printer friendly pageCOMPLIT 10N: Shakespeare and Performance in a Global Context
Preference to freshmen. The problem of performance including the performance of gender through the plays of Shakespeare. In-class performances by students of scenes from plays. The history of theatrical performance. Sources include filmed versions of plays, and readings on the history of gender, gender performance, and transvestite theater.
Last offered: Spring 2013
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II
COMPLIT 11Q: Shakespeare, Playing, Gender
Preference to sophomores. Focus is on several of the best and lesser known plays of Shakespeare, on theatrical and other kinds of playing, and on ambiguities of both gender and playing gender.
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II, GER:EC-Gender, GER:DB-Hum
Instructors:
Parker, P. (PI)
COMPLIT 41N: Borderlands of Literature and Culture
Rather than try to examine the whole of such an extensive body of work by artists of Mexican descent living in Mexico and the United States, the focus will be on the transnational themes of border thinking, memory, and identity (both personal and collective). Looking at the foundational poetry, auto-ethnographies, and narratives by Américo Paredes and Gloria Anzaldúa and how their literary and ethnographic work laid the groundwork for subsequent imaginings in the narratives, poetry, and theory of border thinking and writing. We will explore the trans-frontier cultural conditions under which imaginative literary texts are produced, disseminated, and received. We will consider not only the historical transnational experiences that inform these borderlands texts but the potential futures of Mexico and the United States they imagine.
Last offered: Autumn 2010
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP
COMPLIT 51Q: Comparative Fictions of Ethnicity (AMSTUD 51Q, CSRE 51Q)
We may "know" "who" we "are," but we are, after all, social creatures. How does our sense of self interact with those around us? How does literature provide a particular medium for not only self expression, but also for meditations on what goes into the construction of "the Self"? After all, don't we tell stories in response to the question, "who are you"? Besides a list of nouns and names and attributes, we give our lives flesh and blood in telling how we process the world. Our course focuses in particular on this question--Does this universal issue ("who am I") become skewed differently when we add a qualifier before it, like "ethnic"?
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP, Writing 2
Instructors:
Palumbo-Liu, D. (PI)
COMPLIT 101: What is Comparative Literature?
Introduction to theories about reading and theories about thinking. How should we best read novels, plays, short stories, poetry, and a variety of other forms of literary expression? Which ideas get taken across borders by literature, and which ideas do not? What role has literature played in human societies in different times and places? Fulfills the Writing-in-the-Major requirement. Gateway to the Comparative Literature Major.
Terms: Aut
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Key, A. (PI)
;
Hulstyn, M. (TA)
COMPLIT 110: Introduction to Comparative Queer Literary Studies (COMPLIT 310, FEMST 110)
Introduction to the comparative literary study of important gay, lesbian, queer, bisexual, and transgender writers and their changing social, political, and cultural contexts from the 1890s to today: Wilde, Gide, Lucie Delarue-Mardrus, Radclyffe Hall, E.M. Forster, Thomas Mann, Georges Bataille, James Baldwin, Jean Genet, Jeanette Winterson, Sarah Waters, Audre Lorde, discussed in the context of 20th-century feminist and queer literary and social theories of gender and sexuality (Judith Butler, Eve Sedgwick, Julia Serano, and others).
Last offered: Winter 2013
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP
COMPLIT 112: Oscar Wilde and the French Decadents (COMPLIT 312, FRENCH 112, FRENCH 312)
Close reading of Oscar Wilde's work together with major texts and authors of 19th-century French Decadence, including Symbolism, l'art pour l'art, and early Modernism. Points of contact between Wilde and avant-garde Paris salons; provocative, creative intersections between (homo)erotic and aesthetic styles, transgression; literary and cultural developments from Baudelaire to Mallarmé, Huysmans, Flaubert, Rachilde, Lorrain, and Proust compared with Wilde¿s Salomé, Picture of Dorian Gray, and critical writings; relevant historical and philosophical contexts. All readings in English; all student levels welcome.
Terms: Win
| Units: 3-5
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP
Instructors:
Dierkes, P. (PI)
COMPLIT 115: Nabokov in the Transnational Context (COMPLIT 315, SLAVIC 156, SLAVIC 356)
Nabokov's techniques of migration and camouflage as he inhabits the literary and historical contexts of St. Petersburg, Berlin, Paris, America, and Switzerland. His early and late stories, last Russian novel "The Gift," "Lolita" (the novel and screenplay), and "Pale Fire." Readings in English. Russian speakers will be encouraged to read Russian texts in original.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum
Instructors:
Greenleaf, M. (PI)
COMPLIT 121: Poems, Poetry, Worlds
What is poetry? How does it speak in many voices to questions of history, society, and personal experience? Why does it matter? The reading and interpretation of poetry in crosscultural comparison as experience, invention, form, sound, knowledge, and part of the world. Readings include: classical Chinese poetry, English Romantic poetry, and modern Arabic, American, Brazilian, Japanese, German, Spanish poetry, with specific attention to landscape, terrain, the environment, and the role of the poet.
Terms: Aut
| Units: 3-5
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP
Instructors:
Palumbo-Liu, D. (PI)
;
Alford, L. (TA)
COMPLIT 122: Literature as Performance (COMPLIT 322)
Theater as performance and as literature. Historical tension between text and spectacle, thought and embodiment in western and other traditions since Greek antiquity. Dramas read in tandem with theory, live performances, and audiovisuals.
Terms: Spr
| Units: 5
| UG Reqs: GER:DB-Hum
Instructors:
Greenleaf, M. (PI)
;
Kim, B. (PI)
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