Different sections may focus on different popular literary forms. The class will also ask students to explore what social attitudes and pressures help to make a form popular at a particular moment in time, and how popularity is often driven by the social networks of book production, marketing, sales, and adaptation. In part, students will consider the artistic relationships between popular literature and both historical and contemporary literary forms in order to understand how popular literature draws upon and sometimes invents new kinds of artistic representation. This course examines popular literature, a designation that has meant different things at different times and that has included literature as diverse as Shakespearean comedies, Gothic fiction, Science Fiction, and Fantasy.
(Prerequisites: Completion of one course in Art History (ARTH) at the 100 level is required.) Lecture 3 (Fall or Spring). Students will explore the theoretical framework of the concept of the image, and critically evaluate these theories within their broader intellectual and historical contexts. image, the mythic origins of images, subversive, traumatic, monstrous, banned and destroyed images (idolatry and iconoclasm), the votive, the totem, and effigy, the mental image, the limits of visuality, the moving and projected image, the virtual image, dialectical images, image fetishism, the valence of the image, semiotics and the image, as well as criteria by which to assess their success or failure (their intelligibility) and their alleged redemptive and poetic power. Topics will include: the modern debate over word vs. This course will examine recent scholarship devoted to the image-a ubiquitous controversial, ambiguous and deeply problematic issue in contemporary critical discourse-and the ideological implications of the image in contemporary culture. The image remains a ubiquitous, controversial, ambiguous and deeply problematic issue in contemporary critical discourse. Designated as writing intensive, this course emphasizes writing practices, recognizing the role writing plays in the formation of knowledge, and the framing of a specific academic specialization, as well as genre. We will focus on the ethical considerations and concerns conveyed in and by graphic memoirs in order to uncover unique forms of book-length sequential art, as well as enhance critical thinking about ethics and media literacy skills. Texts used in this course will be explored through this lens.
Holding a mirror up to the multiple ways in which contemporary cultures frame and reframe individual and collective experience, graphic memoirs render their subjects’ and cultures’ ethical premises and guidelines explicit, and, therefore, enable readers to revisit, rethink, and redraw accepted ways of behaving, understanding, and circulating.
Graphic memoirs are interested in how these distinctions, and the questions of individual and collective truth, transparency, and communicability they open onto, help to delineate ethical behavior and belief systems. Graphic memoirs, or auto-graphic novels, tell true tales of human experiences and global events, exploring the boundaries between fact and fiction, public and private, interior and exterior, visual and textual, seen and unseen, traumatic pasts and their futures. Graphic novels demonstrate a concern for constructed narrative within a visual structure, character development, and plot strategies.
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