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Spring 2016

Pending approval of the Board of Trustees at their November 2015 meeting, all Comparative Literature courses, with the exception of CL 89200 and CTCP 71088, can be taken for 2 or 4 credits. 


C L. 85000 – Television Without Borders: Transnational Perspectives on Prestige Serial Drama - GC:  W, 6:30pm - 10:00pm, 4 credits, Prof. Giancarlo Lombardi

C L. 85500 - Faulkner, Garcia Marquez and the Global South - GC:  T, 4:15 - 6:15 pm, 4 credits, Prof. Jerry Carlson

C L. 89200 – History of Literary Theory and Criticism II - GC:  Th, 6:30pm - 8:30pm, 4 credits, Prof. Bettina Lerner (Cross-listed with FREN 87000)

C L. 80100 - After Theory - GC:  M, 4:15 - 6:15 pm, 4 credits, Prof. Richard Wolin

C L. 85000 - Writers on Literature - GC:  T, 6:30pm - 8:30pm, 4 credits, Prof. Andre Aciman

C L. 88300 - Italian Modernities: Film, Fashion, Nation - GC:  M, 2:00 - 6:00 pm, 4 credits, Prof. Eugenia Paulicelli

CTCP 71088 – Critical Theory: Foundations and Practices - GC:  W, 4:15pm - 6:15pm, 4 credits, Prof. John Brenkman

C L. 88100 - Contextualizing Dante - GC:  M, 6:30-8:30 pm, 4 credits, Prof. Paola Ureni (Cross-listed with MSCP 80500)
 
ANTHRO 80900 (C L. 80100) – Reflections on Psychoanalysis - GC:  W, 2:00pm - 4:00pm, 4 credits, Prof. Professor Vincent Crapanzano

RSCP 82100 (C L. 80900) – Research Tech. in Ren. Studies - GC:  W, 2:00pm - 4:00pm, 4 credits, Prof. Clare Caroll

WSCP 81601 (C L. 80100) – Feminism, Autobiography, Theory: Women Writing - GC:  W, 4:15pm - 6:15pm, 4 credits, Prof. Nancy Miller

MALS 78500 (CL 87000 / MES 78000) – Arabian Nights- GC:  M, 4:15pm - 6:15pm, 3 credits, Prof. Anna Akasoy
 
ENGL 86500 – Postcolonial Poetics: Body, Archive, Memory- GC:  W, 4:15pm - 6:15pm, 4 credits, Prof. Meena Alexander




C L. 85000 – Television Without Borders: Transnational Perspectives on Prestige Serial Drama - GC:  W, 6:30pm - 10:00pm, 4 credits, Prof. Giancarlo Lombardi


Television has enjoyed a creative resurgence in the US, virtually depleting and replacing the once thriving independent film industry. At the same time, the advent of digital platforms such as Netflix, Hulu and Amazon has facilitated the local distribution of foreign serial drama, granting access to productions that were once imagined as strictly bound to a national target of viewers. In Europe, the recent merger of BSkyB, Sky Italia, and Sky Deutschland has led to the restructuring of a media conglomerate that promoted the simultaneous airing of prestige European serial drama across several countries, including the US. The launch of Netflix in 50 countries has not only led to increasing worldwide distribution of American serial drama, but also to the company’s growing investment in the creation of local original series, to be distributed simultaneously all over the world.
 
This course proposes a comparative approach to television drama, through the specific study of prestige serial drama, namely TV series usually connoted by high production values, naturalistic performance style, narrative complexity, stylistic integrity, and committed viewer engagement. Our investigation will be guided by the narratological concerns raised by Jason Mittell in Complex Television, and inflected by the application of theoretical tenets until now largely associated with the study of comparative literature. While maintaining its firm footing in the specific critical tools associated to the study of television, this course grafts onto the study of television questions raised in Pascale Casanova’s World Republic of Letters, investigating serial drama in its global positioning and in its nationalistic investments, identifying its national aesthetics and its political dependencies, its loci of assimilation and its forms of rebellion against dominant paradigms dictated by Hollywood. Pierre Bourdieu’s understanding of power and capital in his study of sites of force(s) and struggle(s) in the field of cultural production, Benedict Anderson’s definition of imagined communities, and Arjun Appadurai’s investigation of imagination as social force in identity creation will all contribute to our reading of a diverse group of television series, analyzed through questions of genre, themes, and format. For the purpose of limiting what is already an incredibly vast field of inquiry, comedies will not be taken into consideration.
 
Series discussed in this course will include Generation War (Germany), The Bridge (Sweden-Denmark & US-Mexico), The Tunnel (France-UK), In Treatment (Israel, US, & Italy), Hatufim (Israel), Borgen (Denmark), Les Revenants (France), Ainsi-soient-ils (France), Gomorrah (Italy), Deutschland 83 (Germany-US), Jordskott (Sweden), Top of the Lake (New Zealand), Salamander (Belgium), Cordon (Belgium), Black Mirror (UK), Broadchurch (UK), Mad Men, Damages, House of Cards, Homeland, The Affair, The Good Wife, The Walking Dead, Breaking Bad, The Sopranos, The Americans, True Detective, American Horror Story. Guest lectures by Professors Ying Zhu and Paul Julian Smith will discuss Chinese and Latin-American serial drama.





C L. 85500 - Faulkner, Garcia Marquez and the Global South - GC:  T, 4:15 - 6:15 pm, 4 credits, Prof. Jerry Carlson


“There is always another way to envision modernity, a way that the violent categories of the political moment deny. Envisioning the other way is one of the things that artists are there to do.” Adam Gopnik
 
Master storytellers from the Americas William Faulkner and Gabriel Garcia Marquez share much more than the Nobel Prize in Literature. They are authors from corners of the Western Hemisphere – the American South and Caribbean Colombia, respectively -- thought to be marginal to the literary mainstream until their arrival as creators of Yoknapatawpha and Macondo. Deeply committed to their regions, they are important because their tales reach beyond literary regionalism. Their formally innovative narratives struggle to express how traditional agrarian societies face the brutal arrival of industrial capitalism in its many avatars. This rich dialectic of narrative form and historical process makes their work enormously attractive to artists from the Global South who see in Yoknapatawpha and Macondo models of their own experiences.
 
By textual analysis the course will explore the relations among the works of the two canonical authors, descendants from their artistic family trees, and theorists of the Global South. Readings from Faulkner and Garcia Marquez may include As I Lay Dying, Absalom! Absalom!, Leaf Storm, and 100 Years of Solitude. Other novels may include Red Sorghum (China) by Mo Yan and On Black Sisters Street (Nigeria) by Chika Unigwe as well as such films as Oriana (Venezuela) by Fina Torres and In the Time of the Gypsies (Serbia) by Emir Kusturica. Theorists under consideration may include Edouard Glissant, Fredric Jameson, Achille Mbembe, Walter Mignolo, and Boaventura de Sousa Santos, among others.
 
While placing narratives and theory together, the course will be guided by the astute observation of Carlos Fuentes: “Art gives life to what history killed.”
 
 
 
 
 
C L. 89200 – History of Literary Theory and Criticism II - GC:  Th, 6:30pm - 8:30pm, 4 credits, Prof. Bettina Lerner (Cross-listed with FREN 8700)


This course offers students an overview of the development and key elements of literary criticism from the late eighteenth century until the present day. We will first examine Enlightenment and nineteenth-century discourses about literature in the context of the emergence of a semi-autonomous cultural field. As we move forward into the twentieth and twenty-first centuries, we will turn our attention to various critical paradigms including psychoanalysis, structuralism, semiotics, deconstruction, feminism, and post-colonialism. We will look at how these various approaches seek to redefine the relationships between aesthetics and politics, authority and authorship, subjectivity and textuality, historicity and materialism, high culture and mass entertainment. Readings will include Kant, Staël, Sainte-Beuve, Eliot, Marx, Nietzsche, Arnold, Freud, Adorno, Benjamin, Barthes, Derrida, Blanchot, Foucault, Kristeva, Cixous, Bourdieu, Rancière, Said, Mbembe, Casanova.
 
 
 
 
 
C L. 80100 - After Theory - GC:  M, 4:15 - 6:15 pm, 4 credits, Prof. Richard Wolin


"Theory" has become historical. 
 
During the 1980s Theory’s cryptic messages and provisos coursed through departments of comparative literature and humanities promising, if always obliquely, a qualitative transformation of our conventional and retrograde intellectual and practical habitudes. Theory traded on the fading aura of 1960s radicalism, implying that, whereas the soixante-huitards ('68ers) had foundered, it would write the next chapter in the Book of Revolution. Its heightened awareness of past failures, nourished by a skepticism vis-à-vis metanarratives, seemingly enhanced its prospects of success.
 
But, when all is said and done, how might one, going forward, define "success"? When the entirety of a tradition is presumptively jettisoned or consigned to desuetude, it is difficult to know exactly where to begin – or to re-begin. Derrida implied that once the demons of logocentrism had been vanquished, life and thought would be permanently and positively transformed. However, both he and his acolytes refrained from pointing out that the thinker who had coined the term "logocentrism" was the well nigh unreadable, proto-fascist German Lebensphilosoph Ludwig Klages (cf. Geist als Widersacher der Seele; 3 vols. 1929-32).
 
In The History of Sexuality, Foucault, mistrusting the allure of collective action, or, in Hannah Arendt's words, "people acting in concert," recommended that we pursue "a different economy of bodies and pleasures," going so far as to invoke - in what can only be described as a prototypical instance of "Orientalism" - the Kama Sutra (sic) by way of illustration. However, in retrospect, this prescription seemed merely to dovetail with the "culture of narcissism" (cf. Christopher Lasch) that succeeded the demise of the contestatory spirit of the 1960s – as such, grist for the mill of an apolitical "lifestyle" or "identity" politics. In other words: an "apolitical politics."
 
Circa 1971, Foucault had internalized the deleterious linkage between "knowledge" and "domination" – or, "power-knowledge" – to the point where he was prepared to abandon both "writing" and "discourse" tout court, having concluded that both were merely expressions of hegemony. If we accept the Nietzschean claim that “truth” is little more than an efflux or manifestation of “power” (as Foucault suggests: “truth isn’t a reward for free spirits . . . it is produced by multiple forms of constraint. It induces regular effects of power. Each society has its regime of truth”), and if all norms are “normalizing,” what, then, is the basis of contestation and critique? Has the concept of emancipation remained meaningful, or must it, too, be cynically consigned to the rubbish heap of lost illusions?
 
The story of French Theory coincides with the reception of Nietzsche and Heidegger's thought in France during the 1950s and 1960s. Here, Deleuze's 1962 book on Nietzsche as well as Foucault's essay, "Nietzsche, Genealogy, and History" (1971) signify important way stations. Deconstruction, for its part, takes its inspiration from Heidegger's appeal in Being and Time for a "destruction of the history of Western ontology." At the outset, we will focus on pivotal German and French texts in order to secure a solid philosophical grounding in Theory's conceptual intricacies. Thereby, in a post-enlightenment spirit, the obscure shall be rendered clear - or, at least, clearer.  
 
Marx once said: "We recognize only one science, the science of history." What, then, might it mean to historicize poststructuralism?
 
Prospective Book/Reading List:
 
Nietzsche, "On Truth and Lies in an Extra-Moral Sense"
Nietzsche, Genealogy of Morals
Heidegger, "Letter on Humanism"
Heidegger, Being and Time (selections)
Derrida, "Structure, Sign and Play in the Discourse of the Human Sciences"
Derrida, "Signature, Event, Context"
Foucault, Discipline and Punish
Foucault, History of Sexuality
Deleuze, What is Philosophy?
Cusset, French Theory
Historicizing Postmodernism
Habermas, Philosophical Discourse of Modernity
 
Books by the Instructor That You May Find of Interest:
 
·      The Politics of Being: The Political Thought of Martin Heidegger (Columbia UP)
·      The Terms of Cultural Criticism: the Frankfurt School, Existentialism, Poststructuralism (Columbia UP)
·      Heidegger's Children: Hannah Arendt, Karl Löwith, Hans Jonas, and Herbert Marcuse (Princeton UP)
·      The Seduction of Unreason: the Intellectual Fascination with Fascism from Nietzsche to Poststructuralism (Princeton UP)
·      The Wind from the East: French Intellectuals, the Cultural Revolution, and the Legacy of the 1960s (Princeton UP)
 
 
 
 

C L. 85000 - Writers on Literature - GC:  T, 6:30pm - 8:30pm, 4 credits, Prof. Andre Aciman

Unlike any course offered at the Graduate Center, this course invites fourteen writers to teach a novel or novella they consider not only important in its own right but also formative to their careers as writers. Paul Auster will teach Hunger by Knut Hamsun; Joshua Cohen, Soul by Andrey Platonov; Stacey D’Erasmo, To the Lighthouse by Virginia Woolf; Francisco Goldman, A House for Mr. Biswas by V.S. Naipaul; Siri Hustvedt, Wuthering Heights by Emily Bronte; Sam Lipsyte, The Living End by Stanley Elkins; Claire Messud, The Confessions of Zeno by Italo Svevo; Rick Moody, The Crying of Lot 49 by Thomas Pynchon; Paul Muldoon, “The Dead” by James Joyce; Richard Price, Last Exit to Brooklyn by Hubert Selby, Jr.; Francine Prose, First Love by Ivan Turgenev; Roxana Robinson, The House of Mirth by Wharton; Judith Thurman,Troubling Love by Elena Ferrante; and André Aciman, Austerlitz by W.G. Sebald.​




 

 

C L. 88300 - Italian Modernities: Film, Fashion, Nation - GC:  M, 2:00 - 6:00 pm, 4 credits, Prof. Eugenia Paulicelli


Homi Bhabha has argued that nations, like narratives, are complex signifying machines that have emerged as a powerful historical idea in the west. Through close analysis of the variety of texts that make up the national fabric the ambivalence and multiplicity of nationhood can be pinpointed. Several studies on nation and narration have appeared in Italy over the last few years (for example by Giulio Bollati, Serena Sapegno, Silvana Patriarca, Francesco Casetti, among others). Going back further in time, Antonio Gramsci also wrote some of his most powerful pages on the cultural difficulties the formation of Italy as a nation state encountered. Italian culture, in general, whether in film, literature or fashion, has also been deeply concerned with the problematic that is the Italian nation. The aim of the present course is to investigate the narratives of nationhood that have accompanied, driven and reflected on Italy’s development as a nation state.  The course will devote a great deal of attention to how the nation’s path modernization brought with it the elaboration of a new aesthetic style that took on concrete form in the cinema, literature and fashion of the nation.
 
The course will be divided into three parts:
Early Cinema with a special focus on the diva film;
The fascist period;
The post-war period and auteuresque cinema;
 
 
 
 
 
CTCP 71088 – Critical Theory: Foundations and Practices - GC:  W, 4:15pm - 6:15pm, 4 credits, Prof. John Brenkman
 
Starting from the tension between Marx and Weber, the seminar will explore debates and developments that inform contemporary theory, focused around salient conflicts in social theory, philosophy, and aesthetics. (1) How do conflicting paradigms of society as system (Luhmann), as norm-governed institutions (Habermas), as symbolic-institutional habitus and practices (Bourdieu), or as actor-networks (Latour) bear on interdisciplinary research? (2) How does the encounter between philosophy and cultural studies illuminate or obscure the political purport of cultural analysis (Žižek, Sloterdijk, Habermas, Laclau, Butler)? (3) How to conceptualize the artwork (or literary text) in its difference from other objects and practices, its immersion in institutions and social networks, its hermeneutical instability and variability, its relation to prevailing forms of “communication” (Heidegger, Deleuze, Luhmann, Harman, and others)?
 
In the course of addressing these three blocs of critical theory, we will reflect on such fundamental concerns as the “linguistic turn” and the “affective turn”; alternative conceptions of “critique” as normative, utopian, or dialectical as well as rejections of critique as a model; the longstanding difference regarding the task of theory to change the world or to interpret it in various ways; and what is meant by “world” in the age of globalization.
 
Texts: Garth and Mills (eds.), From Max Weber; Gilles Deleuze and Félix Guattari, What Is Philosophy?; Martin Heidegger, Poetry, Language, Thought; Pierre Bourdieu and Roger Chartier, The Sociologist and the Historian; Judith Butler, Ernesto Laclau, and Slavoj Žižek, Contingency, Hegemony, Universality; Slavoj Žižek, In Defense of Lost Causes; Peter Sloterdijk, In the World Interior of Capital. Excerpts and essays by Marx, Jürgen Habermas, Niklas Luhmann, Bruno Latour, Seyla Benhabib, Brian Massumi, Graham Harman, and others.
 
 
 
 
 
C L. 88100 - Contextualizing Dante - GC:  M, 6:30-8:30 pm, 4 credits, Prof. Paola Ureni (Cross-listed with MSCP 80500)

This course will read Dante’s Commedia  and highlight its interdisciplinarity through the consideration of different contexts, which frame – or reframe – Dante’s writing. We will consider the Commedia in its necessary relation to other works by Dante, such as the Convivio, the Monarchia, and the Vita Nuova. Furthermore, references to the philosophical and theological debates that crossed medieval Europe will be accompanied by the attention to discourses on – for instance – art, architecture, music, and medicine. Accordingly, we will select specific cantos for deeper analysis, while referencing to the entire corpus of the Commedia. By contextualizing Dante we will investigate the interrelations among different fields of knowledge, and we will explore how they exemplify the anagogical path conveyed by the Commedia, or – more broadly – the contemporary discussion about the definition of the human being and his/her epistemological experience. The relationship between body and soul, matter and intellect, inner and outer dimensions – entailed by the investigation of the individual’s path toward knowledge, and explored through Dante’s works – is crucial to medieval debates about human nature and faculties, and concerns a wide range of discourses, from theological, scientific – even medical – inquiries to theoretical approaches to music. In our analysis of these various contexts, we will consider how linguistic references allude to and connect different disciplines; for instance, a harmonic principle informs the medical notion of bodily balanced complexio, as well as Dante’s political thought through the idea of concordia, or the musicological and cosmological harmony discussed in medieval texts such as Boethius’ De institutione musica. Some of the authors that we will read in dialogue with Dante’s writing include: Augustine, Aristotle, Pseudo-Dionysius, Suger, Boethius, Avicenna, Galen, Thomas Aquinas, Albert the Great. 





ANTHRO 80900 (C L. 80100) – Reflections on Psychoanalysis - GC:  W, 2:00pm - 4:00pm, 4 credits, Prof. Vincent Crapanzano

This seminar attempts to gain a critical perspective on psychoanalysis as both a therapeutic practice and a theory of interpretation that reflects prevailing notions of the psyche through close readings of texts by Freud, Winicott, and Lacan. Emphasis will be placed on the underlying epistemological assumptions of psychoanalytic hermeneutics, on the discursive transactions that it presumes and figures in terms of transference and counter-transference, and on its notions of time, truth, and revelation. Special attention will be given to the rhetoric of the unconscious, to trauma (as a mode of psychic punctuation), and on the application of psychoanalytic interpretation to literary texts, rituals, and other cultural phenomena. Readings will include Freud’s Interpretation of Dreams, several of his case histories, and various metapsychological essays (e.g. “The Unconscious,” Beyond the Pleasure Principle, “The Uncanny,” and Civilization and its Discontents; Winnicott’s Playing and Reality and Holding and Interpretation: A Fragment of Analysis; and selections from Lacan’s Écrits and Seminars (Notably “The Function and Field of Speech and Language in Psychoanalysis,” Four Fundamental Concepts of Psychoanalysis, and The Ethics of Psychoanalysis). As a starting point we will read several chapters of Foucault’s Wrong-Doing/Truth Telling: The Function of Avowal in Justice. 





RSCP 82100 (C L. 80900) – Research Tech. in Ren. Studies- GC:  W, 2:00pm - 4:00pm, 4 credits, Prof. Clare Caroll

The course is designed to help students work on their own research—on the dissertation, the orals, or on a research paper in Renaissance or Early Modern Studies, broadly defined as 1350-1700. Students are not required to be members of the Renaissance Certificate Program to take the class.

We will study how the material conditions of texts influence their transmission and interpretation. Readings will include articles on the history of the book, as well as on literary and cultural history. Students will receive instruction in topics specifically related to research in the early modern period: codicology, paleography, textual editing and analytical bibliography. There will study the history of reading—marginalia, descriptions of reading, and of reading practices. The major assignment for the course is an annotated bibliography.  Other assignments include exercises in paleography, analytical bibliography, and an oral report related to one of the readings. We will visit the Manuscript and Rare Book Collections at the Morgan Library.  On March 30, the seminar will be devoted to a day-long symposium on how to do research in archives in Rome, Paris, Madrid, London, Dublin, and Mexico City. 

Reading list (texts from which weekly readings will be selected):

Roger Chartier, Forms and Meanings: Texts, Performances, and Audiences from Codex to Computer
Raymond Clemens and Timothy Graham, Introduction to Manuscript Study
Elizabeth Eisenstein, The Printing Revolution in Early Modern Europe
Adrian Johns, The Nature of the Book
James A. Knapp, Illustrating the Past in Early Modern England
Andrew Pettegree, The Book in the Renaissance
Armando Petrucci, Writers and Readers in Medieval Italy
Brian Richardson, Manuscript Culture in Renaissance Italy
Bill Sherman, Used Books: Marking Readers in Renaissance England
Articles by Robert Darnton, Anthony Grafton, Lisa Jardine, Arthur Marotti, and Peter Stallybrass.





C L. 80100 – Feminism, Autobiography, Theory: Women Writing - GC:  W, 4:15pm - 6:15pm, 4 credits, Prof. Nancy Miller
 
Feminist theorizing has long been entangled with autobiographical practices. In this seminar, we will explore texts from different literary genres that all deploy what we might call a “feminist I.” Memoir, testimony, poetry, essay, or fiction, in each instance the “I” bears witness to circumstances and desires that are not simply singular, but also transpersonal and collective. Through what literary strategies do these writers make connections between “I” and “we,” story and life, aesthetics and politics?
 
Readings include: Adichie, Beauvoir, Bechdel, Cixous, Dangarembga, Delbo, Feinberg, Gay, Hartman, Kristeva, Lorde, Menchu, Rankine, Rich, Satrapi, and, as always, Woolf.
 
Work for the course: weekly written responses, one in-class presentation, final paper.
 



 
MALS 78500 (CL 87000 / MES 78000) – Arabian Nights- GC:  M, 4:15pm - 6:15pm, 3 credits, Prof. Anna Akasoy

This course offers an introduction to the history and literary features of the example of the Arabian Nights as well as to its literary and visual adaptations. For the purposes of this course, the Arabian Nights will be treated as an open corpus which continues to expand and transform in a variety of cultural contexts and formats. We will be reading stories from the Arabian Nights in different English translations and discuss a variety of academic publications, but also take into consideration modern artistic interpretations, including examples from literature, the visual arts, film and theater. These comparative exercises will shed light on the continuing appeal of the Arabian Nights and assist us in contextualizing specific developments of the Nights within their respective historical environments.

 


We will begin by tracking the development of the text and its visual adaptations, beginning with the earliest stories and compilations in India and Persia, continuing with the first Arabic compilation in Iraq and expansions in Syria in the medieval period, proceeding with the introduction to western Europe by way of Galland’s early eighteenth-century French translation, and concluding with the Arabian Nights as a global phenomenon. We will discuss the institutional, intellectual and cultural circumstances which allowed for this transmission as well as account for different interpretations and adaptations. After exploring formal elements of the Arabian Nights (such as the story within a story, the significance of poetry, the classification as fairy tales, and the element of performance and story-telling), we will focus on major themes in the Arabian Nights and their adaptations in modern literature (morality, religion, magic, and power). We will discuss the appeal of the character of Shahrazad, paying attention to psychoanalytical and feminist interpretations and conclude with a discussion of the Arabian Nights in film and on stage and the impact of different media on the manner the stories are told.





ENGL 86500 – Postcolonial Poetics: Body, Archive, Memory- GC:  W, 4:15pm - 6:15pm, 4 credits, Prof. Meena Alexander

 

Using a range of texts -- poetry, fiction, theory -- we will explore questions of embodiment , affect, gender, sexuality and the search for voice in the face of racial violence, spatial dislocation and temporal ruptures. How might we connect archival knowledge in its sometimes ruined materiality with the intensely personal task of textual self-construction? We will think about cultural memory and the archive it generates ; the function of art in a time of difficulty; acts of autobiographical meaning –making ; radical untranslatability.We will trace South-South connections (Wright, Manto); sexuality, trauma and race in contemporary American women poets (Cha, Rankine); exile, diaspora, fractured identities (Naipaul, Rushdie); Indian Ocean cosmopolitanisms (Gandhi, Ghosh, Ananda Devi). We will read Fanon’s `Colonial Wars and Mental Disorders’, Djebar’s `Forbidden Gaze, Severed Sound’ and Mahasveta Devi’s short stories as well as selections from Dalit writers. We will have readings from theorists such as Appadurai, Debord, Derrida, Glissant, Guha, Lowe, Merleau-Ponty, Moten, Spivak, Stoler and others. This course will be run as a seminar with weekly readings and student presentations and a final research paper. Books for purchase will be on order at Book Culture, 536 W 112 St (between Broadway and Amsterdam): Theresa Cha, Dictee; Mahasveta Devi, Imaginary Maps; Assia Djebar, Women of Algiers in Their Apartment; Frantz Fanon, Wretched of the Earth; Amitav Ghosh, Antique Land; V.S.Naipaul, Enigma of Arrival; Claudia Rankine, Citizen; Salman Rushdie, Satanic Verses. Other materials will be uploaded into the course dropbox.