wll 349: forbidden love: medieval france course description · wll 349: forbidden love: medieval...
TRANSCRIPT
January 2014:OAA:swh Page 1 of 1
WLL 349: Forbidden Love: Medieval France
COURSE DESCRIPTION
This course examines the theme of "forbidden love" in texts such as the courtly tales of Lancelot and the
lais of Marie de France, and the post-affaire letters exchanged between Heloise and Abelard, and the
cross-dressing heroines of Silence and Aucassin and Nicolette. Through exploration of how these texts
define transgressive love, in which contexts, and to whom, our thematic study will contextualize our
understanding of sexuality and gender roles in medieval France and questions surrounding gender and
society in general.
Prerequisites/co-requisites: none
COURSE GOALS
1. Identify, discuss and analyze the theme of forbidden love in medieval French writings.
2. Make meaningful connections between the texts and their social, religious and political contexts.
3. Practice active reading and interpretation with an awareness of cultural, historical and gender
diversity.
4. Gain knowledge of medieval French literary and cultural traditions.
5. Appreciate the aesthetic, ethical and cultural value of a literary text.
STUDENT LEARNING OUTCOMES
Comprehension: Through use of the text and peer-to-peer interactions, students will draw more complex inferences about the author’s message and attitude. Analysis: Student is able to identify relations among ideas, text structure, or other textural features, to evaluate how they support an advanced understanding of the text as a whole. Historical and Cultural Knowledge: Student demonstrates understanding of the rich complexity of the human experience through the study of differences in cultural and historical perspectives. Identify Issues & Questions: Student is able to state, describe, and clarify issues so that understanding is not seriously impeded by omissions. Selecting Evidence: Students are able to take information from sources with enough interpretation/evaluation to develop a coherent analysis or synthesis.
January 2014:OAA:swh Page 2 of 2
Evaluating Evidence: Student chooses a variety of information sources appropriate to the scope and discipline of the research question/s. Selects sources using multiple criteria. SAMPLE ASSESSMENT RUBRICS (for annotated bibliography and research paper) ANNOTATED BIBLIOGRAPHY:
Criteria Capstone 1 point
Milestone 2 0.95 points
Milestone 1 0.85 points
Meets Benchmark 0.75 points
Almost Meets 0.65 points
Does Not Meet 0
Determine the Extent of Information Needed
Effectively defines the scope of the research question or thesis. Effectively determines key concepts. Types of information (sources) selected directly relate to concepts or answer research question.
Defines the scope of the research question or thesis completely. Can determine key concepts. Types of information (sources) selected relate to concepts or answer research question.
Defines the scope of the research question or thesis incompletely (parts are missing, remains too broad or too narrow, etc.). Can determine key concepts. Types of information (sources) selected partially relate to concepts or answer research question.
Has difficulty defining the scope of the research question or thesis. Has difficulty determining key concepts. Types of information (sources) selected do not relate to concepts or answer
Selecting Evidence
Information is taken from source(s) with enough interpretation/evaluation to develop a comprehensive analysis or synthesis. Viewpoints of experts are questioned thoroughly.
Information is taken from source(s) with enough interpretation/evaluation to develop a coherent analysis or synthesis. Viewpoints of experts are subject to questioning.
Information is taken from source(s) with some interpretation/evaluation, but not enough to develop a coherent analysis or synthesis. Viewpoints of experts are taken as mostly fact, with little questioning.
Information is taken from source(s) with a description that is not interpretative or evaluative. Viewpoints of experts are taken as fact, without question.
Selecting Evidence
Selecting evidence has a double weight. Same criteria, points count twice.
Evaluating Evidence
Chooses a variety of information sources appropriate to the scope and discipline of the research question. Selects sources after considering the importance (to the researched topic) of the multiple criteria used (such as relevance to the research question, currency, authority, audience, and bias or point of view).
Chooses a variety of information sources appropriate to the scope and discipline of the research question. Selects sources using multiple criteria (such as relevance to the research question, currency, and authority).
Chooses a variety of information sources. Selects sources using basic criteria (such as relevance to the research question and currency).
Chooses a few information sources. Selects sources using limited criteria (such as relevance to the research question).
Evaluating Evidence
Evaluating evidence has a double weight. Same criteria, points count twice.
Overall Score Level 6 5 or more
Level 5 4.5 or more
Level 4 4 or more
Level 3 3.5 or more
Level 2 3 or
more
Level 1 0 or more
RESEARCH PAPER
Mastery 6 points
Near Mastery 5.6 points
Benchmark Plus 4.9 points
Benchmark 4.2 points
Almost Meets 3.8 points
Does Not Meet 0
Control of Syntax and Mechanics
Uses graceful language that skillfully communicates meaning to readers with clarity and fluency, and is virtually error free
Uses straightforward language that generally conveys meaning to readers. The language has few errors.
Uses language that generally conveys meaning to readers with clarity, although writing may include some errors.
Uses language that sometimes impedes meaning because of errors in usage.
Sources and Evidence
Demonstrates skillful use of high quality, credible,
Demonstrates consistent use of credible, relevant
Demonstrates an attempt to use credible
Demonstrates an attempt to use
January 2014:OAA:swh Page 3 of 3
relevant sources to develop ideas that are appropriate for the discipline and genre of the writing
sources to support ideas that are situated within the discipline and genre of the writing.
and/or relevant sources to support ideas that are appropriate for the discipline and genre of the writing.
sources to support ideas in the writing.
Content Development
Uses appropriate, relevant, and compelling content to illustrate mastery of the subject, conveying the writer's understanding, and shaping the whole work.
Demonstrates adequate consideration of context, audience, and purpose and a clear focus on the assigned task(s) (e.g., the task aligns with audience, purpose, and context).
Demonstrates awareness of context, audience, purpose, and to the assigned tasks(s) (e.g., begins to show awareness of audience's perceptions and assumptions).
Demonstrates minimal attention to context, audience, purpose, and to the assigned tasks(s) (e.g., expectation of instructor or self as audience).
Analysis Organizes and synthesizes evidence to reveal insightful patterns, differences, or similarities related to focus.
Organizes evidence to reveal important patterns, differences, or similarities related to focus.
Organizes evidence, but the organization is not effective in revealing important patterns, differences, or similarities.
Lists evidence, but it is not organized and/ or is unrelated to focus.
Student's position (perspective, thesis/hypothesis)
Specific position (perspective, thesis/hypothesis) is imaginative, taking into account the complexities of an issue. Limits of position (perspective, thesis/hypothesis) are acknowledged. Others' points of view are synthesized within position (perspective, thesis/hypothesis).
Specific position (perspective, thesis/hypothesis) takes into account the complexities of an issue. Others' points of view are acknowledged within position (perspective, thesis/hypothesis).
Specific position (perspective, thesis/hypothesis) acknowledges different sides of an issue.
Specific position (perspective, thesis/hypothesis) is stated, but is simplistic and obvious.
Overall Score Mastery 30 or more
Near Mastery 28 or more
Benchmark Plus 24.5 or more
Meets Benchmark 21 or more
Almost Meets 19 or more
Does Not Meet 0 or more
OUTLINE OF COURSE CONTENT
Historical Case Studies o Abelard and Heloise: gender roles and politics o Ruth Mazo Karras, Sexuality in Medieval Europe: Doing unto others
Courtly Love and Adultery o Andreas Capellanus o Marie de France o Chrétien de Troyes’s Lancelot
Transvestism and Gender Codes o Silence o Aucassin and Nicolette
COURSE REQUIREMENTS: These will vary somewhat depending on class delivery (online or
classroom) since I adjust my pedagogy accordingly.
January 2014:OAA:swh Page 4 of 4
Online format:
Group discussion boards, written reports, research topic sentence, research proposal, annotated bibliography, formal paper outline, peer editing, research paper. Classroom format:
Class discussion, short reading-response papers, midterm exam, annotated bibliography, research outline,
peer editing, research paper.
REQUIRED PRIMARY TEXTS
The Letters of Abelard and Heloise, trans. by Radice (Penguin Classics)
The Art of Courtly Love, by Andreas Capellanus, trans. by Parry (Columbia UP: Records of Civilization)
The Lais of Marie de France, trans. by Burgess and Busby (Penguin Classics)
Lancelot: The Knight of the Cart, by Chrétien de Troyes, trans. by Raffel (Yale UP) Silence: A Thirteenth-Century French Romance, trans. by Sarah Roche-Mahdi (Michigan State
UP: Medieval Texts and Studies)
Aucassin and Nicolette: A Facing-Page Edition and Translation, trans. by Sturges (Michigan State UP)
REQUIRED SECONDARY LITERATURE
Ruth Mazo Karras, Sexuality in Medieval Europe: Doing unto others (Routledge)
Articles placed on electronic reserve
METHOD OF EVALUATION: letter graded or P/NP
CALCULATION OF COURSE GRADE: These will vary somewhat depending on class delivery
(online or classroom) since I adjust my pedagogy accordingly.
Online format:
Quality of Weekly Discussion Contributions and Group Discussion Reports (9 x 5% = 45%)
Research Process, Writing Steps and Final Paper (55%). Distributed as follows:
o Topic sentence (3%)
o Proposal (5%)
o Annotated Bibliography (5%)
o Outline (5%)
o Draft (5%)
o Peer Editing (2%)
o Final Paper (30%)
Classroom format:
Quality of classroom preparation and participation in discussion (20%)
Short reading-response papers (20%)
January 2014:OAA:swh Page 5 of 5
Midterm exam (20%)
Research Process, Writing Steps and Final Paper (40%). Distributed as follows:
o Topic Sentence and Annotated Bibliography (5%)
o Outline and Conference with Instructor (5%)
o Draft and Peer Editing (5%)
o Final Paper (25%)
January 2014:OAA:swh Page 6 of 6
WLL 349 Forbidden Love in Spain
Dr. DeLys Ostlund Office: 451E NH
Telephone: 503-725-3541 Office Hours: By appointment
TEXTS: The Celestina by Fernando de Rojas
The Book of Good Love by Juan Ruiz
The Knight of Olmedo by Lope de Vega
Course Description: In a society that forbade love relationships in the upper class, what did you do if
you wanted to pursue a relationship with someone? You hired a specialist – a go-between. This class
will cover three major Spanish works with the common theme of forbidden love facilitated by a
professional go-between – an older, manipulative, marginalized, lower-class woman – a “Celestina.”
These works result in the creation of a literary archetype still seen in literature and film today.
Course Objectives: This course directly addresses each of the UNST goals. Inquiry and Critical
Thinking and Communication are addressed through class discussions and in-class guided writing
exercises, as well as the preparation and presentation of a summary of a critical article. The course
addresses the area of Ethical Issues and Social Responsibility in that the literature to be studied provides
a window on Medieval and Early Modern Spain and the ways in which these issues were successfully or
unsuccessfully met in the past. The Diversity of Human Experience is addressed through exposure in
translation to a foreign literature to which students might otherwise never be exposed. While the earliest
manifestations of this literary type are remote both chronologically and geographically, the students will
come to recognize that beneath all the obvious diversity which the literature represents there are
underlying universals of the human experience and of human nature.
Student Learning Outcomes: Through this course, students will familiarize themselves with some of
the most important literary works of Medieval and Early Modern Spain; develop a greater understanding
of and appreciation for these works; improve their ability to talk and write critically about literature; and
increase their understanding of how to study literary works.
Course Outline: The course will begin with an introduction to Medieval Spain and the course theme.
We will then study selections of Juan Ruiz's The Book of Good Love (from the 14th century), whose
character Trotaconventos is the first literary manifestation of the professional go-between. Next we will
study The Celestina by Fernando de Rojas, which is considered the last medieval work of Spain as well
as its first Renaissance work and is the work which gives the literary archetype its name. Finally, we
will study one of the many works in Spain which was clearly influenced by The Celestina, Lope de
Vega's The Knight of Olmedo (from the 17th century). Students will be required to find a critical article
from a peer-reviewed journal on one of the works. They will prepare a 2-page written summary and a 5-
minute oral presentation of the content of their chosen article. A key component of the class discussion
of the works will be the oral presentations. At the conclusion of the study of each text, we will have an
in-class guided writing exercise. These essays will include an analysis of such literary elements as
theme, images and character.
Course Requirements and Method of Evaluation: In order to meet the course goals and achieve the
student learning outcomes, it is essential that students come to class each day prepared to participate. In
addition to daily class participation (20%), the course requirements are an in-class essay on each work
(3x15=30%), a written summary and in-class presentation of a critical article on one of the works
January 2014:OAA:swh Page 7 of 7
studied in class (15%), and a comprehensive final exam (35%). The course may be taken for a letter
grade or as P/NP.
January 2014:OAA:swh Page 8 of 8
Forbidden Love: Early Modern France
WLL 349
Course description
This course introduces students to depictions of “forbidden love” in literary texts from early-modern
France. We will explore the themes of adultery, incest, libertinage and sadism through a study of
canonical works of the time. Course is taught in English. There are no prerequisites.
Course outline and required texts
Adultery
The Princess of Clèves (1678) by Mme de Lafayette
Adultery and Incest
Phèdre (1677) by Racine
Libertinage, debauchery and sadism
Dangerous Liaisons (1782) by Choderos de Laclos
Justine or the Misfortunes of Virtue (1791) Le marquis de Sade
Philosophy in the Bedroom (1795) Le marquis de Sade
Articles placed on electronic reserve
Course Objectives
* To analyze of theme of forbidden love in canonical French literary works of early-modern France
* To gain knowledge of French literary traditions of the early-modern period
* To understand the influence of social, historical and cultural context on the literature read
* To appreciate the values of a literary text
Student Learning Outcomes
* Students will be able to identify relations within the text (figures of style, ideas and themes) and use
them to evaluate the text as a whole.
* Students will demonstrate understanding of social, historical and cultural perspectives and how they
impact literary works.
* Students will appropriately evaluate sources of information particular to their discipline
* Students will develop their capacities for analysis, synthesis and evaluation.
Course Requirements and Methods of Evaluation
Preparation and Participation: 25%
Written homework: 25%
Quizzes: 25%
Final paper: 25%
January 2014:OAA:swh Page 9 of 9
January 2014:OAA:swh Page 10 of 10
Moshe Rachmuth
Office Hours: Thurs 4-5:50
Office: M227C NH
WLL 349 Forbidden Love: Israeli Film
Course Description:
What can be learned about a society from watching its films concentrated on forbidden love?
First one can learn about the groups that are not supposed to marry each other within the society.
Second, one can learn about people whose body or sexual tendency are not within what the society dims
“legitimate.”
We will watch films and film excerpts mostly from the 2000s with a couple going as far back as
the 1960s in order to evaluate the history of tension points in Israeli society. Among the forbidden loves
we will examine are love between an immigrant and a native, love between an Ashkenazi and a
Sephardi, love between an Arab and a Jew, gay love in the Israeli military, forbidden loves in a Kibbutz
and love between two overweight people.
Prerequisites/co-requisites
This course has no prerequisites. This course has no co-requisites.
Course Objectives:
Students will be introduced to the history of Israeli film industry as an example of world cinema.
Students will become familiar with the milestones of Israeli cinema
Students will learn the basic features of American romantic comedies and compare them with
Israeli Bourekas movies.
Students will become familiar with the history of Israel, specifically the Arab-Israeli conflict.
Student Learning Outcomes
Students will be knowledgeable of major films in Israeli cinema history and major genres in
Israeli film. This outcome will be demonstrated through the bi weekly quizzes and the final
exam.
Students will be familiar with the main ideas and terms used in academic criticism of Israeli
cinema, specifically in questions of gender and ethnic tensions. This outcome will be
demonstrated through classroom discussion, group presentations and the final exam.
Students will be able to apply the theory we cover in class to an Israeli a film not discussed in
class. This outcome will be demonstrated through group presentations and student papers.
Students will be able to present their arguments in clear and concise manner to an audience of
peers. This will be demonstrated through the group presentations.
Required Readings:
Belton, John. “American Comedy” in American Cinema/ American Culture, 3rd edition. New-York:
McGraw-Hill, 2008. pp 165-194.
Shohat, Ella. Israeli Cinema: East/West and the Politics of Representation. London: Tauris, 2010. New
Edition.
Talmon, Miri and Yaron Peleg, (Eds). Israeli Cinema, Identities in Motion. Austin: UoT Press, 2011.
January 2014:OAA:swh Page 11 of 11
Required Films:
Cedar, Joseph, Mandil, David, Shiray, Eyal, Avni, Aki, Tinkerbell, Dayan, Assaf, Alterman, Idan,
Cinema Factory, and Kino International Corporation. Ha-Hesder Time of Favor (2002). Print.
Suleiman, Elia., Balsan, Humbert, Khader, Manal, Daher, Nayet Fahoum, Avatar Films, B.A.C. Films,
Ognon Pictures, Arte France Cinema, Gimages Films, 2M Soread, Lichtblick, and Arab Film
Distribution. Yadon Ilaheyya Yaw Miyat Akhbb Walam = Divine Intervention : A Chronicle of Love and
Pain (2002). Print.
Fox, Eytan, Uchovsky, Gal, Bel-Tal, Ronen, Feingold, Amir, Knoller, Ohad, Sweid, Yousef, Wircer,
Daniella, Friedmann, Alon, Lider, Ivri, Uchovsky-Fox, Metro Communications, Feingold Productions,
Israel Film Fund, Keshet Broadcasting, Hot, United King Films, and Strand Releasing Home Video. The
Bubble (2007). Print.
Fox, Eytan, Yossi (2012).
Fox, Eytan, Harel, Amir, Uchovsky, Gal, Bernheimer, Avner, Knoller, Ohad, Levi, Yehuda, Lider, Ivri,
Grunfeld, Yosef, Scharf, Yaron, and Strand Releasing. Yossi & Jagger Yosi Ve-G'ager (2004). Print.
Golan, Menahem, Kishon, Ephraim, Topol, Almagor, Gila, Nuni, Geula, Einstein, Arik, Crosby, Floyd,
Zarai, Yohanan, Sallah, Ltd, and Ergo Media Inc. Sallah (1990). Print.
Golan, Menahem, Hefer, Hayim, Seltzer, Dov, Bar-On, Shimʻon, Gaʼon, Yehoram, Lavi, Efrat, Graber,
Yossi, Eliʼas, Arieh, Mossinsohn, Yigal, Globus Group, Noah Films, and Cannon Video. Kazablan
(1990). Print.
Kosashvili, Dover, Tenembaum, Edgard, Rozenbaum, Marek, Ashkenazi, Lior, Elkabetz, Ronit,
Morgane Production, Transfax Film Productions, and New Yorker Video. Late Marriage (2002). Print.
Lifshin, Jacob., Wachsmann, Daniel, Israeli Cinema, and Ergo Media Inc. Hamsin (1988). Print.
Maymon, Sharon and Erez Tadmor. A matter of Size (2009).
Nesher, Avi, Ederi, Mosheh, Edery, Leon, Hadida, Samuel, Eden, Sara, Porat-Shoval, Rubi, Garti,
Netaʻ, Ts'arkhi, Liraz, Abuhav, Rotem, Abuksis, Nadav, Atika, Aure, Idelman, Mariano, Benguigui,
Jean, Desai, Kruttika, Sethi, Parmeet, Katorza, Israel, Ravitz, Nati, Gurfinkel, David, Sehayek, Isaac,
Levy, Krishna, Davis Films , Production Company, and Sisu Home Entertainment, Inc., Distributor. Sof
Ha'olam Smola (2007).
Shani, Yaron, Copti, Scandar, Danon, Mosh, Karathanos, Thanassis, Preston, Rupert, Niblo, Allan,
Richardson, James, Habash, Fouad, Frege, Ibrahim, Kabaha, Shahir, Naim, Eran, Yacov, Boaz
Yehonatan, Sinai, Yoav, Doron, Rona, Buchari, Rabia, Match Factory, Inosan Productions, Twenty
Twenty Vision Filmproduktion, Zweites Deutsches Fernsehen, Das Kleine Fernsehspiel, Arte, and Kino
International Corporation. ʻAjami ʻAg'ami (2010). Print.
Shaul, Dror., Shamir, Sharon, Rexin, Johannes, Yudkevitch, Ronit, Steinhof, Tomer, Avivi, Shai,
Philosof, Tsoof, Rennert, Adi, Edschmid, Sebastian, Bavaria Film International, Mongrel Media, and
Metropole Films Distribution. Adamah Meshugaʻat Sweet Mud (2007). Print.
January 2014:OAA:swh Page 12 of 12
Major subjects:
1. Ashkenazi – Sephardi Relations:
Sallah, Kazablan, Turn Left at the End of the world
2. Israeli – Palestinian Relations:
Eastern Wind, Divine Intervention, The Bubble, Ajami
3. “Illegitamate” Bodies and “Illegitimate” Sexualities:
Yossi and Jagger, The Bubble, Yossi, A Matter of Size
4. Israeli Sub-Cultures:
Late Marriage, Time of Favor, Sweet Mud
Disabilities: If you have a disability (physical or learning) which you think may affect your
performance in this class, please see me during the first days of the class so we can make arrangements,
if necessary, for your full access to all classroom activities.
Participation (20%): The course meets three days a week for sixty five minutes per session. Each session
will consist of brief lectures by the instructor followed by discussion with fellow students. Daily
assignments are watching a film and reading the power point presentation connected with the film and
preparing for discussion on the questions brought up in the presentation. We will also read research
articles on Israeli cinema, usually averaging around 20 pages in length each. Students are expected to
come to class fully prepared and ready to discuss the works assigned for that day. Participation is more
than merely attending class; students are expected to contribute their opinions to classroom discussion;
moreover, that preparation will form the bedrock of knowledge necessary to perform well on the
Daily marks will be given for class participation and this will account for 20% of the student grade.
Three of the lowest grades will be dropped.
Daily marks are given on a 10-point scale as follows:
10 – Leads discussion; precise; can support opinion by drawing on textual evidence
09 – Contributes greatly to discussion, helping move discussion in a productive direction
08 – Can answer questions
07 – Present, but shows fuzzy grasp of material, showing cursory preparation/viewing
05 – Is present, but cannot answer questions on material
00 – Absent.
Quizzes (30%): on Friday of weeks 2, 4, 6 and 8, students will take a quiz. The material for the quiz
will be taken from the films, reading and discussion of the two weeks preceding the quiz. These short
quizzes will consist of multiple-choice answers, true/false problems, identifications, and/or short answer
questions involving close analysis of a text we have discussed together in class. No make-up quizzes
will be given; however I acknowledge that students occasionally get sick, have work demands, or other
reasons to miss a day of class. Therefore, one quiz will be dropped to allow for missing a quiz. Should a
student take every quiz, the lowest quiz grade will be dropped.
Group Presentation (20%): In your group presentation, you will present and explain a film assigned to
your group. With the group presentation you also hand a short paper typed in Times New Roman, point
12, double spaced, and the color of the ink should be black. I will not accept work that is not typed and
will mark your grade down if the work is not typed according to the above specification.
Final Exam (30%): On Finals week you will be given an exam that will cover all the materials covered
in class. Review materials will be handed in class during the last week of the term.
January 2014:OAA:swh Page 13 of 13
Grading:
The breakdown of your final grade will be as follows: Group Presentation (20%), Quizzes (30%) Final
Exam (30%), Attendance and participation (20%)
Attendance is mandatory. Repeated absences/late arrivals/early departures will negatively affect your
grade. Four absences/late arrivals/early departures will reduce one third of a letter grade (e.g. “B” will
turn to “B-”) from your final grade. Five absences/late arrivals/early departures will reduce a full letter
grade from your final grade (e.g. “A” will turn to “B”). After five absences (and after I warn you in
writing) any further absence will result in failing the course.
Preparation: You have to do your reading before every class! I may, at my discretion, administer
quizzes to test for preparation, but students who read will simply do better on the exam and papers and
will benefit much more from the course.
All cell phones, iPods, laptops, mini-laptops, PDAs and all other electronic devices have to be turned
off during class time. No talking nor messaging nor any other electronic activity is allowed during class
time.
Academic Honesty: Academic dishonesty will not be tolerated in this course or at this university. All
work submitted in this course must be your own and be written exclusively for this course. The use of
sources (ideas, quotations, paraphrases) must be properly documented. Plagiarism is a very serious
offense and has consequences that can follow you around for a lifetime. Please be very, very careful
about citing your sources. Please also see me if you have any questions about your use of sources, or
about this policy.
Office Hours: I strongly encourage you to come to my office hours. During office hours you have my
undivided attention and through a live conversation I can usually answer your questions and concerns
better than through e-mail. If you cannot make it to my office hours I will be available through
appointment.
Course Schedule
Some of the films that I plan on showing are difficult to get a hold on so the order of classes may change
according to film availability. Therefore, you should treat this schedule as tentative and if you miss a
class, make sure to ask one of your colleagues about the assignment for the following class.
Week 1 National – Beaufort, Oded, Sabra
Lesson 1,
Introduction (PPT – Introduction + Lebanon Films)
Lesson 2
Intro + Beaufort (PPT – Introduction + Lebanon Films)
Lesson 3
Beaufort (PPT – Lebanon Films)
Week 2
Lesson 4
Oded the Wanderer (PPT – Oded the Wanderer)
Lesson 5
January 2014:OAA:swh Page 14 of 14
Sabra (PPT – Sabra, as homework “War Movies – Belton”)
Lesson 6
Hill 24 Doesn't Answer (PPT – Hill 24 Doesn't Answer)
Quiz 1
Week 3 Anti-National Films
Lesson 7
Waltz with Bashir (PPT – Lebanon Films)
Lesson 8
Social Constructs (PPT – Week 1_Wed_Constructs)
Lesson 9
Hole in the Moon (PPT – TBD)
Week 4
Lesson 10
Avanti Popolo (PPT – The Palestinian Wave)
Lesson 11
Fictitious Marriage
Lesson 12
Ajami (PPT – Ajame_LeilasBirthday)
Quiz 2
Week 5 – New Sensitivity Footnote, Daniel Vax
Lesson 13
Footnote (PPT – Footnote)
Lesson 14
Big Eyes (PPT – Men of the 70s)
Lesson 15
Where is Daniel Wax (PPT – Men of the 70s)
Week 6 – Ashkenazi – Sepharadi Relations
Lesson 16
Shiv’a (PPT- Ashkenazi_Sepharadi, TBD)
Lesson 17
Sallah (PPT- Bourekas, Kishon_and_Bourekas)
Lesson 18
The Policeman (Kishon_and_Bourekas)
Quiz 3
Due: Paper 1 Version 1
Week 7 Ashkenazi – Sepharadi Relations
Lesson 19
The House on Shelush St. (PPT: Moshe_Mizrahi)
Lesson 20
Late Marriage (PPT - TBD)
Lesson 21
Left at the End of the World (PPT - TBD)
January 2014:OAA:swh Page 15 of 15
Week 8 – Under the Thumb of Hyper-Masculinity
Midterm
Lesson 22
Policeman (PPT - Policeman)
Lesson 23
Life According to Agfa (PPT - Life According to Agfa)
Lesson 24
Time of Favor (PPT - Time of Favor)
Quiz 4
Week 9
Lesson 25
Bonfire (PPT - Time of Favor)
Lesson 26
Foul_Gesture (PPT - Time of Favor)
Week 10
Lesson 27
Poisoned (PPT - Poisoned)
Lesson 28
Exam Review
Lesson 29
Summary