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Course Criteria
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4.00 Credits
Fall: Staff ; Spring: Davidson, Staff The principal aims and techniques of fiction through the study of traditional and experimental novels, short stories, and novellas. Work by such authors as Dickens, the Bront s, Conrad, Chekhov, Faulkner, Hemingway, Kafka, Crane, Malamud, Bellow, Gallagher, Paley, and Barth may be included.
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3.00 Credits
The study of the forms and techniques of drama; the study of plays as literary texts and as scripts for production, including plays from antiquity to the present.
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1.00 Credits
The study of selected works in major forms of thought and expression in literature and the humanities. Subjects for the sections change from semester to semester and year by year depending on the particular interests of the instructors. The current offerings follow.
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3.00 - 4.00 Credits
The popularity of Jane Austen's novels has not diminished since their initial publication in the early 19th century. The passion her work inspired was so intense and sustained that a term, "Janeites," was developed to refer to her most devoted readers. In this course, we will investigate the origins of this passion by grounding ourselves in Austen's fiction, complicating our understanding of her novels by reading them alongside excerpts from her letters and her juvenilia, and by considering their historical context. We will conclude the course with an assessment of the way in which one of the most successful postmodern adaptations of Austen's work, Helen Fieldi ng's Bridget Jones's Diary (1999), recreates Au sten's Pride and Pr ejudice to respond to late 20th-century social and gender para
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3.00 - 4.00 Credits
Banned, burned, bowdlerized, or simply challenged. We will read books someone doesn't want you to read. Our focus will be the books themselves, but we will also consider some of the arguments for and against banning "offensive" books, including 19th-centur"purity" campaigns and 20th-century charges of racism and sexism. We will look at postal regulations that barred Joyce ? Ulyss es and Voltaire 's Candi de, as well as Justice William O. Douglas's defense of free speech and Salman Rushdie's defense of "offensive" literature. Works and writers may range, for exampl e, from Little Red Ridi ng Hood to Sal inger's Catcher in the Rye, Ken Kesey's One Flew Over the Cucko o's Nest, and Ginsbe rg's Howl; from M ark Twain's Huck leberry Finn to Alice Walker and Ton
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4.00 Credits
The American Civil War is said to have been caused by a novel (Uncle Tom's Cabin) and fictionalized accounts of the nation's divide flourished as soon as shots began in 1861. This course examines some of the most significant fictional treatments of the war in the 19th and 20th centuries. From pop culture blockbusters such as Gone With the Wind to veiled critiques of current events in The March, the Civil War continues on the page. Do we read these novels for historical accuracy or for the emotional impact What do novels of the Civil War tell us about literary trends, American culture, and the idea that history (if not fiction) is written by the victors
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3.00 Credits
This course considers the process by which creative artists attempt to shape life into significant art. Focusing on artists from different creative spheres (visual art, poetry, photography, fiction), we will explore the evolving personal, social, and aesthetic matters reflected in their work: What does it mean to be an artist Has an artist any social responsibility With what acts of imagination might an artist respond to the facts of reality How might the artist shape an aesthetic form in such a way as to celebrate, or compensate, for the incessant flux of the world What's the good of art Our central artists will include James Joyce, Pablo Picasso, William Carlos Williams, Edward Weston, Adrienne Rich, and Judy Chicago, all of whom exercised their shaping spirit in 20th-century Europe and America, with consequences continuing today.
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3.00 Credits
This course will examine African American literature from its roots in the antebellum slave narrative to 20th-century works wrestling with the problem of the "color-line." For whom - and to whom - do these authors presume to speak How are personhood, equality, racial identity, and gender constructed We will read fiction, creative nonfiction, and poetry for their contributions to centuries-long questions about identity and art, cultural representation, and the struggle to belong in America. Authors may include Frederick Douglass, Pauline Hopkins, Jessie Redmon Fauset, Zora Neale Hurston, Richard Wright, and James Baldwin. Distribution area: humanities or alternative voice
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4.00 Credits
Fall: Hashimoto, Scribner Spring: Hashimoto, DiPasquale A writing course for students who have mastered the skills and insights basic to competent writing but wish to develop their skills in expository prose and increase their awareness of the possibilities of language. Prerequisite: sophomore or above. First-year students by consent.
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3.00 - 4.00 Credits
An intermediate workshop in fiction writing offering students the opportunity to expand their knowledge of fundamental techniques and important works in the genre. Students will write original short stories and experiment with strategies and structures through exercises meant to increase their awareness of, and proficiency in, the elements of fiction. Extensive analysis of peer work and important established models in the genre. Weekly assignments in reading and writing to develop critical and creative faculties. Final portfolio of creative and critical work. Prerequisite: English 150 or 220 or consent of instructor. Distribution area: fine arts.
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