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121 - 130 of 419 results for: all courses

COMPLIT 133: Literature and Society in Africa and the Caribbean (AFRICAAM 133, AFRICAST 132, COMPLIT 233A, CSRE 133E, FRENCH 133, JEWISHST 143)

This course provides students with an introductory survey of literature and cinema from Francophone Africa and the Caribbean in the 20th and 21st centuries. Students will be encouraged to consider the geographical, historical, and political connections between the Maghreb, the Caribbean, and Sub-Saharan Africa. This course will help students improve their ability to speak and write in French by introducing students to linguistic and conceptual tools to conduct literary and visual analysis. While analyzing novels and films, students will be exposed to a diverse number of topics such as national and cultural identity, race and class, gender and sexuality, orality and textuality, transnationalism and migration, colonialism and decolonization, history and memory, and the politics of language. Readings include the works of writers and filmmakers such as Aim¿ C¿saire, Albert Memmi, Ousmane Semb¿ne, Le¿la Sebbar, Mariama B¿, Maryse Cond¿, Dany Laferri¿re, Mati Diop, and special guest L¿onora Miano. Taught in French. Students are encouraged to complete FRENLANG 124 or successfully test above this level through the Language Center. This course fulfills the Writing in the Major (WIM) requirement.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP, GER:DB-Hum

COMPLIT 138: Literature and the Brain (COMPLIT 238, ENGLISH 118, ENGLISH 218, FRENCH 118, FRENCH 218, PSYC 126, PSYCH 118F)

How does fiction make us better at reading minds? Why do some TV shows get us to believe two contradictory things at once? And can cognitive biases be a writer's best friend? We'll think about these and other questions in the light of contemporary neuroscience and experimental psychology, with the help of Song of Solomon (Toni Morrison), Madame Bovary (Gustave Flaubert), season 1 of Westworld (Lisa Joy / Jonathan Nolan), and short readings from writers like Louise Glück, Jorge Luis Borges, Virginia Woolf, and Marcel Proust. We'll also ask what we see when we read; whether the language we speak affects the way we think; and why different people react differently to the same book. Plus: is free will a fiction, or were you just forced to say that?
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II

COMPLIT 142: The Literature of the Americas (AMSTUD 142, CSRE 142)

This course will focus on identifying moments of continuity and discontinuity in the literatures of the Americas, both in time and space. We will look at a wide-range of literatures of the Americas in comparative perspective, emphasizing continuities and crises that are common to North American, Central American, and South American literatures, from the colonial period until today. Topics include the definitions of such concepts as empire and colonialism, the encounters between worldviews of European and indigenous peoples, the emergence of creole and racially mixed populations, slavery, the New World voice, myths of America as paradise or utopia, the coming of modernism, twentieth-century avant-gardes, and distinctive modern episodes in unaccustomed conversation with each other.
Last offered: Winter 2022 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II

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.
Last offered: Winter 2020 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP

COMPLIT 149: The Laboring of Diaspora & Border Literary Cultures (CSRE 149, ILAC 149)

Focus is given to emergent theories of culture and on comparative literary and cultural studies. How do we treat culture as a social force? How do we go about reading the presence of social contexts within cultural texts? How do ethno-racial writers re-imagine the nation as a site with many "cognitive maps" in which the nation-state is not congruent with cultural identity? How do diaspora and border narratives/texts strive for comparative theoretical scope while remaining rooted in specific local histories. Note: This course must be taken for a letter grade to be eligible for WAYS credit.
Last offered: Winter 2023 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-EDP

COMPLIT 161E: Narrative and Narrative Theory (ENGLISH 161)

An introduction to stories and storytelling--that is, to narrative. What is narrative? When is narrative fictional and when non-fictional? How is it done, word by word, sentence by sentence? Must it be in prose? Can it be in pictures? How has storytelling changed over time? Focus on various forms, genres, structures, and characteristics of narrative. nEnglish majors must take this class for 5 units.
Terms: Aut, Win, Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

COMPLIT 181: Philosophy and Literature (CLASSICS 42, ENGLISH 81, FRENCH 181, GERMAN 181, ILAC 181, ITALIAN 181, PHIL 81, SLAVIC 181)

Can novels make us better people? Can movies challenge our assumptions? Can poems help us become who we are? We'll think about these and other questions with the help of writers like Toni Morrison, Marcel Proust, Jordan Peele, Charlie Kaufman, Rachel Cusk, William Shakespeare, and Samuel Beckett, plus thinkers like Nehamas, Nietzsche, Nussbaum, Plato, and Sartre. We'll also ask whether a disenchanted world can be re-enchanted; when, if ever, the truth stops being the most important thing; why we sometimes choose to read sad stories; whether we ever love someone for who they are; who could possibly want to live their same life over and over again; what it takes to make ourselves fully moral; whether it's ever good to be conflicted; how we can pull ourselves together; and how we can take ourselves apart. (This is the required gateway course for the Philosophy and Literature major tracks. Majors should register in their home department.)
Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II

COMPLIT 199: Senior Seminar

What is theory, and how (and why) do we do it in Comparative Literature? Senior seminar for Comparative Literature Senior majors only.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ER

COMPLIT 233A: Literature and Society in Africa and the Caribbean (AFRICAAM 133, AFRICAST 132, COMPLIT 133, CSRE 133E, FRENCH 133, JEWISHST 143)

This course provides students with an introductory survey of literature and cinema from Francophone Africa and the Caribbean in the 20th and 21st centuries. Students will be encouraged to consider the geographical, historical, and political connections between the Maghreb, the Caribbean, and Sub-Saharan Africa. This course will help students improve their ability to speak and write in French by introducing students to linguistic and conceptual tools to conduct literary and visual analysis. While analyzing novels and films, students will be exposed to a diverse number of topics such as national and cultural identity, race and class, gender and sexuality, orality and textuality, transnationalism and migration, colonialism and decolonization, history and memory, and the politics of language. Readings include the works of writers and filmmakers such as Aim¿ C¿saire, Albert Memmi, Ousmane Semb¿ne, Le¿la Sebbar, Mariama B¿, Maryse Cond¿, Dany Laferri¿re, Mati Diop, and special guest L¿onora Miano. Taught in French. Students are encouraged to complete FRENLANG 124 or successfully test above this level through the Language Center. This course fulfills the Writing in the Major (WIM) requirement.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, GER:DB-Hum, WAY-EDP

COMPLIT 238: Literature and the Brain (COMPLIT 138, ENGLISH 118, ENGLISH 218, FRENCH 118, FRENCH 218, PSYC 126, PSYCH 118F)

How does fiction make us better at reading minds? Why do some TV shows get us to believe two contradictory things at once? And can cognitive biases be a writer's best friend? We'll think about these and other questions in the light of contemporary neuroscience and experimental psychology, with the help of Song of Solomon (Toni Morrison), Madame Bovary (Gustave Flaubert), season 1 of Westworld (Lisa Joy / Jonathan Nolan), and short readings from writers like Louise Glück, Jorge Luis Borges, Virginia Woolf, and Marcel Proust. We'll also ask what we see when we read; whether the language we speak affects the way we think; and why different people react differently to the same book. Plus: is free will a fiction, or were you just forced to say that?
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II
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