| | 01 | M-W---- | 2:30P-4:00P | Seigle / 305 | Windle | No Final | 16 | 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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| | 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, 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---- | 10:00A-11:30A | Eads / 210 | Zwicker | No Final | 15 | 10 | 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---- | 1:00P-2:30P | Busch / 14 | Basu | No Final | 15 | 10 | 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--- | 1:00P-2:30P | Simon / 021 | Walker | May 9 2017 1:00PM - 3:00PM | 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 | M-W---- | 2:30P-4:00P | Busch / 14 | McKelvy | No Final | 15 | 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--- | 11:30A-1:00P | Eads / 210 | Brown | No Final | 15 | 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: | The course examines the various facets of modernity in major works of European, Eurasian, and, sometimes, American literature from the early Seventeenth Century to the 1920s, starting with Don Quixote. We will explore, among other things, the eruption of the novel, the secularization of autobiography, the literary discovery of the city, the rise of literary and aesthetic criticism that takes literature and art seriously as political and social institutions. In addition to literary works, the course will engage with two or three important models of critical practice e.g. Wollstonecraft's Vindication of the Rights of Women, Marx's German Ideology, Freud's, The Interpretation of Dreams, T.S. Eliot's Tradition and the Individual Talent, or perhaps that great work of fictionalized literary criticism, Borges' "Pierre Menard, Author of the Quixote."
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| | 01 | M-W---- | 11:30A-1:00P | Cupples II / L011 | Lawton | No Final | 15 | 11 | 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 the later Middle Ages, the romance genre was home to both popular entertainment and sophisticated literary experiment. Our course will explore many facets of this protean genre, from narratives of national origin and conquest to tales of love and adventure, from stories set in besieged Troy to allegories wholly contained within a dream. We will encounter werewolves, giants, and dragons; heroes both bold and befuddled (as well as some of the most proactive heroines in premodern literature); and landscapes that range from the symbolic to the fantastical to the historical. We will investigate how romance helped to create and promulgate codes of chivalry and courtly love which influenced medieval life; how romance changed and grew as it migrated across time, location, and language; and what those changes can tell us about the people who both created and consumed these stories. Readings will likely include Chrétien de Troyes´ foundational Arthurian romances, Marie de France's "Lais," the double-authored "Roman de la Rose," Chaucer's "Troilus and Criseyde," Sir Thomas Malory's "Morte Darthur," and some of the anonymous works that make up the majority of medieval romance, such as the epic and episodic "Sir Bevis of Hampton." Satisfies the Medieval requirement. |
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| | 01 | -T-R--- | 2:30P-4:00P | Eads / 203 | Rosenfeld, Reynolds | No Final | 25 | 3 | 0 | | |
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| | Description: | Alice Munro titles one of her short stories "What is Remembered," implying that what we retrospectively make of experience may be quite different from how we lived it at the time. Memoir is rooted in autobiographical facts but facts selected, arranged, and sometimes exaggerated or supplemented, whether to bring out the inner truth of an experience, to help in the creation of a private identity or public image, or simply to tell a better story. Writing about our life is not only, as Benjamin Franklin said, the next best thing to reliving it; it may also be an improvement on it, both in the story it tells and in the satisfaction it gives in bringing chaos to order. The course will explore the activity of going back in memory both in autobiographical writing and in fiction. Readings will likely include works from Munro, Mary McCarthy, John Updike, Virginia Woolf, Philip Roth, William Styron, Mary Karr, and William Maxwell. Students will write and revise both autobiographical essays and critical papers. Satisfies the Twentieth Century and later requirement. |
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| | 01 | M-W---- | 1:00P-2:30P | Duncker / 109 | Milder | No Final | 15 | 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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| | Description: | This course is a survey of the British and Anglophone novel from the Second World War to the beginning of the twenty-first century. We will investigate the fate of the novel after modernism, through the consolidation of the welfare state and the end of empire to the heritage boom and the transformation of "Britishness" at century's end. Authors may include Evelyn Waugh, Muriel Spark, Ian Fleming, Sam Selvon, Anthony Burgess, Angela Carter, Salman Rushdie, Ken Saro-Wiwa, Irvine Welsh, Jeanette Winterson, Kazuo Ishiguro, Kate Atkinson, Alan Hollinghurst, Ian McEwan, and Zadie Smith. Satisfies the Twentieth Century and later requirement. |
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| | 01 | M-W---- | 11:30A-1:00P | Seigle / 205 | Micir | No Final | 25 | 11 | 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 ask questions about the ways in which American poets translate literary traditions of self-representation into something more artfully intimate. Beginning with Whitman's "Song of Myself" in 1855, American poets have succeeded in communicating a sense of distinct, personal identity. His self-conscious performances of emotional and sexual sincerity defined a distinctly American tradition that was extended in complex and contradictory ways by his obscure near-contemporary Emily Dickinson and by later poets such as Langston Hughes, Robert Frost, William Carlos Williams, Marianne Moore, Elizabeth Bishop, and Allen Ginsberg. Yet if radical self-expression has been a hallmark of American originality, it has also aroused powerful resistances in rival poets, sympathetic readers, and self-interested critics. What concerns motivate those resistances and why do they provide an important context for thinking about literary creativity in the past and as it continues today? There will be several papers and a formal oral report. Faithful attendance and class participation are required, naturally! No final exam. Satisfies the Twentieth Century and later requirement. |
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| | 01 | M-W---- | 2:30P-4:00P | Duncker / 1 | Pollak | No Final | 25 | 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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| | Description: | Groucho Marx, the slapstick comedian and distinguished analytical philosopher, once observed that "practically everybody in New York has half a mind to write a book--and does." Marx may have been exaggerating (slightly) for comic effect, but it's a fact that New York City flourished as the literary capital of the U.S. during the twentieth century. Despite the heyday of the MFA "program era," the city arguably qualifies as the national headquarters of American writing even today. This class will explore a surprisingly understudied feature of New York's centrality to modern American literature: the appearance of wave after wave of captivating books picturing Manhattan and its fellow boroughs as the focal point and limit case of American identity. We'll begin with two famous novels from 1925 that cast Jazz Age New York as an alluring and fatal pilgrimage site: F. Scott Fitzgerald's "The Great Gatsby" and John Dos Passos's "Manhattan Transfer." We'll then turn to less familiar New York-set texts from the Depression 1930s (Henry Roth's "Call It Sleep," Dawn Powell's "Turn, Magic Wheel"); from the uneasy post-World War II pinnacle of American power (Ann Petry's "The Street," E. B. White's "Here Is New York"); from the lost world of interracial bohemianism in the early 1960s (Frank O'Hara's "Lunch Poems," Amiri Baraka's "Dutchman"); and, finally, from our own twenty-first century, systematically nostalgic for the gritty and inflamed New York City of the 1970s (Rachel Kushner's "The Flamethrowers," Will Hermes's "Love Goes to Buildings on Fire"). Satisfies the Twentieth Century and later requirement. |
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| | 01 | M-W---- | 10:00A-11:30A | Seigle / 111 | Maxwell | 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: | Huck Finn, Holden Caulfield, Scout Finch. Some of the most iconic characters in American literature have been young people searching for identity. But what happens to the classic genre of finding one's place in society when America society itself is being radically reshaped? This course examines the explosive diversity of American coming-of-age stories from 1960 to today, a period when issues of personal identity, socialization, and national identity collide with Civil Rights struggles, identity movements, and upheavals in immigration. It is a period when many groups that weren't seen to fit the norms of American life struggled to claim their places in the nation, and, in the process, reshaped the face of America. We'll be following some extraordinary writers as they claim a canonical genre to probe the possibilities for young people of different backgrounds to develop in contemporary America, which is simultaneously the fitful story of the nation's own coming-of-age. Authors include Toni Morrison, Junot Díaz, Maxine Hong Kingston, Sandra Cisneros, N. Scott Momaday, Monique Truong, and Noviolet Bulawayo. Satisfies the Twentieth Century and later requirement. |
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| | 01 | -T-R--- | 10:00A-11:30A | Seigle / 205 | Le-Khac | See Instructor | 25 | 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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| | 01 | M-W---- | 1:00P-2:30P | Simon / 020 | Shipe | No Final | 25 | 25 | 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--- | 10:00A-11:30A | Eads / 103 | Julia Walker | May 9 2017 6:00PM - 8:00PM | 15 | 7 | 0 | | |
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| | Description: | How do writers respond to social and economic crisis? What can they offer, as writers, to a world in turmoil? This course explores a range of answers to these questions offered by writers in the 1930s-the decade in which the Great Depression decimated capitalist economies, the United States experimented with the large-scale government intervention of the New Deal, fascists rose to great power in Europe, and world war, sparked by conflict in Spain, exploded into being for the second time. We will read novels by authors such as Ernest Hemingway, John Dos Passos, Zora Neale Hurston, William Faulkner, Tillie Olsen, and Richard Wright, various forms of political nonfiction, and historical and critical treatments of this decade in American letters. We will define the major ideological and stylistic conflicts of the period, and we will ask what its forms of writerly engagement can teach us about the relations between culture and politics today. Satisfies the Twentieth Century and later requirement. |
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| | 01 | -T-R--- | 10:00A-11:30A | Seigle / 305 | Pawl | May 9 2017 6:00PM - 8:00PM | 20 | 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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| | Description: | A survey of Golden Age texts for children from "Alice in Wonderland" to "The Secret Garden." British and American, 1865-1914. Fiction, drama, poetry. In this course we will examine a remarkable period in the history of children's literature. The texts we read will cover a broad range of genres, from domestic fiction to fantasy literature to stories of adventure. The settings include the British nursery, the American small town, the plains of Africa, and a rabbit hole. The depictions of and assumptions about children that emerge from these disparate texts will guide our investigation of the period's concept of childhood. Students will be encouraged to take a fresh look at works whose familiarity and/or iconic status have in the past exempted them from serious analysis. Authors will include Alcott, Carroll, Barrie, Baum, Burnett, Nesbit, Stevenson and Twain. Critical readings accompany each text. Satisfies the Nineteenth Century requirement. |
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| | 01 | -T-R--- | 1:00P-2:30P | Simon / 020 | Pawl | May 9 2017 1:00PM - 3:00PM | 20 | 20 | 0 | | |
| 02 | -T-R--- | 4:00P-5:30P | Eads / 203 | Pawl | May 10 2017 6:00PM - 8:00PM | 20 | 20 | 0 | | |
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| | 01 | -T-R--- | 1:00P-2:30P | Cupples II / L011 | Meyer | No Final | 25 | 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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| | 02 | -T-R--- | 10:00A-11:30A | Sever / 300 | Parvulescu | No Final | 0 | 12 | 0 | | |
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| | Description: | This 300-level, discussion-based seminar covers major dramatists (excluding Shakespeare) of the late sixteenth- and early seventeenth-century. Early modern commercial theater offered its audiences a space in which to explore the pleasures and dangers of their rapidly changing social, cultural, and political world. From the bombastic, atheistic, blank verse of Christopher Marlowe's "Tamburlaine," to the lurid, true-crime, domestic tragedy "Arden of Faversham," popular theater gave mixed-class groups of playgoers upwardly mobile antiheros to admire, fear, mock, and emulate. City comedies helped Londoners navigate the new realities of urban capitalism. Ben Jonson's "Everyman Out of His Humor" both satirizes and helped create fashions of dress and behavior in an emerging culture of conspicuous consumption, while Eastward Ho! dramatizes the performative possibilities and personal risks of the credit economy. In revenge tragedies such as John Webster's "Duchess of Malfi," the detritus of pre-Reformation, Catholic worship returns to haunt the hearts and minds of Protestant playgoers. Travel plays such as Phillip Massinger's "Renegado" present seductive and unsettling fantasies about English encounters with Islam through trade and piracy in the multicultural Mediterranean. Through history plays such as Thomas Middleton's "Game at Chess," ordinary playgoers developed habits of critical political thought. Paying close attention to staging across a wide range of dramatic genres, we will examine the cultural implications of innovative theatrical effects. Satisfies the Early Modern requirement. |
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| | 01 | M-W---- | 4:00P-5:30P | Seigle / 111 | Gurnis | 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: | Early modern writers either obsess about or self-consciously skirt around a conspicuous public issue during the reign of Elizabeth I (1558-1603): The "King" of England had breasts. In this course we will explore Queen Elizabeth's political deployment of her own sex in her speeches, as well as the public rumors circulated about her sexual/political body. In a society that decries the "Monstrous Regiment of Women," how does Elizabeth I succeed in fostering both political and popular support-even using her own sex to her advantage? We will also look at writing by women published during (and just after) Elizabeth's reign to determine how other women negotiate the complicated discourse of early modern gender politics. Are women more authorized to speak under the reign of a woman, or does it further complicate their attempts to enter public discourse? As we read, we will attend to the ways women frame themselves as women, and how men respond to the centrality of the female voice and body during Elizabeth's reign. Looking at writing by men, we will consider the conventions of courtly poetry of the late 16th Century where the desired woman is King of the realm; and the anxieties over emasculation manifested in the works of male writers who feel England is diminished by a female monarch. Our readings will include amazons and cross-dressers, shepherdesses and warrior princesses. Throughout the semester, we will have opportunity to reflect on the operations of sex, gender, power, and poetics-both within the context of an early modern understanding of these topics, and by considering why the political/sexual body of Elizabeth I continues to capture the contemporary public imagination. Satisfies the Early Modern requirement. |
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| | 01 | -T-R--- | 2:30P-4:00P | Eads / 205 | Purchase | No Final | 15 | 8 | 0 | | |
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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 | M-W---- | 10:00A-11:30A | Seigle / 301 | Zafar | May 8 2017 10:30AM - 12:30PM | 20 | 12 | 0 | | |
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| | Description: | Because illness, disease, pain, and fear of death are essential features of the human condition, these themes frequently appear in major literary works, a survey of which we will read in this class. We will focus especially on the suffering, helplessness, insight, and enlightenment experienced by both the ill and those who care for them. Works responding to the devastating plagues in the medieval and early modern periods hold especial interest for those studying illness and medicine; we will read works on plague by Boccaccio, Chaucer, and Defoe, with Sontag's Illness as Metaphor providing a starting point for our analysis. Two twentieth-century novels-The Plague, by Camus, and Blindness, by José Saramago-will show us the additional imaginative possibilities of plague as metaphor and allegory. We will also read shorter works of fiction by Tolstoy, Mann, Chekhov, Eliot, Gilman, and Porter, as well as Edson's play W;t. Students will be encouraged to consider how illness, disease, and fear of death affect both individual human beings and entire societies. Prerequisite: Writing 1. |
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| | Description: | This is an introductory course on Shakespeare - a course for enthusiasts, skeptics, and the curious. We will read seven or eight plays and, perhaps, some non-dramatic poems, studying the abiding concerns and obsessions 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--- | 11:30A-1:00P | January Hall / 10A | Loewenstein | May 8 2017 1:00PM - 3:00PM | 50 | 20 | 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--- | 1:00P-2:30P | Busch / 14 | McKelvy | 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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| | Description: | This course explores what happens when the expressive energies of black-authored genres of American popular music--ragtime, blues, jazz, rock, and rap--spill over into modern and contemporary American literature. Why did ragtime come to symbolize interracial and international mixture in the early twentieth-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 African American popular music touched that music along its way, and what can this commentary tell us about the current shape of cultural theory--and about the musical compulsions of more than a few literary critics? Writers (and writer-musicians) to be studied will include James Weldon Johnson, F. Scott and Zelda Fitzgerald, Langston Hughes, Louis Armstrong, Gwendolyn Brooks, Jack Kerouac, Eudora Welty, Frank O'Hara, Bob Dylan, Don DeLillo, Patti Smith, Richard Hell, Toni Morrison, 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 | M-W---- | 2:30P-4:00P | Ridgley / 107 | Maxwell | 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: | How can we grasp the charged and shifting landscape of contemporary U.S. racial relations? We seem, as a nation, to be hungry for a language, image, metaphor, or narrative that could make sense of multi-racial America and bring groups together. This course asks how the imaginative arts of literature and film might contribute to this effort. After all, bringing racial groups together across entrenched divides is an act of political imagination. How do people come to see and, more importantly, feel the common experiences, joint goals, and parallel positions that lay the groundwork for multi-racial coalitions? We'll track a generation of novelists, playwrights, poets, and filmmakers undertaking this work to recognize racial tensions and envision possible alliances. They are developing cultural forms that revise the enduring black/white scheme of race in America to register the increasing numbers of Latina/os and Asian Americans and the occluded presence of Native Americans. We'll set their creations alongside current efforts in sociology, political science, and ethnic studies in order to understand the racial imaginaries that shape how diverse Americans perceive their interrelations and divisions. Authors/directors include Spike Lee, Chang-rae Lee, Karen Tei Yamashita, Anna Deavere Smith, Cherríe Moraga, Gloria Anzaldúa, and Gish Jen. Satisfies the Twentieth Century and later requirement. |
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| | 01 | -T-R--- | 2:30P-4:00P | Cupples II / 230 | Le-Khac | 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: | In this course, we will problematize the relationship between women writers and U. S. modernism in works by and about Edith Wharton, Gertrude Stein, Willa Cather, Zora Neale Hurston, and Marianne Moore. We will consider especially the emergence of the biographical and literary "New Woman" as a character type and as a social reality. Beginning with Wharton's reimagining of national and gender identity in "The House of Mirth" (1905) and "The Age of Innocence" (1920), we will read Stein's "Three Lives (1909); Cather's "My Ántonia" (1913) and "Sapphira and the Slave Girl" (1940); Hurston's "Their Eyes Were Watching God" (1937); and selected poems by Marianne Moore such as her satire "Marriage" (1923). Modernist literary women tried to imagine freer social roles for themselves, their characters or personae, and their readers. But to what extent was biographical and social experience aesthetic fate? There will be a number of papers and a formal oral report. Faithful attendance and class participation are required, naturally! No final exam. Graduate students will have extra responsibilities, to be discussed at our first class meeting. Satisfies the Twentieth Century and later requirement. |
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| | 01 | M-W---- | 11:30A-1:00P | Duncker / 1 | Pollak | 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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| | 01 | M-W---- | 1:00P-2:30P | TBA | Zafar | No Final | 15 | 2 | 0 | | |
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| | 01 | M-W---- | 10:00A-11:30A | TBA | Milder | No Final | 15 | 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 | -T-R--- | 10:00A-11:30A | Busch / 14 | Meyer | No Final | 15 | 5 | 0 | | |
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| | 01 | -T-R--- | 11:30A-1:00P | Eads / 215 | Sherry | No Final | 25 | 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: | Modernist poetry is remarkable for its inventive use of language, its use of allusion and layering of voices, as well as its eagerness to break with prosodic tradition and establish new, "modern" rhythms and cadences. Situating modernism historically, we will move from Baudelaire in Paris and Whitman and Dickinson in America to Imagism and other avant-gardes, then to the poetry of the First World War and after, engaging with the major works of Eliot, Pound, Yeats, H.D., Edith Sitwell, Marianne Moore, Wallace Stevens, William Carlos Williams, Langston Hughes, Claude McKay, Jean Toomer, and Gertrude Stein. Understanding modernism as the expression of a twentieth-century culture of crisis, we will be examining the newly imaginative ways poets addressed politics and psychology, gender and sexuality. We will also be reading the poems as reflections of individual poets' preoccupations. Co-taught by a member of the Creative Writing faculty and a member of the Literature faculty, the course combines an emphasis on poetry as practice as well as critical analysis. Satisfies the Twentieth Century and later requirement. |
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| | Description: | Tennessee Williams (1911-83), arguably America's greatest playwright, was also our most prolific and controversial one. Williams' career spanned six decades, including two (1918-38) growing up in St. Louis, and one important year (1936-37), enrolled at Washington University. While he wrote a number of masterpieces (The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof), he also wrote many plays which remain virtually unknown, but which are worthy of renewed exploration. The playwright's tortured and self-destructive life and mysterious death (including his addiction to drugs and alcohol) hold a mirror up to American culture, especially with regard to the writer's first closeted, then flamboyantly gay life-style. This seminar offers an opportunity to examine this brilliant, flawed, and obsessive writer in depth. Included will be discussion of some of the films made from his plays, and visits to some of the St. Louis landmarks which are featured in his plays. |
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| | 01 | M-W---- | 2:30P-4:00P | Eads / 210 | Zwicker | No Final | 10 | 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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| | Description: | This course is intended to acquaint students with basic ideas and issues raised by a diversity of voices in contemporary feminist literary and cultural theory. Readings will cover a wide range of approaches and tendencies within feminism, among them: French feminism, Foucauldian analyses of gender and sexuality, LGBTQ theories, feminism and disability studies, Third World/postcolonial feminism, and feminism of women of color in a global context." Given that feminist theories developed in response to and in dialogue with wider sociopolitical, cultural, and philosophical currents, the course will explore feminist literary and cultural theory in an interdisciplinary context. NOTE: This course is in the core curriculum for the Women, Gender, and Sexuality Studies graduate certificate. Prereq: Advanced course work in WGSS or in literary theory (300-level and above) or permission of the instructor required. |
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| 28 | TBA | | TBA | Maxwell | No Final | 0 | 0 | 0 | | |
| 29 | TBA | | TBA | McKelvy | No Final | 0 | 0 | 0 | | |
| 30 | TBA | | TBA | McPherson | No Final | 0 | 0 | 0 | | |
| 33 | TBA | | TBA | Milder | No Final | 0 | 0 | 0 | | |
| 34 | TBA | | TBA | Miller | No Final | 0 | 0 | 0 | | |
| 35 | TBA | | TBA | Parvulescu | No Final | 0 | 0 | 0 | | |
| 39 | TBA | | TBA | Phillips | No Final | 99 | 0 | 0 | | |
| 41 | TBA | | TBA | Pollak | No Final | 0 | 0 | 0 | | |
| 43 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 45 | TBA | | TBA | Rosenfeld | No Final | 0 | 0 | 0 | | |
| 47 | TBA | | TBA | Ruland | No Final | 999 | 0 | 0 | | |
| 49 | TBA | | TBA | Schmidgen | No Final | 0 | 0 | 0 | | |
| 53 | TBA | | TBA | Sherry | No Final | 0 | 0 | 0 | | |
| 54 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 55 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 56 | TBA | | TBA | Van Engen | No Final | 0 | 0 | 0 | | |
| 57 | TBA | | TBA | Walker | No Final | 0 | 0 | 0 | | |
| 59 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 61 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 65 | TBA | | TBA | Zwicker | No Final | 0 | 0 | 0 | | |
| 66 | TBA | | TBA | [TBA] | No Final | 999 | 0 | 0 | | |
| 69 | TBA | | TBA | [TBA] | See Department | 10 | 0 | 0 | | |
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| 03 | TBA | | See Dept / | Bang | No Final | 5 | 0 | 0 | | |
| 04 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 05 | TBA | | See Dept / | Batten | No Final | 5 | 0 | 0 | | |
| 06 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 07 | TBA | | See Dept / | Brown | No Final | 5 | 1 | 0 | | |
| 08 | TBA | | See Dept / | Arch | No Final | 5 | 0 | 0 | | |
| 09 | TBA | | See Dept / | Davis | No Final | 5 | 0 | 0 | | |
| 10 | TBA | | See Dept / | Dutton | No Final | 5 | 0 | 0 | | |
| 11 | TBA | | See Dept / | Early | No Final | 5 | 0 | 0 | | |
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| 13 | TBA | | See Dept / | Fields | No Final | 5 | 0 | 0 | | |
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| 15 | TBA | | See Dept / | Finneran | No Final | 5 | 1 | 0 | | |
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| 17 | TBA | | See Dept / | Gram | No Final | 5 | 0 | 0 | | |
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| 19 | TBA | | See Dept / | Johnston | No Final | 5 | 0 | 0 | | |
| 20 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 21 | TBA | | See Dept / | Klimasewiski | No Final | 5 | 0 | 0 | | |
| 22 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 23 | TBA | | See Dept / | Lawton | No Final | 5 | 0 | 0 | | |
| 24 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 25 | TBA | | See Dept / | Loewenstein | No Final | 5 | 0 | 0 | | |
| 28 | TBA | | TBA | Maxwell | No Final | 5 | 0 | 0 | | |
| 29 | TBA | | TBA | McKelvy | No Final | 5 | 0 | 0 | | |
| 30 | TBA | | TBA | McPherson | No Final | 5 | 0 | 0 | | |
| 33 | TBA | | TBA | Milder | No Final | 5 | 0 | 0 | | |
| 35 | TBA | | TBA | Parvulescu | No Final | 5 | 0 | 0 | | |
| 38 | TBA | | TBA | Phillips | No Final | 0 | 0 | 0 | | |
| 41 | TBA | | TBA | Pollak | No Final | 5 | 0 | 0 | | |
| 45 | TBA | | TBA | Rosenfeld | No Final | 5 | 0 | 0 | | |
| 47 | TBA | | TBA | Ruland | No Final | 5 | 0 | 0 | | |
| 49 | TBA | | TBA | Schmidgen | No Final | 5 | 1 | 0 | | |
| 53 | TBA | | TBA | Sherry | No Final | 5 | 0 | 0 | | |
| 55 | TBA | | TBA | Van Engen | No Final | 5 | 0 | 0 | | |
| 57 | TBA | | TBA | Walker | No Final | 5 | 1 | 0 | | |
| 65 | TBA | | TBA | Zwicker | No Final | 5 | 0 | 0 | | |
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| | Description: | Some of the greatest poems ever written in English -- "Beowulf," "Sir Gawain and the Green Knight," "Piers Plowman" -- were composed in alliterative meter, which was the staple poetic form of Old English, was revived in the fourteenth and fifteenth centuries, but ceased to be composed during the sixteenth century. This course will read alliterative poems: the three works listed in the title, and several others from Old and Middle English (including works of political and religious opposition). Students may use specific translations (Heaney's "Beowulf," Tolkien's and Armitage's "Gawain," Donaldson's "Piers") but are encouraged to become familiar with the original language, style and sound of these poems. We shall study alliterative poetry historically as well as critically: who wrote it, and who read it? Why was it revived in later medieval England, and from what sources? Given the quality of the later works, why did the form apparently die out? Did it really do so, or was its future history in poetry and prose masked by linguistic and cultural change, and by later scholarly misunderstanding? We shall think about historical memory and archive, reading communities and literary culture/s. So the course models questions about understanding (and imagining) the literary production of a distant past, offers the intense and often unexpected pleasures of reading it, and asks how in fact it might be more closely related to the present. |
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| | Description: | Nearly a decade ago, Jane Garrity reflected that the "gynocritical" work of feminist recovery seemed "no longer hip" within modernist studies, especially in comparison to the recent temporal and geographical expansions of the field. And in her introduction to a recent special issue of MFS devoted to "Women's Fiction, New Modernist Studies, and Feminism," Anne E. Fernald describes the field as one in which "work on women writers abounds but definitions of modernist studies consistently neglect or underserve women." The concerns of this course are twofold: first, we will read an alternate canon of modernist women writers, thereby taking up Fernald's challenge to "read without first measuring every writer against the landmarks we already know." Second, we will investigate the place of feminist and queer recovery work within contemporary modernist studies. Can we move beyond the politics of recovery without denigrating its value? The seminar will coincide with the launch of Feminist Modernist Studies, an exciting new journal in the field, and seminar participants will produce work toward a future submission. Prior coursework in either modernist studies or feminist theory always encouraged but never required; MFA candidates, participants working primarily in literatures other than English, and those studying women writers in other periods are explicitly welcome to join us. Interested auditors should contact Prof. Micir. |
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| | 01 | -T----- | 4:00P-6:30P | Eads / 116 | Micir | 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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| 05 | TBA | | TBA | Batten | No Final | 50 | 0 | 0 | | |
| 07 | TBA | | TBA | Brown | No Final | 50 | 0 | 0 | | |
| 09 | TBA | | TBA | Davis | No Final | 50 | 0 | 0 | | |
| 11 | TBA | | TBA | Early | No Final | 50 | 0 | 0 | | |
| 13 | TBA | | TBA | Fields | No Final | 50 | 0 | 0 | | |
| 15 | TBA | | TBA | Finneran | No Final | 50 | 0 | 0 | | |
| 16 | TBA | | TBA | Gurnis | No Final | 0 | 0 | 0 | | |
| 17 | TBA | | TBA | [TBA] | No Final | 50 | 0 | 0 | | |
| 19 | TBA | | TBA | Johnston | No Final | 50 | 0 | 0 | | |
| 21 | TBA | | TBA | Klimasewiski | No Final | 999 | 0 | 0 | | |
| 23 | TBA | | TBA | Lawton | No Final | 99 | 0 | 0 | | |
| 24 | TBA | | TBA | Le-Khac | No Final | 0 | 0 | 0 | | |
| 25 | TBA | | TBA | Loewenstein | No Final | 99 | 0 | 0 | | |
| 27 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 28 | TBA | | TBA | Maxwell | No Final | 99 | 1 | 0 | | |
| 29 | TBA | | TBA | McKelvy | No Final | 99 | 0 | 0 | | |
| 30 | TBA | | TBA | McPherson | No Final | 0 | 0 | 0 | | |
| 31 | TBA | | TBA | Meyer | No Final | 99 | 0 | 0 | | |
| 33 | TBA | | TBA | Milder | No Final | 99 | 0 | 0 | | |
| 35 | TBA | | TBA | Parvulescu | No Final | 99 | 0 | 0 | | |
| 39 | TBA | | TBA | Phillips | No Final | 99 | 0 | 0 | | |
| 41 | TBA | | TBA | Pollak | No Final | 99 | 0 | 0 | | |
| 43 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 45 | TBA | | TBA | Rosenfeld | No Final | 99 | 0 | 0 | | |
| 46 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 47 | TBA | | TBA | Ruland | No Final | 99 | 0 | 0 | | |
| 49 | TBA | | TBA | Schmidgen | No Final | 99 | 0 | 0 | | |
| 53 | TBA | | TBA | Sherry | No Final | 99 | 1 | 0 | | |
| 55 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 56 | TBA | | TBA | Van Engen | No Final | 0 | 0 | 0 | | |
| 57 | TBA | | TBA | Walker | No Final | 99 | 0 | 0 | | |
| 59 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 61 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 63 | TBA | | TBA | Zafar | No Final | 99 | 1 | 0 | | |
| 65 | TBA | | TBA | Zwicker | No Final | 99 | 2 | 0 | | |
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| | 01 | TBA | | TBA | Bailin | No Final | 50 | 0 | 0 | | |
| 05 | TBA | | TBA | Batten | No Final | 50 | 0 | 0 | | |
| 07 | TBA | | TBA | Brown | No Final | 50 | 0 | 0 | | |
| 09 | TBA | | TBA | Davis | No Final | 50 | 0 | 0 | | |
| 10 | TBA | | TBA | Dutton | No Final | 0 | 0 | 0 | | |
| 11 | TBA | | TBA | Early | No Final | 50 | 0 | 0 | | |
| 13 | TBA | | TBA | Fields | No Final | 50 | 0 | 0 | | |
| 15 | TBA | | TBA | Finneran | No Final | 50 | 0 | 0 | | |
| 16 | TBA | | TBA | Gurnis | No Final | 0 | 0 | 0 | | |
| 17 | TBA | | TBA | [TBA] | No Final | 50 | 0 | 0 | | |
| 19 | TBA | | TBA | Johnston | No Final | 50 | 0 | 0 | | |
| 21 | TBA | | TBA | Klimasewiski | No Final | 999 | 0 | 0 | | |
| 23 | TBA | | TBA | Lawton | No Final | 9 | 0 | 0 | | |
| 25 | TBA | | TBA | Loewenstein | No Final | 99 | 0 | 0 | | |
| 27 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 28 | TBA | | TBA | Maxwell | No Final | 99 | 0 | 0 | | |
| 29 | TBA | | TBA | McKelvy | No Final | 99 | 0 | 0 | | |
| 30 | TBA | | TBA | McPherson | No Final | 0 | 0 | 0 | | |
| 31 | TBA | | TBA | Meyer | No Final | 99 | 0 | 0 | | |
| 33 | TBA | | TBA | Milder | No Final | 99 | 0 | 0 | | |
| 35 | TBA | | TBA | Parvulescu | No Final | 99 | 0 | 0 | | |
| 39 | TBA | | TBA | Phillips | No Final | 99 | 0 | 0 | | |
| 41 | TBA | | TBA | Pollak | No Final | 99 | 0 | 0 | | |
| 43 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 45 | TBA | | TBA | Rosenfeld | No Final | 99 | 0 | 0 | | |
| 47 | TBA | | TBA | Ruland | No Final | 99 | 0 | 0 | | |
| 49 | TBA | | TBA | Schmidgen | No Final | 99 | 0 | 0 | | |
| 53 | TBA | | TBA | Sherry | No Final | 99 | 0 | 0 | | |
| 55 | TBA | | TBA | Van Engen | No Final | 99 | 0 | 0 | | |
| 57 | TBA | | TBA | Walker | No Final | 99 | 0 | 0 | | |
| 59 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 61 | TBA | | TBA | [TBA] | No Final | 99 | 0 | 0 | | |
| 63 | TBA | | TBA | Zafar | No Final | 99 | 0 | 0 | | |
| 65 | TBA | | TBA | Zwicker | No Final | 99 | 0 | 0 | | |
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| | 01 | TBA | | See Dept / | Maxwell | No Final | 10 | 0 | 0 | | |
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| | 01 | TBA | | See Dept / | Rosenfeld | No Final | 999 | 0 | 0 | | |
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| | 01 | TBA | | See Dept / | Rosenfeld | No Final | 25 | 0 | 0 | | |
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