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Course Criteria
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3.00 Credits
PQ: Faculty sponsorship and consent of honors workshop supervisors. For details, see the preceding Honors section. G. Tsiang, V. Lima. Autumn, Winter, Spring.
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3.00 Credits
This course addresses the production of particularly gendered norms and practices. Using a variety of historical and theoretical materials, it addresses how sexual difference operates in various contexts (e.g., nation, race, class formation; work, the family, migration, imperialism, postcolonial relations). D. Nelson, Spring; K. Schilt, Winter.
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3.00 Credits
This course focuses on histories and theories of sexuality: gay, lesbian, heterosexual, and otherwise. This exploration involves looking at a range of materials from anthropology to the law and from practices of sex to practices of science. S. Michaels, Autumn; B. Cohler, Winter.
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3.00 Credits
This course involves intensive readings in both contemporary and traditional poetry. Early on, the course emphasizes various aspects of poetic craft and technique, setting, and terminology, as well as provides extensive experience in verbal analysis. Later, emphasis is on contextual issues: referentially, philosophical and ideological assumptions, as well as historical considerations. R. Strier. Winter.
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3.00 Credits
In the first half of this course, we focus on the principal elements that contribute to effect in fiction (i.e., setting, characterization, style, imagery, structure) to understand the variety of effects possible with each element. We read several different writers in each of the first five weeks. In the second half of the course, we bring the elements together and study how they work in concert. This detailed study concentrates on one or, at most, two texts a week. W. Veeder. Autumn.
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3.00 Credits
This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. Autumn, Spring.
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3.00 Credits
Required of students who are majoring in ENGL. This course develops practical skills in close reading, historical contextualization, and the use of discipline-specific research tools and resources, and encourages conscious reflection on critical presuppositions and practices. This course prepares students to enter into discussions in more advanced undergraduate courses. R. Valenza, Autumn: Staff, Winter, Spring.
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3.00 Credits
This course explores the centrality of suffering to the production of concepts of social belonging and sovereign personhood in the United States since the migration of sentimental fiction to the United States in the 1780s and the rise of abolitionist and indigenous rights rhetoric in the 1830s. Units focus on (1) rhetorics of sentimental attachment; (2) those operating according to the logic of trauma; and (3) introduction to the facets of affect theory that look at the contemporary moment as a scene of ordinary crisis. Readings include theoretical selections (Freud, Ferenczi, Caruth, Massumi, Deleuze, Sedgwick, Butler, Seltzer, Taussig, Daphne Brooks, Peter Brooks); novels ( Uncle Tom's Cabin, Imitation of Life, The Bluest Eye, Black Hole, Survival in Auschwitz, In the Shadow of No Towers, City of Refuge); and films (Safe, When the Levees Broke). L. Berlant. Autumn.
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3.00 Credits
PQ: Any 10000-level ARTH or ARTV course, or consent of instructor. This course explores the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media but also at the very idea of a medium as a means of communication, a set of institutional practices, and a "habitat" in which images proliferate and take on a "life of their own." Readings include classic texts (e. g., Plat o's Allegory of the Cave and Craty lus, Aristot le's Poe tics) and modern texts (e.g., Mar shall McLu han's Understanding Media; Regis De bray's Med iology; Fr iedrich Ki ttler's Gramophone, Film, Type writer). We also look at recent film s (e.g., The Matrix, e XistenZ) that project fantasies of a world of total mediation and hyperreality. Course requirements include one "show and tell" presentation that introduces a specif ic medium. W. J .T. Mitchell
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0.00 Credits
PQ: Third- or fourth-year standing. May be taken for P/F grading by students who are not majoring in English. Materials fee $20. L. McEnerney, K. Cochran, T. Weiner. Winter, Spring.
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