Friday, January 28, 2011

Film Screenings

All films are at 7:30 p.m.

Thursday, February 10 - H 303 - "Women on the Verge of a Nervous Breakdown"

Tuesday, March 8 - D 202 - "Under the Sand"

Thursday, March 31 - H 303 - "Volver"

Tuesday, April 19 - D 202 - "Beyond Silence"

Thursday, April 28 - H 303 - "I Am Love"

Thursday, January 27, 2011

María de Zayas / The Disenchantments of Love - Day 1

Please deal with topics raised in three questions or bring up your own topics for discussion. Remember though, I do NOT want your posting to be a synopsis of the text. I am looking for your own ideas and thoughts concerning what you read.

1. When María de Zayas’ works were ‘rediscovered,’ a lot of critics jumped on a feminist bandwagon and claimed that Zayas’ writings mapped out a kind of ‘proto-feminist’ movement. More recent criticism of her writings have moved away from this stance and some critics have even stated bluntly that her writings are not feminist (or at best, have considered her a ‘flawed feminist’). What are your thoughts on this? Can you make an argument for and / or against a feminist critique of Disenchantments?

2. We are going to speak more about this in class, but how do deceit and trickery come into play in the game of desire acted out in each story? How might these themes play into a greater overall message that the stories’ narrators try to convey? (In short, what might deceit imply on a narrative level?)

3. There is a very strong “code of honor” in these stories. How does this play out and what might such a code imply?

4. Isabel / Zelima is a complicated character who is able to move between supposedly rigid social, ethnic and religious boundaries. Think about the multiplicity of her identities (free / slave, Christian / Muslim, rich / poor, “pure” / “corrupt,” European / Arab). Where is her agency in all this? Has she been manipulated by both society and men or does she have control here? Possibly both? How do her identities come into play?

5. The second story (“The Most Infamous Revenge”) is a bit tricky. Lisarda, the story’s narrator, seems to excuse men by saying “How weak are those women who cannot persevere in their good intentions, and this is why I excuse men for the low opinion of women. But let us lovingly excuse love’s errors.” How do you interpret this statement in light of the story as a whole?

6. How do you explain the inclusion of the supernatural in the third story? What does it have to say about justice and desire?

Wednesday, January 26, 2011

Conversation about "The Feminine Mystique" on NPR

Here is an excellent conversation I was listening to today that I feel is very relevant to our course. It concerns the revolutionary book, "The Feminine Mystique," that helped usher in the second wave of feminism in the United States during the 1960s.
You can listen to it here on NPR:

Tuesday, January 25, 2011

Christine de Pizan / The City of Ladies - Day Two

Please discuss two ways in which you think Christine works to establish her feminine literary authority in what you have read for today. You can discuss themes, characters, examples, ideas, etc. that she employs in this latter section of her book. How does what she do here relate to what we discussed Tuesday in class (her attempts to work against the monolith of male authority before her, her overall projects and aims in the text, etc.)? Does she introduce anything new here?

Sunday, January 23, 2011

Christine de Pizan / The City of Ladies - Day One

Please respond to two questions or come up with your own comments / questions / discussions.

1. The prologue (beginning of the book) is quite important for it here where Christine directs the reader as to how one should read and interpret the overall text. What do you think Christine wants to get across to her readers? Why? What do you make of the fact that Christine's mother interrupts her before she can really begin her 'work'? Why include this seemingly mundane detail?

2. Why do you think Christine adopts a tone of humility and even gullibility at the beginning of the text? How should we interpret this initial tone? How does this prepare the reader for what is to come? Give some specific examples.

3. What examples / methods does Christine use (from what you have read thus far) in her defense of women? Why do you think she chooses these examples? How do they help her to build her case?