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Course Criteria
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3.00 Credits
Harold Bloom maintains that the case of Ireland presents a possible exception to his theory of "the anxiety of influence": the major poets since Yeats, Seamus Heaney and Paul Muldoon, seem to have shaken off th e master ? yoke. Without taking a position on Bloom 's thesis, this course seeks to clarify the relations of influence and inheritance among these poets, as well as to explore the poetics of twentieth-century Ireland in general, especially in relation to the natio n's troubled colonial hist ory. M. Robbins. Autu
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3.00 Credits
This course examines American poetry after modernism and World War II, providing a detailed understanding of the canonical postwar poets and schools as well as those that are only recently achieving wider recognition. M. Robbins. Spring.
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3.00 Credits
This course covers the difficulties and possibilities for women writing in nineteenth-century Britain, as these are variously encountered and exploited in works by Victorian poets and novelists. Likely texts include Charlotte Bront , Villette; Emily Bront , Wuthering Heights and selected poems; Elizabeth Gaskell, North and South; George Eliot, The Mill on the Floss; and selected poetry by Felicia Hemans, Elizabeth Barrett Browning, Christina Rossetti, Alice Meynell, "Michael Field," and Charlotte Mew. We also evaluate some approaches to Victoria n women ? writing (e.g., Gilbert and Gubar, Armstrong, Homans, Mermin, Leighton) and look at various analyses of sex and gender roles in the Victorian period (e.g., Davidoff, Hall, Poove ). E. Helsinger. Winter
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3.00 Credits
This is a course that considers the Victorian novel within the broader history and theory of the novel form, its function within Victorian society, and its dialogue with other forms of cultural representation during the period. We read novels or novellas by Dickens, Gaskell, Bronte, Eliot, Trollope, and Hardy, and, at the end of the quarter, consider the continuing impact of the Victorian multiplot novel on contemporary writing. Along with the novels, we read secondary scholarship on the novel, as well as contemporary primary materials that join the discussions expressed in the novels themselves. E. Hadley. Autumn.
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3.00 Credits
This course examines time-travel as it is effected, as well as staged, by the fiction of Henry James, culminating in a study of his final, unfinished novel. Rather than merely attempting to historicize his oeuvre, we focus on the peculiar conception of history the author's notion of a "visitable past" affords. We study the reciprocal interference between sensory and historical experience in James 's prose in tandem with the commodification of past forms it dramatizes contemporaneously. Relevant criticism and primary readings in realism, aestheticism, and historiography supplement our readings of the bodies and prefaces of selected tales, essays, travel writings, and novels (e. g., The American, The Princess Casamassima, The Wings of the Dove, The Golden Bowl, The Sense of the Past). J. Scappettone. Sprin
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3.00 Credits
This course examines literature produced by the indigenous peoples of North America in the last forty years. Our approach is historical as well as conceptual: beginning with N. Scott Momaday's novel House Made of Dawn, we study the major authors and themes of the literary movement known as the "Native American Renaissance," investigating its transformation from the 1960s to the present. We also read indigenous writing from Canada and Mexico, examining the points of resonance and of disjuncture between these texts and those produced in the United States while understanding that in Native American thought, state borders are a relatively recent phenomenon. Combining textual analysis and attention to historical and cultural contexts, we explore how indigenous writers draw on both European and Native formal traditions to reflect histories of struggle. We attend to relevant theoretical contexts, including post-colonialism, feminism, cultural materialism, theories of identity, and eco-criticis m. M. McDonough. Autumn
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3.00 Credits
This course takes students through Joyce's novel, exposing them to various recent critical approaches. We also take some excursions also into materials contemporary to Ulysses that can be placed in dialogue with the novel. L. Ruddick. Spring.
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3.00 Credits
This course has two related aims: to perform an intensive reading of Eliot's novel and to provide an introduction to the history and culture of Britain in the early to mid-Victorian period. In placing the novel and its contexts in conversation with one another, the course aims to illuminate the aesthetic complexity of the novel, the driving concerns of the intellectual climate in which it was produced, and the possibility or extent of mutual influence. Supplementary texts include works by Arnold, Mill, Darwin, Spencer, Ellis, genre theory, and critical responses to the novel. K. Kerr. Winter.
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3.00 Credits
This course examines the emergence of India as a theme in twentieth-century English fiction. We consider a representative sample of texts, both fictional and nonfictional, written about India by Indian and non-Indian writers as we examine the historical contexts for the India-England connection, especially the impact of British imperialism. Elements of postcolonial theory are brought to bear upon specific textual study. L. Gandhi. Winter.
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3.00 Credits
This course meets the critical/intellectual methods course requirement for students who are majoring in Comparative Literature. This course explores notions of cosmopolitanism in philosophy, historiography, and literature. Topics include ancient world systems, world literature, hospitality, and hybridity. Readings may include Derek Walcott's Omeros, the Hellenistic Life of Aesop, early Chinese prose-poetry, Derrida, Frank, and Spivak. T. Chin. Spring.
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