wll 349: forbidden love: medieval france course description · wll 349: forbidden love: medieval...

January 2014:OAA:swh 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.


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


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.


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%)


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%)


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


studied in class (15%), and a comprehensive final exam (35%). The course may be taken for a letter

grade or as P/NP.


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%


Moshe Rachmuth

Office Hours: Thurs 4-5:50

Office: M227C NH

[email protected]

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.

mailto:[email protected]


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.


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.


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


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)


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

wll 349: forbidden love: medieval france course description · wll 349: forbidden love: medieval...

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