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Marxism and Modern Culture

Submitted by Anonymous on
31600
=ENGL 32300
  • Graduate
  • Winter
  • 2010-2011
Loren Kruger

This course covers the classics in the field of marxist social theory (Marx, Engels, Lenin, Gramsci, Reich, Lukacs, Fanon) as well as key figures in the development of Marxist aesthetics (Adorno, Benjamin, Brecht, Marcuse, Williams) and recent developments in Marxist critiques of new media, post-colonial theory and other contemporary topics. It is suitable for graduate students in literature departments, art history and possibly history. It is not suitable for students in the social sciences.

Balkan Folklore

Submitted by Anonymous on
33301
=NEHC 20568/30568, SOSL 26800/36800
  • Graduate
  • Winter
  • 2010-2011
Angelina Ilieva

This course is an overview of Balkan folklore from ethnographic, anthropological, historical/political, and performative perspectives. We 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, help us understand folk tradition as a dynamic process. We also consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. We also experience this living tradition first hand through our visit to the classes and rehearsals of the Chicago-based ensemble Balkanske igre.

Poets in Their Context

Submitted by Anonymous on
34700
=SCTH 34360
  • Graduate
  • Autumn
  • 2010-2011
Adam Zagajewski

PQ: Open to undergrads with consent of instructor. The idea of this class consists in reading European and US poets – including one of the major modernist Russian poets, Osip Mandelstam, Spanish giant Antonio Machado, Polish poet Czeslaw Milosz and our contemporary, Seamus Heaney from Ireland – in the context of their historic situation. We'll be looking both at the political and cultural context of their writing and try to combine interest in what's absolutely specific for each single writer with the concern for conditions underlying his/her creative endeavor. Students will be asked to actively participate in the class discussions and to write a final paper addressing the issues relevant to the course content. Books: Inger Christensen: Alphabet ; Seamus Heaney: Poems Essays ; August Kleinzahler: Green Sees Things in Waves ; Osip Mandelstam: Poems Essays ; Czeslaw Milosz: Poems The Witness of Poetry ; Don Paterson: The Eyes [Versions of Antonio Machado] ; Tadeusz Rozewicz: New Poems .

Mysticism and Modernist Writing. Philosophy, Aesthetics, Politics

Submitted by Anonymous on
34800
=GRMN 34811, FREN 34811
  • Graduate
  • Spring
  • 2010-2011
Sandra Janssen

This seminar will explore the question of why so many European writers in the 1930s and 1940s (e.g., Robert Musil, Georges Bataille) were fascinated by mysticism. Although they were intensely interested in authors from the mystical tradition (e,g,. Meister Eckhart), they nevertheless did not seek a new kind of spirituality, but a secular form of mysticism, that is, a special kind of 'inner experience'. In this seminar, we will investigate the theory of subjectivity that this kind of experience aims at and will ask how it relates to concepts of society. For not only Bataille devises, in his activities for the Collège de Sociologie, the notion of a sociologie sacre, but also Henri Bergson links mysticism to a renewal of society ( Les deux sources de la morale et de la religion , 1932). We will also consider the more problematic implications of this conjunction, since exponents of Nazi ideology such as Alfred Rosenberg, or writers (temporarily) seduced by it such as Gottfried Benn, refer to mysticism as a form of collective participation.

Money and Literature

Submitted by Anonymous on
34902
  • Graduate
  • Winter
  • 2010-2011
Tamara Chin

This seminar examines a set of imaginative and economic writings about money, drawn from western and non-western traditions. Topics will include the market and aesthetic values, counterfeiting and realism, coinage and ideology, and the historical emergence of economic genres. Readings will include Aristotle, Smith, Marx, Kurke, Poovey, Goux, Derrida, Sima Qian, Guanzi, Arrighi.

Judgment and Distinction (Urteilen und Unterscheiden)

Submitted by Anonymous on
35600
=GRMN 35911
  • Graduate
  • Spring
  • 2010-2011
Susanne Luedemann

Modernity has often been interpreted as a 'crisis of distinction' (Krise des Unterscheidens), that is: as a loss of confidence in the ontological validity of human judgement and linguistic distinctions. On the one hand, this crisis resulted in doctrines of decisionism (Carl Schmitt, Heidegger) and constructivist approaches (George Spencer Brown, Niklas Luhmann); on the other hand, theories of undecidability have been flourishing during the last few decades (most prominent: Jacques Derrida, Giorgio Agamben). Between these extreme positions, a new concept of judgment (Urteilskraft) seems to emerge which combines certain elements of Kant's aesthetic judgment with a rethinking of the political space (Jean-François Lyotard, Hannah Arendt). This course will therefore consider judging and distinguishing as elementary forms not only of logical thinking, but also of aesthetic practice and political reasoning. It addresses students of literary studies as well as students of political sciences, and philosophy. Readings will include texts by Immanuel Kant, Friedrich Hölderlin, Friedrich Nietzsche, Martin Heidegger, Hannah Arendt, Jean-Francois Lyotard, Giorgio Agamben, Niklas Luhmann, and others. Readings in German or English or French, discussion in English.

The History of Feeling: On Naïve and Sentimental Poetry

Submitted by Anonymous on
37200
=GRMN 36111
  • Graduate
  • Spring
  • 2010-2011
David Wellbery

This seminar is an attempt to understand Schiller's treatise Über naïve und sentimentalische Dichtung (1796). We will endeavor to reconstruct the literary, philosophical, and biographical context within which the thoughts of that treatise formed themselves and to which they responded. In addition to texts by Schiller, we will study writings by Diderot, Mendelssohn, and Kant on the concept of naiveté; literary works by Geßner, Goethe ( Die Leiden des jungen Werthers ; Hermann und Dorothea ), Voss (Homer translation, Luise ); correspondence of Goethe, Schiller, Körner, W. von Humboldt, and others. Key contributions to the interpretation of Schiller's treatise (e.g., Brinkmann, Jauss, Szondi) will be consulted along with contemporary theories of the emotions.

Aesthetic Modernity: Philosophy and Criticism

Submitted by Anonymous on
37300
=GRMN 38111, PHIL 50010, SCTH 38111
  • Graduate
  • Autumn
  • 2010-2011
Robert Pippin, David Wellbery

This seminar will discuss and evaluate efforts to conceptualize modernism in the arts from the eighteenth century to the present. Modernism is widely thought to challenge traditional notions of aesthetic success (theories of perfection, the beautiful, harmony, etc.) and by doing so to raise large philosophical questions about perception, experience, language and the modern condition itself. Who first understood this massive change in aesthetic practices? Who best understood why it occurred? Is there such a thing as modernist philosophy? Did modernism end? Of what significance is that fact? Readings will include a range of philosophical and critical texts by, among others, Fr. Schlegel, Hegel, Baudelaire, Nietzsche, Heidegger, Cavell, Clark, and Fried.

Cervantes's Enigmatic Feasts: The Exemplary Novels and Don Quixote, Part II

Submitted by Anonymous on
38102
=REMS 34301, SPAN 24311/34311
  • Graduate
  • Spring
  • 2010-2011
Frederick de Armas

This course focuses on The Exemplary Novels (1613) and Don Quijote, Part II (1615) from the point of view of calendared feasts. To the recently instituted Gregorian calendar, the novel superimposes at least three other time maps. First, the Julian calendar with its many feasts as depicted in Ovid's Fasti ; second, the celestial movement through the twelve signs of the zodiac as represented by Hercules' twelve labors; and third, the Egyptian lunar calendar that leads to the knight's defeat. This meandering through calendars creates an instability and sense of unease that recalls the changes in mapping that are taking place with the discovery of America and the change to a heliocentric cosmos. The Novelas show an inordinate interest in feasts while, as Don Quixote proceeds, a kind of dilatio takes place, as Don Quixote diverts his route over and over again from his destination (Zaragoza and the feast of St. George). Time then becomes a subjective phenomenon that affects both the reader and the characters. We examine Cervantes's novel through the lenses of Ovid's Fasti and Apuleius' Golden Ass . Maps and paintings of the period are also examined. Classes taught in English. Students in Spanish and REMS read the text in the original language and write their papers in Spanish.

Identity, Democracy, and Autobiography: A Comparative Perspective

Submitted by Anonymous on
38501
=RUSS 36800
  • Graduate
  • Winter
  • 2010-2011
Lina Steiner

Drawing on the European, Russian and North American writings from the end of the eighteenth to the middle of twentieth centuries, this graduate seminar will examine the emergence of the modern conception of identity and its literary representation through the genre of fictionalized autobiography. We will explore the influences of social mobility, political exile or immigration, and democratic education on the transformation of personal identity in the works by Jean-Jacques Rousseau, Stendhal, Alexander Herzen, Vladimir Nabokov, W.E.B. Du Bois and Ralph Ellison. The readings will also include philosophical works by John Locke, Rousseau, Benjamin Constant, Alexis de Tocqueville, Charles Taylor and Jean-Luc Nancy, which will help us understand the relationship between identity and subjectivity and account for the growing intellectual prestige of identity in the contemporary democratic public sphere. All readings will be available in English. Those who know French and Russian are encouraged to read all works in their original languages. The course is open to advanced undergraduates only by the instructor's permission.

Urban Zones of Modernism and Modernity 1700-1950

Submitted by Anonymous on
41500
=ENGL 48105
  • Graduate
  • Spring
  • 2010-2011
Jennifer Scappettone

This geographical history of modernism will track intertwining and clashing forces defining the 20th-century avant-garde through their topographical touchstones. We will examine literary representations of delimited zones summoned in documentary or preservative modes as well as utopian projections and schemes for the metropolis writ large. Occupying the objectives of outsiders and insiders in tandem, we will consider texts not only as representations of urban space, but as inventors of it. We will try to detect the reciprocal interference of public and private interests, work and leisure, fortune and emiseration within the several precincts of our concentration as we ask what new languages and forms were enabled by an urban compression of variegated ethnic and linguistic traditions. Our primary sites of focus will be Paris, Venice, and New York, but we will necessarily (and according to class interests) digress elsewhere. Major readings will be drawn from Georg Simmel, Walter Benjamin, Henri Lefebvre, Raymond Williams, Elias Canetti, and T.J. Clark—and from Baudelaire, Apollinaire, Henry James, Gertrude Stein, Mina Loy, F.T. Marinetti, T.S. Eliot, Ezra Pound, John Dos Passos, and Louis Zukofsky; we will also consider pertinent visual and architectural projects. Readings will be given in English, but students with experience in other languages are encouraged to read primary texts in the original. Two papers and a presentation to the seminar will be required.

Tales of the Future in Contemporary Chinese Narratives

Submitted by Anonymous on
41900
=EALC 48701
  • Graduate
  • Spring
  • 2010-2011
Paola Iovene

The imagination of how life will or might be is central to many definitions of literature that consider it as a form of social practice. In this course we will discuss how diverse dimensions of the future—as hope, anxiety, plan, as possibility or fear of transformation—shape the literary imagination. Our focus will be on Chinese fictional narratives and theories of literature of the 20th century, with particular attention to the periods of transition to and away from socialism, but we will also look at concepts of timeliness and untimeliness in critical and narrative theory elsewhere. Overall, our aim will be to explore how the function and fate of literature has been imagined in relation to other cultural, political, and social practices, an issue that inevitably emerges every time one tries to pin down the problem of Chinese literary modernity itself. In the second part of the course students will be asked to work on their own projects on texts, films, or other media of their choice. Readings may include Liang Qichao, Lu Xun, Mao Zedong, Zhou Yang, Li Tuo, Ge Fei, Mo Yan, E. Bloch, J. Derrida, G. Morson, F. Jameson, M. Bakhtin.

Recovering Bakhtin

Submitted by Anonymous on
42201
=RUSS 42201
  • Graduate
  • Spring
  • 2010-2011
Boris (Rodin) Maslov

Since the 1970s, Mikhail Bakhtin's work has had an enthusiastic reception in the Western academe. In spite of – or, arguably, as a result of – its wide dissemination, it has also suffered much from reductionist readings. In this seminar, we will read Bakhtin's major works, seeking to restore them to the intellectual context of the Russian school of historical poetics. In addition, we will discuss primary texts that provided the impetus for Bakhtin's theories (Petronius, Plutarch, Dostoyevsky). All readings in English.

Seminar: Ekphrasis on Stage: Images of Power, Piety and Desire in the Early Modern Period

Submitted by Anonymous on
50101
=SPAN 34302, REMS 34302
  • Graduate
  • Autumn
  • 2010-2011
Frederick de Armas

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 Spanish. 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. During the early modern age, writing had a strong visual component. Poets and playwrights utilized the sense of sight since it was the highest of the Platonic senses and a mnemonic key to lead spectators to remember vividly what they had read or heard, long before spectacle plays were in fashion. One important technique for visualization was ekphrasis, the description of an art work within a text. For this purpose, playwrights often turned to the mythological canvases of the Italian Renaissance along with the portraits of great rulers and images of battle. The seminar will examine the uses of art onstage: mnemonic, mimetic, political, religious comic, tragic, lyric and licentious. It will also delve into different forms of ekphrasis from the notional to the dramatic and from the fragmented to the reversed. Although the course will focus on Spanish plays of the early modern period, it will also include dramas by Terence and Tacone; Euripides and Racine. Numerous Italian Renaissance and Spanish Baroque paintings will be discussed.

Seminar: Contemporary Critical Theory

Submitted by Anonymous on
50201
=DVPR 50201
  • Graduate
  • Winter
  • 2010-2011
Françoise Meltzer

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 the Divinity Scbool (Philosophy of Religion). 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. This course will examine some of the salient texts of postmodernism. Part of the question of the course will be the status and meaning of post-modern, post-structuralist. The course requires active and informed participation.

Seeing Madness: Mental Illness and Visual Culture

Submitted by Anonymous on
51700
=ARTH 48911, CDIN 51700, CMST 57000, ENGL 51305
  • Graduate
  • Winter
  • 2010-2011
Françoise Meltzer, Tom Mitchell

This course will ask how the experience of insanity is conveyed and represented. What are the face and look of madness? How does madness make itself visible? How has it been treated as exhibition and spectacle? These questions will be approached while keeping two considerations at the forefront: first, how madness is understood to manifest itself; second, how it is in turn displayed and represented in a number of different (western) cultures. The first of these two considerations engages the history of the concept—the place of madness in medicine and the political-cultural framing of the insane as a legal, social, and clinical category. This includes as well what the conventions of madness are and how they change with the history of medicine as well as of cultural givens. The aim here is not to undertake such a historical account fully. Rather, students will be looking at moments in the history of madness when the idea is redefined or at issue. The second of the considerations for the seminar is the theater of madness—that is, how madness is represented graphically, from drawings to the modern media of photography, painting, cinema, architecture, and literature. Theoretical readings will include Freud, Foucault and Lacan, among other theorists and practitioners. In literature, students will be reading passages from texts such as Don Quixote , Breton's Nadja , Marat/Sade , late Nietzsche, and Hölderlin. Students will explore a number of films (e.g A Beautiful Mind , Vertigo and David and Lisa ), early photographs, drawings and paintings, and blue prints from various eras for the housing of the insane.

Improvisation as a Way of Life

Submitted by Anonymous on
51800
=CDIN 50910, MUSI 45511, PHIL 50910
  • Graduate
  • Autumn
  • 2010-2011
Arnold Davidson, George Lewis

This seminar will be organized around the idea that the practice of improvisation is not at all limited to the artistic domain, but is a ubiquitous practice of everyday life, a primary method of exchange in any interaction. Improvisation is, in effect, a certain kind of orientation or attitude towards oneself, others, and the world. Combining philosophical, ethnographic, musicological, and technological modes of analysis and creation, this seminar aims at the presentation of new models of intelligibility, agency, expression, and social responsibility that can inform the theory and practice of real-time musical analysis, leading to new and more effective interactive technologies as well.

History and Theory of Drama I

Submitted by Anonymous on
20500
30500
=CLAS 31200, CLCV 21200, ENGL 13800/31000, TAPS 28400
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
David Bevington, Drew Dir

May be taken in sequence with CMLT 20600/30600 or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. This course is a survey of major trends and theatrical accomplishments in Western drama from the ancient Greeks through the Renaissance: Aeschylus, Sophocles, Euripides, Aristophanes, medieval religious drama, Marlowe, Shakespeare, and Jonson, along with some consideration of dramatic theory by Aristotle, Horace, Sir Philip Sidney, and Dryden. The goal is not to develop acting skill but, rather, 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 other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

History and Theory of Drama II

Submitted by Anonymous on
20600
30600
=ENGL 13900/31100, TAPS 28401
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
David Bevington, Drew Dir

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 (i.e., Molière, Goldsmith, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, Stoppard). Attention is also paid to theorists of the drama (e.g., Stanislavsky, Artaud, Grotowski). The goal is not to develop acting skill but, rather, 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 other students. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

Tolstoy: Fictions of Peace and War

Submitted by Anonymous on
20701
30701
=RUSS 22500/32500
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
Lina Steiner

This course is dedicated to the centennial of the death of Lev Tolstoy (1828-1910), one of the world's most important authors, political thinkers and religious reformers. We will read Tolstoy's novel-epic War and Peace as well as a number of shorter fictional works, plays, essays and philosophical treatises. The main objectives of this course will be to understand Tolstoy's artistic breakthroughs and consider the relevance of his political and cultural visions for our contemporary globalized world. Intellectual history will constitute a significant component of this course. Thus, in addition to Tolstoy's works, the reading list will include essays and treatises by German and French thinkers and writers who had influenced Tolstoy (Schleiermacher, Wilhelm von Humboldt, Benjamin Constant, Stendhal, Tocqueville, Joseph de Maistre and Pierre Proudhon). All texts are available in English. Discussion and final papers are also in English. The course is open to graduate students and undergraduates who major in Slavic, Comparative Literature, English or other relevant fields.

Roman Elegy

Submitted by Anonymous on
21101
31101
=LATN 21100/31100
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
Mark Payne

The centerpiece of this class will be a reading of Book IV of the Elegies of Propertius. The class will, however, also consider elegy more broadly as an avant-garde poetic practice. To this end, we will look at Propertius' claim to be the Roman Callimachus in the light of the reinvention of Greek elegy by the Alexandrian poets. Finally, we will consider Ezra Pound's Homage to Sextus Propertius as a retroactive assimilation of Symbolism's Laforgian vector to the practice of the ancient elegists.

Decolonizing Drama and Performance in Africa and Beyond

Submitted by Anonymous on
21202
41202
=CMST 24508/44508, ENGL 22402/44508
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Loren Kruger

PQ: Third- or fourth-year standing and prior course in either theatre or African studies. Working knowledge of French and/or Spanish is required for Comparative Literature status and recommended, but not required, for other students. This course examines the connections among dramatic writing, theatrical practice, and theoretical reflection on decolonization primarily in Africa and the Caribbean in the twentieth century. Authors (many of whom write theory and theater) may include Aima Aidoo, Fatima Dike, Aime Cesaire, Franz Fanon, Fernandez Retamar, Athol Fugard, Biodun Jeyifo, Were Liking, Mustafa Matura, Jose Marti, Ngugi wa Thiong'o, Kwame Nkrumah, Wole Soyinka, and Derek Walcott. Texts in English, French, and/or Spanish.

Introduction to Narratology

Submitted by Anonymous on
21403
=GRMN 21411, FREN 21411
  • Undergraduate
  • Spring
  • 2010-2011
Sandra Janssen

The first part of this course is designed as an overview of some major theories of narrative. We will focus on structuralist approaches such as those of Roland Barthes and Grard Genette's, but also discuss texts such as Benjamin's analysis of the narrator, Bakhtin's theory of polyphony, and new approaches to narratology in the field of cognitive poetics. In the second part, we will analyze literary examples taken especially from German and French literature from the 18th to the 20th century. A special emphasis will lie on different narrative representations of consciousness, in free indirect speech (Flaubert), the stream of consciousness (Joyce), or narrative styles that try to render more visual forms of consciousness (Musil). Finally, we will consider some experimental forms of narrative from the later 20th century (Queneau, Perec, D. Grossman).

Introduction to Narratology

Submitted by Anonymous on
21403
=GRMN 21411
  • Undergraduate
  • Winter
  • 2010-2011
Sandra Janssen

The first part of this course is designed as an overview of some major theories of narrative. We will focus on structuralist approaches such as those of Roland Barthes and Gérard Genette's, but also discuss texts such as Benjamin's analysis of the narrator, Bakhtin's theory of polyphony, and new approaches to narratology in the field of cognitive poetics. In the second part, we will analyze literary examples taken especially from German and French literature from the 18th to the 20th century. A special emphasis will lie on different narrative representations of consciousness, in free indirect speech (Flaubert), the stream of consciousness (Joyce), or narrative styles that try to render more visual forms of consciousness (Musil). Finally, we will consider some experimental forms of narrative from the later 20th century (Queneau, Perec, D. Grossman).

Comparative Fairy Tale

Submitted by Anonymous on
21600
=GRMN 28500, NORW 28500
  • Undergraduate
  • Spring
  • 2010-2011
Kimberly Kenny

For some, fairy tales count as sacred tales meant to enchant rather than to edify. For others, they are cautionary tales, replete with obvious moral lessons. Critics have come to apply all sorts of literary approaches to fairy tale texts, ranging from stylistic analyses to psychoanalytical and feminist readings. For the purposes of this course, we assume that these critics are correct in their contention that fairy tales contain essential underlying meanings. We conduct our own readings of fairy tales from the German Brothers Grimm, the Norwegians, Asbjørnsen and Moe, and the Dane, Hans Christian Andersen. We rely on our own critical skills as well as on selected secondary readings. All work in English.

The Book of Kings: Ferdowsi's Shahnameh as World Literature

Submitted by Anonymous on
21901
31901
=NEHC 20752/30752 FNDL 26102
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
Franklin Lewis

Ferdowsi completed his verse rendition of the tragic history of the Iranian nation a millennium ago, in 1010. Through close reading, lecture and discussion, this course will analyze the Shahnameh as world literature, and as a foundational text for Persian ethnicity and Iranian national feeling. We will consider the Shahnameh as epic genre, as comparative Indo-Iranian mythology, as political commentary, as reflective of ideals of masculinity and femininity, and as an illustrated text. All readings and discussions will be in English. A separate section will meet for those with two or more years of Persian to read the original Persian text.

Magic Realist and Fantastic Writings from the Balkans

Submitted by Anonymous on
22201
32201
=SOSL 27400/37400
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Angelina Ilieva

In this course, we ask whether there is such a thing as a Balkan type of magic realism and think about the differences between the genres of magic realism and the fantastic, while reading some of the most interesting writing to have come out of the Balkans. We also look at the similarities of the works from different countries (e.g., lyricism of expression, eroticism, nostalgia) and argue for and against considering such similarities constitutive of an overall Balkan sensibility.

History of International Cinema I: Silent Era

Submitted by Anonymous on
22400
32400
=ARTH 28500/38500, ARTV 26500, CMST 28500/48500, ENGL 29300/47800, MAPH 33600
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
James Lastra

PQ: Prior or concurrent enrollment in CMST 10100. This is the first part of a two-quarter course. Taking these courses in sequence is strongly recommended but not required. This course introduces what was singular about the art and craft of silent film. Its general outline is chronological. We also discuss main national schools and international trends of filmmaking.

U.S. Literary and Intellectual History: From Subject to Citizen

Submitted by Anonymous on
22401
=ENGL 22815, CRES 22815, LACS 22815
  • Undergraduate
  • Autumn
  • 2010-2011
Raul Coronado

How does one go from being a subject of the King to becoming a citizen? From where does one acquire the language to think of equality? In the late eighteenth century, many revolutionary Spaniards and Spanish Americans travelled throughout the Atlantic world seeking to make the philosophy of equality a reality and gain independence of the Spanish colonies. They travelled to and from Europe and Spanish America; and on to New Orleans, Charleston, DC, Philadelphia, and New York. Through their voyages, these individuals would bring this new political language of rights to the places they visited, imbibing of this political philosophy by reading and through conversations and discussions. They produced, as well, a plethora of publications and writings that circulated throughout the Atlantic world. Through lecture and class discussion, we'll learn of these individuals, their circuits of travel, and their desire to create a modern world. Our focus will be on the communities, individuals, and texts that were published and circulated in what is today the United States. We'll begin with the late eighteenth century and work our way through the nineteenth century. The course will be interdisciplinary. Lecture, discussion, and most of the readings will be in English. Spanish and French reading skills will be useful.

History of International Cinema II: Sound Era to 1960

Submitted by Anonymous on
22500
32500
=ARTH 28600/38600, ARTV 26600, CMST 28600/48600, ENGL 29600/48900, MAPH 33700
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Yuri Tsivian

PQ: Prior or current registration in CMST 10100 required; CMLT 22400/32400 strongly recommended. The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction ; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

Cinema from the Balkans

Submitted by Anonymous on
22601
32601
=SOSL 27600/37600, CMST 24402/34402
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
Angelina Ilieva

This course is designed as an overview of major cinematic works from Bulgaria, Albania, Greece, Rumania, former Yugoslavia and Turkey. While the main criterion for selection is the artistic quality of the work, the main issues under consideration are those of identity, gender, the poignant relation with the Western World, memories of conflict and violence, and socialism and its disintegration and subsequent emigration. We compare the conceptual categories through which these films make sense of the world, especially the sense of humor with which they come to terms with that world. Directors whose work we examine include Vulchanov and Andonova (Bulgaria); Kusturica, Makavejev, and Grlic (Former Yugoslavia); Guney (Turkey); Boulmetis (Greece); and Manchevski (Macedonia).

Cinema in Africa

Submitted by Anonymous on
22900
42900
=AFAM 21900, CMST 24201/34201, CRES 24201/34201, ENGL 27600/48601, SOSC 27600
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
Loren Kruger

PQ: Prior college-level course in either African studies or film studies. This course examines cinema in Africa and films produced in Africa. It places cinema in SubSaharan Africa in its social, cultural, and aesthetic contexts ranging from neocolonial to postcolonial, Western to Southern Africa, documentary to fiction, and art cinema to TV. We begin with La Noire de... (1966), a groundbreaking film by the father of African cinema, Ousmane Sembene. We compare this film to a South African film, The Magic Garden (1960), that more closely resembles African American musical film. Other films discussed in the first part of the course include anti-colonial and anti-apartheid films from Lionel Rogosin's Come Back Africa (1959) to Sarah Maldoror's Sambizanga , Ousmane Sembene's Camp de Thiaroye (1984), and Jean Marie Teno's Afrique , Je te Plumerai (1995). We then examine cinematic representations of tensions between urban and rural, traditional and modern life, and the different implications of these tensions for men and women, Western and Southern Africa, in fiction, documentary and ethnographic film.

The Other within the Self: Identity in Balkan Literature and Film

Submitted by Anonymous on
23201
33201
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
Staff

This two-course sequence examines discursive practices in a number of literary and cinematic works from the South East corner of Europe through which identities in the region become defined by two distinct others: the barbaric, demonic Ottoman and the civilized Western European.

Returning the Gaze: The Balkans and Western Europe

Submitted by Anonymous on
23201
33201
=NEHC 20885/30885, SOSL 27200/37200
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
Angelina Ilieva

This course investigates the complex relationship between South East European self-representations and the imagined Western gaze for whose benefit the nations stage their quest for identity and their aspirations for recognition. We also think about differing models of masculinity, the figure of the gypsy as a metaphor for the national self in relation to the West, and the myths Balkans tell about themselves. We conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslav wars of succession. Some possible texts/films are Ivo Andric, Bosnian Chronicle ; Aleko Konstantinov, Baj Ganyo ; Emir Kusturica, Underground ; and Milcho Manchevski, Before the Rain .

Balkan Folklore

Submitted by Anonymous on
23301
=NEHC 20568/30568, SOSL 26800/36800
  • Undergraduate
  • Winter
  • 2010-2011
Angelina Ilieva

This course is an overview of Balkan folklore from ethnographic, anthropological, historical/political, and performative perspectives. We 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, help us understand folk tradition as a dynamic process. We also consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. We also experience this living tradition first hand through our visit to the classes and rehearsals of the Chicago-based ensemble Balkanske igre.

The Other within the Self: Identity in Balkan Literature and Film

Submitted by Anonymous on
23401
33401
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Staff

This two-course sequence examines discursive practices in a number of literary and cinematic works from the South East corner of Europe through which identities in the region become defined by two distinct others: the barbaric, demonic Ottoman and the civilized Western European.

The Burden of History: A Nation and Its Lost Paradise

Submitted by Anonymous on
23401
33401
=NEHC 20573/30573, SOSL 27300/37300
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Angelina Ilieva

This course begins by defining the nation both historically and conceptually, with attention to Romantic nationalism and its flourishing in Southeastern Europe. We then look at the narrative of original wholeness, loss, and redemption through which Balkan countries retell their Ottoman past. With the help of Freud's analysis of masochistic desire and Žižek's theory of the subject as constituted by trauma, we contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity. The figure of the Janissary highlights the significance of the other in the definition of the self. Some possible texts are Petar Njegoš's Mountain Wreath ; Ismail Kadare's The Castle ; and Anton Donchev's Time of Parting .

Making a Scene

Submitted by Anonymous on
23702
33702
=ENGL 25931/42409
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Larry Rothfield

This course seeks to explore the arena of socialinteractions—from flirting to striving for status to solidarity-seeking and beyond—that is captured by the term the social scene. We make use of literary fiction (i.e., Austen, Flaubert, Wilde), artwork (i.e., Manet), film (i.e., Warhol), and television (i.e., Jersey Shore ) that helps bring into visibility the morphology, power dynamics, and ethical or political possibilities inherent in scenes. We also look at some efforts to conceptualize scenes (e.g., Benjamin, Lefebvre, Fischer, Jameson, Bourdieu, Foucault).

Gender in the Balkans through Literature and Film

Submitted by Anonymous on
23901
33901
=GNDR 27702/37700, SOSL 27610/37610
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
Angelina Ilieva

This introductory course examines the poetics of femininity and masculinity in some of the best works of the Balkan region. We contemplate how the experiences of masculinity and femininity are constituted and the issues of socialization related to these modes of being. Topics include the traditional family model, the challenges of modernization and urbanization, the socialist paradigm, and the postsocialist changes. Finally, we consider the relation between gender and nation, especially in the context of the dissolution of Yugoslavia. All work in English.

Three Generations

Submitted by Anonymous on
24302
34302
=GRMN 24311/34311, SCTH 34311
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
David Wellbery, Adam Zagajewski

Gottfried Benn, Elizabeth Bishop, Durs Grünbein, Zbigniew Herbert, C. K. Williams are three generations of Modernism in poetry: Benn as one of the grandfathers, Bishop and Herbert as representatives of the middle generation, and C. K. Williams and Grünbein as grandchildren. The idea of the class is to read poems closely and to discuss them in the class. Discussion section arranged for students who are majoring in German. All work in English.

Language of Power: Court Culture in Early Modern Europe and Russia

Submitted by Anonymous on
24502
34502
=RUSS 24501/34501, HIST 23811/33811, GRMN 24511/34511
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Kirill Ospovat

Crossing the disciplinary boundaries between social, political, cultural and literary history, as well as the symbolic divide between Russia and Western Europe, the course will explore early modern royal courts as crucial institutions of European culture. Rulers and the elites relied on symbolic resources of literature, philosophy and the arts to secure their growing political authority and broadcast values underpinning the existing social order. From the Renaissance on royal courts increasingly merged into a single an-European sociocultural paradigm, which over centuries framed the political effort of rulers as remote as Louis XIV, King of France, and Peter the Great, Emperor of Russia, as well as creative work of artists, composers and writers as important as Rubens, Molière, Mozart, Goethe, and Derzhavin.Absolutist social values and the modes of their cultural (re)production at the courts of early modern Europe and Russia will be examined drawing on historical sources as well works of art, philosophy and science, but primarily concentrating on literature. Texts in English.

Mimesis

Submitted by Anonymous on
24902
30400
=CLAS 39200, EALC 30400
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Tamara Chin

This course will introduce the concept of mimesis (imitation, representation), tracing it from Plato and Aristole through some of its reformulations in recent literary and critical theory. Topics to be addressed include desire, postcolonialism, and non-western aesthetic traditions. Readings may include Plato, Aristotle, Euripides's Bacchae , Book of Songs , Lu Ji's Rhapsody on Literature , Auerbach, Butler, Derrida, Girard, Saussy, and Spivak.

Problems Around Foucault

Submitted by Anonymous on
25102
35102
=DVPR 35100, PHIL 21910/31910
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
Arnold Davidson

We will read some of Foucault's most important essays and lectures, from all periods of his work, in an attempt to assess the originality and continued significance of his thought in the context of twentieth century European philosophy. We will also look at the work of other philosophers who influenced or were influenced by Foucault, for example: Georges Canguilhem, Gilles Deleuze, Paul Veyne, Pierre Hadot, Ian Hacking, etc. A final section of the course will consider how we can make use of Foucault today, with respect to questions of epistemology, politics, and ethics.

The Re-Enchantment of the World: The Sacred and the Secular in Modern Literature and Philosophy

Submitted by Anonymous on
25601
=ENGL 25939, ITAL 25900, RLST 26701
  • Undergraduate
  • Autumn
  • 2010-2011
Lisa Barca

Looking at nineteenth- and twentieth-century creative literature, memoirs, and philosophical works, we investigate the connections between modernity and new forms of religious thought. With burgeoning scientific explanations for what were once perceived as miracles, combined with the array of religious and irreligious choices offered by an increasingly secular society, how do modern thinkers approach the problem of transcendent or mystical experience? Why has the yearning toward an ultimate, sacred reality proven strong in apparently secular authors? How does a rising interest in Hindu and Buddhist philosophy impact upon ancient Western debates about the relationship between the material and the spiritual? We explore such questions through detailed engagement with a series of short but challenging readings. Authors include Giacomo Leopardi, Friedrich Nietzsche, Henry David Thoreau, Emily Dickinson, Rainer Maria Rilke, Miguel de Unamuno, Henri Bergson, Virginia Woolf, T. S. Eliot, Eugenio Montale, and Pier Paolo Pasolini. Classes conducted in English. Students taking the course for credit toward the Italian major or minor read and discuss Leopardi, Montale, Pasolini, and others in special sessions conducted in Italian.

Medieval Vernacular Literature in the British Isles

Submitted by Anonymous on
26000
=ENGL 15801, RLST 28301
  • Undergraduate
  • Winter
  • 2010-2011
Michael Murrin

This course meets the critical/intellectual methods course requirement for students who are majoring in Comparative Literature. This course covers the Celtic tradition, Old and Middle English, Anglo-Norman French, and a late text from Scotland. Texts include: from Old English, Beowulf; from Irish, The Battle of Moytura and the Tain, and two of the immrana or voyages that concern Bran Son of Ferbal and Mael Duin; from Anglo-Norman French, The Lays of Marie de France; from Welsh, The Four Branches from the Mabinogion; from Middle English, selections from The Canterbury Tales and Sir Gawain and the Green Knight; and from Scotland, Dunbar.

Marsilio Ficino's On Love

Submitted by Anonymous on
26701
36701
=FNDL 21103, ITAL 23900/33900
  • Graduate/Undergraduate
  • Winter
  • 2010-2011
Armando Maggi

This course is first of all a close reading of Marsilio Ficino's seminal book On Love (first Latin edition, De amore , 1484; Ficino's own Italian translation, 1544). Ficino's philosophical masterpiece is the foundation of the Renaissance view of love from a Neo-Platonic perspective. It is impossible to overemphasize its influence on European culture. On Love is not just a radically new interpretation of Plato's Symposium . It is the book through which sixteenth- and seventeenth-century Europe read the love experience. This course analyzes its multiple classical sources and its spiritual connotations. During our close reading of Ficino's text, we show how European writers and philosophers appropriated specific parts of this Renaissance masterpiece. In particular, we read extensive excerpts from some important love treatises (e.g., Castiglione's The Courtier [Il cortigiano] , Leone Ebreo's Dialogues on Love , Tullia d'Aragona's On the Infinity of Love ), but we also read selections from a variety of European poets (e.g., Michelangelo's canzoniere , Maurice Scève's Délie , Fray Luis de León's Poesía ). Classes conducted in English.

Coetzee

Submitted by Anonymous on
26900
46900
=ENGL 28605/48605, FNDL 26203
  • Graduate/Undergraduate
  • Autumn
  • 2010-2011
David Bunn, Colleen Taylor

This course is not simply about contemporary South Africa, and the novels of Coetzee but also about the manner in which the public confession of past sins was and continues to be a critical point of reference for the ways in which political transition and justice are imagined. We read Coetzee's Waiting for the Barbarians , Foe , The Life and Times of Michael K , and Disgrace , and the volume of essays, Giving Offence . We also read Dostoyevsky's Notes from Underground , Yvette Christiaanse's novel, Unconfessed , and Hannah Arendt's Eichmann in Jerusalem . We consider the playtext Malora by Yael Farber. The two films we study are Alain Resnais's groundbreaking Hiroshima Mon Amour and Christopher Nolan's recent psychological thriller, Memento . Theoretical readings include works from Freud, Derrida, and Foucault.

Chinese Historiography

Submitted by Anonymous on
27101
=EALC 27101
  • Undergraduate
  • Spring
  • 2010-2011
Tamara Chin

PQ: Two literary Chinese courses. This course introduces Han dynasty historiography and its relation to the Chinese literary tradition. Through close readings of the Shiji and Hanshu , we explore a range of prose and poetic forms and consider traditional and comparative methods of interpretation.

Contemporary Chinese Writers and the Literary Field

Submitted by Anonymous on
27402
37402
=EALC 28620/38620
  • Graduate/Undergraduate
  • Spring
  • 2010-2011
Paola Iovene

This course explores the ways in which Chinese writers and critics have responded and contributed to the transformations in the Chinese literary field from the 1970s to the present. Drawing on Pierre Bourdieu's theory of the literary field, we discuss notions of autonomy and authorship, concepts of high and popular literature, and writers' attitudes toward commercialization. Texts include poems by Bei Dao and Yang Lian; and fiction by Mo Yan, Wang Shuo, Yu Hua, Han Shaogong, and Chen Ran. Texts in English. Students who read Chinese are encouraged to use Chinese materials.

Renaissance Demonology

Submitted by Anonymous on
27602
=HIST 22110, ITAL 26500, RLST 26501
  • Undergraduate
  • Spring
  • 2010-2011
Armando Maggi

This course analyzes the complex concept of demonology according to early modern European culture from a theological, historical, philosophical, and literary point of view. The term demon in the Renaissance encompasses a vast variety of meanings. Demons are hybrids. They are both the Christian devils, but also synonyms for classical deities, and Neo-Platonic spiritual beings. As far as Christian theology is concerned, we read selections from Augustine's and Thomas Aquinas's treatises, some complex exorcisms written in Italy, and a new recent translation of the infamous Malleus maleficarum , the most important treatise on witch-hunt. We pay close attention to the historical evolution of the so-called witch-craze in Europe through a selection of the best secondary literature on this subject, with special emphasis on Michel de Certeau's The Possession at Loudun . We also study how major Italian and Spanish women mystics, such as Maria Maddalena de' Pazzi and Teresa of Avila, approach the issue of demonic temptation and possession. As far as Renaissance Neo-Platonic philosophy is concerned, we read selections from Marsilio Ficino's Platonic Theology and Girolamo Cardano's mesmerizing autobiography. We also investigate the connection between demonology and melancholy through a close reading of the initial section of Robert Burton's Anatomy of Melancholy and Cervantes's short story The Glass Graduate (El licenciado Vidriera) . Classes conducted in English.

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