An introduction to the major religions of India, Tibet, China, and Japan with particular attention to universal questions such as how to overcome the human predicament, how to perceive ultimate reality, and what is the meaning of death and the end of the world. Materials taken from Islam, Hinduism, Buddhism, Confucianism, Taoism, and Shinto. Comparisons made, when appropriate, with Hebrew and Christian Scriptures.

A study of the Christian religion through eleven objects that represent key beliefs, rituals, institutions, and spiritualities of the tradition: a cross, flame, water, bread and wine, a crown, an icon, a monastery, a cathedral, printed bibles and hymnals, a meetinghouse, and a megachurch. We will take one week of the term to examine each of these objects and their complex meanings in Christian culture. Our approach will feature historical and thematic perspectives and engage with a combination of primary source texts, secondary interpretive readings, visual images, sound recordings, and videos. No previous knowledge of Christianity is assumed.

Mystifying and complex, the figure of courtesan has appeared as the foil to the virtuous and docile wife in Sanskrit and Tamil classics of ancient India, early Urdu novels, and literary works of several South Asian languages. Since the mid-twentieth century, the courtesan has appeared in films produced in South Asia as a self-sacrificing character with a strong will. In this course, we will examine literary works in South Asian languages since the antiquity with courtesans as central characters and films based on them. For each work, we will first consider the figure of the courtesan in view of the cultural context of the time of its composition and various theories of literary criticism. We will then analyze the film based on the work in terms of how the interpretation of the character here compares with the literary work.

Love in its myriad manifestations constitutes a central and perennial theme in the literary and artistic repertoires of Arabic- and Persian-speaking societies. This course explores the varied, subtle vocabulary and the versatile, multivalent imagery linked with the themes of love and longing in Arabic- and Persian-language literature and film. In different times and places, how have men and women writers and directors used the themes of love and longing to depict and critique concepts of gender and gender relations, and social and political inequalities? How have men and women writers and filmmakers in the twentieth and twenty-first centuries both continued and disrupted earlier literary and poetic discourses of love? How have modern filmmakers engaged with and reworked classical stories of transgressive love? Divided roughly equally between literary and cinematic works, the course explores treatments of love and longing in, for example, early Arabic poetry and the Quranic text, philosophical and medical treatises, narrative cycles (for example the Thousand and One Nights), epic (notably the Persian Shahnameh or ‘Book of Kings’), lyric poetry (Rumi, Saadi, Hafez), modern verse, and film, including films by Dariush Mehrjui, Youssef Chahine, Mohsen Makhmalbaf, Abbas Kiarostami, Rakhshan Bani-Etamad and Shirin Neshat.

Love in its myriad manifestations constitutes a central and perennial theme in the literary and artistic repertoires of Arabic- and Persian-speaking societies. This course explores the varied, subtle vocabulary and the versatile, multivalent imagery linked with the themes of love and longing in Arabic- and Persian-language literature and film. In different times and places, how have men and women writers and directors used the themes of love and longing to depict and critique concepts of gender and gender relations, and social and political inequalities? How have men and women writers and filmmakers in the twentieth and twenty-first centuries both continued and disrupted earlier literary and poetic discourses of love? How have modern filmmakers engaged with and reworked classical stories of transgressive love? Divided roughly equally between literary and cinematic works, the course explores treatments of love and longing in, for example, early Arabic poetry and the Quranic text, philosophical and medical treatises, narrative cycles (for example the Thousand and One Nights), epic (notably the Persian Shahnameh or ‘Book of Kings’), lyric poetry (Rumi, Saadi, Hafez), modern verse, and film, including films by Dariush Mehrjui, Youssef Chahine, Mohsen Makhmalbaf, Abbas Kiarostami, Rakhshan Bani-Etamad and Shirin Neshat.

With readings, documentary films, discussions, and lectures, this course will examine the complex spiritual beliefs and expressions of peoples of African descent in Brazil, Cuba, Haiti, Jamaica, and North America. The course surveys African diasporic religions such as Candomble, Santeria, Voodoo, Shango, and African American religions. Attention will be paid to how diasporic Africans practice religion for self-definition, community building, and sociocultural critique, and for reshaping the religious and cultural landscapes of the Americas.

This course exposes students to major approaches to the interdisciplinary field of Jewish Studies. We will focus our attention, in sequence, on different objects of analysis: Jews, Jewish languages, Jewish texts, Jewish politics, and Jewish cultural expression. In each case, we will ask what it means to call that kind of object (a person, word, political idea, work of culture, etc.) Jewish, and we will examine some of the most influential answers that have been presented, from antiquity to modernity. By the end of the semester, students will have a solid grounding in the field as a whole and a roadmap for pursuing the study of Jews, Judaism, and Jewish culture at Wellesley (and beyond).

The writings of the New Testament as diverse expressions of the Jesus Movement and early Christianity. Close reading of the texts, with particular emphasis on the Gospels and the letters of Paul. Treatment of the historical, theological, and literary dimensions of the texts, as well as of methods of interpretation. The beginnings of the break between the Jesus movement and Judaism and the challenges posed by Roman rule will be specially considered.

An exploration of theoretical models and methods employed in the study of religions. Particular attention to approaches drawn from anthropology, sociology, and psychology. Readings taken from writers of continuing influence in the field: William James and Sigmund Freud, Max Weber and Émile Durkheim, Clifford Geertz and Victor Turner, Carl Jung and Mircea Eliade, Karl Marx and Paul Ricœur.

This course explores the use of biblical stories and themes in cinema. We will begin with films based on selected biblical texts including the exodus, the book of Job, and Esther. We will focus our attention on the cinematic treatments of biblical themes: freedom and bondage, passing, and suffering. No previous knowledge of film or the Bible is assumed; the course offers an introduction to key modes of biblical interpretation including historical criticism, feminist, womanist, literary and comparative approaches. Films include Moonlight, Prince of Egypt, Inglourious Basterds, Passing, Harriet, Brokeback Mountain, Pariah, and Minari.

How have Muslims, over the course of a millennium and a half and in strikingly different environments and circumstances, conceived of human nature, moral conduct and responsibility, and the good life; and how have they formulated, debated and applied ethical principles? This course explores these questions with reference to the rich materials that have informed the religious cultures of Muslim communities, including the sacred sources of the Qur'an and the Prophet's example, the reception, interpretation and development of late antique moral philosophies and wisdom literatures, the evolving corpora of legal and theological scholarship, and the elaboration of rationally based ethical systems. Issues include charity, the environment, animal welfare, economics, gender and sexuality, medicine and bio-ethics, conflict and dispute resolution.