This course is designed to introduce students to the rich art of Modern Hebrew and Israeli literature and film. Poetry, short stories, and novel excerpts are taught in translation. The course studies Israeli cinema alongside literature, examining the various facets of this culture that is made of national aspirations and individual passions. The class is meant for all: no previous knowledge of history or the language is required. The topic changes each time the course is offered. Topics include: giants of Israeli literature; the image of the city; childhood; the marginalized voices of Israel; the Holocaust from an Israeli perspective; and fantasy, dreams & madness.

This course will provide an introduction to some of the most important film theory debates and allow us to explore how writers and filmmakers from different countries and historical periods have attempted to make sense of the changing phenomenon known as "cinema," to think cinematically. Topics under consideration may include: spectatorship, authorship, the apparatus, sound, editing, realism, race, gender and sexuality, stardom, the culture industry, the nation and decolonization, what counts as film theory and what counts as cinema, and the challenges of considering film theory in a global context, including the challenge of working across languages. There will be an asynchronous weekly film screening for this course. No knowledge of film theory is presumed.

This course will provide an introduction to some of the most important film theory debates and allow us to explore how writers and filmmakers from different countries and historical periods have attempted to make sense of the changing phenomenon known as "cinema," to think cinematically. Topics under consideration may include: spectatorship, authorship, the apparatus, sound, editing, realism, race, gender and sexuality, stardom, the culture industry, the nation and decolonization, what counts as film theory and what counts as cinema, and the challenges of considering film theory in a global context, including the challenge of working across languages. There will be an asynchronous weekly film screening for this course. No knowledge of film theory is presumed.

This course will provide an introduction to some of the most important film theory debates and allow us to explore how writers and filmmakers from different countries and historical periods have attempted to make sense of the changing phenomenon known as "cinema," to think cinematically. Topics under consideration may include: spectatorship, authorship, the apparatus, sound, editing, realism, race, gender and sexuality, stardom, the culture industry, the nation and decolonization, what counts as film theory and what counts as cinema, and the challenges of considering film theory in a global context, including the challenge of working across languages. There will be an asynchronous weekly film screening for this course. No knowledge of film theory is presumed.

This course will provide an introduction to some of the most important film theory debates and allow us to explore how writers and filmmakers from different countries and historical periods have attempted to make sense of the changing phenomenon known as "cinema," to think cinematically. Topics under consideration may include: spectatorship, authorship, the apparatus, sound, editing, realism, race, gender and sexuality, stardom, the culture industry, the nation and decolonization, what counts as film theory and what counts as cinema, and the challenges of considering film theory in a global context, including the challenge of working across languages. There will be an asynchronous weekly film screening for this course. No knowledge of film theory is presumed.

This course will provide an introduction to some of the most important film theory debates and allow us to explore how writers and filmmakers from different countries and historical periods have attempted to make sense of the changing phenomenon known as "cinema," to think cinematically. Topics under consideration may include: spectatorship, authorship, the apparatus, sound, editing, realism, race, gender and sexuality, stardom, the culture industry, the nation and decolonization, what counts as film theory and what counts as cinema, and the challenges of considering film theory in a global context, including the challenge of working across languages. There will be an asynchronous weekly film screening for this course. No knowledge of film theory is presumed.

This seminar explores Iranian culture, society, history and politics through the medium of film. We will examine a variety of cinematic works that represent the social, political, economic and cultural circumstances of contemporary Iran, as well as the diaspora. Along the way, we will discuss issues pertaining to gender, religion, nationalism, ethnicity, and the role of cinema in Iranian society and beyond. Discussions topics will also include the place of the Iranian diaspora in cinema, as well as the transnational production, distribution, and consumption of Iranian cinema. Films will include those by internationally acclaimed filmmakers, such as Rakhshan Bani-Etemad, Asghar Farhadi, Bahman Ghobadi, Abbas Kiarostami, Mohsen Makhmalbaf, Dariush Mehrjui, Tahmineh Milani, Jafar Panahi, Marjane Satrapi and others. All films will be subtitled in English. No prior knowledge is required.

This course is a study of modern Arabic literary forms in the context of the major political and social changes which shaped Arab history in the first half of the twentieth century. The aim of the course is to introduce students to key samples of modern Arabic literature which trace major social and political developments in Arab society. Each time the class will be offered with a focus on one of the literary genres which emerged or flourished in the twentieth century: the free verse poem, the prose-poem, drama, the novel, and the short story. We will study each of these emergent genres against the socio-political backdrop which informed it. All readings will be in English translations. The class will also draw attention to the politics of translation as a reading and representational lens.

This course addresses the history and theory of gender and sexuality. Different instructors will emphasize different aspects of the topic. See the English Department's website at www.english.upenn.edu for a complete description of the current offerings.

Requesting that undergrad registration is by permit only.

This class consists of two mini-seminars, each focusing on the histories of race and sexuality in premodern England, and the literature and cultural texts that were shaped by, and in turn shaped these histories. Taken together, the two seminars will explore key texts that show how racial and sexual identities were mutually constitutive, and how they were shaped by English contact with other parts of the world, as well as changing class relations within England. Through these histories, the seminars will seek to interrogate and revise theories of race and sexuality.