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Balkan Folklore

Submitted by Anonymous on
33301
=SOSL 26800/36800
  • Graduate
  • Winter
  • 2009-2010
Angelina Ilieva

This course will give an overview of Balkan folklore from ethnographic, anthropological, historical/political, and performative perspectives. We will become acquainted with folk tales, lyric and epic songs, music, and dance. The work of Milman Parry and Albert Lord, who developed their theory of oral composition through work among epic singers in the Balkans, will help us understand folk tradition as a dynamic process. We will also consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. The historical/political part will survey the emergence of folklore studies as a discipline as well as the ways it has served in the formation and propagation of the nation in the Balkans. The class will also experience this living tradition first hand through our visit to the classes and rehearsals of the Chicago based ensemble Balkanske igre.

Theories of Narrative

Submitted by Anonymous on
38300
=CLAS 37009, SLAV 37100
  • Graduate
  • Winter
  • 2009-2010
Boris (Rodin) Maslov

This seminar will focus on critical approaches to narrative, story-telling, and discourse analysis. While the emphasis will be on the formalist/structuralist tradition (Shklovsky, Benveniste, Barthes, Genette), we will also discuss works by Plato, Aristotle, Bakhtin, Benjamin, Auerbach, Banfield, Silverstein, and others. Notably, most of these approaches were inspired by the analysis of modern European novel, and part of our task will be to test them against shorter narratives produced in different genres and historical periods (possible authors include Pindar, Cicero, Virgil, Pushkin, and Leskov).

Decolonizing Literature and Film in Southern Africa

Submitted by Anonymous on
41200
=ENGL 44507
  • Graduate
  • Winter
  • 2009-2010
Loren Kruger

Required texts in English or translation but those working with Portuguese, Afrikaans, Zulu etc will be accommodated. While 'postcolonialism' may turn a complex and contradictory history into a tidy theory, decolonizing highlights the uneven and unfinished processes of writing and filming national, transnational and anti-national narratives, from the cultural nationalism of the 1940s and 1950s to the possibly post-national present. We will explore the links as well as the differences among the textual and cinematic cultures of South Africa, Zimbabwe, Angola and Mozambique and examine the potential and pitfalls of applying postcolonial and other theories to these cultures. Authors may include Nadine Gordimer, Athol Fugard, Zakes Mda, Shimmer Chinodya, Yvonne Vera, Tsitsi Dangarembga, Bessie Head, Luandino Vieira, and/or Mia Couto; theory and political analysis may include anticolonial writing by Fanon, Mandela, Neto, and Cabral and contemporary critics: Ann McClintock, Njabulo Ndebele, Kwame Appiah, Robert Mshengu Kavanagh and others.

Whose Culture Is This, Anyway?

Submitted by Anonymous on
41600
=ENGL 42407
  • Graduate
  • Winter
  • 2009-2010
Lawrence Rothfield

The past few decades have seen an explosion of debates over the question of who should own cultural goods. The particular goods in question -- the Elgin marbles, artworks looted by the Nazis, the skeletal remains of Kennewick Man, shared files – are as various as the stakeholders (individual victims, nation-states, museums, musicians, etc.). This course explores the philosophical bases for claims to own artifacts, sounds, words, and ideas, and the policy conundrums posed by these claims (restitution, cultural rights, assertions of national control over cultural patrimony, copyright). We will also look at the ways in which some of these issues have entered the popular imaginary via fiction and film.

Poetics of Disclocation

Submitted by Anonymous on
41701
=ENGL 25922/43706
  • Graduate
  • Winter
  • 2009-2010
Jennifer Scappettone

This course explores crises of placelessness and displacement as modern and contemporary verse has attempted to map them: from modernist cosmopolitan collage to poetry of exile, migration, and diaspora, the work we will study, lodged between tongues, gives traction to discourse surrounding the abstraction of space in globalizing contexts. We will examine the formal and social prompts and repercussions of experiments in polylingualism, dialect, creole, barbarism, and thwarted translation; we will delve ultimately into some examples of poetic reckoning with the transformation of the site of reading, in the form of new media, installation and otherwise ambient poetics. Poets to include William Carlos Williams, Charles Olson, John Ashbery, Amelia Rosselli, Andrea Zanzotto, Paul Celan, Theresa Hak Kyung Cha, Pamela Lu, Etel Adnan, M. Nourbese Philip, C.S. Giscombe, Édouard Glissant, Kamau Brathwaite, Caroline Bergvall. Readings in geography, aesthetics, translation by David Harvey, James Clifford, Marc Auge, Rem Koolhaas, Timothy Morton, Toni Morrison, Lucy Lippard, Juliana Spahr, others.

Baudelaire

Submitted by Anonymous on
43300
=FREN 43300, RLIT 43500
  • Graduate
  • Winter
  • 2009-2010
Françoise Meltzer

PQ: All French works will be read in the original. Requirements for the course are one oral presentation, and one seminar paper. This course will look at Baudelaire and his surroundings, from the revolution of 1848 and its historians (Tocqueville in particular); to the artists that fascinated Baudelaire (Daumier, Delacroix, Guys, Wagner) and what the poet wrote about them; to the changes in Paris thanks to the Baron Haussmann; to the writers and political thinkers who most influenced the poet (Poe, E.T.A. Hoffmann, Hugo, de Quincey, Maistre, Proudhon); to Baudelaire's obsession with original sin; to, of course, Baudelaire's own works and development. We will also consider some of the major works of critical theory that concern the poet (including Benjamin, Burton, Chambers, Derrida, T.J.Clark, Blanchot, DeMan, and Poulet, to name a few).

Seminar: Greek Tragedy in Africa

Submitted by Anonymous on
46500
=GREK 46509
  • Graduate
  • Winter
  • 2009-2010
Sarah Nooter

This course will trace the progress of two bursts of dramatic creativity: tragedy in fifth century Athens and adaptations of tragedy in twentieth century Africa (including South Africa, Nigeria, Ghana and Egypt). We will read and discuss genre, thematic concerns, and interpretative problems in plays by Euripides and Sophocles. In alternating weeks, we will discuss these topics and issues of cultural and postcolonial identity as they relate to adaptations written by Wole Soyinka, Athol Fugard, Ola Rotimi and others in the 1960s and 70s. All plays will be read in their original language, but students without knowledge of Greek may enroll with instructor's consent.

Seminar: Catharsis and other Aesthetic Responses

Submitted by Anonymous on
50200
=ENGL 59304, CMST 50200
  • Graduate
  • Winter
  • 2009-2010
Loren Kruger

PQ: Consent of instructor, outside students will be accepted, with the class size limited to 15 students, as long as the majority of the students are CompLit Grad students and PhD students in English Language and Literature and Cinema and Media Studies. Fulfills the core course requirement for CompLit students. Students who wish to take this course but have already taken a Comparative Literature core course may take this course with permission of the instructor. For other humanities PhDs: ACTIVE working knowledge of at least one of the following: French, German, (classical) Greek or Spanish. This PhD seminar examines the ramifications of catharsis and other responses to texts and images, in other words it investigates the relationship between effect and affect. Beginning with Aristotle and present day responses to catharsis, we will investigate the kinds of aesthetic response invoked by tragic drama and theory (esp Hegel), realism (Lukacs, Bazin and Brecht), as well as theories of pleasure (Barthes, Derrida), judgment (Kant, Bourdieu) and boredom (Spacks). We will conclude with a test case, exploring the potential and limitations of catharsis as an appropriate response to the literary and cinematic representation of trauma in and after the Argentine 'dirty war.' An essential part of the discussion will be the problem of translating key terms, not only from one language to another but also from one theoretical discourse and/or medium to another.

History and Theory of Drama II

Submitted by Anonymous on
20600
30600
=ENGL 13900/31100, ISHU 24300/34300
  • Graduate/Undergraduate
  • Winter
  • 2009-2010
David Bevington

May be taken in sequence with CMLT 20500/30500 or individually. This course is a survey of major trends and theatrical accomplishments in Western drama from the late seventeenth century into the twentieth: Molière, Goldsmith, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, and Stoppard. Attention is also paid to theorists of the drama, including Stanislavsky, Artaud, and Grotowski. The goal is not to develop acting skill but, rather, the goal is to discover what is at work in the scene and to write up that process in a somewhat informal report. Students have the option of writing essays or putting on short scenes in cooperation with some other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

The Theatrical Illusion: Corneille, Kushner and the Baroque

Submitted by Anonymous on
21001
31001
=FREN 28000/38000, TAPS 28460
  • Graduate/Undergraduate
  • Winter
  • 2009-2010
Larry Norman

We will explore the Baroque interest in meta-theatricality (the play in the play) by concentrating on Pierre Corneille's 1636 L'illusion comique. The play will be situated in the theatrical, literary and artistic corpus of the seventeenth century, in France (Rotrou, Moliere, Descartes, Poussin) as well as in Spain (Calderon, Velazquez) and beyond. We will also reflect on the contemporary adaptation of baroque theatre, in particular through the Court Theatre's preparation for a production of Tony Kushner's version of Corneille's play. Director Charles Newell will be a guest in the class, and students will be engaged in the dramaturgical process. Reading knowledge of French strongly preferred. Students taking courses for French credit must complete all readings and written work in French.

Contemporary European Philosophy and Religion

Submitted by Anonymous on
21201
31201
=DPVR 40900, PHIL 21209/31209
  • Graduate/Undergraduate
  • Winter
  • 2009-2010
Arnold Davidson

The first part of this course considers Martin Heidegger's critique of humanism and various attempts to formulate alternative versions of humanism. We also study Emmanuel Lévinas' conception of ethics as first philosophy and its effect on political philosophy and philosophy of religion, Jacques Derrida's politics of hospitality and cosmopolitanism, and Pierre Hadot's conception of spiritual exercises and philosophy as a way of life. In the second part of this course, we discuss the status of ethical, political, and religious concepts after the experience of Auschwitz. In addition to Primo Levi's If This Is a Man , other readings may come from Lévinas, Robert Antelme, Sara Kofman, and Hans Jonas. Texts in English and the original.

Poetics of Dislocation

Submitted by Anonymous on
21701
=ENGL 25922/43706
  • Undergraduate
  • Winter
  • 2009-2010
Jennifer Scappettone

This course explores crises of placelessness and displacement as modern and contemporary verse has attempted to map them: from modernist cosmopolitan collage to poetry of exile, migration, and diaspora, the work we will study, lodged between tongues, gives traction to discourse surrounding the abstraction of space in globalizing contexts. We will examine the formal and social prompts and repercussions of experiments in polylingualism, dialect, creole, barbarism, and thwarted translation; we will delve ultimately into some examples of poetic reckoning with the transformation of the site of reading, in the form of new media, installation and otherwise ambient poetics. Poets to include William Carlos Williams, Charles Olson, John Ashbery, Amelia Rosselli, Andrea Zanzotto, Paul Celan, Theresa Hak Kyung Cha, Pamela Lu, Etel Adnan, M. Nourbese Philip, C.S. Giscombe, Édouard Glissant, Kamau Brathwaite, Caroline Bergvall. Readings in geography, aesthetics, translation by David Harvey, James Clifford, Marc Auge, Rem Koolhaas, Timothy Morton, Toni Morrison, Lucy Lippard, Juliana Spahr, others.

Vico's New Science

Submitted by Anonymous on
22501
32501
=ITAL 22900/32900,FNDL 21408
  • Graduate/Undergraduate
  • Winter
  • 2009-2010
Rocco Rubini

This course offers a close reading of Giambattista Vico's masterpiece, New Science (1744) – a work that sets out to refute all opinions hitherto held about the principles of humanity. Vico, who is acknowledged as the most resolute scourge of any form of rationalism, breathed new life into rhetoric, imagination, poetry, metaphor, history, and philology in order to promote in his readers that originary wonder and pathos which sets human beings on the search for truth. However, Vico argues, the truths that are most available and interesting to us are the ones humanity authored by means of its culture and history-creating activities. For this reason the study of myth and folklore as well as archeology, anthropology, and ethnology must all play a role in the rediscovery of man. The New Science builds an alternative philosophy for a new age and reads like a novel of formation recounting the (hi)story of the entire human race and our divine ancestors. In Vico, a prophetic spirit, one recognizes the fulfillment of the Renaissance, the spokesperson of a particular Enlightenment, the precursor of the Kantian revolution, and the forefather of the philosophy of history (Herder, Hegel, and Marx). The New Science remained a strong source of inspiration in the twentieth century (Cassirer, Gadamer, Berlin, Joyce, Beckett, etc.) and may prove relevant in disclosing our own responsibilities in postmodernity. Course taught in English.

Renaissance and Baroque Fairy Tales and their Modern Rewritings

Submitted by Anonymous on
26700
36700
=HCUL 34400, ITAL 26200/36200
  • Graduate/Undergraduate
  • Winter
  • 2009-2010
Armando Maggi

We study the distinctions between myth and fairy tale, and then focus on collections of modern Western European fairy tales, including those by Straparola, Basile and Perrault, in light of their contemporary rewritings of classics (Angela Carter, Calvino, Anne Sexton). We analyze this genre from diverse critical standpoints (e.g., historical, structuralist, psychoanalytic, feminist) through the works of Croce, Propp, Bettelheim and Marie-Louise Von Franz. Class conducted in English.

Historicizing Desire

Submitted by Anonymous on
27000
=CLCV 27706, EALC 27410, GNDR 28001
  • Undergraduate
  • Winter
  • 2009-2010
Tamara Chin

This course meets the critical/intellectual methods course requirement for students who are majoring in Comparative Literature. This course examines conceptions of desire in ancient China and ancient Greece through an array of early philosophical, literary, historical, legal, and medical texts (e.g., Mencius, Sima Qian, Book of Songs, Plato, Sappho). We attempt not only to bring out the cultural specificities of ancient erotic experience but also to make visible the historical and geopolitical contingencies of our own methods of reading. To do so, we explore the broader cultural background of the two ancient periods, and engage with theoretical debates on the history of sexuality, feminist and queer studies, and intercultural comparative studies.

Don Quijote

Submitted by Anonymous on
28101
38101
=CMLT 28101, FNDL 21211, RLLT 34202, SPAN 24202/34202
  • Graduate/Undergraduate
  • Winter
  • 2009-2010
Frederick de Armas, Thomas Pavel

This course will provide a close reading of Cervantes' Don Quijote and discuss its links with Renaissance art and Early Modern narrative genres. On the one hand, Don Quijote can be viewed in terms of prose fiction, from the ancient Greek romances to the medieval books of knights errant and the Renaissance pastoral novels. On the other hand, Don Quijote exhibits a desire for Italy through the utilization of Renaissance art. The course will be taught in English. Spanish majors and Spanish graduate students will read the text in the original and use Spanish for the course assignments.

Jewish American Literature

Submitted by Anonymous on
29800
39800
=ENGL 25004/45002, GRMN 29800/39800, YDDH 27800/37800
  • Graduate/Undergraduate
  • Winter
  • 2009-2010
Jan Schwarz

This course expands the conception of the field of Jewish American literature from English-only to English-plus. We examine how Yiddish literary models and styles influenced the emergence and development of Jewish American literature. We also discuss how recent Jewish American novels have renewed the engagement with the Yiddish literary tradition. Readings are by Abraham Cahan, Henry Roth, I. B. Singer, Chaim Grade, Saul Bellow, Cynthia Ozick, Philip Roth, Bernard Malamud, Grace Paley, Jonathan Safran Foer, Pearl Abraham, and Dara Horn.

B.A. Project and Workshop: Comparative Literature

Submitted by Anonymous on
29801
  • Undergraduate
  • Winter
  • 2009-2010
Dustin Simpson

All fourth-year Comparative Literature majors are required to register for the B.A. project and workshop (CMLT 29801) and attend its meetings. The workshop begins in the Autumn Quarter and continues through the middle of the Spring Quarter. While the B.A. workshop meets in all three quarters, it counts as a one-quarter course credit. Students may register for the course in any of the three quarters of their fourth year. A grade for the course will be assigned in the Spring Quarter based partly on participation in the workshop and partly on the quality of the B.A. paper.