Classes

1890-1960

Although women authors have been part of the American literary scene since Puritan poet Anne Bradstreet in the 17th century, Abigail Adams in the 18th century, and Louisa May Alcott, Harriet Beecher Stowe and Emily Dickinson (and others) in the 19th century, it was not until the Progressive Era, beginning around 1890 and lasting well into the 20th century, that the true Grand Dames arrived on the scene. These authors were intelligent, sophisticated, talented, courageous, prolific and memorable. By the turn of the 20th century, the “new women” authors were using their literary talents to change the definition of womanhood in profound ways. They were getting jobs, attending college, fighting for the right to vote, rejecting the traditional domestic life, and proudly becoming part of the American literary landscape, many times against all odds. Join Dr. Bill Fry for this 8-week survey in which we will become better acquainted with the early Grand Dames of American literature.

Week 1: An introductory survey of five authors with brief readings from each:

1. Frances Ellen Watkins Harper (1825-1911)

2. Charlotte Perkins Gilman (1860-1935)

3. Ellen Glasgow (1874-1945)

4. Gertrude Stein (1874-1946)

5. Hilda Doolittle (H.D.) (1886-1946)

Week 2: Kate Chopin (1851-1904) – “The Story of An Hour” (Short story)

Sarah Orne Jewett (1849-1909) – “The Dulham Ladies” (Short story)

Week 3: Edith Wharton (1862-1937) – “Roman Fever” (Short story)

Week 4: Amy Lowell (1874-1925) and Edna St. Vincent Millay (1892-1950) (Selected poetry)

Week 5: Willa Cather (1873-1947) – “Paul’s Case”

Week 6: Zora Neale Hurston (1891-1960) – Their Eyes Were Watching God (Novel)

Week 7: Katherine Anne Porter (1890-1980) – “He” (Short story)

Week 8: Eudora Welty (1909-2001) – “The Petrified Man” (Short story)

Being a true Romantic artist, Chopin created a new piano style of extreme emotional intensity expressed in absolutely perfect form. After leaving Poland Chopin settled in Paris where he met and befriended great French writers, composers and painters such as Balzac, Berlioz and Delacroix. He stunned French aristocracy and general public with his blend of Polish folk elements and the universal European style.

Chopin was a truly innovative piano virtuoso sublimating his brilliant pianistic arsenal into transcendent artistic creativity. Chopin’s music symbolizes Polish culture in many different ways. He was a Polish patriot and a true national composer. Chopin created piano pieces where the Polish national character is reflected through the beautiful, often sad, melodies, particular Slavic modes and rhythmic patterns. The call to Polish Independence is clearly heard in his polonaises, and his mazurkas reflect endless varieties of moods truly which became Chopin’s emotional diary throughout his life.

In a series of lectures illustrated with piano performances of selected works, explore Chopin’s music starting with his early piano concertos and etudes, continuing with his beautiful nocturnes, waltzes, mazurkas, barcarolle and polonaises. Special attention will be devoted to four Ballades, true romantic masterpieces, where Chopin’s genius reached the utmost height. We will discuss Chopin’s life, his relationship with George Sand, famous French novelist and his partner, who greatly influenced his life, as well as Chopin’s personality and connections with famous contemporaries such as Robert Schumann, Franz Liszt and Felix Mendelssohn.

1918 and the End of the Great War

Few individuals, civilian or military, anticipated an end to the War in this year. Russia had dropped out of the War in 1917, so the German army had transferred many of its divisions from the Eastern to the Western front. At the beginning of the year, therefore, the Germans enjoyed a numerical advantage over the Allies. In the spring of 1917 the French undertook offensives; In the fall it was the British. All of them had failed. American entry into the War, thought to occur in July, presented the Germans with a nightmare because the United States had an unending supply of troops to enter the War. General Ludendorff believed that he must launch a new offensive to end the War. In the spring of 1918 Germany sustained a number of offensives from March through July. Despite individual victories of great magnitude, the Germans did not gain the advantages they sought. In the summer of 1918 the Allies, now including the Americans, turned the tide with victory after victory. By September the German High Command concluded that the War was lost and started to seek an armistice. On Nov 11, at 11:00 am, the gunfire ceased. The Great War had ended.

Week 1: The Great Gamble
Circumstances, especially the arrival of American soldiers, made the German leadership conclude that they must win the War before the Americans could make a difference. Just as the Germans had gambled at the outset of the War in 1914 that the Schlieffen Plan would secure victory, now in 1918, they gambled that their attacks would force the Allies to seek peace. Their plans came close to success but did not prevail. By July the Germans had to face the consequences of their failure.

Week 2: The Hundred Days
As Germany’s resources waned, the strength of the Allies rose dramatically. As the ability of the Germans to defend ebbed, the Allies won victory after victory. By the end of September, the German High Command was forced to conclude that although it could still defend, it could not win. Fears of domestic revolution added to the concerns of German authorities. As a result, seeking an armistice seemed the only alternative.

Week 3: The Great Flu
Early in 1918 a new, deadly strain of flu started perhaps the greatest pandemic in human history. In 18 months the flu killed more people than those who died in the War. It struck down the young rather than the very young and the very old. Masses of soldiers together in military camps provided the perfect opportunity for the flu to strike its victims. The flu was a global phenomenon that attacked populations in every part of the world. The random nature of who lived, who died and who escaped the contagion altogether added to the nightmare.

Week 4: The Armistice
By the fall of 1918 Germany was not only losing its own War, but its allies were also looking to end the fighting with or without the Germans. Austria-Hungary endured domestic tumult as the Hapsburgs passed into history. The same fate also happened to the Ottoman Empire. When Bulgaria put out peace feelers, Germany had little choice but to follow as well. Throughout October Germany negotiated primarily with the United States for a truce based on president Wilson’s Fourteen Points. On November 9 Germany was declared a republic and the Kaiser abdicated. The new government signed the armistice agreement on November 11. The guns went silent at last.

1890-1960

Although women authors have been part of the American literary scene since Puritan poet Anne Bradstreet in the 17th century, Abigail Adams in the 18th century, and Louisa May Alcott, Harriet Beecher Stowe and Emily Dickinson (and others) in the 19th century, it was not until the Progressive Era, beginning around 1890 and lasting well into the 20th century, that the true Grand Dames arrived on the scene. These authors were intelligent, sophisticated, talented, courageous, prolific and memorable. By the turn of the 20th century, the “new women” authors were using their literary talents to change the definition of womanhood in profound ways. They were getting jobs, attending college, fighting for the right to vote, rejecting the traditional domestic life, and proudly becoming part of the American literary landscape, many times against all odds. Join Dr. Bill Fry for this 8-week survey in which we will become better acquainted with the early Grand Dames of American literature.

Week 1: An introductory survey of five authors with brief readings from each:

1. Frances Ellen Watkins Harper (1825-1911)

2. Charlotte Perkins Gilman (1860-1935)

3. Ellen Glasgow (1874-1945)

4. Gertrude Stein (1874-1946)

5. Hilda Doolittle (H.D.) (1886-1946)

Week 2: Kate Chopin (1851-1904) – “The Story of An Hour” (Short story)

Sarah Orne Jewett (1849-1909) – “The Dulham Ladies” (Short story)

Week 3: Edith Wharton (1862-1937) – “Roman Fever” (Short story)

Week 4: Amy Lowell (1874-1925) and Edna St. Vincent Millay (1892-1950) (Selected poetry)

Week 5: Willa Cather (1873-1947) – “Paul’s Case”

Week 6: Zora Neale Hurston (1891-1960) – Their Eyes Were Watching God (Novel)

Week 7: Katherine Anne Porter (1890-1980) – “He” (Short story)

Week 8: Eudora Welty (1909-2001) – “The Petrified Man” (Short story)

The Palaces of the French Monarchy and the Power of Place

When examining why Francois I brought the Italians to decorate Fontainebleau, or Catherine de Medici constructed the Tuileries Palace at the Louvre, or the whole history of Versailles under the Bourbons, it becomes clear that the French monarchy always carefully orchestrated the symbolism of its palaces and chateaux. Just mentioning their names evokes images of beauty, luxury and great artistic achievement, but also, power, ceremony and intrigue. Even without a monarchy these palaces still exert a powerful influence on our imagination, understanding, and cultural memory. This series of lectures examines three of the most famous royal residences from their construction to their use in present times. Artistic and architectural achievement, politics, economics and social developments will be interwoven with the interesting lives of those who lived in these luxurious royal abodes ranging from the Valois Kings to Napoleon III in the 19th Century.

The Theatre of Conscience

“You’ve got to be taught to hate and fear, you’ve got to be taught from year to year,

It’s got to be drummed in your dear little ear, you’ve got to be carefully taught . . .”

– Oscar Hammerstein, South Pacific

Oscar Hammerstein II was a surrogate father and mentor to Stephen Sondheim. Hammerstein passed on to Sondheim the craft and art of creating Musical Theatre. “In one afternoon I learned more about songwriting and the musical theatre than most people learn in a lifetime.” Carefully Taught explores the theatre of conscience that is at the core of the musicals of Oscar Hammerstein and Stephen Sondheim. Both men explored social issues and subjects that had been off-limits in American Musical Comedy: Race prejudice, miscegenation, ethnic gang warfare, anti-immigration, the rise of Nazism in pre-war Austria, spousal abuse, and the moral responsibility of parenthood.

From Show Boat to Into the Woods, Carousel to Sweeney Todd, Oklahoma to Sunday In The Park with George, The Sound of Music to West Side Story, Carefully Taught celebrates the genius of Oscar Hammerstein and Stephen Sondheim as the two most influential artists of the American Musical Theatre. Both men managed to entertain and at the same time, speak to a higher moral truth in their work.

“Careful the things you say, children will listen.

Careful the things you do, children will see & learn…”

– Stephen Sondheim, Into the Woods

The Theatre of Conscience

“You’ve got to be taught to hate and fear, you’ve got to be taught from year to year,

It’s got to be drummed in your dear little ear, you’ve got to be carefully taught . . .”

– Oscar Hammerstein, South Pacific

Oscar Hammerstein II was a surrogate father and mentor to Stephen Sondheim. Hammerstein passed on to Sondheim the craft and art of creating Musical Theatre. “In one afternoon I learned more about songwriting and the musical theatre than most people learn in a lifetime.” Carefully Taught explores the theatre of conscience that is at the core of the musicals of Oscar Hammerstein and Stephen Sondheim. Both men explored social issues and subjects that had been off-limits in American Musical Comedy: Race prejudice, miscegenation, ethnic gang warfare, anti-immigration, the rise of Nazism in pre-war Austria, spousal abuse, and the moral responsibility of parenthood.

From Show Boat to Into the Woods, Carousel to Sweeney Todd, Oklahoma to Sunday In The Park with George, The Sound of Music to West Side Story, Carefully Taught celebrates the genius of Oscar Hammerstein and Stephen Sondheim as the two most influential artists of the American Musical Theatre. Both men managed to entertain and at the same time, speak to a higher moral truth in their work.

“Careful the things you say, children will listen.

Careful the things you do, children will see & learn…”

– Stephen Sondheim, Into the Woods

Giving Voice to Our Stories!

So many of us enjoy writing, but instead of sharing our work we accumulate boxes of journals, stories, essays, etc. over the years. We replay in our minds insightful moments and experiences, thinking someday we’ll get them written down and even published. If you would like to give voice to your life stories, to liberate them from memory—let them have a life of their own—this is the class for you. We’ll write vignettes and essays utilizing a variety of narrative writing techniques to find the larger narrator within each of our stories: the voice which is able to discern the themes, patterns, and metaphors running through our lives: the voice which is more reliable and fresh than memory: the voice which keeps us evolving.

Whether you’re putting family stories together for yourself or the clan, seeking to publish your memoir or essays, or simply wanting a more vibrant, freer writing style, this class will allow you to explore, be heard, and get feedback in a supportive environment. Come practice getting out of your head, onto the page, and into a larger life!”