Undergraduate

This seminar will, with a certain intensity of focus, examine two masterpieces of the “sentimental” mode: Laurence Sterne’s A Sentimental Journey Through France and Italy (1768) and Goethe’s Die Leiden des jungen Werther (1774). Since these novels are both generically self-reflective and, each in its own way, boldly experimental, they are well-suited for an analysis oriented toward the theory of narrative. Comparisons will be drawn to passages in Samuel Richardson’s Clarissa, or, The History of a Young Lady (1747-8) and Rousseau’s Julie, ou La nouvelle Heloise (1761). We will also take a forward look at Pierre Choderlos de Laclos’ Liaisons dangereuses (1782), which may be considered the destruction of the form. In addition to fundamental contributions to narratology, works by Roland Barthes (Fragments of a Lover’s Discourse), Albrecht Koschorke (Körperströme und Schriftverkehr. Mediologie des 18. Jahrhunderts), and James Chandler (An Archeology of Sympathy. The Sentimental Mode in Literature and Cinema) will be important points of reference. As always, Schiller’s Über naïve und sentimentalische Dichtung will prove indispensable.

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).

In this course we read selections from Antonio Gramsci's Letters and Prison Notebooks side by side with their sources. Gramsci's influential interpretations of the Italian Renaissance, Risorgimento, and Fascism are reviewed testi alla mano with the aim of reassessing some major turning points in Italian intellectual history. Readings and notions introduced include, for the Renaissance, Petrarch (the cosmopolitan intellectual), Savonarola (the disarmed prophet), Machiavelli (the modern prince), and Guicciardini (the particulare); for Italy's long Risorgimento, Vico (living philology), Cuoco (passive revolution), Manzoni (questione della lingua), Gioberti (clericalism), and De Sanctis (the Man of Guicciardini); and Croce (the anti-Croce) and Pirandello (theater and national-popular literature), for Italy's twentieth century.

This course is a comprehensive introduction to Machiavelli’s The Prince in light of his vast and varied literary corpus and European reception. The course includes discussion of Machiavelli as playwright ("The Mandrake"), fiction writer ("Belfagor," "The Golden Ass"), and historian ("Discourses," "Florentine Histories"). We will also closely investigate the emergence of myths surrounding Machiavelli (Machiavellism and anti-Machiavellism) in Italy (Guicciardini, Botero, Boccalini), France (Bodin and Gentillet), Spain (Ribadeneyra), and Northern Europe (Hobbes, Grotius, Spinoza) during the Counter Reformation and beyond.

This course centers on a close reading of the first volume of Michel Foucault’s The History of Sexuality, with some attention to his writings on the history of ancient conceptualizations of sex. How should a history of sexuality take into account scientific theories, social relations of power, and different experiences of the self? We discuss the contrasting descriptions and conceptions of sexual behavior before and after the emergence of a science of sexuality. Other writers influenced by and critical of Foucault are also discussed.

Krzysztof Kieślowski's The Decalogue and The Double Life of Veronique catapulted the Polish director to the international scene. His subsequent French triptych Blue, White, Red turned out to be his last works that altered his image and legacy to affirm his status as an auteur and a representative of the transnational cinema. We discuss how in his virtual universe of parallel histories and repeated chances, captured with visually and aurally dazzling artistry, the possibility of reconstituting one's identity, triggered by tragic loss and betrayal, reveals an ever-ambiguous reality. By focusing on the filmmaker's dissolution of the thing-world, often portrayed on the verge of vague abstraction of (in)audibility or (un)transparency, this course bridges his cinema with the larger concepts of postmodern subjectivity and possibility of metaphysics. The course concludes with the filmmaker's contribution to world cinema. All along, we read selections from Kieślowski's and Piesiewicz's screen scripts, Kieślowski's own writings and interviews, as well as from the abundant criticism of his French movies. All materials are in English.

What makes it possible for the imagined communities called nations to command the emotional attachments that they do?  This course considers some possible answers to Benedict Anderson’s question on the basis of material from the Balkans. We will examine the transformation of the scenario of paradise, loss, and redemption into a template for a national identity narrative through which South East European nations retell their Ottoman past.  With the help of Žižek’s theory of the subject as constituted by trauma and Kant’s notion of the sublime, we will contemplate the national fixation on the trauma of loss and the dynamic between victimhood and sublimity.

This course is an examination into the ways in which theorizations of trans identity have been bound to discourses concerning cyborgs and cybernetics. On one hand, we will look into the ways in which medico-technological discourses have inscribed and produced the limits for conceptualizing trans-ness. On the other, we will examine how trans self-narratives have mobilized cybernetic language to parasitically produce autonomous discourses. The over-arching questions of this class will be: how should we engage concepts, such as the cybernetic and the prosthetic, that have been used towards the disenfranchisement of trans identities, while simultaneously have been re-inscribed as emancipatory concepts? How should we tell the histories of these discourses? How do they affect, produce, contain, and enliven contemporary worlds of trans identities and existences?

This course will, from its onset, be interdisciplinary in nature, both in terms of the academic disciplines from which we choose our texts (trans theory, queer theory, critical race theory, psychoanalysis, philosophy, new media theory, literary criticism, etc.) and also through an engagement with various genres and media, engaging fiction, film and visual art, as ways to further expand and develop our critical investigations. Readings will include works by figures such as Karen Barad, Jean Baudrillard, Mel Chen, Gilles Deleuze, Donna Haraway, Beatriz Preciado, Jasbir Puar, Gayle Salamon, Sandy Stone, Alexander Weheliye.

This course provides a survey of the history of cinema from its emergence in the mid-1890s to the transition to sound in the late 1920s. We will examine the cinema as a set of aesthetic, social, technological, national, cultural, and industrial practices as they were exercised and developed during this 30-year span. Especially important for our examination will be the exchange of film techniques, practices, and cultures in an international context. We will also pursue questions related to the historiography of the cinema, and examine early attempts to theorize and account for the cinema as an artistic and social phenomenon.

This course examines the development of the Latin elegy from Catullus to Ovid. Our major themes are the use of motifs and topics and their relationship to the problem of poetic persona.