Program in Comparative Literature

C L 305 • Dissent 20th-Cent Ukraine

32785 • Lutsyshyna, Oksana
Meets MWF 1200pm-100pm BIO 301
(also listed as EUS 307, REE 302)
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This course will offer a survey of the Ukrainian authors from the 1920s through the present. We will examine the writings from the times of the “Executed Renaissance,” underground literature, and postmodernism. We will focus specifically on works that, in one way or another, challenge the set paradigm of socialist realism, either ethically or aesthetically, by discussing forbidden subjects (famine, religion, Gulag), or even simply accentuating the themes that are not considered “major” (personal life). Book excerpts and articles will supplement literary works, to enable better understanding of the historical context.



Conflict and Chaos: Desperate Times. Trilogy of Selected Prose, Volume 3. Language Lantern, 2010.

Stories from the Ukraine. Transl. and ed. George Luckyj.

Dovzhenko, Oleksandr. “Zemlia” (“The Land”) Film.

Tychyna, Pavlo. Selected poems. Transl. Michael Naydan.

Semenko, Mykhayl. Selected poems.

Teliha, Olena. Selected poems.

Snyder, Timothy. Bloodlands: Europe Between Hitler and Stalin. Vasic Books, 2012. (excerpts on famine)

Bahriany, Ivan. The Hunters and the Hunted. A novel.

Stus, Vasyl. Selected Poems.

Paradhanov, Serhii. “Shadows of Forgotten Ancestors.” Film.

From Three Worlds: New Writing from Ukraine. Eds. Ed Hogan and Askold Melnyczuk. (Valeri Shevchuk, Yuri Vynnychuk, Oksana Zabuzhko, Yevhen Pashkovsky, others).

Andrukhovych, Yuri. Recreations. A novel. Trans. Marko Pavlyshyn.

Zabuzhko, Oksana. Girls. Transl. Askold Melnyczuk.

The Art of the Maidans. Selected poems, stories and articles. 



Presentation:  20%

Participation: 10%

Short papers (2): 30%

Term (final) paper prospectus: 15%

Term (final) paper: 25%

C L 315 • World Literature

32860 • Richmond-Garza, Elizabeth
Meets MW 300pm-430pm JES A121A
(also listed as E 316N)
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E 316N  l  World Literature

Instructor:  Richmond-Garza, E

Unique #:  34380-34445

Semester:  Spring 2016

Cross-lists:  C L 315

Restrictions:  n/a

Computer Instruction:  No

Prerequisites: One of the following: E 603A, RHE 306, 306Q, or T C 603A.

Description: Global Literature and Culture --

What is a “self,” an individual? Is it a single entity or is it always entangled with others? Is it something created by history, by politics, by art, by culture or by the divine? Or does it fashion itself? Does it change over time and across space? At some level, art is always concerned with making and unmaking the individual and with freeing or chaining this being. Tracking texts from Classical Greece, Iraq and India to medieval Europe and Japan, we will focus on the continuing, and sometimes desperate, attempts of ancient and early modern artists and authors both to phrase and to answer this question. Expected names from the western canon, like Euripides, Shakespeare, Goethe and Baudelaire will keep company with Japan’s Bashô, Russia’s Pushkin, Argentina’s Borges and Nigeria’s Achebe.

We shall not limit ourselves only to the western canon but will look at points of crisis where, whether because of gender, race, ideology or class, an individual’s voyage of discovery will demand answers and action. We shall trace a drama of self-actualization, more than two thousand years old, one that is still being enacted. From the extremities of the Greek stage to a lonely cry of agony in the Assyrian desert, from ideal Platonic love to its witty and non-dialectical Asian counterparts, from a Parisian’s insomnia in 1900 to the painful experience of post-colonial Africa, from compulsive gambling to uncanny hauntings, from the dark voyages of Romantic self-discovery to imagined journeys through magical lands, we shall explore the limits of this question’s answers.

While the basis of the course will be the literary texts, we shall pillage often and importantly the resources of the other arts of painting, sculpture and film especially to conjure back to life the spirits of these past identities in preparation for a spring in which we shall interrogate our own century as it emerges from the twilight of the twentieth-century experiment.

Texts: All selections will be from The Norton Anthology of World Masterpieces (Expanded Edition in One Volume, 1997), and will include: Gilgamesh; Euripides, Medea; selections from Chuang Chou; Kalidasa, Sakuntala; selections from The Thousand and One Nights; Montaigne, “Of Cannibals;” Shakespeare, Hamlet; Basho, The Narrow Road to the Interior; Goethe, Faust; Baudelaire, from The Flowers of Evil; Pushkin, The Queen of Spades; Borges, The Garden of Forking Paths; Achebe, Things Fall Apart.

Requirements & Grading: The participation requirements include: Careful reading of all texts, consistent attendance and active discussion in class and in the discussion section. Attendance will be taken regularly at the start of each class. Each student will be allowed three unexcused absences in the course of the semester. Any further absences will lower the student's grade by a half grade (i.e. a B becomes a B-, and a B- becomes a C+).

Three midterm examinations (25% each); Reading journal to be turned in periodically (15%); Attendance and class discussion (10%).

In order to pass the course all four assignments must be completed. Failure to complete any one of the assignments will constitute failing the course.

C L 315 • World Literature

32865 • Kaulbach, Ernest
Meets MWF 900am-1000am PAR 105
(also listed as E 316N)
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E 316N  l  World Literature

Instructor:  Kaulbach, E

Unique #:  34450

Semester:  Spring 2016

Cross-lists:  C L 315

Restrictions:  n/a

Computer Instruction:  No

Prerequisites: One of the following: E 603A, RHE 306, 306Q, or T C 603A.

Description: This is a course in early Classics: Classics of the West, of Africa, of the Middle East, and of the Far East. We will read nothing written after the 1400s. Works will be interpreted by teachers of the works, as nearly contemporaneous with the works as possible. Class lectures will tell you how and why these selections are important.

Texts: Norton Anthology of World Literature, 2nd edition, Volume A; Timaeus and Critias, ed. Desmond Lee; Sundiata, ed. D.T. Niane; Xerox packet (at IT Copy and Printing, on corner of MLK & Lavaca).

Requirements & Grading: An average of three areas, each of which counts 1/3 of your grade: attendance and quizzes, mid-term essay, final exam. To receive an “A” you must have an “A” in all three areas; same for a “B”. If you fail any area, you fail the class. Miss more than two classes and your attendance grade is reduced by one full grade.

C L 315 • World Literature

Meets TTH 330pm-500pm PAR 206
(also listed as E 316N)
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E 316N  l  World Literature

Instructor:  Foliard, D

Unique #:  34460

Semester:  Spring 2016

Cross-lists:  C L 315

Restrictions:  n/a

Computer Instruction:  No

Prerequisites: One of the following: E 603A, RHE 306, 306Q, or T C 603A.


This survey of world literature will be run in four thematic sections (Resurrections and Immortals, Writing War, Travel and Encounters, Defining Love). The course will explore, juxtapose and interpret genres, places and periods. We will discuss various cultural traditions and reflect on what separates/connects them. You will develop an understanding of literature in its social and historical contexts. You will be asked to read some of the masterworks of world literature as well as a selection of less canonic texts. We will listen to poetry and music to grasp the vocal dimension of some of these works. We will analyze some sculptures and paintings to examine their visual expressions. Quizzes, written essays and discussions will assess your reading and your ability to think critically.

Required Text: The Norton Anthology of World Literature, Puchner, Martin, ed. Third Edition, Volumes A-B-C.

Joseph Conrad, Heart of Darkness (Penguin Classics).

PDFs will be provided for the other works.

Requirements & Grading: Attendance, participation in discussions, quizzes (10%); Test one: Points of contacts, (20%); Test Two: War and literature (20%); Essay on second set of readings (3-4 pages) (20%); Final exam covers all material since second test (30%).

Plus and minus grades will be used in the class.  A = 93-100; A- = 90-92.9; B+ = 88-89.9; B = 83=87.9; B- = 80-82.9; C+ = 78-79.9; C = 73-77.9; C- = 70-72.9; D = 65-69.9.  Below 65 = F.

C L 323 • Cuba In Question-Cub

32889 • Arroyo-Martínez, Jossianna
(also listed as HIS 363K, LAS 328, SPC 320C)
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Study Abroad course

C L 323 • Freud, Feminism & Queer Thry

32890 • Rehberg, Peter
Meets MWF 1000am-1100am BUR 214
(also listed as EUS 347, GSD 360, WGS 345)
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Freud’s psychoanalytic project started in the 1890s and thus stands at the beginning of the 20th century’s discourse on sexuality. Queer Theory, emerging around 1990, marks its end. Within those 100 years all theorists on sexuality in the cultural context of the West such as Marcuse or Foucault had to position themselves in relation to Freud – whether they approved of his concepts or not.

In the context of Feminist and Queer Theory this conflict has played out in a particularly dramatic fashion: One of the reoccurring question has been, whether Freud provides a diagnosis of patriarchy or rather one of its manifestations.

In this course we will start with a close reading of Freud’s canonical texts, for instance The Three Essays on the Theory of Sexuality and The Interpretation of Dreams.  In the second part we will focus on the Feminist reception of Freud in the writings of Juliet Mitchell, Luce Irigaray, and Julia Kristeva, before we will eventually breach into Queer Theory and discuss a couple of essays by authors such as Leo Bersani and Tim Dean who renegotiate Freud’s thinking on the body and desire from a non-normative perspective.

While this course has its emphasis on psychoanalytic theory and its reception in the historical context of the 20th century for each of these three sections we will also analyze films and novels in order to put, in an exemplary fashion, the concepts on sexuality that these theories provide to the test. Readings include Thomas Mann, Alfred Hitchcock, and Jean Genet.



Leo Bersani: The Freudian Body

Tim Dean and Christopher Land (eds.): Homosexuality and Psychoanalysis

Anthony Elliott: Freud 2000

Sigmund Freud: Three Essays on the Theory of Sexuality

Sigmund Freud: The Interpretation of Dreams

Sigmund Freud: Beyond the Pleasure Principle

Sigmund Freud: Dora: An Analysis of a Case of Hysteria

Jean Genet: Funeral Rites

Alfred Hitchcock: The Birds

Luce Irigaray: The Sex which Is not One

Julia Kristeva: The Portable Kristeva

Thomas Mann: Death in Venice

Thomas Mann: The Magic Mountain (excerpts)

Juliet Mitchell: Psychoanalysis and Feminism



2 Writing Assignments (3 Pages)                                       20%

Participation (incl. Attendance & Homework)                   40 %

Presentation                                                                          10 %

Final Paper                                                                            30 %

C L 323 • Kierkegaard And Existentialism

32895 • Holm, Jakob
Meets MWF 1100am-1200pm PHR 2.114
(also listed as CTI 375, EUS 347, GSD 360, PHL 334K)
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Soren Kierkegaard is one of the most influential thinkers from the 19th century and widely considered to be the first existentialist philosopher. He has exerted an enormous influence on Western culture during the last 150 years and has inspired numerous writers, artists, and filmmakers, who have found new perspectives in his philosophy and theology.

Kierkegaard wrote about a wide range of topics, e.g. organized religion, Christianity, ethics, and psychology, and he explored our emotional responses when we are faced with life choices. In that way, much of his philosophical work deals with the issues of how one lives as a unique individual in a concrete human reality. In his texts, he is displaying an almost postmodern fondness for metaphor, irony and parables, and he made use of various pseudonyms, which he used to present different viewpoints.

In this course we will explore excerpts from a number of Kierkegaard’s key texts such as Either/or, Fear and Trembling, The Concept of Anxiety, Stages on Life’s Way, The Sickness unto Death and Works of Love. It will give us a thorough understanding of his concepts and ideas which we will apply on a wide-ranging number of authors, among others Friedrich Nietzsche, Fyodor Dostoyevsky and Franz Kafka as well as the two most well-known writers connected with existentialism, Albert Camus and Jean-Paul Sartre. We will also watch movies from the heyday of existentialism, the mid-20th century, by directors such as Ingmar Bergman, Federico Fellini and Akira Kurosawa, and look at the influence of Kierkegaard and existentialism within theater as well. In that way, the course will examine the scope and range of Kierkegaard’s ideas in the 20th century and up till today where his ideas seem more relevant and inspiring than ever.

The course aims at increasing your ability to think and work analytically – and ponder some of the most important questions you’ll face in your life. Furthermore, you will in this course develop the ability to read and analyze literary and non-literary texts, to present your ideas through coherent argumentation, to formulate good questions and to communicate your discoveries to others. This Kierkegaard course is an opportunity to explore one of the most pivotal philosophical directions within the last 150 years – and in that process explore yourself.

The course will meet the Writing Flag and the Global Cultures Flag Criteria



Essays: 30%

Final essay: 20%

Quizzes: 20%

Midterm: 10%

Participation: 20%

C L 323 • Russian Fairytales

32900 • Garza, Thomas
Meets TTH 200pm-330pm UTC 3.134
(also listed as REE 325)
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Course Description: 

This course examines the development of the Russian fairy tale from its folk origins and its adaptations of the tales of Perrault, Grimm, and other European writers, leading to the creation of the unique classic Russian literary fairy tales of Pushkin, Zhukovsky and Ostrovsky in the nineteenth century.  Contemporary portraits of the tales in film versions, from classical Russian productions to Disney’s and Cocteau’s imaginings will also be examined as the heirs to the original oral fairy tale genre.  Participants will be familiarized with four critical methodologies used in conjunction with the study of folk and fairy tales: Structuralist (Jakobson, Propp), Feminist (Warner, Lieberman), Psychological (Bettelheim, Freud), and Socio-political (Zipes, Lüthi).  We will apply these methodologies to the texts – tales, films and prints – that we examine, and participants will learn to use them to enhance their understanding and appreciation of classic Russian fairy and folk tales.



Required Texts (available at UT Co-op or for purchase online):

         • The Russian Fairy Tale. T.J. Garza, ed. Cognella Press, 2013 [online purchase].

         • Russian Fairy Tales,  A. Afanas'ev, New York: Pantheon Books, 1974.      

         • Russian Folk Belief.  Linda J. Ivanits, Armonk: M.E. Sharpe, 1992.

         • The Uses of Enchantment, Bruno Bettelheim, ed.  New York: Random

             House/Vintage, 1977.


Recommended Texts (available at UT Co-op):

  • The Morphology of the Folktale, Vladimir Propp, Austin: University of Texas Press, 1975.
  • Fairy Tales and the Art of Subversion, Jack Zipes, New York: Methuen Press, 1983.
  • Once Upon a Time: On the Nature of Fairy Tales, Max Lüthi, Bloomington: Indiana University Press, 1976.

C L 323 • Scandinavian Cinema Since 1980

32910 • Wilkinson, Lynn R
Meets TTH 1230pm-200pm BUR 337
(also listed as EUS 347, GSD 330)
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What does it mean to be a Scandinavian in the last decades of the twentieth and early twenty-first century?   To what extent does film reflect or even construct a sense of national or transnational identity?

This course will begin with two detective films which tie these issues to the presence of new groups of people within the borders of Scandinavia and to the links between contemporary Scandinavian culture and society and the European past.  We will then turn back to Ingmar Bergman’s After the Rehearsal, which marked the end of one phase of the prolific filmmaker’s production, before moving on to films by younger filmmakers in the 1980s, 1990s, and 2000s.  Some, such s Lasse Hallström’s My Life as a Dog, Bille August’s Pelle the Conqueror, Liv Ullmann’s Sofie, and Lukas Moodysson’s Together, turn back to the past, at times reverently, at others critically.  Others, such as Thomas Vinterberg’s The Celebration, turn a scathing eye on contemporary Scandinavian culture.  Still others, such as Per Fly’s The Inheritance and Susanne Bier’s Open Hearts respond to economic and political crises of recent years. 


ASSIGNMENTS AND GRADING:  One two-page paper (5%); one five-page paper which may be rewritten (25%); one storyboard (10%) accompanied by a five-page essay (25%), and five quizzes (25%; you may drop the lowest grade).   Class participation will count 10%.



Tytti Soila et al.:  Nordic National Cinemas

Bordwell and Thompson:  Film Art



August:  Smilla’s Sense of Snow

Oplev:  The Girl with the Dragon Tattoo

Bergman:  After the Rehearsal

Hallström:  My Life as a Dog

August:  Pelle the Conqueror

Ullmann:  Sofie

Vinterberg:  The Celebration

Moodysson:  Together

Scherfig:  Italian for Beginners

Bier:  Open Hearts

Dagur Kári:  Noí albínói

Fly:  The Inheritance

Trier:  Dogville

Kaurismäki:  The Man without a Past

Bier:  In a Better World

C L 323 • Youth/Violence Mid East/Eur

32913 • Okur, Jeannette
Meets TTH 200pm-330pm MEZ 1.212
(also listed as MEL 321, MES 342, REE 325)
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Often called “the most violent century in human history”, the 20th century brought unprecedented forms of war and destruction to the Middle East and Eurasia. In the 21st century, too, new generations of young people have “come of age” during international wars, their lives indelibly marked by coercive political force, national and revolutionary struggle, ethnic and racial cleansing, and/or interpersonal and domestic violence. Yet, this region of the world – known for its rapidly changing borders, political constellations, and cultural norms – has also seen a remarkable explosion of creativity in the arts, literature, science, politics, philosophy, and social organization, as well as extraordinary technological innovation and invention. Participants in this course will discuss and analyze literary and cinematic depictions of what it means to “come of age” in the modern Middle East and Eurasia. Weekly readings, post-viewing discussions and response papers about the short stories, novels and films selected will deepen participants’ insight into the socio-cultural dilemmas and political conflicts experienced by the young men and women of this region in the past 100 years, and also heighten their awareness of the artists’ political and aesthetic concerns. Participants will be expected to complete weekly reading and writing assignments, attend film screenings, participate actively in class discussions, and pursue one thematically organized, independent reading and/or viewing project. All texts will be read in English translation, and all films will be screened in the original language/s with English subtitles. No prior knowledge of a Middle Eastern or Eurasian language is necessary; however, students with knowledge of a particular language or country may choose to focus their project on a set of literary or cinematic works related to that language/country.


Required Reading:The White Ship by Chingiz Aitmatov (Kirghizstan), When the Does Come Down to the Water by Ali Fuat Bilkan (Turkey/Kirghizstan), The Kite Runner by Khaled Hosseini (Afghanistan/USA, 2003), The Gray Earth by Galsan Tschinag (Mongolia/Germany), Khirbet Khizeh by S. Yizhar (Israel), Young Turk: a Novel by Moris Farhi (Turkey), Life is More Beautiful than Paradise: A Jihadist’s Own Story by Khaled Al-Berry (Egypt), Shards: A Novel by Ismet Prcic (Bosnia), The Bullet Collection by Patricia Sarrafian Ward (Lebanon)

Grading Policy

Students’ course grade will be based on active participation in class discussions (20%)

Satisfactory completion of (4 out of 5) reader response papers (15%)

Their performance on the mid-term and final critical essay tests (15% each = 30%)

The quality of their final reading/viewing project, which will include both a critical essay and an oral presentation (35%).

C L 323 • Major Works Of Dostoevsky

32915 • Livers, Keith
Meets MWF 1100am-1200pm BUR 134
(also listed as CTI 345, REE 325)
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This course explores the dilemmas of homicide, suicide, patricide and redemption in the novels of Fyodor Dostoevsky — Russia’s greatest chronicler of human suffering and triumph. Over the course of the semester we will read a number of Dostoevsky’s greatest works, including Notes From Underground, Crime and Punishment and The Brothers Karamazov. At the same time, we will look at the contemporary intellectual and social trends relevant to the development of Dostoevsky’s career as a writer and thinker.


Required Texts:

Fyodor Dostoevsky, Notes From Underground, tr. Richard Pevear & Larissa Volokhonsky

Fyodor Dostoevsky, Crime and Punishment, tr. Richard Pevear & Larissa Volokhonsky

Fyodor Dostoevsky, The Brothers Karamazov, tr. Richard Pevear & Larissa Volokhonsky

Fyodor Dostoevsky, Great Short Works of Fyodor Dostoevsky


Most classes will consist of both lecture and discussion.  Since part of the course grade is based on informed participation, it is imperative that you do ALL of the readings by the day in which they appear in the syllabus. 



  • Regular attendance/participation
  • 2. Completion of required readings by date indicated in          syllabus
  • Course work/Course Credit:
  • 3 essays (5-6 pages each): 70%   
  • Participation: 20%
  • Attendance: 10%