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Office: Building 260, Room 117
Mail Code: 94305-2031
Phone: (650) 723-3566
Email: comparativelit@stanford.edu
Web Site: http://complit.stanford.edu

Courses offered by the Department of Comparative Literature are listed under the subject code COMPLIT on the Stanford Bulletin's ExploreCourses web site.

The Department of Comparative Literature offers courses in the history and theory of literature through comparative approaches. The department accepts candidates for the degrees of Bachelor of Arts and Doctor of Philosophy. The department is a part of the Division of Literatures, Cultures, and Languages.

The field of Comparative Literature provides students the opportunity to study imaginative literature in a wide array of contexts: historical, formal, theoretical, and more. While other literary disciplines focus on works of literature within national or linguistic traditions, Comparative Literature draws on multiple contexts in order to examine the nature of literary phenomena from around the globe and from different historical moments, while exploring how literature interacts with other elements of culture and society. We study fictional narratives, performance, and poetry as well as cinema, music, and emerging aesthetic media.

Along with the traditional models of comparative literature that compare two or more national literary cultures and examine literary phenomena in light of literary theory, the department encourages study of the relationship between literature and philosophy and the enrichment of literary study with other disciplinary methodologies. Comparative Literature also encourages the study of aspects of literature that overgo national boundaries, such as transnational literary movements or the creative adaptation of particular genres to local cultures. In each case, students emerge from the program with enhanced verbal and writing skills, a command of literary studies, the ability to read analytically and critically, and a more global knowledge of literature.

Mission of the Undergraduate Program in Comparative Literature

The mission of the undergraduate program in Comparative Literature is to develop students’ verbal and written communication skills, their ability to read analytically and critically, and their global knowledge of literary cultures and the specific properties of literary texts. The program provides students with the opportunity to study imaginative literature with several methods and a consciousness of methodology.

Along with providing core courses that introduce students to major literary phenomena in a comparative frame, our program of study accommodates the interests of students in areas such as specific geographic regions, historical periods, and interdisciplinary connections between literature and other fields such as philosophy, music, the visual arts, gender and queer theory, and race and ethnicity. A Comparative Literature major prepares a student as a reader and interpreter of literature through sophisticated examination of texts and the development of a critical vocabulary with which to discuss them. Attention to verbal expression and interpretive argument serves students who will proceed into careers requiring strong language and communication skills and cross-cultural knowledge of the world.

Learning Outcomes (Undergraduate)

The department expects undergraduate majors in the program to be able to demonstrate the following learning outcomes. These learning outcomes are used in evaluating students and the department's undergraduate program. Students are expected to demonstrate:

  1. the ability to interpret a literary text in a non-native language or to compare literary texts from different linguistic traditions, which may be read in translation.
  2. a self-reflective understanding of the critical process necessary to read and understand texts.
  3. skills in writing effectively about literature.
  4. skills in oral communication and public speaking about literature.

Graduate Programs in Comparative Literature

The department offers a Doctor of Philosophy and a Ph.D. minor in Comparative Literature.

Learning Outcomes (Graduate)

Through completion of advanced course work and rigorous skills training, the doctoral program prepares students to

  1. make original contributions to the knowledge of Comparative Literature and to interpret and present the results of such research,
  2. teach literary analysis and interpretation at all levels with broad historical, cultural and linguistic understanding, and
  3. apply such analysis, interpretation and understanding to a range of fields and vocations.

Bachelor of Arts in Comparative Literature

The major in Comparative Literature requires students to enroll in a set of core courses offered by the department, to complete electives in the department, and to enroll in additional literature courses, or other courses approved by the Chair of Undergraduate Studies, offered by other departments. This flexibility to combine literature courses from several departments and to address literature from multiple traditions is the hallmark of the Comparative Literature major. Students may count courses which read literature in translation; however, students, and especially those planning to pursue graduate study in Comparative Literature, are encouraged to develop a command of non-native languages.

Declaring the Major

Students declare the major in Comparative Literature through Axess. Students should meet with the Chair of Undergraduate Studies to discuss appropriate courses and options within the major, and to plan the course of study. Majors are also urged to attend department events such as public talks and conferences.

Advising

Upon declaring the major, each student is assigned an adviser by the Chair of Undergraduate Studies. Students should consult with their advisers at least once a quarter.  While the chair monitors progress to completion of the degree, the adviser oversees the student's general intellectual development and offers advice about courses and projects. Students are also encouraged to develop relationships with other faculty members who may act as mentors.

Overseas Campuses and Abroad Programs

The Department of Comparative Literature encourages time abroad, both for increased proficiency in language and the opportunity for advanced course work. Course work done at campuses other than Stanford is counted toward the major at the discretion of the Chair of Undergraduate Studies and is contingent upon the Office of the University Registrar's approval of transfer credit. To that end, students abroad are advised to save syllabi, notes, papers, and correspondence.

Degree Requirements

All majors in Comparative Literature (including honors) are required to complete the following requirements. All courses applied to the major must be taken for a letter grade, and a grade point average (GPA) of 2.0 or better must be achieved in each core course.

  1. COMPLIT 101 What Is Comparative Literature?. This gateway to the major is normally taken by the end of sophomore year. It provides an introduction to literature and its distinctions from other modes of linguistic expression, and a fundamental set of interpretive skills. This course fulfills the Writing in the Major requirement.
  2. Core Courses (5 units each)
    Students should complete these courses as soon as possible. Each course draws on examples from multiple traditions to ask questions about the logic of the individual genres.
    Units
    COMPLIT 121Poems, Poetry, Worlds5
    COMPLIT 122Literature as Performance5
    COMPLIT 123The Novel and the World5
  3. COMPLIT 199. This senior seminar is designed as a culmination to the course of study while providing reflection on the nature of the discipline. Topics vary.
  4. Electives: Majors must complete at least 40 units of electives. 15 of the 40 units must be COMPLIT courses. The remaining courses should form a coherent intellectual focus requiring approval from the Chair of Undergraduate Studies and may be drawn from Comparative Literature offerings, from other literature departments, or from other fields of interdisciplinary relevance.  Up to 10 units of Thinking Matters or SLE courses may be counted towards the elective requirement.  Electives are subject to adviser consultation and approval.
  5. Total unit load: Students must complete course work for a total of at least 65 units.

Philosophical and Literary Thought

Undergraduates may major in Comparative Literature and Philosophy. The Philosophy specification is not declared in Axess and does not appear on either the transcript or the diploma. Students in this option take courses alongside students from other departments that also have specialized options associated with the program for the study of Philosophical and Literary Thought. Each student in this option is assigned an adviser in Comparative Literature, and student schedules and courses of study must be approved in writing by the adviser, the Chair of Undergraduate Studies of Comparative Literature, and the Chair of Undergraduate Studies of the program. See the Philosophy + Literature @ Stanford web site.

A total of 65 units must be completed for this option, including the following requirements:

  1. Seven courses taught by Comparative Literature faculty. Of the seven, the following five (5 units each) are required courses:
    Units
    COMPLIT 101What Is Comparative Literature?5
    COMPLIT 121Poems, Poetry, Worlds5
    COMPLIT 122Literature as Performance5
    COMPLIT 123The Novel and the World5
    The remaining two courses must be instructed by Comparative Literature faculty and approved by the Chair of Undergraduate Studies. Up to five units of SLE may be counted in lieu of one of these two courses.
    COMPLIT 199Senior Seminar5
  2. Philosophy and Literature Gateway Course (4 units): COMPLIT 181 Philosophy and Literature. This course should be taken as early as possible in the student's career, normally in the sophomore year.
  3. Philosophy Writing in the Major (5 units): PHIL 80 Mind, Matter, and Meaning. Prerequisite: introductory philosophy course.
  4. Aesthetics, Ethics, Political Philosophy (ca. 4 units): One course from the PHIL 170 series.
  5. Language, Mind, Metaphysics, and Epistemology (ca. 4 units): One course from the PHIL 180 series.
  6. History of Philosophy (ca. 8 units): Two courses in the history of philosophy, numbered above PHIL 100. Up to five units of SLE may be counted in lieu of one of these two courses.
  7. Related Courses (ca. 8 units): Two upper division courses relevant to the study of philosophy and literature as identified by the committee in charge of the program. A list of approved courses is available from the undergraduate adviser of the Program in Philosophical and Literary Thought.
  8. One course, typically in translation, in a literature distant from that of the student's concentration and offering an outside perspective on that literary tradition.
  9. Capstone Seminar (ca. 4 units): In addition to COMPLIT 199 Senior Seminar, students take a capstone seminar of relevance to philosophy and literature approved by the undergraduate adviser of the Program in Philosophical and Literary Thought. The student's choice of a capstone seminar must be approved in writing by the Chair of Undergraduate Studies of Comparative Literature and by the Chair of Undergraduate Studies of the program. Offered this year are:
Units
ITALIAN 236EDante's "Purgatorio" and "Paradiso"4-5
COMPLIT 223Literature and Human Experimentation3-5
PHIL 194WCapstone Seminar: Literature and the Moral Imagination4
  1. Seminar Paper Requirement: Students must write at least one seminar paper that is interdisciplinary in nature. This paper brings together material from courses taken in philosophy and literature, and may be an honors paper (see below), an individual research paper (developed through independent work with a faculty member), or a paper integrating materials developed for two separate courses (by arrangement with the two instructors). Though it may draw on previous course work, the paper must be an original composition, 18-20 pages in length. It must be submitted to the Chair of Undergraduate Studies and receive approval no later than the end of Winter Quarter in the fourth year of study.

At least two of the courses counted toward requirements 1, 2, 7, 8, and 9 must be taught by Comparative Literature faculty. Transfer units may not normally be used to satisfy requirements 2, 3, 4, 5, 6 and 9. Units devoted to acquiring language proficiency are not counted toward the 65-unit requirement.

Honors Program

Comparative Literature majors with an overall grade point average (GPA) of 3.3 or above, and who maintain a 3.5 (GPA) in major courses, are eligible to participate in the DLCL's honors program. Prospective honors students must choose a senior thesis adviser from among their home department's regular faculty, in their junior year, preferably by March 1, but no later than May 1. During Spring Quarter of the junior year, a student interested in the honors program should consult with the Chair of Undergraduate Studies of their home department to submit a thesis proposal (2-5 pages), DLCL Honors application and an outline of planned course work for their senior year.

Honors papers vary considerably in length as a function of their topic, historical scope, and methodology. They may make use of previous work developed in seminars and courses, but display an enhanced comparative or theoretical scope. Quality rather than quantity is the key criterion. Honors theses range from 40-90 pages not including bibliography and notes. Please consult the DLCL Honors Handbook for more details on declaring and completing the honors thesis.

Honors students are encouraged to participate in the honors college hosted by Bing Honors College and coordinated by the Division of Literatures, Cultures, and Languages. The honors college is offered at the end of the summer, during the weeks directly preceding the start of the academic year, and is designed to help students develop their honors thesis projects. Applications must be submitted through the Bing program. For more information, view the Bing Honors website.

Enrollment: A minimum of 10 units total, described below, and a completed thesis is required. Honors essays are due to the thesis adviser no later than 5:00 p.m. on May 15th of the terminal year. If an essay is found deserving of a grade of 'A-' of better by the thesis adviser, honors are granted at the time of graduation.

  1. Spring Quarter of the junior year (optional): DLCL 189C Honors Thesis Seminar, 2-4 units S/NC, under the primary thesis adviser. Drafting or revision of the thesis proposal. The proposal is reviewed by the Chair of Undergraduate Studies and the Director of the department and will be approved or returned for submission.
  2. Autumn Quarter of the senior year (required): DLCL 189A Honors Thesis Seminar, 4 units S/NC, taught by a DLCL appointed faculty member. Course focuses on researching and writing the honors thesis.
  3. Winter Quarter of the senior year (required): DLCL 189B Honors Thesis Seminar, 2-4 units letter grade, under the primary thesis adviser. Focus is on writing under guidance of primary adviser.  The letter grade will determine if honors is granted or not.
  4. Spring quarter of the senior year (option; mandatory if not taken during junior year): DLCL 189C Honors Thesis Seminar, 2-4 units S/NC, under the primary thesis adviser. Honors essays are due to the thesis adviser and Student Service Officer no later than 5:00 p.m. on May 15th of the terminal year.
  5. Spring Quarter of the senior year (required) DLCL 199 Honors Thesis Oral Presentation, 1 unit S/NC.  Enroll with primary thesis adviser.

Joint Major Program: Comparative Literature and Computer Science

The joint major program (JMP), authorized by the Academic Senate for a pilot period of six years beginning in 2014-15, permits students to major in both Computer Science and one of ten Humanities majors. See the "Joint Major Program" section of this bulletin for a description of University requirements for the JMP. See also the Undergraduate Advising and Research JMP web site and its associated FAQs.

Students completing the JMP receive a B.A.S. (Bachelor of Arts and Science).

Because the JMP is new and experimental, changes to procedures may occur; students are advised to check the relevant section of the bulletin periodically.

Comparative Literature Major Requirements in the Joint Major Program

See the "Computer Science Joint Major Program" section of this bulletin for details on Computer Science requirements.

Degree Requirements

All majors in Comparative Literature (including honors) are required to complete the following requirements. All courses applied to the major must be taken for a letter grade, and a grade of 'C' or better must be achieved in each core course.

  1. COMPLIT 101 What is Comparative Literature?. This gateway to the major is normally taken by the end of sophomore year. It provides an introduction to literature and its distinctions from other modes of linguistic expression, and a fundamental set of interpretive skills. This course fulfills the Writing in the Major requirement.
  2. Core Courses (5 units each)
    Students should complete these courses as soon as possible. Each course draws on examples from multiple traditions to ask questions about the logic of the individual genres.
Units
COMPLIT 121Poems, Poetry, Worlds5
COMPLIT 122Literature as Performance5
COMPLIT 123The Novel and the World5

3. COMPLIT 199 Senior Seminar: This senior seminar is designed as a culmination to the course of study while providing reflection on the nature of the discipline. Topics vary.

4. Capstone Project: Senior year, the student enrolls in a 2-unit independent study DLCL 299 with a DLCL faculty member. The faculty member advising this project must sign off on this description. In order to have it approved as their capstone Comparative Literature and Computer Science project, the student   must submit a description of the project to the Chair of Undergraduate Studies in Comparative Literature by May 15 of their junior year or no later than October 1 of their senior year.

5. Electives: Majors must complete at least 28 units of electives. 15 of the 28 units must be COMPLIT courses. The remaining courses should form a coherent intellectual focus requiring approval from the Chair of Undergraduate Studies and may be drawn from Comparative Literature offerings, from other literature departments, or from other fields of interdisciplinary relevance.  Up to 10 units of Thinking Matters or SLE courses may be counted towards the elective requirement.  Electives are subject to adviser consultation and approval.

Declaring a Joint Major Program

To declare the joint major, students must first declare each major through Axess, and then submit the Declaration or Change of Undergraduate Major, Minor, Honors, or Degree Program. The Major-Minor and Multiple Major Course Approval Form is required for graduation for students with a joint major.

Dropping a Joint Major Program

To drop the joint major, students must submit the Declaration or Change of Undergraduate Major, Minor, Honors, or Degree Program. . Students may also consult the Student Services Center with questions concerning dropping the joint major.

Transcript and Diploma

Students completing a joint major graduate with a B.A.S. degree. The two majors are identified on one diploma separated by a hyphen. There will be a notation indicating that the student has completed a "Joint Major".  The two majors are identified on the transcript with a notation indicating that the student has completed a "Joint Major".

Minor in Comparative Literature

The undergraduate minor in Comparative Literature represents an abbreviated (22 unit minimum) version of the major. It is designed for students who are unable to pursue the major, but who nonetheless seek an opportunity to gain a deeper understanding of literature. Plans for the minor should be discussed with the Chair of Undergraduate Studies. All courses must be taken for a letter grade. Up to 5 units of SLE or Independent Study may count towards one of the four additional Comparative Literature courses with approval from the Chair of Undergraduate Studies. Requirements for the minor in Comparative Literature include:

Units
COMPLIT 101What Is Comparative Literature?5
Select one of the following:5
Poems, Poetry, Worlds
Literature as Performance
The Novel and the World
At least four other Comparative Literature courses.12-20

Minor in Modern Languages

The Division of Literatures, Cultures, and Languages offers an undergraduate minor in Modern Languages. This minor draws on literature and language courses offered in this and other literature departments. See the "Literatures, Cultures, and Languages" section of this bulletin for requirements.

Doctor of Philosophy in Comparative Literature

University requirements for the Ph.D. are described in the "Graduate Degrees" section of this bulletin.

The Ph.D. program is designed for students whose linguistic background, breadth of interest in literature, and curiosity about the problems of literary scholarship and theory (including the relation of literature to other disciplines) make this program more appropriate to their needs than the Ph.D. in one of the national literatures. Students take courses in at least three literatures (one may be that of the native language), to be studied in the original. The program is designed to encourage familiarity with the major approaches to literary study prevailing today.

Before starting graduate work at Stanford, students should have completed an undergraduate program with a strong background in one literature and some work in a second literature studied in the original language. Since the program demands an advanced knowledge of two non-native languages and a reading knowledge of a third non-native language, students should at the time of application have an advanced enough knowledge of one of the three to take graduate-level courses in that language when they enter the program. They should be making enough progress in the study of a second language to enable them to take graduate courses in that language not later than the beginning of the second year, and earlier if possible. Language courses at the 100- or 200- level may be taken with approval from the Director of the department or the Chair of Graduate Studies. Applicants are expected to take an intensive course in the third language before entrance.

Students are admitted under a financial plan that attempts to integrate financial support and completion of residence requirements with their training as prospective university teachers. Assuming satisfactory academic progress, fellowship support as a Ph.D. student is for five years.

Application Procedures

Competition for entrance into the program is extremely keen. The program is kept small so that students have as much opportunity as possible to work closely with faculty throughout the period of study. Applicants should review all course and examination requirements, advancement requirements, and teaching obligations carefully before applying to the program. Because of the special nature of comparative literary studies, the statement of purpose included in the application for admission must contain the following information:

  1. A detailed description of the applicant's present degree of proficiency in each of the languages studied, indicating the languages in which the applicant is prepared to do graduate work at present and outlining plans to meet additional language requirements of the program.
  2. A description of the applicant's area of interest (for instance, theoretical problems, genres, periods) within literary study and the reasons for finding comparative literature more suitable to his or her needs than the study of a single literature. Applicants should also indicate their most likely prospective primary field, including the literatures on which they intend to concentrate.
  3. An explanation of how the applicant’s undergraduate education has prepared her or him for work in our program. If there are any gaps in the applicant’s preparation, a plan to address those gaps should be discussed.
  4. The applicant’s reasons for wishing to study in the department.
  5. The results of the general section of the Graduate Record Examination. These results should be sent to Stanford University, ETS code 4704.
  6. A letter of recommendation that focuses on the applicant's language skills, or a current ACTFL Oral Proficiency Interview (OPI) certificate, or a critical paper written in a non-native language.
  7. Recommendations from faculty members in at least two of the literatures in which the student proposes to work, if possible. 
  8. An undergraduate term paper that the candidate considers to represent his or her best work, preferably demonstrating a comparative analysis.

For further information see the Graduate Admissions web site.

Degree Requirements

A candidate for the Ph.D. degree must complete three years (nine quarters) of full-time work, or the equivalent, in graduate study beyond the bachelor's degree. The student must take 135 units of graduate work and submit the doctoral dissertation. At least three consecutive quarters of course work must be taken at Stanford.

Languages

Students must present three non-native languages, two of them sufficiently to qualify for graduate courses in these languages and the third sufficiently to demonstrate the ability to read a major author in this language. Two languages are certified by graduate-level course work specified below. Only the third language may be certified by examination. Language preparation must be sufficient to support graduate-level course work in at least one language during the first year and in the second language during the second year. Students must demonstrate a reading knowledge of the third non-native language no later than the beginning of the third year.

Literatures in the same language (such as Spanish and Spanish American) are counted as one. One of the student's three literatures usually is designated as the primary field, the other two as secondary fields, although some students may offer two literatures at the primary level (six or more graduate courses).

Teaching

Whatever their sources of financial support, students are normally expected to undertake a total of five quarters of supervised apprenticeships and teaching at half time. Students must complete those pedagogy courses required by the departments in which they teach. 

Minimum Course Requirements

Students are advised that the range and depth of preparation necessary to support superior work on the dissertation, as well as demands in the present professional marketplace for coverage of both traditional and interdisciplinary areas of knowledge, render these requirements as bare minimums. The following are required: 

  1. Required Courses:
    Units
    COMPLIT 369Introduction to the Profession of Literary Studies1-2
    DLCL 301The Learning and Teaching of Second Languages3
  2. A sufficient number of courses (six or more) in the student's primary field to assure knowledge of the basic works in one national literature from its beginnings until the present.
  3. At least two additional complementary courses, with most of the reading in the original, in each of two different national literatures. Students whose primary field is a non-native language are required to take two courses in one additional literature not their own.

Minimum course requirements must be completed before the student is scheduled to take the University oral examination. These requirements are kept to a minimum so that students have sufficient opportunity to seek out new areas of interest. A course is an offering of 3-5 units. Independent study may take the place of up to two of the required courses, but no more; no undergraduate courses may be counted toward the required 135 credits. Courses should be taken for letter grades when the option is available.

The principal conditions for continued registration of a graduate student are the timely and satisfactory completion of the university, department, and program requirements for the degree, and fulfillment of minimum progress requirements. Failure to meet these requirements results in corrective measures that may include a written warning, academic probation, and/or the possible release from the program.

Dissertation Reading Committee

Every doctoral dissertation is read and approved by the three members of the student’s doctoral dissertation reading committee. The doctoral dissertation reading committee consists of the principal dissertation adviser and, typically, two other readers. The doctoral dissertation reading committee must have no fewer than three and no more than five members. At least one member must be from the student’s major department. Normally, all committee members are members of the Stanford University Academic Council or are emeritus Academic Council members. The student's department chair may, in some cases, approve the appointment of a reader who is not a current or emeritus member of the Academic Council, if that person is particularly well qualified to consult on the dissertation topic and holds a Ph.D. or equivalent degree. Former Stanford Academic Council members and non-Academic Council members may thus, on occasion, serve on a reading committee. A non-Academic Council member (including former Academic Council members) may replace only one of three required members of dissertation reading committees. If the reading committee has four or five members, at least three members (comprising the majority) must be current or emeritus members of the Academic Council.

Examinations

Three examinations are required.  The first two are one hour in duration. The first of these two is taken at the end of the student’s first year of study, the second at the start of the second year. Students should meet with the members of the exam committee to discuss their plans. The first examination is on literary genre, designed to demonstrate the student's knowledge of a substantial number of literary works in a single genre, ranging over several centuries and over at least three national literatures. This exam is also designed to demonstrate the student's grasp of the theoretical problems involved in his or her choice of genre and in the matter of genre in general. The second of these examinations is on literary theory and criticism, designed to demonstrate the student's knowledge of a particular problem in the history of literary theory and criticism, or the ability to develop a particular theoretical position. In either case, this exam should demonstrate wide reading in theoretical and critical texts from a variety of periods. The third and last is the University oral examination, which covers a literary period, to consist of in-depth knowledge of a period of about a century in three or more literatures with primary emphasis on a single national literature or, in occasional cases, two national literatures.

  1. First One-Hour Examination: The genre exam is generally administered at the beginning of the spring quarter of the student's first year. All first-year students take the exam during the same period, with an examination committee established by the department. Exam lists should be approved by the Chair of Graduate Studies well in advance. Students are urged to focus on poetry, drama, or narrative (including the novel), combining core recommendations from the department with selections from their own areas of concentration. Any student who does not pass the exam has the opportunity to retake it prior to the end of the same spring quarter. Students who do not pass this exam a second time may be dismissed from the program.
  2. Second One-Hour Examination: The theory exam is administered in the autumn quarter of the student's second year. All second-year students take the exam during the same period, with an examination committee established by the department. Exam lists should be approved by the Chair of Graduate Studies well in advance. Any student who does not pass the exam has the opportunity to retake the exam the second week of the winter quarter. Students who do not pass this exam a second time may be dismissed from the program.
  3. University Oral Examination: Students are required to take this exam during the autumn quarter of their third year. The oral exam is individually scheduled, with a committee established by the student in consultation with the Chair of Graduate Studies. The reading list covers chiefly the major literary texts of a period of approximately one hundred years but may also include some studies of intellectual backgrounds and modern critical discussions of the period. Students must demonstrate a grasp of how to discuss and define this period as well as the concept of periods in general. This examination is to be not on the dissertation topic, on a single genre, or on current criticism, but rather on diverse works from the period. Students whose course work combines an ancient with a modern literature have the option of dividing the period sections into two wholly separate periods.

Qualifying Procedures

Candidacy

Admission to candidacy is an important decision by the department based on its overall assessment of a student’s ability to successfully complete the Ph.D. program. According to University policy, students are expected to complete department qualifying procedures and apply for candidacy by the end of the second year in residence. In reviewing a student for admission to candidacy, the faculty considers a student’s academic progress including but not limited to: advanced language proficiency, course work, performance on the qualifying (i.e. genre) examination, and successful completion of teaching and research assistantships. A student must also have completed at least 3 units of work with each of four Stanford faculty members before consideration for candidacy. In addition to successful completion of department prerequisites, a student is admitted to candidacy only if the faculty makes the judgment that the student has the potential to successfully complete the requirements of the degree program. Candidacy is determined by faculty vote. Failure to advance to candidacy results in the dismissal of the student from the doctoral program. Candidacy is valid for five years and students are required to maintain active candidacy through conferral of the doctoral degree. All requirements for the degree must be completed before candidacy expires. The department conducts regular reviews of each student’s academic performance, both before and after successful admission to candidacy. Failure to make satisfactory progress to degree may result in dismissal from the doctoral program. Additional information about University candidacy policy is available in the Bulletin and GAP.

Yearly Review

The faculty provide students with timely and constructive feedback on their progress toward the Ph.D. Yearly reviews provide a general assessment and identify developing problems that could impede progress. In most cases, students are simply given constructive feedback, but if more serious concerns warrant, a student may be placed on probation with specific guidelines for addressing the problems. Possible outcomes of the yearly review include (1) continuation of the student in good standing, or (2) placing the student on probation, with specific guidelines for the period on probation and the steps to be taken in order to be returned to good standing. For students on probation at this point (or at any other subsequent points), possible outcomes of a review include: (1) restoration to good standing; (2) continued probation, again with guidelines for necessary remedial steps; or (3) termination from the program. Students leaving the program at the end of the first or second year are usually allowed to complete the requirements to receive an M.A. degree, if this does not involve additional residency or financial support.

Prospectus Colloquium

The prospectus colloquium normally takes place during the spring of the third year. No later than one week before the colloquium, the student should furnish the committee with a prospectus of about ten pages, a twenty-page draft of a chapter, and a working bibliography of primary and secondary sources. The colloquium lasts one hour, begins with a brief introduction to the dissertation prospectus by the student lasting no more than ten minutes, and consists of a discussion of the prospectus by the student and the three readers of the dissertation. At the end of the hour, the faculty readers vote on the outcome. If the outcome is favorable by majority vote, the student is free to proceed with work on the dissertation. If the proposal is found to be unsatisfactory by majority vote, the dissertation readers may ask the student to revise and resubmit the dissertation prospectus and to schedule a second colloquium.

The prospectus must be prepared in close consultation with the dissertation adviser during the months preceding the colloquium. It should offer a synthetic overview of the dissertation, describe its methodology and the project's relation to past scholarship on the topic, and lay out a complete plan of the chapters.

It is the student's responsibility to arrange the colloquium no later than the first half of the next quarter after the student has passed the University oral examination. The student should set the date and time in consultation with the department administrator and with the three examiners. The department administrator schedules an appropriate room for the colloquium.

Members of the dissertation reading committee are normally drawn from the University oral examination committee.

Ph.D. Minor in Comparative Literature

This minor is designed for students working toward the Ph.D. in the various national literature departments. Students working toward the Ph.D. in English are directed to the program in English and Comparative Literature described among the Department of English offerings. Students must have:

  1. A knowledge of at least two non-native languages, one of them sufficient to qualify for graduate-level courses in that language, the second sufficient to read a major author in the original language.
  2. A minimum of six graduate courses, of which three must be in the department of the second literature and three in the Department of Comparative Literature, the latter to include a seminar in literary theory or criticism. At least two of the three courses in comparative literature should originate in a department other than the one in which the student is completing the degree. Except for students in the Asian languages, students must choose a second literature outside the department of their major literature.

Faculty in Comparative Literature

Emeriti: (Professors) John Freccero, Hans U. Gumbrecht, Herbert Lindenberger, Elisabeth Mudimbe-Boyi, Mary Pratt

Director: Roland Greene

Chair of Graduate Admissions: Roland Greene

Chair of Graduate Studies: Roland Greene

Chair of Undergraduate Studies: Roland Greene (Autumn), Alexander Key (Winter, Spring)

Professors: Vincent Barletta (also Iberian and Latin American Cultures), John Bender (also English) (on leave Autumn), Russell Berman (also German Studies), Margaret Cohen (also English) (on leave), Adrian Daub (also German Studies), Amir Eshel (also German Studies), Roland Greene (also English), Joshua Landy (also French and Italian), David Palumbo-Liu, Patricia Parker (also English), Joan Ramon Resina (also Iberian and Latin American Cultures), José David Saldívar,  Ramón Saldívar (also English), Ban Wang (also East Asian Languages and Cultures)

Associate Professors: Monika Greenleaf (also Slavic Languages and Literatures), Haiyan Lee (also East Asian Languages and Cultures), Indra Levy (also East Asian Languages and Cultures) (on leave)

Assistant Professor: Marie Huber (on leave Autumn, Winter), Alexander Key (on leave Autumn), Alvan Ikoku (also Medicine)

Senior Lecturer: Vered K. Shemtov

Lecturers:  Petra Dierkes-Thrun, Burcu Karahan

Courtesy Professor: Nancy Ruttenburg

Adjunct Professor: Timothy J. Reiss (Autumn, Winter)

Courses

COMPLIT 10N. Shakespeare and Performance in a Global Context. 3 Units.

Preference to freshmen. The problem of performance including the performance of gender through the plays of Shakespeare. In-class performances by students of scenes from plays. The history of theatrical performance. Sources include filmed versions of plays, and readings on the history of gender, gender performance, and transvestite theater. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.

COMPLIT 11Q. Shakespeare, Playing, Gender. 3 Units.

Preference to sophomores. Focus is on several of the best and lesser known plays of Shakespeare, on theatrical and other kinds of playing, and on ambiguities of both gender and playing gender. Note: This course must be taken for a letter grade to be eligible for WAYS credit.

COMPLIT 37Q. Zionism and the Novel. 3 Units.

At the end of the nineteenth century, Zionism emerged as a political movement to establish a national homeland for the Jews, eventually leading to the establishment of the State of Israel in 1948. This seminar uses novels to explore the changes in Zionism, the roots of the conflict in the Middle East, and the potentials for the future. We will take a close look at novels by Israelis, both Jewish and Arab, in order to understand multiple perspectives, and we will also consider works by authors from the North America and from Europe. Note: This course must be taken for a letter grade to be eligible for WAYS credit.
Same as: JEWISHST 37Q

COMPLIT 51Q. Comparative Fictions of Ethnicity. 4 Units.

We may "know" "who" we "are," but we are, after all, social creatures. How does our sense of self interact with those around us? How does literature provide a particular medium for not only self expression, but also for meditations on what goes into the construction of "the Self"? After all, don't we tell stories in response to the question, "who are you"? Besides a list of nouns and names and attributes, we give our lives flesh and blood in telling how we process the world. Our course focuses in particular on this question--Does this universal issue ("who am I") become skewed differently when we add a qualifier before it, like "ethnic"? Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Same as: AMSTUD 51Q, CSRE 51Q

COMPLIT 55N. Batman, Hamilton, Díaz, and Other Wondrous Lives. 3-5 Units.

This seminar concerns the design and analysis of imaginary (or constructed) worlds for narratives and media such as films, comics, and literary texts. The seminar's primary goal is to help participants understand the creation of better imaginary worlds - ultimately all our efforts should serve that higher purpose. Some of the things we will consider when taking on the analysis of a new world include: What are its primary features - spatial, cultural, biological, fantastic, cosmological? What is the world's ethos (the guiding beliefs or ideals that characterize the world)? What are the precise strategies that are used by the artist to convey the world to us and us to the world? How are our characters connected to the world? And how are we - the viewer or reader or player - connected to the world? Note: This course must be taken for a letter grade to be eligible for WAYS credit.
Same as: CSRE 55N

COMPLIT 70N. Animal Planet and the Romance of the Species. 3-4 Units.

Preference to freshmen.This course considers a variety of animal characters in Chinese and Western literatures as potent symbols of cultural values and dynamic sites of ethical reasoning. What does pervasive animal imagery tell us about how we relate to the world and our neighbors? How do animals define the frontiers of humanity and mediate notions of civilization and culture? How do culture, institutions, and political economy shape concepts of human rights and animal welfare? And, above all, what does it mean to be human in the pluralistic and planetary 21st century? Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Same as: CHINA 70N

COMPLIT 82. Making Palestine Visible. 3-5 Units.

Israel-Palestine is one of the most difficult subjects to talk about, in large part because we in the United States do not have much exposure to Palestinian history, culture, and politics in their own terms. This course aims to humanize Palestinians and asks why Palestinian claims to rights are illegible for much of the American public. We begin to answer this question by examining a broad sampling of history, structures of power and law, culture, and contemporary political issues.
Same as: COMPLIT 182, CSRE 82G, HISTORY 82G, HISTORY 182G

COMPLIT 100. CAPITALS: How Cities Shape Cultures, States, and People. 3-5 Units.

This course takes students on a trip to eight capital cities, at different moments in time: Renaissance Florence, Golden Age Madrid, Colonial Mexico City, Enlightenment and Romantic Paris, Existential and Revolutionary St. Petersburg, Roaring Berlin, Modernist Vienna, and bustling Buenos Aires. While exploring each place in a particular historical moment, we will also consider the relations between culture, power, and social life. How does the cultural life of a country intersect with the political activity of a capital? How do large cities shape our everyday experience, our aesthetic preferences, and our sense of history? Why do some cities become cultural capitals? Primary materials for this course will consist of literary, visual, sociological, and historical documents (in translation); authors we will read include Boccaccio, Lope de Vega, Sor Juana, Montesquieu, Baudelaire, Dostoyevsky, Irmgard Keun, Freud, and Borges. Note: To be eligible for WAYS credit, you must take the course for a minimum of 3 Units and a Letter Grade.
Same as: DLCL 100, FRENCH 175, GERMAN 175, HISTORY 206E, ILAC 175, ITALIAN 175, URBANST 153

COMPLIT 101. What Is Comparative Literature?. 5 Units.

The course, open to all undergraduates, is for anyone serious about literature. After first asking what "literature" is and what cultural roles it may fulfil, the course continues by exploring what, then, may be the cultural, political, historical and institutional needs to which "comparative literature" responds. A short story by Jorge Luis Borges and an accompanying essay serve as an introduction to both sets of questions. We will then look at a few texts of the western tradition from Aristotle through the Middle Ages to the Renaissance, taken as standard for later ideas and practices of literature, eventually, too, at one or two that clearly acknowledge possibilities of quite different traditions for the role played by what may be called the "fictive imagination." A series of texts, two plays, two (possibly three) novels, some poems, some critical writings, will then show other traditions interacting transculturally with and/or against western ones. Students will be able to choose their readings among several.

COMPLIT 102. Film Series: Understanding Turkey Through Film. 1 Unit.

Join us in our quest to understand the recent developments in Turkey and their impact on its people through cinematic production. Set against the backdrop of Turkey's cultural, political and social transformation in the last decade, the movies in this series tell the uneasy stories of individuals whose lives are affected by this disruptive change. By examining the link between individual troubles and public issues, the films confront issues such as globalization, gender and racial hierarchy, neo-liberal urban transformation, male domination, state oppression, and women's oppression in Turkey. Each screening will be followed by a discussion lead by invited scholars of Turkey or film directors. At each screening we will look closely at a film and discuss how the directors and script writers responded to larger scale cultural and social dynamics to present them as personal stories. All screenings are free and open to the public. All attendees are encouraged to participate in the post-screening discussions. All films are in Turkish with English subtitles.
Same as: COMPLIT 302

COMPLIT 105. Race and Human Rights. 4 Units.

The recent elections in the United States, the BREXIT vote, and the rightward movement in many European nation states all may be taken as indexes to the ways race plays a central role in politics. Race and ethnicity show up in policies over immigration, refugees, citizenship, policing, incarceration, and other topics and issues. This all puts tremendous pressure on human rights discourse.nnThe foundational document of modern human rights is the 1948 Universal Declaration of Human Rights, drafted at a time when the newly-established United Nations recognized the need for rights for a new post-war, and increasingly post-colonial world. Our course will study the basis of human rights historically and philosophically with particular attention to the relation between human rights and anti-racist work. What are the possibilities and challenges? nnA unique and exciting part of the course is that it is an international collaboration with classes at the University of Wurzberg, Germany, and the University of California at Merced. Using the Stanford-based TeachingHumanRights.org website, we will create a three-campus project that puts students and instructors together as an international community of scholar-activists.
Same as: CSRE 115

COMPLIT 108. Contemporary Hebrew and English Poetry in Translation. 2-4 Units.

A workshop in literary translation, focusing on Hebrew and English poetry and/or short prose. Together the class will engage in creating a bilingual anthology of contemporary works and discussing problems of literary translation such as preserving ambiguities, translating cultural context, literary conventions and poetic forms. Special focus on issues related to understanding and transferring the concept of "The Contemporary" between cultures. With guest translators. Advanced knowledge of Hebrew and English is required. Readings include: (Hebrew) Avot Yeshurun, Natan Zach, David Avidan, Haim Gouri, Sigal Ben-Yair, Almog Behar, Aharon Shabtai; (English) Marilyn Hacker, Annie Finch, Charles Bernstein, Ann Carson, Derek Walcott, David Whyte, Lyn Hejinian, Billy Collins,Mary Oliver, Kay Ryan. NOTE: Taught in Hebrew and English. At least some knowledge of Hebrew required.

COMPLIT 110. Introduction to Comparative Queer Literary Studies. 3-5 Units.

Introduction to the comparative literary study of important gay, lesbian, queer, bisexual, and transgender writers and their changing social, political, and cultural contexts from the 1880s to today: Oscar Wilde, Rachilde, Radclyffe Hall, Djuna Barnes, James Baldwin, Jean Genet, Audre Lorde, Cherrie Moraga, Jeanette Winterson, Alison Bechdel and others, discussed in the context of 20th-century feminist and queer literary and social theories of gender and sexuality.
Same as: COMPLIT 310, FEMGEN 110X, FEMGEN 310X

COMPLIT 114. Masterpieces: Kafka. 3-5 Units.

This class will address major works by Franz Kafka and consider Kafka as a modernist writer whose work reflects on modernity. We will also examine the role of Kafka's themes and poetics in the work of contemporary writers.
Same as: GERMAN 150, JEWISHST 145

COMPLIT 115. Vladimir Nabokov: Displacement and the Liberated Eye. 1-5 Unit.

How did the triumphant author of "the great American novel" <em>Lolita</em> evolve from the young author writing at white heat for the tiny sad Russian emigration in Berlin? We will read his short stories and the novels <em>The Luzhin Defense, Invitation to a Beheading, Lolita, Lolita</em> the film, and <em>Pale Fire</em>, to see how Nabokov generated his sinister-playful forms as a buoyant answer to the "hypermodern" visual and film culture of pre-WWII Berlin, and then to America's all-pervading postwar "normalcy" in his pathological comic masterpieces <em>Lolita</em> and <em>Pale Fire</em>. Buy texts in translation at the Bookstore; Slavic grad students will supplement with reading and extra sessions in original Russian.
Same as: COMPLIT 315, SLAVIC 156, SLAVIC 356

COMPLIT 116. The Turkish Novel. 3-5 Units.

Designed as a survey, this course will examine the modern Turkish novel from the early days of the Republic to the present day. We will examine the aesthetic, political, and social aspects of the Turkish novel by reading major samples of national, historical, philosophical, village, and modernist novels. The readings will be in Turkish.
Same as: COMPLIT 341

COMPLIT 121. Poems, Poetry, Worlds. 5 Units.

What is poetry? How does it speak in many voices to questions of history, society, and personal experience? Why does it matter? The reading and interpretation of poetry in crosscultural comparison as experience, invention, form, sound, knowledge, and part of the world. The readings address poetry of several cultures (Brazil, Chile, France, Germany, Greece, Italy, Occitania, Peru) in comparative relation to that of the English-speaking world, and in light of classic and recent theories of poetry.
Same as: DLCL 141

COMPLIT 122. Literature as Performance. 5 Units.

Theater as performance and as literature. Historical tension between text and spectacle, thought and embodiment in western and other traditions since Greek antiquity. Dramas read in tandem with theory, live performances, and audiovisuals.
Same as: DLCL 142

COMPLIT 123. The Novel and the World. 5 Units.

<em>The Novel, the Global South</em> Literary inventiveness and social significance of novelistic forms from the Great Depression to the present. The seminar will focus on texts by William Faulkner, Gabriel García Márquez, Toni Morrison, and Junot Díaz.
Same as: DLCL 143

COMPLIT 124. The (Un)American Renaissance. 3-5 Units.

The period between the 1820s and the 1860s has traditionally been called the "American Renaissance": a time when the U.S. nation, and its literature, flourished. The nineteenth century witnessed the publication of a number of important American texts that gave rise to a new national literary tradition, including familiar titles like The Scarlet Letter, Moby-Dick, and Leaves of Grass. Yet, as the nation stretched its geographical coordinates, writers from outside of this predominantly white, male literary heritage issued their own responses to the vision of a "New World Democracy." This course surveys and contextualizes these responses. Reading authors from Native American, Latino/a, African American, and French creole cultures, we'll expand our study of American literature to include writers who interrogate the project of American Democracy from both within and outside of the nation. While analyzing autobiographies, poems, short stories, and speeches we will also learn to read paintings, Native American sign systems, and newspaper sketches, in an exploration of what it meant to be "American" and what counted as "Literature" in the golden era of American Letters.

COMPLIT 127B. The Hebrew and Jewish Short Story. 3-5 Units.

Short stories from Israel, the US and Europe including works by Agnon, Kafka, Keret, Castel-Bloom, Kashua, Singer, Benjamin, Freud, biblical myths and more. The class will engage with questions related to the short story as a literary form and the history of the short story. Reading and discussion in English. Optional: special section with readings and discussions in Hebrew. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Same as: JEWISHST 147B

COMPLIT 130. Fin-de-siècle Literature and Culture. 3-5 Units.

Literature and culture of the 1860's to 1900's in Paris, London, Berlin, and Vienna. Aestheticism, Symbolism, Decadence; the new social drama; art nouveau; the dandy and the New Woman; sexology; degeneration. Works by Mallarmé, Baudelaire, Wilde, Huysmans, Hofmannsthal, Ibsen, Shaw, and various New Woman writers; historical and social contexts.

COMPLIT 136. Refugees, Politics and Culture in Contemporary Germany. 1-5 Unit.

Responses to refugees and immigration to Germany against the backdrop of German history and in the context of domestic and European politics. Topics include: cultural difference and integration processes, gender roles, religious traditions, populism and neo-nationalism. Reading knowledge of German, another European language, or an immigrant language will be useful for research projects, but not required.
Same as: COMPLIT 336A, GERMAN 136, GERMAN 336

COMPLIT 145. Reflection on the Other: The Jew and the Arab in Literature. 3-5 Units.

How literary works outside the realm of Western culture struggle with questions such as identity, minority, and the issue of the Other. How the Arab is viewed in Hebrew literature, film and music and how the Jew is viewed in Palestinian works in Hebrew or Arabic (in translation to English). Historical, political, and sociological forces that have contributed to the shaping of these writers' views. Guest lectures about the Jew in Palestinian literature and music. Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Same as: AMELANG 126, JEWISHST 106

COMPLIT 145B. The African Atlantic. 3-5 Units.

This course explores the central place Africa holds in prose writing emerging during early and modern periods of globalization across the Atlantic, including the middle passage, exploration and colonialism, black internationalism, decolonization, immigration, and diasporic return. We will begin with Equiano's Interesting Narrative (1789), a touchstone for the Atlantic prose tradition, and study how writers crossing the Atlantic have continued to depict Africa in later centuries: to dramatize scenes of departure and arrival in stories of self-making or new citizenship, to evoke histories of racial unity or examine psychic and social fragmentation, to imagine new national communities or question their norms and borders. Our readings will be selected from English, French, Portuguese and Spanish-language traditions. And we will pay close attention to genres of prose fiction (Conrad, Condé, Olinto), epic and prose poetry (Césaire, Walcott), theoretical reflection (Gilroy, Glissant, Mudimbe, Benitez-Rojo), and literary autobiography (Barack Obama, Saidiya Hartman). Note: To be eligible for WAYS credit, you must take COMPLIT 145B for a minimum of 3 Units and a Letter Grade.
Same as: AFRICAAM 148, AFRICAST 145B, COMPLIT 345B, CSRE 145B, FRENCH 145B, FRENCH 345B

COMPLIT 149. The Laboring of Diaspora & Border Literary Cultures. 3-5 Units.

Focus is given to emergent theories of culture and on comparative literary and cultural studies. How do we treat culture as a social force? How do we go about reading the presence of social contexts within cultural texts? How do ethno-racial writers re-imagine the nation as a site with many "cognitive maps" in which the nation-state is not congruent with cultural identity? How do diaspora and border narratives/texts strive for comparative theoretical scope while remaining rooted in specific local histories. Note: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Same as: CSRE 149, ILAC 149

COMPLIT 170. Theodor W. Adorno: History, Aesthetics, Catastrophe. 3-5 Units.

Theodor W. Adorno (1903-1969) was one of the most influential German thinkers of the 20th century. This seminar aims to introduce students to Adorno's varied oeuvre, from his contributions to the critique of culture, his theory of history, his re-thinking of Hegelianism and Marxism, to his contributions to aesthetics. We will also consider Adorno's various intellectual forebears, collaborators and interlocutors (Hegel, Marx, Lukács, Horkheimer, Habermas). All texts and discussions are in English. Undergraduates welcome.
Same as: COMPLIT 370, GERMAN 170, GERMAN 370

COMPLIT 181. Philosophy and Literature. 5 Units.

Required gateway course for Philosophical and Literary Thought; crosslisted in departments sponsoring the Philosophy and Literature track. Majors should register in their home department; non-majors may register in any sponsoring department. Introduction to major problems at the intersection of philosophy and literature, with particular focus on the question of value: what, if anything, does engagement with literary works do for our lives? Issues include aesthetic self-fashioning, the paradox of tragedy, the paradox of caring, the truth-value of fiction, metaphor, authorship, irony, make-believe, expression, edification, clarification, and training. Readings are drawn from literature and film, philosophical theories of art, and stylistically interesting works of philosophy. Authors may include Sophocles, Chaucer, Dickinson, Proust, Woolf, Borges, Beckett, Kundera, Charlie Kaufman; Barthes, Foucault, Nussbaum, Walton, Nehamas; Plato, Montaigne, Schopenhauer, Nietzsche, and Sartre. Taught in English.
Same as: CLASSICS 42, ENGLISH 81, FRENCH 181, GERMAN 181, ITALIAN 181, PHIL 81, SLAVIC 181

COMPLIT 182. Making Palestine Visible. 3-5 Units.

Israel-Palestine is one of the most difficult subjects to talk about, in large part because we in the United States do not have much exposure to Palestinian history, culture, and politics in their own terms. This course aims to humanize Palestinians and asks why Palestinian claims to rights are illegible for much of the American public. We begin to answer this question by examining a broad sampling of history, structures of power and law, culture, and contemporary political issues.
Same as: COMPLIT 82, CSRE 82G, HISTORY 82G, HISTORY 182G

COMPLIT 183. Self-Impersonation: Fiction, Autobiography, Memoir. 5 Units.

Course will examine the intersecting genres of fiction, autobiography, and memoir. Topics will include the literary construction of selfhood and its constituent categories (gender, race, ethnicity, religion, etc.); the role of language in the development of the self; the relational nature of the self (vis-à-vis the family, "society," God); the cultural status of "individuality"; the concept of childhood; and the role of individual testimony in our understanding of family, religious and national history. In addition to short theoretical works, authors will include Knausgaard, Nabokov, Hoffman, Winterson, Said, Levi, Barthes, and Duras.
Same as: ENGLISH 183E

COMPLIT 194. Independent Research. 1-5 Unit.

(Staff).

COMPLIT 199. Senior Seminar. 5 Units.

What is criticism? When we interpret literature today, are we fulfilling the critical vocation? What are the alternatives? We consider the origins of the idea of the critic in nineteenth-century culture, its development in the twentieth century, and its current exponents, revisionists, and dissenters. Senior seminar for Comparative Literature Senior majors only.

COMPLIT 200. War and the Modern Novel. 3-5 Units.

From the turn of the 19th century to well into the 20th century, novelists developed the theme of alienation and the decline of civilization. Along with the fall of centuries-old empires, World War I brought about the collapse of traditional European values and the dissociation of the subject. The aestheticizing of violence and the ensuing insecurity inaugurated the society of totally administered life, based on universal suspicion and pervasive guilt. The seminar will study narrative responses to these developments in some of the foremost authors of the 20th century from several European literatures: Knut Hamsun, Joseph Roth, Ernst Jünger, Virginia Woolf, Franz Kafka, Curzio Malaparte, Thomas Mann, Mercè Rodoreda, Antonio Lobo Antunes, and Jaume Cabré. Taught in English.
Same as: ILAC 200E

COMPLIT 201. Classics of Persian Literature. 3-5 Units.

The course offers a survey of and introduction to the central works of Persian literature, from the 10th century to our time, across the genres: epic, romance, lyric, and novel. Special attention will be given to the various ways in which the texts continue to resonate in Persian culture. Readings include: the Shahnameh by Ferdowsi (940-1020); Khosrow and Shirin by Nezami (1141-1209); The Conference of the Birds by Attar (1145/46-1221); selections from the masnavi and divan of Rumi (d. 1273); selections from the divan of Hafez (1325/26-1389/90); The Blind Owl by Sadegh Hedayat (1903-1951); selected poems by Nima (1895-1960), Shamlu (1925-2000), Akhavan Sales (1928-1990), and Forugh Farrokhzad (1935-1967); and My Uncle Napoleon by Iraj Pezeshkzad (1928-). Taught in English.

COMPLIT 204. Indigenous Poetics and the Politics of Resistance. 3 Units.

In 1969 a group of university students and Native activists calling themselves the Indians of All Tribes gathered on Alcatraz Island in an act of political protest that would turn out to be the longest occupation of U.S. lands in the nation's history. Claiming title to the territory under a nineteenth-century treaty, the Indians of All Tribes broadcasted their protest through an independent radio show and newsletter that included important political and poetic writings by the activists. This course builds outward from the Occupation of Alcatraz to understand the deep historical relationship between political resistance and poetic expression in Indigenous communities. We will read broadly on poetics and Indigenous political theory, beginning with non-alphabetic writings and Indigenous understandings of communal and political life, and concluding with formally innovative collections by Indigenous poets working on issues like climate justice and language revitalization.

COMPLIT 208. The Cosmopolitan Introvert: Modern Greek Poetry and its Itinerants. 3 Units.

Overview of the last century of Greek poetry with emphasis on modernism. Approximately 20 modern Greek poets (starting with Cavafy and Nobel laureates Seferis and Elytis and moving to more modern writers) are read and compared to other major European and American writers. The themes of the cosmopolitan itinerant and of the introvert, often co-existing in the same poet, connect these idiosyncratic voices. The course uses translations and requires no knowledge of Greek but original texts can also be shared with interested students. Note: The course is open to both undergraduate and graduate students.

COMPLIT 215. Literature and Bliss. 1-5 Unit.

In his final on-campus seminar at Stanford, the Instructor proposes to think through from a historical and systematic angle, the capacity of literary texts to make us imagine ecstatic situations of intensity and happiness rather than focusing on the description of such moments, we will try to understand how literary forms, under certain conditions, can temporarily transform the relation of our minds to the material world and to other human beings. **Grading: Seminar Participation and 10-15 page final paper**.

COMPLIT 216. Jazz and Literature. 3-5 Units.

This course explores the special connection between jazz and literature. In texts that range from American novels to the poetry of African independence movements, jazz emerges at once as a structuring principle (as in Toni Morrison's Jazz and James Baldwin's The Amen Corner) and a unifying theme (for example, Noémia de Sousa's "A Billie Holiday, Cantora"). It is also part of a larger philosophical discussion on rhythm that connects to deep questions of selfhood, ethics, democracy, listening, and vital force. If you love jazz and want to dig deeper into its possibilities or want to find new ways to express literature's power, this class provides the venue. The rest is, as Sonny Rollins put it, "creation and surprise.".
Same as: AFRICAAM 216

COMPLIT 222A. Myth and Modernity. 1-5 Unit.

Masters of German 20th- and 21st-Century literature and philosophy as they present aesthetic innovation and confront the challenges of modern technology, social alienation, manmade catastrophes, and imagine the future. Readings include Nietzsche, Freud, Rilke, Musil, Brecht, Kafka, Doeblin, Benjamin, Juenger, Arendt, Musil, Mann, Adorno, Celan, Grass, Bachmann, Bernhardt, Wolf, and Kluge. Taught in English. Note: To be eligible for WAYS credit, you must take GERMAN 222 or COMPLIT 222A for a minimum of 3 Units and a letter grade.
Same as: GERMAN 222, GERMAN 322

COMPLIT 223. Literature and Human Experimentation. 3-5 Units.

This course introduces students to the ways literature has been used to think through the ethics of human subjects research and experimental medicine. We will focus primarily on readings that imaginatively revisit experiments conducted on vulnerable populations: namely groups placed at risk by their classification according to perceived human and cultural differences. We will begin with Mary Shelley's Frankenstein (1818), and continue our study via later works of fiction, drama and literary journalism, including Toni Morrison's Beloved, David Feldshuh's Miss Evers Boys, Hannah Arendt's Eichmann and Vivien Spitz's Doctors from Hell, Rebecca Skloot's Immortal Life of Henrietta Lacks, and Kazuo Ishiguro's Never Let Me Go. Each literary reading will be paired with medical, philosophical and policy writings of the period; and our ultimate goal will be to understand modes of ethics deliberation that are possible via creative uses of the imagination, and literature's place in a history of ethical thinking about humane research and care. Note: This course must be taken for a letter grade to be eligible for WAYS credit.
Same as: AFRICAAM 223, CSRE 123B, HUMBIO 175H, MED 220

COMPLIT 229. Literature and Global Health. 3-5 Units.

This course examines the ways writers in literature and medicine have used the narrative form to explore the ethics of care in what has been called the developing world. We will begin with a call made by the editor-in-chief of The Lancet for a literature of global health, namely fiction modeled on the social reform novels of the nineteenth century, understood to have helped readers develop a conscience for public health as the field emerged as a modern medical specialty. We will then spend the quarter understanding how colonial, postcolonial, and world literatures have answered and complicated this call. Readings will include prose fiction by Albert Camus, Joseph Conrad, Tsitsi Dangaremgba, Amitav Ghosh, Susan Sontag as well as physician memoirs featuring Frantz Fanon, Albert Schweitzer, Abraham Verghese, Paul Farmer. And each literary reading will be paired with medical, philosophical, and policy writings that deeply inform the field of global health. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Same as: AFRICAAM 229, AFRICAST 229, CSRE 129B, FRENCH 229, HUMBIO 175L, MED 234

COMPLIT 235E. Dante's "Inferno". 3-5 Units.

Intensive reading of Dante's "Inferno" (the first canticle of his three canticle poem The Divine Comedy). Main objective: to learn how to read the Inferno in detail and in depth, which entails both close textual analysis as well as a systematic reconstruction of the Christian doctrines that subtend the poem. The other main objective is to understand how Dante's civic and political identity as a Florentine, and especially his exile from Florence, determined his literary career and turned him into the author of the poem. Special emphasis on Dante's moral world view and his representation of character. Taught in English.
Same as: ITALIAN 235E

COMPLIT 236E. Dante's "Purgatorio" and "Paradiso". 4-5 Units.

Reading the second and third canticles of Dante's <em>Divine Comedy.</em> Prerequisite: students must have read Dante's <em>Inferno</em> in a course or on their own. Taught in English. Recommended: reading knowledge of Italian.
Same as: ITALIAN 236E

COMPLIT 245. Introductory Ottoman Turkish. 1-3 Unit.

This course is an introduction to basic orthographic conventions and grammatical characteristics of Ottoman Turkish through readings in printed material from the 19th and 20th centuries. Selected readings will range from poetry to prose, from state documents, newspaper and journal articles to reference works. Course is open to both undergraduate and graduate students. Prior knowledge of modern Turkish is required (Completion of COMPLIT 248A, COMPLIT 248B Reading Turkish I&II and COMPLIT 248C Advanced Turkish OR AMELANG 184 & 185 First & Second Year Turkish OR a solid knowledge of Turkish grammar.) Please contact the instructor for more information.

COMPLIT 248A. Reading Turkish I. 2-4 Units.

Reading Turkish I is an introduction to the structures of the Turkish language necessary for reading. It is designed to develop reading competence in Turkish for graduate students. Undergraduates should consult the instructor before enrolling for the course. Essential grammar, syntax points, vocabulary, and reading skills will be emphasized. This is not a traditional language course that takes an integrated four-skill approach; since the goal is advanced reading level, the focus is mainly on grammar, reading comprehension, and translation. With full concentration on reading, we will be able to cover advanced material in a short amount of time. The course is conducted in English, but students will be exposed to the sounds of Turkish, and will have the opportunity to practice pronunciation in class. nnCOMPLIT 248A Reading Turkish I is followed by COMPLIT 248B Reading Turkish II in the Winter and COMPLIT 248C Advanced Turkish for Research in the Spring.".

COMPLIT 248B. Reading Turkish II. 2-4 Units.

This course is the continuation of COMPLIT 248A Reading Turkish I, which served as an introduction to the structures of the Turkish language necessary for reading. It is designed to develop reading competence in Turkish for graduate students. Undergraduates should consult the instructor before enrolling for the course. Essential grammar, syntax points, vocabulary, and reading skills will be emphasized. This is not a traditional language course that takes an integrated four-skill approach; it focuses only on reading, and as a result we will be able to cover advanced material in a short amount of time. This course is conducted in English, but students will be exposed to the sounds of Turkish, and will have the opportunity to practice pronunciation in class. COMPLIT 248B is followed by COMPLIT 248C Advanced Turkish for Research in the Spring.

COMPLIT 248C. Advanced Turkish-English Translation. 2-4 Units.

This course is the continuation of COMPLIT 248A Reading Turkish I and COMPLIT 248B Reading Turkish II. Refining advanced grammar, reading, and translation skills in modern Turkish through intensive reading and translation from a variety of source texts. Emphasis on Turkish cultural, historical, literary, and political texts depending on students' academic interests. Prerequisites COMPLIT 248A & B or prior knowledge of Turkish and consultation with the instructor is necessary.

COMPLIT 249A. The Iranian Cinema: Image and Meaning. 1-3 Unit.

This course will focus on the analysis of ten Iranian films with the view of placing them in discourse on the semiotics of Iranian art and culture. The course will also look at the influence of a wide array of cinematic traditions from European, American, and Asian masters on Iranian cinema. Note: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Same as: GLOBAL 249A

COMPLIT 249B. Iranian Cinema in Diaspora. 1-3 Unit.

Depite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran?.
Same as: GLOBAL 249B

COMPLIT 249C. Contemporary Iranian Theater. 1-3 Unit.

Today, Iranian plays both in traditional and contemporary styles are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement "which was altogether westernizing itself blindly" face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the dearth of visual documents, an attempt will be made to present a picture of Iranian theater to the student. Students are expected to read the recommended available translated plays of the contemporary Iranian playwrights and participate in classroom discussions. Note: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Same as: GLOBAL 249C

COMPLIT 252A. Great Arabic Poetry. 3-5 Units.

Introduction to the canon of Arabic poetry from the sixth to the twenty-first century. Imru' al-Qays, al-Mutanabbi, Mahmud Darwish, and more. Readings in Arabic. Two years of Arabic at Stanford or equivalent required. Counts for the Arabic Track in the MELLAC Minor.

COMPLIT 252B. Great Arabic Prose. 3-5 Units.

Introduction to the best Arabic Literature from the 790s to 2016. Al-Jahiz, Naguib Mahfouz, and much more. Readings in Arabic. Two years of Arabic at Stanford or equivalent required. Counts for the Arabic Track in the MELLAC Minor.nNote: This course must be taken for a minimum of 3 units and a letter grade to be eligible for WAYS credit.

COMPLIT 260B. Love and Negativity in Medieval Persian Mysticism. 3-5 Units.

An analysis of apophatic discourses of love in medieval Persian mystical texts, 800-1300 AD. The philosophical underpinnings and implications of Sufi thought are discussed in this course. The principal aim, however, is to shed light on the radical poetic force of the Persian texts. Topics to be addressed include the fundamentally oral, temporal nature of mystic speech; the relation of the speaking I to the unknown and unknowable Other; the discourse of love in which God and the beloved are one; the linguistic fragmentation of mystical discourse, straining against the edges of meaning; the possibility of salvaging mystical experience in language; and, finally, the question of apophasis as a theologically and politically subversive act. Primary readings include texts on and by Bayazid Bastami (800-874), Mansur al-Hallaj (857-922), Ayn al-Qozat al-Hamadani (1098-1131), Ruzbihan Baqli (1128-1209), Farid al-Din Attar (1145/46-1221), Shahab ad-Din al-Suhrawardi (1154-1191), and Jalal al-Din Rumi (d. 1273). These texts will be complemented by readings from Georges Bataille, Maurice Blanchot, Michel de Certeau, Jacques Derrida, Philippe Lacoue-Labarthe, Emmanuel Levinas, and Paul Ricoeur, among others. Taught in English.

COMPLIT 301. Baroque and Neobaroque. 3-5 Units.

The literary, cultural, and political implications of the 17th-century phenomenon formed in response to the conditions of the 16th century including humanism, absolutism, and early capitalism, and dispersed through Europe, the Americas, and Asia. If the Baroque is a universal code of this period, how do its vehicles, such as tragic drama, Ciceronian prose, and metaphysical poetry, converse with one another? The neobaroque as a complex reaction to the remains of the baroque in Latin American cultures, with attention to the mode in recent Brazilian literary theory and Mexican poetry.
Same as: ENGLISH 233, ILAC 293E

COMPLIT 302. Film Series: Understanding Turkey Through Film. 1 Unit.

Join us in our quest to understand the recent developments in Turkey and their impact on its people through cinematic production. Set against the backdrop of Turkey's cultural, political and social transformation in the last decade, the movies in this series tell the uneasy stories of individuals whose lives are affected by this disruptive change. By examining the link between individual troubles and public issues, the films confront issues such as globalization, gender and racial hierarchy, neo-liberal urban transformation, male domination, state oppression, and women's oppression in Turkey. Each screening will be followed by a discussion lead by invited scholars of Turkey or film directors. At each screening we will look closely at a film and discuss how the directors and script writers responded to larger scale cultural and social dynamics to present them as personal stories. All screenings are free and open to the public. All attendees are encouraged to participate in the post-screening discussions. All films are in Turkish with English subtitles.
Same as: COMPLIT 102

COMPLIT 303. Early Modern Prose Fictions. 3-5 Units.

The course considers the English and European prose fictions of the sixteenth and seventeenth centuries--romances, picaresques, pastorals, narratives of social class, and other genres--in the context of Renaissance and present-day theories of fiction. How is narrative form conditioned by social reality, and in turn how does it provide a zone for reflection on that reality in terms different from those of the more codified genres of drama and poetry?.
Same as: ENGLISH 302

COMPLIT 310. Introduction to Comparative Queer Literary Studies. 3-5 Units.

Introduction to the comparative literary study of important gay, lesbian, queer, bisexual, and transgender writers and their changing social, political, and cultural contexts from the 1880s to today: Oscar Wilde, Rachilde, Radclyffe Hall, Djuna Barnes, James Baldwin, Jean Genet, Audre Lorde, Cherrie Moraga, Jeanette Winterson, Alison Bechdel and others, discussed in the context of 20th-century feminist and queer literary and social theories of gender and sexuality.
Same as: COMPLIT 110, FEMGEN 110X, FEMGEN 310X

COMPLIT 315. Vladimir Nabokov: Displacement and the Liberated Eye. 1-5 Unit.

How did the triumphant author of "the great American novel" <em>Lolita</em> evolve from the young author writing at white heat for the tiny sad Russian emigration in Berlin? We will read his short stories and the novels <em>The Luzhin Defense, Invitation to a Beheading, Lolita, Lolita</em> the film, and <em>Pale Fire</em>, to see how Nabokov generated his sinister-playful forms as a buoyant answer to the "hypermodern" visual and film culture of pre-WWII Berlin, and then to America's all-pervading postwar "normalcy" in his pathological comic masterpieces <em>Lolita</em> and <em>Pale Fire</em>. Buy texts in translation at the Bookstore; Slavic grad students will supplement with reading and extra sessions in original Russian.
Same as: COMPLIT 115, SLAVIC 156, SLAVIC 356

COMPLIT 320A. Epic and Empire. 5 Units.

Focus is on Virgil's Aeneid and its influence, tracing the European epic tradition (Ariosto, Tasso, Camoes, Spenser, and Milton) to New World discovery and mercantile expansion in the early modern period.
Same as: ENGLISH 314

COMPLIT 323. The Renaissance Atlantic. 3-5 Units.

The seminar questions common ideas about early-modern Europe and the "modernity" then established. It looks at Africa, the Americas and Europe as equal partners in making what is now called the Renaissance. Among these ideas are those of the "subject" and the "other," of "history," fiction, "science," "literature," etc. We will discuss issues of cultural exchange; colonialism and postcolonialism; history and orature; the "fictive imagination" and the politics of "literature"; formations of "methodical" knowledge; and the very idea of Renaissance and all it entails for people's still-normative understanding of Euro-modernity. We will do this chiefly through texts from Africa and the Americas, as well as Spanish, English and French Europe. We look at invasion, cultural imposition, indigenous cultures and back-formation of European culture, and the aforementioned concepts and issues as they set certain kinds of cultural creations in place whose continuing dominance and supposed "universality" needs querying.

COMPLIT 334A. Concepts of Modernity I: Philosophical Foundations. 5 Units.

In the late eighteenth century Immanuel Kant proclaimed his age to be "the genuine age of criticism." He went on to develop the critique of reason, which set the stage for many of the themes and problems that have preoccupied Western thinkers for the last two centuries. This fall quarter course is intended as an introduction to these themes and problems. We begin this course with an examination of Kant's philosophy before approaching a number of texts that extend and further interrogate the critique of reason. In addition to Kant, we will read texts by Hegel, Marx, Nietzsche, Weber, Freud, Lukács, and Heidegger.nThis course is the first of a two-course sequence. Priority to graduate students in MTL and English. The course will be capped at 12 students.
Same as: MTL 334A

COMPLIT 336A. Refugees, Politics and Culture in Contemporary Germany. 1-5 Unit.

Responses to refugees and immigration to Germany against the backdrop of German history and in the context of domestic and European politics. Topics include: cultural difference and integration processes, gender roles, religious traditions, populism and neo-nationalism. Reading knowledge of German, another European language, or an immigrant language will be useful for research projects, but not required.
Same as: COMPLIT 136, GERMAN 136, GERMAN 336

COMPLIT 341. The Turkish Novel. 3-5 Units.

Designed as a survey, this course will examine the modern Turkish novel from the early days of the Republic to the present day. We will examine the aesthetic, political, and social aspects of the Turkish novel by reading major samples of national, historical, philosophical, village, and modernist novels. The readings will be in Turkish.
Same as: COMPLIT 116

COMPLIT 345B. The African Atlantic. 3-5 Units.

This course explores the central place Africa holds in prose writing emerging during early and modern periods of globalization across the Atlantic, including the middle passage, exploration and colonialism, black internationalism, decolonization, immigration, and diasporic return. We will begin with Equiano's Interesting Narrative (1789), a touchstone for the Atlantic prose tradition, and study how writers crossing the Atlantic have continued to depict Africa in later centuries: to dramatize scenes of departure and arrival in stories of self-making or new citizenship, to evoke histories of racial unity or examine psychic and social fragmentation, to imagine new national communities or question their norms and borders. Our readings will be selected from English, French, Portuguese and Spanish-language traditions. And we will pay close attention to genres of prose fiction (Conrad, Condé, Olinto), epic and prose poetry (Césaire, Walcott), theoretical reflection (Gilroy, Glissant, Mudimbe, Benitez-Rojo), and literary autobiography (Barack Obama, Saidiya Hartman). Note: To be eligible for WAYS credit, you must take COMPLIT 145B for a minimum of 3 Units and a Letter Grade.
Same as: AFRICAAM 148, AFRICAST 145B, COMPLIT 145B, CSRE 145B, FRENCH 145B, FRENCH 345B

COMPLIT 348. US-Mexico Border Fictions: Writing La Frontera, Tearing Down the Wall. 3-5 Units.

A border is a force of containment that inspires dreams of being overcome, crossed, and cursed; motivates bodies to climb over walls; and threatens physical harm. This graduate seminar places into comparative dialogue a variety of perspectives from Chicana/o and Mexican/Latin American literary studies. Our seminar will examine fiction and cultural productions that range widely, from celebrated Mexican and Chicano/a authors such as Carlos Fuentes (<em>La frontera de cristal</em>), Yuri Herrera (<em>Señales que precederan al fin del mundo), Willivaldo Delgaldillo (<em>La Virgen del Barrio Árabe</em>), Américo Paredes (<em>George Washington Gómez: A Mexico-Texan Novel</em>), Gloria Anzaldúa (<em>Borderlands/La Frontera: The New Mestiza</em>), and Sandra Cisneros (<em>Carmelo: Puro Cuento</em>), among others, to musicians whose contributions to border thinking and culture have not yet been fully appreciated such as Herb Albert, Ely Guerra, Los Tigres del Norte, and Café Tacvba. Last but not least, we will screen and analyze Orson Welles' iconic border films <em>Touch of Evil</em> and Rodrigo Dorfman's <em>Los Sueños de Angélica</em>.nnProposing a diverse and geographically expansive view of the US-Mexico border literary and cultural studies, this seminar links the work of these authors and musicians to struggles for land and border-crossing rights, anti-imperialist forms of trans-nationalism, and to the decolonial turn in border thinking or pensamineto fronterizo. It forces us to take into account the ways in which shifts in the nature of global relations affect literary production and negative aesthetics especially in our age of (late) post-industrial capitalism.
Same as: ILAC 348

COMPLIT 352A. The Novel in Africa. 3-5 Units.

A study of the novel as generic form and site of theorization for African writers and scholars of literature, via close reading of key works of fiction and critical analysis. We will consider the place of historical and cultural context in creative and artistic production, publication, and reception within the continent and beyond it. We will certainly pay close attention to innovation at the level of form, theme, plot, characterization, style or poetics. But we will also attend to questions that arise with the formation of African literature as an autonomous corpus and field, including those critical questions that concern uses of orality, performance, and tradition as indices of authenticity; the challenges and possibilities of language; and the common presumption of the nation as realist or allegorical frame, as well as its complex relationship to class, gender, and ethnic minoritization.
Same as: AFRICAAM 352

COMPLIT 359A. Philosophical Reading Group. 1 Unit.

Discussion of one contemporary or historical text from the Western philosophical tradition per quarter in a group of faculty and graduate students. For admission of new participants, a conversation with H. U. Gumbrecht is required. May be repeated for credit. Taught in English.
Same as: FRENCH 395, ITALIAN 395

COMPLIT 369. Introduction to the Profession of Literary Studies. 1-2 Unit.

A survey of how literary theory and other methods have been made institutional since the nineteenth century. The readings and conversation are designed for entering Ph.D. students in the national literature departments and comparative literature.
Same as: DLCL 369, FRENCH 369, GERMAN 369, ITALIAN 369

COMPLIT 370. Theodor W. Adorno: History, Aesthetics, Catastrophe. 3-5 Units.

Theodor W. Adorno (1903-1969) was one of the most influential German thinkers of the 20th century. This seminar aims to introduce students to Adorno's varied oeuvre, from his contributions to the critique of culture, his theory of history, his re-thinking of Hegelianism and Marxism, to his contributions to aesthetics. We will also consider Adorno's various intellectual forebears, collaborators and interlocutors (Hegel, Marx, Lukács, Horkheimer, Habermas). All texts and discussions are in English. Undergraduates welcome.
Same as: COMPLIT 170, GERMAN 170, GERMAN 370

COMPLIT 371. Aesthetics, Politics, and Modernity: Critical Theory and China. 2-5 Units.

Environmental degradation and ecological crises have given rise to critiques and cultural reflection. This class will bring together issues of aesthetics, politics, and artworks around environmental concerns. We will study Marxist (Marx, David Harvey, and Eagleton) and Frankfurt School (Adorno and Benjamin) critiques of capitalist production as the source of environment degradation, the alienation of humans from nature, human domination over nature, the colonization and plunder of nature in the third world, and elite domination of working classes. We will study and critique the notion of anthropocentrism as a key ideology for scientific and technological advances at the expense of communities, the environment, and the planet. We will review romantic, feminist and other ecological critiques of industrial modernity and the endless pursuit of economic growth and profit. Taking a global and comparative perspective, we will study Chinese eco-critical literature and films, which include short SF fiction, films Sanxia haoren (Still Life) directed by Jia Zhangke and Kekexili (Mountain patrol) by Lu Chuan.nChinese is not required. PhD students are required to write a term paper of 20-25 pages. MA and undergraduate students will write two short essays of 10 pages in response to the questions from readings and discussion.
Same as: CHINA 371

COMPLIT 398L. Literary Lab. 2-5 Units.

Gathering and analyzing data, constructing hypotheses and designing experiments to test them, writing programs [if needed], preparing visuals and texts for articles or conferences. Requires a year-long participation in the activities of the Lab.
Same as: ENGLISH 398L

COMPLIT 399. Individual Work. 1-15 Unit.

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COMPLIT 680. Curricular Practical Training. 1-3 Unit.

CPT course required for international students completing degree. Prerequisite: Comparative Literature Ph.D. candidate.

COMPLIT 802. TGR Dissertation. 0 Units.

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