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Course Criteria
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4.00 Credits
GSS, STS, Victorian Studies The term "Victorian" is synonymous with outmodeddecorum, prudishness, and inhibition. Yet, as Foucault asserted, we "other Victorians"remain profoundly influenced by notions of the body and sexual difference established in the 19th century. This course examines Victorian texts in conjunction with theories of the construction of sexuality. Students trace the origins of "natural" categories such as male/female,child/adult, heterosexual/homosexual, and normal/ perverse. Readings include Charlotte Bront?, Thomas Hughes, Richard Burton, Robert Baden-Powell, Oscar Wilde, Robert Louis Stevenson, Bram Stoker, John Ruskin, Rudyard Kipling, and Lewis Carroll.
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4.00 Credits
The first semester of a yearlong class, intended for advanced and serious writers of fiction, on the "long story" or novella form. Students readnovellas by Henry James, Flaubert, Chekhov, Flannery O'Connor, Allan Gurganus, Amy Hempel, and Philip Roth. Using these primary texts for reference, the class discusses technical aspects of fiction writing, such as the use of time, narrative voice, openings, endings, dialogue, circularity, and editing, from the point of view of writers, focusing closely on the student's own work. In addition to writing weekly responses to assigned reading, students are expected to write and revise a novella.
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4.00 Credits
RES Selected short fiction and novels by such writers as Mann, Kafka, Nabokov, Camus, Singer, Kundera, andNaipaul are read and discussed, with an eye toward their literary value and the issue of exile-estrangement as a biographical fact and a way of life. Topics of foreignness and identity (ethnic, political, sexual), rejection and loss, estrangement and challenge, and protean mutability are discussed in connection with socialhistorical situations and as major literary themes. Preference is given to language area and literature majors.
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4.00 Credits
Shakespeare wrote in the early years of the 17th century, in early modern London, when the streets were crowded with newcomers in a population that had doubled in less than a hundred years. Country folk wanted to buy the inherited titles of noblemen (the king let them: he needed their money). Aristocrats, laughing at brandnew "nobles" wearing fur, were often in seriousdebt for their own tastes. There was jostling, excitement, and luxury; social changes challenged who modern Londoners thought they were. In some of his plays, Shakespeare is a very urban dramatist, reflecting the vital life of the city of London. Students in this seminar read Shakespeare's Twelfth Night, The Merchant of Venice, Measure for Measure, Hamlet, and The Tempest, along with relevant texts, to explore how this burgeoning capital of Europe registered in urban terms the issues of ethnicity, gender, identity, empire, sexuality, and class difference.
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4.00 Credits
French Studies, German Studies This course acquaints students with representative novels by distinguished French, Russian, German, and Central European authors. The works are analyzed for style, themes, ideological commitment, and social and political setting. Taken together, they provide an accurate account of the major artistic, philosophical, and intellectual trends and developments on the continent during the 19th century. Readings include Dostoevsky's Crime and Punishment, Stendhal's The Red and the Black, Tolstoy' s AnnaKarenina, Balzac's Cousin Bette, Hamsun's Hunger, and Mann's Buddenbrooks.
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4.00 Credits
Victorian Studies This course constitutes a study of change, growth, and continuity in the works of a master novelist. Recurring patterns of action, setting, characterization, and language in six books ( The Pickwick Papers, Oliver Twist, David Copperfield, Great Expectations, Little Dorrit, Our Mutual Friend) are considered from a variety of perspectives: psychological, biographical, historical, formalist.
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4.00 Credits
GSS Students read Woolf's novels, from The Voyage Out ( 1915) to Between the Acts ( 1941), in the context of two distinct periods of innovation and conflict in 20th-century literary culture. The first period, beginning "on or about December 1910," as Woolf suggested, was the formation of the Bloomsbury circle, in particular, and English modernism, in general. What makes Woolf a modernist? How did her interactions with other members of the literary avantgarde (Forster, Eliot, even Joyce and Mansfield), as well as artists and thinkers associated with Bloomsbury, shape her experiments in fiction? The second period, following the women's movement in England and America of the 1960s and 1970s, saw the introduction into the academy of feminist literary criticism. Why did Woolf's novels and essays, especially "A Roomof One's Own," become canonical texts of late20th-century feminism? Has Woolf's literary reputation fared well in the wake of "postfeminism"?How are early 21st-century readers coming to terms with her difficult-to-categorize literary imagination?
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4.00 Credits
Integrated Arts This course looks at work by the mom and pop of modernist and postmodernist experimental arts, with an emphasis on their respective interarts contexts and their relation to investigative methods in the sciences. Both Stein and Cage have remained controversial, continuously contemporary, and influential on all the arts. The class also explores the artists' collaborations and conversations with other artists. In this practicebased seminar, students experiment with forms and study texts and music through performance. Prerequisite: permission of the instructor.
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4.00 Credits
Asian Studies, SRE In the days of British colonial rule, the collision of East and West inspired a number of English authors to write some of their best fiction, and since independence several Indian writers have reimagined that collision from a postcolonial perspective. The contradiction of writing about Indian life in the language of the departed British Raj has created a cultural hybridity that some of these novelists turn to advantage. Indian fiction of the modern period is of three kinds: works written by English authors during the last 100 years of the empire; those written by Indian authors during the first 60 years of independence; and those written by Indians in the diaspora. In this course, students read Rudyard Kipling's Kim, E. M. Forster' s A Passage to India, R. K. Narayan's The Guide, Salman Rushdie's Midnight's Children, Arundhati Roy' s The God ofSmall Things, Rohinton Mistry's A Fine Balance, Kiran Desai's The Inheritance of Loss, and V. S. Naipaul's A House for Mr. Biswas.
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4.00 Credits
ICS This is a seminar on the art and ideas of two of the 20th century's most significant experimenters. The class uses biographical materials to illuminate the association, and sometimes collaboration, of Joyce and Beckett. Readings include Joyce's Dubliners, Portrait of the Artist as a Young Man, and Ulysses; and Beckett's More Pricks Than Kicks, Murphy, and Watt, as well as the plays Waiting for Godot, All That Fall, and Cascando.
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