Undergraduate

May be taken in sequence with CMLT 20600/30600 or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. This course is a survey of major trends and theatrical accomplishments in Western drama from the ancient Greeks through the Renaissance: Aeschylus, Sophocles, Euripides, Aristophanes, medieval religious drama, Marlowe, Shakespeare, and Jonson, along with some consideration of dramatic theory by Aristotle, Horace, Sir Philip Sidney, and Dryden. The goal is not to develop acting skill but, rather, 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 other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

PQ: Persian 20103 or equivalent. Introduction to the popular Persian romance of the 12th century, Samak-e 'ayyar, featuring a close reading of selected passages. Questions of genre; concepts of masculinity; chivalry and the character of the 'ayyar; the relationship of Samak to similar works in the Islamicate literatures as well as in the European traditions; oral story-telling and the performance context; folklore motifs; etc.

This course will examine some of the literary traditions emerging out of modern Afghanistan and Pakistan focusing on different regional representations. In addition we will explore popular culture through film and the arts. Through an examination of Persian, Balochi, Sindhi, Pashto, Urdu, Punjabi short stories, poems, and novels we will explore the influences of regional languages on each other and examine the contemporary place of regional languages and literatures in a world of national and global literatures. How do the different regional literary traditions fit in with the idea of a national literature and a national language? How have the modern nation states of Pakistan and Afghanistan attempted to promote language, literature and particular cultures? What is the historical connection between the state and the arts in the region? What role does literature and popular culture play in the consolidation of regional, national and global identities? We will cover a wide range of materials in this course, ranging from oral and literary narratives of resistance, to Sufism, to the short story and novel, to truck art, cinematic currents in the region and global representations of the region in film. We will combine primary literary readings in translation (or in the original languages for those with the linguistic skills) with historical and/or theoretical readings and viewing of films. One of the main themes of this course will be the role of literature and the arts in making available to us a wide range of emotions dealing with tragedy, war, displacement, political instability, and regional, and national identities.

This course explores a set of imaginative, anthropological, and economic writings about money.  Topics will include economic rhetoric and genres, market values, housework, and ancient and modern economies.  We will read Gide’s The Counterfeiters, Adiga’s White Tiger, biographies of coins, Chinese economic dialogues, and watch an episode of Suze Orman’s Money Class. Critical readings will include Mauss, Simmel, Marx, Goux, Rubin, Spivak.

This course will examine texts like Shakespeare’s The Tempest, Defoe’s Robinson Crusoe, and Melville’s Typee alongside Reinaldo Arenas’s Farewell to the Sea (Cuba), Agualusa’s Creole (Angola), and Amitav Ghosh’s Sea of Poppies amongst others as transnational representations of the sea and human relationships to it. We will ask how these stories of oceanic journeys and the transnational affinities they produce generate accounts of language and history, and we will think comparatively about how the dangers these texts associate with the sea –such as shipwreck, cannibalism, death and loss –figure alongside its potentials –as a means of mobility and freedom, as a site of friendship and understanding. Discussing these fictional texts alongside theoretical works by writers such as Paul Gilroy, Mikhail Bakhtin, Isabel Hofmeyr, Emily Apter, and Michel Foucault, we will try to determine what new theoretical concepts and affiliations emerge when we untether these fictions from their national literary traditions. Students will have the opportunity to read originals in French, Spanish and Portuguese.

A reading of Maurice Merleau-Ponty's Phenomenology of Perception (1945) with appropriate reference to its philosophical, psychological and even fictional predecessors. The course should be of interest to those working in the philosophy of consciousness, mind-body relations, critical theory, history of science, and even ethics and aesthetics. Reading ability in French encouraged but not required; we will use the original text and the translation by Colin Smith.

As the study of relations among the world's literary and other expressive,traditions, comparative literature confronts a host of questions. What do,works from different times and places have in common? How can we meaningfully assess their differences? How do we account for systematic and extra-systemic features of literature? Is translation ever adequate? This course offers consideration of these and related issues through influential critical examples. This course is the first of a two-quarter sequence required for all majors in Comparative Literature.

This interdisciplinary course focuses on the literary dimension of the gospels and on their artistic reception in modern culture. Starting from a presentation of narrative theory, it asks whether religious and secular narratives differ in structure, and illuminates narrative conventions of different media and genres. Both thematic aspects (what aspects of the gospels are selected for development in modern adaptations?) and features of presentation (how do different media and styles transform similar content?) will be considered. Principal works include Johann Sebastian Bach, The Passion According to St. Matthew (1720); Ernest Renan, The Life of Jesus (1865); Nikos Kazantzákis, The Last Temptation of Christ (1955); Pasolini, The Gospel According to Matthew (1964); José Saramago, The Gospel According to Jesus Christ (1991); Norman Mailer, The Gospel According to the Son (1997); and Monty Python, Life of Brian (1979). Secondary readings include Mieke Bal, Narratology, and Bultmann, History of the Synoptic Tradition.

This class will explore three sets of paired authors from ancient China and Greece: Herodotus/Sima Qian; Plato/Confucius; Homer/Book of Songs.  Topics will include genre, authorship, style, cultural identity, and translation, as well as the historical practice of Greece/China comparative work.

This course takes a number of variations on the myth of Orpheus as the basis for an exploration of critical problems surrounding medium specificity, interdisciplinary study, and topics arising from cultural studies such as race and gender. We will begin with early representations of the myth in Ovid and Virgil before proceeding to more recent interpretations in the work of Rilke, H.D., Jean Cocteau, Tennessee Williams, Salmon Rushdie, and Neil Gaiman. Creative works will be considered alongside critical texts by Roland Barthes, Maurice Blanchot, André Bazin, Homi Bhabha, Kaja Silverman, Frederic Jameson, and Lauren Berlant. In keeping with the interdisciplinary theme of the course, film showings will be held regularly and music and visual materials will frequently figure as objects of study.