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Course Criteria
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3.00 Credits
A study of the Canterbury Tales and other Chaucerian verse in the original Middle English. We will discuss the ways that Chaucer portrays the social and cultural struggles of the 14th century as we marvel at the poet's skill with verse and laugh at his dirty stories. Students do not need previous experience with medieval literature or Middle English to be successful in the course. (Michael Drout)
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3.00 Credits
"What is my nation " This key question fro m HenryV can be interjected into many of Shakespeare's plays. This course will look especially at how Shakespeare's plays serve to define places and peoples. We will investigate how different productions may have aided rebellion and question how others may be used for affirmation of nationhood. How have different productions fortified pride-and prejudice Richard III, and Henry IV, Henry V, along with Hamlet, Othello, Midsummer Night's Dream, The Merchant of Venice, Troilus and Cressida and the Tempest may be among the plays we'll read. (Katherine Conway)
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3.00 Credits
Focusing on Shakespeare's poetry and plays and the sources he used as well as the social and cultural contexts that produced them, this course looks, too, at the dramatic responses the Bard's work provokes. We'll read, for instance,Shakespeare's "English" sonnet and compare it tsome of Sidney's Petrarchan sonnets. We'll read Hamlet, King Lear, and Henry V, Othello, As You Like It and Twelfth Night, among others, to understand the ideas and conventions of thought and bias among the early modern English literary and playgoing culture. Using documents contemporary with Shakespeare's writing, we'll see how Shakespeare'ideas are perhaps unoriginal, and how his inventions, experiments and riffs are extraordinary. (Katherine Conway)
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3.00 Credits
We begin with Skelton and proceed to sonnets by Wyatt, Surrey, Sidney, Drayton, Spenser, Shakespeare and Mary Wroth. Various theoretical perspectives will help us to consider how gender is constructed by the sonneteers as well as Jonson, Herrick, Queen Elizabeth I and Amelia Lanyer. Through our close reading we'll examine the literary conventions of form and meter and the divergence from such conventions made by Donne, Herbert, Marvell, Milton and Bradstreet. (Katherine Conway) Connections: Conx 20037 Poetry and the Computer
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3.00 Credits
In this course students will translate all of Beowulf, the Anglo-Saxon poem that is usually called the earliest English epic. Topics of discussion will include manuscripts and material culture, comparative philology, heroism and epic morality, influence, adaptation and oral tradition. Students must be proficient in Old English, having taken either Eng 208 or its equivalent. (Michael Drout)
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3.00 Credits
Before the 18th century, novels in English did not exist. By the end of the 18th century, however, many cultural figures worried about the seemingly obsessive novel reading that was going on among young (particularly female) readers. This course will examine what changed between 1700 and 1800 to make the novel the most important genre of English literature. We will explore the novel as a historical and literary phenomenon. We will see the many ways that the novel answered the grand social and cultural questions which dominated the 18th century. What is the difference between men and women What makes a human life worthwhile How should I relate to my family and loved ones What makes a story seem truthful or false By reading the prose of Defoe, Haywood, Richardson, Fielding, Sterne, Burney and Austen, we shall find out. (James Mulholland)
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3.00 Credits
Coming after the English Civil War, the period from 1660 to 1800 involved some of the most significant transformations in British life, and poetry played a crucial part. We will begin by looking at vicious satires of gender and sexual relations and of political and religious beliefs composed by Rochester, Behn, Pope, Swift and Montagu. Then, we will chart how poetry changes when authors discover new motives for writing-such as financial gain or describing the exotic locales in Scotland, India and America-or when poetry is written by figures who had historically been excluded from it, like lower-class workers or African Americans. Finally, we will see what happens at the end of the 18th century when poetry becomes visionary and spiritual, as it does for Blake, or selfconsciously "ordinary," as it does for Wordsworthand Coleridge. (James Mulholland)
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3.00 Credits
Is rap poetry Do poetry slams encourage "bad"poets We will look at questions like these in order to examine two competing ideas about poetry's role in the contemporary world. Is poetry the last refuge of the individual in a world dominated by corporations, as poet Robert Pinsky argues Or can poetry be the effective vehicle for public culture, as when Maya Angelou read her poetry at Clinton's presidential inauguration Poets will usually include established writers like Sylvia Plath, Robert Lowell, Adrienne Rich, Rita Dove, Joy Harjo and Yusef Komunyakaa and newer names like the gay, Cuban American poet Rafael Campo and slammers such as Willie Perdomo and Tracie Smith. (Claire Buck)
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3.00 Credits
Fiction responding to the radical changes in the late 19th and early 20th centuries-industrialization, urbanization, colonization, mass culture, the women's movement and the influence of Marx and Freud. We will study writers who searched for new ways to represent and explore experiences that the traditional novel did not or could not express. The thematic focus of the course will vary from year to year, but will always include comparison between writers from the modernist period with one or two later 20th century or contemporary novels. Readings by writers such as Djuna Barnes, Joseph Conrad, Jean Rhys, D. H. Lawrence, Jack London, E. M. Forster, James Joyce, Samuel Selvon, Monique Ali, Sadie Smith, Virginia Woolf, William Faulkner and writers representing the Harlem Renaissance. (Claire Buck)
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3.00 Credits
In different ways, James Joyce and Virginia Woolf revolutionized the forms of the novel to focus on the inner world of the mind as well as outer "reality."But they also focused on psychological as well as social experiences that had been traditionally marginalized. They brought into focus-and into question-"realistic" forms of storytelling that habeen rendered invisible. They challenged conventional ideas of literature, politics and gender. And they stretched the limits of thought, feeling and expression through dazzling experimentation and comedy. The first half of the semester will focus on James Joyce's Ulysses, the second half on works by Virginia Woolf. (Claire Buck)
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