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Course Criteria
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3.00 Credits
Students, in consultation with a faculty advisor, individually design and plan a course of study or research not offered in the curriculum. Course work includes a reflective component, evaluation, and completion of an agreed-upon product. Sponsorship by a faculty member in the program/department, a course prospectus, and permission of the chair are required. Students may register for no more than one independent study per semester. Prerequisite(s): one 100-level English course. Normally offered every semester. Staff.
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3.00 Credits
Offered occasionally by a faculty member in subjects of special interest. Prerequisite(s): one 100-level English course. Staff.
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3.00 Credits
Prerequisite(s): English 291. Enrollment limited to 12. Instructor permission is required. Normally offered every year. R. Farnsworth.
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3.00 Credits
Prerequisite(s): English 292. Enrollment limited to 12. Instructor permission is required. Normally offered every year. R. Farnsworth.
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3.00 Credits
Seminars provide an opportunity for concentrated work in a restricted subject area. Two such seminars are required for the English major. Students are encouraged to see the seminar as preparation for independent work on a senior thesis. They may also choose to use the seminar itself as a means of fulfilling the senior thesis requirement. Sections are limited to 15. Instructor permission is required.
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3.00 Credits
Jean-Luc Godard is perhaps the most important filmmaker of the second half of the twentieth century. His films are essays in what images can do; they analyze narrative, structure, and sound. This course considers the major films of his career, from romantic early works like Breathless ( 1959), to politically severe films like Weekend ( 1967), to the philosophical meditation of In Praise of Love ( 2001). Each week course participants study one film by directors such as Antonioni, Bergman, Dreyer, Fellini, Marker, Pasolini, Tarkovsky, and Truffaut. Taken together, Godard and these European directors show why twentieth-century film is truly the "the seventh art." Prerequisite(s): one English course. Enrollment limited to 15. Instructor permission is required. (Critical thinking.) [W2] S. Dillon.
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3.00 Credits
The seminar examines the detective fiction written by British Victorians, the historical context in which this literature was produced, and its ideological implications. Students consider the connection between gender and criminality, and the relation of detection to class unrest and empire-building. Readings include works by Charles Dickens, Mary Elizabeth Braddon, Wilkie Collins, Arthur Conan Doyle, and Grant Allen. Prerequisite(s): one 100-level English course. Enrollment limited to 15. Instructor permission is required. (Critical thinking.) [W2] L. Nayder.
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3.00 Credits
Concentrated study of the poetry (and some prose) of five major American poets: Elizabeth Bishop, Gwendolyn Brooks, Sylvia Plath, Adrienne Rich, and Marianne Moore, whose various poetic stances and careers illuminate particular dilemmas facing female poets at mid-century-issues of subject matter, visibility, literary tradition, and ideology. Corollary readings may be drawn from the work of other poets, including Anne Sexton and Denise Levertov. Prerequisite(s): one 100-level English course. Enrollment limited to 15. Instructor permission is required. [W2] R. Farnsworth.
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3.00 Credits
This seminar uses theoretical ideas about cultural difference and power to inform the practical criticism of chosen texts, including Bessie Head's A Question of Power, Gloria Anzaldúa's Borderlands/La Frontera, William Faulkner's Absalom, Absalom!, Toni Morrison's Beloved, Klamath's Oral Narratives, and a performance of popular culture chosen by students. This course interrogates both the authority of "good" readers and the capacity of literature to surprise us with kinds of knowledge not included in our starting conceptions of the literary. Enrollment limited to 15. (Critical thinking.) [W2] C. Taylor.
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3.00 Credits
This seminar focuses on lyric poems that respond to other poems, to works of visual art, or to public occasions. We tend to think of the lyric poem as essentially private and inward, as a speech act or composition peculiarly personal and dreamily symbolic, or arising just from the catalyzing frictions of language itself. In this course, students consider a wide array of poems responsive to specific (that is, objectively verifiable) events, objects, and places in order to observe and relate their various formal, figurative, and expressive behaviors. Enrollment limited to 15. Instructor permission is required. [W2] R. Farnsworth.
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