100-Level Literature Course:

 

Course:	LIT 162  The Dean's Colloquium: Reading Three Nineteenth-Century Novels
Professor:	Deirdre d'Albertis
CRN:	15987		Schedule/Location:		Fri   11:00 AM - 1:o0 PM Chapel
Distributional Area:		LA Literary Analysis in English
Credits: 2						Class cap: 15

As part of the Bard Reading Initiative, the Dean invites students interested in the process of reading long narratives to join this two-credit, weekly colloquium.   We will meet each Friday from 11-1 in the Bard Chapel (and elsewhere) to investigate the tactics that 19th century novelists invented to enlist our sympathy, hold our interest, and change our minds. These are novels that encourage us to think about ourselves and each other. Focusing on three works--Jane Austen's Emma, Charlotte Bronte's Jane Eyre, and Thomas Hardy's Tess of the d'Urbervilles--we will explore very different textual worlds with special focus on narration and narrative form.    What do these novels ask of us in terms of imagination and attention?  What part of ourselves might we recognize in the seemingly trivial social concerns of  "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition"?  What does it mean for a protagonist (as in Tess of the d'Urbervilles) to be described as “A Pure Woman Faithfully Presented“?   How does the first-person voice in Jane Eyre proclaiming "the more solitary, the more friendless, the more unsustained I am, the more I will respect myself" speak to us across space and time?  And just how do we experience time when we read a nineteenth-century novel?  Curious readers who are interested in (re)discovering the pleasures particular to these questions are welcome: students will engage in frequent short writing assignments,  keep a reading journal, and develop new strategies for working with these texts to be shared with others through the Reading Initiative.

Literature Sequence Courses: Historical studies in the Comparative, English, and American Literature traditions. One sequence course is required before moderation. Sequence courses have no prerequisites and are open to students at all levels.

 

Course:	LIT 204C  Comparative Literature III: The Religion of Art, The Aesthetics of Life
Professor:	Matthew Mutter
CRN:	15703		Schedule/Location:		Mon  Wed     3:30 PM - 4:50 PM Olin 203
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22

(This course has no prerequisites and is open to students at all levels.) This course will explore the key aesthetic, philosophical, and political issues that emerge in European and pan-American literature from the early nineteenth through the twentieth century. Beginning with Romanticism and ending with selected modernisms of the Americas, we will pursue several conceptual through-lines: the spiritual vocations of literature in conditions of secularization; visions of the autonomy of art; the shifting boundaries between art and life and aesthetics and politics; and literature’s relation to the discourses of science. Authors may include J.W. von Goethe, S.T. Coleridge, Gustave Flaubert, Charles Baudelaire, Virginia Woolf, Djuna Barnes, Franz Kafka, Claude McKay, Jean Rhys, César Vallejo, and Kamau Brathwaite.

 

Course:	LIT 251  English Literature II: Enlightenment & its Specters
Professor:	Cole Heinowitz
CRN:	15704		Schedule/Location:		Tue  Thurs    3:30 PM - 4:50 PM Aspinwall 302
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22

(This course has no prerequisites and is open to students at all levels.)  The seventeenth century in England—which began with the nation governed by absolute monarchy, went through a brutal Civil War, and ended with the institution of an empowered Parliament and constitutional monarchy—was a turbulent and transformative one. While political factions reorganized the government, a rising merchant class argued with dissenting laborers and communitarian sects about the economic social order, philosophers and scientists shattered long-held understandings of the natural world, women entered the public sphere and resisted its patriarchal assumptions, and the indigenous and enslaved peoples of British colonies rose up against the dawning empire. A century characterized by the outright resistance to authorities of all kinds was not coincidentally also one in which literature became the center of national consciousness. This course examines that literature in order to better understand not just this transformative historical moment but also literature’s ongoing relationship to critical interrogations of culture and politics. Reading the work of six radical writers–Francis Bacon, Rachel Speght, John Donne, Margaret Cavendish, Aphra Behn, and Jonathan Swift—alongside key texts in early modern thought as well as modern critical and cultural theory, the course examines rule-breaking as an essential component of intellectual, social, and political change.

 

Course:	LIT 259  American Literature III: What Does it Mean to Be Modern?
Professor:	Peter L'Official
CRN:	15705		Schedule/Location:		Tue  Thurs    11:50 AM - 1:10 PM Reem Kayden Center 102
Distributional Area:		LA Literary Analysis in English D+J Difference and Justice
Credits: 4						Class cap: 22
Crosslists: American Studies; Environmental & Urban Studies

What did modernization, modernity, and modernism mean to American literature? This course explores American literary production from the late nineteenth century to the middle of the 20th century. In focusing upon this era’s major authors and works, we will explore the formal characteristics of this period’s literary movements (realism, naturalism, regionalism, and modernism) while examining many of the principal historical contexts for understanding the development of American literature and culture (including debates about immigration, urbanization, industrialization, economic inequality, racial discrimination, and the rise of new technologies of communication and mass entertainment). Writers likely to be encountered include: James, Cather, Wharton, Hemingway, Stein, Fitzgerald, Pound, Eliot, Toomer, Hurston, and Faulkner. Issues of race, gender, sexuality, and socioeconomic differences are discussed at length in this course. This course has no prerequisites and is open to students at all levels.

 Pre-Moderation Required Course: Narrative / Poetics Representation

 

Course:	LIT 201 A Narrative/Poetics/Representation
Professor:	Matthew Mutter
CRN:	15700		Schedule/Location:		Tue  Thurs 11:50 AM - 1:10 PM Hegeman 106
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15

What does it mean to study literature today? How, precisely, do poetry, fiction, creative nonfiction, and drama differ from other forms of expression? How can we read those differences—the small, unexpected ways that works of literature can transform everyday life and everyday language—in connection with larger cultural, political, and aesthetic questions? And how can we use encounters with literary texts to reimagine or remodel our visions of self, community, and our mode of being in the world? Emphasizing the practice of close textual analysis and introducing students to foundational and emerging methods in literary studies, this course lays the groundwork for further investigations across a range of literary forms, national traditions, historical moments, and social identities. This course is a pre-moderation requirement for all prospective Literature and Written Arts majors.

 

Course:	LIT 201 B Narrative/Poetics/Representation
Professor:	Daniel Williams
CRN:	15701		Schedule/Location:		Mon  Wed     10:10 AM - 11:30 AM Albee 106
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15

What does it mean to study literature today? How, precisely, do poetry, fiction, creative nonfiction, and drama differ from other forms of expression? How can we read those differences—the small, unexpected ways that works of literature can transform everyday life and everyday language—in connection with larger cultural, political, and aesthetic questions? And how can we use encounters with literary texts to reimagine or remodel our visions of self, community, and our mode of being in the world? Emphasizing the practice of close textual analysis and introducing students to foundational and emerging methods in literary studies, this course lays the groundwork for further investigations across a range of literary forms, national traditions, historical moments, and social identities. This course is a pre-moderation requirement for all prospective Literature and Written Arts majors.

 

Course:	LIT 201 C Narrative/Poetics/Representation
Professor:	Alex Benson
CRN:	15702		Schedule/Location:		Tue  Thurs    10:10 AM - 11:30 AM Olin 303
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15

What does it mean to study literature today? How, precisely, do poetry, fiction, creative nonfiction, and drama differ from other forms of expression? How can we read those differences—the small, unexpected ways that works of literature can transform everyday life and everyday language—in connection with larger cultural, political, and aesthetic questions? And how can we use encounters with literary texts to reimagine or remodel our visions of self, community, and our mode of being in the world? Emphasizing the practice of close textual analysis and introducing students to foundational and emerging methods in literary studies, this course lays the groundwork for further investigations across a range of literary forms, national traditions, historical moments, and social identities. This course is a pre-moderation requirement for all prospective Literature and Written Arts majors.

200-Level Literature Courses: 200-level courses have no prerequisites and are open to students at all levels.

 

Course:	LIT/HR 218  Free Speech
Professor:	Ziad Aub-Rish
CRN:	15963		Schedule/Location:		TBA
Distributional Area:		SA Social Analysis D+J Difference and Justice
Credits: 4						Class cap: 22
Crosslists: Human Rights

(Human Rights Core Course) An introduction to debates about freedom of expression. What is 'freedom of speech'? Is there a right to say anything? Why? We will investigate who has had this right, where it has come from, and what it has had to do in particular with literature and the arts. What powers does speech have, who has the power to speak, and for what? Debates about censorship, hate speech, the First Amendment and Article 19 of the Universal Declaration of Human Rights will be obvious starting points, but we will also explore some less obvious questions: about faith and the secular, confession and torture, surveillance, the emergence of political agency. In asking about the status of the speaking human subject, we will look at the ways in which the subject of rights, and indeed the thought of human rights itself, derives from a 'literary' experience. These questions will be examined, if not answered, across a variety of literary, philosophical, legal and political texts, with a heavy dose of case studies (many of them happening right now) and readings in contemporary critical and legal theory.  

 

Course:	LIT 204C  Comparative Literature III: The City, the Novel, and the Making of Modern Identity
Professor:	Matthew Mutter
CRN:	15703		Schedule/Location:		Mon  Wed     3:30 PM - 4:50 PM Olin 203
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22

(This course has no prerequisites and is open to students at all levels.) This course centers on key texts from French, German, Russian, and British literature, from Goethe’s Sorrows of Young Werther to Woolf’s Mrs Dalloway. We will consider novelists who have diagnosed the effects of urban reality on their protagonists, prompting their readers to link the transformation of traditional power structures, the rise of social mobility, and the increasing centrality of science, to new literary techniques and a breakdown in self presentation. Belief and doubt, the real and the fantastic, omniscience and fragmentation, are at play in most of our texts. Readings will be from Balzac, Baudelaire, Chekhov, Dostoevsky, Flaubert, Gogol, Hoffman, Woolf, and Zola.

 

Course:	LIT 2071  Modernity and Modernism in the Arabic Literature
Professor:	Ziad Dallal
CRN:	15708		Schedule/Location:		Mon   Thurs    1:30 PM - 2:50 PM Olin 202
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Africana Studies; Middle Eastern Studies

This course introduces students to the major revolutions of Arabic literature from the nineteenth century onwards. Our readings will be anchored in the two terms, modernity and modernism, in order to understand how social and material changes precipitate cultural transformation, and in turn, how literary movements emerge as galvanized critiques of a world marked by (de)colonization, national independence movements, and (civil war). Thus, one of the objectives of this course would be to define and distinguish modernity and modernism. To do so, we will read manifestos and essays on literary theory, as well as new scholarship that situates literary movements within their global contexts. The second objective of this course will be to familiarize students with the rich material of modern literary production from the Arab world. We will read widely and wildly from this bountiful material, including hybrid literary forms from the 19th century, the travel literature of the early 20th century, the modernist poetry of the mid-20th century, the response in prose to that latter movement, and postcolonial prison literature. Authors may include Ahmad Faris al-Shidyaq, Zaynab Fawwaz, Etel Adnan, Tayeb Salih, Adonis, Nazik al-Maka’ika, Mahmoud Darwish, Anton Shammas, Ghassan Kanafani, Emile Habibi, Saadallah Wannous, Sulayman al-Bassam, Sonallah Ibarhim, Latifa al-Zayyat, Ibrahim el-Salahi, Ibrahim Aslan, and Edwar al-Kharrat. The course will also tackle issues of globalization, nationalism, gender, and citizenship. This course is part of the World Literature Course offering.

 

Course:	LIT 2084  Literature of Experiment
Professor:	Daniel Williams
CRN:	15707		Schedule/Location:		Mon  Wed     3:30 PM - 4:50 PM Olin 205
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Experimental Humanities

What is the relationship of literary writing to scientific experiment? How do literary authors and movements characterize themselves (or become characterized) as experimental? This course surveys a range of texts from the 19th century to the present that engage with experiment in terms of content, form, or shape. We will read texts that represent scientific praxis alongside texts that deploy literary improvisation. We will consider what commonalities exist across experimental and avant-garde modes: the commitment to linguistic innovation and metatextual reflection; the prevalence of manifestos and movements; the lure of technology and intermediality. Throughout we will also consider experimentalism as both value and vice in critical method, from deconstruction to the digital humanities. In keeping with our theme, class meetings and assignments will frequently adopt improvisational practices—from automatic writing to chance-driven composition to quantitative analysis. Authors might include Hopkins, Mallarmé, Kafka, Woolf, Stein, Breton, Calvino, Pynchon, Ashbery, Hejinian, Davis, and Saunders.

 

Course:	LIT 2103  Modern Ireland
Professor:	Karen Sullivan
CRN:	15528		Schedule/Location:		Tue   Fri   10:10 AM - 11:30 AM Olin 201
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 20
Crosslists: Irish and Celtic Studies

One of the most distinctive aspects of modern Ireland has been the intertwining of political struggle and literary creation. From the eighteenth century onward, writers were troubled by the fact that the native Irish population was subjected politically, economically, and culturally to the descendants of English and Scottish settlers. In this context, writers wondered, what did it mean to be Irish? If Ireland was to become its own country, as many of these authors hoped it would, how would history, religion, and language define its citizenry? What would the relation be between Catholics and Protestants and, ultimately, between the independent Republic of Ireland and Northern Ireland, which remained part of the United Kingdom?  What role would Irishwomen play alongside Irishmen in this new society? In this course, we will be exploring how writers responded to these questions, whether in the ballads inspired by the 1798 Irish Rebellion, the novels penned by nineteenth-century Anglo-Irish landowners, the often nationalistic poems and plays sponsored by the Irish Literary Revival, and the literary accounts of the Irish War of Independence, the Irish Civil War, and the Troubles. Authors to be read will include Jonathan Swift, Eibhlín Dubh Ní Chonaill, Maria Edgeworth, J. M. Synge, Sean O’Casey, Elizabeth Bowen, James Joyce, W. B. Yeats, Lady Gregory, Edna O’Brien, Brian Friel, Seamus Heaney, Paul Muldoon, William Trevor, and Anna Burns. 

 

Course:	LIT/RUS 220  An Appointment with Dr. Chekhov
Professor:	Marina Kostalevsky
CRN:	15712		Schedule/Location:		Tue   Fri   1:30 PM - 2:50 PM Olin Languages Center 120
Distributional Area:		FL Foreign Languages and Lit
Credits: 4						Class cap: 16
Crosslists: Literature

Anton Pavlovich Chekhov began writing simply to earn much needed money while studying to become a doctor at Moscow University.  His connection to the medical profession, and the natural sciences, is not mere biographical fact.  As Chekhov himself later admitted, "there is no doubt that my study of medicine strongly affected my work in literature." Moreover, he claimed that "the writer must be as objective as the chemist."  This course will give students the opportunity to analyse how Dr. Chekhov's "general theory of objectivity" impacted his writing and how his "treatment" of human nature and social issues, of love and family, all the big and “little things in life,” has brought an entirely new dimension to Russian literature and culture.  Readings include Chekhov's prose, plays, and letters.  Also, attention will be given to contemporary interpretations of his work, new biographical research, and productions of his plays on stage and screen. Conducted in English.

 

Course:	LIT 2205  Stalin and Power
Professor:	Jonathan Brent
CRN:	15720		Schedule/Location:		Fri   3:10 PM - 5:30 PM Olin 201
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 20
Crosslists: Historical Studies; Russian Eurasian Studies

Josef Stalin was indisputably one of the central political figures of the Twentieth Century.  Inheritor of leadership of the Soviet state after Lenin’s death, he was both directly responsible for his regime’s monstrous criminality and the architect of its survival in the face of internal threats and the Nazi invasion of 1941. Stalin remains an enigmatic presence in world history today.  At his death in 1953, Molotov said that he will live in the hearts of all progressive peoples forever; yet by 1956, his crimes were denounced publicly, his body was removed from the Lenin mausoleum, , and his image erased from Soviet society.  Only with the collapse of the Soviet Union in 1991 did Stalin return to public awareness and now it can be said that he is, paradoxically, fully rehabilitated within contemporary Russian society.   This class will explore the enigma of Stalin and his enduring power through primary documents, biography, and the most recent scholarship.

 

Course:	LIT 2227  Dostoevsky Presently: Poetics, Philosophy, Politics, & Psychology
Professor:	Marina Kostalevsky
CRN:	15721		Schedule/Location:		Wed Thurs    3:30 PM - 4:50 PM Olin 304
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 16
Crosslists: Russian Eurasian 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 (kostalev@bard.edu) before registration.

 

Course:	LIT 2291  Fictions of Southeast Asia
Professor:	Nathan Shockey
CRN:	15709		Schedule/Location:		Tue  Thurs    11:50 AM - 1:10 PM Olin 201
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Asian Studies

This class explores the vibrant body of literature from and about Southeast Asia and considers the role of fiction in the imagination of modern national and transnational histories. Reading works by local, imperial, immigrant, and diasporic authors, both those written in English and in translation, we will bring a prismatic array of texts into contestation and conversation in order to explore conflicting narratives of colonization, decolonization, war, empire, refugee passages, and the loss of homeland. We will read novels from across Southeast Asia, including the Philippines, Vietnam, Thailand, Singapore, Indonesia, Malay(si)a, Laos, and Cambodia, as well as stories about those places by British, American, and other Asian writers to think about how acts of storytelling have themselves shaped the region’s contours and fractured histories. Topics will include the polyphonic and polyglottal history of Philippine literature, ghostly memories of the Pacific War, conflicting perspectives on the American War, the effects of global capitalism and multinational trade on everyday life, and attempts by first- and second-generation diasporic and immigrant authors to rectify transformations of culture and memory in the United States. Readings may include works by Jose Rizal, Nick Joaquin, Gina Apostol, Viet Thanh Nguyen, Le Thi Diem Thuy, Tash Aw, Pitchaya Subandthad, Jessica Hagedorn, Kao Kalia Yang, Anthony Burgess, Anthony Veasna So, Joseph Conrad, Bao Ninh, Graham Greene, Eka Kurniawan, Kevin Kwan, and Pramaoedya Ananta Toer, among others. This course is part of the World Literature Course offering.

 

Course:	LIT 2381  Translating Tact
Professor:	Thomas Wild
CRN:	15935		Schedule/Location:		Tue  Thurs    5:10 PM - 6:30 PM Olin 204
Distributional Area:		LA Literary Analysis in English  D+J Difference and Justice
Credits: 4						Class cap: 22
Crosslists: German Studies; Human Rights; Written Arts

“Tact” could be regarded as “the art of not treating all things in the same way,” writes translator Kate Briggs: a “fine responsiveness to the concrete”, a manifestation of ‘discretion’ in the sense of ‘to differentiate’, understood as a particular “attentiveness to difference.” In a first step, we will explore this notion as a literary practice through works on and in translation (e.g., Rosmarie Waldrop “Lavish Absence”, Anne Carson “NOX”). In a second step, we will reflect on further political and ethical implications of “tact” by comparing various translations of works by Paul Celan, whose German poems and prose confront the challenge of responding to the Holocaust; correspondingly, we will discuss M. NourbeSe Philip’s translation of a legal record, the only trace of hundreds murdered Africans on the Middle Passage in 1781, into her poem “Zong!”. Is this a breach of tact – to discuss such utterly different historical experiences and artistic responses together, in relation to each other? We will engage with this open-ended question, debated in recent years along the notion of “multidirectional memory” (Michael Rothberg), by considering, e.g., W.E.B. Du Bois’ writing on the Warsaw Ghetto and Hannah Arendt’s account of colonial imperialism in Africa. Further readings will include works by Ilse Aichinger, John Ashbery, Édouard Glissant, William Kentridge, Ann Lauterbach, Fred Moten, Uljana Wolf. In order to reflect on the task of tact for our own writing, this course welcomes to explore a diverse range of critical approaches, including the analytical essay as well as other creative formats and media. All readings will be in English (translation). - Students who wish to discuss German texts in the original are welcome to request an accompanying tutorial.

 

Course:	LIT 2404  Fantastic Journeys and the Modern World
Professor:	Jonathan Brent
CRN:	15722		Schedule/Location:		Fri   10:00 AM - 12:20 PM Olin 305
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 20
Crosslists: Jewish Studies; Russian Eurasian Studies

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.     This course is part of the World Literature offering.

 

Course:	LIT 241  Sex, Lies and the Renaissance
Professor:	Joseph Luzzi
CRN:	15713		Schedule/Location:		Mon  Wed     10:10 AM - 11:30 AM Olin 204
Distributional Area:		FL Foreign Languages and Lit
Credits: 4						Class cap: 22
Crosslists: Art History; Historical Studies; Italian Studies

This new course will study how the Renaissance changed the world we live in today, as we learn how the period was a time of ongoing cultural experimentation and radical change that was only understood hundreds of years after it appeared. With topics ranging from Machiavelli's masterpiece on the relation between deceit and power in the Prince to the new paradigms for gender and sexuality in leading woman writers and artists including Vittoria Colonna and Artemisia Gentileschi, we will reconstruct the Renaissance in all its complexity and groundbreaking influence. Other topics will include the birth of the modern “artist” through the work of Leonardo, Michelangelo, Botticelli, and their pioneering biographer Vasari, and the emergence of new international institutions like the Medici banking empire and a highly political—and often sinister—papacy. We will also unpack the idea of “the Renaissance,” or age of “rebirth,” in the brilliant 19th-century historians, ranging from Burckhardt and Michelet to Pater and Ruskin. Overall, we will see how the Renaissance was much more than a mere moment in cultural history; it was and remains a mindset that continues to shape the way we make art and literature. This is a pre-1800 Literature course offering. All course work in English.

 

Course:	LIT 2451  The Art of Chinese Poetry
Professor:	Lu Kou
CRN:	15706		Schedule/Location:		Mon   Thurs    1:30 PM - 2:50 PM Olin 201
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Asian Studies

This course introduces students to the rich tradition of premodern Chinese poetry and poetics. We will learn the art of reading poetry, theories on poetic composition and criticism in Chinese literary tradition, and receptions of classical Chinese poetry and poetics in the global context. Our survey starts with The Odes in the first millennium BCE and ends at China’s last dynasty, the Qing (1644-1911), when literati found traditional poetic forms and language insufficient to describe their encounters with the modern world. The course will take a chronological approach, covering famous poets including Tao Qian, Li Bai, Du Fu, Wang Wei, and Su Shi; within the chronology, each class will focus on a specific theme, such as poetry and ritual, poetry and translation, or poetry and the everyday. The last one-third of the course will be devoted to discussions of non-Chinese readers’ (for example, Ernest Fenollosa, Ezra Pound, Arthur Waley, I. A. Richards, and William Empson) interpretations and appropriations of Chinese poetics in the 20th century when the East became a profession and the subject of academic enquiry for poets and scholars from Europe and America. Are there “epics” in Chinese poetic tradition? Is Chinese poetry non-mimetic? Is there an aesthetic or ethnic “essence” in Chinese poetry that will be misinterpreted, if not erased, during translation? Investigating the questions posed by these modern readers—their assumptions and implications—will generate fruitful discussions on issues important in fields of comparative literature, world literature, and Sinophone studies, such as “Chineseness,” “comparison” as a methodology, and application of western critical theories on non-western texts. This course encourages students to critically engage with the politics of difference in the East-West comparative paradigm. No background in Chinese language or literature is required. This course is part of the World Literature and Pre-1800 course offering.

 

Course:	LIT 2461  Global Modernism
Professor:	Alys Moody
CRN:	15710		Schedule/Location:		Tue  Thurs    3:30 PM - 4:50 PM Olin Languages Center 115
Distributional Area:		LA Literary Analysis in English
Credits: 4 Crosslists: Global and International Studies						Class cap: 22

Modernist literature and the other arts represented a revolution in aesthetic form, keyed to the disasters, possibilities, and disorientations of modernity. While it has traditionally been seen as a movement limited to Europe and the US in the early twentieth century, recent scholarship has revealed that modernism—like modernity itself—was a global phenomenon. In this course, we explore the implications of this new understanding of “global modernism.” We will ask: what happens to modernism when we read it as a movement that operated at the scale of the world? What can a study of global modernism reveal about the nature of modernity, including its interactions with colonialism and decolonization, global capitalism and industrialization, and the associated changes in how we see and experience the world itself? And what are the literary consequences of this dynic, cross-cultural, and highly contested aesthetic movement? Readings will include work from all over the world, in English and in translation, and may include works by Oswald de Andrade, Aimé Césaire, Mulk Raj Anand, Lu Xun, Chika Sagawa, Ahmed Hid Tanpinar, Adonis, Wole Soyinka, T. S. Eliot, Mina Loy, and others, as well as little magazines and digital archives. This is an OSUN Collaborative Course taught in cooperation with courses on global modernism offered at the American University of Beirut (Lebanon), Bard College (USA), Bard College Berlin (Germany), BRAC University (Bangladesh), and the Universidad de los Andes (Colombia). Common sessions, lectures, readings, and/or assignments will offer opportunities for connections across the network, but the core teaching of the course will be conducted fully in-person on Bard’s Annandale campus. This course is part of the World Literature Course offering.

 

Course:	LIT 2471  The Gothic
Professor:	Cole Heinowitz
CRN:	15711		Schedule/Location:		Tue   Fri   1:30 PM - 2:50 PM Olin 202
Distributional Area:		LA Literary Analysis in English D+J Difference and Justice
Credits: 4						Class cap: 22

This seminar explores the aesthetic and ideological dimensions of gothic literature from its 18th-century origins to the present day, beginning with foundational “terrorist novels” by Anne Radcliffe and Matthew Lewis and concluding with the television series “Twin Peaks” and “Buffy the Vampire Slayer.” Throughout the course, our study of these texts will focus on their distinctive formal and rhetorical features as well as on the socio-political contexts of their production, circulation, and consumption. Considering stock gothic tropes such as black magic, sexual deviance, and the doppelgänger in light of key historical events from the French Revolution to the first Gulf War, we will question the range of impulses and anxieties to which the genre appeals and from which it draws its persistent power. Readings will include works by Radcliffe, Lewis, Godwin, Coleridge, Hogg, Dacre, and the Shelleys, among others.

 

Course:	LIT 249  Arthurian Romance
Professor:	Karen Sullivan
CRN:	15517		Schedule/Location:		Tue   Fri   1:30 PM - 2:50 PM Aspinwall 302
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 20
Crosslists: Medieval Studies

In this course, we will be studying the major works of the Arthurian tradition, from the early Latin accounts of a historical King Arthur; to the Welsh Mabinogion; to the French and German romances of Lancelot and Guinevere, Tristan and Isolde, Merlin and Morgan, and the Quest for the Holy Grail; to Sir Thomas Malory’s Le Morte d’Arthur. Throughout its history, Arthurian literature has been criticized for the effects it has upon its readers. The alternate world presented by these texts—with their knights errant, beautiful princesses, marvelous animals, enchanted forests, and decentralized geography—can seem more attractive than our own mundane world, and, in doing so, it is feared, can distract us from this world and our responsibilities within it. Over the semester, as we chart the birth and growth of Arthurian romance, we will be considering the uncertain moral status of this genre and its consequences for us today.  This course is a Pre-1800 Literature course offering.

 

Course:	LIT 251  English Literature II: Enlightenment & its Specters
Professor:	Cole Heinowitz
CRN:	15704		Schedule/Location:		Tue  Thurs    3:30 PM - 4:50 PM Aspinwall 302
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22

From the beginning of the seventeenth century to the end of the eighteenth century, England underwent a series of systemic transformations whose repercussions would extend across the globe and whose reverberations still underpin the concept of a modern world. In political-historical terms, our study begins with the death of Queen Elizabeth in 1603 and ends with the Inclosure Acts of 1773-1801, tracing an arc from the decline of feudalism, through decades of civil and religious wars, the restoration of monarchy, and the Act of Union with Scotland, to the rise of industrial capitalism. In literary and cultural terms, these changes are confronted and contested in the works of poets and novelists from John Donne and John Milton to Daniel Defoe and Eliza Haywood, as well as in foundational scientific and moral writings by thinkers from Francis Bacon to John Locke. Our inquiry into the writers, artists, and intellectuals who defined this epoch will be guided by the still-unanswered questions their works first provoked, among them: Is there a rational basis for universal human rights? Where is the dividing line between revolution and reform, or between critique and complicity? And, in the words of Audre Lorde, can you take down the master’s house using the master’s tools? 

 

Course:	LIT 259  American Literature III: What Does it Mean to Be Modern?
Professor:	Peter L'Official
CRN:	15705		Schedule/Location:		Tue  Thurs    11:50 AM - 1:10 PM Reem Kayden Center 102
Distributional Area:		LA Literary Analysis in English D+J Difference and Justice
Credits: 4						Class cap: 22
Crosslists: American Studies; Environmental & Urban Studies

What did modernization, modernity, and modernism mean to American literature? This course explores American literary production from the late nineteenth century to the middle of the 20th century. In focusing upon this era’s major authors and works, we will explore the formal characteristics of this period’s literary movements (realism, naturalism, regionalism, and modernism) while examining many of the principal historical contexts for understanding the development of American literature and culture (including debates about immigration, urbanization, industrialization, economic inequality, racial discrimination, and the rise of new technologies of communication and mass entertainment). Writers likely to be encountered include: James, Cather, Wharton, Hemingway, Stein, Fitzgerald, Pound, Eliot, Toomer, Hurston, and Faulkner. Issues of race, gender, sexuality, and socioeconomic differences are discussed at length in this course. This course has no prerequisites and is open to students at all levels.

 

Course:	LIT 263  What is a Character?
Professor:	Adhaar Desai
CRN:	15714		Schedule/Location:		Mon  Wed     10:10 AM - 11:30 AM Olin 205
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 18
Crosslists: Experimental Humanities

We are often drawn to characters more than anything else in our encounters with books, plays, or movies. This happens despite our knowing that characters remain exactly what their name implies: trapped by printed letters, scriptedness, or the limits of a screen. Characters are always mediated, but they can also show us how concepts like humanity and personhood depend on and contend with the media humans use to share ideas. In this course, we will study the history of characters in western fiction to learn how archetypes, racial and gendered stereotypes, historical or geographical settings, and the capabilities of different media technologies shape our encounters with them. We will also explore different ways of "reading" characters by thinking about how computer algorithms might understand something as supposedly complex as an individual's personality. Primary texts will include Shakespeare's Hamlet, Stevenson’s Doctor Jekyll and Mister Hyde, Parks’s The America Play, Cusk’s Outline, and short stories by Toni Morrison, Kate Chopin, and others. We will also consider films, television shows, and video games. Students will have the opportunity to become characters in class debates, discuss fan fiction, and experiment with how to translate characters between media as we engage in analytical, theoretical, and creative work throughout the term.

 

Course:	LIT 2670  Women Writing the Caribbean
Professor:	Donna Grover
CRN:	15723		Schedule/Location:		Tue  Thurs    3:30 PM - 4:50 PM Olin 306
Distributional Area:		LA Literary Analysis in English D+J Difference and Justice
Credits: 4						Class cap: 18
Crosslists: Africana Studies; American Studies; Gender and Sexuality Studies

The “creolized” culture of the Caribbean has been a hotbed of women’s writing from the nineteenth to the twenty-first century. Claudia Mitchell-Kernan describes creolization as “nowhere purely African, but … a mosaic of African, European, and indigenous responses to a truly novel reality.” This course is concerned with how women, through fiction, interpreted that reality. While confronting the often explosive politics of post-colonial island life and at the same time navigating the presence of French, English, and African influence, women saw their role as deeply conflicted. We will begin with The History of Mary Prince, A West Indian Slave, Related by Herself (1831) and Wonderful Adventures of Mrs. Seacole in Many Lands (1857). Other writers will include Martha Gelhorn, Jean Rhys, Phyllis Shand Allfrey, Jamaica Kincaid, Michelle Cliff, and Edwidge Danticat.  This course counts as a World Literature offering.

 

Course:	LIT 279  Japanese Folklore
Professor:	Wakako Suzuki
CRN:	15715		Schedule/Location:		Mon   Thurs    1:30 PM - 2:50 PM Olin 203
Distributional Area:		FL Foreign Languages and Lit
Credits: 4						Class cap: 22
Crosslists: Asian Studies

This course explores a wide range of cultural expressions from premodern to contemporary Japan: magic, epic narratives, local legends, myth, folktales, fairy tales, urban legends, stories of the supernatural, music, discourses of monsters, images of witches, religious festivals, manga, anime, and film. Rather than focusing on the survey of folklore, we examine its ontological dimension, historical roots and epistemological shifts along with the development of industrial capitalism. Through our discussions and readings, we will also tackle some of the ideas and assumptions underlying the notion of the folk. Who are the folk? From when and where does the concept of a folk people originate inside and outside of Japan? Is the folk still a viable, relevant category today? How does it treat regional versus national identity? As we analyze the construction of this concept, we will consider its implications for the Japanese and our own perception of Japan. By looking at folklore and magic across East Asia, we also move beyond confines of “Japanese” folklore and grapple with critical discourses related to (de)colonization and (dis)enchantment, in relation to re-reading of primitive accumulation and a Marxist-feminist viewpoint. Includes works by Lafcadio Hearn, Yanagita Kunio, Akutagawa Ryunosuke, Enchi Fumiko, Izumi Kyoka, Ueda Akinari, Mizuki Shigeru, Kobayashi Masaki, Kurosawa Akira, Mizoguchi Kenji, Miyazaki Hayao, Shinkai Makoto and many others. The course will be conducted in English, and students who wish to read Japanese texts in the original are welcome to discuss with the instructor. This course is part of the World Literature Course offering.

 

Course:	LIT 287  The Ring of the Nibelung
Professor:	Franz Kempf
CRN:	15716		Schedule/Location:		Mon  Wed     8:30 AM - 9:50 AM Olin 204 Wed     12:00 PM - 4:30 PM Campus Center WEIS
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 16
Crosslists: German  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 can sign up for a two-credit tutorial and read the libretti in the original. Since experiencing opera as performance is crucial, students must commit to attending eight video screenings in Weis Cinema on Wednesday afternoons between 12 - 4:30 PM.

300-Level Literature Courses

 

Course:	LIT/MES 303  Petroculture
Professor:	Elizabeth Holt
CRN:	15725		Schedule/Location:		Fri   12:30 PM - 2:50 PM Olin 308
Distributional Area:		MBV Meaning, Being, Value D+J Difference and Justice
Credits: 4						Class cap: 15
Crosslists: Environmental & Urban Studies; Literature, Science, Technology, Society

This course joins a growing movement to imagine a world after oil, focusing on North America's relationship with the Middle East. We will read from the Petrocultures group and a broad range of work produced in English and Arabic -- from Allen Ginsberg and William Faulkner, to Shell Oil, to the Iraq Petroleum Company, to Amitav Ghosh, to Ghassan Kanafani and Abdelrahman Munif -- in order to historicize and theorize the literary formations, aesthetics and metaphors produced by and productive of petroleum. This course is part of the World Literature Course offering.

 

Course:	LIT 3043  Melville
Professor:	Alex Benson
CRN:	15731		Schedule/Location:		Mon       12:30 PM - 2:50 PM Hegeman 201
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: American Studies

This course follows the mutations of a career, Herman Melville's, that produced both hugely popular adventure novels and commercially disastrous narrative experiments. The latter category includes Moby-Dick; or, the Whale, to which we will devote extended time mid-semester. But we will also read widely in the author’s lesser-known works, from early short fiction to late poetry. Topics of special interest will include the representation of race, law, sexuality, and ecology. To explore those topics, we will put Melville’s work in conversation with artists and writers including John Akomfrah, Laurie Anderson, Elizabeth Bishop, and C. L. R. James—all while keeping our eyes on Melville's distinctive and often radical sense of ethics and aesthetics.

 

Course:	LIT 3205  Love and Death in Dante
Professor:	Joseph Luzzi
CRN:	15732		Schedule/Location:		Mon       12:30 PM - 2:50 PM Olin 308
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: Italian Studies

What makes Dante’s Divine Comedy so essential to our lives today, even though it was written seven centuries ago? This course will explore the fascinating world of Dante’s epic poem in all its cultural and historical richness, as we consider Dante’s relation to his beloved hometown of Florence, his lacerating experience of exile, and his lifelong devotion to his muse Beatrice, among many other issues. We will pay special attention to the originality and brilliance of Dante’s poetic vision, as we see how he transformed his great poem into one of the most influential works in literary history, both in Italy and throughout the world. Course/reading in English. This course counts as Pre-1800 Literature course offering.

 

Course:	LIT 322  Representing the Unspeakable
Professor:	Marina van Zuylen
CRN:	15727		Schedule/Location:		Fri   12:30 PM - 2:50 PM Olin 307
Distributional Area:		LA Literary Analysis in English D+J Difference and Justice
Credits: 4						Class cap: 15
Crosslists: Gender and Sexuality Studies; Human Rights

What means do writers use to demonstrate conditions that defy our comprehension? This seminar will focus on how literary works from diverse genres find a language to describe emotions and experiences that usually cannot be translated into everyday speech.  We will examine how figurative tropes such as description and metaphor, allegory and indirect discourse, can evoke powerful states of physical difference, psychological and social negativity: depression, failure, discrimination, loneliness.  How do these tropes help illuminate the distinction between the human and the non-human, between success and failure? Readings will include: Mary Shelley’s "Frankenstein," Kafka’s "The Metamorphosis," Mark Haddon’s "The Curious Incident of the Dog in the Night Time," Jenny Erpenbeck’s "Go, Went, Gone," Coetzee’s "The Lives of the Animals," and Hervé Guibert’s "Blindsight." Theoretical texts will include: Foucault, Scarry, Manning, Rancière. Prerequisite: Students need to have read Shelley's Frankenstein before the first class. This course is a Literature Junior Seminar.

 

Course:	LIT 3251  Climate Fiction
Professor:	Daniel Williams
CRN:	15733		Schedule/Location:		Thurs    3:10 PM - 5:30 PM Olin 309
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: Environmental & Urban Studies

What is the role of literature in understanding, representing, and adapting to climate change? How has our urgent ecological crisis shaped the scales, genres, and plots of contemporary fiction? This course surveys the literary genre that has lately come to be characterized as climate fiction, or “cli-fi.” Alongside the dystopian science fiction central to the genre, we will consider realist novels, nonfiction journalism, scientific writing, environmental memoir, poetry, and film from across the globe. Regions may include the United States, Europe, West Africa, and India; authors may include Octavia Butler, Margaret Atwood, Jesmyn Ward, Amitav Ghosh, and Ian McEwan. We will examine how literature engages (or not) central concepts in earth-system science and scenarios of ecological calamity (hurricanes, megafires, sea-level rise, biodiversity loss); how it critiques (or not) environmental racism and injustice; and how it envisions possible futures for humanity in the Anthropocene. Reading critical materials from across the environmental humanities, we will also think about the challenges of narrative, representation, sympathy, and imagination as they apply to literature and climate policy. The course will emphasize methods of research, writing, and revision essential for Senior Projects in literature and other humanities fields. This course fulfills the Literature Junior seminar. This course is a Junior Seminar course offering.

 

Course:	LIT 331  Translation Workshop
Professor:	Peter Filkins
CRN:	15728		Schedule/Location:		Thurs    3:10 PM - 5:30 PM Olin 307
Distributional Area:		FL Foreign Languages and Lit
Credits: 4						Class cap: 12
Crosslists: Written Arts

The workshop is intended for students interested in exploring both the process of translation and ways in which meaning is created and shaped through words. Class time will be divided between a consideration of various approaches to the translation of poetry and prose, comparisons of various solutions arrived at by different translators, and the students' own translations into English of poetry and prose from any language or text of their own choosing. Prerequisite: One year of language study or permission of the instructor.

 

Course:	LIT 334  Fantastika and the New Gothic
Professor:	Bradford Morrow
CRN:	15729		Schedule/Location:		Mon       12:30 PM - 2:50 PM Olin 101
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 12

Thanks to the liberating work of innovative writers such as Carmen Maria Machado, Rikki Ducornet, and Akil Kumarasamy (all of

whom will be visiting class in person to discuss their writing with us), the critical boundaries between literary and genre fiction

have become increasingly ambiguous. Traditional gothic authors including Horace Walpole, Ann Radcliffe, Matthew Gregory

Lewis, Mary Shelley, Sara Coleridge, Edgar Allan Poe, the Brontë sisters, Bram Stoker, and others framed their tales within the

metaphoric landscapes of ruined abbeys and diabolic grottoes, chthonic settings populated by protagonists whose troubled

psyches led them far beyond the verges of propriety and sanity. While embracing these fundamentally dark artistic visions, later

masters radically reinvented and contemporized tropes, settings, and narrative strategies to create a new era in this tradition.

Identified as the “New Gothic,” this phase appears to have risen in tandem with a parallel literary phenomenon, termed by

speculative fiction theorist John Clute as “Fantastika,” whose achievement is to have taken the genres of fantastic, fabular, and

horror fiction in a similar groundbreaking directions. While reenvisioning the spirit that animates its genre forebears, writers

like Angela Carter, Kazuo Ishiguro, Cormac McCarthy, N. K. Jemisin, Joyce Carol Oates, Kelly Link, Karen Russell, Sofia Samatar,

Julia Elliott, George Saunders, and Elizabeth Hand have created a body of important literary fiction that we will focus on in this

course.

 

Course:	LIT 3356  Modernism and Fascism: Cultural Heritage and Memory
Professor:	Franco Baldasso
CRN:	15724		Schedule/Location:		Tue      3:10 PM - 5:30 PM Olin 303
Distributional Area:		LA Literary Analysis in English D+J Difference and Justice
Credits: 4						Class cap: 15
Crosslists: Human Rights; Italian Studies

Is it possible to think of modernity without taking into account fascism? Why were so many modernists, from Ezra Pound to F.T. Marinetti and Gertrude Stein fascinated by fascist dystopia and actively contributed to its propaganda? This course approaches the rise of fascism in Italy as an expression of political and social palingenesis, and focuses on the transnational reach of its memory and cultural heritage. Through the literary works of Anna Banti, Curzio Malaparte, Ennio Flaiano and Maaza Mengiste, and films by Federico Fellini, Lina Wertmüller and Liliana Cavani we will analyze how the memory of fascism and modernism has been shaped according to the needs of the political present and successively contested, reframed, and reused. Still today, fascist heritage haunts the cityscapes of Italy and the countries it occupied in East Africa and the Mediterranean through monuments, modernist architecture, and the isolation of Roman ruins. The course finally examines how visual artists, activists and writers take cues from this difficult heritage, in order to challenge collective memories and the culture of empire. This is an OSUN Collaborative Course taught in cooperation with courses on global modernism offered at the American University of Beirut (Lebanon), Bard College (USA), Bard College Berlin (Germany), BRAC University (Bangladesh), and the Universidad de los Andes (Colombia). Common sessions, lectures, readings, and/or assignments will offer opportunities for connections across the network, but the core teaching of the course will be fully in person. It is also an elective course in the OSUN MA Program in Human Rights and the Arts.

 

Course:	LIT 3432  Literature in the Digital Age
Professor:	Patricia Lopez-Gay
CRN:	15734		Schedule/Location:		Tues    9:10 AM - 11:30 AM Olin 309
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: Experimental Humanities

The proliferation of digital information and communications technologies over the past half-century has transformed and continues to transform how literary works are composed, produced, circulated, read, and interpreted. What new forms and practices of reading and writing have emerged in this late age of typography? What is the nature, extent, and significance of these changes? This course re-assesses questions and themes long central to the study of literature including: archiving, authorship, canon formation, circulation, materiality, narrative, poetics, and readership, among others. The course aims to understand our present moment in historical context by pairing contemporary works with texts from and about other shifts in media from the ancient world to the modern era. Readings include Augustine, Borges, Eisenstein, Flusser, Hayles, Jenkins, and Plato, as well as works of HTML/hypertext fiction, Twitter literature, online poetry, fan fiction, and so on. Coursework will include online and off-line activities in addition to traditional papers. Recommended for current and potential Experimental Humanities concentrators. This will be an OSUN course, with half of the spots reserved for Annandale students who have completed two or more years of college. Please contact the professor prior to registration.

 

Course:	LIT 353  Shakespeare's Tragedies
Professor:	Adhaar Desai
CRN:	15730		Schedule/Location:		Mon       3:10 PM - 5:30 PM Olin 309
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: Theater and Performance

In this course we’ll read all ten of Shakespeare’s tragedies: “Titus Andronicus”, “Romeo and Juliet”, “Julius Caesar”, “Hamlet”, “Macbeth”, “Othello”, “Antony and Cleopatra”, “Timon of Athens”, “King Lear”, and “Coriolanus.” Our aim will be to think of these texts as platforms for sustained thought, as provocations to feeling, and as distorted mirrors of contemporary society. In them, we’ll find intricate examinations of agency, coercion, belonging, and hatred, and we’ll witness what happens when oppressive systems and volatile emotions collide. These tragedies remain flexible, durable mechanisms for exploding assumptions in topics as diverse as politics, gender, race, and economics. We’ll discover where they came from, how they were revised and rewritten, and how they have been reshaped over time by artists like Toni Morrison and Akira Kurosawa and in formats as diverse as fiction, film, graphic novels, children’s literature, and video games. Over the course of the semester, students will design a research project on a topic of their choosing and will be encouraged to think about these plays as literature, in performance, via adaptation, and as historical artifacts. This course is a Literature Junior Seminar course.

 

Literature Senior Colloquium:

 

Course:	LIT 405  Literature Senior Colloquium I
Professor:	Alex Benson
CRN:	15735		Schedule/Location:		Fri      11:50 AM - 1:10 PM Olin 101
Distributional Area:		LA Literary Analysis in English
Credits: 1						Class cap: 15

(1 credit) (To be taken concurrently with LIT 401) Senior Colloquium is the capstone course in the Literature curriculum and, along with the Senior Project, represents the culmination of your work in the major. The course has several interrelated goals: 1) to facilitate and support every stage of your work on the Senior Project; 2) to develop ways of sharing that work and constructively exchanging ideas with fellow colloquium members as well as other Literature students and faculty; 3) to actively engage with related intellectual and artistic events (such as readings, panel discussions, and lectures) in ways that connect your work on the Senior Project with the work of prominent scholars and writers; 4) to cultivate an honest, self-reflective relationship toward your own scholarship, thinking, and writing; and 5) to document your research in a way that is generous toward future readers and writers.

 

Course:	LIT 406  Literature Senior Colloquium II
Professor:	Alex Benson
CRN:	15736		Schedule/Location:		Mon       5:10 PM - 6:30 PM Olin Languages Center 115
Distributional Area:		LA Literary Analysis in English
Credits: 1						Class cap: 30

(1 credit) (To be taken concurrently with LIT 402) Senior Colloquium is the capstone course in the Literature curriculum and, along with the Senior Project, represents the culmination of your work in the major. The course has several interrelated goals: 1) to facilitate and support every stage of your work on the Senior Project; 2) to develop ways of sharing that work and constructively exchanging ideas with fellow colloquium members as well as other Literature students and faculty; 3) to actively engage with related intellectual and artistic events (such as readings, panel discussions, and lectures) in ways that connect your work on the Senior Project with the work of prominent scholars and writers; 4) to cultivate an honest, self-reflective relationship toward your own scholarship, thinking, and writing; and 5) to document your research in a way that is generous toward future readers and writers.

World Literature

 

Course:	LIT 2071  Modernity and Modernism in the Arabic Literature
Professor:	Ziad Dallal
CRN:	15708		Schedule/Location:		Mon   Thurs    1:30 PM - 2:50 PM Olin 202
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Africana Studies; Middle Eastern Studies

This course introduces students to the major revolutions of Arabic literature from the nineteenth century onwards. Our readings will be anchored in the two terms, modernity and modernism, in order to understand how social and material changes precipitate cultural transformation, and in turn, how literary movements emerge as galvanized critiques of a world marked by (de)colonization, national independence movements, and (civil war). Thus, one of the objectives of this course would be to define and distinguish modernity and modernism. To do so, we will read manifestos and essays on literary theory, as well as new scholarship that situates literary movements within their global contexts. The second objective of this course will be to familiarize students with the rich material of modern literary production from the Arab world. We will read widely and wildly from this bountiful material, including hybrid literary forms from the 19th century, the travel literature of the early 20th century, the modernist poetry of the mid-20th century, the response in prose to that latter movement, and postcolonial prison literature. Authors may include Ahmad Faris al-Shidyaq, Zaynab Fawwaz, Etel Adnan, Tayeb Salih, Adonis, Nazik al-Maka’ika, Mahmoud Darwish, Anton Shammas, Ghassan Kanafani, Emile Habibi, Saadallah Wannous, Sulayman al-Bassam, Sonallah Ibarhim, Latifa al-Zayyat, Ibrahim el-Salahi, Ibrahim Aslan, and Edwar al-Kharrat. The course will also tackle issues of globalization, nationalism, gender, and citizenship. This course is part of the World Literature Course offering.

 

Course:	LIT 2291  Fictions of Southeast Asia
Professor:	Nathan Shockey
CRN:	15709		Schedule/Location:		Tue  Thurs    11:50 AM - 1:10 PM Olin 201
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Asian Studies

This class explores the vibrant body of literature from and about Southeast Asia and considers the role of fiction in the imagination of modern national and transnational histories. Reading works by local, imperial, immigrant, and diasporic authors, both those written in English and in translation, we will bring a prismatic array of texts into contestation and conversation in order to explore conflicting narratives of colonization, decolonization, war, empire, refugee passages, and the loss of homeland. We will read novels from across Southeast Asia, including the Philippines, Vietnam, Thailand, Singapore, Indonesia, Malay(si)a, Laos, and Cambodia, as well as stories about those places by British, American, and other Asian writers to think about how acts of storytelling have themselves shaped the region’s contours and fractured histories. Topics will include the polyphonic and polyglottal history of Philippine literature, ghostly memories of the Pacific War, conflicting perspectives on the American War, the effects of global capitalism and multinational trade on everyday life, and attempts by first- and second-generation diasporic and immigrant authors to rectify transformations of culture and memory in the United States. Readings may include works by Jose Rizal, Nick Joaquin, Gina Apostol, Viet Thanh Nguyen, Le Thi Diem Thuy, Tash Aw, Pitchaya Subandthad, Jessica Hagedorn, Kao Kalia Yang, Anthony Burgess, Anthony Veasna So, Joseph Conrad, Bao Ninh, Graham Greene, Eka Kurniawan, Kevin Kwan, and Pramaoedya Ananta Toer, among others. This course is part of the World Literature Course offering.

 

Course:	LIT 2451  The Art of Chinese Poetry
Professor:	Lu Kou
CRN:	15706		Schedule/Location:		Mon   Thurs    1:30 PM - 2:50 PM Olin 201
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Asian Studies

This course introduces students to the rich tradition of premodern Chinese poetry and poetics. We will learn the art of reading poetry, theories on poetic composition and criticism in Chinese literary tradition, and receptions of classical Chinese poetry and poetics in the global context. Our survey starts with The Odes in the first millennium BCE and ends at China’s last dynasty, the Qing (1644-1911), when literati found traditional poetic forms and language insufficient to describe their encounters with the modern world. The course will take a chronological approach, covering famous poets including Tao Qian, Li Bai, Du Fu, Wang Wei, and Su Shi; within the chronology, each class will focus on a specific theme, such as poetry and ritual, poetry and translation, or poetry and the everyday. The last one-third of the course will be devoted to discussions of non-Chinese readers’ (for example, Ernest Fenollosa, Ezra Pound, Arthur Waley, I. A. Richards, and William Empson) interpretations and appropriations of Chinese poetics in the 20th century when the East became a profession and the subject of academic enquiry for poets and scholars from Europe and America. Are there “epics” in Chinese poetic tradition? Is Chinese poetry non-mimetic? Is there an aesthetic or ethnic “essence” in Chinese poetry that will be misinterpreted, if not erased, during translation? Investigating the questions posed by these modern readers—their assumptions and implications—will generate fruitful discussions on issues important in fields of comparative literature, world literature, and Sinophone studies, such as “Chineseness,” “comparison” as a methodology, and application of western critical theories on non-western texts. This course encourages students to critically engage with the politics of difference in the East-West comparative paradigm. No background in Chinese language or literature is required. This course is part of the World Literature and Pre-1800 course offering.

 

Course:	LIT 2461  Global Modernism
Professor:	Alys Moody
CRN:	15710		Schedule/Location:		Tue  Thurs    3:30 PM - 4:50 PM Olin Languages Center 115
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22

Modernist literature and the other arts represented a revolution in aesthetic form, keyed to the disasters, possibilities, and disorientations of modernity. While it has traditionally been seen as a movement limited to Europe and the US in the early twentieth century, recent scholarship has revealed that modernism—like modernity itself—was a global phenomenon. In this course, we explore the implications of this new understanding of “global modernism.” We will ask: what happens to modernism when we read it as a movement that operated at the scale of the world? What can a study of global modernism reveal about the nature of modernity, including its interactions with colonialism and decolonization, global capitalism and industrialization, and the associated changes in how we see and experience the world itself? And what are the literary consequences of this dynic, cross-cultural, and highly contested aesthetic movement? Readings will include work from all over the world, in English and in translation, and may include works by Oswald de Andrade, Aimé Césaire, Mulk Raj Anand, Lu Xun, Chika Sagawa, Ahmed Hid Tanpinar, Adonis, Wole Soyinka, T. S. Eliot, Mina Loy, and others, as well as little magazines and digital archives. This is an OSUN Collaborative Course taught in cooperation with courses on global modernism offered at the American University of Beirut (Lebanon), Bard College (USA), Bard College Berlin (Germany), BRAC University (Bangladesh), and the Universidad de los Andes (Colombia). Common sessions, lectures, readings, and/or assignments will offer opportunities for connections across the network, but the core teaching of the course will be conducted fully in-person on Bard’s Annandale campus. This course is part of the World Literature Course offering.

 

Course:	LIT 2670  Women Writing the Caribbean
Professor:	Donna Grover
CRN:	15723		Schedule/Location:		Tue  Thurs    3:30 PM - 4:50 PM Olin 306
Distributional Area:		LA Literary Analysis in English D+J Difference and Justice
Credits: 4						Class cap: 18
Crosslists: Africana Studies; American Studies; Gender and Sexuality Studies

The “creolized” culture of the Caribbean has been a hotbed of women’s writing from the nineteenth to the twenty-first century. Claudia Mitchell-Kernan describes creolization as “nowhere purely African, but … a mosaic of African, European, and indigenous responses to a truly novel reality.” This course is concerned with how women, through fiction, interpreted that reality. While confronting the often explosive politics of post-colonial island life and at the same time navigating the presence of French, English, and African influence, women saw their role as deeply conflicted. We will begin with The History of Mary Prince, A West Indian Slave, Related by Herself (1831) and Wonderful Adventures of Mrs. Seacole in Many Lands (1857). Other writers will include Martha Gelhorn, Jean Rhys, Phyllis Shand Allfrey, Jamaica Kincaid, Michelle Cliff, and Edwidge Danticat.  This course counts as a World Literature offering.

 

Course:	LIT 279  Japanese Folklore
Professor:	Wakako Suzuki
CRN:	15715		Schedule/Location:		Mon   Thurs    1:30 PM - 2:50 PM Olin 203
Distributional Area:		FL Foreign Languages and Lit
Credits: 4						Class cap: 22
Crosslists: Asian Studies

This course explores a wide range of cultural expressions from premodern to contemporary Japan: magic, epic narratives, local legends, myth, folktales, fairy tales, urban legends, stories of the supernatural, music, discourses of monsters, images of witches, religious festivals, manga, anime, and film. Rather than focusing on the survey of folklore, we examine its ontological dimension, historical roots and epistemological shifts along with the development of industrial capitalism. Through our discussions and readings, we will also tackle some of the ideas and assumptions underlying the notion of the folk. Who are the folk? From when and where does the concept of a folk people originate inside and outside of Japan? Is the folk still a viable, relevant category today? How does it treat regional versus national identity? As we analyze the construction of this concept, we will consider its implications for the Japanese and our own perception of Japan. By looking at folklore and magic across East Asia, we also move beyond confines of “Japanese” folklore and grapple with critical discourses related to (de)colonization and (dis)enchantment, in relation to re-reading of primitive accumulation and a Marxist-feminist viewpoint. Includes works by Lafcadio Hearn, Yanagita Kunio, Akutagawa Ryunosuke, Enchi Fumiko, Izumi Kyoka, Ueda Akinari, Mizuki Shigeru, Kobayashi Masaki, Kurosawa Akira, Mizoguchi Kenji, Miyazaki Hayao, Shinkai Makoto and many others. This course is part of the World Literature Course offering.

 

Course:	LIT/MES 303  Petroculture
Professor:	Elizabeth Holt
CRN:	15725		Schedule/Location:		Fri   12:30 PM - 2:50 PM Olin 308
Distributional Area:		MBV Meaning, Being, Value D+J Difference and Justice
Credits: 4						Class cap: 15
Crosslists: Environmental & Urban Studies; Literature, Science, Technology, Society

This course joins a growing movement to imagine a world after oil, focusing on North America's relationship with the Middle East. We will read from the Petrocultures group and a broad range of work produced in English and Arabic -- from Allen Ginsberg and William Faulkner, to Shell Oil, to the Iraq Petroleum Company, to Amitav Ghosh, to Ghassan Kanafani and Abdelrahman Munif -- in order to historicize and theorize the literary formations, aesthetics and metaphors produced by and productive of petroleum. This course is part of the World Literature Course offering.

 Pre-1800 Literature

 

Course:	LIT 241  Sex, Lies and the Renaissance
Professor:	Joseph Luzzi
CRN:	15713		Schedule/Location:		Mon  Wed     10:10 AM - 11:30 AM Olin 204
Distributional Area:		FL Foreign Languages and Lit
Credits: 4						Class cap: 22
Crosslists: Art History; Historical Studies; Italian Studies

This new course will study how the Renaissance changed the world we live in today, as we learn how the period was a time of ongoing cultural experimentation and radical change that was only understood hundreds of years after it appeared. With topics ranging from Machiavelli's masterpiece on the relation between deceit and power in the Prince to the new paradigms for gender and sexuality in leading woman writers and artists including Vittoria Colonna and Artemisia Gentileschi, we will reconstruct the Renaissance in all its complexity and groundbreaking influence. Other topics will include the birth of the modern “artist” through the work of Leonardo, Michelangelo, Botticelli, and their pioneering biographer Vasari, and the emergence of new international institutions like the Medici banking empire and a highly political—and often sinister—papacy. We will also unpack the idea of “the Renaissance,” or age of “rebirth,” in the brilliant 19th-century historians, ranging from Burckhardt and Michelet to Pater and Ruskin. Overall, we will see how the Renaissance was much more than a mere moment in cultural history; it was and remains a mindset that continues to shape the way we make art and literature. This is a pre-1800 Literature course offering. All course work in English.

 

Course:	LIT 2451  The Art of Chinese Poetry
Professor:	Lu Kou
CRN:	15706		Schedule/Location:		Mon   Thurs    1:30 PM - 2:50 PM Olin 201
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Asian Studies

This course introduces students to the rich tradition of premodern Chinese poetry and poetics. We will learn the art of reading poetry, theories on poetic composition and criticism in Chinese literary tradition, and receptions of classical Chinese poetry and poetics in the global context. Our survey starts with The Odes in the first millennium BCE and ends at China’s last dynasty, the Qing (1644-1911), when literati found traditional poetic forms and language insufficient to describe their encounters with the modern world. The course will take a chronological approach, covering famous poets including Tao Qian, Li Bai, Du Fu, Wang Wei, and Su Shi; within the chronology, each class will focus on a specific theme, such as poetry and ritual, poetry and translation, or poetry and the everyday. The last one-third of the course will be devoted to discussions of non-Chinese readers’ (for example, Ernest Fenollosa, Ezra Pound, Arthur Waley, I. A. Richards, and William Empson) interpretations and appropriations of Chinese poetics in the 20th century when the East became a profession and the subject of academic enquiry for poets and scholars from Europe and America. Are there “epics” in Chinese poetic tradition? Is Chinese poetry non-mimetic? Is there an aesthetic or ethnic “essence” in Chinese poetry that will be misinterpreted, if not erased, during translation? Investigating the questions posed by these modern readers—their assumptions and implications—will generate fruitful discussions on issues important in fields of comparative literature, world literature, and Sinophone studies, such as “Chineseness,” “comparison” as a methodology, and application of western critical theories on non-western texts. This course encourages students to critically engage with the politics of difference in the East-West comparative paradigm. No background in Chinese language or literature is required. This course is part of the World Literature and Pre-1800 course offering.

 

Course:	LIT 249  Arthurian Romance
Professor:	Karen Sullivan
CRN:	15517		Schedule/Location:		Tue   Fri   1:30 PM - 2:50 PM Aspinwall 302
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 20
Crosslists: Medieval Studies

In this course, we will be studying the major works of the Arthurian tradition, from the early Latin accounts of a historical King Arthur; to the Welsh Mabinogion; to the French and German romances of Lancelot and Guinevere, Tristan and Isolde, Merlin and Morgan, and the Quest for the Holy Grail; to Sir Thomas Malory’s Le Morte d’Arthur. Throughout its history, Arthurian literature has been criticized for the effects it has upon its readers. The alternate world presented by these texts—with their knights errant, beautiful princesses, marvelous animals, enchanted forests, and decentralized geography—can seem more attractive than our own mundane world, and, in doing so, it is feared, can distract us from this world and our responsibilities within it. Over the semester, as we chart the birth and growth of Arthurian romance, we will be considering the uncertain moral status of this genre and its consequences for us today.  This course is a Pre-1800 Literature course offering.

 

Course:	LIT 3205  Love and Death in Dante
Professor:	Joseph Luzzi
CRN:	15732		Schedule/Location:		Mon       12:30 PM - 2:50 PM Olin 308
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: Italian Studies

What makes Dante’s Divine Comedy so essential to our lives today, even though it was written seven centuries ago? This course will explore the fascinating world of Dante’s epic poem in all its cultural and historical richness, as we consider Dante’s relation to his beloved hometown of Florence, his lacerating experience of exile, and his lifelong devotion to his muse Beatrice, among many other issues. We will pay special attention to the originality and brilliance of Dante’s poetic vision, as we see how he transformed his great poem into one of the most influential works in literary history, both in Italy and throughout the world. Course/reading in English. This course counts as Pre-1800 Literature course offering.

 

Course:	LIT 353  Shakespeare's Tragedies
Professor:	Adhaar Desai
CRN:	15730		Schedule/Location:		Mon       3:10 PM - 5:30 PM Olin 309
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: Theater and Performance

In this course we’ll read all ten of Shakespeare’s tragedies: “Titus Andronicus”, “Romeo and Juliet”, “Julius Caesar”, “Hamlet”, “Macbeth”, “Othello”, “Antony and Cleopatra”, “Timon of Athens”, “King Lear”, and “Coriolanus.” Our aim will be to think of these texts as platforms for sustained thought, as provocations to feeling, and as distorted mirrors of contemporary society. In them, we’ll find intricate examinations of agency, coercion, belonging, and hatred, and we’ll witness what happens when oppressive systems and volatile emotions collide. These tragedies remain flexible, durable mechanisms for exploding assumptions in topics as diverse as politics, gender, race, and economics. We’ll discover where they came from, how they were revised and rewritten, and how they have been reshaped over time by artists like Toni Morrison and Akira Kurosawa and in formats as diverse as fiction, film, graphic novels, children’s literature, and video games. Over the course of the semester, students will design a research project on a topic of their choosing and will be encouraged to think about these plays as literature, in performance, via adaptation, and as historical artifacts. This course is a Literature Junior Seminar course.

 Junior Seminar

 

Course:	LIT/MES 303  Petroculture
Professor:	Elizabeth Holt
CRN:	15725		Schedule/Location:		Fri   12:30 PM - 2:50 PM Olin 308
Distributional Area:		MBV Meaning, Being, Value D+J Difference and Justice
Credits: 4						Class cap: 15
Crosslists: Environmental & Urban Studies; Literature, Science, Technology, Society

This course joins a growing movement to imagine a world after oil, focusing on North America’s relationship with the Middle East. We will read from the Petrocultures group and a broad range of work produced in English and Arabic – from Allen Ginsberg and William Faulkner, to Shell Oil, to the Iraq Petroleum Company, to Amitav Ghosh, to Ghassan Kanafani and Abdelrahman Munif – in order to historicize and theorize the literary formations, aesthetics and metaphors produced by and productive of petroleum. This course is part of the World Literature Course offering.

 

Course:	LIT 353  Shakespeare’s Tragedies
Professor:	Adhaar Desai
CRN:	15730		Schedule/Location:		Mon       3:10 PM – 5:30 PM Olin 309
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: Theater and Performance

In this course we’ll read all ten of Shakespeare’s tragedies: “Titus Andronicus”, “Romeo and Juliet”, “Julius Caesar”, “Hamlet”, “Macbeth”, “Othello”, “Antony and Cleopatra”, “Timon of Athens”, “King Lear”, and “Coriolanus.” Our aim will be to think of these texts as platforms for sustained thought, as provocations to feeling, and as distorted mirrors of contemporary society. In them, we’ll find intricate examinations of agency, coercion, belonging, and hatred, and we’ll witness what happens when oppressive systems and volatile emotions collide. These tragedies remain flexible, durable mechanisms for exploding assumptions in topics as diverse as politics, gender, race, and economics. We’ll discover where they came from, how they were revised and rewritten, and how they have been reshaped over time by artists like Toni Morrison and Akira Kurosawa and in formats as diverse as fiction, film, graphic novels, children’s literature, and video games. Over the course of the semester, students will design a research project on a topic of their choosing and will be encouraged to think about these plays as literature, in performance, via adaptation, and as historical artifacts. This course is a Literature Junior Seminar course.

 

Course:	LIT 3251  Climate Fiction
Professor:	Daniel Williams
CRN:	15733		Schedule/Location:		Thurs    3:10 PM – 5:30 PM Olin 309
Distributional Area:		LA Literary Analysis in English
Credits: 4						Class cap: 15
Crosslists: Environmental & Urban Studies

What is the role of literature in understanding, representing, and adapting to climate change? How has our urgent ecological crisis shaped the scales, genres, and plots of contemporary fiction? This course surveys the literary genre that has lately come to be characterized as climate fiction, or “cli-fi.” Alongside the dystopian science fiction central to the genre, we will consider realist novels, nonfiction journalism, scientific writing, environmental memoir, poetry, and film from across the globe. Regions may include the United States, Europe, West Africa, and India; authors may include Octavia Butler, Margaret Atwood, Jesmyn Ward, Amitav Ghosh, and Ian McEwan. We will examine how literature engages (or not) central concepts in earth-system science and scenarios of ecological calamity (hurricanes, megafires, sea-level rise, biodiversity loss); how it critiques (or not) environmental racism and injustice; and how it envisions possible futures for humanity in the Anthropocene. Reading critical materials from across the environmental humanities, we will also think about the challenges of narrative, representation, sympathy, and imagination as they apply to literature and climate policy. The course will emphasize methods of research, writing, and revision essential for Senior Projects in literature and other humanities fields. This course fulfills the Literature Junior seminar. This course is a Junior Seminar course offering.

 

Cross-listed courses:

Course:	AS 101  Introduction to American Studies
Professor:	Peter L’Official
CRN:	15570		Schedule/Location:		Tue  Thurs    1:30 PM – 2:50 PM Olin 205
Distributional Area:		MBV Meaning, Being, Value D+J Difference and Justice
Credits: 4						Class cap: 22
Crosslists: Africana Studies; Environmental & Urban Studies; Literature

 

Course:	CC 108 A  The Courage to Be: Achilles, Socrates, Antigone, Mother Courage, Barbara Lee
Professor:	Thomas Bartscherer
CRN:	15983		Schedule/Location:		Mon  Wed     3:30 PM - 4:50 PM Albee 106
Distributional Area:		MBV Meaning, Being, Value LA Literary Analysis in English
Credits: 4						Class cap: 22
Crosslists: Literature

 

Course:	CC 108 D  The Courage to be: Courage, Cowardice, and the Colonial Encounter
Professor:	Tara Needham
CRN:	15986		Schedule/Location:		Tue  Thurs    3:30 PM - 4:50 PM Barringer 104
Distributional Area:		MBV Meaning, Being, Value LA Literary Analysis in English
Credits: 4						Class cap: 18
Crosslists: Literature; Human Rights

 

Course:	GER 214  What Makes Us Think? Critical Judgment and Moments of Crisis
Professor:	Thomas Bartscherer
CRN:	15957		Schedule/Location:		Mon  Wed    6:40 PM – 8:00 PM Olin 201
Distributional Area:		MBV Meaning, Being, Value
Credits: 4						Class cap: 20
Crosslists: Literature

 

Course:	LIT/MES 303  Petroculture
Professor:	Elizabeth Holt
CRN:	15725		Schedule/Location:		Fri   12:30 PM - 2:50 PM Olin 308
Distributional Area:		MBV Meaning, Being, Value D+J Difference and Justice
Credits: 4						Class cap: 15
Crosslists: Environmental & Urban Studies; Literature, Science, Technology, Society

 

Course:	REL 231  Jewish Textualities: Conceiving the Jewish Bookshelf
Professor:	Shai Secunda
CRN:	15618		Schedule/Location:		Mon  Wed     11:50 AM - 1:10 PM Reem Kayden Center 115
Distributional Area:		MBV Meaning, Being, Value
Credits: 4						Class cap: 18
Crosslists: Jewish Studies; Literature

 

Course:	RUS 220  An Appointment with Dr. Chekhov
Professor:	Marina Kostalevsky
CRN:	15712		Schedule/Location:		Tue   Fri   1:30 PM - 2:50 PM Olin Languages Center 120
Distributional Area:		FL Foreign Languages and Lit
Credits: 4						Class cap 16
Crosslists: Literature

 

Course:	SPAN 301  Introduction to Spanish Literature in conversation with the Visual Arts
Professor:	Patricia Lopez-Gay
CRN:	15539		Schedule/Location:		Mon  Wed     11:50 AM - 1:10 PM Olin 305
Distributional Area:		FL Foreign Languages and Lit
Credits: 4						Class cap 15
Crosslists: Experimental Humanities; Latin American/Iberian Studies; Literature