Winter

PQ: Prior college-level course in either African studies or film studies. This course examines cinema in Africa and films produced in Africa. It places cinema in SubSaharan Africa in its social, cultural, and aesthetic contexts ranging from neocolonial to postcolonial, Western to Southern Africa, documentary to fiction, and art cinema to TV. We begin with La Noire de... (1966), a groundbreaking film by the father of African cinema, Ousmane Sembene. We compare this film to a South African film, The Magic Garden (1960), that more closely resembles African American musical film. Other films discussed in the first part of the course include anti-colonial and anti-apartheid films from Lionel Rogosin's Come Back Africa (1959) to Sarah Maldoror's Sambizanga , Ousmane Sembene's Camp de Thiaroye (1984), and Jean Marie Teno's Afrique , Je te Plumerai (1995). We then examine cinematic representations of tensions between urban and rural, traditional and modern life, and the different implications of these tensions for men and women, Western and Southern Africa, in fiction, documentary and ethnographic film.

A study of classical epic in the Renaissance or Early Modern period. Emphasis will be both on texts and on classical epic theory. We will read Tasso's Jerusalem Delivered , Camões' Lusiads , and Milton's Paradise Lost . A paper will be required and perhaps an examination.

Drawing on the European, Russian and North American writings from the end of the eighteenth to the middle of twentieth centuries, this graduate seminar will examine the emergence of the modern conception of identity and its literary representation through the genre of fictionalized autobiography. We will explore the influences of social mobility, political exile or immigration, and democratic education on the transformation of personal identity in the works by Jean-Jacques Rousseau, Stendhal, Alexander Herzen, Vladimir Nabokov, W.E.B. Du Bois and Ralph Ellison. The readings will also include philosophical works by John Locke, Rousseau, Benjamin Constant, Alexis de Tocqueville, Charles Taylor and Jean-Luc Nancy, which will help us understand the relationship between identity and subjectivity and account for the growing intellectual prestige of identity in the contemporary democratic public sphere. All readings will be available in English. Those who know French and Russian are encouraged to read all works in their original languages. The course is open to advanced undergraduates only by the instructor's permission.

This course is a successor course to the seiminar on Cavell's The Claim of Reason offered in Fall Quarter 2011-2012 by Prof. James Conant (Philosophy). Students may participate in this seminar, however, without having taken the Fall seminar. The aim of this seminar is to delineate and assess Cavell's contributions to literary studies. In particular, we shall consider: 1) Cavell's theory of interpretation and criticism (mainly in terms of the essays in Must We Mean What We Say); 2) his theory of genre (Pursuits of Happiness; Contesting Tears); his theory of tragedy (essay on King Lear in Must We Mean What We Say) and, more generally, his reading of Shakespeare (Disowining Knowledge); his interpretation of Romanticism, esp. of Emerson and Thoreau.

Many key readings will be in French. This seminar will bring two disciplinary lenses to bear on the problem of allegory before modernity: literary history and art history. We will consider a range of visual and textual practices in order to explore the limits, even failures, of certain disciplinary accounts of allegory and allegoresis. Our focus will be on visual and textual evidence before modernity, but the questions and problems examined in the seminar will bear on allegory and allegoresis more broadly. By attending to the specific modes of analysis and insights developed within each discipline, the seminar will permit us to develop a more critical and productive understanding of how different disciplinary habits of thought have shaped our perception of allegory and allegoresis as practices. Seminar meetings will put into dialogue visual and textual historical works, as well as landmark critical accounts of allegory and allegoresis. PQ: Many key readings will be in French.

Required of fourth-year students who are majoring in CMLT. 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.

PQ: Consent of instructor and Director of Undergraduate Studies. Students are required to submit the College Reading and Research Course Form. Must be taken for a quality grade. This course does not satisfy distribution requirements for students who are majoring in CMLT unless an exception is made by the Director of Undergraduate Studies.

PQ: For Spanish credit SPAN 21700. The course will provide a close reading of Cervantes' Don Quixote and discuss its links with Renaissance art and Early Modern narrative genres. On the one hand, Don Quixote can be viewed in terms of prose fiction, from the ancient Greek romances to the medieval books of knights errant and the Renaissance pastoral novels. On the other hand, Don Quixote exhibits a desire for Italy through the utilization of Renaissance art. Beneath the dusty roads of La Mancha and within Don Quixote's chivalric fantasies, the careful reader will come to appreciate glimpses of images with Italian designs. The course will be taught in English. The course format would be alternating lectures by two faculty members on Mondays and Wednesdays. Fridays are devoted to the discussion of the materials presented on MW.

This course begins by defining the nation both historically and conceptually, with attention to Romantic nationalism and its flourishing in Southeastern Europe. We then look at the narrative of original wholeness, loss, and redemption through which Balkan countries retell their Ottoman past. With the help of Freud's analysis of masochistic desire and Å_iÅ_ek's theory of the subject as constituted by trauma, we contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity. The figure of the Janissary highlights the significance of the other in the definition of the self. Some possible texts are Petar NjegoÅ¡'s Mountain Wreath ; Ismail Kadare's The Castle ; and Anton Donchev's Time of Parting .

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”.