Autumn

Arguably the most debated political theorist of all time due to The Prince, Machiavelli genuinely aspired to be remembered for his creative prowess. He explored various literary genres, such as short stories, dialogues, satirical poetry, letter writing, and, notably, theater, where he demonstrated mastery with The Mandrake, an exemplary Renaissance comedy. This course aims to reintegrate these two aspects of Machiavelli: the serious politician and the facetious performer, a Janus-faced figure who serves as a precursor of both Hobbes and Montaigne. We will revive the image of this “Renaissance man,” and, through him, shed light on his era and fellow humanists by restoring their intellectual unity of prescription and laughter. Indeed, we will discover that Machiavelli encourages us not to take things, including him and ourselves, too seriously! Taught in English.

Taking the astonishing fiction of Andrei Platonov (1899-1951) as a starting point this course asks: how have realist fictions in general and socialist realism in particular been used to transform material and ideological realities? Can realism be revolutionary? Can it be dictated by the state? Grounded in historical context, our reading will venture into the afterlife and future of socialist realism. As philosophers across the world reinterpreted Platonov and other Soviet and socialist authors, what appeared to be gaps in intellectual and literary history now seem to be continuities of influence across borders. Reading Shklovsky, Lukács, Jameson, Timofeeva, Malabou and others, this course traces the new and transnational socialist realism. Topics include ideology, gender, community, colonialism and decolonization.

This course examines Hemispheric Studies approaches to the literatures and cultures of the Americas, which combines a commitment to comparatism with attention to the specificities of local contexts ranging from the Southern Cone to the Caribbean to North America. Theories drawn from American Studies, Canadian Studies, Caribbean Studies, Latin American Studies, Poetry and Poetics, Postcolonial Studies, and U.S. Latinx Studies will be explored in relation to literature written primarily but not exclusively in the 20th and 21st centuries by writers residing throughout the Americas. We’ll examine recent, innovative studies being published by contemporary scholars working with Hemispheric methods across several fields. We’ll also consider the politics of academic field formation, debating the theories and uses of a method that takes the American hemisphere as its primary frame yet does not take the U.S. as the default point of departure; and the conceptual and political limitations of such an approach. No knowledge of Spanish, French, or Portuguese is required. (20th/21st)

This course investigates the shifting relations between Hebrew/Israeli literature and culture and Zionism as a political project, ideology, myth, and power structure. We will investigate multiple forms of cultural articulation, from built environment, to popular culture, to culture as a set of practices that govern everyday life, while devoting special attention to poetry – an institution valorized by classical secularist Zionism yet one often seen as standing in tension with Zionism’s contemporary religious-nationalist forms. What role has Hebrew culture played within the Zionist project, as bearer, expression, reflection, or refraction of nationalist ideology or myth? What are the relationships between culture’s putative forms of autonomy and forms of dissent, resistance, or alternative political vision in Israel and Palestine? How might this connect to Mizrachi and other ‘minority’ identities, and the roles of Palestinians as cultural producers within Israeli frames? What is to be learned about secular nationalism, Jewish secularism, post-secularism, religiosity, and political theology particularly in an era of what seems to be the rising hegemony of expressly religious Zionism.

This course explores the genre of the strange, weird, bizarre and wonderous in literary works from around the world and across various time periods. In contrast to the voyeuristic and expected othering of the ‘exotic’, the course interrogates the strange as an aesthetic mode that estranges the reader and disturbs and upends our familiar and predictable worlds. Theorists have explored art’s ability to unsettle our automatized perception, interrogating our relationship to reality, the way we know things, and the basis on which we make assumptions. This course will trace how specific literary forms (like magical-realism, fantasy, sci-fi, miracle literature, comedy/dark comedy, and even scripture) evoke wonder and a sense of the strange. We will explore how these genres mystify and make strange things like the individual, society, modernity, the nation-state, the secular, economy, and more to unearth the myth-making inherent in processes of world-building, as well as in narrative. We will see ghosts in court, hallucinating nation-states, dead narrators, animated-inanimate objects as we move into the world of dreams, madness, and the supernatural in literary works from Iceland, Iran, Palestine, Japan, Egypt and more.

Human transformation into animals (and into wolves in particular) is a recurring trope in many cultures’ storytelling. Authors have used the story device to explore the nature of humans and animals, human fear and vulnerability, psychological problems and mental illness, gender and sexuality, social/racial hierarchy, marginalization, identity, and our own capacity for violence and savagery. In this course we will examine werewolves in literature and film from several cultures (French, English, German, Finnish, Blackfoot, Japanese) in English translation, primarily from the late 20th century onward. We will focus on how the aforementioned themes are used and developed in each work and the overarching patterns of werewolf stories. Students will write a final analytical paper or produce a creative project.

Non-human animals are ubiquitous in India’s literary and visual cultures, whether as characters in epics, fables and moral tale; as objects of study by court scholars and painters; as pets and hunting companions; as part of the Hindu pantheon (such as the elephant-headed god Ganapathi, or the monkey god Hanuman) or as symbols and metaphors. This course explores the complex interactions among human and non-human animals and the realms of   animals/mortals/immortals through examples from India’s literatures, Indian painting and film - across times, places, spaces and religious traditions. It will conclude with contemporary debates on animal activism and provide a non-Western entry point into the field of animal studies. Naisargi Dave’s Indifference will be a key text for us throughout the quarter. 

This graduate seminar invites students to engage with literary trauma studies, a field that first emerged in the 1990s, and that has more recently been undergoing decolonization processes. Following calls by scholars such as Stef Craps in Postcolonial Witnessing (2013), we will examine foundational and current literary theory by questioning its validity and applicability across different cultural contexts and languages. We will read select fictional trauma narratives, in English translation or in the original language when possible. Readings will include select psychological and psychoanalytical theoretical literature from Judith L. Herman and Cathy Caruth to Bessel van der Kolk; (literary) theory by Ruth Leys, Lauren Berlant and Stef Craps, as well as fictional texts, largely from non-Euro-Anglo-American contexts. Students working on trauma-related literary projects are welcome to contribute materials in their respective research languages. We will end the course by bridging discussions of literary trauma studies with recent debates around a pedagogy of trauma, especially as applicable the context of higher education. Students need to be available for 2 synchronous online meetings per week.

This course explores anticolonial worldbuilding through literature, film, art, and philosophy. It focuses on the role of the cultural Cold War in shaping anticolonial aesthetics and politics during the twentieth century as well as its impact on our current political moment. The mid-century was characterized by an expansion of anticolonial festivals, exchanges, and congresses and marked by political crises and coalitional solidarity across Vietnam, Palestine, Cuba, Soviet and US imperial expansion, and the May 1968 student protests. We will explore how Pan-Arab, Pan-African, Non-Aligned/Global South, Marxist-Leninist, indigenous land rights, and racial justice movements mobilized class, gender, and language politics. Exploring anticolonial literature, film, and art across a multilingual and transnational archive we will ask how socialist and speculative realisms, engaged literature, third cinema, agitprop, and other aesthetic movements generated powerful internationalist imaginations and networks of resistance.

This course offers a critical introduction to theories of performance and performativity across a transnational scope. We will read theories of performance that explore the relationship between text, body and audience alongside the history of performative theory and its afterlives in queer and affect theory. Drawing on comparative literary method, this course presents texts both within and beyond the Euro-American canon, across languages, and across disciplines to consider how empire and post-coloniality, race and ethnicity, and gender and sexuality shape performances and the publics that they address. We will think about the relationship between performance and politics and how performance as both an aesthetic genre and theoretical concept shapes the relationship between text, language, and embodied experience and explore the role of the spectator and their participatory function in the making of performances.