Winter

Founded on ideals of universalism, pluralism and secularism, France and the United States are fraught with contradictions when it comes to race and religion. Which religions are accepted? Which religions are suspect? Is it minority that defines the difference-or only particular kinds of minority, such as race? To untangle the intersections of race and religion, we will examine Blackness and Jewishness as they are represented in political polemic, fiction, memoir and philosophy from the 1960s to the present. This course introduces students to the foundational concepts for the critical study of race and religion through exploring the constructions of Black and Jewish identity. We will examine the contradictions of secular politics and culture in France and the United States, and discuss how religion, race, and intersecting categories such as gender and sexuality, can become tools of critique. Readings include works by thinkers such as Césaire, Fanon, Memmi, Levinas and Foucault, along with literary classics by Nella Larsen and Sarah Kofman, and contemporary critical essays by Judith Butler, Christina Sharpe and Talal Asad. Throughout this course, we will examine how the concepts of race and religion are key components of the political, philosophical and ethical projects of these authors. No prerequisite knowledge of critical theory, or this historical period, is expected.

The self who writes their life is a remarkably protean form of religious narrative. Autobiographical texts aim to be representative and at the same time are almost always idiosyncratic: they want to instruct, and they must disclose to do so. The course begins by considering two outstanding examples of the genre, Augustine's Confessions (ca. 400 C.E.) and Malcolm X's Autobiography (1965), before proceeding to examine a range of autobiographical narratives whose relation to religion is somewhat less paradigmatic. Our reading of these texts will be structured around four of the genre's major themes: conversion, confession, memory, and identity. Possible authors to be considered include Mahmoud Darwish, Frederick Douglass, and Maggie Nelson, among many others. For the writing component of the course, students will have the option of producing either 1) a series of short, analytic papers on a selected autobiography concerning each of the course themes, or 2) of composing one chapter of their own autobiography.

In this course, we will problematize notions of conflict by exploring the ways in which Israeli and Palestinian identities are constructed and negotiated in literature and film. Specifically, we will investigate how national imaginaries are fashioned, how loss is narrated, and how linguistic and political boundaries between these two communities are demarcated and challenged. Engaging with an array of literary and cinematic depictions throughout the quarter, our aim is to go beyond stereotypes, dualistic, and black-and-white portrayals, in order to understand the rich landscape of voices that animate Palestinian and Israeli experiences and representations. Our class will begin with the 1948 Arab-Israeli War and the loss of Palestinian village life in contemporary Israel. We will then move thematically to illuminate important historical markers and issues in Palestine and Israel up until the early 2000s. By the end of the quarter, students will be able to develop their own complex evaluations of Israeli and Palestinian narratives-and recognize how comparisons through artistic expression can be a powerful tool for honoring a multiplicity of stories. Through critically and thoughtfully analyzing a variety of literature and films, we will develop a nuanced understanding of a region that has customarily been defined through binaries and by discord.

This course is a comprehensive introduction to Machiavelli's The Prince in light of his vast and varied literary corpus and European reception. The course includes discussion of Machiavelli as playwright ("The Mandrake"), fiction writer ("Belfagor," "The Golden Ass"), and historian ("Discourses," "Florentine Histories"). We will also closely investigate the emergence of myths surrounding Machiavelli (Machiavellism and anti-Machiavellism) in Italy (Guicciardini, Botero, Boccalini), France (Bodin and Gentillet), Spain (Ribadeneyra), and Northern Europe (Hobbes, Grotius, Spinoza) during the Counter Reformation and beyond.

The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

How does it feel to leave a world behind? Are we already trained in this experience as readers of fictions, who leave worlds behind whenever we put down a book? Can this experience of imperfectly moving on from one world to another, whether the real world or that of another fiction, teach us anything about ourselves as human beings navigating the epochal shifts of climate change and late-stage capitalism? What narrative strategies emphasize the affective and embodied dimensions of entering and exiting from their fictional worlds? We will start answering these questions by reading J. G. Ballard’s The Drowned World, Giorgio Bassani’s The Garden of the Finzi-Contini, and Anna Tsing’s The Mushroom at the End of the World. Other course texts will be determined by student interests. Secondary and theoretical material will be drawn from a range of writers including Georges Didi-Huberman, Pier Paolo Pasolini, Lauren Berlant, Eve Kosofsky Sedgwick, Mark Fisher, Kenneth Burke, Edward Said, Ursula Heise, Amitav Ghosh, and Ursula K. Le Guin. This is a theory-oriented course that does not require previous knowledge. Students will have the option of producing a creative final project instead of a paper. 

Whether fighting incredible monsters or baking bread, mythological texts invite us to consider the value of labor in unique ways. By reading across a number of premodern traditions (including Greek, Roman, Near Eastern, Scandinavian, Iranian, South African, Indian), this course looks at differences between heroic labor and manual or domestic labor, labors usually expected of men and of women, labors with religious value versus labors with material consequences, as well as the role of affective labor in the ancient world. As we learn about labor in the past through these texts, the readings will allow us to raise new questions about labor today in the world of global capitalism. Examples of primary texts we will cover are portions of the Homeric epics, Hesiod’s Works and Days, Virgil’s Aeneid, Ovid’s Metamorphoses, Livy’s History of Rome, the Norse Edda and “Prose Edda,” Xhosa narratives, the Near Eastern Gilgamesh and Enuma Elish, chapters from the Vendidad, and some Vedic hymns. The course readings will be given in translation, and no prior language knowledge is expected, but students with knowledge of a relevant language can take the class for credit toward their major on the basis of a specifically tailored midterm exam and/or final paper.

This course surveys key human rights texts (philosophical texts, literary works, and legal documents) of the 20th and 21st centuries. By reading global literatures alongside international human rights instruments, and by treating literature as an archive of ideas that circulate among a literary public invested in human rights, this course explores the importance of art and literature to legal and political projects and provides students with the opportunity to conceptualize the role of narrative for human rights advocacy and human rights imaginaries. We will chart the rise of the global human rights movement, beginning with the 1940s up to our contemporary moment, paying close attention to key human rights issues such as genocide, citizenship, enforced disappearance, detention, apartheid, refugee crises, and mass incarceration. Readings will include works by Anna Seghers, Primo Levi, Hannah Arendt, Jacobo Timerman, Aleksandr Solzhenitsyn, Rigoberta Menchú, Ngũgĩ wa Thiongʼo, Antije Krog, Dave Eggers, and Albert Woodfox.

The course will consider translation—both theory and practice—in relation to queer studies, transgender studies, disability studies, and gender and women's studies. We will consider the intersections of translation with religion, postcolonialism, decolonialism, and feminist thought. Authors studied will include Monique Balbuena, Raquel Salas Rivera, Kate Briggs, Gayatri Chakravorty Spivak, and others. There will be workshops with guest translators. Students may undertake a final research paper or translation project. A minimum of reading knowledge with at least one non-English language is required

This course introduces models of comparative analysis across national literatures, genres, and media. The readings pair primary texts with theoretical texts, each pair addressing issues of interdisciplinary comparison. They include Orson Welles’s “Citizen Kane” and Coleridge’s poem “Kubla Khan”; Benjamin’s “The Storyteller,” Kafka’s “Josephine the Mouse Singer,” Deleuze and Guattari, "Kafka: Toward a Minor Literature," and Mario Vargas Llosa’s "The Storyteller"; Victor Segalen’s "Stèles"; Fenollosa and Pound’s “The Chinese Character as a Medium of Poetry” and Eliot Weinberger’s "Nineteen Ways of Looking at Wang Wei"; Mérimée, “Carmen,” Bizet, "Carmen," and the film adaptation "U-Carmen e-Khayelitsha" (South Africa, 2005); Gorky’s and Kurosawa’s "The Lower Depths"; Molière, Tartuffe, Dostoevsky, "The Village Stepanchikovo and Its Inhabitants," and Bakhtin, “Discourse in the Novel”; Gogol, "The Overcoat" and Boris Eikhenbaum, “How Gogol’s Overcoat Is Made.