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23 courses found.

COMPARATIVE LITERATURE (L16) (Dept. Info)

Arts & Sciences (Policies)

L16 Comp Lit 1540

Freshman Seminar: Literature and Politics

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This freshman seminar will address the ways in which politics--radical and conservative, revolutionary and reactionary--inhabit literature and in which literature gives cover and dignity to partisan programs, cultural agendas, ideological arguments. We'll read a variety of texts: plays and poems, satires and novels-literature of the early modern world (Shakespeare and Milton); Augustan satire (Dryden and Swift), high canonical modernists (Eliot and Yeats); and modern fiction (Nadine Gordimer and John Coetzee). We shall ask of all these texts how political force seems to be at work in literature that we often regard as elevated loftily above partisanship, and how literature has been and continues to be used to justify-to dignify-programs and regimes and cultural agendas that can seem to deny values we might hold close. Readings will include, among other texts, Shakespeare's "Merchant of Venice" Milton's "Areopagitica," Jonathan Swift's "Modest Proposal," Yeats's " Second Coming," Eliot's "Wasteland," Nadine Gordimer's "The Pick-Up," and John Coetzee's "Disgrace" and "Elizabeth Costello." NOTE: This course is open only to freshmen.

A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

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Zwicker

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L16 Comp Lit 1660

Literature Seminar for Freshmen: Friendship

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"Friendship," said Christopher Robin, "is a very comforting thing to have." But is friendship a possession we can "have," or is it something we do, make, or otherwise work toward? This course explores the literary history of friendship from Montaigne to Milne and beyond. What does it mean to call someone a friend? What is the relationship between friendship and kinship, friendship and desire, friendship and community? And what might happen if we, like Foucault, begin to imagine the socio-political possibilities of friendship "as a way of life"? As we read a wide range of literary and theoretical writings about friendship, we will experience the transformation in composition, peer review, and revision when we ask ourselves to think about these practices as intellectual work undertaken by--and for--friends, rather than acquaintances, competitors, or strangers. Primary texts may include fiction by André Aciman, Junot Díaz, Sheila Heti, Kazuo Ishiguro, and Zadie Smith. NOTE: This course is open only to freshmen.

A&S: FYS A&S IQ: HUM BU: HUM EN: H

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Classroom instruction

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11:30A-1:00P

Cupples II / L011

Micir

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L16 Comp Lit 1710

Literature Seminar for Freshmen: Literature, Spirituality, and Religion

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Prize-winning novels and novelists form the entire reading list for this class, which is interested in how writers from multiple perspectives (Christian, Jewish, pluralist, atheist, and others) have viewed the function of religion and the meaning of spirituality. This course is designed for non-English majors as well as potential English majors. As we read some of the best, most influential, and most controversial writers of the last hundred years, we'll discuss not just the competing claims about religion and spirituality, but also the functions, forms, and multiple ways of interpreting literature. Studying the topic of religion and spirituality, this class will thus also serve as introduction to the discipline of English and literary studies. All are welcome: no religious background of any kind is necessary. NOTE: This course is open only to freshmen.

A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

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Classroom instruction

L14 171 L23 171 L57 1711

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10:00A-11:30A

Van Engen

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L16 Comp Lit 201A

Classical to Renaissance Literature: Text and Tradition

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Students enrolled in this course engage in close and sustained reading of a set of texts that are indispensable for an understanding of the European literary tradition, texts that continue to offer invaluable insights into humanity and the world around us. Homer's Iliad is the foundation of our class. We then go on to trace ways in which later poets and dramatists engage the work of predecessors who inspire and challenge them. Readings move from translations of Greek, Latin, and Italian, to poetry and drama composed in English. In addition to Homer, we will read works of Sappho, a Greek tragedian, Plato, Vergil, Ovid, Petrarch, and Shakespeare.

A&S: FYS A&S IQ: HUM, LCD Art: HUM BU: HUM EN: H

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Classroom instruction

L93 201C L08 2011

Annually / History

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Moore

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Purchase

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Purchase

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L16 Comp Lit 211

World Literature

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"World Literature" examines and draws connections between literary texts originally produced in various parts of the world (Europe, Africa, the Caribbean, Asia, Latin America) from the early 20th century to the contemporary period. Throughout the semester, we will move across different Western and Eastern cultures, and across different literary genres (mostly fiction and poetry, but also movie adaptations and graphic novels). A particular sub-theme connecting the various works that we will read in this course examines how the development of World Literature reflects the global expansion of Western colonialism during the 20th century. Some of the texts that we will read include: Kafka's "Description of a Struggle;" Lorca's POET IN NEW YORK; Akutagawa's "Rashomon" and "In a grove," Tanizaki's THE KEY; Cortázar's BLOW-UP; Borges' "THE ALEPH," Lispector's THE HOUR OF THE STAR; Tutuola's "My Life in the Bush of Ghosts;" Brathwaite's THE ARRIVANTS; Christopher Nolan's MEMENTO; Al Aswany's THE YACOUBIAN BUILDING; and Marjane Satrapi's PERSEPOLIS. "World Literature" provides an introduction to the concept and practice of comparative literature for undergraduates majoring and minoring in Comparative Literature, Comparative Arts, IPH, or with related interests in literature and global culture. No prerequisites; freshmen are welcome.

A&S IQ: HUM, LCD Art: HUM BU: HUM EN: H

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N/A

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	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L16 Comp Lit 301C

Greek Mythology

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The myths of ancient Greece are not only inherently interesting, but they are an incomparable starting point for the study of the ancient world, and they have offered numerous images and paradigms to poets, artists, and theorists. This course provides an introduction to the major Greek myths, their role in literature and art, their historical and social background, and ancient and modern approaches to their interpretation. Student work will include discussing course material in sections and online, taking two exams covering both the myths themselves and the ancient authors who represent our richest sources, and writing several essays interpreting or comparing ancient literary treatments. Open to first-year students.

A&S IQ: HUM, LCD Art: HUM BU: HUM EN: H

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L08 301C U02 301B

Annually / History

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Mallinckrodt / 303

Keane

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L16 Comp Lit 3040

Introduction to Digital Humanities: Cultural Analysis in the Information Age

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It is a truism that computers have changed our lives and the way we think and interact. But in fact systematic efforts to apply current technologies to the study of history and culture have been rare. This course will enable students to consider how these technologies might transform the humanities. We will explore the various ways in which ideas and data in the humanities can be represented, analyzed, and communicated. We will also reflect on how the expansion of information technology has transformed and is continuing to transform the humanities, both with regard to their role in the university and in society at large. Readings and classwork will be supplemented by class presentations and a small assigned group project.

A&S IQ: HUM, WI Art: HUM BU: HUM EN: H

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Classroom instruction

L93 312 L14 312 L98 312A

Annually / History

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Basu

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L16 Comp Lit 3050

Literary Modernities: Text and Tradition

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The course examines the various facets of modernity in major works of European, Eurasian, and, sometimes, American literature from the early Seventeenth Century to the 1920s, starting with Don Quixote. We will explore, among other things, the eruption of the novel, the secularization of autobiography, the literary discovery of the city, the rise of literary and aesthetic criticism that takes literature and art seriously as political and social institutions. In addition to literary works, the course will engage with two or three important models of critical practice e.g. Wollstonecraft's Vindication of the Rights of Women, Marx's German Ideology, Freud's, The Interpretation of Dreams, T.S. Eliot's Tradition and the Individual Talent, or perhaps that great work of fictionalized literary criticism, Borges' "Pierre Menard, Author of the Quixote."

A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: HUM EN: H

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Classroom instruction

L93 3050 L14 3050

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11:30A-1:00P

Bailin, McKelvy

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L16 Comp Lit 3552

Introduction to Literary Theory

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This course introduces students to some of the most influential theoretical approaches to interpretation in Western culture, to the conceptual and historical debates about theory, and to the keywords used in these debates. Students will learn how to write and speak about theoretical texts and how to recognize the theoretical assumptions that underlie acts of interpretation. Theoretical approaches likely to be featured include: formalism; Marxism; psychoanalysis; gender and sexuality studies; structuralism and post-structuralism; postcolonial studies; critical race studies; new historicism and cultural materialism; cultural studies. This course fulfills the literary theory requirement for the major; no substitutions will be permitted. In order to preserve necessary seats for English majors, the course will be enrolled through the wait list.

A&S IQ: HUM BU: HUM EN: H UColl: HUM

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Classroom instruction

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4:00P-5:30P

Batten

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Waits managed by dept.

02

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10:00A-11:30A

Walker

Dec 18 2017 10:30AM - 12:30PM

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Waits managed by dept.

L16 Comp Lit 385

Paris and New York

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Cultural icons, Paris and New York exert a powerful hold on our imagination. We will explore how the French and Americans define themselves, and each other, through their premiere cities. The themes of integration and isolation, class and race, innovation and tradition, commemoration and celebration will ground our discussions of Baudelaire (Prose Poems), Zola (Thérèse Raquin), Wharton (The Age of Innocence), Proust (Swann's Way), Truong (The Book of Salt), and Gopnik (Paris to the Moon); painters Pissarro, Vuillard, and Caillebotte; photographers Brassaï, Cartier-Bresson, Doisneau, Ronis, Abbott, Hine, and Stieglitz; and filmmakers Godard (Breathless), Allen (Manhattan, Midnight in Paris); Jeunet (Amélie Poulain), and Kassovitz (Hate). Through our study of public spaces developed by France's kings along with modern monuments (the Place des Vosges, 19th-century renovations by Haussmann, the Eiffel Tower and the 1889 World's Fair, the Brooklyn Bridge, the Twin Towers), we will consider how each city functions as a site of memory even as it fashions the future. Course taught in English.

A&S IQ: HUM, LCD Art: HUM BU: HUM EN: H

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Classroom instruction

L34 386 L79 3850 L97 3850

Unpredictable / History

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	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L16 Comp Lit 4099

The Modernist Revolution in the Arts

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What is/was Modernism? How did this worldwide phenomenon impact the arts in every genre and medium from the turn of the Twentieth Century to the present? Do we still live in the age of Modernism, or should we consider ours a new, Post-Modern age? This course will examine these and other questions as they relate to the theatre, prose, poetry, and the visual arts. Our investigation will focus on most of the major literary and artistic movements, including Naturalism, Impressionism, Symbolism, Surrealism, and Expressionism. We will examine literary manifestoes which help to illuminate the periods under discussion, as well as look at individual works themselves. Central to our approach in the course will be an interdisciplinary perspective. Among the luminaries whose work will be considered are Ibsen, Strindberg, Chekhov, Hemingway, Dali, Picasso, Stravinsky, Artaud, Kafka, and Beckett.

A&S IQ: HUM Art: HUM EN: H

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Classroom instruction

L15 409 L98 4090

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4:00P-5:30P

Mallinckrodt / 303

Henry Schvey

Dec 20 2017 6:00PM - 8:00PM

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L16 Comp Lit 420A

Topics in English and American Lit: Poetic Listening: Science Studies and Contemporary Poetry

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The philosopher of science Isabelle Stengers uses the phrase "poetic listening" to characterize what she calls "natural processes" - "open processes of production and invention, in an open, productive, and inventive world" - as well as scientific knowledge conceived as a form of "'poetic listening' to nature." To these natural and scientific aspects we can add two more, for poetic listening also characterizes innovative work in science studies like Stengers's own writing and of course functions in ambitious contemporary poetry as well. We will examine how such listening operates on all four levels, and draw relevant conclusions, by focusing on the investigations of Stengers and her frequent collaborator, Bruno Latour, and on several extraordinary poets who in recent decades have demonstrated an especially strong interest in science: A. R. Ammons, Lyn Hejinian, and Jay Wright. Satisfies the Twentieth Century and later requirement.

A&S IQ: HUM Art: HUM E Lit: TC EN: H

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1:00P-2:30P

Meyer

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L16 Comp Lit 4224

The 1904 St. Louis Worlds Fair: German and Austrian Art Exhibited

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The St. Louis World's Fair of 1904 (The Louisiana Purchase Exposition) was one of the greatest events of its time. At the beginning we will deal with the historical development that lead to the purchase of the Louisiana Territory in 1803, will review the developments of World's Fairs since 1851 and will have a look at the grand dimension of the 1904 World's Fair (connected with the Olympic Games). Of central importance are the Art Exhibits from Germany and Austria with their cultural-political implications. The German Emperor had a hand in selecting the German paintings to be sent to St. Louis, and his opposition against modern movements like Impressionism caused opposition in Germany. Austria was different: In their Art Nouveau Pavilion they included secessionists (Hagenbund). The Wiener Werkstaetten (Vienna's Workshops) attracted a lot of attention. Different from the paintings, German Arts and Crafts represented avant-garde movements. We will visit libraries, archives, and museums in St. Louis that have World's Fair holdings. The seminar is for advanced undergraduate students but beginning graduate students can take it with permission of the instructor. Course conducted in English. May not be taken for German major or minor credit.

A&S IQ: HUM, LCD Art: AH, GFAH Art-Arch: MEA EN: H

Instruction Type:

Classroom instruction

L97 4224 L01 4224 L21 4224 L79 4224 L98 4224

No Longer Offered / History

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Lutzeler

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L16 Comp Lit 4300

Data Manipulation for the Humanities

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The course will present basic data modeling concepts and will focus on their application to data clean-up and organization (text markup, Excel, and SQL). Aiming to give humanities students the tools they will need to assemble and manage large data sets relevant to their research, the course will teach fundamental skills in programming relevant to data management (using Python); it will also teach database design and querying (SQL). The course will cover a number of "basics": the difference between word processing files, plain text files, and structured XML; best practices for version control and software "hygiene"; methods for cleaning up data; regular expressions (and similar tools built into most word processors). It will proceed to data modeling: lists (Excel, Python); identifiers/keys and values (Excel, Python, SQL); tables/relations (SQL and/or data frames); joins (problem in Excel, solution in SQL, or data frames); hierarchies (problem in SQL/databases, solution in XML); and network graph structures (nodes and edges in CSV). It will entail basic scripting in Python, concentrating on using scripts to get data from the web, and the mastery of string handling.

Instruction Type:

Classroom instruction

Every 2 Years / History

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2:30P-3:30P

Knox

Dec 20 2017 3:30PM - 5:30PM

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L16 Comp Lit 435A

Expressionism in the Arts

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A close study of Expressionism as an international phenomenon in literature and the arts. From precursors such as Van Gogh and Strindberg and the anti-naturalist movements of the 1890s to Hitler's condemnation of Expressionism as "Decadent Art" in 1937. Expressionist theatre is examined from Wedekind and Kaiser; composers such as Schoenberg and Berg; and in the visual arts, groups including Der blaue Reiter and Die Brucke, and including important independents such as Kokoschka and Beckmann; in cinema, such figures as Pabst, Murnau, Von Sternberg, Lang. In keeping with our international, interdisciplinary focus, the course examines the impact and survival of Expressionist aesthetics in other countries (D.H. Lawrence, Thornton Wilder and Tennessee Williams), and the survival of Expressionist art in the present day.

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4:00P-5:30P

TBA

Henry Schvey

Dec 20 2017 6:00PM - 8:00PM

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Waits Not Allowed

L16 Comp Lit 450C

Interdisciplinary Topics in the Humanities: Frankenstein, Origins and Afterlives

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As the 200th anniversary of the publication of Mary Shelley's Frankenstein approaches, this class will study both the novel's origins and its powerful and abiding influence on our culture across a wide range of disciplines. The text itself is complex and layered, responding to its literary precursors, Enlightenment science, radical politics, aesthetic theory, feminism, Romantic idealism, Gothic horror, and more. In order to understand these influences, we will examine texts read by Mary Shelley (and her characters), including letters, essays, poems, and scientific reports. Our study of the novel's afterlives will begin with R. B. Peake's 1823 play, Presumption, which shaped much of the popular understanding of the Frankenstein myth during the 19th century. Our investigation of 20th- and 21st-century manifestations of Frankenstein will focus on its appearance in film, racial discourse, scientific ethics, popular culture, and advertising. This portion of the course will include a viewing of the iconic 1931 Boris Karloff film, which established indelible versions of the mad scientist and his "monster." Students in this seminar will be supported in developing individual final projects of their own design. (This course is the same as L93 450, but without the Writing Intensive designation.)

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Classroom instruction

L93 450A L14 450A L22 450A

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Pawl, Treitel

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L16 Comp Lit 4710

Topics in Japanese Culture: Reminiscences of Childhood and Youth

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Writers in Japan, as elsewhere, have fashioned accounts of childhood and youth- both fictive and autobiographical, in prose and verse- over the centuries. This course will explore the range and diversity of Japan's literature of reminiscence, with a focus on the modern period and the work of writers such as Natsume Sôseki, Tanizaki Jun'ichirô, Kôda Aya, Yasuoka Shôtarô, and Kita Morio. Our readings will be placed in the context of Japan's social and economic transformations, its imperial nationhood, and the dramatically-shifting postwar and contemporary period. A selection of comparative examples drawn from other Asian and Western literatures will serve to broaden our focus, consider affinities and differences, and thereby enrich our class discussion. No Japanese language background is required. Prerequisite: upper-class standing and at least one course focusing on Japan, or permission of instructor.

A&S IQ: HUM, LCD Art: HUM EN: H

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Classroom instruction

L03 471 L05 471 L66 471 L97 4711

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Cupples II / L011

Marcus

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L16 Comp Lit 493

The Unmaking and Remaking of Europe: The Literature and History of the Great War of 1914-1918

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The Great War of 1914-1918 is one of the most momentous events in history. We can approach its broad European import by reading its literatures comparatively. Far wider than the concerns of any one national ideology, the literature of record represents a profound crisis in the European cultural imaginary. A number of critical and interpretive issues will be in play in our readings, which will move through three major phases. We begin with the powerful immediacy of trench poetry (1914-1919), develop into the constructed narratives of the great postwar novels and memoirs (1920-1931), and then turn toward the retrospect of the 1930s, which is also the prospect on the next, now inevitable, war. The authors featured include combatant and civilian writers, names well-known and not so famous: Mann, Apollinaire, Owen, Pound, Cocteau, H.D., Woolf, Maurois, West, Celine, Joyce, Musil, Eliot, Rosenberg, Sassoon, Graves, Hardy, Trakl, Stramm, Lichtenstein, Péguy, Barbusse, Manning, Jünger, Zweig, Brittain, and Kroner. All readings for class will be in English translation. Our secondary literature will provide approaches to specific texts and models of literary and cultural history that represent the longer-range importance of the war.

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Classroom instruction

L14 4930 L79 4936 L97 4936

Unpredictable / History

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Cupples II / L007

Sherry

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	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L16 Comp Lit 502

Introduction to Comparative Literature

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An introduction to the discipline and practice of Comparative Literature, this course explores the concepts most frequently discussed and the methods most successfully practiced. We will study what texts reveal when they are examined cross-culturally. Students will consider the various differences that emerge between texts when themes and genres are followed across more than one national literature. The course includes a short history of the discipline and recent debates about the nature and scope of the field. Topics to be discussed include genres and forms, influence and intertextuality, translation, world literature, exile, and cross-cultural encounter.

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N/A

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Parvulescu

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	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L16 Comp Lit 512

Literature in the Making IV

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This seminar is designed for graduate students in the International Writers PHD Track in Comparative Literature to put their creative work into conversation with their studies in foreign languages, cultures and literatures with an eye to the long-term goal of the hybrid dissertation. Participants will read and discuss practical criticism, present their current creative projects and hone their skills as writers, translators and readers by engaging with a living literature as it evolves. At the conclusion of the course, students will have the choice of presenting a polished work of translation, a piece of original writing (in English or in their native language), or an essay on one or more of the works read during the semester. This course will be taught by Professor Lynne Tatlock and Matthias Goeritz. Admission by permission only.

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N/A

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9:00A-12:00P

Tatlock

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	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L16 Comp Lit 528

Literary Seminar: Transmission and Transgression: Representing the Holocaust

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As the Holocaust recedes into the historical past, our knowledge of the event becomes increasingly dominated by literary and cinematic representations of it. This graduate-level course will investigate artistic mediations of the Holocaust, focusing in particular on questions of ethics, aesthetics and history and concentrating on two objectives. First, we will examine the various debates and controversies surrounding the issue of artistic representation of the Holocaust and discuss some of the theoretical and philosophical texts that have formed the core of Holocaust Studies by critics such as James Young, Dominick LaCapra, Marianne Hirsch, Sidra Ezrahi, and Geoffrey Hartman. Second, we will explore the ways in which literature and film, both fictional and documentary/testimonial, have attempted to narrate the events of the Holocaust. We will examine exemplary responses to the Shoah in a variety of genres by writers and filmmakers such as Primo Levi, Jean Améry, Jurek Becker, Aaron Appelfeld, Liana Millu, David Grossman, Edgar Hilsenrath, Art Spiegelman, Claude Lanzmann and Alain Resnais. Central to our exploration of these texts will be issues of representation, the role of memory, the problems and limits of language, questions of trauma, the phenomena of postmemory and multidirectional memory, and the notion that a "master narrative" of the Holocaust has emerged in public discourse. Designed for graduate and advanced undergraduate students; undergraduate enrollment only with express permission of instructor. Readings in German and English for graduate students in German; readings in English for graduate students of other departments. Discussions in English.

EN: H

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Classroom instruction

Unpredictable / History

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McGlothlin

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L16 Comp Lit 530

The Philosophical Discourse of Modernity

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Have we ever been modern? In this survey of the intellectual history of the German-speaking world from early nineteenth century to the present, we will read works by some of the most influential figures in the German tradition, including Hegel, Marx, Nietzsche, Freud, Heidegger, Habermas, Arendt, and Hartmut Rosa. Our discussions will address a range of topics but will focus on the ways in which these thinkers conceive of "modernity" -- its promise and its perils, its origins and its others. We will consider the arguments of these thinkers both on their own terms and against the backdrop of the historical contexts in which they were written.

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Classroom instruction

L21 529 L14 529

Unpredictable / History

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Erlin

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L16 Comp Lit 551

Methods of Literary Study: The Theory and Practice of Literary Translation

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This course combines a review of translation theories with a study of translation practices. We will investigate how translations reflect changing literary and cultural values. In addition, we will examine how the nuances of language and culture (source and target) influence the translator's choice of whom and what kind of text to translate. Guest translators will be invited to discuss their work. Requirements: Class presentation of a literary translation of your choice; to be turned into a paper. You must choose a text that has at least two previous translations, which you will evaluate and critique as you work on your own translation and which will be part of your paper. Poetry is preferable; should you choose prose, you must select a challenging text. The paper must include an outline/brief discussion of your methodological assumptions.

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Classroom instruction

N/A

Every 2 Years / History

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4:00P-6:00P

Williams

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