All texts will be available in English. Students with reading proficiency in Yiddish are encouraged to read the Yiddish texts in the original. The course will develop a multilingual model for the study of American literature by examining Yiddish and English literature by Jewish writers in America after Despite the fact that Jewish literature in America exists in several languages, the study of Jewish American literature is overwhelmingly defined by an English-only approach.
The main goal of the course is to expand the conception of the field of Jewish American literature from English-only to English-plus. In discussing novels and short stories by bilingual writers such as I. Singer and Scholem Asch, we will discuss the permeable borders that existed between American literature in Yiddish and English after The course will address how the Yiddish literary landscape influenced the resurgence of Jewish American literature in the s and s as represented by the works of Saul Bellow, Philip Roth, Cynthia Ozick and Bernard Malamud. Singer with more recent works in the genre.
Finally, we will examine how Dara Horn's In the Image and Pearl Abraham's The Seventh Beggar have renewed the engagement with the Yiddish literary tradition among a young generation of Jewish American writers. Primary texts: I. This seminar examines the implications of modern theories of multiculturalism and world systems for the study of classical literatures.
It asks students to historically and theoretically explore the relation of classical literatures and ancient cultures to area studies, national and comparative literature departments, as well as to disciplines such as anthropology, linguistics and archaeology. How does scholarship on ancient cosmopolitanism, tracing ever more extensive networks of material and linguistic exchange, compel us both to reread ancient texts and to rethink their relation to the present?
Who determines to whom a text or cultural artifact belongs? The class is primarily organized around theoretical readings relating to a set of problems e.
PQ: Open to graduate students only. PQ: Reading knowledge of one modern European language is required.
This course, intended for M. Students will give one or two oral reports and write one essay on a poet of their choosing. This seminar will analyze the concepts of space, place, and landscape across the media painting, photography, cinema, sculpture, architecture, and garden design, as well as poetic and literary renderings of setting, and virtual media-scapes.
Topics for discussion will include the concept of the picturesque and the rise of landscape painting in Europe; the landscape garden; place, memory, and identity; sacred sites and holy lands; regional, global, and national landscapes; embodiment and the gendering of space; the genius of place; literary and textual space. Course requirements: 2 oral presentations: one on a place or representation of a place ; the other on a critical or theoretical text.
Final paper. Consent of Instructor Required: Submit a statement of your proposed seminar project to wjtm uchicago. Statements should be one page single-spaced, and be accompanied by a short list of the texts you regard as most crucial to your research. Indicate what department and what level you are in. We will explore new tendencies in the cinema of Portugal, Brazil and Portuguese-speaking African countries such as Mozambique, Angola and Guinea-Bissau. Under analysis will be recent productions in a variety of formats and genres such as fiction and documentary, publicity, and TV series.
We will assess the contributions of these cinematic objects to contemporary socio-political discourse focusing both on the Portuguese-speaking world and beyond. Course conducted in English. 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. This course will investigate the complex relationship between South East European self-representations and the imagined Western gaze for whose benefit the nations stage their quest for identity and their aspirations for recognition. We will focus on the problems of Orientalism, Balkanism and nesting orientalisms, as well as on self-mythologization and self-exoticization.
We will also think about differing models of masculinity, and of the figure of the gypsy as a metaphor for the national self in relation to the West. The course will conclude by considering the role that the imperative to belong to Western Europe played in the Yugoslavian wars of the s. Open only to college students. PQ: Prior philosophy course or consent of instructor. 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.
These works will be read against the background of the poetry of previous literary generations of writers such as H. Through close reading of the poems, the course traces the unique style and aesthetic of each poet, and aims at presenting a wide picture of contemporary Hebrew poetry. On the basis of the works studied we shall endeavor to develop a concept of modernism sufficiently capacious to embrace radically opposed literary and cultural agendas. Readings and discussion in German.
Themes include folklore and anthropology, cultural nationalism, postcolonialism, literary and cultural studies, community activism, feminism, sexuality, and the emergence of a pan-Latino culture. This course critically examines European fascination with non-Western peoples, their bodies and sexual practices from the late Renaissance to the 20th century.
Along with select incursions into visual art and film, the class will focus on English and French literature that imagines cross-cultural contact in its most shocking form: interracial sexuality. We will try to assess the political questions - race fetishism, the ethics of desire, economic exploitation, to name but a few - these representations provoke.
In addition to this literary output, we will examine European proto-anthropology that detailed the sexual aberrations of subaltern peoples. We will consider the role both types of discourses had in stimulating interest in imperial exploration and how the logic of territorial capture dovetailed with the masculinist metaphor of sexual conquest.
We will take recent contributions by postcolonial, feminist, queer and Marxist critics as a starting point for discussion and for formulating our own views on this problematic.
All works will be available in English, but students with a reading knowledge of French will be encouraged to read French works in the original. Bront, Haggard, Gide and Forster. This course enquires into the work of power that is done by the portrait of the powerful.
We will interrogate the portraiture of the President of the United States and of those who would be President not simply for its systems of meaning, its legibility, nor only in the spirit of diagnostic criticism, but most crucially for the portraiture's efficacy. This last is the most treacherous question of all for image studies, and it is the one we will articulate and pursue: What is it that portraits, in and of themselves, are able to do?
What is the power of the portrait of the President? We will thus consider what we mean by power and by representation, and how the portrait tradition effects both. Louis Marin's The Portrait of the King will offer us a bundle of rich theoretical premises and analytical models. Other readings will include portrait theory, literature on US presidential portraiture, and a minor critical tradition linking the portrait of the monarchic bust to the portrait of the political ruler Foucault on coins and caricatures; Barthes on election posters; Fresnault-Deruelle on French presidential portraiture.
We will focus on four contemporary genres of representation of the President and of the presidential: money; election posters; official presidential portraits; and television talking heads. All students will be enrolled in the two hour Monday class, in addition to which they will choose between one of two meeting times on Wednesdays.
Students wishing to read in English only will need to attend the session on Wednesdays. Students who are literate in French and who wish to take the course with a French language component will need to attend the session on Wednesdays, where they will read the key set text in the French original Louis Marin's Le Portrait du roi , along with a selection of other set texts in French e.
Barthes, Foucault. The choice of session on Wednesdays is workload neutral. This course seeks to trace the narrative dynamics and literary means of Post-Holocaust Hebrew Literature. The course focuses on works that break with the conventions of realism, and study the specific forms and means by which each work does so. In the center of the discussion will stand questions such as: what are the constraints of the literary discourse on the Holocaust, what is the role of anti-realist depiction of the Holocaust, and in what ways the fantastic threatens the collective memory.
We will read works by writers such as: S. Classes will be conducted in English, but students with knowledge of Hebrew are encouraged to read texts in the original. This course explores the curious proximity between literature and the discourse on madness in the modern era. Discussion topics include definitions of insanity and their evolution across time, insane or deviant characters and their function in drama and fiction, the topos of the poet as madman, and the poetics of madness. The Silk Road is a modern idealization of a pre-modern crossing of peoples, ideas, and cultural traditions across a Eurasian continent.
The array of texts that falls under this rubric has historically grown from a few ancient Greek and Chinese narratives to embrace any number of works that exemplify or narrate cross-cultural encounters between a notional East and West. This course introduces students to some basic problems in cross-cultural comparative reading through the example of the Silk Road. We will look closely at a selection of Silk Road fictions and their relation to multiple literary or aesthetic traditions, and consider the ways in which writers have used, translated, and even forged ancient manuscripts in constructing cross-cultural history.
We will also consider theories of world literature, cosmopolitanism, and bilingual and bicultural texts. Knowledge of classical Greek or Chinese is helpful but not required. This course concentrates on works of the classic period from the s to the s. It does, however, begin with representative authors from the nineteenth century e. Rider Haggard , as well as some works from the early twentieth century e. Lovecraft's Mountains of Madness.
Worth special attention are authors e. Lewis and Ursula LeGuin who worked in both genres at a time when they were often contrasted. The two major texts discussed include one from each genre i. Most texts come from the Anglo-American tradition, with some significant exceptions e.
This course examines a series of major twentieth-century works of fiction that explore the nature of human freedom. Our concern is not only to delineate the theme of freedom but also to attempt to understand the link between that theme and the fictional form the author chooses. A further concern is the position of the reader as it is figured in the texts examined.
Eliot, Maurice Blanchot, and Imre Kertsz. PQ: Reading knowledge of one modern European language is required; Consent of instructor, outside students will be accepted, with the class size limited to 15 students, as long as the majority of the students are CompLit Grad students and PhD students in English Language and Literature. Consent of instructor, outside students will be accepted, with the class size limited to 15 students, as long as the majority of students are CompLit Grad students and PhD students in East Asian Language and Civilization and Classics.
This course will introduce the concept of mimesis, from early formulations by Plato and Aristotle through reformulations in recent literary theory, especially in relation to non-western aesthetic traditions. Other readings will include Auerbach, Derrida, Saussy, and Taussig. Students are encouraged to write final papers on their own research projects while engaging with issues discussed through the course.
This course covers the classics in the field of marxist social theory Marx, Engels, Lenin, Gramsci, Reich, Lukacs, Fanon as well as key figures in the development of Marxist aesthetics Adorno, Benjamin, Brecht, Marcuse, Williams and recent developments in Marxist critiques of new media, post-colonial theory and other contemporary topics.
It is suitable for graduate students in literature depts. It is not suitable for students in the social sciences. This course traces the history of Russian debates about gender and sexuality from the 19th through the 21st centuries as registered in literary, visual, political, and material culture. Course topics include: the emergence of Russian women as writers in the s; gender roles and radical politics in the s and s; decadent art and homoeroticism in the s and s; utopian social goals and revolutionary sexualities in the s; shifting Soviet and post-Soviet constructions of gender and sexuality; Russian feminisms and nascent queer movements.