CMLT

This seminar investigates the notion of archaic (a.k.a. primitive, folk, sentimental, mythological) poetics, originally formulated by the Romantics, but later pursued by scholars who sought to conceptualize the presumed break between oral literatures of traditional societies, as well as texts produced in Archaic Greece, and modern literary praxis. In this course we will be interested both in the actual lineaments of an archaic poetics and its literary reception in the 19 th -20 th c. Apart from relevant primary sources (Homeric epic, archaic Greek choral lyric, primitivist modernist poetry, etc.), we will discuss works by Fr. Schlegel, Veselovsky, Propp, Levi-Strauss, Bakhtin, Parry, and others.

PQ: Some acquaintance with one of the following: Urdu, Persian, Turkish, Ottoman, Arabic, Punjabi, Pasho, Hindi, or other relevant languages.

This course examines the relation between historicity and the literary, using Sima Qian's Shiji ( Records of the Grand Historian ) as our primary example. The Shiji is arguably the most influential Chinese work of historiography, and we will also explore its interdisciplinary and international afterlife. Particular attention will be paid to notions of the immaterial (the fictional, the spiritual, the theoretical), the exotic (the non-Chinese, the strange), and the universal, in traditional Chinese historiography and poetics, in modern archaeology, and in critical theory. Students without classical Chinese reading knowledge are welcome to join and to write their final papers on comparative topics .

In this course we will ask what constitutes the fantastic and magic realism as literary genres while reading some of the most interesting writings to have come out of RUssia and Southeastern Europe. While considering the stylistic and narrative specificities of the genres, we will also think about their political functions - from subversive to escapist, to supportive of a nationalist imaginary - in different contexts and at different historic moments in the two regions. We will ask whether there are such things as a Balkan and Russian type of magic realism and we will think about the differences between the genres of magic realism and the fantastic. We will also look at the similarities of the works from different countries - the lyricism of expression, eroticism and nostalgia, and will argue for and against considering such similarities constitutive of an overall Balkan sensibility.

This course examines certain themes in poems and in popular song-lyrics that include devotion, sentiment, serial desire, bought love, and aged love. Many song-lyrics are tin pan alley tunes, often in their jazz versions. Students are encouraged to suggest songs that have particularly strong lyrics. Poems come from various historical periods, with the Norton Anthology of Poetry as our source.

This course will apply various theoretical models of Diaspora literature to the study of Yiddish tales, short stories, monologues, plays, novels and life-writing from the nineteenth and twentieth centuries. Among the topics addressed in the course are Yiddish humor and satire, literary modernism, the classical Yiddish writers' image of the shtetl (small Jewish town in Central and Eastern Europe) and Isaac Bashevis Singer's demon narrators. Readings are by Sh. Y. Abramovitsh, Y.L.Peretz. Scholem-Aleichem, Dovid Bergelson, Der Nister, Jonah Rosenfeld, I.B.Singer, Chaim Grade, Ester Kreytman, Chava Rosenfarb, Yankev Glathsteyn and Sh. Ansky.

This course explores notions of cosmopolitanism in philosophy, historiography, and literature. Topics include ancient world systems, world literature, hospitality, and hybridity. Readings may include Derek Walcott's Omeros, the Hellenistic Life of Aesop, early Chinese prose-poetry, Derrida, Frank, and Spivak.

PQ: Texts in English. Optional discussion sessions offered in the original (i.e., Greek, Latin, German, Russian). Moving beyond the modern perception of lyric as a direct expression of the poet's subjectivity, this course confronts the remarkable longevity of poetic genres that have remained in use over centuries and millennia, such as the hymn, ode, pastoral, elegy, epistle, and epigram. What kept these classical genres alive for so long and, conversely, what made them serviceable to poets working in very different cultural milieus? In an effort to develop a theory and a history of Western lyric genres, we sample such poets as Sappho, Horace, Marvell, Hölderlin, Whitman, Mandel'shtam, Brodsky, and Milosz.

This course focuses on film noir in a broad sense, including neo-noir. We attend to some of the conventions of the genre in terms of plot, characterization, and cinematography. There is also a thematic focus: How is trust constructed in these films? What are the features of trust that most directly affect political systems? Is trust among men much different from that among men and women in heterosexual relationships? We interpret a set of films as utopian efforts to imagine trusting lives. Films include The Maltese Falcon, The Big Sleep, Kiss Me Deadly, Out of the Past, Touch of Evil, Notorious, Narrow Margin, Blast of Silence, Night and the City, Criss Cross, The Postman Always Rings Twice, Gilda, Double Indemnity, Rififi, Chinatown, LA Confidential, Band of Outsiders, Bob le Flambeur , and Le Samourai .

The course is directed primarily to graduate students, and is aimed at stimulating a theoretical approach to modern literature. It focuses on one of the most controversial categories of modernity: the author. From the time when works of art ceased to circulate anonymously, the notion of the author enjoyed an obvious existence for centuries. In the twentieth century, however, many literary theories ratified the irrelevance of the author, and celebrated its eclipse. We shall discuss pertinent theoretical writings by Barthes, Foucault, Eco, Benjamin, Booth, Genette, Bazin, and others, as well as some relevant literary works by Calvino, Pasolini, and Moresco. Taught in English, with the majority of readings in English. C.