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Course Criteria
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4.00 Credits
This workshop on short story composition is for experienced writers. Students read short fiction by established writers, and devote significant time to composing and revising their own stories. A writing sample is required. Prerequisite: permission of the instructor.
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4.00 Credits
GSS Though there have long been brilliant and influential women writers (Sappho, Hildegard of Bingen, and Christine de Pisan are some early examples), for much of literary history their work has been overshadowed by their more numerous and voluble male counterparts. In English and American literature, this balance began to shift in the 19th century, when writers like Jane Austen, George Eliot, and Emily Dickinson emerged as some of the most influential voices of their respective generations. Male and female authors now stand on equal footing in the literary world, yet the balance remains shifted slightly toward the study of male authors. This course addresses this imbalance by devoting a semester to reading a wide variety of American women fiction writers, including Deborah Eisenberg, Amy Hempel, Edwidge Danticat, Rishi Reddi, Kelly Link, Judy Budnitz,Marilynne Robinson, Allegra Goodman, Aoibheann Sweeney, and Marly Youmans.
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4.00 Credits
Medieval Studies Throughout its history, romance has been criticized for the effects it has upon its readers. Dante Alighieri's Francesca ends up in Hell for eternity because she has read the romance of Lancelot, Miguel de Cervantes' Don Quijote tilts after windmills because he has been reading romances, and Gustave Flaubert's Emma Bovary veers into adulterous affairs because she has indulged in similar reading matter. The alternate world presented by romance can seem more attractive than our own mundane existence and can threaten to distract us from our real-life responsibilities within it. In reading the major works of romance literature, students consider the uncertain moral status of this genre. Texts include classical epics, medieval Arthurian romances and lays, Renaissance romance epics, and some modern descendants of the romance tradition.
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4.00 Credits
Human Rights This course examines how political ideas and beliefs are dramatically realized in literature. Works by Dostoevsky, Ibsen, Kafka, Mann, Brecht, Sartre, Malraux, Gordimer, Kundera, Neruda, and others are analyzed for ideological content, depth of conception, method of presentation, and synthesis of politics and literature. The class also explores the borderline between art and propaganda. Discussions are supplemented with examples drawn from other art forms.
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4.00 Credits
This course is a variant on a writing workshop. Instead of writing poems and then reading and critiquing them in class, participants conflate and combine reading and writing with the aim of developing skills in both. The course focuses on forms and processes, a vocabulary of making and response, and the potential reciprocity between them: imitation, instant replay, comments as poems, poems as comments. The course is limited to 15 students and is open by permission of the instructor.
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4.00 Credits
Human Rights, Medieval Studies, Theology Throughout the Middle Ages, intellectual life was dominated by scholastics, who sought to integrate reason and faith, logic and revelation, and classical philosophy and the Christian Gospels. During the Renaissance, however, intellectual discourse was taken over by humanists, who stressed empiricism over abstraction, rhetoric over dialectic, and Plato over Aristotle. Students in this seminar explore the tension between scholastic and humanist thought, the rise of the university, the shift from gothic to Renaissance architecture, the discovery of the New World, and the Protestant Reformation. Authors studied include Augustine, Aquinas, Dante, Petrarch, Boccaccio, Erasmus, Rabelais, Montaigne, and Descartes.
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4.00 Credits
Environmental Studies In this course students get to know the Hudson River in all of its complexity through reading a range of works and writing personal essays of place. Readings range from history to natural history, literature to environmental policy. In addition, each student undertakes independent research into some aspect of the river, from the brick or whaling industry to gardens or villas of the valley. They use this research, combined with personal experience of the valley, to develop extended creative nonfiction essays, which are read and critiqued in a workshop format. The course is open to all students interested in creative nonfiction writing from a researched, interdisciplinary perspective.
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4.00 Credits
The workshop addresses both the process of translation and the ways in which meaning is created and shaped through words. It explores the art of literary translation by focusing on style, craft, tone, and the array of options available to the literary translator in using translation as a tool for both interpreting textual origins and the performative shape of the translation itself. Class time is divided between a consideration of the approach taken by various translators, theoretical articles on translation, and students' own translations into English of poetry and prose from any language or text of their own choosing. Prerequisite: one year of language study or permission of the instructor.
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4.00 Credits
Middle Eastern Studies This course focuses on recent developments in cultural and literary theory, with particular attention to the relationships between cultural power, colonialism, and different forms of representation. Surveying a wide range of issues and literary texts, students explore the impact of colonialism; examine the relationship between empire and writing; consider forms of resistance to the process of domination; and look at the ways literary and artistic representations from the Middle East have been crucial in unsettling or undermining the ideologies at the core of imperialism, colonialism, and oppression.
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4.00 Credits
The diversity of voices, styles, and forms employed by innovative contemporary prose fiction writers is matched only by the range of cultural and political issues chronicled in their works. In this course, students closely examine novels and collections of short fiction from the last quarter century in order to define the state of the art for this historical period. Particular emphasis is placed on analysis of work by some of the more pioneering practitioners of the form. Authors include Cormac McCarthy, Angela Carter, Thomas Bernhard, Jeanette Winterson, Kazuo Ishiguro, William Gaddis, Michael Ondaatje, and Jamaica Kincaid. Several writers visit class to discuss their books and read from recent work.
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