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Course Criteria
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3.00 Credits
In this course we will read a selection of novels by Paul Auster, Joan Didion, Don DeLillo, Toni Morrison, David Plante, Joyce Carol Oates, Robert Stone and others. We will focus on postmodern modes of structures and vision as a way of seeing our world from different and controversial perspectives, as well as those explored by a selection from such critics as Colin McGinn, Christopher Norris, Todd Gitlin, Terry Eagleton, Wendy Steiner, Linda Hutcheon and others. The course will also explore and examine (from a non-scientific perspective, in terms of language and images) the effects and influences of quantum theory on contemporary fiction in terms of Heisenberg's Uncertainty Principle and the difficulty of the relationship between language and quantum experience, which seems to flaunt and evade every logical way we have of trying to describe it. In this regard race, gender, sexuality and class can be seen from entirely new perspectives and shed light on the constant confrontation between "essences" and"relationships."(Samuel Coale) Connections: Conx 20059 Quantum Theories: Contemporary American Fiction, Modern Physics and the Universe
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3.00 Credits
This course is a study of humor in modern and contemporary African American fiction. Borrowing the Freudian concept of wit, we will examine selected literary treatments of racialism in America. Novels include George Schuyler's Black No More, Wesley Brown's Darktown Strutters, Charles Johnson's Middle Passage, Dorothy West's The Living is Easy and Andrea Lee's Sarah Phillips. Limited to junior and senior English majors and minors. (Deyonne Bryant)
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3.00 Credits
Film noir refers to a group of films made primarily in the decade or so after World War II and which frequently addressed, in the narrative terms of the thriller, crises surrounding gender, sexuality and race in American culture. The course will investigate through a feminist framework how the sexual politics of postwar films noir and of more recent neo-noirs engage and diagnose these crises. The course will have strong applications for students interested in film studies, gender studies, American studies and cultural studies. Required weekly film viewing. (Josh Stenger) Connections: Conx 23006 Sexuality
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3.00 Credits
From its beginning, cinema has been fascinated with the city as a site of social cohesion, capital flows and intense ideological conflicts. From Hollywood to Bollywood to Hong Kong, from Soviet socialist realism to German expressionism, Italian neo-realism and the French New Wave, virtually all major film movements have a special relationship to the metropole. In this course, we will adopt an interdisciplinary approach to understanding the relationship between film production and consumption, urban space, architecture and cultural geography. Required weekly film viewing. (Josh Stenger)
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3.00 Credits
This course enables students to explore in greater depth some of the ideas introduced in Eng 290. Topics will change from year to year, but the course will include the study of language theories, postcolonial theory, cultural studies theory, and film and media theory. This course will be especially important for students who wish to attend graduate school in English. (Shawn Christian, Paula M. Krebs, Josh Stenger)
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3.00 Credits
Do women read or write differently Has their work been marginalized What difference do race, class and sexual orientation make We will explore U.S., British and French approaches to feminist criticism; also psychoanalytic, Marxist, African American, queer, postcolonial and cultural-studies approaches. (Beverly Lyon Clark) Connections: Conx 23005 Women in the United States
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3.00 Credits
Intensive practice in the writing of poetry. Exercises and independent work, using assigned readings as models, will be discussed in workshop sessions and individual conferences. (Sue Standing)
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3.00 Credits
This course allows students to study and practice various aspects of fiction writing through workshops and readings in the long story, the novella and the novel. Class discussions will be based on the students' manuscripts and selected published works. Significant written output and revision are expected of workshop participants. (Deyonne Bryant)
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3.00 Credits
After we've written one or two plays, what we have to hold onto in those terrifying moments of facing the blank page are more refined instincts; a sharper sense of immediacy; some tools for creating character, dialogue, setting, and dramatic arc; and probably a stronger determination to make the beast fly. Through a series of writing exercises and an ongoing discussion of individual creative process, we will focus on developing, shaping, refining and energizing our content. Plays written in this course will be included in the annual spring New Plays Festival. Readings of contemporary plays, theory, manifestos and reviews will supplement our creative work. (Charlotte Meehan)
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3.00 Credits
Seminars study individual authors or special topics. A list for the following year is announced each spring. Students will be asked to express preferences among the subjects offered. Each group meets weekly. There are certain sections especially suited to writing and literature majors and to American studies majors.
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