| Description: | "Real Life" is the title Nobelist Alice Munro originally gave her 1971 novel "Lives of Girls and Women." The words apply to the autobiographical nature of the book and to many of Munro's stories but also to their mode of representation (literary realism) and to their uncanny power to reach out to readers in their own lives. Munro's stories, one commentator said, "make us stop and wonder how Alice Munro could possibly know so much about us." The course will focus on the work of five writers: Munro ("Lives of Girls and Women" and short stories), John Updike (stories and memoirs), William Maxwell (the autobiographical novel "So Long, See You Tomorrow"), Viriginia Woolf ("A Sketch of the Past" and "To The Lighthouse), and Norwegian autofiction writer Karl Ove Knausgaard (Book 1 of the acclaimed multi-volume "My Struggle"). The readings will explore the borderland between fiction and autobiography, imaginative truth and literal truth, and will be organized by topics: the formative influence of place; the complex relationship to family, especially parents; love, sex, marriage, and infidelity; trauma and loss. Students will be encouraged to think these matters through for themselves and will write memoirs as well as critical essays |
|
| | 01 | -T-R--- | 11:30A-1:00P | Duncker / 109 | Milder | No Final | 15 | 5 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| | 01 | -T-R--- | 2:30P-4:00P | Cupples II / L007 | Windle | No Final | 16 | 16 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| 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. |
|
| | 01 | -T-R--- | 10:00A-11:30A | Eads / 210 | Pawl | No Final | 14 | 13 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
| 02 | -T-R--- | 11:30A-1:00P | Cupples II / L011 | 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. |
| |
|
| 03 | -T-R--- | 11:30A-1:00P | Cupples I / 216 | Thomas | 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. |
| |
|
|
| | 01 | M-W---- | 10:00A-11:30A | Ridgley / 107 | Bailin | 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. |
| |
|
| 02 | -T-R--- | 4:00P-5:30P | January Hall / 10A | Maciak | 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. |
| |
|
| 03 | M-W---- | 10:00A-11:30A | Rudolph / 102 | Gradert | 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. |
| |
|
|
| Description: | What is the Great American Novel? This is a question that has been hotly debated for decades, from Harriet Beecher Stowe to Ralph Ellison, William Faulkner to Toni Morrison. It's a question with a hundred answers and no answers at all-a question of taste, of prejudice, of time. But what is a "Great American Novel"? What does it look like? What do we expect of it? What have Americans throughout history wanted it to say about America? These are questions we can, and will, answer in this course. As elusive a thing as the Great American Novel has been, the idea of the Great American Novel has a long and fascinating history that mirrors all the major movements of American literature from the American Renaissance to the present. Piecing together the story of this dream, this cultural quest with all of its inclusions and exclusions, is a way of telling a shadow history of American society. The Great American Novel tradition is something like a fossil record of America's shifting norms in relation to race, gender, sexuality, domesticity, democracy, citizenship, immigration, labor, capitalism, and war. And so each presumptive Great American Novel is a new variation in an evolving genre and a new thesis statement of American grandiosity or guilt. By cataloguing shared themes, conventions, and preoccupations, and by paying close attention to a handful of likely-and unlikely-candidates, this course will big questions about American exceptionalism, American tragedy, and the role of art in American culture. Authors will likely include Harriet Beecher Stowe, Herman Melville, Edith Wharton, William Faulkner, Ralph Ellison, Toni Morrison, and Chimamanda Ngozi Adichie. Satisfies the Twentieth Century and later requirement. |
|
| | 01 | -T-R--- | 10:00A-11:30A | Cupples I / 218 | Maciak | No Final | 25 | 19 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| | 01 | M-W---- | 11:30A-1:00P | January Hall / 20 | Lawton | 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. |
| |
|
|
| Description: | Where do Asian Americans belong? This question has long been a problem for Asian Americans. The disparate routes Asian migrants took to the U.S. tie their stories "here" to a "there" overseas. Meanwhile, their places here in the U.S. have been ambivalent: embraced as model minorities but also excluded as racial others, foreigners, even potential traitors. Out of this history comes a literature that wrestles with the problem of place and setting. From fiction to poetry to graphic novels, this course will introduce us to the range of Asian American literature and stretch our ideas of what it can be and where it can travel. Through this literature, we'll examine how Asian Americans have imagined their horizons of belonging when their places in the nation and world are unclear. We'll journey from familiar Asian American settings-Chinatown, the island, the Asia-Pacific-to less familiar ones-the American hemisphere, the trans-Atlantic, global utopias, fantasy worlds. Across these diverse settings, Asian American literature questions where and why we draw the boundaries of community, identity, and political responsibility in an increasingly migrant world. Authors may include Monique Truong, Frank Chin, Rishi Reddi, Marjorie Liu, Cathy Park Hong, and Ruth Ozeki. Satisfies the Twenthieth Century and later requirement. |
|
| Description: | This course is a survey of British and Anglophone fiction 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. Writers under discussion may include Elizabeth Bowen, Daphne du Maurier, Ian Fleming, Muriel Spark, Sam Selvon, J.G. Ballard, Alan Sillitoe, Doris Lessing, Salman Rushdie, Angela Carter, Hanif Kureishi, Paul Gilroy, Irvine Welsh, Jeanette Winterson, Kazuo Ishiguro, Kate Atkinson, Tom McCarthy, Zadie Smith, Helen Macdonald, China Miéville, and Ali Smith. Satisfies the Twentieth Century and later requirement. |
|
| | 01 | M-W---- | 1:00P-2:30P | Eads / 215 | 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. |
| |
|
|
| Description: | Norman Mailer titled his book on the 1967 anti-war march on the Pentagon "Armies of the Night: History as a Novel, the Novel as History." The main title, taken from Matthew Arnold's poem "Dover Beach," refers to the physical and moral confusion of war and of warring historical forces generally; the subtitle suggests more than the status of Mailer's book as a historical novel. History is itself a "novel," Mailer implies, filled with sometimes larger than life characters and taking on meaning only as it is told and retold by successive interpreters. The novel is "history" in that it belongs to and reflects its times and, insofar as it impresses itself on the minds of its readers, contributes to the making of history. The course will explore several novelists' constructions of American history through the 1970s. Readings will likely include William Faulkner's "Absalom, Absalom!," a microcosmic history of the South from ante-bellum times through the early 20th century; selections from John Dos Passos's epic "U.S.A"; Philip Roth's counterfactual "The Plot Against America," which imagines a Fascist takeover of the country; Don DeLillo's 'Libra," a fiction about Lee Harvey Oswald and the Kennedy Assassination; Mailer's "Armies of the Night," a record of and meditation on the turbulence of the late 1960s: Toni Morrison's 'Song Of Solomon," a saga of the Afro-American experience across most of a century; and possibly E. L. Doctorow's "Ragtime," an inventive tragicomedy about race and culture early in the early 1900s. Satisfies the Twentieth Century and later requirement. |
|
| | 01 | M-W---- | 10:00A-11:30A | Cupples I / 216 | Milder | No Final | 20 | 9 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| | 01 | M-W---- | 2:30P-4:00P | Eads / 103 | McKelvy | 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. |
| |
|
|
| | 01 | M-W---- | 10:00A-11:30A | Simon / 022 | Shipe | No Final | 25 | 27 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| 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. |
|
| | 01 | -T-R--- | 1:00P-2:30P | Sever / 300 | Pawl | May 7 2019 1:00PM - 3:00PM | 20 | 18 | 0 | | |
| 02 | -T-R--- | 4:00P-5:30P | Simon / 022 | Pawl | May 8 2019 6:00PM - 8:00PM | 20 | 14 | 0 | | |
|
| Description: | From Nella Larsen's classic Harlem Renaissance novel Passing (1929) to Jordan Peele's Oscar-winning thriller Get Out (2017), racial crossing, exchange, and intermixture remain a preoccupation in American culture. But who can cross racial boundaries, and who cannot? What motivates a person to leave behind one identity and take up another? And how have Americans at different time periods differentiated an authentic identity from a false one? This course explores these questions through an interdisciplinary archive of sources from history, literature, film, journalism, law, and philosophy. Tracing shifting conceptions of race, gender, and sexuality across the 20th and 21st centuries, we will consider how the practice of passing has changed over time and the ways in which it continues to shape contemporary ideas about identity categories. We will examine the costs and benefits of situating ideas like immigrant assimilation and cultural appropriation in relation to passing, as well as the uses and the limitations of thinking comparatively about racial passing and gender or sexuality passing. Our discussions will make use of a diverse set of scholarly and popular sources, including works from Langston Hughes, Audre Lorde, Michael Jackson, Octavia Butler, and Alison Bechdel. |
|
| | 01 | M-W---- | 10:00A-11:30A | Seigle / L002 | Thurman | Paper/Project/Take Home | 20 | 18 | 0 | | |
|
| | 01 | -T-R--- | 2:30P-4:00P | January Hall / 20 | E. Finneran | No Final | 20 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| | 01 | -T-R--- | 4:00P-5:30P | Duncker / 109 | Batten | 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. |
| |
|
| 02 | -T-R--- | 1:00P-2:30P | Cupples II / L007 | Windle | 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. |
| |
|
|
| | 01 | -T-R--- | 1:00P-2:30P | Eads / 205 | McKelvy | 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. |
| |
|
|
| Description: | It is usually assumed that poetry, as a genre, presents the most intensely charged form of literary language. Extending this premise, the Art of Poetry offers an introduction to advanced literary study through a directed series of close readings. To give students a critical vocabulary for analysis, an instinct for discovering and evaluating literary problems, and a sense of different historical periods of poetic production, we study the formal and conventional aspects of verse, taking the major elements of poetic craft-the line, the stanza, rhythm and meter, metaphor and simile, symbolism, etc.-as our main categories of analysis. In doing so, we establish a basis of intellectual understanding for the special, often powerful effect that poems can produce in us. THIS 300-level COURSE NOW FULFILLS A REQUIREMENT FOR THE ENGLISH MAJOR. Whether or not the student becomes an English Major, however, the course is designed to provide the reader (or writer) of poetry with an experience and a set of skills that will inform and foster this enthusiasm. |
|
| | 01 | -T-R--- | 11:30A-1:00P | January Hall / 20 | E. Finneran | No Final | 15 | 5 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| Description: | An overview of innovative poetry composed in English over the past century. In considering the extraordinary range of modern composition, we will explore how poetry functions as a rhythmic medium for thought. Throughout we will read poems commonly conceived as more traditional alongside others viewed as more experimental, in part to complicate such distinctions. Readings include work by Gerard Manley Hopkins, Gertrude Stein, T. S. Eliot, Wallace Stevens, Mina Loy, George Oppen, Elizabeth Bishop, James Merrill, Geoffrey Hill, John Ashbery, Jay Wright and Lyn Hejinian. We begin with an excellent - straightforward and eye-opening - account by Thomas Carper and Derek Attridge of how meter in more traditional verse contributes to poetic meaning. Then we proceed from there. Satisfies the Twentieth Century and later requirement. |
|
| | 01 | -T-R--- | 4:00P-5:30P | Eads / 209 | Zwicker | 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. |
| |
|
|
| 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 Saramago-will show us the additional imaginative possibilities of plague as metaphor and allegory. We will also read shorter works of fiction by Tolstoy, Chekhov, Mann, Eliot, Gilman, and Porter, as well as Edson's play "Wit." Students will be encouraged to consider how illness, disease, and fear of death affect both individual human beings and entire societies. In addition, students will fulfill their writing-intensive requirement through careful drafting, peer review, and revision; they will be encouraged to develop arguments with sound reasoning, appropriate structure, and well-judged textual support. Prerequisite: Writing 1. |
|
| 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. |
|
| | 01 | -T-R--- | 2:30P-4:00P | Cupples II / L009 | Loewenstein | May 8 2019 3:30PM - 5:30PM | 35 | 16 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| Description: | This course is a workshop, not a lecture or seminar. Most of the time will be spent in the demanding, if repetitive, business of transcription, by means of which students will acquire proficiency in the recognition and reading of many different hands and scripts (paleography). Most of the course will be devoted to late medieval manuscripts, from the twelfth century on, but we shall also devote some time to early printed books and to the study of authorial holographs in the age of printing, up to the twentieth century. We shall also look at wider aspects of scribal production (codicology): format and punctuation, collation, decisions about binding booklets together, authorial and editorial supervision, and key questions about the circumstances in which vernacular texts were copied (then sometimes illustrated) and for whom. What does this field of knowledge have to tell us about historically variable notions of text and book? Satisfies the Medieval requirement. |
|
| | 01 | M-W---- | 2:30P-4:00P | Eads / 205 | Lawton | 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. |
| |
|
|
| Description: | How can we grasp the charged and shifting landscape of contemporary U.S. racial relations? We seem, as a nation, to be desperate for a language, image, metaphor, or story 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 Latinxs 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, Anna Deavere Smith, Karen Tei Yamashita, Gloria Anzaldúa, and Gish Jen. Satisfies the Twentieth Century and later requirement. |
|
| | 01 | -T-R--- | 2:30P-4:00P | Rudolph / 282 | 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. |
| |
|
|
| 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, and how does nostalgia function in this period? There will be a midterm paper, a final paper, and a formal oral report. Faithful attendance and class participation are required, naturally! Graduate students will have extra responsibilities, to be discussed at our first class meeting. Satisfies the Twentieth Century and later requirement. |
|
| | 01 | M-W---- | 11:30A-1:00P | Duncker / 1 | Pollak | 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. |
| |
|
|
| | 01 | -T-R--- | 11:30A-1:00P | Cupples II / L007 | Sherry | No Final | 20 | 19 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
| |
|
|
| | 01 | M-W---- | 10:00A-11:30A | Rudolph / 282 | Dutton, Micir | 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. |
| |
|
|
| Description: | Shakespeare's London was a bustling, vibrant, but often troubled metropolis. Its astonishing demographic and economic growth was accompanied by increased spatial and social mobility that fundamentally realigned gender relations. In this course we will read Shakespeare's "Measure for Measure," plays by Jonson, Middleton, and Webster, along with pamphlets by Greene, Nashe, Dekker and others to explore how the drama and print culture of the period represented new forms of social and economic access for women and how stereotypes of strong and unruly women served to negotiate anxieties surrounding the regulation of sexuality. In addition we will look at a variety of sources from broadside ballads to legal records, statutes, and sermons to study how the crisis in gender relations spanned a wide range of texts and discourses from public policy to private morality, and the ways in which sexuality negotiated the boundaries between private and public, between licit and illicit.Satisfies the Early Modern requirement. |
|
| | 01 | -T-R--- | 1:00P-2:30P | Eads / 208 | Meyer | 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. |
| |
|
|
| Description: | This course explores festive, theatrical, literary, visual, and musical forms of "popular culture" in Europe between 1400 and 1800. In the first part of the course, we will examine European cultural forms-English, Italian, French, Spanish, German, etc.---generated by and for non-elite groups: popular rituals, carnival songs, cheap print, folk plays, jigs, ballads, oral and written storytelling, protest poems, fool societies, beggar songs, woodcut images, peasant utopias, and musical forms such as the frottola. The second part of the course addresses expressions and representations of plebeian culture in the paintings, literature, and music of such artists as Pieter Brueghel, François Rabelais, William Shakespeare, and Antoine Busnoys. As we read through our primary texts, we will ask several questions. What, in fact, is "popular culture"? To what extent-and how-can we reconstruct the actual voices of ordinary people? What was the relationship between elite and popular culture in this period? Was early modern plebeian culture capable of generating social revolt? Our focus will be on the early modern period, but we will also consider how popular culture works in our own day. The course will include several visits from faculty in other disciplines. The course, which counts for the interdisciplinary requirement for the new Early Modern Studies Graduate Certificate, is also open to advanced undergraduates and other graduate students in the humanities. |
|
| | 01 | TBA | | TBA | Bailin | No Final | 0 | 0 | 0 | | |
| 03 | TBA | | TBA | Bang | No Final | 999 | 0 | 0 | | |
| 05 | TBA | | TBA | Batten | No Final | 0 | 0 | 0 | | |
| 10 | TBA | | TBA | Dutton | No Final | 0 | 0 | 0 | | |
| 11 | TBA | | TBA | Early | No Final | 999 | 0 | 0 | | |
| 13 | TBA | | TBA | Fields | No Final | 999 | 0 | 0 | | |
| 15 | TBA | | TBA | Finneran | No Final | 0 | 0 | 0 | | |
| 17 | TBA | | TBA | [TBA] | No Final | 999 | 0 | 0 | | |
| 18 | TBA | | TBA | Gurnis | No Final | 0 | 0 | 0 | | |
| 19 | TBA | | TBA | Johnston | No Final | 999 | 0 | 0 | | |
| 21 | TBA | | TBA | Klimasewiski | No Final | 999 | 0 | 0 | | |
| 23 | TBA | | TBA | Lawton | No Final | 0 | 1 | 0 | | |
| 24 | TBA | | TBA | Le-Khac | No Final | 0 | 0 | 0 | | |
| 25 | TBA | | TBA | Loewenstein | No Final | 0 | 0 | 0 | | |
| 27 | TBA | | TBA | [TBA] | No Final | 999 | 0 | 0 | | |
| 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 | | |
|
| | 02 | TBA | | TBA | Bailin | No Final | 5 | 0 | 0 | | |
| 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 / | Berg | No Final | 0 | 0 | 0 | | |
| 07 | TBA | | See Dept / | Brown | No Final | 5 | 0 | 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 | | |
| 12 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 13 | TBA | | See Dept / | Fields | No Final | 5 | 0 | 0 | | |
| 14 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 15 | TBA | | See Dept / | Finneran | No Final | 5 | 0 | 0 | | |
| 16 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 17 | TBA | | See Dept / | Gram | No Final | 5 | 0 | 0 | | |
| 18 | TBA | | See Dept / | Gurnis | No Final | 5 | 0 | 0 | | |
| 19 | TBA | | See Dept / | Johnston | No Final | 5 | 0 | 0 | | |
| 20 | TBA | | See Dept / | Hamilton | No Final | 0 | 1 | 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 | 1 | 0 | | |
| 24 | TBA | | See Dept / | [TBA] | No Final | 0 | 0 | 0 | | |
| 25 | TBA | | See Dept / | Loewenstein | No Final | 5 | 1 | 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 | 1 | 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 | 0 | 0 | | |
| 53 | TBA | | TBA | Sherry | No Final | 5 | 1 | 0 | | |
| 55 | TBA | | TBA | Van Engen | No Final | 5 | 0 | 0 | | |
| 57 | TBA | | TBA | Walker | No Final | 5 | 0 | 0 | | |
| 65 | TBA | | TBA | Zwicker | No Final | 5 | 0 | 0 | | |
|
| Description: | The novelist and essayist Marilynne Robinson first achieved national acclaim with "Housekeeping" (1980), a haunting coming-of-age novel about two sisters set in the beauty and grandeur of the west. That novel eventually established Robinson at the Iowa Writers Workshop where she taught for many years. What many noticed in her first book was a new sort of voice, a lyric prose, which returned over two decades later in her Pulitzer Prize winning novel "Gilead" (2004). Since then, she has written two more novels ("Home" and "Lila") set in the same town, but with radically different voices and perspectives. Between these novels and her collected essays, Robinson's work engages issues of race, gender, history, regionalism, and religion. Her later work has focused in particular on the role of the humanities and higher education. She has been a lecturer in high demand (appearing at Wash U in November 2018), and she has been interviewed many times-most noticeably by Barack Obama for "The New York Review of Books." In this class, we will read all her published books, asking questions of development, style, and voice. Meanwhile, as we see what critical engagements have been made with her writings, we will situate her within broader academic discourses (like feminist studies, critical race theory, or religion and literature), and ask how various approaches can open new insights into her writings. In this class students will write both a personal essay (responding to an essay of Robinson's) and a critical seminar paper engaging any topic raised by her work. |
|
| | 01 | M------ | 4:00P-6:30P | Busch / 14 | Van Engen | No Final | 15 | 8 | 0 | | |
|
| Description: | The aim of Comparative Literature 550 is to introduce graduate students to recent methods and models of study in early modern literature and culture. Over the past several decades, the early modern field has been home to some of the most exciting historical, critical, and methodological innovation: 'The New Historicism'; the histories of reading and of the book; the history of the emotions and the turn to affect; patronage and the idea of political and social networks; the intersections of gossip, news and high culture; the changing textual boundaries of national literary cultures; digital humanities, early modern texts, and literary study. Attendant on each field of inquiry are questions of method and of theory: to what traditional and to what new archives do we now turn in our work? what notions of text and textuality help us to draw the boundaries of our work as early modernists? and how do protocols of evidence variously shape our work as critics and historians? 'Literature and the Cultural Sphere of Early Modernity' will explore such questions and their relations to one another through common readings, discussions of set texts, and brief papers applying new methods and models; our work will also be shaped by the interests and fields of study among members of the seminar. The course is designed for students pursuing the Early Modern Studies Certificate, but it is broadly open to graduate students in our various language and literature programs, to historians interested in interdisciplinary study, as well as to students in other humanities and social science fields such as art history and philosophy.
|
|
| | 01 | --W---- | 4:00P-6:30P | Eads / 215 | Zwicker | No Final | 20 | 5 | 0 | | |
|
| Description: | Ever since Alexander Baumgarten defined aesthetics as the "science of sensible knowledge" (1750), modern philosophers have pondered the relationship between sensory and epistemological processes. In particular, how does a work of art-and a work of literature, even more specifically-trigger insights beyond one's own personal experience of the world? How do such sensations contribute to a comprehensive understanding of that world? And can they shape the ethical response we make to it? This course proposes to "rethink aesthetics" by surveying some of the major works of aesthetic theory in the Western tradition-including Kant, Hume, Burke, Schiller, Schopenhauer, Wilde, Adorno, Beardsley, Sontag, and Scarry-while also bringing recent research in cognitive studies and affect theory to bear on the way we frame the category of the "aesthetic" today. With reference to first-order sensations and second-order representations, we will engage paintings, music, dance, poetry, drama, and fiction in order to consider how works of art shape us as knowers and actors in our world. |
|
| | 01 | -T----- | 4:00P-6:30P | Eads / 205 | Walker | No Final | 15 | 17 | 0 | | |
|
| | 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 | | |
| 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 | 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 | | |
| 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 | 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 | 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 | | |
|
| | 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 | | |
|
|