Detective, spy, etc. back

      1. British and American Spy Fiction
      2. British and American Detective Fiction
      3. Reading Agatha Christie
      4. Reading Dashiell Hammett
      5. Reading John Le Carré
      6. The Real James Bond (Reading Ian Fleming)
      7. Aspects of Popular American Television: Star Trek: The Next Generation
      8. Aspects of Popular American Television: Professional Wrestling (WWF)

Reading Contemporary English Detective Fiction: Colin Dexter
lit, cult/list 2-5 ENG, US, 3YC, 2YP

The course will discuss the novels of Colin Dexter [picture], contemporary English writer, author of the now late Inspector Morse [picture]. We shall see, after a short discussion of detective fiction as such how CD fits into the detective panorama, how he tries to change the genre. It will be refreshing to read some detection along the lines of good old classical English traditions.

The books to be discussed are:
Last Bus to Woodstock (1975)
The Silent World of Nicholas Quinn (1977)
The Wench Is Dead (1989)
The Jewel That Was Ours (1991)
Morse's Greatest Mytery (short stories) (1994)
The Remorseful Day (1999)

Useful links:

CD page

Endeavour: Official Newsletter of the Inspector Morse Society

On the TV series

 

Reading Agatha Christie — [up]

Description: The course close-reads and discusses six novels of the classic of detective fiction to find out what makes detective fiction in general and the given works in particular tick, what are their constant, traditional elements, and what innovations they contain. The topics discussed include the definiton of the genre (literature or game), it self-irony, its relationship with the absurd, its ability/resources for renewal as well as the development of the writing of Agatha Christie herself since the novels to be read span her whole life.

Prerequisites: JATE Academic English I, and at least one course on literature.

Assignments, grading (%), textbooks: Assignments will include short introductions to the texts in question and a 10-page (15.000 characters) end-term paper (on an aspect of the texts discussed in class) to be handed in by December 1, 1995. Fourth year students will write a 20-page (30.000 character) long end-term paper, and shall demonstrate their familiarity with the secondary literature as well. The proceedings of each class will be recorded by a participant and the record (minutes) approved of at the next meeting. For grading, classroom activity (50%), the introduction (20%) and the end-term paper (30%) will be considered. One introduction and the end-term paper are prerequisites (sine qua non) for grading.

The novels to be read are the following: The Mysterious Affair at Styles (1920); The Murder of Roger Ackroyd (1926); The Murder at the Vicarage (1930); Murder on the Orient Express (1934); The Body in the Library (1942); The Postern of Fate (1973). The participants will be expected to read other works by the same author and other authors as well.

Secondary literature will include:

  1. Eco, Umberto & Sebeok, Thomas A., The Sign of Three. Dupin, Holmes, Peirce. Indiana University Press, Bloomington, 1983. 236p.
  2. Sayers, Dorothy L. (ed.), The Omnibus of Crime. Harcourt, Brace and Company, New York, 1929.;
  3. Symons, Julian, Mortal Consequences. A History — From the Detective Story to the Crime Novel. Harper & Row, New York, 1972.;
  4. Hart, Anne: The Life and Times of Hercule Poirot. Pavilion, London, 1990;
  5. Osvát Erzsébet: Agatha Christie. A krimi királynője. Hunga-Print, Budapest, 1994.;
  6. Eco, Umberto: "Narrative Structures in Fleming." In: The Role of the Reader.Explorations in the Semiotics of Texts. (Bloomington, IN and London: Indiana University Press, 1979) 144-172.

plus various essays on intertextuality.

Weekly Schedule

1 - On detective stories in general. Poe: The Murders in the Rue Morgue; Conan Doyle: The Study in Scarlet. Cf. Daniel 13.

2 - The Mysterious Affair at Styles Ch. I-VI. (pp. 5-92)

3 - The Mysterious Affair at Styles Ch. VII-XIII (pp. 93-190)

4 - The Murder of Roger Ackroyd Ch. I-XII (pp. 7-117)

5 - The Murder of Roger Ackroyd Ch. XIII-XXVII (pp. -221)

6 - Murder at the Vicarage Ch. I-XVII (pp. 5-103)

7 - Murder at the Vicarage Ch. XVIII-XXXII (pp. 103-189)

8 - Murder on the Orient Express Parts I-II (pp. 2-144)

9 - Murder on the Orient Express Part III (pp. 146-198)

10 - The Body in the Library Ch. I-IX (pp. 7-110)

11 - The Body in the Library Ch. X-XVIII (pp. 110-191)

12 - Postern of Fate Ch. I-XXI (pp. 3-188)

13 - Postern of Fate Ch. XXII-XXXI (pp. 189-276)

Reading Dashiel Hammett — [up]

Course Description: The course discusses some of the books of Dashiell Hammett, the first classic American detective fiction author. We shall try to find out how his novels work; we shall compare his works to those of the British detective fiction tradition; we shall look for structural regularities and irregularities, for possible sub/intertexts; we shall try to place him in the canon of American literature. Also, we shall try to find the place of The Maltese Falcon in his oeuvre, and see if the stories of the Continental Op are not superior.

The books/novels to be read are the following: The Big Knockover (1924-1929); The Continental Op (1924-1927); Red Harvest (1927); The Dain Curse (1929); The Maltese Falcon (1930). The books are available for borrowing. We shall not read The Glass Key (1931); The Thin Man (1931). The readings will be complemented by shows (6 pm Tuesdays) of some of the films based on the novels.

Prerequisites: JATE Academic English 1; preferably one or two classes on English/American literature

Assignments, grading (%), textbooks: Participants will be asked to make introductory presentations on various aspects of the texts based on their readings of the literature, which may and may not be made available by the instructor. The course will be concluded by an end-term paper (for 2nd & 3rd year students ten pages, for 4th & 5th year students 20 pages, 15,000 and 30,000 characters, respectively), submitted both on paper and on disc in June, on any aspect of the subject. The proceedings of each class will be recorded by a participant and the minutes approved of at the next meeting. Classroom activity will include small (2-5 thousand characters) presentations prepared at the request of the instructor on various aspects of the subject. For grading, classroom activity (30%), the introduction (30%) and the end-term paper (40%) will be considered. The (at least one) introduction and the end-term paper are preconditions (sine qua non) of grading.

Reading John Le Carré — [up]

Description: The course concentrates on reading as closely as possible three or four spy novels of John Le Carré written at different points in his career and in different historical contexts. The novels are considered along (and in comparison) with other relevant texts of the genre, including the works of S. Maugham, Graham Green and Ian Fleming. The approach is that of intertextuality, and in addition to the novels, participants will be required to familiarize themselves with various theoretical essays. The realization of the discussion of the readings will take assorted forms, including debates, presentations, group discussions. The course endeavours to find out whether, how and why Le Carré's writings have changed since the 1960s.

Assignments to students will include short introductions to the texts in question and a 10-page end-term paper to be handed in by May 1, 1995. The proceedings of each class will be recorded by a participant and the record (minutes) approved of at the next meeting. For grading, classroom activity (50%), the introduction (20%) and the end-term paper (30%) will be considered. The (at least one) introduction and the end-term paper are preconditions (sine qua non) of grading.

Le Carré's novels to be read are the following: The Spy Who Came in from the Cold (1963); The Perfect Spy (1986); The Night Manager (1993). Optional readings will include Graham Green's novels, W.S. Maugham's Ashenden stories, Fleming's Casino Royale, Dr. No, Diamonds Are Forever, Goldfinger, and The Man with the Golden Gun.

Secondary literature will include:

T. Barley, Taking Sides: the Fiction of John le Carré. Open University Press, Philadelphia, 1986.

P. Lewis, John le Carré. Frederick Ungar, New York, 1985.

Peter Wright, Spycatcher. The Candid Autobiography of a Senior Intelligence Officer. Viking, New York, 1987.

Myron J. Smith, Jr., Cloak and Dagger Fiction. An Annotated Guide to Spy Thrillers. ABC-Clio, Santa Barbara, 1982.

J.G. Cawelti, B.A. Rosenberg, The Spy Story. The University of Chicago Press, Chicago, 1987.

B. Merry, The Anatomy of the Spy Thriller. Gill and Macmillan, London, 1977.

M. Denning, Cover Stories: Narrative and Ideology in the British Spy Thriller. Routledge and Kegan Paul, London, 1987.

Eco, Umberto: "Narrative Structures in Fleming." In: The Role of the Reader.Explorations in the Semiotics of Texts. (Bloomington, IN and London: Indiana University Press, 1979), 144-172

The Real James Bond: Reading Ian Fleming — [up]

Course description: It is popularly known that James Bond has been with us for 35 years now. This is, of course, not true. 007 has been around for 45 years - Casino Royale was published in 1953. The course intends to have a look at the real James Bond. The participants will read eight of the twelve Bond novels of Ian Fleming, and will try to find out what the original heroes, stories, women, plots, etc. were like. We shall discuss the general characteristics of spy novels, and see what need, if any, Fleming's books satisfied. In addition to considering the novels from various (historical, political, narratological) aspects, some comparison will be made to the films that have been made on their bases. Watching Bond movies (as many as possible, preferably all of them) will be a compulsory part of the course. The films (occasionally more than one) will be shown on Mondays from 6 pm. in the American Seminar.
The course will be concluded by an end-term paper (15.000/30.000 characters) on some aspect of the subject. Grading policy: Class activity: 60%, end-term paper: 40%.
Course requirements: JATE Academic E. I, plus one course on literature.

Weekly Schedule of Classes:

*** Film show only: Dr. No (109'); From Russia with Love (116') - 3h45'

1 — Spies & spy fiction 1. [25p]

*** Goldfinger (108'); Thunderball (129') - 3h57'

2 — Spies & spy fiction 2 [45p]

*** You Only Live Twice (110') — 1h50'

3 — Intelligence & the good life: Casino Royale [45p]

*** On Her Majesty's Secret Service (139'); Diamonds Are Forever (119') — 4h18'

4 — Science fiction or hysteria: Moonraker [43p]

*** Live and Let Die (121') — 2h1'

5 —Reliable traditions: Diamonds Are Forever [32p]

*** The Man with the Golden Gun (125'); The Spy Who Loved Me (125') — 4h10'

6 — Post-1956, pre-detente I: From Russia With Love [30p]

*** Moonraker (126') — 2h6'

7 — Post-1956, pre-detente 2: From Russia With Love [46p]

*** For Your Eyes Only (127') — 2h7'

8 — The Moriarty syndrome 1: Dr. No [43p]

*** Octopussy (130'); Never Say Never Again (129') — 4h19'

*** Film show only — A View to A Kill (131); The Living Daylights

9 — The Moriarty syndrome 2: Goldfinger [49p]

*** Licence to Kill

10 — The Moriarty syndrome 3: On Her Majesty's Secret Service [25p]

*** Goldeneye

11 — Fleming's Travel Guide: You Only Live Twice [35p]

12 — Jenseits von Bond und Böse - Summing up [36p]

The literature:

Ian Fleming's James Bond books:

Compulsory: Casino Royale (1953) [CR]; Moonraker (1955) [MR]; Diamonds Are Forever (1956) [DAF]; From Russia with Love (1957) [FRWL]; Dr. No (1958) [DN]; Goldfinger (1959) [GF]; On Her Majesty's Secret Service (1963) [OHMSS]; You Only Live Twice (1964) [YOLT]

[Optional: Live and Let Die (1954) [LLD]; For Your Eyes Only [5 short stories] (1960) [FYE]; Thunderball (1961) [TB]; The Man With the Golden Gun (1965) [Gun]; Octopussy [3 short stories] (1966) [OP]; The Spy Who Loved Me (1962) [SWLM]]

Secondary literature:

Compulsory:

  1. Szun-cď: "A hadviselés törvényei (ping-fa)". In: Tőkei Ferenc (szerk.): Kínai filozófia. Ókor. Második kötet. Szöveggyűjtemény (Akadémiai: Budapest, 1964), pp. 361-391. (Especially Chapter 13, on the use of spies, pp. 389-391. Available in Lionel Giles' translation from NGY.)
  2. K. Amis: The James Bond Dossier. London: Pan, 1967 [1965].
  3. T. Bennett-J. Woolacott (eds.): Bond and Beyond. The Political Career of a Popular Hero. Basingstoke: Macmillan, 1987.
  4. O. Buono-U. Eco: The Bond Affair. London: Macdonald, 1965.
  5. O.F. Snelling: 007 James Bond: A Report. New York: New American Library, 1965.
  6. J. Atkins: The British Spy Novel. Styles in Treachery. London: John Calder, 1984.
  7. C. Bloom (ed): Spy Thrillers. From Buchan to le Carré. Basingstoke: Macmillan, 1990.
  8. J.G. Cawelti-B.A. Rosenberg: The Spy Story. Chacago, London: The University of Chicago Press, 1987.
  9. M. Denning: Cover Stories. Narrative and Ideology in the British Spy Thriller. London: Routledge, 1987.
  10. Eco, Umberto: The Role of the Reader. Explorations in the Semiotics of Texts. Bloomington, IN and London: Indiana University Press, 1979.
  11. B. Merry: The Anatomy of the Spy Thriller. Dublin: Gill & Macmillan, 1977.
  12. L.O. Sauerberg: Secret Agents in Fiction. Ian Fleming, John le Carré and Len Deighton. London: Macmillan, 1984.

 

Additional/recommended:

  1. J. Costello: Mask of Treachery. Spies, Lies and Betrayal. New York: Warner, 1990.
  2. D. Lewis: Sexspionage. The Exploitation of Sex by Soviet Intelligence. London: Heinrich Hanau, 1977 [1976].
  3. J. Piekalkiewicz: A kémkedés világtörténete. 1. kötet. Budapest: Zrínyi, 1997.
  4. Ch. Pincher: Their Trade is Treachery. London: Sidgwick & Jackson, 1981.
  5. P. Wright: Spycatcher. Richmond, Australia: Heinemann, 1987.
  6. C. Connolly: "Bond Strikes Camp." In: Previous Convictions (London: Hamish Hamilton, 1963), 354-371.
  7. Guljaski, Andrej: A 07-es ügynök. Fordította Csuka Zoltán. Budapest: Kossuth, 1967.
  8. Markham, Robert [Kingsley Amis]: Colonel Sun. New York: Bantam, 1969 [1968].
  9. Moore, Roger: Roger Moore as James Bond. Roger Moore's own account of the filming Live and Let Die. London: Pan Books, 1973.
  10. Pearson, John: James Bond. The Authorized Biography of 007. New York: Grove Press, Inc., 1986 [1973].
  11. Wood, Christopher: James Bond and Moonraker. St.Albans: Trian/Panther, 1979.
  12. A.S. Boyd: The Devil with James Bond! Richmond, VA: John Knox, 1967.
  13. Büky Barna: "James Bond, az új regényhős." In: Új Látóhatár (München) VIII. 6. (1965. November-December), 568-570.
  14. Hibbin, S.: The Official JAMES BOND 007 Movie Book. London: Hamlyn, 1987.
  15. Hirsch Tibor: A James Bond mítosz avagy a 007-es ügynök kalandos története. Budapest: Szabad Tér, 1989.
  16. B. Lenz: Factifiction. Agentenspiele wie in der Realität. Wirklichkeitanspruch und -gehalt des Agentenromans. Heidelberg: Carl Winter, 1987.
  17. D. McCormick: Who's Who in Spy Fiction. New York: Taplinger, 1977.
  18. M.J. Smith: Cloak and Dagger Fiction. An Annotated Guide to Spy Thrillers. Santa Barbara: ABC-CLIO, 1982.
  19. "James Bond 007 Special, 1. rész." In: Cinema. Európa filmmagazinja 97/12, 20-36.
  20. "A holnap markában; James Bond Special, 2. rész" In: Cinema Európa filmmagazinja 98/1, 70-86.

Aspects of Popular American Television

STAR TREK: THE NEXT GENERATION — [up]

Description: The course offers a possibility to view and discuss one of the most popular TV series in the history of American television. During the term 30-34 episodes will be viewed from six seasons of the series. The discussions will touch upon the place of Star Trek among other popular TV series, its relation to science fiction, and various issues raised by the episodes. The episodes to be discussed (3, occasionally 2, for each occasion) will be screened on the Monday evening before the actual class. Participants will be expected to watch the episodes, read some literature on them, take active part in the discussions, and submit a 10/20-page long end-term paper on some aspect of the series. The end-term paper is also a precondition for the final grade.

Weekly Schedule

— Screening the episodes (I/1) Encounter at Farpoint I-II. (1987), (I/2) The Naked Now (1987)

Preliminary discussions.

[Literature: James Blish, "The Naked Time" in: Star Trek 1. Bantam Books, New York, 1975 (1967), pp.76-90.]

1. screening the episodes (I/4) The Last Outpost (1987), (I/9) Hide and Q (1987), (I/11) The Big Goodbye (1987)

The genre

[Literature: Kathryn Hume, "Medieval Romance and Science Fiction: The Anatomy of a Resemblance". Journal of Popular Culture 16:1, pp.15-27. — April Selley, "'I Have Been, and Ever Shall Be, Your Friend': Star Trek, The Deerslayer and the American Romance". Journal of Popular Culture 20:1, 89-104. — For reference, read also R. Chandler's The Big Sleep, and The Long Goodbye]

2. screening the episodes (I/14) 11001001 (1987), (I/16) When the Bough Breaks (1987), (I/20) The Arsenal of Freedom (1988)

The universe (spatial and temporal) of STNG. I.

[Literature: Selected passages from: Sternbach—Okuda, Star Trek: The Next Generation. Technical Manual. Pocket Books, New York, 1991. — Roger B. Rollin, "Deus in Machina: Popular Culture's Myth of the Machine". Journal of American Culture, pp.297-308. — Wm. Blake Tyrrell, "Star Trek's Myth of Science". Journal of Popular Culture 2:2, pp.288-296.]

3. screening the episodes (I/21) Symbiosis (1988), (I/22) Skin of Evil (1988), (I/23) We'll Always Have Paris (1988)

The universe (spatial and temporal) of STNG. II.

[Literature: Okuda—Okuda, Star Trek Chronology. The History of the Future. Pocket Books, New York, 1993. — Okrand, The Klingon Dictionary. Pocket Books, New York, 1992]

 

4. screening the episodes (I/25) The Neutral Zone (1988), (II/26) The Child (1988) (III/62) Yesterday's Enterprise (1990)

The final frontier — STNG as an American phenomenon I.

[Literature: For reference, read F.J. Turner: "The Significanc of the Frontier in American History". — Richard W. Etulain, "Frontier, Region and Myth: Changing Interpretations of Western American Culture". Journal of American Culture 3:2, pp.268-285. — William W. Savage, Jr., "What You'd Like the World To Be: The West and the American Mind". Journal of American Culture 3:2, pp.302-311.]

5. screening the episodes (II/28) Elementary, Dear Data (1988), (II/33) A Matter of Honor (1988), (II/34) The Measure of a Man (1989)

The final frontier — STNG as an American phenomenon II.

[Literature as above, + Mark A. Altman: "STAR TREK. The Importance of Being Data. The series uses its resident android to explore what it means to be human." Cinefantastique 21/2 (September 1990) pp.36-37,59.]

— screening the episodes (II/41) Q Who (1989), (III/60) Deja Q (1990), (IV/93) Q-pid (1990)

No class

[Literature: Mark A. Altman: STAR TREK. Continuing Q. Four shows starring series staple John DeLancie include the gem "Q Who?" Cinefantastique 21/2 (September 1990) pp.28-29,59. — Mark A. Altman: THE NEXT GENERATION. Q-Where? Cosmic trickster John DeLancie was a presence missed on the final frontier fifth season, but he'll be back! Cinefantastique 23/2-3 (October 1992) pp.63,125? — Mark A. Altman: THE NEXT GENERATION. Guess Q's Coming to Dinner? The sixth season saga of actor John DeLancie as STAR TREK's miser of mirth and malevolence. Cinefantastique 24/2-3 (October 1993) pp.47-49.

6. screening the episodes (II/37) The Royale (1989), (II/45) The Emissary (1989), (IV/80) Reunion (1990)

STNG as myth.

[Literature: Wm. Blake Tyrrell, "STAR TREK as Myth and Television as Mythmaker". Journal of Popular Culture 10:4, pp.711-719. — Harold Schechter, "Focus On Myth and American Popular Art". Journal of American Culture, pp.210-216.

7. no videoshow

STNG and philosophy I.

[Literature: Joseph, Paul & Carton, Sharon, "The Law of the Federation: Images of Law, Lwyers, and the Legal System in 'Star Trek: The Next Generation'". University of Toledo Law Review Vol.24 Fall 1992. 43-85. — Mark A. Altman, "UFP Law: The Legal Quagmires of the Federation". Star Trek The Official Fan Club 93 (September/October 1993), pp.2-5. — Mark A. Altman: THE NEXT GENERATION. Tackling Gay Rights. After lip service from Gene Roddenberry, the producers met the issue head-on fifth season in "The Outcast". Cinefantastique 23/2-3 (October 1992) pp.71-74.]

8. screening the episodes (III/50) The Survivors (1989), (III/63) The Offspring (1990), (III/72) Transfigurations (1990)

STNG and philosophy II.

[Literature as above + James Bliss: "Charlie's Law" (originally "Charlie X", Teleplay by D.C. Fontana, Story by Gene Roddenberry). In: STAR TREK 1, pp.1-22.]

9. screening the episodes (III/73) & (IV/74) The Best of Both Worlds I, II (1990), (IV/78) Remember Me (1990),

STNG as literature - a look at the novels

[Literature: Mark Altman: THE NEXT GENERATION. The Making of "Best of Both Worlds". The story behind the show that led the fans to regard the classic cast as "the old generation". Cinefantastique 22/2 (October 1991) pp.48-50,61. — Mark Altman: STAR TREK. The Making of "Family". The Enterprise crew returns to Earth to find their roots in the series' most unique episode. Cinefantastique 22/2 (October 1991) pp.36-37. — James Blish, Star Trek 1, 1967; Foster, Star Trek. Log One. 1974. — G. Roddenberry, Star Trek. The Motion Picture #1 1979 [Csillagösvény, ford. Bartos Tibor, 1992] — McIntyre, Az Enterprise elindul [The Entropy Effect ST#2]. ford. Koncz Éva. Budapest, 1991 — Crispin, Az örökkévalóság őrzője. Ford Gáspár András. Budapest, 1991. — Carter, Dream of the Raven, ST#34 1987 — Ford, How Much for Just the Planet? ST#36 1987 — Kramer-Rolls, Home is the Hunter, ST#52 1990 — J. Lorrah, Survivors, STNG#4 1989 — Carter—David—Friedman—Greenberger, Doomsday World, STNG#12 1990 — H. Weinstein, Exiles, STNG#14 1990. — Dillard, The Lost Years, 1990 — Friedman, Fortune's Light, STNG#15 1991]

10. screening the episodes (V/122) I Borg (1992), (V/124) The Inner Light (1992), (VI/129) Relics (1992)

STNG as fun and business.

[Literature: Mark A. Altman: THE NEXT GENERATION. The Making of "Relics". Like Mr. Spock before him, how James Doohan's "Scotty" boarded the 24th century's Enterprise. Cinefantastique 24/2-3 (October 1993) pp.22-27. — Karin Blair, "The Garden in the Machine: The Why of Star Trek". Journal of Popular Culture 13:2, pp.310-320. — Dan Madsen, "Jonathan Del Arco, I, Borg". Star Trek: The Official Fan Club #93 (Sep/Oct 1993) pp.33—34.]

11. screening the episodes (VI/131) True Q (1992), (VI/137) Ship in a Bottle (1992), (VI/139) Face of the Enemy (1993)

STNG and HHGG: a look at Douglas Adams.

[Literature: Douglas Adams: The Hitch-Hiker's Guide to the Galaxy (1979) — The Restaurant at the End of the Universe (1981) — Life, The Universe and Everything (1982) — So Long and Thanks for All the Fish (1985) — Mostly Harmless (1992) ]

12. screening the 25th Anniversary Special (1991) [D/1-2]

Summing up, discussing end-term papers.

Additional literature:

  1. Asherman, Allan, The Complete Star Trek Compendium. Pocket Books, New York, 1989.
  2. Gorman, James, "Klingon: The Final Frontier". Time, April 5, 1993. 53.
  3. Jewett, Robert and Lawrence, John Shelton, "The Problem of Mythic Imperialism". Journal of American Culture 3:2, pp.309-320.
  4. Van Hise, James, Trek: The Next Generation Revised Edition. The Voyage Continues... Pocket Books, New York, 1992.
  5. Cinefantastique 19/3 (March 1989), pp.24-61; 21/2 (September 1990) pp.24-59; 22/2 (October 1991) pp.16-61; 23/2-3 (October 1992) pp.32-124; 24/2-3 (October 1993) pp.16-124.
  6. Okrand, Marc, The Klingon Dictionary. English/Klingon, Klingon/English. Pocket Books, New York, 1992.

Aspects of American Popular Television: Professional Wrestling (WWF) — [up]

The course (seminar, 2 hrs/week) intends to see & show American showbiz in action, through part of a season of the World Wrestling Federation.

Procedure: 2-hour long classes: 30-45 mins of WWF programs, the rest discussion. One mid-term paper, discussing any aspect of American show wrestling to be handed in by November 20th. Grading based on class work (60%) and the paper (40%). There are no textbooks as yet, but set readings will include issues of WWF Magazine and the following articles from Journal of Popular Culture, Journal of American Culture:

  1. "In-Depth: Circuses, Carnivals and Fairs in America". JoPC, VI/3, 529-620.
  2. Brown, Lloyd W., "Comic-Strip Heroes: Leroi Jones and the Myth of American Innocence". JoPC, III/2. 191-205.
  3. Carpenter, Richard, "Ritual, Aesthetics and TV". JoPC, III/2. 251-260.
  4. Cummings, Scott T., "Big Circus, Little Circus". JoPC, XX/1,119-127.
  5. Fishwick, Marshall, "Pop Theology". JoPC, III/2,264-274.
  6. Fowles, Jib, "Television and Americans: Electrons and Atoms". JoAC, 3/3, 432-440.
  7. Greenway, John L., "Ritual and Narrative in the Sport Spectacular". JoPC, XIX/3, 55-65.
  8. Havig, Alan, "The Commercial Amusement Audience in Early 20th-Century American Cities". JoAC, 5/1, 1-20.
  9. Jewett, Robert & Lawrence, John, "Norm Demolition Derbies: Rites of Reversal in Popular Culture". JoPC, IX/4, 976-983.
  10. Linick, Anthony, "Magic and Identity in Television Programming". JoPC, III/4, 644-656.
  11. Marlow, James E., "Popular Culture, Pugilism, and Pickwick". JoPC, XV/4, 16- 31.
  12. Morris, Barbara S. & Ny-Dahl, Joel, "Sports Spectacle as Drama: Image, Language and Technology". JoPC, XVIII/4, 101-111.
  13. O'Connor, Gerard D., "The Hoax as Popular Culture". JoPC, IX/4, 767-775.
  14. Oriard, Michael V., "The Athlete-Hero and Democratic Ideals". JoAC, 1/3, 507-520.
  15. Pugh, David G., "History as an Expedient Accommodation: The Manliness Ethos in Modern America". JoAC, 3/1, 53-70.
  16. Snyder, Eldon & Spreitzer, Elmer, "An Ironic Perspective on Sport". JoPC, XIII/4, 609-618.

Weekly Schedule:

    1. Introduction
    2. Sports and the WWF
    3. The WWF as show
    4. The WWF and other traditional public entertainments (circus, puppet show, soap opera, religious services)
    5. The WWF as business; the WWF in Europe (The WWF Oktoberfest)
    6. WWF and politics (Glasnost and the Gulf War)
    7. WWF — mythology & myth making (The Immortal Hulk Hogan)
    8. WWF and reality; WWF as substitute/escape/pseudo- ("Do your push-ups, take, your vitamins & say your prayers")
    9. WWF as part of American life and popular culture
    10. (Pseudo[?])-violence and the WWF
    11. Language and the WWF
    12. The WWF and its environment in popular (televised) entertainment — WAR, NBA, WBF, "Big Wheels", etc.
    13. Conclusion, discussion of mid-term reports.