Undergraduate

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 Threepenny hit to the agitprop film Kühle Wampe) to classic parable plays, as well as Brecht heirs in German theatre and film (RW Fassbinder & Peter Weiss) theatre and film in Britain (Peter Brook & John McGrath), and African theatre and film, South Africa to Senegal, influenced by Brecht, and the recent NYC adaptation of Brecht’s Days of the Commune

NOTE: This is *not* a basic intro course. PQ: complete Hum core and one or more of the following: International Cinema or equiv. AND/OR TAPS AND/OR ACTIVE German. Please ASK about other courses you have taken that may count as PQ.

From the activist literature of the Chicano Civil Rights Movement to contemporary fiction and poetry, this course explores the forms, aesthetics, and political engagements of U.S. Latinx literature in the 20th and 21st centuries. Theoretical readings are drawn from Chicanx Studies, Latinx Studies, American Studies, Latin American Studies, Hemispheric Studies, Indigenous Studies, and Postcolonial Studies, as we explore Latinx literature in the context of current debates about globalization, neoliberalism, and U.S. foreign policy; Latinx literature’s response to technological and socio-political changes and its engagement with race, gender, sexuality, class, and labor; and its dialogues with indigenous, Latin American, North American, and European literatures. (Poetry, 1830-1940, Theory)

St. Petersburg, Petersburg, Petrograd, Leningrad, Piter. Russia's "Window to Europe" has as many faces as it has names: eastern and western; imperial and revolutionary; physical and mythical. This course explores the relationship between geographical space and cultural imaginary by examining what Vladimir Toporov has called the "Petersburg Text of Russian Literature," a mythology of Russia's European capital that has arisen from and through a unique constellation of literary classics. Readings include a close analysis of Andrei Bely's modernist masterpiece Petersburg, as well as works by Pushkin, Gogol, Dostoevsky, Blok, Akhmatova and Kharms.

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.

Why are films and literature constantly remade and adapted from culture to culture across differences of time and space? What is at stake? What is gained and what is lost in cinematic remakes and adaptations? And how do cultural, historical and narrative conventions transform the adapted stories? Focusing on Akira Kurosawa’s cinematic adaptations of literary works, for example Ran, based on Shakespeare, or Hakuchi, based on Dostoevsky’s The Idiot; and on remakes of Kurosawa’s own films, such as Sergio Leone's “spaghetti” Western A Fistful of Dollars, Georg Lucas's Star Wars episode "Phantom Menace" and Sturges' Western The Magnificent Seven, we will discuss how originals relate to remakes and how films transform their literary counterparts. The course is an introduction to the cinema of Akira Kurosawa and its international afterlife as well as to the problems of intercultural adaptation. Course books are available at the Seminary Co-op. The films will be viewed independently through links posted on Canvas.

Animals that sometimes prey on humans occupy critical niches in individual imaginations, global culture, and natural ecosystems. While our interactions with these creatures have shifted drastically over the millennia, only recently—thanks to factors such as ecological collapse and urbanization—has the majority of the world’s population come to live without the threat of predation. This class draws on a variety of disciplines to interrogate the relationship between people and the mammals, birds, reptiles, and fish that sometimes eat us. We will read epic literature from the Middle East and Europe; examine news reports from 18th-century France and 21st-century Florida; explore the colonial and postcolonial dimensions of tiger-hunting in India; and navigate ways in which ecology, paleontology, and other scientific disciplines can inform humanistic inquiry.

The seminar will mainly read the poetry of Hopkins, but will also include theological and literary influences on him, such as Duns Scotus, Walter Pater, John Ruskin, and John Henry Newman. Requirements for the seminar include one oral presentation and a seminar length final paper.

Graduate students interested in this course should email the department administrator, Ingrid Sagor (isagor@uchicago.edu) by Thursday, November 12th  5pm with a brief note of interest, program year, and student number and will be notified of their admittance to the course by Monday, November 16th. Course requires consent after add/drop begins; contact the administrator for a spot in the class or on the waiting list.

Susan Sontag closed her essay “Against Interpretation” calling for “an erotics of art.” Such an “erotics” would avoid doing anything to tame the work of art—allowing its hold on the imagination to grow, without trimming down its excrescences. Eros here stands for the irreducibility of the presence of art—the finite or even infinitesimal presence that imposes itself as irrepressibly fractal in its growth. Sontag was challenging us to make a certain kind of intellectual and affective space available—and this challenge has been reprised in recent scholarship that attempts to trace the state of the Humanities and some of its more eminent toolkits. Both philology and close-reading have been exposed as disciplinarian “disciplines” of the Humanities—long having abandoned the “erotic” power reading as a strategy of unfolding in favor of what might be termed strategies of containment. But this was not always the case. This course seeks to recover what then remains, peeking into the backgrounds of these disciplines as they stand at the crossroads of relevance and retreat—hovering just short of the intimate space of textual experience described by Sontag.

This course surveys key human rights texts (philosophical texts, literary works, and legal documents) of the 20th and 21st centuries. By reading global literatures alongside international human rights instruments, and by treating literature as an archive of ideas that circulate among a literary public invested in human rights, this course explores the importance of art and literature to legal and political projects and provides students with the opportunity to conceptualize the role of narrative for human rights advocacy and human rights imaginaries. We will chart the rise of the global human rights movement, beginning with the 1940s up to our contemporary moment, paying close attention to key human rights issues such as genocide, citizenship, enforced disappearance, detention, apartheid, refugee crises, and mass incarceration. Readings will include works by Anna Seghers, Primo Levi, Hannah Arendt,  Jacobo Timerman, Aleksandr Solzhenitsyn, Rigoberta Menchú, Ngũgĩ wa Thiongʼo, Antije Krog, Dave Eggers, and Albert Woodfox.