Comparative Literature

Students may complete a major or minor in Comparative Literature.

Co-Directors

Israel Burshatin, Professor and Co-Director of Comparative Literature (Haverford College)

María Cristina Quintero, Chair and Professor of Spanish, Co-Director of Comparative Literature and Co-Director of Romance Languages

Steering Committee

Bryn Mawr College

Elizabeth Allen, Professor of Russian and Comparative Literature on the Myra T. Cooley Lectureship in Russian

Martín Gaspar, Assistant Professor of Spanish (on leave semesters I & II)

Jennifer Harford Vargas, Assistant Professor of English and Co-Director of the Latin American, Latina/o and Iberian Studies Program

Tim Harte, Chair and Associate Professor of Russian

Shiamin Kwa, Assistant Professor of East Asian Studies on the Jye Chu Lectureship in Chinese Studies (on leave semesters I and II)

Roberta Ricci, Chair and Associate Professor of Italian

Azade Seyhan, Fairbank Professor in the Humanities and Chair and Professor of German and Comparative Literature

Haverford

Imke Brust, Assistant Professor of German

Roberto Castillo Sandoval, Associate Professor of Spanish & Comparative Literature

Robert Germany, Assistant Professor of Classics

Maud McInerney, Associate Professor of English

Jerry Miller, Assistant Professor of Philosophy

Deborah Roberts, Professor of Classics and Comparative Literature

Ulrich Schoenherr, Associate Professor of German and Comparative Literature

David Sedley, Associate Professor of French

Travis Zadeh, Assistant Professor of Religion

The study of Comparative Literature situates literature in an international perspective; examines transnational cultural connections through literary history, literary criticism, critical theory, and poetics; and works toward a nuanced understanding of the socio-cultural functions of literature. The structure of the program allows students to engage in such diverse areas of critical inquiry as East-West cultural relations, global censorship and human rights, diaspora studies, film history and theory, and aesthetics of modernity. Therefore, interpretive methods from other disciplines also play a role in the comparative study of literature; among these are anthropology, ethnology, philosophy, history, history of art, religion, classical studies, area studies (Africana studies, Middle Eastern studies, Latin American studies, among others), gender studies, and other arts.

Comparative Literature students are required to have a reading knowledge of at least one foreign language adequate to the advanced study of literature in that language. Some Comparative Literature courses may require reading knowledge of a foreign language as a prerequisite for admission. Students considering graduate work in Comparative Literature should also study a second foreign language.

Major Requirements

Requirements for the Comparative Literature major are COML 200: Introduction to Comparative Literature (normally taken in the sophomore year); six literature courses at the 200 level or above, balanced between two literature departments (of which English may be one)*—at least two of these (one in each national literature) must be at the 300 level or above, or its equivalent as approved in advance by the adviser; one course in critical theory; two electives; COML 398: Theories and Methods in Comparative Literature and 399: Senior Seminar in Comparative Literature.

Students must further complete a writing requirement in the major. Students will work with their major advisors in order to identify either two writing attentive or one writing intensive course within their major plan of study.

*In the case of languages for which literature courses in the original language are not readily available in the Tri-Co, students may on occasion be allowed to count a course taught in English translation for which they do at least part of the reading in the original language.

Honors

Students who, in the judgment of the advisory committee, have done distinguished work in their courses and in the senior seminar will be considered for departmental honors.

Minor Requirements

Requirements for the minor are COML 200 and 398, plus four additional courses—two each in the literature of two languages. At least one of these four courses must be at the 300 level. Students who minor in comparative literature are encouraged to choose their national literature courses from those with a comparative component.

Both majors and minors are encouraged to work closely with the chairs and members of the advisory committee in shaping their programs.

NOTE: Please note that not all topics courses (B223, 299, 321, 325, 326, 340) count toward COML elective requirements. See adviser.

COURSES

COML B200 Introduction to Comparative Literature

This course explores a variety of approaches to the comparative or transnational study of literature through readings of several kinds: texts from different cultural traditions that raise questions about the nature and function of storytelling and literature; texts that comment on, respond to, and rewrite other texts from different historical periods and nations; translations; and readings in critical theory.
Approach: Critical Interpretation (CI)
Units: 1.0
Instructor(s): Mahuzier,B.
(Spring 2017)

COML B225 Censorship: Historical Contexts, Local Practices and Global Resonance

The course is in English. It examines the ban on books and art in a global context through a study of the historical and sociopolitical conditions of censorship practices. The course raises such questions as how censorship is used to fortify political power, how it is practiced locally and globally, who censors, what are the categories of censorship, how censorship succeeds and fails, and how writers and artists write and create against and within censorship. The last question leads to an analysis of rhetorical strategies that writers and artists employ to translate the expression of repression, trauma, and torture into idioms of resistance. German majors/minors can get German Studies credit. Prerequisite: EMLY B001 or a 100-level intensive writing course.
Approach: Cross-Cultural Analysis (CC)
Counts towards: Latin American, Iberian and Latina/o Studies; Middle Eastern Studies
Units: 1.0
Instructor(s): Seyhan,A.
(Fall 2016)

COML B232 Encuentros culturales en América Latina

This course introduces canonical Latin American texts through translation scenes represented in them. Arranged chronologically since the first encounters during the conquest until contemporary times, the readings trace different modulations of a constant linguistic and cultural preoccupation with translation in Latin America. Translation scenes are analyzed through close reading, and then considered as barometers for understanding the broader cultural climate. Special emphasis is placed on key notions for literary analysis and translation studies, as well as for linking the literary text with cultural, social, political, and historical processes. Prerequisites: SPAN B110 and/or B120 (previously SPAN B200/B202).
Approach: Cross-Cultural Analysis (CC)
Units: 1.0
(Not Offered 2016-2017)

COML B293 The Play of Interpretation

Designated theory course. A study of the methodologies and regimes of interpretation in the arts, humanistic sciences, and media and cultural studies, this course focuses on common problems of text, authorship, reader/spectator, and translation in their historical and formal contexts. Literary, oral, and visual texts from different cultural traditions and histories will be studied through interpretive approaches informed by modern critical theories. Readings in literature, philosophy, popular culture, and film will illustrate how theory enhances our understanding of the complexities of history, memory, identity, and the trials of modernity.
Approach: Critical Interpretation (CI)
Counts towards: International Studies
Units: 1.0
(Not Offered 2016-2017)

COML B398 Theories and Methods in Comparative Literature

This course, required of all senior comparative literature majors in preparation for writing the senior thesis in the spring semester, has a twofold purpose: to review interpretive approaches informed by critical theories that enhance our understanding of literary and cultural texts; and to help students prepare a preliminary outline of their senior theses. Throughout the semester, students research theoretical paradigms that bear on their own comparative thesis topics in order to situate those topics in an appropriate critical context.
Units: 1.0
(Not Offered 2016-2017)
COML B399 Senior Seminar in Comparative Literature
Thesis writing seminar. Research methods.
Units: 1.0
Instructor(s): Quintero,M.
(Spring 2017)

COML B403 Supervised Work

Units: 1.0
(Fall 2016)

ARCH B303 Classical Bodies

An examination of the conceptions of the human body evidenced in Greek and Roman art and literature, with emphasis on issues that have persisted in the Western tradition. Topics include the fashioning of concepts of male and female standards of beauty and their implications; conventions of visual representation; the nude; clothing and its symbolism; the athletic ideal; physiognomy; medical theory and practice; the visible expression of character and emotions; and the formulation of the “classical ideal” in antiquity and later times.
Counts towards: Gender and Sexuality Studies
Units: 1.0
Instructor(s): Donohue,A.
(Spring 2017)

ARTW B240 Literary Translation Workshop

Open to creative writing students and students of literature, the syllabus includes some theoretical readings, but the emphasis is practical and analytical. Syllabus reading includes parallel translations of certain enduring literary texts (mostly poetry) as well as books and essays about the art of translation. Literary translation will be considered as a spectrum ranging from Dryden’s “metaphrase” (word-for-word translation) all the way through imitation, adaptation, and reimagining. Each student will be invited to work with whatever non-English language(s) s/he has, and to select for translation short works of poetry, prose, or drama. The course will include class visits by working literary translators. The Italian verbs for “to translate” and “to betray” sound almost alike; throughout, the course concerns the impossibility and importance of literary translation.
Approach: Critical Interpretation (CI)
Units: 1.0
(Not Offered 2016-2017)

CSTS B274 Greek Tragedy in Global Cinema

This is a topics course. Topics vary. This course explores how contemporary film, a creative medium appealing to the entire demographic spectrum like Greek drama, looks back to the ancient origins. Examining both films that are directly based on Greek plays and films that make use of classical material without being explicitly classical in plot or setting, we will discuss how Greek mythology is reconstructed and appropriated for modern audiences and how the classical past continues to be culturally significant. A variety of methodological approaches such as film and gender theory, psychoanalysis, and feminist theory will be applied in addition to more straightforward literary-historical interpretation.
Approach: Critical Interpretation (CI)
Counts towards: Film Studies
Units: 1.0
Instructor(s): Baertschi,A.

Fall 2016: Greek Tragedy in Contemporary Film.

CSTS B375 Interpreting Mythology

The myths of the Greeks have provoked outrage and fascination, interpretation and retelling, censorship and elaboration, beginning with the Greeks themselves. We will see how some of these stories have been read and understood, recounted and revised, in various cultures and eras, from ancient tellings to modern movies. We will also explore some of the interpretive theories by which these tales have been understood, from ancient allegory to modern structural and semiotic theories. The student should gain a more profound understanding of the meaning of these myths to the Greeks themselves, of the cultural context in which they were formulated. At the same time, this course should provide the student with some familiarity with the range of interpretations and strategies of understanding that people of various cultures and times have applied to the Greek myths during the more than two millennia in which they have been preserved. Preference to upperclassmen, previous coursework in myth required.
Units: 1.0
(Not Offered 2016-2017)

EALC B240 Topics in Chinese Film

This is a topics course. Course content varies.
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Counts towards: Film Studies
Units: 1.0
(Not Offered 2016-2017)

EALC B281 Food in Translation: Theory and Practice

This semester we will explore the connections between what we eat and how we define ourselves in the context of global culture. We will proceed from the assumption that food is an object of culture, and that our contemplation of its transformations and translations in production, preparation, consumption, and distribution will inform our notions of personal and group identity. This course takes Chinese food as a case study, and examines the way that Chinese food moves from its host country to diasporic communities all over the world, using theories of translation as our theoretical and empirical foundation. From analyzing menu and ingredient translations to producing a short film based on interviews, we will consider the relationship between food and communication in a multilingual and multicultural world. Readings include theoretical texts on translation (Apter), recipe books and menus, Chinese and Chinese-American literature (Classic of Poetry, Mo Yan, Hong Kingston). Films include Ian Cheney’s “Searching for General Tso,” Wayne Wang’s “Soul of a Banquet” and “Eat a Bowl of Tea,” Ang Li’s “Eat Drink Man Woman,” and Wong Karwai’s “In the Mood for Love.”
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Counts towards: Film Studies
Units: 1.0
(Not Offered 2016-2017)

ENGL B229 Movies and Mass Politics

Movies and mass politics emerged together, altering entertainment and government in strangely similar ways. Fascism and Communism claimed an inherent relation to the masses and hence to movies; Hollywood rejected such claims. We will examine films that allude to Communism and Fascism, seeking to understand how they join in political debates and comment upon the mass experience of movie going.
Approach: Critical Interpretation (CI)
Counts towards: Film Studies
Units: 1.0
(Not Offered 2016-2017)

ENGL B234 Postcolonial Literature in English

This course will survey a broad range of novels and poems written while countries were breaking free of British colonial rule. Readings will also include cultural theorists interested in defining literary issues that arise from the postcolonial situation.
Approach: Critical Interpretation (CI)
Counts towards: Africana Studies
Units: 1.0
Instructor(s): Tratner,M.
(Spring 2017)

ENGL B237 Latino Dictator Novel in Americas

This course examines representations of dictatorship in Latin American and Latina/o novels. We will explore the relationship between narrative form and absolute power by analyzing the literary techniques writers use to contest authoritarianism. We will compare dictator novels from the United States, the Caribbean, Central America, and the Southern Cone.
Approach: Critical Interpretation (CI)
Counts towards: Gender and Sexuality Studies; Latin American, Iberian and Latina/o Studies
Units: 1.0
(Not Offered 2016-2017)

ENGL B279 Introduction to African Literature

Taking into account the oral, written, aural and visual forms of African “texts” over several thousand years, this course will explore literary production, translation and audience/critical reception. Representative works to be studied include oral traditions, the Sundiata Epic, Chinua Achebe’s Anthills of the Savannah, Ayi Kwei Armah’s Fragments, Mariama Bâ’s Si Longe une Lettre, Tsitsi Danga-rembga’s Nervous Conditions, Bessie Head’s Maru, Sembène Ousmane’s Xala, plays by Wole Soyinka and his Burden of History, The Muse of Forgiveness and Ngugi wa Thiong’o’s A Grain of Wheat. We will address the “transliteration” of Christian and Muslim languages and theologies in these works.
Approach: Critical Interpretation (CI)
Major Writing Requirement: Writing Intensive
Counts towards: Africana Studies
Units: 1.0
Instructor(s): Beard,L.
(Spring 2017)

ENGL B345 Topics in Narrative Theory

This is a topics course. Course content varies.
Counts towards: Gender and Sexuality Studies; Latin American, Iberian and Latina/o Studies
Units: 1.0
Instructor(s): Harford Vargas,J.

Fall 2016: Theory of the Ethnic Novel. This course traces the development of the U.S. ethnic novel. We will examine novels by Native Americans, Chicana/os, and African Americans, focusing on key formal innovations in their respective traditions. We will be using – and testing -- core concepts developed by narrative theorists to understand the genre of the novel. We will be using--and testing--core concepts in critical theory to understand the genre of the novel and ethnic literary imaginaries.

ENGL B381 Post-Apartheid Literature

South African texts from several language communities which anticipate a post-apartheid polity and texts by contemporary South African writers which explore the complexities of life in “the new South Africa.” Several films emphasize the minefield of post-apartheid reconciliation and accountability.
Counts towards: Africana Studies
Units: 1.0
Instructor(s): Beard,L.
(Fall 2016)

ENGL B388 Contemporary African Fiction

Noting that the official colonial independence of most African countries dates back only half a century, this course focuses on the fictive experiments of the most recent decade. A few highly controversial works from the 90’s serve as an introduction to very recent work. Most works are in English. To experience depth as well as breadth, there is a small cluster of works from South Africa. With novels and tales from elsewhere on the huge African continent, we will get a glimpse of “living in the present” in history and letters.
Counts towards: Africana Studies
Units: 1.0
(Not Offered 2016-2017)

FREN B213 Theory in Practice:Critical Discourses in the Humanities

An examination in English of leading theories of interpretation from Classical Tradition to Modern and Post-Modern Time. This is a topics course. Course content varies. Prerequisites: FREN 102 or 105.
Approach: Critical Interpretation (CI)
Units: 1.0
Instructor(s): Sanquer,M.

Fall 2016: Critic Approaches to the World. This course will be taught in English and focus on works of French feminist, postcolonial and post-structuralist theory. While our primary critical texts will draw from a particular linguistic tradition (namely French), and more or less distinctly circumscribed fields, we will also look at the broader transcultural and translinguistic influences that brought these “schools” into being and, most importantly, what fields of thinking they have subsequently inspired across language traditions.

FREN B302 Le printemps de la parole féminine: femmes écrivains des débuts

This study of selected women authors from Latin CE-Carolingian period through the Middle Ages, Renaissance and 17th century—among them, Perpetua, Hrotswitha, Marie de France, the trobairitz, Christine de Pisan, Louise Labé, Marguerite de Navarre, and Madame de Lafayette—examines the way in which they appropriate and transform the male writing tradition and define themselves as self-conscious artists within or outside it. Particular attention will be paid to identifying recurring concerns and structures in their works, and to assessing their importance to women’s writing in general: among them, the poetics of silence, reproduction as a metaphor for artistic creation, and sociopolitical engagement. Prerequisite: two 200-level courses or permission instructor.
Counts towards: Gender and Sexuality Studies
Units: 1.0
Instructor(s): Armstrong,G.
(Spring 2017)

FREN B325 Topics: Etudes avancées

An in-depth study of a particular topic, event or historical figure in French civilization. This is a topics course. Course content varies. The seminar topic rotates among many subjects: La Révolution frantaise: histoire, littérature et culture; L’Environnement naturel dans la culture française; Mal et valeurs éthiques; Le Cinéma et la politique, 1940-1968; Le Nationalisme en France et dans les pays francophones; Etude socio-culturelle des arts du manger en France du Moyen Age à nos jours; Crimes et criminalité; Ecrire la Grande Guerre: 1914-10; Le “Rentrée Littéraire; Proust.
Units: 1.0

Spring 2017: Ecrire la Grande Guerre: 1917. 1917 in the history of the so-called “Great War” is known as “l’année terrible” for all participtants : patriotic consensus is gone, moral is low, desertion and mutinies high, “war efforts” wavering; 1917 is also the year Russia switches sides, and the United States enters the conflict. Paying special attention to that year, this course proposes to study the immediate as well as the long lasting impact of WWI on French society, literature, art, history and memory.

FREN B326 Etudes avancées

An in-depth study of a particular topic, event or historical figure in French civilisation. The seminar topic rotates among many subjects: La Révolution française: histoire, littérature et culture; L’Environnement naturel dans la culture française; Mal et valeurs éthiques; Le Cinéma et la politique, 1940-1968; Le Nationalisme en France et dans les pays francophones; Etude socio-culturelle des arts du manger en France du Moyen Age à nos jours; French film.
Units: 1.0
(Not Offered 2016-2017)

FREN B350 Voix médiévales et échos modernes

A study of selected 19th- and 20th-century works inspired by medieval subjects, such as the Grail and Arthurian legends and the Tristan and Yseut stories, and by medieval genres, such as the roman, saints’ lives, or the miracle play. Included are texts and films by Bonnefoy, Cocteau, Flaubert, Genevoix, Giono, Gracq, and Yourcenar.
Units: 1.0
(Not Offered 2016-2017)

GERM B223 Topics in German Cultural Studies

This is a topics course. Course content varies. Recent topics include Remembered Violence, Global Masculinities, and Crime and Detection in German. The current topic will be taught in English with an additional meeting for students taking the class as a German course. Current topic is Remembered Violence. Description: As Germany was rebuilding from two world war wars and the Holocaust, its history was being redefined in an international context where non-Germans were also confronting the legacy of violent conflict with Germany. We will explore the conditions that raise the question of a central feature of memory in the modern era: does a common sense of history emerge from this international dialogue or does the cultural legacy of violence come out of an ongoing contest over divergent memories?
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Units: 1.0
(Not Offered 2016-2017)

GERM B231 Cultural Profiles in Modern Exile

This course investigates the anthropological, philosophical, psychological, cultural, and literary aspects of modern exile. It studies exile as experience and metaphor in the context of modernity, and examines the structure of the relationship between imagined/remembered homelands and transnational identities, and the dialectics of language loss and bi- and multi-lingualism. Particular attention is given to the psychocultural dimensions of linguistic exclusion and loss. Readings of works by Felipe Alfau, Julia Alvarez, Sigmund Freud, Eva Hoffman, Maxine Hong Kingston, Milan Kundera, Friedrich Nietzsche, Salman Rushdie, W. G. Sebald, and others.
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Major Writing Requirement: Writing Attentive
Counts towards: Latin American, Iberian and Latina/o Studies; International Studies
Units: 1.0
Instructor(s): Seyhan,A.
(Spring 2017)

GERM B245 Interdisciplinary Approaches to German Literature and Culture

This is a topics course. Taught in English. Course content varies. Previous topics include, Women’s Narratives on Modern Migrancy, Exile, and Diasporas; Nation and Identity in Post-War Austria.
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Counts towards: Gender and Sexuality Studies
Units: 1.0
(Not Offered 2016-2017)

GERM B320 Topics in German Literature and Culture

This is a topics course. Course content varies. Previous topics include: Romantic Literary Theory and Literary Modernity; Configurations of Femininity in German Literature; Nietzsche and Modern Cultural Criticism; Contemporary German Fiction; No Child Left Behind: Education in German Literature and Culture, German Literary Culture in Exile (1933-1945). Taught in English. Students wanting German credit will meet for additional hour per week.
Major Writing Requirement: Writing Attentive
Units: 1.0
Instructor(s): Shen,Q., Seyhan,A.

Fall 2016: German Lit as World Lit This course investigates the connection of modern German Literature from the 18th century onward with world literatures through literary trends, cultural networks, and translational contracts. The study of these sources illustrates how German literary trends have crossed linguistic and cultural boundaries and interacted with other cultural worlds. Readings range from the works of German Romanticism to postwar German writing and contemporary German–based trans-cultural and linguistic texts. Current topic description: The major focus of this course is the spatialization of memory and history in exemplary novels and films on Berlin. These works analyze the palimpsestic sites of the city as a mini archive of political upheavals, public life, fine arts, the star-crossed German-Jewish symbiosis, World War II, and the cultures of the two German post-war states.

Spring 2017:
Berlin in Literature and Film. The major focus of this course is the spatialization of memory and history in exemplary novels and films on Berlin. These works analyze the palimpsestic sites of the city as a mini archive of political upheavals, public life, fine arts, the star-crossed German-Jewish symbiosis, World War II, and the cultures of the two German post-war states.

GERM B321 Advanced Topics in German Cultural Studies

This is a topics course. Course content varies.
Counts towards: Gender and Sexuality Studies
Units: 1.0
Instructor(s): Shen,Q.

Fall 2016: Representing Diversity in German Cinema. This course examines a wide-ranging repertoire of transnational films produced in contemporary Germany. It presents an introduction to modern German cinema through a close analysis of visual material and identity construction in the worlds of the real and the reel.

HART B110 Critical Approaches to Visual Representation: Identification in the Cinema

An introduction to the analysis of film through particular attention to the role of the spectator. Why do moving images compel our fascination? How exactly do film spectators relate to the people, objects, and places that appear on the screen? Wherein lies the power of images to move, attract, repel, persuade, or transform its viewers? In this course, students will be introduced to film theory through the rich and complex topic of identification. We will explore how points of view are framed in cinema, and how those viewing positions differ from those of still photography, advertising, video games, and other forms of media. Students will be encouraged to consider the role the cinematic medium plays in influencing our experience of a film: how it is not simply a film’s content, but the very form of representation that creates interactions between the spectator and the images on the screen. Film screenings include Psycho, Being John Malkovich, and others. Course is geared to freshman and those with no prior film instruction. Fulfills History of Art major 100-level course requirement, Film Studies minor Introductory course or Theory course requirement.
Approach: Critical Interpretation (CI); Inquiry into the Past (IP)
Major Writing Requirement: Writing Intensive
Counts towards: Film Studies
Units: 1.0
Instructor(s): King,H.
(Spring 2017)

HART B306 Film Theory

An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic “author”; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Prerequisite: A course in Film Studies (HART B110, HART B299, ENGL B205, or the equivalent from another college by permission of instructor).
Counts towards: Film Studies
Units: 1.0
Instructor(s): King,H.
(Spring 2017)

HART B340 Topics in Baroque Art

This is a topics course. Course content varies.
Counts towards: Gender and Sexuality Studies
Units: 1.0
Instructor(s): Hertel,C.

Fall 2016: Dutch Painting. This seminar examines the conceptual polarity of realism and illusionism in paintings by Hals, Peeters, Steen, Rembrandt, Ruisdael, Terborch, Vermeer, and others by way of attending to genres (e.g., scenes of social life, portrait, still life, landscape) and modes of representation (e.g., comedy, parody, vanitas), as well as cultural, social, and political practices (e.g., religion, colonialism, luxury consumption, gender roles, scientific exploration, and collection).

ITAL B211 Primo Levi, the Holocaust, and Its Aftermath

A consideration, through analysis and appreciation of his major works, of how the horrific experience of the Holocaust awakened in Primo Levi a growing awareness of his Jewish heritage and led him to become one of the dominant voices of that tragic historical event, as well as one of the most original new literary figures of post-World War II Italy. Always in relation to Levi and his works, attention will also be given to Italian women writers whose works are also connected with the Holocaust. Course is taught in English. An extra hour will be scheduled for those students taking the course for Italian or Romance Languages credit.
Approach: Cross-Cultural Analysis (CC)
Units: 1.0
Instructor(s): Patruno,N.
(Fall 2016)

ITAL B212 Italy Today: New Voices, New Writers, New Literature

This course, taught in English, will focus primarily on the works of the so-called “migrant writers” who, having adopted the Italian language, have become a significant part of the new voice of Italy. In addition to the aesthetic appreciation of these works, this course will also take into consideration the social, cultural, and political factors surrounding them. The course will focus on works by writers who are now integral to Italian canon – among them: Cristina Ali-Farah, Igiaba Scego, Ghermandi Gabriella, Amara Lakhous. As part of the course, movies concerned with various aspects of Italian Migrant literature will be screened and analyzed.
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Counts towards: Gender and Sexuality Studies; Film Studies
Units: 1.0
(Not Offered 2016-2017)

ITAL B213 Theory in Practice:Critical Discourses in the Humanities

An examination in English of leading theories of interpretation from Classical Tradition to Modern and Post-Modern Time. This is a topics course. Course content varies.
Approach: Critical Interpretation (CI)
Units: 1.0
(Not Offered 2016-2017)

ITAL B214 The Myth of Venice (1800-2000)

The Republic of Venice existed for over a millennium. This course begins in the year 1797 at the end of the Republic and the emerging of an extensive body of literature centered on Venice and its mythical facets. Readings will include the Romantic views of Venice (excerpts from Lord Byron, Fredrick Schiller, Wolfang von Goethe, Ugo Foscolo, Alessandro Manzoni) and the 20th century reshaping of the literary myth (readings from Thomas Mann, Filippo Tommaso Marinetti, Gabriele D’Annunzio, Henry James, and others). A journey into this fascinating tradition will shed light on how the literary and visual representation of Venice, rather than focusing on a nostalgic evocation of the death of the Republic, became a territory of exploration for literary modernity. The course is offered in English; all texts are provided in translation. One additional hour for the students who are taking the course for Italian credit. Suggested Preparation: At least two 200-level literature courses.
Approach: Cross-Cultural Analysis (CC)
Counts towards: Film Studies
Units: 1.0
Instructor(s): Monserrati,M.
(Spring 2017)

ITAL B310 Detective Fiction

In English. Why is detective fiction so popular? What explains the continuing multiplication of detective texts despite the seemingly finite number of available plots? This course will explore the worldwide fascination with this genre beginning with European writers before turning to the more distant mystery stories from around the world. The international scope of the readings will highlight how authors in different countries have developed their own national detective typologies while simultaneously responding to international influence of the British-American model. Italian majors taking this course for Italian credit will be required to meet for an additional hour with the instructor and to do the readings and writing in Italian. Suggested Preparation: One literature course at the 200 level.
Major Writing Requirement: Writing Intensive
Counts towards: Film Studies
Units: 1.0
(Not Offered 2016-2017)

PHIL B323 Culture and Interpretation

This course will discuss these questions. What are the aims of interpretation? Must we assume that, for cultural objects—like artworks, music, or literature—there must be a single right interpretation? If not, what is to prevent one from sliding into an interpretive anarchism? What is the role of a creator’s intentions in fixing upon admissible interpretations? Does interpretation affect the identity of the object of interpretation? If an object of interpretation exists independently of interpretive practice, must it answer to only one right interpretation? In turn, if an object of interpretation is constituted by interpretive practice, must it answer to more than one right interpretation? This course encourages active discussions of these questions.
Major Writing Requirement: Writing Intensive
Counts towards: International Studies
Units: 1.0
(Not Offered 2016-2017)

RUSS B238 Topics: The History of Cinema 1895 to 1945

This is a topics course. Course content varies.
Approach: Inquiry into the Past (IP)
Major Writing Requirement: Writing Attentive
Counts towards: Film Studies
Units: 1.0
Instructor(s): Harte,T.

Spring 2017: Silent Film: From U.S. to Soviet Russia & Beyond. This course will explore cinema from its earliest, most primitive beginnings up to the end of the silent era. While the course will focus on a variety of historical and theoretical aspects of cinema, the primary aim is to look at films analytically. Emphasis will be on the various artistic methods that went into the direction and production of a variety of celebrated silent films from Russia, Germany, the U.S. and elsewhere. These films will be considered in many contexts: artistic, historical, social, and even philosophical, so that students can develop a deeper understanding of silent cinema’s rapid evolution.

SPAN B211 Borges y sus lectores

Primary emphasis on Borges and his poetics of reading; other writers are considered to illustrate the semiotics of texts, society, and traditions. Prerequisite: SPAN B110 and/or B120 (previously SPAN B200/B202); or another SPAN 200-level course.
Approach: Critical Interpretation (CI)
Counts towards: Latin American, Iberian and Latina/o Studies
Units: 1.0
Instructor(s): Sacerio-Garí,E.
(Spring 2017)

SPAN B308 Teatro del Siglo de Oro: negociaciones de clase, género y poder

A study of the dramatic theory and practice of 16th- and 17th-century Spain. Topics include the treatment of honor, historical self-fashioning and the politics of the corrales, and palace theater. Prerequisite: at least one SPAN 200-level course.
Units: 1.0
(Not Offered 2016-2017)

SPAN B311 Crimen y detectives en la narrativa hispánica contemporánea

An analysis of the rise of the hard-boiled genre in contemporary Hispanic narrative and its contrast to classic detective fiction, as a context for understanding contemporary Spanish and Latin American culture. Discussion of pertinent theoretical implications and the social and political factors that contributed to the genre’s evolution and popularity. Prerequisite: at least one SPAN 200-level course.
Units: 1.0
Instructor(s): Song,R.
(Spring 2017)

SPAN B317 Poéticas del deseo y el poder en la lírica del Siglo de Oro

A study of the evolution of the lyric in Spain during the Renaissance and Baroque periods beginning with the oral tradition and the imitation of Petrarch. Topics include: the representation of women as objects of desire and pre-texts for writing, the political and national subtexts for lyric production, the self-fashioning and subjectivity of the lyric voice, theories of parody and imitation, and the feminine appropriation of the Petrarchan tradition. Although concentrating on the poetry of Spain, reading will include texts from Italy, France, England and Mexico. Taught in Spanish. Prerequisites: at least one 200-level course. Counts toward Latin American, Iberian, and Latina/o Studies
Counts towards: Latin American, Iberian and Latina/o Studies
Units: 1.0
Instructor(s): Quintero,M.
(Spring 2017)

SPAN B322 Queens, Nuns, and Other Deviants in the Early Modern Iberian World

The course examines literary, historical, and legal texts from the early modern Iberian world (Spain, Mexico, Peru) through the lens of gender studies. The course is divided around three topics: royal bodies (women in power), cloistered bodies (women in the convent), and delinquent bodies (figures who defy legal and gender normativity). Course is taught in English and is open to all juniors or seniors who have taken at least one 200-level course in a literature department. Students seeking Spanish credit must have taken BMC Spanish 110 and/or 120 and at least one other Spanish course at a 200-level, or received permission from instructor.
Counts towards: Gender and Sexuality Studies; Latin American, Iberian and Latina/o Studies
Units: 1.0
(Not Offered 2016-2017)

SPAN B332 Novelas de las Américas

What do we gain by reading a Latin American or a US novel as “American” in the continental sense? What do we learn by comparing novels from “this” America to classics of the “other” Americas? Can we find through this Panamericanist perspective common aesthetics, interests, conflicts? In this course we will explore these questions by connecting and comparing major US novels with Latin American classics of the 20th and 21st century. We will read these works in clusters to illuminate aesthetic, political and cultural resonances and affinities. This course is taught in Spanish. Prerequisite: at least one SPAN 200-level course.
Counts towards: Latin American, Iberian and Latina/o Studies
Units: 1.0
(Not Offered 2016-2017)