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Course Criteria
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4.00 Credits
Readings in post-war writers such as Beckett, Nabokov, Mailer, Bellow, Vonnegut, Flannery O'Connor, Heller, Albee and Fowles, with particular attention to their criticism of Western culture and to their use of various modes of antirealism. Open to sophomores, juniors and seniors. J. Gordon
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4.00 Credits
An examination of the work of innovative 1970s directors-Coppola, Scorsese, De Palma, Cohen, Romero, Carpenter, Cimino-through a series of critical lenses. Given that New Hollywood film emerges from the revolutionary cultural shifts produced collectively by the civil rights movement, feminism, and Stonewall (gay rights), critical apparati such as race theory, feminism, and queer theory provide salient insights into the complex negotiations of race, gender, and sexuality in the films of this era and movement. Possible films include The Conversation, Taxi Driver, Hi, Mom!, Black Caesar, Dawn of the Dead, and The Deer Hunter. Readings include critical essays by Robin Wood, Amy Taubin, Laura Mulvey, Tony Williams, and Carol J. Glover. Open to sophomores, juniors, and seniors. D. Greven
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4.00 Credits
An analysis of texts from three broad categories: imperial narratives, narratives of decolonization, and postcolonial narratives. The class will focus on a historical understanding of the development of postcolonial forms of literature. Readings from authors such as Kipling, Haggard, Conrad, Cesaire, Achebe, Devi, Friel, Roy, and Walcott. Open to sophomores, juniors, and seniors. Formerly English 236; cannot receive credit for both courses. S. Hay
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4.00 Credits
An analysis of literature and film. The class will focus on an understanding of the concepts developed in postcolonial theory as they pertain to textual analysis. Readings from African, Caribbean, Indian, Pacific, Asian, South American and Irish authors. This is the same course as Gender and Women's Studies 238. Open to sophomores, juniors, and seniors. Formerly English 236; cannot receive credit for both courses. S. Hay
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4.00 Credits
Introduction to the writing of poetry through reading, analysis, imitation, and composition. Enrollment limited to 18 students. C. Hartman
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4.00 Credits
This course examines the particular role that race plays in constructing literary subjects. Emphasis is placed upon examining the techniques of narrative in representing race, how racial identification shapes character interaction and plot, and the way that race inflects other identifications (gender, sexuality, nationality, class). Open to sophomores, juniors, seniors, and second semester freshmen who have taken Course 120. Enrollment limited to 40 students. C. Baker
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4.00 Credits
Beginning with the silent film era and ending with contemporary cinema, we will investigate the cinematic representation of diverse racial identities. Attention to whiteness as an ideal, historically taboo topics such as miscegenation, and gender and sexuality in relation to racial and ethnic stereotypes. This is the same course as Film Studies 243. Open to sophomores, juniors, and seniors. Enrollment limited to 40 students. L. Harrison-Kahan
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4.00 Credits
The Lower East Side. Harlem. Chinatown. El Barrio. These locations are associated with the racial and ethnic minorities who made them home. In this course, we will read literature by Jewish American, African American, Asian American, and Hispanic writers in order to examine the relationship between race and urban space. Open to sophomores, juniors and seniors. L. Harrison-Kahan
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4.00 Credits
Major authors in historical, cultural, and critical context. Course 250: Medieval to 18th Century British Literature. Course 251A: Late 18th Century to Modern British Literature. Course 251B: 19th and 20th Century American Literature. Prerequisite: Course 120 or permission of the department chair. Staff
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4.00 Credits
Individual Study
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