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COMPLIT 32Q: Humanities Core: Middle East II -- Classic (DLCL 32Q, HISTORY 85Q, HUMCORE 32Q)

How should we live? This course explores two ethical pathways: mysticism and rationality. They seem to be opposites, but as we'll see, some important historical figures managed to follow both at once. We will read works by successful judges, bureaucrats, academics, and lovers written between 700 and 1900 C.E. We will ask ourselves whether we agree with their choices and judgments about professional success and politics. What would we do differently today? We certainly organize knowledge differently, but do we think about ethics the same way? N.B. This is the second of three courses in the Middle Eastern track. These courses offer an unparalleled opportunity to study Middle Eastern history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-ER | Grading: Letter or Credit/No Credit

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"? Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED, Writing 2 | Grading: Letter (ABCD/NP)
Instructors: ; Palumbo-Liu, D. (PI)

COMPLIT 57: Human Rights and World Literature (COMPLIT 107)

<p>Human rights may be universal, but each appeal comes from a specific location with its own historical, social, and cultural context. This summer we will turn to literary narratives and films from a wide number of global locations to help us understand human rights; each story taps into fundamental beliefs about justice and ethics, from an eminently human and personal point of view. What does it mean not to have access to water, education, free speech, for example? This course has two components. The first will be a set of readings on the history and ethos of modern human rights. These readings will come from philosophy, history, political theory. The second, and major component is comprised of novels and films that come from different locations in the world, each telling a compelling story. We will come away from this class with a good introduction to human rights history and philosophy and a set of insights into a variety of imaginative perspectives on human rights issues from different global locations. Readings include: <em>Amnesty International, <em>Freedom: Stories Celebrating the Universal Declaration of Human Rights</em>,Andrew Clapham, <em>Human Rights: A Very Short Introduction</em>, James Dawes, <em>That the World May Know</em>, Walter Echo-Hawk, <em>In the Light of Justice</em>, Amitav Ghosh, <em>The Hungry Tide</em>, Bessie Head, <em>The Word for World is Forest</em>, Ursula LeGuin,
Terms: Win | Units: 5 | Grading: Letter or Credit/No Credit
Instructors: ; Palumbo-Liu, D. (PI)

COMPLIT 61Q: The Literature of Lost Identity

<p>This course will explore tales of lost identity from the Middle Ages through the Renaissance. Our stories feature orphans abandoned at birth, young heroes who must hide who they are, even cross-dressed knights on gender-bent adventures. The trials and tribulations of these displaced youths invite us to question what identity means and where it comes from. Are we made in our parents' image? What happens when we are separated from our family, or forced to take up a disguise? Are we defined by our birth and bloodline, or by education and experience? Our readings will include texts by Marie de France, Chrétien de Troyes, William Shakespeare, Philip Sidney, and Miguel de Cervantes.</p>
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: ; Lee, C. (PI)

COMPLIT 70N: Animal Planet and the Romance of the Species (CHINA 70N)

Preference to freshmen.This course considers a variety of animal characters in Chinese and Western literatures as potent symbols of cultural values and dynamic sites of ethical reasoning. What does pervasive animal imagery tell us about how we relate to the world and our neighbors? How do animals define the frontiers of humanity and mediate notions of civilization and culture? How do culture, institutions, and political economy shape concepts of human rights and animal welfare? And, above all, what does it mean to be human in the pluralistic and planetary 21st century? Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ER | Grading: Letter (ABCD/NP)
Instructors: ; Lee, H. (PI)

COMPLIT 100: CAPITALS: How Cities Shape Cultures, States, and People (DLCL 100, FRENCH 175, GERMAN 175, HISTORY 206E, ILAC 175, ITALIAN 175, URBANST 153)

This course takes students on a trip to major capital cities, at different moments in time: Renaissance Florence, Golden Age Madrid, Colonial Mexico City, Enlightenment and Romantic Paris, Existential and Revolutionary St. Petersburg, Roaring Berlin, Modernist Vienna, and bustling Buenos Aires. While exploring each place in a particular historical moment, we will also consider the relations between culture, power, and social life. How does the cultural life of a country intersect with the political activity of a capital? How do large cities shape our everyday experience, our aesthetic preferences, and our sense of history? Why do some cities become cultural capitals? Primary materials for this course will consist of literary, visual, sociological, and historical documents (in translation); authors we will read include Boccaccio, Dante, Sor Juana, Montesquieu, Baudelaire, Gogol, Irmgard Keun, Freud, and Borges. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit

COMPLIT 103: The Putin Phenomenon: Culture and Politics in Recent Russian History (SLAVIC 103)

A man who likes to ride horses shirtless. An autocrat who has shaped contemporary Russia and won't let go of the reins. A conniver who interferes in international democratic processes toward his own nefarious ends.nMore than a politician or an individual, "Putin" has become a catch-all that stands in for Russia as a whole. In this course, we'll attempt to separate the man from the myth and to understand the historical and cultural context behind Putin's policies. In the process, we will strive better to grasp contemporary Russian society as a complex and culturally rich environment, not just an oppressed land under the thumb of one man.nIn the course of our analysis, we will examine literary and cultural artifacts and expressive works that engage with political, social, and universal human problems in a Russian and post-Soviet context, interpreting and critiquing those cultural objects with an eye to aesthetic methods and qualities and also how they reflect historical and cultural elements of Russia over a 25-year period. Cultural products to be addressed include literature and film (and one graphic novel) from the Perestroika period through the present day. We will also read President Putin's autobiography, First Person, and several of his speeches, using techniques of literary analysis to parse the particular story about Russia that he aims to convey to Russians. By examining and exploring a range of cultural objects from Russia's recent history, we seek to understand the forces that contributed to social and political change over those years, the effect those changes had on ordinary (and extraordinary) Russians, and how those effects take on meaningful aesthetic form through creative expression.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: ; Underwood, A. (PI)

COMPLIT 107: Human Rights and World Literature (COMPLIT 57)

<p>Human rights may be universal, but each appeal comes from a specific location with its own historical, social, and cultural context. This summer we will turn to literary narratives and films from a wide number of global locations to help us understand human rights; each story taps into fundamental beliefs about justice and ethics, from an eminently human and personal point of view. What does it mean not to have access to water, education, free speech, for example? This course has two components. The first will be a set of readings on the history and ethos of modern human rights. These readings will come from philosophy, history, political theory. The second, and major component is comprised of novels and films that come from different locations in the world, each telling a compelling story. We will come away from this class with a good introduction to human rights history and philosophy and a set of insights into a variety of imaginative perspectives on human rights issues from different global locations. Readings include: <em>Amnesty International, <em>Freedom: Stories Celebrating the Universal Declaration of Human Rights</em>,Andrew Clapham, <em>Human Rights: A Very Short Introduction</em>, James Dawes, <em>That the World May Know</em>, Walter Echo-Hawk, <em>In the Light of Justice</em>, Amitav Ghosh, <em>The Hungry Tide</em>, Bessie Head, <em>The Word for World is Forest</em>, Ursula LeGuin,
Terms: Win | Units: 5 | Grading: Letter or Credit/No Credit
Instructors: ; Palumbo-Liu, D. (PI)

COMPLIT 109: Masterpieces: Orhan Pamuk (COMPLIT 309)

This course explores the major works of Nobel Prize Winner Orhan Pamuk and the novel tradition. We will start with his more classical narratives such as <em>Silent House</em> and move to modernist, post-colonial, and post-modernist works exemplified by <em>The New Life<em/>, <em>The White Castle<em>, <em>The Black Book</em>, and <em>My Name is Red</em>. Topics include: East/West, the Ottoman theme, Istanbul, and autobiographical strands in fiction.
Terms: Win | Units: 1-5 | Grading: Letter or Credit/No Credit
Instructors: ; Karahan, B. (PI)

COMPLIT 122: Literature as Performance (DLCL 142)

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: Win | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit
Instructors: ; Greenleaf, M. (PI)

COMPLIT 127B: The Hebrew and Jewish Short Story (JEWISHST 147B)

Short stories from Israel, the US and Europe including works by Agnon, Kafka, Keret, Castel-Bloom, Kashua, Singer, Benjamin, Freud, biblical myths and more. The class will engage with questions related to the short story as a literary form and the history of the short story. Reading and discussion in English. Optional: special section with readings and discussions in Hebrew. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
Instructors: ; Shemtov, V. (PI)

COMPLIT 133A: Literature and Society in Africa and the Caribbean (AFRICAAM 133, AFRICAST 132, FRENCH 133, JEWISHST 143)

This course aims to equip students with an understanding of the cultural, political and literary aspects at play in the literatures of Francophone Africa and the Caribbean. Our primary readings will be Francophone novels and poetry, though we will also read some theoretical texts. The assigned readings will expose students to literature from diverse French-speaking regions of the African/Caribbean world. This course will also serve as a "literary toolbox," with the intention of facilitating an understanding of literary forms, terms and practices. Students can expect to work on their production of written and spoken French (in addition to reading comprehension) both in and outside of class. Special guest: LEILA SLIMANI (Goncourt Prize 2016). Required readings include: Leila Slimani, "Sexe et Mensonges au Maroc", Albert Memmi, "La Statue de Sel," Kaouther Adimi, "L'Envers des autres", Maryse Condé, "La Vie sans fards". Movies include "Goodbye Morocco", "Aya de Yopougon", "Les Baies d'Alger". nTaught in French. Prerequisite: FRENLANG 124 or consent of instructor.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: ; Ulloa, M. (PI)

COMPLIT 142B: Translating Japan, Translating the West (JAPAN 121, JAPAN 221)

Translation lies at the heart of all intercultural exchange. This course introduces students to the specific ways in which translation has shaped the image of Japan in the West, the image of the West in Japan, and Japan's self-image in the modern period. What texts and concepts were translated by each side, how, and to what effect? No prior knowledge of Japanese language necessary.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: ; Levy, I. (PI)

COMPLIT 154A: Film & Philosophy (ENGLISH 154F, FRENCH 154, ITALIAN 154, PHIL 193C, PHIL 293C)

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

COMPLIT 154E: Film & Philosophy CE (FRENCH 154E, ITALIAN 154E, PHIL 193E, PHIL 293E)

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Terms: Win | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

COMPLIT 172: Visions of a Golden Age: Nature and Pastoral in Literary History

In the light of ecological collapse and climate catastrophe, eco-critics like Timothy Morton have asserted the need to abandon the very concept of nature. For Morton, it is in literature where the development and limitations of nature are most visible. Taking pastoral, i.e. stories about shepherds in idyllic landscapes, as the genre that has done the most in European contexts to shape how nature is seen and understood, this course proposes a historical appraisal of its literary history from ancient Greece to the twenty-first century. How has pastoral constructed nature? How has this changed over time? What is the relation between the historical contingency of nature as it develops in literary history and theories of human nature? While tracking the development of nature as a concept in plays, poems, and prose will be our main focus, this course will also investigate the ways in which shepherd lives and songs have shaped debates on gender, criticized city-life, depicted a Golden Age and the ideal state of humankind, and confronted political tyranny. Students will analyze poems, prose, and plays as autonomous works of art that shape how we imagine and understand nature. Reading literary texts from different moments in history and from a diversity of cultural contexts will permit students to reflect critically on their own conceptions of nature and those of contemporary political and economic discourses. The course will empower students to construct their own literary histories of nature and bring literature to bear on contemporary debates about the environment and climate change.
Terms: Win | Units: 3-5 | Grading: Letter or Credit/No Credit
Instructors: ; Rodriguez-Rincon, L. (PI)

COMPLIT 199: Senior Seminar

What is criticism? When we interpret literature today, are we fulfilling the critical vocation? What are the alternatives? We consider the origins of the idea of the critic in nineteenth-century culture, its development in the twentieth century, and its current exponents, revisionists, and dissenters. Senior seminar for Comparative Literature Senior majors only.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ER | Grading: Letter (ABCD/NP)
Instructors: ; Key, A. (PI)

COMPLIT 208: The Cosmopolitan Introvert: Modern Greek Poetry and its Itinerants

Overview of the last century of Greek poetry with emphasis on modernism. Approximately 20 modern Greek poets (starting with Cavafy and Nobel laureates Seferis and Elytis and moving to more modern writers) are read and compared to other major European and American writers. The themes of the cosmopolitan itinerant and of the introvert, often co-existing in the same poet, connect these idiosyncratic voices. The course uses translations and requires no knowledge of Greek but original texts can also be shared with interested students. Note: The course is open to both undergraduate and graduate students
Terms: Win | Units: 1-5 | Grading: Letter or Credit/No Credit
Instructors: ; Ioannidis, J. (PI)

COMPLIT 234: Classics of Persian Literature

<p>The course offers a survey of and introduction to the central works of Persian literature, from the 10th century to our time, across the genres: epic, romance, lyric, and novel. Special attention will be given to the various ways in which the texts continue to resonate in Persian culture. Readings include: the <em>Shahnameh<em/> by Ferdowsi (940-1020); <em>Khosrow and Shirin<em/> by Nezami (1141-1209); <em>The Conference of the Birds by Attar<em/> (1145/46-1221); selections from the masnavi and divan of Rumi (d. 1273); selections from the <em>divan<em/> of Hafez (1325/26-1389/90); <em>The Blind Owl<em/> by Sadegh Hedayat (1903-1951); selected poems by Nima (1895-1960), Shamlu (1925-2000), Akhavan Sales (1928-1990), and Forugh Farrokhzad (1935-1967); and <em>My Uncle Napoleon<em/> by Iraj Pezeshkzad (1928-). Taught in English.</p>
Terms: Win | Units: 3-5 | Grading: Letter or Credit/No Credit
Instructors: ; Huber, M. (PI)

COMPLIT 246: Advanced Readings in Persian

Through studies of representative works of Persian literature (prose and poetry) and culture (art, history, music, cinema, journalism) the course familiarizes students with a wide range of styles. The aim is to enhance both reading and writing skills in connection with an active understanding of cultural and linguistic codes.
Terms: Win | Units: 3-5 | Grading: Letter (ABCD/NP)
Instructors: ; Huber, M. (PI)

COMPLIT 248B: Reading Turkish II

This course is the continuation of COMPLIT 248A Reading Turkish I, which served as an introduction to the structures of the Turkish language necessary for reading. It is designed to develop reading competence in Turkish for graduate students. Undergraduates should consult the instructor before enrolling for the course. Essential grammar, syntax points, vocabulary, and reading skills will be emphasized. This is not a traditional language course that takes an integrated four-skill approach; it focuses only on reading, and as a result we will be able to cover advanced material in a short amount of time. This course is conducted in English, but students will be exposed to the sounds of Turkish, and will have the opportunity to practice pronunciation in class. COMPLIT 248B is followed by COMPLIT 248C Advanced Turkish for Research in the Spring.
Terms: Win | Units: 2-4 | Grading: Letter or Credit/No Credit
Instructors: ; Karahan, B. (PI)

COMPLIT 249B: Iranian Cinema in Diaspora (GLOBAL 249B)

Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran? NOTE: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Win | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: ; Beyzaie, B. (PI)

COMPLIT 252A: Great Arabic Poetry

Introduction to the canon of Arabic poetry from the sixth to the twenty-first century. Imru' al-Qays, al-Mutanabbi, Mahmud Darwish, and more. Readings in Arabic. Two years of Arabic at Stanford or equivalent required. Counts for the Arabic Track in the MELLAC Minor.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: ; Key, A. (PI)

COMPLIT 259A: Levinas and Literature (JEWISHST 249A)

Focus is on major works by French phenomenologist Emmanuel Levinas (1906-1995) and their import for literary studies. Aim is to discuss and evaluate Levinas's (often latent) aesthetics through a close reading of his work in phenomenology, ethics, and Jewish philosophy. If poetry has come to seem barbaric (or at least useless) in a world so deeply shaped by genocide, forced migration, and climate change, Levinas offers a clear and deeply engaged path forward. If you love literature but still haven't figured out what on earth it might be good for, this course is for you. Readings and discussion in English.
Terms: Win | Units: 3-5 | Grading: Letter or Credit/No Credit
Instructors: ; Barletta, V. (PI)

COMPLIT 303D: Thinking in Fiction (ENGLISH 303D)

Is there a boundary between fact and fiction? Is fiction a stable category at all? Should we be thinking instead about description, factual reference, the place of history, and the methods of science? This course will examine the ways in which fictions figure in the workings of the human mind and human institutions, as well as in literature. Readings will include work by philosophers and critics stretching from Locke, Hume, and Adam Smith, to twentieth-century figures such as Vaihinger (the philosophy of "as if"), to "possible worlds" theory. Bruno Latour, Marie-Laure Ryan, and Ann Banfield will be joined by Catherine Gallagher and narratologists. In reaching back to the eighteenth century, we also can have in mind important essays or prefaces by such writers as Horace Walpole, Anna Laetitia Barbauld, and Anne Radcliffe. Novels, of course, raise large questions about fictionality. Works for study include: The Female Quixote, The Castle of Otranto, Tristram Shandy, and A Simple Story.
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: ; Bender, J. (PI)

COMPLIT 309: Masterpieces: Orhan Pamuk (COMPLIT 109)

This course explores the major works of Nobel Prize Winner Orhan Pamuk and the novel tradition. We will start with his more classical narratives such as <em>Silent House</em> and move to modernist, post-colonial, and post-modernist works exemplified by <em>The New Life<em/>, <em>The White Castle<em>, <em>The Black Book</em>, and <em>My Name is Red</em>. Topics include: East/West, the Ottoman theme, Istanbul, and autobiographical strands in fiction.
Terms: Win | Units: 1-5 | Grading: Letter or Credit/No Credit
Instructors: ; Karahan, B. (PI)

COMPLIT 321: Giambattista Vico (FRENCH 321, ITALIAN 321)

An intensive reading of Vico's New Science. Emphasis will be on Vico's philosophy of history and theories of poetic wisdom, myth, and language. Vico will be put in dialogue with René Descartes, Rousseau, Auguste Compte, Claude Lévi Strauss, and Paul Feyerabend, whose ideas about myth and science converge in striking ways with Vico's.
Terms: Win | Units: 1-5 | Grading: Letter or Credit/No Credit
Instructors: ; Harrison, R. (PI)

COMPLIT 327: Genres of the Novel (ENGLISH 327, FRENCH 327)

Provides students with an overview of some major genres in the history of the modern novel, along with major theorists in the critical understanding of the form. Novels might include works by Cervantes, Defoe, Lafayette, Radcliffe, Goethe, Scott, Balzac, Melville, and Woolf. Theorists might include Lukacs, Bakhtin, Jameson, Gallagher, Barthes, Kristeva, and Bourdieu. *PLEASE NOTE: Course for graduate students only.*
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: ; Cohen, M. (PI)

COMPLIT 334B: Concepts of Modernity II: Culture, Aesthetics, and Society in the Age of Globalization (ENGLISH 334B, MTL 334B)

Emphasis on world-system theory, theories of coloniality and power, and aesthetic modernity/postmodernity in their relation to culture broadly understood.
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: ; Saldivar, J. (PI)

COMPLIT 343: World War Two: Place, Loss, History (ARTHIST 401)

A consideration of how the Second World War still goes on today in the form of haunted absences and vivid representations. Studying literature and art in detail, the seminar will center on some of the places where those absences and representations gather: Portbou, Pearl Harbor, Auschwitz, Guadalcanal, London, Berlin, Hamburg, Rome, Omaha Beach, Peleliu, Monte Cassino, Hollywood. Writers and artists include: James Jones, Georges Didi-Huberman, Walter Benjamin, Eduardo Cadava, W.G. Sebald, Rachel Whiteread, Ingeborg Bachman, Wis¿awa Szymborska, Eugene Sledge, Hans Erich Nossack, Jorie Graham, Gerhard Richter, Dani Karavan, Tom Lea, W. Eugene Smith, Val Lewton, and Terrence Malick.
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)

COMPLIT 348: US-Mexico Border Fictions: Writing La Frontera, Tearing Down the Wall (ILAC 348)

<p>A border is a force of containment that inspires dreams of being overcome, crossed, and cursed; motivates bodies to climb over walls; and threatens physical harm. This graduate seminar places into comparative dialogue a variety of perspectives from Chicana/o and Mexican/Latin American literary studies. Our seminar will examine fiction and cultural productions that range widely, from celebrated Mexican and Chicano/a authors such as Carlos Fuentes (<em>La frontera de cristal</em>), Yuri Herrera (<em>Señales que precederan al fin del mundo</em>), Willivaldo Delgaldillo (<em>La Virgen del Barrio Árabe</em>), Américo Paredes (<em>George Washington Gómez: A Mexico-Texan Novel</em>), Gloria Anzaldúa (<em>Borderlands/La Frontera: The New Mestiza</em>), and Sandra Cisneros (<em>Carmelo: Puro Cuento</em>), among others, to musicians whose contributions to border thinking and culture have not yet been fully appreciated such as Herb Albert, Ely Guerra, Los Tigres del Norte, and Café Tacvba. Last but not least, we will screen and analyze Orson Welles' iconic border films <em>Touch of Evil</em> and Rodrigo Dorfman's <em>Los Sueños de Angélica</em>. Proposing a diverse and geographically expansive view of the US-Mexico border literary and cultural studies, this seminar links the work of these authors and musicians to struggles for land and border-crossing rights, anti-imperialist forms of trans-nationalism, and to the decolonial turn in border thinking or pensamineto fronterizo. It forces us to take into account the ways in which shifts in the nature of global relations affect literary production and negative aesthetics especially in our age of (late) post-industrial capitalism.</p>
Terms: Win | Units: 3-5 | Grading: Letter or Credit/No Credit
Instructors: ; Saldivar, J. (PI)

COMPLIT 359A: Philosophical Reading Group (FRENCH 395, ITALIAN 395)

Discussion of one contemporary or historical text from the Western philosophical tradition per quarter in a group of faculty and graduate students. For admission of new participants, a conversation with H. U. Gumbrecht is required. May be repeated for credit. Taught in English.
Terms: Aut, Win | Units: 1 | Repeatable for credit | Grading: Satisfactory/No Credit
Instructors: ; Harrison, R. (PI)
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