CMLT

The myth of chivalry has been fostered and reshaped from the Middle Ages to the present with damsels-in-distress, knights' self-sacrifice, adventures and courtly love. But how was chivalry in the 11th or the 16th century literature different from today's perception? What changed between historical chivalry and its fictional representation? This course aims to challenge the narrative of chivalry as one conventionally characterized by rise and fall, or a movement from virtue to parody, or spirituality to skepticism. We will see instead how each literary text provides multiple layers of interpretation and how chivalry is redefined across time and space. Exploring the notion of chivalry will also allow us to focus on the so-called "spirituality" of the Middle Ages and the relationship between the Renaissance and the past. We will study chivalric literature from the Chanson de Roland to Cervantes's Don Quijote. A strong emphasis will be given to Italian literature, including Dante's Commedia, Boccaccio's Decameron and Ariosto's Orlando furioso. Readings will also include Chrétien de Troyes's Lancelot and Perceval, with a final session devoted to T.S. Eliot's The Waste Land. Taught in English.

This course combines seminar and studio practices to investigate the ways in which theater and performance-makers create work in relation to shifting contexts. How are theatre adaptations and translations shaped by aesthetics, geography, socio-economic conditions, cultural transition, shifting formulations of race, ethnicity, and gender? How do theatre-makers conceive and realize the resonance of their work within local and across transnational spaces? This course explores these and other questions through practical experiments in adaptation and translation, case studies of artists, attending performances, critical readings on adaptation and translation theory, and discussions of the relationship between art and national and transnational political imaginaries. At the center of the course is a visit from the artistic directors of two theater companies working with translations and adaptations of "World Literature" for a (post)Soviet context, one based in Uzbekistan and the other in Kazakhstan. We hope the exposure to their working processes will animate the questions of the course in exciting and unpredictable ways. For their final project, students will have the option of writing a critical paper, writing a proposal for a speculative work, or creating an artistic work.

Brecht is indisputably the most influential playwright in the 20th century, but his influence on film theory and practice and on cultural theory generally is also considerable. 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 and film esp Kühle Wampe) to the classical parable plays, as well as the work of his heirs in German theatre (Heiner Müller, Peter Weiss) and film (RW Fassbinder, Alexander Kluge), in French film (Jean-Luc Godard) and cultural theory (the Situationists and May 68), film and theatre in Britain (such as Caryl Churchill or Mike Leigh), theatre and film in Africa, from South Africa to Senegal, and if possible a film or play from the US that engages with Brechtian theory and/or practice. (Drama)PrerequisitesTAPS and/or Hum Core required; no first years.

This course explores Basque cinema from its beginnings to our days while also reviewing Spanish cinema from a Basque point of view. Among other topics, the course will explore the nationalist imaginary and its influence in film, the centrality of gender (and motherly) representations in Basque cinema, Basque films' recent tendency to become Spanish blockbusters outselling Hollywood, and allusions to the Basque Country in Spanish cinema.

This course will survey a range of literary works which take the disgusting as their principle aesthetic focus, while also providing students with an introduction to core issues and concepts in the history of aesthetic theory, such as the beautiful and the sublime, disinterested judgment and purposive purposelessness, taste and distaste. At the same time, our readings will allow us to explore the ways in which the disgusting has historically been utilized as a way of producing socially critical literature, by representing that which a culture categorically attempts to marginalize, exclude and expel. Readings will engage with the variety of aesthetic functions that the disgusting has been afforded throughout modern literary history, including thecarnivalesque and grotesque in Rabelais and the bawdy and satirical in Swift; Zola’s gruesome naturalism, Sartre’s existential nausea and Clarice Lispector’s narrative of spiritual abjection; as well as Thomas Bernhard’s experiments with contempt and Dennis Cooper’s pseudo‐pornographic genre explorations. We will read widely in literary and cultural theories of disgust, as well as in the psychological and biologicalliterature of the emotion. Prerequisite: Strong stomach. (Pre-1650, 1650-1830, 1830-1940, Fiction, Theory)

This course reads works of postcolonial literature and theory in order to consider the entanglements of the figures of “women” and “natives” in colonial as well as postcolonial discourse. We will discuss topics such as the persistent feminization of the profane, degraded, and contagious bodies of colonized natives; representations of women as both the keepers and the victims of “authentic” native culture; the status (symbolic and otherwise) of women in anti-colonial resistance and insurgency; and the psychic pathologies (particularly nervous conditions of anxiety, hysteria, and madness) that appear repeatedly in these works as states to which women and/as natives are especially susceptible.Authors may include Ama Ata Aidoo, Hélène Cixous J.M Coetzee, Maryse Condé, Tsitsi Dangarembga, Mahasweta Devi, Assia Djebar, Frantz Fanon, Sigmund Freud, Silvia Federici, Nuruddin Farah, Bessie Head, V.S. Naipaul, Jean Rhys, Tayeb Salih, Ousmane Sembène, Gayatri Chakravorty Spivak.(Fiction, Theory)

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 this narrative mode, we also think about its political functions -from subversive to escapist, to supportive of a nationalist imaginary-in different contexts and at different historic moments in the two regions.

The course will discuss the way in which human passions were understood and represented by seventeenth-century thinkers and writers. While the center of gravity of the course is French, authors who wrote in Spanish and English will also be present. We will read tragedies by Shakespeare, Corneille and Racine, novellas by Cervantes, Mme de Lafayette, and Saint-Réal, and excerpts from novels by Honoré d’Urfé and Fénelon. Reference will also be made to Pascal’s Pensées, Plato’s Republic, Aristotle’s Nicomachean Ethics, and Marcus Aurelius’ Meditations.

We study the distinctions between myth and fairy tale, and then focus on collections of modern Western European fairy tales, including those by Straparola, Basile, and Perrault, in light of their contemporary rewritings of classics (Angela Carter, Calvino, Anne Sexton). We analyze this genre from diverse critical standpoints (e.g., historical, structuralist, psychoanalytic, feminist) through the works of Croce, Propp, Bettelheim, and Marie-Louise Von Franz.

What does it feel to be watched and listened to all the time? Literary and cinematic works give us a glimpse into the experience of living under surveillance and explore the human effects of surveillance - the fraying of intimacy, fracturing sense of self, testing the limits of what it means to be human. Works from the former Soviet Union (Solzhenitsyn, Abram Tertz, Andrey Zvyagintsev), former Yugoslavia (Ivo Andrić, Danilo Kiš, Dušan Kovačević), Romania (Norman Manea, Cristian Mungiu), Bulgaria (Valeri Petrov), and Albania (Ismail Kadare).