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Course Criteria
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3.00 Credits
As we read literature produced by five British writers across a span of six centuries, we will explore the idea of the 'life' of a text. Literature is famed for its ability to transcend history, to be immortal. Geoffrey Chaucer's poetry has been read continuously and widely from his own lifetime to the current day, more than six hundred years, far longer than the writer or any of his readers could hope to live. Yet literature is also peculiarly vulnerable to the force of history, which can entirely reshape the way in which we experience a text, even the form a text takes. No one who lived during William Shakespeare's time needed footnotes to explain any of the jokes in his plays-indeed, in Shakespeare's lifetime there were no readers of his plays at all, only viewers, since play scripts based on his manuscripts were not published until after his death. Literature thus both reflects and resists its historical context and its writers' intentions. We can see this interaction when we juxtapose John Keats' private letters about poetic imagination with his poetry, for example, or if we compare readers' responses to t he novel J ane Eyre in the years following the revelation of Charlotte Bront 's authorship to how the novel was received when it was first published under the masculine-sounding name of Currer Ellis, because Bront feared prejudice against 'authoresses'. Ultimately, literature plays an important role in how we think about history, about our relationship to the past, and about how we see time passing. M artin Amis' Time's Arrow provides one twentieth-century writer's approach to this theme, as the text attempts to narrate an entire lifetime lived b Our explorations of five writers' varied literature, and its place in history, is limited to only one semester's time and will require the careful reading of texts and active participation in class discussion, as well as the completion of written exercises and a combination of papers and tests.
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3.00 Credits
(formerly Literary Studies I) #5434 MWF 10:00 STAFF DISTRIBUTION I: A DISTRIBUTION II: AR
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3.00 Credits
(formerly Literary Studies I) #5435 MWF 11:00 STAFF DISTRIBUTION I: A DISTRIBUTION II: AR
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3.00 Credits
(formerly Literary Studies I) #5436 MWF 1:00 STAFF DISTRIBUTION I: A DISTRIBUTION II: AR
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3.00 Credits
(formerly Literary Studies I) #5437 TT 9:30 SUTHERLAND DISTRIBUTION I: A DISTRIBUTION II: AR To understand literature will read it closely, perform it expressively, debate its relevance in today's fast-paced electronic age, explore the complex ways in which it works, and engage in a dialogue with scholars who study it. We will focus on four genres: fiction, drama, poetry, and a graphic novel. Among other questions, we will ask these: Why do we read literature in the first place What makes a text literary (as opposed to non-literary) and who gets to make that judgment What distinguishes poetry from prose Why have graphic novels often been disparaged What happens when we rewrite an author's words in our own words And how does performance change the "silent" words on the page To answer such questions we will learn to deploy useful terms and concepts from literary criticism so that we can understand literature in relation to our own insights and those of secondary sources. Ultimately, we will learn to articulate in precise and creative ways how exactly it is that we are entertained, pained, puzzled, inspired, instructed, or changed by what we read.
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3.00 Credits
(formerly Literary Studies I) #6888 TT 11:00 BRUSS DISTRIBUTION I: A DISTRIBUTION II: AR This is a course in reading, interpreting and enjoying literature that serves as an arts course for the general education and an introduction to the English major. Most class days will be devoted to examination of one (or a few) short works, typically stories and poems, with the class discovering the range of interests and views in the room and attempting to ground and justify those interpretations in the language we are reading. We'll attempt to see where the language we are reading supports us and deal with ambiguity. In some cases we'll look at the social, political, and psychological contexts for the writing. As the term progresses, we'll begin to use a set of concepts as instruments for understanding that have been developed in literary study. There will be at least one longer work recently published, and most likely, drama and film. Much attention will be paid to putting our understanding into writing.
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3.00 Credits
(formerly Literary Studies I) #13012 TT 4:00 MEDOFF DISTRIBUTION I: A DISTRIBUTION II: AR This course offers guided practice in the close reading of three major literary genres-poetry, fiction, and drama-with works to be drawn from various historical periods. (A fourth genre may be added at the instructor's discretion.) The course explores the distinctive features of each genre, along with the concepts and terminology necessary to understand it accurately and communicate about it effectively. Close reading is integrated with aesthetic and evaluative responses to the literary works. This course requires intensive writing.
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3.00 Credits
MWF 9:00 TOBIN DISTRIBUTION I: P DISTRIBUTION II: HU
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3.00 Credits
MWF 11:00 STAFF DISTRIBUTION I: P DISTRIBUTION II: HU
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3.00 Credits
TT 9:30 KAMATH DISTRIBUTION I: P DISTRIBUTION II: HU As we read literature produced by five British writers across a span of six centuries, we will explore the idea of the 'life' of a text. Literature is famed for its ability to transcend history, to be immortal. Geoffrey Chaucer's poetry has been read continuously and widely from his own lifetime to the current day, more than six hundred years, far longer than the writer or any of his readers could hope to live. Yet literature is also peculiarly vulnerable to the force of history, which can entirely reshape the way in which we experience a text, even the form a text takes. No one who lived during William Shakespeare's time needed footnotes to explain any of the jokes in his plays-indeed, in Shakespeare's lifetime there were no readers of his plays at all, only viewers, since play scripts based on his manuscripts were not published until after his death. Literature thus both reflects and resists its historical context and its writers' intentions. We can see this interaction when we juxtapose John Keats' private letters about poetic imagination with his poetry, for example, or if we compare readers' responses to t he novel J ane Eyre in the years following the revelation of Charlotte Bront 's authorship to how the novel was received when it was first published under the masculine-sounding name of Currer Ellis, because Bront feared prejudice against 'authoresses'. Ultimately, literature plays an important role in how we think about history, about our relationship to the past, and about how we see time passing. M artin Amis' Time's Arrow provides one twentieth-century writer's approach to this theme, as the text attempts to narrate an entire lifetime lived b Our explorations of five writers' varied literature, and its place in history, is limited to only one semester's time and will require the careful reading of texts and active participation in class discussion, as well as the completion of written exercises and a combination of papers and tests.
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