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At the end of the nineteenth century, Zionism emerged as a political movement to establish a national homeland for the Jews, eventually leading to the establishment of the State of Israel in 1948. This seminar uses novels to explore the changes in Zionism, the roots of the conflict in the Middle East, and the potentials for the future. We will take a close look at novels by Israelis, both Jewish and Arab, in order to understand multiple perspectives, and we will also consider works by authors from the North America and from Europe. Note: This course must be taken for a letter grade to be eligible for WAYS and Writing 2 credit.

This course will investigate cultural and literary responses to modernity in the Middle East. The intense modernization process that started in mid 19th century and lingers to this day in the region caused Arabic, Persian, and Turkish literary cultures to encounter rapid changes; borders dissolved, new societies and nations were formed, daily life westernized, and new literary forms took over the former models. In order to understand how writers and individuals negotiated between tradition and modernity and how they adapted their traditions into the modern life we will read both canonical and graphic novels comparatively from each language group and focus on the themes of nation, identity, and gender. All readings will be in English translation. This course is part of the Humanities Core: https://humanitiescore.stanford.edu/

This course explores how religion has shaped the modern East Asian world through an examination of Tibetan Buddhist culture and history. Tibetan Buddhism played a fundamental role in the Chinese transition to modernity and has enjoyed an enduring relevance not only in modern Tibet and China, but also in other parts of Asia and globally. We will explore how religious practice, literature, and art interconnect with political power, ethnicity, nationalism, and scientific development to revisit common perceptions of Tibet as a culturally isolated place of religion and of East Asian modernity as a steady turn to secularization. We will also look at the contemporary traces of this process within American and Asian-American Buddhist communities. This course is part of the Humanities Core: https://humanitiescore.stanford.edu/

This seminar concerns the design and analysis of imaginary (or constructed) worlds for narratives and media such as films, comics, and literary texts. The seminar's primary goal is to help participants understand the creation of better imaginary worlds - ultimately all our efforts should serve that higher purpose. Some of the things we will consider when taking on the analysis of a new world include: What are its primary features - spatial, cultural, biological, fantastic, cosmological? What is the world's ethos (the guiding beliefs or ideals that characterize the world)? What are the precise strategies that are used by the artist to convey the world to us and us to the world? How are our characters connected to the world? And how are we - the viewer or reader or player - connected to the world? Note: This course must be taken for a letter grade to be eligible for WAYS credit.

In El Centro Chicano y Latino at Stanford, there is a mural by Chicana artist Juana Alicia titled The Spiral Word: Codex Estanfor. The mural draws inspiration from the history and literature of multiethnic Latin America, from ancient texts like the Mayan Popol Vuh to contemporary Chicanx poetry. Through close examination of the mural and the texts it references, this course will delve into the shared cultural history of Latin America, the current diversity within the Latinx community in the United States, and future visions centered on ecological renewal. In this seminar-style course, we will analyze short texts by authors directly featured in the mural, including Sor Juana Ines de la Cruz, Jose Martí, Gabriela Mistral, and the Zapatistas in Chiapas, Mexico. Additionally, we will explore works by other authors who influenced Juana Alicia, such as Miguel de Cervantes, Jorge Luis Borges, and Junot Diaz. Central moments that have shaped the cultural history of the Americas, such as the Zapatista Movement in Mexico and the struggles of Black freedom fighters, will also be examined. By the course's conclusion, we will have explored foundational texts and events that define Latin America's cultural and literary history. Moreover, we will gain insight into how these foundational authors have been interpreted and reinterpreted within both Latinx and Latin American literary traditions.

This course takes students on a trip to major capital cities at different moments in time, including Renaissance Florence, Golden Age Madrid, colonial Mexico City, imperial Beijing, Enlightenment and romantic Paris, existential and revolutionary St. Petersburg, roaring Berlin, modernist Vienna, and transnational Accra. 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).

What makes comparative literature a distinct field? More than simply reading literature from different places and times, at base comparative literature emerges from a cosmopolitan and anthropological project, attempting to use literature (as an aesthetic object) as a particular index to Otherness. This means at its best comp lit also engages with (directly or indirectly) issues of ethics and responsibility. We will read early studies of folklore (Stith Thompson), philosophical texts of Otherness (Hegel, Fanon, Derrida, Levinas), feminist critique (Butler, Beauvoir), and anthropologists writing in a literary vein (Clifford). Finally, we address how the "human" finds itself offset by its environment (Tsing). Literary works include Al-Koni, The Bleeding of the Stone, Octavia Butler, Parable of the Sower, Carpentier, The Kingdom of This World; Gao Xingjian, Soul Mountain (excerpts), Goethe, The East-West Divan (excerpts), LeGuin, "Those who walk away from Omelas," and Rhys, The Wide Sargasso Sea.

The Argentinian writer and translator, Jorge Luis Borges, once said, "Cada idioma es un modo de sentir el universo." How are modes of feeling and perception translated across languages? How does the historical context of a work condition its translation into and out of a language? By the end of the term, you will have carried out and received feedback on a literary translation project of your own choosing. Discussion topics may include: the importance of register, tone, and audience; the gains, in addition to the losses, that translations may introduce; the role of ideological and social-political elements; comparative syntaxes, morphologies, and semantic systems. Taught in Spanish. Enrollment limited. Preference given to those minoring in Translation Studies.

Why do people take Bob Dylan so seriously? Why - since the beginning of his career - have interviewers asked him if he sees himself primarily as a singer or as a poet? And why did he win the Nobel Prize in Literature? In this class we will travel back in time, through medieval Europe and Song Dynasty China to ancient Greek lyric and the Bible, to grapple with the historical and comparative dimensions of these questions. Bob Dylan will be our jumping-off point in a quest to understand the blurry, ever-shifting lines between mere 'song' and lofty 'literature.'