A reading of some central texts of Freud (both early and late) in the context of a study of the role of psychoanalysis in contemporary European philosophy. Other authors to be read may include Foucault, Deleuze and Guatteri, Marcuse, and Derrida.
In this course, we will examine the works of major writers from former Yugoslavia, Bulgaria, Albania, Rumania, Greece, and Turkey from the twentieth and twenty-first centuries. We will examine how their works grapple with the issues of national identity and their countries' place in the Balkans and in Europe, with the legacies of the Austro-Hungarian and the Ottoman Empires, with socialism and its demise, with emigration, as well as simply with the modern experience of being. We will compare the conceptual and mythic categories through which these works make sense of the world and argue for and against considering such categories constitutive of an overall Balkan sensibility. The readings will include works by Orhan Pamuk, Ivo Andri, Norman Manea, Mesa Selimovi, Danilo Kis, Miroslav Krle a, Ismail Kadare and others.
The course will examine the novels of arguably the two most important Jewish novelists of the twentieth century. Isaac Bashevis Singer's debut Satan in Goray (1933) was followed by many novels in various sub-genres: family chronicle, historical, and autobiographical. Singer's novels were initially serialized in the Yiddish press in Poland and after 1935 in the US, and then adapted in English translation. Saul Bellow's main contribution was his novels from his debut Dangling Man (1944) to Ravelstein (2000). Using current methodological approaches to the novel as presented in Franco Moretti's The Novel (2006), we will discuss how Bellow and Singer renewed novelistic forms and styles. The course will discuss the main features of the Jewish novel in the twentieth century (Franz Kafka, Joseph Roth, and Shmuel Agnon) that influenced Bellow and Singer.
This course expands the conception of the field of Jewish American literature from English-only to English-plus. We examine how Yiddish literary models and styles influenced the emergence and development of Jewish American literature. We also discuss how recent Jewish American novels have renewed the engagement with the Yiddish literary tradition. Readings are by Abraham Cahan, Henry Roth, I. B. Singer, Chaim Grade, Saul Bellow, Cynthia Ozick, Philip Roth, Bernard Malamud, Grace Paley, Jonathan Safran Foer, Pearl Abraham, and Dara Horn.
This course will provide a close reading of Cervantes' Don Quijote and discuss its links with Renaissance art and Early Modern narrative genres. On the one hand, Don Quijote can be viewed in terms of prose fiction, from the ancient Greek romances to the medieval books of knights errant and the Renaissance pastoral novels. On the other hand, Don Quijote exhibits a desire for Italy through the utilization of Renaissance art. The course will be taught in English. Spanish majors and Spanish graduate students will read the text in the original and use Spanish for the course assignments.
We study the distinctions between myth and fairy tale, and then focus on collections of modern Western European fairy tales, including those by Straparola, Basile and Perrault, in light of their contemporary rewritings of classics (Angela Carter, Calvino, Anne Sexton). We analyze this genre from diverse critical standpoints (e.g., historical, structuralist, psychoanalytic, feminist) through the works of Croce, Propp, Bettelheim and Marie-Louise Von Franz. Class conducted in English.
This course offers a close reading of Giambattista Vico's masterpiece, New Science (1744) – a work that sets out to refute all opinions hitherto held about the principles of humanity. Vico, who is acknowledged as the most resolute scourge of any form of rationalism, breathed new life into rhetoric, imagination, poetry, metaphor, history, and philology in order to promote in his readers that originary wonder and pathos which sets human beings on the search for truth. However, Vico argues, the truths that are most available and interesting to us are the ones humanity authored by means of its culture and history-creating activities. For this reason the study of myth and folklore as well as archeology, anthropology, and ethnology must all play a role in the rediscovery of man. The New Science builds an alternative philosophy for a new age and reads like a novel of formation recounting the (hi)story of the entire human race and our divine ancestors. In Vico, a prophetic spirit, one recognizes the fulfillment of the Renaissance, the spokesperson of a particular Enlightenment, the precursor of the Kantian revolution, and the forefather of the philosophy of history (Herder, Hegel, and Marx). The New Science remained a strong source of inspiration in the twentieth century (Cassirer, Gadamer, Berlin, Joyce, Beckett, etc.) and may prove relevant in disclosing our own responsibilities in postmodernity. Course taught in English.
The first part of this course considers Martin Heidegger's critique of humanism and various attempts to formulate alternative versions of humanism. We also study Emmanuel Lévinas' conception of ethics as first philosophy and its effect on political philosophy and philosophy of religion, Jacques Derrida's politics of hospitality and cosmopolitanism, and Pierre Hadot's conception of spiritual exercises and philosophy as a way of life. In the second part of this course, we discuss the status of ethical, political, and religious concepts after the experience of Auschwitz. In addition to Primo Levi's If This Is a Man , other readings may come from Lévinas, Robert Antelme, Sara Kofman, and Hans Jonas. Texts in English and the original.
We will explore the Baroque interest in meta-theatricality (the play in the play) by concentrating on Pierre Corneille's 1636 L'illusion comique. The play will be situated in the theatrical, literary and artistic corpus of the seventeenth century, in France (Rotrou, Moliere, Descartes, Poussin) as well as in Spain (Calderon, Velazquez) and beyond. We will also reflect on the contemporary adaptation of baroque theatre, in particular through the Court Theatre's preparation for a production of Tony Kushner's version of Corneille's play. Director Charles Newell will be a guest in the class, and students will be engaged in the dramaturgical process. Reading knowledge of French strongly preferred. Students taking courses for French credit must complete all readings and written work in French.
May be taken in sequence with CMLT 20500/30500 or individually. This course is a survey of major trends and theatrical accomplishments in Western drama from the late seventeenth century into the twentieth: Molière, Goldsmith, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, and Stoppard. Attention is also paid to theorists of the drama, including Stanislavsky, Artaud, and Grotowski. 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 some other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.
