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Course Criteria
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1.00 Credits
This course will emphasize representations of the US South in literature and film throughout the twentieth century. The course will begin with V. S. Naipaul's A Turn in the South; it will include works by Katherine Anne Porter, Eudora Welty, Carson McCullers, Margaret Mitchell, William Faulkner, and Tennessee Williams. Films will include A Streetcar Named Desire, The Glass Menagerie, Gone with the Wind, and Tomorrow (an adaptation of a Faulkner short story). 1.00 units, Seminar
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3.00 Credits
The course will focus on literary works written by Renaissance women, as well as key representations of gender found in selected plays and poems by male writers of the same period. (Note: English 431 and English 833 are the same course.) For English majors, this course satisfies the requirement of a course emphasizing literature written before 1800. For the English graduate program, this course satisfies the requirement of a course in British literature, or a course emphasizing cultural contexts for the literary studies track; it satisfies the requirement of an elective for the writing, rhetoric, and media arts track. It satisfies the literary history requirement for the old requirements, predating fall 2004. 1.00 units, Seminar
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1.00 Credits
The years from the Great Exhibition (1851) to the Second Reform Bill (1867) were a period of enormous vitality in the English novel. The explosion of serial publication and circulating libraries; the rise of consumer capitalism at home and imperial dominance abroad; and the variety of worship and readership resulted in the production of novels with narrative power and cultural authority. Within this period, we will survey many of the major authors of Victorian fiction while attending closely to a specific set of historical developments, class relations, and gender issues. We will read eight representative works of fiction: Dickens's Bleak House (1852-53); Thackeray's Henry Esmond (1852); Charlotte Bronte's Villette (1853); Gaskell's North and South (1854-55); Collins's The Moonstone(1860); Braddon's Lady Audley's Secret (1862); George Eliot's Felix Holt, The Radical (1866); and Trollope's The Last Chronicle of Barset (1866-67). These texts include industrial novels, sensation fiction, multiplot novels, fictional autobiographies, historical fiction, and mysteries, demonstrating the enormous formal variety hidden under the deceptive phrase "nineteenth-century realism." In addition, students will present two oral reports, one on a major critical book treating the fiction of this period, another on an important intellectual document. This course is only open to seniors and graduate students. 1.00 units, Seminar
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1.00 Credits
Drawing on recent autobiography criticism and theory, this course examines ways that life-writing by a cross-section of mostly 20th Century American authors continues to expand and re-vision the "conditions and limits of autobiography" in the western literary tradition. Topics we will explore include the relationship between storytelling and self re-creation; the precarious role of memory in autobiographical practice; and the politics of race/ethnicity, gender, class, and sexuality both in shaping personal experience and in determining modes of self-representation 1.00 units, Seminar
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1.00 Credits
No Course Description Available. 1.00 units, Seminar
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3.00 Credits
This course will focus on 20th century U.S. Southern writers, within the context of the complex history of various regions of the South. Beginning with V.S. Naipaul's A Turn in the South, authors to be studied may include Katherine Anne Porter, Eudora Welty, Zora Neale Hurston, William Faulkner, Tennessee Williams, Flannery O'Connor, Carson McCullers, and Cormac McCarthy. We will view selected films of a few of the novels read. For the English graduate program, this course satisfies the requirements of a core course in the literary studies track or an elective in the writing, rhetoric, and media arts track. For undergraduate English majors, this course satisfies the requirements of a cultural context course or a course emphasizing literature written after 1800. 1.00 units, Seminar
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1.00 Credits
What was Modernism Concurrent with the growth of Modernist studies in the last 15 years or so has been decreasing agreement about the nature of Modernism itself. In this course, we will consider the various competing accounts of Modernism (the artistic movement) and Modernity (the period) current in cultural theorists' attempts to reshape the modern canon; we will also examine the influential interpretations of modernist politics, aesthetics, technologies, and media. Readings will be divided equally between literature (familiar and less-familiar authors) and theory/philosophy (Nietzsche, Bergson, Adorno, Bourdieu, Jameson, and others). (Note: English 438 and English 838 are the same course.) For English majors, this course satisfies the requirement of a literary theory course, or a course emphasizing literature written after 1800. For the English graduate program, this course satisfies the requirements of a course in British literature, or a course emphasizing cultural contexts for the literary studies track; it counts as an elective for the writing, rhetoric, and media arts track. 1.00 units, Seminar
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1.00 Credits
The course examines how the Western genre emerged from global popular culture at the end of the 19th century to become one of the most powerful and complex forms for expressing the experience of Modernity. After a careful consideration of the political and philosophical implications of the Western, we will track the development of the genre as it responds to the ideological contradictions and cultural tensions of 20th-century American history, focusing on broad trends within the mainstream, the contributions of individual directors, and the global dissemination of generic elements. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1800, or a course emphasizing cultural contexts. 1.00 units, Lecture
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1.00 Credits
When the Empire Windrush landed at Tilbury docks in 1948, it brought the first wave of post-war immigration into labor-scarce Britain. Massive labor recruitment from India, Pakistan, and the West Indies brought tens of thousands of "commonwealth subjects" who changed and challenged British culture and politics. The collective experience of becoming "black" British citizens, the continuous struggle to define what that meant and, in the process of redefining "Britishness" for the culture as a whole, has been at the very center of cultural production by those who are still disparagingly referred to as "immigrants." This course will focus on the ways in which black British culture forged for itself an identity and political agenda and has resisted the assault of the British "mainstream" and fundamentally called into question "authentic forms of Englishness." We will be attentive to the shifts in political and theoretical debates of the past several decades in order to map what Frederic Jameson has usefully described as the "social ground of a text." Authors will include: CLR James, Sam Selvon, George Lamming, VS Naipaul, Caryl Phillips, Joan Riley, Linton Kwesi Johnson, Meera Syal, Hanif Kureishi, and Beryl Gilroy. 1.00 units, Seminar
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1.00 Credits
Why is it that certain writers, very well-known in their own times, later disappear from view or are trivialized as, for example, "The Sweet Singer of Hartford" or "stuff for boys who don't read" In this course we will examine a number of case studies of such writers: Lydia Sigourney, Alice Cary, Jack London, Amy Lowell, and, happening right now, Tillie Olsen. We will also consider the extent to which such writers have come back into view. And we will look at one or two contrary cases: writers who were not seen as terribly important in their own times but who later became central to American literary study, like Herman Melville. In other words, we will study the question of "canon formation" in d 1.00 units, Seminar
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