THE UNIVERSITY OF TEXAS AT DALLAS
Graduate Program in the Humanities
HUMA 5300 001 Spring, 2005
Call 13787 Jo 4.312 M 3:30 - 6:15
Professor Gerald Soliday Offices: Jonsson 4.510 and 5.406
Hours: M 2:30-3:30 in Jo 4.510 and by appointment: 972-883-2670
E-mail: soliday@utdallas.edu Internet:
http://www.utdallas.edu/~soliday
Please note that all e-mail correspondence related to the course must
now occur through a UTD e-mail address.
Reference Librarian: Ms. Linda Snow McD 2.518
Consultation by appointment 972-883-2626
E-mail: snow@utdallas.edu
HUMA 5300: INTERDISCIPLINARY APPROACHES TO THE ARTS & HUMANITIES
HUMA
5300 is an introduction to the organization, requirements, and
interdisciplinary goals of the Humanities Graduate Program, which seeks to
integrate the arts and humanities and to join creative with critical
activities. As the core course of the
program, this proseminar serves at least two major purposes. First, students examine a variety of the
intellectual and artistic interests, scholarly methods, and interpretive
approaches in the arts and humanities today.
While many readings this term will focus on eighteenth- and early
nineteenth-century European culture, their point is to offer conceptual
perspectives that link historical, philosophical, literary, and artistic
concerns across the entire program.
Then, second, the course also emphasizes study and research techniques
that prepare students for later graduate work:
a critical engagement with different kinds of texts, the use of
reference and bibliographical materials in libraries and on the Internet, but
especially the development of research strategies.
Course requirements
include participation in class discussion of assigned readings [25%] and two
pieces of written work:
(a) a critical essay or book review [25%] due
18 October
(b) a proposal for a research paper or creative
project, with appended bibliography [50%] due
29 November
Please note that I can not
accept written assignments late, unless very unusual circumstances arise or
my permission is sought and granted in advance of the due date. Note also that you must submit all
assignments in order to pass the course.
All written work and class discussions for
this course are in gender-neutral, nonsexist language and rhetorical
constructions. Such practice is part of
a classroom situation according full respect and opportunity to all
participants by all others.
Written
work is submitted in paper copy, without cover pages or special folders. Simply put your name and course
identification at the top of the first page and staple the upper left corner. Papers are always paginated (at the bottom
and center of each page after the first), double-spaced, and presented in clear
10- to 12-point type.
Parenthetical
annotation is now strongly recommended, though any form of annotation (foot- or
endnotes) and bibliography is acceptable for this course, provided that you use
it correctly and consistently. Probably
most appropriate for your work in the arts and humanities are standard guides
like Joseph Gibaldi’s MLA Handbook
for Writers of Research Papers (6th ed.; NY, 2003) or Kate L. Turabian’s Manual for Writers of Term Papers, Theses,
and Dissertations (6th ed.; Chicago, 1996).
At
the same time, Diana Hacker's Rules for
Writers (5th ed.; Boston and NY, 2004) summarizes MLA stylistic
conventions, outlines current grammatical practices and mechanical
presentation, and offers helpful guidelines for researching and writing
papers. You may find it, her Research and Documentation in the electronic
Age (3rd ed.; Boston, 2002), and her Web site (www.dianahacker.com) especially useful
for your work in the course this semester.
Any
student who has not already read William Strunk Jr. and E. B. White, The Elements of Style (4th
ed.; Boston, 2000), should do so immediately.
I
should also mention that the eleventh edition of Merriam-Webster’s
Collegiate Dictionary (Springfield, MA, 2003) is now the standard for
everyday university work.
Most required readings as well as some recommended items for the course
are on reserve in the McDermott Library.
Paperback books used extensively are also for sale, if you wish to
purchase them, both in the University Bookstore and at Off-Campus Books. Rather than being on the library’s reserve
shelf, however, shorter readings marked with an asterisk (*) are available
online through the copy of this syllabus on my Internet Web site. Please note that those materials are under
copyright, you must always cite them properly, and you must have a password to
gain access to them. I will give you the
password in class.
Please also note that,
although I do not anticipate them, there may be some changes in the following schedule. If they
occur, I will announce them in class and post them on the syllabus at my Web
site on the Internet.
IMPORTANT NOTICE: all course correspondence by e-mail must now occur through the
student’s UTD e-mail address. UT-Dallas provides each student with a free e-mail account
that is to be used in all communication with university personnel. This allows
the university to maintain a high degree of confidence in the identity of all
individuals corresponding and the security of the transmitted information. The Department of
Information Resources at UTD provides a method for students to forward email
from other accounts to their UTD address and have their UTD mail sent on to
other accounts. Students may go to the following URL to establish or maintain
their official UTD computer account: http://netid.utdallas.edu/.
Every effort is made to
accommodate students with disabilities. The full range of resources available through
and procedures concerning Disability Services can be found at www.utdallas.edu/student/slife/hcsvc.html.
Scholastic dishonesty includes, but is not limited to: cheating,
plagiarism. collusion, and falsifying academic records. Please familiarize yourself with the
university's policies concerning scholastic dishonesty at www.utdallas.edu/student/slife/dishonesty.html.
10 Jan Introduction to the
Course
Organization
of the Humanities Graduate Program
All members of the course, but particularly those
new to UTD, are urged to
familiarize themselves with the organization of
the McDermott Library.
Likewise, please become familiar with our
graduate program home page
on the internet (http://www.utdallas.edu/dept/ah),
where you can find both
general
policy statements and also more specific guidelines and forms
that help implement them.
[Martin Luther King Day]
24 Jan Teaching the Conflicts
Discussion of Falling into Theory: Conflicting Views on Reading Literature,
ed. David H. Richter (2nd ed.); read
Richter's introductions carefully and then as
many of the individual selections as you can,
but feel free to omit in Part One
(Ohmann, During, Menard), in Part Two (Deleuze
and Guattari, Guillory, and
Bloom), and in Part Three (Barthes, Gilbert and
Gubar, Moi, Kolodny,
Spivak, Nussbaum, and Tucker).
31 Jan
Reading a “Literary” Text
Discussion of Samuel Taylor Coleridge, The Rime of
the Ancient
Mariner [1798,
1817], ed. Paul H. Fry (Boston and NY, 1999), 3-96
Earlier
Criticism: Formalism
Discussion
of *M. H. Abrams, “Introduction: Orientation of
Critical Theories,”
The
Mirror and the Lamp (Oxford, 1953), 3-29,
and *Sigurd Burckhardt,
“Notes
on the Theory of Intrinsic Interpretation,” Critical Theory Since Plato,
ed.
Hazard Adams (NY, 1971), 1201-1211
7 Feb Contemporary Criticism & The
Rime of the Ancient Mariner
Discussion of Coleridge, Rime, 97-342
14 Feb Literature &
History
Discussion of Eve Tavor Bannet, The Domestic Revolution: Enlightenment
Feminisms
and the Novel
21 Feb Historical
Interpretation Today
Discussion of New Perspectives on Historical Writing, ed. Peter Burke
(2nd ed.; University Park, 2001),
nos. 1-3, 7, 10-12; *Gertrude Himmelfarb,
"The New New History," The New History and the Old (Rev. ed.;
Cambridge,
2004), 15-30; and *Elizabeth A. Clark, History, Theory, Text: Historians and
the
Linguistic Turn, 63-155 [Clark-4, Clark-5, Clark-6, Clark-7]
28 Feb Reading a Text in Social
and Political Thought
Discussion of Mary Wollstonecraft, A Vindication of the Rights of Woman
[1792], ed. Carol H. Poston (2nd Norton Critical Edition)
[Spring
Break]
14 Mar Intellectual
History & the History of Ideas
Discussion of William H. Sewell Jr., A Rhetoric of Bourgeois Revolution:
The Abbé
Sièyes and What Is the Third Estate?
A New
Cultural History
Discussion of Lynn Hunt, Politics, Culture, and Class in the French
Revolution, 1-119
21 Mar First Paper Due [See the
guidelines for the paper on page five.]
Library Session: Reference Works, Bibliographic Aids, and
Electronic
Resources in
the Arts & Humanities
28 Mar Artistic Analysis &
Art History
Discussion of Jacques-Louis
David's "Marat," ed.
William Vaughn and
Helen Weston, 1-152
4 Apr Aesthetic Theory: Between Classicism and Romanticism
Discussion of *Joshua Reynolds, Discourses on Art [1797], ed. Robert
R. Wark (New Haven and London, 1975), Introduction, discourses II, III,
VI, VII, and XI. l will
read from Blake’s annotations to this text, esp. on
the discourses assigned.
Discussion of
Proposals for Research Topics or Creative Projects [Wickberg
on proposals]
11 Apr The Issue of Creative
Genius
Instructor's Report on Peter Kivy, The Possessor and the Possessed: Handel,
Mozart, and
the Idea of Musical Genius
Further
discussion of proposals
18 Apr Performance Practice in
Music: the Issue of Authenticity
Some Audio and Video Recordings of scenes from
Mozart operas
Further
discussion of proposals
25 Apr Proseminar Party at 4:00
p.m. at the Instructor’s Home
Research
Proposal & Bibliography Due [See the guidelines on the next page.]
Please attach a stamped self-addressed
envelope to the proposal, so I may
return it with comments and your marks for
the course.
Guidelines for Writing
Assignments
1. A Critical or Review Essay Due 21
March
In a critical essay or book review of some seven to ten pages,
you should address an interpretive issue or question raised in our readings and
discussions thus far in the course. The
central goal of this exercise is to practice your ability to evaluate scholarly
works or address critical approaches.
Draw principally (if not exclusively) from required or supplementary
course readings and assess how the authors define and conduct their research or
critical tasks: consider their questions
and conceptualization of topics or problems, their assumptions and theoretical
perspectives, as well as their specific methods, argumentation, and
conclusions. Summarize only to the
extent that is necessary to make your points and arguments clear. When relevant, compare different approaches
to a given course topic. Indeed, such
comparison is usually the most fruitful way to critique or review scholarly
work.
2. A Research Proposal Due 25
April
As your final assignment for HUMA 5300 this semester, you are
to prepare a proposal for a project or paper.
Your topic should deal with some aspect of European cultural life of the
eighteenth or early nineteenth century, though students who can demonstrate
sufficient progress in the graduate program toward a portfolio, casebook, or
dissertation in another area may write a proposal appropriate to their own
research purposes.
Make the proposal a short essay of eight to ten pages, in
which you define the topic and indicate why you think the subject or problem is
of interest and importance to people concerned with the interdisciplinary study
of the arts and humanities. Then explain
your research strategy, how you would go about investigating the subject: what methodological approaches, what kinds of
primary sources, what preliminary hypotheses would you employ in your
exploration of the topic? Please do not
mistake a discussion of techniques (consultation of national bibliographies,
searches on the internet, use of electronic databases, and the like) for a
research strategy, which must emphasize the intellectual or artistic bases for
your work as well as the specific help you expect from the documentary sources
and secondary works you plan to use.
While you will not be carrying out your proposal, it must nevertheless
be a practicable research plan. Think in
terms of an issue, theme, or project that could be explored in some depth in a
long (twenty-five- to thirty-page) seminar paper, an M.A.T. casebook, or
perhaps a section of a doctoral dissertation.
To ensure practicability, you must append a bibliography of some thirty
to forty items, divided into primary sources and secondary works. Use proper bibliographical form and indicate
a library and a call number for each item (should it not be available in the
Dallas-Fort Worth area, however, you need include only a library from which it
could be ordered through interlibrary loan).
Do not "pad" the bibliography.
If you think an item is likely to raise doubts in the instructor's mind
about its relevance to your topic, indicate briefly why you think it
helpful. In a sense, then, you are
providing an annotated bibliography, though your annotations concern the
location and relevance rather than a substantive evaluation of the titles
listed.
The typed proposal with its appended bibliography is due on
Monday, 25 April, at my home, where we will meet for an end-of-term party. Please attach a stamped self-addressed
envelope, so I may return the proposal with comments as well as your marks for
the course.
HUMA 5300 001 Some Recommended Readings
Literary Theory & Criticism
Terry Eagleton, Literary
Theory (1983)
Lois Tyson, Critical
Theory Today: A User-Friendly Guide (1999)
The Johns Hopkins Guide
to Literary Theory & Criticism, ed. Michael Groden and Martin
Kreiswirth (1994)
Encyclopedia of Contemporary Literary
Theory, ed. Irena R. Makaryk (1993)
Redrawing the
Boundaries: The Transformation of
English and American Literary Studies, ed. Stephen
Greenblatt and Giles Gunn (1992)
Gerald Graff, Professing
Literature: An Institutional History (1987)
Jonathan Culler, On Deconstruction (1982)
Robert Scholes,
Protocols of Reading (1989)
New Historical Literary
Study, ed. Jeffrey Cox and L. Reynolds
(1993)
The New Historicism,
ed. H. Aram Veeser (1989)
Feminisms, ed. Robyn
Warhol and Diane Price Herndl (1991)
General Cultural Theory
Postmodernism, ed.
Thomas Docherty (1993)
Clifford Geertz, The
Interpretation of Cultures (1973)
___, Local
Knowledge (1983)
John Storey, Cultural
Studies & the Study of Popular Culture:
Theories and Methods (1996)
Peter Burke, Varieties of Cultural History (1997)
Historical Studies:
The History of Ideas & Cultural History
Keith Jenkins, On “What
is History?” (1995)
Philippe Carrard,
Poetics of the New History: French
Historical Discourse from Braudel to Chartier
(1992)
Chartier, Roger, On the
Edge of the Cliff: History, Language,
and Practices (1997)
John Toews, "Intellectual History after the Linguistic
Turn," American Historical Review
92 (1987): 879-907
The exchange between David Harlan and David Hollinger ibid., 94 (1989): 581-626
Arthur Lovejoy, “The Historiography of Ideas” [1938], Essays in the History of Ideas (Baltimore,
1948): 1-13
Daniel Wickberg, “Intellectual History vs. the Social
Historyof Intellectuals,” Rethinking History 5 (2001):
383-395
Joyce Appleby, L. Hunt, and M. Jacob, Telling the Truth about History (1994)
Dena Goodman, The Republic of Letters: A
Cultural History of the French Enlightenment (1994)
Roger Chartier, The Cultural
Origins of the French Revolution (1991)
Thomas Munck, The
Enlightenment: A Comparative Social
History 1721-1794 (2000)
T.C.W. Blanning, The Culture
of Power and the Power of Culture : Old Regime Europe, 1660-1789 (2001
Women’s History
& Feminist Literary Criticism
Joan Kelly, Women,
History, and Theory (1984)
Joan W. Scott, Gender
and the Politics of History (1988)
The New Feminist
Criticism, ed. Elaine Showalter
(1985)
Mary Poovey, The Proper Lady
and the Woman Writer: Ideology as Style
in the Works of Mary Wollstonecraft,
Mary
Shelley, and Jane Austen (1984)
Marilyn Butler, Jane
Austen and the War of Ideas (1975)
Aesthetics:
Theory & Art Criticism and History
Pierre Bourdieu, Distinction (1984)
and The Field of Cultural Production
(1993)
Terry Eagleton, The
Ideology of the Aesthetic (1990)
Janet Wolff, Aesthetics
and the Sociology of Art (1993)
___, The Social
Production of Art (1981)
Paul O. Kristeller, “The Modern Theory of the Arts,” Renaissance Thought and the Arts (Princeton,
1980): 163-227
[originally 1951-52]
Martha Woodmansee, The
Author, Art, and the Market: Rereading
the History of Aesthetics (1994)
Visual Theory, ed.
Norman Bryson, Michael Ann Holly, and Keith Moxie (1991)
Francis Haskell, Rediscoveries
in Art (1976)
Michael Baxandall,
Patterns of Intention (1985)
Nigel Warburton, The Art
Question (2003)
Thalia Gouma-Peterson and P. Mathews, "The Feminist
Critique of Art History," Art Bulletin
69 (1987): 326-357
The Expanding
Discourse: Feminism and Art History,
ed. Norma Broude and Mary Garrard (1992)
Catherine M. Soussloff, The
Absolute Artist: Historiography of a Concept (1997)
John Barrell, The
Political Theory of Painting from Reynolds to Hazlitt (1986)
Thomas Crow, Painters
and Public Life in Eighteenth-Century Paris
(1985)
___, Emulation: Making Artists for Revolutionary France (1995)
Mary Sheriff, Fragonard: Art & Eroticism (1990)
___, The Exceptional
Woman: Elisabeth Vigée-Lebrun and the
Cultural Politics of Art (1996)
Alex Potts, Flesh and the Ideal: Winckelmann and the
Origins of Art History (1994)
Authenticity and Early
Music, ed. Nicholas Kenyon (1988)
Peter Kivy, Authenticities:
Philosophical Reflections on Musical Performance (1997)
Richard Leppert, Music
and Image: Domesticity, Ideology, and Socio-Cultural Formation in Eighteenth-
Century
England (1988)
William Weber, "Learned and General Musical Taste
in Eighteenth-Century France," Past
& Present 89 (1980):
58-85
___,
"The Contemporaneity of Eighteenth-Century Musical Taste," Musical Quarterly 70 (1984): 175-194
___, The Rise of
Musical Classics in Eighteenth-Century England:
A Study in Canon, Ritual, and
Ideology
(1992)
Lydia Goehr, The
Imaginary Museum of Musical Works (1992)
Tia DeNora, Beethoven
and the Construction of Genius: Musical Politics in Vienna, 1792-1803 (1995)
James H. Johnson, Listening
in Paris: A Cultural History (1995)