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Course Criteria
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3.00 Credits
Taking Ovid's great poetic work Metamophosis as a focal text, an examination of the concept in relation to the arts (painting, sculpture, and film) across diverse periods, including classical, Chinses classical, Arabic medieval, Western medieval, and modern.
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3.00 Credits
Boethius¿s De Consolatione Philosophiae is perhaps one of the few texts of late antiquity that can truly be said to have equal importance for philosophical and literary studies. Boethius here presented a compelling digest of late ancient philosophy in general and especially of the harmony of Platonism and Aristotelianism. In so doing, he explored a variety of literary genres and topics in both prose and verse. Perhaps most remarkably, he produced a document that is ambiguous enough to have stimulated and to continue to stimulate a variety of creative readings. The aims of this course are threefold: 1) to introduce the work as a philosophical and literary artifact within its historical context and initiate the study of its sources and influences; 2) to test to destruction the limits of the hermeneutic flexibility that it seems to invite; and 3) to examine the epistemological and methodological issues raised by the tension between aims 1 and 2. The course is designed for students both with and without a mastery of Latin. Requirements: one final essay of about twenty pages (chosen by the student in consultation with the instructor) either on Boethius himself or on the repercussions of his thought in later philosophy and literature.
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3.00 Credits
Travel is a universal experience, even though not all human beings travel. It takes many forms: individual travel for pleasure (tourism); surveying a new terrain with a scientific or commercial purpose (exploring); building a new home in a "wilderness" or among alien or hostile peoples (settling or colonizing); wandering in a group or individually to seek not only a religious site but also spiritual experience (pilgrimage); journeying under compulsion further from an irretrievable home (exile); moving in a fragile or displaced community seeking --often desperately--another home (migration). Travel entices and alarms us posing questions about who we are and what counts as "home" as we encounter ourselves on the move. To travel is to encounter strangers, to define not only space but also the self and the community in a variety of ways, both welcome and unwelcome. If we are the "stay-at-homes", travelers may irritate, attract, or frighten us. Texts include Virgil, Aeneid; Ovid, poetic epistles from exile (Epistulae ex Ponto); Bartolome de las Casas, Brief Report on the Destruction of the Indians; Ch'Eng-En Wu, Monkey (trans. Arthur Waley); Mme de Graffigny, Lettres d'une Peruvienne; Thoreau, A Week on the Concord and Merrimack Rivers; Charlotte Bronte, Villette; Hualing Nieh, Mulberry and Peach; Chu T'ien-wen, Notes of a Desolate Man.
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3.00 Credits
Close readings of masterpieces of 20th century international poetry, including, among others, the works of Federico Garcia Lorca, Georg Trakl, Paul Celan, Rainer Maria Rilke, Boris Pasternak, Osip Mandelstam, Gennady Agyi, Gunnar Ekelof, Thomas Transtromer, Paul Eluard, and Dylan Thomas.
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3.00 Credits
In this course we will approach modern and contemporary poetics in all its multiplicity, focusing on multigenred, multilingual, multimedia, and translated works, as well as works which undermine conventional "literary" textuality through performativity, disability, obscenity, materiality, invisibility, and other modalities. Texts will include prose, drama, lyric and critical writings by modern and contemporary global authors such as Kim Hyesoon, Amiri Baraka, Laura Solórzano, Jean Genet, Wole Soyinka, Ariana Reinas, Aase Berg, Lennard Davis, Deleuze and Guattari, Theresa Cha, Don Mee Choi, Antonin Artaud, Harryette Mullen, Heiner Müller, Ishmael Reed, Kathy Acker and Bylex Puma. Media under study will also include video, film, visual and sound art, performance and hypermedia.
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3.00 Credits
The primary purpose of this course is to promote a careful consideration of some of the most basic questions concerning the nature of the literary work (and in some cases of the work of art in general), its interpretation, and its relation to culture and society. Although the discussion will focus on specific philosophical, theoretical, and critical works from different periods and traditions (ranging from classical antiquity to the present), this course is not meant to be a historical survey and it is not designed to treat all the major currents and schools of thought that fall under the capacious rubric of theory. The earliest class sessions will be devoted to a close examination of Plato's writings on poetry and art (especially the Ion, Phaedrus, and the relevant sections of the Republic), Aristotle's Poetics, and Horace's Art of Poetry. The central issues articulated in these works recur frequently and with many variations throughout the history of literary criticism and theory in works as diverse as Sidney's Defence of Poetry and Pope's Essay on Criticism, which will be discussed before turning to theorists and critics whose approaches go the same or similar questions (for example, the mimetic or non-mimetic character of the work of art or the relation of beauty to truth) are strongly influenced by Kant's aesthetic theory. Some class sessions will be devoted to the debates on classicism and formalism in the late 19th and early 20th century that, among other things, strongly influenced analyses and assessments of the major works of literary modernism. (Discussion will be based on selections from the writings of T. E. Hulme, T. S. Eliot, and the American "new critics".) After looking at the contributions of Adorno and Lukacs (whose writings evince the influence of Hegel), we will turn our attention to hermeneutics and poststructuralist theory and study selected writings by Gadamer, De Man, Derrida, Foucault, and Lyotard. Terry Eagleton's Illusions of Postmodernism will be used as the basis for a critique of the poststructuralist "turn" in theory. The last few sessions of the course will be devoted to discussions on the relation of literature to history, culture and society, and on the function of criticism based on readings from Matthew Arnold, Erich Auerbach, and Edward W. Said. Participating in this course will require a considerable amount of reading. In addition to attentively studying the required texts for each class sessions, everyone will be expected to also look up and read other pertinent works, such as commentaries and critiques on the assigned readings. The seminar format of the course makes it essential that all participants come to each session with detailed notes that will constitute the basis of their contribution to class discussion. Active participation in class discussion is a requirement as is a final 25 - 30 page paper on a topic that will be first discussed individually with the instructor.
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1.00 Credits
The primary purpose of this course is to promote a careful consideration of some of the most basic questions concerning the nature of the literary work (and in some cases of the work of art in general), its interpretation, and its relation to culture and society.
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1.00 Credits
The course will look at the reasons for the emergence of post-modernism, and at a number of central post-modern topics. It will also offer a critique of the phenomenon.
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3.00 Credits
A practical introduction to comparative literary analysis through intensive focus on a single genre, the Bildungsroman, or "novel of development." By concentrating on some of the many different meanings of the term "development" (personal, literary, historical, economic) we will investigate how literature has been conceptualized as a vehicle of personal formation on the one hand, and as a mirror of social transformation on the other. Primary readings of novels from the late eighteenth century to the present will be accompanied by a number of critical and theoretical texts. Students will also work to create a joint bibliography mapping recent trends in the discipline. Authors may include Goethe, Balzac, Joyce, Rizal, Macgoye, Swarup and others.
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1.00 Credits
The course will raise a number of questions about modernism in general. Under what conditions does a major modernist movement tend to arise? Why is so much 'English' modernism the work of exiles and emigrés? Why do Irish authors bulk so large in its ranks? Modernism will be considered in relation to the revolutionary avant-garde, the search for a 'negative politics' and the autonomy of art. Its contradictory political aspects, as a product of modernity which can also be virulently critical of it, will also be explored.
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