| Course | Title | Instructor | Description |
|---|
| COM LIT 40A | THE DEVELOPMNT OF DRAMA | REYNOLDS, B. | A one-year lecture-discussion course (each course may be taken independently) in the development of Western drama, concentrating on the drama’s intellectual, social, and artistic foundations. About 15 plays and supplementary critical materials are read each quarter. |
| COM LIT 40A | THE DEVELOPMNT OF DRAMA | REYNOLDS, B. | A one-year lecture-discussion course (each course may be taken independently) in the development of Western drama, concentrating on the drama’s intellectual, social, and artistic foundations. About 15 plays and supplementary critical materials are read each quarter. |
| COM LIT 40A | THE DEVELOPMNT OF DRAMA | REYNOLDS, B. | A one-year lecture-discussion course (each course may be taken independently) in the development of Western drama, concentrating on the drama’s intellectual, social, and artistic foundations. About 15 plays and supplementary critical materials are read each quarter. |
| COM LIT 40A | THE DEVELOPMNT OF DRAMA | REYNOLDS, B. | A one-year lecture-discussion course (each course may be taken independently) in the development of Western drama, concentrating on the drama’s intellectual, social, and artistic foundations. About 15 plays and supplementary critical materials are read each quarter. |
| COM LIT 40A | THE DEVELOPMNT OF DRAMA | REYNOLDS, B. | A one-year lecture-discussion course (each course may be taken independently) in the development of Western drama, concentrating on the drama’s intellectual, social, and artistic foundations. About 15 plays and supplementary critical materials are read each quarter. |
| COM LIT 40A | THE DEVELOPMNT OF DRAMA | REYNOLDS, B. | A one-year lecture-discussion course (each course may be taken independently) in the development of Western drama, concentrating on the drama’s intellectual, social, and artistic foundations. About 15 plays and supplementary critical materials are read each quarter. |
| COM LIT 50A | LIT IN DIALOGUE | NEWMAN, J.O. | This quarter of Comparative Literature 50 focuses on the principles of literary imitation, intertextuality, and canon formation to understand how a variety of world literatures can be read in dialogue with one another. The ancient western classical tradition (Homer, the Greek tragedians, Roman epic and poetry) is studied in dialogue with its afterlives in the late medieval and Renaissance (Dante and Christine de Pisan); students will be given the opportunity to write an optional extra-credit final paper on either modern and post-modern European, African, and American receptions of the classical texts, or on a contemporary film, video, or literary text that dialogues with materials covered in class. The basic principles of comparatism are introduced; techniques of close textual analysis are combined with theoretical reflection on the nature of literary form. A series of short papers is required; optional attendance at discussion sections. |
| COM LIT 102W | FANTASY & FANTASTIC | CULBERT, J.B. | |
| COM LIT 103 | GLOBAL WOMEN\'S WRITING | JARRATT, S.C. | This course uses postcolonial feminist theory as a frame for encountering 20th-century writings (mostly novels; some poetry, memoir, and political commentary) by women from the Middle East and Southeast Asia. We will explore the intersections of gender, nation, and writing in the works of women from Lebanon, Egypt, Palestine, India, and Pakistan. Issues for discussion and writing will include sexuality, violence, family structure, religion, the geopolitics of feminist movements, and adaptations of “Western” literary forms in non-Western contexts. The writing requirements will include short response papers, a brief historical report, a literary critical analysis, and a final exam. Same as WomnStds 155, Lec A. |
| COM LIT 103 | ASIAN AMERICAN & POPULAR CULTURE | MIMURA, G. | Do Asian Americans have a stake in popular culture? Why and how? Since the 1960s, Asian Americans have been producing distinct and exciting popular cultures that challenge racism, create new experiences of leisure, and advance democratic values. We will examine the relationship between Asian Americans and popular culture in several areas: advertising photography, popular music, high and low fashions, street cultures, and shopping malls. Grading is based on the following: attendance and participation 20%, three papers 60% (20% each), group project display 10%, group project evaluation/critique 10%. Same as AsianAm 150, Lec A. |
| COM LIT 103 | LITERATURE AND FETISHISM | NOLAND, C.J. | Why do we invest inanimate objects with symbolic value? Why do mere things mean so much to us? This course takes a good look at three major models of fetishism (Freud, Marx, and animism) and attempts to see how the fetish is treated in a variety of 19th- and 20th-century literary texts. We will compare Freud\'s model of the fetish as an object invested (through association) with sexual meaning to Marx\'s model of the commodity fetish as a thing invested with exchange value; finally, we will ask in what ways both models can be seen to be Western appropriations of the African model of the fetish as an object possessing the spirit of the person or natural force it is supposed to represent. We will seek to understand how literary texts--from Zola\'s romance in the department store (The Ladies Paradise) to a postcolonial African novel--depict the way human beings fetishize, or forge out of their imaginations a world full of meaning. Taught in English with texts in French and English. Same as French150. |
| COM LIT 103 | DANTE | CHIAMPI, J.T. | This course examines Dante’s Inferno, Purgatorio, and Paradiso in relation to the philosophy, theology, and politics of its time. Special attention is paid to the development of the identity of the poet, the definition of his task, and to the portrayal of women in the poem. |
| COM LIT 104 | VAMPIRE STORIES | KUJUNDZIC, D. | Vampires, werewolves, ghosts and apparitions from Bram Stoker’s Dracula to Buffy the Vampire Slayer. This course will address issues of vampire and Empire, vampirism and psychoanalysis, vampirism and AIDS, vampirism and the birth of the cinema, vampirism and terrorism, queer and lesbian vampires, and other news from Transylvania. There will be one mid-term paper of five pages and one final paper or a creative project. |
| COM LIT 104 | LATIN-AMERICAN LITERATURE AND FILM | JOHNSON, A.M. | |
| COM LIT 104 | THE HORRIFIC&TERRIFIC: JAPANESE VISIONS OF HORROR | HALL, J. | This course examines the cinematic and narrative presentation of technology, gender, and the body in popular Japanese cinema from 1923 to the present. Attention is paid to the early debates around the cinematic medium, the political culture and popular motivations behind mid-century horror, disaster, and ghost films, the relation of the body to cinematic representation, the global proliferation of late-century Japanese animation, and the current vitality of the Japanese psycho-horror genre. After quickly reviewing key concepts within film theory’s psychoanalytic legacy, we look at the work of Steven Shaviro, Friedrich Kittler, and others to interrogate, develop, and problematize new conceptions of media and cinematic experience using Japanese horrific cinema as our testing ground. Course requirements: weekly reviews, mid-term paper, class participation, and final paper. This course has a non-refundable Lab Fee. Same as Film Stds 190, Lec F |
| COM LIT 200A | HIST&THEORY COM LIT | STEINTRAGER, J. | |
| COM LIT 210 | CENSORSHP/FORECLOSR | AL-KASSIM, D.L. | |
| COM LIT 210 | RHETORIC | WARMINSKI, A. | |
| COM LIT 210 | THEORIES OF REALITY | TERADA, R. | |
| COM LIT 299 | DISSERTATN RESEARCH | STAFF | |