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Course Criteria
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3.00 Credits
Prerequisite: Three credits in English at the 200-level or above. A workshop in writing memoir, requiring regular writing practice and outside readings. Students read and study a range of memoir written in English; analyze literary forms and complex language; write imaginatively; respond critically in peer workshops orally and in writing; produce a portfolio of writing based on assignments. Miranda.
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3.00 Credits
Prerequisite: Junior or senior majors, or sophomores with ENGL 299. Why do we say brought not brang? Why is children the plural of child or feet the plural of foot? What happened to the pronoun thou? How did the printing press change spoken language? This course pursues these and other questions by exploring the linguistic history of the English language from its early Germanic origins through its present-day proliferation into World English(es). Particular attention is devoted to the internal development of English (phonology, morphology, syntax, semantics, graphics, and vocabulary) in the medieval and early modern periods. Course work includes reading texts and facsimiles from a variety of historical periods and provenances and also exploring the linguistic, social, cultural, and historical forces that induce language change. No prior knowledge of foreign languages or linguistics is required or expected. Jirsa.
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3.00 Credits
Prerequisite: Three credits in 200-level English. A study of the major visionary narratives of the late Middle Ages, which, springing out of personal crisis, imagine other worlds in order to explore urgent social, political, religious, and philosophical issues. Chaucer’s four visions, Dante’s Divine Comedy in translation, and Langland’s Pier’s Plowman. Also medieval biography (The Book of Margery Kempe) and some medieval drama. Study of the language, sufficient to the needs of reading. Jirsa.
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3.00 Credits
Prerequisite: Three credits in 200-level English. This course introduces students to Geoffrey Chaucer’s Canterbury Tales and to the literary culture of the late-14th century. We read The Canterbury Tales as well as occasional offerings from Chaucer’s contemporaries in order to explore concerns such as gender roles, genre play, and class consciousness. All medieval English literature is read in the original Middle English, though no previous exposure to the language is expected or required. Jirsa.
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4.00 Credits
Prerequisite: Junior or senior majors, or sophomores with ENGL 299. What is the difference between the book as a physical object and the information it contains? How were medieval books assembled and illuminated? Just how revolutionary was the print revolution? In what ways did Shakespeare’s plays change between playhouse and printing house, and which versions should we read? Does the book have a future in the digital age? Questions such as these frame this course’s investigation of the history of the book in the West. In pursuing these and other important issues about books and print culture, students not only understand the book as object but also deepen their appreciation and comprehension of literary texts in all periods. Class activities include making paper, setting type, pulling on printing presses, and handling period texts. We examine manuscripts and facsimiles from the medieval to early modern eras; study varied modern editions of literary texts; travel to research libraries to view famous works; and delve into Leyburn Library’s Special Collections to unearth some of its rarer holdings. Students acquire knowledge about the cultural and historical context of literature; analyze various literary and codicological forms; and learn to read with attention and imagination. Students respond critically to the course material orally and in writing, and at the end of the term create an online, public exhibition of select texts in Leyburn’s archives. Jirsa.
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4.00 Credits
Prerequisite: Three credits in 200-level English. A study of how untamed nature is imagined differently by writers as the landscape changes from the Anglo-Saxon settlement to the 16th century, than again in late-20th-century industrialized Britain. Genres: lyric, folk epic, ballad, romance, animal fable, modern romantic fantasy, postmodern novel and short story. Readings throughout in historical geography, videos on the English landscape at different stages, maps. Craun.
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3.00 Credits
Prerequisite: Three credits in 200-level English. A study of English drama from its origins to the closing of the theaters in 1642; an introduction to the religious and secular drama of the Middle Ages, with emphasis upon the principal plays of the major Tudor and Stuart playwrights-Marlowe, Jonson, Tourneur, Chapman, Middleton, Webster, and Ford. Pickett.
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3.00 Credits
Prerequisite: Three credits in 200-level English. Focusing on the repertory and working conditions of the two play companies with which he was centrally involved, this course examines plays by Shakespeare and several of his contemporary collaborators and colleagues (Jonson, Middleton, Fletcher). Attentive to stage history and the evolution of dramatic texts within print culture, students consider the degree to which Shakespeare was both a representative and an exceptional player in Renaissance London’s “show business.” Pickett.
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3.00 Credits
Prerequisite: Three credits in 200-level English. In a given term, this course focuses on one or two of the major genres explored by Shakespeare (e.g., histories, tragedies, comedies, tragicomedies/romances, lyric and narrative poetry), in light of Renaissance literary conventions and recent theoretical approaches. Students consider the ways in which Shakespeare’s generic experiments are variably inflected by gender, by political considerations, by habitat, and by history. Pickett.
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3.00 Credits
Prerequisite: Three credits in 200-level English. Readings of lyric and epic poetry spanning the long 16th century, and tracing the development of republican and cavalier literary modes. Genres include the metaphysical poetry of Donne, Herbert, Katherine Philips, and Henry Vaughan; erotic verse by Mary Wroth, Herrick, Thomas Carew, Marvell, Aphra Behn, and the Earl of Rochester; elegy by Jonson and Bradstreet; and epic by Milton. Gertz.
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