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Fall 2019 Course Type: CPLS Course Code: CLEN GU4822 (3pts.)

19TH CENTURY EUROPEAN NOVEL

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The 19th Century European Novel in the field of the emotions and in the cultural context of the major thinkers and the major historical events of the era.We will examine feelings, emotions, and passions in the novels from the perspectives of affective neuroscience, psychoanalysis, and philosophy in order to lay bare more clearly what is known and believed versus what is unknown, ignored or latent about human emotional reality at this time. Reading: Austen, Kleist (novella), Emily Bronte, Dickens, Dostoevsky, Hardy, D.H. Lawrence. No reading outside of the novels will be required on your part.

Further, my aim is to expand our cultural knowledge of the era by including the conceptual contributions and formative ideas of major 19th century thinkers in my lectures on the novels. Optional Reading of short selections from: Kant, Hegel, Feuerbach, Marx, Darwin, Kierkegaard, Nietzsche, and Freud. Those who wish to read and write in a comparative way or on any of the optional writers will be able to do so in lieu of one or, possibly, two novels.

Fall 2019 Course Type: CPLS Course Code: CLGR GU4250 (3pts.) Go to Registrar
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AESTHETICS & PHILOSOPHY OF HISTORY (ENG)

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This course offers an introduction to German intellectual history by focusing on the key texts from the 18th and 19th century concerned with the philosophy of art and the philosophy of history. Instead of providing a general survey, this thematic focus that isolates the relatively new philosophical subspecialties allows for a careful tracing of a number of key problematics. The texts chosen for discussion in many cases are engaged in lively exchanges and controversies. For instance, Winckelmann provides an entry into the debate on the ancients versus the moderns by making a claim for both the historical, cultural specificity of a particular kind of art, and by advertising the art of Greek antiquity as a model to be imitated by the modern artist. Lessing’s Laocoon counters Winckelmann’s idealizing approach to Greek art with a media specific reflection. According to Lessing, the fact that the Laocoon priest from the classical sculpture doesn’t scream has nothing to do with the nobility of the Greek soul but all with the fact that a screaming mouth hewn in stone would be ugly. Herder’s piece on sculpture offers yet another take on this debate, one that refines and radicalizes an aesthetics based on the careful examination of the different senses, especially touch and feeling versus sight.—The second set of texts in this class deals with key enlightenment concepts of a philosophical anthropology informing the then emerging philosophy of history. Two literary texts will serve to mark key epochal units: Goethe’s Prometheus, which will be used in the introductory meeting, will be examined in view of its basic humanist program, Kleist’s “Earthquake in Chili” will serve as a base for the discussion of what would be considered the “end” of the Enlightenment: be that the collapse of a belief in progress or the critique of the beautiful and the sublime. The last unit of the class focuses on Hegel’s sweeping supra-individualist approach to the philosophy of history and Nietzsche’s fierce critique of Hegel. Readings are apportioned such that students can be expected to fully familiarize themselves with the arguments of these texts and inhabit them.

Fall 2019 Course Type: CPLS Course Code: CLGR GR6828 (3pts.) Go to Registrar
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Aesthetics and Politics Today (in English)

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On which grounds can we claim, in 2020 and with scholarly confidence, that a literary text has “progressive” or “right-wing” affinities? How do we measure the success of another text’s apparent experimental critique of racist or homophobic dispositifs? Or what could justify the declaration that a film elicits a revolutionary sensibility? Against the backdrop of new political populisms and fascisms, questions such as these couldn’t be more topical today. But do we have equally topical answers? Both within and beyond academia, political reading practices have long been countered with the charge that they don’t do justice to the aesthetic qualities of their object. In the twenty-first century, old-school articulations of this point have been revamped in the name of new formalisms and a range of postcritical methods. The course starts from the premise that these new formalist and postcritical challenges are worth listening to, but do not require that we abandon the desire to read politically. Rather, they can help us refine our skills and develop interpretative methods accounting for hateful or empathetic, egalitarian or elitist overtones and undertones of aesthetic texts in non-reductive, non-symptomatic ways, making room for ambiguity, affective incongruity and multivoicedness, without entirely separating art from ideology. Towards the goal of describing relations between aesthetics and politics in ever more convincing terms, we will return to the tradition of theorizing their interplay from the Frankfurt School to Jacques Rancière, along with selected texts from the fields of critical race and queer studies, and put all of them in a dialogue with new formalist and postcritical perspectives. As we go along, we will probe our reading skills on a number of aesthetic objects (literature & audiovisual).

Fall 2019 Course Type: Joint Course Code: ARCH A4780 (3pts.) Go to Registrar
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ARCHITECTURE + HUMAN RIGHTS

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Fall 2019 Course Type: CPLS Course Code: CLEN GR630 (4pts.)

BLACK RADICALISM & THE ARCHIVE

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Fall 2019 Course Type: CPLS Course Code: CPLS GR6454 (3pts.)

BLOOD/LUST: EARLY MODERN MEDITERRANEAN

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This course examines, in 16th and 17th century Spain and England (1580-1640), how the two countries staged the conflict between them, and with the Ottoman Empire; that is, how both countries represented national and imperial clashes, and how the concepts of being “Spanish”, “English”, or “Turk” often played out on the high seas of the Mediterranean with Islam and the Ottoman Empire. We will consider how the Ottoman Empire depicted itself artistically through miniatures and court poetry. The course will include travel and captivity narratives from Spain, England, the Ottoman Empire, and the Barbary States.

Fall 2019 Course Type: CPLS Course Code: CLRS GU4011 (3pts.) Go to Registrar
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DOSTOEVSKY, TOLSTOY & ENG NOVEL

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A close reading of works by Dostoevsky (Netochka Nezvanova; The Idiot; “A Gentle Creature”) and Tolstoy (Childhood, Boyhood, Youth; “Family Happiness”; Anna Karenina; “The Kreutzer Sonata”) in conjunction with related English novels (Bronte’s Jane Eyre, Eliot’s Middlemarch, Woolf’s Mrs. Dalloway). No knowledge of Russian is required.

Fall 2019 Course Type: CPLS Course Code: CLEN GU4567 (4pts.) Go to Registrar
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Du Bois, Gramsci, Ambedkar: Three Men on

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Selected texts of W.E.B. Du Bois, Antonio Gramsci, and B.R. Ambedkar will be read to compare and contrast their points of view on the emancipation of the subaltern. The issue of gendering will be investigated.

Fall 2019 Course Type: CPLS Course Code: CPLS GU4145 (4pts.) Go to Registrar
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Fascism: Aesthetics and Politics

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The election of President Donald Trump has renewed interest in the examination of fascism- as an ideology, as a political movement and as a form of governance. Our inquiry into the nature of fascism will primarily focus on Western European cases- some where it remained an intellectual movement (France), and others such as Italy and Germany where it was a ruling regime. Fascism will be discussed in many dimensions- in its novelty as the only new “ism” of the twentieth century, in its relation to nascent technology (radio and film), its racial and gendered configurations, in its relation to (imperialist) war. We will explore the appeal of this ideology to masses and to the individual. Who becomes a fascist? What form of inquiry provides the best explanations? Can art- literature and film- somehow render what social science cannot? Can fascism outlive the century in which it was born and occur in the 21stcentury?

Fall 2019 Course Type: Joint Course Code: CLFR 4716 (3pts.) Go to Registrar
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Francophone Romance Love, Sex, Intimacy

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The forms of domination and violence that have characterized the phenomenon of empire have always been interwoven with desire and various forms of intimacy. Personal relationships have been vectors of colonial power as well as sites of resistance. In this course we consider various ways in which love, desire and intimacy have emerged as questions in the French colonial context. The course covers a broad historical and geographic span stretching from the age of plantation slavery to the era of decolonization and from the Caribbean and Louisiana to Vietnam and Africa. We consider both the transmission of categories and practices across colonial contexts and historical transitions and regional specificities. The course methodology is interdisciplinary, drawing on insights from history, sociology and law. The primary lens is, however, be that of literature, a medium in which the personal dimensions of empire have often found expression. We consider how recurrent themes and figures of colonial desire and intimacy have taken shape across different genres and registers of writing.