Spring

Engaging themes of agency and freedom, criminality and guilt, self-knowledge and identity, reason and truth, consciousness and the unseen, the story of Oedipus is among the most reworked and reimagined in world literature. This course explores a wide range of versions of the story across a variety of artistic forms. In the first half of the course, as well as reading both of Sophocles’ plays about Oedipus, we will explore the traces of the story as folktale and legend both before and after Sophocles. The second half of the course will be devoted to modern adaptations of the story. These will include dramatic versions from mid-twentieth-century Egypt; the Italian film director Pier Paolo Pasolini’s autobiographical Edipo Re (1967), inflected with Freudian and Marxist themes; Philip Roth’s bestselling novel The Human Stain (2000); and the contemporary Chicano playwright Luis Alfaro’s Oedipus El Rey (2017), set between a California state prison and South Central Los Angeles. Students will be introduced to theories of adaptation and reception, and will have a creative option for the final assignment.

This workshop begins in Autumn Quarter and continues through the middle of Spring Quarter. While the BA workshop meets in all three quarters, it counts as a one-quarter course credit. Students may register for the course in any of the three quarters of their fourth year. A grade for the course is assigned in the Spring Quarter, based partly on participation in the workshop and partly on the quality of the BA paper. Attendance at each class section required.

A study of gangsta rap in from its American origins to its international manifestations. The aim is to graph gangsta rap’s aesthetic conception through a discussion of core “canonical” albums in the history of gangsta rap. Most weeks, album-texts will be paired with essays and book chapters as a way to engage with but ultimately critique Western White Supremacist Hetero-Normative Patriarchal Logo-centrism. To mark our engagement, we ask about the impact of gangsta rap in how we conceptualize other forms of art-making. The working thesis of the course is that gangsta rap is, ironically, the apex of Western culture. Readings in English. I will provide digital copies of the texts/films. All albums can be found on YouTube.

This course examines the literature, aesthetics, and theory of global anarchist movements, from nineteenth-century Russian anarcho-syndicalism to Kurdish stateless democratic movements of today. We will also study the literature of “proto-anarchist” writers, such as William Blake, and stateless movements with anarchist resonances, such as Maroon communities in the Caribbean. Authors will include Ursula Le Guin, Kaneko Fumiko, John Keene, Kafka, and Dario Fo. Theorists and historians will include Macarena Gomez-Barris, Dilar Dirik, Nina Gurianova, Paul Avrich, Luisa Capetillo, Emma Goldman, and J. Kehaulani Kauanui. Particular attention will be given to decolonial thought, religious anarchism, fugitivity and migration, and gender and race in anarchist literature.

This course investigates the individual experience of immigration: How do immigrants recreate themselves in this alien world in which they seem to lose part of themselves? How do they find their voices and make a place for themselves in their adoptive homes? If in the new world the immigrant becomes a new person, what meanings are still carried in traditional values and culture? How do they remember their origins and record new experiences?

In October 2022, two Just Stop Oil activists were arrested after throwing tomato soup on Vincent van Gogh's “Sunflowers” painting. Their environmentally-motivated protest raises the question: did their action degrade the famous painting, or, on the contrary, did they revitalize the artwork's relevance in a world where "Sunflowers" has become a cliché image, adorning the walls of corporate offices and printed on mass-produced T-shirts? In other words, did the activists make "good" use of art? In this seminar, we will study and debate different positions regarding the uses and misuses of aesthetic experience, particularly art, while also taking seriously the possibility that, as Oscar Wilde wrote, “all art is quite useless.” We will consider questions such as: What constitutes good art? Should art be political? Beautiful? Useful? Can the experience of an artwork redefine our understanding of these very concepts? Does art change us, and if so, how? We will explore these themes through a variety of philosophical and literary texts, works of art, and creative assignments designed to expand and enrich our discussions. Theoretical readings include Aristotle, Longinus, Kant, Schiller, Nietzsche, Artaud, Huizinga, Arendt, Nussbaum, and others.

As a region colonized by various European imperial forces, the Caribbean has long been marked by histories of brutality, resistance, and revolution. What are the stakes of remembering, narrating, and/or fictionalizing these moments of violence? This course, supplemented by historical and theoretical texts, takes a close look at a selection of Caribbean literary works in order to illuminate the complex interaction between violent histories and cultural production. How do Caribbean writers represent historical epochs of terror and torture? What has been the function of violence in literary and cultural history? How do we ethically approach narratives of violence? Is it even possible? Thinking alongside these questions, students will craft close readings, argumentative stances, and personal reflections on the works read in class. These exercises will prepare students for the course’s final research project. Some of the authors we’ll read include Alejo Carpentier, Edwidge Danticat, Rita Indiana, and Jamaica Kincaid, which will help broaden our understanding of literary history across the varied Caribbean region. Materials will be available in their English translation and in their original languages. Course taught in English.

Money is everywhere: in people’s pockets and minds, behind their actions and beyond their dreams. And yet, what money is, how it works or organizes a society are questions that appear to elude us. For some, money is merely a tool used to carry out forms of exchange ingrained in human nature; for others, it is the most fundamental form of cultural mediation affecting from the manner we relate to each other to the way we think. This class aims to understand the functions, uses and representations of this peculiar object from a variety of perspectives. We will read short stories, ethnologies, philosophical texts, or analyze paintings and movies to try to understand money in its different milieux and as the complex institution it is. Other questions addressed in this course are the relation between money and value, the link between commoditization and ethics, or the different substances that historically have functioned as monetary tokens. Materials for this course will include a variety of sources from Marx and Smith to Marco Polo and Shakespeare among many others.

The poet and novelist Ulla Hahn (b. 1945) ranks among Germany’s best-known living writers. Yet, her work remains largely untranslated and thus little known outside the German-speaking world. In this course, we will read her 2001 novel Das verborgene Wort (The Hidden Word) in the original German. The book is the first of an autobiographical tetralogy and beautifully illustrates issues of gender, class, post-war trauma and Germany’s so-called Wirtschaftswunder (“economic rise”) following World War II. We will read the entire novel slowly and carefully, paying particular attention to the nuances of Hahn’s poetic prose style. Since the novel contains sentences in the Cologne dialect (Kölsch), the instructor will provide explanations and an introduction to the regional culture. Based on the novel, we will also discuss the larger historical and cultural context of Germany post-WW II.

The course is open to both undergraduate and graduate students and class discussion will be in English, but advanced reading knowledge in German is required. The course will be useful to students who wish to expand their German-language skills and learn about West Germany in the 2nd half of the 20th century.

When somebody tells us about the nature of God or the gods, about what such beings want from us, about our experiences before this life or our destinies after it—why should we believe them? With equal and opposite force, why shouldn’t we believe them? Are the standards of acceptable belief entirely independent of what we’re told by religious authorities, or is it impossible to arrive at any such standards without presuming something we’ve been told? When confronted with diverse claims about the divine, should we try to ascertain which ones are true, should we combine or harmonize them in some way, or should we dismiss the entire conversation as wrongheaded? In this course, we’ll think through these questions with the help of influential texts drawn from the Buddhist, Hindu, Platonic, and classical Chinese traditions.