This course is a study of the Early Modern vision of human passions, as reflected in literature. We read plays by Shakespeare, Corneille and Racine, narratives by Cervantes, d’Urfé, Saint-Réal, and Mme de La Fayette and maxims by La Rochefoucauld and Pascal. The course is in French and most required texts are in French. Undergrads must be in their third or fourth year.
The early Chinese book attributed to Master Zhuang seems to be a patchwork of fables, polemical discussions, arguments, examples, riddles, and lyrical utterances. Although it has been central to the development of both religious Daoism and Buddhism, the book is alien to both traditions. This course offers a careful reading of the work with some of its early commentaries. Requirement: classical Chinese.
Whereas Freud believed with the Enlightenment that science would increasingly demonstrate religion to be an illusion, Lacan saw religion as that which would save us from the increasingly loud discourse of science. From Lacan’s early (Freudian) notion of the Nom-du-Père, to his later conflation of Freud and Christ (as rescuing the father), and finally to his Barromean knots and the sinthome, Lacan considers religion a “garbage can, for it has not the slightest homogeneity.” This course, then, will consider Lacan’s concept of religion. We will begin with readings from Freud’s texts on religion: “Obsessive Actions and Religious Practices,” “The Future of an Illusion,” “Totem and Taboo,” “Civilization and its Discontents,” “Moses and Monotheism.” We will then read the texts on religion from Lacan, considering how his views change on the subject, and what the stakes are in his efforts to separate psychoanalysis from science and religion.Requirements: reading knowledge of French, basic familiarity with Lacan.
This is the first part of a two-quarter seminar devoted to Goethe’s Faust tragedy, with each segment devoted to one of the work’s two parts. Since three substantial new editions (plus commentary) have been published within the past two decades, scholarship now finds itself in an excellent position to develop theoretically informed readings of what is arguably the most significant work in the German canon. The main task of the first-quarter seminar will be to examine Faust I. However, we will also consider the Faust tradition, including the 1587 Volksbuch (so-called), Lessing’s Faust fragment, and some other contemporary and subsequent renditions of Faust. This segment will also provide an opportunity to survey Goethe’s poetic and intellectual development from 1770 to 1808, when Faust I was first published in its complete form. Of particular interest in our investigation of Faust I will be: a) the theological background; b) structural principles; c) linguistic figuration. Prominent interpretations of the play by Goethe’s contemporaries (e.g., Schelling, Hegel) will be considered. We shall also examine two sequences of Faust illustrations by Peter Cornelius and Eugène Delacroix as well as two performances of the drama (from dvd). This seminar may be taken alone, or in combination with the seminar on Faust II. Students taking both seminars are encouraged to write a single substantial research paper.
Consent of instructor. Fulfills the core course requirement for CompLit students. Students who wish to take this course but have already taken a Comparative Literature core course may take this course with permission of the instructor. For other humanities PhDs: ACTIVE working knowledge of at least one of the following: French, German, (classical) Greek or Spanish. This PhD seminar examines the ramifications of catharsis and other responses to texts and images, in other words it investigates the relationship between effect and affect. Beginning with Aristotle and present day responses to catharsis, we will investigate the kinds of aesthetic response invoked by tragic drama and theory (esp Hegel), realism (Lukacs, Bazin and Brecht), as well as theories of pleasure (Barthes, Derrida), judgment (Kant, Bourdieu) and boredom (Spacks). We will conclude with a test case, exploring the potential and limitations of catharsis as an appropriate response to the literary and cinematic representation of trauma in and after the Argentine 'dirty war.' An essential part of the discussion will be the problem of translating key terms, not only from one language to another but also from one theoretical discourse and/or medium to another.
We will survey the selected poetry of major Russian modernists from 1900 to 1935, including lyrical and narrative genres. Poets covered include: Aleksandr Blok, Andrei Belyi, Viacheslav Ivanov, Nikolai Gumilev, Osip Mandel’shtam, Anna Akhmatova, Velimir Khlebnikov, Vladimir Mayakovsky, Marina Tsvetaeva, Boris Pasternak. In addition to tracing the development of poetic doctrines (from symbolism through acmeism and futurism), we will investigate the close correlations between formal innovation and the changing semantics of Russian poetry. Attention will also be paid to contemporary developments in Western European poetry. Knowledge of Russian required.
Brecht is indisputably the most influential playwright in the twentieth century. In this course we will explore the range and variety of Brecht’s own theatre, from the anarchic plays of the 1920’s to the agitprop Lehrstück to the classical parable plays, as well as the works of his heirs in Germany (Heiner Müller, Franz Xaver Kroetz, Peter Weiss), Britain (John Arden, Edward Bond, Caryl Churchill), and sub-Saharan Africa (Soyinka, Ngugi, and various South African theatre practitioners). We will also consider the impact of Brechtian theory on film, from Brecht’s own Kuhle Wampe to Jean-Luc Godard. Undergrad; no first years: PQ Hum and either a theatre or a film course.
This seminar will focus on major works by the Russian philosopher, philologist and literary theorist Mikhail Bakhtin (1895-1975), including his early philosophical work Author and Hero in Aesthetic Activity, his essays on Speech genres and the Bildungsroman, as well as his books Rabelais and His World and Problems of Dostoevsky's Poetics. We will also read contemporary scholarly studies devoted to Bakhtin and his circle (Clark&Holquist, Morson&Emerson, Tihanov etc.) In the last two weeks of the seminar we will turn to Yurii Lotman, examining his works on semiotics of culture as an original approach to literary theory and semiotics as well as a response to Bakhtin.The course is open to advanced undergraduates and graduate students. All texts are in English. Discussion and final papers are in English. There are no prerequisites for this course.
This class offers (i) an overview of major European systems of versification, with particular attention to their historical development, and (ii) an introduction to the theory of meter. In addition to analyzing the formal properties of verse, we will inquire into their relevance for the articulation of poetic genres and, more broadly, the history of literary (and sub-literary) systems. There will be some emphasis on Graeco-Roman quantitative metrics, its afterlife, and the evolution of Germanic and Slavic syllabo-tonic verse. No prerequisites, but a working knowledge of one European language besides English is strongly recommended.
This interdisciplinary graduate course focuses on ten films of Akira Kurosawa which were based on literary sources, raging from Ryunosuke Akutagawa, Georges Simenon, and Shakespeare to Dostoevsky, Tolstoy, Gorky, and Arseniev. The course will not only introduce to some theoretical and intermedial problems of adaptation of literature to film but also address cultural and political implications of Kurosawa’s adaptation of classic and foreign sources. We will study how Kurosawa’s turn to literary adaptation provided a vehicle for circumventing social taboos of his time and offered a screen for addressing politically sensitive and sometimes censored topics of Japan’s militarist past, war crimes, defeat in the Second World War, and ideological conflicts of reconstruction. The course will combine film analysis with close reading of relevant literary sources, contextualized by current work of political, economic, and cultural historians of postwar Japan. The course is meant to provide a hands-on training in the interdisciplinary methodology of Comparative Literature. Undergraduate students can be admitted only with the permission of the instructor. Prerequisites: Intro to Film or Close Analysis of Film class. Course limited to 10 participants.Syllabus available here.
