Comparative Literature 1810G Prof. Luiz F. Valente Semester II, 2015-2016 Wednesdays: 3:00pm-5:30pm Wilson Hall, Room 303
Office Hours: 159 George Street, Room 202
Mondays, 2:00pm-3:00pm Tuesdays, 2:00pm-4:00pm
Fiction and History
This course focuses on how the historical fiction that has flourished over the past four decades challenges the notions of objectivity and totalization, while providing alternative viewpoints for the reconstruction and reinterpretation of the past.
Prerequisites
Students should have previously taken at least two literature courses. The course is not open to first-year students.
Primary Readings (Fictional Texts)
Isabel Allende (Chile), The House of the Spirits Edwidge Danticat (Haiti/USA), The Farming of Bones Don DeLillo (USA), Libra E. L. Doctorow (USA), Ragtime Gabriel García-Márquez (Colombia), The General in His Labyrinth Nadine Gordimer (South Africa), July’s People Günter Grass (Germany), The Tin Drum
Theoretical Readings
Designed to complement the fiction and provide a solid theoretical foundation for our discussions, additional readings by various theorists will be available electronically through Online Course Reserves (OCRA). You may need to use a password, which will be provided at the first meeting of the course. Alternatively, you will be able to access these readings through Canvas.
Films
We will be watching and discussing two films: Europa, Europa (Germany/Poland), dir. Agnieska Holland and The Official Story (Argentina), dir. Luis Puenzo. These films will
1 be available electronically through Canvas or OCRA. Group screenings may be arranged depending on student interest.
SCHEDULE OF READINGS
January 27
Introduction
February 3
E. L. Doctorow, Ragtime Linda Hutcheon, "Re-presenting the past," The Politics of Postmodernism, 62-92.
February 10
Gabriel García-Márquez, The General in His Labyrinth Linda Hutcheon, "Historiographic Metafiction: The Pastime of Past Time," The Poetics of Postmodernism, 105-123.
February 17
Günter Grass, The Tin Drum Hayden White, "The Historical Text as Literary Artifact," Tropics of Discourse, 81-100.
February 24
Günter Grass, The Tin Drum Hayden White, “Historical Emplotment and the Problem of Truth in Representation,” Figural Realism, 27-42.
March 2
Discussion of the film Europa, Europa (dir. Agnieska Holland) Walter Benjamin, "Theses on the Philosophy of History," Illuminations, 253-264. First Paper Due
2 March 9
Isabel Allende, The House of the Spirits Dominick LaCapra, "Introduction," History, Politics and the Novel, 1-14.
March 16
Isabel Allende, The House of the Spirits Dominick LaCapra, “History and the Novel,” History & Criticism, 115-134.
March 23
Nadine Gordimer, July’s People
March 30
Spring Vacation
April 6
Edwidge Danticat, The Farming of Bones Roger Chartier, "History between Narrative and Knowledge," On the Edge of the Cliff: History, Language and Practices, 13-27. Joyce Appleby, Lynn Hunt & Margaret Jacob, “Introduction,” Telling the Truth about History, 1-14.
April 13
Edwidge Danticat, The Farming of Bones Dominick LaCapra, “Writing History, Writing Trauma,” Writing History, Writing Trauma, 1-42.
April 20
Discussion of The Official Story (dir. Luis Puenzo) Second paper due
April 27
Don DeLillo, Libra Paul Ricoeur, “Narrated Time,” A Ricoeur Reader: Reflection and Imagination, 338-354.
3 May 4
Don DeLillo, Libra Conclusion
Assignments and Grading
1. Seminar participants are expected to read the assigned material for each class fully and carefully, and be prepared to discuss it. 2. Attendance is mandatory. Absences should be justified. 3. Two short papers (6-8 pages) due on March 2 and April 20. 4. Choice of either a 6-8 page final paper or a take-home final (due on May 13 at 4pm). With the approval of the instructor, the final paper may be replaced by a creative project (for example, you may write your own historical fiction and tie it to the course readings through a short commentary).
The final grade will be based on: 1. Attendance and participation (25%) 2. First paper (25%) 3. Second paper (25%) 4. Third paper or take-home final (25%)
E-MAIL COMMUNICATIONS
Although you are free to email me at any time, please understand that I prefer not to conduct advising sessions about complex matters by e-mail. I believe good advising requires face-to-face communication. E-mail is good for short answers to short questions. Thus, I would love to see you during my office hours.
I generally don’t read email after 7:00pm. Besides, I often shut off my e-mail on weekends so as to focus on my private life and my own writing. Though I love my job and I am deeply committed to my students, I do have a life and people who need my attention beyond the classroom and my university office. So, I ask you for patience if I don’t immediately reply to an email you have sent me in the evening or during the weekend.
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