Undergraduate

Recently republished in 2022, Lion Feuchtwanger’s 1933 best-seller The Oppermanns depicts a Jewish family who grapple with the Nazi seizure of power in Germany. Like many at the time, the Oppemanns think that the regime will be short-lived, but Feuchtwanger’s prescient novel anticipates the entrenchment of Nazi power and the creeping curtailment of Jewish life in Germany with uncanny accuracy—from the thugs attacking individuals to the Ministry of Propaganda’s demonization of Jewish Germans in mass media, via the enforced “Aryanization” of businesses required to employ non-Jewish managers. Discussion will focus on Feuchtwanger’s nuanced portrayal of the distinct ways in which family members react to these assaults, supplemented by historical texts, including the analysis of Nazi language (1946) by Victor Klemperer, a Jewish-German survivor, and documents in the Weimar Republic Sourcebook

This course will consider the major poems of Baudelaire as well as the chaotic political landscape that he inhabited.

This course offers a foundation in queer theory. In order to understand the contested definitions of the term “queer” and explore the contours of the field’s major debates, we will work to historicize queer theory’s emergence in the 1980s and 1990s amidst the AIDS crisis. Reading texts by key figures like Foucault, Sedgwick, Butler, Lorde, Bersani, Crimp, Warner, Halperin, Dinshaw, Edelman, Anzaldúa, Ferguson, and Muñoz in addition to prominent issues of journals like GLQ, differences, and Signs, we will approach these pieces as historical artifacts and place these theorists within the communities of intellectuals, activists, and artists out of which their work emerged. We will, thus, imagine queer theory as a literary practice of mournful and militant devotion, trace queer theory’s relationship to feminism and critical race theory, critique the hagiographic tendency of the academic star system, and interrogate the assumptions of queer theory’s secularity.

Vampires, fire-breathing dragons, vengeful mountain nymphs. 7/8 and other uneven dance beats, heart- rending laments, and a living epic tradition. This course is an overview of Balkan folklore from historical, political, and anthropological perspectives. We seek to understand folk tradition as a dynamic process and consider the function of different folklore genres in the imagining and maintenance of community and the socialization of the individual. We also experience this living tradition firsthand through visits of a Chicago- based folk dance ensemble, "Balkan Dance."

This course aims at an in-depth examination of the "dark side" of modernism through closing readings of various kinds of outsiders, misfits, and sociopaths in literature and film, with a focus on but not limited to East Asia and the 20th Century. If being "social" amounts above all to an acknowledgement of the plurality of human lives and an acquiescence to live together with others, what then does it mean to reject such a fundamental premise? In this course, we will investigate a variety of fictional characters who cannot or will not conform with the implicit conventions of communal life-criminals, lunatics, or simply people who find themselves struggling to sympathize with the feelings of others, etc. In tackling the aforementioned questions, our inquiry will be guided by a range of distinct methodological approaches such as moral philosophy, psychoanalysis, and queer theory. Readings may include works by Lu Xun, Ma-Xu Weibang, Yi Sang, Kinugasa Teinosuke, Edogawa Rampo, Akutagawa Ryūnosuke, Dazai Osamu, Mishima Yukio, Abe Kōbō, Murakami Haruki, Fyodor Dostoevsky, Herman Melville, Samuel Beckett, Gaston Leroux, Aimé Césaire, and Derek Jarman. All readings will be in English.

This course introduces students to the various theories of militant or "fighting" cultures engendered by global struggles for decolonization throughout the twentieth century. Beginning with the global upswell of revolutionary movements at the end of World War I, intellectuals and artists from the colonial world began to enlist poetry, novels, art, music and other cultural forms in the struggle for decolonization. At the same that culture was instrumentalized for larger political struggles, meanwhile, "culture" itself was increasingly understood as a distinct site of struggle: The decolonization of culture was part and parcel of the decolonization of peoples. This course traces this evolving global discourse linking culture and decolonization across the twentieth century, exploring how writers and activists from the colonial world articulated a new cultural agenda within the context of broader programs of social transformation. Throughout we will contend with key questions and dilemmas faced by culture producers in the age of decolonization: What is the role of artists in a revolution? How does culture serve as a staging-ground larger political and ideological conflicts? What are the promises and pitfalls of treating decolonization as a metaphor? To answer these and other related questions, we will draw on case studies from the Harlem Renaissance, the Proletarian Literature movement, Haitian and Latin American Indigenist movements, Négritude, and Third Worldism.

Is race an anachronistic expression in Renaissance Europe? What are the stakes for studies of race in premodern periods? How did early modern race operate differently from contemporary racialized epistemologies and in what ways are we continuously influenced by the premodern times? This course tackles these questions by foregrounding two vocabularies in the early modern racial paradigm: gender and transnational constructions. We will read primary texts set and produced both in Renaissance Europe and its colonies in Africa, Americas, and Asia, and ask: how did the structural relationship of race and gender work in tandem with, or against each other? What roles did transnational and transcultural exchanges such as Christian missions, colonization, commerce, and slave trade play in the ideations of race? We will pay close attention to fictionalized female characters and women writers, ranging from the desired white beauties in Shakespeare’s Othello and Cervantes’s The Bagnios of Algiers, to Nahua (Mexico) and Visayan (the Philippines) women in The Florentine Codex and The Boxer Codex, to the spiritual diaries of indigenous and black nuns in the Colonial Spanish America, to Aphra Behn’s depiction of Oroonoko’s execution in Surinam, and finally to the unwritten disposable lives of enslaved black women in the Atlantic slave trade.

In 1959, C. P. Snow expressed his anxiety over the widening “gulf” between the literary and the scientific cultures of his time, attributing such a phenomenon to the pressure of industrialization and the application of advanced, systematic techniques to industry. Yet while science and literature started to submit themselves to growingly different logic, epistemology, and modes of production in the twentieth century, they became inextricably linked at the same time: contemporary scientific discoveries served as a major source of literary inspiration; scientists explored the possibilities of approaching their projects through literary strategies. In this course, we will read theories and practices by major poets, literary critics, and scientists during the twentieth century. Through analyzing how the tension described by Snow is rendered, problematized, and transformed, especially through the medium of poetry, we will study how poetry and science provide each other with new vocabularies, forms, and critical angles to address modern experience. While we will concentrate on endeavors by anglophone poets and scientists, we will also bring a few international cases (in translation) into discussion to establish a comparative perspective. Possible scientists include Henri Poincaré, Alfred North Whitehead, and Brian Rotman; possible poets and critics include I. A. Richards, Ezra Pound, William Carlos Williams, Hart Crane, Laura Riding, Wallace Stevens, Muriel Rukeyser, and Lyn Hejinia

This seminar will introduce issues of gender, class, post-war trauma and the so-called Wirtschaftswunder (“economic rise”) in West Germany during the decades following World War II. To approach these, we will read the novel Das verborgene Wort (The Hidden Word) by poet and novelist Ulla Hahn (b. 1945) who ranks among Germany’s best-known living writers. Despite the acclaim it has received, Hahn’s work remains largely untranslated and thus little known outside the German-speaking world. In this course, we will read her first autobiographical novel slowly and carefully in German, paying particular attention to the nuances of Hahn’s poetic prose style. Since the novel contains sentences in the Rhineland dialect (Rheinländisch/Kölsch), the instructor will provide explanations and a brief introduction to the regional culture.

The Arabian Nights, or A Thousand and One Nights, has had a profound influence on global culture. A shaping force in the formation of European Orientalism and Romanticism in the eighteenth and early nineteenth centuries, the work has since inspired a vast array of writers, filmmakers, and artists across the world. We will begin this course by studying the Nights as a product of the medieval Arabo-Islamic world, examining the major themes and formal features of the work. We will then investigate the translation and reception of the Nights in early modern Europe, before analyzing a selection of short stories, films, and novels based on or inspired by the Nights spanning the nineteenth to the twenty-first century. These will include stories by Edgar Allen Poe and Jorge Luis Borges; films by Masaki Kobayashi and Pier Paolo Pasolini; and novels by one or more of Naguib Mahfouz, Radwa Ashour, Salman Rushdie, and Isabel Allende. The primary texts will be supplemented with readings concerning narratology and the art of storytelling, the fantastic and magic realism, and contemporary debates about world literature. All texts will be read in translation, but students with knowledge of Arabic will be encouraged to participate in additional sessions devoted to reading parts of the Arabic texts in the original.