92473 |
LIT 131 Women &
Leadership |
Deirdre
d'Albertis |
F 10:00 am-12:00 pm |
RKC 200 |
|
D+J |
2 credits It is 2016.
Why aren’t there more women in leadership positions? According to a 2014 Pew
Research Center report, the majority of American men and women acknowledge the
capacity of women to lead. Yet in certain domains—most notably politics and
business—women continue to be under-represented at the top. This year’s
Presidential race will certainly polarize the electorate around constructions
of gender in particularly dramatic ways. If we are living in a
post-feminist society (as some claim), why do these questions and conflicts
continue to arise? Identity is an urgent conversation in 21st-century politics
and everyday life, and this includes awareness of how intersectionality shapes
gendered experiences. What are the stories that we tell ourselves and each
other about equality, representation, privilege, freedom, authority, and
success? How do these inflect real-world outcomes for individuals and
societies? In this two-credit course we
will explore some of the stories that circulate in our culture around women and
power, both from an academic and from a practical, real-world
perspective. What does it mean to lead? How do we use a
language of empowerment? Why has the United States embraced certain
narratives of gender equity and success as opposed to those being created in
other countries and cultures? We will focus on learning from women who
are committed to making a difference in the world through their personal and
professional choices, hearing their stories, and reading texts that have been
particularly important to them in their lives and work. So too, we will
engage with stories from the past (archival research), from across disciplines
(the military, higher education, STEM, the arts, media) and from a wide range
of perspectives. As an Engaged Liberal Arts and Sciences course, this
seminar will provide students with the unique opportunity to bring theory and
practice together in a very immediate sense: by the end of the term you will
have identified a story only you can tell, whether it is based in political
activism, community engagement, or work experience. Drawing on the rich
resources here in Annandale as well as through Bard’s other campuses,
we will reach out to groups and organizations with a shared focus on
gender. Network building is something we will explicitly address. This
course is open to all first-year students, but enrollment is limited.
91642 |
LIT / CMSC 120 Technologies of and machine approaches to
literature |
Sven Anderson Collin
Jennings |
T Th 3:10 pm-4:30 pm |
RKC 100 |
MC |
MATC |
Cross-listed: Experimental
Humanities; Literature Recent debates in literary studies regarding
"close" and "distant" reading methods have emerged
alongside rapid innovation in the field of natural language processing (NLP).
These concurrent developments have sparked exciting collaborations between
literary scholars and computer scientists (as evidenced by this co-taught
course). Yet this burgeoning affinity can easily obscure the longer history of
scholarly activity combining humanist and computational approaches to
literature. In this course, we will chart the contours of this history --
stretching back to the early twentieth century -- and learn the fundamentals of
NLP in order to consider new questions regarding changing literary patterns
over time. We will read the works of foundational linguists and close-reading
theorists (e.g., Victoria, Lady Welby; C. K. Ogden; I. A. Richards; William
Empson; and Cleanth Brooks) as well as scholars of emergent critical reading
practices (eg., N. Katherine Hayles, Franco Moretti, Sharon Marcus, and Stephen
Best). We will explore these ideas by
learning fundamentals of programming and then using them to apply NLP
techniques such as parsing, sentence generation, language modeling, and
creation of high-dimensional semantic spaces to problems in reading.
Pre-requisites: Students must have passed part 1 of the Mathematics
diagnostic. Class size: 18
91801 |
LIT 2002 Americans Abroad |
Donna Grover |
M W 10:10 am-11:30 am |
OLIN 203 |
LA |
ELIT |
Cross-listed: Africana Studies, American Studies Post World War I was an exciting time for
American artists who chose to come of age and discover their own American-ness
from other shores. We will read writers of the so-called ‘
Lost Generation’ including Ernest Hemingway, Gertrude Stein and F. Scott
Fitzgerald. But in our reexamination of ‘The Lost Generation’ we will also
include expatriate writers best known for their participation in the Harlem
Renaissance, such as Jean Toomer, Claude McKay and Jessie Fauset.
The African-American presence in
91783 |
LIT 2062 Old Arabic Books |
Elizabeth
Holt |
T Th 3:10 pm-4:30 pm |
OLIN 306 |
LA D+J |
ELIT DIFF |
Cross-listed: Africana
Studies; Medieval Studies; Middle Eastern Studies The Orientalists of
France and
91803 |
LIT 2134 Traditions of African American Literature |
Peter L'Official |
T Th 11:50 am-1:10 pm |
OLIN 202 |
LA |
ELIT |
This course will introduce students to the
African American literary tradition. We will explore a range of African
American literary practices alongside the development of related cultural, aesthetic,
and vernacular forms and movements while remaining mindful of broad historical
shifts in American life from the 18th century to the present.
In tracing these emergent and lasting voices, modes, and styles, we will
examine how authors have created, defined, and complicated the traditions of
literature within which they participate.
92116 |
LIT 2175 Medieval |
Michael
Staunton |
M W 3:10 pm-4:30 pm |
OLINLC 206 |
LA |
ELIT |
Cross-listed: Irish and Celtic Studies; Medieval Studies The medieval
Irish believed they were living on the edge of the world, yet the people of
this remote island had a remarkable and lasting impact on the world around
them. In this course we examine ‘Celtic’
91773 |
LIT 2227 Dostoevsky Presently: POETICS, PHILOSOPHY, POLITICS,
& PSYCHOLOGY |
Marina
Kostalevsky |
T Th 3:10 pm-4:30 pm |
OLIN 305 |
LA |
ELIT |
Cross-listed: Russian Studies Fyodor
Mikhailovich Dostoevsky remains one of the most widely read authors in the
world. He also remains an inspiration for the immensely productive output of
scholarship and artistic renditions through different media. In this course we
will read and analyze such Dostoevsky texts as his novels The Idiot, Demons,
The Brothers Karamazov; his shorter prose works Poor Folk, The Dream of a
Ridiculous Man, The Meek One, Bobok; and his
journalistic pieces from A Writer's Diary (which today might be considered the first blog
ever). Also, we will pay special attention to the present state of research on
Dostoevsky, starting from the classic studies by Mikhail Bakhtin, Joseph Frank,
and some others, to the latest works by Russian, American, European, and
Japanese scholars of Dostoevsky.By looking at
Dostoevsky through the lenses of poetics, philosophy, politics, and psychology,
we will try to understand what makes this 19th century Russian writer our
contemporary. Taught in English. Interested students
should contact the Professor ([email protected])
before registration. Class size: 20
91804 |
LIT 225 Strange Books AND THE Human Condition |
Francine
Prose |
F 1:30 pm-3:50 pm |
OLIN 202 |
LA |
ELIT |
Cross-listed: Human
Rights Every literary
masterpiece is unique, but some are more unique than others. This class will involve
the close-reading of books so peculiar as to verge on "outsider"
literature, by authors ranging from Jane Bowles to Felisberto
Hernandez, from Robert Walser to Hans Christian Andersen, novels and stories
that have as much to tell us about what it means to be a human being as the
most naturalistic or conventional fiction. Admission is by email application ([email protected]) explaining why the
student wishes to take the course. Enrollment is not limited to literature or
writing majors, and the only prerequisite is that students will be expected to
have read enough "not strange" literature to understand why the books
on the list are so unusual. Class size: 22
91800 |
LIT 2319 The Art of Translation |
Peter Filkins |
T Th 11:50 am-1:10 pm |
OLIN 308 |
LA |
ELIT |
By comparing multiple translations of
literary, religious, and philosophical texts, this course will examine the way in
which translation shapes textual meaning and our appreciation of it. We will
also read several key theoretical essays that trace differing approaches to
translation and what can or cannot be expected from translation. Finally,
students will also take on a short translation project of their own in order to
explore firsthand what it means to translate. Brief comparative readings will
include multiple translations of Homer, Sappho, Plato, the Bible, Nietzsche,
Tolstoy, Baudelaire, Proust, Kafka,
91788 |
LIT 235 Introduction to Media |
Maria Cecire |
T Th 3:10 pm-4:30 pm |
OLIN 202 |
MBV |
HUM |
Cross-listed: Experimental Humanities This course offers a foundation in
media history and theory, with a focus on how to use aspects of traditional humanistic
approaches such as close reading and visual literacy to critically engage with
both traditional and new media. We will examine how new media interacts with
and transforms culture by considering the emergence of digital media and
internet culture in relation to prior moments of media change, and discuss how
such shifts have continually re-shaped our perceptions of time, space,
publicity, knowledge, and identity. The premise of this course is that the
new-ness of new media can only be approached against the background of
humanistic experimentation and imagination with both old and new media. We will
read key media theorists (Walter Benjamin, Donna Haraway,
Katherine Hayles, Henry Jenkins, Friedrich Kittler,
and Marshall McLuhan), as well as contemporary fiction by authors such as Neal
Stephenson and Gary Shteyngart that offer speculative
visions of how digital media and human experience might determine one another
in the future. As part of our ongoing examinations of how material conditions
shape discourse, we will assess our own positions as users, consumers, and
potential producers of media. This course fulfills a requirement for the
Experimental Humanities concentration, and will involve a “practice” component
that complements our engagement with media theory. Class size: 20
91774 |
LIT 236 THE |
Olga Voronina |
T Th 1:30 pm-2:50 pm |
OLIN 201 |
FL |
FLLC |
Cross-listed: Global
& International Studies; Human Rights; Russian & Eurasian Studies
91805 |
LIT 2401 The |
Marisa
Libbon |
M W 1:30 pm-2:50 pm |
OLIN 310 |
LA |
ELIT |
Cross-listed: Medieval Studies What in
the world can storytelling accomplish?
This question drives Geoffrey Chaucer’s Canterbury Tales and will
likewise guide our semester-long exploration of it. An instant classic after Chaucer’s death in
1400, the Canterbury Tales inspired “fanfiction” almost immediately and
has since been enshrined as an essential work within the English literary
canon, counting writers from Shakespeare to T.S. Eliot among its later readers
and admirers. At odds with (or perhaps partly
responsible for) its current “insider” and canonical status, though, is the
fact that the Canterbury Tales remains one of the most radically
experimental works written in English. By turns beautiful and dirty,
politically risky and calculatedly evasive, poetry and prose, the Tales tests,
negotiates, and worries over the ways in which language—written, spoken, read,
overheard—constructs reality. It
challenges gender and class norms; queries and queers the relationship between
tale and teller; and calls into question institutional authority and social
hierarchy. Following Chaucer’s lead,
we’ll grapple with how literature does (and sometimes does not) influence
social change; that is, what’s the point of telling stories? Class
size: 18
91772 |
LIT 2404 Fantastic Journeys
and the Modern World |
Jonathan
Brent |
F 3:00 pm-5:20 pm |
OLIN 201 |
LA |
ELIT |
Cross-listed: Jewish
Studies; Russian We will explore
the literature of the Fantastic of Eastern Europe and Russia from the early 20th
century to the 1960s in writers such as Ansky, Kharms, Kafka, Capek, Schultz,
Mayakovsky, Erofeyev, Olesha and others.
Fantastic literature, as Calvino has noted, takes as its subject the
problem of "reality." In this class, we will discuss questions of
identity, meaning, consciousness, as well as understanding of the relationship
between the individual and society in these writers.
Class size: 22
91806 |
LIT 2485 James Joyce's Fiction |
Terence
Dewsnap |
T Th 3:10 pm-4:30 pm |
OLIN 310 |
LA |
ELIT |
Cross-listed: Irish
and Celtic Studies Joyce was an autobiographical writer who
wrote about one place,
91807 |
LIT 2509 Telling Stories about Rights |
Nuruddin
Farah |
M W 10:10 am-11:30 am |
OLIN 308 |
LA D+J |
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
Class
size: 18
91796 |
LIT 263 What is a Character? |
Noor Desai |
M W 11:50 am-1:10 pm |
ALBEE 106 |
LA |
ELIT |
We have a complicated
relationship with fictional characters. We are often drawn to them more than anything
else in encounters with literature, theater, or film, but we also know,
consciously or unconsciously, that they remain exactly what their name implies:
circumscribed by typography, scriptedness, and the page or screen. On the one
hand, characters may be understood as impressions or archetypes that are
patterned on convention and social expectations. As such, they can tell us
about the world that produced them, since they are enlisted in the kinds of
situations that world promotes and recognizes. On the other hand, characters,
according to E. M. Forster, are “engaged in treason against the main
scheme" of a text; they feel like agents of resistance and individualism,
and they seem to transcend both text and context as they reach out to us. This
course studies the history of fictional characters in western literature,
starting in classical
91797 |
LIT 267 The Neuro-novel |
Lianne
Habinek |
M W 11:50 am-1:10 pm |
OLIN 309 |
LA |
ELIT |
Cross-listed: Experimental Humanities; Mind, Brain, Behavior A literary
genre has materialized in the past fifteen years that, as Marco Roth (with some
notoriety) puts it, is marked by “the novel of consciousness or the
psychological or confessional novel — the novel, at any rate, about the
workings of a mind.” This category of narrative documents the workings
and misfirings of the mind alongside emerging ideas
of a new means of accessing and dramatizing interiority. Works marked as
neuro-novels include Ian McEwan’s Enduring
Love and Saturday, Jonathan
Lethem’s Motherless
Brooklyn, Mark Haddon’s The
Curious Incident of the Dog in the Nighttime, Richard Powers’ The Echo
Maker, Rivka Galchen’s Atmospheric
Disturbances, and John Wray’s Lowboy. Steven Pinker’s seminal cognitive science
text How the
Mind Works presents the picture of a currently unmapped but potentially fully
knowable brain; what would such a model of the mind do to ideas of agency,
selfhood, and even free will? This course will use the aforementioned
texts and others (like William Gibson’s Neuromancer and Haruki Murakami’s Hardboiled
Wonderland and the End of the World), alongside
films such as Je T’aime, Je T’aime; Eternal
Sunshine of the Spotless Mind; and Inside Out, to explore how fiction considers what is problematic about a direct
identification between mind and brain. Class size: 18
91798 |
LIT 268 LIFE
AND DEATH OF THE Contemporary
European Novel |
Joseph
Luzzi |
T Th 11:50 am-1:10 pm |
HEG 300 |
LA |
ELIT |
What is living—and what is
dead—in the contemporary European novel? How do the great European traditions,
such as 19th-century realism and the historical novel, influence today’s
leading practitioners of the genre? And how do more “obsolete” genres—for
example, the philosophical tale, the epistolary novel—also continue to make
their presence felt? Does the European novel still play the remarkable social
and political role it once did? This course will consider authors including
Elena Ferrante (Italy), Karl Ove Knausgård (Norway), Antonio Muñoz Molina
(Spain), Patrick Modiano (France), Milan Kundera (Czech Republic, France), and
the recently deceased W. G. Sebald (Germany), J. G. Ballard (U.K.), and Thomas
Bernhard (Austria), as we explore the state of the European novel in the
"present tense." Class size: 22
91799 |
LIT 269 Ethics and Aesthetics in British Modernism |
Matthew
Mutter |
T Th 10:10 am-11:30 am |
OLIN 101 |
LA |
ELIT |
Does
poetry, as W.H. Auden once said, “make nothing happen,” or is “the theory of
poetry,” as Wallace Stevens wrote, “the theory of life”? This course will, through an extensive study
of four major British modernists—-D.H. Lawrence, Virginia Woolf, W.B. Yeats,
and W.H. Auden—-examine the capacity of modern literature to both articulate
and realize a comprehensive vision of life in its ethical, aesthetic, and
political dimensions. We will be particularly interested in the way in which
aesthetic practices, attitudes, and categories (disinterestedness,
impersonality, beauty and sublimity, the ordering imagination) map onto ethical
and political understandings of hierarchy, equality, otherness, feminism, and
interpersonal relations. Related concerns will include: to what extent does
this literature struggle to appropriate or even outmaneuver newly ascendant,
competing discourses of human nature like psychoanalysis? To what extent can
and should it evaluate or aesthetically transfigure major political events and
social movements, and how did it intervene in the struggle between liberal
democracy and fascism? Is it truly able, as many modernists hoped, to displace
the moral agency of religion? Texts will
include
Class
size: 22
92433 |
LIT 273 THE LEGACY OF HUMOR AND THE RISE
OF THE NOVEL IN MODERN |
Junji Yoshida |
T Th 3:10 pm-4:30 pm |
OLINLC 210 |
FL |
FLLC |
Cross-listed: Asian
Studies A popular culture of
playfulness has long been the breeding ground of an alternative social
imaginary set against structures of power in
91763 |
LIT / GER 287 The Ring of the Nibelung |
Franz Kempf |
T Th 10:10 am-11:30 am |
OLIN 203 |
LA |
ELIT |
Cross-listed: German Studies; Medieval Studies A study of Richard Wagner’s
cycle of four immense music dramas. A story about “gods, dwarves (Nibelungs), giants and humans, it has been read and performed
as a manifesto for socialism, as a plea for a Nazi-like racialism, as a study
of the workings of the human psyche, as forecast of the fate of the world and
humankind, as a parable about the new industrial society of Wagner’s time.” As
we travel down the Rhine and across the rainbow and on through the underworld,
our tour-guides will be the Brothers Grimm, Schopenhauer, Nietzsche, as well as
the anonymous authors of the medieval epic, the Nibelungenlied
and of the Old Norse Poetic Edda. Musical expertise neither expected nor
provided. Taught in English.
Students with an advanced proficiency in
German are expected to read the libretti in the original.
Since experiencing opera as performance is
crucial, only students who commit to the following screenings in Weis Cinema
(starting at 12:30 PM) will be permitted to enroll in this course:
F 9/2 and F 11/4 Rhinegold
(Met /
F 9/9 and F 11/11 Valkyrie
: 241 / 214 min
F 9/16 and F 11/18 Siegfried
: 253 / 226 min
F 9/23 and F 12/2 Twilight of the Gods : 281 / 249 min
Class
size: 20
Courses
cross-listed in Literature:
91721 |
CHI
215 The Chinese
Novel: THE STORY OF THE STONE AND GENDER IN LATE IMPERIAL |
Li-Hua
Ying |
T Th 1:30
pm-2:50 pm |
OLINLC 118 |
LA D+J |
ELIT DIFF |
91822 |
CLAS
130 Homer FOR
BEGINNERS: THE ILIAD AND ODYSSEY |
Daniel
Mendelsohn |
T Th 11:50
am-1:10 pm |
OLIN 107 |
LA |
ELIT |