CPLT BC3001: Introduction to Comparative Literature
Introduction to methods and topics in the study of literature across national, linguistic, and cultural boundaries, across historical periods, and in relation to other arts and disciplines. Readings are selected and juxtaposed in consecutive units designed to give students training in the practice of comparative criticism and to foster, through praxis, reflection on underlying theoretical and methodological questions. We will study works of poetry, drama, prose fiction, theory, and criticism. Topics include: the role of language and literature in different cultures and historical periods, the relationship between genres, the circulation of literary forms, literature and translation, post-colonial literature; East-West literary relations, the relationship of literature to other arts, and the relationship between literature and theory.
CPLT BC3110: Introduction to Translation Studies
Prerequisites: Completion of the Language Requirement or equivalent
Introduction to the major theories and methods of translation in the Western tradition, along with practical work in translating. Topics include translation in the context of postcolonialism, globalization and immigration, the role of translators in war and zones of conflict, gender and translation, the importance of translation to contemporary writers.
CPLS BC3140: Europe Imagined: Images of the New Europe in 20th-Century Literature (CANCELLED)
Compares the diverse images of Europe in 20th-century literature, with an emphasis on the forces of integration and division that shape cultural identity in the areas of travel writings and transculturation/cosmopolitanism; mnemonic narratives and constructions of the past; borderland stories and the cultural politics of translation. Readings include M. Kundera, S. Rushdie, H. Boell, C. Toibin and others.
CPLS BC3144: Stories and Storytelling: Introduction to Narrative
Study of the forms and functions of narrative through engagement with the modes of detection, confession, and digression. You will examine how storytelling takes place in various media and genres and across fiction and non-fiction, studying short stories, a novella, novels, a poem, films, scholarly essays, autobiography, and a psychoanalytic case history. Attention to cultural differences, historical shifts, and philosophical questions such as the writing of the self, the nature of memory, the experience of time, and the relationship of truth to fiction. Readings include Doyle, Borges, Sophocles, Freud, Hitchcock, Augustine, Coleridge, McEwan, the compilers of The Arabian Nights, Diderot, Calvino, and Lispector.
CPLS BC3161: Myths of Oedipus in Western Drama and Philosophy (CANCELLED)
This course examines the myth of Oedipus in a range of dramatic and theoretical writings, exploring how the paradigm of incest and parricide has shaped Western thought from classical tragedy to gender studies. Authors studied: Sophocles, Seneca, Corneille, Dryden, Voltaire, Hölderlin, Hegel, Wagner, Nietzsche, Freud, Klein, Deleuze, Guattari, and Butler.
CPLS GR4152: Politics of Performance (NEW!!!)
Open to undergraduates.
AHUM UN1400 - Colloquium on Major Texts
This course explores the core classical literature in Chinese, Japanese and Korean Humanities. The main objective of the course is to discover the meanings that these literature offer, not just for the original audience or for the respective cultures, but for us. As such, it is not a survey or a lecture-based course. Rather than being taught what meanings are to be derived from the texts, we explore meanings together, informed by in-depth reading and thorough ongoing discussion.
CLRS UN3304: How to Read Violence - The Literature of Power, Force and Brutality from 20th Century Russia and America
Violence is a central element in much narrative art, but an experience as visceral and physical as violence does not easily translate to aesthetic works. This course seeks to understand how authors and filmmakers have grappled with this problem, how they have mobilized the forms and devices of literature and film to communicate the experience of violence to their audiences. We will discuss how fragmentation, montage, language breakdown and other techniques not only depict violence, but reflect that violence in artistic forms. We will consider novels, poems, and films from 20th-century Russia and America, two societies which, while following distinct paths, engaged in the major violent conflicts of the last hundred years, from anarchism and revolution, to accelerated modernization, to entrenched societal injustice.
ENGL BC3192 - Estrangement and Exile in Global Novels
"I would never be part of anything. I would never really belong anywhere, and I knew it, and all my life would be the same, trying to belong, and failing. Always something would go wrong. I am a stranger and I always will be, and after all I didn't really care."-Jean Rhys. This course examines the experiential life of the novelist as both artist and citizen. Through the study of the work of two towering figures in 20th century literature, we will look at the seemingly contradictory condition of the novelist as both outsider and integral to society, as both observer and expresser of time's yearnings and passions. In different ways and with different repercussions, Jean Rhys and Albert Camus were born into realities shaped by colonialism. They lived across borders, identities and allegiances. Rhys was neither black-Caribbean nor white-English. Albert Camus could be said to have been both French and Algerian, both the occupier and the occupied, and, perhaps, neither. We will look at how their work reflects the contradictions into which they were born. We will trace, through close reading and open discussion, the ways in which their art continues to have lasting power and remain, in light of the complexities of our own time, vivid, true and alive. The objective is to pinpoint connections between novelistic form and historical time. The uniqueness of the texts we will read lies not just in their use of narrative, ideas and myths, but also in their resistance to generalization. We will examine how our novelists' existential position, as both witnesses and participants, creates an opportunity for fiction to reveal more than the author intends and, on the other hand, more than power desires.