|
|
| | | |
Session 1: 06/18/12-07/12/12
| | Seminar A: Romantic Identities | Abrams, B | | Room: |
Course Code: 0 | | MTWTh 9:00 - 10:50am | | | | This course will explore the development and transformation of
Romantic conceptions of identity and the self through a variety of
texts, primarily from the Romantic period itself as well as from the late
18th Century, the Victorian era, and the 20th (or 21st century),
including some American as well as English writers. As this general
outline suggests, essential Romantic narratives or myths of individual
self-development and cultural identity still inform our actions and our
understandings of our experiences and their meaning; similarly, the
perceived antitheses of Romanticism continue to question or
transform our beliefs in autonomy, self-definition, and imaginative
consciousness. The course will examine how these conceptions of
self have in turn shaped not only our individual experiences and
desires, as well as our perceptions of that experience, but also the
public actions and decisions that attempt to construct our choices and
beliefs. |
| | Seminar B: Renasaissance Epic | Chiampi, J | | Room: |
Course Code: 0 | | MTWTh 11:00 - 12:50pm | | | | An overview of the development of epic in the West, its themes, topoi
and motifs. Understanding the role, nature and identity of the hero; the
role of women and the figuration of gender; the development of the
person; the nature and possibility of civic life; virtue, vice and their
consequences; the relationship between city and countryside, private
satisfaction and civic concern. Familiarity with the development of
such themes and topoi as the Earthly Paradise; the locus amoenus:
vows; rigidity versus flexibility; the meaning of Christian epic; control
and containment; disguise; unity and multiplicity; illusion and reality;
prudence and recklessness–and their interpenetration and
redefinition. |
| | Seminar C: Melville and the Novel | Gilmore, P | | Room: |
Course Code: 0 | | MTWTh 1:00 - 2:50pm | | | | Herman Melville is one of the most famous American novelists, and
over the course of his short eleven year career as a novelist, he
explored a variety of novelistic modes—the adventure tale,
metafiction, sentimental and sensational fiction—often combining their
different elements in innovative ways. Combining our examination of
Melville’s oeuvre with critical selections on the history and theory of
the novel, this course seeks to examine the range of possibilities
afforded by the novel as a genre during the nineteenth century. |
| | Seminar D: Politics of Romance | Silver, V | | Room: |
Course Code: 0 | | MTWTh 3:00 - 4:50pm | | | | The course includes narrative and dramatic romances from The
Odyssey to the western, exploring the tragic origins and political
assumptions of these tales of erotic crime, punishment and
redemption. It will examine the nature of the romance protagonist, the
arc of romantic actions, the character of erotic suffering (and its
opposite), and their relationship to ideas of moral, political and cosmic
order. Sounds vast and unwieldy but trust me. After Homer, the
readings are as follows: Xenophon’s Ephesian Tale; Chrétien’s
Arthurian Romances; Shakespeare’s The Winter’s Tale (for those of
you who took the Shakespeare course from me and were denied it);
Austen’s Northanger Abbey; and Jack Shaefer’s Shane. If there is
time, we will conclude with a foray into grocery-store romances, with
the principle of selection being whether they have Fabio on the cover.
Movies are always possible. |
|
Session 2: 07/16/12-08/09/12
| | Seminar A: Fantastic Voyages: The SF Short Story | Alexander, J | | Room: 126 Krieger Hall |
Course Code: 0 | | MTWTh 11:00 - 12:50pm | | | | "Fantastic Voyages: The SF Short Story" will examine,
chronologically, the development over the past 100 years of the
science fiction short story. Beginning with the "scientific romances" of
H. G. Wells, we will consider how various writers used the emerging
genre to address the intersection of scientific and technological
developments with socio-political issues. We will see how scientific
fetishism gives way to a consideration of what Isaac Asimov calls
"social science fiction," which develops into feminist SF, ecologically-
oriented SF, the "New Wave" of the 70s, cyberpunk of the 80s, and
the "New Weird" of the 90s, including "slipstream" fiction, a hybrid
species of fiction blending SF and literary fiction. |
| | Seminar B: Narrative Theory in Film and Fiction | Gelley, A | | Room: |
Course Code: 0 | | MTWTh | | | | What is narrative? In the most general sense it is a constituent of
all discourse, whether by way of language, image, or movement
(dance, ritual). In this course we will try to inquire whether
principles of reception, style, and technique can apply in diverse
media, and then focus on short stories and movies to test the
issue. We will begin with traditional categories such as plot,
setting, characterization, and temporal structure and then
consider how a systematic approach to narrative (storytelling in
Walter Benjamin’s sense and "narratology" in the terminology of
Gerard Genette, Frank Kermode, and others) has sought to deal
with these. We will also consider certain elements of film theory,
notably, differences between reading and viewing and how this
affects a general theory of narrative. In addition to a collection of
short fiction we will discuss at least two films, The Lady
Vanishes (Hitchcock) and The Rules of the Game (Renoir).
Requirements: regular attendance, participation in class
discussions, two oral reports and short response papers. |
| | Seminar C: Theory of Character | Bartlett, J | | Room: |
Course Code: 0 | | MTWTh 3:00 - 4:50pm | | | | This course will introduce you to the complexity of the idea and
implementation of character in the nineteenth-century realist novel
through the analysis of an irregular figure, the stock character. Neither
minor nor major, neither flat nor round, too familiar to require much in
the way of a personal history and yet unique in their reactions to
immediate events, stock characters wander at a rich intersection
between character and plot. If, as Forster has it, the difference
between flat and round characters is that the round ones are capable
of surprising us, we could say that stock characters often surprise us,
but rarely themselves. Mr. Brownlow, the grand benefactor of Oliver
Twist, is both reliably and literally deep—“his kindness and solicitude
knew no bounds”—but at key moments, the novel makes a point of
withholding the very details that we would anticipate (and probably
skim over): Brownlow “forced a supply of tears into his eyes, by some
hydraulic process which we are not sufficiently philosophical to be in a
condition to explain.” By reverting to an unfathomable type in such
moments, stock characters like Brownlow both reveal and aggravate a
fundamental contradiction in the relationship between form and
character in the novel, pushing the details that are said to conjure
“realism” into uneasy abstractions. My vision for this course will be
similarly, blurrily bifocal: we will use the characters of three realist
novels as a point of entry into the form of the realist novel itself, and
we will situate that form in a genealogy of the archetype by reading a
smattering of secondary material from the fields of anthropology,
drama, psychoanalysis, literary criticism, and sociology. Requirements
include regular engagement with course readings, one presentation
followed by some discussion facilitation, and two 3-5 page papers. |
| |
Session 1: 06/21/11-07/21/11
| | Seminar A: Dickens and the narratives of fiction | Abrams, B | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 9:00 - 10:50am | | | | As the most widely read novelist of his day, Charles Dickens fully represents the ideologies of his age even as he subverts them. His novels reflect, amplify, and explore the anxieties, prejudices, beliefs, insights, and contradictory energies of 19th Century England—all of the uncertainties and fears of uncertainty that pervade Victorian life and its discourse concerning the central issues of the time. These include the nature of the imagination, the authenticity of the self and self-formation, the impact of finance capitalism and industry, the role of society in shaping human experience and the origins of human nature, the nature of gender and class as categories of experience. More interesting for this course, the narrative complexity of Dickens’ work, its rhetorical variety, and its fictional (or diegetic) world not only present an equally complex response to the age and its anxieties, but also raise central questions about the limits of our knowledge and the meanings of experience, about our awareness of our existence, about the hidden life of others and ourselves, and about the role of fiction in exploring these limits and uncertainties. These uncertainties, framed in the 18th and 19th century terms engaged by Dickens, remain central to contemporary discourse, often underlying or provoking the critical discourse by which we examine the past as it shapes itself and the future. We will explore these issues through the interpretation of several Dickens novels, incorporating critical theory as appropriate, as well as through the exploration of selected related Victorian texts and contemporary narratives, including film and television, that build on the tradition of multi-plot narratives and mixed modes of rhetoric and genre. |
| | Seminar B: Dante's Journey of Legitimation | Chiampi, J | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 11:00 - 12:50pm | | | | The title of this Dante seminar is "Dante's Journey of Legitimation" and will concern itself primarily with the ways in which the poet establishes his legitimacy as the guide of our desire. After all, as he himself tells us in Inferno II, he is neither Aeneas nor Paul; therefore, what, or who sanctions his mission? We will address this question and questions related to it via a synoptic reading of the poem that concentrates on certain key passages and issues and their afterlife in the poem. Retrospective illumination suggests that no episode is completely closed until it is glossed by the Paradiso. The Paradiso permits us to view love, politics and poetry sub specie aeternitatis. The guiding assumption of the course will be that the Paradiso is to the Inferno as criticism to poetry; that is, that the Paradiso as the mind of God, Ens Realissimum and Summum Bonum, is necessarily the interpretative fulcrum of the whole. Thus, although the Inferno may well concern itself with the conventions of genre (eg. love lyric in the case of Francesca, epic in the case of Farinata) Dante's poem upsets the tendency of modern poetry to begin in the semiotic only then to close itself off to history and achieve the esthetic: that is, transform itself from sign into symbol, pass from the dependent to the autonomous, from the mimetic to the heterocosmic. The Inferno proper begins in the heterocosmic only then to achieve a mimetic function, striving to become sign of highest reality, the Ens Realissimum. By the agency of miracle, Dante's poem would be at once both window to reality and a series of self-reflecting mirrors. |
| | Seminar C: Shakespearean Tragedy | Silver, V | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 1:00 - 2:50pm | | | | Although it is entitled 'Shakespearean tragedy,' this is a course in what amounts to an English innovation: the theater of mixed dramatic modes.
Unlike French drama, whose neoclassicism imposed strict divisions between the 'heroic,' 'tragic,' or 'comic,' English drama employed more than one genre, conceptual model or pattern in its writing, viz. Polonius'
notorious account in "Hamlet" of current dramatic practice: "tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral." To investigate the role of such mixed patterns or modes in Shakespeare, we will read "Richard III," "Much Ado About Nothing," "Hamlet," "Lear," and "The Winter's Tale." Neither tragedy nor comedy will ever look the same, which I promise will enrich your teaching of Shakespeare's plays. Movies of course. |
| | Seminar D: Literature of War and Remembrance | Kiene, J | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 3:00 - 4:50pm | | | | This course will examine representations of warfare, both as individual experience and as collective cultural crisis, in literature ranging across several historical periods and literary genres. While we won’t limit ourselves to narrow conceptions of “pro-war” or “anti-war” discourses, we will consider texts that valorize warfare as virtuous, life-affirming, or heroic, and texts that undermine such conceptions by refusing to mask war’s inherent cruelty, suffering, and dehumanization. We will focus particularly on the ways in which communities, through both literature and visual arts, seek to make sense of and find solace for the trauma of war in acts of commemoration and myth-construction. Possible texts range from ancient epics like Homer’s Iliad and Virgil’s Aeneid, to early modern English works like Shakespeare’s Henry V, to the poetry of First World War veterans Wilfred Owen and Siegfried Sassoon, to novels like Virginia Woolf’s Mrs. Dalloway, Joseph Heller’s Catch-22, and Ian McEwan’s Atonement. |
|
Session 2: 07/26/11-08/25/11
| | Seminar A: Innovations in the Teaching of Writing: Contemporary Composition Theory and Practice | Alexander, J | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 11:00 - 12:50pm | | | | Theories of Composition will examine the development over the last five decades of theories and methods for understanding and promoting successful writing pedagogy. We will look critically at cognitive studies of writing and learning, the "social turn" in composition studies, increasing multicultural awareness of differences amongst learners, and the impact of communication technologies on writing and writing pedagogy. Significant discussion of a variety of pedagogical methods will be our primary focus. |
| | Seminar B: Exile, Pilgrimage, Quest | Davis, R | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 1:00 - 2:50pm | | | | This course surveys the emergence and development of English literature from the Anglo-Saxon elegies and the epic Beowulf to Chaucer’s Canterbury Tales and Thomas Malory’s Morte Darthur. In particular, we’ll investigate narratives of place, movement across boundaries, encounters with the unfamiliar, and quests for sanctuary, community, and meaning. No prior experience with medieval language is expected or required, but by the end of the term, you will have gained some facility in both Old and Middle English. |
| | Seminar C: Action in the Victorian Novel | Bartlett, J | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 3:00 - 4:50 pm | | | | In this course we will examine the qualities that distinguish an “action” in the novel from any old thing that happens. Assisted by readings in philosophies of practical reason and intentionality, our focus will include analyses of mental events like plans and beliefs, as well as descriptions of action sequences and their causal chains. We will put these theories in dialogue with the Victorian novel, a form that relies on its actions for both its force and its often considerable length. We will also examine the relation between action and serialization in selections from Dickens’s David Copperfield and Thackeray’s Pendennis, rival narratives published concurrently in 1850. Requirements include written responses to course readings, one presentation with some discussion facilitation, one shorter paper of 5-7 pages and one longer paper of research length, 8-10 pages. |
| |
Session 1: 06/15/10-07/15/10
| | Seminar A: Modern Poetics | Alexander, J | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 9:00 - 10:50 am | | | | This course will trace with participants the emergence of a modern and postmodern poetics, from the post-Romantics of the mid 19h century to contemporary poetic practice. We will focus in particular on the lyric, starting with the free verse of Whitman, moving through the formal inventions of Victorian poetry, considering the stylistic and formal experimentations of modernist poetry, and finishing with political lyrics of the postmodern and sound poetry. Some consideration to the teaching of poetry and creative writing will complement our interpretive work. |
| | Seminar B: The Renaissance Epic | Chiampi, J | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 11:00 - 12:50 pm | | | | An overview of the development of epic in the West, its themes, topoi and motifs. Understanding the role, nature and identity of the hero; the role of women and the figuration of gender; the development of the person; the nature and possibility of civic life; virtue, vice and their consequences; the relationship between city and countryside, private satisfaction and civic concern. Familiarity with the development of such themes and topoi as the Earthly Paradise; the locus amoenus: vows; rigidity versus flexibility; the meaning of Christian epic; control and containment; disguise; unity and multiplicity; illusion and reality; prudence and recklessness–and their interpenetration and redefinition. |
| | Seminar C: The 1890's | Bartlett, J | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 1:00 - 2:50 pm | | | | In this course we will read a number of works associated with Aestheticism and the Decadence, a period marked by great social, literary, and philosophical ambivalences, including the paradox of the cosmopolitan subject, the circulation of criticism and the exclusivity of the coterie, the aestheticization of the object and the relation between the useful and the beautiful. We will read philosophies of art and culture by John Ruskin, anthropology by W. K. Clifford, sociology by Georg Simmel, sexology by Havelock Ellis, and psychical research by William James. Our literary texts will include prose and poetry by Oscar Wilde, Max Beerbohm, and Aubrey Beardsley. We will end the course with Arthur Machen’s bizarre scientific-gothic novel The Great God Pan, because, frankly, we can’t do better. Requirements include written responses to course readings, one presentation followed by some discussion facilitation, one shorter paper of 5-7 pages, and one paper of research length, 8-10 pages. |
| | Seminar D: Europe and its 'Others' in the Renaissance | Newman, J | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 3:00 - 4:50 pm | | | | In this course, we will investigate the ways in which conflicts over race, religion,and gender informed the literature, art, and politics of the European Renaissance. Of particular interest will be the question of Europe and Islam and the extent to which Europe—from the individual nation-state of England to the glittering city-republic of Venice, the lumbering Holy Roman Empire of the German Nation, and the agile commercial society of the United Provinces of the Netherlands—defined itself in conversation—but also in conflict—with the Ottomans. Using historical maps, literary texts (including Shakespeare’s Othello, Torquato Tasso’s Jerusalem Liberated, and Marlowe’s The Jew of Malta), a wide variety of shorter primary documents from the period, and art historical materials, we will begin to trace the influence of politics, religious ideology, military engagement, and mercantilism on the creation of the ‘European’ subject—whoever she or he may have been—during the period often associated with the ‘rebirth’ of culture in the west. |
|
Session 2: 07/20/10-08/19/10
| | Seminar A: Reading Romantic Poetry | Warminski, A | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 11:00 - 12:50 pm | | | | We will engage in close reading of some major romantic poems, with an emphasis on Wordsworth’s Prelude to introduce the terms and set up the stakes of the readings. The course will focus on the self-consciousness and self-reflexivity proper to the romantics and the vision of history that this self-reflection engenders. One hypothesis of the course is that (both older and more recent) attempts to “historicize” the romantics need to overlook the “negativity” peculiar to the language of romantic poetry in its truly historical and material specificity. Another hypothesis is that, once read, the texts of the romantics, rather than legitimating the aesthetic, historicist, or other (“romantic” or “German”) ideologies that dominate contemporary theory, can instead serve as the most powerful resource for their critical dismantling. If borne out, both hypotheses would have considerable implications for our own historical self-definition (as “modern,” “post-modern,” or “post-post-...”) and what we call “our” history. Texts: Wordsworth, short lyrics and The Prelude; selected poems by Coleridge, Keats, and Shelley; strategically chosen critical essays by Abrams, Hartman, Bloom, de Man, as well as works by New Historicists and feminists. |
| | Seminar B: British Postmodernism | Zimmerman, R | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 1:00 - 2:50 pm | | | | This course will introduce students to some post-WWII British drama and fiction that exemplifies techniques and preoccupations associated with literary postmodernism. Specifically, we will read works by Tom Stoppard, Caryl Churchill, Angela Carter, Caryl Phillips, and Salman Rushdie. We will explore the postmodernist literary conventions these texts deploy (such as temporal disorder, metafictionality, intertextuality, and magical realism), and their preoccupations with issues such as fragmented subjectivity, cultural hybridity, and skepticism about metanarratives. The course will also serve as an introduction to theories of the postmodern and the ways in which such theories intersect with feminism, Marxism, and postcolonialism. Texts by or about theorists such as Jean-Francois Lyotard, Frederic Jameson, Patricia Waugh, bell hooks, and Linda Hutcheon offer constructs that resonate deeply with the issues and concerns of the literary texts we’ll read. |
| | Seminar C: Concepts of Virtue | Silver, V | | Room: Kreiger Hall 126 |
Course Code: 0 | | TWTh 3:00 - 4:50 pm | | | | This is a course in the ethics of interpretation but also in ethical literature from the Judaic scriptures and 'The Mahabharata,' through the Christian gospels, Confucius' 'Analects,' and the 'Dao de Jing,'
concluding with Greek tragedy and the 'modern turn' as exemplified by Michel de Montaigne's 'Essais.' It begins, however, with two ethical
predicaments: first, that enacted in David Mamet's remake of "The Winslow Boy," and second, that posed by Henry James' 'Turn of the Screw.' We will consider how various ethical arguments might respond to and perhaps even resolve those predicaments. Finally, we will bring the ethics of interpretation to the literature of your choice. |
| |
Session 1: 06/16/09-07/16/09
| | Seminar A: Faulkner’s South | Godden, R | | Room: 126 KH |
Course Code: 24510 | | TWTh 9:00 - 10:50 am | | | | What is often first remarked on concerning Faulkner’s work is its difficulty; the course will
contend that the difficulty diminishes, and textual opacity achieves motivation, once it is
understood that the difficulty (though undoubted and intriguing) functions as an
expression of contradictions within the plantation South (a region understood as a specific
and pre-modern regime of accumulation). Our purpose will be to establish the poetics of
a southern economy prior to and during the New Deal. In order to do as much, we will
read four of Faulkner’s experimental and canonical novels (The Sound and the Fury [1929],
Absalom, Absalom! [1936], The Hamlet [1940] and Go Down, Moses [1942]), allowing one
week for each text. In the final week, we will apply the preoccupations and discoveries
derived from the novels to a grouping of Faulkner’s more canonical short stories.
By contextualizing Faulkner’s writing in the complex labor history of the south, the course
seeks to establish that his works attend to a major shift in the history of labor relations
(from bondage to wages), a shift that determines not only the thematic concerns of the
novels, but also their essential stylistic and narrative strategies. Arguably, the region, as
Faulkner saw it, engaged in a prolonged displacement or denial of the bondage systems
(slavery and debt peonage) from which it grew, and which it struggled to keep intact. From
such denial emerged a mode of thought (among the planter class) that Faulkner translates
into the difficult narrative structures and prose style of the texts with which we will
engage. The course will explore the contention that Faulkner’s famous difficulty stems
from his need to portray the mind of the southern owning class wrestling with a labor
system it regards as at once necessary and untenable, neither to be borne nor to be given
up. With luck, as the course proceeds, difficulty will recede towards pleasure.
Course outline and primary reading: Since, for the most part, we are to spend a week (three seminars) on each text, it would be advantageous to purchase the texts (well in advance) and to have completed an initial reading of each text at the outset of the period allocated to it. I appreciate that this may not always be possible(but I live in hope). |
| | Seminar B: Victorian Literature and Culture: Authority, Subversion, and the Art of Negotiation | Abrams, B | | Room: 126 KH |
Course Code: 24520 | | TWTh 11:00 - 12:50 pm | | | | This course takes as its central premise the basic fact that the study of literature is, like
literature itself, an act of cultural negotiation. Even if we may think that we simply want to
learn something about another time and place for fun or for the love of reading, we still
engage in a discourse about the past and history as a way to control the present; this is
true even if this control extends no further than our construction of our own identities and
beliefs. At the same time, this power is limited; the past imposes its own imperatives on
our ability to reshape it and in the process, reveals its own irreducible complexity and the
equal complexity of our own experience and its contexts: we arrive at temporary
solutions, until we start the process again. To fulfill this program, or anti-program, you
will not only read a selection of major works of fiction and poetry as well as related essays
and articles exploring the issues of authority, uncertainty, and the desire for change or
progress, but will also explore the potential value of a variety of critical theories as
windows into the literature and its contexts, structures, and themes. |
| | Seminar C: Dante’s Journey of Legitimation | Chiampi, J | | Room: 126 KH |
Course Code: 24530 | | TWTh 1:00 - 2:50 pm | | | | The title of this Dante seminar is “Dante’s Journey of Legitimation” and will concern itself
primarily with the ways in which the poet establishes his legitimacy as the guide of our
desire. After all, as he himself tells us in Inferno II, he is neither Aeneas nor Paul;
therefore, what, or who sanctions his mission? We will address this question and questions
related to it via a synoptic reading of the poem that concentrates on certain key passages
and issues and their afterlife in the poem. Retrospective illumination suggests that no
episode is completely closed until it is glossed by the Paradiso. The Paradiso permits us to
view love, politics and poetry sub specie aeternitatis. The guiding assumption of the
course will be that the Paradiso is to the Inferno as criticism to poetry; that is, that the
Paradiso as the mind of God, Ens Realissimum and Summum Bonum, is necessarily the
interpretative fulcrum of the whole. Thus, although the Inferno may well concern itself
with the conventions of genre (eg. love lyric in the case of Francesca, epic in the case of
Farinata) Dante’s poem upsets the tendency of modern poetry to begin in the semiotic
only then to close itself off to history and achieve the esthetic: that is, transform itself
from sign into symbol, pass from the dependent to the autonomous, from the mimetic to
the heterocosmic. The Inferno proper begins in the heterocosmic only then to achieve a
mimetic function, striving to become sign of highest reality, the Ens Realissimum. By the
agency of miracle, Dante s poem would be at once both window to reality and a series of
self-reflecting mirrors. |
| | Seminar D: American Literary Realism as Reaction and Reform, 1865-1915 | Ryals, K | | Room: 126 KH |
Course Code: 24540 | | TWTh 3:00 - 4:50 pm | | | | This seminar will focus on the literature of American Realism that flourished during the tumultuous closing decades of the nineteenth century. While we will try to appreciate a range of representative realist works on the basis of their own distinctive literary merits, we will consider the way that these merits mark a conscious reaction against already established forms of popular literature, including both romantic idealism and women’s sentimental fiction. We will also attempt to locate the realist movement against the background of the major social, political and cultural developments of a period during which the US completed its historic transition from provincial maritime republic to bicoastal nation-state with imperial pretensions on the world stage. Thus we will contextualize our readings by exploring some of the ways in which realism offers a characteristic response to rapid industrialization and nascent labor unrest; to massive immigration, emerging post-bellum racial divisions, and rapidly shifting gender relations; to demands for the professionalization of key vocations and the bureaucratization of civil service; to the appearance of new academic disciplines such as sociology and psychology; and to innovations in the visual arts. Our course readings will begin with an examination of the realist contention, articulated most influentially in the criticism and novels of William Dean Howells, that the fictional depiction of “manners” had the potential to help reform a nation in crisis by training citizens in the exercise of properly regulated—as opposed to excessive—forms of emotional sympathy and social interaction. We will consider the ambiguous ideological valence, at once conservative and progressive, latent in this theory, a valence particularly evident as realism undertook representations both of “virtuous” and of “corrupt” modes of relationship between classes, races, and genders. Our readings will then move beyond the novel of manners to look at other forms of realism, including regional or “local-color” fiction, urban realism, and “muckraking” reportage. The course will conclude with a brief consideration of literary naturalism, which shared certain superficial features with realism while at the same time abandoning the Howellsian faith in literature’s unique ability to open up a moral and civic space for human freedom. In this course, students will develop an awareness of the diverse critical approaches to the literature of the period, as well as a familiarity with the primary bibliography. Indeed, one overarching goal of the course will be to provide students with a framework for understanding how the debates circulating around realist literature (both then and now) help us to think about fundamental issues concerning narrative representation and the social role[s] of literature.
Student writing will consist of short critical responses to class readings and two 4-to-5-page essays. There will also be a final exam. |
|
Session 2: 07/21/09-08/20/09
| | Seminar A: The Politics of Romance | Silver, V | | Room: 126 KH |
Course Code: 24550 | | TWTh 9:00 - 10:50 am | | | | The course includes narrative and dramatic romances from The Odyssey to the western, exploring the tragic origins and political assumptions of these tales of erotic crime, punishment and redemption. It will examine the nature of the romance protagonist, the arc of romantic actions, the character of erotic suffering (and its opposite), and their relationship to ideas of moral, political and cosmic order. Sounds vast and unwieldy but trust me. After Homer, the readings are as follows: Xenophon’s Ephesian Tale; Chrétien’s Arthurian Romances; Shakespeare’s The Winter’s Tale (for those of you who took the Shakespeare course from me and were denied it); Austen’s Northanger Abbey; and Jack Shaefer’s Shane. If there is time, we will conclude with a foray into grocery-store romances, with the principle of selection being whether they have Fabio on the cover. Movies are always possible. |
| | Seminar B: Introduction to Science Fiction Studies / Teaching Science Fiction | Alexander, J | | Room: 126 KH |
Course Code: 24560 | | TWTh 11:00 - 12:50 pm | | | | This course will boldly go...into a field often ignored in English and literary studies: the
rise of science fiction as both a popular and critical form of literary exploration. Our
analysis will proceed both (1) historically, as we attempt to understand how and why SF
emerged as a genre in the late 19th century, and (2) materially, as we examine SF as a
powerful market constellation of texts, films, and Web entities. We will also pay especial
attention to the nature of teaching SF texts, and how SF works as a "pedagogical genre."
Participants can expect to read widely and frequently in SF literature, discuss numerous
short film and video clips, examine SF on the Web, and write scholarly analyses of a variety
of different kinds of texts. |
| | Seminar C: Postcolonial British Literature | Zimmerman, R | | Room: 126 KH |
Course Code: 24570 | | TWTh 1:00 - 2:50 pm | | | | This seminar will focus on some lively fiction, poetry, and drama by postcolonial British
authors. Specifically, we will read fiction by Buchi Emecheta, Timothy Mo, and Salman
Rushdie, poetry by Linton Kwesi Johnson and Jackie Kay, and a play by Hanif Kureishi. We
will explore the literary conventions these texts deploy, and their preoccupations with
issues such as diaspora, race, transnational identities, cultural hybridity, historical trauma,
and changing concepts of Britishness. The course will also offer opportunities to read and
discuss some theories of postcolonialism and transnationalism, considering the ways in
which these theories intersect with feminism, Marxism, postmodernism, and post-
structuralism. Specifically, we will read texts by or about theorists such as Franz Fanon,
Ngugi wa Thiong’o, Gayatri Spivak, Hazel Carby, Linton Kwesi Johnson, Stuart Hall, and
Salman Rushdie, and consider ways in which their work can enrich our readings of the
literary texts we’ll study. Grades will be based on two 3-5 page essays involving close
reading of a literary text (or texts) and application of theoretical constructs drawn from the
assigned theory texts. Students will also write some brief (1-2 page) analytical homework
responses, and give an in-class presentation on one literary text. |
| | Seminar D: Shakespearean Comedy | Munro, I | | Room: 126 KH |
Course Code: 24580 | | TWTh 3:00 - 4:50 pm | | | | Despite the explicit frivolity of many of the play titles-Much Ado about Nothing, As You
Like It, What you Will-Shakespearean comedy always plays for serious stakes. As the
disruptions that typically inaugurate comedy provide opportunities for social critique, so
the corrections that conclude comedy provide opportunities for ironic resistance to
generic expectations of the form. By analyzing a variety of early, middle, and late
comedies, this seminar seeks to dig past the aggressively trivial surfaces of the plays to
the social, cultural, economic, and sexual anxieties that drive them. Topics to be
addressed include the performance of gender, the construction of desire, ritual and
festivity, wit and improvisation, the figure of the clown, the comic body, and the
"reformation" of the stage. |
| |
Session 1: 06/17/08-07/17/08
| | Seminar A: Anglo-Saxon England: Beowulf and Beyond | Jankowski, E. | | Room: 126 KH |
Course Code: 24505 | | TWTh 9:00 - 10:50 a.m. | | | | English literature traditionally begins with the epic poem Beowulf. As the English people sought to establish a national identity, they heralded this exciting story of heroes and monsters to establish their connection with a noble past. This course will focus on a close reading of the Seamus Heaney translation of Beowulf, situating the poem within Anglo-Saxon culture, but also explore several shorter Old English poems produced during this period--"Caedmon's Hymn," "The Wanderer," "The Seafarer," "The Battle of Maldon," and "The Dream of the Rood."
Requirements: Students will have the opportunity to report on a critical essay of their choice as well as explore an aspect of Anglo-Saxon literature in a research paper. |
| | Seminar B: Twentieth-Century Latin American Literature | Johnson, A. | | Room: 126 KH |
Course Code: 24510 | | TWTh 11:00 - 12:50 p.m. | | | | This course will focus on the particular challenges faced by literature in a postcolonial context such as Latin America, including the struggle to find an “authentic voice” rather than merely copying the cultural forms of the centers of world power, the challenge of integrating diverse populations through representation, and the crisis of representation and the very institution of literature brought about by political failures and violence. This course will function both as an introductory survey of twentieth century literature, including as much as we can (in five weeks!) of its major trends and authors, as well as an introduction to some of the principal theoretical paradigms in Latin American literary and cultural criticism. I will be giving brief lectures in order to connect our readings to the larger social and historical context but classes essentially will be conducted as seminars.
Requirements: You will be asked to write two short 3-5 page papers which will involve both close reading of a text (or texts) as well as an analysis of the theoretical problems raised by the text. In addition, I will also request two brief (no more than 1 page) critical reactions to a reading. Many of the readings (short stories, poems, essays) will be made available on e-reserve. |
| | Seminar C: Rhetoric and Western Culture | Green, L. | | Room: 126 KH |
Course Code: 24705 | | TWTh 1:00 - 2:50 p.m. | | | | Rhetoric becomes increasingly important to people at times when their world seems to be changing suddenly, and then they focus consciously upon the roles that discourse can play in their political and intellectual lives. For the ancient Greeks, public discourse could resolve social problems, while for the Romans it could vivify an entire culture. During the upheavals of the Renaissance, rhetoric could promote civic virtue. Throughout Europe in the eighteenth century, rhetoric made it possible for people to negotiate the various levels of society.
This course seeks to understand rhetoric in the context of the political and intellectual tensions that shape it at various historical moments in western culture, from the early Greeks to the early Americans, pairing theory with practice as we go. Greek and Latin theory, for example, will be paired with murder trials from Athens and Rome; Hellenistic theory will be paired with the Greek Bible; and Renaissance theory will be paired with Shakespeare.
Requirements: There will be short weekly responses as preparation for discussion, one seminar presentation, and two papers. Participants are encouraged to draw connections between rhetoric in its historical dimensions and their own experiences and needs as classroom teachers. |
| | Seminar D: Hamlet and Revenge | Silver, V. | | Room: 126 KH |
Course Code: 24535 | | TWTh 3:00 - 4:50 p.m. | | | | The course will address a peculiar sixteenth- and seventeenth-century trend in European drama, the revenge tragedy, which delights in depicting not only every taboo known to humanity (incest, cannibalism, necrophilia and the like), but tacitly celebrates vengeance itself, which as the good books says, is God's prerogative, not humanity's. Vengeance is illicit not least because it usurps the rule of law: it must therefore conceal its actions from view by recourse to conspiracy, with the consequence that revenge tragedies inevitably center on the courts of kings and princes, where political intrigue is the order of the day. Indeed, the outré pleasures of revenge tragedy derive precisely from its protagonists' outraging of received order, which is itself usually corrupt and therefore engenders the false necessity of vengeance, in which the revenger takes law into his or her own hands. This said, we will look at the originals behind the form, plays by Euripides and Seneca; we will then turn to a typical seventeenth-century example by Middleton or Ford; and finally, we will examine Shakespeare's forays in the mode--'Titus Andronicus,' 'Richard III,' and 'Hamlet.' |
|
Session 2: 07/22/08-08/21/08
| | Seminar A: American Borderlands | Giannotti, T. | | Room: 126 KH |
Course Code: 24515 | | TWTh 9:00 - 10:50 a.m. | | | | It’s time to see the frontiers as they are, Fiction, but a fiction meaning blood . . . . – John Berryman
This seminar will investigate the metaphor of borders and the mythologies of the frontier in American literature of the 19th and 20th centuries, with special focus on issues of racial, sexual, and cultural hegemony and resistance. We’ll frame our study with brief texts by two women writers—one of the first best-sellers of American literature, Mary Rowlandson’s captivity narrative of 1682, and Gloria Anzaldúa’s exploration of identity borders in her 1987 Borderlands. From that beginning, we’ll trace American mappings of the border in canonical writers from Fenimore Cooper in the 1820s to Cormac McCarthy in the 1980s. 20th-century cinematic Westerns will be represented by John Ford’s The Searchers and Sam Peckinpah’s The Wild Bunch. Topics and critical issues will include: border as physical and psychic metaphor; racial hegemony and resistance; captivity narrative; providential myths; the Turner thesis; frontier as contested zone; the Rousseauean noble savage and reactive variants; the American “representative man”; the frontier hero, cowboy hero, outlaw hero and their heirs; frontier humor and local color; sexual borderlands, gender, miscegenation; the dime novel tradition; ideologies of insurgency and counterinsurgency.
Course Requirements:
1) Two essays of 4-5 pages.
2) One oral report and brief written assignments.
3) Final exam or quizzes on required texts. |
| | Seminar B: Reading Romantic Poetry | Warminski, A. | | Room: 126 KH |
Course Code: 24530 | | TWTh 11:00 - 12:50 p.m. | | | | We will engage in close reading of some major romantic poems, with an emphasis on Wordsworth’s Prelude to introduce the terms and set up the stakes of the readings. The course will focus on the self-consciousness and self-reflexivity proper to the romantics and the vision of history that this self-reflection engenders. One hypothesis of the course is that (both older and more recent) attempts to “historicize” the romantics need to overlook the “negativity” peculiar to the language of romantic poetry in its truly historical and material specificity. Another hypothesis is that, once read, the texts of the romantics, rather than legitimating the aesthetic, historicist, or other (“romantic” or “German”) ideologies that dominate contemporary theory, can instead serve as the most powerful resource for their critical dismantling. If borne out, both hypotheses would have considerable implications for our own historical self-definition (as “modern,” “post-modern,” or “post-post-...”) and what we call “our” history. Texts: Wordsworth, short lyrics and The Prelude; selected poems by Coleridge, Keats, and Shelley; strategically chosen critical essays by Abrams, Hartman, Bloom, de Man, as well as works by New Historicists and feminists. |
| | Seminar C: Reading the Eighteenth-Century Body | Oesterheld, H. | | Room: 126 KH |
Course Code: 24520 | | TWTh 1:00 - 2:50 p.m. | | | | This course is designed to introduce you to the British novel of the late seventeenth and eighteenth century. Since the “birth,” or, better, the early development of the novel is located within this period, we will consider the properties and characteristics of this expanding “body” of fiction, paying special attention to material conditions in which novels were written and read.
Notoriously concerned with the basest properties of the body, certain eighteenth-century writers seemed to relish writing about debased human behavior (adultery, lechery, greed, laziness, heresy, hypocrisy). At the same time, a counter-movement runs afoot, covering up the less appealing exigencies of human existence with depictions of domestic tranquility, social decorum, philanthropic activity, and Christian modesty. Poised between these two not-always-opposed varieties of eighteenth-century literature, this class will focus on how the bodies of texts and of individuals, whether idealized or debased, call attention to the various material conditions out of which they emerge.
We will discuss ways in which the selected authors conceptualize and create texts as engagements with the material world they experience. We will consider how men imagine women, how women imagine men and how both sexes imagine themselves. We will examine how material conditions among the sexes are represented in fiction and how racial, ethnic, and socio-economic differences are marked. We will explore how the emergence of modern science shaped perspectives of the material world. We will talk about how landscape and architecture figure in fiction and about how pictorial art engages the printed page; finally, we will think about how the experience of acquiring, reading and responding to texts is imagined by our authors, their characters, and their audiences (including ourselves).
You will achieve the course’s overarching objective of recognizing and analyzing distinguishing characteristics of eighteenth-century novels by giving sustained attention to the development of your critical and close reading skills; for only by deploying these skills in both discussion and paper writing can you engage with these complex works in a thoughtful and persuasive manner.
Requirements: In addition to reading and discussing six novels and varied supplemental literary material (20%), individuals will lead portions of class discussion (25%) as well as write two formal papers (4 pages and 5-7 pages, worth 25% and 30% respectively). |
| | Seminar D: Pope and Swift | Kroll, R. | | Room: 126 KH |
Course Code: 24525 | | TWTh 3:00 - 4:50 p.m. | | | | In this course we will read much of the best of the poetry of Alexander Pope (1688-1744), and much of the best of Jonathan Swift (1667-1745). Pope is undoubtedly the greatest English poet of the eighteenth century; and Swift, a close personal friend, one of the great ironists and political writers in the European tradition. We begin briefly by looking at John Dryden, their great immediate predecessor to whom Swift was distantly related (though he hated him), partly to see how powerful the scatological imagination is in all three writers (look up ‘scatology’ in your dictionary), and partly to see how Pope’s mastery of the heroic couplet follows from Dryden’s. Pope was politically disabled, coming from a Catholic family, in an age in which Catholics had very limited rights, and he was also ill throughout his life: crippled by Pott’s disease as a child (a form of spinal tuberculosis), he never grew higher than 4’6”. Though Swift was born in Ireland, and is today considered something of an Irish national hero, as a professional clergyman in the Church of England, he considered being banished to Dublin from London a form of cultural death. Consequently, both writers sympathize with the lot of minorities, most especially women, with whom both had interesting and complicated relationships, and about whom they write with astonishing sympathy and intelligence. |
| |
Session 1: 06/19/07-07/19/07
| | Seminar A: American Literature in a Cultural and Historical Context | Shumaker, C. | | Room: 126 KH |
Course Code: 24500 | | TWTH 9:00 - 10:50 | | | | In order to understand American Literature, it is necessary to see how it develops within a culture over time, based on assumptions about the world that evolve and change. In this course, then, we will begin with the cultures that were present in “America” before the appearance of Europeans to see what assumptions they had about such issues as nature, language, and spiritual experience. Then we will look at the perspectives that Europeans brought with them as they came to settle in this “New World”: We will sample the literature of the Puritans to see how it has contributed to our way of thinking about the world and how it shapes the works of later writers; we will examine the new perspectives introduced by the Enlightenment and discover some surprisingly modern assumptions about who the American is; and we will explore the emergence of a counter-culture in reaction to these assumptions, which leads to the first great flowering of American literature in the “American Renaissance,” and which has continued to influence our view of literature’s role and function in society.
Our approach to the works will mostly take the form of discussion. On occasion there will be brief lectures on historical or cultural developments, but the real core of the course will consist in our talking to each other about the questions the works raise.
The goal of the course is twofold: You will learn to read literature as a development of culture, to relate works to each other and to the history that has produced them (and you); but you will also learn to read individual works more closely and become more aware of ways we might approach each work in order to engage with it and hear what it has to say. To help you achieve these goals and to give you a chance to improve your writing skills, you will write two short (3-5-page) papers, the first of which will involve a close reading of a single text, and the second of which will explore the relationship between works: showing how an important theme, historical development, or literary technique, for example, can be traced in two or three works. You will be invited to develop these papers in consultation with the instructor and encouraged to learn more about the writing process–the skills of formulating questions, revising drafts, and polishing arguments, which are essential to effective thinking and writing. |
| | Seminar B: Major American Writers 1910 - 1945 | Danner, K. | | Room: 126 KH |
Course Code: 24505 | | TWTH 11:00 - 12:50 | | | | These writers are concerned with, among other things, fragmentation, reconfigured myth, alienation, and the materiality of language. These interests sometimes show themselves in subject matter, and sometimes in style. In this context, we might ask: does William Faulkner's use of multiple narrators differ from Jean Toomer's use of the same? Can a writer use a single narrator and still be concerned with fragmentation? What continuities and discontinuities are there between T.S. Eliot and Langston Hughes in terms of their use and transformation of myth? What role, if any, does Eliot's Monarchism or Hughes' fellow-traveler Communism play in their poetic transformations?
Initial readings present an overview of other major issues of the period: war, revolution, region, race. In each case, we will seek to understand the ways our writers deploy particular ideas and techniques.
I will, at tmes, give brief lectures, but mostly, we will discuss the works together. I have particular interests, but am entirely open to the questions that the works raise for you.
In the classroom, and in the two writing assignments (3-5 pages), we will work together to become more careful and effective readers, thinkers, and writers. I will be available for consultation for the two short papers that you will write, and will ask that you share your writing process with me. I will require drafts, due ahead of the paper due dates. |
| | Seminar C: Immigrant Fictions | Lazo, R. | | Room: 126 KH |
Course Code: 24510 | | TWTH 1:00 - 2:50 | | | | Fiction about immigrants usually presents a variety of conflicts related to cultural change, assimilation, racism, and labor. These writings question what it means to become an "American" and, more generally, how a person can function effectively in U.S. society despite language and cultural differences. In this course, we will look at novels and short stories from different points in the twentieth century in order to raise questions about immigration as a topic of fiction that overlaps with social, economic and political debates. In other words, we will attempt to put the fiction in dialogue with ongoing discussions about immigration while considering various stylistic and formal approaches of writers. Readings will be chosen from the following authors: Sandra Cisneros, Jhumpa Lahiri, Abraham Cahan, Maxine Hong Kingston, Helena Viramontes, and Paule Marshall. Requirements will include two short papers, a group discussion, and class participation. |
| | Seminar D: The Politics of Romance | Silver, V. | | Room: 126 KH |
Course Code: 24515 | | TWTH 3:00 - 4:50 | | | | The course includes narrative and dramatic romances from The Odyssey to the western, exploring the tragic origins and political assumptions of these tales of erotic crime, punishment and redemption. It will examine the nature of the romance protagonist, the arc of romantic actions, the character of erotic suffering (and its opposite), and their relationship to ideas of moral, political and cosmic order. Sounds vast and unwieldy but trust me. After Homer, the readings are as follows: Xenophon’s Ephesian Tale; Chrétien’s Arthurian Romances; Shakespeare’s The Winter’s Tale (for those of you who took the Shakespeare course from me and were denied it); Austen’s Northanger Abbey; and Jack Shaefer’s Shane. If there is time, we will conclude with a foray into grocery-store romances, with the principle of selection being whether they have Fabio on the cover. Movies are always possible. |
|
Session 2: 07/24/07-08/23/07
| | Seminar A: History of Criticism | Kroll, R. | | Room: 126 KH |
Course Code: 24600 | | TWTH 9:00 - 10:50 | | | | This course focuses first on the ancients (Plato, Aristotle, Horace, and Longinus), then moves to the Renaissance and after, culminating in the critical situation immediately after World War II. We will only read the most canonical texts so that students can get a basic sense of the narrative and issues (for the moderns, we read Sidney, Dryden, Pope, Johnson, Wordsworth, Shelley, Arnold, Freud, and the new critics). We will not cover any of the critical movements that took hold in the 1960s and after: Marxism, structuralism, feminism, deconstruction, Foucauldianism, etc. There are simply too many choices and we do not have time to cover them properly.
We will aim for much group discussion; 2 short papers; and apart from the books, I will provide extensive reading packages—texts plus supplementary materials. |
| | Seminar B: Twentieth Century British Poetry | Hamilton, C. | | Room: 126 KH |
Course Code: 24520 | | TWTH 11:00 - 12:50 | | | | This seminar will concentrate on British poetry written between the late 19th century and the present. Topics to be addressed will include identity, reception history, and inter-textuality. We will also pay particular attention to language and form in this seminar. This is because of the belief espoused by the Imagists, and others, that modern poets had an imperative to use a different style of English in order to write a new kind of poetry for the 20th centruy. By reading a wide range of poems for each meeting, we will be able to better situate and contextualize the work of the poets our discussions will focus on.
At some point in the course, each student will do an oral presentation (15 minutes max.) on a poem of their choice from the anthology. This can take the form, for instance, of a close reading of the poem accompanied by a handout to be given out in the seminar.
For the remaining 66% of the grade, students will write a short essay (2000 words max.) for the end of week 5. Because the anthology in a certain sense de-contextualizes the poems we study, students will write essays that re-contextualize the poem(s) they discuss by situating them once again within the context of the volume of poetry within which they appeared, for example, when the poet published the volume. Simply put, while an anthology puts poems into a context of other poems by other poets, the specific volume of poetry puts poems into a context and an order of other poems by the same poet at a certain point in time. |
| | Seminar C: Modern Drama | Kubiak, A. | | Room: 126 KH |
Course Code: 24525 | | TWTH 1:00 - 2:50 | | | | Western drama in the twentieth century is characterized by both an interest in the nature of theatrical experience and a complementary interest in the relationship of the space of the theater to the world that surrounds it. While Bertolt Brecht and Samuel Beckett are sometimes positioned as the two opposing poles of modern drama—the first expressly focused on the political, the second on the existential—they share the double interest outlined above, and their work speaks a more common language than is sometimes assumed. This course will explore the thematics of modern theatrical pathos and ethos through a sampling of European and American drama. Beginning with Brecht's Mother Courage and Her Children and Beckett's Endgame—both of which, it might be said, seek to draw a line between the theater's past and its future—we then move to a series of more recent plays: Tony Kushner's Angels in America, Suzan-Lori Park's The America Play, and David Edgar's Pentecost, all of which draw in different ways on the challenges laid down by Brecht and Beckett while marking their own territory and their own time. |
| | Seminar D: Shakespearean Comedy | Munro, I. | | Room: 126 KH |
Course Code: 24530 | | TWTH 3:00 - 4:50 | | | | Despite the explicit frivolity of many of the play titles—Much Ado about Nothing, As You Like It, What you Will—Shakespearean comedy always plays for serious stakes. As the disruptions that typically inaugurate comedy provide opportunities for social critique, so the corrections that conclude comedy provide opportunities for ironic resistance to generic expectations of the form. By analyzing a variety of early, middle, and late comedies, this seminar seeks to dig past the aggressively trivial surfaces of the plays to the social, cultural, economic, and sexual anxieties that drive them. Topics to be addressed include the performance of gender, the construction of desire, ritual and festivity, wit and improvisation, the figure of the clown, the comic body, and the "reformation" of the stage. |
| |
Session 1: 06/20/06-07/20/06
| | Seminar A: Shakespeare and Jonson | Dillon, J. | | Room: 126 KH |
Course Code: 21905 | | TWTh 9:00 a.m. - 10:50 a.m. | | |
| | Seminar B: The Novel to Jane Austen | Hammond, B. | | Room: 126 KH |
Course Code: 21910 | | TWTh 11:00 a.m. - 12:50 p.m. | | |
| | Seminar C: Anglo Saxon England: _Beowulf_ and Beyond | Jankowski, E. | | Room: 126 KH |
Course Code: 21915 | | TWTh 1:00 p.m. - 2:50 p.m. | | |
| | Seminar D: Rhetoric and Western Culture | Green, L. | | Room: 126 KH |
Course Code: 22190 | | TWTh 3:00 p.m. - 4:50 p.m. | | |
|
Session 2: 07/25/06-08/24/06
| | Seminar A: Pope and Swift | Kroll, R. | | Room: 126 KH |
Course Code: 21920 | | TWTh 9:00 a.m. - 10:50 a.m. | | |
| | Seminar B: Gothic Infections, 1757 - 1800 | Oesterheld, H. | | Room: 126 KH |
Course Code: 21925 | | TWTh 11:00 a.m. - 12:50 p.m. | | |
| | Seminar C: Dante's Journey of Legitimation | Chiampi, J.T. | | Room: 126 KH |
Course Code: 21930 | | TWTh 1:00 p.m. - 2:50 p.m. | | |
| | Seminar D: The Concept of Virtue | Silver, V. | | Room: 126 KH |
Course Code: 21935 | | TWTh 3:00 p.m. - 4:50 p.m. | | |
| |
Session 1: 06/21/05-07/21/05
| | Seminar A: Chaucer’s Canterbury Tales | Prof. Elizabeth Allen | | Room: 126 KH |
Course Code: 21505 | | TWTh 9:00 a.m. - 10:50 a.m. | | |
| | Seminar B: Mother Tongues: Vernacular Varieties in American Literature | Prof. Erika Nanes | | Room: 126 KH |
Course Code: 21510 | | TWTh 11:00 a.m. - 12:50 p.m. | | |
| | Seminar C: Readings in 20th Century African American Literature | Prof. Harvey Teres | | Room: 126 KH |
Course Code: 21520 | | TWTh 1:00 p.m. - 2:50 p.m. | | |
| | Seminar D: Shakespeare: Tragedies | Prof. Victoria Silver | | Room: KH 126 |
Course Code: 21540 | | TWTh 3:00 p.m. - 4:50 p.m. | | |
|
Session 2: 07/26/05-08/25/05
| | Seminar A: History of Rhetoric from Sophists to Quintilian | Prof. Richard Kroll | | Room: 126 KH |
Course Code: 21500 | | TWTh 9:00 a.m. - 10:50 a.m. | | |
| | Seminar B: The Body in Fiction | Prof. Michelle Latiolais | | Room: 126 KH |
Course Code: 21525 | | TWTh 11:00 a.m. - 12:50 p.m. | | |
| | Seminar C: Britain’s Other | Prof. Jonathan Hall | | Room: 126 KH |
Course Code: 21530 | | TWTh 1:00 p.m. - 2:50 p.m. | | |
| | Seminar D: Modernism and the U.S. Novel | Prof. Mark Goble | | Room: 126 KH |
Course Code: 21535 | | TWTh 3:00 p.m. - 4:50 p.m. | | |
|
|
|
