English 301: The Caged
Eye
Bodies, Words, Pictures &
The Corruption Of The Psyche
William
Anthony
Nericcio
Associate Professor
The Department of English and Comparative
Literature
College of Arts and Letters
San Diego State University
San Diego, California 92182-8140
corrupt
\k*-'r*pt\ vb [ME corrupten, fr. L corruptus,
pp. of corrumpere,
fr. com + rumpere to break - more at
REAVE 1: to change from
good to bad in morals, manners, or actions; specif :
BRIBE 2: ROT, SPOIL
3: to subject to corruption of blood 4: to alter from
the original or correct
form or version 1a: to become tainted or rotten 1b: to
become morally debased
2: to cause disintegration or ruin 3: morally
perverted: DEPRAVED 3b: characterized
by bribery, the selling of political favors, or other
improper conduct.
archaic
TAINTED, PUTRID.
What happens to women, men
and 'others'
when their minds encounter visions, real or imagined,
which torture their
unconscious--which scar the psyche, which mark the
'unconscious body' with
the permanence of a tattoo? These questions
(obsessions driving our class
throughout the semester) are the starting point for
our survey of various
"caged," deranged characters in Literature, Art,
Drama, and Cinema. Are
these tortured souls "corrupt" or is it that they have
witnessed things
we would just as soon turn away from and ignore. Might
what we call "insanity"
be nothing more and nothing less than an alternative
way of seeing? What,
in particular, are the implications of seeing and
doing things which are
forbidden? During the semester, all of our "eyes" will
be carefully scrutinized:
both the "eye" itself (the films we screen will test
our visual acumen)
and the 'caged I." That prized concept we call the
"Self" may be little
more than a measure of how we have been trained to
see.
Index
Requirements,
Expectations
and Promises
There will be two Critical
Imagination
Challenges© (3 to 7 pages typed), a couple of in-class
short response
critical speculation pieces, random quizzes (if and only
if our intellectual
collective exhibits high school-style intellectual
nausea) and an optional
in-class Final. Attendance is crucial: you may
miss no more than
3 classes during the semester. I do not want excuses, so
please RATION
your absences accordingly. Your grade will be based on:
- Class participation,
attendance, reading
preparation, Quizzes (30%)
- Critical Imagination
Challenges (50%)
- Optional Final
Examination (20%)
Readings/ Watchings
The class will be run as a
seminar. You
are expected to enter the room each week having
completed the reading assigned
for that day. The readings will be exotic, erotic,
disturbing and (at times)
difficult--it is up to you to assure that time is
available for careful
preparation for class. Why come to class? It is simple:
your participation
is crucial to our success--the better the preparation,
the better the class.
Office Hours
The worst thing about a
large state university
is that it encourages anonymity--you are a number
picking numbers filling
a "requirement" not a person choosing an environment
within which to intellectually
grow and change. This is not case with our "Cage." I
expect to meet you
during the semester--I will be less effective as a
teacher and you as students
if we weekly inhabit a room strangers. I want to use the
idea of a "cage"
metaphorically not literally. So make plans to take
advantage of office
hour appointments either alone or in groups. Also I
encourage you to meet
the people who are sharing work with you. My office
hours are on Thursdays
from 11 to 2 in Adams Humanities 4179. My graduate
teaching associates
also have office hours in 4179 Adams: Jason Solinger on
Mondays from 12
to 1 and Jamie Fox, also on Mondays from 2 to 3:30. You
can make an appointment
if these hours are not convenient by calling 594.6711 or
594-1524. All
three of us use the voice mail system at 594.6711.
Required
Texts
Texts Available at Aztec
Shops, KB Books
or Follett Textbook Exchange
- Mary Anne
Staniszewski Believing is
Seeing
- Junichiro Tanizaki The
Key
- Sigmund
Freud/Wilhelm Jensen Gradiva/
Delusion and Dream
- Carlos Fuentes Aura
- R. Appinanesi and O.
Zarate Freud For
Beginners
- Pascal Bonafoux Van
Gogh: The Passionate
Eye
- Gilbert Hernandez Human
Diastrophism
- Michel
Foucault/Herculine Barbin Being
the Recently Discovered Memoirs of a 19nth Cent
Fr. Hermaphrodite
- Susanna Kaysen Girl,
Interrupted
- Alejandra Pizarnik
"The Bloody Countess"
Texts Available at The Blue
Door Bookstore,
3823 Fifth Ave. Hillcrest, 298-8610
- Oscar Wilde The
Picture of Dorian Gray
Texts Available In-Class at
Amazing Discounts
- Ida Rigby War-Revolution-Weimar
- Bill Nericcio Caged
Eye Anthology: Oliver
Mayer and Alejandra Pizarnik
Films
--Totally, Absolutely Free
of Charge, Screened
in Class!!
- Henri-Georges
Clouzot Les Diaboliques
- Fritz Lang M
- Luis Buñuel Viridiana
- Billy Wilder Sunset
Boulevard
- Frederick Wiseman The
Titicut Follies
- Vittorio De Sica Shoeshine
Theatre/
Performance Art
- Teatro de la Rendija
(Mexico, DF) La
contesa sangrienta
- Oliver Mayer Young
Valiant
Dr. Bill Nericcio,
Associate Professor
of English and Comparative Literature
Jamie Fox and Jason
Solinger, Graduate
Teaching Associates
This
Web page was created
by
Anna
Barkdoll
abarkdol@mail.sdsu.edu
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