Autumn

For decades, human rights activists and lawmakers in the United States have been fighting for a person’s right to speak their native language before the law, implying that language justice could be achieved through the use of interpreters. At the same time, a new generation of poets and fiction writers has been exercising alternative approaches to language justice, shifting the focus from speakers to listeners, and from the legal to the personal. This course brings these seemingly separate discourses into conversation in an attempt to trace the assumptions that undergird different formulations of language justice in the late 20th century and 21st century. Drawing on Edward Said’s The Public Role of Writers and Intellectuals, we will examine NGO statements and immigration court hearings side by side with poetry and fiction by Monica de la Torre, Antonio Ruiz Camacho, Irena Klepfisz, Joseph Brodsky and others. As we analyze theories of identity, desire, language and responsibility and engage with thinkers such as Andrea Long Chu, Hannah Arendt and Aamir Mufti, we will consider the potential implications of bringing literature and law into conversation with one another.

This course will examine the themes of exile, migration and diaspora in a variety of literary texts from the late 20th and early 21st centuries in dialogue with recent cultural theoretical work. The texts to be studied will include novels, poetry, short stories, essays, and films from three sets of locations: authors of South Asian (Indian and Sri Lankan) origin in North America and Europe; writers of Turkish, Japanese and Indian origin in Germany; and Latin American-born writers writing from abroad, in addition to Johny Pitts' ethnographic book Afropean. Notes from Black Europe (2020). Besides charting the theoretical coordinates of exile, migration and diaspora studies, we will explore questions such as: How has the accelerated movement of people, ideas, goods, and cultural practices affected literary authors of different racial, class, gender, religious, and national origins? What is the meaning of belonging, home and homeland? How do authors relate to concepts of the nation, national identity, and nationalism? What happens to the physical body, affect, love and intimacy, the family, and intergenerational relations in migration? What are the narrative and lyric patterns and tropes of writing between worlds? Is there a "poetics of dislocation"? How do writers handle issues of language, the mother tongue and bi- or multilingualism? All texts will be read in English translation, but we will also make translation a central issue of discussion by examining original texts whenever possible. 

The seminar will focus on classical, medieval, and modern historiography from China, India, and Tibet seeking answers to three general questions: (1) How are senses of historical time created in Asian historiographies by means of rhetorical figures of repetition, parallelism, dramatic emplotment, frame stories, and interweaving storylines? (2) How are historical persons and events given meaning through use of poetic devices, such as comparison, simile, and metaphor? And (3) How do Asian histories impose themselves as realistic accounts of the past by means of authoritative devices using citation of temporal-spatial facts, quotation of authority, and/or reliance on established historical genres? The methods employed to answer these questions are here adapted from pre-modern Asian knowledge systems of literary theory, poetics, dramaturgy, and epistemology, and thus permit looking at other knowledge formations from within the discourse of the traditions themselves.

Walter Benjamin famously wrote that a translation issues from the “afterlife” of the original: “For a translation comes later than the original, and since the important works of world literature never find their chosen translators at the time of their origins, their translation marks their stage of continued life.” This graduate seminar focuses on the case of multilingual writers and their self-translations to raise questions concerning the temporality, directionality, and “afterlife” of translated works. The figure of the self-translator challenges models of translation and cross-cultural circulation that assume various cultural and historical gaps between the source and its translation. For one, self-translation calls into question the notions of originality or “the original” and of “fidelity,” and requires us to consider the overlap between translation and rewriting. What brought writers to produce the same texts in different languages, at times for similar audiences of multilingual readers? What theories of translation or world literature might be helpful when approaching the case of Jewish self-translation in the nineteenth and twentieth centuries? We will discuss these issues also in the context of comparative Jewish studies, considering the difference between internal, Hebrew-Yiddish, self-translation, and the translation between Hebrew or Yiddish and a third “non-Jewish” language, whether European or Middle-Eastern.

This team-taught course invites students to reassess critically the meaning of the Soviet collapse on the occasion of its thirtieth anniversary. Topics to be examined include the neoliberal "shock therapy" economic reforms that ushered in a state of wild capitalism, the dissolution of the Soviet empire and rise of rise of new right nationalisms, and the formation of alternative artistic movements that resisted the economic and political devastation that accompanied the transition. The course pedagogy employs economic, political, historical, and aesthetic analysis to develop a robust understanding across a variety of disciplines and methodological approaches.

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 will involve reading Freud’s major texts, including, e.g.,  parts of The Interpretation of Dreams, “Beyond the Pleasure Principle,” and  his later work on feminine sexuality. We will consider Freud’s views on bisexuality as well. We will also read case studies and consider theoretical responses to Freud’s work, by Derrida, Lacan, and other important theorists. Course requirements will be one in-class presentation, based on the reading(s) for that day, and one final paper.

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, Xunzi, Plato, Aristotle, Zhuangzi, Sima Qian, Augustine, Liu Xie, Abhinavagupta, Dante, Li Zhi, Vico, Rousseau, Lessing, Hegel, and Baudelaire.    

"Everywhere we remain unfree and chained to technology, whether we passionately affirm or deny it,” wrote Heidegger. In the year 2020, the year of COVID-19 and mass physical lockdown, this statement is more valid than ever. Keeping current events in mind, in this course we will pose anew the question concerning technology and go back to the First and Second Industrial Revolutions when humans first came into intense contact with machines and restructured life and literature around them. We will trace the ecological, economical, and emotional footprints of various machines and technological devices (automata, trains, phonographs, cameras) in major European literary works from Shelley's Frankenstein (1818), Zola's La bête humaine (1890) to Luigi Pirandello's The Notebooks of Serafino Gubbio, Cinematograph Operator (1925), while inquiring into the nature of technology and what it means to be human through key philosophical texts from Plato to N. Katherine Hayles.

This course provides students with an opportunity to think race both within a psychoanalytic framework and alongside rituals of loss, grief, and mourning. In particular, we will interrogate how psychoanalytic formulations of mourning and melancholia have shaped theories of racial melancholia that emerged at the turn of the twenty-first century. Turning to Asian American, African American, and Latinx theoretical and literary archives, we will interrogate the intersections of race, gender, and sexuality and ask: How do literatures of loss enable us to understand the relationship between histories of racial trauma, injury, and grief, on the one hand, and the formation of racial identity, on the other? What might it mean to imagine literary histories of race as grounded fundamentally in the experience of loss? What forms of reparations, redress, and resistance are called for by such literatures of racial grief, mourning, and melancholia? And, finally, how, if understood as themselves rituals of grief, might psychoanalysis and the writing of literature assume the role of religious devotion in the face of loss and trauma?