In this course we will consider texts that become “national epics,” texts that in some sense come to “represent” a nation. How and when might such imaginative texts emerge? Nations change, and old poems may no longer serve. Can the Song of Roland, once compulsory study for all schoolchildren in France, still be required reading today — especially if I am French Muslim? What about El Cid in Spain? How do some texts — such as the Mahabharata in India, or Journey to the West in China — seem more adaptable than others? The course begins in western Europe, but then pivots across Eurasian space to become gradually more global. Most all of us have complex family histories: Chinese-American, French Canadian, Latino/a/x, Jewish American, Pennsylvania Dutch, Lenni Lenape. Some students may choose to investigate, for their final project, family histories (and hence their own, personal connection to “national epics”). English Department's website at www.english.upenn.edu for a description of the current offerings.

This course will consider how nineteenth-century literature helped transform the city into the symbolic nerve center of modern social life, and it will follow the changing shapes of urbanism across contexts and into the present. Our focus will be on artists’ and social scientists’ varied efforts to make the internal dynamics of cities perceptible, whether in still or moving images, sound, maps, lyric poetry, or narrative. We will consider the paradoxes of urban representation: scenes of unity and of alienation, newfound freedom and new forms of oppression, total knowledge and impenetrable mystery, enforcement of social norms and their violation. To make sense of these conflicting meanings, we will examine what versions of the city take shape in fiction by Charles Dickens, Edgar Allan Poe, Honoré de Balzac, Virginia Woolf, Richard Wright, Sam Selvon, and Ling Ma; poetry by William Blake, William Wordsworth, Charles Baudelaire, Walt Whitman, and Edna St. Vincent Millay; social theory by Friedrich Engels, David Harvey, Brenda Yeoh, and Davarian Baldwin; photography, film, and contemporary writing and media. We may discuss the practice of spectatorship, the poetics and politics of urban space, urban cartography, architecture and infrastructure, cities as sites of racialized dispossession and class warfare, representations of crowds and of close encounters with strangers, gender and sexuality in the street, new modes of perception and cognition, scientific analyses of built environments, struggles for housing and education justice and rights to the city, and a range of artistic responses to the world-transforming and uneven conditions of modernity. Requirements include active participation, a short critical essay, and a final paper or project.

Tales of voyages to strange lands with strange inhabitants and even stranger customs have been a part of the Western literary tradition from its inception. What connects these tales is that their voyages are not only voyages of discovery, but voyages of self-discovery. By describing the effects these voyages have on the characters who undertake them, and by hinting at comparisons between the lands described in the story and their own society, authors use fantastic voyages as vehicles for incisive commentary on literary, social, political, and scientific issues.
In this course, we will see how voyage narratives as seemingly distant as Homer’s Odyssey and Pierre Boulle’s Planet of the Apes fit into a bigger tradition of speculative fiction. We will determine what the common stylistic elements of speculative fiction are, such as the frame narrative, or story-within-a-story, and what purpose they serve in conveying the tale’s messages. We will see how voyagers attempt to understand and interact with the lands and peoples they encounter, and what these attempts tell us about both the voyagers and their newly discovered counterparts. Finally, we will ask ourselves what real-world issues are commented upon by these narratives, what lessons the narratives can teach about them, and how they impart these lessons to the reader.
Readings for this course, all of which are in English or English translation, range from classics like the Odyssey and Gulliver’s Travels to predecessors of modern science fiction like Jules Verne and H. G. Wells to seminal works of modern science fiction like Pierre Boulle’s Planet of the Apes, Karel Čapek’s War with the Newts, and Stanislaw Lem’s Solaris. We will also look at how films like Planet of the Apes (1968) and 20,000 Leagues Under the Sea (1954) or television shows like Star Trek and Futurama draw upon literary or cinematic models for their own purposes. Students will also have the opportunity to examine and present on pieces from the Mark B. Adams Science Fiction Collection at Penn’s Kislak Center for Special Collections, Rare Books, and Manuscripts, which comprises over 2,000 volumes of science fiction, speculative fiction, and fantasy.
This course is meant not only for SF fans who would like to become better acquainted with the precursors and classics of the genre, but for all those who wish to learn how great works of fiction, far from being intended solely for entertainment and escapism, attempt to improve upon the real world through the effect they have on the reader.

In this course, we will investigate the ideology, content, and material forms of love literature from Dante Alighieri to Francesco Petrarca. Through close readings of such texts as Dante’s Vita nova (ca. 1295), Giovanni Boccaccio's Decameron (ca. 1353), and Petrarca's Rerum vulgarium fragmenta (often referred to as the poetry book par excellence: il canzoniere, ca. 1374), we will unveil the literary and fictitious nature of medieval erotic literature. We will explore the origins of love poetry in medieval France and its subsequent interpretation and rewriting in Italian courts and comuni. We will inquire into the cultural constructions of the medieval notion of lyrical self and how it still has an impact on our own notion of consciousness. We will study the forms, themes, and characters that populate 'love stories' in the Middle Ages. We will analyze the dynamics of composition, circulation, and reception in manuscript culture. Our close analysis of the texts as they have been preserved in manuscript form will help us gauge the differences between medieval and contemporary ways of writing, reading, and loving.

This course will introduce you to the great variety of narrative forms and themes in autobiographical literature from a wide range of cultural and national traditions. As a course on a major narrative genre, it will give you a grounding in the fundamentals of genre- and narrative-theory and criticism. And, as a course on world literature, it will introduce you to the principles and theories of comparativism, as well as contemporary debates regarding the regional, the national, and the global in literary studies. Our focus will be on “modern” autobiography, from the late 18th century to the present day, with particular emphasis on 20th- and 21st-century autobiographical writing, from many different parts of the world. All works—many of them in translation—will be read in English, which means we’ll be examining the role of the English language in shaping different conceptions of “world literature.” Representative authors and locales include: Alison Bechdel (U.S.), Nirad Chaudhuri (India), Mohamed Choukri (Morocco), J. M. Coetzee (South Africa), Alicia Elliott (Canada/Six Nations), Annie Ernaux (France), Anne Frank (Germany/Netherlands), Kiese Laymon (U.S.), Audre Lorde (U.S.), Jean-Jacques Rousseau (France), Wole Soyinka (Nigeria), Greta Thunberg (Sweden), and William Wordsworth (U.K.). Course requirements will vary according to class-size but will likely involve a combination of short essays, quizzes, and in-class exercises. (No mid-term or final exams.)

This course will introduce students to the historical and intellectual forces that led to the emergence of queer theory as a distinct field, as well as to recent and ongoing debates about gender, sexuality, embodiment, race, privacy, global power, and social norms. We will begin by tracing queer theory's conceptual heritage and prehistory in psychoanalysis, deconstruction and poststructuralism, the history of sexuality, gay and lesbian studies, woman-of-color feminism, the feminist sex wars, and the AIDS crisis. We will then study the key terms and concepts of the foundational queer work of the 1990s and early 2000s. Finally, we will turn to the new questions and issues that queer theory has addressed in roughly the past decade. Students will write several short papers.

How does fiction make sense of globalization and its uneven effects upon the world? And how do the histories of race and empire shape the contemporary novel? This course will introduce students to literatures beyond Europe and the United States by surveying the rich landscape of twentieth and twenty-first century Asian, African, and diasporic writing. Paying close attention to the formal aspects of storytelling, we will examine how novels represent the dizzying scale of a globe in crisis through innovations in language, plot, and form. Together we will learn about literary and popular genres—magical realism, dystopia, the bildungsroman, allegory, crime, and self-help—to appreciate how the novel has transformed in response to global economic and political upheaval. Students will be introduced to and learn how to apply theories of the novel, racial capitalism, Marxism, and postcolonialism. Authors may include Salman Rushdie, Arundhati Roy, NoViolet Bulawayo, Karen Tei Yamashita, Nuruddin Farah, and Ling Ma. Assignments will include a close reading assignment, a class presentation, a keywords project, and a final research paper.

This introduction to literary study examines a compelling literary theme by attending to texts from around the globe. The theme's function within multiple historical and regional contexts, within literary history generally, and within contemporary culture, will all be emphasized. In presenting a range of materials and perspectives, this course is an ideal introduction to literary study. See the English Department's website at www.english.upenn.edu for a description of the current offerings.

Some seats in this course have been reserved for LPS Students. If seats are available, you will be able to register freely. If seats are not available, you should continue to try to register in the case that someone may drop the course. On the first day of the session, any remaining seats will be opened for all students. Permits will not be issued if the course has been filled. Please do not contact the instructor, department or LPS for permits. Permits will not be issued.

This course will provide a wide-ranging introduction to the literatures of South Asia from roughly 1500 to the present, as well as an exploration of their histories and impact on South Asian society today. How are literary movements and individual works - along with the attitudes towards religion, society, and culture associated with them - still influential in literature, film, and popular culture? How have writers across time and language engaged with questions of caste, gender, and identity? We will read from the rich archive of South Asian writing in translation - from languages that include Braj, Urdu, Bangla, and Tamil - to consider how these literatures depict their own society while continuing to resonate across time and space. Topics of dicussion will include the Bhakti poetries of personal devotion, the literature of Dalits - formerly referred to as the Untouchables - and the ways in which literature addresses contemporary political and social problems. Students will leave this course with a sense of the contours of the literatures of South Asia as well as ways of exploring the role of these literatures in the larger world. No prior knowledge of South Asia is required; this course fulfills the cross-cultural analysis requirement, and the Arts and Letters sector requirement.

Premodern India produced some of the world's greatest myths and stories: tales of gods, goddesses, heroes, princesses, kings and lovers that continue to capture the imaginations of millions of readers and hearers. In this course, we will look closely at some of these stories especially as found in Purana-s, great compendia composed in Sanskrit, including the chief stories of the central gods of Hinduism: Visnu, Siva, and the Goddess. We will also consider the relationship between these texts and the earlier myths of the Vedas and the Indian Epics, the diversity of the narrative and mythic materials within and across different texts, and the re-imagining of these stories in the modern world.