English Department

Programs

Major

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.

  • American Literary History Correlate Sequence
  • British Literary History Correlate Sequence
  • Creative Writing Correlate Sequence
  • Literary Forms Correlate Sequence
  • Poetry and Poetics Correlate Sequence
  • Race and Ethnicity Correlate Sequence
  • Theory, Criticism and Transnational Studies Correlate Sequence

Courses

English: I. Introductory

101a and 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 the 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.

Two 75-minute periods.

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 2015/16 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.

174a and b. Poetry and Philosophy: The Ancient Quarrel (0.5)

Topic for 2015/16a&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.

177b. Special Topics (0.5)

Topic for 2015/16b: Henry James in Context. Ms. Graham.

First six-week course.

Two 75-minute periods.

181b. Wilde . . . Yeats . . . Joyce . . . Beckett (1)

(Same as CLCS 181   ) Modern and contemporary Irish literature has consistently been distinguished by its movement "beyond the pale." The Pale was originally the fenced-in territory established around Dublin by the invading English in the medieval period, a border between English civilization and Celtic foreignness. In later usage, the phrase, "beyond the pale" came to have a purely metaphoric meaning; to stand outside the conventional boundaries of law, behavior, or social class. As we examine unconventional works by the four principle figures of Irish literary modernism we will focus not only on the ways that narrative emerges from its immediate colonial contexts, but also the ways in which literary texts look beyond their present moment, revising models inherited from the past and anticipating future forms of literary expression.

Our primary concern is to explore our individual identities as readers, thinkers, and writers in order to deepen our knowledge of how we write-knowledge that will aid us throughout this course, our academic programs, and professional careers. To gain this insight, we work to develop a strong foundation in the elements of rhetoric that govern all communication (e.g., audience, purpose, occasion, community, and context). Mr. Schultz.

Two 75-minute periods.

English: 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 ENGL 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 AMST 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.

205a and b. Introductory Creative Writing (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. Introductory Creative Writing (1)

Open to any student who has taken ENGL 205 or ENGL 207. Special permission is not required.

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

207b. Intermediate Creative Writing: Literary Non-Fiction (1)

Continued study and practice of various forms of prose and/or poetry.

Topic for 2015/16b:  Writing About the City. (Same as URBS 207) The city as a liberated zone, open for the play of difference. The city as a mood. The city as style. The city as designed space, as a site of anonymity, or a meeting place for the masses. The city as a no-name development zone in the desert. The city as history. The city as Ground Zero. The city as the place whose whole point is to leave behind the dull death through boredom that is suburbia. The idea of the city as it is imagined in the half-light of the remote town or village. The city as a disaster. The city as civilization. These and other meanings are present in what we will read in class. This is a writing course. I am interested in your writing about cities, both familiar and unfamiliar, in a way that is original and revealing.  

Reading packet will have excerpts from Zadie Smith, Orhan Pamuk, Rem Koolhaas, Walter Benjamin, Susan Sontag, Vivian Gornick, Teju Cole, Edwidge Danticat, Don DeLillo, Amit Chaudhuri, David Foster Wallace, Suketu Mehta, Sukhdev Sandhu, Sean Wilsey, Andrew O'Hagan, Luc Sante, Lillian Ross, Svetlana Alexiyevich, and others.  Mr. Kumar.

Open to any student who has taken ENGL 205 or ENGL 206. Special permission is not required.

One 2-hour period.

208b. Intermediate Creative Writing: Literary Non-Fiction (1)

Development of the student's abilities as a reader and writer of literary nonfiction, with emphasis on longer forms. Assignments may include informal, personal, and lyric essays, travel and nature writing, memoirs. Mr. Hsu.

Prerequisite: open to students who have taken ENGL 207 or by permission of the instructor.

One 3-hour period and individual conferences with the instructor.

209a. Advanced Creative Writing: Narrative (1)

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

Deadline for submission of writing samples is before spring break.

Yearlong course 209-ENGL 210.

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

210b. Advanced Creative Writing: Narrative (1)

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

Deadline for submission of writing samples is before spring break.

Yearlong course ENGL 209-210.

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

211a. Advanced Creative Writing: Verse (1)

Development of the student's abilities as a writer and reader of poetry. In addition to written poetry, other forms of poetic expressions may be explored, such as performance and spoken word. Mr. Kane.

Deadline for submission of writing samples is before spring break.

Yearlong course 211-ENGL 212.

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

212b. Advanced Creative Writing: Verse (1)

Development of the student's abilities as a writer and reader of poetry. In addition to written poetry, other forms of poetic expressions may be explored, such as performance and spoken word. Mr. Kane.

Deadline for submission of writing samples is before spring break.

Yearlong course ENGL 211-212.

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

213b. 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. Mr. DeMaria.

Not offered in 2015/16.

214b. Process, Prose, Pedagogy (1)

(Same as CLCS 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)

Prerequisite: Freshman Writing Seminar.

By special permission.

Not offered in 2015/16.

215a and b. 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 2015/16a:  Medieval Drama and Performing.  The York Cycle.  The York Cycle of plays began after the plague in England devastated the population in 1349. York's medieval streets and its civic guilds produced annual plays that were produced into the 1560s. Thus, they were staged during the time of Shakespeare. This class will examine the documentary artifacts of the York Cycle (its manuscripts, accounts of viewings, production notes, etc.) to think about what it would require for an entire civic community to produce and perform this play on a yearly basis. We will examine all of the York Cycle and think about it not just as a medieval artifact, but about how its dramatic shape can change depending on the historical, political, and religious pressures during the several centuries it was performed. The class will consider the architecture, history, and space of York as a medieval city. We will think about what it means to stage it in relation to civic architecture and space, the construction and use of pageant wagons, the questions of costuming, music, visual Catholic iconography in the British Isles, and how this cycle could be performed even into the Reformation. Ms. Kim.

Topic for 2015/16b:  (Same as WMST 215) Gender Transgression on the Early Modern Stage. This course explores the theatre as a site for representing challenges to the gendered social order of early modern England. Our subjects include cross-dressing women (and men!), disobedient wives, scolds, witches, husband-murderers, incestuous siblings, and characters whose erotic desires cross boundaries of both gender and class. The plays are varied: some were staged in public theatres or at court, others read in private homes; some plots were drawn from history and legend, others "ripped from the headlines;" some were written by men, others by women. Our approaches to them will be various as well: we will situate them in their historical and cultural contexts, examine their structure and language, and read them through the lens of contemporary theory and criticism. Throughout the semester we'll pay special attention to the plays as plays, learning to read them as scripts for performance, watching videos, and occasionally performing scenes ourselves.  Ms. Dunn.

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 2015/16b: 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 (and early twenty-first) 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 includes plays by Edward Albee, Lorraine Hansberry, David Henry Hwang, Tracy Letts, Arthur Miller, Marsha Norman, Eugene O'Neill, Suzan-Lori Parks, Sam Shepard, Tennessee Williams, and August Wilson. We also read selected theoretical texts about the role and significance of family in the 20th century. We place a great emphasis on 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 during the semester. Mr. Márkus.

217a. Literary Theory and Interpretation (1)

A study of various critical theories and practices ranging from antiquity to the present day. Ms. Graham.

Two 75-minute periods.

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

(Same as AFRS 218 and WMST 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 2015/16a: Queer of Color Critique. "Queer of Color Critique" is a form of cultural criticism modeled on lessons learned from woman of color feminism, poststructuralism, and materialist and other forms of analysis. As Roderick Ferguson defines it, "Queer of color analysis...interrogates social formations as the intersections of race, gender, sexuality, and class with particular interest in how those formations correspond with and diverge from nationalist ideals and practices." 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 other words, its rejection of identity as a "fixed referent") 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, or an adjective? A heuristic device, a counterpublic, a form of political mobilization or perhaps even a kind of literacy?  Mr. Perez.

Topic for 2015/16b:  Black Feminism:  From the Combahee River Collective to Beyonce as feminist figure, this course will push you to consider the ways in which black American women have historically and contemporaneously negotiated the intersections between race, class, gender, and sexuality in order to formulate their own feminist theory and praxis.  Ms. Dunbar.

Two 75-minute periods.

222a. Founding of English Literature (1)

These courses, English 222 and ENGL 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). ENGL 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. Mr. Foster.

223b. The Founding of English Literature (1)

These courses, ENGL 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. ENGL 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 2015/16b: 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 ENGL 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.

Not offered in 2015/16.

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.

Not offered in 2015/16.

227a. The Harlem Renaissance and its Precursors (1)

(Same as AFRS 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? Ms. Dunbar.

Two 75-minute periods.

228a. African American Literature, (1)

(Same as AFRS 228) Topic for 2015/16a: 'Vicious Modernism' and Beyond. 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. Mr. Simpson.

Two 75-minute periods.

229a. 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. Mr. Hsu.

Not offered in 2015/16.

230a. Latina and Latino Literature (1)

(Same as LALS 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. 

Two 75-minute periods.

231b. 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. Ms. McGlennen.

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. Mr. Amodio.

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

237b. Chaucer (1)

The major poetry, including The Canterbury Tales. Ms. Kim.

238a. 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.

Topic for 2015/16a:  Arthurian Literature in Medieval Britain. In 1191, the Glastonbury monks purportedly found the remains of King Arthur and Guenevere. They proceeded to publish their discovery and invited "reliable" witnesses (in the figure of Gerald of Wales) to come and experience the exhumation. The Glastonbury monks could funnel this find into a potentially large money-making venture for the monastery as the future site of an Arthurian pilgrimage. For the Norman royal house, this meant that they could use this find to squash any potential and future Welsh rebellion. Gerald of Wales writes up his account of this momentous exhumation and this is one of the many pieces of Arthurian literature that we will be looking at in this class. This class considers how Arthurian material becomes part of the political and religious rhetoric used to secure a sense of what constitutes medieval Britain and who should control it.

This class examines the beginnings and rapid spread of Arthurian materials from Geoffrey of Monmouth's Historia Regum Brittaniae to Malory's Le Morte d'Arthur. We move from historiography and chronicle to romance and lai, in both prose and verse. We begin in the twelfth century and finish at the end of the fifteenth century with the Winchester Malory and Caxton's printed version of Malory's work. We read materials from Latin, Middle Welsh, Anglo-Norman French, Middle Scots, and Middle English texts. Some of the texts we examine: Geoffrey of Monmouth, Historia Regum Brittaniae; La3amon's Brut; Marie de France's Lanval; Chrétien de Troyes' Yvain, Perceval, Lancelot; Cullhwch and Olwen; The Dream of Rhonabwy; the Welsh Peredur and Ywain; the Welsh Triads; Of Arthour and MerlinThe Stanzaic Morte ArthureThe Alliterative Morte ArthureProse TristanThe Awntyrs of ArtherSir Gawain and the Green KnightLancelot of the Laik and Sir Tristem; and Malory's Le Morte Darthur.  Ms. Kim.

240a. Shakespeare (1)

Study of some representative comedies, histories, and tragedies. Mr. Markus.

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

241a. Shakespeare (1)

(Same as DRAM 241) 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.

Not open to students who have taken ENGL 240.

Yearlong course 241-ENGL 242.

242b. Shakespeare (1)

(Same as DRAM 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.

Not open to students who have taken ENGL 240.

Yearlong course ENGL 241-242.

245b. 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.

Not offered in 2015/16.

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. Mr. DeMaria.

Not offered in 2015/16.

247b. Eighteenth-Century British Novels (1)

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

Not offered in 2015/16.

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.

249a. 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. Ms. Graham.

Not offered in 2015/16.

250b. 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.

Not offered in 2015/16.

251b. 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 2015/16b:  Zombies, Monsters and Time Travelers in African American Literature. This course will examine how African American writers have employed monsters as tropes, crafted tales haunted by terrible working conditions, and contorted language beyond standard recognition in order to tell a horrific story of black life within the United States. Works may be drawn from writers such as Toni Morrison, Richard Wright, Kiese Laymon, Gwendolyn Brooks, Victor LaValle and others. Ms. Dunbar.

Two 75-minute periods.

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

(Same as AFRS 252) Black American Culture expression is anchored in rhetorical battles and verbal jousts that place one character against another. From the sorrow songs to blues, black music has always been a primary means of cultural expression for Afirican Americans, particularly during difficult social periods and transition. Black Americans have used music and particularly rythmic verse to resist, express, and signify. Nowhere is this more evident then in hip hop culture generally and hip hop music specifically. This semester's Writing the Diasporaclass 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.

Prerequisites: one course in literature or Africana Studies.

Not offered in 2015/16.

253b. 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).

Topic for 2015/16b: Narratives of Passing. (Same as AFRS 253) The phrase "passing for white," peculiar to American English, first appears in advertisements for the return of runaway slaves.  Abolitionist fiction later adopts the phenomenon of racial passing (together with the figure of the "white slave") as a major literary theme.  African American writers such as William Wells Brown and William Craft incorporated stories of passing in their antislavery writing and the theme continued to enjoy great currency in African American literature in the postbellum era as well as during the Harlem Renaissance.  In this class, we will examine the prevalence of this theme in African American literature of these periods, the possible reasons for the waning interest in this theme following the Harlem Renaissance, and its reemergence in recent years.  In order to begin to understand the role of passing in the American imagination, we will look to examples of passing and the treatment of miscegenation in literature, film, and the law.  We will consider the qualities that characterize what Valerie Smith identifies as the "classic passing narrative" and determine how each of the texts we examine conforms to, reinvents, and/or writes against that classic narrative.  Some of the themes considered include betrayal, secrecy, lying, masquerade, visibility/invisibility, and memory.  We will also examine how the literature of passing challenges or redefines notions of family, American mobility and success, and the convention of the "self-made man." Mr. Perez.

Two 75-minute periods.

255b. 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.

Not offered in 2015/16.

Two 75-minute periods.

256b. Modern British and Irish Novels (1)

Significant twentieth-century novels from Great Britain and Ireland. Mr. Chang.

Prerequisite: AP credit or one unit of Freshman English.

Not offered in 2015/16.

Two 75-minute periods.

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. Chang.

Two 75-minute periods.

260b. 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. Mr. Russell.

Not offered in 2015/16.

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. Mr. Kumar.

Not offered in 2015/16.

265a. 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 ENGL 365.

Not offered in 2015/16.

275a. Caribbean Discourse (1)

A topics course examining the multiple forms of cultural expression and resistance that arise in response to systemic racial oppression. This course focuses on transnational and/or historical variants of racial and colonial domination. Key concepts and methodologies may include border studies, comparative racializations, decolonization, diaspora, hip hop, indigeneity, nation, and sovereignty. Contents and approaches vary from year to year.

Open to sophomores, junior, and seniors with one unit of 100-level work or by permission of the associate chair.

Not offered in 2015/16.

Two 75-minute periods.

277a. Crossings: Literature without Borders (1)

This course explores themes, concepts, and genres that span literary periods and/or national boundaries. The focus will vary from year to year.

Open to sophomores, junior, and seniors with one unit of 100-level work or by permission of the associate chair.

Not offered in 2015/16.

Two 75-minute periods.

281b. The Comics Course (1)

(Same as MEDS 281   ) This course examines the medium of comics by focusing on major forms of comic art from 1900 to the present, including comic strips, comic books, graphic novels, and independent mini-comics. It is organized both historically and thematically, with classes exploring such topics as: the formal properties of medium, from the page to the platform; the roles played by gender, sexuality, race, and class in the creation and marketing of comic art; the debates over the morality of comics, and the effects of the "Comics Code"; the relation of comics to various subcultures, such as the "underground" movement of the late 1960s and early 1970s; the positioning of "graphic novels" in the academy and the literary world more generally. Among the artists/works we might consider: McCay (Dreams of a Rarebit Fiend and Little Nemo in Slumberland), Herriman (Krazy Kat), Siegel and Shuster (Superman), Schulz (Peanuts), Spiegelman (Maus), Barry (The Greatest of Marlys), McGruder (Boondocks), Ware (Jimmy Corrigan), Satrapi (Persepolis), and Bechdel (Fun Home). We will also be looking at criticism and theory in the areas of media and cultural studies. Mr. Antelyes.

Two 75-minute periods.

290a or b. Field Work (0.5to1)

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 (0.5to1)

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

English: 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.

302a or b. Adaptations (1)

(Same as CLCS 302 and MEDS 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 switches to another language, another genre, another mode or medium? In the twenty-first century we may reframe Woolf's conversation in terms of intertextuality---art invokes and revises other art---but the questions remain more or less unchanged: What motivates and shapes adaptations? What role does technology play? Audience? What constitutes a faithful adaptation? "Faithful" to what or whom? In this course we consider the biological model, looking briefly at Darwin's ideas about the ways organisms change in order to survive, and then explore analogies across a range of media. We'll begin with Virgil's Georgics; move on to Metamorphoses, Ovid's free adaptations of classical myths; and follow Orpheus and Eurydice through two thousand years of theater (Euripides, Anouilh, Ruhl, Zimmerman); painting and sculpture (Dürer, Rubens, Poussin, Klee, Rodin); film and television (Pasolini, Cocteau, Camus, Luhrmann); dance (Graham, Balanchine, Bausch); music (Monteverdi, Gluck, Stravinsky, Birtwistle, Glass); narratives and graphic narratives (Pynchon, Delany, Gaiman, Hoban); verse (Rilke, H.D., Auden, Ashbery, Milosz, Heaney, Atwood, Mullen, Strand); and computer games (Battle of OlympusShin Megami Tensei). During the second half of the semester, we investigate other adaptations and their theoretical implications, looking back from time to time at what we've learned from the protean story of Eurydice and Orpheus and their countless progeny. Ms. Mark.

Prerequisite: permission of the instructor.

Not offered in 2015/16.

One 3-hour period.

305a. Creative Writing Seminar (1)

Study and practice of various forms of prose and poetry for experienced creative writers. Students enrolled in 305-ENGL 306 undertake a creative senior thesis as part of the course work. Open to seniors majoring in English. Deadline for submission of writing samples immediately before spring break. Ms. Kane.

Yearlong course 305-ENGL 306.

306b. Creative Writing Seminar (1)

Study and practice of various forms of prose and poetry for experienced creative writers. Students enrolled in ENGL 305-306 undertake a creative senior thesis as part of the course work. Open to seniors majoring in English. Ms. Kane.

Deadline for submission of writing samples immediately before spring break. Check with the English office for exact date.

Yearlong course ENGL 305-306.

307b. Senior Creative Writing (1)

Study and practice of various forms of prose and poetry for experienced creative writers. Ms. McGlennen.

Open to seniors from all departments. Writing samples are due after the October break.  Please check with the department for exact dates.

One 3-hour period with individual conferences with the instructor.

315a. 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 2015/16a:  Performing Disability.  This course explores disability both in and as performance across a range of media. Topics include: the performance of disability in everyday life; disability as metaphor; representations of disability in drama, film, and television; disability arts and culture; and the work of disabled performing artists. Texts include plays from Shakespeare to the present, as well as readings in disability studies, performance studies, feminist and queer theory. A highlight of the course will be a workshop with deaf poet-storyteller Peter Cook and a performance by the Flying Words Project.  Ms. Dunn.

Limited enrollment.

One 2-hour period.

317a. 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.

Not offered in 2015/16.

318a. Literary Studies in Gender and Sexuality (1)

(Same as WMST 318) Advanced study of gender and sexuality in literary texts, theory and criticism. The focus will vary from year to year but will include a substantial theoretical or critical component that may draw from a range of approaches, such as feminist theory, queer theory, transgender studies, feminist psychoanalysis, disability studies and critical race theory.

Topic for 2015/16a: Feminist Approaches to the Representation of Rape The representation of rape has been central in the Western literary tradition providing a pretext for aggression and revenge since the Iliad. These stories, foundational to narratives of the making of political entities, are repeated and recycled in the literary tradition. Yet the subjectivity of the raped woman continues to confound. Her silence seems necessary. This course considers the classical figures of Lucrece, Lavinia, and Philomel and their translation into the English literary tradition in the work of Chaucer and Shakespeare. We then turn to recent feminist work on the representation of rape. Authors may include Alcoff, Higgins and Silver, Walker, and films such as Thelma & Louise and The Accused. Ms. Robertson.

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

One 2-hour period.

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.

Not offered in 2015/16.

320a. 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.

Not offered in 2015/16.

One 2-hour period.

325a. 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.

Not offered in 2015/16.

One 2-hour period.

326a. Challenging Ethnicity (1)

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

Not offered in 2015/16.

328a. 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. Antelyes.

Not offered in 2015/16.

329a. 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. Ms. Graham.

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. Postmodern 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.

Not offered in 2015/16.

340b. 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. Ms. Kim.

341a. Studies in the Renaissance (1)

(Same as WMST 341) Intensive study of selected Renaissance texts and the questions they raise about their context and interpretation.

Topic for 2015/16a: Sex And The City In 1600: Gender, Marriage, Family, and Sexuality In Early Modern London. This course explores everyday life in the rapidly expanding early modern metropolis of London at the turn of the 16th and 17th centuries. We pay special attention to religious, social, legal as well as informal control mechanisms that influenced issues of gender, marriage, and sexuality in various layers of London society. We anchor our investigations in a handful of plays by Beaumont, Dekker, Jonson, Marston, Middleton, and Shakespeare, but also explore ballads, homilies, conduct books, legal and travel narratives, pamphlets, treatises, works by female authors, and other literary and non-literary texts. Mr. Márkus.

One 2-hour period.

342b. Studies in Shakespeare (1)

Topic for 2015/16b: 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, 1605, 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.

 

One 2-hour period.

345b. Milton (1)

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

Not offered in 2015/16.

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

Focuses on a broad literary topic, with special attention to works of the Restoration and eighteenth century.

Not offered in 2015/16.

One 2-hour period.

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 2015/16b: The Gothic. This course explores the development and the evolution of the Gothic novel in Britain from the mid eighteenth century to the end of the nineteenth century. We begin with Horace Walpole, Ann Radcliffe and Matthew Lewis, three of the most important practitioners of the eighteenth-century Gothic novel, before moving to Victorian adaptations and transformations of the Gothic form. Students read a wide variety of texts, including The Castle of OtrantoA Sicilian RomanceThe MonkNorthanger AbbeyWuthering HeightsThe Woman in White, and Dracula, as well as some of the key theorists of the Gothic. The course  addresses different aspects of Gothic writing (e.g., 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.

352b. 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 (ENGL 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.

Not offered in 2015/16.

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

Intensive study of the major poetry and critical prose of Blake, Wordsworth, and Coleridge (ENGL 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.

Not offered in 2015/16.

355a. 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. Mr. Kane.

356b. 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. Ms. Gill.

Not offered in 2015/16.

One 2-hour period.

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 2014/15b: Virginia Woolf and Queer Modernity. 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 flux of consciousness and the intricate nature of memory continue to resonate in our confessional culture. But so to do her queer attempts to get beyond both the dreary offices of gender and the pondering of one's own uniqueness. Against the grain of her reputation as a chronicler of the inner life, her writing focuses the mundane object-world in new and unfamiliar ways and probes 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. On the other hand, no one did more than she to invent her readership and to secure her afterlife as a literary celebrity: no reading of Woolf is quite separable from Woolf. In addition to reading her novels, we will sample her short fiction, essays, memoirs, diaries, and letters. Mr. Chang.

Topic for 2014/15b: Finnegans Wake: Kersse the Tailor through Array! Surrection. Mr. Russell.

Not offered in 2015/16.

362b. Text and Image (1)

Topic for 2015/16b:  Sequential Art. An advanced exploration of topics in comics history, theory, aesthetics, and politics.  Subjects and texts may include: conflict comics (Jacques Tardi's It Was the War of the Trenches and Joe Sacco's Safe Area Gorazde), women's diary comics (Julie Doucet's My New York Diary and Gabrielle Bell's July 2011), comics, genre, and gender (Wonder Woman from origins to contemporary permutations), comics and colonialism (Herge's Tin Tin and Goscinny and Uderzo's Asterix), disability comics (Al Davison's The Spiral Cage and Allie Brosch's Hyperbole and a Half), comics and sexuality (Alison Bechdel's Fun Home), comics and race (Mariko and Jillian Tamaki's Skim), and comics out of the box (Chris Ware's Building Stories).  Readings will also include materials in comics studies, media studies, film studies, and literary studies. Mr. Antelyes.

One 3-hour period.

365a. 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 ENGL 265.

Topic for 2015/16a: Fanny Howe. "I traveled to the page where scripture meets fiction./The paper slept but the night in me woke up," begins Fanny Howe's poem, A Hymn. In this seminar we travel through the work of this American poet, novelist, short story writer, essayist, and activist, the author of more than 20 books of poetry and prose, not only in hopes of waking the night in us, but also exploring what she calls "bewilderment as a way of entering the day as much as the work. Bewilderment as a poetics and an ethics." Mr. Joyce.

Topic for 2015/16a:  J.D. Salinger and the Craft of Writing: This seminar focuses on Salinger's development of the craft of writing, from his earliest, never re-published stories (available on course website), to his novel Catcher in the Rye and his later collections Nine Stories, Franny and Zooey, Raise High the Roofbeam Carpenters, and Hapworth 16, 1924. A goal of the seminar is to blend students' critical experience of reading with their own creative work, exploring use of dialogue, focus on detail, narrative voice and structure in both Salinger and in their own creative writing practice.  Among topics the seminar explores are Salinger's experience in the infantry in World War II as it shaped his writing and his creation of a postwar American family of prodigies, the Glass family.  The final segment of the seminar explores Salinger's influences on a generation of younger writers, such as David Foster Wallace, Jonathan Safran Foer, Amy Bender, and the film maker Wes Anderson. Of special interest to creative writing students. Ms. Wallace.

One 2-hour period.

370b. Transnational Literature (1)

Topic for 2015/16b: Reading Australia. Postcolonial cultures are often divided into two types: indigenous and settler, according to the circumstances of colonization and subsequent history.  This course will examine one of the settler cultures, Australia, through the lens of its literature, as it has developed since the nation's origins as a British penal colony.  The focus, however, will be mainly on modern and contemporary literature, which has developed with extraordinary vitality in recent decades.  In addition to exploring the dynamics of this new Australian literature, we will consider the impact of British and American influences, and the unique situation of Aboriginal culture in Australia.  In placing it in the broad context of globalized writing in the 21st century, we seek to understand Australia's ongoing contribution to anglophone literature.  Authors may include Peter Carey, Helen Garner, David Malouf, Gwen Harwood, Alice Pung, Les Murray, Alex Miller and others. Mr. Kane.

One 2-hour period.

378b. Black Paris (1)

(Same as AFRS 378 and FREN 378) This multidisciplinary course examines black cultural productions in Paris from the first Conference of Negro-African writers and artists in 1956 to the present. While considered a haven by African American artists, Paris, the metropolitan center of the French empire, was a more complex location for African and Afro-Caribbean intellectuals and artists. Yet, the city provided a key space for the development and negotiation of a black diasporic consciousness. This course examines the tensions born from expatriation and exile, and the ways they complicate understandings of racial, national and transnational identities. Using literature, film, music, and new media, we explore topics ranging from modernism, jazz, Négritude, Pan-Africanism, and the Présence Africaine group, to assess the meanings of blackness and race in contemporary Paris. Works by James Baldwin, Aime Césaire, Chester Himes, Claude McKay, the Nardal sisters, Richard Wright. Ousmane Sembène, Mongo Beti, among others, are studied. 

Not offered in 2015/16.

One 2-hour period.

380a. English Seminar (1)

(Same as AFRS 380) Topic for 2015/16a: The Blues In/And Black Fiction.  The blues makes audible the struggles and the resilience of African Americans. This seminar explores the relationship and influence of blues music on black literary, cultural, and critical production. We listen to sound recordings and watch videos, as we explore how black artists and scholars make use of blues aesthetics, themes, and even personas to craft their literary worlds and works. We think about the relationship between a musical form and texts, and we let questions of black vernacular tradition, gender, sexuality, urbanization, migration, violence, and love guide us. Ms. Dunbar.

One 2-hour period.

381a. English Seminar (1)

382a. English Seminar (1)

383a. English Seminar (1)

384a. English Seminar (1)

385a. English Seminar (1)

386a. English Seminar (1)

399a or b. Senior Independent Work (0.5to1)

Open by permission of the Chair. One unit of credit given only in exceptional cases.