The final exam will consist of two parts: 12 identification questions and eight short essay questions. The i.d. questions will be worth a total of 12 points and the short essay questions will be worth a total of 88 points for a grand total of 100 points.

The identification questions will be in a reverse Jeopardy format. In other words, I'll ask a question and you provide the answer (e.g., Who is the mayor of Philadelphia? John Street). Your knowledge of these names, works, and concepts will also be helpful for answering the short answer questions.

Roman Polanski
Anton LaVey
Mia Farrow and Frank Sinatra
Gustav Gruendgens
Joseph Goebbels
Hermann Goering
Marlene Dietrich
roman a clef
Heinrich Mann
Kristallnacht (Night of the Broken Glass)
burning of the Reichstag
Weimar Republic
inflation
Istvan Szabo
socialist realism
Bulgakov's letter to Stalin
Mikhail Bakhtin
carnival and the grotesque
Pontius Pilate
chiasmus
Wilhelm Dieterle
Medford Rum and Triangle Trade
Grange
Daniel Webster
Stephen Vincent Benet
Dan Totheroh
Compromise of 1850
Bernard Hermann
Giuseppe Tartini
Niccolo Pagannini
Charles Gounod
Hector Berlioz
Ferrucio Busoni
Robert Schumann
Alfred Schnittke
Arrigo Boito
Robert Johnson
Legba
Giuseppe Tartini
cantata
mindscreen
Oedipus
anagnorisis
peripeteia
catharsis
Aristotle
film noir
Prague
Svankmajer
Prague Spring
Golem
Tenacious D and "Tribute"
Rudolf II
surrealism

The short answer questions will draw on the information and knowledge associated with the following topics:

the dream-rape sequence in Rosemary's Baby
motherhood in Rosemary's Baby
devil's pact in Klaus Mann's Mephisto
theatricality and politics in Mann's Mephisto
relation of Goethe's Faust to Mann's Mephisto
use of devil's pact story to comment on Nazi Germany
comparison of the endings of Mephisto as novel and film
the relation of the Jerusalem and Moscow narratives in Master and Margarita
the use of chiasmus in Master and Margarita
self-reflexivity and the importance of literature in Bulgakov
the ways in which Bulgakov adapts the Faust material
use of devil's pact story to comment on the United States from 1930-1950 and on American history
community vs. individual in Devil and Daniel Webster
the "Jury of the Damned" sequence in Devil and Daniel Webster
devil's pact and music (rock and roll, blues, classical, musical virtuosity)
blues and Legba (African religion and Christianity)
three songs by Robert Johnson: Crossroads Blues, Hellhound on my Trail, Me and the Devil Blues
the dilemmas of white scholarly fascination with the legend of Robert Johnson (Trick the Devil)
operatic versions of Faust, treatments of Faust, Part II (comparisons of opera plots)
what opera adds to the Faust tradition
Schnittke's transformation of the cantata form
crisis of individual/subjectivity in Angel Heart and Faust
Angel Heart and the return to tragedy 
self-reflexivity in Angel Heart  (includes mind screen)
Oedipus and Angel Heart  (includes anagnorisis and peripeteia)
Svankmajer's Faust and the (end of the) Faustian tradition (anti-Faust)
the concept of the "Faust-Machine"
meaning of puppets in Svankmajer's Faust
self-reflexivity in Svankmajer's Faust
the corporeal and material in Svankmajer
comparison of Faustian endings, starting with the death of Faust in the Faustbook, Faust's salvation in Goethe and then significant Faustian endings in the second half of the semester (e.g., Bulgakov, Mann/Szabo, Daniel Webster, Angel Heart, Svankmajer's Faust). The point would be to understand them in relation to a history of modernity.