The course will examine the long history of parrhesia, the Greek term for free and fearless speech, from ancient Athens to its current renaissance through the rediscovery by Michel Foucault. Throughout we will contend with key questions and dilemmas faced by culture producers in the age of decolonization: What is the role of artists in a revolution? How does culture serve as a staging-ground larger political and ideological conflicts? What are the promises and pitfalls of treating decolonization as a metaphor? To answer these and other related questions, we will draw on case studies from the Harlem Renaissance, the Proletarian Literature movement, Haitian and Latin American Indigenist movements, Négritude, and Third Worldism. This course traces this evolving global discourse linking culture and decolonization across the twentieth century, exploring how writers and activists from the colonial world articulated a new cultural agenda within the context of broader programs of social transformation. At the same that culture was instrumentalized for larger political struggles, meanwhile, “culture” itself was increasingly understood as a distinct site of struggle: The decolonization of culture was part and parcel of the decolonization of peoples.
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Beginning with the global upswell of revolutionary movements at the end of World War I, intellectuals and artists from the colonial world began to enlist poetry, novels, art, music and other cultural forms in the struggle for decolonization. This course introduces students to the various theories of militant or “fighting” cultures engendered by global struggles for decolonization throughout the twentieth century. Prerequisite: At least one quarter of any Humanities Core sequence. All readings are available in translation, but students with reading knowledge of Hebrew, German, or French are welcome to read certain texts in the original languages. Supplementary readings include scholarship by authors like Daniel Boyarin, Henry Louis Gates Jr., Paul Gilroy, Barbara Johnson, Albert Raboteau, and Michael Walzer. The course thus serves as an introduction to comparative methodologies for cultural studies: diachronic, transcultural, and intermedial. Harper, Zora Neale Hurston, Alain Mabanckou, Thomas Mann, and Avivah Gottlieb Zornberg. DeMille’s 1923 silent blockbuster The Ten Commandments Freud’s Moses and Monotheism and a response to Freud by Edward Said and literary writings by Yehuda Amichai, Shulamith Hareven, Frances E. These include visual artworks (Michelangelo, Chagall) music (Schoenberg, African American spiritual songs) Cecil B. Our journey begins with the books of Exodus and Deuteronomy as well as early rabbinic and Christian exegesis before moving on to more recent representations and interpretations. In this discussion-based seminar course, we’ll reflect on both of these aspects of the Exodus story as it is told and retold in modernity. At the same time, the sheer number of interpretations and retellings of the story of Moses and the Exodus of the ancient Israelites from Egypt suggests the contradictions and ambiguities which persistently haunt those political projects. The biblical figure of Moses has furnished a diverse range of interpreters-from the early Rabbis, to Black abolitionist activists in the antebellum U.S., to mid-20th century German authors challenging Nazism-with a powerful exemplar of the potential of emancipation and the meaning of national identity. “Moses fails to enter Canaan, not because his life is too short, but because it is a human life.” “The story of Moses is at once the most nationalist and the most multiculturalist of narratives.”
#EPHEMERAL RIFT MANLY TV#
Considering the contexts of post-colonization, nationalism, and globalization, we analyze how mass media-comic books, TV series, films, and social media-shape and spread those views to new popular audiences. We will read these texts closely and examine how they reflect particular views of the human condition within religious worldviews. We employ a comparative approach to the genre our readings originate in different world regions and historical periods-from ancient India and Greece to West Africa, England, and the contemporary US.
By following the winding quests and gory battles of these narratives, students examine how epics present various forms of human-divine relationships-transactional, intimate, inspirational, and manipulative. We read the epics through the relationships of its central characters-humans, heroes, and gods.
What can epic literature and media teach us about religion? In this introductory seminar, students explore answers to this question, focusing on the ways epics dramatize the human relationship to divinity.
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