Autumn

This course will focus on five poets who also wrote essays: Charles Baudelaire, Wallace Stevens, Gottfried Benn, Joseph Brodsky, and Zbigniew Herbert. We will first read poems by each of these authors, then we will turn to the essays. Our objective is to study both poems and essays as artful writing; we will not be looking to the essays for explanations of the poems, though some of the essays we will read do directly concern the art of poetry. Certain literary critical questions will no doubt arise: to what extent does the art of the essay depend upon brilliant moments, as poems often do? Is continuity a necessary feature of an artful essay? Is the persuasive objective of an essayist altogether different from the objectives of a poet? How far can rhetorical analysis take one in understanding lyric poetry? Each student will give one oral report (of about ten minutes) on one of the writers in the course, and also write a final essay (of ca. 15 pp., on a topic to be approved by one of the instructors) due at the end of the quarter.

Both the Russian poet Osip Mandel'shtam and the German poet Paul Celan envisioned a poem as a message in a bottle written to an unknown reader in the future. Placing ourselves in the position of such a reader we will conduct a detailed reading of the poetry and prose of these two poets-one who died in a holocaust in the east, the other who survived the Holocaust in the west-to try to decipher what this message may be. Particular emphasis will be place on the ways in which poetics and ethics overlap for both authors. Secondary readings will likely include works by Tynyanov, Heidegger, Levinas, Bakhtin and Adorno. No knowledge of Russian or German expected.

The course will initiate students into the complex allegorical narrative of the Roman de la Rose and its images. Through discussion of topically organized scholarship on the Rose and its historical ambient the seminar will provide students with the historical and historiographical orientation required for sophisticated interpretation of the work. The seminar will provide a setting for discussion and debate that draws from the special disciplinary skills of seminar participants and works toward a more integrated and mutually engaging conversation about how we can work to 'see' the Rose collaboratively.

This course will investigate the complex relationship between South East European self-representations and the imagined Western gaze for whose benefit the nations stage their quest for identity and their aspirations for recognition. We will focus on the problems of Orientalism, Balkanism and nesting orientalisms, as well as on self-mythologization and self-exoticization. We will also think about differing models of masculinity, and of the figure of the gypsy as a metaphor for the national self in relation to the West. The course will conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslavian wars of the 1990s.

This course is designed as an overview of major cinematic works from Bulgaria, Albania, Greece, Rumania, former Yugsolavia and Turkey. While the main criterion for selection will be the artistic quality of the work, the main issues under consideration will be those of identity, gender, the poignant relation with the Western World, memories of conflict and violence, socialism, its disintegration and subsequent emigration. We will compare the conceptual categories through which these films make sense of the world and especially the sense of humor with which they come to terms with that world. Some directors whose work we will examine: Vulchanov, Andonova (Bulgaria), Kusturica, Makavejev, Grlic (Former Yugoslavia), Guney (Turkey), Boulmetis (Greece), Manchevski (Macedonia).

This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The aim of this course is to introduce what was singular about the art and craft of silent film. Its general outline is chronological. We also discuss main national schools and international trends of filmmaking.

May be taken in sequence with CMLT 20600/30600 or individually. This course is a survey of major trends and theatrical accomplishments in Western drama from the ancient Greeks through the Renaissance: Aeschylus, Sophocles, Euripides, Aristophanes, medieval religious drama, Marlowe, Shakespeare, and Jonson, along with some consideration of dramatic theory by Aristotle, Horace, Sir Philip Sidney, and Dryden. The goal is not to develop acting skill but, rather, the goal is to discover what is at work in the scene and to write up that process in a somewhat informal report. Students have the option of writing essays or putting on short scenes in cooperation with other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

PQ: Consent of instructor, outside students will be accepted, with the class size limited to 15 students, as long as the majority of the students are CompLit Grad students and PhD students in English Language and Literature. Fulfills the core course requirement for CompLit students. This course will explore major trends in Western literary criticism from Plato to the late eighteenth-century conceived of as the prehistory of comparative literature as a discipline. The course will take as its particular focus the critical treatment of epic in some of the following: Plato, Aristotle, Longinus, Horace, Giraldi, Montaigne, Tasso, Sidney, Le Bossu, St. Evremond, Dryden, Addison, Voltaire, and Burke. The course will also examine both twentieth-century comparative approaches to epic (e.g., Auerbach, Curtius, Frye) and more recent debates within comparative literature in order to assess continuities and discontinuities in critical method and goals. Students will be encouraged to write final papers on subjects and authors of their choice while addressing issues treated in the course.

This course is centered on several canonical works of classical modernism: Hugo von Hofmannsthal's Ein Brief ; Robert Walser's Jakob von Gunten ; Thomas Mann's Tod in Venedig ; Franz Kafka's Die Verwandlung ; Arthur Schnitzler's Frulein Else ; Bertolt Brecht's Mutter Courage und ihre Kinder ; poetry by Stefan George, Hofmannsthal, Gottfried Benn, Rainer Maria Rilke, and Georg Trakl; essays by Georg Simmel, Walter Benjamin, and Robert Musil. On the basis of the works studied we shall endeavor to develop a concept of modernism sufficiently capacious to embrace radically opposed literary and cultural agendas. Readings and discussion in German.

This course examines the Jewish literary world's relation to the figure of Jesus from the end of the nineteenth century to the present. We study the transformations of Jesus through close readings of major works, both prose fiction and poetry, by Yiddish and Hebrew writers (e.g., Uri Zvi Greenberg, H. Leivick, Jacob Glatstein, S. Y. Agnon, Avraham Shlonsky, Natan Bistritzki, A. A. Kabak, Haim Hazaz, Zalman Shneior, Yigal Mosenzon, Avot Yeshurun, Nathan Zach, Yona Wallach, Yoel Hoffmann). Classes conducted in English, but students with knowledge of Hebrew are encouraged to read texts in the original.