5 courses with the subject CLEN GU, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
Major texts of the Renaissance both south and north of the Alps, including those of Petrarch, Valla, Machiavelli, Castiglione, Erasmus, Thomas More, and Montaigne, with special emphasis on diverse style of early modern writing and the habits of reading they encouraged
The principal texts of literary theory from antiquity through the 18th century, including Plato, Aristotle, Horace, Longinus, Augustine, Aquinas, Boccaccio, Sidney, and Kant. Spring 2026: CLEN GU4414 Course Number Section/Call Number Times/Location Instructor Points Enrollment CLEN 4414 001/14156 M W 4:10pm - 5:25pm 717 Hamilton Hall Kathy Eden 3.00 30/54
(Lecture). We cant talk about human rights without talking about the forms in which we talk about human rights. This course will study the convergences of the thematics, philosophies, politics, practices, and formal properties of literature and human rights. In particular, it will examine how literary questions of narrative shape (and are shaped by) human rights concerns; how do the forms of stories enable and respond to forms of thought, forms of commitment, forms of being, forms of justice, and forms of violation? How does narrative help us to imagine an international order based on human dignity, rights, and equality? We will read classic literary texts and contemporary writing (both literary and non-literary) and view a number of films and other multimedia projects to think about the relationships between story forms and human rights problematics and practices. Likely literary authors: Roberto Bolaño, Miguel de Cervantes, Assia Djebar, Ariel Dorfman, Slavenka Drakulic, Nuruddin Farah, Janette Turner Hospital, Franz Kafka, Sahar Kalifeh, Sindiwe Magona, Maniza Naqvi, Michael Ondaatje, Alicia Partnoy, Ousmane Sembène, Mark Twain . . . . We will also read theoretical and historical pieces by authors such as Agamben, An-Naim, Appiah, Arendt, Balibar, Bloch, Chakrabarty, Derrida, Douzinas, Habermas, Harlow, Ignatieff, Laclau and Mouffe, Levinas, Lyotard, Marx, Mutua, Nussbaum, Rorty, Said, Scarry, Soyinka, Spivak, Williams
In this course we will consider the long history of literature composed with, for, and by machines. Our reading list will start with Ramon Llull, the thirteenth-century combinatorial mystic, and continue with readings from Gottfried Leibniz, Francis Bacon, Jonathan Swift, and Samuel Butler. We will read "Plot Robots" instrumental to the writing of Hollywood scripts and pulp fiction of the 1920s, the avant-garde poetry of Dada and OULIPO, computer-generated love letters written by Alan Turing, and novels created by the first generation of artificial intelligence researchers in the 1950s and 60s. The course will conclude at the present moment, with an exploration of machine learning techniques of the sort used by Siri, Alexa, and other contemporary chat bots
The Middle Ages have long been a source of inspiration for composers of opera. Since the midnineteenth century, mystery plays, troubadour lyrics, enigmatic tapestries, and Arthurian romances have all been showcased on the operatic stage; the last 30 years, in particular, have seen a spike in interest in reenergizing medieval culture for contemporary audiences. Designed for graduate and advanced undergraduate students interested in medieval literature and/or the history of lyric theater, this course excavates the medievalist turn in opera, from Wagner to the present day. We’ll ask questions about the nature of intermedial adaptation, the effect of staging in constructing or dispelling medieval allusion, the historically contingent politics of musical antiquarianism and revival, and the enduring appeal of the Middle Ages in the late twentieth and early twenty-first centuries. Along the way, we’ll read medieval texts from England, Germany, and Occitania, analyze recorded performances of musical works, visit medieval tapestries at the Cloisters, and take a trip to a much-anticipated new production of Wagner’s Tristan und Isolde at the Metropolitan Opera
Source: Teachers College at Columbia University's catalog, linked per course · table learning_unit · CourseShelf publish 61
