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Course Criteria
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3.00 Credits
In this course we read the work of Asian American poets who forego received lyric forms, genres, and styles in the search for a new literary idiom capable of investigating their own unique trans-national historical moment. Thus we focus on the work of "experimental" writers like Theresa Hak Kyung Cha, John Yau, and Mei Mei Berssenbrugge, along with texts by emerging poets such as Shanxin g Wang ? Mad Science in Imperial Ci ty and T an Lin 's Lotion Bullwhip Giraf fe. Topics include representations of war (the conflict in Vietnam, the Korean War), the notion of formal mastery as cultural assimilation, and the relationship between Asian American experimental poetics and West Coast Language writi ng. S. Reddy. Sprin
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3.00 Credits
PQ: Third- or fourth-year standing, and at least one prior course in modern drama or film. Working knowledge of French helpful but not required. Beckett is conventionally typed as the playwright of minimalist scenes of unremitting bleakness. But his experiments with theater and film echo the irreverent play of popular culture (vaudeville on stage and film, including Chaplin and Keaton) and the artistic avant-garde (Dreyer in film; Jarry and Artaud in theater). This course juxtaposes this early twentieth-century work with Beckett's plays on stage and screen, as well as those of his contemporaries (Ionesco, Duras) and successors. Contemporary authors depend on availability but may include Vinaver, Minyana, and Lagarce (France); Pinter and Greenaway (England); and Foreman and Wellman (United States). Theoretical work may include texts by Artaud, Barthes, Derrida, Josette Feral, Peggy Phelan, and Bert States. L. Kruger. Spring.
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3.00 Credits
J. Goldsby. Spring.
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3.00 Credits
This course provides an introduction to American literature before 1800. In addition to covering canonical works by such authors as Mary Rowlandson, Benjamin Franklin, Olaudah Equiano, and Charles Brockden Brown, the course includes research projects that dig into the broader print culture of the period. K. Gaudet. Autumn.
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3.00 Credits
This course traces a genealogy of affect by focusing on the representation and incitement of emotions in nineteenth-century fiction. Readings include Goethe, The Sorrows of Young Werther; Austen, Sense and Sensibility; Flaubert, Madame Bovary; and Hardy, Far from the Madding Crowd. L. Rothfield. Autumn.
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3.00 Credits
This course considers the power of the West as an imagined construct, an ideologically charged and prophetic "direction" in American cultural production. Beginning with Elizabethan dreams of wealth and haven, as well as Revolutionary and Jeffersonian articulations o f America ? redemptive role in world politics, we focus primarily on nineteenth-century novels and paintings of "westwarding" as an American "manifest destiny." Finally, we turn to the marketing of the West in dime novels, the Wild West Show, Hollywood films, and contemporary television. Throughout the quarter, we follow the challenges posed by recent scholars of the New Western History to boosters of the mythic West. J. Knight. Au
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3.00 Credits
This lecture and discussion course focuses on classic works of American literature, including Franklin's Autobiography, Douglass Narrative of the Life of an American Slave , Hawthorne ? Scarlet Lette r, Melville 's Moby-Di ck, Stow e's U ncle T om's C abin, Thor eau's W alden, Whi tman's Leaves of Gra ss, and Twain's Huckleberry Finn. E. Slauter.
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3.00 Credits
Like few previous genres of literature, the English Gothic novel produced a debate about the experience of and the cognitive and affective processes that constitute reading. Gothic readers were characterized (often in the same piece) as libertines, hysterics, revolutionaries, reactionaries, uncultivated thrill-seekers, inattentive skimmers, hyper-attentive monomaniacs, and distracted automata. This course reconstructs this debate and this reader (or readers). We look at canonical terror and horror Gothic novelists (e.g., Horace Walpole, Matthew Lewis, Ann Radcliffe); less-canonical novels and reviews; Gothic monsters (e.g., Mary Shelley's Frankenstein, John Polidori' s The Vampyre) ; Gothicized political tracts by William Godwin, Mary Wollstonecraft, and Edmund Burke; and critical writings on reading, genre, gender, and print culture. Although this is primarily a course in the novel, we also consider the role of the Gothic in other forms (e.g., poetry, drama, the then-emergent short story) . A. Broughton. Spring.
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3.00 Credits
This course concentrates on the formal experiments of American fiction in the first three decades of the twentieth century. On the one hand, we examine those experiments within the context of a more general understanding of "modernism"-a context established through other genres (e.g., poetry) and other media (e.g., painting, photography, film). On the other, we locate these experiments within a broader cultural milieu-the world of war, mass production, consumer culture, and the age of jazz. Still, the primary engagement is with the texts themselves-major works by Charles Chesnutt, Gertrude Stein, William Carlos Williams, Ernest Hemingway, F. Scott Fitzgerald, Jean Toomer, William Faulkner, Willa Cather, and Nella Lar sen. W. Brown. Spri
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3.00 Credits
M. Godfrey. Winter.
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