COURSES

Spring 2016

Summer 2016

Fall 2016

Courses for Spring 2016

Study Abroad m Winter 2016

United Kingdom: Culture & Performance Appreciation in London

This Study Abroad Program is available every UB winter session.

Program Website: https://buffalo-sa.terradotta.com/index.cfm?FuseAction=Programs.ViewProgram&Program_ID=10107

Contact Information:

Program Director: Maria S. Horne marhorne@buffalo.edu

Associate Director: Chelsea L. Horne ch2305a@american.edu

Program Description our UB students at Shakespeare's Globe

U.K. Culture & Performance Appreciation in London is a 3 credit-hour course. It fulfills a UB General Education requirement (Arts). The intensive program integrates the study of culture and performance with focused research on its relationship with architecture, fine arts, history, music, ceremonies, urban design, and the contemporary landscape. The course is a guided discovery journey of London’s artistic and cultural world led by award-winning UB professor and international expert Maria S. Horne along with American University professor Chelsea L. Horne.

London is one of the foremost cutting edge artistic capitals in the world where rich tradition and contemporary practices meet. The city is among the oldest of the world’s great cities—its history spanning nearly two millennia—and one of the most cosmopolitan. By far Britain’s largest metropolis, it is also the country’s economic, transportation, and cultural center.

Course Description

The content and format of this course were created by Maria S. Horne and Chelsea L. Horne, in direct alignment with their own research, implementing their vision that

the arts, and specifically the performing arts, do not occur in a vacuum. They are the indisputable reflection of the distinct culture responsible for its production. The language of performance encompasses a wide spectrum of artistic and cultural expressions, which are intrinsically linked to the people that create it and produce it. To fully comprehend performance it is necessary to also comprehend the culture that created it. Artistic manifestations illuminate humankind and they often are precursors of the future. They reflect on the effects of the past, pose questions on the present times, and dare with visions of things to come. Learning how to appreciate performance and culture expands our understanding of ourselves and of the people of different cultures, and in turn, of humankind in a global sense.

Academically, the city of London becomes the classroom. Learning and teaching takes place on site at some of the world’s most fascinating historic, cultural, and performing arts venues in London, (i.e. Tower of London, British Museum, National Theatre, and so much more). Our formal sessions are convened as Class Gatherings. The daily itinerary takes the students on a comprehensive day-long exploration of London’s past, present, and future. Students are also allotted independent research time to take on their own London IACE artistic and cultural research project, where working in pairs or small groups they conduct academic and field research on a topic of their selection, while interacting with local counterparts and digitally documenting their discoveries, to be shared with our group. To further enrich cultural appreciation the course schedules day trips to Hampton Court, Henry VIII’s palace; Stratford-Upon Avon, William Shakespeare’s birthplace; and Harry Potter Studios, to learn about this cultural phenomenon as well as the technology and artistry behind eight films. To cultivate performance appreciation, students attend a carefully selected line-up of performances exhibiting a wide range of mediums, genres, and styles. There is plenty to do and while the program is jam-packed, it also earmarks free time for students to relax and enjoy on their own.

In 2016, our program notes the 400th anniversary of Shakespeare’s death by joining the UK celebrations in his honor, exploring Shakespeare’s Southbank and The Globe Theatre, attending performances of Shakespeare’s Pericles at the Sam Wanamaker Theatre, As You Like It at the National Theatre, as well as performances by the Royal Shakespeare Company and a talk-back session with actors from the Royal Shakespeare’s company. Required readings include two of Shakespeare’s plays.

Brochure London_Culture_Winter_ 2016


Play On! Shakespeare and Music:

How Shakespeare Used Music and How Composers Have Been Inspired by His Plays and Poetry

Instructor: Michael Harris

13 sessions:6 January-30 March 2-16; Wednesday mornings 9:30-11:30am

Unitarian Universalist Church of Buffalo; 695 Elmwood Avenue, Buffalo, NY 14222

Registration: $75 for full course, or $10 per session

PlayOnPoster

PlayOnSyllabus


ENG 310: Later Shakespeare

Instructor: Professor Barbara Bono, University at Buffalo298x288

MWF 9:00-9:50

Contact: Barbara Bono at bbono@buffalo.edu

Description: Origin, conflict, sex, murder, ambition, death, production, and reproduction.  We’ll start where I typically leave off in English 309: Shakespeare: Earlier Plays, with the Chorus’s fond hope at the beginning of Act V of Henry V that the triumphant Hal will enter London like a “conqu’ring Caesar,” or “As, by a lower but high-loving likelihood, Were now the General of our gracious Empress—/As in good time he may—from Ireland coming, /Bringing rebellion broached on his sword.” (Henry V, Chorus, Act V, ll. 22-35).

But there’s a problem.  Essex, the ambitious courtier-knight who was “the General of our gracious Empress” (the aging Queen Elizabeth I) did not come home from Ireland like a “conqu’ring Caesar,” “Bring rebellion broached on his sword.”  Instead he came home defeated, rebellious himself. In the late Elizabethan regime, the fragile balance that created celebratory history plays and resolved romantic comedies—the materials of English 309: Shakespeare’s Earlier Plays—collapses, so that, with Elizabeth’s death and James’s accession, we are left with frank examinations of how political order is often created out of irrational and self-interested acts of violence (Julius Caesar), leaving skepticism (Hamlet), excoriating sexual jealousy and doubt (Othello), heated ambition (Macbeth), in critic Franco Moretti’s phrase, “the deconsecration of sovereignty” that led to the staged public execution of James I’s successor Charles I.  In Shakespeare’s final plays, including The Winter’s Tale and The Tempest, the problem of political authority reorganizes itself around greater and more various agency for women and anticipations of the new world order of the Americas.

These—Julius CaesarHamletOthelloMacbethThe Winter’s TaleThe Tempest—will be our texts; these—origin, conflict , sex, murder, ambition, death, production, and reproduction—will be our issues.  It should be quite a semester.

procession_of_characters_from_shakespeares_plays_-_google_art_project


ENG 610: Shakespeare and the Scientific Imagination

Instructor: Professor Carla Mazzio, University at Buffalo

Thursdays 3:30-6:10

Contact: Carla Mazzio at cjmazzio@buffalo.edu

Description: Shakespeare’s London was veritably exploding with new technologies, discoveries, ideas and debates about the natural world and the place of scientific knowledge in culture and society. This seminar will explore Shakespearean plays and poems in terms of social and philosophical issues related to early modern cultures of experiment, attitudes toward ecology and environment, the changing status of intuitive and abstract knowledge, the making of artificial life and miniature worlds, and questions about material cultures and scientific mentalities. In the process of opening up new avenues of inquiry into early modern approaches to the study of nature (with possible attention to optics, alchemy, automatons, anatomy, medicine, cartography, physics, horticulture, cosmology, meteorology, craft-based or artisanal knowledge and early forms of “life science”), we will focus on close and careful analysis of the plays and surrounding cultural texts to explore imaginative dimensions of science and the scientific dimensions of poetry and drama.

This graduate seminar has three central goals. First, it will serve as an introduction to the study of Shakespearean drama and poetry at the graduate level, with attention to new directions in Shakespeare Studies as of 1616 (four hundred years after the death of Shakespeare, which will be marked by heightened attention to Shakespeare on local, national, and international stages).  Second, the course aims to introduce seminar participants to historical, cultural, and theoretical issues at stake in developing new approaches to Shakespeare in relationship to the history of science, science studies, and the history of the book and technology. Third, and most generally, it aims to open up questions about the contemporary status of the humanities in relationship to the sciences, introducing participants to some hotly debated issues at present about Shakespeare and “scientism,” the digital humanities, and the future of literary and humanistic study in the 21 century. Students in this course will be able to produce original scholarship on Shakespeare through archival research and an advanced knowledge of Shakespeare criticism.  They will leave this course with broad as well as specialized knowledge of Shakespearean drama, Shakespeare Studies, and archival research, and an ability to speak with analytic precision as well as critical sophistication about Shakespeare’s plays in historical and critical contexts.


 

ENG 316 Shakespeare 2

Instructor: Dr. Gregg Biglieri, Buffalo State College

Contact: Gregg Biglieri atbigliega@buffalostate.edu100473829Description: Shakespeare’s works after 1600: the problem plays, major tragedies, and romances.


HOM 561: Music and Shakespeare

Instructor: Dr. Amanda Eubanks Winkler, Syracuse University

Contact: Amanda Winkler at awinkler@syr.edu

Description: Shakespeare’s plays are full of music: actual sounded music and references to music and its power. This seminar will consider settings of Shakespeare’s songs as well as the place of music in early modern drama. We will also analyze various stage productions and filmed versions of Shakespeare’s plays as well as operatic and musical theatre adaptations.

In Music and Shakespeare students will: Think and write critically about current scholarship in Shakespeare/music studies, understand Shakespeare’s plays within a rich interdisciplinary historical, political, and social context, learn how to engage in scholarly dialogue and debate with their fellow students and their instructor, and write a polished scholarly paper centered around an original thesis.

Music and Shakespeare Syllabus 


Courses for Summer 2016

ENG 317 Shakespeare for Future Teachers

Instructor: Dr. Adrienne Costello, Buffalo State Collegeaw061812shakespeare6917

Description: Study of the plays frequently taught in English Language Arts classrooms, including Romeo and Juliet, The Taming of the Shrew, Hamlet, and Macbeth, as well as the sonnets.  Topics include: helping students overcome fear of Shakespeare, engaging with Shakespeare’s language, Shakespeare’s contemporaneity, using theater exercises, film and other media to teach the plays, and how to address parental concerns about adult subject matter.  Students will attend the Shakespeare in Delaware Park production of Shrew and the course will conclude with a student-designed staged reading of Macbeth.


Courses for Fall 2016

ENG 199: Making Shakespeare: The Case of “Hamlet”

Instructor: Professor Barbara Bono, University at Buffalo

Contact: Barbara Bono at bbono@buffalo.eduHamlet 1948 réal : Laurence Olivier Laurence Olivier  Collection Christophel

Description: William Shakespeare really did exist, and really did write all or most of the plays traditionally attributed to him, as well as some others which have been lost.  But how did Shakespeare—the glover’s son from Stratford with the good grammar school education, the possible Catholic tutor, the young man from the provinces come down to the big city to begin to play on and to write for the London stage, the businessman of the documentary record—become “Shakespeare,” the quintessential “author” in the western literary tradition, the bane and delight of every school child today, and the continued subject of critical, philosophical, and aesthetic appreciation and reinterpretation?

We can address this question through any number of Shakespeare’s plays. Our proof text for this semester will be Hamlet, in the 2010 Norton Critical Edition of the play, edited by Robert Miola, which combines comparative texts from the early editions of the plays with records of performances from Edwin Booth to Jude Law, contexts from the Bible to Thomas Kyd, criticism from John Dryden to Margreta DeGrazia, and afterlives from 18th-century experimentations with the play’s ending to Tom Stoppard and John Updike.

In addition to considering the play through this critical edition we will also review the performance tradition in film, from Olivier (1948) to Branagh (1996) to Almeryda (2000), and when possible in stage performance, as in the recent filmed versions by David Tennant (2010) and Benedict Cumerbatch (2015) and any live performance which happens to become available to us.


Eng 309 Shakespeare – Early Plays

Instructor: Professor Carla Mazzio, University at Buffalo

Contact: Carla Mazzio at cjmazzio@buffalo.edu

Description: This course will focus on Shakespeare’s comedies, histories, and selected tragedies, introducing students to Shakespeare’s language, dramatic techniques, historical surround, relationship to Renaissance humanism (the poetry and drama of classical Rome in particular), and innovations as he moved from play to play. At the same time, we will also examine some central issues that traverse many plays and genres, including the status of error, itself a pivotal dramatic pre-occupation that we will trace out from The Comedy ofErrors to Hamlet, the plays that open and close the course. So too, we will investigate Shakespeare’s ongoing experiments in the domain of metamorphosis, and consider the status of the material object (props, bodies, costumes, monetary instruments, etc.) in numerous early plays. Other plays include Love’s Labour’s Lost, Richard III, Romeo and Juliet, A Midsummer Night’s Dream, The Merchant of Venice, The Henriad, Much Ado About Nothing, and Twelfth Night.

botticelli-primavera


 Eng 310 Shakespeare – Late Plays

Instructor: Professor Susan Eilenberg

Contact: Susan Eilenberg at sre@buffalo.edu

Description: This course will be devoted to a reading of Shakespeare’s later plays, including the mass of great tragedies (Hamlet, Lear, Othello) and two or possibly three of the romances (The Winter’s Tale, The Tempest).paulscofield252852529

All his life Shakespeare has been interested in the space of impossibility made possible:  it has been the space of playful wit, flaunted theatricality, amusing or outrageous paradox. As the playwright develops, this space of paradox sheds its boundaries and grows ever more uncanny. The characters of the late tragedies and romances face what cannot be faced, bear what cannot be borne–and as one character cries to another, “Thy life’s a miracle,” we meditate upon the tragic lie he tells that is at the same time a tragic truth.  It is this disbelieved fiction of goodness–born of madness and delusion and chicanery and revenge but intimating something else, pointing mysteriously toward what King Lear calls the “chance which does redeem all sorrows / That ever I have felt,” upon which the tragedies brood.  It is this fiction too upon which the romances build their fictions of that which lies on the other side of loss, out beyond grief–not resurrection, perhaps, but that which may be just as welcome.  All this will be our  matter.

I will ask each student to write a midterm exam, a handful of brief response papers, a longer graded paper, and a final exam.  There will be occasional quizzes.  Intelligent participation will be encouraged; attendance will be mandatory.


Eng 379 Film Genres: Shakespeare & Film

Instructor: Professor Barbara Bono

Contact: Barbara Bono at bbono@buffalo.edu 

Description: If William Shakespeare were alive today—and he had the chance—he’d almost certainly be working in the movies.  The wealth and playfulness of his language, the vividness of his imagery, the strength and subtlety of his action, the mordancy of his politics, the tact of his collaborations and movement among contending patronage and power groups, and the shrewdness of his business sense all argue that he would have found a place there as a character actor, a cinematographer, a scriptwriter, or most likely a director-producer, the Martin Scorcese of his day.  Modern film returns the compliment, incessantly redramatizing and adapting his works for new sensibilities, new occasions.

shakespearefolgerIn this class we will screen, discuss and write about a film adaptation or cluster of film adaptations of Shakespeare’s works every week.  Successful completion of at least one college-level Shakespeare course or its equivalent is a useful preparation for this offering, but I have had novice Shakespeareans who have done very well in it. (If you have any doubt about your readiness for the course, please e-mail me at bbono@buffalo.edu with a description of your preparation.) In every case I will assume careful and informed reading of the play texts under discussion. Screenings will usually take place during the first session of the week: please be prepared to stay overtime for some of the longer films.  In addition to a good student text of Shakespeare’s plays (I will order copies of The Norton Shakespeare), required course texts will included Russ McDonald’s The Bedford Companion to Shakespeare, 2 edition: Timothy Corrigan’s A Short Guide to Writing About Film, 4 edition: and Courtney Lehmann’s Shakespeare Remains: Theater to Film, Early Modern to Postmodern; as well as certain required article-length pieces.  During the course of the semester you will be asked to submit 8 brief (1-2 page typewritten pages); informed but informal response papers, which will fuel our weekly discussions); a prospectus for a 7-10 page final paper (reviewed with me in individual conference); and the polished final paper.

Here’s the likely schedule:

Weeks 1 and 2: Set Up: Highballs and low culture:

Shakespeare in Love (John Madden, 1998)

Elizabeth and Elizabeth: The Golden Age (Shekar Kapur, 1998; 2007)

Weeks 3 and 4: Shaping Fantasies: The Interpretation of A Midsummer Night’s Dream:

A Midsummer Night’s Dream (selections, Max Reinhardt and William Dieterle, 1935)

A Midsummer Night’s Dream (selections, Joseph Papp, 1982)

A Midsummer Night’s Dream (selections, Adrian Noble, 1996)

A Midsummer Night’s Dream (Michael Hoffman, 1999)

Still Dreaming (documentary, Hank Rogerson and Jilann Spitzmiller, 2014)

Weeks 5 and 6: Dead letters and Postmodern Love: Tracking Romeo and Juliet:

Romeo and Juliet (Franco Zeffirelli, 1968)

William Shakespeare’s Romeo + Juliet (Baz Luhrmann, 1996)

Week 7 and 8: Looking for Richard: British and American Richard IIIs:

Looking for Richard (selections, Al Pacino, 1996)

NOW in the Wings of a World Stage (documentary, Kevin Spacey, 2014)

Richard III (Richard Loncraine, 1995)

House of Cards (selections, Kevin Spacey, 2012-2016)

Weeks 9, 10, 11 and 12:“Once more unto the breach:” Nationalism and Post-Nationalism in Shakespeare’s Henriad  (1 Henry IV, 2 Henry IV, Henry V):

Henry V (selections, Laurence Olivier, 1944)

Henry V (Kenneth Branaugh, 1989)

The Hollow Crown (selections, 2012; 2016)

Chimes at Midnight (selections, Orson Welles, 1966)

My Own Private Idaho (Gus Van Sant, 1992)

8 Mile (Curtis Hanson, 2002)

Quiz Show (Robert Redford, 1994)

Weeks 13 and 14: The Story of O: Twelfth Night and Modern Desire:

Twelfth Night (Trevor Nunn, 1996)

The Crying Game (Neil Jordan, 1992)


Eng 409 Topics in Shakespeare

Instructor Professor Carla Mazzio

Contact: Carla Mazzio at cjmazzio@buffalo.edu

Shakespesre and  Visual Culture

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Description: This course will examine Shakespearean poetry and  drama in light of a range of visual cultures of the Renaissance. We will explore aspects of knowledge and sensation in Shakespearean drama with regard to   Reformation iconoclasm and the image on stage, Renaissance skepticism and the problem of perception; scientific practice and the status of observation; cultural issues integral to the arts of gesture, ekphrasis, and anamorphosis, the physiology of looking in medicine and poetry; the visual dimensions of memory, emotion, and intellection, and the status of looking in terms of historical conditions of the theater, the book, and print culture.


HUM 100: Introduction to Humanities: The Tempest

Dr. Lisa Berglund, Buffalo State College561690e6e4734308e1998c47dce1f91a

Contact Lisa Berglund at berglul@buffalostate.edu 

Description: Shakespeare’s magical play explores the human and non-human condition through language and art. Along with close reading of The Tempest, we will study film, musical and stage adaptations, and poems and paintings inspired by its characters. The course will examine Shakespeare’s engagement with cultural and humanistic topics including exploration, imperialism and slavery, gender, race, the rights of animals, cannibalism, clothing, magic, stagecraft, chess, music, religion, education, parenting and aging.


ENG 315 Shakespeare 1

Dr. Gregg Biglieri, Buffalo State College

Contact Gregg Biglieri at bigliega@buffalostate.edu

Description: Shakespeare’s comedies, histories and sonnets.

thecuriousg-sonnet-104

English 281–Shakespeare after 400


Dr. Jonathan Baldo, Department of Humanities

Eastman School of Music, The University of Rochester

Contact: Jonathan Baldo at jbaldo@esm.rochester.edu

https://i2.wp.com/i.ebayimg.com/00/s/NDAwWDI1Mg==/z/nccAAOSw37tWEBq9/$_35.JPGDescription: Throughout 2016 the world has been marking the 400th anniversary of Shakespeare’s death.  This course has been especially designed as a contribution to that ongoing celebration.  Our focus in this course will be both narrow and broad.  With the help of James Shapiro’s marvelous 1599: A Year in the Life of William Shakespeare, we will explore what Shapiro characterizes as “an unusually fraught and exciting year” and also “a decisive one, perhaps the decisive one, in Shakespeare’s development as a writer.”   But we will also explore the breadth of Shakespeare’s influence.  An actor as well as playwright and poet, Shakespeare was above all a brilliant collaborator, and since his death in 1616, artists of all kinds—painters, playwrights, actors, performance artists, librettists, sculptors, and composers as diverse as Felix Mendelssohn and Duke Ellington—have entered the ranks of Shakespeare’s collaborators, using his plays and poems as the basis of creative adaptations in every artistic medium imaginable.  In presentations to the class, students will be encouraged to explore facets of Shakespeare’s vast and rich legacy.

https://upload.wikimedia.org/wikipedia/en/5/50/Duke_Ellington_-_Such_Sweet_Thunder.jpg


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