Management Leadership and the Humanities MGT 889-01 Spring (1) 2017 Evans 4220

(Revised December 19, 2016)

Location:  On January 25 and March 1, 2017: Lobby of the Yale University Art Gallery at 1111 Chapel Street  All other classes: Evans Hall Room 4220 (165 Whitney Ave.)

Faculty: Shyam Sunder 165 Whitney Avenue, Room 3528

Teaching Assistant: Jen Chen (774-262-0628) [email protected] Office hours: Tuesdays, 2:30-4:00pm

Administrative Assistant: Liz Viloudaki (203-436-5798) [email protected] 165 Whitney Avenue, Room 3545B

Course Syllabus

OVERVIEW

Yale SOM’s mission is to educate leaders for business and society. This course is meant to help students actively reflect on leadership as it pertains to their own personal values, career aspirations, attitudes, commitments and plans. We shall use literature (novels, plays and poetry), movies, music and art to stimulate thinking, reflection, creativity, discussion and debate.

Leadership calls for the ability to formulate a prudent and compelling vision in the context of one’s environment, as well as the capacity to inspire and motivate one’s self and others in transforming that vision into reality. Neither a grand design nor the ability to get the “trains running on time” is, by itself, evidence of inspired leadership. According to one view, leadership is the ability to envision an interesting alternative future, make a personal commitment, and to enroll willing participation of others in its pursuit. 1

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This course is intended to facilitate reflections on leadership by asking you to think, write and speak about your values and commitments; what those values imply for your career, your purpose, your accountability to others and to yourself and your potential legacy; and the skills you need to develop, based on the analysis of your strengths and weaknesses.

The method chosen for these self-reflections in this course is through your engagement with the humanities (e.g., books, theatre/plays, movies and art; from ancient times to present; and from diverse cultures and perspectives). This immersion in literature and the arts, assignments and discussions in and outside of the classroom, will expose you to the visions and values of others and help you explore, develop, and become aware of your own aspirations, values and commitments.

CLASS SESSIONS AND TOPICS:

Class 1, Monday, January 23 at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) Course Introduction “Your values and commitments;” Please be ready for a discussion in the class; written assignment is due before the beginning of this class (see Canvas). Music and Conducting: Please watch the Yo-Yo Ma and Itay Talgam videos before the class.

Class 2 and 3, Wednesday, January 25 at 2:40-5:20 p.m. Location: Lobby of the Yale University Art Gallery at 1111 Chapel St. Please note the different location for this and the March 1 class meetings. Both of these Art Gallery classes are double classes (Jan. 25 in lieu of Jan 25 and 30; March 1 in lieu of February 27 and March 1). At 4:30 PM the class will pick up the outer clothing from lockers in the Lobby of the Yale University Art Gallery at 1111 Chapel St. and walk across the street to the Haas Art Library in Loria Building (180 York St.) for an introductory lecture by Art Librarian Lindsay King on Yale’s databases and other art research resources. An Introduction to Leadership in Art

Monday, January 30: No Class in lieu of double class of January 25

Class 4, Wednesday, February 1, at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) Playing the Enemy Movie version: Invictus

Class 5, Monday, February 6, at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) A Room of One’s Own Play version on YouTube: https://www.youtube.com/watch?v=BbDNDDDU3yY

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Class 6, Wednesday, February 8, at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) Macbeth Many movie/play versions available, BBC TV Drama on YouTube: https://www.youtube.com/watch?v=w0LrdOa7uZQ

Class 7: Monday, February 13, at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) Antigone Various recorded performances available on YouTube

Class 8: Wednesday, February 15, at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) Guest Faculty: Prof. David Mahan, Director, Rivendell Institute Sailing to Byzantium Sometimes a Man Stands Up during Supper

Class 9: Monday, February 20, at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) La Mandragola (The Mandrake Root) Movie version available on YouTube: https://www.youtube.com/watch?v=5CFl4uHbcE4

Class 10: Wednesday, February 22, at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) Death of a Salesman Various recorded performances available on YouTube

Monday, February 27: No Class in lieu of double class of March 1.

Class 11 and 12: Wednesday, March 1, at 2:40-5:00 p.m. Location: Yale University Art Gallery Art presentations and discussions Please note the different location Lobby of the Yale University Art Gallery at 1111 Chapel St. for this double class!

Class 13, Monday, March 6, at 2:40-4:00 p.m. Location: SOM Evans Hall 4220 (165 Whitney) Closing discussion

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LOGISTICS:

Course Format

The course is being offered in the first half of Spring 2017, with 13 eighty minutes sessions. Sessions 2-3 and 11-12 will be held in the Yale University Art Gallery as double length class sessions for an introduction to leadership in art.

For the 4th through 10th sessions, a piece of literature will be assigned as reading (and for watching in a movie version) outside the class. For each of these literature sessions, you are encouraged to if you would like to participate in optional discussions with the TA who has scheduled office hours during the week.

Besides regular class participation, there will be six short individual written assignments due from each member of the class (as described below). The instructor and TA are available to you to meet by appointment.

Class Sessions

The purpose of the class conversations is for each member of the group to contemplate and share his/her own exploration of the questions in the hope that, collectively, we all will gain a sharper insight into the readings as well as into ourselves through the process.

Written Assignments

You will be asked to submit a total of six short (500-750 words) written assignments for this course: the Values and Commitments assignment before the first class session, four literature write-ups, and the final art project write-up.

Values and Commitments: Download the Values and Commitments template from Canvas. Prepare your leadership values and commitment document. Please note that there are no “right” answers for this assignment. The goal is for each student to reflect on what leadership means to him/her and the implications of that personal vision. The deadline for uploading to Canvas: January 23, 2:40 PM (before the first meeting of the class).

Preparation for each session (except the art sessions 2, 3, 11, 12)

 For each of these seven sessions, a list of required readings/viewings is provided, with the literature piece as the primary point of discussion.  For all pieces of literature, you must also watch its movie version whenever it is available (listed in this syllabus).  As guidelines to keep in mind as you read/watch the assigned materials, some “facts/problems/solutions/actions” questions are given in the syllabus below. Keeping these questions in mind may help you engage in the class discussion and do your written assignments, also described below.  You are encouraged to read the optional readings depending on your interest and time.  You may choose any four out of the seven literature sessions for your written briefs (minimum 500 and maximum 750 words) written assignment which will be graded. 4

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Please upload them to Canvas before the beginning of the class in which they are assigned.

For each of the four assignments, choose one of the following questions so that by the end of the term you have addressed all four questions. We suggest that you take up Question 4 for your last assignment.

a. Identify and describe events or people in your own life experience that parallel the events and characters of your chosen piece of literature. b. Assign to yourself the role of the protagonist of a chosen piece of literature and write a first person document to explain/justify your actions and point of view. c. Assign to yourself the role of the protagonist of a chosen piece of literature and write a third person document to analyze the weaknesses of his/her actions, point of view, and character. d. Review your own statement of values and commitments that you prepared at the beginning of the course in light of your reading of your chosen piece of literature.

You should choose a different question for each of your four assignments. The deadline for uploading your assignment is 2:40 PM of the day of the class on which your chosen piece of literature is discussed in the class.

All your write-ups should be your own individual work. If you use other source materials for your write-up, please give the appropriate reference or credit in your write-up according to normal bibliographic practice. In case of any doubt, please ask the TA or the instructor.

Art assignment: On Wednesday January 25, curators from the Yale University Art Gallery (YUAG; Issa Lampe and her colleagues) will lead a discussion of several works of art that connect to leadership in one or more of the following ways:

 Artist as leader in changing the artistic process  Artist as leader in responding to human condition  Representations of leaders or acts of leadership  Artists, art historians, and curators as leaders in defining and changing our understanding of art

During this visit, curators will guide you through our own discovery of the artwork and to come to your own conclusions about the object and its relationship to themes of leadership. The goal of the visit is to familiarize you with the Gallery and the collection as a whole, but also to introduce you to new ways of looking at artwork and the museum. During the second part of the session, African art curator Barbara Plankensteiner will use this recently re-installed and reopened collection to cover curating and collecting as a form of leadership. After allowing some time to choose your own piece of art (from the list provided to you) you will be introduced to the librarian of the Haas Art Library, who will introduced you to introduced you to Yale’s key resources for conducting research on art. 5

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This will assist you in doing your own art project during the following five weeks.

You should select an object from the YUAG collection (from a list you should download from Canvas). These objects, chosen with the help of curators who specialize in education, represent connections to leadership. You will register your selection on a Google Doc spreadsheet, and prepare a 5-minute oral presentation on the work of art. We ask you to research the artist and artwork with the following questions in mind: How do you see or understand leadership through this work? What decisions has the artist made that further your understanding? How might this style or content have resonated at the time and place of its creation? How does it resonate here and now? You are welcome to research the provenance, history of inclusion in collections, and the collectors critical to your chosen piece of art. You should feel free to reference and cite other works by the same artist and, of course, the work of other artists in the context.

Once you have conducted your research on the artist and art work, you will write a short term paper (600-1200 words) on your understanding of relationships between your chosen object, and leadership. You are encouraged to link your observations about visual arts to others aspects of creativity such as literature, film, and management. The art assignment will culminate in two parts: (1) a tour of your chosen works of art with the class on Wednesday, March 1, and (2) upload your written report on Canvas before the class. Remember that you are not being asked to be an art historian, or to praise the work. You should study it carefully, and write your own reactions and analysis of the artist, and their vision, thought, environment, and motives, informed by your own judgment and thoughts on leadership and creativity.

The January 25 class will include a lesson in conducting research on art by Yale’s art librarian Lindsay King who will also give you access to Yale’s art databases. Another useful resource is Art for Yale: A History of the Yale University Art Gallery; there are copies in the Yale University Libraries for students to review.

You will have five weeks to study and conduct research on your chosen piece of art, the art assignment is due at 2:40 PM of the second YUAG class session (sessions 11-12) on March 1.

Presentations

The second art meeting of the class (Monday, March 1 at Lobby of the Yale University Art Gallery) will be devoted to 5 minute presentations (no Powerpoints, only your analysis, thoughts and reflections, because your chosen art object itself will be the only visual material) and discussion of individual art projects with the members of the class gathered around it.

Convening Yale

Related but separate from Management, Leadership and the Humanities, I organize a series of Convening Yale lunch hour talks (approximately once each month). Yale faculty from all parts of the university (including humanities) will join us for a conversation about a topic of common interest. This fall 2016 semester’s speakers included Jacob Hacker (political science), Robert Post (law), Beverley Gage (history), Nicholas Christakis 6

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(medicine and network science) and Priyamvada Natarajan (astrophysics). Attendance is optional, open to the SOM community, and limited by advance sign-up. Lunch is served. Information about guest speakers, their topics, and address of the website for signing up will be announced in SOM Calendar.

CLASS PREPARATION

After you have read the texts and watched the movies, you may want to read some questions given on Canvas. Although there is nothing secret about them, I would discourage you from reading these questions beforehand. They are intended only to help you as a guide to generate your own questions.

Readings

Reading material will be either available online, for download/reading on Canvas, or in a few copyrighted books (‘Playing the Enemy’ and ‘Death of a Salesman’).

The required readings are plays or novels or poems, for which we ask you to devote enough time. They are generally considered masterpieces of literature, but can be challenging to read, and can be understood at many different levels (e.g., literally and metaphorically). Consider starting your reading early so that you can read them slowly and deliberately, taking notes or underlining while reading.

The optional readings should be useful aids for the discussion sessions and the general class sessions. There is no assumption that you will agree with the points of view contained or implied in the readings. Indeed, you are invited to disagree with the views expressed therein; the point is to be prepared to articulate and defend your own thoughts and analysis, as well as allowing yourself to learn from the perspectives of others. Tell someone: ‘Wow, I didn’t think of that!’ and you have made a friend for life.

Movies

At least one DVD copy of a movie version of the work will be placed on reserve at Yale Film Studies Center and Liz Viloudaki will have one copy in her office (except when they are available freely online). Yale Film Studies Center has facilities for you to sit and watch the movies. Since some 20+ members of the class may go to the Film Studies Center (in the basement level of 53 Wall Street at intersection of Church and Wall Street) to watch them, please make sure they do not get scratched. Please note that all SOM classrooms are equipped for watching DVDs and you are welcome to borrow the DVDs from Liz and watch them in SOM or on your own computer. Of course, prompt return to Liz so others can also borrow them is appreciated.

(Revised December 19, 2016)

Details: Schedule, Readings and Assignments

Session 1: Introduction to MGT 889 (Monday, January 23) Values and Commitments: Assignment: Read Item 1 below, prepare the statement on your values and commitments (template available on Canvas) and submit it as Assignment 1 on Canvas before the first meeting of the class. Music and Conducting: Assignment: Watch the two videos listed as items 2 and 3 below, and prepare the given questions for class discussion (no written assignment). Required reading (*): 1. *Note on Leadership and Commitment at the Yale SOM (download from Canvas). 2. *Watch video (51 minutes, http://www.onbeing.org/program/yo-yo-ma-music- happens-between-the-notes/6641) or read (http://www.onbeing.org/program/yo-yo- ma-music-happens-between-the-notes/transcript/6733) Yo Yo Ma on “Music Happens between the Notes.” Preparation Questions: a. What does Ma mean by “music happens between the notes”? b. What is the relationship, if any, between Ma’s leadership style and his view of other people and the world? c. One of the principal arguments for creativity and the arts is its ability to make one comfortable with ambiguity. How do you see yourself reconciling the lines between vulnerability and strength? Accident and intention?

3. *Watch Itay Talgam Ted Talk video “Lead like the Great Conductors,” (21 minutes); (https://www.ted.com/talks/itay_talgam_lead_like_the_great_conductors). Transcript is available at https://www.ted.com/talks/itay_talgam_lead_like_the_great_conductors/transcript?l anguage=en. Preparation Question: a. How do the styles of leadership Talgam identifies differ from one another? b. Can you think of parallel differences in leadership styles from your own direct observation and experience? c. What is your style? Would you rather have a different style? Why? d. Under which conductor would you prefer to play? Why? If you were a conductor, would you choose the same person to emulate? e. After watching these clips, what do you think necessitates the role of the conductor? Are they dispensable? (For SOM students, think back to the Orpheus Chamber Orchestra example from Managing Groups & Teams to inform your answer.)

Session 2-3: Leadership in Art (Wednesday, January 25 at the Yale Art Gallery) Required reading (*): 1. *Michael Kimmelman, Accidental Masterpiece: On the Art of Life and Vice-Versa. New York: Penguin, 2005 Chapters 1 (Introduction, pp. 1-7), 4 (The Art of Making Art without Lifting a Finger, pp. 51-70), and 5 (The Art of Having a Lofty Perspective, pp. 71-91) (download from Canvas) Optional reading:

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1. S. Manikutty and S. Singh, “The Essence of Leadership: Awakening the Human Spirit,” pp. 1-19 (download from Canvas) 2. David W. Galenson. 2009. “And Now Something Completely Different: Back Story of Twentieth Century Art,” Chapter 1 (pp. 1-29) of Conceptual Revolutions in Twentieth-Century Art. NBER-Cambridge University Press. (download from Canvas) or available at: http://www.nber.org/chapters/c5784.pdf. 3. Art for Yale: A History of the Yale University Art Gallery (http://www.worldcat.org/title/art-for-yale-a-history-of-the-yale-university-art- gallery/oclc/49935887&referer=brief_results)

Session 4: Playing the Enemy (Wednesday, February 1) Required reading (*): 1. *Playing the Enemy by John Carlin, $13 on Amazon.com. Optional reading: 2. M. K. Gandhi’s statement at his trial (http://en.wikisource.org/wiki/Statement_in_The_Great_Trial) Movie: 1. ‘Invictus, 2009’ by Clint Eastwood, Morgan Freeman and Matt Damon (available for viewing at Yale Film Study Center) 2. Optional: ‘The 16th Man: United by the color of the uniform, 2010’ (ESPN documentary, narrated by Morgan Freeman, written by John Carlin and available from Liz Viloudaki) Preparation questions: 1. FACTS. a. Identify five major problems in South Africa at this time. b. What were the expectations of blacks about whites, and of whites about blacks in the post-apartheid South Africa? c. What were the unexploited opportunities for South Africans at this time? d. What, if any, are the risks to the post-apartheid South African state, and to Nelson Mandela? e. What resources does Mandela have? 2. PROBLEMS. a. Make a prioritized list of top five problems Mandela should address. b. Identify at least two major constituencies interested (and their perspectives) in the resolution of each of the problems you have identified. c. What are the pros and cons of using history a basis of forming expectations about the future? 3. SOLUTIONS. a. Pick any one of the problems before Mandela you have listed above, analyze various alternative approaches to this problem, and present two of the most desirable ones for his consideration, with your rationale. 4. ACTIONS. a. Decide on which problem you would choose to address first. b. Assuming the problem chosen is the one you analyzed in 3a above, choose a course of action with your rationale. c. We would like to begin the course by exploring the different ways in which each of us defines leadership. Please come to class prepared to discuss one individual who you respect most as a leader and identify the 9

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two or three integral leadership qualities that you most value. This individual may be a public figure or someone you have had personal encounters with. Please be as concrete as possible about the leadership qualities, using examples.

Session 5: A Room of One’s Own (Monday, February 3) Required reading (*) 1. *A Room of One’s Own by Virginia Woolf (available online at http://gutenberg.net.au/ebooks02/0200791.txt).

Optional Readings: 1. ‘A Context for Success: Creating the High-Performance Environment’ by Graham Jones (from Forbes Magazine, April 2009, see http://businessfinancemag.com/business-performance-management/context- success-creating-high-performance-environment) 2. ‘The Fate of Women of Genius’ by Mary Gordon (from the New York Times, September 1981, see http://www.nytimes.com/books/98/03/08/home/gordon- fate.html) Movie: 1. ‘Masterpiece Theater: A Room of One’s Own’ (adapted and directed by Patrick Garland, starring Eileen Atkins) (available at Yale Film Study Center) 2. ‘A Room of One’s Own’ (adapted and directed by Patrick Garland, starring Eileen Atkins, see https://www.youtube.com/watch?v=BbDNDDDU3yY) Preparation questions: 1. FACTS. a. Virginia Woolf originally wrote the content that would become ‘A Room of One’s Own’ as a series of lectures delivered to two women’s colleges at Cambridge. How does the intended audience influence the way you interpret the work? b. What does Woolf point out about the difference between male educational institutions and women's colleges? What effects does the difference generate? c. With which statements did you agree? Disagree? How does your own historical situation affect your responses? 2. PROBLEMS. a. What are the challenges that the narrator is hoping to overcome? How does Woolf use physical spaces, and her narrator’s movement through them, to advance her argument? b. How does Woolf account for women’s poverty? For the absence of women’s history? 3. SOLUTIONS. a. How do the themes translate to a modern context? b. What impacts an individual’s confidence, according to Woolf’s protagonist? How is this gendered? 4. ACTIONS. a. What are the things that you need to be successful? How will you seek/create that environment? What is holding you back? b. As a manager, how have/will you ensure that your team has what it needs 10

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to succeed?

Session 6: Macbeth (Wednesday, February 8) Required reading: 1. *‘Macbeth’ by Shakespeare (Available on the Internet; a version with both Shakespearean English and modern English side-by-side can be found at http://nfs.sparknotes.com/macbeth, or just Shakespeare at http://shakespeare.mit.edu/macbeth/full.html). Optional Reading: 1. Harold Bloom on Shakespeare Movie: Macbeth is perhaps the most frequently adapted-to-film plays. Your viewing options include: 1. BBC TV version on YouTube: https://www.youtube.com/watch?v=w0LrdOa7uZQ 2. Macbeth (1948), directed by and starring Orson Welles (available at Yale Film Study Center) 3. Macbeth (1971) directed by Roman Polanski (available at Yale Film Study Center) 4. Macbeth (1978) starring Ian McKellen & Judi Dench, directed by Trevor Nunn (available at Yale Film Study Center) 5. Macbeth (1998) starring Sean Pertwee, directed by Michael Bogdanov 6. Macbeth (2006) starring Sam Worthington and directed by Geoffrey Wright 7. Macbeth (PBS, 2010) starring Patrick Stewart 8. The Shakespeare Video Society edition (Google Video – 2 hours 12 mins) Preparation questions: 1. FACTS. a. Why did Malcolm and Donalbain hastily depart when they learned of their father’s murder? b. What is the importance of keeping one’s word (promises) as a value? What was the role of this value in the play? 2. PROBLEMS. a. Personal responsibility: Who is responsible for an individual’s actions? Under what circumstances can others be blamed? What is Macbeth’s responsibility, and what is the role of others in his actions? How do societies and organizations define personal responsibility? Who are we responsible to—self, firm, boss, family, society, principles? b. In trials following the dot-com bust, some of the accused CEOs defended themselves on the grounds that they did what they were told to do by their subordinates. Some subordinates defended themselves on the grounds that they followed the orders from above (as did the accused at the Nuremburg trials after World War II). In a structure where there are complex interdependencies (such as in a modern corporation), how would you define responsibility? 3. SOLUTIONS. a. Do incentives solve the problem of responsibility? Why and why not? b. Does a better sense of security (personal safety, job, relationships) encourage one to behave more responsibly, or less? 4. ACTIONS.

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What are the consequences of attaining greater power in our lives? How does it influence us?

Session 7: Antigone (Monday, February 10) Required reading: 1. ‘Antigone’ by Sophocles (online http://classics.mit.edu/Sophocles/antigone.html) Optional readings: 1. ‘Antigone: What is Sound Reflection?’ by Joseph Badaracco (Chapter 8 from his book ‘Questions of Character,’ HBS Press, 2006) (on Canvas) 2. ‘Solitude and Leadership’ by William Deresiewicz (from American Scholar magazine, Spring 2010 issue, lecture delivered at the United States Military Academy at West Point, see http://www.theamericanscholar.org/solitude-and- leadership/) Movie: 1. Various recorded performances available on YouTube 2. ‘Antigone / Broadway Theatre Archive, 1974’ (directed by Gerald Freedman, starring Genevieve Bujold and Stacy Keach, among others) (available at Yale Film Study Center) 3. ‘Antigone, 1961’ (Greek language with subtitles, directed by Yorgos Javellas, starring Irene Papas and Manos Katrakis, among others) (available at Yale Film Study Center) Preparation questions: 1. FACTS. a. What are Creon’s values? b. What are Antigone’s values? c. What are their main differences and similarities? 2. PROBLEMS. a. What is their main conflict? b. Did Creon make a mistake, even in good faith? Does he understand what is driving Antigone’s opposition? If he made a mistake, does he try to fix things? c. Why is neither of them willing to compromise? Is that related to their (Aristotelian and other) skills or lack thereof? d. Is the feedback given to them (e.g., by the chorus) generally ignored by both? Why? 3. SOLUTIONS. a. How would you resolve their conflict? b. Once a leader makes a mistake in good faith or with the best of intentions, would you want to fix it, or let it go? Why or why not? 4. ACTIONS. How can we balance our corporate and personal lives, or our potentially conflicting duties to our organizations and family/friends?

Session 8: Poems of Yeats and Rilke (Wednesday, February 15) Guest Faculty: Prof. David Mahan, Director, Rivendell Institute Required reading (*): 1. *Sailing to Byzantium by Y.B. Yeats Poems: 12

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Sailing to Byzantium by William Butler Yeats (on Canvas) *Notes on “Sailing to Byzantium” by William Butler Yeats (on Canvas) 2. * Sometimes a Man Stands Up by Rainer Maria Rilke (on Canvas) *“Reflections on Sometimes A Man Stands Up During Supper” Don Silver (on Canvas and http://www.donsilver.net/sometimes-a-man-stands-up-during-supper/ ) Optional readings: TBA Preparation questions: 1. Each of these poems explores the purpose of life and living a purposeful life: How do they provoke you to think about this theme? 2. Which images and other poetic devices (word choices, phrases, scene) depict this theme most powerfully? These poems raise some important questions about our ambitions.\ 3. How does the perspective each poem relates challenge you to reflect on your own ambitions and the aims of your life? 4. In what ways might these poems also chasten your ambitions?

Session 9: La Mandragola (The Mandrake) (Monday, February 20) Required reading (*): 1. *Translation from Italian by Nerida Newbigin, http://www- personal.usyd.edu.au/~nnew4107/Texts/Sixteenth- century_Florence_files/Mandragola_Translation.pdf.

Optional reading: 1. TBA Movie: 1. Movie version available on YouTube: https://www.youtube.com/watch?v=5CFl4uHbcE4 2. ‘La Mandragola’, 1965’ (directed by Alberto Lattuada) (possibly available at Yale Film Study Center) Preparation questions: TBA 1. FACTS. 2. PROBLEMS. 3. SOLUTIONS. 4. ACTIONS.

Session 10: Death of a Salesman (Wednesday, February 22) Required reading: 1. ‘Death of a Salesman’ by Arthur Miller ($4 on Amazon.com) Optional reading: 1. ‘Do I Have a Good Dream?’ by Joseph Badaracco (Chapter 1 from his book ‘Questions of Character,’ HBS Press, 2006) (available on Canvas) Movie: 1. Various recorded performances available on YouTube 2. ‘Death of a Salesman / Broadway Theatre Archive, 1966’ (directed by Alex Segal, starring Lee Cobb and Mildred Dunnock, among others) (available at Yale Film Study Center) 13

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3. ‘Death of a Salesman / Private Conversations, 1985 (directed by Chris Blackwood, starring Dustin Hoffman, Kate Reid and John Malkovich, among others) (available at Yale Film Study Center)

Preparation questions: 1. FACTS. a. What are Willy’s values? b. What are his most important goals in life? c. What are the values of his sons Biff and Happy, his wife Linda and his friend Charley and his son Bernard? 2. PROBLEMS. a. What problems characterize Willy’s work (i) as a salesman, and his relationships with (ii) his wife, (iii) his sons, (iv) his boss (Howard), (v) his friend (Charley)? b. What is the evidence for Willy’s adherence to his values and skills? You can contrast that with Nelson Mandela’s adherence to his values and skills from the readings of the first session. c. Why does Willy seem so desperate? d. What are the dangers associated with Arthur Miller’s depiction of ‘the American dream’? 3. SOLUTIONS. a. If you were Linda or Charley or Howard (choose one), how would you have tried to help Willy? b. Should Willy have become a carpenter instead of a salesman? c. How would you have tried to help Biff? Happy? d. What lessons did they fail to learn, and how could they have been taught these? e. What values, aspirations and dreams have you received from your family that are helpful to you?

Sessions 11 and 12: Presentations (Wednesday, March 1 at the Yale Art Gallery) Presentations and discussion of the art projects.

Session 13: Closing Discussion (Monday, March 6)