Winter

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.

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.

This course is first of all a close reading of Marsilio Ficino's seminal book On Love (first Latin edition, De amore , 1484; Ficino's own Italian translation, 1544). Ficino's philosophical masterpiece is the foundation of the Renaissance view of love from a Neo-Platonic perspective. It is impossible to overemphasize its influence on European culture. On Love is not just a radically new interpretation of Plato's Symposium . It is the book through which sixteenth- and seventeenth-century Europe read the love experience. This course analyzes its multiple classical sources and its spiritual connotations. During our close reading of Ficino's text, we show how European writers and philosophers appropriated specific parts of this Renaissance masterpiece. In particular, we read extensive excerpts from some important love treatises (e.g., Castiglione's The Courtier [Il cortigiano] , Leone Ebreo's Dialogues on Love , Tullia d'Aragona's On the Infinity of Love ), but we also read selections from a variety of European poets (e.g., Michelangelo's canzoniere , Maurice Scève's Délie , Fray Luis de León's Poesía ). Classes conducted in English.

We will read some of Foucault's most important essays and lectures, from all periods of his work, in an attempt to assess the originality and continued significance of his thought in the context of twentieth century European philosophy. We will also look at the work of other philosophers who influenced or were influenced by Foucault, for example: Georges Canguilhem, Gilles Deleuze, Paul Veyne, Pierre Hadot, Ian Hacking, etc. A final section of the course will consider how we can make use of Foucault today, with respect to questions of epistemology, politics, and ethics.

This seminar examines a set of imaginative and economic writings about money, drawn from western and non-western traditions. Topics will include the market and aesthetic values, counterfeiting and realism, coinage and ideology, and the historical emergence of economic genres. Readings will include Aristotle, Smith, Marx, Kurke, Poovey, Goux, Derrida, Sima Qian, Guanzi, Arrighi.

This introductory course examines the poetics of femininity and masculinity in some of the best works of the Balkan region. We contemplate how the experiences of masculinity and femininity are constituted and the issues of socialization related to these modes of being. Topics include the traditional family model, the challenges of modernization and urbanization, the socialist paradigm, and the postsocialist changes. Finally, we consider the relation between gender and nation, especially in the context of the dissolution of Yugoslavia. All work in English.

This course is an overview of Balkan folklore from ethnographic, anthropological, historical/political, and performative perspectives. We become acquainted with folk tales, lyric and epic songs, music, and dance. The work of Milman Parry and Albert Lord, who developed their theory of oral composition through work among epic singers in the Balkans, help us understand folk tradition as a dynamic process. We also consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. We also experience this living tradition first hand through our visit to the classes and rehearsals of the Chicago-based ensemble Balkanske igre.

This course covers the classics in the field of marxist social theory (Marx, Engels, Lenin, Gramsci, Reich, Lukacs, Fanon) as well as key figures in the development of Marxist aesthetics (Adorno, Benjamin, Brecht, Marcuse, Williams) and recent developments in Marxist critiques of new media, post-colonial theory and other contemporary topics. It is suitable for graduate students in literature departments, art history and possibly history. It is not suitable for students in the social sciences.

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.

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.