Welcome to the Department of Comparative Literature at the University of Oregon. We have the oldest doctoral program in Comparative Literature on the West Coast, as well as a unique major for undergraduates, and a dynamic faculty representing disciplines across campus. Oregon is also the home of the principal journal in the field, Comparative Literature, which recently celebrated its sixtieth anniversary.
Comparative Literature features Michael Allan as guest editor
Prof. Michael Allan served as guest editor for a special edition of the Comparative Literature journal:
Reading Secularism: Religion, Literature, Aesthetics Volume 65, Number 3, Summer 2013
Grad Student News
"Living Dead Girls" featured in Cascade magazine
Rachel Eccleston's Comparative World Literature (COLT 211) course "Living Dead Girls" is featured in the Winter edition of the College of Arts and Science's magazine Cascade.
"The death of a beautiful woman is unquestionably the most poetical topic in the world." —Edgar Allan Poe
This shocking sentiment is perhaps not so shocking, considering the source. Who better than Poe, the master of macabre storytelling, to ponder—in characteristically creepy fashion—the intersection of beauty, death and poetic expression? But the beauty of the dead woman is not the romanticized obsession of a lone nineteenth-century writer...read more
Speaker: Matvei Yankelevich
"The Desk Drawer and the Window: The Private Writing of Daniil Kharms as a Basis for Theorizing Translation"
Monday, March 3, 4:00 PM, Gumwood Room, EMU
To write for the desk drawer is the Russian expression for a kind of manuscript production not meant for publication because of its content (political, private, pornographic), its lack of quality (un-professional, amateur, pseudo-literary), or the writer's attitude of apathy or active concealment. The desk-drawer manuscripts of Russian surrealist/absurdist writer Daniil Kharms (1905-1942) exhibit this fugitive position in respect to print: not conceived of as preliminary to publication, they are hidden, private, or meant only for a dedicatee's individual reading. Kharms's fragmentary style, developed under the conditions of private writing, resulted in poems, stories, plays, and incantations that foreground the surface and gesture of writing. The focus of this talk will be the special problems for the translator and current translation theory arising from this peculiar situation where the source text—unfinished, unstable, evading standard typographic setting—is not just a text, but a graphic performance.