From St. Cuthbert, whose freezing feet were warmed by otters, to St. Guinefort, a miracle-performing greyhound in 13th-century France, to Melusine, the half-fish, half-woman ancestress of the house of Luxembourg (now the Starbucks logo), medieval narratives are deeply inventive in their portrayal of human-animal interactions. This course introduces students to critical animals studies via medieval literature and culture. We will read a range of genres, from philosophical commentaries on Aristotle and theological commentaries on Noah’s ark to werewolf poems, beast fables, political satires, saints’ lives, chivalric romances, bestiaries, natural encyclopaedias, dietary treatises and travel narratives.
Among the many topics we will explore are the following: animals in premodern law; comfort and companion animals; vegetarianism across religious cultures; animal symbolism and human virtue; taxonomies of species in relation to race, gender, and class; literary animals and political subversion; menageries and collecting across medieval Europe, the Near East, and Asia; medieval notions of hybridity, compositeness, trans-species identity, and interspecies relationships; art and the global traffic in animals (e.g., ivory, parchment); European encounters with New World animals; and the legacy of medieval animals in contemporary philosophy and media.
No prior knowledge of medieval literature is required. Students from all disciplines are welcome.

The purpose of this course is to present a variety of narrative genres and to discuss and illustrate the modes whereby they can be analyzed. We will be looking at shorter types of narrative: short stories, novellas, and fables, and also some extracts from longer works such as autobiographies. While some works will come from the Anglo-American tradition, a larger number will be selected from European and non-Western cultural traditions and from earlier time-periods. The course will thus offer ample opportunity for the exploration of the translation of cultural values in a comparative perspective.

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.

Please see department website for current description at: http://www.sas.upenn.edu/italians/graduate/courses

Leo Tolstoy is a figure who arguably needs little introduction, if only as an effigy for the kind of author who writes books like "War and Peace" — prime examples of what Henry James called the “large, loose, baggy monsters” of nineteenth-century Russian literature, the sprawling novels with several parallel plot lines and hundreds of characters who inhabit page numbers in the quadruple digits. In this seminar, we will grapple together with the intricacies of "War and Peace," learn about the social, cultural, and historical contexts not only of its depiction and genesis, but also of its wide-ranging reception, and consider the big questions that preoccupied Tolstoy throughout his lifetime. Working with a range of his texts including a wide spread of his shorter fiction and also a number of Tolstoy’s non-literary writings on topics such as aesthetics, religion, education, and social and political problems, we will work toward understanding Tolstoy’s work, how he became who he was, and the reverberations of his thought throughout the rest of the world.

This class will explore complications of representing war in the 20th and 21st centuries. War poses problems of perception, knowledge, and language. The notional "fog of war" describes a disturbing discrepancy between agents and actions of war; the extreme nature of the violence of warfare tests the limits of cognition, emotion, and memory; war's traditional dependence on declaration is often warped by language games--"police action," "military intervention," "nation-building," or palpably unnamed and unacknowledged state violence. Faced with the radical uncertainty that forms of war bring, modern and contemporary authors have experimented in historically, geographically, experientially and artistically particular ways, forcing us to reconsider even seemingly basic definitions of what a war story can be. Where does a war narrative happen? On the battlefield, in the internment camp, in the suburbs, in the ocean, in the ruins of cities, in the bloodstream? Who narrates war? Soldiers, refugees, gossips, economists, witnesses, bureaucrats, survivors, children, journalists, descendants and inheritors of trauma, historians, those who were never there? How does literature respond to the rise of terrorist or ideology war, the philosophical and material consequences of biological and cyber wars, the role of the nuclear state? How does the problem of war and representation disturb the difference between fiction and non-fiction? How do utilitarian practices of representation--propaganda, nationalist messaging, memorialization, xenophobic depiction--affect the approaches we use to study art? Finally, is it possible to read a narrative barely touched or merely contextualized by war and attend to the question of war's shaping influence? The class will concentrate on literary objects--short stories, and graphic novels--as well as film and television. Students of every level and major are welcome in and encouraged to join this class, regardless of literary experience.

This course offers a broad introduction to the study of U.S. Latina/o/x history and culture. We will read poetry, short stories, novels, plays, and essays; watch films; and examine visual art from across a wide range of mediums and traditions, including poster art, performance art, murals, graffiti, conceptual art, and guerrilla urban interventions. In each instance, we will study this work within its historical context and with close attention to the ways it illuminates class formation, racialization, and ideologies of gender and sexuality as they shape Latino/a/xs’ experience. Topics addressed in the course will include: the history of U.S. imperialism in Latin America, transnational migration and the function of borders, revolutionary nationalisms, Latina feminisms, queer Latinx experience, ideology and racialization, identity formation, and the study of literature and art created within social movements. While we will address key texts, historical events, and intellectual currents from the late 19th century and early 20th century, the course will focus primarily on the period from the 1960s to the present. All texts will be in English. As part of the course, students will have the opportunity to develop and present their own artistic project. Weekly discussion posts, midterm paper, final research paper, creative project and artist statement.

Please see the syllabus for the title, description and readings for the fall 2022 course.
Syllabus
https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do?webService=syll&t=202230&c=NELC0320401

Writing and reading are common actions we do every day. Nonetheless they have changed over the centuries, and a fourteenth century manuscript appears to us very different from a Penguin book. The impact of cultural movements such as Humanism, and of historical events, such as the Reformation, reshaped the making of books, and therefore the way of reading them. The course will provide students with an introduction to the history of the book, including elements of paleography, and through direct contact with the subjects of the class: manuscripts and books. Furthermore, a section of the course will focus on digital resources, in order to make students familiar with ongoing projects related to the history of book collections (including the "Philosophical Libraries" and the "Provenance" projects, based at the Scuola Normale Superiore in Pisa and at Penn). The course will be conducted in English; a basic knowledge of Latin is desirable but not required.

This seminar will provide an introduction to literary theory by focusing on ideology. We will explore how ideology becomes a name for investigating various social, political, and economic processes underwriting cultural production. Throughout the semester we will read texts that help to establish a genealogy of ideology. At the same time, we will examine a number of critical theories—including (post)structuralism, deconstruction, Marxism, psychoanalysis, feminism, critical race theory, postcolonial studies, and environmental studies—that offer frameworks for analyzing the complex relationships among language, representation, and power in literature, popular culture, and public discourse. Finally, we will place these theories in conversation with a number of contemporary political debates, including feminist challenges to pornography, legal disputes over hate speech, social controversies over affirmative action, state rhetoric regarding the “war on terror,” and scientific deliberations on climate change.