English Department

Requirements for Concentration: A minimum of twelve units, comprising either eleven graded units and an ungraded senior tutorial, or twelve graded units including a 300-level seminar taken in the senior year. Four units must be elected at the 300-level. At least six units, including either the senior tutorial or the 300-level senior seminar must be taken at Vassar. No AP credit or course taken NRO may be counted toward the requirements for the major.

Distribution Requirements: Majors are required to take two units of work in literature written before 1800 and one unit of work in literature written before 1900.

They must also take one course that focuses on issues of race, gender, sexuality, or ethnicity.

These courses must be taken at either the 200- or 300-level.

Recommendations: English 101 and 170 are strongly recommended as foundational courses, and students are also strongly encouraged to work from the 200 to the 300-level in at least one field of study. Acquaintance with a classical language (Latin or Greek) or with one or more of the languages especially useful for an understanding of the history of English (Old English, German, or French) is useful, as are appropriate courses in philosophy, history, and other literatures.

Further information: Applicants for English 209-210 (Narrative Writing), English 211-212 (Verse Writing), and English 305-306 (Senior Composition), must submit samples of their writing before spring break. Applicants for English 203 (These American Lives: New Journalisms) and English 307 (Senior Writing Seminar) must submit samples of their writing before fall pre-registration. Details about these deadlines, departmental procedures, and current information on course offerings may be found in the Alphabet Book available in the department office or online at the department website.

Correlate Sequences in English: The department offers seven correlates in English. Race and Ethnicity; Theory, Criticism and Transnational Studies; Poetry and Poetics; Literary Forms; British Literary History; American Literary History and Creative Writing. A minimum of six units is required for the correlate sequence. Further information is in the Alphabet Book as well.

I. Introductory

101a or b. The Art of Reading and Writing (1)

Development of critical reading in various forms of literary expression, and regular practice in different kinds of writing. The content of each section varies; see the Freshman Handbook for descriptions. The department.

Open only to freshmen; satisfies college requirement for a Freshman Writing Seminar.

Although the content of each section varies, this course may not be repeated for credit; see the Freshman Handbook for descriptions.

170a or b. Approaches to Literary Studies (1)

Each section explores a central issue, such as "the idea of a literary period," "canons and the study of literature," "nationalism and literary form," or "gender and genre" (contact the department office for 2012/13 descriptions). Assignments focus on the development of skills for research and writing in English, including the use of secondary sources and the critical vocabulary of literary study. The department.

Open to freshmen and sophomores, and to others by permission; does not satisfy college requirement for a Freshman Writing Seminar.

English 174-179 - Special Topics

Courses listed under these numbers are designed to offer a wide audience a variety of literary subjects that are seldom taught in regularly offered courses. The courses are six weeks in length, held during the second half of the semester, and the subjects they cover vary from year to year. Enrollment is unlimited and open to all students. Instructors lecture when the classes are too large for the regular seminar format favored in the English department. Does not satisfy the Freshman Writing Seminar requirement. These courses are ungraded and do not count toward the major. They may be repeated when the topic changes.

174a and b. Poetry and Philosophy: The Ancient Quarrel (1/2)

Topic for 2012/13a&b: Poetry and Philosophy: The Ancient Quarrel. When Plato famously banished poets from his ideal Republic, he spoke of an ancient quarrel between poetry and philosophy. That argument has continued, in various forms, down to the present, culminating in Heidegger's notorious question, "What are poets for?" This six-week course looks at a number of key texts in this contentious history, along with exemplary poems that illustrate the issues. Writers include Plato, Aristotle, Dante, Shelley, Wordsworth, Wilde, Eliot, Blanchot, Derrida, and others. Mr. Kane.

No specialized knowledge of poetry or philosophy required.

The class is ungraded.

Two 75-minute periods.

177a and b. William Carlos Williams (1/2)

Topic for 2012/13a&b: William Carlos Williams: Doctor/Poet/Writer. Ms. Wallace.

II. Intermediate

Prerequisite: open to sophomores, juniors, and seniors with one unit of 100-level work or by permission of the associate chair. Students applying for permission to elect 200-level work must present samples of their writing to the associate chair. Freshmen with AP credit may elect 200-level work after consultation with the department and with the permission of the instructor. First-year students who have completed English 101 may elect 200-level work with permission of the instructor. Intermediate writing courses are not open to Freshmen.

203b. These American Lives: New Journalisms (1)

(Same as American Culture 203) This course examines the various forms of journalism that report on the diverse complexity of contemporary American lives. In a plain sense, this course is an investigation into American society. But the main emphasis of the course is on acquiring a sense of the different models of writing, especially in longform writing, that have defined and changed the norms of reportage in our culture. Students are encouraged to practice the basics of journalistic craft and to interrogate the role of journalists as intellectuals (or vice versa). Mr. Kumar.

Not open to first-year students.

Prerequisite: permission of the instructor.

Applicants to the course must submit samples of original nonfiction writing (two to five pages long) and a statement about why they want to take the course. Deadline for submission of writing samples one week after October break.

205a or b. Composition (1)

Study and practice of various forms of prose and poetry. Reading and writing assignments may include prose fiction, journals, poetry, drama, and essays. The a-term course is open by special permission to sophomores regardless of major, in order of draw numbers, and to juniors and seniors, in order of draw numbers, with priority given to English majors. The b-term course is open by special permission to sophomores, juniors, and seniors, in order of draw numbers, with priority given to English majors. To gain special permission, students must fill out a form in the English department office during pre-registration.

One 2-hour period and individual conferences with the instructor.

206a and b. Composition (1)

Open to any student who has taken English 205 or 207.

Special permission is not required.

One 2-hour period and individual conferences with the instructor.

207b. Literary Nonfiction (1)

Study and practice of literary nonfiction in various formats. Reading and writing assignments may include personal, informal, and lyric essays, travel and nature writing; and memoirs. Frequent short writing assignments. Ms. Mark.

One 2-hour period and individual conferences with the instructor.

208a. Literary Nonfiction (1)

Development of the student's abilities as a reader and writer of literary nonfiction, with emphasis on longer forms. Mr. Hsu.

Prerequisite: open to students who have taken any of the other 200-level writing courses in English or by permission of the instructor.

One 2-hour period and individual conferences with the instructor.

209a. Narrative Writing (1)

Development of the student's abilities as a writer and reader of narrative, with particular emphasis on the short story. Mr. Means.

Yearlong course 209-210.

Deadline for submission of writing samples is before spring break.

One 2-hour period and individual conferences with the instructor.

210b. Narrative Writing (1)

Development of the student's abilities as a writer and reader of narrative, with particular emphasis on the short story. Mr. Means.

Yearlong course 209-210.

Deadline for submission of writing samples is before spring break.

One 2-hour period and individual conferences with the instructor.

211a. Verse Writing (1)

Development of the student's abilities as a writer and reader of poetry. Ms. McGlennen.

Yearlong course 211-212.

Deadline for submission of writing samples is before spring break.

One 2-hour period and individual conferences with the instructor.

212b. Verse Writing (1)

Development of the student's abilities as a writer and reader of poetry. Ms. McGlennen.

Yearlong course 211-212.

Deadline for submission of writing samples is before spring break.

One 2-hour period and individual conferences with the instructor.

213. The English Language (1)

Study of the history of English from the fifth century to the present, with special attention to the role of literature in effecting as well as reflecting linguistic change. Treatment of peculiarly literary matters, such as poetic diction, and attention to broader linguistic matters, such as phonology, comparative philology, semantics, and the relationship between language and experience.

214b. Process, Prose, Pedagogy (1)

(Same as College Course 214) This course introduces the theoretical and practical underpinnings of writing and teaching writing. Students interrogate writing's place in the academy, discuss writing process from inception to revision, and share their own writing and writing practices. The course offers an occasion to reflect on and strengthen the students' own analytical and imaginative writing and heighten the ability to talk with others about theirs. Students are asked to offer sustained critical attention to issues of where knowledge resides and how it is shared, to interrogate the sources of students' and teachers' authority, to explore their own education as writers, to consider the possibilities of peer-to-peer and collaborative learning, and to give and receive constructive criticism. Texts may include Roland Barthes' The Death of the Author, Paolo Freire's Pedagogy of the Oppressed, and Stephen King's On Writing, as well as handbooks on peer consulting. 
Students who successfully complete this class are eligible to interview for employment as consultants in the Writing Center. Mr. Schultz. (English; Director, Writing Center) 

By special permission.

Prerequisite: Freshman Writing Seminar.

215a. Pre-modern Drama: Text and Performance before 1800(1)

Study of selected dramatic texts and their embodiment both on the page and the stage. Authors, critical and theoretical approaches, dramatic genres, historical coverage, and themes may vary from year to year.

Topic for 2012/13a: Vile, Outrageous Crimes. Study of “most foul, strange, and unnatural” acts of transgression in selected plays created between the 1590s and the 1670s. In addition to Shakespeare's Titus Andronicus and Richard III, we discuss works by Marlowe, Jonson, Middleton, Rowley, Webster, Ford, and Wycherley. We also read selected theoretical texts by Benjamin, Girard, Agamben, and others. We pay particular attention to the performative aspects of our discussed plays: we perform selected scenes as well as view and discuss a theater production staged at Vassar or in our larger area. Mr. Márkus.

Two 75-minute periods.

216b. Modern Drama: Text and Performance after 1800 (1)

Study of modern dramatic texts and their embodiment both on the page and the stage. Authors, critical and theoretical approaches, dramatic genres, historical coverage, and themes may vary from year to year.

Topic for 2012/13b: 20th Century American Drama: Dysfunctional Families. This course explores modern American plays that present debacles in the private sphere and its most widely accepted, codified, and institutionalized social manifestation: the family. As a site of incessant conflicts and negotiations between the individual and the other, and between the intimate and the public, the family offers an ideal framework and subject matter for commentary on a variety of moral and social issues. Through an overview of twentieth-century American drama, this course pays particular attention to the vestiges of the American Dream in a range of dramatic representations of dysfunctional families. As a survey with a special focus, the course may include plays by Lillian Hellman, Eugene O’Neill, Tennessee Williams, Lorraine Hansberry, Edward Albee, Mart Crowley, Sam Shepard, Marsha Norman, August Wilson, David Henry Hwang, and Suzan-Lori Parks. We also read selected theoretical texts about the role and significance of family in the twentieth century. Mr. Márkus.

Two 75-minute periods.

217a. Literary Theory and Interpretation (1)

English 217 is an introduction to literary theory and related critical practices. Sometimes, literary theory focuses on the history of literary criticism. This is not that course. As an introduction to the foundational criticism and new theories that have revolutionized literary study since 1945, we read classic texts from linguistics, structuralism, formalism, psychoanalysis, historicism, and Marxism as well as cutting-edge theory: deconstruction, post-colonial criticism, culture studies, gay-ethnic-film studies. We read Foucault, Benjamin, Bakhtin, Jakobson, Freud, Lacan, Levi-Strauss, Derrida, Gayle Rubin, Fanon, Said, and many others. Ms. Graham.

Two 75-minute periods.

218a. Literature, Gender, and Sexuality (1)

(Same as Africana Studies and Women's Studies 218) This course considers matters of gender and sexuality in literary texts, criticism, and theory. The focus varies from year to year, and may include study of a historical period, literary movement, or genre; constructions of masculinity and femininity; sexual identities; or representations of gender in relation to race and class.

Topic for 2012/13a: Queer of Color Critique. This course considers what interventions the construction “queer of color” makes possible for queer theory, LGBT scholarship and activism, and different models of ethnic studies. We will assess the value and limitations of queer theory’s “subjectless critique” in doing cultural and political work. What kind of complications (or contradictions) does the notion “queer of color” present for subjectless critique? How might queer of color critique inform political organizing? Particular attention will be devoted to how “queer” travels. Toward this end, students will determine what conflicts are presently shaping debates around sexuality in their own communities and consider how these debates may be linked to different regional, national or transnational politics. Throughout the semester, we evaluate what "queer" means and what kind of work it enables. Is it an identity or an anti-identity? A verb, a noun, an adjective? An analytic mode or a kind of literacy? Mr. Perez.

Topic for 2012/13b: Black Feminism. Meeting at the intersection between race, gender, sexuality, class and region, we explore how black women in the United States engage, contradict, and redefine notions of American "feminism" and "womanhood." In this course we read memoirs, fiction, essays and theory, listen to music and watch films by and about African-American women in order to explore black female articulations of self and community in the face of various structures that seek to oppress both. In addition to an exploration of black feminist thought, you are asked to articulate your intellectual and personal negotiation of the course materials. Ms. Dunbar.

Two 75-minute periods.

222. Founding of English Literature (1)

These courses, English 222 and 223, offer an introduction to British literary history through an exploration of texts from the eighth through the seventeenth centuries in their literary and cultural contexts. English 222 begins with Old English literature and continues through the death of Queen Elizabeth I (1603). English 223 begins with the establishment of Great Britain and continues through the British Civil War and Puritan Interregnum to the Restoration. Critical issues may include discourses of difference (race, religion, gender, social class); tribal, ethnic, and national identities; exploration and colonization; textual transmission and the rise of print culture; authorship and authority. Both courses address the formation and evolution of the British literary canon, and its significance for contemporary English studies.

Not offered in 2012/13.

223b. The Founding of English Literature (1)

These courses, English 222 and 223, offer an introduction to British literary history through an exploration of texts from the eighth through the seventeenth centuries in their literary and cultural contexts. English 222 begins with Old English literature and continues through the death of Queen Elizabeth I (1603). English 223 begins with the establishment of Great Britain and continues through the British Civil War and Puritan Interregnum to the Restoration. Critical issues may include discourses of difference (race, religion, gender, social class); tribal, ethnic, and national identities; exploration and colonization; textual transmission and the rise of print culture; authorship and authority. Both courses address the formation and evolution of the British literary canon, and its significance for contemporary English studies. Topic for 2012/13b:From the Faerie Queene to The Country Wife: Introduction to Early Modern Literature and Culture. This is a thematically organized “issues and methods” course grafted onto a chronologically structured survey course of early modern literature and culture. Its double goal is to develop skills for understanding early modern texts (both the language and the culture) as well as to familiarize students with a representative selection of works from the mid-1500s through the late 1600s. With this two-pronged approach, we will acquire an informed appreciation of the early modern period that may well serve as the basis for pursuing more specialized courses in this field. We explore a great variety of genres and media, including canonical authors such as Spenser, Sidney, Shakespeare, Donne, and Milton, but we also attend to less well-known authors, many of them women, through whose writings we can achieve a more nuanced and complex understanding of the times. By paying special attention to correlations between literature and other discourses, as well as to issues of cultural identity and difference based on citizenship, class, ethnicity, gender, geography, nationality, race, and religion, we engage early modern literature and culture in ways that are productive to the understanding of our own culture as well. Mr. Márkus.

Please note that English 222 is not a prerequisite for this course; it is open to all students, including freshmen.

Two 75-minute periods.

225a. American Literature, Origins to 1865 (1)

Study of the main developments in American literature from its origins through the Civil War: including Native American traditions, exploration accounts, Puritan writings, captivity and slave narratives, as well as major authors from the eighteenth century (such as Edwards, Franklin, Jefferson, Rowson, and Brown) up to the mid-nineteenth century (Irving, Cooper, Poe, Emerson, Hawthorne, Fuller, Stowe, Thoreau, Douglass, Melville, Whitman, and Dickinson). Mr. Antelyes.

226b. American Literature, 1865-1925 (1)

Study of the major developments in American literature and culture from the late nineteenth to the early twentieth century. Literary movements such as realism, naturalism, regionalism, and modernism are examined, as well as literatures of ethnicity, race, and gender. Works studied are drawn from such authors as Twain, Howells, James, Jewett, Chestnutt, Chopin, Crane, London, Harte, DuBois, Gilman, Adams, Wharton, Dreiser, Pound, Eliot, Stein, Yezierska, Fitzgerald, Hemingway, O'Neill, Frost, H. D., and Toomer. Ms. Graham.

227. The Harlem Renaissance and its Precursors (1)

(Same as Africana Studies 227) This course places the Harlem Renaissance in literary historical perspective as it seeks to answer the following questions: In what ways was "The New Negro" new? How did African American writers of the Harlem Renaissance rework earlier literary forms from the sorrow songs to the sermon and the slave narrative? How do the debates that raged during this period over the contours of a black aesthetic trace their origins to the concerns that attended the entry of African Americans into the literary public sphere in the eighteenth century?

228. African American Literature, "Vicious Modernism" and Beyond (1)

(Same as Africana Studies 228) In the famous phrase of Amiri Baraka, "Harlem is vicious/ Modernism." Beginning with the modernist innovations of African American writers after the Harlem Renaissance, this course ranges from the social protest fiction of the 1940s through the Black Arts Movement to the postmodernist experiments of contemporary African American writers.

229. Asian-American Literature, 1946-present (1)

This course considers such topics as memory, identity, liminality, community, and cultural and familial inheritance within Asian-American literary traditions. May consider Asian-American literature in relation to other ethnic literatures.

Not offered in 2012/13.

230a. Latina and Latino Literature (1)

(Same as Latin American and Latino/a Studies 230) This literature engages a history of conflict, resistance, and mestizaje. For some understanding of this embattled context, we examine transnational migration, exile, assimilation, bilingualism, and political and economic oppression as these variously affect the means and modes of the texts under consideration. At the same time, we emphasize the invented and hybrid nature of Latina and Latino literary and cultural traditions, and investigate the place of those inventions in the larger framework of American intellectual and literary traditions, on the one hand, and pan-Latinidad, on the other. Authors studied may include Americo Paredes, Piri Thomas, Cherrie Moraga, Richard Rodriguez, Michelle Serros, Cristina Garcia, Ana Castillo, and Junot Diaz. Mr. Perez.

231. Native American Literature (1)

Drawing from a wide range of traditions, this course explores the rich heritage of Native American literature. Material for study may comprise oral traditions (myths, legends, place naming and story telling) as well as contemporary fiction, non-fiction and poetry. Authors may include Zitkala Sa, Black Elk, N. Scott Momaday, Leslie Silko, Louise Erdrich, Simon Ortiz, Sherman Alexie, and Joy Harjo.

Not offered in 2012/13.

235a. Old English (1)

Introduction to Old English language and literature. Mr. Amodio.

236b. Beowulf (1)

Intensive study of the early English epic in the original language.

Prerequisite: English 235 or demonstrated knowledge of Old English, or permission of the instructor. Mr. Amodio.

237. Chaucer (1)

The major poetry, including The Canterbury Tales.

Not offered in 2012/13.

238b. Middle English Literature (1)

Studies in late medieval literature (1250-1500), drawing on the works of the Gawain-poet, Langland, Chaucer, and others. Genres studied may include lyric, romance, drama, allegory, and vision. Ms. Kim.

240a or b. Shakespeare (1)

Study of some representative comedies, histories, and tragedies. Ms. Robertson - a, Ms. Dunn - b.

Not open to students who have taken English 241-242.

241a. Shakespeare (1)

(Same as Drama 241-242) Study of a substantial number of the plays, roughly in chronological order, to permit a detailed consideration of the range and variety of Shakespeare's dramatic art. Mr. Foster.

Yearlong course 241-242.

Not open to students who have taken English 240.

242b. Shakespeare (1)

(Same as Drama 241-242) Study of a substantial number of the plays, roughly in chronological order, to permit a detailed consideration of the range and variety of Shakespeare's dramatic art. Mr. Foster.

Yearlong course 241-242.

Not open to students who have taken English 240.

245a. Pride and Prejudice: British Literature from 1640-1745 (1)

Study of various authors who were influential in defining the literary culture and the meaning of authorship in the period. Authors may include Aphra Behn, John Dryden, Anne Finch, John Gay, Eliza Haywood, Mary Leapor, Katherine Philips, Alexander Pope, Jonathan Swift, and Lady Mary Wortley Montagu. Mr. DeMaria.

246b. Sense and Sensibility: British Literature from 1745-1798(1)

Study of the writers who represented the culmination of neoclassical literature in Great Britain and those who built on, critiqued, or even defined themselves against it. Authors may include Samuel Johnson, James Boswell, Edmund Burke, William Beckford, William Cowper, Olaudah Equiano, Hester Thrale Piozzi, Mary Wollstonecraft, Ann Radcliffe, Anne Yearsley, and Hannah More. Ms. Park.

247b. Eighteenth-Century British Novels (1)

Readings vary but include works by such novelists as Defoe, Richardson, Fielding, Smollett, Sterne, and Austen. Ms. Park.

248b. The Age of Romanticism, 1789-1832 (1)

Study of British literature in a time of revolution. Authors may include such poets as Blake, Wordsworth, and Keats; essayists such as Burke, Wollstonecraft, Hazlitt, Lamb, and DeQuincey; and novelists such as Edgeworth, Austen, Mary Shelley, and Scott. Mr. Sharp.

249. Victorian Literature: Culture and Anarchy (1)

Study of Victorian culture through the prose writers of the period. This course explores the strategies of nineteenth-century writers who struggled to find meaning and order in a changing world. It focuses on such issues as industrialization, the woman question, imperialism, aestheticism, and decadence, paying particular attention to the relationship between literary and social discourses. Authors may include nonfiction prose writers such as Carlyle, Ruskin, Arnold, Pater, and Wilde as well as fiction writers such as Disraeli, Gaskell, Dickens, Mary Elizabeth Braddon, George Eliot, and Arthur Conan Doyle.

Not offered in 2012/13.

250a. Victorian Poets (1)

A study of major English poets in the period 1830 to 1900, with special emphasis on the virtuosity and innovations of Alfred, Lord Tennyson and Robert Browning. Other poets include Elizabeth Barrett Browning, Emily Brontë, Matthew Arnold, Dante Gabriel Rossetti, Christina Rossetti, William Morris, Algernon Swinburne, Gerard Manley Hopkins, Michael Field (Katherine Bradley and Edith Cooper), and Thomas Hardy. Consideration will be given to Pre-Raphaelite art and to contemporaneous works of literary criticism. Mr. Kane.

251a. Topics in Black Literatures (1)

This course considers Black literatures in all their richness and diversity. The focus changes from year to year, and may include study of a historical period, literary movement, or genre. The course may take a comparative, diasporic approach or may examine a single national or regional literature.

Topic for 2012/13a. Narrative, Black Existence, and the Self beyond the Problem. (Same as Africana Studies 251) "How does it feel to be a Problem?" With this question, W.E.B. DuBois opened The Souls of Black Folk, his lengthy meditation on the condition of African Americans in the modern era. No doubt DuBois saw the white Victorian readers who would constitute the bulk of his audience as problematic. To that moment in history, these readers had forestalled black admission to modernity by means of plantation slavery and other forms of underpaid peonage. But his question was not so much directed at this audience as it was an attempt to ventriloquize its sentiments towards blacks. It was blacks who functioned as modernity's existential riddle and modernity's deliverance would depend on how Western societies would creatively answer this query. Yet in this question there was also a challenge issued to the black readers of his book. Dubois's query pointed to an existential crisis in which most blacks were mired. After years of epochal discomfort, it appeared that blacks hardly knew who they were outside of modernity's gaze. What did blacks see when they looked at themselves? Were they impressed? sanguine? troubled? terrified? This course takes as its organizing premise that much of black writing has engaged Dubois's question about black existence-not only what it means to live life as an object for others, but also what it means to live life as a subject for one's self--with a great deal of urgency. As a consequence, it will feature narratives that seek to respond to this complex query with its due complexity. Works like Dubois's Souls, Paul Gilroy's Black Atlantic, and Saidiya Hartman's Scenes of Subjection will serve as theoretical guides as we analyze some of the following works, Equiano's Interesting Narrative of the Life of Gustavus Vassav, Frances Harper'sContending Forces, Dorothy West's The Living is Easy, Jean Toomer's Cane, James Baldwin's Another Country, August Wilson's Fences, Toni Cade Bambara's Salt Eaters, Lorraine Hansberry's Les Blancs, David Bradley's The Chaneysville Incident, Gloria Naylor's Bailey's Cafe, Charles Johnson's Middle Passage, Adrienne Kennedy's Sleep Deprivation Chamber, Toni Morrison's Paradise, and Aaron McGruder's The Boondocks. Necessarily the course will address ideas of the social. We will consider topics like colorism, religion, class difference, sexuality, nationalism, urban life, migration, violence, and the oral tradition. Mr. Simpson.

252a. Writing the Diaspora: Verses/Versus (1)

(Same as Africana Studies 252) Black American cultural expression is anchored in rhetorical battles and verbal jousts that place one character against another. From sorrow songs to blues, black music has always been a primary means of cultural expression for African Americans, particularly during difficult social periods and transition. Black Americans have used music and particularly rhythmic verse to resist, express, and signify. Nowhere is this more evident than in hip hop culture generally and hip hop music specifically. This semester's Writing the Diaspora class concerns itself with close textual analysis of hip-hop texts. Is Imani Perry right in claiming that Hip Hop is Black American music, or diasporic music? In addition to close textual reading of lyrics, students are asked to create their own hip-hop texts that speak to particular artists/texts and/or issues and styles raised. Mr. Laymon.

Prerequisite: one course in literature or Africana Studies.

Not offered in 2012/13.

253. Topics in American Literature (1)

The specific focus of the course varies each year, and may center on a literary movement (e.g., Transcendentalism, the Beats, the Black Mountain School), a single work and its milieu (e.g., Moby-Dick and the American novel, Call It Sleep and the rise of ethnic modernism); a historical period (e.g., the Great Awakening, the Civil War), a region (e.g., Southern literature, the literature of the West), or a genre (e.g., the sentimental-domestic novel, American satire, the literature of travel/migration, American autobiography, traditions of reportage, American environmentalist writing).

Two 75-minute periods.

Not offered in 2012/13.

255a. Nineteenth-Century British Novels (1)

Readings vary but include works by such novelists as Scott, Dickens, Thackeray, the Brontës, Trollope, George Eliot, and Hardy. Ms. Zlotnick.

256. Modern British and Irish Novels (1)

Significant twentieth-century novels from Great Britain and Ireland.

257b. The Novel in English after 1945 (1)

The novel in English as it has developed in Africa, America, Australia, Canada, the Caribbean, Great Britain, India, Ireland, and elsewhere. Mr. Crawford.

Two 75-minute periods.

260. Modern British Literature, 1901-1945 (1)

Study of representative modern works of literature in relation to literary modernism. Consideration of cultural crisis and political engagement, with attention to the Great War as a subject of memoir, fiction, and poetry, and to the new voices of the thirties and early forties. Authors may include Hardy, Yeats, Eliot, Lawrence, Woolf, Conrad, Graves, Vera Brittain, Rebecca West, Orwell, and Auden.

Not offered in 2012/13.

261a. Literatures of Ireland (1)

Authors, genres, themes and historical coverage may vary from year to year. Readings may range from the Táin Bó Cuailnge (Cattle Raid of Cooley) and other sagas; to Anglo-Irish authors of various periods, including Swift, Goldsmith, Thomas Moore, Maria Edgeworth, George Bernard Shaw and Oscar Wilde; to the writers of the Irish literary revival, including Roger Casement, Lady Gregory, Padraic O'Conaire, Pádraig Mac Piarais, Synge, and Yeats; to modernists Joyce, Beckett, Flann O'Brien, and Elizabeth Bowen; to contemporary Irish poets, novelists, dramatists, and musicians. Ms. Kane.

262a. Postcolonial Literatures (1)

Study of contemporary literature written in English from Africa, Australia, Canada, the Caribbean, the Indian subcontinent and elsewhere. Readings in various genres by such writers as Chinua Achebe, Margaret Atwood, Janet Frame, Nadine Gordimer, V. S. Naipaul, Salman Rushdie, Derek Walcott, Patrick White. Some consideration of post-colonial literary theory.

Topic for 2012/13a: Transnational Anglophone Literatures. This introduction to Anglophone post-colonial drama, verse, and prose will examine the works in specific historical and theoretical contexts. We will explore eighteenth- and nineteenth-century imperial fantasies before focusing on twentieth-century writers from or in areas formerly colonized by the British. As the course follows this--necessarily selective--historical-literary scheme, it will touch upon important themes, theories, and questions. Among the topics we will consider are anti-colonialism, nationalism, decolonization, and recent critiques of their limitations, particularly by women; the meanings and inadequacies of the term "post-colonial"; its relationship to modernity and to literary post-modernism; the political implications of language choice; questions of authenticity in relation to class and geography; the link between territory and genre; and the influence of metropolitan publishing on the creation of post-colonial literatures. Among the writers that we may read are Wole Soyinka, Zadie Smith, Salman Rushdie, Martin McDonagh, and George Lamming. Ms. Kane.

Two 75-minute periods.

265. Selected Author (1)

Study of the work of a single author. The work may be read in relation to literary predecessors and descendants as well as in relation to the history of the writer's critical and popular reception. This course alternates from year to year with English 365.

Not offered in 2012/13.

275b. Caribbean Discourse (1)

(Same as Africana Studies 275) Study of the work of artists and intellectuals from the Caribbean. Analysis of fiction, non-fiction, and popular cultural forms such as calypso and reggae within their historical contexts. Attention to cultural strategies of resistance to colonial domination and to questions of community formation in the post-colonial era. May include some discussion of post-colonial literary theory and cultural studies. Ms. Yow.

277. Sea-Changes: Caribbean Rewritings of the British Canon (1)

(Same as Africana Studies 277) From William Shakespeare's The Tempest to James Joyce's Ulysses, the classic texts of the British literary canon have served as points of departure for Caribbean writers seeking to establish a dialogue between a colonial literary tradition and post-colonial national literatures. This course addresses the many re-writings of British texts by Caribbean authors from Roberto Fernandez Retamar's Caliban to Jamaica Kincaid's The Autobiography of My Mother. Texts may include Jean Rhys's Wide Sargasso Sea, V.S. Naipaul's Guerillas, Micelle Cliff's Abengand No Telephone to Heaven, Maryse Conde's Windward Heights, and Riosario Ferre'sSweet Diamond Dust.

Not offered in 2012/13.

290a or b. Field Work (1/2 or 1)

Prerequisite: 2 units of 200-level work in English, and permission of the associate chair. 1 unit of credit given only in exceptional cases.

298a or b. Independent Study (1/2 or 1)

Prerequisite: 2 units of 200-level work in English, and permission of the associate chair. 1 unit of credit given only in exceptional cases.

III. Advanced

Prerequisite: Open to Juniors and Seniors with 2 units of 200-level work in English, or by permission of the instructor.

300a or b. Senior Tutorial (1)

Preparation of a long essay (40 pages) or other independently designed critical project. Each essay is directed by an individual member of the department.

Special permission.

302b. Adaptations (1)

(Same as College Course and Media Studies 302) If works of art continue each other, as Virginia Woolf suggested, then cultural history accumulates when generations of artists think and talk together across time. What happens when one of those artists radically changes the terms of the conversation by switching to another language, another genre, another mode or medium? What constitutes a faithful adaptation? In this course we briefly consider the biological model and then explore analogies across a wide range of media. We begin with Metamorphoses, Ovid's free adaptations of classical myths, and follow Medea and Orpheus through two thousand years of theater (from Euripides to Anouilh, Williams, and Durang); paintings (Greek vases and Pompeian walls to Dürer, Rubens, Poussin, Denis, and Klee); film and television (Pasolini, von Trier, Cocteau, Camus); dance (Graham, Balanchine, Noguchi, Bausch); music (Cavalli, Charpentier, Milhaud, Barber, Stravinsky, Birtwistle, Glass); narratives and graphic narratives (Woolf, Moraga, Pynchon, Gaiman); verse (Rilke, Auden, Milosz); and computer games (Mutants and Masterminds, Fate/stay night). We may also analyze narratives and graphic narratives by Clowes, Collins, Ishiguro, Groening, Joyce, Lahiri, Malcolm X, Mann, Millhauser, Nabokov, Pekar, Shakespeare, Spiegelman, Swift, Tanizaki, and Wilde; films by Bharadwaj, Berman/Pucini, Camus, Dangarembga, Ichikawa, Ivory, Kubrick, Kurosawa, Lee, Lyne, Mendes, Nair, Sembene, Visconti, and Zwigoff-, remixes by DJ Spooky and Danger Mouse; sampling; cover bands, tribute bands; Wikipedia, wikicomedy, wikiality; and of course Adaptation, Charlie and Donald Kaufman's screenplay for Spike Jonze's film, based very very loosely on Susan Orlean's Orchid Thief. Ms. Mark.

By special permission.

One 3-hour period.

305a. Composition (1)

Advanced study and practice of various forms of prose and poetry. Open in the senior year to students concentrating in English. Deadline for submission of writing samples immediately before spring break. Mr. Kumar.

Yearlong course 305-306.

306b. Composition (1)

Advanced study and practice of various forms of prose and poetry. Open in the senior year to students concentrating in English. Deadline for submission of writing samples immediately before spring break. Mr. Kumar.

Yearlong course 305-306.

307b. Senior Writing Seminar (1)

An advanced writing course in parallel with the long-established senior composition sequence, accommodating the multiple approaches, genres, forms and interests that represent the diversity of a contemporary writing life. Ms. Wallace.

315. Studies in Performance (1)

This course offers advanced study in the relationship between performance and text. Performance in this case is broadly conceived. It can include dramatic performances of plays, as well as storytelling, comic or musical performance, performance art, and poetry. The course may also explore such categories as gender or identity as forms of performance. Topic for 2012/13b: Writing for Performance. This seminar examines a range of culturally significant entertainments from Homer to Homer Simpson; Euripides to YouTube; Beowulf to Snoop Dogg; and Shakespeare to Shakira—but it is designed chiefly as a workshop for theatrical writers who already know, and value, the Western dramatic tradition. Coursework includes theater visits and the rehearsal of one another's original writing (monologues, forms of dialogue, scenes, a one-act play). Our emphasis is insistently dramaturgical, though not without a dose of criticism, and performance theory. Focus: writing for the stage, not for TV or film. Mr. Foster.

Limited enrollment.

Prerequisites: an original writing sample; evidence of successfully completed coursework in dramatic literature; and permission of the instructor.

317b. Studies in Literary Theory (1)

Advanced study of problems and schools of literary criticism and theory, principally in the twentieth century. May include discussion of new criticism, structuralism, deconstruction, reader-response theory, new historicism, and Marxist, psychoanalytic, phenomenological, and feminist analysis. Ms. Park.

319a. Race and Its Metaphors (1)

Re-examinations of canonical literature in order to discover how race is either explicitly addressed by or implicitly enabling to the texts. Does racial difference, whether or not overtly expressed, prove a useful literary tool? The focus of the course varies from year to year.

Topic for 2012/13a: Fictions of Black Urbanism in the Post-War United States (Bodies and Belonging; Borders and Mobility). “If you’re born black in America you must quickly teach yourself to recognize the invisible barriers disciplining the space in which you may move.” -John Edgar Wideman, Brothers and Keepers. (Same as Africana Studies 319) Cultural history encourages that we start thinking about blackness and the American city after the Great War had ended. By 1945, the second migration of African Americans from the agrarian rural south and the challenges present therein—exploitative sharecropping contracts, failing agribusiness, and Klan violence—had reached tsunamic proportions. Their journeys landed them in cities such as New York, Chicago, Pittsburgh, Detroit, Indianapolis, Newark; cities whose residents and industrial infrastructure made blacks optimistic about their social and economic prospects. Many African Americans were able to take advantage of this “urban hospitality” and found American promise in the decades after the war. Unfortunately, these migrants did not suspect that this period of prosperity came with an expiration date. By the time Wideman issues the existential caveat for African Americans in 1984 (above), many of these metropolitan spaces have lost the capability to accommodate black needs. Shifts in the global economy—among them, corporations realizing that advances in transportation and technology made space and distance less encumbering in producing and delivering goods—divested these cities of their productive responsibilities. With less of a need to produce, these urban centers had less of a need to employ the blacks that relied on them for wages upon which they could build their American dreams and hopes. What was once an urban refuge for blacks became in a short time a space of desperation and repression. In fact, one could say that cities became carceral. This phenomenon most definitely inspired the stark warning that John Wideman felt he needed to submit to his readers in the mid-1980s. This course aims to explore how African American creative artists have staged black encounter with the American city. None of the fictionists we will study this semester conceives of the metropolis in the same way and this diversity of urban visions will greatly enrich our discussion. Allow the following inquiries, however, to tame and shape your study of what may appear to be seemingly disparate voices and perspectives. To what extent do these fictional blacks feel at home in their cities? Does the city—through its public places (bars, salons) and private spaces (apartments, churches) appear so inhospitable that it hinders these characters from making a claim on the place they (must) live? How is the black body read and understood in the urban environment? How are black characters read by those who perceive them? How do they perceive themselves? Finally, if we understand black urban spaces as carceral constructs, what factors allow characters movement and transport? Do these characters ever transcend the immobility that the metropolis seeks to impose upon them? Mr. Simpson

One 2-hour period.

320b. Studies in Literary Traditions (1)

This course examines various literary traditions. The materials may cross historical, national and linguistic boundaries, and may investigate how a specific myth, literary form, idea, or figure (e.g., Pygmalion, romance, the epic, the fall of man, Caliban) has been constructed, disputed, reinvented and transformed. Topics vary from year to year.

Topic for 2012/13b: Visions and Revisions of the Fall. In this class we consider the ways in which the Fall is treated as a literary, religious, and philosophical construct by John Milton in Paradise Lost and by Philip Pullman in his His Dark Materials trilogy. While the course focuses on Milton’s poem and Pullman’s novels, we consider other versions of the Fall (including the Biblical one) and we also examine the lot/state/situation of the fallen (angels and others) by reading a variety of medieval and modern texts, which may include The Consolation of PhilosophyPearl,Nineteen Eighty-FourThe Butcher Boy, and Postcards. In addition, we screen a number of films, which may include The Devil’s AdvocateThe RaptureDogmaPan’s Labyrinth, and Bedazzled. Mr. Amodio.

One 2-hour period.

325. Studies in Genre (1)

An intensive study of specific forms or types of literature, such as satire, humor, gothic fiction, realism, slave narratives, science fiction, crime, romance, adventure, short story, epic, autobiography, hypertext, and screenplay. Each year, one or more of these genres is investigated in depth. The course may cross national borders and historical periods or adhere to boundaries of time and place.

Topic for 2012/13a: Green Writing: Literature and the Environment. (Same as Environmental Studies 325) This course examines the development of environmental literature, from the "nature writing" of the nineteenth and twentieth centuries to the emergence of contemporary ecocriticism. Readings will feature a wide range of writers from various disciplines. Mr. Kane.

Topic for 2012/13b: The Gothic. This course explores the development and the evolution of the gothic novel in Britain from the late eighteenth century to the end of the nineteenth century. We will begin with Horace Walpole and Anne Radcliffe, two of the most important practitioners of the eighteenth-century gothic novel, before moving on to Victorian adaptations and transformations of the gothic form. Students will read a wide variety of texts, including The Castle of OtrantoA Sicilian Romance,Northanger AbbeyWuthering HeightsThe Woman in White, and Dracula, as well as some of the key theorists of the gothic. The course will address different aspects of gothic writing (i.e., female gothic, economic gothic, alien gothic, urban gothic) in order to consider how the gothic’s mad, monstrous and ghostly representations serve as a critique and counterpoint to dominant ideologies of gender, race, nation and class. Ms. Zlotnick.

One 2-hour period.

326b. Challenging Ethnicity (1)

(Same as Africana Studies 326) An exploration of literary and artistic engagements with ethnicity. Contents and approaches vary from year to year. 

Topic for 2012/2013b: Racial Melodrama. Often dismissed as escapist, predictable, lowbrow or exploitative, melodrama has also been recuperated by several contemporary critics as a key site for the rupture and transformation of mainstream values. Film scholar Linda Williams argues that melodrama constitutes "a major force of moral reasoning in American mass culture," shaping the nation's racial imaginary. The conventions of melodrama originate from popular theater, but its success has relied largely on its remarkable adaptability across various media, including print, motion pictures, radio, and television. This course investigates the lasting impact of such fictions as Harriet Beecher Stowe's Uncle Tom's Cabin, Fannie Hurst's Imitation of Life, the romanticized legend of John Smith's encounter with Pocahontas, and John Luther Long's Madame Butterfly. What precisely is melodrama? If not a genre, is it (as critics diversely argue) a mode, symbolic structure, or a sensibility? What do we make of the international success of melodramatic forms and texts such as the telenovela and Ang Lee's Brokeback Mountain? How do we understand melodrama's special resonance historically among disfranchised classes? How and to what ends do the pleasures of suffering authenticate particular collective identities (women, the working-class, queers, blacks, and group formations yet to be named)? What relationships between identity, affect and consumption does melodrama reveal? In addition to those listed above, texts studied may include work by Peter Brooks, Mary Ann Doane, Rainer Werner Fassbinder, Christine Gledhill, Sigmund Freud, Todd Haynes, Kalup Linzy, Toni Morrison, Annie Proulx, Joselito Rodríguez, Douglas Sirk, and Kara Walker. Mr. Perez.

328b. Literature of the American Renaissance (1)

Intensive study of major works by American writers of the mid-nineteenth century. Authors may include: Cooper, Poe, Hawthorne, Emerson, Thoreau, Douglass, Fuller, Stowe, Delany, Wilson, Melville, Whitman, and Dickinson. In addition to placing the works in historical and cultural context, focusing on the role of such institutions as slavery and such social movements as transcendentalism, the course also examines the notion of the American Renaissance itself. Mr. Kane.

329. American Literary Realism (1)

Exploration of the literary concepts of realism and naturalism focusing on the theory and practice of fiction between 1870 and 1910, the first period in American literary history to be called modern. The course may examine past critical debates as well as the current controversy over realism in fiction. Attention is given to such questions as what constitutes reality in fiction, as well as the relationship of realism to other literary traditions. Authors may include Henry James, Mark Twain, Stephen Crane, Charles Chestnutt, Edith Wharton, Theodore Dreiser, and Willa Cather.

Not offered in 2012/13.

330a. American Modernism (1)

Intensive study of modern American literature and culture in the first half of the twentieth century, with special attention to the concept of "modernism" and its relation to other cultural movements during this period. Authors may include Dreiser, Wharton, Cather, Frost, Anderson, Millay, Pound, Stein, Hemingway, Fitzgerald, O'Neill, H. D., Faulkner, Wright, Eliot, Williams, Moore, Stevens, Crane, Yezierska, Toomer, Hughes, Cullen, Brown, Hurston, McKay, and Dos Passos. Ms. Graham.

331a. Post-modern American Literature (1)

Advanced study of American literature from the second half of the twentieth century to the present date. Authors may include Welty, Ellison, Warren, O'Connor, Olson, Momaday, Mailer, Lowell, Bellow, Percy, Nabokov, Bishop, Rich, Roth, Pynchon, Ashbery, Merrill, Reed, Silko, Walker, Morrison, Gass, and Kingston. Mr. Hsu.

339. Shakespeare in Production (1)

(Same as Drama and Medieval and Renaissance Studies 339) Students in the course study the physical circumstances of Elizabethan public and private theaters at the beginning of the semester. The remainder of the semester is spent in critical examination of the plays of Shakespeare and several of his contemporaries using original staging practices of the early modern theater. The course emphasizes the conditions under which the plays were written and performed and uses practice as an experiential tool to critically analyze the texts as performance scripts.

Enrollment limited to Juniors and Seniors.

One 3-hour period.

340a. Studies in Medieval Literature (1)

Intensive study of selected medieval texts and the questions they raise about their context and interpretation. Issues addressed may include the social and political dynamics, literary traditions, symbolic discourses, and individual authorial voices shaping literary works in this era. Discussion of these issues may draw on both historical and aesthetic approaches, and both medieval and modern theories of rhetoric, reference, and text-formation. Mr. Amodio.

341a. Studies in the Renaissance (1)

Intensive study of selected Renaissance texts and the questions they raise about their context and interpretation.

Topic for 2012/13a: Performing Women in Early Modern England. (Same as Women's Studies 341) This course draws on both historical evidence and the perspectives of contemporary feminist criticism to explore the performance of gender in early modern English culture. We’ll begin by unpacking the discourses of gender difference in a range of early modern texts. Then we’ll consider the transvestite theatre of Shakespeare and his contemporaries as a site where masculinity and femininity were impersonated, sometimes to unsettling or subversive effect. We’ll also consider some lyric representations of feminine performance, in which the female body and voice often served as vehicles for negotiating the male poet’s own concerns. Then we’ll shift our focus from men performing women to women performing themselves. Though barred from the professional stage, early modern women had many spaces, both public and private, in which to act, from the political stage on which Queen Elizabeth I enacted female power, to the court masques in which Queen Anne and her ladies danced, to the household rooms in which women played instruments, sang songs, and wrote and performed their own plays. In illumining these spaces of women’s performance, we’ll put particular emphasis on the ways in which they could be used to re-imagine gendered social roles. Ms. Dunn.

One 2-hour period.

342b. Studies in Shakespeare (1)

Advanced study of Shakespeare's work and its cultural significance in various contexts from his time to today.

Topic for 2012/13b: Wholly Hamlet! "Are the commentators on Hamlet really mad," inquired Oscar Wilde, "or only pretending to be?" It has been said that "Hamlet invented modern subjectivity"; that Hamlet engages us "not as a work by Shakespeare but as a work of western culture," "a field of operation for thoughtful play," "a poem unlimited." The Hamlet story survives in medieval folk tales and in a thousand modern redactions, including three substantially different "Shakespeare" scripts (1603, 1604, 1623). In this interdisciplinary seminar we shall consider folk Hamlets, stage Hamlets, printshop Hamlets, burlesque Omelets; Hamlet as transposed to the painter's canvas and to the silver screen; Hamlet in textual scholarship, literary history, classroom editing, dramatic theory, art history, psychiatry, anthropology, philosophy, gender studies, queer theory, kiddie lit, theology, Bardolatry, anti-Stratfordianism, pop culture, world culture, and the Internet. Nor shall Ophelia drown without notice. Mr. Foster.

345b. Milton (1)

Study of John Milton's career as a poet and polemicist, with particular attention toParadise Lost. Mr. DeMaria.

350. Studies in Eighteenth-century British Literature (1)

Focuses on a broad literary topic, with special attention to works of the Restoration and eighteenth century: a consideration of the genre of satire as a way of understanding the world; or sensibility and the Gothic, a study of the origins of these literary trends and of their relationship to each other, with some attention to their later development.

Not offered in 2012/13.

351b. Studies in Nineteenth-Century British Literature (1)

Study of a major author (e.g., Coleridge, George Eliot, Oscar Wilde) or a group of authors (the Brontes, the Pre-Raphaelite poets and painters) or a topical issue (representations of poverty; literary decadence; domestic angels and fallen women; transformations of myth in Romantic and Victorian literature) or a major genre (elegy, epic, autobiography).

Topic for 2012/13b: Deals with the Devil. This course examines the Faust theme in works of nineteenth-century British literature. The story of the scholar-magician who sold his soul to the prince of darkness compelled the imaginations of many British writers of the Romantic and Victorian era. Often they associated this legend with the myth of Prometheus, the Titan who dared to steal divine fire for the benefit of humankind. The course studies the various faces of the archetypal over-reacher and the significance of the archetype for us at the beginning of the twenty-first century. Ms. Darlington.

One 2-hour period.

352a. Romantic Poets: Rebels with a Cause (1)

Intensive study of the major poetry and critical prose of Blake, Wordsworth, and Coleridge (English 352), and Byron, Shelley, and Keats (English 353) in the context of Enlightenment thought, the French Revolution, and the post-Napoleonic era. Readings may include biographies, letters, and a few philosophical texts central to the period. Some preliminary study of Milton is strongly recommended. Ms. Darlington.

353b. Romantic Poets: Rebels with a Cause (1)

Intensive study of the major poetry and critical prose of Blake, Wordsworth, and Coleridge (English 352), and Byron, Shelley, and Keats (English 353) in the context of Enlightenment thought, the French Revolution, and the post-Napoleonic era. Readings may include biographies, letters, and a few philosophical texts central to the period. Some preliminary study of Milton is strongly recommended. Mr. Sharp.

355b. Modern Poets (1)

Intensive study of selected modern poets, focusing on the period 1900-1945, with attention to longer poems and poetic sequences. Consideration of the development of the poetic career and of poetic movements. May include such poets as Auden, Bishop, Eliot, Frost, Hopkins, Moore, Pound, Stein, Stevens, Williams, and Yeats. Ms. Kane.

356. Contemporary Poets (1)

Intensive study of selected contemporary poets, with attention to questions of influence, interrelations, and diverse poetic practices. May include such poets as Ashbery, Bernstein, Brooks, Graham, Harjo, Heaney, Hill, Merrill, Rich, and Walcott.

Not offered in 2012/13.

357b. Studies in Twentieth-Century Literature (1)

Intensive study of literatures of the twentieth century, with primary focus on British and postcolonial (Irish, Indian, Pakistani, South African, Caribbean, Australian, Canadian, etc.) texts. Selections may focus on an author or group of authors, a genre (e.g., modern verse epic, drama, satiric novel, travelogue), or a topic (e.g., the economics of modernism, black Atlantic, Englishes and Englishness, themes of exile and migration).

Topic for 2012/13b: Virginia Woolf. Virginia Woolf seems more like our contemporary than any other British modernist. A scathing and often hilarious critic of patriarchy, her writing is free of the vexing misogyny that dates the work of her male counterparts. She treats women’s quotidian experiences – their travails, but also their pleasures – as subjects of universal artistic concern. Her detailed explorations of the inner life, of the flux of consciousness and the intricate nature of memory, continue to resonate in our confessional culture. But so to do her refreshing attempts to get beyond the pondering of one’s own uniqueness, to view the mundane object-world in new and unfamiliar ways, and to probe the elusive nature of our social tie, our being-in-common. Like Freud, she tried in her late work to imagine what a civilized society might look like in an era of unprecedented barbarity, when appeals to collective existence were being marshaled under the banners of jingoism, imperialism, militarism, and fascism. Perhaps her most urgent lesson for us, however, is neither strictly “personal” nor “political”: Woolf made powerful pleas for our right to privacy and anonymity, for the freedom to think about nothing in particular and to do so without interruption in a room of one’s own. In addition to reading her novels, we sample her short fiction, essays, memoirs, diaries, and letters. Mr. Chang.

362a. Text and Image (1)

Explores intersections and interrelationships between literary and visual forms such as the graphic novel, illustrated manuscripts, tapestry, the world-wide web, immersive environments, the history and medium of book design, literature and film, literature and visual art. Topics vary from year to year.

Topic for 2012/13a: Envisioning Shakespeare: From the Silver Screen to Second Life. Mr. Márkus.

Topic for 2012/13b: Because Dave Chappelle Said So. (Same as Africana Studies 362) From Hip Hop to Paul Beatty's White Boy Shuffle to Spike Lee's Bamboozled to Dave Chappelle to Aaron McGruder's Boondocks to Sacha Baron Cohen's Ali Gcharacter, black masculinity seems to be a contemporary site of massive satire. This course explores the history, style, content and movement of black, mostly male, satirical comic narratives and characters. Using postmodernism as our critical lens, we explore what black satirical characters and narratives are saying through "tragicomedy" to the mediums of literature, film, television and comics, and to the ideals of morality, democracy, sexuality, femininity and masculinity. Are these narratives and characters, while asserting some sort of critical citizenship, actually writing black women's subjectivity, narratives and experience out of popular American textual history? Does satire have masculinist underpinnings? How are these texts and characters communicating with each other and is there a shared language? Is there a difference between a black comic text and a black satirical text? These are some of the questions we explore in Because Dave Chappelle Said So. Mr. Laymon.

One 2-hour period.

365b. Selected Author (1)

Study of the work of a single author. The work may be read in relation to literary predecessors and descendants as well as in relation to the history of the writer's critical and popular reception. This course alternates from year to year with English 265.

Topic for 2012/13b: William Faulkner. Ms. Yow.

One 2-hour period.

369b. Major Third World Author: Frantz Fanon (1)

Topic for 2012/13b: Frantz Fanon. (Same as Africana Studies 369) Ms. Yow.

One 2-hour period.

370a. Transnational Literature (1)

This course focuses on literary works and cultural networks that cross the borders of the nation-state. Such border-crossings raise questions concerning vexed phenomena such as globalization, exile, diaspora, and migration-forced and voluntary. Collectively, these phenomena deeply influence the development of transnational cultural identities and practices. Specific topics studied in the course vary from year to year and may include global cities and cosmopolitanisms; the black Atlantic; border theory; the discourses of travel and tourism; global economy and trade; or international terrorism and war.

Topic for 2012/13a: Indigenous Transnationalisms. This course focuses on the ways in which the transnational has become more central to American Studies and the many ways transnational literatures serve as a means to subvert narratives of the nation-state as a static and stable territory. Contemporary North American Indigenous writers across colonial and tribal borders alike utilize literature to create narratives that more accurately reflect the global flow of people, ideas, texts, and products etc. and call into question the geo-political boundaries of colonial nation-states. Indigenous transnationalisms demonstrate the mobilizing force of shared cultural and political alliances while remaining steadfast to tribal identities. In this way, many Indigenous writers are critiquing national identity and imperialism, and radically challenging the histories, geographies, and contemporary social relations that define the U.S., Mexico, Canada, and the Caribbean. The course includes writers such as Cherrie Moraga, Gerald Vizenor, Jimmy Santiago Baca, Gloria Anzaldua, Chrystos, Victor Hernandez Cruz, Pauline Johnson, Wendy Rose, Diane Glancy, Jeanette Armstrong, Phillip Red Eagle, Delfina Cuero, among others. The course also looks to theorists more broadly, including Huhndorf, Mignolo, Spivak, P. Deloria, Said, and Trinh, among others. Ms. McGlennen.

One 2-hour period.

380. English Seminar (1)

Not offered in 2012/13.

381. English Seminar (1)

Not offered in 2013/14.

382. English Seminar (1)

Not offered in 2012/13.

383. English Seminar (1)

Not offered in 2012/13.

384. English Seminar (1)

Not offered in 2012/13.

385. English Seminar (1)

Not offered in 2012/13.

399a or b. Senior Independent Work (1/2 or 1)

Open by permission of the chair.

One unit of credit given only in exceptional cases.