Spring

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.

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.

This course meets the critical/intellectual methods course requirement for students who are majoring in Comparative Literature. The Silk Road is a modern idealization of a pre-modern crossing of peoples, ideas, and cultural traditions across a Eurasian continent. The array of texts that falls under this rubric has historically grown from a few ancient Greek and Chinese narratives to embrace any number of works that exemplify or narrate cross-cultural encounters between a notional East and West. This course introduces students to some basic problems in cross-cultural comparative reading through the example of the Silk Road. We will look closely at a selection of Silk Road fictions and their relation to multiple literary or aesthetic traditions, and consider the ways in which writers have used, translated, and even forged ancient manuscripts in constructing cross-cultural history. We will also consider theories of world literature, cosmopolitanism, and bilingual and bicultural texts. Primary readings will include The Monkey and Monk (from the 16th century epic Chinese novel The Journey to the West ), the Greek Alexander Romance , Jamyang Norbu's The Mandala of Sherlock Holmes , and David Henry Hwang's M. Butterfly . Knowledge of classical Greek or Chinese is helpful but not required.

This course explores the curious proximity between literature and the discourse on madness in the modern era. Discussion topics include definitions of insanity and their evolution across time, insane or deviant characters and their function in drama and fiction, the topos of the poet as madman, and the poetics of madness. Authors discussed may include Cervantes, Shakespeare, Goethe, Tieck, Hoffmann, Bchner, Poe, Gogol, James, Hauptmann, Dblin, Pirandello, Schnitzler, Kant, Pinel, Reil, Lombroso, Schreber, and Freud.

This course seeks to trace the narrative dynamics and literary means of Post-Holocaust Hebrew Literature. The course focuses on works that break with the conventions of realism, and study the specific forms and means by which each work does so. In the center of the discussion will stand questions such as: what are the constraints of the literary discourse on the Holocaust, what is the role of anti-realist depiction of the Holocaust, and in what ways the fantastic threatens the collective memory. We will read works by writers such as: S.Y Agnon, Aharon Appelfeld, David Grossman, Itamar Levi, Yoel Hoffmann and Michal Govrin. Classes will be conducted in English, but students with knowledge of Hebrew are encouraged to read texts in the original.

This course enquires into the work of power that is done by the portrait of the powerful. We will interrogate the portraiture of the President of the United States (and of those who would be President) not simply for its systems of meaning, its legibility, nor only in the spirit of diagnostic criticism, but most crucially for the portraiture's efficacy. This last is the most treacherous question of all for image studies, and it is the one we will articulate and pursue: What is it that portraits, in and of themselves, are able to do? What is the power of the portrait of the President? We will thus consider what we mean by power and by representation, and how the portrait tradition effects both. Louis Marin's The Portrait of the King will offer us a bundle of rich theoretical premises and analytical models. Other readings will include portrait theory, literature on US presidential portraiture, and a minor critical tradition linking the portrait of the monarchic bust to the portrait of the political ruler (Foucault on coins and caricatures; Barthes on election posters; Fresnault-Deruelle on French presidential portraiture). We will focus on four contemporary genres of representation of the President and of the presidential: money; election posters; official presidential portraits; and television talking heads. All students will be enrolled in the two hour Monday class, in addition to which they will choose between one of two meeting times on Wednesdays. Students wishing to read in English only will need to attend the 9:30-10:30 session on Wednesdays. Students who are literate in French and who wish to take the course with a French language component will need to attend the 10:30-11:30 session on Wednesdays, where they will read the key set text in the French original (Louis Marin's Le Portrait du roi), along with a selection of other set texts in French (e.g. Barthes, Foucault). The choice of session on Wednesdays is workload neutral.

This course meets the critical/intellectual methods course requirement for students who are majoring in Comparative Literature. This course critically examines European fascination with non-Western peoples, their bodies and sexual practices from the late Renaissance to the 20th century. Along with select incursions into visual art and film, the class will focus on English and French literature that imagines cross-cultural contact in its most shocking form: interracial sexuality. We will try to assess the political questions - race fetishism, the ethics of desire, economic exploitation, to name but a few - these representations provoke. In addition to this literary output, we will examine European proto-anthropology that detailed the sexual aberrations of subaltern peoples. We will consider the role both types of discourses had in stimulating interest in imperial exploration and how the logic of territorial capture dovetailed with the masculinist metaphor of sexual conquest. We will take recent contributions by postcolonial, feminist, queer and Marxist critics as a starting point for discussion and for formulating our own views on this problematic. All works will be available in English, but students with a reading knowledge of French will be encouraged to read French works in the original. Literature to be read includes works by Shakespeare, Behn, Diderot, Byron, C. Bront, Haggard, Gide and Forster.

This course traces the history of Latina/o intellectual work that helped shape contemporary Latina/o cultural studies. Our focus is on how Chicanas/os and Puerto Ricans have theorized the history, society, and culture of Latinas/os in the United States. Themes include folklore and anthropology, cultural nationalism, postcolonialism, literary and cultural studies, community activism, feminism, sexuality, and the emergence of a pan-Latino culture. Throughout, we pay attention to the convergences and divergences of Chicana/o and Puerto Rican studies, especially as contemporary practitioners have encouraged us to (re)think Latina/o studies in a comparative framework.

Taste has long been a concern of public policy. This course examines the history of efforts to define, monitor, control, and shape public tastes. Among the questions to be considered are: what constitutes a taste? What do tastes consist of? How can tastes be measured? What is hip, and how does fashion or faddishness affect tastes? What is the difference between good taste, distastefulness, and bad taste? How do these distinctions manifest themselves, and what ideological work do they do? What norms, principles, and interests underlie the distinction between good and bad taste, high-brow/middle-brow/lowbrow, the excellent and the merely popular? What tools are available for shaping tastes? We will discuss a few classic discussions of taste (Hume, Veblen, Adorno); more recent work on the subject by cultural critics, sociologists, and economists (Pierre Bourdieu, Michel Foucault, Raymond Williams, Paul Dimaggio, Pierre Bourdieu, Richard Peterson, Gary Becker); and recent policy research and governmental initiatives designed to affect public tastes. We will also be looking at some cases where works of literature, art, dance, film, and antiquities-collecting generated conflicts about taste.

PQ: Reading knowledge of German. This course is a study in poetic idealization. Ancient Greece is unlike most other literary cultures: it stands for the actual historical realization of the highest artistic and broadly cultural values. No poet is so audacious as to suggest that Greece was somehow not quite good enough. Hölderlin and Pound, a century apart, imitated and translated Greek poetry. What did they see in that ancient poetry that fulfilled their own desires for the poems of their own times? Was Hölderlin's Sophocles the poet Pound translated into the 20th century? Why did Hölderlin admire and Pound despise the praise poems of Pindar? These are some of the questions we will engage in our reading of these poets. The course will be organized as a seminar. Each student will give one oral report and write one long essay.