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Course Criteria
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3.00 Credits
ENGL 16500 recommended but not required. This course studies the second half of Shakespeare's career, from 1600 to 1611, when the major genres that he worked in were tragedy and "romance" or tragicomedy. Plays read inclu de Hamlet, Measure for Measure, Othello, King Lea r (quarto and folio versions ), Macbeth, Coriolanus, Antony and Cleopatra, Pericles, T he Winter 's Ta le, and The Tempest. R. Strier. Sprin
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3.00 Credits
This course uses the core concept of the "translation of empire" (translatio imperii ) to consider the way epic tells how power moves from one empire to another. The course looks also at how these stories about the movement of political, mercantile, or religious power become mixed with claims about the transfer of literary authority. We first examine two ancient epics , Homer ? Ili ad a nd Virgil 's Aene id, and then two Renaissance epi cs, Cam es' Lus Ãad s and Mil ton's Paradise Lost. R. Eisendrath. Wi
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3.00 Credits
This survey comes to terms with eighteenth-century Britons' capacious sense of what counts as "history" and bring that sense to bear on our own historical thinking. We proceed by way of the myriad genres of history in eighteenth-century literature, a list likely to inclu de Behn ? "true history" of imperial sla very, P ope's mock -epic, D efoe's historical novel, Ha ywood's scandalous "secret history ," Hume's sentimental hist oriogra phy, Gray 's elegie s, Walpo le's gothic, Chatterton's forged p oetry, Fran ces Sheridan's oriental tale, R ichard Brin sley Sheridan's famil y histori es, and Cowper's mock-conjecture. T. C
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3.00 Credits
Before Frankenstein, there was Caleb Williams; before Mary Shelley, there was Mary Wollstonecraft and her fictional heroines, Maria and Mary. These figures come together in this course, which focuses on one of literary history's most distinguished-and distinctive-families, as well as on their political, intellectual, and literary historical context. We explore the way that their writings raise a host of critical questions: about subjectivity and sociability, gender and the family, the value of literature, the nature of life and of the human, and the possibility or promise of politics. Primary readings inclu de Godwin 's Political Justice, Caleb Williams, Fleetwo od, and essa ys; Wollstonecraf t's Vindications, Letters Written in Sweden, Norway, and Denm ark, and Maria: or, the Wrongs of Wo men; and Shell ey's Frankenstein, The Last Man, and Lodore. H. Keenleyside. Win
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3.00 Credits
This course tracks the emergence of our modern language of love, romance, and sexuality within the context of early nineteenth-century British literature, specifically in texts that explore the involvement of various forms of eroticism with political activity or belief. Using interpretive methods associated with Marxist and historicist literary criticism, students read literary texts politically, treat political texts as literary and cultural objects or artifacts understood to represent complex sites of both conformity and resistance to dominant paradigms of romantic desire, and of desire's political possibilities. Working together to develop a shared critical vocabulary, we read poetic celebrations of free love as well as a novel that insists on its practical impossibility; compare the rhetorical use and conceptual understanding of gender across class lines; investigate the discursive development of homosexuality and queer desire in a colonial context; and, most importantly, ask ourselves what is at stake when political questions are considered and conceived terms of personal, erotic, and affective relations between private individuals. A. Nersessian. Spring.
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3.00 Credits
PQ: Enrollment in London Program. We consider the historical origins of the Arthurian legend and how it has subsequently been reshaped and used in Great Britain. We discuss how the legend was treated in the Middle Ages, most importantly by Geoffrey of Monmouth in the twelfth century and Thomas Malory in the fifteenth. We then turn to the extraordinary revival of interest in the legend that started with the Victorians and has continued almost unabated to the present. We consider such matters as the various political uses that have been made of the legend as well as some of the reasons for its enduring popularity. Early in the course we visit sites traditionally associated with King Arthur, including Tintagel Castle in Cornwall and Glastonbury Abbey in Somerset. Later we examine nineteenth-century visual representations of the legend in London collections, most obviously the Tate Gallery. We end with a viewing of the 1975 film, Monty Python and the Holy Grail. C. von Nolcken. Autumn.
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3.00 Credits
PQ: Enrollment in London Program. We study six of Woolf' s major works, occasionally in conjunction with field trips to sites that occupy key cultural and symbolic roles within these texts. Discussions focuses more on the meanings of the city i n Woolf ? work than is the case in my usual Woolf course, and recent Woolf criticism that touches interwar London is assigne d. L. Ruddick. Autumn
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3.00 Credits
The course investigates twin aims-the desire for radical new forms of writing and the desire for radical new forms of community-in a series of literary movements between the two world wars. We consider how writers of this period viewed community as a literary problem, and vice versa-how they created communities to serve as readers for their work. We read their essays, poems, and novels as arguments for new values-political as well as artistic-and as examples of those values in practice. Accordingly, we pay special attention to the manifestos they produc(in various forms), and to their other coterie productions-their little magazines, collaborative poems, and internecine controversies. Our main aim is to develop a critical understanding of the most influential texts from this period of war and revolution, as well as a clear view of the period itself. J. Kotin. Winter.
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3.00 Credits
Marianne Moore, Elizabeth Bishop, Robert Lowell, and Sylvia Plath were four poets who, as mentors and good friends, influenced one another profoundly in the mid-twentieth century. However, all differed dramatically in their poetic techniques and subjects. Of particular interest in this course is the degree to which each poet takes him or herself as a subject of their poetry and how they use the poetic first-person. J. Winant. Spring.
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3.00 Credits
We read a number of texts from late eighteenth and early nineteenth century Britain that experiment with different registers and dialects of English, self-consciously toying with the boundary between vernacular and literary language. These writers were preoccupied with the choice of a language, and our discussions focus on how that can be a political and ideological choice, as well as an aesthetic one. E. Ponder. Autumn.
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