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Course Criteria
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3.00 Credits
Consult special listings
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3.00 Credits
08F: 1009S: 12 In 08F at 10 (section 1), Romance in Medieval England. A consideration of the diverse and elusive genre we now call "romance," which covers anything from chivalric adventures and love stories to quasi-hagiographic and pseudo-historical narratives, from a variety of historical and theoretical perspectives. Readings may include selections from the earliest Arthurian narratives; Middle English and Anglo-Normal romances such a s Tristan, Havelock , an d Sir Gawain and the Green Knight ; and traditional Celtic tales such as th e Mabinogi. Dist: LIT; WCult: W. Course Group I. CA tags Genre-narrative, Genders and Sexualities . Otter.In 09S at 12 (section 2), Love, Gender and Marriage in Shakespeare ( Identical to Women's and Gender Studies 48.3, pending faculty approval). In Shakespeare, issues so seemingly "domestic" as love, sexuality and family are problems of such colossal significance that they could be said to constitute the focal center of the canon itsel f. Haml et a nd King Lea r, for instance, are plays more truly "about" the politics of family than they are about the politics of kingdom. Focusing on seven plays, this course will interrogate the knotty issues of love, sexuality, and family. As part of the course, students will be required to participate in at least one scene product ion. Dist: LIT; WCult: W. Course Group I. CA tags Genre-drama, Genders and Sexualit ies. Boo
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3.00 Credits
08F: 209W: 1209S: 2A In 08F at 2 (section 1), The Civil War in Literature. Although Walt Whitman famously claimed that "the real war will never get into the books," the American Civil War did in fact call forth a vast range of literary responses, in genres as diverse as poetry, popular song, novels and other prose genres. In this course, we will examine how literature depicts the war, and especially how it grapples with Whitman's claim that there is something unrepresentable about the war's carna ge. Dist: LIT, WCult: W. Course Group II. CA tags National Traditions and Countertraditions, Genders and Sexualities, Cultural Studies and Popular Cultu re. BoggIn 09W at 12 (section 2), Charles Dickens: Allegory, Capitalism and the Grotesque. The novels of Charles Dickens embody a complex formal response to the pressures of industrial capitalism and their apparently corrosive effects on Victorian social life. By foregrounding the concepts of allegory and the grotesque, this course will explore Dickens's development of a critical idiom that tried to reveal the distortions of both laissez-faire economics and state bureaucracy, while also preserving Victorian society from the revolutionary potential of popular political mobilization. Dist: LIT; WCult: W. Course Group II, CA tags Genre-narrative, National Traditions and Countertraditions. McCann. In 09S at 2A (section 3), The Bront s. Charlotte, Emily and Anne Bront are perhaps the most mythologized and analyzed family of writers in Britain. Their childhood in Haworth, the intensity of their novels, the relationship with their father and brother-all have been fodder for literary and biographical analysis, and spawned an entire industry of memorabilia, imitation and criticism. In the seminar we will do close readings of four Bront novels (Jane Eyre, Wuthering Heights, Villette, The Tenant of Wildfell Hall), and critical articles, look at some of their juvenilia, and read Lucasta Miller' s The Bront Myth . We'll end with Maryse Cond ?? Windward Hei ghts and Jasper Fforde's imaginative n ovel, The Eyre Af fair. We will also view 2-3 film adaptations of their no vels. Dist: LIT; WCult: W. Course Group II. CA tag Genre-narra tive. Gerz
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3.00 Credits
08F: 3A, 10A09W: 209S: 12 In 08F at 3A (section 2), Bob Dylan. In this course, we will do close, critical readings of certain Dylan lyrics spanning his entire career, also taking into consideration their social, historical, and biographical circumstances. Oral reports as well as a long final paper will be required. Note: some attention will be given to the performance aspect of Dylan's songs, but we will not listen to them in class. All of the songs assigned and discussed will be available for your listening in the Paddock Music Library beforehand. Dist: LIT; WCult: W. Course Group III. CA tags Genre-poetry, Cultural Studies and Popular Culture. Renza. In 08F at 10A (section 3), Quarrelling with Yeats: Twentieth-century Irish Poetry in English. This course will explore the ways that four major twentieth-century Irish poets, Austin Clarke, Patrick Kavanagh, Louis MacNeice, and Thomas Kinsella, engage with W.B. Yeats in their work. The strategies by which they created their own poetic styles and thematic concerns will also be considered, and the course will conclude with a brief consideration of a later generation of Irish poets including Michael Hartnett, Eiléan Nà Chuilleanáin, Eavan Boland, and Paul Durca n. Dist: LIT; WCult: W. Course Group III. CA tags Genre-poetry, National Traditions and Countertradition s. ColemanIn 09S at 12 (section 4), Harlem Renaissance. ( Identical to African and African American Studies 91). This class will examine the literature and social contexts of a period widely knows as the "Harlem Renaissance." Part of our mission in the class will be to deconstruct some of the widely held presuppositions about that era, especially by interrogating questions of class, race, gender and sexuality as social constructs. Although this class will focus mainly on fiction writing, we will also consider some poetry and non-fiction prose as well . Dist: LIT. Course Group III. CA tags Genre-narrative, Genders and Sexualities, Cultural Studies and Popular Culture . Favor.
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3.00 Credits
Not offered in 2008-2009, may be offered in 2009-2010
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3.00 Credits
09S: 2A In 09S at 2A (section 1), Form and Theory of Fiction. How do fiction writers think about fiction What aesthetics, goals, tools, strategies, and theories have been explored and employed by fiction writers as they write their own works, read the works of other fiction writers, and postulate on the role of fiction in literature and among a general readership Topics will include the ways that writers consider and work with point of view, dramaturgy, narrative sequence, character, voice, psychic distance, and authorial presence. In addition to examples of the novel, novella, and short story, readings will include theory and craft texts by such fiction writers as James, Poe, Forster, Calvino, Atwood, Gordimer, Ecco, Macauley, Lanning, Cixous, and others. Dist: LIT, CA tag Literary Theory and Criticism. Tudish.
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3.00 Credits
09S: 1110S: Arrange Readings in English and American literature. The course is intended principally for students who are not majoring in English. It does not carry major credit. Writing requirements will be limited to tests and brief exercises. To be offered periodically, but with varying subject matter. In 09S at 11 (section 1), Journalism: Literature and Practice. This course will explore the role of print journalism in shaping the modern American literary, cultural and political landscape-from Nellie Bly's late 19th century undercover exposure to Seymour Hersh's coverage of the Iraq War. Students will also participate in an intensive weekly workshop on reporting and writing, with a short unit on radio commentary. This course does not carry English major credi t. Dist: LIT; WCult: W. Jetter
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3.00 Credits
All terms: Arrange This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week plus individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have completed Writing 5 (or have exemption status). Procedures for enrolling in English 80: Beginning in 2008 summer, written application for admission into English 80, Creative Writing, is no longer required. Enrollment will now be by registration via Banner, like most other courses at Dartmouth. Students interested in enrolling in English 80, will submit English 80 with their preferred classes list at registration. No writing sample or application form is required. The department will maintain a waitlist of those students who are not admitted, and will have a record of students who attempted to enroll but were denied admission due to space limitations. Enrollment in all other Creative Writing classes will continue to be by written application and writing sample. English 80 is the prerequisite to all other Creative Writing courses. It carries major or minor credit. Dist: ART. Hebert, Huntington, Mathis, Tudish, Lenhart, O'Malley.
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3.00 Credits
09W, 09S, 10W, 10S: Arrange Continued work in the writing of poetry, focusing on the development of craft, image, and voice, as well as the process of revision. The class proceeds by means of group workshops on student writing, individual conferences with the instructor, and analysis of poems by contemporary writers. Prerequisite: English 80 and permission of the instructor. Please pick up the "How To Apply To English 81, 82 or 83" form from the English Department and answer all of the questions asked in a cover letter. Students should submit a five-eight page writing sample of their poetry to the administrative assistant of the English Department. Deadline for equal consideration for admittance is the last day of classes in the term preceding the course. Late applications will be accepted, but held until the add/drop period and reviewed if vacancies occur . Dist: ART . Huntington, Mathis.
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3.00 Credits
09W, 09S, 10W, 10S: Arrange Continued work in the writing of fiction, focusing on short stories, although students may experiment with the novel. The class proceeds by means of group workshops on student writing, individual conferences with the instructor, and analysis of short stories by contemporary writers. Constant revision is required. Prerequisite: English 80 and permission of the instructor. Please pick up the "How To Apply To English 81, 82 or 83" form from the English Department and answer all of the questions asked in a cover letter. Students should submit a five-eight page writing sample of their fiction to the administrative assistant of the English Department. Deadline for equal consideration for admittance is the last day of classes in the term preceding the course. Late applications will be accepted, but held until the add/drop period and reviewed if vacancies occur . Dist: ART . Hebert, O'Malley, Tudish
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