A workshop in literary translation, focusing on Hebrew and English poetry and/or short prose. Together the class will engage in creating a bilingual anthology of contemporary works and discussing problems of literary translation such as preserving ambiguities, translating cultural context, literary conventions and poetic forms. Special focus on issues related to understanding and transferring the concept of "The Contemporary" between cultures. With guest translators. Advanced knowledge of Hebrew and English is required. Readings include: (Hebrew) Avot Yeshurun, Natan Zach, David Avidan, Haim Gouri, Sigal Ben-Yair, Almog Behar, Aharon Shabtai; (English) Marilyn Hacker, Annie Finch, Charles Bernstein, Ann Carson, Derek Walcott, David Whyte, Lyn Hejinian, Billy Collins,Mary Oliver, Kay Ryan. NOTE: Taught in Hebrew and English. At least some knowledge of Hebrew required. "This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.".
Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran? NOTE:This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Sample Student Writing: Self-Introduction by Sandy Lu
In 1969 a group of university students and Native activists calling themselves the Indians of All Tribes gathered on Alcatraz Island in an act of political protest that would turn out to be the longest occupation of U.S. lands in the nation's history. Claiming title to the territory under a nineteenth-century treaty, the Indians of All Tribes broadcasted their protest through an independent radio show and newsletter that included important political and poetic writings by the activists. This course builds outward from the Occupation of Alcatraz to understand the deep historical relationship between political resistance and poetic expression in Indigenous communities. We will read broadly on poetics and Indigenous political theory, beginning with non-alphabetic writings and Indigenous understandings of communal and political life, and concluding with formally innovative collections by Indigenous poets working on issues like climate justice and language revitalization.
A Guide to Composition Pedagogies
She has written that it "exploits theextreme registers and dynamics of the clarinet and makes use of ofglissandi, portamenti, flutter tonguing, timbrel trills, and harmonicdouble stops." An advanced work with a duration of about 10:45.
The League Of Nations: Buy The League Of Nations Online at L
Jacques Derrida has clarified what in fact is at stake in a work, in the procedure of constituting a work. His definition of differance (with an 'a') is useful precisely because it clarifies an aspect of work which previously was latent but not brought to speech, not adequately theorised, and which therefore always fell back into the ideology of illusionism and unseen subject (the artist).
Tax difference between canada and australia relationship
The course, open to all undergraduates, is for anyone serious about literature. After first asking what "literature" is and what cultural roles it may fulfil, the course continues by exploring what, then, may be the cultural, political, historical and institutional needs to which "comparative literature" responds. A short story by Jorge Luis Borges and an accompanying essay serve as an introduction to both sets of questions. We will then look at a few texts of the western tradition from Aristotle through the Middle Ages to the Renaissance, taken as standard for later ideas and practices of literature, eventually, too, at one or two that clearly acknowledge possibilities of quite different traditions for the role played by what may be called the "fictive imagination." A series of texts, two plays, two (possibly three) novels, some poems, some critical writings, will then show other traditions interacting transculturally with and/or against western ones. Students will be able to choose their readings among several.