Video Training → TTC – Understanding Literature and Life: Drama, Poetry and Narrative

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  TTC – Understanding Literature and Life: Drama, Poetry and Narrative
  Video Training | 12.03 GB

  
  http://www.teach12.com/tgc/courses/course_detail.aspx?cid=210
  
  Description
  (64 lectures, 30 minutes/lecture)
  Course No. 210
  Taught by Arnold Weinstein
  Brown University
  Ph.D., Harvard University
  
  640?480 Xvid .avi
  128 kbps CBR MP3
  
  This course is an introduction to the major texts of Western culture.
  
  Ranging from antiquity to the present, it places special emphasis on several of literature’s most important aspects:
  
  the uniqueness of literary language
  the formal and generic conventions of literary production
  the position that literature occupies as a site for historical and ideological forces and conflicts
  the continuing human significance of the great works of the past and the present.
  All too often, people fail to give the great books the attention they deserve.
  
  They might feel locked out of these masterpieces because they believe themselves unequipped to savor their richness. Or they might feel that great literature has only some antiquarian or museum value.
  
  A Gratifying and Enlightening Experience
  This course empowers you to enter into these great works of the past. Taught by an extraordinary scholar and educator, it is a gratifying experience that can widen your views on self and society in enduring ways.
  
  Dr. Arnold Weinstein of Brown University has been honored as Brown’s Best Teacher in the Humanities and has studied and taught at major universities all over the world.
  
  His remarkable ability to make a writer’s voice come alive makes this one of our most exciting literature courses. And he has made a point of creating a wide-ranging, enriching experience.
  
  The course has been designed to exhibit not only the themes and techniques of great literature but also to expose both the power and limitations of several different analytic tools in assisting our understanding of these monuments of the human spirit, including:
  
  Feminism
  Marxism
  Freudianism
  Deconstruction
  “Close reading.”
  A “Pandora’s Box” of “Potent Stuff”
  “Literature—that of the past and that of the present—is potent stuff,” says Professor Weinstein, serving not only as transcription of history but also as a verbal Pandora’s box, capable of shedding light on those transactions which remain in the dark for many of us: love, death, fear, desire.
  
  “We are talking about more than artful language; we are talking about the life of the past and the life of the world.”
  
  These lectures with Professor Weinstein examine great works in the three forms of literary expression: drama, poetry, and narrative.
  
  Understanding Drama
  The lectures on drama begin with the pre-eminent text of Western culture, Sophocles’s Oedipus the King, continue through Shakespeare and Moliere, and then go on to the realist and naturalist work of the 19th century, closing with Beckett’s Waiting for Godot.
  
  Theater itself is a profoundly social art form. It possessed a religious character for the Greeks and its staging of values and crises are still resonant today.
  
  The sequence of plays discussed thus illuminate for us the changing notions of “representative man,” from Sophocles’s king to Beckett’s clowns.
  
  You learn that theatrical literature makes visible the conflicts and wars of culture in ways other forms cannot manage, because theater is founded on the agon, the struggle between disparate subjectivities and voices.
  
  Notions of self, human relationship, and meaningful action are debated, forged, actualized, and undone before our very eyes. This enables a holistic and environmental picture of life that we do not have in our daily affairs.
  
  Understanding Poetry
  Poetry is at once the most artful and most elemental form of literature.
  
  Its conventions of rhyme, meter, metaphor, and the like distinguish poetry unmistakably from the prose we use all the time. It enables it to go to the heart of human existence with a purity and power akin to surgery.
  
  It is truly a privileged form of expression, a mode of discovery that bids to challenge and change the way we customarily do business.
  
  The means by which it gains its remarkable power include its:
  
  “thickened” language
  economy of verse
  startling vistas of metaphor and simile
  play of rhythm
  sheer concentration of vision.
  Unique Portraits of Private Psyche and Public Setting
  From Shakespeare’s sonnets through the great poets of our own times, Dr. Weinstein demonstrates what a bristling human document the poem can be and how it offers a unique portrait of private psyche and public setting.
  
  More than any other art form, poetry captures the dance of the human mind. It displays for us the way meanings are made and makes us understand just how precious a resource language itself is in our lives.
  
  Understanding Narrative
  Narrative is doubtless the most familiar form of literary expression, since everyone reads, or used to read, novels.
  
  The perspective of this section is long-range, with the lectures beginning with a medieval Arthurian romance and closing with Alice Walker’s The Color Purple.
  
  They focus on a varied list of works, including:
  
  the picaresque classic, The Swindler
  the 18th-century saga of a self-made woman, Moll Flanders
  the classic coming-of-age stories of Dickens and Bronte
  the metaphysical probes of Melville and Kafka
  the painful questions about race and progress in Faulkner’s The Bear.
  The lectures reveal some astonishing common ground, including the emphasis on rites-of-passage; the “fit” or “misfit” between self and society; the creation of an identity; and the play, weight, and presence of the past.
  
  You learn that narrative is especially constituted to convey the curve of time in human life; the central business of the novel is to tell the life story, enabling a possession of that life that is hardly imaginable any other way.
  
  Encounter Works of Undisputed Value
  Though notions of “completeness” and coverage make little sense in a course such as this, the texts chosen are of undisputed literary and historical value and place particular emphasis on the English and American traditions.
  
  Dr. Weinstein’s approach to each of these works is many-faceted, including:
  
  acquaintance with the historical moment
  introduction to the verbal and formal features of the work
  close study of both the artist’s craft and the larger meanings of the text
  final consideration of the “life” of the text
  its analogues in other cultures
  its continued vitality in other times.
  This course is meant to widen your view by utilizing single texts as touchstones for other texts and other moments.
  
  A Dialogue of Books, Across the Centuries
  Reading great literature makes it possible to grasp something of the march and struggles of history and to apprehend the contours of a second history—a history composed of books that signal to one another and which are revisited and replayed throughout the centuries.
  
  “Civilization and its discontents” is Freud’s term for the external and internal warfare and policing that characterize the work of culture.
  
  These lectures show that works of art give us vital testimony about the actual cost of civilization; about the tensions between anarchy and order and between experience and language.
  
  “It should be no surprise,” notes Dr. Weinstein, “that literature is a privileged locus for these conflicts, conflicts that we would scarcely understand at all if it were not for the record provided by art.
  
  “The study of literature, then, must be both microscopic and macroscopic, attuned to the nuances and craft of artistic packaging no less than the larger philosophical and socio-political forces that attend human life.”
  
  Course Lecture Titles
  
  1. Why Literature—Civilization and Its Discontents
  2. Oedipus the King and the Nature of Greek Tragedy
  3. Fate and Free Will—Reading the Signs in Oedipus
  4. Self—making vs. Self—discovery in Oedipus
  5. The Interpretive Afterlife of Oedipus
  6. Shakespeare’s Othello—Tragedy of Marriage and State
  7. Poison in the Ear, or the Dismantling of Othello
  8. Rethinking Othello—Race, Gender and Subjectivity
  9. French Theater and Moliere’s Comedy of Vices
  10. Tartuffe and Varieties of Imposture
  11. Religious Hypocrisy—Beyond Comedy
  12. Georg Buchner—Physician, Revolutionary, Playwright
  13. Woyzeck the Proletarian Murderer—”Unaccommodated Man”
  14. Woyzeck and Visionary Theater
  15. Strindberg’s Father—Patriarchy in Trouble
  16. Marriage—Theatrical Agon or Darwinian Struggle?
  17. The Father—From Theater of Power to Power of Theater
  18. Beckett’s Godot—Chaplinesque or Post-nuclear?
  19. Beckett and the Comedy of Undoing
  20. Godot Absent—Didi and Gogo Present
  21. Study of Literature—Approaches, Encounters, Departures
  22. Shakespeare’s Sonnets—The Glory of Poetry
  23. The Shape of Love and Death in Shakespeare’s Sonnets
  24. Innocence and Experience in William Blake
  25. Blakean Fables of Desire
  26. Blake—Visionary Poet
  27. Whitman and the Making of an American Bard
  28. Myself as Whitman’s Nineteenth-Century American Hero
  29. Form and Flux, Openness and Anxiety in Whitman’s Poetry
  30. Emily Dickinson—The Prophetic Voice from the Margins
  31. Dickinson and the Poetry of Consciousness
  32. Dickinson—Death and Beyond
  33. Baudelaire—The Setting of the Romantic Sun
  34. Baudelaire’s Poetry of Modernism and Metropolis
  35. Robert Frost—The Wisdom of the People
  36. Frost—The Darker View
  37. Wallace Stevens and the Modernist Movement
  38. Stevens and the Post-Romantic Imagination
  39. Adrienne Rich and the Poetry of Protest
  40. Rich’s Project—Diving into the Wreck of Western Culture
  41. The Lives of the Word—Reading Today
  42. Chretien de Troyes’ Yvain—Growing Up in the Middle Ages
  43. Yvain’s Theme—Ignorant Armies Clash By Night
  44. The Picaresque Novel—Satire, Filth and Hustling
  45. Francisco Quevedo’s Swindler—The Word on the Street
  46. Daniel Defoe’s Plain Style and the New World Order
  47. Moll Flanders and the Self-made Woman
  48. Matter and Spirit in Defoe
  49. Dickens—The Novel as Moral Institution
  50. Pip’s Progress—From Blacksmith to Snob and Back
  51. Riddles of Identity in Great Expectations
  52. Charlotte Bronte and the Bildungsroman
  53. Jane Eyre—Victorian Bad Girl Makes Good
  54. The Madwoman in the Attic—19th Century Bills Coming Due
  55. Melville’s “Bartleby” and the Genesis of Character
  56. Bartleby—Christ on Wall Street?
  57. Franz Kafka’s “Metamorphosis”—Sacrifice or Power Game?
  58. Kafka’s “In the Penal Colony”—The Writing Machine
  59. Faulkner’s “The Bear”—Stories of White and Black
  60. The Bear—American Myth or American History?
  61. Tracking the Bear, or Learning to Read
  62. Alice Walker’s Celie—The Untold Story
  63. Ideology as Vision in The Color Purple
  64. Reconceiving Center and Margin
  
  

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