Self-Translation as Method investigates the process, aesthetics, and politics of literary self-translation and transmediation worldwide. Self-translation refers to the process through which authors translate their own writing into another language; such a translation may be undertaken at the same time as the original is composed or long after it is completed, but it always represents a self-reflexive relationship between the author and their own work. Because the self-translator has access to the original’s authorial intentions, they are empowered to take creative liberties that a conventional translator might shy away from. Through these creative liberties, self-translators enrich the cultural capital of both their native and adopted language and culture. Self-translation, in this way, often involves writing oneself into world literature, creating cosmopolitan palimpsests that reveal, in their dialogue with diverse cultural traditions, the nonlinear forms of modernity. In this course, we will delve into case studies of self-translation from East Asia, East Africa, Latin America, North America, and Italy. We will also investigate the implications of self-transmediation, which occurs when an author adapts their own work into another medium, transporting that work from the page to the stage to the screen, for instance. For the final assignment, students will produce their own work of self-translation or transmediation.

How does modern Sinophone sci-fi reveal the “dark side” of China’s rise to power? How does Sinophone speculative fiction and its transmediated afterlives chart a reparative vision in the face of ongoing ecological and political crises? How do memories of past traumas intersect with future catastrophes in short stories and novels by Sinophone creators? How does speculative fiction produced by women and nonbinary creators forge an alternative path for human-AI collaboration? How do queer, transgressive, and non-human desires coalesce into a flora-fauna-AI symbiosis? How does contemporary Sinophone sci-fi advance inclusive futures for queer, crip, rural, neurodiverse, non-Han, and otherwise disenfranchised individuals in the face of ongoing exploitation? How do translators of Chinese-sci-fi employ a reparative praxis to transmediate trauma for global audiences?

In this course, we encounter an array of sci-fi and speculative fiction authored by Ken Liu, Cixin Liu, Han Song, Regina Kanyu Wang, Hao Jingfang, Xia Jia, Gu Shi, Wang Nuonuo, and Chu Xidao, alongside selections by Jorge Luis Borges, Adolfo Bioy Casares, Italo Calvino, Octavia Butler, Margaret Atwood, Ursula K. LeGuin, Ray Bradbury, and Isaac Asimov (reading selections subject to change). We will also examine multimedia adaptations of contemporary Chinese sci-fi, examining the work’s evolution from page to screen to stage. All readings will be available in English and films will be available either dubbed or with English subtitles. By engaging with material through a variety of written, oral, and multimedia responses, you will co-create reparative futures alongside these speculative creators.

In recent years, it has become commonplace to hear that new technologies are threatening humanity–that “we” must struggle to “stay human” in the face of novel threats ranging from autonomous weapons to addictive social media apps and gene editing to generative AI. At the same time, the “AI boom” has raised profound questions about creativity as an essentially human trait and inspired widespread concern about AI impacts on human and nonhuman environments–or all creation.

Observers often describe the moral and existential challenges that such innovations present as new and unprecedented. But, in fact the concern is at least several centuries old.

Drawing on canonical works of literature, philosophy, and cinema, this course will offer an introduction to the long history of thinking about, and working with, new technologies in the arts and humanities. In addition to close reading and analysis, students will engage in a series of “critical making” projects using historical artifacts housed in Harvard’s collections and brand-new generative AI tools developed specifically for us. The final assignment will be a short paper that reflects on one of these creative endeavors and connects it to course themes.

You have been reading books since first grade if not earlier, but how much do you actually know about the physical object you’ve been reading—the book, the material artifact?  Drawing on a great deal of recent scholarship and the incredible treasures in Houghton Library’s Special Collections, this course will study the history of the book in Western culture from its earliest stages in cuneiform tablets through ancient scrolls, hand-written medieval manuscripts of all types, early and late printed books down through children’s books of the nineteenth and twentieth centuries, and modernist artists’ books of the twentieth and twenty-first centuries including recent ones utilizing digital technology.   The heart of the course will be weekly assignments in which students in groups of three each will be asked to intensively examine books in Houghton’s reading room and then report on them in the weekly seminar.  Books studied in class will include papyrus fragments of Homer and the Old and New Testaments; Hebrew scrolls; early Qur’an leafs; Greek and Latin codices; Books of Hours and many other illuminated and decorated medieval manuscripts; the Gutenberg Bible; Copernicus, Galileo’s and Vesalius’ scientific works; censored books; the First Folio edition of Shakespeare; Alice in Wonderland; and Mallarmé’s Un coup de dés.  For the final paper, each student will choose a book from Houghton’s collection and write a biographical study of its “life.”

All readings for the course are on the Modules section of the Canvas site, which is organized by the weekly sessions.  Each module includes an Assignment sheet with the specific readings and books to be studied for the session.

For a full description of each session of the course, see the Course Plan posted under the first module. No previous background in book history is required for this course.

Note: Because of space requirements in Houghton, the class has to be capped at twelve students.  The course is primarily intended for undergraduates but depending on enrollment, graduate students may be admitted if there is room; if they are interested, they should contact the instructor.   All students wishing to take the course should write a short (one paragraph) statement explaining their interest in the history of the book and the course and send it to the instructor BEFORE  NOON (WEDNESDAY) AUGUST 24 at  dstern@fas.harvard.edu

This course looks at contemporary Indigenous Latin America through literature. It focuses primarily on texts written by Indigenous authors in different genres and languages; and it includes some texts depicting Indigenous peoples from other vantage points, whether it’s in attempts to build solidarity or to revisit historical accounts of national formation––we will ask to what effect. We will analyze the texts’ genre structures and aesthetic devices, as well as situate them in a broader set of literary conversations and traditions. Throughout the course, we will discuss the political stakes of the literary texts we read. We will see the works operate in many ways: for instance, they may build power and resistance, bear witness to the brutalization of Indigenous peoples, or uphold narratives of Indigenous erasure. Land is constantly present in the texts as a position of enunciation, a site of struggle, and a topic of reflection. And so, we will ask: what does it mean to write on stolen land?

The first Asia-Africa conference of newly independent states (held in Indonesia, in 1955) was once hailed by contemporary observers as an event as significant as the European renaissance in global importance. It inspired a sequence of initiatives in pursuit of new forms of cultural exchange and political brokering unmediated by former colonial centers.  This course explores how this historic transition towards a decolonized future was anticipated, envisioned, and critiqued in literary form.  Moving through a range of texts and historical documents that mark this transition, the course invites you to engage with the comparative legacies of African and Asian independence movements and solidarity initiatives as they rose to international circuits of recognition, with implications for enduring cultural debates across the Global South.

Readings for the course will include Richard Wright’s The Color Curtain, an iconic account of the first Asian-African conference of independent states, on the cultural commonalities and uneven temporalities of African-Asian independence movements; theoretical texts on the cultural ambiguities of anti-colonial nationalisms (such as Fanon’s The Wretched of the Earth and Black Skin, White Masks); and literary texts that include revolutionary and counter-imperial poetry and prose works. Course assignments will include three analytical papers. (All required texts will be available in English.)

Does love have a history? This course will explore a particularly rich, multisecular episode in the literary history of this emotion: the efflorescence and varieties of love poetry, both lyrical and narrative, in Europe and the Middle East from the Middle Ages through the 16th century. Weekly discussions will center on close readings of selected love poems and versified narrratives from a variety of literary traditions, including: Provençal troubadour lyric; French chansons, the Germanic Minnesang and the Galician-Portuguese cantigas (the question of amour courtois); Ibero-Romance and colloquial Arabic jarchas; the Italian dolce stil novo; the Petrarchan sonnet and its early modern heirs in Portugal, England and Spain; Arabo-Andalusian and Hispano-Jewish qaṣā’id and muwashshaḥāt, medieval Latin love lyric; Persian Sufi and Christian mystical love poetry; Dante’s Vita nuova; and selections from two other erotological classics in narrative verse, Libro de buen amor and Roman de la Rose. Discussions will be framed by an overview of both premodern discussions on love – how love is conceptualized at the intersection of philosophy, theology and medicine by Jewish, Christian and Muslim thinkers– and contemporary scholarly debates on the origins and development of medieval love literature.

This bi-weekly writing workshop is designed as a space to practice writing and presenting in different academic genres: such as journal articles, job market materials, conference presentations, or job talks. We will have each participant submit one chosen piece each semester, and discuss two pieces at each session; written texts will be circulated beforehand, and talks can be presented during the session. Everyone will offer feedback for each other’s work, which we will discuss during our meetings. While the workshop will primarily allow the participants to practice these professional genres, it can also serve as a motivation to stay on track with one’s own writing goals, and a way to get experience with giving feedback to others’ work.

Recent years have seen attempts to rethink modernism as a global phenomenon rather than a mostly Anglo-American and West European movement. Center-periphery relations have often been foregrounded in these efforts, and in critiques of them. Building on theoretical statements by Jorge Luis Borges, Oswald de Andrade, Pascale Casanova, Susan Stanford Friedman, Franco Moretti, Oe Kenzaburo, and Roberto Schwarz, this seminar will explore the politics of language, representation, and center-periphery relations in works by Antonio Machado de Assis, Ryunosuke Akutagawa, Higuchi Ichiyo, James Joyce, Miguel Ángel Asturias, Franz Kafka, Eileen Chang, Clarice Lispector, Lu Xun, Ahmet Hamdi Tanpınar, and Pramoedya Ananta Toer.ars have seen ambitious attempts to rethink modernism as a global phenomenon rather than a largely Anglo-American and West European movement. Center-periphery relations have often been foregrounded in these efforts, and in critiques of them. Building on theoretical statements and critiques by Jorge Luis Borges, Kenzaburo Oe, Franco Moretti, Pascale Casanova, Emily Apter, Eric Hayot, and Susan Stanford Friedman, this seminar will explore the politics of language, periodization, and center-periphery relations both within and beyond the West, in works by Higuchi Ichiyo, James Joyce, Lu Xun, Ryunosuke Akutagawa, Virginia Woolf, Djuna Barnes, Borges, Kukrit Pramoj, Pramoedya Ananta Toer, and Derek Walcott.

A close study of Kafka’s major stories and novels, and how this body of work was received, explicated and interpreted by key figures in post-war France. Relevant excerpts from Kafka’s diaries and correspondence supplement the primary texts, as well as discussions relating to French Existentialism, the Student Movement, and Post-Structuralism.

This course will examine uses of ancient Greek and Roman Classics in the literatures, arts, and thought of Africa and the Black diaspora. We will analyze how African and black diasporic authors and intellectuals have engaged with, revised, and re-imagined the classics of ancient Greece and Rome, both to expose and critique discourses of racism, imperialism, colonialism, and white supremacy, and as a rich source of radical self-expression. At the same time, we will study the emergence of scholarship on black classicisms in the last thirty years and the theoretical underpinnings of this field. The course is offered as a research seminar with an incorporated pedagogy workshop: one of the coursework assignments is to develop a syllabus for a course on an aspect of Black classicisms that you might teach in the future and seminar discussions will involve short segments on pedagogy.

The syllabus is arranged thematically, taking in uses of Classics in literature, art, journalism, and politics. Writers, artists, and politicians whose work and ideas we will study include Phillis Wheatley, William Sanders Scarborough, Anna Julia Cooper, Mary Church Terrell, W.E.B. Du Bois, Romare Bearden, Gwendolyn Brooks, Ralph Ellison, Toni Morrison, Rita Dove, Hastings Kamuzu Banda, Ola Rotimi, Athol Fugard, John Kani, and Winston Ntshona, Wole Soyinka, C.L.R. James, Eric Williams, Aimé Césaire, Derek Walcott, Kamau Brathwaite, Austin Clarke, Marlene NourbeSe Philip, Dionne Brand, and Edwidge Danticat. In addition to works by individual authors we will also consider the circulation of Greek and Roman classical myths, history, and thought in vernacular cultures. Throughout, we will be attentive to the relationship between national contexts and transnational histories and networks, and the phenomenon of classical appropriation in invented modern traditions.

The crisis of representation in postmodernity—closely connected with social and existential alienation and technological development—often manifests itself in terms of “hyperreality,” where any distinction between “the real” and “the simulacrum” is blurred. The boundaries between “reality” and “non-reality” and relevant concepts (e.g. originality, authenticity, mimesis, simulacrum) have been explored and challenged from different but comparable perspectives in philosophy, art, and literature since classical antiquity. This seminar will investigate discourses on, or inspired by “hyperreality” and its epistemological, ontological, and political implications, from antiquity to postmodernity. Authors and thinkers to be discussed include Plato, Descartes, Schopenhauer, Jean Baudrillard, Guy Debord, Gilles Deleuze, Félix Guattari, Umberto Eco, Fredric Jameson, Paul Virilio, Bruno Latour, Elizabeth Grosz, Niklas Bostrom, Lucian, Pedro Calderón de la Barca, Franz Kafka, Jorge Luis Borges, William Gibson, Philip K. Dick, Christine Broke-Rose, Italo Calvino, Don DeLillo, Julian Barnes.

The seminar is built around a sequence of fundamental questions regarding the literary disciplines and media studies, their history and epistemology. Discussions are instigated by readings in philology, stylistics, the history of ideas, semiotics, structuralism, psychoanalysis, post-structuralism, film and media theory, genetic criticism, literary sociology, cultural studies, and digital humanities.

This course will introduce students to the major writers, canonical works, and important literary movements of Arabic Literature from late antiquity up to the modern period. The course will be structured thematically with special focus on the historical context and cultural tradition within which literary works fit and resonated. The course will consider the development of various literary genres over time (poetry and qasida form, narratives, fiction, Belles-lettres, maqama, shadow plays and Drama, etc.). Selected works of literature will be read in translation, but students with Arabic can work with the original texts in a separate section. Texts will often be discussed vis-à-vis parallel themes in other works of literature whenever relevant (e.g. The Qur’anic and Biblical Joseph, Maʿarrī’s Epistle of Forgiveness and Dante’s Divine Comedy, Ibn Battuta and Marco Polo’s travelogues, etc.) with special attention to the influence of Western Literature on Modern Arabic poetry and prose.

The course is open to both undergraduates and graduate students.

With gender inequities and biases pervasive within and across cultures worldwide, and the global pandemics of gender-based violence and structural violence further intensified by the Covid-19 pandemic, how have individuals, groups, communities, and nations globally fought for (and against) gender justice? How have struggles against gender injustice intersected and conflicted with struggles against racial, ethnic, environmental, health, LGBTQIA+ and other forms of injustice?

Gender justice, as is true of justice more broadly, is often discussed in the abstract, or as a matter of law, political history, protest movements, enfranchisement, and similar phenomena. Yet at its core, justice involves individuals and their experiences – both their suffering and their triumphs – experiences most directly accessed through stories. In this seminar we’ll explore a range of stories and different forms of storytelling on gender justice, from novels and films to memoirs/personal histories, histories, and creative nonfiction. Some narratives with which we will engage are Margaret Atwood’s The Handmaid’s Tale, Ito Shiori’s Black Box: The Memoir that Sparked Japan’s #MeToo Movement, Audre Lorde’s The Cancer Journals, Cho Nam-joo’s Kim Jiyoung, and Cherrie Moraga and Gloria Anzaldua’s This Bridge Called My Back: Writings by Radical Women of Color. Students will be encouraged to write their own stories on gender and justice.

How did ancient Greek heroes, both male and female, learn about life by facing what all of us have to face, our human condition?

How to face death? Concentrating on this central human question, we will explore some of the greatest works of ancient Greek literature in English translation. For the Greeks, a special way to address the problem of death was to think long and hard about what they called heroes in their myths. Our purpose in this course is to extend that kind of thinking to the present. Assignments invite you to engage in personal reflections on the meaning of life and death in the light of what we read in Greek literature about the ordeals of becoming a hero.

How have Arab writers and artists from the past century to the present narrated a variety of displacements – among them migration, diaspora, exile, imprisonment, banishment, and resettlement? How do such narratives address philosophical questions as well as contemporary challenges facing individuals and collectivities? In what ways have scholars and thinkers reckoned with displacements and literary narratives that stage them? The focus of the seminar is on the poetics of these narratives, with reference to how authors’ own experiences of displacement may structure their writing. We will investigate how these narratives may interrupt hegemonic discourses, claim multiple sites of belonging and depict hybrid subjects.

All readings are available in translation; those with sufficient competence in Arabic or other languages are highly encouraged to read the original texts and work comparatively between them and translations.

The course introduces students to Soviet history through several famous works of literature and film. Key periods and events include the Bolshevik Revolution, Civil War, WWII, the post-Stalin Thaw, the Brezhnev years, Glasnost’ and Perestroika, and the dissolution of the Soviet Union. Along with short historical readings, we will examine works of popular culture, as well as book and films that were unable to be published and shown until Glasnost’ and the post-Soviet period. Among the readings will be Babel’s Red Cavalry, Bulgakov’s novel The Master and Margarita, and works by Zamyatin, Solzhenitsyn, Alexievich, and others. Films include, for example, works by Vertov, Eisenstein, Tarkovsky, Kalatozov, and Balabanov.

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This course will explore contemporary literature and cinema across Southeast Asia, focusing on regional developments after the Asian financial crisis of 1997 through the present. Themes discussed include literature’s relationship to economic turmoil and political change; questions of class and social mobility; anti-authoritarian writing and issues of censorship; literature, youth culture, and new media landscapes; and literary explorations of gender and sexuality. Readings will include a selection of critical essays to foreground these central themes of the course, along with poetry, short fiction, and films from: Brunei, Cambodia, Laos, Indonesia, Malaysia, Myanmar, the Philippines, Singapore, Thailand, Timor-Leste, and Vietnam. Readings will be taught in English translation and films will be screened with English subtitles.

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The novel has been described as the quintessential literary form of modernity, but do we know what a novel actually is? And is it just a modern form? In this seminar we will look at a range of pathbreaking works that have bent the norms of prose fiction and have opened up new ways of understanding the world, from antiquity to the present. Readings will include selections from The Odyssey, The Tale of Genji, and Don Quixote, together with a range of modern novels, informed by several important statements on the novel, especially by the writers themselves.

In this seminar, students will explore tactile reading and writing systems with a focus on Braille, the tactile reading and writing system used by the blind. Students will learn the Braille code while exploring topics like its history, its many applications, the unique perspective it brings to analyzing texts, how reading Braille changes the brain, its use in education, the way it represents visual concepts like music and math in tactile forms, and its use across cultures. As a final project, students will choose a work to transcribe into Braille (this could be anything from a social media post to a poem to chemistry equations/diagrams). Then, in a final essay, students will analyze the transcription choices made and explain the importance of making this media accessible (not only through text, but also through location, presentation, and so on).

This course offers an introduction to contemporary Arabic literature focusing on developments after the seismic period of regional transition within North Africa and the Middle East known as the “Arab spring” (2011). Course readings will include critical essays and literary texts that reflect the forms of cultural reckoning that anticipated and followed the popular uprisings of the period, drawing principally from literary figures across Algeria, Egypt, Libya, Syria, and Tunisia. Themes explored through the course include questions of political change and anti-authoritarian writing; literary innovations across new media landscapes and censorship regimes; revisionist historical fiction in the wake of major political transitions; and intergenerational influences on rising authors. Texts will be taught in English translation and films screened with English subtitles.

Since antiquity, literary works have been drawn to music and the human voice: fascinated by their captivating force, seduced by their alluring charms, envious of their capacity to express the singularity of life and lived experience. Literature has also pointed to the fragile evanescence of music and the voice as a way to assert its own enduring power. How has writing attempted to appropriate musical and vocal effects across different epochs and different cultures? What can these varied attempts tell us about human experience and our ways of representing it? How do tone, rhythm, pitch, dynamics, and breath contribute to literary enterprises? The course invites a comparative examination of selected works of European literature that deal with music and phenomena of the voice.

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Genres, forms, and themes of oral traditions in poetry and prose. Theories of performance and composition. Comparative metrical and formulaic analysis. Students are free to select non-Greek traditions as their focus of research, such as medieval French lays, Indic fables, Gregorian Chant, early Italian opera, Apache female initiation songs, Latin prosimetrum narratives, etc.

No previous knowledge of any language other than English is required. Only Classics Department graduate students who take the course for credit will work on original Greek texts. This course is cross-listed in Classics and can be taken for concentration credit in either Classics or Comparative Literature.

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In this course we will examine how media and communication technologies both drive and depict the complex set of processes known as globalization. We will explore case studies from sixteenth century maps to twenty-first century supply chains, as well as Huallywood, Hollywood, Bollywood, and Nollywood films. In the process, we will grapple with major questions and tensions that have defined the modern era. Why have human societies become more closely connected over the past few centuries than at any prior time in human history? How has this interdependence changed the ways that we understand ourselves and one another? What new visions and freedoms has it created? Why has it made us more unequal than ever before?

By the end of the semester, students will have gained skills necessary for analyzing media that are produced and consumed across national and linguistic borders. You will have earned familiarity with a number of key analytical and historical categories that will prepare you for advanced coursework in the humanities and social sciences. And you will have applied and developed course concepts and skills through both creative and critical projects.

Above all, you will have learned new ways of thinking. Today, when the words on this page can reach you after traveling, as data packets, through undersea cables or outer space satellites, all media are global. At the same time, increasingly ubiquitous networked computation has turned almost everything on earth into a medium of data. Throughout this course, we will seek to unsettle what we think we know about who, and where, we are–gaining insights into how our lives connect to others, past and present, near and far.

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This course explores the complex relationship between media, technology, and social change. We will examine how activists from a range of places and historical periods have used new media and technologies to build movements challenging existing laws, norms, institutions, and arrangements. At the same time, we will consider the role that new media and technologies themselves play in changing society, by reshaping how people learn, communicate, work, play, find love, make war, and so on.

Throughout, we will consider recurring themes, tensions and trade-offs that media activists encounter. While it is commonplace to associate media activism with “progress,” we will dwell on its ambivalence and ambiguities. By experimenting with multiple methods of analyzing and making activist media, students will develop their own theories of change. By the end of the semester, you will have gained an overview of the histories of contemporary media technologies and institutions and mastered core concepts and methods in the study of media, technology, and culture.

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How do queer and crip accounts of love and desire redefine “modernity” in Greater China and Latin America? How do the Sinophone and Hispanophone worlds encounter each in translation and transmediation? What is the relationship between love and passion, infatuation and desire? How are conceptions of love culturally contingent? How do cultural, economic, social and political factors shape expressions and narratives of love and desire in Sinophone and Hispanophone contexts? How do myth, illusion, and projection influence our romantic philosophies? In what ways do non-normative, non-ableist, queer and crip accounts of gender, sexuality, and desire redefine “modernity”?

In this course, we examine modern and contemporary Sinophone and Hispanophone “love stories” and their transmediated afterlives (films, plays, operas, digital archives, and so forth), with an emphasis on romantic encounters in queer literature, magical realism, dystopian, and sci-fi/speculative fiction. We cover a range of works by Jorge Luis Borges, Gabriel García Márquez, Sandra Cisneros, Julio Cortázar, Rosario Ferré, Isabel Allende, Kenneth Pai, Eileen Chang, Liu Cixin, and Wang Xiaobo, paired with transmedial adaptations by Zhang Yuan, Wong Kar-wai, Jonathan Basile, Manuel Antín, Jason Brauer, and Fernando Frías. Course evaluation will be based on discussions, oral presentations, thesis-based papers, and creative assignments.

A course on Yiddish popular culture. Knowledge of Yiddish required.

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The poetics (or songmaking) of Sappho will be studied from a wide variety of perspectives, suited to the interests of the students enrolled. 

Note: For those taking the course as COMPLIT 235, there are no particular language requirements. The emphasis for students, in this case, is to engage creatively with Sappho’s songmaking in a variety of English translations, or to compare with other poetry or songs (composed in whatever language). Students are free to bring into the educational experience a pursuit of their personal interests. For graduate students taking the course as CLASPHIL 235, research will involve reading the original texts in Greek, and comparing texts of other classical Greek and Latin poets like Euripides and Catullus.

How do we read and write from linguistic crossroads? What would a multilingual critical theory look like? What geographies do we build from the vantage point of multilingualism? In this course we read multilingual literary works and put them in conversation with texts pertaining to different branches of critical theory.

Multilingual writing cuts through linguistic borders and forces us to mistrust the idea of language as a stable and complete system. It invites us to question monolingualism as a basis for different categorizations––for the delimitation of literary fields, as well as personal and collective identities. Multilingualism sheds light on different possible combinations of roots and allegiances, historically conditioned and linked to the current sociopolitical contexts. In other words, in this course we study multilingualism as a dynamic and polyphonic form through which literature creatively conjugates different experiences of ethnicity, race, class, gender, and sexuality. Throughout the course, our theoretical readings help us conceptualize the transformations that multilingual texts puts in motion in our understanding of self and community.

The cultural interactions in premodern Iberia between Muslims, Christians and Jews shaped the literary history of Arabic, Hebrew and the Ibero-Romance vernaculars. Our seminar examines selected scholarly debates on the comparative study of these literatures, with an overarching focus on the theory and practice of translation.

This course will count for the new track in Translation Studies

The seminar explores the impact of classical literature and culture on the formation of modern critical theory. Topics include: construction of power; trafficability of art; ritual theory; sexuality; gender studies; irony; orality and literacy.

By focusing on literary narratives, cultural representations, and critical theories, this course explores ways in which issues related to migration create rich and complex interdisciplinary conversations. How do humanistic disciplines address these issues—human rights, cultural translation, global justice, security, citizenship, social discrimination, biopolitics—and what contributions do they make to the “home” disciplines of migration studies such as law, political science, and sociology? How do migration narratives compel us to revise our concepts of culture, polity, neighborliness, and community? We will explore diverse aspects of migration from existential, ethical, and philosophical perspectives while engaging with specific regional and political histories.

An introduction to the discipline of comparative literature, looking at major issues in the history and current practice of the discipline as practiced in the USA, with special emphasis on seeing how comparatists enter into ongoing debates concerning theory and method. Several of our faculty will join us for the discussion of their work. Additional readings will include selections from Herder, de Staël, Adorno, Auerbach, de Man, Glissant, Said, Spivak, Apter, Venuti, and Heise.

Required of first-year graduate students in Comparative Literature; open to all graduate students interested in the study of literature in transnational and interdisciplinary perspectives.