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Course Criteria
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0.00 - 1.00 Credits
An examination of women's writing from the Meiji Period (1868-1912) to the present. Readings include works from such writers as Higuchi Ichiyo, Miyamoto Yuriko, Enchi Fumiko, and Tsushima Yuko. Topics include the relation of 'woman' to the modern, the legacy/construction of the past, the implications of joryu bungaku (women's literature), and the problem of resistance and subversion.
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0.00 - 1.00 Credits
Intensive and extensive reading of Nietzsche and some of the reception that has made him so prominent in contemporary literary and cultural theory. Topics include Nietzsche's aesthetics, theory of history, the concept of the eternal return, European decadence, misogyny and anti-semitism. Texts will be selected from Nietzsche, Heidegger, Horkheimer and Adorno, Deleuze, Derrida, Irigaray, de Man, Kofman, Lacoue-Labarthe, Foucault, Hamacher, Ronell, etc.
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0.00 - 1.00 Credits
The political leverage of literary art in medieval courts and cities. How did poets, scribes, and writers cater to the interests of those they served? When could they turn from deferential spectators into power brokers? Why did prose progressively acquire greater authority and credibility than poetry? Focus on six authors who pondered such questions: Chrétien de Troyes, Uc de Saint-Circ, Froissart, Boccaccio, Chaucer, and Christine de Pizan.
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0.00 - 1.00 Credits
There is hardly a place in the contemporary world which has not somehow been touched by the histories and consequences of colonialism. What does it mean, then, to speak about the postcolonial? Should the postcolonial be seen as a new periodization in the study of world literatures, a recent trend in critical theory, or another type of minority discourse involving previously colonized peoples?
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1.00 Credits
Considers the cultural and ideological impact of the Cuban revolution inside and outside Cuba. Starting in the 1960s, reads Latin American "boom" novels, European theorists and U.S. civil rights activists. Moving to today, addresses post-Soviet Cuba's literary production and its role in an international imaginary. Fiction, film and essays by Castro, Sartre, GarcÃa Márquez, Reinaldo Arenas, Antonio José Ponte and others. This course is not open to freshmen.
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0.00 - 1.00 Credits
How does the novel's sentimental investment change with the growth of modern imperial nations? Why does the Hollywood tearjerker make us spill so much affect? Why does critical theory draw on sentimental tropes to extend liberal individualism to women and other excluded groups? We explore these conundrums through selected works of fiction, film, and theory from several different nations. LL
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0.00 - 1.00 Credits
The texts and contexts of women writing in English, Spanish and French, during the sixteenth and especially seventeenth centuries. Often dubbed "Tenth Muses," these first early modern women writers to gain public prominence wrote iconoclastic texts and/or epitomized socially sanctioned scripts for women. Authors include: Anne Bradstreet, Margaret Lucas Cavendish, Sor Juana, Mme de Lafayette, Maria de Zayas.
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0.00 - 1.00 Credits
The former British Crown Colony of Hong Kong was returned to China on July 1, 1997. This course examines the city's cultural imaginings of its condition in relation to China and the West, focusing primarily on fiction and film, with examples drawn from pop songs, MTV, and television commercials.
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0.00 - 1.00 Credits
What does it mean to be beautiful in classical and European literature? How is beauty defined by thinkers from Plato to Benjamin? Readings from the classical, medieval, Renaissance, and modern periods are brought into question by works concerning the problems of aesthetics. Works by Plato, Aristotle, Horace, Augustine, Dante, Petrarch, Shakespeare, Racine, Tolstoy and others in addition to readings from the history of aesthetics from Kant through the present.
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0.00 - 1.00 Credits
This course examines the work of four major Scandinavian artists. As key figures in the development of modern theater, painting and film, these four figures share a number of common concerns: challenging the pieties of bourgeois mores; reconceiving the relations between the sexes; moving from the social to the metaphysical; undermining the unitary view of the self; and forging an artistic "language" through which the in-dwelling power of the psyche can be revealed.
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