July 12-22

David Damrosch, "Globalization and Its Discontents"

This seminar will trace the problematic of global world literature over the course of the modern period, looking at the rise of capitalist markets, the shifting of centers, peripheries, and semi-peripheries, and the interplay of empires and broader global frameworks in the age of (semi-)global English. Works by Molière, Chikamatsu Monzaemon, James Joyce, Higuchi Ichiyo, Jorge Luis Borges, Julio Cortázar, Clarice Lispector, Eileen Chang, Salman Rushdie, Jhumpa Lahiri, and Ang Lee will be explored in light of debates over world literature and globalization from Goethe and Auerbach to contemporary scholars including Pascale Casanova, Franco Moretti, Emily Apter, Shu-mei Shih, and the Warwick Research Collective.

David Damrosch is Director of the Institute for World Literature and David DProfessor and Chair of the Department of Comparative Literature at Harvard University. His books include What Is World Literature? (2003), The Buried Book: The Loss and Rediscovery of the Great Epic of Gilgamesh (2007), How to Read World Literature(2d. ed. 2017), and Comparing the Literatures: Literary Studies in a Global Age (2020)He is the general editor of the six-volume Longman anthologies of British Literature and of World Literature, editor of World Literature in Theory (2014), and co-editor of The Princeton Sourcebook in Comparative Literature, and of two collections in Chinese, Theories of World Literature (2013) and New Directions in Comparative Literature (2010).

Proto-globalization

Session 1: World Literature(s)/Weltliteratur(en)

  • Johann Wolfgang von Goethe, from Conversations with Eckermann
  • Hutcheson Macaulay Posnett, “World-literature”
  • Erich Auerbach, “Philology of World Literature”
  • Selections from Apuleius, Hafiz, and Goethe

Session 2: Comparing the Incomparable 

  • Marcel Detienne, “Constructing Comparables”
  • Sheldon Pollock, "Comparison without Hegemony"
  • Molière, from The Bourgeois Gentilhomme
  • Chikamatsu Monzaemon, Love Suicides at Amijima

Shifting Centers: 

Session 3: Peripheries and Semi-peripheries

  • Franco Moretti, “Conjectures on World Literature” and “More Conjectures”
  • Critiques of Moretti by the Warwick Research Collective
  • Higuchi Ichiyo, “Separate Ways”
  • James Joyce, “The Sisters,” “Eveline”
  • Clarice Lispector, “Happy Birthday”

Session 4: Provincializing Europe

  • Pascale Casanova, “Literature, Nation, and Politics”
  • Oswald de Andrade, “The Anthropophagist Manifesto”
  • Jorge Luis Borges, “The Argentine Writer and Tradition,” “Pierre Menard”
  • Julio Cortázar, “Axolotl”
  • Clarice Lispector, “The Fifth Story”

Translation in the Global Market

Session 5: The Uneven Playing Field

  • Georg Brandes, “World Literature”
  • Jorge Luis Borges, “The Translators of the 1001 Nights”
  • Emily Apter, “Untranslatables: A World System”
  • Selections from translations of The Thousand and One Nights

Session 6:  Making a World Author

  • Stephen Owen, “What Is World Poetry?”; “Stepping Forward and Back”
  • Selections from Wu Cheng’en, Bei Dao, and Mo Yan

Born Global 

Session 7: The Politics of Global English

  • Gillian Lane-Mercer, “Global and Local Languages”
  • Rebecca Walkowitz, from Born Translated
  • Salman Rushdie, “Chekov and Zulu”
  • Jhumpa Lahiri, “The Third and Final Continent”
  • Jamyang Norbu, from The Mandala of Sherlock Holmes

Session 8: From Shanghai to Hollywood

  • Eileen Chang, “Lust, Caution”
  • Ang Lee, Lust, Caution
  • Leo Ou-fan Lee, “Ang Lee’s Lust, Caution and Its Reception”

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Stefano Evangelista, "Citizens of Nowhere: Writing Cosmopolitanism"

Cosmopolitanism, derived from the Greek for ‘world citizenship’, denotes the aspiration to transcend the cultural and linguistic boundaries of the nation, and to imagine oneself in relation to a global community. This seminar will address different ways in which cosmopolitanism has been theorised, debated, practised, attacked and defended, and how ideas of transnational citizenship have shaped literary texts. We will explore cosmopolitanism’s complex and sometimes fraught relationship with ideas of nationalism, globalisation and wStefano Evangelista 2orld literature. We will interrogate how theories of cosmopolitanism are affected by gender, class and identity politics. Texts covered by the seminar range from works by Kwame Anthony Appiah to Baudelaire, Herder, Georg Simmel, Rabindranath Tagore, Virginia Woolf and Stefan Zweig.
 
Stefano Evangelista is Associate Professor of English at Oxford University. He specialises in nineteenth-century English and comparative literature. His publications include British Aestheticism and Ancient Greece: Hellenism, Reception, Gods in Exile(2009) and edited volumes on the reception of Oscar Wilde in Europe and literary cosmopolitanism in the fin de siècle. His work on literary cosmopolitanism has been awarded prestigious grants by the British Arts and Humanities Research Council and the British Academy. 

Session 1:World Literature, World Citizenship

  • Johann Wolfgang von Goethe, ‘On World Literature’, in World Literature: A Reader, ed. by Theo D’haen, César Domínguez and Mads Rosendahl Thomsen (London and New York: Routledge, 2013).
  • Immanuel Kant, ‘Idea for a Universal History with a Cosmopolitan Purpose’, in The Cosmopolitanism Reader, ed. by Garrett Wallace Brown and David Held (Cambridge: Polity Press, 2012).
  • Fritz Strich, ‘World Literature and Comparative Literary History’, in World Literature: A Reader, ed. by Theo D’haen, César Domínguez and Mads Rosendahl Thomsen (London and New York: Routledge, 2013).

Session 2: Nationalism

  • Johann Gottfried Herder, Reflections on the Philosophy of the History of Mankind, ed. by Frank E. Manuel (Chicago: Chicago University Press, 1968).
  • Fedor Dostoevsky, ‘Pushkin Speech’..
  • Rabindranath Tagore, ‘Nationalism in India’, in Indian Philosophy in English: From Renaissance to Independence, ed. by Nalini Bhushan and Jay L. Garfield (New York: Oxford University Press, 2015).

Session 3: Worldliness

  • Charles Baudelaire, ‘The Painter of Modern Life’, in The Painter of Modern Life and other Essays, trans. by Jonathan Mayne (New York: Da Capo, 1986).
  • Henry James, The Ambassadors, ed. Adrian Poole (London: Penguin, 2008).
  • Paul Bourget, Cosmopolis (New York: Current Literature Publishing, 1908) Author’s introduction- https://archive.org/details/cosmopolis00bour/page/n9

Session 4: World Capitals

  • Pascale Casanova, ‘Literature as a World’, in World Literature: A Reader, ed. by Theo D’haen, César Domínguez and Mads Rosendahl Thomsen (Routledge, 2013).
  • Stefan Zweig, The World of Yesterday, trans. by Anthea Bell (London: Pushkin Press, 2011),‘Foreword’ and ‘Beyond Europe’.
  • Walter Benjamin, ‘Paris, Capital of the nineteenth Century’, in Reflections(New York: Schocken, 2007).

Session 5: Queer Worlds

  • C. P. Cavafy, Collected Poems, trans. by Evangelos Sachperoglou (Oxford World’s Classics, 2007).
  • Mikhail Kuzmin, Mikhail Kuzmin, Wings, trans. by Hugh Alpin (London: Hesperus, 2007).
  • Robert Aldrich, ‘Introduction: the seduction of the colonies’ to Colonialism and Homosexuality.

Session 6: Patriotism and Pacifism

  • Appiah, Kwame Anthony, ‘Cosmopolitan Patriots’, Critical Inquiry23:3 (1997).
  • Woolf, Virginia, Three Guineas, in A Room of One’s Own and Three Guineas, ed. by Michèle Barrett (London: Penguin, 1993).

Session 7: The Love of Strangers 

  • Georg Simmel, ‘The Stranger’.
  • J.K. Huysmans, Against Nature, trans. by Robert Baldwick (London: Penguin), chapter XI.
  • Katherine Mansfield, ‘The Little Governess’, in Selected Stories(New York, Norton, 2006).
  • Jacques Derrida, ‘Foreigner Question’, in Of Hospitality, trans. Rachel Bowlby (Stanford University Press, 2000).

Session 8: Resistance of Form

  • Theodor Adorno, ‘On the Use of Foreign Words’, in Notes to Literature, trans. by Shierry Weber Nicholsen (New York: Columbia University Press)
  • Barbara Cassin, Dictionary of Untranslatables, trans. Emily Apter, Jacques Lezra and Michael Wood (Princeton University Press, 2014): Preface and Introduction and ‘Welt’.

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Françoise Král, "Literature in a World Perspective: Undoing the Monoglossic Turn"

In this seminar we will reflect on the role and responsibility of literature today, in a globalized world. While standardization and the formatting of language and cultural practices are often identified as a consequence of an increasingly globalized world, literature, and in particular anglophone literature today opens up new vistas.

Despite the linguistic ubiquity of English as a language gone global, contemporary anglophone world literature spans a variety of situations and ways of relating to English -- with monoglot anglophone writers, bilingual writers who were born or sometimes still live in a situation of diglossia -- from which it results that anglophone literature is written alongside other languages and other cultural contexts. This increasingly complex map of linguistic genealogies and cultural crisscrossings constitutes a decisive entry point into our understanding of a world largely dominated by the ubiquity of the English language, as this language has branched out in two radically different directions : the ‘Globish’ -- a form of English simplified for the benefit of non-native speakers in technical and commercial dealings and transactions -- and increasingly complex rhizoming forms of English which testify to the renewed vitality of English today. Rather than focus on the cultural common ground and the areas of overlap which the linguistic hegemony of the English language would seem to offer, the seminar will investigate the zones of friction and tension which continue to be expressed, those moments when rather than flow the texts express the resilient ruggedness of our ‘globalized world’.

The seminar will consider a large variety of literary, linguistic and epistemological issues which will be approached contrapuntally, through the dual focus of theorization (Walter Benjamin, Pascale Casanova, Julia Kristeva, Jacques Derrida, Edouard Glissant, Barbara Cassin, Gilles Deleuze, Jean-Jacques Lecercle, Achille Mbembe, Salikoko Mufwene, Vladimir Jankélévitch) and literature (John Agard, Monica Ali, Joseph Conrad, Cristina Garcia, Rudyard Kipling, Jhumpa Lahiri, V.S. Naipaul, Marlene Nourbese Philip and Arundhati Roy).

Françoise Král is Professor of English and postcolonial studies at Université Paris Nanterre. Her research fields include postcolonial literatures and cultures, critical theory, contemporary 20th and 21st century Anglophone literature, diaspora studies, and more recently the digital humanities vs the precarious bodyFrancoise Kral, a topic on which she coordinated a seminar series at the Collège International de Philosophie in Paris (2019-2020). She is the author of several books, including her monographs Critical Identities in Contemporary Anglophone Diasporic Literature (Palgrave, 2009) Social Invisibility in Anglophone Diasporic Literature and Culture: The Fractal Gaze (Palgrave, 2014) and Sounding out History (2018). She is a founding member of the international interdisciplinary research network Diaspolinks and has edited several collected volumes (Re-presenting Otherness (Publidix, 2004), Architecture and Philosophy: New Perspectives on the Work of Arakawa and Gins (co-edited with Jean-Jacques Lecercle, Rodopi, 2011)) as well as journal issues including a special issue of Commonwealth Essays and Studies, Crossings (37.1 autumn 2014), LMA (2018) and a special issue of The Journal of Postcolonial Writing (2019).

Session 1: Rethinking Babel

  • Umberto Eco, from The Search for the Perfect Language.
  • George Orwell. 1984. Appendix.
  • Marlene Nourbese Philip, “Discourse on the Logic of Language."

Session 2: From colonial legacies to global perspectives: what is a global language?

  • Ngugi Wa Thiong’o, from Decolonising the Mind : The Politics of Language in African Literature.
  • John Agard, “ Listen Mister Oxford Don”.
  • David Crystal, from English as a Global Language.

Session 3: Uncovering foreign genealogies/rethinking national identity/retrieving silenced polyglot voices

  • Julia Kristev, from Stranger to Ourselves.
  • Rudyard Kipling, Kim.
  • Monica Ali, from Brick Lane. Black Swan.

Session 4: Mother tongues /Other tongues

  • V.S. Naipaul, from The Enigma of Arrival, A Novel in Five Section.
  • Derrida, from Monolingualism of the Other; or the Prosthesis of Origin.
  • Cristina Garcia, Dreaming in Cuban.

Session 5: The Stranger’s perspective/translation/translocations

  • Walter Mignolo, from Local Histories/ Global Designs: Coloniality, Subaltern Knowledges, and Border thinking.
  • Walter Benjamin, “The Task of the Translator”.

Session 6: "Complicating the universal"

  • Barbara Cassin , “To Translate ” in  Dictionary of Untranslatables, A Philosophical Lexicon.
  • Julia Kristeva, from Stranger to Ourselves
  • Arundhati Roy, from The God of Small Things.

Session 7: Opacity, tuning in to the language

  • Edouard Glissant, from Poetics of Relation.
  • Jean-Jacques Lecercle, from A Marxist Philosophy of Language.

Session 8: Cultural resilience /Undoing the monoglossic turn

  • Salikoko Mufwene. The Ecology of Language Evolution.
  • Gilles Deleuze, from Essays Critical and Clinical.
  • Françoise Král, “Polyglossing in English: The Diasporic Trajectories of the English Language.”
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Galin Tihanov, "Exilic Writing and the Making of World Literature"

This course is about the centrality of exile and exilic writing in the making of world literature. Not only is writing about exile a specific mode of producing a particular version of the world; it is also a way of thinking about movement, mediations, transfers, and boundaries. Crucially, exile is one of the foundational discourses of modernity that interrogates memory, identity, and language. Today’s notion of world literature is inseparable from a transnational and cosmopolitan perspective, which is intimately – and in a characteristically contradictory manner –linked to exilic experiences and the practice of exilic writing. In this course, we will analyse artefacts (literature, but also some paintings, two texts which fall in the genre of “philosophy of history”, a play, and a film) by European, Indian, Japanese, and American authors in order to begin to think about how exile and exilic writing have been inscribed in the very notion of world literature with which we work today.

Galin Tihanov is the George Steiner Professor of Comparative Literature at Queen Mary, University of  GalinLondon. He has published widely on German, Russian, and East-European cultural and intellectual history. His most recent research has been on cosmopolitanism, exile, and transnationalism. Amongst his recent authored and edited books are Narrativas do Exílio: Cosmopolitismo além da Imaginação Liberal (2013) and Enlightenment Cosmopolitanism(2011, ed. with David Adams). Tihanov is winner, with Evgeny Dobrenko, of the Efim Etkind Prize for Best Book on Russian Culture (2012), awarded for their co-edited A History of Russian Literary Theory and Criticism: The Soviet Age and Beyond(2011). He is Honorary President of the ICLA Committee on Literary Theory, member of Academia Europaea, and Honorary Scientific Advisor to the Institute of Foreign Literatures at the Chinese Academy of Social Sciences. Tihanov has held visiting appointments at Yale University, St. Gallen University, the University of Sao Paulo, and Peking University. 

Session 1: Exotopy and Inbetweenness

  • Verse selections from the Bible (Psalm 137, “By the rivers of Babylon…”); Ovid, “Tristia” and “Ex Ponto”; and Agha Shahid Ali, “When on Route 80 in Ohio”, in Away: The Indian Writer as an Expatriate, ed. A. Kumar, New York: Routledge, 2004.
  • Edward Said, Reflections on Exile and Other Essays, Cambridge, Mass.: Harvard University Press, 2000, Ch. 17, “Reflections on Exile” (1984).
  • Hannah Arendt, “We Refugees”, in H. Arendt, The Jew as Pariah, New York: Grove, 1978.
  • Giorgio Agamben. "We Refugees", Symposium, 1995, No. 49 (2).
  • Paulo BartoloniOn the Cultures of Exile, Translation, and Writing. West Lafayette, IN: Purdue UP, 2008.

Session 2: Memory and the Languages of Exile

  • Viewing of selected paintings by Marc Chagall
  • Marc Chagall, My Life, Oxford: Oxford UP, 1989.
  • Benjamin Harshav, Marc Chagall and the Lost Jewish World, New York: Rizzoli, 2006.
  • Vladimir Nabokov, Pnin, Lonodn: Heinemann, 1957, Ch. 1.
  • Bryan Boyd, Vladimir Nabokov: The American Years, London: Vintage, 1993.

Session 3: Exilic Cosmopolitanism

  • Eugene Ionesco, The Bald Prima Dona, in: Ionesco, Plays, Vol. 1, trans. Donald Watson, London: Calder, 1958.
  • Eugene Ionesco, Notes and Counter-Notes, trans. Donald Watson, London: Calder, 1964.
  • David Damrosch, “Auerbach in Exile”, Comparative Literature, 1995, 47, No. 2. 
  • Galin Tihanov, “Why Did Modern Literary Theory Originate in Central and Eastern Europe? (And Why Is It Now Dead?)”, Common Knowledge, 2004, Vol. 10, No. 1.

Session 4Exilic Anti-Cosmopolitanism

  • Nikolai Trubetskoi, “Europe and Mankind”, in Nikolai Trubetzkoy, The Legacy of Genghis Khan, Ann Arbor: Michigan Slavic Publications, 1991.
  • Petr Savitskii, “A Turn to the East”, in Exodus to the East. Forebodings and Events: An Affirmation of the Eurasians, Idyllwild, CA: Charles Schlacks, 1996 [originally published in Russian, 1921].
  • N. Riasanovsky, “The Emergence of Eurasianism”, in Exodus to the East. Forebodings and Events: An Affirmation of the Eurasians, Idyllwild, CA: Charles Schlacks, 1996.

Session 5: The Affective Economy of Exile

  • Krzysztof Kieslowski, Three Colours: White (1994).
  • Emma Wilson, Memory and Survival: The French Cinema of Krzysztof Kieslowski, Oxford: Legenda, 2000.
  • Julia Kristeva, Strangers to Ourselves, New York: Harvester & Wheatsheaf, 1991.

Session 6: De-Romanticizing Exile

  • Mori Ogai, “The Boat on the River Takase”, in The Historical Literature of Mori Ogai, ed. R. Bowring et al., Honolulu: University of Hawaii Press, 1977, Vol. 1 (The Incident at Sakai, and Other Stories).
  • Alexander Solzhenitsyn, One Day in the Life of Ivan Denisovich, trans. Ralph Parker, London: Penguin, 1963.
  • Galin Tihanov, “Narratives of Exile: Cosmopolitanism Beyond the Liberal Imagination”, in Whose Cosmopolitanism? Critical Perspectives, Relationalities and Discontents, ed. N. Glick Schiller and A. Irving, New York and Oxford: Berghahn, 2015.

Session 7: Homecomers and Boomerangs

  • Milan Kundera, Ignorance, trans. Linda Asher, London: Faber & Faber, 2002.
  • V. S. Naipaul, A Bend in the River, London: Penguin, 1979.
  • Fiona Doloughan, “The myth of the great return: memory, longing and forgetting in Milan Kundera's Ignorance”, in: Creativity in Exile, ed. Michael Hanne, Amsterdam: Rodopi, 2004.

Session 8: Reflective Epilogue

In this session, we build upon our discussions of the texts in Weeks 1-7 to revisit the centrality of exile in the making of world literature as a concept and practice. Questions of language, memory, identity, transnationalism and cosmopolitanism – and how they relate to one another – are once again in the spotlight, this time with the purpose of drawing some tentative conclusions while engendering a productive uncertainty about the epistemological status of these notions.

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Delia Ungureanu, "Localizing Time: World Literature and World Cinema"

Two rising disciplines of the past couple of decades – world literature and world cinema – developed in parallel rather than in conjunction, despite sharing a body of theoretical knowledge and the need to adapt their objects to a globalized world. This seminar reexamines the points of intersection between these two disciplines and the possibilities for the “world” in “world literature” and “world cinema” to overlap to a larger extent than is currently thought. Does world cinema, both as an object of study and as a discipline, originate in world literature? Could world cinema, despite its much shorter history, circulate texts of world literature in a fresher way? Exploring these and other questions, this seminar will look at cinema and literature as temporal arts that find their specificity in the ways they engage with different culturally embedded representations of time. We will focus on films that take time not only as theme but as structural principle and as a means of creation and worlding. Discussions will include conceptual intersections between the national, the transnational, the global and the world, the circulation of cinema and literature between the avant-garde and mainstream circuits, and the relation of simultaneity and/or sequentiality between world cinema and world literature. Sources include literary texts by Proust, Woolf, Basho, Cao Xueqin, Arseny Tarkovsky, and Yourcenar, and films by Martin Scorsese, Stephen Daldry, Raúl Ruíz, Andrei Tarkovsky, Akira Kurosawa and Wong Kar-wai. Secondary readings include texts by Raúl Ruíz, Andrei Tarkovsky, Pheng Cheah, Dudley Andrew, Peter Cooke, and Esther C.M. Yau.

Delia Ungureanu is Associate Director of Harvard’s Institute for World Literature Delia Uand associate professor of literary theory in the Department of Literary Studies at the University of Bucharest. She is the author of From Paris to Tlön: Surrealism as World Literature (Bloomsbury, 2017), and of Poetica Apocalipsei: Razboiul cultural in revistele literare romanesti (1944–1947) (The Poetics of Apocalypse: The cultural war in Romanian literary magazines, 1944-1947, Bucharest UP, 2012). She has published essays on canon formation, modern poetry and poetics, Shakespeare, and Nabokov, and has coedited with Thomas Pavel Romanian Literature in Today's World, a special issue of the Journal of World Literature. She is currently finishing her third book, Time Regained: World Literature and Cinema that will be published by Bloomsbury. Together with Gisèle Sapiro she is coediting a special issue of the Journal of World Literature dedicated to the memory and legacy of Pascale Casanova.

Session 1: What is the “world” in “world literature” and “world cinema”?

  • Brian Selznick, The Invention of Hugo Cabret: A Novel in Words and Pictures. 1st ed., New York, Scholastic Press, 2007.
  • Martin Scorsese, Hugo (2012).Pheng Cheah, “Introduction.” What Is a World? On Postcolonial Literature as World Literature. Duke UP, 2016..
  • Lúcia Nagib, Chris Perriam and Rajinder Dudrah, “Introduction” to Theorizing World Cinema. Ed. by Lúcia Nagib, Chris Perriam and Rajinder Dudrah. I.B. Tauris, 2012..

Session 2: National, Transnational, World 

  • Selections from Flaubert’s Madame Bovary. Oxford UP, 2008. Trans. Margaret Mauldon. Part I: Ch. VI, Ch. IX,. Part II: Ch. IX. Part III: Ch. 1, Ch. V.
  • Selections from Posy Simmonds’ Gemma Bovery.
  • Anne Fontaine, Gemma Bovery(2014).
  • Reviews of Anne Fontaine’s film.
  • Mette Hjort, “On the plurality of cinematic transnationalism.” World Cinemas, Transnational Perspectives. Ed. by Nataša Ďurovičová and Kathleen Newman. Routledge, 2010.

Session 3: World Cinema vs. Hollywood

  • Selections from Woolf, Mrs. Dalloway. Oxford UP, 2000. Ed. with an introduction and notes by David Bradshaw.
  • Selections from Woolf’s Orlando. Annotated and with an introduction by Maria DiBattista. Harcourt, 2006.
  • Stephen Daldry, The Hours (2002).
  • Interview with Stephen Daldry: “Hollywood? I’ve never even been there.” February 10, 2013.
  • Peter Cooke, “World Cinema’s ‘Dialogues’ with Hollywood.” In World Cinema’s ‘Dialogues’ with Hollywood. Ed. by Peter Cooke. Palgrave Macmillan, 2007.

Session 4: Is world literature the birthplace of world cinema? 

  • Selections from Proust’s Swann’s Way. The Modern Library: NY, 2003. Trans. by C.K. Scott Moncrieff and Terence Kilmartin. Revised by D.J. Enright.
  • Selections from Proust’s Time Regained.The Modern Library: NY, 6thvol..
  • Raúl Ruíz, Le Temps retrouvé (1999).
  • Raúl Ruíz, “Fascination and Detachment” and “The Face of the Sea.” Poetics of Cinema II, Dis Voir, 2007.
  • Patrick M. Bray, “The ‘Debris of Experience.’ The Cinema of Marcel Proust and Raúl Ruíz”. The Romanic Review.101:3, May 2010.

Session 5: World cinema turns East: Japanese poetry, a possible model for the cinematic image

  • Selected poems by Arseny Tarkovsky.
  • Selected haiku by Basho from The Art of Haiku: Its History through Poems and Paintingsby Japanese Masters. Ed. Stephen Addiss. Shambhala, 2001..
  • Selections from Tales of Ise: Lyrical Episodes from Tenth-Century Japan. Translated, with an introduction and notes, by Helen Craig McCullough. Stanford UP, 1968.
  • Andrei Tarkovsky, Nostalghia (1983).
  • Andrei Tarkovsky, “After Nostalgia” and “Imprinted Time”. Sculpting in Time. University of Texas Press, 1989..
  • Dudley Andrew, “An Atlas of World Cinema.” Framework: The Journal of Cinema & Media45.2 (Fall 2004)..

Session 6: Thinking transnationally: from Hong Kong cinema to world cinema

  • Dante, “Paolo and Francesca.” The Divine Comedy of Dante Alighieri. Ed. and translated by Robert M. Durling. Introduction and notes by Ronald L. Martinez. Vol. I: Inferno. NY & Oxford: Oxford UP, 1996.
  • Selections from The Prose Lancelot.
  • Wong Kar-wai, In the Mood for Love (2000).
  • Lyrics for Zhou Xuan’s “Age of Bloom” and Bryan Ferry’s “I’m in the Mood for Love.”
  • Esther C. M. Yau, “Hong Kong Cinema in a Borderless World.” At Full Speed: Hong Kong Cinema in a Borderless World. University of Minnesota Press, 2001.

Session 7: World cinema and world literature: a structural relation 

  • Cao Xueqin, The Story of the Stone. Vol. I. Selections from Chapter I and Chapter V in full + Appendix. Trans. by David Hawkes. Penguin Books. 2012.
  • Interview with Wong Kar-wai on 2046 by Mark Salisbury, published on londonnet.co.uk.
  • “The Northern Beggar and Southern Emperor in a Pleasant Forest: Dialogue with Wong Kar-wai”, Lin Yao-teh. Wong Kar-Wai: Interviews. Edited by Silver Wai-ming Lee and Micky Lee, 2017.
  • Ken Provencer, “Transnational Wong.” A Companion to Wong Kar-wai. Ed. Martha Nochimson. Wiley Blackwell, 2016.

Session 8: Is world cinema a new type of world literature?

  • Marguerite Yourcenar, from Oriental Tales: “How Wang-Fô Was Saved,” “Our-Lady-of-the-Swallows,” “The Sadness of Cornelius Berg,” “Postscript.” New York: Farrar Straus Giroux, 1985.
  • Marguerite Yourcenar, selections from Dreams and Destinies. NY: St. Martin’s Press, 1999.
  • Akira Kurosawa, Dreams (1990).
  • Martin Scorsese, “Akira Kurosawa”. Architectural Digest. Los Angeles 65.11 (Nov 2008).
  • Dudley Andrew, “Time Zones and Jetlag: The Flows and Phases of World Cinema.” In World Cinemas, Transnational Perspectives. Ed. by Nataša Ďurovičová and Kathleen Newman. Routledge, 2010.