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History and Modern Arabic Literature

Submitted by vickylim on
30551
ARAB 30551
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Orit Bashkin

PQ:  reading knowledge of Arabic (namely three years of Arabic at least) is required; students are expected to read the novels as part of their homework assignment.

The class studies historical novels and the insights historians might gain from contextualizing and analyzing them. The Arab middle classes were exposed to a variety of newspapers and literary and scientific magazines, which they read at home and in societies and clubs, during the late nineteenth century and the early twentieth. Such readers learned much about national identity, gender relations and Islamic reform from historical novels popularized in the local press.  Some of these novels were read not only by adults, but also by children, and consequently their ideas reached a very large audience. The novels’ writers paid great attention to debates concerning political theory and responded to discourses that were occurring in the public spheres of urban Middle East centers and, concurrently, appropriated and discussed themes debated among Orientalists and Western writers. The class will explore these debates as well as the connections between the novel and other genres in classical Arabic literature which modern novels hybridized and parodied.  It will survey some of the major works in the field, including historical novels by Gurji Zaydan, Farah Antun, Nikola Haddad, and Nagib Mahfuz.

Oedipus Tyrannus: Thinking in and with Tragedy

Submitted by vickylim on
31222
SCTH 31222, GREK 24714, GREK 34714
  • Graduate/Undergraduate
  • Winter
  • 2014-2015
Laura Slatkin

Oedipus: exemplary sovereign or outlier? Savior of the city or its destroyer? Epistemophile or –phobe? Upholder or suspender of the law (including the laws of kinship)? Sophocles’ Oedipus tyrannos has been good to think with since its first production in the fifth century BCE. As a meditation on kingship as well as kinship, the play offers a complex Oedipus, if not, perhaps, an Oedipus complex. Sophocles’ meditation on the polis, law, family, knowledge, the structure of mind, desire, and the disease in and of state has proved especially rich for philosophers, psychoanalysts, and theater artists; the play also famously provides the core example for Aristotle’s meditation on tragedy in the Poetics. We will explore the OT as tragedy, as resource, as example and exception. Although no knowledge of Greek is required for this course, there will be assignment options for those who wish to do reading in Greek. Note: This course will be taught twice a week for the first five weeks of Winter 2015 on Tuesdays/Thursdays, 1:30-4:20pm in F 305.

Ideas of Lyric

Submitted by vickylim on
34270
MAPH 34270,ENGL 24270,ENGL 34270
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Joshua Adams

What is lyric poetry? Should the genre be defined by its relationship to song? By the convention of a first-person speaker? By reference to a particular model of the self or the person? By the presence of ambiguity or paradox? By the fact that it resists paraphrase? Or is the lyric ultimately a product of practices and institutions that can and should be historicized? This course will attempt to answer some of these questions by surveying some important modern and contemporary theories of lyric poetry. We will read philosophical and critical work by, among others, Hegel, Wordsworth, J.S. Mill, T.S. Eliot, William Empson, Theodor Adorno, Paul de Man, W.R. Johnson, Allen Grossman, Robert von Hallberg, Susan Stewart, Virginia Jackson, Daniel Tiffany, and Oren Izenberg. We will analyze these texts as arguments, but also test their claims against actual poems. Requirements include a class presentation and a final paper.

Current MAPH students and 3rd and 4th years in the College. All others by instructor consent only. THIS COURSE WILL NOW BE HELD ON MW AT 1:30-2:50 FOR THE UPCOMING SPRING 2013 QUARTER.

Shakespeare's History Plays

Submitted by dmmettlach on
2677
36750
ENGL 16550 / 36550
  • Graduate/Undergraduate
  • Autumn
  • 2016-2017
David Bevington

This course on Shakespeare's English history plays will adopt an unusual stratagem of reading the plays in order of the historical events they depict: that is, starting with King John, who ruled England from 1199 until his death in 1216, then (after a sizable interval of time devoted to the reigns of Henry III, 1216-1272, Edward I, 1272-1307, Edward II, 1307-1327, and Edward III, 1327-1377, not dramatized by Shakespeare), Richard II (reigned 1377-1390), Henry IV Parts I and II (1399-1413), Henry V (1413-1422), Henry VI Parts I-III (1422-1461 and 1470-1471, alternating with Edward IV, 1461-1470, 1471-1483), Richard III (1483-1485), and finally Henry VIII (1509-1547, having succeeded his father, Henry VII, who reigned from 1485-1509 and whose reign is not celebrated by a Shakespeare play). The emphasis will be on the great plays, Richard II, Henry IV Parts 1 and II, Henry V, and Richard III. My hope is that this approach will enable us to explore Shakespeare's concept of English history over a large sweep of time, leading up to the Tudor dynasty that began with Henry VII's victory over Richard III in 1485 and concluded with the long and successful reign of Elizabeth I, Henry VIII's daughter, whose rule ended with her death in 1603, soon after Shakespeare had completed his writing of all these plays except Henry VIII. We will be reading the plays in the order in which they were printed in the first complete edition of Shakespeare works in the 1623 First Folio. Undergraduate:(D, E) Graduate:(Med/Ren)

Jewish Literature in a Century of Transformation: 1880-1980

Submitted by jenniequ on
20226
30226
JWSC 20226, NEHC 20226
  • Graduate/Undergraduate
  • Autumn
  • 2016-2017
Na'ama Rokem

A survey of Jewish Literature written by Jews around the globe in different languages (including Hebrew, Yiddish, Arabic, Russian, English, Polish, German) in an era of upheaval and transformation. We will discuss the literary representation of phenomena such as: the national movement and the foundation of the State of Israel; persecutions, pogroms and the Holocaust; waved of migration, acculturation and assimilation; the involvement of Jews in political movements, such as communism and anarchism; changing gender roles and changing ideas about the Jewish family. And we will ask: how have these events - and the modern era that they are a part of - influenced ideas about literary representation and the relationship between literature and history. 

Archaic Poetics

Submitted by Anonymous on
20301
40300
=CLCV 27209, CLAS 47209, SLAV 20301/42200
  • Graduate/Undergraduate
  • Spring
  • 2009-2010
Boris (Rodin) Maslov

This seminar investigates the notion of archaic (a.k.a. primitive, folk, sentimental, mythological) poetics, originally formulated by the Romantics, but later pursued by scholars who sought to conceptualize the presumed break between oral literatures of traditional societies, as well as texts produced in Archaic Greece, and modern literary praxis. In this course we will be interested both in the actual lineaments of an archaic poetics and its literary reception in the 19 th -20 th c. Apart from relevant primary sources (Homeric epic, archaic Greek choral lyric, primitivist modernist poetry, etc.), we will discuss works by Fr. Schlegel, Veselovsky, Propp, Levi-Strauss, Bakhtin, Parry, and others.

Eden to Eliot, J.C. to Jay-Z: The Bible in Western Culture

Submitted by vickylim on
20360
30360
JWSC 20006, NEHC 20406
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Charles Huff

The Bible, a complex anthology of literature from a variety of religious, political, and historical perspectives from ancient Israel, has been primary textual authority in Western culture, politics, and religion. This class will explore how the authority of the Bible has been understood and used by people in Western societies in their political, historical, religious, and aesthetic contexts. We will accomplish this by a close reading of both the biblical texts and their reception in the texts, music, and visual arts of Western civilization, with a special emphasis on the use of these receptions in particular societies. The material covered in this course is necessarily selective; the course will give a basic literacy in the Bible and its use, and, more importantly, it will also teach the student to recognize and analyze biblical allusions in their future research.

Samak-e 'Ayyar

Submitted by Anonymous on
20361
30361
=PERS 30361, SALC 20604/30604
  • Graduate/Undergraduate
  • Autumn
  • 2011-2012
F Lewis

PQ: Persian 20103 or equivalent. Introduction to the popular Persian romance of the 12th century, Samak-e 'ayyar, featuring a close reading of selected passages. Questions of genre; concepts of masculinity; chivalry and the character of the 'ayyar; the relationship of Samak to similar works in the Islamicate literatures as well as in the European traditions; oral story-telling and the performance context; folklore motifs; etc.

Jewish Thought and Literature III: Biblical Voices in Modern Hebrew Literature

Submitted by vickylim on
20401
30401
JWSC 20006,NEHC 20406,NEHC 30406,RLST 20406
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Na'ama Rokem

The Hebrew Bible is the most important intertextual point of reference in Modern Hebrew literature, a literary tradition that begins with the (sometimes contested) claim to revive the ancient language of the Bible. In this course, we will consider the Bible as a source of vocabulary, figurative language, voice and narrative models in modern Hebrew and Jewish literature, considering the stakes and the implications of such intertextual engagement. Among the topics we will focus on: the concept of language-revival, the figure of the prophet-poet, revisions and counter-versions of key Biblical stories (including the story of creation, the binding of Isaac and the stories of King David), the Song of Songs in Modern Jewish poetry.

Jewish Thought and Literature III: The Multilingual Twentieth Century

Submitted by Anonymous on
20401
30401
=JWSC 20006, JWSG 30006, NEHC 20406/30406
  • Graduate/Undergraduate
  • Spring
  • 2009-2010
Na'ama Rokem

This seminar examines one of the most striking dimensions of the modern Hebrew literary canon: it was largely written by non-native speakers. This is true not only for the generation of the revival, but also for following generations and even after the foundation of the state of Israel. While most contemporary Hebrew authors do not fall into this category, the phenomenon has a fascinating afterlife to this day. The seminar thus covers a range of materials that span over a century of literary production. It is designed to give students not familiar with Hebrew literature a sense of the historical trajectory it follows over the twentieth century, while raising a number of theoretical and historical questions. Among the questions that will interest us are: To what extent is the category of the native speaker relevant, or even viable, in the study of literature? What is the role of bilingualism and auto-translation in literary production and literary theory? And how does the case of Zionism and the Hebrew revival compare with other cases of bilingual authorship, such as contemporary Latino-American literature? How has the position of Hebrew in the Jewish cultural sphere evolved? How has Hebrew language learning been tied to other categories such as religion, gender or class, and what are the implications for reading Hebrew literature? Readings will all be made available in translation, with an additional tutorial for readers of Hebrew.

History and Theory of Drama I

Submitted by Anonymous on
20500
30500
=CLAS 31200, CLCV 21200, ENGL 13800/31000, TAPS 28400
  • Graduate/Undergraduate
  • Autumn
  • 2011-2012
D Bevington

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 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 I

Submitted by Anonymous on
20500
30500
=ANST 21200, CLAS 31200, CLCV 21200, ENGL 13800/31000, ISHU 24200/34200
  • Graduate/Undergraduate
  • Autumn
  • 2009-2010
David Bevington

May be taken in sequence with CMLT 20600/30600 or individually. 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, 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 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 I

Submitted by Anonymous on
20500
30500
=ANST 21200, CLAS 31200, CLCV 21200, ENGL 13800/31000, ISHU 24200/34200
  • Graduate/Undergraduate
  • Autumn
  • 2008-2009
David Bevington

May be taken in sequence with CMLT 20600/30600 or individually. 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, 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 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 13800/31100, TAPS 28401
  • Graduate/Undergraduate
  • Winter
  • 2011-2012
D Bevington, H Coleman

This course meets the general education requirement in the dramatic, musical, and visual arts. 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.

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.

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.

History and Theory of Drama II

Submitted by Anonymous on
20600
30600
=ENGL 13900/31100, ISHU 24300/34300
  • Graduate/Undergraduate
  • Winter
  • 2008-2009
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: Molire, 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.

History and Theory of Drama II

Submitted by Anonymous on
20600
30600
=ENGL 13900/31100, ISHU 24300/34300
  • Graduate/Undergraduate
  • Winter
  • 2006-2007
David Bevington, Heidi Coleman

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: Molire, 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.

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.

Brecht and Beyond

Submitted by Anonymous on
20800
40800
=ENGL 24400/44505
  • Graduate/Undergraduate
  • Winter
  • 2008-2009
Loren Kruger

Brecht is indisputably the most influential playwright in the twentieth century. In this course we will explore the range and variety of Brecht's own theatre, from the anarchic plays of the 1920's to the political learning plays to the classical parable plays, as well as the works of his heirs in Germany (Heiner Mller, Peter Weiss), Britain (John Arden, Caryl Churchill), and sub-Saharan Africa (Ngugi, and various South African practitioners). We will consider the impact of Brechtian theory on film, from Brecht's own Kuhle Wampe to Jean-Luc Godard to African film makers. PQ: Juniors, seniors and/or graduate students with at least one of the following: Intro to Cinema, History and Theory of drama, or their equivalents. Working knowledge of German and/or French would be helpful but is not required.

Before and After Beckett

Submitted by ldzoells on
20801
40801
ENGL 24408/44508; TAPS 28424
  • Graduate/Undergraduate
  • Winter
  • 2017-2018
Loren Kruger
 

Beckett is conventionally typed as the playwright of minimalist scenes of unremitting bleakness, but his experiments with theatre and film echo the irreverent play of popular culture (vaudeville on stage and screen, e.g. Chaplin and Keaton) as well as experimental theatre and modern philosophy, even when there are no direct lines of influence. This course will juxtapose these points of reference with Beckett's plays and those of his contemporaries (Ionesco, Genet and others in French, Pinter in English). It will then explore more recent plays that suggest the influence of Beckett by Pinter, Carul Churchill and Sarah Kane in English; Albert Jarry and Michel Vinaver in French, as well as the relevance of theorists and philosophers including Barthes, Wittgenstein, and critics writing on specific plays. Prerequisites: HUM CORE and at least one college level course in drama or TAPS. French is helpful but not required.

Shakespeare, Marlowe, Benjamin, and Brecht

Submitted by Anonymous on
20901
30901
=ENGL 16709/36709
  • Graduate/Undergraduate
  • Autumn
  • 2009-2010
Victoria Kahn

In this course, we will read several plays of Shakespeare and Marlowe in relationship to the theoretical writings of two twentieth-century critics, Walter Benjamin and Bertolt Brecht. Why did Benjamin and Brecht think Shakespeare and Marlowe were radical, avant-garde playwrights? What conclusions did they draw from Shakespeare and Marlowe for their own political moment? How were Brecht's own plays and dramatic theory influenced by these earlier writers? Texts will include Shakespeare, Hamlet; Marlowe, Edward II and Tamburlaine; Benjamin, The Origin of German Tragic Drama and Understanding Brecht; Brecht, Selected Plays and his Short Organon for the Theater. For students with an interest in both Renaissance literature and European modernism, as well as a strong interest in literary theory.

Literatures of “Eurasia”

Submitted by jenniequ on
20905
30905
=HIST 23603 / HIST 33603 / REES 29812 / NELC 20705/30705
  • Graduate/Undergraduate
  • Autumn
  • 2016-2017
Leah Feldman

This course explores literatures produced across Eurasia, with a particular focus on the Caucasus and Central Asia including the writings of Lermontov, Blok, Gorodetsky, Solovyov, Memmedquluzadeh, Iskender, Aitmatov, as well as the films of Paradjanov and Ibragimbekov. We will also trace the intellectual history of the orientalist conception of Eurasianism and its variants including conceptions of race and ethnicity that it produced. In this way, we will attend to connections forged between Eurasianist ideologies and conceptions of language, geography and biology. 

The Arab Israeli Conflict in Literature and Film

Submitted by vickylim on
20906
30906
NEHC 20906/30906; HIST 26004/36004; JWSC 25903
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Orit Bashkin

The course looks at the realities of the Arab Israel conflict as portrayed by Palestinian and Israeli writers. We will explore works of poets, novelists, short stories writers, filmmakers and artists, and the meanings they ascribe to such concepts as “homeland,” “exile,” “nation,” “struggle,” and “liberation.” We will study the analysis novelists offer to moments of politicized violence in the region, and the reception on these analysis in the Palestinian and Israeli publics. Finally, we will study the fields of power related to production of these works: who has the power to write/film, and thus represent, the realities of the Arab-Israeli conflict? Which voices are silenced in these processes? How can historians reconstruct radical voices in their analysis of the events by reading works of literature? Reading materials include works by Emile Habibi, Ghassan Kanafani, Mahmud Darwish, Amos Oz, Dahlia Ravikovitch and S. Yizhar.  The class is open to graduate and undergraduate students. No prior knowledge of Hebrew or Arabic is required.

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.

Roman Elegy

Submitted by jenniequ on
21101
31101
LATN 31100 / 21100
  • Graduate/Undergraduate
  • Winter
  • 2016-2017
David Wray

This course examines the development of the Latin elegy from Catullus to Ovid. Our major themes are the use of motifs and topics and their relationship to the problem of poetic persona.

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.

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.

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.

Prefaces

Submitted by Anonymous on
21501
31501
=PORT 23000/33000, SCTH 30611
  • Graduate/Undergraduate
  • Spring
  • 2009-2010
Miguel Tamen

In the last 2 centuries philosophers and writers have often written prefaces to their own works; many such prefaces have become famous, a few have become infamous. Both traditions include the names of otherwise very different authors such as Hegel and Wittgenstein, or Baudelaire and Frost. Since the functions of prefaces seem to be fairly obvious and well-known, we will not be putting forth any new theory about prefaces. Instead, we will read and discuss in depth some of the best philosophical and literary prefaces written since 1800. A complete list of about 20 texts, which is likely to include most of the names above, and a course packet will be made available in the first session.

The Politics of Hybridity

Submitted by vickylim on
21703
31703
  • Graduate/Undergraduate
  • Winter
  • 2015-2016
Leah Feldman

This course will explore the construct of hybridity through the development of anticolonial and postcolonial theory. In nuancing the distinction between these intellectual traditions and their respective formations in the contexts of decolonization, the Cold War and the US Academy, we will consider the work of Fanon, Césaire, C.L.R. James, Said, Spivak, Young, Bhabha, Glissant, Khatibi and others.

The Novel-Essay and its Past: From Artsybashev's Sanin to Musil’s Man Without Qualities

Submitted by vickylim on
21705
31705
REES 29811, GRMN 22716/32716
  • Graduate/Undergraduate
  • Spring
  • 2015-2016
Olga Solovieva
Two important examples of the the “novel-essay” or “novel of ideas”, Mikhail Artsybashev’s Sanin and Robert Musil's Man Without Qualities will be discussed in the light of the theory of the novel and in comparison with the genre of philosophical essays.  We will also consider the role of the narrator in modernist fiction. 
 

Caribbean Fiction: Self-understanding and Exoticism

Submitted by Anonymous on
21801
31801
=FREN 23500/33500
  • Graduate/Undergraduate
  • Spring
  • 2009-2010
Daniel Desormeaux

The Caribbean is often described as enigmatic, uncommon and supernatural. While foreigners assume that the Caribbean is exotic, this course will explore this assumption from a Caribbean perspective. We will examine the links between Caribbean and Old World imagination, the relationship between exoticism and Caribbean notions of superstition, and the way in which the Caribbean fictional universe derives from a variety of cultural myths. The course will be taught in English and all required texts are in English and English translations from French. A weekly session in French will be held for majors and graduate students in French and Comparative Literature.

Zhuangzi: Literature, Philosophy, or Something Else

Submitted by vickylim on
21851
31851
FNDL 22306, EALC 31851
  • Graduate/Undergraduate
  • Winter
  • 2013-2014
Haun Saussy

The early Chinese book attributed to Master Zhuang seems to be a patchwork of fables, polemical discussions, arguments, examples, riddles, and lyrical utterances. Although it has been central to the development of both religious Daoism and Buddhism, the book is alien to both traditions. This course offers a careful reading of the work with some of its early commentaries. Requirement: classical Chinese. 

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.

The Manifesto, Revolution, and Modernity

Submitted by Anonymous on
22000
32000
=SLAV 21800/31800
  • Graduate/Undergraduate
  • Spring
  • 2006-2007
Radoslav Borislavov

As a genre the manifesto provides a unique opportunity for studying the political and aesthetic movements of modernity. It thrives on a culture of crisis by articulating demands, galvanizing public opinion, and dividing the body politic. This class will study the politics, poetics, and geography of the manifesto form between 1870 and 1930. Readings will include symbolist, futurist, dada, and surrealist manifestoes. Additional texts by Karl Marx, Walter Benjamin, Carl Schmitt, Leon Trotsky, Hugo Ball, Andre Breton, Kazimir Malevich, Wyndham Lewis, Sergei Eisenstein, Sergei Tretiakov. Films by Rene Clair, Eisenstein, Dziga Vertov, Luis Bunuel.

Nineteenth Century Literature of the Balkans

Submitted by Anonymous on
22101
32101
=SOSL 26600/36600
  • Graduate/Undergraduate
  • Spring
  • 2006-2007
Angelina Ilieva

In this course, we will look at the works of the major nineteenth century writers and poets from the Balkans. We will examine how their works grapple with the issues of national identity, with the emergence of their nations from the Austro-Hungarian and Ottoman Empires, and with their countries? place in the Balkans and in Europe. We will map our work on two major axes: syntagmatic difference-how each work develops its own rules of reading-and paradigmatic similarity-how working through the difference, one uncovers systematic correlations in the ways the texts go about structuring their universe. We will pay attention to the historical context and will investigate the main philosophical categories through which these works make sense of the world. It is the hope of the instructor that by the end of the course, these older foreign texts will no longer seem impenetrable and strange because we will have learnt to understand the power and beauty with which these texts speak.

Left-Wing Art and Soviet Film Culture of the 1920s

Submitted by Anonymous on
22200
32200
=ARTH 28100/38100, CMST 24701/34701, SLAV 26700/36700
  • Graduate/Undergraduate
  • Spring
  • 2008-2009
Yuri Tsivian

The course will consider Soviet montage cinema of the twenties in the context of coeval aesthetic projects in other arts. How did Eisenstein's theory and practice of intellectual cinema connect to Fernand Leger and Vladimir Tatlin? What did Meyerkhold's biomechanics mean for film makers? Among other figures and issues, we will address Dziga Vertov and Constructivism, German Expressionism and Aleksandr Dovzhenko, Formalist poetics and FEKS directors. The course will be film-intensive (up to three hours of out-of-class viewings per week).

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.

Magic Realist and Fantastic Writings from the Balkans

Submitted by Anonymous on
22201
32201
=ISHU 27405, SOSL 27400/37400
  • Graduate/Undergraduate
  • Spring
  • 2008-2009
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.

War and Peace

Submitted by vickylim on
22301
32301
RUSS 22302, RUSS 32302, HIST 23704, FNDL 27103, ENGL 28912, ENGL 32302
  • Graduate/Undergraduate
  • Spring
  • 2014-2015
William Nickell

A close reading of Tolstoy's great novel, with attention to theoretical approaches to be found in the large critical apparatus devoted to the novel.

War & Peace

Submitted by vickylim on
22301
32301
RUSS 22302 (=RUSS 32302, ENGL 28912, ENGL 32302, FNDL 27103, HIST 23704)
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
William Nickell

Close reading of Tolstoy’s novel, along with additional fiction and background material

Tolstoy's War and Peace

Submitted by Anonymous on
22301
32301
=RUSS 22302/32302,HIST 23704,FNDL 27103,ISHU 22304,ENGL 28912/ 32302
  • Graduate/Undergraduate
  • Autumn
  • 2009-2010
Lina Steiner

Written in the wake of the Crimean War (1856) and the emancipation of the serfs (1861), Tolstoy's War and Peace is Russia's most famous national narrative. Tolstoy set his tale during the Napoleonic wars, which coincided with Russia's national awakening. This period witnessed major social and political transformations in Russian society. Some of these epochal changes were still underway at the time when Tolstoy came of age and began to wok on his national epic. By reading War and Peace we not only learn a lot about Russian history and culture, but also witness the creation of a completely original organic work of art. It is a telling fact that Tolstoy called his work a novel-epic—a unique hybrid of several different genres deliberately designed as a riposte to the typical West European novel. This course will focus on War and Peace as a work of literature and a historical document. It is highly recommended for all students interested in Russian and European literature, history and political science, as well as to those majoring in Fundamentals. The course is open to all undergraduates and some graduate students (by instructor's consent). In addition to Tolstoy's War and Peace , we will read several contemporary poems, memoirs, selections from Machiavelli's Art of War, as well as several short essays by Russian and German philosophers including Herder, Humboldt and Chaadaev. All readings, discussion and papers will be in English.

Literatures of the Christian East: Late antiquity, Byzantium, and Medieval Russia

Submitted by vickylim on
22302
32302
CLAS 31113, CLCV 21113, SLAV 22302/32302, HCHR 34604, RLIT 34604
  • Graduate/Undergraduate
  • Spring
  • 2013-2014
Boris Maslov

After the fall of Rome in 476 CE, literatures of the Latin West and – predominantly Greek-speaking – Eastern provinces of the Roman empire followed two very different paths. Covering both religious and secular genres, we will survey some of the most interesting texts written in the Christian East in the period from 330 CE (foundation of Constantinople) to the late 17th c. (Westernization of Russia). Our focus throughout will be on continuities within particular styles and types of discourse (court entertainment, rhetoric, historiography, hagiography) and their functions within East Christian cultures. Readings will include Digenes Akritas and Song of Igor’s Campaign, as well as texts by Emperor Julian the Apostate, Gregory of Nazianzus, Emphraim the Syrian, Anna Comnena, Psellos, Ivan the Terrible, and Archbishop Avvakum. No prerequisites. All readings in English.

Prosody and Poetic Form: An Introduction to Comparative Metrics

Submitted by ldzoells on
22303
32303
CLCV 21313, CLAS 31313, SLAV 22303, SLAV 32303, GRMN 22314, GRMN 32314, ENGL 22310, ENGL 32303
  • Graduate/Undergraduate
  • Autumn
  • 2017-2018
Boris Maslov

This class offers (i) an overview of major European systems of versification, with particular attention to their historical development, and (ii) an introduction to the theory of meter. In addition to analyzing the formal properties of verse, we will inquire into their relevance for the articulation of poetic genres and, more broadly, the history of literary (and sub-literary) systems. There will be some emphasis on Graeco-Roman quantitative metrics, its afterlife, and the evolution of Germanic and Slavic syllabo-tonic verse. No prerequisites, but a working knowledge of one European language besides English is strongly recommended.

Prosody and Poetic Form: An Introduction to Comparative Metrics

Submitted by vickylim on
22303
32303
CLCV 21313, CLAS 31313, SLAV 22303/32303, GRMN 22314/32314
  • Graduate/Undergraduate
  • Winter
  • 2013-2014
Boris Maslov

This class offers (i) an overview of major European systems of versification, with particular attention to their historical development, and (ii) an introduction to the theory of meter. In addition to analyzing the formal properties of verse, we will inquire into their relevance for the articulation of poetic genres and, more broadly, the history of literary (and sub-literary) systems. There will be some emphasis on Graeco-Roman quantitative metrics, its afterlife, and the evolution of Germanic and Slavic syllabo-tonic verse. No prerequisites, but a working knowledge of one European language besides English is strongly recommended.

History of Intl Cinema-1

Submitted by isagor on
22400
32400
CMST 28500, ENGL 48700, ARTH 28500, ARTH 38500, CMST 48500, MAPH 33600, ENGL 29300, ARTV 20002
  • Graduate/Undergraduate
  • Autumn
  • 2017-2018
Lastra

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 film making. Equivalent Course(s): ARTH 28500,ARTH 38500,ARTV 26500,ARTV 36500,CMLT 22400,CMLT 32400,CMST 48500,ENGL 29300,ENGL 48700,MAPH 36000

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
  • 2011-2012
J 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.

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.

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