TABLE OF CONTENTS

WELCOME ............................................................................................2

PROGRAM OF STUDY ........................................................................3

REQUIREMENTS FOR MAJORS ......................................................4

COURSES OFFERED FALL 2007

Courses Offered Fall 2007: COURSES OFFERED SPRING 2011:

350 ENGLISH COURSES ..........................................................6

351 CREATIVE WRITING COURSES..................................21

351 ENGLISH TOPICS COURSES ......................................24

353 LITERARY THEORY COURSES...................................27

354 FILM COURSES................................................................28

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WELCOME TO THE UNDERGRADUATE PROGRAM

IN ENGLISH

This handbook gives a brief overview of the English major requirements and

a full description of all courses offered in the fall 2010 semester. Please visit

our website for complete information on the English major and minor:

http://english.rutgers.edu

You can contact the Undergraduate program office at any time for advising

or with any questions you may have. Please stop by the office, in Murray

Hall 104 and 106 or contact us if we can help you further.

Emily Bartels Leandra Cain Carol Hartman

Acting Director, Undergraduate Administrator for

Undergraduate Studies Secretary and Student Concerns

732.932.8082 732.932.7633 732.932.7589 emily.bartels@rutgers.edu leandra.cain@rutgers.edu carol.hartman@rutgers.edu

English Department ! Undergraduate Program ! 510 George Street !

New Brunswick ! New Jersey 08901

732.932.7633 ! Fax: 732.932.1150 !

ENGLISH MAJOR PROGRESS REPORT

STUDENT_______________________________________________________

TOTAL: 36 CREDITS / 12 COURSES ABOVE 100 LEVEL

1. 350:219_______________________ 10. ELECTIVE______________________

2. 350:220_______________________ 11. ELECTIVE ______________________

3-6. HISTORICAL PERIODS (4 OF 5) 12. ELECTIVE ______________________

Must be 300-level or above

* ELECTIVE _______________________

a) Medieval ___________________________ * ELECTIVE________________________

b) Renaissance ________________________

c) Restoration/18th

C. ___________________

d) 19th

C. ______________________________

e) 20th

C. ______________________________

7. AFRICAN-AMERICAN, ETHNIC AMERICAN OR GLOBAL

ANGLOPHONE LIT._________________________________________________________

8. LITERARY THEORY ________________________________________________________

9. 400-LEVEL SEMINAR _______________________________________________________

A given course when appropriate, may fulfill two, but no more than two, requirements.

*Each time one course is used to fulfill two requirements, an additional elective is needed to bring

the total number of credits to 36.

ADVISOR__________________________________ DATE________________________

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MAJOR REQUIREMENTS

The English major consists of a minimum of 36 credits (12 courses) in English above the 100 level.

Of those, 18 credits (6 courses) must be at or above the 300 level.

All majors must fulfill the following requirements, with a grade of C or better:

1. Two parts of Principles of Literary Study: 350:219 and 350:220.

2. Four courses in different historical periods, taken at the 300 or 400 level: one each in four of the

following five categories:

a. Medieval

b. Renaissance

c. Restoration/eighteenth century

d. Nineteenth century

e. Twentieth century and contemporary

3. One course in African American, ethnic American, or global Anglophone literature.

4. One course in literary theory.

5. One 400 level seminar (219 and 220 are prerequisites).

A course taken to fulfill a period requirement may also be used to fulfill the African-American,

Ethnic-American or Global Anglophone literature or the seminar requirement, if it is so designated

in the departmental handbook. Likewise, a seminar may be used to meet the literary theory or

African-American, Ethnic American or Global Anglophone literature requirement, if it is so

designated. However, no course may be used to fulfill more than two requirements.

Courses that may count as credits toward the major and minor are listed under the subject codes

350 (English), 351 (English: Topics), 353 (English: Literary Theory), and 354 (Film Studies).

Please note that some 351 courses will satisfy historical period or theory requirements, when

designated by the instructor. The department website will provide a list of such courses every

semester.

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OPTIONS WITHIN THE MAJOR

The department offers three special options within the major. Each option requires at least 15 credits

in the area of concentration. Please see departmental handbook pg. 12 for details. You DO NOT need

to complete an option in order to complete the major.

Creative Writing

For majors who wish to develop the craft and discipline of writing poetry, fiction, drama, and other

forms through a coherent sequence of creative writing and literature courses.

Film For majors with a particular interest in the critical and historical analysis of film and its relation to

literature.

Feminist Studies in English For majors who wish to concentrate their work within the department’s substantial offering of

courses devoted to women writers, women and film, women and literature, and feminist criticism.

MINOR REQUIREMENTS

The minor consists of 18 credits in English above the 100 level, including at least 12 credits at or

above the 300 level. Students are required to take at least one 300 or 400 level course in either

medieval, Renaissance, or Restoration/ eighteenth century literature. A maximum of 6 credits total in

creative writing and in film may be counted towards the minor. Grades of C or better must be earned

in all courses used to fulfill the requirement of the minor.

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SPRING 2011

350 ENGLISH

COURSES

PLEASE NOTE THAT ALL COURSES

LISTED UNDER HEADINGS 350, 351, 353,

AND 354 HAVE THE FOLLOWING

PREREQUISITIES: 01:355:101 OR

355:103

PRINCIPLES OF LITERARY STUDY

01:350:219

01 M5 CAC 40252 SHOCKLEY MU-212 W2 FH-A1 02 M5 CAC 40249 SHOCKLEY MU-212 W2 FH-B2 03 M5 CAC 40250 SHOCKLEY MU-212 W3 FH-B6 04 M5 CAC 40247 SHOCKLEY MU-212 W3 HH-B6 05 W5 CAC 49469 IANNINI MU-212 TH2 FH-A5 06 W5 CAC 49470 IANNINI MU-212 TH3 FH-A5 09 W5 CAC 40248 IANNINI MU-212 TH2 HH-B4 10 W5 CAC 48171 IANNINI MU-212 TH3 FH-B6 18 TF3 CAC 40251 DOWLING SC-204 27 TTH7 CAC 48478 LEVINE SC-216 REQUIRED of all prospective English majors; should be taken in the sophomore year. The fundamental concepts and techniques of literary interpretation, with a specific focus on poetry: the nature of poetic language and the methods of analyzing figurative discourse, genre, structure, kinds of poetry; versification and the analysis of meter; the contexts of poetry (personal, cultural, historical) and the poet’s work with tradition. Readings from a wide range of poets writing in English, including women and minorities, with a closing segment devoted to two particular poets (from diverse historical and cultural backgrounds) chosen by the instructor. Attendance is expected and required.

PRINCIPLES OF LITERARY STUDY

01:350:220 01 T5 CAC 44189 MCCLURE MU-210 W2 FH-B4 02 T5 CAC 47168 MCCLURE MU-210 W2 FH-B3 03 T5 CAC 47167 MCCLURE MU-210 W3 HH-B2 04 T5 CAC 40254 MCCLURE MU-210 W3 FH-B3 06 TH5 CAC 47169 GLISERMAN MU-210 M2 HH-A6 07 TH5 CAC 40256 GLISERMAN MU-210 M2 FH-B4 08 TH5 CAC 40253 GLISERMAN MU-210 M4 MU-113 09 TH5 CAC 40255 GLISERMAN MU-210 M6 BH-211 20 MW8 CAC 40257 VESTERMAN MU-115 REQUIRED of all prospective English majors; should be taken in the sophomore year. A study of prose narrative with emphasis on the short story and the novel. Attention to strategies of close reading, contextualization, and a range of contemporary critical approaches. Attendance is expected and required.

SHAKESPEARE

01:350:221

01 TF3 CAC 47909 MASIELLO SC-220

This is a one-semester introduction to the works of Shakespeare. We will read one play from each major category of Shakespearean drama comedy:“problem” comedy, tragedy, “romance,” and history, as well as a sampling of sonnets. Depending on the size of the class, grades will either be based on occasional response papers and three short essays—or alternatively, if the class is too large, on three exams. Attendance is expected. I will provide historical background and multiple critical perspectives, but the heart of our work in and out of the classroom will be that of intensive close reading. Reading William Shakespeare with the care he deserves is a transformative experience. Come find out why.

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INTRODUCTION TO AMERICAN

LITERATURE

01:350:227

01 TTH4 CAC 54507 JACKSON MU-301 01-American Literature Survey: the Gothic and Aesthetics of Fear If you like reading spine-tingling fiction set in dark landscapes, dilapidated manor houses, subterranean caverns, and ancients forests—stories about heroes and heroines imprisoned by family secrets, ancestral pasts, ominous futures, brooding lovers, or shadowy villains—then you will enjoy the reading for this course. We will begin in the seventeenth century and arrive by semester’s end much nearer our own time. By beginning with the literature of the American Puritans—tracing an aesthetic we might think of as the “Calvinist sublime”—will provide us with the broadest possible canvas with which to examine what purports to be a national theme: the gothic. We will use these early works of colonial literature to theorize the nature of fear and the aesthetic of terror. What made such an aesthetic so popular in the American colonies and throughout the nineteenth and twentieth centuries. As the renowned critic of American literature Leslie Fiedler once observed, gothic is the “national literary style”; indeed, one is hard pressed to think of a single important author before 1960 who didn’t write something—if not a good deal—in the gothic mode. The historian Richard Hofstadter found that American culture from its origins through the twentieth century evinced a particular sense of or fascination with political intrigue, conspiracy, and social fear that he dubbed America’s “paranoid style.” In this survey of American literature we are going to test Fiedler’s and Hofstadter’s theses in a range of genres, from sermon, autobiography, and slave narrative, to novel, short story, and essay. How and why did gothic come to occupy—or haunt—the American imagination? In what ways did New World environs, colonial isolation, religious belief, and suspicion of science and industrialization—or the anxiety over national war, race, immigration, class mobility, and urbanization—engender a taste for gothic literature? What do gothic tropes say about our national imaginary? Does it have a special relevance for race, Native American removal, internecine conflict, and class strife. What does it say about us as Americans, about the diverse influences of our cultural heritage? We will attempt to address some of these questions by addressing genre in relation to particular historical moments, surveying regional literary practices and print technology, and by coming to a fuller understanding of the American Protestant tradition. Expect to reencounter old friends like Poe, Hawthorne, and Stowe, and perhaps some

new acquaintances such as William Bradford, Charles Brockden Brown, Ursula K. Le Guin, and Stephen King.

BLACK LITERATURE 1930-PRESENT

01:350:251

01 TTH8 CAC 44484 LONGO MU-115 02 MW4 CAC 51311 PHILLIPS MU-211 01-This course is a survey of writings by African American authors from 1930 to the present. Studying fiction, essays, and poetry, we will close read representative texts to identify formal and thematic elements that characterize the 20th century African American literary tradition. We will pay particular attention to the relationship between politics and aesthetics and issues of sexuality and gender. Some of the authors we will study include Langston Hughes, Zora Neale Huston Nella Larsen, Ralph Ellison, Richard Wright, James Baldwin, Gwendolyn Brooks, Amiri Baraka, Toni Morrison, and Colson Whitehead. This is a reading and writing intensive class with frequent short response papers, some longer papers, and a midterm. 02- This course is a survey of writings by African American authors from 1930 to the present. Studying fiction, essays, and poetry, we will close read representative texts to identify formal and thematic elements that characterize the 20th century African American literary tradition. Some of the authors we will study include Langston Hughes, Nella Larsen, Ralph Ellison, Richard Wright, James Baldwin, Gwendolyn Brooks, Alice Walker, and Toni Morrison. Course requirements include frequent short response papers, a midterm, and a longer final paper.

LATER ROMANTIC LITERATURE

01:350:308

01 MTH3 CAC 44529 GALPERIN MU-204 Following in the wake of the first writers in Britain who called themselves “Romantic,” the “second wave” of British Romantic writing proved both a continuation of and a departure from the influential writings of predecessors such as William Wordsworth and Samuel Taylor Coleridge. Percy Shelley and Lord Byron, for example, variously pursued the radical or revolutionary initiatives initially embraced but subsequently abandoned by the early Romantics whereas John Keats used the Romantic preoccupation with a poetry of self and mind as a sanction for a more sophisticated and refined poetic idiom, whose influence continues to this

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day. In addition, then, to the major poetical works of Shelley, Keats and Byron, we will read novels by Austen and Mary Shelley (Frankenstein), which register what broadly speaking is a woman’s perspective on many of these same developments. We will also read Thomas DeQuincey's Confessions of an English Opium Eater and other prose works by both Charles Lamb and William Hazlitt, which give another perspective, alternately critical, theoretical and at times satiric, on the Romantic movement overall. Attendance is required; students who miss more than 3 classes without an appropriate explanation will be penalized one whole grade. Additional missed classes will result in a further penalty of a half grade per class missed. Students who miss 7 or more classes automatically fail the course. The final grade will be based on written and exam work as well as class participation. Midterm, final and long final paper.

VICTORIAN LITERATURE

01:350:309

01 MW7 CAC 54955 BARRY SC-116 From 1837 to 1901, Queen Victoria ruled the United Kingdom of Great Britain and Ireland. This course will provide an introduction to the literature of her reign - a period that represents the height and widest extent of British cultural and political power. As we will see, the Victorian era was fraught with contradiction: between upheaval and stability, vast wealth and desperate poverty, rapid progress and deep nostalgia, doubt and faith, political freedom and social constraint. We'll consider how the Victorians answered these contradictions with unprecedentedly prolific literary labors. Our principal focus will be the efforts of Victorian poets, writers of short fiction, essayists, and dramatists. We will examine this literature alongside the period's rich visual culture. And, we will also read at least one novel. Readings will include works by Matthew Arnold, Robert Browning, Elizabeth Barret Browning, Thomas Carlyle, Charles Darwin, Charles Dickens, George Eliot, John Stuart Mill, Christina Rossetti, Dante Gabriel Rossetti, John Ruskin, Bram Stoker, and Alfred, Lord Tennyson.

SHAKESPEARE JACOBEAN PLAYS

01:350:323

01 TTH4 CAC 44474 FULTON SC-135 This lecture course surveys Shakespeare’s greatest plays written during the reign of James I. Some attention will be given to Shakespeare’s context, the history of Shakespeare criticism and reception, film and stage interpretation, and to the range of allusion in his plays. Readings will include Othello, Measure for Measure, King Lear, Macbeth, Antony and Cleopatra, Pericles, Winter’s Tale, and The Tempest.

Requirements: two midterms and a final exam, and one short essay.

Texts: Available at Rutgers University Bookstore, 1 Penn Plaza

MILTON

01:350:324

01 TTH6 CAC 54510 FULTON MU-210

This is a study of Milton's poetry and some of his prose, with attention to his literary sources, his contemporaries, and the historical circumstances that gave rise to his ideological positions. From the outbreak of the English Civil War to the restoration of the monarchy, Milton’s poetic career was interrupted while he wrote for revolutionary causes. The masterpieces he wrote after the Restoration – Paradise Lost, Paradise Regained, and Samson Agonistes – reflect the problems faced by English society during this tumultuous period. The course will take advantage of a major Milton exhibition at Alexander Library, which will showcase Rutger’s extraordinary collection of Milton’s works. Requirements: Two papers, two exams, and some small assignments. Texts: Available at Rutgers University Bookstore, 1 Penn Plaza

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RESTORATION AND 18TH

CENTURY

POETRY

01:350:334

01 TTH4 CAC 54511 DOWLING SC-115 http://www.rci.rutgers.edu/~wcd/18thpoetry.html

20TH

CENTURY DRAMA

01:350:346

01 TTH5 CAC 54513 BUCKLEY SC-104

This course will survey the history of European and American drama in the first half of the twentieth century, focusing particularly on the extended development of the modernist avant-garde. We will read symbolist works (e.g. Maeterlinck, Wilde), expressionist works (e.g. Kokoschka, Kaiser, Toller, O’Neill, Rice), futurist works (Marinetti and others), dada works (e.g., Tzara, Arp, Ball, Hemmings, Schwitters), surrealist works (e.g. Apollinaire, Breton), constructivist works (e.g., Mayakovsky, Meyerhold), existentialist works (e.g. Sartre), and plays by Brecht, Pirandello, Stein, Lorca, and others. We will explore how these movements and playwrights worked to re-conceive the individual and social relations, what they tell us of the contexts in which they were created, and how they inform this crucial period’s tumultuous history. Requirements You will be allowed to craft your own individual combination of course requirements: optional elements will include a few brief papers, two exams, a number of short response essays, performance projects and presentations, and/or individualized final essay projects. We will discuss the course requirements intermittently over the course of the semester: around midterm, you will be asked to submit a signed grading contract. Unless I note otherwise, you are expected to have read each play in its entirety by the time of the first class in which it is discussed. Kokoschka, Murderer, The Woman’s Hope (1907); Sphinx & Strawman (1907);

Job (1917) Sorge, The Beggar (1912) Brecht, Baal (1918)

20TH

CENTURY FICITON I 01:350:355

01 MW5 CAC 51314 IAN SC-119

In this course we will read British and American fiction published between 1900 and 1945 that in some way exemplifies or responds to the phenomenon known as “literary modernism.” Literary modernism saw itself as a critique of certain inherited, conventional, and constraining ideas about art, subjectivity, reality, sexuality, morality, nationality, race, and power. Modernists tended to romanticize their own anti-romantic proclivities, and thus to become enamored of, or ensnared by, subjectivity as they saw it mirrored in language. A seemingly inexorable “downward spiral” of catastrophic events, ranging from the relatively abstract “death of God” in the 19th century, to the traumatically concrete “world” wars of the 20th, plunged the modern subject into an unprecedented state of crisis and apocalyptic self-doubt. We will read Joseph Conrad, The Secret Agent (1907), E. M. Forster, Maurice (1971 [1914]), D. H. Lawrence, The Rainbow (1915), Ford Madox Ford, The Good Soldier (1915), Jean Toomer, Cane (1923), Virginia Woolf, To the Lighthouse (1927), Djuna Barnes, Nightwood (1936), Ralph Ellison, Invisible Man (1947). Grades are figured thus: Two Papers (that count 25% and 25%); Final Exam (40%); Participation (10%). Attendance is required (3 absences permissible).

BLACK DRAMA

01:350:363

01 MW4 CAC 53515 KERNAN MU-114

01-The History of Black Drama In the Spring of 1998 at Dartmouth College, a plethora of African-American theater’s most distinguished scholars and practitioners participated in the National Black Theatre Summit “On Golden Pond.” Chief among their objectives was to grapple with three questions that surrounded the African-American stage from its inaugural moments. Does African American theater have a defining aesthetic? And, if so, what are its tenets and how can we account for them? After several days of conversation and debate, The Committee on Aesthetics, Standards, and Practices drafted “The Aesthetics Declaration.” The declaration not only provided a sixteen point list of aesthetic principles unique to

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Black theatre in the United States, but also served, and continues to serve, as a programmatic manifesto for “authentic” Black plays. This course provides a broad survey of canonical African-American plays and playwrights that shine light on the manifesto’s critical achievements and pitfalls, and offers a panorama of African American theatrical production spanning from (1850 to 2002). Issues addressed will include: the place of “plantation performances” in the development of minstrelsy and its mimetic inversions, the central role played by the pulpit (or African American Christianity) in determining the function of performance before and after Civil War, the manifestation of so-called “African retentions” in Black theater, the reworking of these retentions by playwrights associated with the Black Arts Movement, and the various manners in which African American theater has ritualized theatrical spaces to preserve and create African-American identity and its cultural values, affinities, and affiliations throughout the course of its existence.

BLACK NOVEL

01:350:364

01 TTH4 CAC 49915 WALL MU-212 The course explores the African American novel and its traditions. It begins with William Wells Brown’s Clotel, or the President’s Daughter (1853), the first novel published by a black American. Clotel engages the debates over slavery and freedom, interrogates the meaning of race, and partakes of the literary traditions of the slave narrative and the sentimental novel. It ends with Danzy Senna’s Caucasia (1998) that engages debates over civil rights and affirmative action, interrogates the meaning of race, and partakes of the literary traditions of autobiography and the postmodern novel. In discussion we will pay close attention to the form and content of each text and to continuities and dissimilarities among texts, and to the historical contexts in which texts were produced. Requirements Regular attendance is required in this course; a grade penalty will be assigned for more than three absences. Students are expected to have read the assignment before coming to class and to participate in class discussions. Students will write two 5-7 page essays and submit them on the dates indicated below. A take-home final (5-7 typed pages) will be due on Friday, December 16.

Texts William Wells Brown, Clotel, or the President’s Daughter. Charles Chesnutt, The Marrow of Tradition Ralph Ellison, Invisible Man Zora Neale Hurston, Their Eyes Were Watching God Nella Larsen, Passing Toni Morrison, The Bluest Eye Danzy Senna, Caucausia Richard Wright, Native Son

BLACK WRITERS AND THE 1960S

01:350:369

01 MTH3 CAC 54515 MATHES MU-210

Why do the 1960s have such prominence within considerations of 20

th century American and

global history? What were the major cultural and political ideas that emerged during the period? In what ways have writers from throughout the African Diaspora engaged with ideas of art and politics generated during the era? This course will examine the historical period of the 1960s (mid-1950s through early 1970s) primarily through the lens of African-American literature, but with a focus on writing from the broader black world as well. We will consider a range of writing, both in terms of genre (novels, poetry, essays, short stories), and location (U.S., Caribbean, Africa, Europe). Our reading selections will allow us to focus on the connections between literary form, historical representation, and collective memory, as we analyze the ways in which black writing of the period frames the 1960s as a critical flashpoint in 20

th century political and cultural history. We will

cover the following topics in some form throughout our course readings and class discussions: the Black Arts Movement, Black Power, decolonization, student protests, musical expression, the Vietnam War, political assassinations, coups, the New Left movement, as well as broader ideas of counter-culture, the avant-garde, modernism/postmodernism, and political radicalism.

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ISSUES AND PROBLEMS IN BLACK

LITERATURE AND CULTURE

01:350:376

01 M6 CAC 54516 KERNAN SC-104

W6 SC-106

THIS COURSE CAN ALSO BE USED TO FULFILL LITERARY THEORY 01-African American Literary Theory This course provides an overview of the history of African-American literary criticism that spans from 1926 to 2010, and contextualizes this body of criticism inside the broader context of the field of study that has come to be known as “literary theory.” Hence, we will examine the canon of African American literary theory (Du Bois, Locke, Larry Neale, Addison Gayle, Paul Gilroy, Henry Louis Gates Jr., Valerie Smith, Houston Baker, Kwame Appiah, Brent Hayes Edwards) in light of several texts penned by figures now considered the seminal to the canon of contemporary literary theory in general (Saussure, Derrida, Barthes, Jameson, Foucault). We will explore questions such as: how does African Literary theory function as both an expansion and a revision of what is generally considered to be “literary theory”? To what extent have critics of African American literature distances or associated themselves from theorists of structuralism, post-structuralism, and post-modernity? What other fields of philosophical endeavors have proved attractive to critics of African American literary theory? What makes a theory or work of literature Black? Students will be expected to write one midterm paper and one final paper. Each of these papers will require students to examine one work of contemporary art (be it a painting, a poem, or even a billboard) through a critical lens afforded by on of our texts.

20th

CENTURY LITERATURE IN A

GLOBAL CONTEXT

01:350:378

01 TTH7 CAC 47670 STEPHENS SC-219

01-The American Novel: Visions and Revisions This course is a study of major American novels in global context from the nineteenth century to the present day. As we explore how issues of religion, race and class, gender and sexuality, and economic & political power, have shaped both earlier visions and more recent revisions of the American novel, we will also be attending to the impact of global forces on those very questions. We will move across the country’s

social and cultural geography—from the Atlantic context of the early American settlements and colonies to the relations between European and Native Americans in the settling of the frontier West, from the racial dynamics shaping the South to the multicultural realities facing the United States in the late twentieth century, from the specificity of local geographies to America’s status as a global entity in the twenty-first century. Along the way, we will attend to inter-textual, intersectional, and inter-cultural questions, and to the epic and apocalyptic dimensions of American languages and literatures.

MEDEIVAL AND EARLY MODERN

WOMEN WRITERS

01:350:381

01 MW8 CAC 51318 GRAHAM MU-114

In this course we will explore the very beginnings of women's textual production in England, starting in the Anglo-Saxon period and ending in the Renaissance. Figures like Marie de France, Christine de Pisan, the anonymous author of "The Wife's Lament," and Margery Kempe, alongside texts like female saints’ lives, will set the stage for our exploration of female authorship and readership in the middle ages. We will then consider early modern female authors like Queen Elizabeth, Aemilia Lanyer, Lady Mary Wroth, and Mary Sidney. Questions that concern scholars of women’s writing will focus our own investigation of these texts – for example, how have women writers approached textual production in ways that challenge notions of authorship, both in their own periods and in our own? What is the role of a specifically female audience in shaping texts? What role does genre play in women’s authorship and in our own study of these texts? What is the value of studying “women’s writing” as opposed to “writing” more generally? Students will be asked to participate in class discussion of the assigned texts and to grapple with some of the ideas we have explored in two short papers, one at mid-semester and one at the end of term.

RESTORATION AND 18TH

CENTURY

WOMEN WRITERS

01:350:382

01 MW7 CAC 54520 ELLIS MU-114

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ISSUES AND PROBLEMS IN

MEDIEVAL LITERATURE AND CULTURE

01:350:389

01 MW5 CAC 54522 SCANLON SC-206 01-Stories of the Self and the Desire for God This course will concentrate on the century between 1350 and 1450, the time when English fully reemerged as a literary language. We will survey a wide variety of fascinating writers, many of them not well known even by literary scholars and rarely encountered in the classroom. We will find that in spite of their many differences these writers share two main concerns, one of them predictable and the other perhaps more surprising. The first is a desire for God, while the second is an interest in the nature of the self. We will examine these issues both on their own and in their interrelations to each other. Do notions of the self vary historically? Did the later Middle Ages place the same premium on individual prerogative as modernity? Is a robust sense of selfhood compatible with a devotion to God? To what extent are understandings of the divine amenable to individual interpretation. How did the re-emergence of English literature affect both of these issues? Works to be studied include Pearl, an allegory and apocalyptic vision, and two biblical paraphrases, Patience and Cleanness, all three by the anonymous author of Sir Gawoin and the Green Knight, mystical writings by Richard Rolle, and by the first two known female writers in English, Julian of Norwich and Margery Kempe, as well as the anonymous Cloud of Unknowing, selected lyric poems, also mostly anonymous, John Gower’s Confessio Amantis, a number of autobiographical poems by Thomas Hoccleve, a disciple of Chaucer, and the Kingis Quair, an allegorical account of a love affair of a future king of Scotland. No previous experience with Middle English required. Requirements: regular attendance, translation exercises, and three papers (2-3 pp., 4-5 pp., 6-8 pp.)

ISSUES AND PROBLEMS IN

RESTORATION AND 18TH

CENTURY

LITERATURE AND CULTURE

01:350:391

01 MW4 CAC 51322 OLDFATHER SC-206

During the latter half of the eighteenth century, writers, poets, and philosophers were rethinking the relationship between the external world and the internal self. How does the world construct our minds? How do our imaginations, in turn, reconstruct the world? Also, what is the

relationship between the literary work and the outside world—or between the author and her creation? This course will examine how narrative, poetry, and criticism during this period explores the dynamics of “inside-out” and “outside-in”. Readings will include works by Sterne, Radcliffe, Wordsworth, Austen, and Blake.

ISSUES AND PROBLEMS IN

19TH

CENTURY LITERATURE AND

CULTURE

01:350:392

01 TTH5 CAC 51323 SADOFF SC-205 T 7,8 FILM SCREENING MU-301 02 TF3 CAC 51324 BALKIN SC-203 03 MW5 CAC 54954 BARRY SC-105 01- Our Monsters, Ourselves: Vampires in Literature and on Film This is a course on film adaptation of literary texts. I have two goals for the course. First, I hope to expose you to a wide range of films, some of which you may have seen, many not. We will view films across the entire range of film genres: silent film, classic and mainstream Hollywood cinema, and foreign art film and independent cinema. We will read the nineteenth- and twentieth-century novels from which these films were adapted or on which they're based to discover how the films appropriate and remediate the narratives (that is, rewrite them in a new medium). We will also watch films that remake, spoof, or parody earlier horror films. The nature of film and literary intertextuality, then, is one of our two foci. Second, our thematic focus will be on vampires, parasites, and other modern vermin. I have called the course "Our Vampires, Ourselves" because I believe that this genre—horror film—does cultural work for the 20th- and 21st-century moviegoer and for the culture at large. Questions we will ask include: how are 19th-century vampires "modern"? Why have their tales lived on to "haunt" us? What kinds of social problems do they address for 20th- and 21st-century spectators? Why is movie-generated fear so much fun? How are vampires like "ourselves"? This course, then, aims to increase your ability to read the film frame and to interpret cultural ideologies as they are represented in film, as well as to enhance your repertoire of literary and film-viewing knowledge. Our literary texts will be Mary Shelley, Frankenstein; Bram Stoker, Dracula; Robert Louis Stevenson, Dr. Jekyll and Mr. Hyde; and Patricia Highsmith, The Talented Mr. Ripley. We

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will also read film theory and criticism: essays about the horror genre, the cultural uses of literary film adaptation, and the social function of cinema exhibition. Attendance: Regular attendance and participation required, including at film screenings. More than three absences will lower your grade. Means of evaluation: class participation, response papers, in-class and out-of-class writing assignments, and two 6-7 page papers. 02-The nineteenth century is rightly known as the great era of novel reading and writing, but the same century sees the development and birth of modern drama. Our course will read narrative fiction and plays alongside each other to better understand the relationships between them. Students will learn about the conditions of literary and theatrical publication and production during a period that changed drama forever. One of the fundamental distinctions between novels and plays, scholars often say, is that novels have narrators, but plays do not. But it is also possible to invert this distinction: since in plays there is no external narrator, the characters are all responsible for telling the story. During the late nineteenth century, the status of dramatic characters as storytellers becomes particularly pronounced; in addition to telling us about the world they live in, stage narrators make up stories that actively change the world around them. To better investigate what it means to be a narrator in novels, short stories, and plays during the nineteenth and early twentieth centuries, we will examine point of view, multiple versus singular narration, mixing of genres and modes, and types of world-building. Along the way we will encounter an array of narrators, both conventional and not. How are the form and meaning of the story affected when the narrator is also a villain? A vampire? A martyr? A psychic? What do these figures tell us about the status of drama and narration at the end of a century full of some of the greatest storytellers in history? Reading assignments will include narrative fiction and plays by George Eliot, Wilkie Collins, Henrik Ibsen, Oscar Wilde, August Strindberg, and Anton Chekov. The end of our course will look forward to some twentieth-century authors—Eugene O’Neill, Samuel Beckett—whose work continues to engage with the ideas and formal problems of our course. Course requirements include attendance and participation, short reading responses, a 5-7 page midterm paper, and a 7-9 page final paper.

03- Double Lives: Nineteenth Century Fictions of Duplicity This course will examine the abundant doubles in British and American writing between 1790 and 1910. We’ll encounter changelings, doppelgangers, split personalities, evil twins, and other forms of duplicity. Though our primary focus will be British and American fiction, we will also read works of poetry and drama. In this literature, doubles often dramatize attempts to compartmentalize, repress, or otherwise deny features of identity. In so doing, they more often than not suggest that internal tensions and contradictions pervade personal, political, religious, and national identities. Our readings will include works by William Blake, Samuel Taylor Coleridge, Mary Shelley, Robert Louis Stevenson, Edgar Allen Poe, Oscar Wilde, and Henry James.

20TH CENTURY LITERATURE AND

CULTURE

01:350:393

01 MW6 CAC 45373 DEKOVEN MU-211

03 S CAC 54523 MORAN MU-115

05 TTH8 CAC 54524 GANG MU-111

01- The Literature and Culture of the 1960’s The 1960’s in America saw rapid, sometimes violent change in both culture and politics, driven by young people and by minorities. We will immerse ourselves in 60’s literature and culture, including political culture, and also including the great popular music (soul and r&b! rock! blues!) and film (possibly Easy Rider) including rockumentaries, of that time (probably Monterey Pop and/or Don’t Look Back). We will read Allen Ginsberg and, if there’s time, William Burroughs, two major writers associated with both the Beats of the 50’s and also with 60’s literary and political movements (we will read Ginsberg’s HOWL, and also possibly Burroughs’ Naked Lunch). We will read Sylvia Plath’s The Bell Jar, in which she makes clear the debilitating contradictions young women faced as they emerged from the purity-obsessed 50’s (do you know the character Peggy in “Mad Men”?). We will move on to James Baldwin’s great Civil Rights long essay The Fire Next Time, Michael Herr’s deeply disturbing book Dispatches, about his experiences as a journalist in Viet Nam, and hippie guru Carlos Castañeda’s weird, engrossing book The Teachings of Don Juan: A Yaqui Way of Knowledge. For one great account of the ways of life and death of the counterculture, we will read Hunter S.

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Thompson’s Fear and Loathing in Las Vegas. And for new kinds of literary writing that emerged in the 60’s, we will read Thomas Pynchon’s The Crying of Lot 49, and lyrics by Bob Dylan, John Lennon and possibly some other great rock poets. We will read non-rock poetry as well, by writers such as Sylvia Plath, Adrienne Rich, and Audre Lorde, who helped to shake things up. We will also discuss the 60’s experimental theater movement, focusing on the brilliant companies The Living Theatre and The Open Theater, which promised to be fulfillments of 60’s communal ideals, but which, like the counterculture in general as Hunter S. Thompson presents it, could not survive in the post-60’s world. We will begin every class meeting by listening to 60’s music, which will find its way into all of our discussions. Course work will consist of two short papers and

a take-home final. Attendance is required.

03-The Grotesque “The grotesque” is a slippery term that has as many definitions as there are potential definers; the word originally meant “of a cave” and referred to the fantastic and exaggerated art found in ancient grottos. Although the term became pejorative during the Enlightenment, the grotesque is back in style. For our purposes, “the grotesque” will connote exaggerated and frightening characters who engage in freakish behavior, are subjected to (or cause) outbreaks of violence and who face (to quote Sophocles), “the encounter of man with more than man.” (This is not a course for the faint of heart.) We will examine works by a number of authors, all of whom have employed some elements of the grotesque in their work—and we will examine them not simply because they employ the grotesque but because they use it to better explore the human condition. Ezra Pound famously remarked, “Literature is news that STAYS news”—and our goal will be to read a number of works which employ the grotesque to see how they are still “newsworthy.” While we will begin with a look at the work of Edgar Allan Poe (our American springboard, so to speak), the remaining writers will be from the twentieth century: Henry James, Flannery O’Connor, Paul Auster, Vladimir Nabokov, Cormac McCarthy, Thomas Berger and Patrick Suskind are all likely candidates for our reading list. All students must also read (and internalize) Strunk and White’s The Elements of Style. Attendance, reading quizzes, and papers are course requirements. We will be using the whole class time on the first day and all the days that follow.

05-Modernism and the Brain Why do we think about our minds and brains the way we do? How have advances in the brain sciences changed the way we write about the world around us? "Modernism and the Brain" will read modernist literature alongside primary texts from the history of neurology, psychology, and cognitive science. This course will explore the extent to which modernist writers internalized particular conceptions of the brain and translated these conceptions into ideas about literature. Literary texts will include those by Gilman, James, Stevens, Williams, Woolf, Joyce, Faulkner, Barnes, Brecht, Stanislavski, and Wright. Scientific and philosophical texts will include those by James, Ramon y Cajal, Sherrington, Freud, Pavlov, Watson, Thorndike, Skinner, Lashley, Chomsky, and Dehaene.

OLD ENGLISH LANGUAGE AND

LITERATURE

01:350:412

01 TTH4 CAC 48168 KLEIN MU-115 01-Monsters and Heroes in the Beowulf Manuscript This course has two goals: 1) to improve students’ reading skills in Old English, the language written and spoken in England from roughly 450 to 1100 AD; and 2) to develop skills in critical thinking and writing that are necessary for undertaking large-scale research projects in literary studies. We will focus mainly on Beowulf, the longest surviving Old English poem, and a text that has been treated from almost every critical perspective imaginable. Inhabited by monsters, pagans, and a hero whose fame derives from both his handgrip and his kindness, Beowulf offers extraordinarily rich ground for exploring the language and culture of England before the Norman Conquest of 1066. One of the most interesting aspects of Beowulf is its manuscript context: the poem appears in the Nowell Codex, sometimes referred to as a “monster codex” on account of the many fiendish and otherworldly creatures that appear in the various texts contained within it. As we read and discuss Beowulf, we will also work to situate the poem in its original manuscript context and to consider how intertextual analysis and the materiality of texts may affect practices of reading and reception, whether medieval or modern. In addition to Beowulf, texts may include the Old English Letter of Alexander to Aristotle, the Old English Judith, the fragmentary Life of the dog-

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headed Saint Christopher, and Wonders of the East. Attendance Policy: Students are required to attend class having prepared the assigned translations. Means of Evaluation: translation assignments, oral presentations, several short response papers (2-3 pp), one longer seminar paper (15-20 pp), and one exam.

Students with more than three unexcused absences or three uncompleted translation assignments risk being dropped from or failing the course.

SEMINAR: RENAISSANCE LITERATURE

AND CULTURE

01:350:434

01 TF2 CAC 54866 MASIELLO SC-205

01-Theories and Poetics of Mixed Monarchy, 1547-1603 The mid-to-late Tudor period witnessed a series of religious and cultural upheavals, heated conflict between sociopolitical conservatives and radicals, the exploration of the “new world,” and the pursuit of colonial imperialism. Yet it was also a crucible of latent radicalism and a seedbed of discontent. The century of reformation (or, more accurately, reformations) presaged the outburst of popular rebellion and republican fervor that was to explode in the next century (the “century of revolution”). Seventeenth-century monarchists and revolutionaries alike would look back to the Tudor era as a sourcebook for their own views and arguments. One eminent historian has described the late Tudor state as a “monarchical republic”: that is a paradox we will explore and test over the course of the semester. We will read a wide range of texts in an attempt to see the various ways Tudor minds imagined the political reality to which they belonged. The syllabus will include famous authors (Sidney, Spenser, Shakespeare), but also the writings of lesser-known figures, including political theorists, parliamentarians, ecclesiastics, chroniclers, chorographers, pageant-makers and pamphleteers. One goal of this class—one of many—will be to trace the social functions and powers sixteenth-century minds attributed to literary composition. To what extent did mid-to-late Tudor fiction reflect social and political realities? To what extent did it strive to alter or shape those realities? What can it teach us about the social, cultural, and political

consciousness of this divisive age? What relation does Tudor literary discourse bear to the other discourses that surrounded it? To ask such questions is to encounter what is both irreducibly other and strangely familiar. Course requirements: three papers (two 5-7 pages in length, and one a bit longer), occasional response papers, attendance, genuine curiosity, and imagination.

SEMINAR: TOPICS IN RESTORATION

AND 18TH

CENTURY LITERATURE AND

CULTURE

01:350:435

02 TTH4 CAC 50750 KRAMNICK CCACC 203

02-Fictions of the Self Are we the same person over the course of our lives? What is the relation between the physical and the psychological self? These questions are at once philosophical and literary and form the basis of the problem of personal identity. The problem of personal identity was a major concern for many writers of the eighteenth century and today. This course looks back to eighteenth-century literature and philosophy therefore in order to frame questions that are very much still with us. We will begin with the foundational discussion in John Locke, David Hume, and Thomas Reid and then turn to novels by Daniel Defoe, Eliza Haywood, and Laurence Sterne. We will end this course by seeing how the eighteenth-century problem of personal identity persists in contemporary literature and philosophy and read works by Derek Parfit, Ian McEwan, and Richard Powers.

SEMINAR: TOPICS IN 19TH

CENTURY

LITERATURE AND CULTURE

01:350:436

01 MW6 CAC 51308 QUALLS SC-116 02 M 4, 5 CAC 51328 SIEGEL BH-211 01-Reading the 19th-Century "Domestic Epic: Little Dorrit and Middlemarch Henry James referred to Victorian novels as “loose baggy monsters.” They are, notoriously, not short. But Victorian writers, working under vastly different conditions of publication and audience expectations, and producing their work in a climate where the competition was print media and popular theatre—often street theatre—made their novels surveys of modern life, comprehensive investigations into the

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conditions of England and its inhabitants—or at least those people and classes that the novelists choose as their focus. We will read, slowly, two of the “great,” and greatly capacious, novels of the period: Charles Dickens’ Little Dorrit (1856-1857) and George Eliot’s Middlemarch (1871-1872). Alongside these novels we will consider documents of the period focusing on the social conditions of England in the first forty years of Queen Victoria’s reign; critical writings by Victorians on the nature of the novel; critics’ responses to these novels; and critical questions about the nature of Victorian “realism.” Requirements: Attendance and participation in all class sessions, plus assigned oral presentations. Writing: two short discussions (3-4 pages each) and a term essay (15 or more pages) informed by critical and theoretical discussions of the Victorian novel and these novels specifically.

SEMINAR: TOPICS IN 20TH

CENTURY

LITERATURE AND CULTURE

01:350:437

01 MW6 CAC 47369 VESTERMAN MU-114

02 TTH6 CAC 54528 SADOFF SC-201

03 W 5,6 CAC 55175 FLINT MU-113

01-Vladimir Nabokov An examination of the life and works of "an American writer, born in Russia and educated in England where he studied French Literature before spending fifteen years in Germany." One-page written preparations for class discussion; a fifteen-page essay based on independent research; no final examination. Books include: Speak, Memory; Mary; Lolita; King,Queen, Knave; Invitation to a Beheading; Pale Fire; Complete Short Stories. 02- Novel and Film: The Modern British Novel What happens when a postmodern, postcolonial, or queer author rewrites or adapts the modern novel for film? Wild things! Come along on this journey on which we will read and view remediations of modern British novels. We’ll ask questions about our—and our authors’ and filmmakers’—historical moments and cultural locations, about racial, sexual, and gender positions from which to speak, write, and rewrite. We will encounter exciting new ways of thinking about classic novels of the recent past—as historical, cultural, and media documents. Along

the way, we’ll inquire about the concepts of authorship, intertextuality, and cultural production, dissemination, and reception. This purpose of this seminar is to enable students to use their already acquired skills in the areas of critical thinking and literary writing. We will also study the terminologies, methodologies, and writing strategies used by scholars of film, film theory, and adaptation studies. You will also learn how to identify secondary sources in the library and on the web and how to evaluate their authority and usefulness to you, the student-critic. You will sharpen your skills of “close reading,” summary and paraphrasing, and argumentation; you’ll learn methods of inquiry and new, interdisciplinary ways to frame your research questions. The techniques and abilities you learn in this class will serve as your “capstone” experience in the English major. Attendance: Regular attendance and participation required, including screening of films. More than three absences will lower your grade; more than seven will cause you to fail the course. Means of evaluation: Students will be required to read assigned texts, attend class, and participate in discussion; to write one 10-15 page research paper and several process-oriented assignments; and to complete in-class and out-of class writing exercises. Readings and screenings will include: Charles Dickens, Great Expectations John Carey, Peter Maggs Lloyd Jones, Mister Pip Film: David Lean, Great Expectations (Cineguild, 1946) Film: Alfonso Cuarón, Great Expectations (Twentieth-Century Fox, 1998) Virginia Woolf, Mrs. Dalloway Film: Marleen Gorris, Mrs. Dalloway (BBC Films, 1997) Michael Cunningham, The Hours Film: Stephen Daldry, The Hours (Paramount/Miramax, 2002) Julie Sanders, Adaptation and Appropriation, selections (on Sakai) Linda Hutcheon, A Theory of Adaptation, selections (on Sakai) 03- The Changing Face of England, 1901-2009 This course will explore the changing face of English literature and culture from the death of Queen Victoria to our own time. Among the many topics that we will cover will be the decline of Britain as an imperial power; the response to immigration from the lands of the empire and from “new Europe;” the transformation of the politics of class, race, and gender; the impact of

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two world wars; and the Beatles, Swinging London, and punk. Throughout, we will be asking questions about the framing and meaning of “Englishness” (and that word “face” in the title is no accident – what might a “typical” English face be said to look like? What might we learn through looking at a century’s worth of portrait photographs and paintings?). We will consider the issue of Englishness through studying a number of different genres, including fiction, non-fictional prose, film, documentaries, photography, poetry, and drama. Texts are likely to include E. M. Forster, Howards End; Evelyn Waugh, Brideshead Revisited, Samuel Selvon, The Lonely Londoners, and Rose Tremain, The Road Home; poetry by T. S. Eliot, Philip Larkin, Jackie Kay, Linton Kwesi Johnson, David Dabydeen, Daljit Nagra, Raman Mundair, and others; plays by John Osborne and Caryl Churchill, non-fictional prose by Virginia Woolf, George Orwell and Ngugi Wa Thiong’o, and short stories by Elizabeth Bowen, Hanif Kureishi, and others. You’ll be required to obtain Volume 6a “The Early Twentieth Century” and 6b “The Late Twentieth Century and Beyond” of the Broadview Anthology of British Literature (which will contain much of our reading). We will watch several films together (these are likely to be include Look Back in Anger and Made in Britain), and consider such diverse things as English food, humor, the Royal family, and weather. Assessment will be by means of a reading journal (in which you will be asked to do some writing in class in response to prompts, as well as make weekly entries in your own time), several exercises in close reading, and a final 10-12 page paper. You’ll each be required to do at least one presentation, and active class participation will be expected.

SEMINAR: TOPICS IN AMERICAN

LITERATURE AND CULTURE TO 1800

01:350:441

01 TF3 CAC 54527 IANNINI MU-114

This advanced seminar examines two major cultural developments shaping the literature of eighteenth century America, gaining especially deep intellectual influence and broad popular appeal in the decades leading up to the American Revolution. During the so-called “Great Awakening” of the mid eighteenth century, unprecedented numbers of colonial Americans flocked to the fiery sermons of new charismatic ministers including George Whitefield and Jonathan Edwards, hungry for the transformative “new birth” such preachers promised, and

energized by their warnings of immediate damnation. These included large numbers of dispossessed and marginalized individuals (working-class women, slaves and former slaves, and Native Americans) who in some cases saw radical political potential in evangelical religion. At the same instant, new “Enlightenment” ideas in the areas of politics, philosophy, and natural science were circulating through the museums, performance halls, scientific societies, and elite private clubs of colonial America to reach a surprisingly broad audience. Where are the boundaries, if there are any, between “awakening” and “enlightenment” in early America? How might the study of literary texts allow us to chart the complex terrain between religious enthusiasm and secular rationalism in the period? Applying our present-day categories to this earlier period, we might be tempted to assume that “awakening” and “enlightenment” are separate, and indeed antithetical movements. But the published sermons of Jonathan Edwards were infused with empiricist notions drawn from the enlightenment philosophy of John Locke, and the seemingly secular self in the pages of Benjamin Franklin’s autobiography remains haunted by the specter of Puritanism. In this discussion-based seminar we will read broadly and deeply in the literary culture of eighteenth century America, as we attempt to understand the precise relations between “enlightenment” and “awakening” in early America, and, in so doing, to understand the complex interconnections between secularism, religion, and democracy in the founding of the United States.

SEMINAR: TOPICS IN 19TH

CENTURY

LITERATURE AND CULTURE

01:350:442

01 W 7,8 CAC 54526 EVANS MU-107 This seminar explores the fiction and criticism of Henry James as framed by the lives of his sister Alice and older brother William. Though covering all periods of Henry James’ career, the seminar gives special attention to the short stories and novels of the 1890s, the transitional moment in HJ’s experimentation with form and engagement with popular culture. It was in the 1890s that his brother made many of his greatest achievements in the fields of psychology and philosophy, and one can see that the two brothers shared an interest in many of the same problems. It was also when his sister, who had faced a variety of debilitating illnesses throughout her life and died of breast cancer in 1892, wrote her trenchant and compelling diary. In our reading and discussions, we will pay particular attention to HJ as a theorist

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of perception and representation and as a particularly keen observer of the arts. We will read at least three of James’ major novels (The Portrait of a Lady, What Maisie Knew, and The Ambassadors) many of his short stories and novellas (“The Real Thing,” “The Death of the Lion,” “The Figure in the Carpet,” The Turn of the Screw, and The Beast in the Jungle), and a broad selection of his literary criticism (especially of Hawthorne and Balzac).

BLACK LITERATURE AND CULTURE

01:350:446

01 TF3 CAC 45948 WALL SC-216

02 M7,8 CAC 45979 BUSIA MU-107

02- Syllabus: ReMembering Africa This course focuses on the ways in which Africa is remembered, as legacy and metaphor, in late twentieth century Black literature and culture. With reference to a wide range of cultural texts such as Quilts, Paintings and Collages, Sculpture, Music and Cookery Books, this course will focus on the literature of Black Women of Africa and her Diaspora. We will explore the ways in which women cultural workers in the latter half of the century incorporate a range of non-verbal references and cues into the ways they negotiate history and memory in their fictional works in order to re-inscribe the stories of forgotten people, and teach us to appreciate the alternative histories of the communities and nations within which their fictions are set. Introduction: Finding Africans, Old and New in the Americas This general introduction to the course puts the presence of Africans in the United States in the wider context of the enforced movement of people from Africa to the Americas, and gives a brief introduction to the aspects of African American cultural production we will explore over the course of the next month. Film: Scattered Africa Part One: “What Is Your Nation?” Literary Texts: Paule Marshall, Praisesong for the Widow Films: The Language You Cry In

Roots of Music & The Music Tree:Rev. Wyatt T. Walker

Cultural Texts: Selected Music from the African Diaspora

Part Two: The Maps of Diaspora’s Daughters: The Politics of Aesthetics

Text: Julie Dash; Daughters of the Dust: The Making of an African American Woman's Film

Film: Selection on Julie Dash and Vertamae Grosvenor from The Meaning of Food Daughters of the Dust Literary Texts: Ntozake Shange; If I Can Cook/You Know God Can

Cultural Texts: Jessica Harris: Cookbooks and Recipes Part Three: Blood Memory and Body Marks Literary Text: Toni Morrison, Beloved Films: African Art, Women, History: The Luba

People of Central Africa Tanglible Spirits with Alison Saar Betye & Alison Saar: Conjure Women of the Arts Toni Morrison Identifiable Qualities

Part Four: Remembering the DisRemembered Literary Text: Assia Djebar, Fantasia Film : La Nouba des Femmes du Mont-Chenoua Course Requirements 1. Reading the Required Texts and Active

Participation in Class and Group Discussion

2. Short Responsive Papers Sections of the Course (due BY March 14, & May 2)

3. One Final Project or Research Paper

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351 CREATIVE

WRITING

CREATIVE WRITING

01:351:212

01 TF3 CAC 44223 JACKSON MU-001

02 MW8 CAC 49918 SCHWARTZ MU-001

03 W2F5 CAC 47671 BLANEY MU-001

04 MW6 CAC 49919 JAFFE MU-003

05 MW5 CAC 47172 ARNDT MU-003

06 MW7 CAC 49513 SCHWARTZ MU-001

07 TF2 CAC 44481 SVICH MU-003

08 MW5 CAC 48224 JAFFE MU-002

09 MW4 CAC 45705 RAMEY MU-003

10 TF1 CAC 58139 HOBAYAN MU-002

11 TF3 CAC 48120 WIRSTIUK MU-208

12 TF3 CAC 57253 SUSKEWICZ MU-003

13 TTH6 CAC 49235 BETTS MU-003

14 TTH7 CAC 49236 MURRAY MU-001

15 TF2 CAC 49237 WIRSTIUK MU-114

16 TF2 CAC 49238 HOBAYAN SC-203

18 TF3 CAC 52378 NOVEMBER MU-113

19 TTH5 CAC 51716 FUHRMAN MU-003

23 TTH8 CAC 51717 AHMED MU-003

24 W3F4 CAC 52208 MCAULIFFE MU-003

25 SAT 9-11:55a

CAC 49524 MURRAY MU-204

26 SAT 1-3:55p

CAC 48697 FRANCO ZAM-EDR

Practice in creative writing in various forms (fiction, poetry, drama, essay); critical analysis of students’ manuscripts in class and/or individual conferences.

CREATIVE WRITING – NON-FICTION

01:351:305

Prerequisite: One 200-level course in creative writing or permission of instructor.

01 W3F4 CAC 48085 BLANEY MU-001

02 MW6 CAC 49069 ELLIS MU-002

03 MTH2 CAC 55015 JURECIC MU-001

04 TTH4 CAC 55016 MILLER MU-038

01- The course will be roughly divided into three sections: i) Writing about People; ii) Writing about Place/Travel; and iii) Writing about Performance (Art). In each case, we’ll discuss techniques and conventions, look at published examples, draft our own attempts, exchange criticism, and revise. There will be multiple exercises and short directed writing assignments both in and out of class. 02- Creative non-fiction is a broad category that includes any writing in the first person where the author claims to tell the truth about events that actually happened. Journalism, memoir and descriptions of places far and near are three areas that make use of a writer’s skills in telling not just a true story but a good one. How does it’s use of the first person differ from the first person of a fiction writer? What challenges arise for a writer of non-fiction that do not arise for a writer of fiction? What purposes are served by making public an area of private experience, and what writing techniques enable this to be done in a way that is vivid and engaging to a reader? Through weekly readings and writing assignments, this course will focus on the skills needed to structure and shape observed or remembered events into vivid, memorable narrative. 03-In 1966, Truman Capote published In Cold

Blood, a book-length, novelistic account of the brutal murder of a family in what had seemed to be a tranquil Kansas farming town. This text is now recognized as the first example of a hybrid literary genre that Capote labeled the “nonfiction novel”—that is, a genre in which the techniques of fiction are used to present factual accounts. At first, this combination may seem paradoxical. How, after all, can a text be both creative and factual? But, when you think about it, plenty of

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literature combines fact with elements of fiction—memoir and biography, for instance, and autobiographical novels. Capote’s innovation was to connect fact and fiction within journalistic accounts, an approach that later developed into the “new journalism.” The appeal of such texts is their narrative approach, as well as the perspectives the authors bring to their subjects. “Above all,” Capote explained, a creative nonfiction writer must “empathize with personalities outside his usual imaginative range, mentalities unlike his own, kinds of people he would never have written about had he not been forced to by encountering them inside the journalistic situation.” This course in creative nonfiction will be, like its topic, a hybrid—in this case combining literary study and writing. We will read work by contemporary writers who, like Capote, seek to explore lives and ideas that seem distant and unfamiliar, or who defamiliarize ideas and ways of life that have come to seem natural. Our primary focus, however, will be drafting and revising our own creative nonfiction essays or articles—two short pieces of 5-8 pages and one longer 15-page essay that will involve substantial research. 04-The course title seems an oxymoron: how can one be “creative” while working with “non-fiction”? Once that door opens, another question arises: what’s the difference between “non-fiction” and “fact”? In this writing intensive course, you will both read recognized works of creative non-fiction and develop your own semester-long creative non-fiction writing project that engages with some pressing local event or issue. Through the reading, writing, and discussing in this seminar, you’ll develop a deeper understanding of what opportunities and what limits are available to writers who work in “creative non-fiction.” Your final pieces may be either a text only fifteen-page paper or a multimedia composition that includes sources other than text quotations. Assignments will include regular use of the course’s social bookmarking site, the use of Google Docs for class compositions, and shorter writing assignments leading up to the final project. No technical knowledge, beyond the ability to word process, is required. This class will most interest those with a lively curiosity; those who enjoy tracking down ideas on the web; and those who read for pleasure.

CREATIVE WRITING – POETRY

01:351:306

Prerequisite: One 200-level course in creative writing or permission of instructor 01 TF2 CAC 45380 JACKSON MU-001 02 TTH5 CAC 44530 SUGARMAN MU-002 03 TTH4 CAC 49920 FUHRMAN MU-003 04 MTH3 CAC 52388 MILLER MU-003 05 TTH7 CAC 47673 BETTS MU-002 06 TTH4 CAC 55017 SUGARMAN MU-002 Section 05 – Performance Poetry

CREATIVE WRITING – FICTION

01:351:307

Prerequisite: One 200-level course in creative writing or permission of instructor 01 MW5 CAC 43586 HELLER MU-001 02 MW4 CAC 47674 ARNDT MU-001 03 TTH4 CAC 43879 SHERMAN MU-001 04 TTH5 CAC 51719 SHERMAN MU-001 05 TF3 CAC 51720 OSBORN MU-002 06 TTH7 CAC 55018 AHMED MU-003 06- Writing and Publishing Fantasy Fiction From genre classics like Lord of the Rings to the critically acclaimed work of writers like Michael Chabon and Junot Diaz to mega-blockbusters like the Twilight books, fantasy fiction has taken hold of our collective literary consciousness. Americans are reading and buying fewer and fewer books, yet fantasy has never been more popular. But how do successful fantasy writers approach their craft? And what does the path from writing to publication really look like? In this course we will read short stories and novel excerpts by some of the best writers in this diverse and remarkably popular genre. We will then take the lessons -- of prose style, plot, world-building, and character development – that we’ve learned from these writers and apply them to our own writing. We’ll also talk about the practicalities of publishing fantasy in the 21st century, from the processes and challenges involved in selling short stories and novels, to connecting with other readers, writers, and publishers online. Students will write shorter pieces in response to instructor-provided prompts, and each student will have the opportunity to workshop at least one longer story with the class. Requirements include short readings for each class, thoughtful, typed critiques of one another’s work, a brief market research report, and several short fantasy writings.

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CREATIVE WRITING – PLAYWRITING

01:351:308

Prerequisite: One 200-level course in creative writing or permission of instructor 01 TF3 CAC 51721 SVICH MU-115

Dynamic, visceral, exciting. This is what writing for the stage and live performance are all about. In this class, explore, character, setting, site-specific work, and the poetry of writing imaginatively and without fear for live presentation. Whether you're interested in theatre, dance, or music, this workshop is designed to creatively unleash your imagination and explore the unique challenges of thinking about and making live work.

DOCUMENTARY FILMMAKING FOR

WRITERS

01:351:312

01 M 2,3 CAC 49207 SEIDEL MU-038 Documentary films are often described as the 'creative arrangement of actuality." In this course, students have the unique opportunity to create short narratives from videotaped documentary interviews and supporting visuals. Students begin by writing real life stories based on known people willing to be filmed and interviewed. After learning basic documentary techniques, ethics, and short film story structure, students develop interview questions for their characters. Using digital video cameras (their own or the department's), students videotape their interviews and input the characters' words into computers equipped with Final Cut Express. Students will learn the basics of Final Cut editing, which is state of the art today. No prior knowledge of this software is necessary. As students edit, they can add images (such as still photos, newspaper clippings and/or video), sounds (music, sound effects and /ornatural sounds), narration and text to complete their 4-8 minute compositions. This class will screen and analyze a variety of documentary films. Towards the end of the semester, students will write a 5 page response paper to a visiting filmmaker’s event. Each student will need to store his/her documentary on an external harddrive. For those students who do not own external harddrives, the department will provide one for students to share.

DIGITAL STORYTELLING

01:351:312

02 TH 2,3 CAC 49208 SEIDEL MU-038 In this class, you will expand your written voice with the added dimensions of pictures and sounds. Your first assignment will be to write a non-fiction story or essay that is meaningful to you. You will then collect images and sounds that you feel will enhance your writing. Your moving images can come from scanned still photographs, magazine and newspaper clippings, or video footage. The English Department will provide video cameras for students who wish to record their own visuals. Next, you will input your words (either text or spoken narration) and your images into a Final Cut Express editing system. In this course, you will learn the basics of Final Cut editing, which is state of the art today. You need not have prior knowledge of this software. During the editing process, your words will change and evolve as they are interwoven with moving and still images, music, sound effects and natural sounds. By the end of the course, you will have created a video essay of 2-8 minutes in length. Throughout this class, we will study the basics of screen grammar and film language. Towards the end of the course, students will write a five-page response paper to a visiting filmmaker’s event. Each student will need to store his/her digital story on an external harddrive. For those students who do not own external harddrives, the department will provide a harddrive for students

to share.

INTRODUCTION TO MULTIMEDIA

COMPOSITION

01:351:312

03 T2,3 CAC 52589 COLLINS MU-038

03-Exploring Globalization Through Multimedia Composition In many of today's creative and professional settings, the ability to work with multimedia applications has become essential. This course will prepare you to succeed in these nvironments by using digital media as the tools for academic work, that is, as tools for extending thought. A course-long series of projects will transform what begin as written texts into short multimedia compositions --or visual essays -- using Final Cut movie software. *No previous experience with the software is required.* The topic area for your projects, based on some introductory readings and then some independent research, will be the

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increasing interconnections of the world's societies, whether through culture, communications, politics, economics, finance, immigration, or the environment. Using globalization as your subject matter, you will learn to interweave moving and still images, original footage and footage gathered from online sources such as films and websites, and audio and narration, into 4- to 8-minute visual essays. Slide presentations (Powerpoint, Keynote) and blogging (Wordpress) will also support your projects. Critical reflection on these practices – their advantages and disadvantages, innovations and conventions –- will be essential elements of coursework. More important than technical skill will be your care and creativity in using new media to engage with complex ideas. Assignments will include class blog entries, 2 short papers, a slide presentation, an individual video project, and collaboration on a final, group project.

INTRODUCITON TO MULTIMEDIA

COMPOSITION

01:351:312

04 M 5,6 CAC 52589 COLLINS MU-038 04-Composing the End of the World Through Multimedia Composition

In many of today's creative and professional settings, the ability to work with multimedia applications has become essential. This course will prepare you to succeed in these environments by using digital media as the tools for academic work, that is, as tools for extending thought. A course-long series of projects will transform what begin as written texts into short multimedia compositions -- or visual essays -- using Final Cut movie software. *No previous experience with the software is required.* The topic area for your projects, based on some introductory readings and then some ndependent research, will be the many, popular contemporary stories and theories of global threat, or that the world may soon end. Using ideas about the apocalypse as your subject matter, you will learn to interweave moving and still images, original footage and footage gathered from online sources such as films and websites, and audio and narration, into 4- to 8-minute visual essays. Slide presentations (Powerpoint, Keynote) and blogging (Wordpress) will also support your projects. Critical reflection on these practices -– their advantages and disadvantages, innovations and conventions –- will be essential elements of coursework. More important than technical skill will be your care and creativity in using new media to engage with complex ideas. Assignments will include class blog entries, 2

short papers, a slide presentation, an individual video project, and collaboration on a final, group project.

ADVANCED CREATIVE WRITING

WORKSHOP

01:351:406

PREREQUISITE: ONE 300-LEVEL COURSE IN CREATIVE WRITING OR PERMISSION OF INSTRUCTOR FICTION 01 TF2 CAC 45115 OSBORN MU-002 05 MW6 CAC 55020 HELLER MU-001 POETRY 02 MTH2 CAC 49258 S. MILLER MU-003 03 MW7 CAC 52347 SHOCKLEY MU-003 06 TTH6 CAC 55021 DOTY MU-002 07 W 7,8 CAC 55792 LEONG MU-002

SCREENWRITING

01:354:308

01 M 2,3 CAC 48165 TRAVERS MU -002 02 M 7,8 CAC 48543 TRAVERS MU-002 03 TH2, 3 CAC 48699 PEARLSTEIN MU-002 04 W 2,3 CAC 51712 PEARLSTEIN MU-002 05 F 4,5 CAC 52618 NUTT MU-002 This course is intended to introduce students to the basics of screenwriting, including: dramatic action, story, structure and character. 04-Writing for Television In this course students will be introduced to the basics of professional TV writing. Through the analysis of Sitcoms, Hour Dramas and Comedy Sketches students will become familiar with all of the fundamentals of a strong teleplay. Group and individual exercises will lead each student to create an outline, a treatment and then a complete draft of a television show in whichever style they choose.

Focus will be placed on all of the major dynamics of a strong dramatic structure. The group will explore topics such as Finding Stories, Working with a Cast of Characters, Scene Structures, Dramatic Tension, Writing Dialogue and Creating Satisfactory Resolutions.

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A range of classic and contemporary television programs will be studied including the works of Norman Lear, Susan Harris, MTM Productions, Stephen Bochco, Sid Caesar, Tina Fey and Dave Chappelle.

351 ENGLISH TOPICS

INTRODUCTION TO MODERN AND

CONTEMPORARY LITERATURE

01:351:222

01 MW4 CAC 54420 SOLINGER FH-A4 With the words “modern” and “contemporary” being so seemingly interchangeable in contemporary (or modern) common usage, perhaps you wonder why both appear in the title. To get at an answer, this course will move from poems by W.B. Yeats written at the twilight of the 19th century to a novel by Ian McEwan published at the dawn of the 21st; from a novella by Franz Kafka about a beetle ("The Metamorphosis") to a graphic novel by Frank Miller about a bat (The Dark Knight Returns). All told, in this introduction to the literature of the period, we will read novels, short stories, poetry, and drama that address some of the era's most important literary, social, and philosophical issues. By semester's end, this course aims to have helped you develop an understanding of the modern and the contemporary, while ideally keeping your wonder entirely intact. Requirements: Two short papers, a take-home final, enthusiasm.

INTRODUCTION TO DRAMATIC

LITERATURE

01:351:240

01 TTH7 CAC 51329 BUCKLEY VH-105

From stark Greek tragedy and bawdy Roman comedy through the mad gymnastics of the commedia dell’arte and Shakespearean tragedy, from Molière’s subversive comedy through the radical modern drama of Georg Büchner, Samuel

Beckett, and, if we have time, Sarah Kane, this course will offer a broad and wide-ranging investigation of western drama from classical times to the present, with particular emphasis on learning how to read and understand dramatic literature as a form and in its context. We will examine each of the great works we read within its particular historical moment, looking at the changing relations between theatre and society, the role of theatrical performance in defining personal and communal identity, and the manner in which these major plays relate personal action to larger social and political issues. Considered until modern times to be the pre-eminent poetic form, and emerging once again in our own time as a crucial artistic mode, dramatic literature is an essential, foundational part of our literary history and culture—and this course is the starting point for its study. Requirements You will be allowed to craft your own individual combination of course requirements: optional elements will include a few brief papers, two exams, a number of short response essays, performance projects and presentations, and/or individualized final essay projects. We will discuss the course requirements intermittently over the course of the semester: around midterm, you will be asked to submit a signed grading contract. Unless I note otherwise, you are expected to have read each play in its entirety by the time of the first class in which it is discussed.

INTRODUCTION TO THE STUDY OF

WOMEN WRITERS

01:351:265

01 MW5 CAC 54462 KING SC-204

Bernard Shaw believed that most nineteenth-century women wanted nothing more than to get married. This course will attempt to prove him wrong. We will examine female novelists, poets, and social critics of nineteenth-century England who were themselves evidence against Shaw’s dim view of women and who created literary heroines to advance the changing role of women in both the domestic and public spheres. We will explore the role of women in nineteenth-century England and in nineteenth-century British literature, and the ways in which this critical period for the emergence of the female novelist and the female hero continues to influence writers of today. Our reading list will include works from Jane Austen, Anne Bronte, Virginia Woolf and others, and the requirements for the course will include

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two papers, an exam, weekly writing assignments, and participation in class discussions.

LITERATURE AND VISUAL CULTURE

01:351:313

01 TF2 CAC 54530 HOFFMAN MU-301 01-Literate Images What is visual culture? This course will propose various answers by looking at the relationship between literature and images, especially in the nineteenth through twenty-first centuries. Along with images, we will think about looking and how what we see is determined by more than just our eyes. Although we will read broadly in visual theory, this course focuses primarily on literary texts. Authors will include Paul Auster, Thomas Pynchon, W.H. Auden, Art Spiegelman, Oscar Wilde, and Ian McEwan. In addition to reading texts, we will read photographs, films, paintings, and graphic novels. We will also consider images that are invisible or that cannot otherwise be seen. Our investigation will begin with imaginative questions: How does a Victorian poem help elucidate the photographs taken by a contemporary serial killer? What is at stake when a novella about the romanticism of Venice is adapted for the screen? What can we see in the literary description of an image that cannot be seen in the image itself? Should we look at the last moments of a human life? Course requirements include weekly response papers and two formal essays.

LITERARY APPROACHES TO SACRED

TEXTS

01:351:322

01 MW6 CAC 51417 WALKER SC-206 THIS COURSE SAME AS 195:322 Sacred texts are texts that have been given canonical status within particular religious traditions, and so are likely to be interpreted in a purely religious framework. However, by examining these texts from a literary perspective it is possible to tease out new and interesting insights about them that can restore to them some of their originally pre-canonical controversial qualities. We will take several texts of this sort, such as the Book of Job, Exodus, and the Bhagavad Gita, and consider how they have been viewed in an unconventional way by Jung (Answer to Job), Freud (Moses and Monotheism) and myself as an unconventional Gita fan. We

also will look at how sacred texts have provided subtexts for the modern creative imagination, as in the case of Godard’s film Hail, Mary and D.H. Lawrence’s Apocalypse. The literary approach is meant to enhance the experience of the texts without recourse to any particular faith or set of beliefs. There will be one course paper of about 15 pages, several short response papers and quizzes, and two examinations.

Grading: attendance and class participation 15% (three unexcused absences without penalty), 2 exams 50%, paper and response papers and quizzes 35%.

LITERATURE AND SEXUALITY

01:351:348

01 MW4 CAC 54819 LEE SC-204 01-Allusion and Appropriation in Gay and Lesbian Literature This course will explore the complex interrelations between allusion and appropriation in gay and lesbian literature. In A Glossary of Literary Terms, M. H. Abrams defines allusion as “a brief reference, explicit or indirect, to a person, place or event, or to another literary work or passage,” and appropriation as a practice of reading and interpretation. With these definitions in mind, we will engage the following questions throughout the semester: Why are contemporary gay and lesbian authors motivated to include allusions to canonical texts and popular references in their works? What is gained from including such references? How do these authors model a practice of interpretation for their own readers by appropriating and recontextualizing earlier texts in their works? We will address these and other questions by exploring issues of influence, intertextuality, cultural literacy, and the creation of a queer literary-aesthetic tradition in fiction, graphic narrative, drama, and film. A primary goal of our course is to gain a better appreciation for the interrelations between texts across time. Texts Alison Bechdel, Fun Home: A Family Tragicomic

(2006) Michael Cunningham, The Hours (1998) Howard Cruse, Stuck Rubber Baby (1995) Andrew Holleran, Dancer from the Dance (1978) R. Zamora Linmark, Rolling the R’s (1995) Malinda Lo, Ash (2009) Jeanette Winterson, Oranges Are Not the Only Fruit (1985

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LITERATURES OF MIGRATION,

IMMIGRATION, AND DIASPORA

01:351:366

01 TTH4 CAC 56111 STEPHENS SC-207 02 MW5 LIV 56397

MARTINEZ SAN-MIGUEL LSH-A256 SECTION 01 SAME AS 195:366:01 AND 595:312 01- Caribbean Literature in English: Cultures of Diaspora This course explores the cultural, political, artistic and economic formations that have both shaped and emerged from the English-speaking Caribbean region, as they have interacted with other key sites and linguistic areas in the rest of the world. The course’s primary focus is literature but students also explore an interdisciplinary range of multimedia texts that provide deeper insight into the cultural context in which Caribbean literature and fiction has been produced, by peoples in diaspora scattered across and beyond the Anglophone Caribbean world. The course begins with the key developments of black atlantic modernity--the transatlantic trade, capitalism, colonialism, slavery--and the culture, literature, music and art that resulted from the European “discovery” of the New World. More contemporary readings then demonstrate the relevance of that transatlantic history to a decolonizing Caribbean in the 20th century and a globalizing hemisphere in the 21st century. We address issues of aesthetics, representation cross-cultural dialogue and creolization in Caribbean art, music, literature and culture. We study how questions of race, gender, and sexuality impact the creative expression of Caribbean writers and artists working within a variety of literary genres and a number of cultural forms. The course also includes some works in translation. SECTION 02 SAME AS 050:240, 195:366:01, 595:267:01 02- This course proposes a definition of Latino literature and culture by reviewing some of the canonical texts produced by Mexican American, Chicano and Hispanic Caribbean Diasporic writers from the 1960s until 2010. The course begins with a working definition of Latino Studies, using foundational works by Juan Flores, Nicolas Kanellos, Juan Poblete and Frances Aparicio. Then we will focus on the close-reading of a selection of well-known texts from the Chicano tradition (Tomás Rivera, Gloria Anzaldúa, Cherrie Moraga, Helena Viramontes and Richard Rodríguez), and a selection of Nuyorican, Dominican American and Cuban American texts (Piri Thomas, Pedro Pietri, Tato Laviera, Lourdes Casal, Gustavo Pérez Firmat, Cristina García, Junot Díaz, Julia Alvarez and Sonia Rivera

Valdés). Some of the topics addressed in class will be: conceptualizations of the border and hybrid identities, mestizaje vs. racialization, Spanglish and the limits of transculturation, the transformation of Latino gender and sexuality, and the subversion of internal colonialism in the creation of a new notion of American identity. We will also see clips from the following films/programs: Before Night Falls, Selena, Ugly Betty and Quinceañera.

NATIVE AMERICAN LITERATURES IN

ENGLISH

01:351:376 01 TTH4 C/D 54883 BARNETT RAB-207 THIS COURSE SAME AS 050:376 We will read some of the most significant Native American literature of our time, primarily fiction, with some poetry and non-fiction. In doing so, we will need to contextualize this body of work in two cultures, Western literary history and Native American oral tradition. We will consider some of the circumstances of the minority community that produces these texts, using the Lakota reservation of Pine Ridge to examine various Native American issues. Regular class attendance and participation in discussion is expected. There will be some short written assignments in class, 2 five-page papers, and two exams.

ASIAN AMERICAN LITERATURES IN

ENGLISH

01:351:377

01 MW5 CAC 51020 LEE SC-216 THIS COURSE SAME AS 050:377

01-Asian North American Literature and Film This course will explore the similarities and differences in the experiences of people of Asian descent in the United States and Canada. Both countries share a history of having implemented exclusionary immigration policies against the Chinese during the late nineteenth and early twentieth centuries, as well as of interning the Japanese during World War II. Asians, moreover, are figured in both countries in similar ways as the “model minority.” However, the United States and Canada hold radically different visions of national identity—respectively, the “melting pot” versus the “cultural mosaic”—that consequently complicate figurations of the Asian as immigrant and as citizen-subject. In this course, we will

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explore issues of history and memory, migration and displacement, and kinship and citizenship as they inform depictions of racial subject formation of Asians in fiction and film. A primary goal of this course is to introduce students to the historical continuities and disjunctions between the Asian Canadian immigrant experience and that of the Asian American version that is more familiar to them. Texts (selected from the list below): Wayson Choy, The Jade Peony (1995) Gish Jen, Typical American (1992) Joy Kogawa, Obasan (1993) Jhumpa Lahiri, Unaccustomed Earth (2008) Chang Rae Lee, Native Speaker (1995) SKY Lee, Disappearing Moon Café (1990) R. Zamora Linmark, Rolling the R’s (1997) Aimee Phan, We Should Never Meet: Stories (2005) Documentaries and Films (selected from the list below): Daniel Friedman and Sharon Grimberg, Miss India Georgia (1997) Richard Fung, Dirty Laundry (1996) Ang Lee, The Wedding Banquet (1993) Danny Leiner, Harold and Kumar Go to White Castle (2004) Mina Shum, Double Happiness (1994)

INDEPENDENT STUDY

01:351:394

PERMISSION TO ADD – CONTACT DEPT.

01 BY ARRANGEMENT 40258

SEMINAR: SPECIAL TOPICS IN

AMERICAN LITERATURE

01:351:453

01 T 6,7 C/D 57333 BARNETT RAB-018 THIS COURSE SAME AS 050:487:01 01-American Narratives American Narratives will examine narratives in fiction, film, and popular music, focusing on those texts that lead us into the culture of a particular time and a particular American experience. We will begin with Orson Welles’s masterpiece, Citizen Kane, one of the most powerful embodiments of our course theme. Later in the semester we will see other films, such as Mildred

Pierce, that exemplify other aspects of the American Dream. Students will have some brief in-class and out-of-class writing assignments and write a 15 page research paper. Partial Reading List William Faulkner, The Sound and the Fury Ernest Hemingway, The Sun Also Rises Don DeLillo, White Noise Leslie Marmon Silko, Storyteller Toni Morrison, Sula Jack Kerouac, On the Road Willa Cather, The Professor’s House Jeannette Walls, The Glass Castle Art Spiegelman, Maus (a graphic novel)

INDEPENDENT STUDY

01:351:494

PERMISSION TO ADD – CONTACT DEPT. 02 BY ARRANGEMENT 49259 03 BY ARRANGEMENT SEIDEL 52001

SENIOR HONORS TUTORIAL

01:351:499

PERMISSION TO ADD – CONTACT DEPT. 01 BY ARRANGEMENT 44492

353 COURSES

LITERARY THEORY

READINGS IN LITERARY THEORY

01:353:230

01 TTH6 CAC 54531 VARESCHI MU-204 02 TTH8 CAC 54532 VARESCHI MU-204 Is literary theory a tool for analysis or an object of analysis? What is this thing we call “theory”? These are the central questions we will pursue in this course. Beginning with the New Critics, or “the theory before the theory,” we will trace how various methodologies for textual analysis have shaped and reshaped how we read and what we

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read for. We will consider how structuralism, Marxism, psychoanalysis, deconstruction, gender studies, queer, and post-colonial theory each posit themselves as both a mode of reading and as an object in need of reading. Readings may include works from: Richards, Marx, Saussure, Freud, Lacan, Derrida, Foucault, Barthes, Butler, Sedgwick, Halperin, and Said.

DECONSTRUCTION AND

POSTSTRUCURALIST LITERARY

THEORY

01:353:315

01 MTH2 CAC 54533 DIENST SC-104 In this class we will concentrate on a single book: A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Deleuze and Félix Guattari, one of the most influential “post-structuralist” texts. It is a book about many things: creativity, warfare, music, wolves, love, paranoia, evolution, language, nomads, technology, capitalism, and much more. In order to read this book well, we will need to read some of the texts it cites, including work by F. Scott Fitzgerald, Marcel Proust, Franz Kafka, Sigmund Freud, and others. If we are successful, nothing will ever look quite the same again.

Attendance is required and participation is expected. There will be many short writing assignments (something like weekly response papers) and two longer essays, around 7 pages each.

PSYCHOANALYTIC LITERARY THEORY

01:353:350

01 TTH5 CAC 54534 IAN SC-201

Psychoanalysis, invented around the turn of the twentieth century, is the one body of knowledge about human nature that claims desire and fantasy to be its primary (and primal) features. Developed in order to alleviate human suffering, psychoanalysis finds the root cause of that suffering to be the very same desires which are the root and branch of both individual and social life, even in its noblest (and seemingly transcendent) manifestations. In proposing such ideas about human nature, psychoanalysis broke with and de-constructed hierarchical systems of belief which judged people by the standards of religion, goodness, morality, normalcy, or other ideals. Instead, psychoanalysis sees us as defined by our desires and our capacity to express, deny, project, transform, and realize

them. In this course we will study a variety of psychoanalytic and literary texts, in order to introduce ourselves to concepts and ways of thinking central to psychoanalytic theory and interpretation. We will read such authors as Sigmund Freud, Melanie Klein, Jacques Lacan, Karen Horney, E. M. Forster, Henry James, Franz Kafka, and Jean Rhys, and explore theories of the unconscious, gender and sexuality, normality and perversion, mourning and melancholy, humor and aggression, reality and representation. Attendance: Three absences permitted; five or more may result in failure. Required work: two 4-6 page papers, each worth 25%; final exam 40%; participation 10%.

ISSUES AND PROBLEMS IN LITERARY

THEORY

01:353:389

01 CAC MTH2 57187 BROWN CCA 202 02 CAC MTH3 56793 GOLDMAN CCA 202

01-Perilous Bargains: Value, Style, and Morality in Exchange Why are acts of giving and receiving - even of compliments and Christmas gifts - so often fraught with anxiety? Why are the words for “gift”, “poison”, and “revenge” the same in so many of the world’s languages? This course combines anthropological, historical, and literary perspectives to examine what happens when people give and take from one another. Topics include: What makes things valuable? How can we be sure of their value? What do different forms of exchange (such as giving gifts v. paying wages) have to do with one another? What are the political and moral implications of everyday forms of giving and taking? Readings include: anthropological discussions of gifts, ownership, and money (in locations that range from Post-Soviet Russia to New York’s streets and US High Schools); historical and legal debates about the nature of counterfeiting and ownership (on paper, in marriage, and in cyberspace); and fictional works about gifts and bargains that go awry (Marlowe’s Faust, Baudelaire’s “The Counterfeit Coin”, and Henry James “The Necklace”). Assignments consist of a short written abstract, an oral presentation on a supplementary reading, and two versions of a longer paper analyzing a film, ethnographic case, or work of fiction in relation to course material. Attendance is required; students who miss more than 3 classes without appropriate and timely make-up will be penalized one whole grade.

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The final grade will be based on: participation, a short written assignment, an oral presentation, and two versions of a long final paper. 02-Hope Politics, and History How are we to think about hope in politics? Political theorizing has traditionally been parasitic on explicit or tacit narratives of progress, be they rooted in rational cosmology, the movement of Spirit or the inevitable determinations of material production. The advent of iconoclastic modernity having thrown such narratives into doubt, this course revolves around the question of political hope in a post-metaphysical era: what grounds, if any, do agents now have for hope of social melioration? Beginning with Classical and Biblical approaches to hope, such as those found in Hesiod and Paul’s letters, the latter of which set the parameters for much subsequent Western thinking on the topic, the course’s theoretical center will be the critical appropriation of hope in the Enlightenment by Immanuel Kant, who viewed it as a matter of practical belief in the possibility of change from human agents themselves and not a dogmatic claim about faith in salvation from outside the empirical world. Most of the course readings that follow concern various ways of responding to the problematic of political hope as Kant frames it: we will read, among other things, Ernst Bloch’s Marxism, William James’ and John Dewey’s Pragmatism, and Nietszche’s and Schopenhauer’s attacks on Kant’s philosophy of history alike. Later weeks of the course turn to more practically-oriented works on or of hope, including Whitman’s Democratic Vistas, several pieces of Liberation Theology, and Vaclav Havel’s The Power of the Powerless. Attendance is mandatory. Some prior knowledge in philosophy or political theory is recommended but not required. Final grade will be based on written work and class participation. Short midterm paper and long final paper.

SEMINAR: TOPICS IN LITERARY

THEORY

01:353:492

01 MW5 CAC 50751 MCCLURE MU-115 01-Vitalism Vitalism, broadly speaking, is a school of thought that celebrates energy over order, flows over fixities. For vitalists, then, the good life is identified with the freest possible flow of creative powers, passions, and other life energies. In philosophy, vitalism is identified with figures such as Friedrich Nietzsche, Henri Bergson, and more recently, Herbert Marcuse and Gilles Deleuze. In literature, it is identified with poets such as

William Blake, Walt Whitman, and Allen Ginsberg and novelists such as Emily Bronte, D.H. Lawrence, Henry Miller, Jack Kerouac, Norman Mailer, and Thomas Pynchon. There is a vitalist strand in Eastern thought as well, and it has entered the Western imagination through translations of Taoist and Buddhist poetry and philosophy. In this course, we’ll study philosophical formulations of vitalism by Nietzsche, Deleuze and others and works of literature by William Blake, Emily Bronte, Walt Whitman, Jack Kerouac, Thomas Pynchon, Tony Kushner, and others. We’ll seek to clarify what is at stake in the vitalist privileging of flows over fixities; to distinguish different strands of vitalist thought; to understand the ethical, political, and ecological implications of these strands; and to identify vitalism’s characteristic voices, the different styles by which its vision of things is expressed. One short preliminary paper, a mid-term exam, and a substantial term paper. Regular attendance required

354 ENGLISH FILM

STUDIES

INTRODUCTION TO FILM

01:354:201

01 MW5 CAC 45654 BELTON MI-100 M7, 8 FILM SCREENING MI-100 This course introduces students to the basic elements of film form, ranging from mise-en-scene (lighting, framing, composition, camera movement, etc.) and editing (continuity editing, alternatives to continuity editing) to sound (diegetic, non-diegetic sound). Films to be screened include those directed by Hitchcock, Welles, Renoir, Lang, Bresson, Godard, Lee, Lynch and others. Requirements include two exams (a mid-term and a final), as well as two papers (one 3-5 pages; one 5-8 pages).

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INTRODUCTION TO FILM

01:354:202

01 MW6 CAC 44983 KOSZARSKI MU-301 W 7,8 CAC FILM SCREENING MU-301 Students are strongly advised to have taken Intro to Film 354:201. The text, "Looking at Movies," by Richard Barsam, addresses the question of how cinematic devices are used to create meaning and clarify relationships in narrative film. The class will examine a wide range of films, including the work of Welles, Kubrick, Dreyer, Scorsese, Godard and others, to examine how such elements as montage and mise en scene express the individual style of each filmmaker. Quizzes and final exam. Classroom and film screening attendance is mandatory.

SCREENWRITING

01:354:308

01 M 2,3 48165 TRAVERS MU -002 02 M 7,8 48543 TRAVERS MU-002 03 TH 2, 3 48699 PEARLSTEIN MU-002 04 W 2,3 51712 PEARLSTEIN MU-002 05 F 4,5 52618 NUTT MU-002 01-03, 05 This course is intended to introduce students to the basics of screenwriting, including: dramatic action, story, structure and character.

04- Writing for Television In this course students will be introduced to the basics of professional TV writing. Through the analysis of Sitcoms, Hour Dramas and Comedy Sketches students will become familiar with all of the fundamentals of a strong teleplay. Group and individual exercises will lead each student to create an outline, a treatment and then a complete draft of a television show in whichever style they choose. Focus will be placed on all of the major dynamics of a strong dramatic structure. The group will explore topics such as Finding Stories, Working with a Cast of Characters, Scene Structures, Dramatic Tension, Writing Dialogue and Creating Satisfactory Resolutions. A range of classic and contemporary television programs will be studied including the works of Norman Lear, Susan Harris, MTM Productions, Stephen Bochco, Sid Caesar, Tina Fey and Dave Chappelle.

AMERICAN CINEMA II

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01 MW6 CAC 51335 BELTON MI-100 W 7,8 FILM SCREENING MI-100

A survey of American cinema from the mid 1940s to the present. Designed as a history of American cinema, this course will focus on the way in which the movies express the conflicting forces which shape American experience and identity. Some attention will be paid to the institutional aspects of the film industry, such as the studio system, the star system, and the "system" of genres. But the chief focus of the course will be upon the study of

individual films and the way in which they

represent or deal with larger cultural concerns.

We will screen films directed by Frank Capra, Nicholas Ray, John Ford, Arthur Penn, Terence Malick, Steven Spielberg, Brian De Palma, Martin Scorsese, David Fincher, and others.

Requirements: two 5-8 page papers and a final exam

FILM GENRES

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01 MW4 CAC 54504 KOSZARSKI MU-301 M7,8 FILM SCREENING MU-301 Film noir has variously been described as a genre, a movement, an historical period or a state of mind. This semester we will examine not only the classic noir era of the 1940s and early 1950s, but European and American precursors in film and literature, as well as the subsequent neo-noir revival. Two papers required.

SPECIAL TOPICS IN FILM STUDIES

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01 TTH4 CAC 54505

FLITTERMAN-LEWIS MI-100 T 7,8 FILM SCREENING MI-100 01-History & Memory in Cinema: France in WWII In recent years there has been an exciting resurgence of interest in the complex and disturbing period in France known as the “dark years” of World War II. This course will look at daily life, especially that of women and children, through the prism of the cinema, using popular films of the time and those more current films that

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“return to the scene” to explore issues of memory, identity, trauma, and history. We will look at films of the period and those preceding it in the heady days of the Popular Front of the 30s. We will then consider contemporary films about that time of German Occupation and Vichy France, as modern filmmakers grapple with ways to represent both historical reality and what some have called “the unrepresentable”—the horrors of persecution and deportation—in an effort to add a moral and ethical dimension to the cinematic representation of history. Films to be screened may include documentaries (Alain Resnais’s Night and Fog, Marcel Ophuls’s Hotel Terminus, Mosco Boucault’s Terrorists in Retirement, and Lisa Gossels and Dean Wetherell’s Children of Chabannes) and feature fiction films of the period (Jean Renoir’s The Crime of Monsieur Lange, Henri-Georges Clouzot’s Le Corbeau, and Jean-Pierre Melville’s Le Silence de la Mer), as well as contemporary films (Louis Malle’s Au Revoir Les Enfants, and Lacombe Lucien, Francois Truffaut’s The Last Metro, Melville’s Army of Shadows, Bertrand Tavernier’s Safe Conduct, Claude Miller’s A Secret, Joseph Losey’s Monsieur Klein, Martine Dugowson’s Mina Tannenbaum, Claude Berri’s The Two of Us, Claude Chabrol’s Story of Women, Alain Resnais’s Hiroshima Mon Amour, and Jean-Luc Godard’s Notre Musique.