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.

Cultures of Reading in Imperial Russia --- What did it mean to be a reader in imperial Russia? What did people read, and to what ends? How was literacy cultivated, and what were the social implications? In this course, students will develop a broad theoretical apparatus in the history and sociology of reading in nineteenth-century Russia to analyze several canonical works of literature that thematize and foreground the act of reading: as a pursuit undertaken for the betterment of self, society, nation, and world; as a light pastime for the bored, contemplative, or idle; but also as an enterprise fraught with potential for moral or civic ruin. In addition to investigating allusions to the specific texts and authors read by literary characters, we will also examine the reading habits of our own authors as both consumers and producers of literary culture. We will consider these dynamics against a backdrop of constant fluctuations in educational policies, the book market, and the circulation of texts within and beyond Russia as we work together to develop an understanding of the imperial Russian reading public(s).

Focusing on movies made after 1945, this course allows students to learn and to sharpen methods, terminologies, and tools needed for the critical analysis of film. Beginning with the cinematic revolution signaled by the Italian Neo-Realism (of Rossellini and De Sica), we will follow the evolution of postwar cinema through the French New Wave (of Godard, Resnais, and Varda), American movies of the 1950s and 1960s (including the New Hollywood cinema of Coppola and Scorsese), and the various other new wave movements of the 1960s, 1970s and 1980s (such as the New German Cinema). We will then selectively examine some of the most important films of the last two decades, including those of U.S. independent film movement and movies from Iran, China, and elsewhere in an expanding global cinema culture. There will be precise attention paid to formal and stylistic techniques in editing, mise-en-scene, and sound, as well as to the narrative, non-narrative, and generic organizations of film. At the same time, those formal features will be closely linked to historical and cultural distinctions and changes, ranging from the Paramount Decision of 1948 to the digital convergences that are defining screen culture today. There are no perquisites. Requirements will include readings in film history and film analysis, an analytical essay, a research paper, a final exam, and active participation.

Focusing on movies made after 1945, this course allows students to learn and to sharpen methods, terminologies, and tools needed for the critical analysis of film. Beginning with the cinematic revolution signaled by the Italian Neo-Realism (of Rossellini and De Sica), we will follow the evolution of postwar cinema through the French New Wave (of Godard, Resnais, and Varda), American movies of the 1950s and 1960s (including the New Hollywood cinema of Coppola and Scorsese), and the various other new wave movements of the 1960s, 1970s and 1980s (such as the New German Cinema). We will then selectively examine some of the most important films of the last two decades, including those of U.S. independent film movement and movies from Iran, China, and elsewhere in an expanding global cinema culture. There will be precise attention paid to formal and stylistic techniques in editing, mise-en-scene, and sound, as well as to the narrative, non-narrative, and generic organizations of film. At the same time, those formal features will be closely linked to historical and cultural distinctions and changes, ranging from the Paramount Decision of 1948 to the digital convergences that are defining screen culture today. There are no perquisites. Requirements will include readings in film history and film analysis, an analytical essay, a research paper, a final exam, and active participation.

This course is designed to introduce advanced undergraduate and graduate students to the range of new opportunities for literary research afforded by Digital Humanities and recent technological innovation.
Digital Humanities: you've heard of it. Maybe you're excited about it, maybe you're skeptical. Regardless of your primary area of study, this course will give you the critical vocabularies and hands-on experience necessary to understand the changing landscape of the humanities today. Topics will include quantitative analysis, digital editing and bibliography, network visualization, public humanities, and the future of scholarly publishing. Although we will spend a good portion of our time together working directly with new tools and methods, our goal will not be technological proficiency so much as critical competence and facility with digital theories and concepts. We will engage deeply with media archaeology, feminist technology studies, critical algorithm studies, and the history of material texts; and we will attend carefully to the politics of race, gender, and sexuality in the field. Students will have the opportunity to pursue their own scalable digital project.
See the English Department's website at www.english.upenn.edu for a description of the current offerings.

How and when do media become digital? What does digitization afford and what is lost as television and cinema become digitized? As lots of things around us turn digital, have we started telling stories, sharing experiences, and replaying memories differently? What has happened to television and life after New Media ? How have television audiences been transformed by algorithmic cultures of Netflix and Hulu? How have (social) media transformed socialities as ephemeral snaps and swiped intimacies become part of the "new" digital/phone cultures? This is an introductory survey course and we discuss a wide variety of media technologies and phenomena that include: cloud computing, Internet of Things, trolls, distribution platforms, optical fiber cables, surveillance tactics, social media, and race in cyberspace. We also examine emerging mobile phone cultures in the Global South and the environmental impact of digitization. Course activities include Tumblr blog posts and Instagram curations. The final project could take the form of either a critical essay (of 2000 words) or a media project.

How and when do media become digital? What does digitization afford and what is lost as television and cinema become digitized? As lots of things around us turn digital, have we started telling stories, sharing experiences, and replaying memories differently? What has happened to television and life after New Media ? How have television audiences been transformed by algorithmic cultures of Netflix and Hulu? How have (social) media transformed socialities as ephemeral snaps and swiped intimacies become part of the "new" digital/phone cultures? This is an introductory survey course and we discuss a wide variety of media technologies and phenomena that include: cloud computing, Internet of Things, trolls, distribution platforms, optical fiber cables, surveillance tactics, social media, and race in cyberspace. We also examine emerging mobile phone cultures in the Global South and the environmental impact of digitization. Course activities include Tumblr blog posts and Instagram curations. The final project could take the form of either a critical essay (of 2000 words) or a media project.

An advanced graduate seminar focused on Realism and spanning several centuries. This two-part course will consider the literary history of realism and will take on some fundamental epistemological questions entailed by the novel’s attempts to represent the real. We will read major theories of realism alongside canonical and marginal realist fiction. Emily Steinlight will address the variously formal, aesthetic, political, and epistemological status of realism in nineteenth-century novels and in theories old and new; some discussion will focus on the concept of totality and on the uneven histories and revitalized uses of realism across contexts. Heather Love will address the relation between classical realism, hyperrealism, and modernist/avant-garde departures in the 20th and 21st centuries, with special attention paid to the role of observation and description in literature and the social sciences. The range of readings may include novels by Honoré de Balzac, George Eliot, Leo Tolstoy, George Gissing, Mariano Azuela, Virginia Woolf, Patricia Highsmith, Nicholson Baker, Georges Perec, Karl Ove Knausgaard, and Rachel Cusk, as well as critical and theoretical work by Viktor Schklovsky, Georg Lukács, Ian Watt, Roland Barthes, Catherine Gallagher, Fredric Jameson, Elaine Freedgood, Anna Kornbluh, Colleen Lye, the Warwick Research Collective, and others.

This course explores the china-mania that spread across England and Europe in the eighteenth century, from chinoiserie vogues in fashion, tea, porcelain, and luxury objects, to the idealization of Confucius by Enlightenment philosophers. How was Asia was imagined and understood by Europeans during a period of increased trade between East and West? The course will consist primarily of British and French literature and art of the 18th century. Texts range from Oriental tales, novels, plays, and poetry, to newspaper essays and economic, scientific, and philosophical tracts. The course is designed to provide historical background to contemporary problems of Orientalism, Sinophilia, and Sinophobia. Short discussion responses, one class presentation + annotated bibliography and a choice of either two short essays (5 pages each) or one longer essay (15 pages).

European intellectual and cultural history from 1870 to 1950. Themes to be considered include aesthetic modernism and the avant-garde, the rebellion against rationalism and positivism, Social Darwinism, Second International Socialism, the impact of World War One on European intellectuals, psychoanalysis, existentialism, and the ideological origins of fascism. Figures to be studied include Nietzsche, Freud, Woolf, Sartre, Camus, and Heidegger.