Catalog Navigation
Contacts
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 embraces 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.

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. Along with providing core courses that introduce students to major literary phenomena in a comparative frame, the program of study accommodates the interests of students in areas such as specific 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. 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, every student, especially those planning to pursue graduate study in Comparative Literature, is strongly 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 study 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 explore fundamental issues in its genre.
    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
    COMPLIT 199Senior Seminar5
    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.
  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 may be found on Philosophy and Literature web site.
  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
ENGLISH 163DShakespeare: The Ethical Challenge3-5
FRENCH/ITALIAN 286Poetry and Philosophy3-5
PHIL 194ZCapstone: Misanthropy and Literature4
COMPLIT 253Hannah Arendt: Facing Totalitarianism3-5
  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.

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

Students majoring in any DLCL department (i.e., Comparative Literature, French and Italian, German Studies, Iberian and Latin American Cultures, and Slavic Languages and Literatures) who have an overall grade point average (GPA) of 3.3 or above and who maintain a 3.5 (GPA) in their 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 theses 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 to 90 pages not including bibliography and notes. Consult the DLCL Honors Handbook for more details on declaring and completing the thesis.

Honors students are encouraged to participate in the DLCL program hosted by Bing Honors College. This DLCL Honors College is designed to help students develop their projects and is offered at the end of the summer.  Applications must be submitted through the Bing program. For more information, view the Bing Honors web site.

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 15, of the terminal year. If an essay is found deserving of a grade of 'A-' or 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 an honor 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 services officer no later than 5:00 p.m. on May 15 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.

The honors thesis in the DLCL embodies Stanford's excellence in course work and research. It is simultaneously one element of the student’s intellectual legacy and part of the University's official history. The faculty considers the honors thesis to be far more than a final paper; rather, it is the product of solid research that contributes to conversations taking place within a larger scholarly community and representative of the intellectual vitality of the discipline. For all of these reasons, DLCL honors theses will be visible to future scholars researching similar questions through full online access through the Stanford Digital Repository (SDR) and may be used as course materials for future Stanford honors preparatory courses. For similar purposes, a printed copy may also be kept in DLCL spaces. The DLCL has adopted an opt-out practice. Students who wish to limit the availability or formats in which the thesis may be shared may do so by filling out the appropriate form with the DLCL student affairs officer.

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 explore fundamental issues in its genre.
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. In order to have it approved as their capstone Comparative Literature and Computer Science project, the student must submit a prospectus for 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. The faculty member advising this project must approve the prospectus.

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 a condensed (22-unit minimum) version of the major. It is designed for students who are unable to pursue the major but 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 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. A writing sample 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. 

1. Preparatory Courses

Units
COMPLIT 369Introduction to the Profession of Literary Studies1-2
DLCL 301The Learning and Teaching of Second Languages3

These courses are designed to acculturate first-year students into the intellectual, professional, and pedagogical modes of the discipline. Students who do not intend to teach language at Stanford or after should consult the Chair of Graduate Studies about whether to take DLCL 301 or replace it with another course on pedagogy

2. A sufficient number of courses (six or more) in the student's primary field to ensure knowledge of the basic works in one national literature from its beginnings to 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.

Examinations

Three examinations are required. The first two are one hour in duration, the third two hours. 

  1. First One-Hour Examination. The genre examination is administered toward the end of the first year. It is 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, and the theoretical problems involved in the chosen genre and in the matter of genre in general. Students must 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 before 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 second year. It is intended 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. 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. This examination is normally taken during the autumn quarter of the third year. It covers a literary 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. The reading list covers chiefly the major literary works of the period. 

More information about the examinations is available in the Department Graduate Handbook. 

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.

Prospectus Colloquium

The prospectus for the dissertation 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.

The prospectus colloquium normally takes place during the quarter after the University oral examination. It is the student's responsibility to set the date and time of the colloquium in consultation with the members of the dissertation reading committee and the department administrator.

If the outcome is favorable by majority vote of the committee, 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 the prospectus and hold a second colloquium.

Qualifying Procedures

Candidacy

Admission to candidacy is an important decision by the department based on its overall assessment of a student’s ability to complete the Ph.D. program. According to University policy, students are expected to follow 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 and theory) examinations, 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. Beyond the successful completion of department prerequisites, admission to candidacy depends on the faculty's evaluation of whether student has the potential to fulfill 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 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 provides students with timely and constructive feedback on their progress toward the Ph.D. Yearly reviews make a general assessment and identify developing problems that could impede progress. 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 permitted to complete the requirements to receive an M.A. degree, if this does not involve additional residency or financial support.

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 offerings in the Department of English. 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.

Graduate Advising Expectations

The Department of Comparative Literature is committed to providing academic advising in support of graduate student scholarly and professional development. When most effective, this advising relationship entails collaborative and sustained engagement by both the
adviser and the advisee. As a best practice, advising expectations should be periodically discussed and reviewed to ensure mutual understanding. Both the adviser and the advisee are expected to maintain professionalism and integrity.

Faculty advisers guide students in key areas such as selecting courses, designing and conducting research, developing of teaching pedagogy, navigating policies and degree requirements, and exploring academic opportunities and professional pathways.

Graduate students are active contributors to the advising relationship, proactively seeking academic and professional guidance and taking responsibility for informing themselves of policies and degree requirements for their graduate program.

For a statement of University policy on graduate advising, see the "Graduate Advising" section of this bulletin.

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: Joan Ramon Resina

Chair of Undergraduate Studies: Alexander Key

Professors: John Bender (also English) (on leave Autumn), Russell Berman (also German Studies), Margaret Cohen (also English), Adrian Daub (also German Studies), Amir Eshel (also German Studies), Roland Greene (also English), Joshua Landy (also French and Italian) (on leave Spring), Haiyan Lee (also East Asian Languages and Cultures), David Palumbo-Liu, Patricia Parker (also English) (on leave Winter), 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: Vincent Barletta (also Iberian and Latin American Cultures), Monika Greenleaf (also Slavic Languages and Literatures), Indra Levy (also East Asian Languages and Cultures)

Assistant Professors: Marie Huber, Alexander Key

Senior Lecturer: Vered K. Shemtov

Lecturers: Petra Dierkes-Thrun, Burcu Karahan, Christine Lee (Winter)

Courtesy Professor: Nancy Ruttenburg

Courses

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 22Q. Humanities Core: How to be Modern in East Asia. 3-5 Units.

Modern East Asia was almost continuously convulsed by war and revolution in the 19th and 20th centuries. But the everyday experience of modernity was structured more profoundly by the widening gulf between the country and the city, economically, politically, and culturally. This course examines literary and cinematic works from China and Japan that respond to and reflect on the city/country divide, framing it against issues of class, gender, national identity, and ethnicity. It also explores changing ideas about home/hometown, native soil, the folk, roots, migration, enlightenment, civilization, progress, modernization, nationalism, cosmopolitanism, and sustainability. All materials are in English. N.B. This is the third of three courses in the East Asian track. These courses offer an unparalleled opportunity to study East Asian history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future.
Same as: CHINA 22Q, HUMCORE 22Q, JAPAN 22Q

COMPLIT 31Q. Humanities Core: Middle East I -- Ancient. 3 Units.

This course tells the story of the cradle of civilization. We will start from the earliest human stories, and follow the path from Gligamesh to the Quran via Babylon, the Hebrew Bible, and ancient philosophy. We will read letters, myths, and religious texts in order to pose questions about how how different we are we now in Silicon Valley. What are our traditions? Our faiths? Our foundational stories, or myths? Should we connect ourselves in deep ways to the most ancient past of civilization, or seek to distance ourselves from those origins? N.B. This is the first of three courses in the Middle Eastern track. These courses offer an unparalleled opportunity to study Middle Eastern history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future.
Same as: DLCL 31Q, HUMCORE 31Q

COMPLIT 32Q. Humanities Core: Middle East II -- Classic. 3 Units.

How should we live? This course explores two ethical pathways: mysticism and rationality. They seem to be opposites, but as we'll see, some important historical figures managed to follow both at once. We will read works by successful judges, bureaucrats, academics, and lovers written between 700 and 1900 C.E. We will ask ourselves whether we agree with their choices and judgments about professional success and politics. What would we do differently today? We certainly organize knowledge differently, but do we think about ethics the same way? N.B. This is the second of three courses in the Middle Eastern track. These courses offer an unparalleled opportunity to study Middle Eastern history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future.
Same as: DLCL 32Q, HISTORY 85Q, HUMCORE 32Q

COMPLIT 33Q. Humanities Core: Middle East III -- Future. 3 Units.

How do we face the future? What resources do we have? Which power structures hold us back and which empower us? What are our identities here at college on the far Western edge of the Western world? In 1850s Lebabnon, Abu Faris Shidyaq faced all these same questions except for the last of course though he did face a version of even that question, one proper to a mid-19th c. Christian magazine editor. In HumCore Middle East III - Future, we engage with global claims about identity culture and politics. Ganzeer's graphic novel speaks to California as much as to Egypt; Ataturk's speeches are about power and identity just like Donald Trump's. Whether in Turkish novels or Arabic poetry, the people we engage in this course are looking to their pasts and futures, just like us. N.B. This is the third of three courses in the Middle Eastern track. These courses offer an unparalleled opportunity to study Middle Eastern history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future.
Same as: DLCL 33Q, HUMCORE 33Q

COMPLIT 36A. Dangerous Ideas. 1 Unit.

Ideas matter. Concepts such as race, progress, and evil have inspired social movements, shaped political systems, and dramatically influenced the lives of individuals. Others, like religious tolerance, voting rights, and wilderness preservation play an important role in contemporary debates in the United States. All of these ideas are contested, and they have a real power to change lives, for better and for worse. In this one-unit class we will examine these dangerous ideas. Each week, a faculty member from a different department in the humanities and arts will explore a concept that has shaped human experience across time and space. Some weeks will have short reading assignments, but you are not required to purchase any materials.
Same as: ARTHIST 36, EALC 36, ENGLISH 71, ETHICSOC 36X, FRENCH 36, HISTORY 3D, MUSIC 36H, PHIL 36, POLISCI 70, RELIGST 21X, SLAVIC 36

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 57. Human Rights and World Literature. 5 Units.

<p>Human rights may be universal, but each appeal comes from a specific location with its own historical, social, and cultural context. This summer we will turn to literary narratives and films from a wide number of global locations to help us understand human rights; each story taps into fundamental beliefs about justice and ethics, from an eminently human and personal point of view. What does it mean not to have access to water, education, free speech, for example? This course has two components. The first will be a set of readings on the history and ethos of modern human rights. These readings will come from philosophy, history, political theory. The second, and major component is comprised of novels and films that come from different locations in the world, each telling a compelling story. We will come away from this class with a good introduction to human rights history and philosophy and a set of insights into a variety of imaginative perspectives on human rights issues from different global locations. Readings include: <em>Amnesty International, <em>Freedom: Stories Celebrating the Universal Declaration of Human Rights</em>,Andrew Clapham, <em>Human Rights: A Very Short Introduction</em>, James Dawes, <em>That the World May Know</em>, Walter Echo-Hawk, <em>In the Light of Justice</em>, Amitav Ghosh, <em>The Hungry Tide</em>, Bessie Head, <em>The Word for World is Forest</em>, Ursula LeGuin,.
Same as: COMPLIT 107

COMPLIT 61Q. The Literature of Lost Identity. 3-4 Units.

<p>This course will explore tales of lost identity from the Middle Ages through the Renaissance. Our stories feature orphans abandoned at birth, young heroes who must hide who they are, even cross-dressed knights on gender-bent adventures. The trials and tribulations of these displaced youths invite us to question what identity means and where it comes from. Are we made in our parents' image? What happens when we are separated from our family, or forced to take up a disguise? Are we defined by our birth and bloodline, or by education and experience? Our readings will include texts by Marie de France, Chrétien de Troyes, William Shakespeare, Philip Sidney, and Miguel de Cervantes.</p>.

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

This course takes students on a trip to major 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, Dante, Sor Juana, Montesquieu, Baudelaire, Gogol, Irmgard Keun, Freud, and Borges. Note: To be eligible for WAYS credit, you must take the course for 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.

What is literature, and how has it been imagined, institutionalized, praised, and criticized over the centuries by authors ranging from Aristotle to Schiller, from Arnold to Auerbach, Woolf, Said, Achebe, Spivak and others, who have understood literature as a powerful tool for individual and social change? What does it mean to "compare" literature or study texts that belong or tap into more than one national literary and cultural tradition or consciously posit themselves as participating in international movements (such as European Decadence or Modernism), or authors who live and produce their work in transcultural contexts and often write in different languages, such as Samuel Beckett or Gloria Anzaldúa? How do markers of identity such as gender, sexuality, and race (and our changing conceptions of them over time) factor into our intellectual theories and practices in comparing texts and authors? Along with several case studies of texts and authors that will help us explore and probe these questions, we will also gain familiarity with major theories and developments in the field of comparative literature. NOTE: This course must be taken for a minimum of 5 units and a letter grade to be eligible for WIM credit.

COMPLIT 103. The Putin Phenomenon: Culture and Politics in Recent Russian History. 3-5 Units.

A man who likes to ride horses shirtless. An autocrat who has shaped contemporary Russia and won't let go of the reins. A conniver who interferes in international democratic processes toward his own nefarious ends.nMore than a politician or an individual, "Putin" has become a catch-all that stands in for Russia as a whole. In this course, we'll attempt to separate the man from the myth and to understand the historical and cultural context behind Putin's policies. In the process, we will strive better to grasp contemporary Russian society as a complex and culturally rich environment, not just an oppressed land under the thumb of one man.nIn the course of our analysis, we will examine literary and cultural artifacts and expressive works that engage with political, social, and universal human problems in a Russian and post-Soviet context, interpreting and critiquing those cultural objects with an eye to aesthetic methods and qualities and also how they reflect historical and cultural elements of Russia over a 25-year period. Cultural products to be addressed include literature and film (and one graphic novel) from the Perestroika period through the present day. We will also read President Putin's autobiography, First Person, and several of his speeches, using techniques of literary analysis to parse the particular story about Russia that he aims to convey to Russians. By examining and exploring a range of cultural objects from Russia's recent history, we seek to understand the forces that contributed to social and political change over those years, the effect those changes had on ordinary (and extraordinary) Russians, and how those effects take on meaningful aesthetic form through creative expression.
Same as: SLAVIC 103

COMPLIT 104A. Voice, Dissent, Resistance: Antiracist and Antifascist Discourse and Action. 5 Units.

The rise of right-wing movements in the United States and in Europe signal a resurgence of nativist and ethno-nationalist politics that rely heavily on racism to advance fascist politics. This course will explore these phenomena both in terms of their historical development and their present-day appearances. The goal will be to understand how those involved in anti-racist and anti-fascist struggles have invented, created, and practiced discourses and actions that attempt to resist racism and fascism, and to evaluate their merits and weaknesses. Historical, philosophic, journalistic, and creative writings will be the basis of study. This is an experimental course driven by the urgency of recent political events. Students should have open minds and be willing to help shape the course.
Same as: COMPLIT 304

COMPLIT 107. Human Rights and World Literature. 5 Units.

<p>Human rights may be universal, but each appeal comes from a specific location with its own historical, social, and cultural context. This summer we will turn to literary narratives and films from a wide number of global locations to help us understand human rights; each story taps into fundamental beliefs about justice and ethics, from an eminently human and personal point of view. What does it mean not to have access to water, education, free speech, for example? This course has two components. The first will be a set of readings on the history and ethos of modern human rights. These readings will come from philosophy, history, political theory. The second, and major component is comprised of novels and films that come from different locations in the world, each telling a compelling story. We will come away from this class with a good introduction to human rights history and philosophy and a set of insights into a variety of imaginative perspectives on human rights issues from different global locations. Readings include: <em>Amnesty International, <em>Freedom: Stories Celebrating the Universal Declaration of Human Rights</em>,Andrew Clapham, <em>Human Rights: A Very Short Introduction</em>, James Dawes, <em>That the World May Know</em>, Walter Echo-Hawk, <em>In the Light of Justice</em>, Amitav Ghosh, <em>The Hungry Tide</em>, Bessie Head, <em>The Word for World is Forest</em>, Ursula LeGuin,.
Same as: COMPLIT 57

COMPLIT 109. Masterpieces: Orhan Pamuk. 1-5 Unit.

This course explores the major works of Nobel Prize Winner Orhan Pamuk and the novel tradition. We will start with his more classical narratives such as <em>Silent House</em> and move to modernist, post-colonial, and post-modernist works exemplified by <em>The New Life<em/>, <em>The White Castle<em>, <em>The Black Book</em>, and <em>My Name is Red</em>. Topics include: East/West, the Ottoman theme, Istanbul, and autobiographical strands in fiction.
Same as: COMPLIT 309

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. Note: To be eligible for WAYS credit, you must take the course 110 or 110X for a Letter Grade.
Same as: COMPLIT 310, FEMGEN 110X, FEMGEN 310X

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

What is poetry? How does it speak in many voices to questions of philosophy, 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.

<p><b>Before the Digital Era: the European Design of the Novel.</b> The course will trace the development of the modern literary genre par excellence through some of its great milestones from the 17th century to the present. Works by Austen, Flaubert, Dostoevsky, Queiròs, Mann, Roth, Woolf, Lampedusa and Rodoreda.<em>Lazarillo de Tormes</em>, Jane Austen: <em>Pride and Prejudice</em>, Flaubert: <em>Madame Bovary</em>, Dostoevsky: <em>Crime and Punishment</em>, Eça de Queirós: <em>The City and the Mountains</em>, Thomas Mann: <em>Death in Venice</em>, Joseph Roth: <em>Radietskymarsh</em>, Virginia Woolf: <em>Mrs. Dalloway</em>, Giuseppe Tomasi di Lampedusa, <em>The Leopard</em>, Mercé Rodoreda: <em>The Time of the Doves.</em></p>.
Same as: DLCL 143

COMPLIT 124B. European and North African Visions of the American West. 3-5 Units.

This course is an interdisciplinary investigation of the rewriting of the American West in the Mediterranean context through the transnational lenses of filmmakers and artists of diverse religious and ethnic backgrounds, through primarily cinema, but also graphic novels, novels, and murals. How do these films and novels adopt and adapt the Western genre? How do these artistic endeavors tell us about the enduring aura and stereotypes of the American West mythology? Films: Jacques Audiard, The Sisters Brothers, Sergio Leone, The Good, the Bad and the Ugly, David Oelhoffen, Far From Men, Karl May, Winnetou, Michel Hazanavicius, The Artist, Agnès Varda, Mur murs. Special guest: photographer/street artist JR. Readings: Mark Twain, Joan Didion, Romain Gary.
Same as: AMSTUD 124B, DLCL 124B

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 132. The Grandeur of Epic: Poetry, Narrative, and World from Homer to Evolutionary Biology. 3-5 Units.

Explores the mystery and power of epic. This ancient word, which at its root means "what is spoken," first classified certain traditions of archaic Greek poetry, especially Homer's Iliad and Odyssey. It now appears everywhere from slang to contemporary scientific discourse. Though some might dismiss its proliferation as an accident of everyday speech, the course will take the phenomenon of "epic" seriously, asking what it is about this oldest of genres that continues to inspire our collective imagination.
Same as: CLASSICS 130

COMPLIT 133A. Literature and Society in Africa and the Caribbean. 4 Units.

This course aims to equip students with an understanding of the cultural, social, and political aspects at play in the literatures of Francophone Africa and the Caribbean of the 20th and 21st century. Our primary readings will be Francophone novels and poetry. We will also read some theoretical texts. The assigned readings will expose students to literature from diverse French-speaking regions of the African/Caribbean world. This course will also serve as a "literary toolbox," with the intention of facilitating an understanding of literary genres, and terms. Students can expect to work on their production of written and spoken French, in addition to reading comprehension. Special guest: Moroccan author Meryem Alaoui. Required readings include: Aime Cesaire, Maryse Condé, Fatou Diome, Dany Laferriere, Leonara Miano, Albert Memmi. Taught in French. Prerequisite: FRENLANG 124 or consent of instructor.
Same as: AFRICAAM 133, AFRICAST 132, COMPLIT 233A, FRENCH 133, JEWISHST 143

COMPLIT 134. Asian American History through Literature. 5 Units.

History presents us with the historical fact and shows how these facts add up. Literature helps explore the human significance of historical facts. In this course we will focus on a number of works of Asian American literature that each depict specific moments in the development of Asian American history, and discuss how the authors feel the effects of that history and represent those effects through literature. There are no pre-requisites for the course, but students are expected to read and analyze carefully and critically, and to be serious and active participants in the class.
Same as: ASNAMST 134

COMPLIT 134A. Classics of Persian Literature. 3-5 Units.

<p>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 <em>Shahnameh<em/> by Ferdowsi (940-1020); <em>Khosrow and Shirin<em/> by Nezami (1141-1209); <em>The Conference of the Birds by Attar<em/> (1145/46-1221); selections from the masnavi and divan of Rumi (d. 1273); selections from the <em>divan<em/> of Hafez (1325/26-1389/90); <em>The Blind Owl<em/> by Sadegh Hedayat (1903-1951); selected poems by Nima (1895-1960), Shamlu (1925-2000), Akhavan Sales (1928-1990), and Forugh Farrokhzad (1935-1967); and <em>My Uncle Napoleon<em/> by Iraj Pezeshkzad (1928-). Taught in English.</p>.
Same as: COMPLIT 234

COMPLIT 142B. Translating Japan, Translating the West. 3-4 Units.

Translation lies at the heart of all intercultural exchange. This course introduces students to the specific ways in which translation has shaped the image of Japan in the West, the image of the West in Japan, and Japan's self-image in the modern period. What texts and concepts were translated by each side, how, and to what effect? No prior knowledge of Japanese language necessary.
Same as: JAPAN 121, JAPAN 221

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 147S. Islam and the Western Imagination. 3-5 Units.

With fear of Islamic terrorism running high and restrictive immigration policies at home, it is more urgent than ever to understand the complex and changing relations between Islam and the West, the West and Islam. Using France's history and culture as a main study case, along with other Western contexts, this course will look at the long history of Europe's interactions with the Muslim world, as well as the presence of Islam and Muslims in the West, from the 7th century to the present day. Uncovering the long and complex relationship between France and Islam, historical, literary and media sources will help us explore early Christian myths about Islam, the period of European coexistence, European colonialism in North Africa and the Middle East, the place of feminism in Western-Muslim relations, (post)colonial immigration and finally, a post-9/11 world order characterized by new forms of Islamophobia. In the context of the course, students will be exposed to primary sources including audiovisual materials, literature, manifestos, and theory. Readings will be in English (and optional readings in French for students who would prefer to read in French).
Same as: CSRE 147S, FRENCH 247, FRENCH 347, HISTORY 230J

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 154A. Film & Philosophy. 3 Units.

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English.
Same as: ENGLISH 154F, FRENCH 154, ITALIAN 154, PHIL 193C, PHIL 293C

COMPLIT 154E. Film & Philosophy CE. 3 Units.

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Same as: FRENCH 154E, ITALIAN 154E, PHIL 193E, PHIL 293E

COMPLIT 172. Visions of a Golden Age: Nature and Pastoral in Literary History. 3-5 Units.

In the light of ecological collapse and climate catastrophe, eco-critics like Timothy Morton have asserted the need to abandon the very concept of nature. For Morton, it is in literature where the development and limitations of nature are most visible. Taking pastoral, i.e. stories about shepherds in idyllic landscapes, as the genre that has done the most in European contexts to shape how nature is seen and understood, this course proposes a historical appraisal of its literary history from ancient Greece to the twenty-first century. How has pastoral constructed nature? How has this changed over time? What is the relation between the historical contingency of nature as it develops in literary history and theories of human nature? While tracking the development of nature as a concept in plays, poems, and prose will be our main focus, this course will also investigate the ways in which shepherd lives and songs have shaped debates on gender, criticized city-life, depicted a Golden Age and the ideal state of humankind, and confronted political tyranny. Students will analyze poems, prose, and plays as autonomous works of art that shape how we imagine and understand nature. Reading literary texts from different moments in history and from a diversity of cultural contexts will permit students to reflect critically on their own conceptions of nature and those of contemporary political and economic discourses. The course will empower students to construct their own literary histories of nature and bring literature to bear on contemporary debates about the environment and climate change.

COMPLIT 181. Philosophy and Literature. 3-5 Units.

What, if anything, does reading literature do for our lives? What can literature offer that other forms of writing cannot? Can fictions teach us anything? Can they make people more moral? Why do we take pleasure in tragic stories? This course introduces students to major problems at the intersection of philosophy and literature. It addresses key questions about the value of literature, philosophical puzzles about the nature of fiction and literary language, and ways that philosophy and literature interact. Readings span literature, film, and philosophical theories of art. Authors may include Sophocles, Dickinson, Toni Morrison, Proust, Woolf, Walton, Nietzsche, and Sartre. Students master close reading techniques and philosophical analysis, and write papers combining the two. This is the required gateway course for the Philosophy and Literature major tracks. Majors should register in their home department.
Same as: CLASSICS 42, ENGLISH 81, FRENCH 181, GERMAN 181, ITALIAN 181, PHIL 81, SLAVIC 181

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 204A. Digital Humanities Across Borders. 1-5 Unit.

English-language resources have dominated the discourse of digital humanities across the globe. This course takes a broader view, focusing on the methods, tools, and discourse of digital humanities as applied to textual materials in languages other than English. Students will develop practical skills in applying digital humanities research methodologies to texts in any language of their choosing. In addition, students will become familiar with major digital humanities scholarly organizations, movements, and debates that have their origins in different linguistic and cultural identities. No prior technical or digital humanities experience required, but students must have a reading knowledge of at least one non-English language (modern or historical).
Same as: DLCL 204, ENGLISH 204

COMPLIT 208. The Cosmopolitan Introvert: Modern Greek Poetry and its Itinerants. 1-5 Unit.

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 219. Dostoevsky: Narrative Performance and Literary Theory. 3-5 Units.

In-depth engagement with a range of Dostoevsky's genres: early works (epistolary novella Poor Folk and experimental Double), major novels (Crime and Punishment, The Idiot), less-read shorter works ("A Faint Heart," "Bobok," and "The Meek One"), and genre-bending House of the Dead and Diary of a Writer. Course applies recent theory of autobiography, performance, repetition and narrative gaps, to Dostoevsky's transformations of genre, philosophical and dramatic discourse, and narrative performance. Slavic students read primary texts in Russian, other participants in translation. Course conducted in English. For graduate students; undergraduates with advanced linguistic and critical competence may enroll with consent of instructor.
Same as: SLAVIC 251

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. WAYS 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. Note for German Studies grad students: GERMAN 322 will fulfill the grad core requirement since GERMAN 332 is not being offered this year.
Same as: GERMAN 222, GERMAN 322, JEWISHST 242G, JEWISHST 342

COMPLIT 229B. Camus. 4-5 Units.

"The Don Draper of Existentialism" for Adam Gopnik, "the ideal husband of contemporary letters" for Susan Sontag, and "the admirable conjunction of a man, of an action, and of a work" for Sartre, Camus embodies the very French figure of the "intellectuel engagé," or public intellectual. From his birth in 1913 into a poor family in Algeria to the Nobel Prize in Literature in 1957, from Saint Germain-des-Prés to his predilection for the mediterranean culture, Camus captured the quest for universalism, for the politics of justice, and engaged in the great ethical battles of his time, from the fight against nazism and communism, from questioning colonial rules to the haunting Algerian War, and his complex "silence" over the war. Camus the Algerian, Camus the moralist, Camus the Resistant: through readings and films, we will explore his multiple, long-lasting legacies. Readings from Albert Camus, Kamel Daoud, Mouloud Feraoun, Alice Kaplan, Orhan Pamuk, A.B. Yehoshua, Assia Djebar, Jean-Paul Sartre, Yasmina Khadra. Movies include "The Stranger," and "Far from Men." This course is a gateway for French Studies, with special emphasis on oral proficiency. Taught in French.
Same as: CSRE 129, FRENCH 129, HISTORY 235F

COMPLIT 233A. Literature and Society in Africa and the Caribbean. 4 Units.

This course aims to equip students with an understanding of the cultural, social, and political aspects at play in the literatures of Francophone Africa and the Caribbean of the 20th and 21st century. Our primary readings will be Francophone novels and poetry. We will also read some theoretical texts. The assigned readings will expose students to literature from diverse French-speaking regions of the African/Caribbean world. This course will also serve as a "literary toolbox," with the intention of facilitating an understanding of literary genres, and terms. Students can expect to work on their production of written and spoken French, in addition to reading comprehension. Special guest: Moroccan author Meryem Alaoui. Required readings include: Aime Cesaire, Maryse Condé, Fatou Diome, Dany Laferriere, Leonara Miano, Albert Memmi. Taught in French. Prerequisite: FRENLANG 124 or consent of instructor.
Same as: AFRICAAM 133, AFRICAST 132, COMPLIT 133A, FRENCH 133, JEWISHST 143

COMPLIT 234. Classics of Persian Literature. 3-5 Units.

<p>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 <em>Shahnameh<em/> by Ferdowsi (940-1020); <em>Khosrow and Shirin<em/> by Nezami (1141-1209); <em>The Conference of the Birds by Attar<em/> (1145/46-1221); selections from the masnavi and divan of Rumi (d. 1273); selections from the <em>divan<em/> of Hafez (1325/26-1389/90); <em>The Blind Owl<em/> by Sadegh Hedayat (1903-1951); selected poems by Nima (1895-1960), Shamlu (1925-2000), Akhavan Sales (1928-1990), and Forugh Farrokhzad (1935-1967); and <em>My Uncle Napoleon<em/> by Iraj Pezeshkzad (1928-). Taught in English.</p>.
Same as: COMPLIT 134A

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 246. Introduction to Persian Literature. 3-5 Units.

This course is intended to offer students an introduction to Persian literature in the original language. We will be analyzing a variety of texts from different periods, ranging from medieval to modern. The choice of texts can be adapted to each student's academic needs and research interests. Taught in English with readings in Persian.

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. NOTE: COMPLIT 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.

Despite 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? 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 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 251. Deeper than the Day Could Read: A History of the Night Across Literary Traditions. 3-5 Units.

Drawing on ancient and modern texts from different traditions, this course traces the history of the night as metaphor and imaginal space in literature. Questions to be touched upon include the night and its relation to God; the place of the human being within the night; representations of the night as a space of transgression that is opposed to reason (enlightenment); the place of modern science in our understanding of the night; and the effects of artifical lightning, ontologically separating the night from darkness in the industrial age. Departing from Greek and Mesopotamian cosmogonies, the initial aim is to understand the night both in its scientific definition as a constellation in time and as a transient reality that exposes the human being to the different, impersonal order of the stars. The mythological night is followed by an analysis of the night in Judaic, Christian, and Islamic mystical thought (the Zohar, Angela da Foligno, Juan de la Cruz, Jakob Böhme, Suhrawardi). Then, the centrality of the night to Romanticism is investigated (Novalis, E.T.A. Hoffmann). The course concludes with a discussion of philosophical discourses on the night (the Pre-Socratics, Nietzsche, Heidegger, Bataille, Blanchot). Taught in English.

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. Note: This course must be taken for a minimum of 3 units and a letter grade to be eligible for WAYS credit.

COMPLIT 253. Hannah Arendt: Facing Totalitarianism. 3-5 Units.

Like hardly any other thinker of the modern age, Hannah Arendtss thought offers us timeless insights into the fabric of the modern age, especially regarding the perennial danger of totalitarianism. This course offers an in-depth introduction to Arendt's most important works in their various contexts, as well as a consideration of their reverberations in contemporary philosophy and literature. Readings include Arendt's <em>The Origin of Totalitarianism</em>, <em>The Human Condition, Between Past and Future</em>, <em>Men in Dark Times</em>, <em>On Revolution</em>,<em>Eichmann in Jerusalem</em>, and <em>The Life of the Mind</em>, as well as considerations of Hannah Arendt's work by Max Frisch, Jürgen Habermas, Seyla Benhabib, Judith Butler, Giorgio Agamben, and others. Special attention will be given to Arendt's writings on literature with emphasis on Kafka, Brecht, Auden, Sartre, and Camus.
Same as: GERMAN 253, JEWISHST 243A

COMPLIT 259A. Levinas and Literature. 3-5 Units.

Focus is on major works by French phenomenologist Emmanuel Levinas (1906-1995) and their import for literary studies. Aim is to discuss and evaluate Levinas's (often latent) aesthetics through a close reading of his work in phenomenology, ethics, and Jewish philosophy. If poetry has come to seem barbaric (or at least useless) in a world so deeply shaped by genocide, forced migration, and climate change, Levinas offers a clear and deeply engaged path forward. If you love literature but still haven't figured out what on earth it might be good for, this course is for you. Readings and discussion in English.
Same as: JEWISHST 249A

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 270. Poetess (Obsolete): Women Poets Take Back Time. 1-5 Unit.

Is there a tradition of women poets creating forms against the grain of their time? Close reading of women poets in conjunction with short readings in philosophy of time (Kant, Kierkegaard, Bergson, Heidegger). Syllabus includes Sappho, Dickinson, G Mistral, M Moore, E Bishop, Akhmatova, Tsvetaeva, Plath, N Sachs, G Brooks, Harjo, Cisneros, Szymborska, Students will introduce their favorites. Last weeks: living poet-performers, including our own Stanford talent. Poetry party/Symposium at end.

COMPLIT 303D. Thinking in Fiction. 5 Units.

Is there a boundary between fact and fiction? Is fiction a stable category at all? Should we be thinking instead about description, factual reference, the place of history, and the methods of science? This course will examine the ways in which fictions figure in the workings of the human mind and human institutions, as well as in literature. Readings will include work by philosophers and critics stretching from Locke, Hume, and Adam Smith, to twentieth-century figures such as Vaihinger (the philosophy of "as if"), to "possible worlds" theory. Bruno Latour, Marie-Laure Ryan, and Ann Banfield will be joined by Catherine Gallagher and narratologists. In reaching back to the eighteenth century, we also can have in mind important essays or prefaces by such writers as Horace Walpole, Anna Laetitia Barbauld, and Anne Radcliffe. Novels, of course, raise large questions about fictionality. Works for study include: The Female Quixote, The Castle of Otranto, Tristram Shandy, and Sense and Sensibility.
Same as: ENGLISH 303D

COMPLIT 304. Voice, Dissent, Resistance: Antiracist and Antifascist Discourse and Action. 5 Units.

The rise of right-wing movements in the United States and in Europe signal a resurgence of nativist and ethno-nationalist politics that rely heavily on racism to advance fascist politics. This course will explore these phenomena both in terms of their historical development and their present-day appearances. The goal will be to understand how those involved in anti-racist and anti-fascist struggles have invented, created, and practiced discourses and actions that attempt to resist racism and fascism, and to evaluate their merits and weaknesses. Historical, philosophic, journalistic, and creative writings will be the basis of study. This is an experimental course driven by the urgency of recent political events. Students should have open minds and be willing to help shape the course.
Same as: COMPLIT 104A

COMPLIT 305. Prospects for a Comparative Poetics. 3-5 Units.

What are the prospects for comparative work with poetry and poetics beyond genre? Is there a role for formalism without historicism? Is it possible or desirable to dispense with ethical and political dynamics? We will read a series of theoretical interventions and histories of literary criticism, we will talk about developing our own tools, and we will experiment with them on poetry from all kinds of contexts.

COMPLIT 309. Masterpieces: Orhan Pamuk. 1-5 Unit.

This course explores the major works of Nobel Prize Winner Orhan Pamuk and the novel tradition. We will start with his more classical narratives such as <em>Silent House</em> and move to modernist, post-colonial, and post-modernist works exemplified by <em>The New Life<em/>, <em>The White Castle<em>, <em>The Black Book</em>, and <em>My Name is Red</em>. Topics include: East/West, the Ottoman theme, Istanbul, and autobiographical strands in fiction.
Same as: COMPLIT 109

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. Note: To be eligible for WAYS credit, you must take the course 110 or 110X for a Letter Grade.
Same as: COMPLIT 110, FEMGEN 110X, FEMGEN 310X

COMPLIT 314. Halit Ziya and the 19th Century Ottoman Novel. 2-4 Units.

This course explores the major works of the late 19th century Ottoman writer Halit Ziya U'akl'gil and the emergence of modern prose genres in late Ottoman Empire. Through an analysis of his earlier "Izmir" and later "Servet-i Funun" novels, short stories, memoirs, and literary criticism, we will a thorough understanding of literary movements of the late 19th century Ottoman literary circles.

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 321. Giambattista Vico. 1-5 Unit.

An intensive reading of Vico's New Science. Emphasis will be on Vico's philosophy of history and theories of poetic wisdom, myth, and language. Vico will be put in dialogue with René Descartes, Rousseau, Auguste Compte, Claude Lévi Strauss, and Paul Feyerabend, whose ideas about myth and science converge in striking ways with Vico's.
Same as: FRENCH 321, ITALIAN 321

COMPLIT 327. Genres of the Novel. 5 Units.

Provides students with an overview of some major genres in the history of the modern novel, along with major theorists in the critical understanding of the form. Novels might include works by Cervantes, Defoe, Lafayette, Radcliffe, Goethe, Scott, Balzac, Melville, and Woolf. Theorists might include Lukacs, Bakhtin, Jameson, Gallagher, Barthes, Kristeva, and Bourdieu. *PLEASE NOTE: Course for graduate students only.*.
Same as: ENGLISH 327, FRENCH 327

COMPLIT 334A. Concepts of Modernity I: Philosophical Foundations. 3-5 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. This 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: ILAC 334A, MTL 334A

COMPLIT 334B. Concepts of Modernity II: Culture, Aesthetics, and Society in the Age of Globalization. 5 Units.

Emphasis on world-system theory, theories of coloniality and power, and aesthetic modernity/postmodernity in their relation to culture broadly understood.
Same as: ENGLISH 334B, MTL 334B

COMPLIT 343. World War Two: Place, Loss, History. 5 Units.

A consideration of how the Second World War still goes on today in the form of haunted absences and vivid representations. Studying literature and art in detail, the seminar will center on some of the places where those absences and representations gather: Portbou, Pearl Harbor, Auschwitz, Guadalcanal, London, Berlin, Hamburg, Rome, Omaha Beach, Peleliu, Monte Cassino, Hollywood. Writers and artists include: James Jones, Georges Didi-Huberman, Walter Benjamin, Eduardo Cadava, W.G. Sebald, Rachel Whiteread, Ingeborg Bachman, Wis¿awa Szymborska, Eugene Sledge, Hans Erich Nossack, Jorie Graham, Gerhard Richter, Dani Karavan, Tom Lea, W. Eugene Smith, Val Lewton, and Terrence Malick.
Same as: ARTHIST 401, GERMAN 343

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

<p>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</em>), 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>. Proposing 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.</p>.
Same as: ILAC 348

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 366. Topics of: The Yellow-Brick Road to the Spanish Nation-State. 3-5 Units.

Nation states arise historically with the transfer of rule from the king to the people, which becomes depository of the general interest. But the old patrimonial state included different peoples, some of which continued to have their own constitutions, representative chambers, and codes of law. Unifying them was a pre-requisite for the emergence of the nation state. This was achieved through a process of nation building which, for most European states, culminated in the 19th century. Not so in Spain. The recurring crises of the Spanish state through the 19th and 20th centuries, and renewed territorial problems in the 21st, reveal an unachieved national project. The seminar will discuss theories of nationalism and sovereignty, and will consider the historical attempts of the Spanish state to manage its intractable nationalities problem, with particular reference to Catalonia. In addition to the state¿s political fractures, the significance of culture for the insolubility of national identities in a single national project will be considered in some detail, as will the role of academic disciplines in furthering a cultural mandate in the sense of political power or in challenge to it.
Same as: ILAC 366

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

This seminar will study aesthetic theories and their political implications. Its goal is to apply aesthetic theories to the exploration of the image of ¿nature.¿ We will study Terry Eagleton¿s classic Ideology of the Aesthetic, which reviews the Western aesthetic tradition. We will read writings by Walter Benjamin, Adorno, and the French thinker Jacques Ranciere. We will study aesthetic theories by classical Chinese philosophers and modern thinkers such as like Li Zehou. Equipped with the dual perspective of aesthetics and politics, we will explore issues of nature, the environment, social ecology, and deep ecology. We will critique the anthropocentric stance toward natural environments, landscape, and wilderness. Delving into the issues of natural beauty, environmental ethic, politics, and literature, we will discuss the human body as an organism among other living organisms, the aesthetic of landscape, alienated labor, environment degradation, and dire consequences of technological civilization. Primary texts include Shen Congwen¿s fiction, Chinese SF works, and films.Chinese 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 399. Individual Work. 1-15 Unit.

.

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.

.