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Course Criteria
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0.00 Credits
In this course, we will consider the works of John Milton, with attention to how his prose and poetry synthesizes long-standing intellectual and literary traditions and grapples with issues that still engage us today: the relation of men and women, the realities of loss and mortality, the concept of significant individual choice, and the power and limitations of language as the tool with which we forge an understanding of the world. This course satisfies the requirement of a course emphasizing literature written before 1800. Prerequisite: C- or better in English 260. 1.00 units, Lecture
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3.00 Credits
We will read important works by Pope, Blake, Byron, Wordsworth, Coleridge, Keats, Shelley, Tennyson, and Browning along with a few of the many significant biographical and critical essays. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1800. 1.00 units, Lecture
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1.00 Credits
In an era characterized by the prominence of women writers and by its female monarchy, this course will investigate the variety of ways Victorian writers construct heroines and other exceptional women. Our focus will be on literary texts (fiction and poetry), but we will read them in the context of selected other Victorian writings: conduct literature, biographical texts, aesthetic debates, the Crimean War, and writings by and about Queen Victoria. The course's goal is to give students a detailed knowledge of some Victorian literature, and to enable them to read these works in dialogue with Victorian history: specifically, with attention to the gendered economics of the literary marketplace, to the emerging feminist movement in England, to the role of women in wartime, to the conditions of the working-class, and to the authorizing (and disabling) presence of Queen Victoria. Texts will include: Bronte's Jane Eyre, Tennyson's The Princess and Maud, Barrett Browning's Mary Barton, Eliot's The Mill on the Floss, Oliphant's Miss Marjoribanks, Hardy's Tess of the D'Urbervilles, and Shaw's Candida, and selected writings by Hemans, Carlyle, Ruskin, Jameson, Mill, Ellis, and some recent critics. Not open to first-year students. 1.00 units, Lecture
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1.00 Credits
In this course, we will study selected films based on Shakespeare plays. Though we will read the Shakespeare plays as prelude to film analysis, the films will be studied as independent texts. The film script (adapted from or based on a Shakespeare play) will be treated as one aspect of the text. Students will concentrate on analyzing camera angles, mise-en-scene, lighting, sound, editing, and script as aspects of a composite text. We will also discuss film genres and look at the signature work of specific directors, such as Laurence Olivier and Kenneth Branagh. Plays may be selected from Titus Andronicus, Hamlet, Much Ado About Nothing, Richard III, Romeo and Juliet, The Taming of the Shrew, and King Lear. This course satisfies the requirement of a course emphasizing cultural context or a course emphasizing literature written before 1800. Not open to first-year students. 1.00 units, Lecture
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3.00 Credits
A study of English and French writers of the 18th century including Swift, Pope, Boswell, Johnson, Voltaire, Fielding, Rousseau, and Sterne. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1800. 1.00 units, Lecture
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1.00 Credits
This course will study 19th century texts (fiction, poetry, and criticism) that reflect on the experiences of readers and spectators in Victorian England. Against the background of aesthetic theories and social constructions of race, class, and sexuality, we will examine representations of theater and theatricality, travel abroad, museums, the Great Exhibition of 1851, education, and taste. Authors include: Ruskin, Pater, Carlyle, Dickens, Eliot, the Brownings, the Pre-Raphaelites, and Wilde. Not open to first-year students. 1.00 units, Lecture
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1.00 Credits
A study of the poet's exploration and elaboration of radical political, social, religious, and poetic alternatives to established opinion and institutions. Readings in all of Blake's poetry include the visionary epics (the illuminated books), Milton's Paradise Lost as well as Locke and The Bible. This course satisfies the requirement of a course emphasizing literature written before 1800 and for a course emphasizing poetry 1.00 units, Lecture
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0.00 Credits
How do writers transform traditional literary forms to express new perceptions of identity, sexuality, society, and nature In this course, we will examine the way the poets, playwrights, journalists, and fiction writers of Restoration and 18th-century England imitated, reworked, and finally rejected old genres to forge new kinds of literary expression. Readings include works by Aphra Behn, Dryden, Swift, Pope, Johnson, and Goldsmith. This course satisfies the requirement of a course emphasizing literature written before 1800 or a course emphasizing cultural context. Prerequisite: English 260 with a minimum grade of C-. 1.00 units, Lecture
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1.00 Credits
Is Jane Austen a Romantic or a rationalist A conservative or a feminist Why is she so popular now and how was she regarded in her own time This course will analyze Jane Austen's entire opus while exploring what influences that helped to shape her world and her writing. Readings will include all of Austen's work, Romantic poetry, 18th-century novels, and theoretical, critical, and historical texts. This course satisfies the requirement of a course emphasizing literature written before 1800, or a critical theory course. 1.00 units, Lecture
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3.00 Credits
This course treats the work of Charles Dickens and Charles Chaplin from a critical perspective that recognizes their remarkable similarities. Charles Dickens was undoubtedly the most popular artist of the 19th century. He worked in the dominant popular form of the period (the novel) and his work was immediately and widely disseminated in both English and via translations. The fictional worlds and characters he created formed a mythology that addressed and made sense of the experiences of early modern life for millions around the world; the adjective "Dickensian" testifies to how familiar his characteristic blend of comedy and melodrama has become. Though working during a different period (the 20th century) and in a different form (film), Charles Chaplin is remarkably analogous to Dickens. Like Dickens, Chaplin was his century's most popular global artis, his work addressed some of the fundamental issues of contemporary social life, and he employed a blend of comedy and melodrama that merited its own adjective ("Chaplinesque"). Looking at the evolution of these two major figures over the course of their careers, this course also provides an introduction to the techniques and themes of popular melodrama and comedy. For English majors, this course satisfies the requirement of a course emphasizing cultural context or a course emphasizing literature written after 1800. 1.00 units, Lecture
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