interpretation of modern art in Europe and America. The first half of the course will study the painting, sculpture, architecture, design and graphic arts produced between 1750 and 1900. Movements examined include Romantic Art, Realism, Im-
  • 22. pressionism, Post-Impressionism, Symbolism and Art Nouveau. The second half of the course will focus on art in relationship to the complex visual culture of the 20th century. Emphasis is on critical approaches to the investigation of modern art in relation to questions of politics, colonialism, gender, social conflict and the avant-garde. AS/HUMA 2190 9.0A AS/GER 2790 9.0 GERMANY THROUGH THE AGES: CULTURE & SOCIETY  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION INSTRUCTORS: M. Webber and TBA PREREQUISITE: This course is offered entirely in English; no knowledge of German is required or assumed. The course is a required course for the German Studies degree program. DESCRIPTION: In the heart of the “New Europe” lies a “New Germany,” united after almost a half-century of division. But how new, and how united, is this new Germany? The course examines events, ideas, forces, movements, and personalities that have shaped German culture and society through the ages, with an emphasis on Germany in the 20th and 21st centuries. Texts come from the fields of literature, history, political science, and the fine arts, including film and music. FORMAT: Two hours lecture and two hours tutorial. The course is team-taught. Some guest lectures, as well as showing of some films/videos in class, as appropriate. EVALUATION: Contribution to discussion – 10%; two essays – 15% and 20%; Library assignment – 5%; three tests – 30%; final examination – 20%. TEXTS: H. Böll. The Lost Honor of Katharina Blum; B. Brecht. The Three Penny Opera; J.W. von Goethe. Götz von Berlichingen; P. Schneider, The Wall Jumper; I. Scholl, The White Rose; D. Williamson, The Third Reich; H. Schulze, Germany. A new history. In addition, there will be a course kit of required readings. AS/HUMA 2195 9.0A DEFINING EUROPE: INTRODUCTION TO EUROPEAN STUDIES From the Middle Ages to the present, Europeans have repeatedly defined their continent and their civilization in contrast to others that do not belong. This continual process of designating insiders and outsiders is the subject of this course. These definitions have been drawn on a number of different scales: within individual countries, among countries in continental Europe and between Europeans and peoples they encountered in other parts of the world. They have also been based on a number of criteria: religion, race, and culture. The designation of who is an outsider and why has changed significantly over time. Examples of such contrasts between insiders and outsiders include Christians versus Muslims and Christians versus Jews, Europeans
  • 23. versus Africans, Asians and Native Americans, northerners versus southerners in unified Italy and debates over immigration and citizenship in contemporary France and Germany. This course provides an introduction to European Studies from the Medieval period to the present, exploring the subject both thematically and chronologically using an interdisciplinary approach. The course will draw on a diverse range of sources, incorporating literature, art and film as well as scholarly writings from such disciplines as History, Political Science and Anthropology. FORMAT: Two lecture hours and two seminar/discussion hours. ASSIGNMENTS: Evaluation will be based on a combination of various short written assignments, a longer essay, tests and/or examination and tutorial contribution. REPRESENTATIVE READINGS: An extensive course kit will be available from the Bookstore. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 140 RESERVED SPACES: Some spaces reserved for Humanities & European Studies Majors and Minors. AS/HUMA 2310 9.0A AN INTRODUCTION TO CARIBBEAN STUDIES An introduction to the major cultural characteristics of the Caribbean through study of the scholars, writers, and artists of the region. Themes include the historical roots and contemporary manifestations of the quest for national independence; the role of race, ethnicity and gender in the negotiation of individual and collective identities; the tension between elite and popular culture; and the Caribbean Diaspora in Europe and North America. Course materials include scholarly and literary works, films and music. Critical skills taught in this course: critical thinking, analysis of texts, effective writing, oral expression, library and computer-based research. FORMAT: Two lecture hours and two tutorial hours. ASSIGNMENTS: writing (short essays, annotated bibliography and research essay) 40%; mid- term and final exams 40%; oral presentations 10%; tutorial participation 10%. REPRESENTATIVE READINGS: B. Bush, Slave Women in Caribbean Society; M. Hodge, Crick, Crack Monkey; E. Lovelace, The Dragon Can’t Dance; P. Powell, A Small Gathering of Bones; N. Nagamootoo, Hendree’s Cure; L. Scott, Ballard for the New World. Students are expected to purchase a kit of duplicated readings with articles, essays, poems and songs by authors such as L. Bennett, E.K. Brathwaite, Chalkdust, F. Fanon, M. Garvey, S. Hall, G. K. Lewis, W. Look-lai, B. Marley, V.S. Naipaul, P. Mohammed, N. Morejon, R. Nettleford, J. Rhys, S. Selvon, M. Trouillot, and D. Walcott, E. Williams. Suggested Summer Reading: E. Lovelace, The Dragon Can’t Dance.
  • 24. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 168 RESERVED SPACES: Some spaces reserved for Humanities & Latin American and Caribbean Studies & International Development Studies Majors and Minors. AS/HUMA 2435 9.0A JAPANESE CULTURE, LITERATURE AND FILM COURSE CREDIT EXCLUSIONS: AS/HUMA 3420 6.0, AS/JP 3720 6.0, FA/FILM 3710 6.0 An introduction to Japanese culture centred around comparisons of major classical, modern, and "postmodern" literary works - including "manga" comics - with their screen adaptations or other related films and anime. No prior knowledge is expected or required. Japanese culture may or may not be 'cinematic' as Sergei Eisenstein claimed back in 1929, but it is undeniable that literary classics have been turned into outstanding films with striking frequency in Japan. Moreover, ever since Rashomon took the West by surprise in 1951, no medium has been more successful than film in communicating Japanese culture to a foreign audience. By comparing major literary works by Japan's best authors with their screen adaptations (or other related films), this course seeks to explore basic patterns and themes of Japanese culture: the cojoining of native and imported elements in life and art; the core principles of Japanese aesthetics; the changing role of women; expressions of modern alienation; and the overlapping realms of what might be termed the premodern, the modern, and the postmodern. It also analyzes aspects of the literature-to-film transfer, such as literary image-film image, literary style-film style, and the treatment of selected themes in literature and film. This course is part of the Faculty of Arts Foundations Program, and focuses on the following skills: critical reading of primary (including cinematic) and secondary texts; critical thinking; writing skills, including formulating a thesis and developing an essay outline and a full, annotated bibliography; formulating cross-cultural comparisons which take into account religious, aesthetic and historical/cultural differences. FORMAT: Three hour lecture and one hour tutorial. ASSIGNMENTS: Spot Quizzes 10%; First Essay (with skills exercises) 20%; Second Essay (with annotated bibliography) 30%; Class Participation 10%; Final Exam 30%. REPRESENTATIVE READINGS: (Required) The Oxford Book of Japanese Short Stories, (Ted Goossen ed.); Snow Country (Yasunari Kawabata); The Key (Jun'ichiro Tanizaki); Confessions of a Mask (Yukio Mishima); The End of the World and the Hard-Boiled Wonderland (Haruki Murakami); Coin-Locker Babies (Ryu Murakami); Kitchen (Banana Yoshimoto). COURSE DIRECTOR:
  • 25. T. Goossen, 231 Vanier College, 66986 PROJECTED ENROLMENT: 84 RESERVED SPACES: Some spaces reserved for Humanities & East Asian Studies, International Development Studies Majors and Minors. AS/HUMA 2440 9.0A INDIA - LIFE, CULTURE AND THE ARTS This course examines Indian culture, secular literary texts and other art forms (dance, drama, music, documentaries, cinema and folk arts) from ancient India to the present. In relation to the texts, class lectures and tutorials include background on different religious traditions, social structure, history and culture. Indian society is often presented as homogeneous and continuous, interrupted periodically by foreign intrusions. This course is based on the premise that, in fact, this society has always been a conflicted reality, that there have been, and continue to be, many “imagined” Indias. Through reading a variety of narratives from Indian and non-Indian sources, watching films and listening to music and guest lectures, we will examine questions such as the following: What have been the various imaginaries of Indian society? How have the borders among these imaginaries coexisted, contested or overlapped with each other? What changes and continuities over time do these narratives bring out? We will pursue these and similar questions in a roughly chronological order from the ancient to contemporary times. Course themes include: values, morals and hierarchical structures revealed in ancient folk tales; early literary voices of women; views of foreign travelers to India over the centuries; expressions of the sacred and the erotic; heterodox challenges to Hinduism; Indo-Islamic cultural heritage; the rise and impact of the British Raj; the emergence of the nationalist movement; influence of religious nationalism, independence and partition of India; women’s rights movement from 19th-21st century; voices of the marginalized in modern India – dalits (untouchables), women and homosexuals; diasporic writings; and changes and inequities in contemporary Indian society. As a second year Foundations course, it emphasizes critical reading and analysis of various texts as well as essay writing, oral communication, and written examination skills. FORMAT: two hour lecture and two hour tutorial ASSIGNMENTS: two essays (15% & 20%); class presentation and participation (20%), mid- term examination (20%) and final examination (25%). COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 84 RESERVED SPACES: Some spaces reserved for Humanities & South Asian Studies Majors and Minors. AS/HUMA 2680 9.0A EARLY TIMES: LITERATURE & IMAGINATION OF THE CHILD
  • 26. COURSE CREDIT EXCLUSION: AS/HUMA 3650 6.0 This course provides a historical survey of texts for children, mainly literary but including also films and picture books. In particular it explores the emergence of the various genres (e.g. poetry, fantasy stories, domestic novels, tales of adventure, animal stories and problem narratives) and traces their development from their origins, generally in the Victorian period, through to our own times. The growth of children’s film is also considered, and critical and educational issues connected with all these texts are examined and discussed. FORMAT: Two hour lecture and two hour tutorial per week. ASSIGNMENTS: First essay 15%; research essay 25%; mid term test 10%; class presentation 10%; journal 10%; class participation 5%; final examination 25%. (subject to change) REPRESENTATIVE READINGS: Northrop Frye, The Educated Imagination; Grimm’s Fairy Tales; Robert Munsch, The Paper Bag Princess; Bruno Bettelheim, The Uses of Enchantment; J.R.R. Tolkien, The Hobbit; Lewis Carroll, Alice’s Adventures in Wonderland; Ursula Leguin, A Wizard of Earthsea; J.K. Rowling, Harry Potter and the Philosopher’s Stone; Dennis Lee, Selected Poems; Rudyard Kipling, The Jungle Book; E.B. White, Charlotte’s Web; R.L. Stevenson, Treasure Island; Jane Yolen, The Devil’s Arithmetic; Roald Dahl, Matilda; Melvin Burgess, Junk; Beatrice Culleton, April Raintree. Videos: TBA COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 168 RESERVED SPACES: Some spaces reserved for Humanities Majors and Minors. AS/HUMA 2690 9.0A INTRODUCTION TO CHILDREN'S STUDIES An interdisciplinary introduction to the study, theorizing and appreciation of children and childhood, drawing on many disciplines from the Humanities, Social Sciences and Fine Arts. Throughout the 20th century, research on children proceeded from the hegemonic developmental perspective that emerged towards the end of the 19th century. Children were seen as objects, recipients of, rather than participants in, cultural exchanges. Childhood was considered to be a progress toward adulthood rather than valued as a state of being. Emphasis therefore was placed upon child-rearing practices and the adult society’s constructions of childhood. Children’s own worlds, and their views of the larger world in which they lived were largely ignored. In the past thirty years, the gaze on child and childhood has shifted such that children are now seen as active participants in their own culture as well as in the larger society. This course is an interdisciplinary introduction to the study of children and childhood, from birth to age 18 (the UN definition of child). It draws on many disciplines, including anthropology,
  • 27. sociology, psychology, kinesiology, criminal justice, English, environmental studies, history, religious studies, economics, business, and biology. The focus is on contemporary narratives of knowledge of children and childhood and the means through which they are constructed. Of particular importance are the voices of children themselves as authorities on being child. Each student will participate in a contemporary children’s culture project enabled through the Shoreham-Vanier partnership, and will be required to obtain a “Clearance Letter” from the police in order to do so. The project will involve direct experience with young children in child- centred situations, observation of the children’s culture in operation and subsequent analysis of the understanding of contemporary childhood acquired through this process. FORMAT: Two hour lecture and two hour tutorial. ASSIGNMENTS: 15% - Theoretical analysis; 25% - research paper incorporating children’s voices as authoritative source; 20% - documentation/analysis of contemporary children’s culture; 25% - exams/quizzes; 15% - participation (including a presentation). REPRESENTATIVE READINGS: Covell, Katherine & R. Brian Howe. The Challenge of Children’s Rights for Canada; Cunningham, Hugh. Children & Childhood in Western Society Since 1500; Katz, Cindi. Growing Up Global; Mitchell, Caludia & Jacqueline R. Walsh. Researching Children’s Popular Culture: the Cultural Spaces of Childhood. Plus a course kit of selected readings from various disciplinary perspectives. COURSE DIRECTOR: C. Carpenter, 254 Vanier College, ext. 55192 PROJECTED ENROLMENT: 140 RESERVED SPACES: Some spaces reserved for Humanities Majors and Minors. AS/HUMA 2740 6.0 FA/FILM 2401 6.0 FILM, TELEVISION AND SOCIETY  CONTACT THE DEPARTMENT OF FILM FOR MORE INFORMATION: 220 CFT, 416-736-5710 This course will examine the interrelationship between film and television and the societies in which they are produced and consumed, with attention to the social relations and ideological and political characteristics of contemporary societies and with an introduction to contemporary criticism which has analyzed these media. The study of film and television is interdisciplinary by definition. We will cover the course material with attention to historical, sociological and political perspectives, aesthetic and cultural theories and the close textual analysis developed in film studies in relation to semiotics, psychoanalysis and Marxism, and extended recently to television.
  • 28. AS/HUMA 2750 6.0A AS/RU 2750 6.0 AS/HIST 2310 6.0 RUSSIAN CULTURE: CONTINUITY AND CONFLICT (in translation) COURSE CREDIT EXCLUSION: AS/HUMA 2990D 6.0  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016 PREREQUISITE: None. Knowledge of Russian is not required. This course examines the life, culture and institutions of Russia. It opens with Russia’s medieval heritage where many of her major historical and cultural patterns had their beginnings, and as soon as the origins of patterns have been elucidated, they are followed through the whole sweep of Russian history right through the Soviet period. FORMAT: The course will meet once a week for a three-hour session consisting of two lecture hours plus one tutorial hour. ASSIGNMENTS: Tutorial participation (questions, comments, participation in discussion of readings, degree of understanding of materials) – 25%; one test – 20%; one essay – 25%; final examination – 30%. REPRESENTATIVE READINGS: Babel, I., The Collected Stories; Bulgakov, M., The Heart of a Dog; Chekhov, A., The Portable Chekhov; Pushkin, A., The Captain’s Daughter; Riha, T., ed., Readings in Russian Civilization, rev. ed., vols I and II; Tolstoy, L., Great Short Works; Turgenev, I., Fathers and Sons; Zamiatin, E., We. Additional material will be distributed in kit form - a Fall Term kit and a Winter Term kit. COURSE DIRECTOR: T.B.A. AS/HUMA 2751 9.0A AS/IT 2751 9.0 ASPECTS OF ITALIAN CULTURE (taught in English) COURSE CREDIT EXCLUSION: AS/HUMA 2990A 6.0  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016 PREREQUISITE: No knowledge of Italian is required. Students taking Italian as their major or minor subject may take this course, but it will not be counted towards a major or minor in Italian. This course counts as a second year foundations course. This course explores three aspects of Italian culture: political life, philosophic thought, and literary creation. All works selected represent an important Italian contribution to the
  • 29. development of modern culture. Texts are also studied in relation to other Italian arts, such as painting, sculpture and architecture. FORMAT: Four hours per week (one two-hour lecture and one two-hour tutorial). ASSIGNMENTS: Two essays – 30%; mid-term exam - 20%; tutorial attendance and participation – 10%; tutorial assignments, reports – 20%; final examination – 20%. REPRESENTATIVE READINGS: Boccaccio, readings from The Decameron (Penguin); G. Pico della Mirandola, Leonardo da Vinci, Notebooks (Oxford); Machiavelli, The Prince (Cambridge); Oration on the Dignity of Man (Gateway Editions); The Mandragola (Bobbes Merrill); Guicciardini, Maxims and Reflections (University of Pa. Press); Campanella, The City of the Sun (University of California); Galileo, Discoveries and Opinions of Galileo (Doubleday Anchor Books); Beccaria, On Crimes and Punishments (Bobbes-Merrill); Goldoni, Mirandolina (photocopied kit). Leopardi, A Leopardi Reader (photocopied kit); Procacci, History of the Italian People (Penguin); writing manual: Buckley, Joanne, Fit to Print (Harcourt); photocopied materials will be provided at cost. COURSE DIRECTORS: R. Scott, A. Ricci and R. Belladonna AS/HUMA 2761 9.0A AS/IT 2761 9.0A ITALIAN CINEMA, LITERATURE AND SOCIETY: FROM NEOREALISM TO POSTMODERNISM, 1945 TO THE PRESENT (taught in English)  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016 PREREQUISITE: None. No knowledge of Italian is required. Students taking Italian as their major or minor subject may take this course, but it will not be counted towards a major or minor in Italian. This course counts as a second year Foundations course. The course will focus on twelve of the most significant Italian films since World War II in the context of the radical changes that have taken place in Italy from the fall of Fascism to the present, and as critical statements on the phenomena connected with the rapid transformation of Italian society: industrialization and the “economic miracle" urbanization, the crisis of traditional values, and postmodern fragmentation. Some of the films studied are based on literary texts, thus providing an opportunity to study the links between cinema and literature. FORMAT: Four hours per week in a combination of lectures (2 hours) and tutorials (2 hours). Films to be screened every two weeks. ASSIGNMENTS: Participation – 20%; written assignments – 40%; mid-term exam – 20%; final examination – 20%. REPRESENTATIVE READINGS: Course kit. Bondanella, Peter, Italian Cinema from Neorealism to the Present, (Continuum). Susan Hayward, Cinema Studies: The Key Concepts. London:
  • 30. Routledge, 2000. Novels: Giuseppe Tomasi di Lampedusa, The Leopard; Italo Calvino, Palomar. FILMS: (partial listing): Roberto Rossellini, Paisà (1946); Federico Fellini, La strada (1954); Luchino Visconti, The Leopard (1963); Bernardo Bertolucci, The Conformist (1970); Gianni Amelio, Stolen Children (1991). COURSE DIRECTOR: M. Buccheri AS/HUMA 2800 9.0A AS/SOSC 2600 9.0A INTRODUCTION TO THE STUDY OF RELIGION This course introduces students to some of the basic research methods used in the humanities and social sciences to study the religious. We explore the history, literature and practices of the religions of South Asia (Buddhism, Hinduism), East Asia (China, Japan, Korea), Europe and West Asia (Judaism, Christianity and Islam), Africa and the Americas, though not all traditions may be examined every year. In translation, we study sacred texts, both written and oral, and we analyze conceptions of transcendent reality and the human condition. We also examine how human beings, past and present, interrelate with the spiritual realm in individual experience and communal life. Our overall objective is to identify and compare, critically and constructively, similarities and differences among the many ways of being religious. As a Foundations course, this course includes a critical skills dimension. Through the comparative study of the world’s religions, this course is designed to introduce students to some of the basic research methods and analytical tools used in the Humanities and the Social Sciences, including the critical reading of texts, the study of religious phenomena, comparative description and comparative argument. Basic essay writing skills will also be reviewed. FORMAT: Two lecture hours and two tutorial hours. ASSIGNMENTS: Fieldwork report (Social Sciences mode 2000-2500 words) 15%; Research essay (Humanities mode 2000-2500 words) 15%; First term examination 20%; Tutorial work (presentations and discussion) 15%; Final Examination 35%. REPRESENTATIVE READINGS: Dan Cohn-Sherbok (1999), Judaism, Prentice Hall; Cambridge University Press; Brian Wilson (1999), Christianity, Prentice Hall; Jamal J. Elias, (1999) Islam, Prentice Hall; Victor Shea & William Whitla (2001), Foundations: Your One-Stop Guide to Succeeding in Post–Secondary Studies, Toronto Prentice Hall; A Course Kit of primary sources. (subject to change) COURSE DIRECTOR: C. Ehrlich, 227 Vanier College, ext. 77097 PROJECTED ENROLMENT: 448 RESERVED SPACES: Some spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 2815 9.0A
  • 31. ISLAMIC TRADITIONS This course examines the beliefs, doctrines and institutions that have constituted the Islamic tradition from its inception until the present. While examining some of the most important primary sources that have emerged within Islamic tradition, the particular attention is placed on the variety of interpretive strategies used by Muslim exegists, theologians, legal scholars, Sufis, feminists, etc. in their approach to the variety of issues related to the sacred texts, the Qur’an and the adÊth. As Islamic tradition is also viewed as cultural construct, the course also examines its different manifestation throughout the Muslim world and beyond. In line with that view, the course examines the Islamic tradition in terms of its system (“Great Tradition”) and dynamics (“Little traditions”), offering a wide scope of doctrines, interpretations and concerns facing Muslims now and in the past. The course is designed to offer basic insight into the historical and ideological unity and diversity of Islam. It is an introductory course aimed to provide a comprehensive survey of this religious tradition in accordance with the expectations of a second-year course. As a part of the Religious Studies program, it is meant to offer some basic tools for the study of religion in general. Finally, this is a Foundation Course, which implies an active involvement of critical skills in reading, writing and interpretation. The evaluation of your performance in every assignment will be based on your analytical/critical engagement with the course material. FORMAT: two hour lecture/two hour tutorial. ASSIGNMENTS: In-class quizzes (five administered, four best graded, 5% each) 20%; Mid-year exam: 15%; First term essay 10%; Second term essay 20%; Final exam: 20%; Attendance and participation 15%. REPRESENTATIVE READINGS: F. Denny, An Introduction to Islam; N. Calder, J. Mojaddedi and A. Rippin, (editors), Classical Islam: A Sourcebook of Religious Literature; Kit with selected readings. COURSE DIRECTOR: S. Zecevic, 230 Vanier College, ext. 77398 PROJECTED ENROLMENT: 140 RESERVED SPACES: Some spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 2830 9.0A THE FOUNDERS OF CHRISTIANITY An introduction to the literature and history of the early Christian communities in Palestine, Syria, Asia Minor, Greece and Rome. The varieties of early Christian thought and practice are examined in terms of their religious, cultural and political contexts. FORMAT: Two hour lecture and two hour tutorial.
  • 32. ASSIGNMENTS: 2 book reviews (15%); 2 essays (20%); one end-of-term test (15%); final exam (35%); class participation (15%). (subject to change) REPRESENTATIVE READINGS: Aune, David E., The New Testament in its Literary Environment; Mason, Steve and Tom Robinson, ed., An Early Christian Reader; Malherbe, Abraham J., Moral Exhortation: A Greco-Roman Sourcebook; Meeks, Wayne A., The Moral World of the First Christians; Stambaugh, John E. and David L. Balch, The New Testament in its Social Environment; Stowers, Stanley K., Letter-Writing in Antiquity. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 84 RESERVED SPACES: Some spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 2835 9.0A CHRISTIANITY IN CONTEXT This is an introductory course. It offers a general overview of the Christian tradition from its inception to the present day. From its beginnings, Christianity has been inextricably intertwined with the societies and cultures surrounding it. The focus of this course is the interaction of the Christian tradition with the political, social and cultural environments with which it has come in contact as it has spread around the globe. The lives and thought of influential Christians, both men and women, as well as significant events, movements and texts are examined. Particular attention is paid to the diversity of Christian beliefs and practices resulting from those interactions. This course examines Christianity as a socio-historical phenomenon. It explores with the tools of the academic study of religion the movements, texts, beliefs and practices of this religious tradition and the factors and forces shaping them from its beginnings to the present day. This course is part of the Faculty of Arts Foundations Program, and focuses on the following critical skills: 1) critical reading of primary and secondary texts; 2) critical thinking; 3) writing skills: planning, organising, writing and documenting academic essays; 4) introduction to the terms and concepts related to the academic study of religion. FORMAT: 2 hours of lecture and 2 hours of tutorial per week. ASSIGNMENTS: (subject to change) Three In-Class Tests – 25%, 25%, 20%; Essay – 15%; Tutorial Presentation – 5%; Tutorial Participation – 10%. REPRESENTATIVE READINGS: (subject to change) Robert E. Van Voorst, ed. Readings in Christianity. 2nd ed. Wadsworth, 2001; Mary Jo Weaver. Introduction to Christianity. 3rd ed. Wadsworth, 1997; Jack Finnbogason and Al Valleau. A Canadian Writer’s Pocket Guide. Second Edition. Scarborough, ON: Thomson-Nelson. 2002. COURSE DIRECTOR: B. Lee, 235 Vanier College, ext. 66988
  • 33. PROJECTED ENROLMENT: 112 RESERVED SPACES: Some spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 2850 9.0A JEWISH EXPERIENCE: SYMBIOSIS & REJECTION That Jews are distinct from non-Jews is a basic axiom of Jewish thought and literature and a seemingly obvious lesson of Jewish history. But what is the basis of this distinction: biological, psychological, sociological, religious, or some combination of the above? And in what ways have Jewish beliefs, teachings, and practices interacted with ideas, rituals, or habits of daily life associated with diverse non-Jewish environments? This course seeks answers to these and related questions by exploring the relationship of Jews and their neighbours from biblical through contemporary times. In so doing, it offers a case study in processes of religious, cultural, and social interchange and in the types of creative influences or mutual frictions and rivalries (sometimes culminating in violence) that such processes can yield. The course proceeds chronologically, studying the relationship between Jews and their neighbours in biblical times, the Second temple period, the Hellenistic world, the rabbinic period, the realms of medieval Islam and Christendom, early modern and modern Europe, and modern contemporary North America and Israel. Topics considered may include the emergence of Judaism, the challenge of Greco-Roman culture, Jewish sectarianism, medieval Jewish approaches to Islam and Christianity, nineteenth-century religious cross-currents, varieties of Zionism, the Holocaust, Jewish feminism, and dilemmas in contemporary Jewish life. The course seeks to develop a variety of skills in the areas of critical thinking, reading, and writing. It does this in part through its emphasis on interactive analysis of original historical and literary documents (all read in English translation). FORMAT: The course meets for a weekly two hour lecture and for a two hour tutorial. ASSIGNMENTS: Preparation of reading assignments in advance; two essays (40%); three tests (50%); classwork (10%). REPRESENTATIVE READINGS: A Course Kit; Paul Mendes-Flohr and Jehuda Reinharz, eds., The Jew in the Modern World. COURSE DIRECTORS: E. Lawee, 225 Vanier College, ext. 77395 K. Weiser, 242 Vanier College, ext. 20200 PROJECTED ENROLMENT: 112 RESERVED SPACES: Some spaces reserved for Humanities & Religious Studies Majors and Minors.
  • 34. AS/HUMA 2900 9.0A INTRODUCTION TO CREATIVE WRITING This is the prerequisite course for students who wish to apply to major/minor in the Creative Writing Program. This course is an introduction to the writing of poetry and prose fiction. The course is designed to acquaint students with the possibilities of these forms of writing, and to help them discover and explore their particular talents. Students will be expected to satisfy a number of assignments relating to both fiction and poetry. The main focus of the course will be students' own writing. Frequent written assignments will be required, and a pattern of weekly in-class presentations will be established at the beginning of the school year. The larger context of these assignments and discussions will be presented in weekly lectures and through assigned readings of literary models. Students will be expected to improve and polish their work and to develop an appreciation for, and an understanding of, different approaches to writing. NOTE: This course focuses on the essential elements of poetry and literary fiction. It does not include genre and/or formula writing (such as fantasy, science fiction and romance fiction) or writing for children. FORMAT: One hour weekly lecture and three consecutive seminar hours per week. ASSIGNMENTS: participation 15%; lecture attendance 5%; completion of assigned exercises within established deadlines 20% (10% for each term); mid term exam (10%); final exam (10%); final portfolio 40%. (subject to change) REPRESENTATIVE READINGS: Gary Geddes, editor, The Art of Short Fiction: An International Anthology; Gary Geddes, editor, 20th Century Poetry and Poetics, 4th edition. COURSE DIRECTORS: R. Teleky, 220 Vanier College, ext. 77020 P. Uppal, 213 Vanier College, ext. 66979 PROJECTED ENROLMENT: 75 RESERVED SPACES: Some spaces reserved for Humanities & Professional Writing Program Majors and Minors. AS/HUMA 2915 9.0A DARWIN, EINSTEIN AND THE HUMANITIES This course is concerned with the origins and impact of the ideas of two of the most significant scientists of the modern era, Charles Darwin and Albert Einstein. In the first half of the course
  • 35. we will focus on Darwin’s evolutionary theory in his Origin of Species, the intellectual, cultural, and social roots of Darwin’s scientific thought, and the impact of key Darwinian themes, such as the sense of loss and the new concepts of probability and time in scientific explanation, on literature, religion, politics, and philosophy. The second half of the course will center on Einstein’s theory of relativity, its origins in the cultural, intellectual, and social milieu of late nineteenth and early twentieth century Europe, and its impact on the humanities, including such topics as the philosophical notion of relativism, the nature of time and space, quantum theory and probabilistic methods, and the development and subsequent global impact of the nuclear bomb. FORMAT: two lecture hours and two tutorial hours ASSIGNMENTS: first term: reading analysis (10%); 2 short essays (15% each); second term: research essay (25%); final exam (20%); class participation (15%). REPRESENTATIVE READINGS: Charles Darwin, The Origin of Species; Adrian Desmond and James Moore, Darwin; H. G. Wells, The Time Machine; Albert Einstein, Ideas and Opinions; David Cassidy, Einstein and His World. COURSE DIRECTORS: B. Lightman, 261 Vanier College, ext. 55613 K. Anderson, 303 Bethune College, ext. 22026 PROJECTED ENROLMENT: 112 RESERVED SPACES: Some spaces reserved for Humanities Majors and Minors. AS/HUMA 2920 9.0A SPREADING THE WORD: KNOWLEDGE, TECHNOLOGY AND CULTURE This course will explore technologies of knowledge and information in their social and cultural context. We will have examine how the development of technologies such as the printing press, the telegraph, and the computer have radically changed everyday life and forms of culture. We will also consider the political and metaphysical implications of these developments, and consider what happens to popular understandings of such concepts as “information,” “the human,” and “creativity” when technology changes. The course is designed to facilitate a critical perspective on a vast array of forms of information technology and to provide a broad historical understanding of important stages in the evolution of these technologies. FORMAT: Two hour lecture and two hour tutorial. ASSIGNMENTS: Short assignments - 25%, Exam 1 - 20%, Term Paper - 20%, Final Exam - 25%, Tutorial Participation - 10%. REPRESENTATIVE READINGS: Selections from Ong, Orality and Literacy; Plato, The Phaedrus; Marvin, When Old Technologies Were New; Manguel, The Shape of the Book; Spigel, Make
  • 36. Room for Television; Poster, What’s the Matter with the Internet; Benjamin, Illuminations; Gergen, The Saturated Self; Meyrowitz, No Sense of Place. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 84 RESERVED SPACES: Some spaces reserved for Humanities Majors and Minors. AS/HUMA 2930 9.0A AS/WMST 2510 9.0A AS/SOSC 2180 9.0A ON WOMEN: AN INTRODUCTION TO WOMEN’S STUDIES  CONTACT THE SCHOOL OF WOMEN’S STUDIES FOR MORE INFORMATION: S711 ROSS BUILDING, 416-650-8144 This course is an interdisciplinary introduction to Women's Studies. It considers historical and contemporary arguments to develop understandings of how social, political and economic rela- tions variously shape women's lives. It introduces diverse theoretical approaches within femi- nist scholarship to outline broad terms of debate, and works with these to investigate specific feminist arguments in regard to written and visual representations and a range of socio- political issues. In addition, the course helps students to develop the critical reading and analy- sis skills. ASSIGNMENTS: Written assignments 45%; Mid-year exam 20%; Final exam 20%; Tutorial 15%. (subject to change) REPRESENTATIVE READINGS: Original Course Kit; Fireweed, Special Issues, Revolution Girl Style (#59/60); Elana Dykewomon, Beyond the Pale; Virginia Woolf, A Room of One’s Own; Ibolya Grossman, An Ordinary Woman in Extraordinary Times; Toni Morrison, The Bluest Eye; Frida Kahlo, Masterpieces. (subject to change) COURSE DIRECTOR: T.B.A. AS/HUMA 2965 9.0A ARMS AND THE MAN: WAR IN WESTERN CULTURE War has always been a central theme in Western culture. This course examines the ways in which war has been represented different media (various forms of fictional and non-fictional writing, the visual arts, radio, film, and television) from the ancient world to the present day. It pays particular attention to the treatment of the issues of morality, memory, identity, sexuality and gender in representations of war. The first term traces the development of the textual and visual traditions of representation for war in the West from their Classical and Biblical roots to the nineteenth century. The second term is more narrowly focused on the twentieth century, especially the Second World War. It examines the ways in which changes in the technology of both war and communications have changed the ways in which war is represented but also the extent to which traditional images
  • 37. and themes have persisted despite all these changes. The second term concludes with a brief consideration of what has been called “post-modern” war. This course looks at the questions of the morality of war and of moral behaviour in the context of war as they have been presented in religious, philosophical and literary texts. It considers the ways in which the themes of individual and social identity, sexuality and gender are treated in representations of war, but also the ways in which representations of war both invoke and create memory. FORMAT: Two lecture hours, two tutorial hours. ASSIGNMENTS: 4 short (2-page) papers in first term 4 x 5% = 20%; In-class test in November 10%; Major Paper (10-12 pages) in second term: Proposal and Bibliography 10%; First Draft 10%; Final Revised Draft 15%; Class Participation 10%; Final Examination 25% REPRESENTATIVE READINGS: Homer. Iliad; Aristophanes. Lysistrata; Vergil. Aeneid; The Song of Roland; Shakespeare, Henry V; Remarque, Erich Maria. All Quiet on the Western Front; Mowat, Farley. And No Birds Sang. Toronto: McClelland and Stewart, 1979; Noestlinger, Christine. Fly Away Home or an equivalent text; O’Brien, Tim the Things They Carried; Wright, Evan. Generation Kill: Devil Dogs, Iceman, Captain America and the New Face of American War. A Course Kit of selected readings from the following: Thucydides. The Peloponnesian Wars; Aristotle. The Ethics and The Politics; Caesar, Julius. The Gallic Wars; Bible; St Augustine of Hippo. The City of God; The Battle of Maldon; Machiavelli, Niccolo. the Prince; Malory, Sir Thomas. The Morte d’Arthur ; World War I Poetry (Owen, Sassoon, Brooke etc.); Selected pieces of propaganda from World Wars I and II. Selected works of war photography; Selected works of war reporting. Selected visual works from the Renaissance and Early Modern Period in Europe - The Sands of Iwo Jima; Dr. Stranglove or: How I learned to Stop Worrying and Love the Bomb; M*A*S*H*, selected episode from the television series. COURSE DIRECTOR: J. Webber, 321 Founders College, ext. 88703 PROJECTED ENROLMENT: 84 RESERVED SPACES: Some spaces reserved for Humanities Majors and Minors. AS/HUMA 2970 9.0A INTRODUCTION TO TRADITIONAL AND POPULAR CULTURE COURSE CREDIT EXCLUSION: AS/HUMA 1925 6.0 This course analyses the content, meaning, and function of various traditional and popular cultural modes of expression, and examines the roles they play in the everyday human
  • 38. environment. At the level of traditional culture, the course identifies a number of those oral modes of social interaction which it has been convenient to identify as genres of oral literature. And, while such interaction is obviously intrinsically different in composition and transmission from written literature, certain contemporary genres, such as the popular novel, display interesting parallels with the oral narratives. To exemplify this, students will be exposed to such narrative genres as the Marchen (or oral folktale), and the traditional and contemporary urban legend, and these, in turn, will be compared to and contrasted with examples of contemporary popular fiction. A second topic which will be discussed involves the nature of supernatural belief systems, their expression in oral and popular culture, and their influence on human society and world view. Typical areas of study will include witchcraft, the vampire legend, revenants, and the related areas of fairies/Old Hag/alien abduction. It should be noted that this course is concerned with the manner in which these domains of belief find acceptance and expression in traditional and mass culture; the validity of these notions is a separate issue entirely. Nevertheless, students are encouraged to analyse actual experience narratives in order to determine how communication conveys both information and attitude. The course proceeds to examine how the mass media have co-opted many of these traditional notions and have transformed them to address the popular audience. Finally, this course discusses the popular mass media as mirrors and moulders of contemporary popular culture. Such crucial issues as sexism, racism, social roles and the impact of advertising on cultural conservatism and change are illustrated through an examination of a variety of magazine and television advertisements. Extensive use will be made of slides, films and other visual texts selected both as critiques of the role of mass advertising and as examples for in-class discussion. FORMAT: Two lecture hours and two tutorial hours weekly. ASSIGNMENTS: tutorial participation and assignments = 20%; 1 mid-year test = 20%; 1 final test = 20%; 2 essays @ 20% = 40%. REPRESENTATIVE READINGS: (NOTE: This is a provisional list subject to change) Butler, Gary R. Saying Isn’t Believing: Conversation, Narrative and the Discourse of Belief; Dyer, Gillian. Advertising as Communication; Gelder, Ken. Reading the Vampire; Hufford, David. The Terror That Comes in the Night; Johnstone, Barbara. Stories, Community and Place; King, Stephen. The Drawing of the Three; Nachbar, J. & K. Laus. Popular Culture: An Introduction; Rice, Anne. Interview with the Vampire; Rice, Anne. The Vampire Lestat. COURSE DIRECTOR: G. Butler, 030 McLaughlin College, ext. 44090 PROJECTED ENROLMENT: 112 RESERVED SPACES: Some spaces reserved for Humanities Majors and Minors.
  • 39. 3000 LEVEL COURSES ALL SPACES WILL BE RESERVED FOR HUMANITIES MAJORS/MINORS AND INTERDISCIPLINARY PROGRAM MAJORS/MINORS. COURSE ENROLMENT IS ENTIRELY ONLINE. RESERVED SPACES WILL BE MONITORED AND ADJUSTED THROUGHOUT THE ENROLMENT SESSION. AS/HUMA 3100 6.0A GREEK DRAMA AND CULTURE This course examines the development of ancient Greek drama from its origins to the mid- fourth century B.C. Topics include the tragedies of Aeschylus, Sophocles, and Euripides, and the comedies of Aristophanes and Menander, as well as their sources, the conditions of their performance, their qualities as poetic drama, and their functions in Athenian society. FORMAT: Two 1.5 hour seminar/discussion sessions per week. ASSIGNMENTS: Two essays 15% each; one mid-term exam 20%; one in-class test (second term) 10%; Participation 10%; final exam 30%. (subject to change) REPRESENTATIVE READINGS: Aeschylus, Oresteia; Sophocles, Oedipus the King, Antigone; Euripides, Medea, Hippolytus, Helen, Bacchae; Aristophanes, Clouds, Birds, Lysistrata, Frogs; Menander, Dyskolos. COURSE DIRECTOR: T.B.A PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Classical Studies Majors and Minors. AS/HUMA 3106 6.0A GREEK & ROMAN BIOGRAPHY Greek and Roman biographies are prominent in every aspect of Classical antiquity as sources for historical, literary and more broadly cultural events in the Greek and Roman Mediterranean. This course examines a selection from among the many surviving biographies focusing less on the subjects of each life-story and more on the literary, cultural, religious and political environments in which each was composed. The authors studied include Plutarch of Chaeronea, Flavius Arrianus of Nicomedia, the Judeans Josephus, Mark, Matthew, Luke and John, the Cilician Diogenes Laertius, Diodorus the Sicilian,
  • 40. the Gallic Pompeius Trogus, as summarized by Justinus, the Carthaginian Augustine and the Romans Tacitus, Suetonius, Cornelius Nepos and Q. Curtius Rufus. A selection of longer epitaphs such as those of the Roman "Turia", the Egyptian Taimhotep and Caesar Augustus' res gestae along with Propertius' elegiac encomium of Cornelia are also studied. Among the topics investigated in each text are rhetorical techniques; political, moral, philosophic and religious agendas; sources from which information is drawn for each life; and the kinds of literary and cultural references and allusions employed by authors to enhance their works. ASSIGNMENTS: 4 examinations 2 per term 50%; 2 essays 1 each term 50%. REPRESENTATIVE READINGS: Diogenes Laertius, Lives of eminent philosophers / with an English translation by R.D. Hicks; Diodorus of Sicily / with an English translation by C. B. Welles; Plutarch, The lives of the noble Grecians and Romans / translated by John Dryden and revised by Arthur Hugh Clough; Suetonius / with an English translation by J.C. Rolfe; introduction by K.R. Bradley; Cornelius Nepos / with an English translation by John C. Rolfe; Quintus Curtius / with an English translation also by John C. Rolfe; Flavius Josephus, translation and commentary / edited by Steve Mason v. 9. Life of Josephus / translation and commentary by Steve Mason; Tacitus Agricola; and Germany / Tacitus; translated with an introduction and notes by Anthony R. Birley; Epitome of the Philippic history of Pompeius Trogus: books 11-12, Alexander the Great / Justin; translation and appendices by J.C. Yardley; introduction and commentary by Waldemar Heckel; Arrianus, The campaigns of Alexander / Translated by Aubrey De Selincourt; Miriam Lichtheim, Ancient Egyptian literature: a book of readings PJ 1943 L5 v.3; Augustine, The confessions of St. Augustine, Bishop of Hippo. / Translated with an introd. and notes by E.B. Pusey. Please note that this list is representative and authors and translations may change before ordered for the course. COURSE DIRECTOR: P. Swarney, 033 McLaughlin College, ext. 77023 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Classical Studies Majors and Minors. AS/HUMA 3200 6.0A THE POLITICS AND REPRESENTATION OF TERROR AND TERRORISM This course examines the representation of terror and terrorism in literature and film, history, psychology, aesthetics, and politics in a range of geographical and historical sites. We begin by reading The Tempest, to explore the politics of reading representations of authority and rebellion. We then introduce terrorism, its scope and history, problems in definition, and varieties of its representation in mass media, followed by a preliminary discussion of the genre of terror and the sublime. We then move through four historical sections: (1) the French Revolution; (2) the anarchist movement of the late nineteenth century; (3) the period of decolonization, roughly from the end of the second world war to 9/11; and (4) 9/11 and after.
  • 41. Throughout this study of political terrorism, we shall examine texts related to terror and the horror genre, such as Mary Shelley’s Frankenstein in the section on the French Revolution, or the popular thriller in the section on 9/11. Such reading between terror and terrorism will serve to complicate the simplistic binary of good and evil that functions in dominant political and media discourse. FORMAT: Weekly meetings with lecture, group work, and student presentations. ASSIGNMENTS: Diagnostic Essay (1000 wds) 10%; First Term Essay (2000 wds) 20%; Second Term Essay (2500 wds) 25%; Final Examination (3 hrs) 25%; Group Work, Participation, and Presentation 20%. REPRESENTATIVE REQUIRED READINGS AND FILMS: Shakespeare, William. The Tempest (1611); Laquer, Walter. Ed. Voices of Terror: Manifestos, Writing and Manuals of Al Qaeda, Hamas, and other Terrorists from around the World and Throughout the Ages. New York: Reed Press, 2004. (selections); Eagleton, Terry. The Ideology of the Aesthetic. Oxford: Blackwell, 1990. (selections); Burke, Edmond. Reflection on the Revolution in France. (selections); -----. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (selections); Shelley, Mary. Frankenstein; or, The Modern Prometheus. 1831 ed.; Dostoyevski, Fyodor. The Devils. Trans. David Magarshak. (Penguin). Conrad, Joseph. Under Western Eyes. (Penguin); Stevenson, Robert Louis. The Strange Case of Dr. Jekyll and Mr. Hyde. (Penguin); Pontecorvo, Gillo. Dir. The Battle of Algiers. (1965-66). Shakespeare, Nicholas. The Dancer Upstairs (1995); Lessing, Doris. The Good Terrorist. (1985). Pierce, William. The Turner Diaries. (1975).On-Line; Roth, Philip. Operation Shylock: A Confession. (1993); DeLillo, Don. Mao II. (1991); Collins, Larry and Dominique Lapierre. Is New York Burning? (2004); Booth, Ken and Tim Dunne. Eds. Worlds in Collision: Terror and the Future of Global Order. (2002); Clancy, Tom. The Sum of All Fears. (1996); film, Dir. Phil A. Robinson. (2002); Zizek, Slavoj. Welcome to the Desert of the Real. (2002). In order to keep down expenses, we will use various excellent web resources to supplement these readings. Some examples of these are as follows: Terror in Context: Internet Resources. Terrorism: An Introduction. World in Crisis, Media in Conflict. COURSE DIRECTOR: V. Shea, 245 Vanier College, ext. 77401 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 3305 3.0A (FALL) THE CALYPSO AS CARIBBEAN ORAL LITERATURE
  • 42. The calypso is a musical/poetic form that is part of the wider oral tradition of the Caribbean. This course is an intensive exploration of the development of this art form since 1922 with an emphasis on the post 1962 period in order to delineate changes in its form, function and content over time. Through an examination of the works of selected oral performers (including Atilla the Hun, The Lord Kitchener, The Mighty Sparrow, The Mighty Duke, Black Stalin, Chalkdust, David Rudder) the course interrogates calypso for commentaries on historical vision and nationhood, race and ethnicity, gender and sexuality. Since the calypso is essentially a performance art as well as an oral/aural tradition the course utilizes extensive audio/visual material. Apart from the extensive readings students are expected also to devote considerable time to the critical listening of calypso performances. This audio/visual aspect of the course is linked to readings drawn from the critical literature on the subject including writings from Kamau Braithwaite, Ruth Finnegan, Cynthia Mahabir, Isidore Okpewho, Shalini Puri, Louis Regis, Gordon Rohlehr, Hope Smith, Nana Wilson-Tagore, Keith Warner. NOTE: • This is not an introduction to the Caribbean. It is assumed that students would have already completed introductory courses on the Caribbean before attempting this course. • This course will have a WebCT site where the audio and accompanying lyrics as well as other course material will be posted. Students are therefore re- quired to activate and regularly use their WebCT accounts in order to particip- ate in the course. FORMAT: Three seminar hours. ASSIGNMENTS: 2 Essays 30%; Final examination 40%; Tutorial presentation 15%; Tutorial participation 15%. REPRESENTATIVE READINGS: Ruth Finnegan, Oral Poetry: Its Nature, Significance and Social Context; Isidore Okpewho, African Oral Literature; Gordon Rohlehr, Calypso and Society in pre- Independence Trinidad; Keith Warner, Kaiso! The Trinidad calypso: A Study of the calypso as Oral Literature; B. Edmondson, Caribbean Romances: The Politics of Regional Representation. COURSE DIRECTOR: D. Trotman, 326 Founders College, ext. 33192 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities, Latin American and Caribbean Studies & International Development Studies Majors and Minors. AS/HUMA 3315 3.0M (WINTER) BLACK LITERATURES AND CULTURES IN CANADA This course challenges the positioning of the African American experience as a dominant referent for black cultures in the Americas by insisting that narratives about black identity have
  • 43. to include Black Canada as a necessary and critical space of interrogation. The course, therefore, expands and redefines the boundaries of North America by examining Canada as a particular but shared American space that facilitates important new discussions about black experiences. By examining the fictional writing being produced by blacks in Canada, the course offers one way of exploring the necessary intertexts that can help us redefine black experiences in Canada, the United States and the Caribbean. It argues that Black literatures in Canada by bringing together multiple black diasporas confront the tensions between home and homelessness, citizenship and exile located within diaspora experiences in general and, more specifically, black experiences in the Americas. While the course begins, then, from an African Canadian perspective, it is very much concerned with articulating the possibility of a transatlantic African diasporic sensibility. FORMAT: one three-hour seminar per week. ASSIGNMENTS: essay (25%), community research project (30%), class participation (15%), final exam (30%). (subject to change) REPRESENTATIVE READINGS: George Elliott Clarke, ed., Eyeing the North Star: Directions in African-Canadian Literature; Nalo Hopkinson, Brown Girl in the Ring; Ishmael Reed, Flight to Canada; Makeda Silvera, The Heart Does Not Bend; Course Kit of articles from selected journals and anthologies. COURSE DIRECTOR: A. Davis, 324 Founders College, ext. 33320 www.arts/ PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Latin American and Caribbean Studies majors and minors. AS/HUMA 3316 3.0A (FALL) DIASPORA AND GENDER: BLACK WOMEN’S WRITING IN THE CARIBBEAN, CANADA AND THE UNITED STATES This course introduces students to the literature being produced by black women writers in the Caribbean, Canada and the Unites States after the 1970s. The course argues that while black women writers directly engage the particular concerns of their individual societies, their work out of necessity speaks to and across a larger body of writing. In confronting racism and sexism, they (re)define black female identities and engage a critical cross-cultural dialogue about black women’s lives in the Americas. Using the writings of Caribbean women as its primary focus, the course attempts to locate Caribbean women’s writing within a larger tradition that reads the texts of black women writers as cross-border mediations. As cross-cultural dialogue, these works connect the lives of black women across the diaspora and name empowering alternatives for their survival. Rather than organizing the works of these women geographically, the course attempts, then, to read their
  • 44. writing as part of a historical and literary continuum within the African diaspora in the Americas. This shared diasporic sensibility, the course argues, allows women to recognize their differences, even while it facilitates their meeting through coalition and partnership. FORMAT: one three-hour seminar per week. ASSIGNMENTS: journal/learning portfolio (30%), literature review (25%), research essay (30%), class presentation (15%); (subject to change). REPRESENTATIVE READINGS: Erna Brodber, Jane and Louisa Will Soon Come Home; Edwidge Danticat, Breath, Eyes, Memory; Toni Morrison, Beloved; Philip, M. NourbeSe. She Tries Her Tongue, Her Silence Softly Speaks. Course Kit of articles from selected journals and anthologies. COURSE DIRECTOR: A. Davis, 324 Founders College, ext. 33320 www.arts/ PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Latin American and Caribbean Studies Majors and Minors. AS/HUMA 3320 6.0A POST-COLONIAL THOUGHT: CARIBBEAN PERSPECTIVE Focussing on the work of major Caribbean thinkers, this course re-examines the Western humanistic tradition from the point of view of the Caribbean experience of colonialism, slavery, indentureship and racism. The course covers both the early generation of anti-colonial and nationalist thinkers in the Francophone, Hispanic and Anglophone Caribbean and the contemporary generation of post-colonial theorists, creative writers and critics. Themes to be studied include: issues of race and representation; the culture of resistance; the idea of national culture; ethnicity, identity and cultural ambiguity; gender, sexuality, and diasporic culture. Though many course readings are theoretical, students will have the opportunity to use these readings to interpret Caribbean cultural texts. FORMAT: three hour lecture/seminar. ASSIGNMENTS: presentation (10%); three papers (15%, 15%, 30%); final exam (20%); participation (10%). REPRESENTATIVE READINGS: Nigel Bolland, ed., The Birth of Caribbean Civilization; Patrick Chamoiseau, Texaco (novel); Frantz Fanon, Black Skin, White Masks; Frantz Fanon, The Wretched of the Earth; C.L.R. James, The Black Jacobins; Patricia Powell, The Pagoda (novel). Students will also be expected to purchase a kit of additional readings with essays by Stuart Hall, Percy Hintzen, Patricia Mohammed, Moya Pons, Rhoda Reddock, Silvio Torres-Saillant, David Scott, Sylvia Wynter and other authors.
  • 45. COURSE DIRECTOR: P. Taylor, 312 Founders College, ext. 40481 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Latin American and Caribbean Studies Majors and Minors. AS/HUMA 3431 3.0M FA/FILM 3211 3.0M AMERICAN FILM II  CONTACT THE DEPARTMENT OF FILM FOR MORE INFORMATION: 220 CFT, 416-736-5710 Studies the development of American cinema since the Second World War including the break- up of the studio system, the changing styles of American feature films and of documentary since the advent of network television. Prerequisite: FA/FILM 1400 6.00 or permission of the course director. AS/HUMA 3601 3.0M (WINTER) AS/GER 3601 3.0M VIENNA IN THE EARLY 20TH CENTURY  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016 (taught in English, students enrolling through German, are required to do readings in German and write assignments in German). PREREQUISITE: AS/GER2200 6.0 or permission of the department. For students enrolling through Humanities, there is no prerequisite; knowledge of German is not required. A major centre of European modernism, Vienna was home to some of the 20th century’s most influential artists and thinkers: Freud, Wittgenstein, Klimt, Schnitzler, Hofmannsthal, Strauss. This course investigates Viennese intellectual and cultural production in this period of socio- political change. FORMAT: Three hours weekly. ASSIGNMENTS: Active participation: 10%; response papers: 20%; tests (2x20%): 40%; essay outline: 5%; final essay: 25%. REPRESENTATIVE READINGS: Hofmannsthal, Hugo von. Jedermann [Everyman]; Horvath, Ödön von. Geschichten aus dem; Wiener Wald [Tales of the Vienna Forest]; Musil, Robert. Young Törless. New York: Pantheon Books; 1982. Course Kit. COURSE DIRECTOR: TBA
  • 46. PREREQUISITE FOR AS/HUMA 3640 6.0A & AS/HUMA 3645 6.0A: Open to MAJORS only in the Creative Writing Program. Other students may enrol by submitting a portfolio (15-20 pages before the enrolment deadline) of prose/poetry to 210 Vanier College, along with an application form (application forms are available in the Creative Writing Program Office, 210 Vanier). MAJORS HAVE PRIORITY OVER OTHER STUDENTS. Students accepted into the program, must change their major to Creative Writing in order to enrol in these courses via the Enrolment System. All spaces will be reserved for majors until the end of the enrolment session. AS/HUMA 3640 6.0A INTERMEDIATE PROSE WORKSHOP: FICTION A workshop in the art of literary prose fiction that explores the various physical and metaphysical problems of beginning, shaping, and polishing the work. A course for students who are seriously engaged in the practice of prose fiction, and who wish to explore their strengths and develop the range of their skills in the company of other writers. The “workshop” approach will encourage learning while doing, and course grades will reflect the student’s progress. Students will be encouraged to read broadly and to examine their own work in relation to the work of noteworthy prose writers. FORMAT: Three consecutive seminar hours. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 25 AS/HUMA 3641 6.0A INTERMEDIATE MIXED GENRE WORKSHOP This course is designed to introduce, Creative Writing minors and Creative Writing non-majors (who have already completed the pre-requisite AS/HUMA 2900 9.0: Introduction to Creative Writing) to a variety of models that will range in genre from the prose poem and the imagist poem, to writing for children, to such literary nonfiction modes as the critical review, travel writing and the literary journal. FORMAT: Three consecutive seminar hours. ASSIGNMENTS: Course evaluation will consist of 1) regular writing assignments; work- shopping of student pieces along with editorial comments by classmates both written and oral: 20%. 2) research presentations by students on the special genre in which they may develop a longer piece, sections of which may be work-shopped throughout the course. Otherwise a research presentation on a writing genre of their choice, whether covered by the course or not: 20%. 3) reading and discussion of writing concepts introduced in the course: 10% 4) A midterm preliminary portfolio. 8-10 pages 20%. Final portfolio of edited work, 15-20 pages: 30%. Both of these may include a representation of the longer work.
  • 47. REPRESENTATIVE READING: Course Kit and various handouts. It is essential that students make class copies of their work weekly for purposes of editing and discussion by the group. Genres to be Explored: The Imagist Poem: Precision. Economy. Connotation; The Prose Poem: The Lyric Paragraph; Re-Writing Myth: The First Stories; Writing for Stage: Monologue. Dialogue; The Critical Review: Book. Film. Play. Gallery. Performing Arts. (Choices); Writing for Children: Engaging with the Child; Travel writing: Heightened Awareness; Nature writing: Mystery, magnitude and meanness; Literary Journalism: The Dramatization of Fact; The Long Poem: Listening to Everything; Genre Bending: Mixing up the Muses; The Journal: The Narrative of Self. COURSE DIRECTOR: P. Keeney, 223 Vanier College, ext. 77384 PROJECTED ENROLMENT: 25 AS/HUMA 3645 6.0A INTERMEDIATE POETRY WORKSHOP COURSE CREDIT EXCLUSION: AS/EN 3240 6.0 AND AS/EN 3160P 6.0 A course for students who are seriously engaged in the practice of poetry, and who wish to explore their strengths and develop the range of their skills in the company of other poets. The “workshop” approach will encourage learning while doing, and course grades will reflect the student’s progress. Students will explore a variety of issues associated with poetics, such as line, image, and the nature of metaphor. As well, they will write both traditional forms and free verse. Students will be encouraged to read broadly and examine their own work in relation to the work of noteworthy poets. FORMAT: Three consecutive seminar hours. COURSE DIRECTOR: P. Uppal, 213 Vanier College, ext. 66979 PROJECTED ENROLMENT: 25 AS/HUMA 3664 3.0M (WINTER) CARIBBEAN TRADITIONAL CULTURE This course introduces students to traditional oral cultures of the African-Caribbean diaspora. Adapting an ethnographic perspective, it focuses on the culture’s African origins, its evolution in the Caribbean nations, and its subsequent transplantation to urban contexts such as Toronto. This course will examine traditional African-Caribbean oral literature and culture from a number of perspectives. First, a diachronic approach will examine many of the historical African
  • 48. antecedents of Caribbean verbal art and trace their development over time in the New World context. Second, a synchronic approach will analyze contemporary oral tradition as a form of artistic expression wherein the societies’ values and world views are expressed. A functional perspective will demonstrate, through the use of ethnographic primary data (involving an examination of the practice of obeah, anansi tales, Big Boy stories, supernatural legends and beliefs, and other typical African-Caribbean genres), the relationships which link the oral tradition to everyday social life. Finally, the course will examine the process of cultural adaptation and retention and the ongoing role of traditional culture in the lives of the transplanted African-Caribbean community in Toronto. FORMAT: three seminar hours. ASSIGNMENTS: 1 major essay (50%); 1 mid-term test (15%); 1 final test (20%); presentations and discussion (15%). REPRESENTATIVE READINGS: Abrahams, Roger. 1983. The Man of Words in the West Indies: Performance and the Emergence of Creole Culture. Baltimore: Johns Hopkins University Press; Beckwith, Martha W. 1924. Jamaica Ananse Stories. New York: American Folklore Society; Butler, Gary R. 1996. “Cultural Adaptation and Retention: The Narrative Tradition of the African-Caribbean Community in Toronto.” Canadian Folk: Cultural Discourses 18 (1): 13-25; Dance, Daryl C. 1985. Folklore from Contemporary Jamaicans. Knoxville: University of Tennessee Press; Edwards, Viv and Thomas J. Sienkewicz. 1990. Oral Cultures Past and Present. Cambridge: Basil Blackwell; Henry, Frances. 1994. The Caribbean Diaspora in Toronto. Toronto: University of Toronto Press; Edwards, MacEdward. 1961. “Jamaican Duppy Lore.” Journal of American Folklore 74; Tanna, Laura. 1984. Jamaican Folktales and Oral History. Kingston: Institute of Jamaica Publications Ltd. In addition, a course reading package will be prepared for use during the course. COURSE DIRECTOR: G. Butler, 030 McLaughlin College, ext. 44090 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Latin American and Caribbean Studies, International Development Studies Majors and Minors. AS/HUMA 3665 3.0A (FALL) AFRICAN ORAL TRADITION This course introduces the student to aspects of the traditional cultures of Africa. Drawing upon historical and contemporary examples, the course examines the particular features of verbal art as performance and the social functions it serves in everyday social contexts. This course is designed to introduce the student to the traditional oral cultures of Africa, and will present the student with examples drawn from both historical and contemporary contexts. This will serve to demonstrate how the oral tradition was and continues to be an artistic mode of expression embedded within a complex cultural context and defined by specific social
  • 49. contexts of interaction. A variety of topics will be introduced, including, among others, verbal art as performance, narrative oral epic and legend, traditional belief systems and their expression, the role of the griot in the court of the traditional African royal families, and the function of oral proverbs in African in the context of the traditional legal system. All of these topics will be examined in terms of text and context, with special attention paid to the productive (or performance) dimension. Finally, the course will evaluate the continuing importance of the oral tradition in contemporary African culture. FORMAT: three seminar hours. ASSIGNMENTS: 1 major essay (50%); 1 final test (20%); 1 mid-term test (15%); presentations and discussion (15%). REPRESENATIVE READINGS: Alagoa, E.J. 1968. “The Use of Oral Literary Data for History: Examples from Niger Delta Proverbs.” Journal of American Folklore 81: 235-242; Belcher, Stephen. 1999. Epic Traditions of Africa. Bloomington: Indiana University Press; Finnegan, Ruth. 1970. Oral Literature in Africa. Oxford: Clarendon Press; Johnson, John W., Thomas A. Hale, and Stephen Belcher. 1997. Oral Epics from Africa. Bloomington: Indiana University Press; Messenger, John C. 1959. “The Role of Proverbs in a Nigerian Judicial System.” Southwestern Journal of Anthropology 15: 64-73; Okpewho, Isidore. 1983. Myth in Africa: A Study of Its Aesthetic and Cultural Relevance; Cambridge: Cambridge University Press; __________ed. 1990. The Oral Performance in Africa. Ibadan: Spectrum; __________ 1992. African Oral Literature: Background, Character and Continuity. Bloomington: Indiana University Press. Apart from these suggested texts, a supplementary reading package would also be prepared for use in this course. COURSE DIRECTOR: G. Butler, 030 McLaughlin College, ext. 44090 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities, Latin American and Caribbean Studies & African Studies Majors and Minors. AS/HUMA 3670 6.0A FANTASY IN THE MODERN WORLD An exploration of the way fantasy has shaped modern sensibility in the West since the French Revolution. We will first discuss the tradition of fantasy in the West and then examine the role of fantasy in five main areas: 1) the preamble, propaganda, and post-mortems of wars and revolutions; 2) the development of new forms of fictional discourse; 3) national movements and the modern state; 4) the development of new forms of visual discourse; 5) issues of race, class, and gender. FORMAT: Three seminar hours. ASSIGNMENTS: Two essays in first term, worth 15% each; a major paper in second term, worth 25%; seminar participation, worth 15%; and a final examination, worth 30%.
  • 50. REPRESENTATIVE READINGS: Berger, Ways of Seeing; Calvino, Invisible Cities; Camus, The Plague; Chopin, The Awakening; Findley, The Wars; Frye, The Modern Century; Fussell, Wartime; Garcia Marquez, Chronicle of a Death Foretold; Hoffer, The True Believer; Kafka, The Trial; Mann, Mario and the Magician; Ovid, Metamorphoses; Perkins Gilman, “The Yellow Wallpaper”; Stoker, Dracula. Artists include Bosch, Bruegel, David, Goya, Chagall, Dali, and Picasso. Films include Dr. Strangelove, Triumph of the Will, The Magic Flute, and The Hours. COURSE DIRECTOR: A. Haberman, 316 Founders College, ext. 66942 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 3675 6.0A FANTASTIC JOURNEYS IN WESTERN AND EASTERN LITERATURE AND FILM COURSE CREDIT EXCLUSION: AS/HUMA 3000T 6.0 A study of the journey theme in ancient and modern literary texts, both Western and Eastern, and in cinematic works. The theme of journey will be analyzed through its representations in different artistic media (lit- erature and cinema), in genetically unrelated cultural contexts, (West and East) and in different epochs. The notion of journey will be extended and problematized beyond its geographical connotation, including picaresque, transcultural, spatial, temporal and magical narratives. Also, different literary genres – epic, lyric, and autobiographic and fictional – will be examined. FORMAT: Three hours lecture/discussions sessions per week. ASSIGNMENTS: Two tests (20% each) = 40%; Oral presentation 20%; Final Essay 30%; Parti- cipation 10%. REPRESENTATIVE READINGS: Homer, Odyssey (selected chapters); Dante, Inferno (selected chapters); Marco Polo, Million (selected chapters); Cervantes, Don Quixote; Swift, Gullivers Travels; Qu Yuan, Songs of Chu; Wu Cheng-en, Journey to the West (selected chapters); Shen Fu, Six Records of a Floating Life; Basho, A Haiku Journey: Basho’s “The Narrow Road to the Far North”; Kawabata, Snow Country; Kerouac, On the Road. COURSE DIRECTOR: P. Giordan, S504 Ross Bldg., ext. 88734
  • 51. PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 3781 6.0A AS/HIST 3809 6.0A HISTORY OF THE CHRISTIAN CHURCH: BEGINNINGS TO THE REFORMATION  CONTACT THE DEPARTMENT OF HISTORY FOR MORE INFORMATION: 2140 VARI HALL, 416-736-5123 This course is an introduction to the history of Christianity in the ancient, medieval, and early modern world. It is focused on the history of the Christian religion in its historical context, and as such focuses more on individuals and peoples than on doctrines or theologies. Both primary and secondary source material will be considered. Students will find a number of themes recurring throughout the course, including, to name the chief three, the experiences of women, conversion and missions, and the cult of the saints. But what students should notice the most is the immense diversity of thought, experience, writings, and personalities that go under the moniker “Christian” throughout this period. To provide some milestones on our speedy sweep from the world at the birth of Jesus to the world after the Reformation, mini-lectures will be dedicated to “snapshots” of the Christian religion at 200 C.E., 400 C.E., 800 C.E., and so on. ASSIGNMENTS: Class Participation 10%; Quizzes 5%; Biographical Sketch 5%; Short Essay 10%; Fall Examination15%; In-class Project 5%; Long Essay 25%; Final Examination 25%. COURSE DIRECTOR: R. Koopmans 2140 Vari Hall, 416-736-5123 PROJECTED ENROLMENT: 50 AS/HUMA 3810 6.0A ANCIENT ISRAELITE LITERATURE: THE HEBREW BIBLE/OLD TESTAMENT IN CONTEXT COURSE CREDIT EXCLUSION: AS/HUMA 2810 6.0 A survey of the literature of ancient Israel concentrating on the Hebrew Bible within the context of its world. Students examine the text in translation and become familiar with a variety of literary, historical and theological approaches to the text. The Hebrew Bible/Old Testament is one of the foundational texts of western culture. As such, it has had a history of interpretation and reinterpretation that has lasted for some 2000 years. During this period of time certain – oftentimes mutually contradictory – assumptions about what the text means have become entrenched among the various groups that look to this text as holy scripture and inspirational literature. Indeed, even among those who reject the supposed theological underpinnings of this text, rigid assumptions about what it means or says
  • 52. are common. The major aim of this course is to strip away the layers of interpretation that have been imposed on the text over the millennia, in order to enable the students to approach the text using critical and methodological tools that allow modern readers (1) to attempt to read the Hebrew Bible within the context of its own time and world, and (2) to be aware of the subject nature of their preconceptions. Openness to new ways of understanding and a critical mindset are the only prerequisites necessary. The methods employed in this course will be an eclectic lot, coming from fields as diverse as anthropology, archaeology, feminist studies, history, linguistics, literary studies, religious studies, sociology, theology, etc. Nonetheless, in spite of the course’s emphasis on understanding the Hebrew Bible as a work of human literature and a product of its own time, we will be in constant dialogue with the mainly theological history of interpretation of the text, in order to understand how and why certain meanings have been derived from the text. FORMAT: three seminar hours. ASSIGNMENTS: Tentative Grade Breakdown - Classroom participation 10%; Paper proposal (300 words) 10%; Annotated bibliography 10%; Mid-year exam 20%; Paper outline 10%; Research paper (3000 words) 20%; Final exam 20%. REPRESENTATIVE READINGS: Brettler, Marc Z. and Adele Berlin, Eds. The Jewish Study Bible. Oxford/New York: Oxford UP, 2004; Coogan, Michael D. Ed. The Oxford History of the Biblical World. Oxford/New York: Oxford UP, 1998; Finkelstein, Israel and Neil Asher Silberman, The Bible Unearthed: Archaeology’s New Vision of Ancient Israel and the Origin of Its Sacred Texts. New York/London/Toronto/Sydney/Singapore: Free Press, 2001; Levenson, Jon D. Sinai and Zion: An Entry into the Jewish Bible. San Francisco: Harper & Row, 1985; McKenzie, Steven L. and Stephen R. Hayes, Eds. To Each Its Own Meaning: An Introduction to Biblical Criticisms and Their Application. Revised and expanded version. Louisville: Westminster John Knox, 1999. Miller, Patrick D. The Religion of Ancient Israel. Library of Ancient Israel. London: SPCK/ Louisville: Westminster John Knox, 2000; Newsom, Carol A. and Sharon H. Ringe, Eds. Women’s Bible Commentary. Expanded edition with Apocrypha. Louisville: Westminster John Knox Press, 1998; Noll, K. L. Canaan and Israel in Antiquity: An Introduction. The Biblical Seminar 83. London/New York: Sheffield, 2001. COURSE DIRECTOR: C. Ehrlich, 227 Vanier College, ext. 77097 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 3815 6.0A ASPECTS OF ISLAMIC THOUGHT This course introduces students to some of the major aspects of classical and contemporary Islamic thought. Drawing upon a spectrum of primary source material which comprises representative writings of prominent Muslim exegists, theologians, philosophers, legal scholars, scientists, feminists, modernist, etc., the course offers an insight into the most important periods of Islamic intellectual history. In the course of the examination of the selected texts,
  • 53. students are exposed to the chief debates which at different times dominated intellectual horizons of various Islamic societies. The objective of this course is many-fold: first, it offers a critical analysis of the major Islamic legal, theological, philosophical and other “classical” texts and initiates a debate regarding their significance within the context(s) of their production. Second, it examines the relevance of these texts in the subsequent, pre-modern and contemporary discussions of the issues such as tradition/modernity, heterogeneity/homogeneity, us/them, etc. Finally, it provides a ground for the examination of the interrelatedness and mutual influence between Islamic and non-Islamic thinkers in the filed of philosophy, jurisprudence and science opening in that way a door for a critical re-examination of the bipolar concepts such as Western/Eastern traditions, progressive/ conservative societies, and so on. FORMAT: three seminar hours. ASSIGNMENTS: Attendance and Participation: 15%; In-class presentation: 15%; Mid-term test 20%; Research paper proposal: 5%; Research paper: 20%; Final exam: 25%. REPRESENTATIVE READINGS: N. Calder, J. Mojaddedi and A. Rippin, (editors), Classical Islam: A Sourcebook of Religious Literature; M. Fakhry, A History of Islamic Philosophy; M. Watt, The Formative Period of Islamic Thought; A. al-Hilli, A Treatise on the Principles of Shi’ite Theology; Al-Tabari, The History of al-Tabari; Al-Ghazali, Deliverance from Error; C. Kurzman, Liberal Islam: A Source Book. COURSE DIRECTOR: S. Zecevic, 230 Vanier College, ext. 77398 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 3816 3.0M (WINTER) RELIGION, CULTURE AND IDENTITY IN THE BALKANS The course explores the intersections between religion, culture, and identity in the Balkans. It offers an interdisciplinary examination of this complex religious and ethnic mosaic through a wide range of sources. It also assesses its image in Europe and beyond. Since the early 20th century, the geographic term “Balkan” applied to the mountain range stretching through South-East Europe has become a metaphor for violent fragmentation, reversion to chaos and disorder, and return to barbarism. Terms such as “balkanization,” “Balkan ghosts,” “Balkan hatreds,” have gained currency in both popular and political discourse. Yet the Balkans are also a historical reality composed of complex experiences of religious and ethnic diversity and a centuries-long coexistence and interaction among Orthodox, Catholic and other Christians, Muslims and Jews. The goal of this course is to examine the multiplicity of these experiences, including isolated, interactive, and violent ones. The emphasis is especially placed on the intersections between religion, culture, and identity: what they are, how they are shaped and reshaped, under what circumstances, and with what modes of production. The course engages in an interdisciplinary examination of the Balkans as a complex religious and ethnic mosaic by focusing on a wide range of sources: literary, historical, ethnographic,
  • 54. journalistic, travel, etc. This enables the students to understand better the ways in which different Balkan religious cultures have historically coexisted and interacted, investigate the factors that have periodically led them to outbreaks of conflict and violence, and assess the reasons for the negative representation of the Balkans in the rest of Europe. FORMAT: three seminar hours. ASSIGNMENTS: Participation 15%; Student Presentation 10%; Mid-term Test 10%; Final Test 20%; Reading Reports: 2x5% (10%); Final Paper 35%. REPRESENTATIVE READINGS: M. Todorova, Imagining the Balkans (1997); M. Mazower, The Balkans (2000); T. Stoianovich, Balkan Worlds: The First and Last Europe (1994); S. Hyman, ed., Edward Lear in the Levant: Travels in Albania, Greece and Turkey in Europe; S. Bianchini & M. Dogo, The Balkans: National Identities in a Historical Perspective (1999); A. Buturovic, “Christianity and Islam in the Balkans from the Fifteenth to the Twentieth Centuries,” in J. Neusner, E. Homerin, B. Chilton (eds.), Religious Foundations of the Western World (forthcom- ing, Summer 2004). Kit with selected primary readings. COURSE DIRECTOR: A. Buturovic, 222 Vanier College, ext. 77054 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies, International Development Studies Majors and Minors. AS/HUMA 3826 3.0M (WINTER) RELIGION AND FILM This course examines the role and representation of the religious in popular film. It introduces students to the vocabularies of Religious Studies and Film Studies, and critically explores the relationship between religion and film as aspects of contemporary culture. Drawing mainly on mass-distributed films from Europe and North America, the course analyzes the ways in which contemporary cinema narrativizes Aboriginal, Jewish, Christian, Muslim, Hindu, Buddhist and other religious myths, histories, rituals and doctrines. Issues addressed include: To what extent do particular films reflect the personal beliefs of particular film directors? How are religious leaders, institutions and histories portrayed in contemporary cinema? How do popular films embody religious images, teachings and traditions, and to what purpose? How does contemporary cinema represent our values and world-views, as individuals and as a society? How does the cinema help shape our attitudes towards religious ‘others’? Topics include: the creator and the created; free will and fate; sin and salvation; body, selfhood and identity; evil, ‘othering’ and society; transcendence, truth, illusion and reality. The course may be taken in tandem with HUMA3827 3.0, “Religion and Television,” when offered. FORMAT: 4 hours weekly: 2 hours viewing; 2 hours discussion.
  • 55. ASSIGNMENTS: Mid-term examination 20%; Group seminar presentation and report 30% (3500 words); Final examination 30%; Quizzes 20%. REPRESENTATIVE READINGS: 1. A Course Kit of scholarly articles, interviews and other readings drawn from holdings in Scott Library and Robarts Library. 2. Eight required in-class film viewings drawn from a list which includes: Indigenous Spiritualities: Tabu (Robert Flaherty and F.W. Murnau, 1931); Walkabout (Nicolas Roeg, 1971); The Chant of Jimmie Blacksmith (Fred Schepisi, 1978); Thunderheart (Michael Apted, 1992); Once Were Warriors (Lee Tamahori, 1994); Dead Man (Jim Jarmusch, 1995); Smoke Signals (Chris Eyre, 1998); Atanarjuat the Fast Runner (Zacharias Kunuk, 2001); Rabbit-Proof Fence (Phillip Noyce, 2002); Whale Rider (Niki Caro, 2002). Judaism: Samson and Delilah (Cecil B. DeMille, 1949); The Ten Commandments (Cecil B. DeMille, 1956); The Pawnbroker (Sidney Lumet, 1964); Fiddler on the Roof (Norman Jewison, 1971); Lies My Father Told Me (Ján Kadár, 1975); The Chosen (Jeremy Kagan, 1981); Schindler’s List (Steven Spielberg, 1993); Life is Beautiful (Roberto Benigni, 1997); The Prince of Egypt (B. Chapman, S. Hickner, & S. Wells, 1998); Sunshine (István Szabó, 1999); The Believer (Henry Bean, 2001); The Pianist (Roman Polanski, 2002). Christianity: King of Kings (Nicholas Ray, 1961); The Greatest Story Ever Told (George Stevens, 1965); The Gospel According to St. Matthew (Pier Pasolini, 1966); Jesus Christ Superstar (Norman Jewison, 1973); Monty Python’s Life of Brian (Terry Jones, 1979); The Mission (Roland Joffé, 1986); Last Temptation of Christ (Martin Scorsese, 1988); Jesus of Montreal (Denys Arcand, 1989); Black Robe (Bruce Beresford, 1991);The Apostle (Robert Duvall, 1997); Chocolat (Lasse Hallström, 2000); Jesus Christ Vampire Hunter (Lee Gordon Demarbre, 2001); The Passion of the Christ (Mel Gibson, 2004). Islam: Aladdin (Ron Clements and John Musker, 1992); Malcolm X (Spike Lee, 1992); Before the Rain (Milcho Manchevski, 1994); Musulmanin (Vladimir Khotinenko, 1995); A Moment of Innocence (Mohsen Makhmalbaf, 1996); Gabbeh (Mohsen Makhmalbaf, 1996); My Son the Fanatic (Udayan Prasad, 1997); My Father’s Angel [West of Sarajevo] (Davor Marjanovic, 1999); At Five in the Afternoon (Samira Makhmalbaf, 2003); A Fond Kiss (Ken Loach, 2004); Looking For Comedy in the Muslim World (Albert Brooks, 2006). Hinduism: Gandhi (Richard Attenborough, 1982); Salaam Bombay! (Mira Nair, 1988); Mississippi Masala (Mira Nair, 1991); Bombay (Mani Rathnam, 1995); Fire (Deepa Mehta, 1998); Lagaan: Once upon a Time in India (Ashutosh Gowariker, 2001); Monsoon Wedding (Mira Nair, 2001); John and Jane (Ashim Ahluwalia, 2005); Water (Deepa Mehta, 2005). Buddhism: Why Has Bodhi-Dharma Left for the East? (Bae Yong-Kyun, 1989); Little Buddha (Bernardo Bertolucci, 1994); Eat Drink Man Woman (Ang Lee, 1994); Kundun (Martin Scorcese, 1997); Seven Years in Tibet (Jean-Jacques Annaud, 1997); Crouching Tiger, Hidden Dragon
  • 56. (Ang Lee, 2000); Samsara (Nalin Pan, 2001); Spring, Summer, Fall, Winter … and Spring (Kim Ki-Duk, 2003); Zen Noir (Marc Rosenbush, 2004). COURSE DIRECTOR: J. Scott, 029 McLaughlin College, ext. 77342 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 3840 6.0A RABBINIC JUDAISM This course will present a broad exposure to the history, thought, literature, and main institutions of Rabbinic Judaism from its inception, during the Second Temple period, through contemporary times. We will explore a variety of classical texts and genres in light of their religious and historical settings. We will consider institutions that have shaped Rabbinic Judaism in its varied manifestations throughout the ages down to the present. Finally, we will study various Jewish philosophies with foundations in Rabbinic Judaism from 10thc. through the Middle Ages to modern thought (21st c). FORMAT: Three seminar hours. ASSIGNMENTS: First term and second term in-class unit tests 55%; Final paper 35%; Conscientious preparation for and active participation in class 10%. REPRESENTATIVE READINGS: Primary sources in translation, Course Kit of historical and philosophical articles and class hand-outs. COURSE DIRECTOR: S. Bailey, S820 Ross Bldg., ext. 44141 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 3850 6.0A THE FINAL SOLUTION: PERSPECTIVES ON THE HOLOCAUST The attempt of the Nazis to annihilate world Jewry was in many ways unprecedented in human annals. It was a turning-point in history, the way for which was prepared by revolutionary political, social, technological, and philosophical developments. In other ways, however, it was a not unpredictable outgrowth of the past. Although analysis may be difficult and painful, especially for survivors, the Holocaust must be analyzed and understood if those who live on are to learn from it. Such analysis involves the examination of different aspects of life, using the tools of the historian, the theologian, the literary critic, and, to a lesser extent, the social scientist.
  • 57. The course is divided into several sections, each of which approaches a different aspect of the Holocaust: the historical and philosophical background, the psychological and historical reality, the religious questions that arise in its aftermath. FORMAT: Classes will be a mix of lecture and seminar. Students will be expected to come to each session prepared to discuss assigned readings. ASSIGNMENTS: A book review (5-7 pp. 15%) will be required in the first term, and a longer research paper (10-15 pp. 30%) in the second term. There will be an examination in the first term (15%) and a final examination (25%). The remainder of the grade (15%) will be based on class presentations and participation. (subject to change) REPRESENTATIVE READINGS: Readings may include: William S. Allen, The Nazi Seizure of Power; Aharon Appelfeld, Badenheim. 1939; Yehuda Bauer, A History of the Holocaust; Moshe Flinker, Young Moshe's Diary; Victor Frankl, Man's Search for Meaning; A.M. Klein, The Second Scroll; Emanuel Ringelblum, Notes from the Warsaw Ghetto; Andre Schwarzbart, The Last of the Just; Fred Uhlman, Reunion; Adele Wiseman, The Sacrifice. (subject to change) COURSE DIRECTOR: M. Brown, 226 Vanier College, ext. 77397 PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 3925 6.0A INTERFACES: TECHNOLOGY AND THE HUMAN This course examines shifting relationships between social and cultural practices and technologies from an interdisciplinary humanities perspective. Drawing on history, philosophy, criticism, fiction and popular culture, it emphasizes human-machine interfaces in structures of belief, artistic practices, and identity formation. Interfaces: Technology and the Human is intended to provide students with an opportunity for critical reflection on the relationship between cultural and social life and a variety of forms of technology, with an emphasis on information and communication technologies. The course will reflect the unique nature of an interdisciplinary humanistic perspective and focus on some of the deeper and sometimes more elusive impacts of a social environment increasingly saturated with such technologies. One major area of examination will be the transformation of powerful belief structures - religious, political, sexual - in the wake of the increasingly technologized character of both everyday life and significant social rituals. Another key issue will involve the changes in aesthetic practices raised by recent technological developments (e.g., sampling, hypertext, etc.) and the resultant questions concerning originality, individual genius, and the artistic object itself. A third focus of the course will be the issue of the individual herself in this milieu, with the emergence of the individual-as-cyborg and the "virtual self" raising profound questions regarding conventional understandings of what constitutes "the human" in a new century. The course is thus designed to cover territory that might be absent
  • 58. in narrowly disciplinary treatments of technology, whether from an economic, sociological, or "hard science" approach. The goal of the course is to provide students with the philosophical tools and intellectual background to develop a strong critical perspective on an aspect of human existence that is only likely to grow in its significance. Consistent with the character of Humanities courses at York, readings will be drawn from a variety of fields, including history, philosophy, cultural criticism, and fiction. FORMAT: Three seminar hours. ASSIGNMENTS: T.B.A. REPRESENTATIVE READINGS: Mary Shelley, Frankenstein; Marshall McLuhan, The McLuhan Reader (1996, Harper Collins); N. Katherine Hayles, How We Became Posthuman (University of Chicago, 1999); Joshua Meyrowitz, No Sense of Place (Oxford, 1985); Timothy Taylor, Strange Sounds: Music, Technology and Culture (2001, Routledge); Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction Illuminations (Schocken, 1985); William Gibson, Mona Lisa Overdrive (1988, Bantam); Philip K. Dick, VALIS (Vintage, 1991); Donna Haraway, A Cyborg Manifesto (from Simians, Cyborgs and Women: The Reinvention of Nature, Routledge 1991); Langdon Winner, The Whale and the Reactor. A Search for Limits in an Age of High Technology (1986, University of Chicago Press); Margaret Atwood, Oryx and Crake (2003, McLelland and Stewart); Jean Baudrillard, The Gulf War Did Not Take Place; Sherry Turkle, Life on the Screen (Simon & Schuster, 1995); Steven Johnson, Interface Culture: How New Technology Transforms the Way We Create and Communicate (1997, Harper); Raymond Barglow, Computers, Dolphins and Dreams: The Crisis of the Self in the Age of Information (Routledge, 1994); Arthur Kroker, Hacking the Future (St. Martin's, 1996). (subject to change) COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 3980 3.0A (FALL) ASPECTS OF UKRAINIAN CULTURE I COURSE CREDIT EXCLUSION: AS/HUMA 3140C 3.0 This course examines selected topics of culture in Ukraine viewed in the European context, with an emphasis on the art and architecture. It includes the historical and social circumstances in which the culture developed. Starting with some of the oldest man-made structures in the world (c. 12,000 B.C.), it discusses prehistoric artefacts and settlements, Greek colonies, the Scythians, and the relevant Histories of Herodotus. The visual arts from the Medieval, Renaissance, Baroque, and Neoclassical periods to the mid-19th century are studied. Selected readings in Ukrainian literature are discussed in relation to the visual arts. Some of the topics to be covered: 1) Prehistory. From hunters and gatherers to agrarian society: Mammoth bone dwellings, Trypillian and Scythian cultures; 2) Classical art: the art and architecture of Greek colonies along the Black Sea; 3) Medieval Period. Kyivan State and Byzantine influences: church
  • 59. architecture and icons. Echoes of the Romanesque and Gothic. Chronicles and illuminated manuscripts; 4) Renaissance. Growth of secular architecture and subject matter; 5) The Baroque. Golden age of Ukrainian art, architecture, and music; 6) Neoclassicism in art and literature. FORMAT: three lecture/seminar hours. ASSIGNMENTS: Participation 10%; one long or two short classroom presentations 20%; two tests 20%; research paper 30%; in-class exam 20%. REPRESENTATIVE READINGS: A Course Kit with readings in art, architecture, literature and music will be available. COURSE DIRECTOR: T.B.A PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 3981 3.0M (WINTER) ASPECTS OF UKRAINIAN CULTURE II COURSE CREDIT EXCLUSION: AS/HUMA 3140D 3.0 This course examines developments in Ukrainian culture viewed in the European context from the mid-19th century to the present. It focuses on the visual arts and includes selected topics in literature, film, and music. An overview of the political and social background is included. Starting with the art and poetry of Taras Shevchenko, it discusses the issues of nationalism and aestheticism/internationalism. Some of the topics covered: 1) Romanticism and Realism; 2) Modernism in art and literature; 3) Impressionism and Post-Impressionism; 4) Ukrainian Avant- garde; 5) M. Boichuk and his school; 6) Art as propaganda/propaganda as art; 7) Socialist Realism; 8) Non-conformist art; 9) Post-modernism; 10) Ukrainian Canadian culture. FORMAT: three lecture/seminar hours. ASSIGNMENTS: Participation 10%; classroom presentation(s) 20%; two tests 20%; Research paper 30%; in-class final exam 20%. REPRESENTATIVE READINGS: A Course Kit with readings in art, architecture, literature, and music will be available. COURSE DIRECTOR: T.B.A PROJECTED ENROLMENT: 30 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors.
  • 60. AS/HUMA 3982 6.0A AS/RU 3790 6.0 AS/HIST 3382 6.0 RUSSIAN AND EAST CENTRAL EUROPEAN FILM AND CULTURE (taught in English)  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016 PREREQUISITE: None. All films are subtitled in English. Open to all students, including first- year students. This course concentrates on film as a historical source and analyzes the culture of the twentieth century of the former U.S.S.R. and Eastern Europe from the Russian revolution of 1917 to the collapse of communism by studying film texts in their historical context as well as their artistic context. The first half of the course covers the period up to the end of WWII and the second half covers the period after WWII to end of the Cold War and the fall of the Berlin Wall. This interdisciplinary course explores the interrelationship of film with art, literature and drama and the relationship between reality and its representations in film. Film masterpieces from the following countries are included: Poland, Hungary, the Czech Republic, the countries of the Balkans and the countries of the former U.S.S.R. (Russia, Ukraine, Georgia, Armenia, Latvia, etc.) Filmmakers whose films are studied include: Eisenstein, Vertov, Dovzhenko, Tarkovsky, Paradzhanov, Wajda, Polanski, Kieslowski, Szabo. FORMAT: Two hours of lecture with consecutive film screening. ASSIGNMENTS: Three tests - 50%; two essays - 35%; participation - 15%. REPRESENTATIVE READINGS: David A. Cook, A History of Narrative Film, 3rd ed. (Norton), chapters 5,8,16,17; Peter Kenez, Cinema and Soviet Society, 1917-1953 (Cambridge U. Press); Taylor, Film Propoganda: Soviet Russia and Nazi Germany. Course kit. Note: Students who are taking this course for Russian degree credit are required to read some course materials in Russian, the amount depending on their level of language competence. COURSE DIRECTOR: R. Bahry AS/HUMA 3984 3.0A (FALL) AS/GER 3791 3.0A GERMAN FILM: THE FIRST SIXTY YEARS  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016 The course focuses on German films until the 1970s: the silent film, the late 1930s, the Nazi- period, the early postwar cinema, and the different development in East- and West-Germany. FORMAT: Three hours weekly.
  • 61. ASSIGNMENTS: Three film reports (10% each) -30%; one short essay -15%; midterm test-20%; final examination 30%; class discussion-5%. REPRESENTATIVE READINGS: TBA COURSE DIRECTOR: TBA 4000 LEVEL COURSES ALL SPACES WILL BE RESERVED FOR HUMANITIES MAJORS/MINORS AND INTERDISCIPLINARY PROGRAM MAJORS/MINORS. COURSE ENROLMENT IS ENTIRELY ONLINE. RESERVED SPACES WILL BE MONITORED AND ADJUSTED THROUGHOUT THE ENROLMENT SESSION. AS/HUMA 4050 6.0/3.0 INDEPENDENT READING/STUDIES In any given year, a limited number of faculty members may be available to supervise a special program of study (for a limited number of students) equal in credit to one full or one half course. INFORMATION AND APPLICATION FORM AVAILABLE AT ROOM 203 VANIER COLLEGE, 416-736-2100 EXT. 33234. PREREQUISITE: Permission of the instructor and the Director of Undergraduate Studies. AS/HUMA 4103 6.0A INTERPRETATIONS OF HOMERIC EPIC COURSE CREDIT EXCLUSION: AS/HUMA 4100B 6.0 The Homeric epics – the Iliad and the Odyssey – are the earliest works in the Western tradition and among the most important. The first term of this course will concentrate on an intensive examination of questions raised by these two epics, including the historical background, the question of influences from the Near East, myth and folklore, oral tradition, translation, and interpretation. In the second term we will examine a number of other epics in the tradition, including Vergil’s Aeneid, Dante’s Inferno, Milton’s Paradise Lost and Walcott’s Omeros, as well as some shorter works, in order to investigate the nature of literary influence and literary difference. FORMAT: one three-hour seminar per week. ASSIGNMENTS: T.B.A.
  • 62. REPRESENTATIVE READINGS: T.B.A. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & Classical Studies Majors and Minors. AS/HUMA 4130 6.0A EMBODIED UNDERSTANDING: INTEGRATING BODY, MIND AND SPIRIT Many contemporary Western scholars have criticized the West's dominant conceptions of human nature and its instrumental and technical forms of knowledge production. This critique has encouraged a growing interest in subjugated knowledges and ways of knowing. It has also prompted the re-appreciation, in both North America and Europe, of the central importance of embodiment for understanding and knowledge production. This course undertakes a critical exploration of some interlocking issues of human ontology, epistemology, and conceptual grammar as a means to pose critiques of dominant Western ways of knowing, and to explore alternatives. It explores, as both theory and practice, some of these alternative modes of knowledge production and agency. Thus this course foregrounds the body as a site of knowledge production, of philosophical wisdom, and of social and political action. While some counter-discourses have discussed the body as a site of knowledge in theory, they have offered little praxis. Alongside theory, this course explores praxis experientially through a range of yogic techniques. The course surveys some representative critiques developed by feminist, African-American, and other Western philosophy. It also explores some of the challenges offered by long-established Eastern traditions. The deep affinities between the philosophical work of Wittgenstein and Nagarjuna are explored in some detail since both regard doing philosophy as a 'therapy of the understanding' which addresses misunderstandings about what we know and how we know it. We explore mindfulness meditation, drawn from Nagarjuna's tradition, as a way of exploring the effect of ideas on lived experience. And, since Nagarjuna’s philosophy and praxis are themselves rooted in, although critical of, the Indian philosophical tradition, the theory of yoga as an holistic way of life is explored through the work of Patanjali, the canonical voice of Classical Yoga. As well as their implications for feminist ethics, an holistic model of personhood and its ramifications for knowledge production have important implications for teaching and learning at all levels. It suggests a critique to Normative (conservative) education, which seeks to adjust students to the dominant culture, and Critical (liberal) pedagogy which opposes normative discourses in favor of pluralism and social equality. Holistic pedagogy is designed to foster personal integration and compassionate exchange. The course has a focus on the exploration of the ways in which forms of yogic meditation can be used by Holisitic pedagogy to contest the binaristic thinking which grounds sexism, racism, homophobia, and other oppressive discourses.
  • 63. Because practice is central to some of the ideas and traditions we encounter, and because the skills it teaches are central to their methods, this course will introduce students to yoga. It will give elementary training in asana (postures), pranayama (breathing), and mindfulness meditation. Its orientation is non-religious; it aims rather, as is traditional, to facilitate awareness. Students will learn simple, basic practices that present no risks to health and which are non-invasive. The course will ask students to practice daily, on their own, and to keep a practice journal in which they engage with the theoretical material. FORMAT: three hour seminar. ASSIGNMENTS: 15% Short Essay; 30% Major Research Essay; 15% Seminar Presentation; 5% per term Practice Journal; 30% Final Examination. REPRESENTATIVE READINGS AND MATERIAL FOR PURCHASE: Boccio, Frank Jude, Mindfulness Yoga, Boston: Wisdom Publication; Collins, Patrica Hill, Black Feminist Thought: Knowledge, Consciousness,and the Politics of Empowerment, Unwin Hyman; Epstein, Mark, Thoughts Without a Thinker, Basic Books; Garfield, Jay L., The Fundamental Wisdom of the Middle Way, N.Y.: Oxford University Press, 1995; Hartranft, Chip, The Yoga-Sutra of Patanjali, Boston & London: Shambhala, 2003; Kabat-Zinn, Jon, Wherever You Go, There You Are, Hyperion, 1994; Mehta, Silva, Mira Mehta and Shyam Mehta, Yoga the Iyengar Way, Knopf; Schroeder, John W., Skillful Means: The Heart of Buddhist Compassion, University of Hawaii Press; A Yoga/Meditation kit consisting of a mat, belt, and block. A Kit of readings is available from the York Bookstore. COURSE DIRECTOR: D. Orr, 044 McLaughlin College, ext. 77024 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 4140 6.0A CHILDHOOD IN CANADIAN CULTURE This course analyzes childhood as represented and experienced in Canadian culture through time, across regions, and among cultural groups. There are two primary aspects to the course: first, an exploration of the range of representations of children and childhood in Canadian expressive culture through different moments of history, throughout different regions, and among different cultural groups; and second, the relationship of these cultural constructs to the real-life experience of children at various times in different parts of, or groups within, Canada. The course will also focus on children’s own culture (through their folklore, reminiscences of being a child, and similar documents of the voice of the child); on “child power” and its limitations; and on contemporary concerns about the role and status of children in Canada. The course utilizes several genres of “texts” (including fiction, poetry, life-writing, drama, and film) and multidisciplinary approaches (including the studies of literature, film, history, and ethnography). FORMAT: Three seminar hours.
  • 64. ASSIGNMENTS: Seminar and online discussion participation – 15%; three life-writing assignments (Interview/Profile of Adult Colleague as Child; Cultural Contrast of Adult Colleague’s Childhood with Student’s Childhood; Generational Differences in Childhood) – 25%; Seminar Presentation and Facilitation – 15%; four WebCT quizzes – 20%; Fieldwork about Canadian children’s culture – 25%. There is no exam in this course. REPRESENTATIVE READINGS: A history or sociology of Canadian children and youth (such as Histories of Canadian Children and Youth); a course kit consisting of several primary and secondary texts; Canadian poetry for adults and children and by children; memoirs of childhood (such as My Name is Masak); documentary films (such as Angry Angels: Violent Young Girls, Childhood Lost: The Residential School Experience); plays for young audiences (such as The Shape of a Girl, Life Science, 2B WUT UR, The Boy in the Treehouse, Cost of Living); adult novels and films about childhood and youth (such as Mon Oncle Antoine, New Canadian Kid, Lives of Girls and Women, The Boys of St. Vincent, New Waterford Girl); and children’s and young adult novels (such as Underground to Canada, Two Little Savages, Emily of New Moon, One Proud Summer, Hold Fast, In Search of April Raintree, Boy O’Boy, Harriet’s Daughter, Breakaway). COURSE DIRECTOR: P. Cumming, 244 Vanier College, ext. 66984 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 4155 3.0M (WINTER) THE "VICTORY" OF THE BODY This courses examines how the body, in contrast to the soul or mind, was ”redeemed” after 1900 so as to make it the immanent source of new values that transformed a range of social attitudes. After centuries of European culture during which the body was consistently regarded with suspicion as the source of sin and irrationality, important changes in attitude became evident at the beginning of the twentieth century. Following their Romantic predecessors, but even more radically, writers and artists began to see the mind as a cruel oppressor of the body, site of passion and the life force. The most obvious example is D.H. Lawrence, who, in works like Lady Chatterley’s Lover, found a new sort of salvation in acceptance of sexual passion. Michel Foucault’s comment that “the soul is the prison of the body,” deliberately refuted Plato’s much earlier but so long-lasting view that “the body is the tomb of the soul.” As one of the main theorists of the “disciplining” of the body since the Enlightenment, Foucault shares Lawrence’s belief that the body needs rescuing from the power-obsessed mind, but his work shows that the modern struggle between mind and body has in no way led to a simple inversion of the mind/body opposition. Besides examining what might be seen as the positive aspects of this change in attitudes to the body, through Richard Strauss’ Salome, stories by Lawrence and Thomas Mann, and sculptures by Brancusi and Henry Moore, the course will consider the many ambiguous results of the body’s “victory,” such as eugenics, the fitness
  • 65. movement, and contemporary scientifically- or medically-enabled phenomena such as cosmetic surgery and cloning. The relevant, mostly short, texts useful for discussion of these subjects will be available in a course kit. FORMAT: Three seminar hours. ASSIGNMENTS: (1) One oral class presentation of about 15 minutes: 15%; (2) One five-page essay on contemporary attitudes to the body, based on popular culture: 15%; (3) One fifteen- page essay on a topic set by the instructor: 30%; (4) Final test: 20%; (5) Participation: 20%. REPRESENTATIVE READINGS: A course kit containing excerpts from works by Plato, St. Paul, St. Augustine, Descartes, D. H. Lawrence, Oscar Wilde (the libretto to Strauss’ Salome, W. B.Yeats, Henry Moore, Michel Foucault, Jean-Paul Sartre, Simone de Beauvoir, Susan Bordo, George Lakoff and Mark Johnson, and others. Required texts: Cavallaro, Dani. The Body for Beginners. New York: Writers and Readers Publishing, 1997; Euripides. The Bacchae and Other Plays. Penguin Books; Lawrence, D. H. Lady Chatterley’s Lover. Penguin Books; Mann, Thomas. Death in Venice. Translated by Michael Henry Heim. New York: HarperCollins, 2004; Shakespeare, William. The Tempest. Revised Signet Edition. COURSE DIRECTOR: D. Freake, 246 Vanier College, ext. 55158 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 4175 3.0A (FALL) LOVE AND THE NOVEL COURSE CREDIT EXCLUSION: AS/HUMA 4175 6.0 This course examines, from a theologico-philosophical perspective, the interrelationship between love and the novel. In order to deal with these questions, notable works of theologico-philosophical reflection, major artistic works (paintings, operas) and major novels will be examined closely. The novels to be read, classics of the genre which span the 18th and 19th centuries, explore varied aspects of love (adulterous, ethical, fraternal, married sexual, social, spiritual, etc.). FORMAT: Three seminar hours. ASSIGNMENTS: one seminar presentation - 30%; (15% each for oral and written presentations); class participation - 15%; intellectual journal - 15%; major research paper - 40%.
  • 66. REPRESENTATIVE READINGS: Bible (selections); Flaubert, Madame Bovary; Freud, Civilization and Its Discontents; Goethe, The Sorrows of Young Werther; Plato, Symposium; Tolstoy, Anna Karenina. COURSE DIRECTOR: R. Teleky, 220 Vanier College, ext. 77020 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & Creative Writing & European Studies Majors and Minors. AS/HUMA 4180 6.0A EUROPE À LA MODE: FASHION AND THE CRITICAL METHODOLOGIES OF EUROPEAN STUDIES What makes “fashion” a European idea? What makes “Europe” a fashionable idea? This course is situated at the intersection of these two questions and will probe their interrelations. Taking the field of fashion as our subject matter, we will explore the many methodologies which are part of European Studies. Ranging from the formative influence of cultural and art historians, sociologists and political theorists through the headier terrain of semiology, psychoanalytic, gender and queer theory to the everyday practices that are the domain of cultural studies, the texts we will read closely allow for a multi-faceted understanding of fashion and its relationship to Europe. The course provides a comprehensive overview of the interdisciplinary approaches that make up European Studies and a strong basis from which to proceed to theoretically oriented graduate studies. FORMAT: three seminar hours. ASSIGNMENTS: Evaluation will be based on one shorter and one longer essay, two examinations and a portfolio reflecting attendance and engagement with the readings that is to be submitted regularly. REPRESENTATIVE READINGS: An extensive course kit, available from the Bookstore, will include essays such as Charles Baudelaire, “The Painter of Modern Life,” Georg Simmel, “On Fashion,” Adolf Loos, “Ornament as Crime,” and Roland Barthes, “The Face of Garbo” and “Striptease”; essays from edited volumes such as Shari Benstock and Suzanne Ferriss, eds, On Fashion; Stella Bruzzi and Pamela Church Gibson, eds, Fashion Cultures: Theories, Explorations and Analysis ; and Joanne Entwistle and Elizabeth Wilson, eds, Body Dressing; as well as selections from monographs such as Malcolm Barnard, Fashion as Communication; Pierre Bourdieu, Distinction; Anne Hollander, Seeing through Clothes; Dick Hebdige, Subculture: The Meaning of Style; Paul Jobling, Fashion Spreads: Word and Image in Fashion Photography Since 1980; Ulrich Lehmann, Tigersprung: Fashion in Modernity; Bradley Quinn, The Fashion of Architecture; and Elizabeth Wilson, The Contradictions of Culture: Cities, Culture, Women. COURSE DIRECTOR: S. Ingram, 236 Vanier College, ext. 77314
  • 67. PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & European Studies Majors and Minors. AS/HUMA 4228 6.0A NATURE AND NARRATIVE COURSE CREDIT EXCLUSION: AS/HUMA 4225C 6.0 This course will explore narratives of nature in both scientific and literary texts. It will discuss the rhetorical techniques employed by scientists, past and present, as an instrument of reasoning and for persuading others of their theories. It will examine how contemporary rhetorical techniques outside of science influence these strategies, and how contemporary literary styles inform the style of scientific writing. It will also study fictive narratives that are employed to imagine new conceptions of natural phenomena, or that utilize scientific metaphors to structure their text. It will further consider how narrative technologies are utilized to construct new theories of natural change. Finally it will probe conceptions of nature as a text or book, or nature as narrative. FORMAT: Three seminar hours. ASSIGNMENTS: T.B.A. REPRESENTATIVE READINGS: M. de (Bernard Le Bovier) Fontenelle, Conversations on the Plurality of Worlds; Johann Wolfgang von Goethe, Elective Affinities; William Wordsworth, The Five-Book Prelude; Charles Darwin, Origin of Species; Thomas Pynchon, Crying of lot 49!; E.O Wilson, Biophilia; Derek Jarman, Modern Nature; Michael Frayn, Copenhagen. (subject to change) COURSE DIRECTOR: J. Berland, 232 Vanier College, ext. 77393 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 4229 6.0A EUGENICS IN CULTURAL CONTEXT COURSE CREDIT EXCLUSION: AS/HUMA 4225D 6.0 This research seminar focuses on the subject of eugenics to examine contemporary theoretical and methodological issues in the interdisciplinary study of science in its social context. The course will cover the period from 1870 to the present. Few fields offer as rich an opportunity to explore the complex sociocultural context of modern science/technology as does Eugenics. Since its enunciation in the late 19th century by Charles Darwin's cousin Sir Francis Galton, eugenics has been one of the most contentious crossroads of evolutionary biology, genetics, and society. To the already heated debates about
  • 68. evolutionary biology, Galton added the ideologically potent concept of "scientific human breeding". Eugenics provides an excellent topic for interdisciplinary analysis of both the genesis and elaboration of a theoretical idea in science and the utilization of that idea to effect concrete changes in social/cultural/political structures, and in literary and artistic expressions. Topics will include eugenics and: race, gender, colonialism, reproductive technology, political theory and practice, and literature. FORMAT: three-hour seminar per week. ASSIGNMENTS: first term critical essay review (15%); one 40 minute oral presentation per student (once during the course) (35%); research essay (35%); class participation (15%). REPRESENTATIVE READINGS: Daniel Kevles, In The Name Of Eugenics: Genetics And The Human Uses Of Heredity (1995 ed.); Diane B. Paul, The Politics Of Heredity: Essays On Eugenics, Biomedicine, And The Nature-Nurture Debate (1998); Troy Duster, Backdoor To Eugenics (2nd ed., 2003); Donald J. Childs, Modernism And Eugenics: Woolf, Eliot, Yeats And The Culture Of Degeneration (2001); Glenn McKee, The Perfect Baby: Parenthood In The New World Of Cloning And Genetics. COURSE DIRECTOR: M. Fichman, 313 Bethune College, ext. 70475 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 4230 6.0A INFORMATIONAL IDENTITES: THE SELF IN THE AGE OF TECHNOLOGY COURSE CREDIT EXCLUSION: AS/HUMA 4225E 6.0 This course focuses on the issue of identity and the ways in which conceptions of human identity are altered by recent developments in information and communication technology. The course will focus on several areas of social life in which questions of self-definition and identity development are particularly important: art and aesthetics, politics, religious belief, and the world of fashion and consumer goods. These areas will be examined in light of the profound changes brought about by the infusion of various technologies, and we will attempt to understand what the future might hold for each. Some of the questions we will consider are: What is the role of art in a world in which human creativity is constantly reworked by technological developments and one in which artistic intentionality is in question? How will technological advances alter the ways in which individuals define their position within a larger social system (gender, race, class, cultural or national affiliation, etc.)? Is democracy enabled or endangered by the shifts in society caused by communication technologies? How are theological/spiritual belief systems transformed and perhaps undermined by the increasingly rapid diffusion of information? What is the role of
  • 69. religious discourse in an information age? Is the reduction of human identity to an issue of consumption (i.e., “I am what I consume”) a fait accompli? Does hope remain for a self that is not defined primarily through economic exchange? Readings will draw from philosophy, sociology, information science, and communication studies, and will also include a number of fictional works; we will also view films and television programs and listen to recordings, and examine works of visual art which address the question of the self in the information age. FORMAT: three seminar hours. ASSIGNMENTS: Two take-home essay exams (20% each); 5 short essays and class presentations (25% total); Class participation (15%); Major Research Essay (40%). REPRESENTATIVE READINGS: Robert Jay Lifton, The Protean Self (1993, Basic Books); Kenneth Gergen, The Saturated Self (1991, Basic Books); Manuel Castells, The Rise of the Network Society (1996, Blackwell); Jean Baudrillard, The Perfect Crime (1995, Verso); Michel Foucault, The History of Sexuality Vol. 3: The Care of the Self (1988, Random House); Charles Strozier, Apocalypse: On the Psychology of Fundamentalism (1994, Beacon Press); Anthony Giddens, Modernity and Self-Identity (1991, Stanford Press); Thomas Frank, The Conquest of Cool (1997, University of Chicago Press); GH Mead, Mind, Self, and Society (1962, University of Chicago Press); Erving Goffman, The Presentation of Self in Everyday Life (1959, Doubleday); Martin Amis, Money (1991, Cape Books); Philip K. Dick, Radio Free Albemuth (1987, Avon Books); William Gibson, Mona Lisa Overdrive (1988, Bantam); Frank Zingrone, The Media Simplex; Marshall McLuhan, The McLuhan Reader. COURSE DIRECTOR: S. Bailey, 204 Vanier College, ext. 77021 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 4300 6.0A AS/SOSC 4450 6.0A ASPECTS OF MODERN LATIN AMERICAN AND CARIBBEAN STUDIES 2006-2007: Myth, History and Caribbean Imagination The professionalization of Caribbean historical scholarship has developed alongside the emergence of a growing body of creative artists committed to giving the states of the region a sense of identity based on specific interpretations of their past. But within recent years the discipline of history has been challenged by creative artists who have often argued that the recreation of the past is not the monopoly of historians and the stories they create have as much validity as the texts of historians. This course examines the construction of the
  • 70. mythological and historical Caribbean and the ways in which representations of the region’s past have been used and/or challenged by the creative artists in both the scribal and oral literature. It examines the ways in which images of colonialism, slavery, and indentureship have been created and used in a variety of non- fictional and fictional literatures to articulate national and regional identities. It also explores the uses of history in the articulations of individual and collective identities. Central to the course is an examination of the relationship between history and mythology in the post-colonial Caribbean and the ways in which particular understandings of history have impacted on strategies for social and political development. NOTE: This is not an introduction to the Caribbean. It is assumed that students would have already completed introductory courses on the Caribbean before attempting this course. It is not a course in Caribbean History but a course on the production of historical texts on the Caribbean. FORMAT: Three seminar hours. ASSIGNMENTS: Essay 25%; Exam 40%; Presentation 20%; Participation 15% REPRESENTATIVE READINGS: B.W. Higman, Writing West Indian Histories; M-R. Trouillot, Silencing the Past; N.Wilson-Tagoe, Historical Thought and Literary Representation in West Indian Literature; Edouard Glissant, Caribbean Discourses; Alejo Carpentier, The Kingdom of this World; Frieda Cassin, With Silent Thread; Austin Clarke, The Polished Hoe; Cyrus Francis Perkins, Busha’s Mistress or Catherine The Fugitive; Jean Rhys, Wide Sargasso Sea; Sharlowe, The Promise. COURSE DIRECTOR: D. Trotman, 326 Founders College, ext. 33192 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & Latin American and Caribbean Studies & International Development Studies Majors and Minors. AS/HUMA 4416 6.0A CITING THE CLASSICS: THE 'PREMODERN' IN MODERN JAPANESE LITERATURE & FILM Many outstanding works produced by twentieth century Japanese authors and filmmakers are based on ancient texts like Noh plays, the Tale of Genji, and Buddhist fables and folk tales. This course studies those classical antecedents and their modern interpretations within a cultural- historical perspective. It is difficult to truly appreciate much of Japan’s modern culture without a careful consideration of the genres of past epochs. The Tale of Genji, for example, is a monogatari (“tale”, although it is over a thousand pages long) written a millenium ago; yet it continues to influence various narrative forms ranging from literary fiction to manga comics to film and animation. Similarly, the Noh Theatre has had an extraordinary impact on Twentieth Century literature and film, as
  • 71. have folk tales of Buddhist origin. How do these and other ancient genres continue to flourish in the modern (and now postmodern) era? What does their study teach us about the evolution of Japan, and the coexistence and collaboration of disparate elements which have shaped that nation’s culture? To what extent have those hybrid forms taken root – through film, animation, and even video games – in contemporary popular culture around the world? This course addresses these topics through a careful and comparative study of classical texts and the modern works they spawned. FORMAT: Three seminar hours. ASSIGNMENTS: Class presentation 15%; Four response papers 20%; Quizzes 15%; Research essay 50%. REPRESENTATIVE READINGS: The Noh Plays of Japan, translated and edited by Arthur Waley; The Tale of Genji, translated by Royall Tyler (Penguin); Contemporary Japan & Popular Culture, ed. John Treat; Seven Japanese Tales, by Jun’ichiro Tamizaki; The Tale of the Heike, translated by Helen Craig McCullough; 20 Plays of the Noh Theatre, by Donald Keene; Tales of Moonlight and Rain, by Akinari Ueda, trans. Leon Zolbrod; Japanese Tales, selected and translated by Royall Tyler; modern short stories by Yumiko Kurahashi, Naoya Shiga, Ango Sakaguchi, Akiyuki Nosaka, Ogai Mori, etc. (in xerox). Numerous films in the York collection including: Late Spring, by Yasujiro Ozu; Ugetsu, by Kenji Mizoguchi; Princess Mononoke, by Kazuo Miyazaki (animation); documentaries on the Noh, Kabuki, folk ritual, etc. COURSE DIRECTOR: T. Goossen, 231 Vanier College, ext. 66986 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & East Asian Studies and International Development Studies Majors and Minors. AS/HUMA 4421 6.0A FEMININE IN CHINESE CULTURE COURSE CREDIT EXCLUSION: AS/HUMA 3940 6.0, AS/HUMA 3940 3.0 This aim of this course is to get beyond the image of Chinese women as crippled and oppressed victims with bound feet and little agency. We explore the complexity of foundational Confucian, Daoist, and Buddhist gender ideas. We also examine the range of women’s domestic, religious, and cultural roles from the ancient period through the early 20th century as, for example, dutiful Confucian wives, pious Buddhist practicioners, and talented courtesans. FORMAT: Lecture/Seminar (3 hour block). ASSIGNMENTS: Class Participation 20%; 2 essays 25% each; Final Examination 30%.
  • 72. REPRESENTATIVE READINGS: Course Kit will include selections from: Lisa Raphals, Sharing the Light: Representations of Women and Virtue in Early China, Victoria Cass, Dangerous Women: Warriors, Grannies, and Geishas of the Ming Dynasty; Dorothy Ko, Teachers of the Inner Chambers: Women and Culture in Seventeenth Century China, Susan Mann, Precious Records: Women in China’s Long Eighteenth Century; Gail Hershatter, Dangerous Pleasures: Prostitution and Modernity in Twentieth Century Shanghai. COURSE DIRECTOR: J. Judge, 144 Founders College, ext. 20593 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & East Asian Studies and International Development Studies Majors and Minors. AS/HUMA 4430 6.0A LIVING CONFUCIANISM: CONFUCIAN PHILOSOPHY AND PRACTICE IN TRADITIONAL AND CONTEMPORARY EAST ASIA This research seminar examines the development of Confucianism in historical, philosophical and socio-political contexts across China, Japan, Korea, and Vietnam, with the goal of exploring the tradition’s implications for both East Asian modernity and global culture. No one has had a greater impact on Chinese culture than Confucius (551-479 BCE). But his ideas about moral self-cultivation, the proper ordering of society, the role of the individual in this social order, and the relationship between humanity and the cosmos not only shaped the underlying fabric of Chinese civilisation, they deeply influenced several neighboring East Asian cultures as well. Though Confucianism has taken many forms over the millennia, it remains central to any meaningful understanding of East Asia in the modern world, and it is therefore critical for constructive international engagement over the coming century. In the first half of the course we will follow the development of Confucian thought and practice in imperial China and during relevant periods in Japan, Korea, and Vietnam, with equal emphasis on the historical context of these changes, their social and political implications, and their philosophical significance. In the second half of the course we will analyse the ways that different groups, including East Asian modernisers and non-Asian scholars, have tried to relate Confucianism to emerging global issues. FORMAT: Three seminar hours. ASSIGNMENTS: In-class presentations: 30%; Reading journal: 20%; Research paper: 50%; Topic proposal ungraded; Thesis proposal 5%; Annotated bibliography 10%; Outline and presentation to class 10%; Final paper submission 25%. REPRESENTATIVE READINGS: Chan, Wing-tsit, A Source Book in Chinese Philosophy. Princeton, NJ: Princeton University Press, 1963; De Bary, Wm. Theodore, Asian Value and Human Rights: A Confucian Communitarian Perspective. Cambridge, MA: Harvard University Press, 2000; Fingarette, Herbert, Confucius: The Secular as Sacred. Prospect Heights, IL:
  • 73. Waveland Press, 1998; Geet, Hofstede and Michael H. Bond, “The Confucius Connection: From Cultural Roots to Economic Growth,” Organization Dynamics, 1988, 16(4): 5-21; Tu Wei- ming, Centrality and Commonality: An Essay on Confucian Religiousness. Albany: State University of New York Press, 1989. Also, students will be required to choose one of 5 approved translations of The Analects and Mencius. COURSE DIRECTOR: G. Shen, 224 Founders College, ext. 20415 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & East Asian Studies Majors and Minors. PREREQUISITE FOR AS/HUMA 4630 6.0A & AS/HUMA 4640 6.0A: Open to MAJORS only in the Creative Writing Program. Other students may enrol by submitting a portfolio (15-20 pages before the enrolment deadline) of prose/poetry to 210 Vanier College, along with an application form (application forms are available in the Creative Writing Program Office 210 Vanier). MAJORS HAVE PRIORITY OVER OTHER STUDENTS. Students accepted into the program, must change their major to Creative Writing in order to enrol in these courses. Enrolment is online. All spaces will be reserved for majors until the end of the enrolment session. AS/HUMA 4630 6.0A SENIOR PROSE WORKSHOP: FICTION Prerequisite: AS/HUMA 3640 6.0A: Intermediate Prose Fiction A course in the art of prose fiction. Exercises (along with select readings and workshop presentations) will be assigned to reveal the nature (and some of the secrets) of good prose fiction writing, and to hone the student’s awareness of his or her abilities within that genre. The students will be expected, by the end of the year, to recognize and understand his or her talents as a writer (both strengths and weaknesses) and to advance that talent a considerable distance in terms of quality work. FORMAT: Three consecutive seminar hours. COURSE DIRECTOR: T.B.A. PROJECTED ENROLMENT: 20 AS/HUMA 4635 6.0A PRINCIPLES OF CREATIVE WRITING: SENIOR MIXED GENRE WORKSHOP Pre-requisite: AS/HUMA 3641 6.0A: Intermediate Mixed Genre Workshop
  • 74. This course introduces writing models and theoretical writing concepts and concerns to Creative Writing minors and non-Creative Writing majors. A portfolio is required from all students except creative writing minors. This course is designed to expand upon the theoretical and practical frameworks of HUMA 3641: Principles of Creative Writing: Intermediate Mixed Genre Workshop for Creative Writing minors and non-Creative Writing majors. Parallel in format to the genre-intensive Creative Writing workshops offered at a third-year intermediate and a fourth-year senior level in poetry and prose fiction, the HUMA 4635 Principles of Creative Writing: Senior Mixed Genre Workshop is intended as a continuation of the study performed at the Mixed Genre intermediate level. Senior students are expected to participate in the workshop and approach the course with a higher-level of critical awareness and writing skill. The course is meant to encourage Creative Writing minors and non-Creative Writing majors who have already completed the pre-requisite HUMA 3641 to further explore various writing models, techniques, and writing schools, without the genre-intensive commitment required in the Creative Writing major program. This course will include prose fiction and poetry writing, as well as introduce other writing forms. A portfolio submission of 10-15 pages is required from all students except creative writing minors. FORMAT: three seminar hours. ASSIGNMENTS: The course evaluation consists of class participation (15%); a writer’s journal requirement including analysis of required readings and discussion of writing concepts introduced in the course (15%); class exercises and writing assignments (30%); a short essay (10%); and a final portfolio (30%). REPRESENTATIVE READINGS: A contemporary mixed-genre anthology or anthologies will be chosen by individual instructors of the workshop. A course-kit of relevant essays and/or writing models may also be used. COURSE DIRECTOR: T.B.A PROJECTED ENROLMENT: 20 AS/HUMA 4640 6.0A SENIOR POETRY WORKSHOP This course is intended primarily for students who have taken AS/HUMA 3645 6.0 and demonstrated that they can benefit from advanced study of the writing of poetry. FORMAT: Three consecutive seminar hours. ASSIGNMENTS: class participation - 15%; class work (preparation of copies of original work for distribution to the class for workshopping during the year) - 10%; memorization (3 poems) - 10%; seminar reports - 10%; writer's journal - 15% (each weekly entry should be about 250- 300 words or one typed page; to be handed in twice during the year - 7.5% each term); written portfolio of about 10 poems and a self-assessment of approximately 500 words or 2 typed
  • 75. pages. (This may include work written since the beginning of the year, in its final form; work presented in class--and revised--may be included) - 40%. COURSE DIRECTOR: R. Teleky, 220 Vanier College, ext. 77020 PROJECTED ENROLMENT: 20 AS/HUMA 4680 6.0A THE SELF IN AGAINST CULTURE Against a background of earlier and other factual and fictive life-writings, this course will study the emergence and development in nineteenth- and twentieth-century Western literature of the novel of life-apprenticeship, including such special cases as the Bildungsroman and the artist novel. These narratives about a young person's progression towards becoming either a full member, an outsider, or a rebel in his or her society provide us with an understanding of the protagonists' psychological and moral experiences as well as the norms and values of their respective societies. For our reading of the texts we shall survey and apply contemporary critical theories. FORMAT: three seminar hours. ASSIGNMENTS: Two essays (minor, 20%; major, 30%); presentation (10%); class participation (10%); two tests (10%); journal (20%). REPRESENTATIVE READINGS: Chrétien, Perceval; Voltaire, Candide; Goethe, Wilhelm Meister's Apprenticeship; Charlotte Brontë, Jane Eyre; Rhys, Wide Sargasso Sea; Turgenev, Fathers and Sons; Ibsen, A Doll's House; Mann, "Tonio Kröger"; Kafka, "Metamorphosis," "The Judgment"; Salinger, Catcher in the Rye; Ellison, Invisible Man; Munro, Lives of Girls and Women; Morrison, Sula; Kan Sok-kyong, "A Room in the Woods." A bibliography of additional, recommended primary and secondary readings will be provided. Advance summer reading recommended. COURSE DIRECTOR: G. Argyle, 234 Vanier College, ext. 66985 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities Majors and Minors. AS/HUMA 4720 3.0A (FALL) AS/GER 4720 3.0 GERMAN DETECTIVE FICTION  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016
  • 76. PREREQUISITE: For students enrolling through German, AS/GER 2200 6.0 or permission of the Department. For students enrolling through Humanities, there is no prerequisite; knowledge of German is not required. The course investigates twentieth- and twenty-first century detective fiction from Austria, pre- unification East and West Germany, the united Federal Republic and Switzerland. As it provides insight into those cultures, it also examines “detecting” as a practice for reading fiction. FORMAT: Three hours, with emphasis on discussion, and with background lectures as necessary. See note above on the use of German and English in the course. ASSIGNMENTS: Contributions to discussion: 15%; diagnostic paper (2-3 pages): 10%; internet assignment: 10%; first draft of paper: 10%; final draft of paper: 25%; final examination: 30%. REPRESENTATIVE READINGS: TBA COURSE DIRECTOR: Mark Webber AS/HUMA 4803 6.0A AS/HIST 4225 6.0A CHURCH, MOSQUE AND SYNAGOGUE: CHRISTIANS, MUSLIMS, AND JEWS IN MEDIEVAL SPAIN COURSE CREDIT EXCLUSION: AS/HUMA 4000V 6.0 The Muslim conquest of the Iberian peninsula in 711 inaugurated a complex relationship among members of three faith - communities in medieval Spain - one that has given rise to Spain’s reputation as the foremost “pluralistic society” of medieval western Europe. This course explores diverse facets of Muslim-Jewish-Christian “co-existence” (convivencia) in medieval Spain, some of which reflect interpenetration and creative influence and others of which evince misunderstanding, rivalry, and suspicion. Chronologically the course examines the period beginning with the Muslim conquest and ending in 1501, when Spanish Muslims were given a choice between conversion to Christianity or exile. (Spain’s Jews had been given the same choice nine years earlier.) Methodologically, the course stresses the study of original historical and literary sources, most of which, are religious in nature. All sources are read in English translation. Topics include conversion; religious violence; missionizing and theological polemic; images of the religious other, and scholarly cross-traditional stimuli. The course summons significant larger issues, some with contemporary resonance. One is the development of attitudes in formative European society towards “outgroups.” Another is the manner in which recent developments (disputes over modern Spanish identity, the Arab-Israeli conflict) can shape modern understandings of the distant past. FORMAT: two, one and a half hour seminars per week. PREREQUISITE: none, but the course is best taken after at least one other related to one of the religious traditions represented in the course.
  • 77. ASSIGNMENTS: Tests and exercises 40%; Essay 45%; classwork 15%. REPRESENTATIVE READINGS: Medieval Iberia: Readings from Christian, Muslim, and Jewish Sources, ed. Olivia Remie Cosntable. COURSE DIRECTOR: E. Lawee, 225 Vanier College, ext. 77395 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities, History & Religious Studies Majors and Minors. AS/HUMA 4804 6.0A HISTORICAL AND MYTHOLOGICAL VIEWS OF JEWISH HISTORY COURSE CREDIT EXCLUSION: AS/HUMA 4820A 6.0 A study of perceptions of several critical periods of Jewish history offered by historians, theologians, and creative writers. The course will explore the methodologies and presuppositions of some participants and observers of the Jewish experience in an attempt to arouse sensitivity to the difficulties of establishing historical “truth”. FORMAT: Three seminar hours. ASSIGNMENTS: Sessions will consist of presentations by students based on assigned readings by students based on assigned readings and on their own original research. Students will also be required to submit an original research paper (30-40 pages). Presentations 45%; participation 15%; research essay 40%. (subject to change) REPRESENTATIVE READINGS: Among books and authors which may be read are the Bible and other classical sources (in translation), Salo Baron, Yehuda bauer, Menahem Begin, Lion Feuchtwanger, Josephus, and Heinrich Heine. (subject to change) COURSE DIRECTOR: M. Brown, 226 Vanier College, ext. 77397 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 4809 6.0A THE HEBREW BIBLE AND THE LITERATURE OF THE ANCIENT NEAR EAST
  • 78. Since the nineteenth century, it has become increasingly evident that the Hebrew Bible is a product of its world. The recovery and decipherment of literatures from Mesopotamia, Anatolia, Egypt and the Levant have provided ample illustration of this contention. The aim of this course is to look at some of the various literary genres and themes that can be found in both biblical and ancient Near Eastern literature. Comparing and contrasting of similar or related literary genres and themes should serve to deepen the students’ understanding of the Hebrew Bible and its world, in addition to introducing students to the wealth of literature from the ancient Near East. Among the literary genres to be discussed are legal texts, myths, legends, prophetic texts, historical records, and religious and secular/erotic poetry. Among the themes to be discussed are creation, the human condition, flood stories, foundational narratives, love, sexuality, relations with the divine, responses to disaster, mortality, immortality, etc., FORMAT: Three seminars hours. ASSIGNMENTS: paper proposal 10%; annotated bibliography 10%; paper outline 10%; class participation 10%; in-class presentation 20%; research paper 40%. REPRESENTATIVE READINGS: Coogan, Michael David, Stories from Ancient Canaan; Greenspahn, Frederick E., ed., Essential Papers on Israel and the Ancient Near East; Heidel, Alexander, The Babylonian Genesis; Heidel, Alexander, The Gilgamesh Epic and Old Testament Parallels; Hoffer, Harry A., Jr. Hittite Myths; Matthews, Victor H. and Don C. Benjamin, Old Testament Parallels: Laws and Stories from the Ancient Near East; Matthews, Victor H. and James Moyer, The Old Testament: Text and Context; Simpson, William Kelly, ed., The Literature of Ancient Egypt: An Anthology of Stories, Instructions, and Poetry; Wolkstein, Diane and Samuel Noah Kramer, Inanna: Queen of Heaven and Earth. COURSE DIRECTOR: C. Ehrlich, 227 Vanier College, ext. 77097 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 4812 3.0M (WINTER) CHRISTIANITY & FILM This course examines the role and representation of the Christian in popular film. Interdisciplinary in approach, it brings together the critical vocabularies of Christian Studies and Film Studies to explore the relationship between Christianity and film as aspects of contemporary culture. Drawing mainly on mass-distributed films from Europe and North America, the course analyzes the ways in which contemporary cinema narrativizes Christian myths, histories, rituals and doctrines and non-Christian attitudes towards them. Issues addressed include: To what extent do particular films reflect the personal beliefs of particular film directors? How is Jesus portrayed in popular film? How does contemporary cinema depict Christian leaders, institutions and histories? How do popular films embody Christian images, teachings and traditions, and to what purpose? How does contemporary cinema represent Christian values and world-views, in both individual and societal terms? How does the cinema
  • 79. help shape relations between Christians and members of other religious traditions? Topics include: the creator and the created; free will and predestination; sin and salvation; missionizing and conversion; body, selfhood and identity; evil, ‘othering’ and society; and transcendence, truth, heaven and hell. Nota bene: It is assumed that students will possess an elementary, working familiarity with Christian traditions before enrolling in this course. An in-class early mid-term examination will be based in part upon Brian Wilson’s introductory text, Christianity (Upper Saddle River, NJ: Prentice-Hall, 1999). FORMAT: 4 hours weekly: 2 hours viewing; 2 hours seminar presentation and discussion. ASSIGNMENTS: 1) Mid-term examination 15%; 2) Film review 15% (1000 words); 3) Seminar presentation 25%; 4) Seminar response 10%; 5) Research essay 35% (3500 words). REPRESENTATIVE READING: 1. Brian Wilson, Christianity (Upper Saddle River, NJ: Prentice- Hall, 1999); 2. A Course Kit includes scholarly articles, interviews and other readings drawn from holdings in Scott Library and Robarts Library. REPRESENTATIVE VIEWING: Class films are selected from the following list: Kingdom of Heaven (Ridley Scott, 2005); Vera Drake (Mike Leigh, 2004); The Passion of the Christ (Mel Gibson, 2004); 21 Grams (Alejandro González Iñárritu, 2003); Mystic River (Clint Eastwood, 2003); Gladiator (Ridley Scott, 2000); Chocolat (Lasse Hallström, 2000); Jesus’ Son (Alison MacLean, 1999); The Cider House Rules (Lasse Hallström, 1999); Dogma (Kevin Smith, 1999); Stigmata (Rupert Wainwright, 1999); Armageddon (Michael Bay, 1998); Pleasantville (Gary Ross, 1998); The Apostle (Robert Duvall, 1997); The Stigmata (Kyle Bergersen, 1995); Twelve Monkeys (Terry Gilliam, 1995); Se7en (David Fincher, 1995); Dead Man Walking (Tim Robbins, 1995); The Shawshank Redemption (Frank Darabont, 1994); Philadelphia (Jonathan Demme, 1993); Shadowlands (Richard Attenborough, 1993); In the Name of the Father (Jim Sheridan, 1993); The Crying Game (Neil Jordan, 1992); Bad Lieutenant (Abel Ferrara, 1992); Black Robe (Bruce Beresford, 1991); The Rapture (Michael Tolkin, 1991); Jesus of Montreal (Denys Arcand, 1989); The Last Temptation of Christ (Martin Scorcese, 1988); The Seventh Sign (Carl Schultz, 1988); Babette’s Feast (Gabriel Axel, 1987); Platoon (Oliver Stone, 1986); The Mission (Roland Joffé, 1986); Raging Bull (Martin Scorcese, 1980); Monty Python’s Life of Brian (Terry Jones, 1979); Apocalypse Now (Francis Ford Coppola, 1979); The Deer Hunter (Michael Cimino, 1978); Carrie (Brian de Palma, 1976); The Exorcist (William Friedkin, 1973 [dir. cut 2000]); Cool Hand Luke (Stuart Rosenberg, 1967); The Gospel According to St. Matthew (Pier Pasolini, 1966); The Greatest Story Ever Told (George Stevens, 1965); King of Kings (Nicholas Ray, 1961); Ben Hur (William Wyler, 1959); Quo Vadis (Mervyn LeRoy, 1951); The Crusades (Cecil B DeMille, 1935); The Sign of the Cross (Cecil B. DeMille, 1932); Rain (Lewis Milestone, 1932); The King of Kings (Cecil B DeMille, 1927); Christian (Maurice Tourneur, 1923). COURSE DIRECTOR: J. Scott, 029 McLaughlin College, ext. 77342 PROJECTED ENROLMENT: 20
  • 80. RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 4817 6.0A IMAGINATION AND THE SACRED This course explores the presence of metaphor and imagination in texts that have a religious or theological dimension. Religion and theology are not limited to western monotheistic traditions It considers the way in which the imagination and metaphor work in stories of theophany and epiphany, the appearance of the sacred. Both E. M. Forster's short story, 'A Panic' (1902) and Kenneth Grahame's chapter 'The Piper at the Gates of Dawn' in his The Wind in the Willows (1908) describe theophanies of Pan. The river in James Joyce's Finnegan's Wake (1939), fire in Elie Wiesel's Night (1958), the road in Matsuo Basho's 'The Narrow Road to the Deep North' (17th century) , E.M. Forster's 'The Road from Colonus' (1923), and John Bunyan's Pilgrim's Progress (1678) are three among many metaphors that express the sacred. Another metaphor of considerable religious significance is metamorphosis ('change'): Ovid's Metamorphosis, Apuleius' Metamorphosis (The Golden Ass) and Paul's Letter to the Corinthians make use of this metaphor. Students examine further texts of their own choosing and present them in a seminar. The course uses such texts to test Rudolph Otto's claim in his The Idea of the Holy (1917) that literature is a powerful vehicle for expressing the numinous or sacred: 'Far the best means are actual 'holy' situations or their representation in description.' The course explores examinations of particular metaphors, notably Susan Sontag's Illness as Metaphor and AIDS and Its Metaphors (1978 and 1989) in order to consider the role, negative or positive, of metaphor in thinking. A reading of Lakoff and Johnson's Metaphors We Live By (1980) considers the pervasiveness of metaphor in everyday life. The course, finally, explores explanations of metaphor, classically, Aristotle's account in his Poetics, and the abundant literature on metaphor produced in the 1980s that is now under further scrutiny. The course explores the connection between metaphor, the imagination in relation to theology and the sacred: the imagination is the capacity for creating and construing metaphor by which boundaries between fields of discourse are crossed, and notably in the field of discourse about the sacred. (The metaphor of the boundary is prominent in the autobiograpy of the theologian Paul Tillich). FORMAT: Three hour weekly seminar for two terms. ASSIGNMENTS: First Term - Seminar presentation of metaphor in a religious literary text 20%; Essay 20%; Second Term - Seminar presentation of a theory of metaphor 20%; Essay 40%; (Bibliography and Outline 10%, Essay 30%). REPRESENTATIVE READINGS: Aristotle. Poetics; Lakoff, George and Mark Johnson. Metaphors We Live By. U. of Chicago Press, 1980; Sontag, Susan. Illness as Metaphor and Aids and its Metaphors. New York: Anchor Books, 1990. [This book is required, and will be read first.] Sallis, John. Force of Imagination: The Sense of the Elemental. Indiana University Press, 2000; Seitz, James E. Motives for Metaphors. University of Pittsburgh Press, 1999; Soskice, Janet Martin. Metaphor and Religious Language. Clarendon Press, Oxford, 1985. 1987; White, Roger M. The Structure of Metaphor. Oxford; Cambridge, Mass. Blackwell, 1996. COURSE DIRECTOR:
  • 81. S. Ford, 041 McLaughlin College, ext. 77085 PROJECTED ENROLMENT: 20 RESERVED SPACES: Spaces reserved for Humanities & Religious Studies Majors and Minors. AS/HUMA 4881 3.0M (WINTER) AS/GER 4620 3.0 BERTOLT BRECHT: LITERATURE, CULTURE AND POLITICS (IN TRANSLATION)  CONTACT THE DEPARTMENT OF LANGUAGES, LITERATURES & LINGUISTICS FOR MORE INFORMATION: S561 ROSS BUILDING, 416-736-5016 PREREQUISITE: None. As this course is taught in translation, no knowledge of German is required. Students taking the course for major or minor credit in German Studies will work in both English and German as described below. For these students, AS/GER 2200 6.0 is a prerequisite or they must obtain departmental permission. Bertolt Brecht is regarded by many as German’s foremost playwright of the twentieth century. Some of the key questions addressed in this course will be: What was Brecht’s understanding of the relationship between literature and politics as shown in his works; what were Brecht’s approaches to culture and theatrical practice; and how do these approaches relate to the changed reality of today. There will be a discussion of Brecht’s highly disputed biography and selections of his theoretical writings, as well as critical reading of selected plays, including The Threepenny Opera, The Measures Taken, Mother Courage, The Resistible Rise of Arturo Ui, The Good Person of Szechwan and The Life of Galileo. Note: Students taking this course for German Studies major/minor credit will read German- language works in the original, and there is an extra hour (to be arranged) for discussion in German. For students who do not major or minor in German and for students who enrol in this course through the Division of Humanities, no knowledge of German is required. FORMAT: Three class hours weekly, with emphasis on discussion, and with background lectures as necessary. ASSIGNMENTS: Three tests – 50%; contribution to discussion – 15%; report – 10%; essay – 25%. REPRESENTATIVE READINGS: TBA. COURSE DIRECTOR: C. Kraenzle