Ways Of Seeing: Modern Perception In Literature And .

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Silverman and Read1Ways of Seeing: Modern Perception in Literature and ArchitectureFOL 5934-HUM 5258Department of Modern Languages/ School of ArchitectureFlorida International UniversitySpring Semester 2014Professors: Renée Silverman, Department of Modern LanguagesGray Read, School of ArchitectureCourse Meeting: Fridays 2:00 p.m. - 4:45 p.m.Location: College of Business Complex 254Contact: silvermr@fiu.edu, office: DM 482C, x1901Gray.Read@fiu.edu, office: PCA 376, x2672Office Hours for Dr. Silverman: 3:00-4:30 Mondays and Wednesdays and by appointmentOffice Hours for Dr. Read: 12:30-2:00 Fridays and by appointmentCredits: 3Prerequisites: Graduate student status. At least two courses in literature and/or history ofarchitecture; background in Art/Architectural History or Cinema Studies is helpful.In conjunction with, Modern Beauty? The Aesthetics of Perceptual Simultaneity, theWolfsonian exhibition at Frost Museum Teaching GalleryIa. Course Description:This graduate interdisciplinary course investigates how an international discussion amongpoets, artists, and architects defined modernity by redefining perception. We look at theimpact of technology on everyday experience, focusing on how modernists in the firsthalf of the twentieth century represented perception, first by rejecting accepted artistictechniques such as perspective drawing, linear narrative and axial design, then byinventing new strategies. We examine specific innovations such as cubist collage andcinematic montage to show how they impacted diverse forms of art, including film,literature, and architecture. The examination of modern “ways of seeing” in this courseencompasses some of the major currents in twentieth-century thought: Modernism,Cubism, Surrealism, and Postmodernism. The course includes films by Fritz Lang, SergeiEisenstein, Luis Buñuel, Salvador Dalí, and Pedro Almodóvar; and visual art by Dalí,Joan Miró, Pablo Picasso, Georges Braque, Robert Delaunay and Sonia Delaunay-Terk.We will also look at a range of poetry and prose, including texts by Blaise Cendrars,Vladimir Mayakovsky, Roman Jakobson, Federico García Lorca, Walter Benjamin,Henri Bergson, Georges Bataille, and Vicente Huidobro. We look at built work byAntonio Gaudí, Le Corbusier, Mies van der Rohe, Gerrit Rietveld, Erich Mendelsohn,and Eileen Gray as well as recent work by Bernard Tschumi, Herzog & Demeuron, andDiller & Scofidio.Ib. Learning Outcomes and Additional Graduate Coursework (Requirements)

Silverman and Read2Students will advance their critical thinking and writing on the graduate level with afocus on research skills. Graduate students will be expected to master manuscript andbibliographic format (according to their field of study); architecture students will beexpected to produce professional-level analytical drawings as part of their research.Analysis of literary texts, film and architecture, will center on issues and problems ofdisciplinary crossing. In addition to the listed assignments, graduate students will presentselected readings and architecture during the semester and lead class discussions.Ia. Course Description:This undergraduate interdisciplinary course investigates how an international discussionamong poets, artists, and architects defined modernity by redefining perception. We lookat the impact of technology on everyday experience, focusing on how modernists in thefirst half of the twentieth century represented perception, first by rejecting acceptedartistic techniques such as perspective drawing, linear narrative and axial design, then byinventing new strategies. We examine specific innovations such as cubist collage andcinematic montage to show how they impacted diverse forms of art, including film,literature, and architecture. The examination of modern “ways of seeing” in this courseencompasses some of the major currents in twentieth-century thought: Modernism,Cubism, Surrealism, and Postmodernism. The course includes films by Fritz Lang, SergeiEisenstein, Luis Buñuel, Salvador Dalí, and Pedro Almodóvar; and visual art by Dalí,Joan Miró, Pablo Picasso, Georges Braque, Robert Delaunay and Sonia Delaunay-Terk.We will also look at a range of poetry and prose, including texts by Blaise Cendrars,Vladimir Mayakovsky, Roman Jakobson, Federico García Lorca, Walter Benjamin,Henri Bergson, Georges Bataille, and Vicente Huidobro. We look at built work byAntonio Gaudí, Le Corbusier, Mies van der Rohe, Gerrit Rietveld, Erich Mendelsohn,and Eileen Gray as well as recent work by Bernard Tschumi, Herzog & Demeuron, andDiller & Scofidio.Ib. Learning OutcomesStudents will improve skills of critical thinking, and writing. The course focuses onanalysis of texts, film and architecture, crossing boundaries between language and visualliteracy. We will introduce students in literature to techniques of visual analysis, andstudents of architecture to textual criticism. Students will write papers and make an oralpresentation of research and analysis.Ic. Major TopicsEarly 20th century European literature and architecture.IIa. Assignments, Course Policies, Grading:

Silverman and Read3Coursework: In-class discussion questions and answers to be handed in. One researchpaper (10-12 pages [note: analytical drawings count as pages]). Students will also create a5-7-minute oral presentation with written, visual, or aural materials. Graduate studentswill present selected readings and objects to the class and lead class discussions.Web-based Assignments and Informational Postings: “Ways of Seeing” has a course website (Blackboard). A copy of the syllabus will be posted there.Policies surrounding Assignments and Grading: 1.) Students will be required toparticipate regularly, actively, and effectively in class discussions in order to achieve thehighest participation grade. 2.) More than two non-excused absences will reduce the finalparticipation grade by one-half letter grade, e.g., from A to A-, B to B. 3.) Late papersand assignments will not be accepted. Exceptions may be made for illness, personalemergency, religious holidays, or serious scheduling conflict. Permission should besought as much in advance as possible. 4.) Florida International University AcademicHonesty rules will be strictly enforced. 5.) Students with disabilities will be givenappropriate accommodations. 6.) Religious holidays: Florida International Universitypolicies on religious holy days as stated in the University Catalog and Student Handbookwill be followed in this course. Students may request to be excused from class forreligious observance.Grading Guidelines:Papers will be evaluated for originality and conceptual quality, smoothness and clarity ofexpression, structure of composition, stylistics and grammar. Participation and all oralassignments will likewise be graded on originality and clarity of thought, as well onthoroughness of preparation outside of class.Class Participation and Discussion: 15%Discussion Questions and Answers: 30%Oral Presentation in class: 20%Research paper: 35%IIb. Communicating and Meeting with your Professor:Faculty are available during office hours and email correspondence is welcome. Allemails will be answered promptly, Monday through Friday. Course information will besent to student’s FIU email addresses so students must arrange to receive messagespromptly. Separate appointments can be made on weekdays if you cannot attend regularoffice hours.IIc. Classroom Discussions:You are invited to enjoy a friendly atmosphere that is conducive to intellectualengagement. Therefore, students are asked to please turn off cell phones and beepers, andput away all foods, with the exception of liquids such as water and coffee.IIIa. Writing Assignments:

Silverman and Read4Students will write one research paper (6-8 pages) that answers questions posed by theprofessors. Alternate topics must be approved by professors. Papers will be accepted inEnglish and Spanish; Dr. Silverman will read Spanish-language papers.IIIb. Oral Presentation: (approx. 5-7 minute presentation): Each student will give ashort oral presentation to the class focused on one object in the Modern Beautyexhibition. At some point during the first few class sessions, you will have theopportunity to sign up for dates. The work and ideas that you present should help yourfellow students understand the object. It is acceptable to use outside sources andexamples, but remember that your time is extremely limited. It is recommended that youdiscuss your presentations with your professor. Students must accompany theirpresentation with a short rationale/statement of purpose or ideas (1 page typed on the dateof the oral remarks) which includes: a discussion of your intentions, as well as thelimitations and problems encountered while working on the text/materials. Handouts andother materials supporting your presentation are encouraged.IIIc. Class Participation and Discussion: Participation in class discussions will be acrucial part of your success in this course. To reflect the weight placed on discussion,your effective participation will make up 10% of your final grade.IV. Required Texts and Materials:Course textbooks are available from Florida International University Bookstore. Therequired textbooks are: 1. Charles Baudelaire, The Flowers of Evil; 2. Federico GarcíaLorca, Poet in New York (Poeta en Nueva York); 3. Vicente Huidobro, Altazor or, AVoyage in a Parachute (Altazor); and 4. John Berger, Ways of Seeing. Recommendedtextbooks are: 1. Blaise Cendrars, Complete Poems, trans. Ron Padgett; and 2. For thosewho wish to read the standard Spanish-language edition of Lorca’s Poet in New York,Federico García Lorca, Poeta en Nueva York, ed. María Clementa Millán (Cátedra 2008).All others can be obtained through the Green Library Electronic Reserve and on ourcourse web site. Other materials will be distributed in class, or made available throughelectronic resources and libraries.Electronic Reserve (administered through the Green Library):Please note that some texts/materials marked will be placed on the University (Green)Library electronic reserves system and on the course web site.Reading Texts in the Original Language: “Ways of Seeing” will be taught in English;therefore, all texts will be assigned in that language (in translation where necessary).Students may also choose to read any and all texts in Spanish. Those students with theappropriate language skills are encouraged to read relevant texts in the original French,Russian, or Spanish. Please consult Dr. Silverman regarding obtaining and analyzingtexts in languages other than English.

Silverman and Read5SCHEDULEJan. 10: Introduction. Ways of Seeing: Art, Politics, and Modern Perception.Discussion of Berger, Ways of Seeing.Looking at objects/texts: Breuer ChairJan. 17: Ways of Seeing. Theoretical and Philosophical Approaches.Reading: John Berger, Ways of Seeing.Guillaume Apollinaire, selected poetry from Calligrammes.Prepare discussion question on one of the readings. Hand in question and answer atthe end of the classJan. 24: MEET AT FROST MUSEUM: SimultaneityReading: Blaise Cendrars and Sonia Delaunay-TerkThe of the Trans-Siberian Railroad and of the Little Jean of France. Letter fromBlaise Cendrars. (La Prose du Transsibérien et de la petite Jeanne de France.Lettre de Blaise Cendrars)Perloff, Marjorie, “Profond Aujourd’hui" in The Futurist Moment (Chicago,1986)Prepare discussion question on readingJan. 31: Perceptual SimultaneityReading: Blaise Cendrars and Sonia Delaunay-TerkThe of the Trans-Siberian Railroad and of the Little Jean of France. Letter fromBlaise Cendrars. (La Prose du Transsibérien et de la petite Jeanne de France.Lettre de Blaise Cendrars)Perloff, Marjorie, “Profond Aujourd’hui" in The Futurist Moment (Chicago,1986)Architecture: Gerrit Rietveld, Schroeder HouseDue: Statement on choice of object for study from exhibition. Discussion questionand answerFeb. 7: The Difference between Sensation and PerceptionReading: Vicente Huidobro, Altazor or, A Voyage in ParachuteArchitecture: Abstraction of space Le Corbusier’s villas. promenade architecturale.Prepare discussion question on reading or architectureFeb. 14: Altazor ContinuedReading: Vicente Huidobro, Altazor or, A Voyage in Parachute;Architecture: Abstraction of space Le Corbusier’s villas. promenade architecturale.Hand in discussion question and answer at the end of the classFeb. 21: Baudelaire and the CityReading: Charles Baudelaire, Fleurs du Mal (Flowers of Evil) selected poemsArchitecture: Parisian Arcades vs. Department Stores and the origins of the shoppingmall

Silverman and Read6Prepare discussion question on reading or architectureFeb. 28: Baudelaire and the CityReading: Benjamin, Paris, Capital of the 19th CenturyRichard Sennett, ‘Exposure’Architecture: Parisian Arcades vs. Department Stores and the origins of the shoppingmallDue: Outline with references.Hand in question and answer at the end of the classMarch 7: Cubism and FuturismReading: Vladimir Mayakovsky, The Bedbug and Selected Poetry.Marinetti, Futurist Manifesto.Architecture: Antonio Sant’Elia drawings, El Lissitzky drawings (Prouns) and buildingsPrepare discussion question on reading or architectureMarch 14: Spring Break.March 21: Meet in Frost Gallery: Student PresentationsMarch 28: Continue Student PresentationsFilm: Fritz Lang, Metropolis.April 4: Industry and motionReading: Siegfried Kracauer, “The Cult of Distraction.” In The Mass Ornament: WeimarEssays.Architecture: Friederich Kiesler, Endless House, Mies van der Rohe, Barcelona Pavilionand Skyscraper drawingsApril 11: Surrealism and Variations on Surrealism.Reading: Federico García Lorca, selected poems from Poet in New York(Poeta en Nueva York); Louis Aragon, excerpt from Paris Peasant (1926).Architecture: Salvador Dalí’s Funhouse, Le Corbusier’s Roof Garden for Beistegui,Antoni GaudíDue: Final Draft of Research and analysis paper on objectApril 18: Surrealism Part 2 : Louis Aragon’s literary construction of surrealist space.Reading: Lorca, Poet in New YorkReview.

Ways of Seeing: Art, Politics, and Modern Perception. Discussion of Berger, Ways of Seeing. Looking at objects/texts: Breuer Chair Jan. 17: Ways of Seeing. Theoretical and Philosophical Approaches. Reading: John Berger, Ways of Seeing. Guillaume Apollinaire, selected poetry from Calligra

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