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Course Criteria
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4.00 Credits
A study of the most famous work of English literature before Shakespeare, both as a work of art and as a product of its place (London) and time (the 1390s).
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4.00 Credits
We will read the succession of tragedies from the early Titus Andronicus and Romeo and Juliet to the late Antony and Cleopatra and Coriolanus, with particular attention to the astonishing sequence of Hamlet, Othello, King Lear, and Macbeth. Part of the course will involve screening and discussion of film, as well as glimpses of modern adaptations. Readings will include theories of tragedy, as well as Shakespearean sources and modern criticism.
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4.00 Credits
Major poets and poems of the early seventeenth century, one of the greatest eras in English verse, considered together with the theory, criticism and practice of lyric. The works of John Donne, Ben Jonson, George Herbert. Andrew Marvell, Robert Herrick, Richard Crashaw, and others will be viewed both in the context of their time and in their centrality for the shaping of modern literary theory and aesthetics.
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4.00 Credits
The Gothic novel is more than just the predecessor of Twilight; it's also an astute commentary upon a turbulent era in England's history. This course will examine the Gothic genre through the lens of that time's political preoccupations (the French Revolution, the Napoleonic Wars) and aesthetic theories (e.g., "the sublime"). Readings will include novels by Walpole, Beckford, Radcliffe and Lewis; Romantic poetry; satires by Austen and Peacock; and philosophical works by Burke and Schiller.
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4.00 Credits
This course examines the novel's emergence and development in England from Aphra Behn to Jane Austen. We consider distinctive features of the new genre, exploring novelists' attempts to distinguish their works from non-fiction texts-letters, journals, criminal autobiographies, and travelogues-even as they draw upon them. We also trace novelists' fascination with topics such as sex and gender, slavery and race, money and market culture, sympathy and sensibility, and privacy and personal identity. And we consider eighteenth-century debates (still relevant today) about the dangers and pleasures of novel-reading.
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4.00 Credits
The Romantic poets are typically split into two camps: the First Generation (Wordsworth, Coleridge) and Second Generation (Byron, Shelley, Keats). This division exists not only because the latter were born later and died younger, but also because of stark political, poetic and philosophical differences. Our course will examine two poets who perhaps best exemplify the divide: William Wordsworth and Percy Shelley. We shall also read several works by Mary Shelley, particularly Frankenstein and her travelogues.
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4.00 Credits
Realism and the problem of consciousness, social knowledge, mobility, the city, and the fantastic within experience. The ethos of self-construction and its recognition of childhood; the irrational, the accidental, and the unconscious. Binary structures, the biographical and the social form of fiction. Austen's Emma, Emily Bronte's Wuthering Heights, Mary Shelley's Frankenstein, Eliot's Adam Bede, Dickens's Bleak House, Stevenson's Dr. Jekyll and Mr. Hyde, Hardy's Tess of the d'Urbervilles and Mayor of Casterbridge.
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4.00 Credits
A set of major works of art produced at the peak of the novel's centrality as a literary form: Sense and Sensibility, Madame Bovary, Anna Karenina, Middlemarch, The Brothers Karamazov, Buddenbrooks. Society, family, generational novels and the negations of crime and adultery; consciousness and the organization of narrative experience; the novel of ideas and scientific programs; realism, naturalism, aestheticism and the interruptions of the imaginary.
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4.00 Credits
From thieves and murderers to bigamists and terrorists, criminals appear with unusual frequency in English fiction. Crime narratives from the eighteenth through the twentieth centuries reveal changing literary conventions as well as changing ideas about the causes and consequences of criminal acts. Special attention to the implications of criminality for literary form, such as the ways in which novels incorporate and imitate legal documents and modes such as confessions, cases, and trials. Other topics include the working of the criminal mind; the reliability of testimony and evidence; the connections among gender, empire, and crime; and the relationship between law and literature. Authors include Defoe, Dickens, Stevenson, Doyle, Conrad, Peter Carey, and Margaret Atwood.
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4.00 Credits
This course will focus on the reflection and refraction of reality in modern novels of the last century and a half. A number of famous novels will be carefully studied for their conception of reality, and the best means of conveying that reality to the reader. We will read novels by Flaubert, George Eliot, Henry James, Virginia Woolf, Thomas Mann, Samuel Beckett, Vladimir Nabokov, Philip Roth, and Ian McEwan.
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