2023-2024

Is race an anachronistic expression in Renaissance Europe? What are the stakes for studies of race in premodern periods? How did early modern race operate differently from contemporary racialized epistemologies and in what ways are we continuously influenced by the premodern times? This course tackles these questions by foregrounding two vocabularies in the early modern racial paradigm: gender and transnational constructions. We will read primary texts set and produced both in Renaissance Europe and its colonies in Africa, Americas, and Asia, and ask: how did the structural relationship of race and gender work in tandem with, or against each other? What roles did transnational and transcultural exchanges such as Christian missions, colonization, commerce, and slave trade play in the ideations of race? We will pay close attention to fictionalized female characters and women writers, ranging from the desired white beauties in Shakespeare’s Othello and Cervantes’s The Bagnios of Algiers, to Nahua (Mexico) and Visayan (the Philippines) women in The Florentine Codex and The Boxer Codex, to the spiritual diaries of indigenous and black nuns in the Colonial Spanish America, to Aphra Behn’s depiction of Oroonoko’s execution in Surinam, and finally to the unwritten disposable lives of enslaved black women in the Atlantic slave trade.

In 1959, C. P. Snow expressed his anxiety over the widening “gulf” between the literary and the scientific cultures of his time, attributing such a phenomenon to the pressure of industrialization and the application of advanced, systematic techniques to industry. Yet while science and literature started to submit themselves to growingly different logic, epistemology, and modes of production in the twentieth century, they became inextricably linked at the same time: contemporary scientific discoveries served as a major source of literary inspiration; scientists explored the possibilities of approaching their projects through literary strategies. In this course, we will read theories and practices by major poets, literary critics, and scientists during the twentieth century. Through analyzing how the tension described by Snow is rendered, problematized, and transformed, especially through the medium of poetry, we will study how poetry and science provide each other with new vocabularies, forms, and critical angles to address modern experience. While we will concentrate on endeavors by anglophone poets and scientists, we will also bring a few international cases (in translation) into discussion to establish a comparative perspective. Possible scientists include Henri Poincaré, Alfred North Whitehead, and Brian Rotman; possible poets and critics include I. A. Richards, Ezra Pound, William Carlos Williams, Hart Crane, Laura Riding, Wallace Stevens, Muriel Rukeyser, and Lyn Hejinia

This seminar will introduce issues of gender, class, post-war trauma and the so-called Wirtschaftswunder (“economic rise”) in West Germany during the decades following World War II. To approach these, we will read the novel Das verborgene Wort (The Hidden Word) by poet and novelist Ulla Hahn (b. 1945) who ranks among Germany’s best-known living writers. Despite the acclaim it has received, Hahn’s work remains largely untranslated and thus little known outside the German-speaking world. In this course, we will read her first autobiographical novel slowly and carefully in German, paying particular attention to the nuances of Hahn’s poetic prose style. Since the novel contains sentences in the Rhineland dialect (Rheinländisch/Kölsch), the instructor will provide explanations and a brief introduction to the regional culture.

This course introduces students to ancient, medieval, and early modern literary theory and to modern engagements with these theoretical interventions. We will explore how communities in the past imagined their practices of reading, writing, and interpretation—with especial emphasis on scriptural exegesis—but also what constituted a text, in the first place. How, indeed, were these practices foundational to the formation of communities and, in turn, to alterity? And what role do these literary theories and practices play in longer histories of "theory" and "critique." Staging dialogues between the past and the present, this course will ask what the political implications of designating an archive as "ancient," "archaic," "medieval," or "premodern" are in order to understand how and why the past is continually made and remade.

Though "aesthetic" philosophy first developed as an autonomous field in the mid-eighteenth century, it has important roots in earlier eighteenth- and seventeenth-century debates concerning literature and the arts. In the wake of Cartesian rationalism, could reasoned method be reconciled with non-rational creativity, or decorous order with the unruly "sublime"? Just what kind of "truth" was revealed by poetry or painting? What is the value of the Greco-Roman models versus authorial innovation? We will consider the relation between literature and other media (particularly opera and the visual arts) and read French texts in dialogue with other, and often contending, national trends (British, German, Italian). Readings will include Descartes, Pascal, Perrault, Félibien, Dryden, Du Bos, Addison, Vico, Montesquieu, Staël, and A.W. Schlegel.

This seminar offers a critical introduction to performance theory organized around three conceptual clusters:
a) action, acting, and forms of production or play, in theories from classical (Aristotle) through modern (Hegel, Brecht, Artaud), to contemporary (Richard Schechner, Philip Zarilli, others); b) affect, and its intersections with emotion and feeling: in addition to contemporary theories of affect and emotion we will read earlier modern texts that anticipate recent debates (Diderot, Freud) and their current interpreters (Joseph Roach, Erin Hurley and others), as well as those writing about the absence of affect and the performance of failure (Sara Bailes etc); and c) archives and related institutions and theories of recording performance, including the formation of audiences (Susan Bennett) and evaluating print and other media recording ephemeral acts, including the work of theorists of memory (Pierre Nora) and remains (Rebecca Schneider; Mark Fleishman), theatre historians (Rose Bank, Ellen Mackay etc) and tensions between archive and repertoire (Diana Taylor).(20th/21st)

The Arabian Nights, or A Thousand and One Nights, has had a profound influence on global culture. A shaping force in the formation of European Orientalism and Romanticism in the eighteenth and early nineteenth centuries, the work has since inspired a vast array of writers, filmmakers, and artists across the world. We will begin this course by studying the Nights as a product of the medieval Arabo-Islamic world, examining the major themes and formal features of the work. We will then investigate the translation and reception of the Nights in early modern Europe, before analyzing a selection of short stories, films, and novels based on or inspired by the Nights spanning the nineteenth to the twenty-first century. These will include stories by Edgar Allen Poe and Jorge Luis Borges; films by Masaki Kobayashi and Pier Paolo Pasolini; and novels by one or more of Naguib Mahfouz, Radwa Ashour, Salman Rushdie, and Isabel Allende. The primary texts will be supplemented with readings concerning narratology and the art of storytelling, the fantastic and magic realism, and contemporary debates about world literature. All texts will be read in translation, but students with knowledge of Arabic will be encouraged to participate in additional sessions devoted to reading parts of the Arabic texts in the original.

Aware of being observed. And judged. Inferior... Abject... Angry... Proud... This course provides insight into identity dynamics between the "West," as the center of economic power and self-proclaimed normative humanity, and the "Rest," as the poor, backward, volatile periphery. We investigate the relationship between South East European self-representations and the imagined Western gaze. Inherent in the act of looking at oneself through the eyes of another is the privileging of that other's standard. We will contemplate the responses to this existential position of identifying symbolically with a normative site outside of oneself-self- consciousness, defiance, arrogance, self-exoticization-and consider how these responses have been incorporated in the texture of the national, gender, and social identities in the region. Orhan Pamuk, Ivo Andrić, Nikos Kazantzakis, Aleko Konstantinov, Emir Kusturica, Milcho Manchevski.

The Japanese word kawaii (commonly translated as "cute" or "adorable") has long been a part of Japanese culture, but, originating from schoolgirl subculture of the 1970s, today's conception of kawaiihas become ubiquitous as a cultural keyword of contemporary Japanese life. We now find kawaii in clothing, food, toys, engineering, films, music, personal appearance, behavior and mannerisms, and even in government. With the popularity of Japanese entertainment, fashion and other consumer products abroad, kawaii has also become a global cultural idiom in a process Christine Yano has called "Pink Globalization". With the key figures of Hello Kitty and Rilakkuma as our guides, this course explores the many dimensions of kawaii culture, in Japan and globally, from beauty and aesthetics, affect and psychological dimensions, consumerism and marketing, gender, sexuality and queerness, to racism, orientalism and robot design.

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.