This course examines the development of the Latin elegy from Catullus to Ovid. Our major themes are the use of motifs and topics and their relationship to the problem of poetic persona.
Ancient writers and their patrons exploited the textual medium, the virtual reality it can evoke and the prestige it can command to promote certain categories of knowledge and types of knowers. This course will survey two ancient bodies of literature, Hebrew and Chinese, for the figures they advance, the perspectives they configure, the genres they present, and the practices that developed around them, all in a dynamic interplay of text and counter-text. Excerpts from Hebrew literature include (a) royal wisdom in Proverbs & Ecclesiastes; (b) divine law in Exodus 19–24, Deuteronomy, the Temple Scroll, and Pesharim. Readings from Chinese literature include (c) speeches from the Shang shu (Book of Documents), (d) odes from the Shi jing (Book of Songs), and (e) commentaries from Han to Qing periods that elucidate, often in contradictory terms, the law-giving properties of these texts.
This course will examine some of the salient texts of postmodernism. Part of the question of the course will be the status and meaning of “post”-modern, post-structuralist. The course requires active and informed participation.This course fulfills the winter core requirement for first-year Ph.D. students in Comparative Literature.
“Ruins” will cover texts and images, from Thucydides to WWII, via the Reformation. We will include films (e.g. Rossellini’s “Germany Year Zero”), art (e.g. H. Robert, Piranesi) archaeology, the museum (Soane). On ruins writing, we will read Thucydides, Pausanias from within antiquity, the Enlightenment responses to the destruction and archaeological rediscovery of Pompeii, Diderot, Simmel, Freud on the mind as levels of ruins (Rome) and the analysis as reconstructive archaeologist as well as on the novel Gradiva and the Acropolis, the Romantic obsession with ruins, and the firebombing in WWII. We will also consider the photographing of ruins, and passages from the best-known works on photography (Benjamin, Sontag, Ritchen, Fried, Azoulay). The goal is to see how ruin gazing, and its depictions (textual, imagistic, photographic, etc.) change from the ancients (Greek and Roman), to the Romantic use of ruins as a source of (pleasurable) melancholy, to the technological “advances” in targeting and decimating civilian populations that describe the Second Word War.
Readings in theories of literature and related arts from cultures other than those of the post-1900 industrialized regions. What motivated reflection on verbal art in Greece, Rome, early China, early South Asia, and elsewhere? Rhetoric, hermeneutics, commentary, allegory, and other modes of textual analysis will be approached through source texts, using both originals and translations. Authors to be considered include Confucius, Plato, Aristotle, Zhuangzi, Sima Qian, Augustine, Liu Xie, Abhinavagupta, Dante, Li Zhi, Rousseau, Lessing, Schlegel, and Saussure.
This interdisciplinary graduate and advanced undergraduate course focuses on ten films of Akira Kurosawa which were based on literary sources ranging from Ryunosuke Akutagawa, Georges Simenon, and Shakespeare to Dostoevsky, Tolstoy, Gorky, and Arseniev. The course not only introduces 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 combines 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 hands-on training in the interdisciplinary methodology of Comparative Literature.Cross-Listed with East Asian Studies and Committee on Social Thought.
Thomas Mann’s novel Joseph and His Brothers, a modern rewriting of the biblical story, was written over sixteen years (1926 - 1943) that shook German and European history through the assumption of power by the National Socialist party and the Second World War. Mann began the novel under the Weimar Republic and continued working on the novel in exile. The writer himself saw his novel as an act of resistance to his country’s anti-Semitic policies. In this course, we will closely read the novel, explore its relation to its biblical and other sources, learn about the history of its writing and publication and contextualize its genesis in Mann’s complicated involvement with German and world politics.
This course introduces the models of comparative analysis across national literatures, genres, and media. The texts to be discussed 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 “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.”
This course on Shakespeare's English history plays will adopt an unusual stratagem of reading the plays in order of the historical events they depict: that is, starting with King John, who ruled England from 1199 until his death in 1216, then (after a sizable interval of time devoted to the reigns of Henry III, 1216-1272, Edward I, 1272-1307, Edward II, 1307-1327, and Edward III, 1327-1377, not dramatized by Shakespeare), Richard II (reigned 1377-1390), Henry IV Parts I and II (1399-1413), Henry V (1413-1422), Henry VI Parts I-III (1422-1461 and 1470-1471, alternating with Edward IV, 1461-1470, 1471-1483), Richard III (1483-1485), and finally Henry VIII (1509-1547, having succeeded his father, Henry VII, who reigned from 1485-1509 and whose reign is not celebrated by a Shakespeare play). The emphasis will be on the great plays, Richard II, Henry IV Parts 1 and II, Henry V, and Richard III. My hope is that this approach will enable us to explore Shakespeare's concept of English history over a large sweep of time, leading up to the Tudor dynasty that began with Henry VII's victory over Richard III in 1485 and concluded with the long and successful reign of Elizabeth I, Henry VIII's daughter, whose rule ended with her death in 1603, soon after Shakespeare had completed his writing of all these plays except Henry VIII. We will be reading the plays in the order in which they were printed in the first complete edition of Shakespeare works in the 1623 First Folio. Undergraduate:(D, E) Graduate:(Med/Ren)
This course will focus on fictional texts that readers have misrecognized as factual accounts, as well as the less frequent case of factual texts misidentified as fictional. Students will study the rhetorical strategies or historical and cultural circumstances responsible for these “errors of pragmatic framing” (O. Caïra) by investigating the contexts governing the production or reception of works such as Apuleius’ The Golden Ass, Les Lettres d’une religieuse portugaise, Denis Diderot’s La Religieuse, Wolfgang Hildesheimer’s Marbot: A Biography, and Orson Welles’ adaptation of The War of the Worlds, among others.
