Spring

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).

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.

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.

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.

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.

Working knowledge of one European language besides English is strongly recommended. This class offers an overview of major European systems of versification, with particular attention to their historical development. We are particularly concerned with Graeco-Roman quantitative metrics, its afterlife, and the evolution of Germanic and Slavic verse. In addition to analyzing the formal properties of verse, we inquire into their relevance for the articulation of poetic genres and, more broadly, the history of literary (and sub-literary) systems.

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.

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.

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.

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.