Anglais (UFR littérature)

2^ème SEMESTRE

COURS D’ANGLAIS DE M. JEAN-MARC CHADELAT, 2nd  semestre

Programme identique au 1^er semestre.

COURS D’ANGLAIS DE M. MICHEL ETCHEVERRY, 2nd semestre

Crime In The City : Les métamorphoses du récit policier de la page à l’écran.

Après un bref panorama des différents sous-genres qui composent la littérature policière, le cours étudiera la transition de la littérature policière depuis ses formes « classiques » (appellation dont la définition méritera d’être débattue) jusqu’à ses réinventions contemporaines, l’accent étant mis sur le noir au sens américain du terme.  La manière dont la littérature policière traite le rêve - ou le cauchemar - américain sera également abordée. Enfin, une comparaison entre fiction littéraire et fiction cinématographique sera proposée par le biais de l’étude parallèle de quelques films.

COURS D’ANGLAIS DE Mme ANNE MARTINA, 2nd semestre

COURS 1 : The American Musical (II): (De)constructing Gender

At the crossroads of film, performance, and cultural studies, the Spring course will focus on representations of gender in American musicals. Through close analyses of well-known and lesser-known films, and their indebtedness to various stage traditions, we will examine the ambiguous, often contradictory ways Hollywood musicals have depicted men and women in the classical era (1927-1960). Particular attention will be paid to the impact of performance (singing, dancing, acting) and the roles of individual directors (Lubitsch, Minnelli, Donen), choreographers (Busby Berkeley) and stars (Judy Garland, Fred Astaire) in redefining gender roles and gender relations on screen.

COURS 2 : Tales in Black, Tales of Blackness: An Introduction to African-American Literature

This course aims to introduce students to the study of African American Literature while raising the broader issue of the politics of colors in American texts. We will explore the ways African-American prose writers and poets have debunked white constructions of blackness while offering a unique vista on the experience of being black in America. We will also try and answer the following questions. What is African-American literature? What traditions have informed African-American literature, and how did it relate to larger aesthetic movements in the U.S.? And lastly, how politically active, reactive, or proactive has African-American literature been?

COURS D’ANGLAIS DE M. MICHEL ETCHEVERRY, 2nd semestre

Ouvrages au programme

* Chandler, Raymond. The Long Goodbye (Penguin) + film éponyme de Robert Altman.

* Ellroy, James. L.A Confidential (Windmill Books) + film éponyme de Curtis hanson

* Winslow, Don. The Power of the Dog (Arrow Books) + Savages, film d’Oliver Stone.

Ouvrage recommandé :

Scaggs, John. Crime Fiction. Routledge, 2005.

COURS D’ANGLAIS DE Mme ANNE MARTINA, 2nd semestre

COURS 1 : The American Musical (II): (De)constructing Gender

Films on the syllabus (indicative)

*Ernst Lubitsch, The Love Parade, Paramount, 1929

*Mervin LeRoy, Gold Diggers of 1933, WB, 1933

*Mark Sandrich, Top Hat, RKO, 1935

*Vincente Minnelli, The Pirate, MGM, 1948

*Charles Walters, Easter Parade, MGM, 1948

*Stanley Donen and Gene Kelly, On the Town, MGM, 1949

*Howard Hawks, Gentlemen Prefer Blondes, Fox, 1953

*George Cukor, A Star is Born, WB, 1954

*Rouben Mamoulian, Silk Stockings, MGM, 1957

Suggested reading:

*Rick Altman, The American Film Musical, Indiana University Press, 1987

*Steven Cohan, Incongruous Entertainment: Camp, Cultural Value, and the MGM Musical, Duke University Press, 2005

COURS 2 : Tales in Black, Tales of Blackness: An Introduction to African-American Literature

Frederick Douglass, Narrative of the Life of Frederick Douglass, an American Slave, 1845

Langston Hughes: a selection of poems (to be handed out on week 1)

Toni Morrison, Beloved, 1987