Arhiva kategorije: 8. i 10. semestar : ST-link-KNJIŽEVNI KOLEGIJI

Povijest i paradigme Američkih studija 2 (Šesnić, 2019)

Course title: Povijest i paradigme američkih studija 2 (A) (19/20. st.)
(The History and Paradigms of American Studies 2 (A, 19th c./20th c.))

Instructor: Dr. Jelena Šesnić
ECTS credits: 6
Status: elective (obligatory for American Studies majors in the 2nd semester)
Enrollment requirements: enrollment in the 2nd and/or 4th semester

Course description: This course is a companion course to the History and Paradigms of American Studies1 which investigates the origins of the discipline of American Studies. Since the 1970s, however, the discipline has undertaken to interrogate some of its main premises based on the changing conceptions of U.S. society and the nation-state. Even though the revisionist interventions began to be felt already in the 1970s, we will posit as a starting point of our inquiry a methodological break observable in the 1980s as “ideology” becomes a necessary accompaniment of any AS inquiry. The next historical break—the end of the Cold War in 1989—indicates another momentous shift as we follow the developments thereafter. These will demonstrate the efforts by so-called New Americanists to devise contesting models of American culture, while the emphases in their agendas may differ, as our readings will show. In the process of revising American Studies various theories have been made use of, ranging from New Historicism to poststructuralism, to ethnic/ race, feminist and gender studies to Marxism and cultural studies to transnational perspectives. In the process it becomes evident how each new methodology in the discipline invents, as it were, a new conception of “America” as its object of study while ur-theories and underlying conceptions in the discipline of AS show great resilience and attest to the discipline’s continuity. In the last part of the course the foregoing theories will be tested on an array of texts. The course is obligatory for AS majors and elective for other English MA students.

Course requirements: regular attendance, participation in class discussions, mid-term and final test (continuous assessment), presentation in class, written assignments and a final seminar paper

Syllabus (alterations possible):

Primary works:

1. Henry David Thoreau: Walden (1854). Multiple copies in the library; begin reading from session one.
2. Joel and Ethan Coen: True Grit (film; 2010)
3. Bruce Springsteen: selection
4. Benjamin Franklin’s Autobiography (1790?). Available in the library; start reading early.

February/ March

Week 1: Laying the ground for (new) American Studies: disciplinary premises and theoretical frameworks (Castiglia: from The Practices of Hope). Begin reading Walden.

Week 2: Castiglia: cont. Ideology and readings of American artefacts in the 1980s and beyond: H. D. Thoreau: Walden (1854). Exemplary approaches to Walden: 1. Michael Gilmore: “Walden and the ‘Curse of Trade’”

Week 3: Gilmore: cont. Exemplary approaches to Walden: 2. Lawrence Buell: “Walden’s Environmental Projects”

Week 4: Exemplary approaches to Walden: 3. Stanley Cavell: from The Senses of Walden. Individual project 1.

Week 5: Ideology and readings of American artefacts: revision of the frontier myth: Joel and Ethan Coen: True Grit (2010). 1. Richard Slotkin: from Gunfighter Nation.

April

Week 6: CEEPUS guest lecturer: Professor Reka Cristian (University of Szeged). Topic: tba.

Week 7: Revisions of the frontier myth: 2. Patricia N. Limerick: from Something in the Soil; Neil Campbell, from Post-Westerns: Cinema, Region, West.

Week 8: Ideology and readings of American artefacts: identity approaches (race, ethnicity, gender, class and religious identities): African American studies. Mid-term test.

Week 9: CEEPUS guest lecturer: Professor Aleksandra Izgarjan (University of Novi Sad). Topic: tba.

Week 10: Chicano and Latino studies. Individual project 2.

May

Week 11: Asian American studies.

Week 12: Case study 1: Bruce Springsteen: masculinity, religion, ethnicity, nationalism. Selection from Womack et al., ed., Bruce Springsteen, Cultural Studies, and the Runaway American Dream

Week 13: Case study 2: Charles Murray, from Coming Apart: The State of White America, 1960-2010

Week 14: Case study 3: Benjamin Franklin’s Autobiography (1791, 1793; Shapiro). Seminar paper deadline.

June

Week 15: Benjanim Franklin, cont. Castronovo: “Benjamin Franklin and Wiki Leaks.” Final test. Course evaluation.

Additional reading

– Bercovitch, Sacvan, and Myra Jehlen, eds. Ideology and Classic American Literature. Cambridge: Cambridge UP, 1986.

– Buell, Lawrence. The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture. Cambridge and London: The Belknap P of Harvard UP, 1995.

– Campbell, Neil. Post-Westerns: Cinema, Region, West. Lincoln and London: U of Nebraska P, 2013.

– Castiglia, Christopher. The Practices of Hope: Literary Criticism in Disenchanted Times. New York: New York UP, 2017.

– Cavell, Stanley. The Senses of Walden. An expanded ed. Chicago and London: The U Chicago P, 1992.

– Limerick, Patricia Nelson. Something in the Soil: Legacies and Reckonings in the New West. New York, London: W.W. Norton, 2000.

– Murray, Charles. Coming Apart: The State of White America, 1960-2000. New York: Crown Forum, 2012.

– Rowe, John Carlos, ed. A Concise Companion to American Studies. Malden, Oxford: Wiley-Blackwell, 2010.

– Shapiro, Stephen. The Culture and Commerce of the Early American Novel: Reading the Atlantic World System. University Park: The Pennsylvania State UP, 2008.

– Slotkin, Richard. Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America. Norman: U of Oklahoma P, 1992.

– Womack, Kenneth, Jerry Zolten, and Mark Bernhard, eds. Bruce Springsteen, Cultural Studies, and the Runaway American Dream. Farnham, Brulington: Ashgate, 2012.

A course reader with assigned readings will be provided on Omega.

 

 

Povijest i paradigme Američkih studija 2 (Šesnić, 2018)(arhiva)

Course title: The History and Paradigms of American Studies 2 (A, 19th c./20th c.)
Instructor: Dr. Jelena Šesnić
ECTS credits: 6
Status: elective (obligatory for American Studies majors in the 2nd semester)
Enrollment requirements: enrollment in the 2nd and/or 4th semester

Course description: This course is a companion course to the History and Paradigms of American Studies1 which investigates the origins of the discipline of American Studies. Since the 1970s, however, the discipline has undertaken to interrogate some of its main premises based on the changing conceptions of U.S. society and the nation-state. Even though the revisionist interventions begin to be felt already in the 1970s, we will posit as a starting point of our inquiry a methodological break observable in the 1980s as “ideology” becomes a necessary accompaniment of any AS inquiry. The next historical break—the end of the Cold War in 1989—indicates another momentous shift as we follow the developments thereafter. The next point of interest is 9/11 and the way it refocused the work in the discipline. These will demonstrate the efforts by so-called New Americanists to devise contesting models of American culture, while the emphases in their agendas may differ, as our readings will show. In the process of revising American Studies various theories have been made use of, ranging from New Historicism to poststructuralism, to ethnic/ race, feminist and gender studies to Marxism and cultural studies to transnational perspectives. In the process it becomes evident how each new methodology in the discipline invents, as it were, a new conception of “America” as its object of study while ur-theories and underlying conceptions in the discipline of AS show great resilience and attest to continuity. In the last part of the course the foregoing theories will be tested on an array of texts. The course is obligatory for AS majors and elective for other  English MA students.
Course requirements: regular attendance, participation in class discussions, mid-term and final test (continuous assessment), presentation in class, written assignments and a final seminar paper

Syllabus (alterations possible):

Week 1: Laying the ground for (new) American Studies: disciplinary premises and theoretical frameworks (Fluck, L. Marx, Pease, Spanos)

Week 2: Ideology and readings of American artefacts in the 1980s and beyond: L. Marx, revision of American pastoralism)

Week 3: Ideology and readings of American artefacts: R. Slotkin, revision of the frontier myth

Week 4: Ideology and readings of American artefacts: S. Bercovitch, revision of the Puritan hypothesis; Spanos

Week 5: Ideology and readings of American artefacts: identity approaches (race, ethnicity, gender, class and religious identities): ethnic studies and American studies (G. Lipsitz; T. Chakkalakal; P. Chu)

Week 6: Identity approaches: class and American studies (M. Denning; W. Fluck)

Week 7: Identity approaches: religion and American studies (J. Mechling; K. Lofton)

Week 8:  Mid-term test.

Week 9: Identity approaches: gender and American studies (Sh. Samuels)

Week 10: Post 9/11 and a new state of the discipline: J. C. Rowe; D. Watson

Week 11: Contemporary America: politics, society, the economy: Love Guv series

Week 12: Case study 1: Benjamin Franklin’s Autobiography (1791, 1793; Shapiro)

Week 13: Case study 2: Lin-Manuel Miranda: Hamilton (musical, 2015) (The Federalist Papers, 1787/88; Ambrose)

Week 14: Case study 3: C. L. R. James: Mariners, Renegades and Castaways: The Story of Herman Melville and the World We Live In (excerpts) (Pease)

Week 15: Final test. Course evaluation.

Readings (selection)

– Bercovitch, Sacvan, and Myra Jehlen, eds. Ideology and Classic American Literature. Cambridge: Cambridge University Press, 1986. (selection)

– Grgas, Stipe. Američki studiji danas: identitet, kapital, spacijalnost. Zagreb: Meandar, 2015. (selection)

– Fluck, Winfried, Donald E. Pease, and John Carlos Rowe, eds. Re-Framing the Transnational Turn in American Studies. Hanover, NH: Dartmouth College Press, 2011. (selection)

– Levander, Caroline and Robert S. Levine, eds. A Companion to American Literary Studies. Malden, Oxford: Wiley-Blackwell, 2011. (selection)

-Pease, Donald, and Robyn Wiegman, eds. The Futures of American Studies. Durham and London: Duke University Press, 2002. (selection)

– Rowe, John Carlos, ed. A Concise Companion to American Studies. Malden, Oxford: Wiley-Blackwell, 2010. (selection)

– Rowe, John Carlos.  The Cultural Politics of the New American Studies. Ann Arbor: University of Michigan Library, 2012.Open Humanities Press. http://www.scribd.com/doc/132330117/Rowe-The-Cultural-Politics-of-the-New-American-Studies (selection)

– Shu, Yuan, and Donald E. Pease, eds. American Studies as Transnational Practice: Turning towards the Transpacific. Hanover, NH: Dartmouth College P, 2015.

A course reader with assigned readings will be provided on Omega.

 

 

Etika i estetika britanskog modernizma

Naziv kolegija: Etika i estetika britanskog modernizma
Nastavnica: dr. sc. Martina Domines Veliki, docent
Jezik: engleski
Trajanje: 2. i 4. semestar
Status: izborni
Oblik nastave: 1 sat predavanja i 2 sat seminara tjedno
Uvjeti: završen preddiplomski studij anglistike, upisan 2./4. semestar diplomskog studija

Okvirni sadržaj predmeta:
Kolegij je zamišljen na način da kroz teoriju traume i nove studije siromaštva progovori o poziciji modernističkog subjekta u širem društveno-političkom kontekstu uoči i nakon Prvog svjetskog rata.
Studentske obveze: kontinuirano praćenje (prvi kolokvij sredinom semestra i drugi u zadnjem tjednu nastave), u konačnu ocjenu ulazi i seminarski rad, pohađanje nastave, te aktivnost na satu.

Sadržaj kolegija po tjednima:

    1. tjedan: Društveno-povijesni kontekst, opće odrednice modernizma
    2. tjedan: Prvi svjetski rat i ratna trauma
    3. tjedan: Mrs. Dalloway (1925)
    4. tjedan: nastavak Mrs. Dalloway
    5. tjedan: Robert Graves, Siegfried Sassoon, Wilfred Owen (odabir pjesama)
    6. tjedan: Goodbye To All That (1929)
    7. tjedan: kolokvij
    8. tjedan: novi studiji siromaštva, uvod
    9. tjedan: Sons and Lovers (1931)
    10. tjedan: nastavak Sons and Lovers
    11. tjedan: Down and Out in Paris and London (1933)
    12. tjedan: nastavak Down and Out
    13. tjedan: Pygmalion (1913)
    14. tjedan: završna rasprava
    15. tjedan: kolokvij, seminarski rad

Popis literature:
Obvezatna:
Virginia Woolf (1925) Mrs. Dalloway
Robert Graves, Siegfried Sassoon and Wilfred Owen – selections of poetry
Robert Graves (1929) Goodbye To All That
D.H. Lawrence (1931) Sons and Lovers
George Orwell (1933) Down and Out in Paris and London
George Bernard Shaw (1913) Pygmalion

Dopunska:
Caruth, Cathy (ed.)
Trauma – Explorations in Memory (Baltimore and London: The Johns Hopkins UP, 1995)
Childs, Peter. Modernism (London and New York: Routledge, 2000)
Clarke, J., C. Critcher and R. Johnson. Working-Class Culture: Studies in History and Theory (New York: St. Martin’s Press, 1979)
Ellison, David. Ethics and Aesthetics in European Modernist Literature (Cambridge UP, 2001)
Haywood, Ian. Working-Class Fiction: from Chartism to Trainspotting (Plymouth: Northcote House Publishers, 1997)
Hoggart, Richard. The Uses of Literacy (Penguin Books, 1960)
Howarth, Peter. British Poetry in the Age of Modernism (Cambridge UP, 2005)
Hunt, Nigel C. Memory, War and Trauma (Cambridge UP, 2010)
Innes, Christopher. The Cambridge Companion to George Bernard Shaw (Cambridge UP, 1998)
Korte, Barbara, Frédéric Regard (eds.) Narrating Poverty and Precarity in Britain (Berlin, Boston: De Gruyter, 2014)
Leys, Ruth. Trauma-A Genealogy (Chicago and London: The University of Chicago Press, 2000)
Lewis, Pericles. The Cambridge Introduction to Modernism (Cambridge UP, 2007)
Linehan, Thomas. Modernism and British Socialism (Palgrave Macmillan, 2012)
Luckhurst, Roger. The Trauma Question (London and New York: Routledge, 2008)
Punter, David. The Literature of Pity (Edinburgh UP, 2014)
Rabaté, Jean-Michel. 1913: The Cradle of Modernism (Blackwell Publishing, 2007)
Ramazani, Jahan. Poetry of Mourning: The Modern Elegy from Hardy to Heaney (The University of Chicago Press, 1994)
Russo, John and Sherry Lee Linkon. New Working-Class Studies (Ithaca and London: Cornell UP, 2005)
Sellers, Susan (ed.). The Cambridge Companion to Virginia Woolf (Cambridge UP, 2000)
Silkin, Jon (ed.) The Penguin Book of First World War Poetry (London: Penguin Books, 1978)

 

Britanski romantizam: proza

Naziv kolegija: Britanski romantizam: proza
Nastavnik: dr. sc. Martina Domines Veliki
ECTS bodovi: 6
Jezik: engleski
Trajanje: 4. ili 6., 8. ili 10. semestar
u ak. god. 2017/18.: 4. ili 6. semestar
Status: izborni
Oblik nastave: 1 sat predavanja i 2 sata seminara tjedno
Uvjeti za upis kolegija: upisan 4. ili 6., 8. ili 10. semestar

Okvirni sadržaj predmeta:
Na ovom kolegiju studenti će se upoznati s ključnim temama britanskog romantizma u širem povijesnom, kulturnom i političkom kontekstu. Polazna točka biti će nam društveno-povijesni kontekst (škotsko prosvjetiteljstvo, Francuska revolucija, ženska prava) na primjeru onih tekstova koji su bili značajni za rađanje romantizma. U nastavku ćemo se baviti proznim žanrovima reprezentativnim za razdoblje romantizma, od gotičkog romana i škotskog povijesnog romana do ispovjedne romantičke književnosti. Svi će primarni tekstovi biti popraćeni književno-teorijskim tekstovima.
Studentske obveze: kontinuirano praćenje (prvi kolokvij sredinom semestra i drugi u zadnjem tjednu nastave), u konačnu ocjenu ulazi i seminarski rad, pohađanje nastave, te aktivnost na satu.

Sadržaj kolegija po tjednima:

  1. tjedan: Društveno-povijesni kontekst, od škotskog prosvjetiteljstva do engleskog romantizma, čitanja ulomaka iz ključnih društveno angažiranih tekstova (Edmund Burke: Reflections on the French Revolution, Thomas Paine: Rights of Man, Mary Wollstonecraft: A Vindication of the Rights of Women)
  2. tjedan: rađanje povijesnog romana, škotski nacionalni identitet
  3. tjedan: Sir Walter Scott (1814) Waverley
  4. tjedan: Waverley
  5. tjedan: James Hogg (1824) The Private Memoirs and Confessions of a Justified Sinner
  6. tjedan: autobiografija – pitanje žanra, ispovjedna romantička proza (povijesni pregled konfesionalne književnosti od Sv. Augustina do Jean-Jacques Rousseaua)
  7. tjedan: Thomas de Quincey (1821) Confessions of an English Opium-Eater
  8. tjedan: Kolokvij
  9. tjedan: gotički roman – razvoj žanra
  10. tjedan: Horace Walpole (1764) The Castle of Otranto
  11. tjedan: Jane Austen (1817) Northanger Abbey
  12. tjedan: Northanger Abbey, nastavak s ulomcima iz filma Northanger Abbey (2007) dir. Jon Jones
  13. tjedan: Mary Shelley (1818) Frankenstein
  14. tjedan: Frankenstein, nastavak s ulomcima iz filma Frankenstein (2004) dir. Kenneth Branagh
  15. tjedan: kolokvij, seminarski rad

Popis literature:
Obvezatna:
Sir Walter Scott (1814) Waverley
James Hogg (1824) The Private Memoirs and Confessions of a Justified Sinner
Thomas de Quincey (1821) Confessions of an English Opium-Eater
Horace Walpole (1764), The Castle of Otranto
Jane Austen (1817) Northanger Abbey
Mary Shelley (1818) Frankenstein

Dopunska:
Anderson, Linda. Autobiography (New York & London: Routlege, 2001)
Broadie, Alexander (ed.) The Cambridge Companion to the Scottish Enlightenment  (Cambridge UP, 2003)
Burwick, Frederick. Thomas de Quincey: Knowledge and Power (Palgrave Macmillan, 2001)
Chandler, James. The Cambridge History of English Romantic Literature (Cambridge UP,
2008)
Clery, E. J. Women’s Gothic: from Clara Reeve to Mary Shelley. (Tavistock, 2004)
Copeland, Edward and Juliet McMaster (ed.) The Cambridge Companion to Jane Austen
(Cambridge UP, 1997)
Crawford, Robert (ed.). The Scottish Invention of English Literature (Cambridge UP, 1998)
Daiches, David. The Scottish Enlightenment (Edinburgh and Aberdeen: The Saltire Society,
 1986)
De Bolla, Peter, Nigel Leask, David Simpson. Land, Nation, Culture: 1740-1840 (Palgrave Macmillan, 2005)
De Groot, Jerome. The Historical Novel (London, New York: Routledge, 2010)
Duncan, Ian. Scott’s Shadow: The Novel in Romantic Edinburgh (Princeton and Oxford:
Princeton University Press, 2007)
Duncan, Ian and Douglas S. Mack (ed.) The Edinburgh Companion to James Hogg
(Edinburgh UP, 2012)
Levi, Susan M. The Romantic Art of Confession (New York and Woodbridge: Camden
House1998)
Lukács Georg. The Historical Novel (London: Merlin Press, 1962)
McCalman, Ian. An Oxford Companion to the Romantic Age: British Culture 1776-1832
 (Oxford UP, 1999)
Moretti, Franco. Atlas of the European Novel, 1800-1900 (London and New York: Verso,
1998)
Moretti, Franco. Signs Taken for Wonders (London and New York, 1983)
Olney, James. Memory and Narrative: the weave of life-writing (Chicago: University of
Chicago Press, 2000)
Punter, David (ed.) A Companion to the Gothic (Oxford: Blackwell Publishers, 2008)
Robertson, Fiona (ed.). Edinburgh Companion to Sir Walter Scott (Edinburgh UP, 2012)
Smith, Joanna M. (ed.) Frankenstein: complete authoritative text with biographical and
historical contexts, critical history and essays from five contemporary critical perspectives. (Boston: Bedford Books of St Martin’s Press, 1992)
Smith, Sidonie, Julia Watson (eds.) Women, Autobiography, Theory: a Reader (Madison:
University of Wisconsin Press, 1998)
Townshend, Dale. The Orders of Gothic: Foucault, Lacan and the subject of Gothic
 writing, 1764 – 1820 (New York: AMS Press, 2007)
Wu, Duncan (ed.). A Companion to Romanticism (Oxford: Blackwell, 1998)

Povijest i paradigme Američkih studija 2 (Šesnić, 2017)

Course title: The History and Paradigms of American Studies 2 (A, 19th c./20th c.)
Instructor: Dr. Jelena Šesnić
ECTS credits: 6
Status: elective (obligatory for American Studies majors in the 8th semester)
Enrollment requirements: enrollment in the 8th and/or 10th semester
Course description: This course is a companion course to the History and Paradigms of American Studies1 which investigates the origins of the discipline of American Studies. Since the 1970s, however, the discipline has undertaken to interrogate some of its main premises based on the changing conceptions of U.S. society and the nation-state. Even though the revisionist interventions begin to be felt already in the 1970s, we will posit as a starting point of our inquiry a methodological break observable in the 1980s as “ideology” becomes a necessary accompaniment of any AS inquiry. The next historical break—the end of the Cold War in 1989—indicates another momentous shift as we follow the developments thereafter. The next point of interest is 9/11 and the way it refocused the work in the discipline. These will demonstrate the efforts by so-called New Americanists to devise contesting models of American culture, while the emphases in their agendas may differ, as our readings will show. In the process of revising American Studies various theories have been made use of, ranging from New Historicism to poststructuralism, to ethnic/ race, feminist and gender studies to Marxism and cultural studies to international/ transnational perspectives. In the process it becomes evident how each new methodology in the discipline invents, as it were, a new conception of “America” as its object of study while ur-theories and underlying conceptions in the discipline of AS show great resilience and attest to continuity. In the last part of the course the foregoing theories will be tested on an array of texts. The course is obligatory for AS majors.

Course requirements: regular attendance, participation in class discussions, mid-term and final test (continuous assessment), presentation in class, written assignments and a final seminar paper

Syllabus (alterations possible):

Week 1: Laying the ground for (new) American Studies: disciplinary premises and theoretical frameworks (Fluck, L. Marx, Pease, Spanos)

Week 2: Ideology and readings of American artefacts in the 1980s (L. Marx: revision of American pastoralism; Slotkin, Prince: revision of the frontier myth), Bercovitch

Week 3: Ideology and readings of American artefacts: identity approaches (ethnic, race, gender, border, class and religious identities)  Morrison, Kaplan, Carby 

Week 4: Identity approaches (cont.): Parikh, Stievermann, Dallmann

Week 5: Identity approaches (cont.): Banita, Boesenberg, O’Neill

Week 6: Framing the transnational  turn: from national to post-national studies : Pease, Shapiro, Shu

Week 7: Mid-term test. Individual project discussions.  

Week 8:  Framing the transnational turn: imperial, hemispheric and globalist approaches (Anzaldúa, Pisarz-Ramirez, Rowe)

Week 9: Post 9/11 and a new state of the discipline: Pease, Aravamudan, Merodovoi, Gray

Week 10: Contemporary America: politics, society, the economy (Pease; Spanos; Grgas)

Week 11: Case study 1: Benjamin Franklin’s Autobiography (1791, 1793; Shapiro)

Week 12: Case study 2: Lin-Manuel Miranda: Hamilton (musical, 2015) (The Federalist Papers, 1787/88; Ambrose)

Week 13: Case study 3: C. L. R. James: Mariners, Renegades and Castaways: The Story of Herman Melville and the World We Live In (excerpts) (Pease)

Week 14: Individual project and seminar paper topics presentation and discussions.

Week 15: Final test; course evaluation.

Readings (selection)

-Bercovitch, Sacvan, and Myra Jehlen, eds. Ideology and Classic American Literature. Cambridge: Cambridge University Press, 1986. (selection)

– Castronovo, Russ, and Susan Gillman, eds. States of Emergency: The Object of American Studies. Chapel Hill: The University of North Carolina Press, 2009. (selection)

– Dallmann, Antje, et al., eds. Approaches to American Cultural Studies. London and New York Routledge, 2016.  (selection)

– Grgas, Stipe. Američki studiji danas: identitet, kapital, spacijalnost. Zagreb: Meandar, 2015. (selection)

– Fluck, Winfried, Donald E. Pease, and John Carlos Rowe, eds. Re-Framing the Transnational Turn in American Studies. Hanover, NH: Dartmouth College Press, 2011. (selection)

-Pease, Donald, and Robyn Wiegman, eds. The Futures of American Studies. Durham and London: Duke University Press, 2002. (selection)

– Rowe, John Carlos  The Cultural Politics of the New American Studies. Ann Arbor: University of Michigan Library, 2012.Open Humanities Press. http://www.scribd.com/doc/132330117/Rowe-The-Cultural-Politics-of-the-New-American-Studies (selection)

– Shu, Yuan, and Donald E. Pease, eds. American Studies as Transnational Practice: Turning towards the Transpacific. Hanover, NH: Dartmouth College P, 2015.

 

 

 

 

 

 

 

 

 

Transnational Dimensions of American White Identities

Course title: Transnational Dimensions of American White Identities (A/B, 19/20 c.)
Instructor: 
Dr. Catherine M. Eagan

ECTS credits: 6
Language of instruction: English
Semester: Summer 2017
Tue 13:15 – 14:00, A 105
Thu 09:30 – 11:00, A 105

Status: elective
Form of instruction: lecture (1 hour) + seminar (2 hours)
Enrollment requirements: Enrollment in the English MA program.
Course description: This course will engage with whiteness studies and consider the intervention it has made into the study of race and ethnicity in American literature and culture. In the 1990s, the work of American labor historians focused a large segment of academia, including American Studies and literature scholars, on a question African-Americans had discussed for a long time: whether European Americans had a distinct racial identity that shaped their worldview and a distinct culture. Whiteness studies took as one of its founding principles the idea that European immigrants only “became white” in the crucible of white supremacist America. What Europeans were prior to their journey across the Atlantic has been more uncertain in this scholarship, but adopting a transnational perspective has helped some scholars see that Europeans did indeed have a relationship to a white racial identity prior to immigration, if it was not identical to the whiteness experienced in racially stratified America. This course will use the Irish as a case study but also delve into other examples of white racial formation—Jewish, German, Slovak, Croat—to show how European experiences of race and whiteness impacted American racial formations in similar and sometimes very different ways in the nineteenth century. The course will also address an absence in much of whiteness studies, the consideration of literature as a window into white racial affiliation. Only short excerpts of literature will be read, however, as this course will focus primarily on the theorization of what David Goldberg has called “racist culture.”

Course requirements: Regular attendance; participation in class discussions; in-class and home assignments; continuous evaluation (a mid-term and final, mandatory for all students); seminar paper (10-12 double-spaced pages in 8th edition MLA style). It is essential to observe the deadlines set down for your readings and for particular assignments; if not, this can adversely affect your grade. Grade breakdown: tests (midterm and final)—30%; journal responses—10%; group discussion leading—10%; annotated bibliography—10%; seminar paper—40%.

Syllabus (subject to change)

Week 1: New Labor Historians and the “Became White” Argument

Week 2: The African-American Case for Whiteness

Week 3: Skeptical Historians and Irish Studies Reactions

Week 4: Whiteness as a Presence, Despite Its Seeming Absence

Week 5: European Awareness of Race in Europe

Week 6: The Racialization of Difference

Week 7: The Case of Irish and Irish-American Literature

Week 8: Adjusting to Transnational Perspectives: Inbetweenness and Context

Week 9: Inbetweenness and Context Continued: Blackface Minstrelsy

Weeks 10 & 11: Defining Racial Affiliation: Irish-American Novel

Week 12: Dion Boucicault and the Limits of Conciliation: Popular Drama

Week 13: Sentimentalism and White Racial Consolidation: Irish-American Novel

Week 14: Central European Parallels and Contrasts

Week 15: Race, Whiteness, and European Interculturalism

Primary Source Material (only small excerpts read)

Dion Boucicault, The Colleen Bawn (1860)

Dion Boucicault, The Octoroon (1859)

John Boyce, Mary Lee (1860)

Frederick Douglass, Narrative of the Life of Frederick Douglass (1845) and excerpts from his correspondence

Scott Fitzgerald, The Great Gatsby (1925)

Mary L. Meany’s The Confessors of Connaught; or, The Tenants of a Lord Bishop (1865).

Fitz-James O’Brien, “What Was It? A Mystery” (1859)

Hugh Quigley, Profit and Loss (1873)

Mary Anne Sadlier, Old and New; or, Taste versus Fashion (1868)

Harriet Beecher Stowe, Uncle Tom’s Cabin (1852)

Secondary readings (excerpted)

Charles Fanning, The Irish Voice in America: 250 Years of Irish-American Fiction (1999)

Sander Gilman, On Blackness without Blacks: Essays on the Image of the Black in Germany (1982)

Eric Goldstein, The Price of Whiteness: Jews, Race, and American Identity (2008)

Noel Ignatiev, How the Irish Became White (1991)

Russell Kazal, Becoming Old Stock: The Paradox of German-American Identity (2004)

Mary Louise Kete, Sentimental Collaborations: Mourning and Middle-Class Identity in Nineteenth-Century America (2000)

Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (1993)
Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (1992)

Sinéad Moynihan, “Other People’s Diasporas”: Negotiating Race in Contemporary Irish and Irish American Culture (2013)

David Roediger, The Wages of Whiteness (1991)

Ann Laura Stoler, Race and the Education of Desire: Foucault’s History of Sexuality and the Colonial Order of Things (1995)

Gloria Wekker, White Innocence: Paradigms of Colonialism and Race (2016)

Robert M. Zecker, Race and America’s Immigrant Press: How the Slovaks Were Taught to Think Like White People (2011)

Moderna anglofona ženska književnost

Naslov kolegija: Moderna anglofona ženska književnost
Nastavnica:
dr. sc. Tihana Klepač, doc.
ECTS bodovi: 6
Jezik: engleski
Trajanje: 2. ili 4. semestar
Status: izborni kolegij
Oblici nastave: 1 sat predavanja, 2 sata seminara tjedno
Uvjeti za upis kolegija: Upisan diplomski studij anglistike, književno-kulturološki smjer

Okvirni sadržaj predmeta: Odabrani tekstovi oprimjeruju anglofoni književni modernizam s naglaskom na na kolonijalni, nacionalni i rodni kontekst. U skladu s novim modernističkim studijima promatrat ćemo modrenizam kao mnogostruki fenomen koji se javlja u različitim desetljećima i na različitim zemljopisnim širinama, te koristeći postkolonijalnu književnu kritiku doprinijeti preoblikovanju modernizma unoseći svijest o britanskom carstvu.

Cilj kolegija: Osvijestiti mehanizme koji su doveli do oblikovanja modernizma u različitim kulturama britanskog govornog područja; osvijestiti nužnost rasprave o modernitetu u kolonijalnom, nacionalnom i rodnom kontekstu.

Studentske obveze: Kontinuirano praćenje. Studentice i studenti pišu seminarski rad (dio ocjene), aktivno sudjeluju u radu seminara (dio ocjene) te pišu dva kolokvija tijekom semestra. Ocjena se temelji na trajnom praćenju rada. Svi dijelovi ocjene moraju biti pozitivni da bi student/ica dobio/la zaključnu ocjenu.

Sadržaj kolegija (po tjednima):
1. tjedan
Prostor i teme modernizma – novi pristup
Douglas Mao and Rebecca L. Walkowitz: “The New Modernist Studies”

2. tjedan
Društveni kontekst i razvoj književnih oblika u modernizmu s naglaskom na kolonijalni, nacionalni i rodni kontekst

3. tjedan
Moderno indijsko žensko pismo: propitivanje formalnih inovacija modernizma i otpor prema eurocentričnom modernitetu
Sarojini Naidu: The Golden Threshold, zbirka pjesama
Sarojini Naidu: “Nilambuya: The Fantasy of a Poet’s Mood,” “Education of Indian Women,” “Women in National Life,” eseji

4. i 5. tjedan
Moderno kanadsko žensko pismo: svijest o internacionalizmu kao suprotnost nacionalističkim i regionalnim karakteristikama kanadske umjetnosti kao glavna karakteristika kanadskog modernizma
Sara Jeanette Duncan: Cousin Cinderella

6. i 7. tjedan
Moderno karipsko žensko pismo: pismo na razmeđi različitih književnih silnica – onih karpiske književnosti, modernizma, ženskog pisma, te postkolonijalizma
Jean Rhys: Woman in the Dark

8. tjedan
1. kolokvij+ akademsko pismo (priprema za pisanje seminarskog rada)
9. i 10. tjedan
Moderno južnoafričko žensko pismo: politizirana modernistička estetika
Olive Schreiner: From Man to Man

11. i 12. tjedan
Moderno australsko žensko pismo: predstavljanje kolonijalnog nacionalnog kroz kritiku kolonijalno-provincijalnih struktura i detaljna rekreacija nacionalnog prostora
Christina Stead: The Man Who Loved Children

12. i 13. tjedan
Moderno novozelandsko žensko pismo: propitivanje predstavljanja naracije kroz mušku vizuru i u skladu s patrijarhalnim vrijednostima
Katherine Mansfield: Urewera Notebook, “How Pearl Button Was Kidnapped,” “The Woman at the Store,” “Je ne parle pas francois”

14. tjedan
2. kolokvij

 

 

Etika i estetika britanskog modernizma (arhiva 16/17)

Naziv kolegija: Etika i estetika britanskog modernizma
Nastavnica: dr. sc. Martina Domines Veliki, docent
8. i 10. semestar u ak. god. 2016./17.

(u drugim ak. godinama i 4./6. semestar)
Jezik
: engleski

Trajanje:1 semestar, ljetni
Status: izborni
Oblik nastave: 1 sat predavanja i 2 sat seminara tjedno
Uvjeti: Upisan 8./10. semestar
Ispit: Kontinuirano praćenje. Tijekom seminara studenti/ce trebaju izraditi jedan seminarski rad te ga prezentirati na satu. Rad u seminaru, seminarski rad te dva kolokvija konstitutivni su dio završne ocjene. Svi dijelovi ocjene moraju biti pozitivni da bi student/ica dobio/la zaključnu ocjenu.

Sadržaj: Na odabranom korpusu modernističkih tekstova analizirat ćemo osobine i tematiku modernizma. U završnom dijelu seminara usporedit ćemo modernizam s nekim djelima kasnijega razdoblja. – Audenovom pjesmom «U sjećanje na W. B. Yeatsa», Cunninghamovim romanom Sati i pripovijetkom iz Barnesove zbirke pripovijedaka Stol od četurnovine»

Cilj: Cilj kolegija je problemski pristupiti razdoblju modernizma. Uz upoznavanje dijela kanona britanskoga i irskoga modernizma, u kolegiju će se raspraviti i temeljna pitanja o ulozi književnosti. ali i njezinoj ulozi u  artikulaciji osobnoga i nacionalnoga identiteta u tom razdoblju. U kolegiju ćemo se također upoznati s relevantnim kritičkim metodama za promišljanje modernizma (psihoanalitička, poststrukturalistička, feministička, postkolonijalna/kulturološka kritika).

_________________________________________________________________________________________________________________________________
Napomena: u ak. god. 2016/17. kolegij ce se predavati na Diplomskom studiju, a inače na Preddiplomskom studiju.
Kolegij se ranije predavao na Diplomskom studiju anglistike (dr.sc. Gjurgjan).

Književnost i vizualnost: američki film, naracija i psihoanaliza

Naziv kolegija: Književnost i vizualnost: američki film, naracija i psihoanaliza
Nastavnica: dr. sc. Tatjana Jukić, red.prof.
ECTS-bodovi: 6
Jezik: engleski
Trajanje: jedan semestar, 2. ili 4., ljetni
Status: izborni kolegij
Oblik nastave: 1 sat predavanja, 2 sata seminara tjedno
Uvjeti za upis kolegija: upisan 2. ili 4. semestar diplomskog studija

SILABUS:
1. tjedan
Uvod u povijest američkog filma. Film kao američka umjetnost.
2. tjedan
Klasični Hollywood. Narativni stil.
3. tjedan
Film i naratologija, uvod.
4.tjedan
Film i psihoanaliza, uvod.
5. i 6. tjedan
Screwball komedija: Hawks (His Girl Friday) i Sturges (The Lady Eve).
7. i 8. tjedan
Screwball komedija: Lubitsch (Ninotchka i To Be or Not to Be).
Prvi kolokvij i priprema za seminarski rad.
9. i 10. tjedan
Melodrama: Wyler (The Heiress) i Sirk (The Imitation of Life).
11. i 12. tjedan
Thriller/ Noir: Hitchcock (Rear Window i Vertigo).
13. i 14. tjedan
Western: Ford (My Darling Clementine i The Man Who Shot Liberty Valance).
15. tjedan
Drugi kolokvij.

 

Način polaganja ispita: Konačnu ocjenu sačinjava uspjeh iz dviju pismenih provjera znanja (jedne sredinom i druge krajem semestra, 30% + 30% konačne ocjene), te iz eseja na zadanu temu (30% konačne ocjene), uz redovito pohađanje nastave i aktivno sudjelovanje u njoj (10% konačne ocjene).

Način praćenja kvalitete i uspješnosti izvedbe predmeta: Anonimna studentska anketa na kraju semestra.

LITERATURA:
OBAVEZNA

Bronfen, Elisabeth. Home in Hollywood. The Imaginary Geography of Cinema (izbor)
Cavell, Stanley. Contesting Tears (izbor)
Cavell, Stanley. Pursuits of Happiness (izbor)    
Copjec, Joan. „More! From Melodrama to Magnitude“
Harvey, James. Romantic Comedy in Hollywood. From Lubitsch to Sturges (izbor)
Heath, Stephen. „Cinema and Psychoanalysis: Parallel Histories“    
Jukić, Tatjana. „Film, politika, psihoanaliza: Ernst Lubitsch“    
Mulvey, Laura. “Visual Pleasure and Narrative Cinema”    
Žižek, Slavoj. Looking Awry. An Introduction to Jacques Lacan through Popular Culture. (izbor)    
Žižek, Slavoj (ur.) Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock) (izbor)    

DOPUNSKA
Bergstrom, Janet (ur.). Endless Night. Cinema and Psychoanalysis: Parallel Histories. (izbor)
Crowe, Cameron. Conversations with Billy Wilder. (izbor)
De Lauretis, Teresa. Alice Doesn’t. Feminism, Semiotics, Cinema. (izbor)
De Lauretis, Teresa. Figures of Resistance. Essays in Feminist Theory. (izbor)
Deleuze, Gilles. Cinema 1. (izbor)
Deleuze, Gilles. Cinema 2. (izbor)
Jukić, Tatjana. „The Awful Truth: On Metonymic Rationality in Hawks and Cavell“
Kaplan, E. Ann. Trauma Culture. The Politics of Terror and Loss in Media and Literature. (izbor)
Kaplan, E. Ann. Women and Film. Both Sides of the Camera (izbor)
Modleski, Tania. The Women Who Knew Too Much. Hitchcock and Feminist Theory (izbor)
Novak, Ivana; Jela Krečič; Mladen Dolar (ur.). Lubitsch Can’t Wait. A Theoretical Examination. (izbor)
Silverman, Kaja. The Acoustic Mirror. The Female Voice in Psychoanalysis and Cinema. (izbor)

Britanski romantizam: proza (arhiva)

Naziv kolegija: Britanski romantizam: proza
Nastavnik: dr. sc. Martina Domines Veliki
ECTS bodovi: 6
Jezik: engleski
Trajanje: 4. ili 6., 8. ili 10. semestar
u ak. god. 2016/17. 4. ili 6. semestar
Status: izborni
Oblik nastave: 1 sat predavanja i 2 sata seminara tjedno
Uvjeti za upis kolegija: upisan 4. ili 6., 8. ili 10. semestar
Okvirni sadržaj predmeta:
Na ovom kolegiju studenti će se upoznati s ključnim temama britanskog romantizma u širem povijesnom, kulturnom i političkom kontekstu. Polazna točka biti će nam društveno-povijesni kontekst (škotsko prosvjetiteljstvo, Francuska revolucija, ženska prava) na primjeru onih tekstova koji su bili značajni za rađanje romantizma. U nastavku ćemo se baviti proznim žanrovima reprezentativnim za razdoblje romantizma, od gotičkog romana i škotskog povijesnog romana do ispovjedne romantičke književnosti. Svi će primarni tekstovi biti popraćeni književno-teorijskim tekstovima iz čitanke.

Studentske obveze: kontinuirano praćenje (prvi kolokvij sredinom semestra i drugi u zadnjem tjednu nastave), u konačnu ocjenu ulazi i seminarski rad, pohađanje nastave, te aktivnost na satu.

Sadržaj kolegija po tjednima:
1. tjedan:
Društveno-povijesni kontekst, od škotskog prosvjetiteljstva do engleskog romantizma, čitanja ulomaka iz ključnih društveno angažiranih tekstova (Edmund Burke: Reflections on the French Revolution, Thomas Paine: Rights of Man, Mary Wollstonecraft: A Vindication of the Rights of Women)

2. tjedan: gotički roman – razvoj žanra (Horace Walpole (1764)The Castle of Otranto)
3. tjedan: ženski doprinos žanru (Ann Radcliffe (1794) The Mysteries of Udolpho)
4. tjedan: Marry Shelley (1818) Frankenstein
5. tjedan: Frankenstein, nastavak; gledanje ulomaka iz filma Frankenstein (2004) dir. Kenneth Branagh
6. tjedan: rađanje povijesnog romana, škotski nacionalni identitet
7. tjedan: Sir Walter Scott (1814) Waverley
8. tjedan: Kolokvij; raspodjela tema za pisanje seminarskih radova; academic writing skills
9. tjedan: autobiografija – pitanje žanra, ispovjedna romantička proza (povijesni pregled konfesionalne književnosti od Sv. Augustina do Jean-Jacques Rousseaua)
10. tjedan: Thomas de Quincey (1821) Confessions of an English Opium-Eater
11. tjedan: Confessions of an English Opium-Eater, nastavak
12. tjedan: James Hogg (1824) The Private Memoirs and Confessions of a Justified Sinner
13. tjedan: Dorothy Wordsworth (1800) The Grasmere Journal
14. tjedan: Zaključna rasprava
15. tjedan: kolokvij

Popis literature:

Obvezatna:

Horace Walpole (1764), The Castle of Otranto
Ann Radcliffe (1794) The Mysteries of Udolpho
Marry Shelley (1818) Frankenstein
Sir Walter Scott (1814) Waverley
Thomas de Quincey (1821) Confessions of an English Opium-Eater
James Hogg (1824) The Private Memoirs and Confessions of a Justified Sinner
Dorothy Wordsworth (1800) The Grasmere Journal
+
Čitanka s odabranim kritičkim tekstovima

Dopunska:

– Anderson, Linda. Autobiography. New York & London: Routlege, 2001
– Broadie, Alexander. The Scottish Enlightenment: The Historical Age of the Historical Nation. Birlinn, 2001.
– Clery, E. J. Women’s Gothic: from Clara Reeve to Mary Shelley. Tavistock, 2004
– Crawford, Robert (ed.). The Scottish Invention of English Literature. Cambridge UP, 1998
– De Groot, Jerome. The historical novel. London, New York: Routledge, 2010
– Duncan, Ian. Scott’s Shadow: the novel in Romantic Edinburgh. Princeton and Oxford: Princeton University Press, 2007
– Eakin, Paul John. How are lives become stories: making selves. Ithaca, London: Cornell University Press, 1999
Olney, James. Memory and Narrative: the weave of life-writing. Chicago: University of Chicago Press, 2000
– Punter, David (ed.) A Companion to the Gothic. Oxford: Blackwell Publishers, 2008
– Smith, Joanna M. (ed.) Frankenstein: complete authoritative text with biographical and historical contexts, critical history and essays from five contemporary critical perspectives. Boston: Bedford Books of St Martin’s Press, 1992
– Smith, Sidonie, Julia Watson (eds.) Women, Autobiography, Theory: a Reader. Madison: Unversity of Wisconsin Press, 1998
Townshend, Dale. The Orders of Gothic: Foucault, Lacan and the subject of Gothic writing, 1764 – 1820. New York: AMS Press, 2007

 

Povijest i paradigme Američkih studija 2 (Šesnić, 2015)

Course title: The History and Paradigms of American Studies 2 (A, 19th c./20th c.)
Instructor: Dr. Jelena Šesnić
ECTS credits: 6
Status: elective (obligatory for American Studies majors in the 8th semester)
Enrollment requirements: enrollment in the 8th and/or 10th semester

Course description: This course is a companion course to the History and Paradigms of American Studies1 which investigated the origins of the discipline of American Studies. Since the 1970s, however, the discipline undertook to interrogate some of its main premises based on the changing conceptions of U.S. society and the nation-state. Even though the revisionist interventions begin to be felt already in the 1970s, we will posit as a starting point of our inquiry a methodological break observable in the 1980s as „ideology“ becomes a necessary accompaniment of any AS inquiry. The next historical break—the end of the Cold War in 1989—indicates another momentous shift as we follow the developments thereafter. The next point of interest is 9/11 and the way it refocused the work in the discipline. These will demonstrate the efforts by so-called New Americanists to devise contesting models of American culture, while the emphases in their agendas may differ, as our readings will show. In the process of revising American Studies various theories have been made use of, ranging from New Historicism to poststructuralism, to ethnic/ race, feminist and gender studies to Marxism and cultural studies to international/ transnational perspectives. Paralelly, it ought to become evident how each new methodology in the discipline invents, as it were, a new conception of „America“ as its object of study while ur-theories and underlying conceptions in the discipline of AS show great resilience and attest to continuity. The course is obligatory for AS majors.
Course requirements: regular attendance, participation in class discussions, mid-term and final test (continuous assessment), presentation in class, written assignments and a final seminar paper

Syllabus:

Primary texts:

  1. Alexander Hamilton, James Madison and John Jay: Federalist Papers (1788; selection)
  2. Ralph Waldo Emerson: selected essays
  3. Henry David Thoreau: Walden; or, Life in the Woods (1854; selection); „Civil Disobedience“
  4. W.E.B. DuBois: The Souls of Black Folk (1903; selection)
  5. Toni Morrison: Beloved (1987)
  6. Sherman Alexie: Reservation Blues (1995)

Week 1: Laying the ground for (new) American Studies: disciplinary premises and theoretical frameworks (Fluck, L. Marx)

Week 2: Ideology and readings of American (literary) artefacts in the 1980s (Bercovitch and Jehlen)

Week 3: Ideology and readings of American (literary) artefacts in the 1980s (Fisher)

Week 4: End of the Cold War and repositionings within the discipline (New Americanists and a new field-imaginary) (Pease)

Week 5: End of the Cold War and repositionings within the discipline (New Americanists and a new field-imaginary) (Rowe) (A short written response.)

Week 6: End of the Cold War and repositionings within the discipline (New Americanists and a new field-imaginary) (Kaplan)

Week 7: Mid-term test

Week 8: Framing the transnational turn (Radway)

Week 9: Framing the transnational turn (Porter)

Week 10: Framing the transnational turn (Elliott, Lauter) (A short written response.)

Week 11: Post 9/11 and a new state in/ of the discipline (Aravamudan)

Week 12: Post 9/11 and a new state in/ of the discipline (Kaplan)

Week 13: Post 9/11 and a new state in/ of the discipline (Pease) (Seminar paper due.)

Week 14: International American Studies (Chenetier, Kennedy)

Week 15: Final test; course evaluation

Readings (alterations possible)

-Bercovitch, Sacvan, and Myra Jehlen, eds. Ideology and Classic American Literature. Cambridge: Cambridge University Press, 1986. (selection)

– Castronovo, Russ, and Susan Gillman, eds. States of Emergency: The Object of American Studies. Chapel Hill: The University of North Carolina Press, 2009. (selection)

– Fisher, Phillip. The New American Studies. Berkeley: University of California Press, 1991. (selection)
– Fluck, Winfried, Donald E. Pease, and John Carlos Rowe, eds. Re-Framing the Transnational Turn in American Studies. Hanover, NH: Dartmouth College Press, 2011. (selection)

-Pease, Donald, and Robyn Wiegman, eds. The Futures of American Studies. Durham and London: Duke University Press, 2002. (selection)

– Radway, Janice A., Kevin K. Gaines, Barry Shank, and Penny Von Eschen.  American Studies: An Anthology. Chichester: Wiley-Blackwell, 2009. (selection)
– Rowe, John Carlos The Cultural Politics of the New American Studies. Ann Arbor: University of Michigan Library, 2012.Open Humanities Press. http://www.scribd.com/doc/132330117/Rowe-The-Cultural-Politics-of-the-New-American-Studies (selection)

 

 

 

 

 

 

 

 

The 1960s in American Film, Literature, and Music

Professor Russell Reising
Office B-008
Office hours: from March 3, Thursday 14:00-15:00, Friday 12:00-13:00
Email: russreising@gmail.com
Phone: 99 7952930 (Not after 10 PM or before 9 AM!)
All poems indicated are easily available online. Use links I have provided when possible.

March 3-4
Introduction and business
TEACHING STRATEGIES AND COURSE POLICIES/COURSE EXPECTATIONS:

I approach my literature course with two primary goals: to teach certain works of literature (subject matter) and to help students improve their reading, writing, and analytical skills. In my opinion, the second of these goals is the real function of my presentations and our class discussions. Students who are not dedicated to improving these skills rarely do well in my classes. Students who are passionate about their studies will find that I am willing to go to extraordinary lengths to help, focus, provoke, challenge, and inspire you. Students who do not do the work will find that I have little patience or respect for those who squander their educational opportunities. Even if the particular subject matter we are studying does not greatly interest you, use the course to improve your communication and analytical skills.
I expect students to have finished all readings by the first class for which they are assigned, and I expect students to have given some thought to these works’ primary themes, mysteries, styles, etc. before coming to class. Students who have done these two things do much better in my classes than do students who don’t. I do not regard it as my responsibility to explain our works to students who haven’t done the reading. I do not accept late papers!
I assume you all know the plot, and, unless you tell me otherwise, I will assume you have a comfortable understanding of the work on the literal level. It is completely up to students to ask questions about works and/or issues that trouble or elude them. I would love it if each class could be spent with me responding to students’ questions, problems, provocations, etc.   I believe that students who struggle with the meanings of works of literature and try out their own interpretive ideas learn much more than do students who sit back and simply expect to have the materials explained. That might do in some courses or in some disciplines; I can’t imagine it being responsible pedagogy or student behavior in upper-division literature courses.
I will very rarely spend time discussing the biographical and/or historical contexts of the works we study unless they bear directly on the discussions we are having or on the analytical points I want to make. Nor should students spend time in their formal essays simply rehearsing the biography of the author or some irrelevant historical data. My courses stress issues much more than they do historical or biographical factoids. Given the richness of many internet sources for such information, I regard it as irresponsible to waste your time with insignificant details that anyone can easily find with a well-focused google search! This is not to say that students aren’t encouraged to probe the biographical or historical contexts of our materials, only that I won’t dwell inordinately on them unless they are truly germane to our approach.
I tend not to use highly organized class notes for our discussions, as I try to make each class responsive to students’ needs. This results in class discussions that some students find less organized than those they are used to or prefer. All students, therefore, are strongly encouraged to ask questions as they arise and also to take good notes.
I do not assign topics for your formal essays, but I will help you in any way necessary as you formulate and refine your topics and approaches. I believe that struggling with the material, coming up with a topic, refining that topic, and then writing and revising a paper are all crucial elements in how/what students learn when they approach a writing assignment. Professors who assign specific topics are simply giving so many take home essay exam assignments. I believe that people all learn in many different ways, reading the assigned works of literature, consulting secondary sources, participating in class discussions, and in all facets of composing a formal essay. Some students like to join in class discussions and/or ask questions; others prefer quietly processing what goes on in class. I try to make room for all learning styles, but I do, as I say above, expect students to work hard and to complete all the assignments on time.

Russ’s World Weary Guidelines for Writers of Academic Papers

(These guidelines constitute the basis of what I expect in your written work!)

  1. Unless instructed otherwise, you should assume that your audience knows the work you are writing about at the literal level, but that they can be enlightened about important themes, characters, interconnections, and other significant stylistic elements in the work. As a writer, you reveal something not obvious about the work(s) you write about. Plot summary is almost never good, and almost the only times you should be discussing the plot of the work is to provide evidence for the analytical point you are making.
  2. A good, analytical essay will begin with a thesis section in which you articulate what you are writing about and provide some sense of what is significant about the position you will be advancing. A good thesis is argumentative, i.e., it advances a position that is debatable and not merely obvious to any one who has experienced the same work of art. A good thesis teaches your reader what to expect and pay attention to, and it helps guide and discipline your own writing. Think of it as a contract between you and your reader, committing you to perform a specific analytical task.
  3. A good conclusion should never merely repeat the “main points” of your paper. Repetition and redundancy rarely characterize a good conclusion. Read almost any substantial article in almost any quality periodical; their conclusions NEVER merely repeat, summarize, or restate their main points. A good conclusion should sound conclusive, not repetitious! Good conclusions can do many things; experiment with different ways of “concluding” your paper on a strong note, not with a throw-away paragraph that merely repeats what you have already done.
  4. An analytical essay should represent the highest level of sophistication and specificity you have reached in your consideration of a work. In other words, it should report your conclusions, not your “thinking in progress.” You should never include passages that merely rehearse your encounters with the poem, as in:

“When I first read this poem, I thought it meant X, but, after deeper reading and more careful consideration, I now believe it means Y.”

This might be an accurate history of your experience with the poem/novel/story/ play/film/song/etc., and it might well be an important consideration as you plan your paper, but it has no place in a finished, formal essay. Similarly, almost all references to “I think,” “I feel,” “In my opinion,” etc. should be strictly avoided. They are useless.

  1. I will evaluate your formal essays with attention to all possible elements of the written language, from the content to syntactic, grammatical, mechanical, organizational and other rhetorical elements of your work. Please note: error free writing is not necessarily good writing! Good writing will engage the reader with solid content, logical analysis, coherent organization at the paragraph and essay level, and with lively, varied sentences that don’t lull the reader with monotonous, repetitious words, sentence structures, sentence lengths, or ideas.
  2. Most importantly, your essay should communicate your ideas about a work. Your thesis (not the “plot” of the work) will be the driving force of your paragraphs and of your entire essay. Most of your paragraphs should begin by indicating how this particular paragraph furthers the analytical thesis you advanced in your thesis/introductory section. Papers and paragraphs that begin with plot summary rarely do more than merely summarize.
  3. I will fail any student who plagiarizes any work in this course, and I will pursue their expulsion from the university. If you have any doubt at all about what constitutes academic dishonesty, please contact me before turning in any work.

 March 10-11
Reading week

March 17-18; March 24-25
Unit One: “Something’s Happening Here”
Films
: The Graduate, The Swimmer

Novel: Norman Mailer, Armies of the Night
Albums: Bob Dylan, The Times They Are A-Changin’
Simon and Garfunkel, Bookends

First: try to understand and appreciate each work as a unique work of art. Pay attention to its style, its themes and motifs, its characters, its imagery and metaphors. Try to formulate an interpretive perspective for each work individually, and then try to related each work to the others in the unit. This reminder will introduce the study guides for each unit!

 Unit One Study Guide and Questions:
As the Buffalo Springfield song, “For What It’s Worth,” puts it, “Something’s happening here//What it is ain’t exactly clear.”   Many artists and cultural spokespeople recognized that something was changing, and they wrote books, composed songs, and directed films in various attempts to address, assess, and understand these changes. If John Fitzgerald Kennedy suggested that “the only thing that doesn’t change is change itself,” popular artists offered their own versions of this state of affairs in songs like “Change is Now” (the Byrds) and in albums like Forever Changes (Love). The United States emerged from World War II and the 1950s in a position of unprecedented economic, military, and cultural power, and yet, by the early years of the decade, cultural spokespeople were no longer confident that the society was good, moral, progressive. They, like Hamlet, thought that there was something rotten in the U.S. Like many generations before them, take the middle decades of the nineteenth century and the social criticisms articulated by writers like Henry David Thoreau (very popular in the 1960s), Ralph Waldo Emerson, Frederick Douglass, Margaret Fuller, and Herman Melville, writers, thinkers, and artists turned their moral and ethical vision to what they believed to be the crises of the 1960s. Women, African-Americans, draftees, folk musicians, and students all began to question American values and American ideas in powerful new ways.

  1.  How do the works collected in this unit represent and analyze the nature of change during the decade of the 1960s?
  2. How do these works define “the past” and the current state of affairs in the U.S., and how do the characters in these works attempt to break away from the conventions and habits of the past?
  3. Are these changes good, bad, neutral, successful, unsuccessful
  4. What common themes and motifs link these works?
  5. Does any coherent picture emerge of the status quo, of youth, of values, of “the American way”?
  6. What other works of art can you compare with those included in our work for Unit One?

Unit Two

March 24-25; March 31/ April 1; April 7-8
Unit Two: Boys, Girls, and “The Man”
Films
: Easy Rider, Cool Hand Luke

Novel: Ken Kesey, One Flew Over the Cuckoo’s Nest
Albums: Joni Mitchell, Ladies of the Canyon
Crosby, Stills, Nash, and Young, Déjà vu
As always, try to understand and appreciate each work as a unique work of art. Pay attention to its style, its themes and motifs, its characters, its imagery and metaphors. Try to formulate an interpretive perspective for each work individually, and then try to related each work to the others in the unit

Study Guide and Questions:
One of the dominant themes of culture during the 1960s was the emergence (maybe the re-emergence) of a unique version of individualism, often understood in conflict with conventional society. Ralph Waldo Emerson (in essays like “Self Reliance” and “The American Scholar”) and Henry David Thoreau had championed such individualism in the middle of the nineteenth century, and many counter-culture spokespeople drew on their works and philosophies for inspiration. Thoreau’s Walden, for example, was very popular reading during the 60s. Each of these works explores the tensions between individuals and conventional society. Some conclude that the “free” individual will always be crushed by the forces of conformity, while others suggest the possibility of strong individuals establishing some kind of life safe from the confines and intrusions of “the man.”

  1. What is the role of nostalgia in each of these works of art?       How do they understand/value the past (or some version of it) as a possible source of value and stability in an increasingly technological and commercial world?
  2. How does each of these works represent the individual capable of challenging the “crushing” values of the present?
  3. How do they represent the forces that try to contain, confine, alter, or otherwise neutralize challenges to the status quo?
  4. How do they represent tensions, contradictions, and inconsistencies within the characters trying to break out of or reform the “system”?
  5. What are the primary contradictions examined and dramatized in these works? How do they relate to the issues and themes of the other units of our course?

 April 14-15; April 21-22; May 5-6
Unit Three: Communist Infiltration and Nuclear Terror
Films;
Dr Strangelove, Fail Safe, and Invasion of the Body Snatchers

Novel: DeLillo, End Zone
Selected music provided by Professor Reising
Read essay by Professor Reising in Cultural Logic, posted at: http://clogic.eserver.org/2003/reising.html

  1. Love/sex:the film is called Dr. Strangelove, after all! What vision of human emotions, love, and family relationships under the pressures of the Cold War does this film communicate?
  2. Suspicion: how do suspicion, paranoia, and a general environment of fear and distrust between the U.S.A. and the U.S.S.R. figure in the film? Are there areas of commonality between the two cultures, or does the film represent some absolute difference?
  3. Machines/Technology: Strangelove and Fail Safe repeatedly discuss the impact of machines and the mechanization of military weaponry, especially through computerization. What kind of commentary do they offer on technology and human life?
  4. Religion:while not a dominant theme in these films, religion and/or a belief or set of beliefs in god figures into these scenarios of the end of the human race. What is the role of religion in these films and in other works from the Cold War era?
  5. What are the other themes, recurring images, and interesting moments in these films? Be able to discuss the films in their entirety.
  6. Strangelove makes use of soundtrack songs, while Fail Safe is one of the few movies I know of without any soundtrack music whatsoever. Think about the role of music in the one and the absence of music in the other.
  7. How do both films characterize the relationship between Americans and Soviets? What are the people like? Who is to blame for the events that both films examine?

Invasion of the Body Snatchers (original, 1955 version; new version as well, if possible)
The Blob (Original 1958 version; new version as well, if possible)
Invaders from Mars (Original 1953 version; new version as well, is possible)
The Manchurian Candidate 1962
The Spy Who Came in From the Cold

This might seem like a strange grouping of films, but there is a method to the plan. Think about ways that these works address similar concerns and fears, even though their tones, styles, and explicit themes might differ significantly.

  1. What is the ultimate threat presented in all of these works? Where does it come from? How is it defined and identified?
  2. How do the “heroes” of these works establish themselves in opposition to the threat posed by “alien” invasion and infiltration?
  3. How do the tones and atmospheres of these workss contribute to their overall themes and sense of urgency?
  4. What vision of human emotions, love, and family relationships under the pressures of the Cold War do these works communicate?
  5. While each of these works suggests that mindless and robotic conformity is a constant and serious threat to American ideas of “freedom,” each film nevertheless celebrates some element of human (i.e., “American”) individualism that cannot be extinguished. How do they do so?
  6. How do these works contain scenes, characters, and situations that have a specifically Cold War relevance? What are those scenes, and how do they fit into the films as a whole?

 May 12-13; May 19-20 (Holiday no classes); May 26-27
Unit Four: Rage and Protest
Films
: Wild in the Streets, Guess Who’s Coming to Dinner

Novel: Don DeLillo, Great Jones Street
Poem:   Ginsberg, Howl
Albums: Jefferson Airplane, Volunteers,
James Brown,
Say it Loud, I’m Black and I’m Proud

Selected music
As always, try to understand and appreciate each work as a unique work of art. Pay attention to its style, its themes and motifs, its characters, its imagery and metaphors. Try to formulate an interpretive perspective for each work individually, and then try to relate each work to the others in the unit.

Study Guide and Questions:
Revolution, rebellion, the so-called generation gap, the “Black Power” movement, the emergence of feminism, SDS, PLP, SLF, Black Panthers, White Panthers, and many other groups and energies remain one of the enduring images from the 1960s. They all seemed to take inspiration from Marlon Brando’s (in The Wild One) answer to the question of “What are you rebelling against, Johnny?” Brando responded: “What do you got?” Fragile yet intense, revolutionary energies during the 1960s were fed by the fears of the Cold War, the war in Vietnam (and a gradual realization that the foreign policy of the United States had been much less than admirable), the draft, urban unrest, conformity (suburbs and business suits didn’t appeal to people reading Walden), oppression, social injustice, racism, and, according to some, too much affluence. Radical politics, communal living experiments, resistance to the draft, questioning of traditional gender roles and conventional images of “success” fueled much of the culture of the period.

Each of these works represents some version of political struggle against the “establishment.”

  1. How do the characters/protagonist/point of view in each work define “the establishment,” and what strategies does it employ in its struggle?
  2. How does each work depict the social/political context it explores? How do the individuals or groups represented in the work relate to that context?
  3. What would count as a successful rebellion against the status quo in these works? Do these works succeed or fail in their struggles?
  4. What connections can you draw among the works included in this unit?
  5. Beginning with Howl, these artists try to capture a broad range of emotional, intellectual, social, and political realities. Sometimes this range is so diverse as to seem almost incoherent or contradictory. Try to understand these diverse elements within each work and among the various works in the unit.

 June 2-3; June 9-10 Conclusions and Student Presentations

 

Henry James i Edith Wharton: simptomatika američkog modernizma

Naziv kolegija: Henry James i Edith Wharton: simptomatika američkog modernizma
Nastavnica: dr. sc. Tatjana JUKIĆ, red.prof.
ECTS-bodovi: 6
Jezik: engleski
Trajanje: jedan semestar, 8., ljetni
Status: izborni kolegij
Oblik nastave: 1 sat predavanja, 2 sata seminara tjedno
Uvjeti za upis kolegija: upisan osmi semestar
Cilj kolegija: Kolegij se fokusira na opis i analizu prikazivačkih praksi konstitutivnih za roman modernizma, no prije svega na dekonstrukciju uvriježene opreke između viktorijanskoga romana i romana modernizma, na primjeru pripovjedne proze Henryja Jamesa i Edith Wharton. Ta će analiza zauzvrat poslužiti kao podloga za komparaciju pripovjednih praksi tih romana i njihovih filmskih adaptacija, posebno s obzirom na sedimentaciju viktorijanskih prikazivačkih praksi u razvoju filmske naracije. Prorada tih sadržaja važna je posebno stoga što konvergencije filma i modernizma snažno participiraju u genealogiji suvremene kulture, ali i problemskih čvorova konstituentnih za humanističke znanosti; stoga je u fokusu kolegija upravo razvoj analitičkih sposobnosti studenata. Nastava u kolegiju uključivat će i predavanje i seminarski tip rada.
Uloga kolegija u ukupnom kurikulumu: Prorada tih sadržaja važna je posebno stoga što konvergencije filma i modernizma snažno participiraju u genealogiji suvremene kulture, ali i problemskih čvorova konstituentnih za humanističke znanosti.
Korištene metode: Dijalog studenata s nastavnikom i zajednička analiza materijala, prije svega dostupnih elektronskih izvora.

Sadržaj kolegija (po tjednima):

1. Uvod u problem književne periodizacije modernizma.
2. Analiza Henryja Jamesa kao fundacijske figure modernizma.
3. Analiza Henryja Jamesa kao fundacijske figure naratologije. Vizualne figure Jamesove naratologije.
4. Rasprava o romanu Washington Square kao naraciji koja dekonstruira uvriježenu književnoperiodizacijsku opreku između viktorijanske književnosti i modernizma.
5. Analiza prikazivačkih praksi dviju filmskih verzija Jamesova romana i komparacija s narativnom praksom Jamesova romana.
6. Analiza prikazivačkih praksi dviju filmskih verzija Jamesova romana i komparacija s narativnom praksom Jamesova romana.
7. Čitanje Washington Squarea kao alegorije povijesti narativnoga filma i psihoanalize, u dijalogu s kritičkom teorijom Stanleya Cavella.
8. Usporedba takve analize Washington Squarea s čitanjem Jamesove novele The Turn of the Screw Shoshane Felman.
9. Analiza književnopovijesne pozicije pripovjedne proze Edith Wharton kao «zastarjele» sljednice Henryja Jamesa.
10. Čitanje romana The Age of Innocence prema genealoškome okviru koji mu zadaju romani Henryja Jamesa i The House of Mirth.
11. Analiza prikazivačkih praksi Scorseseova filma The Age of Innocence i komparacija s narativnom praksom romana.
12. Analiza prikazivačkih praksi Scorseseova filma The Age of Innocence i komparacija s narativnom praksom romana.
13. Čitanje The Age of Innocence kao alegorije povijesti narativnoga filma i psihoanalize, u dijalogu s kritičkom teorijom Stanleya Cavella.
14. Rasprava o povijesti kakvu konstituiraju suvremena čitanja pripovjedne proze Henryja Jamesa i Edith Wharton.
15. Evaluacija.

Literatura:

A. Obvezatna
– Henry James, Washington Square.
– Henry James, The Turn of the Screw.
– Edith Wharton, The Age of Innocence.
– Shoshana Felman. «Turning the Screw of Interpretation». Yale French Studies. 55-6 (1977). 94-207.
– Pamela Knights. «The Social Subject in The Age of Innocence». The Cambridge Companion to Edith Wharton, ur. Millicent Bell. Cambridge: Cambridge University Press. 1995. 20-46.
– Dorothy J. Hale. «Henry James and the Invention of Novel Theory». The Cambridge Companion to Henry James, ur. Jonathan Freedman. Cambridge: Cambridge University Press. 1998. 79-101.
– Stanley Cavell. Contesting Tears. The Hollywood Melodrama of the Unknown Woman. Chicago i London: The University of Chicago Press. 1996. (uvod i izabrana poglavlja).
– Andrew Gibson. Postmodernity, Ethics and the Novel. London i New York: Routledge. 1999. 29-36.
– Maurice Blanchot. «The Turn of the Screw». The Book to Come. Stanford: Stanford University Press. 2003. 126-133.
– Ian Christie i David Thompson, ur. Scorsese on Scorsese. London i New York: Faber and Faber. 2003. 176-197.
– Tatjana Jukić. „Visuality and its Discontents: Novels on Screen and the Case of The French Lieutenant’s Woman”. European Journal for Semiotic Studies. Vol. 15 (2-4). 2003. 555 – 566.
– Tatjana Jukić. «Pogovor». Edith Wharton. Kuća veselja, prev. Ivan Ott. Zagreb: Školska knjiga. 2003. 343-352.
– Tatjana Jukić. «Nesmireni zavrtanj» (pogovor). Henry James. Okretaj zavrtnja, prev. Tanja Žakula. Zagreb: Profil. 2005. 147-151.

B. Dopunska

U pripremi.

Način polaganja ispita: Konačnu ocjenu sačinjava uspjeh iz dviju pismenih provjera znanja (jedne sredinom i druge krajem semestra, 30% + 30% konačne ocjene), te iz eseja na zadanu temu (30% konačne ocjene), uz redovito pohađanje nastave i aktivno sudjelovanje u njoj (10% konačne ocjene).

Način praćenja kvalitete i uspješnosti izvedbe predmeta: Anonimna studentska anketa na kraju semestra.

Nastavi čitati

Pripovjedna disemiNacija Australije

Izvođač i nositelj: Dr.sc.  Iva Polak, izv.prof.
ECTS-bodovi: 6
Jezik: engleski
Status: izborni
Semestar: 2. ili 4.
Uvjeti za upis kolegija:
upisan bilo koji smjer diplomskog studija Odsjeka za anglistiku

Okvirni sadržaj kolegija: Odabranim književnim i filmskim djelima od druge polovine 20. stoljeća nadalje pokazat će se nova preispisivanja australskog identiteta. Kroz sup(r)ostavljanje kolonijalnog i postkolonijalnog, većinskog i manjinskog, povijesti i pri-povijesti, prikazat će se složenost uspostave australskog identitata i njegovih suvremenih reinskripcija. Zbog udaljenosti australskog prostora i boljeg razumijevanja suvremenog australskog trenutka, kolegij nudi i pregled australske kulturalne povijesti kao i prikaz kulture australskih Aboridžina.
Cilj: Osvijestiti specifikume australskog književnog i filmskog prostora kao i nužnost drukčijeg pristupanja manjinskom tekstu koji je ispisan specifičnim kulturnim kodom.
Studentske obveze: ispunjavanje elemenata kontinuirane provjere znanja, koji obuhvaćaju redovito pohađanje nastave, provjeru čitanja odabranih književnih djela i gledanja odabranih filmova, kraće pisane zadatke u okviru nastave, pravovremenu predaju seminarskog rada i obvezno polaganje 2 kolokvija. Seminarski rad nosi 35% ocjene, dva kolokvija 50% i ostali elementi kontinuirane provjere znanja 15% zaključne ocjene iz kolegija. Za prolaz na kolegiju nužno je zadovoljiti sve elemente kontinuirane provjere znanja.
Točni termin 1. kolokvija utvrđuje se u dogovoru sa studentima. Raspodjela tema za seminarske radove je u 8. tjednu.

Sadržaj kolegija po tjednima
1. tjedan

Uvod u stvaranje nacije: kolonijalna i postkolonijalna povijest Australije: pregled ključnih događaja
2. tjedan
Povijesni pregled: nastavak
Alternativne povijesti: disemiNacija
Homi K. Bhabha: “DissemiNation: Time, narrative and the margins of modern nations” in The Location of Culture
Benedict Anderson. “Introduction” in Imagined Communities
Uvođenje ključne terminologije iz Post-Colonial Studies: The Key Concepts

3. tjedan
DisemiNacije sadašnjosti i prošlosti
Michel Foucault.  “Of Other Spaces” u Heterotopia and the City
John Marsden and Shaun Tan. The Rabbits (1998)
Shaun Tan. The Arrival.  (2006) (grafički roman)
Bruce Sterling. “Slipstream 2” u Science Fiction Studies

4. tjedan
The Arrival: nastavak
Chasing Asylum (2016) dokumentarac iz serijala BBC4 Storyville, red.  Eva Orner
5. tjedan
DisemiNacija budućnosti
The Rover (2014) dir. David Michôd
6. tjedan
DisemiNacija suvremene “australštine”:  nova australska srednja klasa
Christos Tsiolkas. The Slap (2009)
7. tjedan
The Slap nastavak
8. tjedan
Prvi kolokvij (45min)
Uvod u aboridžinsku Australiju: predkolonijalno-kolonijalno-postkolonijalno-neokolonijalno razdoblje: pregled
9. tjedan
Uvod u aboridžinsku Australiju: nastavak
Contact (2009) dokumentarac
Cannibal Story (2013) kratki animirani film
Christine Nicholls. “‘Dreamtime’ and ‘The Dreaming’ – an introduction” (2014)
Christine Nicholls. “Dreaming and place – Aboriginal monsters and their meanings” (2014)
10. tjedan
DisemiNacija suvremene aboridžinalnosti: humor i sadašnjica
Gayle Kennedy. Me, Antman & Fleabag (2007)
11. tjedan
DisemiNacija suvremene aboridžinalnosti: humor i trauma
Louis Nowra. Radiance (1993). (drama)
Radiance (1998) red. Rachel Perkins
12. tjedan
DisemiNacija suvremene aboridžinalnostii: humor i preživljavanje
Charlie’s Country (2014) red. Rolf de Heer
13. tjedan
Zaključna rasprava
14. tjedan

Drugi kolokvij (45min)

Fikcija:
John Marsden and Shaun Tan. The Rabbits (1998) (grafički roman)
Shaun Tan. The Arrival (2006) (grafički roman)
Christos Tsiolkas. The Slap (2009) (roman)
Gayle Kennedy. Me, Antman & Fleabag (2007) (roman)
Louis Nowra. Radiance (1993) (drama)

Filmovi:
The Rover (2014) dir. David Michôd
Cannibal Story (2013) kratki animirani film
Radiance (1998) red. Rachel Perkins
Charlie’s Country (2014) red. Rolf de Heer

Dokumentrni filmovi:
Chasing Asylum (2016) red.  Eva Orner
Contact (2009)

Sekundarna literatura (kritička izdanja)
– Anderson, Benedict. Imagined Communities. Reflection on the Origin and Spread of Nationalism. Revised Edition. London/New York: Verso. 2006. (dijelovi)
– Ashcroft, Bill, Gareth Griffiths and Helen Tiffin Eds. Post-Colonial Studies: The Key Concepts. London/New York: Routledge, 2002. (odabrani termini)
– Ashcroft, Bill. “Is Australian Literature Post-Colonial?”.  Modern Australian Criticism and Theory. Eds. David Carter and Wang Guanglin. Qingdao: China Ocean University Press. 2010: 1-13.
– Bhabha, Homi K. The Location of Culture. London and New York: Routledge. 2004 (1994) (odabrani dijelovi)
– Holt, Lillian. “Aboriginal humour: A conversational corroboree”. Serious Frolic: Essays on Australian Humour. Eds. Fran De Groen and Peter Kirkpatrick, St Lucia, Queensland: UQP, 2009: 81-94.
– Milner Davis, Jessica “ ‘Aussie’ humour and laughter: Joking as an acculturating ritual”. Serious Frolic: Essays on Australian Humour. Eds. Fran De Groen and Peter Kirkpatrick, St Lucia, Queensland: UQP, 2009: 31-47.
– Nicholls, Christine. “‘Dreamtime’ and ‘The Dreaming’ – an introduction”. A Year in Life of Australia. The Conversation. Ed. The Conversation, Sydney: Future Leaders. 2014: 77-82.
– Nicholls, Christine. “Dreaming and place – Aboriginal monsters and their meanings”. A Year in Life of Australia. The Conversation. Ed. The Conversation, Sydney: Future Leaders, 2014: 82-91.

Dodatna kritička izdanja:
– Banerjee, Bidisha. “Kinship between ‘companion species’: A posthuman refiguration of the immigrant condition in Shaun Tan’s The Arrival”. Journal of Postcolonial Writing, 2016: 1-15.
– Casey, Maryrose. “Bold, Black, and Brilliant: Aboriginal Australian Drama”. A Companion to Australian Aboriginal Literature. Ed. Belinda Wheeler. Rochester, New York: Camden House. 2013: 155-171.
– Farca, Paula Anca. “Humour in Contemporary Adult Fiction.” A Companion to Australian Aboriginal Literature. Ed. Belinda Wheeler. Rochester, New York: Camden House. 2013: 125-138.
– Verevis, Constantine. “ ‘Whose side are you on?’ The Slap (2011/2015)”, Continuum: Journal of Media & Cultural Studies, 29:5, 2015: 769-779.
– Ommundsen, Wenche. “Work in Progress: Multicultural Writing in Australia”. Modern Australian Criticism and Theory. Eds. David Carter and Wang Guanglin. Qingdao: China Ocean University Press, 2010: 243-257.
– Sterling Bruce. “Slipstream 2”. Science Fiction Studies, 38:1, 2011: 6-10.

Svi tekstualni i audiovizualni materijali dobivaju se u elektroničkom obliku.