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Schedule

SCHEDULE, 2017-18

Week 1 Introduction to MATPR and Theoretical Thematics

  • Overview of MATPR
  • Why Theory? (Susan Haedicke) The introductory class will address the question of ‘why theory’ as it explores the critical tools that theory can provide.

 

Week 2 Trauma and Visual Culture (Anna Harpin)

Reading:

Text: The Complete Maus by Art Spiegelman (London: Penguin, 2003)

Critical Reading 1: Roger Luckhurst, 'Introduction' in The Trauma Question (London: Routledge, 2008)

Critical Reading 2: Sigmund Freud, 'Beyond the Pleasure Principle' in Beyond the Pleasure the Principle and Other Writings, trans. by trans. by John Reddick (London: Penguin, 2003)

Critical Reading 3: Cathy Caruth, 'The Wound and the Voice' in Caruth, Unclaimed Experience: Trauma, Narrative, and History (Baltimore: Johns Hopkins University Press, 1996)

Critical Reading 4: Michael G Levine, 'Necessary Stains: Art Spiegelman's MAUS and the Bleeding of History' in American Imago (59:3) 2003, pp. 317-341.

 

Week 3 Trauma and Visual Culture (Anna Harpin)

Reading:

Film: Night and Fog (Nuit et Brouillard) by Alain Resnais.

Critical Reading 1: Silverman, Max, 'Horror and the Everyday in Post-Holocaust France: Nuit et brouillard and Concentrationary Art' in French Cultural Studies, (17:1), 2006 Feb, 5-18.

Critical Reading 2: Dominick LaCapra,' Lanzmann's Shoah '"Here there is no why'"' in Dominick LaCapra, History and Memory After Auschwitz (New York: Cornell University Press, 1998).

 

Week 4 Trauma and Visual Culture (Anna Harpin)

Reading:

Play: Bent by Martin Sherman (London: Methuen, 2003)

Companion play: Peter Weiss, The Investigation (London: Marion Boyars, 2005)

Critical Reading 1: Robert Skloot, 'Holocaust Theatre and the Problem of Justice' in Claude Schumacher Holocaust Theatre: Staging the Shoah in Drama and Performance (Cambridge: Cambridge University Press, 1998)

Critical Reading 2: Michael Rothberg, 'The Demands of Holocaust Representation' in Michael Rothberg, Traumatic Realism: The Demands of Holocaust Representation(Minnesota: University of Minnesota Press, 2000)

Critical Reading 3: Robert Eaglestone, ‘Faithful and Doubtful, Near and Far’: Memory, Postmemory, and Identity' in Robert Eaglestone, The Holocaust and the Postmodern (Oxford: Oxford University Press, 2007)

 

Suggested Optional Readings for Trauma and Visual Culture

Cathy Caruth (ed), Trauma: Explorations in Memory (Baltimore: Johns Hopkins University Press, 1995)

Ruth Leys Trauma: A Genealogy (Chicago: University of Chicago, 2000)

Dori Laub and Shoshana Felman eds, Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History (Oxon: Routledge, 1992)

Janet Walker, Trauma Cinema (University of California Press, 2005)

Lawrence Langer, Admitting the Holocaust: Collected Essays (Oxford: Oxford University Press, 1995)

Anne Whitehead, Memory (Oxford: Routledge, 2009)

 

Week 5 Gender and Sexuality: Theory, Performance and Intersectionality – an activist’s approach (Wallace McDowell)

Johnson, Alan G., The Gender Knot, Philadelphia: Temple Iniversity Press, 2005, Chapter 5

Kirkwood, Lucy, NSFW, Hick Hern Books, 2012

Butler, Judith, Gender Trouble, London: Routledge, 1999, Chapter 1.

Aston, Elaine, An Introduction to Feminism and Theatre, London: Routledge, 1995, Chapter 3.

Week 6 Gender and Sexuality: Theory, Performance and Intersectionality – an activist’s approach (Wallace McDowell)

Burke, Gregory, Black Watch, London: Faber and Faber, 1997.

Black Watch part Two

Connell, RW and Messerschmidt, James W, Hegemonic Masculinity: Rethinking the Concept in Gender and Society, Vol. 19, No. 6 (Dec 2005), pp. 829-859.

Sjoberg, Laura, Gender, War, & Conflict, Chapter 3

Urwin, Jack, Man Down: Masculinity in the Military and Institutionalised ViolenceMan Up: Surviving Modern Masculinity, London: Icon Books, 2016, pp.79-108

Week 7 Gender and Sexuality: Theory, Performance and Intersectionality – an activist’s approach (Wallace McDowell)

 What is a feminist object

Suggested Optional Readings for Gender and Sexuality

Walby, Sylvia, The Future of Feminism, Cambridge: Polity Press, 2011

Edwards, Tim, Cultures of Masculinity, Abingdon: Routedge, 2006.

Buchbinder, David, Studying Men and Masculinities, Abingdon: Routledge, 2013.

Connell, Raewyn, Gender: Short Introductions, Cambridge: Polity Press, 2009

Keyssar, Helene (ed.), Feminist Theatre and Theory, Basingstoke: Palgrave Macmillan, 1996.

Perry, Grayson, The Descent of Man, Penguin Random House, 2016.

Aston,Elaine & Harris, Geraldine, Performance Practice and Process: Contemporary [Women] Practitioners, Basingstoke: Palgrave Macmillan, 2008.

Baxter, Holly and Cosslett, Rhiannon Lucy, The Vagenda, London: Vintage, 2015.

Banyard, Kat, The Equality Illusion, London: Faber and Faber, 2011.

Bates, Laura, Girl Up, London: Simon and Schuster, 2016.

Week 8 Affect and Embodiment: Spinoza’s Legacy (Susan Haedicke)

Reading:

Critical Reading 1: Antonio Damasio, Looking for Spinoza: Joy, Sorrow and the Feeling Brain, pp. 3-24 (available through the Library course extracts: https://clas.warwick.ac.uk/, Scroll down to Theatre Studies and then click on TH986).

Critical Reading 2: Brian Massumi, ‘The Anatomy of Affect’. Cultural Critique 31 (1995): pp. 83-109 (available through J-Stor)

Critical Reading 3: Michael Hardt, ‘Forward: What affects are good for’ in Clough, ed. The Affective Turn: Theorizing the Social, pp. ix-xii (available through the Library course extracts: https://clas.warwick.ac.uk/, Scroll down to Theatre Studies and then click on TH986).

Critical Reading 4: James Thompson, ‘Introduction: Hedonism is a Bunker’, pp. 1-11; Ch. 1: ‘Incidents of Cutting and Chopping’, pp. 15-42; and Ch. 4: ‘Performance Affects: A Kind of Triumph’, pp. 115-135. (e-book)

Play: Marina Carr, On Raftery’s Hill (Drama Online)

Preparation: Choose three particular ideas, insights or concepts-- one each in Damasio, Massumi, AND Thompson --that you find particularly interesting, engaging or provocative. Be ready to summarise your findings and thoughts about them. Think about how you would apply these ideas to Carr's play.

 

Week 9 Affect and Embodiment: Spinoza’s Legacy (Susan Haedicke)

Reading:

Critical Reading 1: Gilles Deleuze and Felix Guattari, What is Philosophy? pp. TBD (e-book)

Critical Reading 2: Sara Ahmed, ‘Happy Objects’ in The Affect Theory Reader, pp. 29-51 (e-book)

Critical Reading 3: Nigel Thrift, ‘Understanding the Material Practices of Glamour’ in The Affect Theory Reader, pp. 289-308 (e-book)

Play: Naomi Wallace, And I and Silence (several copies are available in print in the Library)

Preparation: Bring in five questions that you would like to ask the authors. All five questions can be for one author or spread among the authors.

 

Week 10 Affect and Embodiment: Spinoza’s Legacy (Maria Estrada Fuentes)

Reading:

Critical reading 1: Ahmed, Sara. "Feel Your Way." In The Cultural Politics of Emotion, 1-19. New York: Routledge, 2004.

Critical reading 2: Barthes, Roland. Camera Lucida: Reflections on Photography [La Chambre Claire]. Translated by Richard Howard. London : Vintage1993. Students are encouraged to read the entire book. Prepare at least Part 1.

Critical reading 3: Petit, Philippe. "To Reach the Clouds: My High-Wire Walk between He Twin Towers." In The Routledge Circus Studies Reader, edited by Peta Tait and Katie Lavers, 455-60. New York and London: Routledge, 2016.

Critical reading 4: Tait, Peta. "Ecstasy and Visceral Flesh in Motion." In The Routledge Circus Studies Reader, edited by Peta Tait and Katie Lavers, 299-312. London and New York: Routledge, 2016.

Films (excerpts in class):

Man on wire. 2008. Directed by James Marsh.

11'09''01, 2002. Short directed by Alejandro González Iñárritu.

Optional readings

Optional reading 1: Nietzsche, Friedrich. "Thus Spoke Zarathustra." Translated by R.J. Hollingdale. In The Circus Studies Reader, edited by Peta Tait and Katie Lavers, 461-66. London and New York: Routledge, 2016.

Optional reading 2: Spinoza, Benedictus de, and G. H. R. Parkinson. Ethics. Oxford Philosophical Texts. Oxford ; New York: Oxford University Press, 2000.

These sections: Part Three: On the Origin and Nature of Emotions.
Part Four: On Human Servitude, or On the Strength of Emotions.

Suggested Optional Readings for Affect and Embodiment:

Clough, Patricia Ticineto, ed. (2007) The Affective Turn: Theorizing the Social. Durham and London: Duke University Press.

Colebrook, Claire. (2002) Gilles Deleuze. London and New York: Routledge.

Colebrook, Claire. ‘The Sense of Space: On the Specificity of Affect in Deleuze and Guattari’. Postmodern Culture 15.1 (2004): n.p. (DOI: 10.1353/pmc.2004.0035)

Deleuze, Gilles. (1995) Negotiations: 1972-90. Trans. Martin Joughin. New York: Columbia University Press.

Deleuze, Gilles. 1988. Spinoza: Practical Philosophy. Trans. Robert Hurley. San Francisco: City Lights Books.

Deleuze, Gilles and Félix Guattari. (1988) A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. London: The Athlone Press.

Gregg, Melissa and Gregory J. Seigworth, eds. 2010. The Affect Theory Reader. Durham, Duke University Press.

Hoggett, Paul and Simon Thompson, eds. (2012) Politics and Emotions: the Affective Turn in Contemporary Political Studies. London: Continuum International Publishing Group.

Knudsen, Britta Tim and Carsten Stage. (2015) Affective Methodologies: Developing Cultural Research Strategies for the Study of Affect. Basingstoke: Palgrave Macmillan.

Leys, Ruth. ‘The Turn of Affect: A Critique’. Critical Inquiry 37.3 (2011): 434-472.

Massumi, Brian. (2015) Politics of Affect. Cambridge, UK: Polity.

Ruddick, Susan. ‘Spinoza in the Work of Negri and Deleuze’. Theory, Culture & Society 27.4 (2010): 21-45.

Thrift, Nigel. (2010) ‘Halos: Making More Room in the World for New Political Orders’. In Political Matter: Technoscience, Democracy, and Public Life. Minneapolis: University of Minnesota Press, pp. 139-76.

Thrift, Nigel. (2008) Non-Representational Theory: Space/Politics/Affect. London and New Yourk: Routledge.

 

 Additional Optional Readings — Theory Overviews:

Citron, Atay, Sharon Aronson-Lehavi, and David Zerbib, (eds.). Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century. London: Bloomsbury, 2014.

Fortier, Mark. Theory/Theatre: An Introduction. New York: Routledge, 2002.

Nealon, Jeffrey and Susan Searls Giroux. The Theory Toolbox: Critical Concepts for the Humanities, Arts and Social Sciences. 2nd rev. ed. New York: Rowman and Littlefield Publishers, 2011.

Reinelt, Janelle and Joseph Roach (eds.). Critical Theory and Performance. 2nd rev, ed. Ann Arbor, MI: University of Michigan Press, 2006.

Reynolds, Bryan, ed. Performance Studies: Key Words, Concepts and Theories. Basingstoke: Palgrave Macmillan, 2014.

 

TUTORS

Susan Haedicke
s dot haedicke at warwick dot ac dot uk

Anna Harpin
a dot r dot harpin at warwick dot ac dot uk

Wallace McDowell
wallace dot b dot mcdowell at warwick dot ac dot uk