| SES # | TOPICS |
|---|---|
| 1 | Introductions Origins of Modernism I Symbolist Textuality, Aestheticism, Relation to Image the Flaneur and the City |
| 2 | Origins of Modernism II The End of Victorianism Ethics and Aesthetics Oratory and the Performative Darwin and Social Change |
| 3 | Origins of Modernism: III World War I The End of the Discourse of Rationalism The Empire Break Down |
| 4 | Modernism and Orientalism The Ideogram Gender and Translation ('Feminizing' Asia) The War at Home F.S. Flint |
| 5 | The Modern Image and Sculpture Early Wittgenstein and the Status of the Image |
| 6 | Montage and Film-history Radio Aesthetics The Photographic Image and the Liteary Image The Image as Repository of Desire |
| 7 |
Chaplin as Everyman, Chaplin as Subversive |
| 8 | The Psychology of Self-revelation Time, Change, and the Image in 'Prufrock' The Image as Repoistory of Meaning |
| 9 | The "Mythic Method" and History The Working Papers to "The Waste Land", and Ezra Pound's Editing Anthropology, Distance, and Irony: "The Golden Bough" |
| 10 | The Status of Allusion Speech, Speechlessness, and the Buddha |
| 11 | Williams: "Waste Land" as the "Great Catastrophe" Free Verse and the American Idiom "'Medical' Aesthetics: Why a 'Contagious Hospital'?" |
| 12 | Words as Things Constructionism and Objectivism The Gendered 'Gaze' Class Distinctions in High Modernism |
| 13-14 | Harlem Renaissance Jazz, Race, and Gender |
| 15 | Woolf Mr. Ramsay and the Limits of Reason: Lines Mrs. Ramsay and the Expansion of Consciousness: Circles |
| 16 | Woolf (cont.) Lily's Androgynous Vision |
| 17 | Yeats Pound Stevens Doolittle Auden Conquest Ashbery Art, Disillusionment, and Modernist Form Aestheticism as Ritual, as Religion |
| 18 | Yeats (cont.) "Sailing to Byzantium": What's the Problem? [Stanzas 1 and 2] |
| 19 | Yeats (cont.) "Sailing to Byzantium": Where to Look for a Resolution? [Stanzas 3 and 4] |
| 20 | Yeats (cont.) Stevens Stevens, Repetition, and Language: Emerson meets Heidegger |
| 21 | Stevens (cont.) Displaced Spirituality and Modernrist Compensaion ["Sunday Morning" - Stanzas 1 and 2] |
| 22 | Stevens (cont.) Versions of "Sunday Morning" Transcendenence and the Image Keats and Stevens: The Last Stanza of "Sunday Morning" |
| 23-25 | Student Presentations |








