After a 15 minute discussion of Covid-19 (not recorded here) we talk about the actual ages of various characters, and the ages that Shakespeare wanted them to be: not only in A & C but in Richard II, 1 Henry IV and the romances: the idea that you can go from the start of adulthood (Octavius) to the maturity that makes you fit for tragedy and old enough to have lived long enough (Macbeth, Antony and Cleopatra) within 16-18 years or so. Shakespeare's highly skillful stage setting in scene 1. Too all over the place, but I am hoping that if classes aren't canceled as they're being at many of our sister institutions, we'll settle down in to focused discussion.
18. Peeping Tom, sort of but mainly Freud on instincts, pleasure, unpleasure, and scopophilia
23. Marvell's "Upon Appleton House" (briefly) and then "The Unfortunate Lover"
18. Vertigo and Freudian repetition
22. Marvell - The Garden
21. Marvell: Damon the Mower and The Garden
16. Other worlds and other minds in Source Code and Groundhog Day
20. Last class on Herbert: The Forerunners; The Pulley
19. George Herbert: Jordan (I), The Flower, Easter Wings, etc.
15. Source Code
14. Groundhog Day
18. First class on George Herbert
13. Skepticism and Zeno's paradoxes, again
17. 17th century poetry: a class on Robert Herrick
16. 17th c poetry, mainly Jonson's Cary-Morrison Ode
12. Film and Philosophy: Akerman's La Captive
11. Film and Philosophy
15, 17th Century Poetry: Ben Jonson, mainly "The Hourglass"
14. 17th C Poetry: Ben Jonson's songs
10. Film and Philosophy: Berkeley and Beckett's
13. 17th C Poetry: Trinity and then Ben Jonson
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