Spring 2004 Course Offerings: 1A-1B
R1A:3, #17209, LIU , TT 8-9:30,
224 Wheeler
“Kinship”
Since Levi-Strauss’s work provocatively
recasts “kinship” as a social system made possible by marriage--understood
as “the exchange of women between groups”--rather than descent, the study
of kinship has been usefully compounded with inquiries into a wide array
of concerns outside of anthropology, such as ethics, the formation of
the nation-state, gay and lesbian sexualities, “everyday life,” and linguistic
exchange. Why, then, did kinship prove to be a particularly enabling notion
in theoretical discourse, or at least a particularly interdisciplinary
one, in an era where it seems unethical, naive, or even nostalgic? This
course examines some classic accounts of the notion of kinship (including
Engels’ characterization of the relation between marriage forms and modes
of production and Freud’s understanding of the psychodynamic of the family)
in tandem with contemporary appropriations that emerged in the fields
of gay and lesbian studies, political philosophy, and psychoanalysis,
to help us understand how and why literature persistently engages and
problematizes questions of kinship. Questions guiding our class discussion
will include: the role of the family in identity formation, the relation
of kinship to competing systems of recruiting individuals (race, civil
society, the state), kinship and desire, kinship and property, and literary
strategies for interrogating, representing, and containing these concerns.
Texts:
- Engels, Frederick. The
Origin of the Family, Private Property, and the State.
- Faulkner, William. Absalom!
Absalom!
- Freud, Sigmund. Three
Essays on the Theory of Sexuality.
- Pai, Hsien-Yung. Crystal
Boys.
- Rowling, J. K. Harry
Potter and the Chamber of Secrets.
- Shakespeare, William. Hamlet.
- Sophocles. The Three
Theban Plays. Trans. Fagles.
- Wilde, Oscard. “The Importance
of Being Earnest”
- Selected critical essays
by Freud, Rubin, Levi-Strauss, Irigaray, Katz, Porter, and Sedgwick.
R1A:4, #17212, TRAN/Sayar,
TT 9:30-11, 220 Wheeler
“Supposedly Real”
Realist representation runs
rampant on today's television screens, from popular reality shows to the
recent "Shock and Awe" campaign in Iraq. If nothing else, realist representation
seems to be a relevant issue for us today. This course will focus on the
concept of realist representation in literature. How does literature go
about representing the world as it is? How does literature articulate
human experience? What are the constraints or artistic forms of such efforts?
This course considers the literary tradition of mimesis and its articulation
of experiences, ranging from war and death, to urban and family life.
We will begin with the problem of mimesis in ancient Greek literary and
philosophical works. We will then move to some works of 19th century French
realism and the preoccupation with contemporary social and economic conditions.
We will also look at different facets of and changes in realism in other
contexts and traditions. We will also study the works of recent literary
critics and theorists who deem the realist concept of representation as
naïve. Readings will include Stendahl, Balzac, Dickens, Woolf, and Vu
Trong Phung.
The requirements for this class
include: 32 pages worth of writing, weekly responses, presentations, regular
attendance, and participation. There will also be the occasional quiz.
R1A:5, #17215, DIMOVA/Dwyer,
TT 11-12:30, 200 Wheeler
“Exile, Displacement, and
the Literary Imagination”
It has been said that with
the unprecedented upheavals of the 20th century, exile and displacement
have become the norm, rather than the exception, of the human condition.
But at the same time, exile occupies an age-old place in the literary
consciousness, as reflected in works as ancient as the Bible and classical
Chinese poetry. This class will seek to examine how lives of exiled people
are reflected in personal narratives, novels, poems, short stories, and
plays. We will take a cross-cultural and cross-temporal approach to the
question of exile, following its depiction across centuries and continents
in novels, poetry, plays, and essays from both East and West. In these
works, we will encounter archetypal stories of mythological figures as
well as stories deeply enmeshed with history: writings engendered by war
and violence, and narrated in the voices of refugees, immigrants, the
colonizers, and the colonized. We will consider narratives of homecoming
alongside narratives of no return, looking closely at the concepts of
home, identity, language, and memory. Finally, in seeking to uncover what
these texts share and how they differ, we will come to see how their authors
have imagined, responded to, and perhaps transcended the experience of
exile.
Texts:
- Joseph Conrad, Heart
of Darkness
- Eva Hoffman, Lost in
Translation
- Homer, The Odyssey
- Vladimir Nabokov, Pnin
- Tayyib Salih, Season
of Migration to the North
- Shakespeare, The Tempest
There will also be a course
reader containing readings from the Hebrew Bible and classical Chinese
poetry, in addition to poems, essays, plays, short stories, and criticism
by writers including Ovid, Celan, Brecht, Brodsky, Hoffman, Seghers, Pushkin,
and Rushdie. All course readings are in English translation.
R1A:6, #17218, HERBOLD,
MWF 9-10, 125 Dwinelle
“The Erotic and the Exotic”
We will explore the link between
eroticism and adventure, both imaginary and real, in texts ranging from
a Greek tragedy of the fourth century B.C. to a novel, essays, and poems
written by African-American women in the twentieth century. How and why
have sexual and geographical adventures been linked by such diverse writers?
How, for example, do these texts raise questions of discovery, excess,
loss of control, violation of rules or boundaries, and the forbidden?
In particular, how and why do female desirers raise these issues?
Students will write and revise
three essays and do several shorter writing assignments in addition to
the assigned reading. There will be frequent quizzes, but no midterm or
final.
Texts:
- Euripides, Medea
- Shakespeare, Othello
- Honoré de Balzac, “The Girl
with the Golden Eyes”
- Charlotte Brontë, Jane
Eyre
- Zora Neale Hurston, Their
Eyes Were Watching God
- Xeroxed selection of lyric
poetry by P. B. Shelley, Alfred Lord Tennyson, Charles Baudelaire, Muriel
Rukeyser, Adrienne Rich, Audre Lorde, June Jordan, Ntozake Shange, and
others
R1A:7, #17221, HAACKE,
TT 11-12:30, 156 Dwinelle
THIS COURSE HAS BEEN CANCELLED
H1B:15, #17224, WHITE,
TT 8-9:30, 125 Dwinelle
“Bodies on the Line: Sexuality
and the Frontier”
The American "frontier" calls
to mind stereotypes of rugged masculinity, from pioneering mountain men
to cowboys, Davy Crockett to the Marlboro Man. These figures, agents of
the expansion of a young and virile nation, represent the frontier in
terms of male sexuality. But what about female sexuality on the frontier?
The connections and clashes between cultures, races, and empires are central
to the frontier. How are women's bodies implicated or erased in these
spaces of cultural contact and conflict? How is female sexuality seen
as both foundational for and antithetical to national identity? These
questions will motivate our reading and our writing for the semester.
Readings will span the nationalities,
cultures, histories, and literatures of North America, from the 16th century
conquest of Mexico to the 20th century US/Mexico border, from the Great
Plains to the Caribbean, from Puritanism to postmodernity. Along the way,
we will digress to the Mediterranean and the founding of the Roman empire.
Writings will include in-class
assignments, an online discussion forum, and several papers of increasing
length. Paper assignments will include components of comparative analysis,
research, and revision. Throughout, we will stress close readings as a
method of textual analysis, and revision and peer editing as part of an
intensive focus on writing skills. Course requirements will also include
presentations and regular participation in class discussions. Additionally,
students will select, read, present, and write about one text in its original
(non-English) language.
This is an honors class.
The prerequisite is reading knowledge of a foreign language. Readings
and discussions will be extensive and intensive. The payoff is a small,
seminar-style class in which students will have the opportunity to contribute
more to the course design and presentation and to receive more individualized
attention on their writing.
Texts:
- Virgil, The Aeneid
- Carlos Fuentes, from The
Orange Tree
- Nathaniel Hawthorne, The
Scarlet Letter
- Maryse Conde, Moi, Tituba,
Sorciere
- Jean Rhys, Wide Sargasso
Sea
- Willa Cather, O, Pioneers!
- Eudora Welty, The Robber
Bridegroom
- Gloria Anzaldua, borderlands/La
Frontera
- Sam Shepard, from Cruising
Paradise
- Nicole Brossard, Mauve
Desert
- selected poetry
R1B:1, #17227, SPRINGER,
MWF 9-10, 20 Wheeler
“War and Pieces”
The course will focus on the
ugly realities of war and war’s relationship to pre- and post-war social
situations. To what extent do these examples of “war literature” focus
on the battlefield? To what extent are they about what the participants
have left behind or expect to return to after the official conflict is
over? Is armed conflict an anomalous phenomenon or part of the natural
order? How can art embrace beauty and horror at the same time?
There will be several literary
critical papers, a book review, and some experiential writing. Students
should be prepared to discuss the various works and exchange drafts of
writing assignments for peer editing. Note: some of the reading material
is genuinely disturbing, and prospective students should consider reading
representative selections prior to enrolling.
Texts:
- Aeneid, Virgil (Mandelbaum
translation)
- The Thin Red Line,
James Jones
- The Lake of the Woods,
Tim O’Brien
- The Spark of Life,
E. M. Remarque
- Beirut Fragments,
Jean Said Makdisi
- Islands in the Stream,
Ernest Hemingway
Films:
- Black Hawk Down
- The Thin Red Line
- Bridge over the River
Kwai
- The Grand Illusion
R1B:2, #17230, TREAT/Vivrette,
MWF 10-11, 229 Dwinelle
“Chutney Popcorn in Another
Country: Reading and Watching Queer Artists of Color”
This course focuses on works
written by post-1960 queer writers of color. We will consider the ways
in which self-identified gay, lesbian, and bisexual authors define these
terms of identity, and determine how these definitions are relevant in
their writing. Examining fiction, poetry, literary criticism, and film,
we will place these texts in a theoretical framework that attends to the
intersections between race, gender, class, culture, and sexuality.
Texts:
- James Baldwin, Another
Country
- Lawrence Chua, Gold By
the Inch
- Jewell Gomez, The Gilda
Stories
- Audre Lorde, Zami: A
New Spelling of My Name
- Craig S. Womack, Drowning
in Fire
Films:
The Wedding Banquet
Chutney Popcorn
My Beautiful Launderette
A reader will include selections by Gloria Anzaldúa, Cherrie Moraga,
Achy Obejas, and Francisco Alarcón, and others, as well as readings
from the epic Ramayana.
R1B:5, #17239, GRALLA/Kay,
MWF 11-12, 121 Wheeler
“Striptease”
Under an alluring paper-thin
veil, the narrative beckons the reader, winking knowingly, full of secrets
and half-hidden revelations. This course will take up the striptease
acted out by texts and performances when they deliberately stage themselves
provocatively. As the gauzy layers are peeled back, we may find that
a narrator or artist has let more slip than (s)he intended, or that
the naked shape pinned in the spotlight exposes our desires as readers/viewers.
At other times, we may discover that a carefully controlled act of seduction
has turned suddenly into a performance of protest and violence, in which
we are forced to view far more than we ever expected.
By interacting with novels,
short stories, plays, poems, critical writings, films, visual art, performance
art, and dance, we will examine both veiled characters and defiantly
intimate authors/artists in order to perform our own analyses. How can
we strip down the narrative/performance itself?
Texts:
- Oscar Wilde, Salome
- Junichiro Tanizaki, Naomi
- Lisa Yuskavage (Institute
of Contemporary Art)
In Reader:
- Atwood, “The Victory Burlesk”
- Balzac, “Sarrasine”
- Barthes, “Striptease”
- Betsuyaku, “Elephant”
- Boccaccio, The Decameron
- Collins, “Taking off Emily
Dickinson’s Clothes”
- Plath, “Lady Lazarus”
- Solomon-Godeau, “The Legs
of the Countess”
- Tosches, “Spud Crazy”
Other media:
- Yoko Ono, “Cut Piece”
(performance piece)
- Egoyan, “Exotica” (film)
- Lynch, “Mulholland Drive”
(film)
- Cindy Sherman photography
- Dance excerpts
- Lisa Yuskavage paintings
- Photographs of the Countess
of Castiglione
- Orlan (performance artist)
R1B:8, #17248, GAJARAWALA/Borrego,
TT 9:30-11, 130 Wheeler
“Writing Violence”
This course will examine
the representation of violence in the literary text. Focusing on literal
depictions of the violent act, theoretical articulations of a violent
project, as well as violence as pervasive metaphor, we will read texts
from various genres (novel, poem, short story, memoir, graphic novel
etc.) to better understand the relationship between violence and language.
This course will be divided into several units organized around a certain
theme: for example, violence and vengeance, violence and the other,
violence and salvation. Some questions we will consider: how is violence
treated in the literary text and what is the relationship between violence
and writing? How can writing be a form of violence? What are the various
narrative strategies used to represent violence? What is the relationship
between violence and metaphor? What does it mean to 'translate' material
violence to the page? For this course students will be required to do
all readings, participate in class discussions, write 2 long essays
and several short responses, do a final creative project and attend
two film screenings.
Books:
- Crime and Punishment -
Dostoevsky
- The Crow - James O'Barr
- Your Name Shall Be Tanga
- Calixthe Beyala
- Maus - Art Spiegleman
- The Inferno - Dante Alighieri
R1B:9, #17251, VARGAS/DeAngelis,
TT 9:30-11, 210 Wheeler
“War, Culture and Identity-Formation”
For all its carnage and pain,
war involves basic experiences that provide valuable insights into the
human condition. Loss, hate, terror, agony and an array of other traumas
brought about by conflict have always characterized this staple of human
history. In an indication of the profundity of the phenomenon of war,
it also often involves valor, loyalty and love. This course will explore
different treatments of war in literature and film across various epochs
and cultures. Among other issues we will discuss will be the relationship
between war and cultural production, and the seeming inevitability of
war. We will also analyze the role that the cultural products which
comment on war play in the formation of a group consciousness (tribe,
nation, religious cohort, etc.).
Texts:
- The Art of War - Sun Tzu
- The Song of Roland
- The Red Badge of Courage
- Stephen Crane
- Cracking India - Bapsi
Sidhwa
- I, Rigoberta Menchu: An
Indian Woman in Guatemala - Rigoberta Menchu
- PalestineÕs Children:
Return to Haifa and Other Stories - Ghassan Kanafani
- Course Reader.
Films:
Battle of Algiers
The City of God
R1B:10, #17254,
DILLON, TT 9:30-11, 107 Mulford
“Mobility: Upward
or Outward”
This course will
examine the confrontation with global, national, urban, and modern
social processes by local, traditional and rural subjects. What does
that mean? That means we're reading the rags-to-riches kind of story:
the stories of enfranchisement and all the corruption and loss of
innocence that it entails. It also means we are going to look at narratives
of disenfranchisement: the small town meets the modernizing developer,
the hicks from the sticks who are forced to "act civilized" or be
swallowed by the dog-eat-dog world around them. In this course we
will view the effects of these situations on individuals, places,
culture, and identity. Primarily we will focus on identifying the
different personal and collective strategies for mediation in this
clash of systems of understanding. Possible readings include Samuel
I and II, Charles Dickens, William Faulkner, Claude Levi-Strauss,
Fernando Ortiz, Jamaica Kincaid and Clarice Lispector.
R1B:11, #17257,
HAUSDOERFFER/Nathan, TT 11-12:30, 123 Wheeler
“in illo loco:
Transformative Territories in Narrative Fiction”
From the ancient
epic, The Odyssey, down to the science fiction novels of today,
fantastic, otherworldly, and alternative spaces have been prevalent
in literature. These alternative sites, often located outside the
carefully delimited boundaries of “normal” society, offer or threaten
(depending on how you look at it) the possibility of transgression
and transformation. In this class, we will explore some of the types
and functions of alternative space in literature and consider especially
its use as a device of character transformation. We also will take
up the question of alterity in general and the particular ways in
which these texts stage the estranging encounter with otherness.
Our readings will
begin with that most famous of all journeys into the fantastic, Homer’s
Odyssey, and continue on through the 17th and 18th centuries
with the strange voyages of the heroine of Margaret Cavendish’s experimental
novel, The Blazing World, and the equally bizarre adventures
of the hero of Jonathan Swift’s classic, Gulliver’s Travels.
We then will jump to the 20th century and consider the surreal encounters
with the otherworldly in Jorge Luis borges’ short stories, Julio Cortázar’s
anti-odyssey, The Winners, the science fiction of Philip K.
Dick (author of “The Minority Report”) and, finally, Italo Calvino’s
difficult-to-categorize work, Invisible Cities.
Texts:
- Borges, Jorge
Luis. Selected short stories (in course reader)
- Calvino, Italo.
Invisible Cities (Harvest Books edition)
- Cavendish,
Margaret. The Blazing World (Penguin edition)
- Cortázar, Julio.
The Winners (New York Review books edition).
- Dick, Philip
K. The Minority Report and Other Classic Stories (in course
reader).
- Homer. The
Odyssey (Fagles translation / Penguin edition)
- Swift, Jonathan.
Gulliver’s Travels (Mass Market edition)
R1B:12, #17260,
COPENHAFER/Kimmel, TT 11-12:30, 219 Dwinelle
“The Reflexive
Turn”
“Words. Words.
Words.”
-Hamlet
What happens when
literature reflects on itself? How does reflection interfere with
representation? Does self-reflexive writing try to represent anything,
to construct a world, as it were? Or, does it merely point to a crisis
in representation, an inability of language to be anything other than
words?
These are some
of the questions we will pursue in this course. We will also investigate
literature’s relationship to other artforms-film, music, painting,
and photography-and ask how these other forms either reflect, represent,
or perhaps do both.
Texts:
- Calvino, Mr.
Palomar
- Ellison, Invisible
Man
- Nabokov, Pale
Fire
- Shakespeare,
Hamlet
- Vergil, The
Aeneid
A reader will
contain short pieces by Baudelaire, Borges, Kafka, Pasolini, Poe,
and others.
R1B:13, #17263,
RAMEY, TT 12:30-2, 30 Wheeler
“Sympathy for
the Devil”
For every monster
there is a monster’s-eye-view. This is easy to overlook if you’ve
never been a monster. The study of monsters, teratology, is an ancient
scholarly discipline often viewed, with some justification perhaps,
as somehow sinister. This may owe to stories in which students have
purportedly absorbed attributes of their objects of study. Nevertheless,
we will approach our theme gingerly, and endeavor to attain the end
of the school year with our humanity intact. I make, however, no promises.
How do writers
create monsters? What is the function of the monster in literary texts?
How has that function evolved over time? What happens if the writer
becomes the monster? What happens if the reader does? Let us inquire.
Students must
attend classes, participate in class discussions, and demonstrate
thoughtful readings of the assigned texts. A total of about 30 pages
of prose will be turned in throughout the semester: diagnostic essay
and three papers of increasing length, each of which will be subject
to extensive revision. Students will be asked to give an oral presentation.
Experienced monsters welcome.
Required Texts:
- Beowulf
-translation by Seamus Heaney
- Macbeth
- William Shakespeare
- Frankenstein
- Mary Shelley
- The Stranger
- Albert Camus
- Pale Fire
- Vladimir Nabokov
- Our Lady
of the Assassins - Fernando Vallejo
- The Random
House Handbook - Frederick Crews
Films:
- Citizen
Kane - Orson Welles
- Él -
Luis Buñuel
- Amores Perros
- Alejandro González Iñaritu
Course Reader:
- Will include
selected poetry, short stories (e.g. Poe and Borges), readings in
history (e.g. Bartolomé de las Casas), cultural theory and discourse
analysis, and critical approaches to the texts.
R1B:14, #17266,
BERMUDEZ/Allan, MWF 10-11, 20 Wheeler
Narratives of
Displacement: Nation and Identity in a Transnational World
How has transnationalism
changed our understanding of identity and nation? Transnationalism,
or the cultural and economic flows across borders, is not a new phenomenon,
but its intensification within recent decades has given rise to writings
by immigrants, exiles, refugees, and minority voices around the globe.
These writings represent the geographic, cultural, and psychic displacements
experienced by cross-border movement. We will examine a variety of
narratives that critique traditional notions of identity and nation
and explore issues of citizenship and (non)belonging. What does it
mean to be "home" and "away"? What kinds of selves emerge between
here and there? What forms of agency or resistance do
transnational subjects practice? We will address these and other questions
as we read and discuss a wide range of texts from Europe, Africa,
and the United States.
Required Texts
- The Cid
- Joseph Conrad,
Heart of Darkness
- Ferdinand Oyono,
Houseboy
- Jamaica Kincaid,
Lucy
- Gloria Anzaldúa,
Borderlands/La Frontera
- Lorna Dee Cervantes,
Emplumada
- Fae Myenne
Ng, Bone
- Andrew X. Pham,
Catfish and Mandala
***Important:
It is necessary to get these editions so that we are all working with
the same pagination.
Course
Reader: Selected poetry; readings on style, rhetoric, discourse,
and literary criticism; theoretical texts by E. Renan, Benedict Anderson,
W.E.B. Du Bois, Ian Chambers, Michel S. Laguerre, Harry Goulbourne.
R1B:15, #17269,
MANALO, TT 9:30-11, 224 Wheeler
“Economies of
Aesthetic Education”
Aesthetic education
has been a central problem of literature and philosophy since the
eighteenth century. It rests on the idea that aesthetic experience
provides a moral, political, and social education, or "improvement,"
that reconciles the split between the individual's sense and intellect,
inclination and reason, feeling and labor brought about, in part,
by the processes of modernization. Beginning with short extracts from
the philosophical writings of Kant, Schiller, and the young Marx,
our aim is to trace the permutations--and limitations--of the concept
of aesthetic education in a selection of literary texts from the European
nineteenth-century through modernism to present-day descriptions of
neo-colonial globalization. The main questions of the course concern
the importance of analyzing aesthetic education and its persistence
as a problem to this very day: How does literature confirm, recast
or complicate philosophical articulations of aesthetic education?
In what sense can we speak of "economies" of aesthetic education?
Class requirements include: presentations, several papers and rewrites,
and midterm.
Texts:
- Goethe, Elective
Affinities
- Austen, Mansfield
Park
- Stendhal, The
Red and the Black
- Pierre Klossowski,
The Revocation of the Edict of Nantes
- Pramoedya Ananta
Toer, This Earth of Mankind
- Nurrudin Farrah,
Gifts
Films:
- Kidlat Tahimik,
The Perfumed Nightmare
- Haile Gerima,
Harvest 2000
Course packet:
- Kant "What
is Enlightenment?," selections from Schiller, "Aesthetic Education
of Man," selections from Marx "The Economic and Philosophical Manuscripts,"
selections from Freud, Civilization and Its Discontents, selections
from Georges Bataille, The Accursed Share, selections from Louis
Althusser, essay on the "ISAs," essay selections from Samir Amin
and Immanuel Wallerstein on world-systems theory and developmentalism,
selections from Baudelaire and Rimbaud.
R2B:1, #17272,
MOORE, MW 10-12 & F 10-11, 123 Dwinelle
“Fictions of
Memory”
In this course,
we will interrogate the shifting boundary between fiction and fact
as we explore the role of memory in a variety of narratives. In our
investigations of the tangled relations between personal recollection
and collective memory, language and writing, culture and history,
memory and fiction, we will examine how memory structures narrative.
We will look at the various ways memory works in these texts: the
past as something that sustains or threatens the present, how time
erodes or ossifies memory, memory as inheritance or legacy. Throughout
our discussions, we will consider how memory contributes to the construction
of identity and the interrelated themes of race, class and gender.
Students will
be required to read assigned works carefully, attend classes and participate
actively in class discussions, and produce approximately 30 pages
of thoughtful prose (in the form of 3 papers of increasing length,
each of which will be subject to extensive revisions). Additional
requirements include several informal writing assignments and one
oral presentation.
Class discussions
in French and English; French texts will be read in the original language;
some of the informal writing assignments will be in French. Prerequisites:
reading ability in French (3 years of highschool French or 2 years
of college French; ideally, should feel comfortable reading book-length
texts in French).
Please wait until
the first class meeting to buy your texts.
Texts:
- Isolina,
Dacia Maraini
- Enfance,
Natalie Sarraute
- Journal
Intime, Nicole Brossard
- Nightwood,
Djuna Barnes
- Des Nouvelles
d’Edouard, Michel Tremblay
- Sarrasine,
Honoré de Balzac
In addition to
these texts, a course reader with a selection of essays, short stories
and poems will also be required.
R3B:1, #17275,
INCIARTE, MW 2-4 & F 2-3, 54 Barrows
Masterpieces
of Spanish Literature
This course is
entitled "Masterpieces of Spanish Literature" and will explore some
of these masterpieces with a view towards synthesizing some general
patterns. The choice of texts will reflect an interest in picaresque
literature including several Spanish embodiments of the picaresque
genre as well as some Latin American and English language picaresque
texts, and texts translated from Arabic and Hebrew into Spanish and
English. The course will consider a vision of Spanish literature that
incorporates influences from Arabic, Hebrew, and Latin literary traditions.
The course will explore how the picaresque genre developed and came
to be considered as one of the literary provocations leading to the
rise of the novel. Readings will include literary criticism as well,
which will provide a theoretical underpinning to our study. The selection
of material will be weighed towards the medieval and baroque period
in Spain but will include other times and places, as well.
Prerequisites:
Three years of high school Spanish or two years with a B+ average.
Books
- The Golden
Ass, Apuleius
- La Celestina,
Fernando de Rojas
- Maqamat
by al-Hamadhani, al-Saraqusti
- Lazarillo
de Tormes, anonymous
- La Lozana
Andaluza, Delicado, Francisco
- El Buscón,
Quevedo
- Trafalgar,
Benito Pérez Galdós
- Calila y
Digna
- El Vampiro
de la Colonia Roma, Luis Zapata
- The Book
of Delight, Ibn Zabara, Joseph ben Meir
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