First-year students are welcome to enroll in one of the Literature department’s 100-level writing-intensive courses, many of them dedicated to the close examination of a particular literary theme or interpretive question. These courses require no special preparation. They are offered in the fall and spring semesters and are the basic prerequisite for our courses in literature and creative writing.
Students may also elect writing-intensive courses in literature taught in other languages—such as German 200w, French 200w and above, or Hispanic Studies 200w or above—as well as writing-intensive courses in literature in translation or in relation to other media—such as Japanese 160 (film and animation) or Russian Studies 225w (19th-c Russian literature). These courses will count as a pre-requisite to upper-level courses in Literature and may count, with your concentration advisor’s approval, toward a major in Literature.
Students with AP scores of 4 or 5 may elect one either 204 (Poetry and Poetics) or 222 (Chaucer).
Students hoping to concentrate in Creative Writing must begin with a course in Literature and then take CRWR 215, Introduction to Creative Writing, by the end of the sophomore year; ideally, by then they would also have taken LIT 204, Poetry and Poetics. Students whose AP scores have allowed them to move directly into a 200-level literature course must take LIT 204 before they can enroll in CRWR 215.
Students unable to enroll in a course in literary study during their first year may later elect upper-level courses that specify either sophomore-standing (LIT 204w has a pre-requisite only for first-years) or pre-requisites other than a 100-level literature course (see individual course descriptions in the catalog). All of our courses, even those that are not specifically designated as writing-intensive, foster clarity of written and oral expression by demanding analytic essays and active engagement in class discussions.
Students should note that both concentrations have a foreign language requirement. Potential concentrators considering graduate study in literature should keep in mind that most doctoral programs require proficiency in at least one foreign language.
Disability in Literature and Film.
This course engages disability studies to explore how representations of physical and cognitive difference reinforce but also challenge stereotypical or stigmatized images of disability. Readings may include Faulkner’s The Sound and the Fury, Hawthorne’s “The Birth Mark,” Ishiguro’s Never Let Me Go, Kesey’s One Flew Over the Cuckoo’s Nest, Morrison’s Sula, O’Conner’s “The Lame Shall Enter First,” Stein’s Three Lives, and Woolf’s Mrs. Dalloway; critical essays by disability studies scholars and activists; films such as Freaks, The Miracle Worker, My Left Foot, Awakenings, and The Sessions. (Writing-intensive.) (Social, Structural, and Institutional Hierarchies.) Intermedia or Identity and Difference Maximum enrollment, 16. Clare Mullaney.
Literary Labor and the Work of the Humanities.
Is writing productive or unproductive? Do writers make anything of substance or just rearrange arbitrary marks on a page? These are old questions, to be sure. But we will take them up anew by asking how a range of writers have defined the nature and value of what they do. Crossing literary traditions and periods, we will trace how the relationship between intellectual and manual labor has changed over time and track the push-and-pull between the marketplace of ideas and the marketplace proper. Readings may include works by Aristotle, Arnold, Emerson, Dickinson, Howells, Gilman, and O’Hara. (Writing-intensive.) Theory or Theme Maximum enrollment, 16. Todd Carmody.
Food in Literature and Film.
Always a necessity and sometimes a luxury, food connects all people to the planet and to one another. This course will explore how authors and filmmakers use food and cooking in their works as a means of exposing complex social relationships, histories, and identities. The list of authors we may read includes Laura Esquivel, Aimee Bender, Isak Dinesen, Franz Kafka, MFK Fisher, Ruth Reichl, and many poets. We will also look at films such as Big Night; Eat, Drink, Man, Woman; and Ratatouille. (Writing-intensive.) (Proseminar.) Prerequisite, Open only to first-year students who have not taken a 100-level course. (Theme or Intermedia.) Maximum enrollment, 16.
Literature as/of medicine.
Writers from Longinus to Toni Morrison believe that literature itself can heal, that it can make us better, and is itself a kind of medicine. In this course we will examine this idea in poetry, novels, plays, and non-fiction, in the context of representations of the lives of doctors and patients, medical history and theory, and disease. Texts include works by Chaucer, Shakespeare, Mary and Percy Shelley, Kafka, Sontag, Amis, and Gawande. (Writing-intensive.) (Theme or Genre) Maximum enrollment, 16.
Introduction to the History and Theory of Film.
A general introduction to the wide world of cinema and cinema studies, focusing on crucial films from many cinematic traditions. Topics include the evolution of film from earlier forms of motion picture, the articulation and exploitation of a narrative language for cinema, the development of typical commercial genres, and the appearance of a variety of forms of critical cinema. Focuses on basic film terminology, with the cinematic apparatus and ongoing theoretical conversation about cinema and its audience. (Same as Cinema and Media Studies 120 and Art History 120.) MacDonald.
Afrofuturism and Other Dark Matters.
An introductory course primarily engaging the literary works of writers and artists concerned with the use of multiple genres and media to critique present-day realities and received partial histories of New World and global life through an Afro-diasporic lens. Students will read and examine the works of such writers and artists as Sutton Griggs, W. E. B. DuBois, George S. Schuyler, Samuel R Delany, Octavia Butler, Tananarive Due, Vincent D. Smith, Nalo Hopkinson, Jean-Michel Basquiat, and Sun Ra. (Writing-intensive.) (Identity and difference; intermedia) Maximum enrollment, 20.
Literary CSI: Case Studies and Insights.
Through a forensic or close analysis and discussion of selected texts by writers such as John Donne, Shakespeare, Poe, Melville, Edna St Vincent Millay, Dylan Thomas, Toni Morrison, Sonia Sanchez and August Wilson (considered in their contexts), students will acquire the skills necessary for critical thinking and communication of their insights about literature. (Writing-intensive.) (Proseminar.) (Theory or Genre) Open to first-year students only. Maximum enrollment, 16.
Days of a Future Past.
Reading a variety of works that may be described as fantastic or speculative and written by authors from different cultures, we shall discuss and write about these texts in order to develop and improve students'' critical reading, thinking, and writing skills. (Writing-intensive.) (Genre or Identity and Difference) Open to first-year students who have not take a 100-or 200-level course in Comparative Literature, English, or Literature. Maximum enrollment, 16. Odamtten.
The Literary Animal.
Humans have always been deeply interested in animals, and literature reflects this interest in many ways. We’ll examine the complexity of representing animals in literature by reading poetry, novels, and plays that reflect the human/animal divide, imagine being animal, or use animals as symbols. We’ll also discuss how these texts reveal philosophical and moral issues that arise from our relationships with animals. Texts include Swift’s Gulliver’s Travels, London’s Call of the Wild, and Barbara Gowdy’s The White Bone. We’ll also read a range of poetry. (Writing-intensive.) (Proseminar.) (Theme or Identity and Difference) Open to first-year students only. Maximum enrollment, 16.
A focus on monsters and the monstrous in literature. Readings will include Beowulf, Frankenstein, Dracula, stories by Poe and Angela Carter, a selection of poems, and the movie Aliens. Throughout the semester, we will question what makes something monstrous and how monsters function in literature and culture. We will also examine how monsters intersect with the categories of gender, race, sexuality and class. (Writing-intensive.) (Social, Structural, and Institutional Hierarchies.) (Proseminar.) (Theme or Identity and Difference) Proseminar open to first-year students only . Maximum enrollment, 16.
Truth and Justice, the American Way.
Truth is often a difficult thing to determine. The difficulty is compounded when the stakes of debate over the truth are high, as they are in searching for justice for individuals or communities. We will read poetry, drama, fiction and films that suggest the peculiarly American factors that shape notions of truth when justice is under debate. We will read recognized literary authors such as Hawthorne, Melville, and Baldwin, as well as lesser-known writers who experienced imprisonment. (Writing-intensive.) (History or Identity and Difference) Maximum enrollment, 16.
The Experience of Reading: Books as Stories, Books as Objects.
Consideration not only of stories in books but also the representations of readers and reading within them and about the cultural and physical experience of reading. How have attitudes toward reading changed over time? Works by Bunyan, Franklin, Blake, Austen, Alcott, Stevenson, Haddon, Creech. Workshops using Hamilton's Rare Book and Book Arts collections and manual printing press. (Writing-intensive.) (Theme or Intermedia) Open to first year students only. Maximum enrollment, 20. Thickstun.
From artists to dreamers to iconoclastic peasants, the early modern period teems with marginalized people radically re-imaging the terms of their own identity and the relationship between selfhood and the larger culture. This course explores issues in literary, art and cultural history through the study of texts that expose and even help create a changing sense of selfhood. We will study modern scholarship of the period as well. Readings likely will include plays such as Shakespeare''s The Merchant of Venice, utopian visions such as Bacon''s The New Atlantis, and studies of early modern crime. (Writing-intensive.) (Social, Structural, and Institutional Hierarchies.) Identity and Difference or History Maximum enrollment, 16. Schillinger.
Explores literature & film of 3 cultures fascinated by spectacles of revenge: Ancient Greece, Renaissance England, contemporary Hollywood. In these works, murder, mutilation, cannibalism, torture, and rape not only motivate revenge, but become its means. Is this only fitting or a gross paradox? What is the morality of vengeance-taking or its relationship to justice? What are the consequences for the individual and society? Texts include The Oresteia; Medea; The Spanish Tragedy; Titus Andronicus; The Duchess of Malfi; Arden of Faversham; The Crow; Sweeney Todd; Kill Bill. (Writing-intensive.) Theme or Genre Maximum enrollment, 20.
The Road Trip in American Literature.
The road trip in American literature and film symbolizes freedom and self-determination. This course examines and deconstructs the mythology of the road trip by asking who gets to share that freedom through critical analysis of how these narratives intersect with race, gender, class, sexuality and ability, as well as with environment. We will discuss canonical texts by authors such as Mark Twain and Jack Kerouac, as well as newer ones by people of color such as Sherman Alexie, Eddy Harris and Jade Chang, and films such as Thelma and Louise and The Fundamentals of Caring. (Writing-intensive.) (Proseminar.) Theme or Identity and Difference Maximum enrollment, 16.
Literature on Trials.
Why are trials so fascinating? Our emphasis will be on the ways they clarify values, establishing borders between acceptable and unacceptable behavior, with attention to how they enforce cultural norms concerning race, gender, and sexuality. We will discuss literary and cultural representations of historical trials, such as those of Socrates, Joan of Arc, Galileo, the Salem Witches, and Oscar Wilde. Course materials to include readings from Aeschylus, Plato, Shaw, Brecht, Stendhal, Kafka, Camus, Morrison, as well as films and other primary and secondary sources. (Writing-intensive.) (Proseminar.) (Theme or Identity and Difference) Open to first-year students only. Maximum enrollment, 16.
Literature and/of Empowerment.
Literature has always played important roles in the cultivation of personal, social, and political empowerment. This course explores a range of debates surrounding literature as a means of individual and group empowerment, issues including the cultural politics of representation; the dynamics of different forms of literary address such as testimony, protest, narrative, and abstraction; the construction of personal and group identity and difference; and writing as a tool for self empowerment. (Writing-intensive.) (Proseminar.) (Genre or Identity and Difference) Open to 1st years only. Maximum enrollment, 16. Steven Yao.
Echoes and Encores: Repetition in Literature.
An exploration of literary repetitions of different kinds, both within and across texts. How might the repetition of a single detail—an image, a character, even a phrase—yield multiple interpretations? What changes when a story moves from one genre, language, or cultural context to another? How are classics like Shakespeare’s The Tempest or Valmiki’s Ramayana rewritten to speak to contemporary concerns? Considering multiple “tellings” of a single story, we will probe concepts like originality, authenticity, homage, and plagiarism. Work by Chimamanda Adichie, Aimé Césaire, and Junot Díaz. (Writing-intensive.) (Proseminar.) (Theory or Identity and Difference) Maximum enrollment, 16.
“Know thyself." Young people struggled with this injunction long before Hamilton adopted the motto. This course explores how young people in literature—from medieval tales of adventure through 21st c. graphic novels—attempt to define their own identity in relation to their families and societies. We’ll explore how intersections of gender, sexuality, race, and culture come together in the construction of identity. Texts may include anonymous medieval works, as well as novels by Jane Austen, Alison Bechdel, Charles Dickens, Maxine Hong Kingston, and Art Spiegelman. (FYC Spring 2018) (Writing-intensive.) (Proseminar.) (Identity and Difference or Theme) Maximum enrollment, 16. Terrell.
Literature and Ethics.
Study of literature as a vehicle for moral and political concerns and of the ways that literature shapes its readers. Special emphasis on popular literature, feminist criticism and the problems raised by censorship and pornography. Selected novels and plays by such writers as Ibsen, Dostoevsky, Tolstoy, Hemingway, Wright, Highsmith, Doris Lessing, Burgess and others. (Writing-intensive.) (Proseminar.) (Theme) Open to first-year students only. Maximum enrollment, 16. P Rabinowitz.
Literature: What Is It Good For?.
Debates about the value of literature have long been tied to questions about its use. Literature has been praised-and condemned—as a source of pleasure, a medium for the transmission of knowledge, and a vehicle of personal expression. In order to determine why fiction matters, we will examine works that explore the power of literature to shape moral, social, and political realities, including manifestos, thought experiments, self-help manuals, and erotic fiction. Works by the Marquis de Sade, Wordsworth, Shelley, and George Eliot, as well as the film Possession (2002). (Writing-intensive.) Theme or Genre Maximum enrollment, 16. Suzanne Taylor.
Shakespeare on Film.
Since the earliest days of silent film, William Shakespeare''s works have been adapted on screen: hundreds of times in diverse settings from the Wild West to medieval Japan. After analyzing four Shakespeare plays, we will turn to film adaptations and their use of the formal elements of film, like editing and mise-en-scene. How have directors around the world re-imagined Shakespeare on screen? What is the effect of combining modern film language with Shakespeare’s language? Texts and film adaptations of Titus Andronicus, Othello, Macbeth, and Much Ado About Nothing. (Writing-intensive.) Intermedia or Genre Maximum enrollment, 16. Bahr.
Poetry and Poetics.
This course examines how poems work: how they are constructed, and how they produce meaning, pleasure, and cultural value. We will study poetry in terms of prosody, conventions, history, genre, and reception, with the goal of teaching the essential skills of close reading and contextual interpretation. Readings are primarily from the traditions of poetry written in English. (Writing-intensive.) Prerequisite, For first-years, one course in literature or a 4 or 5 on AP LIT or LANG. No prerequisite for upperclass students. (History or Genre) Not open to senior English or Creative Writing concentrators. Maximum enrollment, 20. The Department.
The Study of the Novel.
Forms of prose fiction since the 18th century. Attention to the primary structural features of the novel and the relations of narrative forms to social and historical contexts. Prerequisite, One course in literature. (History or Genre). Open to first-year students in the spring semester only. The Department.
Literacy, Diversity, and Ideas of America.
This course explores the history of literacy in North America through autobiographical accounts of learning to read and the cultural contexts within which learning occurs. Works by Franklin, Douglass, Angelou, and Rodriguez, among others; selected educational materials, such as primers, the Algonquian Bible, The Columbian Orator, and poems educators hoped would create the American Melting Pot. Attention to access (or barriers) to reading affected by educational policies and laws, book production and textual design, theories of composition, language of instruction, and the growth of libraries. (History or Identity and Difference)
This course will introduce disability studies by asking what literary narratives teach us about the norms that have been ascribed to minds and bodies and resistance to those norms. Stories written about disability and by disabled people from the mid-19th century to the present may include Jacob’s Incidents in the Life of a Slave Girl, Keller’s The Story of My Life, Hathaway’s The Little Locksmith, McCullers’s The Heart is a Lonely Hunter, Plath’s The Bell Jar, Keyes’s Flowers for Algernon, Lorde’s Cancer Journals, Crosby’s A Body Undone, and a collection, Factory Lives. (Social, Structural, and Institutional Hierarchies.) Identity and Difference Clare Mullaney.
Modern and Contemporary Chinese Literature: Traditions and Modernities.
Since 1919, Chinese literature has played a decisive role in interactions between tradition and modernity. This course examines the development of Chinese literature against such interactions. Students will familiarize themselves with the most representative modern and contemporary Chinese literary works and gain a broad understanding of many modernity-related issues, including politics, culture, class, labor division, ethnicity, gender and sexuality. All lectures and discussions in English. Requirements: presentations, class discussions, film viewings and a final paper. (Same as East Asian Languages and Literatures 210.)
Early Storytellers in World Literature.
Great ‘masterpieces’ have been inscribed on cave walls, papyrus, tapestries, parchment (goatskin), and paper in order to comment upon the world. This course examines the human condition through a comparative study of mythology, epic, narrative, and poetry, from ancient Mesopotamia and Greece to the Roman Empire through to the Renaissance period. It pays special attention to how sexuality, identity, and politics play in the representation of diverse societies in Innana, The Odyssey, The Golden Ass, El Cid, Les Lais, 1001 Nights, The Pillow Book, Veronica Franco’s poetry, and others. (Writing-intensive.) (History) Maximum enrollment, 20.
Readings in World Literature II.
Study of representative texts in world literature from 1800 to the present, including novels, short fiction, and drama. Particular attention paid to the concepts of class, self and society, and they way they are intertwined with forms of narrative and drama. Readings to include works by such writers as Goethe, Balzac, Austen, Chekhov, Kafka, Hagedorn, Roy. (Writing-intensive.) (History) May be taken without 211. Maximum enrollment, 20.
Caribbean Literature in the Crucible.
A critical overview of Caribbean literatures in the light of the complex legacies that have given rise to a body of creative work that seems to constantly fashion and refashion itself. Such literary recasting helps to communicate an intricate history of genocides, survival, exile, resistance, endurance, and outward migrations. Particular attention to writers such as Roger Mias, Martin Carter, George Lamming, Derek Walcott, Patricia Powell, Earl Lovelace, Paule Marshall and Michelle Cliff. (post-1900). Prerequisite, One course in literature. (History or Identity and Difference) (Same as Africana Studies 216.) Odamtten.
Introduction to US Latinx Literatures.
Examines cultural production of representative U.S. Latinx writers primarily from the civil rights movement to present. The course explores Latinx writers’ engagement with language, political status, race, gender, nationality, and generational markers to reveal both the fluidity and instability of the Latinx imaginary. Readings include autobiographical and biographical works, bildungsroman, memoir, historical novel and vignettes in an exploration of the self and one’s relation to collective identity. (Proseminar.) Taught in English. (Same as Hispanic Studies 217.) Maximum enrollment, 16. Ambio, Marissa L.
Literatures of Witness.
Witness literature is testimonial by individuals who have suffered injustice incurred not as a result of what they have done but of what they are, as in Holocaust and slave narrative. We will study this literature and ask how its definition might be adapted to an era that has seen wide growth in systems of police action. We will read classic witness texts, work by political prisoners and by ‘common criminals’: writers who have been convicted for violations of law but also challenge collectively experienced limits on life opportunities, such as those imposed by race, class, and/or gender. Prerequisite, One course in literature. (Theory or Identity and Difference)
Introduction to Old English.
Exploration of the language, literature and culture of early medieval England, from the Anglo-Saxon invasion through the Norman Conquest. Emphasis on reading and translating Old English prose and poetry, as well as developing an understanding of its cultural context. Culminates with a reading of Beowulf in translation (pre-1660). Offered in alternate years. Prerequisite, One course in literature. (History)
Chaucer: Gender and Genre.
Examines how Chaucer engages and transforms prevailing medieval ideas of gender and genre. Particular emphasis on his constructions of masculinity and femininity in relation to themes of sex, religion, social power and narrative authority. Readings include Troilus and Criseyde and The Canterbury Tales in Middle English, as well as select medieval sources and modern criticism (pre-1660). (Writing-intensive.) Prerequisite, one course in literature or AP 4 or 5 in English. (History or Single-Author) Maximum enrollment, 20. Terrell.
Gender and Violence in the Middle Ages.
This course serves as an introduction to the field of Medieval and Renaissance Studies. Drawing on multiple disciplinary perspectives, including those of literature, law, history, and art, we will examine the intersection of ideas about the body, gender, and violence in the European Middle Ages. Readings may include the Bible and early patristic writings; the lives of saints; poems and advice manuals on courtly love; depictions of women in the Crusades; Icelandic sagas; and perspectives on the trial of Joan of Arc. Prerequisite, One 100-level course in literature or history, or AP 4 or 5 in English or history. (Same as History 223 and Medieval and Renaissance Studies 223.) Maximum enrollment, 24.
Gender and Violence in the Middle Ages.
An introduction to the field of medieval and renaissance studies. Drawing on multiple disciplinary perspectives, including those of literature, law, history and art, examines the intersection of ideas about the body, gender and violence in the European Middle Ages. Readings may include the Bible and early patristic writings; the lives of saints; poems and advice manuals on courtly love; depictions of women in the Crusades; Icelandic sagas; and perspectives on the trial of Joan of Arc. Prerequisite, one 100-level course in literature or history, or AP 4 or 5 in English or History. (Same as College Courses and Seminars 223.) Maximum enrollment, 24.
Madness, Murder and Mayhem: Nineteenth-Century Russian Literature.
Readings of representative works with emphasis on major literary movements, cultural history, and basic literary devices. Primary texts by Pushkin, Gogol, Turgenev, Dostoevsky and Tolstoy, as well as some critical materials. Not open to first year students. (Writing-intensive.) No knowledge of Russian required. (Same as Russian Studies 225.) Maximum enrollment, 20. Bartle.
Sex, Death and Revolution: Twentieth-Century Russian Art and Literature.
Close analysis of major literary and artistic movements of the 20th century, with particular attention paid to the innovations of the avant-garde and the impact of the Bolshevik Revolution on the artistic imagination. Emphasis on the recurring theme of the fate of the individual in a mass society. No knowledge of Russian required. (Same as Russian Studies 226.)
Survey of selected plays (pre-1660). Prerequisite, One course in literature. No prerequisite for seniors. (Single-Author or Genre) The Department.
Study of Milton’s English poetry and major prose, with particular attention to Paradise Lost. Topics for consideration include Milton’s ideas on Christian heroism, individual conscience, the relations between the sexes and the purpose of education (1660-1900). (Genre or Single-Author) Not open to first-year students. Thickstun.
The course charts a history of Bollywood, India’s mainstream Hindi-language film industry. Although dismissed for its use of melodrama and song-dance sequences, Bollywood has long engaged with other global cinemas and critiqued social, cultural, and political trends. Readings and films span romances about gender and nation like Mother India (1957) and Chaudhvin Ka Chand (1960); the 1970s “angry young man” oeuvre and its later avatars, crime and terrorist films; diasporic family dramas like Kal Ho Naa Ho (2003); and crossover hits like The Lunch Box (2013) that address the globalized present. (Writing-intensive.) (Social, Structural, and Institutional Hierarchies.) Prerequisite, A course in literature or film. (Theme or Identity and Difference) Maximum enrollment, 20. Pavitra Sundar.
Sins and Sinners in Dante’s Inferno.
Why is it that Dante considers fraud to be the most serious type of sin, placing it in the lowest circles of the Inferno? Why are the sins of usury, sodomy and blasphemy linked in Dante’s hierarchy of Hell? This course will provide answers to these questions and an understanding of Dante’s world through a critical reading of the Inferno. (Writing-intensive.) No knowledge of Italian required. (Same as Italian 233.) Maximum enrollment, 20. Sisler.
The Hero as Failure: Nineteenth-Century Russian Literature.
Why does so much classic Russian literature center on weak male protagonists unable to come to terms with stronger, more adaptable women? This course will explore this repeated pattern both as a reflection of Russian attitudes toward love and as a metaphorical expression of political frustration in a repressive society. Readings to include fiction, plays, and criticism by such writers as Pushkin, Lermontov, Belinsky, Gogol, Turgenev, Chernyshevsky, Dostoevsky, and Chekhov. Prerequisite, A 100-level course in literature. Open to students who have taken LIT/RSNST 225. (History, Theme) (Same as Russian Studies 234.)
Field Study of Criminal Justice Reform and Innovation in Sweden.
As the issues of mass incarceration, judicial and police behavior have come to the fore in American culture and politics, the need for reform and innovation from a comparative perspective has become evident. This field study is designed to provide students with such a perspective through observation and interviews with key actors in Swedish law enforcement, corrections and the courts, during a two-week period from May 27 to June 10, 2017. Larson and Anechiarico (Writing-intensive.) (Proseminar.) Prerequisite, One or more of the following course: Literature 129, 143, 342; Public Policy 251; Government 241, 359; Sociology 223. (Same as Government 236.) Maximum enrollment, 16.
Medieval Women: Writing and Written.
How did medieval women authors engage with a literary tradition that too often, as 14th c. writer Christine de Pizan lamented, declared that "female nature is wholly given up to vice”? Readings from English and French authors including Christine, Marie de France, Margery Kempe, Julian of Norwich, and Geoffrey Chaucer; anonymous tales of women saints, cross-dressing knights, and disobedient wives; “authoritative” writings about women (inc. religious and medical tracts and a manual on courtly love). We will investigate how these texts both created and challenged gender roles in the Middle Ages. Prerequisite, One course in literature; no prior experience with Middle English required. (Pre-1660) (History or Identity and Difference) (Same as Women's and Gender Studies 237.) Katherine Terrell.
Modern Japan: Japanese Culture and Society From A(-Bomb) to (Dragon Ball)Z.
This course explores issues of imperialism, military conflict, pacifism, nuclear victimhood, foreign occupation, national identity, and social responsibility in 19th to 21st-century Japan. Materials include nonfiction, science fiction, poetry, war propaganda, novels, censorship documents, animé, and film. Taught in English. No knowledge of Japanese language or history required. (Same as East Asian Languages and Literatures 239/339.)
Tragedy: Then and Now.
How did Greek tragedy work in the city of Athens? Athens was a radical democracy but was based on slave labor and the exclusion of women. How is this implied contradiction displayed in the works of Aeschylus, Sophocles, Euripides? But tragedy also has contemporary life. How do these plays transcend their time of production? An opportunity to examine relations of gods/humans, fate/choice, as well as gender, class/ethnicity and sexuality. Readings to include works by Seneca, Racine, Sartre, O’Neill, Heaney, Fugard. (Genre) (Same as Theatre 244 and Classics 244.)
Evil in the Age of Enlightenment.
Eighteenth-century men and women of letters were preoccupied with the problem of evil: how can we reconcile the existence of evil with the existence of a benevolent God? If human nature is naturally moral, where do sin and cruelty come from? This course will study literary representations of illness, disaster, malice, and oppression in a range of genres to investigate how Enlightenment writers came to terms with the idea—and the everyday reality—of evil. Readings include Voltaire, Mary Jones, Marquis de Sade, Matthew Lewis, William Godwin, and Mary Shelley. Prerequisite, One course in Literature. Theme, History
The Marrow of African-American Literature.
Exploration of how African-Americans, in the face of enslavement, exclusion and terror, produced literature expressing their identities and aspirations. In examining themes such as abduction, separation and resistance, students will assess the inscription of self on the emergent national culture by writers such as Olaudah Equiano, Phillis Wheatley, Frederick Douglass, Harriet Wilson, Frances Harper, Sutton Griggs and Charles Chesnutt (1660-1900). Prerequisite, One course in literature, or consent of instructor. (History or Identity and Difference) Open to sophomores and juniors only. (Same as Africana Studies 255.)
American Literature of the 19th Century.
Survey of representative literary texts in their historical, social and aesthetic contexts. Attention to issues of access to the literary market and the cultural work of literature, particularly in figuring the rise of a distinctly American tradition. Readings from such writers as Cooper, Brown, Poe, Emerson, Whitman, Hawthorne, Melville, Douglass, Dickinson, Jewett, Clemens, Chestnutt and James (1660-1900). Prerequisite, One course in literature. (History or Identity and Difference) Not open to seniors except with permission of the department. The Department.
Study of literary and musical dimensions of operas by major composers from Monteverdi and Mozart to the present. Emphasis on the transformation of independent texts into librettos and the effects of music as it reflects language and dramatic action. Includes such works as Orfeo, The Marriage of Figaro, Otello, The Turn of the Screw and Candide. Prerequisite, two courses in music or two in literature, or one in each field, or consent of instructors. Music 358 has an additional independent project. Registration at the 300-level only with instructor’s permission. (Same as Music 258/358.) Maximum enrollment, 24. Hamessley and P Rabinowitz.
Human Identity and the Natural World.
In the age of climate change and industrialization, our relationship to landscape has often been characterized as contentious and destructive. But how has human language, perception, and identity been shaped – and how is it still being shaped – by the natural world? This course will examine the ways in which human beings still very much originate from their surrounding environments, from deserts and streams to the plants and animals of particular terrains. Readings will include works by Gloria Anzaldua, Terry Tempest Williams, Robin Wall Kimmerer, J. Drew Lanham and David Abram. (Social, Structural, and Institutional Hierarchies.) Prerequisite, A course in literature. Theme or Identity and Difference Valente.
Effects of the international modernist movement on the literature of the United States from the beginnings of the 20th century to the 1950s. Attention to authors such as Ellison, Faulkner, Hemingway, Hurston, Stein, and Stevens. (post-1900). (Social, Structural, and Institutional Hierarchies.) Prerequisite, One course in literature, or consent of instructor. (History or Identity and Difference) Not open to first-year students or seniors. Widiss.
Literature and the Environment.
Surveys the history of environmentalist thinking as it has been reflected in literary texts. Examines key ideas of environmentalism and questions of representation, literary value and political relevance. Authors include Thoreau, Faulkner, Abbey, Lopez and Jeffers, as well as a few non-American writers. Texts include memoirs, essays, novels and poems. (Genre or Theme) Open to sophomores, juniors and seniors, and to first-year students with AP 4 or 5 in English..
Heaven, Hell and the Space in Between: Devils and Deities in Russian Literature and Art.
Examination of the portrayals of the cosmic conflict: Good vs. Evil, Heaven vs. Hell, God vs. Satan. The second half of the semester will be dedicated to a close reading and analysis of Fyodor Dostoevsky's Brothers Karamazov. (Writing-intensive.) No knowledge of Russian required. (Same as Russian Studies 270.) Maximum enrollment, 20.
The Straight Story?: Rethinking the Romance.
A study of the ways in which various forms of sexual desire (overt or closeted) drive the plot of literary works. How is desire constructed? How have authors used, manipulated and resisted the marriage plot for aesthetic and political ends? Special attention to works by gay and lesbian authors. Readings, which include works of theory as well as imaginative texts, to include such authors as Austen, Diderot, Balzac, Zola, Wilde, Baldwin. (Social, Structural, and Institutional Hierarchies.) (Theme or Identity and Difference) (Same as Women's and Gender Studies 278.) N Rabinowitz.
Introduction to Asian American Literature.
Examination of themes, forms, and history of literary production by people of Asian descent in the United States. We will survey translated and English-language works by Asian American writers of varying ethnic affiliations, including Chinese, Japanese, Filipino, Korean, Indian, and others. We’ll explore how each writer negotiates a relationship with a particular cultural heritage, as well as confronts the racial, cultural, and political formations of the U.S.. Authors include Maxine Hong Kingston, Carlos Bulosan, John Okada, the Angel Island poets, and others. Prerequisite, One course in literature. (post-1900) (Theory or Identity and Difference) (Same as American Studies 283.) Yao.
Facing Reality: A History of Documentary Cinema.
The history of cinema as representation and interpretation of "reality," focusing on nonfiction film and video from a variety of periods and geographic locales. Emphasis on the ways in which nonfiction films can subvert viewers' conventional expectations and their personal security. Forms to be discussed include the city symphony, ethnographic documentary, propaganda, nature film, direct cinema, cinéma vérité, the compilation film and personal documentary. (Same as Art History 290 and Cinema and Media Studies 290.) MacDonald.
The Making of English.
History of the English language from its origins in Old English to its present-day proliferation into World English(es). Particular attention to how the internal development of English (its sound system, syntax, grammar and vocabulary) relates to political and cultural transformations among English-speaking peoples throughout history, and how the English language continues to provoke political and cultural controversy. Offered in alternate years. Prerequisite, One course in literature, or consent of instructor. (Theme) Terrell.
Literary CSI: Casebooks.
Through an introduction to literary theory, students will carefully examine and discuss a variety of literary texts by such writers as Toni Morrison, Kazuo Ishiguro, June Jordan, Carolyn Forche, Samuel Beckett, and Athol Fugard. In addition, students will communicate their insights in casebooks that examine the texts from multiple critical perspectives. Prerequisite, One course in literature. (Theory or Theme) Open to first-year and sophomore students only.
Cinema as Theory and Critique.
A history of alternatives to commercial movies, focusing on surrealist and dadaist film, visual music, psychodrama, direct cinema, the film society movement, personal cinema, the New American Cinema, structuralism, Queer cinema, feminist cinema, minor cinema, recycled cinema and devotional cinema. While conventional entertainment films use the novel, the short story and the stage drama as their primary instigations, experimental and avant-garde films are analogous to music, poetry, painting, sculpture and collage. Not open to first-year students. (Same as Art History 301 and Cinema and Media Studies 301.)
Reconstructing US Literature.
Reconstruction was the period of rebuilding that followed the U.S. Civil War. It was a moment of astonishing historical change, but also a narrative problem. This seminar explores how postbellum writers and filmmakers struggled to represent the transition from slavery to freedom, and to widely divergent ends. Although rooted in an era far removed from our own, the divisive questions raised by the literary and cultural history of Reconstruction are startlingly relevant today. Writers to include Twain, Du Bois, Crane, Faulkner, Morrison, and Coates, among others. Films by Griffith and Micheaux. (Social, Structural, and Institutional Hierarchies.) Prerequisite, A 200-level course in literature or permission of the instructor. History or Identity and Difference Maximum enrollment, 20. Todd Carmody.
The New Confessional.
Sylvia Plath said “I, who reportedly write so truthfully about myself, so openly, am not that open.” In this course we’ll trace the ways poets have subverted and expanded our notion of what the confessional poem is, from its 1957 debut, (Robert Lowell’s Still Life) to the 21st century. Readings will include Sylvia Plath, Anne Sexton, Audre Lorde, Adrienne Rich, John Berryman, Ntozake Shange, Sandra Cisneros, Afaa Weaver, Maggie Nelson, Sharon Olds, Judy Jordon, and Ocean Vuong, among others. (post-1900) (Identity and Difference, or Genre) (Writing-intensive.) Prerequisite, one 200-level course in literature. Maximum enrollment, 20. Jane Springer.
Ghanaian Literature: From Colony to Post-Colony.
Through a close examination of selected works by West African writers such as Kobina Sekyi, Casely-Hayford, Mabel Dove, Ayi Kwei Armah, Efua Sutherland, Ama Ata Aidoo, Kofi Awoonor, Atukwei Okai, Yaw Asare, Akosua Busia, Kofi Anyidoho and Amma Darko, students will examine how the Slave Castles, the Sankofa Bird and Ananse the Spider have shaped the manner in which Ghanaian writers portray their society (post-1900). (Writing-intensive.) Prerequisite, one 200-level course in literature (204, 205, 206 or 264 preferred). (History or Identity and Difference) (Same as Africana Studies 313.) Maximum enrollment, 20.
Literary Theory and Literary Study.
In this course we will explore some of the main developments in literary and cultural "theory" during the twentieth and twenty-first centuries. Topics may include historicism, formalism, structuralism, deconstruction, Marxism, and feminism, theories of race, nation, and sexuality, of materiality and the digital, and even of the resistance to theory. (Writing-intensive.) (Social, Structural, and Institutional Hierarchies.) Prerequisite, a 200-level course in literature. (Theory or Identity and Difference) Maximum enrollment, 20. Widiss.
Indians, Aliens, Others.
The world is full of strange beings, some from outer space, others close to home. What leaps of imagination must we make to close the physical, cultural, philosophical, and linguistic gulf between “us” and “them”? How might encounters with “others” change our conceptions of self and our habits of thinking, feeling, and sensing? Readings include postcolonial and science-fiction texts by writers (and filmmakers) such as Octavia Butler, Ursula Le Guin, Indra Sinha, and Neill Blomkamp. Theoretical frameworks will span postcolonial, queer, and disability studies. (Writing-intensive.) (Social, Structural, and Institutional Hierarchies.) Prerequisite, A 200-level course in literature. (Theory or Identity and Difference) Maximum enrollment, 20. Pavitra Sundar.
Medieval Other Worlds.
From the spiritual realms of heaven and hell to the supernatural world of fairies, medieval culture was immersed in alternative and transcendent versions of reality. Explores medieval literature's frequent forays beyond ordinary experience in Middle English works by the Pearl-poet, Chaucer, Malory and Langland, as well as anonymous romance and drama. (pre-1660). (Writing-intensive.) Prerequisite, one 200-level course in literature. Not open to first-year students. (History) Maximum enrollment, 20.
Experimental Poetics: Politics, Identities, Forms.
What are the politics of poetic form? What is the relationship between activism and aesthetics? What does it mean to write under the sign of a genre—poetry—while challenging its expectations and constraints? Students will consider formal experiment in contemporary American poetry, with emphasis upon writers who have explored (and exploded) poetic form in relation to ideas of America and “American-ness.” Readings in poetry and theory will include Adorno, Agamben, Anzaldua, Brathwaite, DJ Spooky, Howe, Kearney, Rankine and others. (Writing-intensive.) Prerequisite, A 200-level course in literature. (Identity and Difference or Genre) Maximum enrollment, 20.
Shakespeare in Context.
How different is Shakespearean drama from other plays of his time? Why are his comedies and tragedies performed so much more often than those of his contemporaries? Readings will juxtapose such works as Titus Andronicus, Romeo and Juliet, The Taming of the Shrew, and Cymbeline (and their performance histories) with plays by Ben Jonson, Thomas Middleton, John Webster, and John Fletcher. (Writing-intensive.) Prerequisite, A 200-level course in literature. (History, Genre) Maximum enrollment, 20.
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English Renaissance Literature: 1550-1660.
Study of the ways works and writers of this period are "in conversation" with each other on such matters as love, death, religious belief, the human response to the natural world and the role of women (in society and as authors). Readings of poems and other works by such writers as Shakespeare, Spenser, Donne, Herbert and Mary Wroth (pre-1660). (Writing-intensive.) Prerequisite, one 200-level course in literature. Not open to first-year students. (History or Intermedia) Open to sophomores, juniors and seniors. Maximum enrollment, 20.
English Comedy and Tragedy, 1580-1780.
Study of tragedies and comedies from the time of Shakespeare through the end of the 18th century, with special attention to changes in the representation of masculinity and femininity before and after 1660, when women first became participants in London’s professional theater as actors and playwrights. Plays include Shakespeare’s Antony and Cleopatra (c. 1606) and John Dryden’s version of the same tragedy in All for Love (1677), as well as comedies by Shakespeare, Thomas Middleton, Aphra Behn, and Hannah Cowley. (Writing-intensive.) Prerequisite, one 200-level course in literature. (History or Genre) Open to sophomores, juniors, and seniors. Maximum enrollment, 20.
Seminar: Jane Austen: Text and Film.
Close reading and discussion of Austen's six published novels. Attention to questions of genre raised by treatments of the novels in film and television productions (1660-1900). Prerequisite, three courses in literature. (Intermedia or Single-Author) Open to juniors and seniors only. Does not fulfill the senior seminar requirement for the English concentration. Maximum enrollment, 12. J O'Neill.
The Romantic Poets.
The Romantic Period in English literary history has long been defined by the work of six male poets: Blake, Wordsworth, Coleridge, Shelley, Keats, and Byron. We will study their poetry in the context of form, history, and politics, and investigate how their work might be seen to form an ideology or movement. We will also read work by poets such as Barbauld, Clare, Burns, and Hemans, popular in their own day, but thought of as ‘minor’ subsequently, in order to evaluate how questions of gender and literary value inform our sense of what is ‘Romantic’. (1660-1900). (Writing-intensive.) Prerequisite, one 200-level course in literature. (History or Genre) Open to sophomores, juniors, and seniors. Maximum enrollment, 20.
Experimental Women Writers.
This course examines experimental women prose writers of the 20th and 21st centuries. We will consider how historical and cultural forces shape novels and stories by women who are committed to writing counter to tradition. Readings will include work by such authors as Gertrude Stein, Virginia Woolf, Zora Neale Hurston, Marguerite Duras, Kathy Acker, Jeanette Winterson, Carole Maso, Maggie Nelson, Claudia Rankine, Karen Yamashita, and others. We will engage these readings, in part, by creating our own critical experiments (post-1900). (Writing-intensive.) Prerequisite, One 200-level course in literature. (Identity and Difference, or Theory) Maximum enrollment, 20.
Medieval Women and the Written Word.
How did medieval women authors engage with a literary tradition that too often, as 14th c. writer Christine de Pizan lamented, declared that "female nature is wholly given up to vice”? Readings from English and French authors including Christine, Marie de France, Margery Kempe, Julian of Norwich, and Geoffrey Chaucer; anonymous tales of women saints, cross-dressing knights, and disobedient wives; “authoritative” writings about women (inc. religious and medical tracts and a manual on courtly love). Attention to the origins of these texts as they both create and challenge medieval gender roles. Prerequisite, A 200-level course in literature; no prior experience with Middle English required. History or Identity and Difference (Same as Women's and Gender Studies 337.) Terrell.
Seminar: Written on the Wall: 20th-Century American Prison Writing.
The writing of the men and women inside the American prison system constitutes a kind of shadow canon to that of better-known literary artists. We will read broadly in 20th- and 21st-century American prison writing, asking questions about the generic coherence, social and moral import of prisoners' non-fiction, fiction and poetry. Authors will include Jack London, George Jackson, Assata Shakur, and citizens serving time today. Students who are twenty-one or older will visit a book group inside a state prison. Prerequisite, one 200-level course in literature. (post-1900) (History or Identity and Difference) Open to juniors and seniors only. Does not fulfill the senior seminar requirement for ENGL or LIT concentration. (Same as American Studies 342.) Maximum enrollment, 12.
Seminar: Women Writing Against the Grain.
A comparative investigation of U.S. women writing their own stories through the genre of autobiography in the 19th and 20th centuries. Attention to theoretical and practical questions of ideology, genre, language, audience and reception. Particular focus on women’s self-representation as hegemonic transgression at the intersections of race, class, gender, sexuality, nationality and ableism. (Writing-intensive.) Prerequisite, One course in Women's Studies and some coursework in comparative literature or literary theory or consent of the instructor. (Same as Women's and Gender Studies 343.) Maximum enrollment, 12.
Principal trends in Modernist literature written in the United States and the United Kingdom roughly from 1900-45. Examination of the contours of the primary tradition, as well as attention to counter-traditions that evolved alongside the accepted canon. Readings of poems, novels and stories by such writers as Yeats, James, Conrad, Joyce, Woolf, Eliot, Pound, Lewis, Ford, West and Loy will provide the context for understanding the larger trajectory of Modernism together with the opportunity for more detailed consideration of specific individual writers (post-1900). (Writing-intensive.) Prerequisite, one 200-level course in literature. (History or Intermedia) Open to sophomores, juniors and seniors. Maximum enrollment, 20.
Women and the Enlightenment.
This course explores women’s relation to the intellectual and political culture of Enlightenment Britain. We will study how warring ideas about the rights of man shaped conceptions and representations of sexual difference and womanhood over the course of the long eighteenth century. Treating “woman” as a historical category will, in turn, help us to better understand the underlying assumptions and consequences of our own thinking about gender. Primary texts by Mary Astell, Mary Wollstonecraft, Austen, and Mme de Stael. Feminist scholarship by Nancy K. Miller, Nancy Armstrong, and Toril Moi. Prerequisite, A 200-level course in literature. History or Theory Taylor.
Artistry and Adultery: Reading Anton Chekhov.
Few writers flourish in both narrative fiction and theater, but Chekhov was an exception. Arguably the greatest short-story writer in the western canon, he was also the inventor of modern drama and probably the best playwright after Shakespeare. This half-credit course will examine the range of his output—short stories, short novels, and plays—with special attention to his psychologically acute analysis of the fragility of romantic relationships and to the question of whether there is any connection between the innovative formal techniques in his fiction and those in his plays. Prerequisite, A 200-level course in literature. This course meets August 23 to October 27; it will be graded S/U. Maximum enrollment, 20. P Rabinowitz.
Major Figures in Cinema.
Focus on crucial contributors to the wide world of cinema. The work of one, two, or three particular filmmakers, each from a different sector of the geography of cinema, will be examined in detail. Possible filmmakers include Alfred Hitchcock, James Benning, Ross McElwee, Stan Brakhage, Fritz Lang, the Coen brothers. Prerequisite, ARTH/CNMS/CPLIT 120; or ARTH/CNMS/CPLIT 290; or ARTH/CNMS/CPLIT 301; or permission of the instructor. (Same as Art History 365 and Cinema and Media Studies 365.)
The Hollywood Novel.
A look at novels dealing with or set in Hollywood and at adaptations of novels to film. Students will write short screen adaptations from short fiction and work together as a team (or in teams) on digital video productions of one or more student screenplays (post-1900). (Writing-intensive.) Prerequisite, one 200-level literature course on narrative fiction and one of the following: 215, Art 213, 313, 377 or College 300. (Genre or Intermedia) Open to juniors and seniors only. Maximum enrollment, 20.
Contemporary American Fiction.
Study of short stories and novels by authors writing in the past 30 years, such as Barth, Acker, Hawkes, Morrison, DeLillo, Mazza, Wideman, Anaya, Kingston, Proulx (post-1900). Prerequisite, one 200-level course in literature (205 or 266 preferred). Not open to first-year students. (Theme or Theory) Open to sophomores, juniors, and seniors.
Africana Literatures and Critical Discourses.
An examination of literature produced by writers of former European colonies in Africa and its Diaspora, with particular attention to literary and theoretical issues, as well as responses to such developments as Negritude, feminism and post-colonialism. Readings will include selected twentieth and twenty-first century writers. Assignments will involve both written and digital work. (Post 1900) (Writing-intensive.) Prerequisite, one 200-level course in literature. Not open to first-year students. (Theory or Intermedia) Open to sophomores, juniors, and seniors. (Same as Africana Studies 376.) Maximum enrollment, 20.
African American Literature Beyond the Edge.
A critical survey of literatures from multiple genres concerned with conjuration, speculation, investigation, transgression or science fiction produced by African-American writers from the 19th century to the present. Includes works by such writers as Chesnutt, Sutton Griggs, W. E. B. Du Bois, Fisher, Chester Himes, Ernest Gaines, Octavia Butler, Walter Mosley, Steve Barnes, Jewelle Gomez, Samuel Delaney, Gayle Jones, Derrick Bell, Paula Woods, Tananarive Due and Nalo Hopkinson. (Post-1900) (Writing-intensive.) Prerequisite, One 200-level course in literature. (Genre or Identity and Difference) Open to sophomores, juniors, and seniors. (Same as Africana Studies 378.) Maximum enrollment, 20. Odamtten.
Queer/Feminist Literary Theory.
Contemporary feminist and queer theories have a close connection to literature; they emerged from and later transformed literary studies. We will discuss selected theoretical writing, as well as creative texts from the late nineteenth century to the late twentieth century: fiction, plays, and films. Conversations will center around questions of identity and performativity, and the intersections of gender, sexuality, race and class. Readings to be drawn from the following: Oscar Wilde, Radclyffe Hall, James Baldwin, Audre Lorde, E. M. Forster, Virginia Woolf, Tony Kushner, Cherrie Moraga. Prerequisite, At least one course in Literature and/or Women's Studies, or consent of instructor. (Theory or Identity and Difference) (Same as Cp Lit 391 and Women's Studies 391) (Same as Women's and Gender Studies 391.)
Seminar: Public Play—Performance in England, 1400-1642.
Exploration of changes and continuities across time and genre in stage performance and production in England from the middle ages through Shakespeare, of overlapping political, religious, and social meanings of public play, performance, and spectacle. What is the difference between communal, amateur performance and the commercial London stage? How does perspectival staging redefine the relationship between audience members? How is the role of allegory transformed across centuries? Examination will deepen our understanding not only of dramatic practice, but of dramatic production more broadly. Prerequisite, Three courses in Literature. History or Genre Maximum enrollment, 12.
Truth, Desire, and the Ethics of Representation in the Enlightenment.
In the 18th century, pornography, philosophy, and fiction were regular bedfellows. Enlightenment writers used the pornographic mode—the art of explicit representation—to dissect, scrutinize, and critique the religious and political status quo, to present things both as they are and as they should be. How does a pornographic lens help us to see truths that might otherwise escape us? Who is harmed in this search for truth? Are representations of sex necessarily political? Readings will include Eliza Haywood, John Cleland, Marquis de Sade, Mary Hays, and Matthew Lewis. Prerequisite, three courses in literature. Open to juniors and seniors only. History or Genre Maximum enrollment, 12. Suzanne Taylor.
Seminar: Ambivalent Inheritance: Faulkner across the Americas.
This course will trace lines of influence and revision running from William Faulkner through Latin American writing of the Boom generation to contemporary fiction in the United States. We’ll consider the inheritance of biology and property; of guilt and promises and dreams; and of formal strategies, images, and tropes--and the ways in which negotiating those legacies becomes a means of negotiating the self’s relationship with both society and history. Possible authors: W. Faulkner, G. García Márquez, J. Rulfo, C. Fuentes, J. Donoso, R. Ferré, T. Morrison, J. Eugenides, A. Bender, J.S. Foer Prerequisite, 3 courses in literature. (Theme or History) Maximum enrollment, 12.
Seminar: Poems in and out of context.
Poetry in the early modern era circulated in manuscript in particular controlled social contexts. How did poems survive, get into print? What is the difference between reading a poem in manuscript, in a collection, in an anthology? Attention to manuscript circulation, common-place books, and miscellanies, and the role of anthologies in canon formation after. Case studies: the Devonshire manuscript, Sidney and Shakespeare sonnet sequences, collections by Anne Bradstreet, Katherine Philips, and Edward Taylor, among others. Later examples, such as Dickinson, according to student interest. Prerequisite, 3 courses in literature. Maximum enrollment, 12.
Seminar: Muslims, Women and Jews: Alterity and Identity in the Middle Ages.
How did medieval Christians perceive difference and define the boundaries of identity? Study of medieval literature dealing with disenfranchised populations within European Christian society (women and Jews) and those outside its bounds (Muslims). Readings by authors such as Chaucer, Margery Kempe and John Mandeville, as well as anonymous dramas and crusade romances, and modern criticism. Particular consideration of literary and cultural contexts, including sermon stories, histories, medical and legal texts, polemics and religious tracts (pre-1700). Prerequisite, three courses in literature. Open to juniors and seniors only. Maximum enrollment, 12.
Seminar: Booked: Prison Writing.
Prisons have been the settings for scenes of tragedy, comedy, romance and social protest. While aware of this use of the prison as a literary device, we will read writers who have actually suffered incarceration. We will read canonical texts (by Plato, Boethius, King), post-colonial prison writers (Abani, Thiong'o), and the work of men and women inside the American prison system. Among other requirements, students will read work by and visit men in a writing class taught inside Attica Correctional Facility. Prerequisite, three courses in literature. Open to juniors and seniors only. Does not fulfill the senior seminar requirement for the English concentration. Maximum enrollment, 12.
Seminar: James Joyce.
In-depth study of Joyce's major works in their historical and cultural contexts. Readings include Dubliners and Finnegans Wake, Major emphasis on Ulysses. Prerequisite, three courses in literature. Open to juniors and seniors only. post-1900 Maximum enrollment, 12.
Seminar: TransAtlantic Romanticisms.
Exploration of Romantic ideologies in literature (poetry and novels) from England and the United States. Discussion of nationalism, nature, individualism, and imagination as they appear in authors including Wordsworth, Byron, Scott, Cooper, Whitman, Dickinson, and Melville. Attention to the paradox of influence in asserting notions of national identity. (1660-1900) Prerequisite, three courses in literature. Open to juniors and seniors only. Maximum enrollment, 12.
What do you do after finishing In Search of Lost Time? The easy choice is to read it again. But for those not ready to take the plunge a second time, this course offers an alternative: the study of a group of works that take on special resonances in the context of Proust. Included will be Nabokov’s Lolita, Hitchcock’s Vertigo, Makine’s Dreams of My Russian Summers, Turgenev’s First Love, Jacqueline Rose’s Albertine, Anne Carson’s Albertine Workout, Faulkner’s The Sound and the Fury, Goldstein’s The Properties of Light, and others. Prerequisite, CompLit 360 or consent of instructor. Maximum enrollment, 12.
Seminar: Major African Writers.
A comprehensive comparative investigation into works by two or more contemporary African writers. Attention to theoretical and practical questions of ideology, genre, language, gender, class and geographic region to determine the multiple articulations among authors, texts and audiences (post-1900). Prerequisite, three courses in literature or consent of instructor. Open to juniors and seniors only. (Same as Africana Studies 473/573.) Maximum enrollment, 12.
Seminar: Major African-American Writers.
An in-depth investigation of selected 20th-century and contemporary works by African-American writers. Focus on the theoretical and practical questions of genre, language, gender, class and ideology to determine the multiple articulations among authors, texts and audiences. Traditional written assignments, critical discussion and digital media coursework in the computer lab are required (post-1900). Prerequisite, three courses in literature. Open to juniors and seniors only.
Seminar: Independent Projects.
In this seminar, students will pursue independent research projects culminating in a longer paper (25-35 pages)on a topic of their choosing. Seminar sessions will discuss strategies for organizing and drafting a longer paper, time management, the best ways to use research tools, and different ideas about how to revise; later there will be opportunities to share drafts and address issues that arise. Prerequisite, Permission of the department. Maximum enrollment, 12. Thickstun.
Honors Project in Literature.
Independent study for honors candidates in Literature. Prerequisite, Approval of the department. 1/4 credit. Maximum enrollment, 12. The Department.
Introductory Poetry and Fiction Workshop.
Introduction to fundamental techniques of fiction and poetry. Regular writing and reading assignments as well as critiques in class. (Proseminar.) Prerequisite, a 100-level writing-intensive course in English or Literature or 204W, 222W, or 227W. Not open to first-year students in the fall. Maximum enrollment, 16. The Department.
Introduction to the techniques of realistic and non-realistic playwriting through a variety of exercises and improvisations, culminating in the writing and staging of a one-act play. (Speaking-Intensive.) Prerequisite, Theatre 100 or Creative Writing 215. While no prior acting experience is required, students participate in staged readings of works. (Same as Theatre 224.) Maximum enrollment, 16. Latrell.
Intermediate Poetry Workshop.
For students whose work and purpose have developed sufficiently to warrant continuing work in poetry. Regular writing and reading assignments as well as critiques in class. Prerequisite, 204 and 215. Maximum enrollment, 16. The Department.
Intermediate Fiction Workshop.
For students whose work and purpose have developed sufficiently to warrant continuing work in fiction. Regular writing and reading assignments as well as critiques in class. Prerequisite, 215 and a 200-level course in literature. Maximum enrollment, 16. The Department.
Creative Non-Fiction Workshop.
For students whose work and purpose in creative writing have developed sufficiently to warrant work in creative non-fiction. We will read memoir, travel/nature writing, and literary journalism by a wide range of authors to provide a context in which to examine the work students generate for the class. Part of our task will be to answer the question: What is creative non-fiction? Through a close examination of the texts we read in class, and the process of both writing and critiquing essays, we will attempt to clarify the sometimes vague definitions of the genre. Prerequisite, one 100-level course in literature or permission of the instructor. (Genre) Maximum enrollment, 16. Ngo.
Seminar: Creative Writing.
For students whose work and purpose have developed sufficiently to warrant advanced work in fiction or poetry. Students will construct individual projects leading to a final collection of writings in the form of a novella, a series of stories, or a series of poems. Regular writing and reading assignments, as well as critiques in class. Prerequisite, 304 and 305. Open only to senior concentrators and, if there is room, senior minors. Maximum enrollment, 12. Prerequisite, 304 and 305. Open only to senior concentrators and, if there is room, senior minors. Maximum enrollment, 12. The Department.
Honors Project in Creative Writing.
Independent study under the supervision of creative writing faculty, for honors candidates who qualify for and wish to pursue honors in creative writing. Students completing 498 are expected to continue their creative writing honor's project in the spring term by enrolling in 501S. Prerequisite, 215, 304, 305, and permission of Department. Students will be assigned to CW faculty for the project. Maximum enrollment, 8. Tina Hall.
Honors Project in Creative Writing.
Independent study for honors candidates in Creative Writing. Prerequisite, 498S and approval of the department. 1/4 credit .