SECTION & COURSE BLOG
Phelps Hall


COMPLIT 30A (Pr. Kittler, F10)

From Classical to Medieval Literature
~ Lecture ~
Tuesday & Thursday 09:30-10:45 a.m.
kittler@gss.ucsb.edu
Office hour: Thursday from 11:00 to 12:00 p.m. in
~ Discussion ~
Tuesday from 01:00 to 01:50 in GIRV 2123 (49247)
Tuesday from 02:00 to 02:50 in GIRV 2116 (49312)
Office hours: Tuesday from 11:00 to 12:50 p.m.
You may also schedule an appointment with a 36-hour notice (will increase our chances to be able to meet).

Important: Academic Advising
2. Special Subject Area Requirements
Writing Requirement (required for all degrees)
"Six approved courses that meet the following criteria:
.One to three papers totaling at least 1,800 words.
.The paper(s) are independent of, or in addition to, written examinations.
.The paper(s) are a significant consideration in the assessment of your performance in the course; normally, at least 25%."

CL30A: Links

Podcast on Epic Poetry
Handout for The Odyssey

Paper Topics: Updated

Mid-term exam: On-line Study Group

Definition of enjambment vs end-stopped
Definition of verse < stanza
(see the "Glossary" posted on the right-hand side under the heading "From Reading to Writing")

Passages from another text by Ovid: The Art of Love. Handout for Ovid and Petronius (for the .doc version, click here). Please, if you had not done it, print the Paper-Writing Guide and bring it with you to section -if not today, we'll use it next week. Verse translation of "Narcissus and Echo."


COMPLIT 30B (Ins. Cain, M09-Session A)

The Decameron
The Merchant of Venice
Don Juan
Roxana
Emilia Galotti

Course Details
The aim of this literary journey through Italy, England, France, and Germany is to highlight some major works of Western European literature as well as to discover the different conceptions of marriage, love, and the family from the Renaissance to the mid/late-eighteenth-century. Its focuses include historical considerations such as the rise of the individual and the status of women, as well as theoretical ones such as the influence of literature and the social reality on each other.

M T W R from 11:00 to 12:25 in Girvetz Hall 2128

Don Juan: Lecture Notes

From Dynastic to Domestic

The Merchant and The Jew: A Marriage of Convenience

Don Juan: The Legend Continues

Wednesday, January 30

Clowns as stage characters

Source: Wikipedia

In Europe, up until as late as the 19th century the clown was a typical everyday character, and often appeared in carnivals. The performance is symbolic of liminality - being outside the rules of regular society the clown is able to subvert the normal order, and this basic premise is contemporarily used by many activists to point out social absurdity. A popular early form of clown was the fool, a role that can be traced back as far as ancient Egypt and appears as the first card in the tarot deck. Most fools suffered from some mental or physical deformity such as dwarfism, and were given to the local landlord as a charge, because their families were unable to look after them, and the surrounding communities often feared them. They were the butt of jokes, and their masters had the power to inflict violence upon them and even take their lives. However, being perceived 'idiots' they were often the only people in court who enjoyed free speech, and during the 16th century, especially in France, actors began to train as fools often in order to have the ability to make satirical comment. This is mainly where we get the contemporary idea of the court jester. There is evidence of the 'wise fool' similar in function to the jester in many other cultures. Clowns of this era and eras previous to it were also associated with jugglers, who were seen as pariahs of society alongside actors, prostitutes and lepers, and thus (at least in Europe) wore stripes, or motley - cloth associated with marginalised people such as the condemned, with strong associations with the devil. Jugglers often used clowning techniques, and the later court jesters often danced, performed acrobatics and juggled. During the 16th century the Commedia dell'arte also became a huge influence on perceptions of the clown in Europe, and influence which passed through pantomime, into vaudeville and on to the touring circuses of the 19th and 20th centuries. The Commedia took influences from the grotesque masked clowns of carnivals and mysteries.

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