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Course Criteria
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3.00 Credits
Studies of selected major plays against a background of change and tradition in English drama from its beginnings to the closing of the theaters.
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3.00 Credits
This unit is concerned with English and European drama and spectacle from late Roman theater onward: primarily in England, but with comparative material from France and Italy. The chronological span of the course ends at about 1600; the working assumption is that there is no clean break between "medieval" and "Renaissance" drama, but that the theaters and scripts of the late 16th century should be understood as developing out of, as well as departing from, earlier theatrical traditions and practices.
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3.00 Credits
A study of Elizabethan and Jacobean theatrical culture-the plays, players, playwrights, and audiences of public theaters, private theaters, and banqueting halls. Study includes the plays of Lyly, Kyd, Marlowe, Jonson, Chapman, Ford, Beaumont, Fletcher, Marston, Middleton, Webster, and Shakespeare.
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3.00 Credits
Examination of reading practices among original audiences for Wyatt, Sidney, Shakespeare, Donne, Jonson, Herrick, Marvell, Rochester, and Dryden and application to our understanding and experience of early modern texts.
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3.00 Credits
Varies from semester to semester.
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3.00 Credits
An intensive examination of some of the major works that have shaped the canon and conception of children's literature in the English-speaking world. Among the authors studied are George Macdonald, Mark Twain, Kenneth Grahame, L. Frank Baum, Lewis Carroll, Robert Louis Stevenson, Rudyard Kipling, and others. If time permits at the end of the course, we examine some works that appeared in the Brownies' Book, the children's publication of the NAACP that appeared in 1920 and 1921, edited by W.E.B. Du Bois and Jessie Fauset, a significant attempt to create a literature for children of color.
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3.00 Credits
A literature/creative writing hybrid course, we concentrate on the element of dialogue in fiction. We focus on 20th-century novels and stories that use dialogue in radical ways or place conversational dynamics at the center of their projects, probably including works by Don DeLillo, Henry Green, Grace Paley, and Philip Roth. We consider the architecture of conversations-the evasions and hidden agendas; the art of the well-made monologue; how speech is shaped by varieties of linguistic capital; and secrets as a narrative device, extending into issues of conspiracy and paranoia. Since this is a craft rather than a traditional literature course, we approach the texts as creative writers (although experience as such is not required), considering what they have to say through a primary emphasis on the means they develop to say it, and we put the craft into practice: assignments include both a critical paper and a short story using radical elements of dialogue. We also make room for some consideration of the dynamics of actual conversations, outside of fiction, through a reading of some conversational analysts and speech-act theorists, and through some real-world experiments.
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3.00 Credits
No course description available.
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3.00 Credits
No course description available.
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3.00 Credits
No course description available.
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