This course introduces three genres of life writing: Autobiography, Memoir and the Diary. While the Memoir and the diary are older forms of first persons writing the Autobiography developed later. We will first study the literary-historical shifts that occurred in Autobiographies from religious confession through the secular Eurocentric Enlightenment men, expanded to women writers and to members of marginal oppressed groups as well as to non-European autobiographies in the twentieth century. Subsequently we shall study the rise of the modern memoir, asking how it is different from this form of writing that existed already in the middle ages. In the memoirs we see a shift from a self and identity centered on a private individualautobiographer to ones that comes from connections to a community, a country or a nation; a self of a memoirist that represents selves of others. Students will attain theoretical background related to the basic issues and concepts in life writing: genre, truth claims and what they mean, the limits of memory, autobiographical subject, agency or self, the autonomous vs. the relational self. The concepts will be discussed as they apply to several texts. Some examples are: parts of Jan Jacques Rousseau's Confessions; the autobiography of Benjamin Franklin; selected East European autobiographies between the two world wars; the memoirs of Lady Ann Clifford, Sally Morgan, Mary Jamison and Saul Friedlander. The third genre, the diary, is a person account, organized around the passage of time, and its subject is in the present. We will study diary theories, diary's generic conventions and the canonical text, trauma diaries and the testimonial aspect, the diary's time, decoding emotions, the relation of the diary to an audience and the process of transition from archival manuscript to a published book. The reading will include travel diaries (for relocation and pleasure), personal diaries in different historical periods and countries, diaries in political conflict (as American Civil War women's diaries, Holocaust diaries, Middle East political conflicts diaries). We will conclude with diaries online, and students will have a chance to experience and report about differences between writing a personal diary on paper and diaries and blogs on line. Each new subject in this online course will be preceded by an introduction. Specific reading and written assignments, some via links to texts will be posted weekly ahead of time. We will have weekly videos and discussions of texts and assigned material and students will post responses during these sessions and class presentations in the forums.

The tumultuous political and economic history of modern China has been mirrored in and shaped by equally fundamental revolutions in language and poetic expression. In this course, we will take Chinese poetry as a crucible in which we can observe the interacting forces of literary history and social change. From diplomats who saw poetry as a medium for cultural translation between China and the world, to revolutionaries who enlisted poetry in the project of social transformation, we will examine the lives and works of some of China’s most prominent poets and ask, what can we learn about modern China from reading their poetry? In asking this question, we will also reckon with the strengths and limitations of using poetry as an historical source. In addition to poems, the course will include fiction, essays, photographs, and films by both Chinese and non-Chinese artists that place our poets in a broader context. We will pay close attention to how these poets represent China’s place in the world, as well as the role of language in social change. Topics of discussion include: national identity, revolution, translation, gender, the body, ethnicity, and technology.
Familiarity with Chinese or related cultural context is beneficial, but not required.
This course introduces students to Chinese poetry in English translation. Students will leave the course with an in-depth understanding of the main figures, themes, and techniques of Chinese poetry, and will be introduced to some of the major developments in the history of China. Through a focus on primary texts, students will develop the vocabulary and analytical skills to appreciate and analyze poetry in translation and will gain confidence as writers thinking about literary texts.

Learn about sonnets, sestinas, villanelles, and other standards of the established canon as they are revitalized by the most celebrated poets working today. As we read and write in various meters and forms, we will also explore United States history. Phillis Wheatley Peters' address to George Washington will teach us iambic pentameter, as Terrance Hayes' broken villanelle will describe the pre-Civil War raid on Harper's Ferry, and Emma Lazarus's sonnet in the voice of the Statue of Liberty will reveal American immigration policy. Split between discussions and workshops so we can practice the prosody we study, the course will move between early and contemporary events that shape American identity: Claire Kageyama-Ramakrishnan's terzanelle about Japanese internment camps, Yusef Komenyakaa's ghazal about the Ferguson protests, Patricia Smith's sestinas about Hurricane Katrina, and Reginald Dwayne Betts's sonnets about mass incarceration. We will research sources of these older forms, and look at how they influence newer ones like the bop, the Golden Shovel, and the duplex. Poets we will read in depth include: Gwendolyn Brooks, Natasha Trethewey, Natalie Diaz, Jericho Brown, Agha Shahid Ali, Shirley Geok-lin Lim, Marilyn Nelson, and June Jordan. Assignments will include occasional short essays and more playful exercises on how to follow--and break--the shifting rules of meter and form.

This is a wide-ranging introduction to the “other” major cinema in English: the films of England, Scotland, and Northern Ireland. The British film industry has been thriving in the 21st century, but it remains the underdog in a global media environment dominated by Hollywood. We will consider some of the ways British filmmakers have positioned themselves in the space of world cinema and television as close rivals or radical alternatives to the American model. Our approach will be to study two films a week, mixing films from the 21st century with films from earlier moments in British cinema history from the 1930s through the 1990s. Our aim will be to discern some of the enduring cinematic modes and transatlantic strategies that contribute to the national “signature” of British film. Our screenings will run the gamut from the big-budget James Bond and Harry Potter franchises, to mid-sized transnational productions such as Pride & Prejudice and Slumdog Millionaire, to more independent or artisanal work by such directors as Ken Loach, Mike Leigh, Sally Potter, Michael Winterbottom, Lynne Ramsay, Steve McQueen, and Andrea Arnold. A number of films we will study were made for British and/or American television, and we will devote some attention to the important and changing relationship between TV and cinema in contemporary screen culture.

Karl Marx gave his well-known work Capital the subtitle “A Critique of Political Economy”—not “how to be a communist,” or “why the Soviet Union is the best,” or “what is wrong with religion, freedom, and democracy.” Those non-existent subtitles describe some of the preconceptions many in the U.S. have about Marx and Marxisms, while the actual subtitle reminds us that Marx and Marxisms at their root simply try to examine the problems with both capitalism and the political and economic discourses that justify or ignore those problems. Today, many around the globe are also reflecting on capitalism’s problems, in the hope of imagining and realizing a better future. This course will trace some of the origins of that renewed inquiry, and examine its limits and possibilities in today’s world. First, we will introduce ourselves to the works of Marx and some of the varied traditions that have spun out of them, so no prior familiarity with that work or those traditions is required. By reading Marx’s own writings as well as social theory influenced by them, and by reading literature and watching film, art, and popular culture from around the globe, we will consider a diverse array of answers to questions like: How are activism and theory connected? How do racial, gender, economic, and political inequalities emerge and increase around the globe? Why does shopping make us feel so much pleasure, pain, or numbness? What was the relationship between Atlantic world slavery and capitalism, and how does racism thrive under capitalism? What are ideology and alienation? How might culture help us imagine our way out of the violence and inequality of social relations?

Over the past three decades especially, “World Literature” has moved to the center of literary studies, asking teachers and students to re-examine fundamental concepts, categories, and practices, including periodization, nationalism, specialization and expertise, canonicity, translation, monolingualism and the rise of “global English,” comparativism, area studies, postmodernism and postcoloniality, literacy, access, and digitalization. In this advanced seminar, we’ll start by looking at the nineteenth-century origins of this phenomenon in Goethe’s influential concept of Weltliteraturand the invention of the field of Comparative Literature We’ll then quickly review the twentieth-century history of literary studies, including the rise of “theory,” before concentrating our full attention on the rapid twenty-first-century escalation of interest in the meanings, values, and conditions of “world literature.” Because the course is taught in English, we’ll be particularly concerned with the meanings and consequences of “global English.” And we’ll explore the broader effects on literary studies of twenty-first-century phenomena such as digitalization, new media, identitarianism, neo-liberalism, multinational corporate hegemony, and the crisis of higher education. Fundamental questions of limit, scale, and boundary will help coordinate our evaluation of diverse works by some of the most influential theorists of “world literature,” including Emily Apter, David Damrosch, Jacques Derrida, Theo D’haen, David Gramling, Franco Moretti, Aamir Mufti, Edward Said, Gayatri Chakravorty Spivak, and Yasmin Yildiz. Requirements will include a few short response papers, an in-class presentation, and a research-based, idea-driven final essay.

This course focuses on the key themes of protest and resistance in contemporary South Asian literarure. Most South Asian countries have been witnessing an endless wave of protests and resistance from various sections of public life for the last three decades. In India, for example, protest literature emerges not only from traditionally marginalized groups (the poor, religious and ethnic minorities, depressed castes and tribal communities), but also from upper-caste groups, whose protest literature expresses concerns over economic oppression, violence and the denial of fundamental rights. Literature is becoming an immediate tool to articualte acts of resistance and anger, as many writers and poets are also taking on new roles as poitical activists. In this class, we will read various contemporary works of short fiction, poetry and memoirs to comprehend shifts in public life toward political and social activism in South Asia. We will also watch two or three documentaries that focus on public protests and resistance. No pre-requisites or South Asian language requirements. All literary works will be read in English translations.

This course is an introduction to and exploration of modern East Asian literatures and cultures through close readings and discussion of selected literary works from the early 20th century to the start of the 21st century. Focusing on China, Japan, and Korea, we will explore the shared and interconnected experiences of modernity in East Asia as well as broaden our perspective by considering the location of East Asian cultural production within a global modernity. Major issues we will encounter include: nation-building and the modern novel; cultural translation; media and technology; representations of gender, race, and class; history and memory; colonialism; war; body and sexuality; globalization. No knowledge of the original language is required.

This course will examine contemporary Latin American and Latinx theatre and performance from a hemispheric perspective. In particular, we will study how Latin American and Latinx artists engage with notions of identity, nation, and geo-political and geo-cultural borders, asking how we might study "national" theatres in an age of transnational globalization. Our consideration of plays, performances, and theoretical texts will situate Latin American and Latinx theatre and performance within the context of its politics, culture, and history.

This is a course in contemporary transnational film cultures and world cinema. The course will examine the idea of world cinema and set up a model of how it can be explored by studying contemporary film in various countries. We will explore ways in which cinemas from around the globe have attempted to come to terms with Hollywood, and look at forces that lead many filmmakers to define themselves in opposition to Hollywood norms. But we will also look at the phenomenon of world cinema in independent terms, as “waves” that peak in different places and times, and coordinate various forces. Finally, through the close case study of significant films and cinemas that have dominated the international festival circuit (Chinese, Korean, Iranian, Indian, etc.) we will engage with the questions of which films/cinemas get labeled as “world cinema,” what determines entry into the sphere of world cinema, and examine the importance of film festivals in creating world cinema.