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OSPMADRD 102M: Composition and Writing Workshop for Students in Madrid

Advanced. Writing as craft and process, emphasizing brainstorming, planning, outlining, drafting, revising, style, diction, and editing. Students choose topics related to their studies. Prerequisite: 13, 23B, or equivalent placement.
Terms: Aut, Win, Spr | Units: 3-5 | UG Reqs: WAY-A-II

OSPOXFRD 10: Conditions of England

This course will examine how writers and artists have imagined and represented British society in fiction and film from 1848 to the present. The "condition of England" novels of the mid-nineteenth-century famously advanced the idea that a work of literature could aim to capture the nature of society as a whole, and, in particular, to convey the relationship between different social classes within England. Is it possible for a single novel, or film, or painting to represent society as a whole, or to show a nation to itself? What are the opportunities, and the pitfalls, of this kind of artistic project? We'll look at how this kind of project develops across two hundred years of British culture, from Victorian realism to contemporary multicultural fiction and film. Possible authors include Elizabeth Gaskell, Charles Dickens, George Orwell, Virginia Woolf, Mike Leigh, Stephen Frears, Zadie Smith.
Last offered: Spring 2023 | UG Reqs: WAY-A-II

OSPOXFRD 13: Know Thyself ! The Philosophy and Psychology of Self-Examination

The word philosophy literally means a love of wisdom. This suggests that philosophy is not a collection of theories, but an emotional attitude toward a certain way of being. A philosopher is a person who is emotionally committed to becoming wise. The maxim Know Thyself! is regarded a main guiding principle in the philosopher's search for wisdom. It points us back towards ourselves, and presents our own personality as a subject to be studied and examined critically. Many have argued that this is not optional for those who wish to live well: as Socrates put it, the unexamined life is not worth living! Over the next ten weeks, we'll ask what it means to lead an examined life. We'll start by considering the opposite attitude, of the unthinking person who no longer cares to know truth from falsehood. We'll then ask how knowing oneself may differ from knowing others. Is there anything only you can know about yourself? Are there special, introspective means of coming to know yourself? If so, more »
The word philosophy literally means a love of wisdom. This suggests that philosophy is not a collection of theories, but an emotional attitude toward a certain way of being. A philosopher is a person who is emotionally committed to becoming wise. The maxim Know Thyself! is regarded a main guiding principle in the philosopher's search for wisdom. It points us back towards ourselves, and presents our own personality as a subject to be studied and examined critically. Many have argued that this is not optional for those who wish to live well: as Socrates put it, the unexamined life is not worth living! Over the next ten weeks, we'll ask what it means to lead an examined life. We'll start by considering the opposite attitude, of the unthinking person who no longer cares to know truth from falsehood. We'll then ask how knowing oneself may differ from knowing others. Is there anything only you can know about yourself? Are there special, introspective means of coming to know yourself? If so, are they immune to error, or can you be mistaken about yourself? How can there be self-deception, where you're both the deceiver and the deceived? We cannot know ourselves fully without knowing our moral character, our virtues and vices, in addition to our thoughts and feelings and wishes. Knowing oneself is arguably a moral obligation, therefore, and thoughtlessness the hallmark of evil. Yet there is another pitfall to avoid, as self-reflection must not collapse into narcissistic self- preoccupation. This distinction will take us into the realm of the Unconscious, which by definition is not accessible to conscious reflection and thus limits how much we can know about ourselves. Despite our best efforts, it may be that we will ultimately remain a mystery to ourselves.
Terms: Win | Units: 4-5 | UG Reqs: WAY-A-II
Instructors: Petzolt, S. (PI)

OSPOXFRD 17: Novels of Sensation: Gothic, Detective Story, Prohibition, and Transgression in Victorian Fiction

In this course we will study and discuss examples of the gothic, sensation, and detective fiction that flooded the literary market during the Victorian period. Like their eighteenth-century gothic predecessors, many of these texts lacked literary respectability, though they achieved best seller status. Far beyond simply providing a jaded reading public with scandalous and suspenseful narratives loaded with sex, crime, mystery and even the supernatural, these texts attempted to expose not only the secrets of their protagonists, but also the seamy underbelly of outwardly respectable Victorian society, epitomized by the family with its angel of the house. Topics for discussion will include the literary and moral value of these sub-genres of the novel and what they reveal about Victorian society's anxiety over transgressive - and therefore prohibited - elements in the domestic and public sphere.
Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Plaskitt, E. (PI)

OSPOXFRD 24: Layered Landscapes: Traces of the British Past

What kinds of evidence exists to allow contemporary students to evaluate a country's history of human endeavor? What different roles do buildings, monuments, and records play in forming collective memory? What other kinds of cultural objects - like art, music, and literature - create and augment varying identities within political borders? What role does a nation's established record and its interpretations play in perpetuating particular perspectives?This course asks how and why British communities and institutions preserve and sustain their material record asking how monuments were built, used, and described. We shall explore how (the potentially collective) memories of Britain are gathered, categorized, described, made accessible and felt. We shall investigate how to read the traces of landscapes layered through time, and inquire about the work archives, museums, public monuments, and tourist sites do to testify to a past that was glorious for some and deeply oppressive and violent more »
What kinds of evidence exists to allow contemporary students to evaluate a country's history of human endeavor? What different roles do buildings, monuments, and records play in forming collective memory? What other kinds of cultural objects - like art, music, and literature - create and augment varying identities within political borders? What role does a nation's established record and its interpretations play in perpetuating particular perspectives?This course asks how and why British communities and institutions preserve and sustain their material record asking how monuments were built, used, and described. We shall explore how (the potentially collective) memories of Britain are gathered, categorized, described, made accessible and felt. We shall investigate how to read the traces of landscapes layered through time, and inquire about the work archives, museums, public monuments, and tourist sites do to testify to a past that was glorious for some and deeply oppressive and violent for others. The course will introduce students to the fundamental skills and methodological framework required for working with an informed humanities expertise; a professional expertise that is critical, recognizing complexity, different viewpoints, and open-ended interpretation. Students will learn to read and interpret archival sources, and to practice the description, analysis, and public-facing discussion of primary materials. Among the places we may visit are the Bodleian Library, Oxford History Centre, and the museums in Oxford; the British Library and the British Museum in London; Stonehenge and Salisbury Cathedral in Wiltshire; Offa's Dyke (Shropshire); and a variety of monuments and preserved features in the local landscape.
Terms: Aut, Win | Units: 4-5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Treharne, E. (PI)

OSPOXFRD 41: Western Thought: Origins of Twentieth Century Semiotics

Story of semiotic exploration, its contributions to literary critical theory, Marxist critique and feminist critique, in development of twentieth century thought. Close look at principle authors and circumstances that engendered their writings. Questions about the relationship between thought and environment, and between ideology and action raised by looking at the way twentieth century events influenced thinkers to consider the purposes of language in society, in identity , and in authority.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-SI, WAY-A-II

OSPOXFRD 52: Shakespeare and Performance

This class is designed to enhance students' understanding of Shakespeare's place in the UK performance (and political landscape) through analysis of landmark productions on British stages and screens. We will apply range of scholarly approaches to these works and their lives on film and in the theatre, including close reading, performance studies, critical race studies, queer studies, and gender studies. Students will be introduced to these methodological frameworks early in the course, and are free to apply any of them in their assignments. Throughout our exploration of these canonical works, we will consider how today's theatre and film makers, as well as their audiences, engage with these plays to make new meanings and interventions in contemporary culture. Central to our discussion will be an interrogation of the place of Shakespeare in contemporary British culture, chiefly through analysis of performances of his plays and those of his contemporaries in major national institutions: more »
This class is designed to enhance students' understanding of Shakespeare's place in the UK performance (and political landscape) through analysis of landmark productions on British stages and screens. We will apply range of scholarly approaches to these works and their lives on film and in the theatre, including close reading, performance studies, critical race studies, queer studies, and gender studies. Students will be introduced to these methodological frameworks early in the course, and are free to apply any of them in their assignments. Throughout our exploration of these canonical works, we will consider how today's theatre and film makers, as well as their audiences, engage with these plays to make new meanings and interventions in contemporary culture. Central to our discussion will be an interrogation of the place of Shakespeare in contemporary British culture, chiefly through analysis of performances of his plays and those of his contemporaries in major national institutions: Shakespeare's Globe, the National Theatre, the Royal Shakespeare Company, the BBC, and the mainstream film industry. At the same time, however, we will be equally concerned with how marginalised groups, including minority ethnic and queer artists, have turned to Shakespeare's plays in order to reposition his works, and themselves, on the global and political stage. These in-class discussions, supported by study-group preparation, will prepare students for the written assignments, which are designed to allow students to interpret these plays and their theatrical/filmic afterlives, with a particular focus on the social and political implications of staging and screening these plays in today's diverse British society. Each week, students will be expected to have read the set text (a play by either Shakespeare or his contemporaries) and, in one of three 'study groups,' to have engaged with a critical or interpretative response to that text based on assigned reading or viewing (usually a scholarly reading, or a film or theatrical adaptation).
Terms: Sum | Units: 4-5 | UG Reqs: WAY-A-II, WAY-EDP

OSPOXFRD 72: Oxford Fantasists

The lives and selected fantasy literature of famous Oxford alumni William Morris (Exeter College), Lewis Carroll (Christ Church), Oscar Wilde (Magdalen), C.S. Lewis (University and Magdalen), and J.R.R. Tolkien (Exeter, Pembroke, and Merton), looking at each writer's unique take on the fantasy genre. To place readings in context, this course will also explore and compare selected source materials used by these writers, including examples of classic "high" and "low" fairy tales, selections from Norse and Welsh mythology, and Arthurian romance.
Last offered: Autumn 2021 | UG Reqs: WAY-A-II, WAY-EDP

OSPOXFRD 75: Creative Non-Fiction: Self expression as a means and an end.

The value of writing as a form of self expression and self analysis has been highlighted in recent months. In this course students will embark on an exploration of the practical uses of writing (journalism, therapy, communicating policies) while also cultivating their own writing skills. In this small seminar students will be able to grow their own writing skills with a variety of assignments tailored to their interests, meet other writers and learn how recent global events have changed the employment landscape for a burgeoning wordsmith.
Terms: Sum | Units: 4-5 | UG Reqs: WAY-A-II, WAY-CE

OSPOXFRD 93: Collecting the World

The art, science, and culture of the creation, transmission and collection of valuable, useful and informative objects and texts before the twentieth century, and the associated theories, purposes, and methods for collecting `worldly' goods and other valuables. Means by which local academic practices engaged with global developments in the arts and sciences through examination of primarily early modern material and intellectual culture in and around Oxfordshire. Assessments of quality, meaning, usage, cultural significance and the reception of material ¿treasures¿ in the storage rooms, vaults, and on display in museums, galleries, and libraries.
Last offered: Autumn 2020 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-SI
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