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

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

What makes you the individual you are? Should you plan your life, or make it up as you go along? Is it always good to remember your past? Is it always good to know the truth? When does a machine become a person? What do we owe to other people? Is there always a right way to act? How can we live in a highly imperfect world? And what can film do that other media can't? We'll think about all of these great questions with the help of films that are philosophically stimulating, stylistically intriguing, and, for the most part, gripping to watch: Do The Right Thing (Lee), The Dark Knight (Nolan), Eternal Sunshine of the Spotless Mind (Kaufman), Arrival (Villeneuve), My Dinner with Andr¿ (Malle), Blade Runner (Scott), La Jet¿e (Marker), Fight Club (Fincher), No Country for Old Men (Coen), The Seventh Seal (Bergman), and Memento (Nolan). Attendance at weekly screenings is mandatory; and fun. We will not be using the waitlist on Axess - if you would like to enroll and the course is full/closed please email us to get on the waitlist!
Last offered: Autumn 2022 | UG Reqs: GER:DB-Hum, WAY-A-II

FRENCH 181: Philosophy and Literature (CLASSICS 42, COMPLIT 181, ENGLISH 81, 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

FRENCH 214: Pirandello, Sartre, and Beckett (COMPLIT 281E, COMPLIT 381E, FRENCH 314, ITALIAN 214, ITALIAN 314)

In this course we will read the main novels and plays of Pirandello, Sartre, and Beckett, with special emphasis on the existentialist themes of their work. Readings include The Late Mattia Pascal, Six Characters in Search of an Author, Henry IV; Nausea, No Exit, "Existentialism is a Humanism"; Molloy, Endgame, Krapp's Last Tape, Waiting for Godot. Taught in English.
Last offered: Spring 2021 | UG Reqs: GER:DB-Hum, WAY-A-II

FRENCH 218: Literature and the Brain (COMPLIT 138, COMPLIT 238, ENGLISH 118, ENGLISH 218, FRENCH 118, 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

FRENCH 228E: Getting Through Proust

Selections from all seven volumes of "In Search of Lost Time". Focus on issues of personal identity (perspective, memory, life-narrative); interpersonal relations (friendship, love, homosexuality, jealousy, indirect expression); knowledge (objective truth, subjective truth, necessary illusions); redemption (enchantment, disenchantment, re-enchantment); aesthetics (music, painting, fiction); and Proust's own style (narrative sequence, sentence structure, irony, metaphor, metonymy, metalepsis). Taught in English; readings in French or English.
Terms: Win | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Landy, J. (PI)

FRENCH 251: Writing, Memory, and the Self (FRENCH 351, ITALIAN 251, ITALIAN 351)

Recent work in psychology and neuroscience emphasizes the narrative quality of the self, as we create it and recreate it through language and writing, shaping memories both personal and historical. This process is circular: we grow into the stories we tell about ourselves, and we tell different stories to fit our changing life experiences. What is the self in the midst of all this? How does it relate to other selves and to the world? This course examines the nature of self, combining the insights of fiction writers (including Luigi Pirandello, Anna Banti, Michel Tournier, Alain Robbe-Grillet, Peter Nádas) with works from philosophy, psychology, medical humanities, and neuroscience (including Edith Wyschogrod, Alexander Nehamas, Ruth Leys, Oliver Sacks). Taught in English.
Last offered: Spring 2022 | UG Reqs: GER:DB-Hum, WAY-A-II

GERMAN 131: What is German Literature?

How have migration and minority discourses changed the German literary and cultural tradition? What is German literature today, and how does it differ from the traditional notion of Germany as the land of "Dichter und Denker?" We will read texts by Goethe, Novalis, Annette von Droste-Hülshoff, Thomas Mann, Kafka, Anna Seghers, Brecht, Christa Wolf, Emine Sevgi Özdamar, Yoko Tawada, and Sasha Marianna Salzmann, and discuss such topics as identity formation, race, ethnicity, gender, sexuality, religion, class, and ecocriticism. Taught in German. GERLANG 3 or equivalent required.
Last offered: Spring 2022 | UG Reqs: GER:DB-Hum, WAY-A-II

GERMAN 181: Philosophy and Literature (CLASSICS 42, COMPLIT 181, ENGLISH 81, FRENCH 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

GLOBAL 193: History of World Cinema III: Queer Cinemas around the World (ARTHIST 164, ARTHIST 364, CSRE 102C, CSRE 302C, FEMGEN 100C, FEMGEN 300C, FILMEDIA 100C, FILMEDIA 300C, GLOBAL 390, TAPS 100C, TAPS 300C)

Provides an overview of cinema from around the world since 1960, highlighting the cultural, political, and economic forces that have shaped various film movements over the last six decades. Specific topics may vary by term/year/instructor. This term's topic, Queer Cinemas around the World, engages with a range of queer cinematic forms and queer spectatorial practices in different parts of the world, as well as BIPOC media from North America. Through film and video from Kenya, Malaysia, India, The Dominican Republic, China, Brazil, Palestine, Japan, Morocco, the US etc., we will examine varied narratives about trans experience, same-sex desire, LGBTQI2S+ rights, censorship, precarity, and hopefulness. This course will attune us to regional cultural specificities in queer expression and representation, prompting us to move away from hegemonic and homogenizing understandings of queer life and media. Notes: Screenings will be held on Fridays at 1:30PM in Oshman Hall. Screening times will vary slightly from week to week.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, GER:DB-Hum | Repeatable 2 times (up to 10 units total)
Instructors: Iyer, U. (PI)
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