91611 |
CLAS
/ LIT 125 The Odyssey of Homer |
Daniel
Mendelsohn |
. T . . . |
4:40 pm -7:00 pm |
OLIN 205 |
ELIT |
Cross-listed:
Classical Studies This course will consist of an intensive
reading of Homer’s Odyssey over the course of a single
semester. The course is designed to introduce freshmen to more
profound and sophisticated techniques of reading and thinking about texts than
they will have thus far encountered. After two introductory
sessions, in which students will be introduced to the large issues particular
both to this genre (the archaic Greek world, oral composition, the Homeric
Question) and to this particular text (“sequels,” epic cycle, the prominence of
women, narrative closure), we will read through the epic at a rate of two books
per week; two summary sessions will conclude the semester as we look back at
the large literary and cultural issues raised by this essential document of the
Western tradition: travel as a narrative vehicle for (self-) discovery, the
competing satisfactions of the journey and the arrival, the poem’s special
interest in poetry and narrative creation. A premium will be placed on student
participation in class discussion, and each student will be asked to present a
book of the poem (focusing on structural analysis, interpretative issues, etc.)
to the class. At least two papers, midterm, final
exam. This course is designed particularly for first-year
students. Class size: 20
92293 |
LIT
2041 Making verse and making love: An Introduction to
Renaissance Poetry |
Adhaar
Desai |
M . W . . |
10:10 am -11:30 am |
OLIN 306 |
ELIT |
Sir
Philip Sidney, the first ever rock-star poet in England, declared that poetry is
capable of “making things either better than nature” or “forms such as never
were in nature.” In this course, we will consider Sidney’s claims by surveying
the diverse styles, fashions, and genres of poetry from the English
Renaissance. Alongside poems by both major and lesser known figures, we will
ponder questions about poetics both from the period and from our own moment in
critical history. What does it mean for poetry to be a kind of “making”—what
materials does poetry use, and what logic does it follow? What makes a love
poem successful? How did the art of poetry change over the course of the
Renaissance? While developing skills like close reading and historical
contextualization, we will also explore how and why these 400 year old poems
still manage to offer us delight and surprise. Class size: 18
91610 |
LIT 2051 Douglass & Du Bois |
Alexandre
Benson |
. T . Th . |
3:10 pm -4:30 pm |
OLIN 306 |
ELIT/DIFF |
Cross-listed: Africana
Studies; American Studies; Human Rights
Frederick
Douglass and W. E. B. Du Bois each shaped our sense of what the latter calls
“the problem of the color line.” They
also, in exploring that problem, developed powerful theories of political life
in general. Given that these theories involved, for each, a commitment to
literary expression, we will pay special attention to the aesthetic choices
they make as writers. We will also place them in historical context: one begins
writing in the years leading up to the Civil War, the other in the wake of
Reconstruction's failure. What changes in the U.S. over this span? What
doesn't? Readings will include Douglass’s 1845 narrative, the expanded
autobiography My Bondage and My Freedom, and a number of his lectures;
and they'll include Du Bois’s opus The Souls
of Black Folk as well as his lesser-known sociological writing and fiction,
such as the 1911 novel The Quest of the Silver Fleece. Class
size: 20
91628 |
LIT 2086 Modern Tragedy |
Benjamin
La Farge |
. T . Th . |
3:10 pm -4:30 pm |
OLIN 309 |
ELIT |
All
tragedies see the human condition as doomed; but in classical Greek tragedy the
protagonist's fate, usually signified by an oracle, is externalized as
something beyond human control, whereas in modern tragedy, starting with
Shakespeare and his contemporaries, fate is more or less internalized as a flaw
in the protagonist's character. Since
then the modern protagonist has increasingly been seen as a helpless victim of
circumstance, a scapegoat. Fate is
sometimes externalized as history, war, or society, sometimes internalized, but
in either case the protagonist has been reduced in stature, so that 20th
century tragedy can only be called ironic--a far cry from the heroic tragedy of
ancient Greece. In tracing this complex
history, including the disappearance and revival of the chorus, we will examine
tragedies by Aeschylus, Sophocles, Marlowe, Shakespeare, Dostoyevsky (his novel
Crime and Punishment), Ibsen, Strindberg, O'Neill, Brecht, Sartre, and
Miller, all of which will be scrutinized in the light of major theories by
Aristotle, Hegel, Nietzsche, Kierkegaard, and others. Class
size: 15
91627 |
LIT 209 Major American Poets |
Benjamin
La Farge |
M . W . . |
1:30 pm -2:50 pm |
OLIN 309 |
ELIT |
Cross-listed: American Studies American poetry found its own
voice in the first half of the 19th century when Emerson challenged American
"scholars" to free themselves from tradition. For the next three
generations most of the major poets, from Walt Whitman to Robert Frost and
Wallace Stevens, acknowledged Emerson as a crucial inspiration. Emerson himself
and two of his contemporaries, Longfellow and Edgar Allan Poe, were the first
to achieve international fame, but it was in Whitman's poems that a
distinctively American voice was first heard--a voice that was both oracular
and plain-spoken. At the same time, the oddly metered, introspective poems of
Emily Dickinson, mostly unpublished during her lifetime, spoke in a New England
voice that was no less distinctive and no less American. Then, only thirty
years after her death, the powerful modern voices of T.S. Eliot, Wallace
Stevens, Ezra Pound, H.D., Marianne Moore, William Carlos Williams, Robinson
Jeffers, E.E. Cummings, and Hart Crane began to be heard. We will read
selective poems by each of these, and we will also give equal time to Frost,
the great contrarian poet who was dismissed by some as anti-modern but is now
acknowledged as one of the greatest. Class
size: 15
91567 |
CHI 211 ECHOES OF THE PAST: Chinese Cinema and Traditional chinese Literature |
Harrison
Huang |
. T . Th . |
3:10 pm -4:30 pm |
OLINLC 118 |
FLLC |
See
Chinese section for description.
91614 |
LIT 214 Cairo Through its Novels |
Dina
Ramadan |
. T . Th . |
11:50 am -1:10 pm |
OLINLC 120 |
FLLC |
Cross-listed: Environmental & Urban Studies, Human
Rights; Middle East
Studies Cairo, “the City
Victorious,” has long fascinated its writers, captivating their literary
imaginations. This course will offer a survey of the modern Egyptian novel, a
survey that simultaneously maps the changing cityscape of Egypt’s bulging
metropolis, allowing for an examination of the developments and transformations
of both during the course of the 20th century. Once considered the
center of the Arab world, Cairo has witnessed repeated shifts in its regional
and global position and importance over the last century. However, it continues
to play a lead role in much of Egyptian literary (and cultural) production.
From Naguib Mahfouz’s iconic
alley to Sonallah Ibrahim’s apartment building, to Hamdi Abu Golayyel’s
multifamily tenement, students will engage with novels that demonstrate a vast
range of literary representations by Cairo’s writers, from its shifting
centers, to its ever expanding margins. Through close readings of these texts,
we will consider the socioeconomic and political conditions that have impacted
and radically restructured the city during its recent history, and the ways in
which such changes are manifested in its novelists’ stylistic and aesthetic
choices. Literary texts will be supplemented by theoretical and historical
material. This course will be accompanied by a film series. Taught
in English. Class size: 22
91420 |
LIT 2156 Romantic LitERATURE |
Cole
Heinowitz |
. T . Th . |
3:10 pm -4:30 pm |
OLIN 304 |
ELIT |
This
course offers a critical introduction to the literature produced in Britain at
the time of the Industrial Revolution, the French Revolution, and the
Napoleonic wars. The term traditionally
used to categorize this literature, “romantic,” is interestingly problematic:
throughout the course we will question the assumptions built into this term
instead of assuming that we know what it means or taking for granted a series
of supposed characteristics of “romantic” literature and art. We will also explore the extent to which key
conflicts in British culture during the “romantic period,” including the
founding of the United States, independence movements in the Americas, the
development of free trade ideology, and the debates over slavery and
colonialism, are still at issue today. The centerpiece of this course is the
close reading of poetry. There will also be a strong emphasis on the historical
and social contexts of the works we are reading, and on the specific ways in
which historical forces and social changes shape and are at times shaped by the
formal features of literary texts. The question of whether “romantic” writing
represents an active engagement with or an escapist idealization of the
important historical developments in this period will be a continuous focus.
Readings include canonical and non-canonical authors: William Blake, William
Wordsworth, Helen Maria Williams, Thomas Beddoes, Anna Letitia Barbauld, Robert Southey, Samuel Taylor Coleridge, Percy
Bysshe Shelley, John Keats, Lord Byron, John Clare, and Laetitia
Elizabeth Landon. Class size: 22
91616 |
LIT 2218 Children's Fantasy Literature IN CULTURAL CONVERSATION |
Maria
Cecire |
M . W . . |
11:50 am -1:10 pm |
OLIN 201 |
ELIT |
Although
fantasy is a departure from reality, it is also dependent upon it. Similarly,
childhood exists in the popular imagination as a separate (even magical) state of
being that nonetheless must interact with and prepare the child for the “real
world” of adulthood. In this course we will interrogate the special
relationship between childhood and the fantastical in Anglo-American culture,
and consider how children’s fantasy uses the physical and temporal distance of
imagined otherworlds as a means of engaging with
real-life social, cultural, and political concerns. Topics will include
psychoanalysis and childhood subjectivity, empire, primitivism, gender
performativity, Afrofuturism, post-9/11 paranoia, and
the military-entertainment complex. We will read texts by authors including
Suzanne Collins, Neil Gaiman, Ursula Le Guin, C.S. Lewis, Nnedi Okorafor-Mbachu, Tamora Pierce,
Philip Pullman, J.R.R. Tolkien, and J.K. Rowling. Class size: 20
91618 |
LIT 2246 Great Hatred, Little Room: CONTESTED IRELAND |
Deirdre
d'Albertis / Peter Gadsby |
. T . Th . |
11:50 am -1:10 pm |
OLIN 202 |
ELIT/DIFF |
Cross-listed:
Irish & Celtic StudiesThroughout
the 20th century, Ireland and its "Troubles" represented what many
believed to be one of the most intractable and seemingly irresolvable cases of
hatred and conflict in the world.
Violence and internecine warfare had often characterized its 800 year
relationship with Britain. Sectarian
hatred between Roman Catholics and Protestants, as well as conflicts within
these groups, and the cultural and political divisions between North and South,
were entrenched. Constitutional
politicians battled with paramilitary groups to define a complex discourse
based on ancient enmity. Terrorism and violence to a large extent shaped the
rest of the world's perception of Ireland, particularly Northern Ireland--a
view complicated by the perspectives of a global Irish diaspora formed in the
wake of centuries of immigration. In
this course, we will explore the historical roots and cultural imagination of
this long-standing strain of hatred and attempts to move beyond it in Ireland. Iconic events--the Easter Rising, a war of independence
and the violence of the Black and Tans, civil war, Bloody Sunday, hunger
strikes at Long Kesh (Maze Prison)--combined with the enduring trope of "blood
sacrifice" to shape this cultural imaginary. How have works of art (poetry, plays, song, film)
and popular culture (Gaelic games, the "Orange" marches) served to
stimulate and define hatred as well as to overcome the human drive toward
aggression and hostility? How did
History figure into the cultural production of 20th century Irish Nationalists
and Republicans, Unionists and Loyalists?
From the standpoint of history, how did these myths obscure other
realities now available to us? Careful
study of speeches, memoir, and political documents will allow us to examine the
functioning of "languages of hatred" as well as the movement to lay
to rest and move beyond such languages after the Belfast "Good
Friday" Agreement of 1998 and its implementation in 2007. In many ways, the course will culminate in
this recent history of conflict: a deep
study of the Good Friday negotiations reveals not the triumph of love over
hatred, but rather a story of how an agreement is thrashed out by those who
hate each other, followed by the story of its implementation and how to make
such an agreement work in practice. We
will examine the importance of culture in changing political life even as we
recognize the persistence of affective memory in present-day Northern Ireland.
What does it mean to live in a "post-hatred" environment? Does hate ever really go away? Class size: 22
91799 |
LIT 2254 The Elements of Style |
Francine
Prose |
. . . . F |
1:30 pm -3:50 pm |
OLIN 101 |
ELIT |
What
do we talk about when we talk about style? How does style affect the ways in which
we read, transmit and receive information, and understand the world? And how
does style express and reflect our social and political attitudes and biases?
In this class, we will analyze, word by word, examples of different genres
(short fiction and novels, essays, magazine pieces, reviews, and newspaper
articles), concentrating on subjects that will include point of view, diction,
phrasing, word choice, and subtext. We will also consider visual style: film,
painting, and fashion. There will be a short paper due each week. The course is
open to students in every field. Students who wish to enroll in the class
should send the professor ([email protected]) a short statement explaining why
they wish to take the course, and a one-page sample of their writing. Class
size: 15
91812 |
LIT 2306 WILLIAM Faulkner: Race, Text AND SoUTHERN History |
Donna
Grover |
. T . Th . |
1:30 pm -2:50 pm |
RKC 102 |
ELIT |
Cross-listed: American Studies; Gender & Sexuality Studies One of America’s greatest
novelists, William Faulkner was deeply rooted in the American South. Unlike other writers of his generation who
viewed America from distant shores, Faulkner remained at home and explored his
own region. From this intensely intimate
vantage point, he was able to portray the south and all of its glory and shame.
Within Faulkner’s narratives slavery and its aftermath remain the disaster at
the heart of American History. In this
course we will read Faulkner’s major novels, poetry, short stories as well as
film scripts. We will also read
biographical material and examine the breath of current Faulkner literary
criticism. Class size: 18
91515 |
LIT 235 Introduction to Media |
Thomas
Keenan |
M . W . . |
1:30 pm – 2:50 pm |
RKC 103 |
HUM |
Cross-listed:
Experimental Humanities, Science, Technology & Society This course offers a
foundation in media history and theory, tracking a series of events and
concepts with the aim of understanding media not simply as a scholarly object but
as a force in our lives. We will look at old and new media alike, from writing
to photography to the digital landscape, to investigate the ways in which some
time-honored ideas and practices -- reality, space, time, publicity and
privacy, memory, and knowledge, among others -- are being upended, but not
entirely. The premise of the course is that the new-ness of new media can only
be approached against the background of humanistic experimentation and
imagination, of the fundamentally strange relation between language and the
world. Authors include Benjamin, Kittler, Virilio,
McLuhan, Azoulay, Lovink, Haraway, Ronell, and others. We
will also spend some time working with -- and not just on -- media, in order to
assess our own positions as users, consumers, and potential producers of media.
Class size: 24
91834 |
THTR 239 Modern Drama |
Miriam
Felton-Dansky |
. T . Th . |
11:50 am -1:10 pm |
OLIN 201 |
ELIT |
See Theater section for description.
91615 |
LIT 2404 Fantastic JourneyS AND THE Modern World |
Jonathan
Brent |
. . W . . |
4:40 pm -7:00 pm |
OLIN 203 |
ELIT |
Cross-listed: Jewish Studies; Russian & Eurasian Studies The modern world has been characterized in many ways, as a time of
unimaginable freedom, as well as existential angst, exile, loss of the idea of
home, loss of the idea of positive heroes; a triumphant embracing of the “new”
and the future, as well as the troubling encounter with machines and the menace
of totalitarianism. It was a time when barriers of all sorts began
to crumble—barriers between past and present, foreground and background, high
and low culture, beauty and ugliness, good and evil. Artists and writers
responded in many different ways across the world. The writers we will read in
this class represent the fulcrum of creativity in America, Central or Eastern
Europe and Russia. Each lived at a different axis of modernity—where East
met West, where the Russian Revolution provided a vibrant but terrifying image
of liberation, where modern technological innovation produced endless
possibilities of satirization of both the old world
and the new, where ethnic and genocidal violence was developing under the
surface of this innovation into the foreseeable European Holocaust. These
writers have something powerful and unique to say about the advent of the
modern period in the fantastic parallel worlds they created where machines take
on lives of their own, grotesque transformations violate the laws of science,
and inversions of normality become the norm. Through their fantastic
conceptions a vision of modernity emerges which questions the most basic
presumptions of western civilization—in art, morality, politics, the psyche and
social life—a vision for which the West still has no satisfying response. All
readings are in English. We will read The
Marvelous Land of Oz (L. Frank Baum),
The Metamorphosis (Kafka), RUR (Capek), War with the Newts (Capek),
Street of Crocodiles (Schulz),
Sanatorium Under the Sign of the Hour Glass
(Schulz), Envy (Olesha)
The Bedbug (Mayakovsky).
There will be 4 short papers for the course & one final paper. Class size: 22
92307 |
LIT
2413 JEWISH WRITERS: FROM FRANZ KAFKA TO PHILIP ROTH |
Norman
Manea |
. T . Th . |
10:10 am- 11:30 am |
HEG
200 |
ELIT |
Cross-listed: Jewish Studies This class will first discuss the notion of Jewishness and the Jewish writer, in the context of our modern age. We
will read and debate, afterwards, short prose by Agnon, Buber, Heine, Zweig,
Amery, Deutscher, Kafka, Malamud, JB Singer, Ph.
Roth, Babel, Schulz, Basani, Bellow, Oz, Koestler,
Levi, Danio Kis, Kertesz, Woody Allen, AB Jehoshua,
Joseph Roth etc. The class-discussion will focus on the
great range of topics expressed in these texts, on their originality and
literary value. Class size:
15
91594 |
LIT
/ SPAN 245 IS THE AUTHOR DEAD? HAUNTED BY The Ghost of Cervantes |
Patricia
Lopez-Gay |
. T . Th . |
10:10 am- 11:30 am |
OLIN 309 |
FLLC |
See
Spanish section for description.
91579 |
LIT 2481 Theater and Politics: THE POWER OF IMAGINATION |
Thomas
Wild |
. T . Th . |
4:40 pm -6:00 pm |
OLIN 201 |
ELIT |
Cross-listed:
German Studies, Theater & Performance This course is structured
around the works of German playwrights Tankred Dorst and Ursula Ehler. Dorst and Ehler, two of the most
distinguished contemporary European playwrights, will be writers-in-residence
at Bard College in the fall of 2014. They will meet with students in this
course for an extended workshop to discuss their plays, poetics, and
collaborative works-in-progress.
Dorst and Ehler’s oeuvre
includes Merlin, a re-writing of the King Arthur legend; Toller,
a play based on the life of the Socialist revolutionary Ernst Toller; and Ice
Age, a chilling one-act about the Fascist-friendly literary Nobel Laureate
Knut Hamsun. In each of these, Dorst and Ehler explore the fraught intersection of the imaginative
and the political worlds. Alongside four plays and one prose book (This
Beautiful Place) by Dorst and Ehler,
we will also study their source materials, focusing our inquiry on their
creative process, in preparation for our work with the artists in person. Class size: 20
92197 |
LIT 2485 JAMES JOYCE’S FICTION |
Terence
Dewsnap |
M . W . . |
3:10 pm -4:30 pm |
OLIN 310 |
ELIT |
Cross-listed: Irish Studies Joyce was an
autobiographical writer who wrote about one place, Dublin. And he was an
experimental writer and a prominent Modernist in tune with the literary and
artistic innovations of the early twentieth century. We will read his short
stories in Dubliners and his
coming-of-age novel A Portrait of the
Artist As a Young Man as well as
his modern epic Ulysses. Class size: 18
91994 |
LIT
2501 Shakespeare |
Adhaar
Desai |
. T . Th . |
11:50 am -1:10 pm |
HEG 201 |
ELIT |
Too often Shakespeare is less exclaimed over
than dentally drilled: this course promises to remedy that by a close reading of
seven great plays, spread over the various kinds of play he wrote: comedy,
history, tragedy and romance. We will
find out how characters enact our contemporary concerns with issues like
politics, sexuality, gender, and race, but also how they appeared within their
own historical framework. For instance,
knowing how limited the prospects of early modern European women were, even
aristocrats, creates new admiration for Shakespeare’s bold and quirky comic
heroines. Our primary focus is literary, but we will
draw on critical readings, theater history, film and performance work. Plays to be read include A Midsummer Night’s Dream, Romeo and
Juliet, 1 Henry IV, As You Like It, Hamlet, Othello, and The Tempest. Open
to all students. This course counts as
pre-1800 offering. Class size: 20
91639 |
LIT /
HR 2509 Telling Stories about Rights |
Nuruddin
Farah |
M . W . . |
10:10 am- 11:30 am |
OLIN 201 |
ELIT/DIFF |
Cross-listed: Human Rights (core course) What difference can
fiction make in struggles for rights and justice? And what can this effort to
represent injustice, suffering, or resistance tell us about about
fiction and literature? This course will focus on a wide range of fictions, from a variety of
writers with different backgrounds, that
tell unusual stories about the rights of
individuals and communities to justice. We will read novels addressing
human migration, injustices committed in the name of the state against a minority, and the
harsh conditions under which some
communities operate as part of their survival strategy, among other topics. We will look at the ways in which
literary forms can allow universalizing claims to be made, exploring how
racism, disenfranchisement, poverty, and lack of access to education and health care, for instance, can affect the
dignity of all humans. Readings may
include: Chronicles of a Death Foretold
by Garcia Marquez; Snow Falling on Cedars
by David Guterson; Smilla’s Sense of Snow by Peter Hoeg; Our Nig by
Harriet Wilson; Balzac & the Chinese
Seamstress by Sijai Dai; Winter is in the Blood by James Welch ; The Way to Rainy Mountain by N. Scott Momaday; Wolves of
the Crescent Moon by Yousef Al-Mohaimeed, and Bound to Violence by Yambo
Ouleguem. We will also watch a number of films based on
the novels (including Chronicles, Smilla's Sense, Balzac, Snow Falling), and The First Grader (2001, on the right to
education in Kenya).
Class size: 22
91530 |
LIT 264 Memorable 19th Century Continental Novels |
Justus
Rosenberg |
M . W . . |
10:10 am- 11:30 am |
OLIN 303 |
ELIT |
Cross-listed:
French, German and Russian Studies The aim of this course is
to acquaint students with representative examples of novels by distinguished French,
Russian, German and Central European authors. Their works are analyzed for
style, themes, ideological commitment, and social and political setting. Taken
together they should provide an accurate account of the major artistic,
philosophical and intellectual trends and developments on the Continent during
the 19th century. Readings include Dostoevski’s Crime
and Punishment, Stendhal’s The Red and the Black, Tolstoy’s Anna
Karenina, Balzac’s Cousine Bette,
Hamsun’s Hunger, T. Mann’s Buddenbrooks. Class
size: 15
91612 |
LIT
/ GER 270 REBELS WITH(OUT) A CAUSE: Great Works of German
LitERATURE |
Franz
Kempf |
. T . Th . |
10:10 am- 11:30 am |
OLIN 205 |
ELIT |
See
German section for description.
91403 |
LIT 280 The Heroic Age |
Karen Sullivan |
. T . Th . |
3:10 pm -4:30 pm |
ASP 302 |
ELIT |
Cross-listed:
Medieval Studies In
this course, we will be reading the great epics and sagas of the early Middle
Ages, concentrating upon northern Europe. Through these texts, we will explore
the tensions between paganism and Christianity, individual glory and kingly
authority, and heroism and monstrosity. Texts to be read include the Old
English Beowulf; the Old Irish Táin Bó Cúailnge; the Old Norse Eddas, Saga of the Volsungs,
and Egil’s Saga; the Old French Song
of Roland; and the Middle High German Nibelungenlied. Class size: 20