| Description: | This class approaches literature from many angles: the creative to the scholarly, the emotional to the ethical, the edifying to the entertaining. At the heart of our study will be a survey of literary "values" such as invention, emotion, style, subversion, beauty, humor-those fundamental reasons readers come to literature in the first place. Through readings and discussion, we will consider the great variety of ways literature expresses these values, and will explore them ourselves via creative assignments. Along the way, we will learn about literary life today through discussions with nationally renowned writers who will visit the class, and through units on literary scholarship, book reviewing, and magazine and book publishing. In the midst of it all, you will write and workshop your own stories, poems, and non-fiction works. |
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| | 01 | M------ | 2:00P-3:00P | Duncker / 101 | Riker | No final | 48 | 41 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| A | --W-F-- | 2:00P-3:00P | Eads / 205 | Riker | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| B | --W-F-- | 2:00P-3:00P | Busch / 14 | Schuman | No final | 12 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| C | --W-F-- | 2:00P-3:00P | Cupples I / 215 | Hernandez | No final | 12 | 9 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| D | --W-F-- | 2:00P-3:00P | Cupples I / 113 | Morales | No final | 12 | 8 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 2:30P-4:00P | Cupples II / L011 | McKelvy | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | The open road-a quintessential American image. This seminar explores the stories of open space, social mobility, and renewed possibilities that pervade American literature, film, and culture. What accounts for the pull of the open road? What roles have these stories played in American identity? We'll pursue and complicate ideas of mobility, examining how differences of class, race, gender, and national origin shape them. Within national narratives of movement, how might we reconcile the coexistence of easy riders and migrant laborers, overseas adventurers and displaced refugees? Our journey will begin with the westward expansion of the 19th century and take us through the rise of the highway, mass immigration, and American global power that reshaped ideas of mobility in the 20th and 21st centuries. Our routes will range widely, following the American "frontier" as it expands beyond the continental U.S. into the Pacific and the world. Authors/directors may include Walt Whitman, Bharati Mukherjee, Jack Kerouac, Tomás Rivera, Dennis Hopper, Cormac McCarthy, and Myung Mi Kim. |
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| | 01 | -T-R--- | 11:30A-1:00P | Eads / 205 | Le-Khac | No final | 15 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Prize-winning novels and novelists form the entire reading list for this class, which is interested in how writers from multiple perspectives (Christian, Jewish, pluralist, atheist, and others) have viewed the function of religion and the meaning of spirituality. This course is designed for non-English majors as well as potential English majors. As we read some of the best, most influential, and most controversial writers of the last hundred years, we'll discuss not just the competing claims about religion and spirituality, but also the functions, forms, and multiple ways of interpreting literature. Studying the topic of religion and spirituality, this class will thus also serve as introduction to the discipline of English and literary studies. All are welcome: no religious background of any kind is necessary. NOTE: This course is open only to freshmen. |
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| Description: | This course provides beginning students of English with a chronological outline of early literature in English from the middle ages to the late eighteenth century. It introduces them to the central themes, genres, and forces that have shaped the early history of literature as well as the tools, vocabularies, and critical practices of literary studies. We will organize our semester around four themes: inventing a nation; the sacred and the secular; centers and margins; private and public. We will study, among others, at least four of the following key texts and authors: Sir Gawain and the Green Knight, Chaucer, Shakespeare, Milton, and one of Defoe's novels. NOTE: Satisfies one of the two 200-level requirements for the English Major. |
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| | 01 | M-W---- | 1:00P-2:30P | Ridgley / 107 | Basu | No final | 15 | 17 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | M-W---- | 11:30A-1:00P | Ridgley / 107 | Lawton, Sawyer | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T-R--- | 11:30A-1:00P | Busch / 14 | E. Finneran | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | -T-R--- | 2:30P-4:00P | Eads / 203 | Maxwell | No final | 15 | 16 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Rum! Fun! Beaches! Sun! This is the image of the Caribbean in America today. This course will survey literature and culture from these islands, looking both at and beyond this tourists' paradise. It will aim to introduce students to the region's unmistakably vibrant tradition of multicultural mixture, while keeping an eye on the long history of slavery and rebellion out of which the islands' contemporary situation formed. Along the way we will encounter a wide variety of texts, from the earliest writing focused on life in urban slums, to the first novel ever to have a Rastafarian as its hero, to more contemporary considerations of the region's uncertain place in a U.S.-dominated world. Toward the end of the course, we will also look at important films like The Harder They Come as well as discussing the most globally famous cultural product of the contemporary Caribbean: reggae music. The course will involve readings from multiple genres, and will cover authors such as C.L.R. James, Derek Walcott, Jean Rhys, V.S. Naipaul, Jamaica Kincaid, and Caryl Phillips. Satisfies the Twentieth Century and later requirement. |
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| Description: | This course examines the concept, history, and culture of American exceptionalism-the idea that America has been specially chosen, or has a special mission to the world. First, we examine the Puritan sermon that politicians quote when they describe America as a "city on a hill." This sermon has been called the "ur-text" of American literature, the foundational document of American culture; learning and drawing from multiple literary methodologies, we will re-investigate what that sermon means and how it came to tell a story about the Puritan origins of American culture-a thesis our class will reassess with the help of modern critics. In the second part of this class, we will broaden our discussion to consider the wider (and newer) meanings of American exceptionalism, theorizing the concept while looking at the way it has been revitalized, redefined and redeployed in recent years. Finally, the course ends with a careful study of American exceptionalism in modern political rhetoric, starting with JFK and proceeding through Reagan to the current day, ending with an analysis of Donald Trump and the rise of "America First." In the end, students will gain a firm grasp of the long history and continuing significance-the pervasive impact-of this concept in American culture.
American Culture Studies (AMCS) is a multidisciplinary program that provides both a broader context for study in different fields and a deeper understanding of American culture in all of its complexities. |
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| | 01 | M-W---- | 2:30P-4:00P | Cupples II / L007 | Micir | No final | 25 | 9 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Starting with Allan Bloom's "The Closing of the American Mind," a book that helped re-ignite the Culture Wars, this course will consider the debates and problems that pervaded American culture during the 1990s. From the end of the Cold War to the sexual scandals that rocked Bill Clinton's presidency, from the emergence of the Internet to the rise of grunge and rap, the 1990s were a time of vast change in American culture. It was period when we, as a nation, reconsidered the legacy of the 1960s, the Reagan revolution, and the end of the Cold War, a time of economic expansion and cultural tension. In our consideration of this period, we will take a multidisciplinary approach when tackling a variety of materials-ranging from literary fiction (Philip Roth's "The Human Stain," Jonathan Franzen's "The Corrections") and popular films (Spike Lee's "Do the Right Thing" and The Cohen brothers' "The Big Lebowski") to personal memoir and the music of Nirvana and Public Enemy-in an attempt to come to a better understanding of our recent history. Throughout the semester, we will pursue the vexed cultural, political, and historical questions that Americans faced in the years between the fall of the Berlin Wall and the terrorist attacks of September 11th, 2001, and consider how literary texts imagined this period of American history. Other possible texts include David Foster Wallace's "A Supposedly Fun Thing I'll Never Do Again," Joan Didion's "Political Fictions," Toni Morrison's "Paradise," John Updike's "Rabbit at Rest," and Elizabeth Wurtzel's "Prozac Nation." Satisfies the Twentieth Century and later requirement. |
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| | 01 | M-W---- | 2:30P-4:00P | Seigle / 111 | Windle | No final | 16 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Why does the madwoman get stuck in the attic and the madman running through the street get called a prophet? Is it true, as the poet Elizabeth Lyons writes, that "Neurons misfire but make good art"? Against what do we define "normal," and why have certain behaviors, such as homosexual activity, been socially pathologized? If, as William Styron writes, "Depression is . . . close to being beyond description," why do so many people write about it? Is it literature's job to destigmatize mental illness? And why do we love a good artist suicide? With sociology and psychology along for the ride, we will explore such questions by reading the literary history of mental illness as "madness." Along the way, we'll encounter Hamlet, Nurse Ratched, and Jane Eyre, along with Sylvia Plath, Zelda and F. Scott Fitzgerald, Kirsten Dunst, and the end of the world. As we read a wide range of literary, theoretical, and popular works about mental illness, we will ask ourselves to think about these narrative and social practices, affects, abuses, and attachments, not just from a critical distance, but from the intimate and dangerous space that is "here." Satisfies the Twentieth Century and later requirement. |
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| Description: | This course explores what happens when the expressive energy of black-authored genres of American popular music--ragtime, blues, jazz, rock, and rap--spills over into modern and contemporary American literature. Why did ragtime come to symbolize interracial and international mixture in the early 20th-century American novel, and how did jazz--and the slogan of the "Jazz Age"--grow to signify the national distinctiveness of American modernism? How did rock help to steer the postmodern turn, and why is rap now canonizing itself as an academic poetry through thick anthologies and footnote-heavy artist memoirs? How has American writing's long-running commentary on popular music affected that music's history and mythology--and vice versa? Writers (and writer-musicians) to be studied include James Weldon Johnson, F. Scott and Zelda Fitzgerald, Langston Hughes, Louis Armstrong, Gwendolyn Bennett, Jack Kerouac, Ralph Ellison, Frank O'Hara, Rita Dove, Bob Dylan, Don DeLillo, Patti Smith, Richard Hell, and Jay-Z. Musical or musicological experience is welcome, but truly not required. Satisfies the Twentieth Century and later requirement. |
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| | 01 | -T-R--- | 10:00A-11:30A | Seigle / 205 | Maxwell | No final | 25 | 16 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | This course surveys the explosion of voices and styles that is American fiction since World War II. This literature pours out of a period when the borders of the nation became unfixed and new voices entered American letters. The glorious mess that resulted cannot be contained within any single literary history. Our goal: to map the divergent stories of postwar American fiction. We'll examine how historical forces-the Cold War, Civil Rights movements, and media transformations-shaped this literature. We'll explore how fiction stretched to describe new vistas-the highway, the suburb, the linked globe-and gave voice to diverse groups struggling for inclusion. But we'll also attend to how American literature followed its own aesthetic, humanist, and even posthumanist concerns. What happens to the individual in a postmodern world? What are the limits of fiction? Does literature have a role in the world or is it a world unto itself? But it's not all weighty questions. We'll also delight in the playful mixing of genres from metafiction to comic books that characterize this period. Authors include Ralph Ellison, Vladimir Nabokov, Maxine Hong Kingston, Marilynne Robinson, David Foster Wallace, and Junot Díaz. Satisfies the Twentieth Century and later requirement. |
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| | 01 | -T-R--- | 4:00P-5:30P | Seigle / 111 | Le-Khac | No final | 25 | 18 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Literature relies on visualization, the conjuring of images of the world in our mind's eye; photography is a technology that renders those visualizations seemingly real. They are competing technologies, alternative ways of seeing, so what happens when these two technologies of imagination and vision collide? This course will examine the dynamic, collaborative relationship between literature and photography, from the writers grappling with this new medium in the middle of the nineteenth century to contemporary authors entranced by the ghostliness of the digital image. We will be especially interested in literary texts with embedded photographs-words surrounding images, pictures challenging the descriptive power of language. Writers may include Walt Whitman, Frederick Douglass, Langston Hughes, John Dos Passos, Eudora Welty, James Agee, James Baldwin, Theresa Hak Kyung Cha, W.G. Sebald, Teju Cole, Valeria Luiselli, and Claudia Rankine. Satisfies the Twentieth Century and later requirement. |
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| | 01 | M-W---- | 4:00P-5:30P | Eads / 207 | Maciak | No final | 25 | 7 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Little Goody Two Shoes taught morality and the alphabet to the poor children of her village and eventually rode in a coach and six; Nancy Drew drove a blue roadster (later a convertible and still later a hybrid) while solving crimes and bringing justice to the town of River Heights. Between these two landmark characters lie the two and a half centuries of rich and diverse fiction for girls that will be at the center of this writing-intensive course. After grounding our studies by reading selected works from the eighteenth and nineteenth centuries, we will concentrate on twentieth-century productions, beginning with the surprisingly progressive serial fiction produced by the Stratemeyer Syndicate and others in the early 1900s. (Titles such as The Motor Girls, The Moving Picture Girls, and The Outdoor Girls advertise the series´ departure from domestic settings.) Throughout our study of both popular and classic texts, we will investigate the social, political and familial roles for girls that the texts imagine. Major genres will include mysteries, frontier fiction, career fiction, domestic fiction, school stories, and fantasy. Authors will include Newbery, Alcott, Montgomery, Wilder, Lindgren, L'Engle, and "Carolyn Keene." Writing Intensive. Satisfies the Twentieth Century and later requirement. |
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| | 01 | M-W---- | 1:00P-2:30P | Eads / 210 | Pawl | No final | 12 | 16 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 02 | M-W---- | 4:00P-5:30P | Rudolph / 282 | Pawl | No final | 14 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | American literature is filled with adventurers and adventure stories. Some of the most exciting tales were written by women. Their adventures include Mary Rowlandson's autobiography of her capture by and life with the Indians, E.D.E.N. Southworth's story of a nineteenth-century heroine who rescues imprisoned maidens and fights duels, and Octavia Butler's science fiction account of a twentieth-century black woman who is transported back through time to an antebellum plantation. Until recently, American women authors and their stories were largely dismissed because they were perceived to focus on domestic concerns, which were seen as narrow and trivial. But the works of many women authors are far different from sentimental domestic fiction. In addition to looking closely at the historical and cultural conditions in which the narratives were written, we examine the ways in which these writers conform to and rebel against cultural prescriptions about femininity. Finally, we read some contemporary and current criticism about these works and American women's writing and discuss the politics of canon formation. Tentative Reading List: Mary Rowlandson, The Captivity and Restoration of Mrs. Mary Rowlandson (1682); The Journal of Madam Knight (1704); Catharine Maria Sedgwick, Hope Leslie (1827); E.D.E.N. Southworth, The Hidden Hand (1858); Zora Neale Hurston, Their Eyes Were Watching God (1937); Octavia Butler, Kindred (1979); Paule Marshall, Praisesong for the Widow (1983). Writing intensive. |
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| | 01 | M-W---- | 2:30P-4:00P | Seigle / 104 | Baumgartner | Dec 17 2018 3:30PM - 5:30PM | 12 | 12 | 0 | | |
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| | 01 | -T-R--- | 10:00A-11:30A | Simon / 020 | Meyer | No final | 25 | 4 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M-W---- | 10:00A-11:30A | Seigle / 111 | Wihl | No final | 25 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M-W---- | 11:30A-1:00P | January Hall / 20 | O'Bryan | No final | 20 | 7 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | Let's take as our theme "dwelling in possibility" and Emily Dickinson will set the pace. Why did she compare poetry to a fairer house than prose and do other poets believe that poetry is fundamentally different from prose? Did Dickinson, in fact, believe that? These governing questions can guide us as we move from Walt Whitman's radically innovative Leaves of Grass, composed in the shadow of the impending American Civil War, into the contemporary era. In addition to Whitman (1855-1892) and Dickinson (1830-1886), major stops along the way will include Robert Frost (1874-1963), Marianne Moore (1887-1972), Elizabeth Bishop (1911-1979), Langston Hughes (1902-1967), and Gwendolyn Brooks (1917-2000). Although these are wonderfully diverse creative voices, we will be reflecting on common writerly concerns that united them. The course, then, will study poetry in its biographical, social, and cultural contexts from the American Renaissance of the 1850s to the Harlem Renaissance of the 1920s and beyond. Whenever possible, we will listen to recordings of our poets reading from their work in order to compare the effect of written and spoken texts. Frost, for example, who loved to perform in public, developed an elaborate theory of "the sound of sense." What did he mean by it and what other sounds did this seemingly robust theory exclude? |
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| | 01 | -T-R--- | 1:00P-2:30P | Eads / 212 | Pollak | No final | 15 | 3 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M-W---- | 2:30P-4:00P | Eads / 216 | Lawton | No final | 25 | 23 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | When someone says, black woman writer, you may well think of Nobel Prize winner Toni Morrison. But not long ago, to be a black woman writer meant to be considered an aberration. When Thomas Jefferson wrote that Phillis Wheatley's poems were "beneath the dignity of criticism," he could hardly have imagined entire Modern Language Association sessions built around her verse, but such is now the case.
In this class we will survey the range of Anglophone African American women authors. Writers likely to be covered include Phillis Wheatley, Harriet Wilson, Nella Larsen, Lorraine Hansberry, Octavia Butler, and Rita Dove, among others. Be prepared to read, explore, discuss, and debate the specific impact of race and gender on American literature. |
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| | 01 | -T-R--- | 10:00A-11:30A | Seigle / 305 | Zafar | Dec 18 2018 6:00PM - 8:00PM | 20 | 19 | 0 | | |
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| Description: | This is an introductory course on Shakespeare. We will read seven or eight plays and, perhaps, some non-dramatic poems, studying the abiding concerns of his career, considering the social and cultural functions of his theater, and examining his interventions in dramatic traditions, political thinking, sexual politics, and literary history. Some short written exercises, two or three papers of moderate length, and a final exam will be required. Satisfies the Early Modern requirement. |
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| | 01 | -T-R--- | 10:00A-11:30A | Busch / 202 | Ake | Dec 18 2018 6:00PM - 8:00PM | 30 | 24 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | --W---- | 4:00P-6:30P | January Hall / 20 | Batten | No final | 15 | 6 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | ---R--- | 4:00P-6:30P | Eads / 205 | Rosenfeld | No final | 12 | 7 | 0 | | |
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| Description: | This course will explore the diversity of women´s writing in the Middle Ages: from religious lyrics to love poems, romance to autobiography, mystical treatise to history, letters to literary criticism. We will consider the methods women used to gain authority as writers, the way they participated in and transformed traditionally male genres, and the way specific cultural conditions inhibited or allowed female literary expression. We will also explore the kinds of religious instruction and advice literature that were directed at female audiences, and which often became popular among lay readers more generally. Both the usefulness and the problems of conceiving a category of "women´s writing" will be explored throughout the course. Authors will likely include Hildegard of Bingen, Heloise, women troubadours, Catherine of Siena, Julian of Norwich, Margery Kempe, and Christine de Pizan. Satisfies the Medieval requirement. |
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| | 01 | -T-R--- | 11:30A-1:00P | Rudolph / 282 | Rosenfeld | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | What is queer literary history? The genre of the historical novel has been frequently taken up by modern and contemporary queer writers precisely because it affords historically marginalized individuals the ability to write themselves-and their ancestors, both biological and chosen-into the narratives of modernity from which they have so often been excluded. From the intimate to the global, queer historical fictions "touch across time," in Carolyn Dinshaw's words, in order to imaginatively construct a transhistorical queer community. In this course, we will read experiments in historical fiction alongside contemporary theories of queer temporality, historiography, nostalgia, and affect in order to investigate the relationships between queer pasts, presents, and futures. Primary authors may include Virginia Woolf, Christopher Isherwood, Sylvia Townsend Warner, Michel Foucault, James Baldwin, Anthony Burgess, Samuel R. Delaney, Mary Renault, Jaime O'Neill, Monique Truong, Colm Tóibín, Juliana Spahr, Arundhati Roy, Pat Barker, Alan Hollinghurst, and Sarah Waters. Satisfies the Twentieth Century and later requirement. |
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| | 01 | -T-R--- | 11:30A-1:00P | Eads / 210 | Arch | No final | 15 | 12 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | As the 200th anniversary of the publication of Mary Shelley's Frankenstein approaches, this class will study both the novel's origins and its powerful and abiding influence on our culture across a wide range of disciplines. The text itself is complex and layered, responding to its literary precursors, Enlightenment science, radical politics, aesthetic theory, feminism, Romantic idealism, Gothic horror, and more. In order to understand these influences, we will examine texts read by Mary Shelley (and her characters), including letters, essays, poems, and scientific reports. Our study of the novel's afterlives will begin with R. B. Peake's 1823 play, Presumption, which shaped much of the popular understanding of the Frankenstein myth during the 19th century. Our investigation of 20th- and 21st-century manifestations of Frankenstein will focus on its appearance in film, racial discourse, scientific ethics, popular culture, and advertising. This portion of the course will include a viewing of the iconic 1931 Boris Karloff film, which established indelible versions of the mad scientist and his "monster." Students in this seminar will be supported in developing individual final projects of their own design. |
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| | 01 | M-W---- | 10:00A-11:30A | Ridgley / 107 | Pawl, Treitel | No final | 15 | 14 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | In this course we will be reading the major works of Virginia Woolf, including her non-fiction prose as well as her novels and short stories. We will be charting her development as an important voice in feminist criticism and politics, and we will be reading her evolution in relation to a broader backdrop of English and European social and political history. We will examine her reactions to the Women´s Suffrage Movement and pay special attention to her involvement in the First World War and her ongoing, changing response to its legacy in the long postwar period of the 1920s and 1930s. Our secondary reading will be drawn from a wide variety of critical attitudes and practices, including the interpretive approaches of biography, new historicism, feminism, and psychoanalysis. The major novels are "The Voyage Out," "Jacob´s Room," "Mrs Dalloway," "To the Lighthouse," "Orlando," and "The Waves," while the essential works of non-fiction prose are "A Room of One´s Own" and "Three Guineas." We will synchronize our reading of these texts with excerpts from her diary and letters. Satisfies the Twentieth Century and later requirement. |
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| | 01 | -T-R--- | 2:30P-4:00P | Eads / 215 | Sherry | No final | 20 | 26 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| Description: | A study of Elizabeth's greatest national mthyologist, the greatest English myth-maker before Blake. He was not only a creator of poems: his poetic fictions together impose a larger fiction -- the idealized career of "the English poet." Study of Spenser's actual and fictionalized careers centers on his epic allegory, The Fairie Queene. Issues: the problematics of allegorical narrative, Protestant poetics, the politics of nostalgia, the poetics of vision, the psychologization of epic, literary nationalism, male feminism in the Renaissance, the clash of neo-feudal chivalry and "absolutizing" royalism. (As Milton called Spenser his "great original," the course could be taken as a preparation for a course in Milton; some attention will be given to their shared tactics and concerns.) Students interested in participating in work on the forthcoming Oxford edition of Spenser's collected works should enroll instead in E Lit 498W, the 4-credit Spenser Lab, which will meet concurrently with E Lit 498 and for an additional hour as well. Satisfies the Early Modern requirement. |
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| | 01 | -T-R--- | 1:00P-2:30P | Cupples II / L007 | Loewenstein | No final | 15 | 7 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| 19 | TBA | | TBA | Van Engen | See department | 999 | 1 | 0 | | |
| 21 | TBA | | TBA | Klimasewiski | See department | 0 | 0 | 0 | | |
| 23 | TBA | | TBA | Lawton | See department | 0 | 1 | 0 | | |
| 25 | TBA | | TBA | Loewenstein | See department | 999 | 2 | 0 | | |
| 28 | TBA | | TBA | Maxwell | See department | 999 | 0 | 0 | | |
| 29 | TBA | | TBA | McKelvy | See department | 999 | 0 | 0 | | |
| 31 | TBA | | TBA | Meyer | See department | 999 | 0 | 0 | | |
| 33 | TBA | | TBA | Milder | See department | 999 | 0 | 0 | | |
| 35 | TBA | | TBA | Parvulescu | See department | 999 | 0 | 0 | | |
| 37 | TBA | | TBA | Pawl | See department | 999 | 0 | 0 | | |
| 39 | TBA | | TBA | Phillips | See department | 999 | 0 | 0 | | |
| 41 | TBA | | TBA | Pollak | See department | 999 | 0 | 0 | | |
| 45 | TBA | | TBA | Rosenfeld | See department | 999 | 0 | 0 | | |
| 48 | TBA | | TBA | Salli | See department | 999 | 0 | 0 | | |
| 49 | TBA | | TBA | Schmidgen | See department | 999 | 0 | 0 | | |
| 51 | TBA | | TBA | Shea | See department | 999 | 0 | 0 | | |
| 53 | TBA | | TBA | Micir | See department | 999 | 0 | 0 | | |
| 57 | TBA | | TBA | Walker | See department | 999 | 0 | 0 | | |
| 63 | TBA | | TBA | Zafar | See department | 999 | 0 | 0 | | |
| 65 | TBA | | TBA | Zwicker | See department | 999 | 0 | 0 | | |
| 67 | TBA | | TBA | Ake | See department | 999 | 0 | 0 | | |
| 68 | TBA | | TBA | Le-Khac | Default - none | 10 | 0 | 0 | | |
| 69 | TBA | | TBA | [TBA] | See department | 5 | 0 | 0 | | |
| 70 | TBA | | TBA | E. McPherson | See department | 5 | 0 | 0 | | |
| 71 | TBA | | TBA | [TBA] | See department | 5 | 0 | 0 | | |
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| | 01 | | 12:00A-12:00A | TBA | Bailin | See department | 999 | 0 | 0 | | |
| 02 | TBA | | TBA | Bang | See department | 999 | 0 | 0 | | |
| 03 | TBA | | TBA | Batten | See department | 999 | 0 | 0 | | |
| 04 | TBA | | TBA | Brown | See department | 999 | 0 | 0 | | |
| 05 | TBA | | TBA | Hamilton | See department | 999 | 1 | 0 | | |
| 06 | TBA | | TBA | Berg | See department | 999 | 0 | 0 | | |
| 10 | TBA | | TBA | Lawton | See department | 999 | 1 | 0 | | |
| 11 | TBA | | TBA | Loewenstein | See department | 999 | 1 | 0 | | |
| 13 | TBA | | TBA | McKelvy | See department | 999 | 0 | 0 | | |
| 14 | TBA | | TBA | Meyer | See department | 999 | 0 | 0 | | |
| 15 | TBA | | TBA | Milder | See department | 999 | 1 | 0 | | |
| 17 | TBA | | TBA | Pawl | See department | 999 | 0 | 0 | | |
| 18 | TBA | | TBA | Phillips | See department | 999 | 0 | 0 | | |
| 19 | TBA | | TBA | Pollak | See department | 999 | 0 | 0 | | |
| 20 | TBA | | TBA | Ruland | See department | 999 | 0 | 0 | | |
| 21 | TBA | | TBA | Schmidgen | See department | 999 | 0 | 0 | | |
| 22 | TBA | | TBA | Shea | See department | 999 | 0 | 0 | | |
| 25 | TBA | | TBA | Wiltenburg | See department | 999 | 0 | 0 | | |
| 26 | TBA | | TBA | Zafar | See department | 999 | 0 | 0 | | |
| 27 | TBA | | TBA | Zwicker | See department | 999 | 0 | 0 | | |
| 28 | TBA | | TBA | Gurnis | See department | 999 | 0 | 0 | | |
| 29 | TBA | | TBA | Rosenfeld | See department | 999 | 0 | 0 | | |
| 30 | TBA | | TBA | Parvulescu | Default - none | 5 | 0 | 0 | | |
| 31 | TBA | | TBA | Sherry | See department | 999 | 1 | 0 | | |
| 32 | TBA | | TBA | Maxwell | See department | 999 | 0 | 0 | | |
| 33 | TBA | | TBA | Walker | See department | 50 | 0 | 0 | | |
| 34 | TBA | | TBA | Ake | See department | 999 | 0 | 0 | | |
| 35 | TBA | | TBA | Finneran | See department | 999 | 0 | 0 | | |
| 36 | TBA | | TBA | Micir | See department | 999 | 1 | 0 | | |
| 37 | TBA | | TBA | Van Engen | See department | 5 | 0 | 0 | | |
| 38 | TBA | | TBA | Johnston | See department | 5 | 0 | 0 | | |
| 39 | TBA | | TBA | Wihl | See department | 5 | 0 | 0 | | |
| 40 | TBA | | TBA | Shipe | See department | 5 | 0 | 0 | | |
| 41 | TBA | | TBA | Arch | See department | 5 | 0 | 0 | | |
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| Description: | Organized around the theme of "the trouble with normal," in this course we will reflect on the lives, works, and reputations of poets who engaged their own gendered anxieties and ambitions through their psychologically complex encounters with Emily Dickinson (1830-1886). Beginning with Dickinson's first poem, a satiric valentine that mocks the imperative to marry, we will explore some of the ways in which the self-described "Queen of Calvary" and her critics influenced modernist poets such as Marianne Moore (1887-1972), Elizabeth Bishop (1911-1979), Gwendolyn Brooks (1917-2000), and Sylvia Plath (1932-1963). There will be some attention to the electronic archives that enable twenty-first century literary editing; "troubling" theorists will include Robert Duncan, Muriel Rukeyser, Adrienne Rich, Sandra Gilbert, Susan Gubar, Susan Howe, Toni Morrison, Eve Kosofsky Sedgwick, Michael Warner, Lauren Berlant, Peter Coviello, and Sianne Ngai. |
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| Description: | This class begins with two seminal Modernist portraits of the artist, one a writer, the other a painter (Joyce's "A Portrait of the Artist as a Young Man" and Woolf's "To the Lighthouse"), and then returns to a more detailed reading of a fifty-year period from the 1840s to 1890s to ask how artists of all kinds became prominent characters in literary works. Primary texts to include poetry by Alfred Tennyson and Robert Browning, as well as fictions by Charles Dickens, Wilkie Collins, Henry James, Oscar Wilde, Rudyard Kipling and the only recently canonized Amy Levy. We will foreground the historical forces, events, and technological developments that allowed the artist to become, by various accounts, both a sacred figure with a substantial social agency as well as a new name for the outcast, alien, or social deviant. While engaging with the aesthetic as a category with an ancient lineage, we will also emphasize a more local context defined by global commercial modernity and unsettled gender norms. |
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| Description: | In this literature/creative writing hybrid course, we´ll read a number of 20th century authors writing across a wide spectrum of what might be called "story sequences"-groups or cycles of interrelated short narratives-and each student will have the opportunity to write part of a sequence of their own. We´ll consider how this sub-genre might distinguish itself from its neighbors, and what sorts of material or tactical ambitions our authors have brought to this particular form: how a book-length collection of semi-independent pieces amounts to a different endeavor than a novel (with its chapters) in the hands of writers like Kate Bernheimer, Angela Carter, Edward P. Jones, James Joyce, Jamaica Kincaid, Daniyal Mueenuddin, Grace Paley, Alice Munro, W.G. Sebald, and Jean Toomer. Students will have the option to write either a craft-oriented critical paper, companion stories, or a brief sequence, whether purely fictional or involving multiple genres. |
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| | 01 | M-W---- | 11:30A-1:00P | Eads / 210 | Klimasewiski | No final | 15 | 14 | 0 | | |
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