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Course Criteria
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4.00 Credits
Authors transmute their experience into language; readers translate that language (back ) into a range of kinds of experience. This course will examine poems and prose fictions from both angles: the text as a tissue of imaginative decisions by an author; and the text as a form, filter, hotbed, school, and playground for a reader's several sorts of imagination. Readings consist primarily of modern American works. C. Hartman
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4.00 Credits
A search for intersections of sound and sense in English, American, and Irish poetry and fiction ranging across four hundred years. Poets to be considered include Donne, Plath, Keats, Yeats, and Corso, among others. The novels studied will be Shelley's Frankenstein, Dickens GreatExpectations, and Joyce's A Portrait of the Artist as a Young Man. J. Gordon
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4.00 Credits
A study of the ways in which poetry and prose have conceptualized and constructed the body, which has symbolized Western selfhood in terms ranging from patriarchal power to misogyny to homophobia to racial identity to simple human vulnerability. Treating the body as both form and content, we will integrate both aesthetic concerns and critical theory as we study literature and develop our own idiosyncratic critical voices. Literary texts include Genesis ( King James version); Ovid, Metamorphoses; Shakespeare, Richard III; Milton, Paradise Lost; Shelley, Frankenstein; Whitman, Leaves of Grass; Dickinson, Selected Poems. D. Greven
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4.00 Credits
How do imaginative writers tell life stories, and what questions do such stories raise for readers of them What kind of truth does fiction tell This course poses these questions and others while paying close attention to particular texts in a wide range of forms and to our negotiation of them as readers. Reading will include one or more psychoanalytical case studies, poems from several historical periods, and one or two contemporary novels. Sample reading: Lowell, Life Studies; Morrison, Beloved; Nabokov, Pale Fire; Freud, Dora or Studies on Hysteria. J. Gezari
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4.00 Credits
This seminar examines the relations between the experiences writers choose for subjects and our experiences as readers. How do life experiences become artworks How do we clearly describe these texts and craft effective arguments about them Readings include British and American short fiction, poetry, novels, and selected critical essays. M. Ellsworth; K. Bleeth
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4.00 Credits
A study of both how science tries to discover time's nature and imaginative literature explores the human experience of it. Works covered are centrally preoccupied with time as a theme, and several of them use techniques that manipulate time for artistic purposes. Works studied include a range of contemporary and classic fiction, drama, poetry and film, as well as some scientific literature on time. Authors may include Shakespeare, Chekhov, Ibsen, Faulkner, Eliot, Alan Lightman, Martin Amis, Tom Stoppard, and Davies or Gould. Films include Groundhog Day and Memento. A. Bradford
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4.00 Credits
We will explore issues of identity, including self-expression, race, gender, and power, in a selection of poems spanning several hundred years and in contemporary novels by Toni Morrison, Salman Rushdie, and Sandra Cisneros. M. Reder
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4.00 Credits
A historical survey of English literature's most enduring writings up to the early nineteenth century, ranging from Geoffrey Chaucer's Canterbury Tales to Mary Shelley' s Frankenstein . Other writersto be considered include Shakespeare, Marlowe, Donne, Spenser, Milton, and Pope. J. Gordon
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4.00 Credits
Literature has enabled writers and readers to explore taboo thoughts and behaviors which often reflect upon social mores. Artists have used these explorations to interrogate repressive or hypocritical ethics. This class will study poems, novels, and films, asking how such works reflect upon the author, the reader, and society. C. Baker
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4.00 Credits
In bearing witness to historical events such as slavery, the Holocaust, the Vietnam war, and the civil rights movement, writers have turned to varied genres, including poetry, fiction, memoir, and graphic narratives. This course addresses the transformation of traumatic memories into art by analyzing the politics and poetics of literary testimony. L. Harrison-Kahan
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