Spring

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.

The idea of Europe as a shared cultural space, in which different national cultures and literatures can engage in a dialogue, emerges in the second half of the nineteenth century in the works of the Western-European authors and several outsiders who include Gogol, Turgenev, and Henry James. This course examines the connections between the development of realist fiction and the formation of the transnational cultural conception of Europe as a realist-age successor of Goethe's conception of Weltliteratur. Our texts include fictional works, essays, and criticism by Goethe, Mme. de Stael Gogol, Tolstoy, Dostoevsky, Turgenev, and Henry James. Texts in English and the original; discussion and papers in English.

This graduate seminar introduces students to problems in cross-cultural comparative reading through the example of the Silk Road. We will explore ways of reading classic literary texts associated with the Silk Road (e.g. the Greek Alexander Romance , the epic Chinese novel The Journey to the West ), particularly in their relation to multiple literary or aesthetic traditions. We will also address the modern conception of the ancient Silk Road, both as a cosmopolitan ideal spanning East and West and in its relation to the nineteenth century politics of Central Asia, through historical and theoretical debates on world systems, world literature, philology, and translation. Other primary readings will draw from Sima Qian, Herodotus, Marco Polo, Jamyang Norbu. Knowledge of classical Chinese or Greek is recommended but not required.

PQ: Third- or fourth-year standing and consent of instructor. This course is a study of Stendhal's The Charterhouse of Parma, Flaubert's Madame Bovary, and Fontane's Effi Briest that emphasizes the search for self-identity and the erratic pursuit of happiness. Classes conducted in English. Students who are majoring or minoring in French read the French texts in the original and participate in a weekly French discussion group.

Though aesthetic philosophy first developed as an autonomous field in the mid-eighteenth century, it has important roots in earlier eighteenth- and seventeenth-century debates concerning literature and the arts. In the wake of Cartesian rationalism, could reasoned method be reconciled with non-rational creativity, or decorous order with the unruly sublime? Just what kind of truth was revealed by poetry or painting? Readings will include Boileau, Racine, Bouhours, Perrault, Du Bos, Montesquieu, Voltaire and Diderot, as well as the French reception of British writings on the subject by Pope and Addison.

We confront Virgil's Aeneid in translation as a poem, as an artifact and representation of Greco-Roman culture, as a response to a millennial oral (Homeric) poetic tradition and a particular historical (Augustan) moment, as a reflection of ancient thought rich with significance for contemporary questions about human life, and as a central piece of world literature. Readings include comparative study of English poetic translations ranging from early modernity (Caxton, Douglas, Phayer, Surrey, and Dryden) to the twentieth century (Taylor, Lewis, Jackson Knight, Mandelbaum, and Fitzgerald) and beyond (Lombardo and Fagles). Students who are majoring in Comparative Literature compare versions of a book of the Aeneid in at least two languages.