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  • 3.00 Credits

    This course examines how creative and analytical writers have addressed issues of health, illness, and healing. Are mind, body and spirit separate entities, and how are they reflected in literature and affected by selfexpression Texts and discussions may include issues such as cancer, AIDS, and mental illnesses; fertility issues; grief; epidemics and war; drugs and altered states of consciousness; stages of life and death; the ethics of healing; and different cultures' approaches to sickness, health and healing.
  • 3.00 Credits

    Shakespeare wrote his plays to be seen on stage, and many people think if he were alive today he would be making movies. In this class we spend plenty of time reading Shakespeare's works to understand his use of plot, character, structure, language, and genre, and we also put ourselves in the position of his audience. Viewing multiple film versions of plays such as Hamlet, Macbeth, Twelfth Night, and Henry V, we consider how various interpretations are projected on screen, and we discuss what is gained and lost by close and loose adaptations of Shakespeare's works. Formerly: Shakespeare in Performance.
  • 3.00 Credits

    This course is an introduction to feminist literary theory. Students learn some of the major schools of feminist thought over the centuries and learn to apply these perspectives to a number of literary works. Major issues include concepts of authorship and voice, representations of gender roles, and ideas of identity and agency. In addition, students develop skills in close reading and critical analysis. Cross-listed with WGST 214D.
  • 3.00 Credits

    "It is difficult to get the news from poems," wrote American poet WilliamCarlos Williams late in his life, "yet men die miserably every day for lack of what is found there." This course investigates both the kind of news that poems bring-about who we are and what we do; about what we know and what we dream-and the challenges of getting that news. Readings include poems in English reaching back to medieval ballads, but the course emphasizes the work of poets writing the news of our own time and considers forms of poetry ranging from the epic to the popular song. No special prior knowledge of poetry or poetic forms is expected.
  • 3.00 Credits

    A number of plays from different theatrical traditions and from different positions within the Western tradition are read in this course. The course also focuses on plays that are, in one way or another, conscious of themselves as drama, or as performance. In some cases, this comes through in an intentionally artificial surface, in others as an overt debt to an earlier play. The course considers cultural and performance histories, self-conscious literary traditions, and the ways a present-day audience might "read" theplays.
  • 3.00 Credits

    This course explores the range of Black writing in America and its history, its particular sources in African culture, its involvement in and revisions of traditional American culture, and its remarkable vitality. The primary focus of the course is on Black writers of the 20th century, including DuBois, Hughes, Hurston, Wright, Ellison, Brooks, Morrison, Walker, and Walcott.
  • 3.00 Credits

    As a structure deeply important in both individual and social realms, marriage provides a rich setting for examining some enduring human concerns. With readings from contemporary literature by male and female writers, the course explores the dynamics of relationships extended over time, the connection between gender identity and personal identity, the evolution of gender roles, and the tension between individual desires and social pressures. Readings include poetry and prose fiction, and sometimes biography and autobiography.
  • 3.00 Credits

    A study of the historical beginnings and literary development of the legend of King Arthur. The course concentrates on medieval literature, the time in which the legend came to have wide popular appeal, but includes some examples of later use of the legend as well. Authors to be studied include Geoffrey of Monmouth, Marie de France, and Sir Thomas Malory. The course explores how elements of the legend appeal to various authors and how that appeal is linked to the cultural contexts in which authors write.
  • 3.00 Credits

    What are the tasks of childhood How does the child respond to the demands of family and society What changes and choices do adult roles require, and how does one balance the needs of community and self How does the child's experience offer special perspectives on the world we know as adults The course looks at ways in which writers have responded to such questions in literary form. Reading includes Mark Twain's Adventures of Huckleberry Finn and the work of contemporary writers who see childhood as a crucible for issues of enduring concern.
  • 3.00 Credits

    Martin Buber said, "all journeys have secret destinations of which the traveler is unaware." In this course, we investigate why humans willingly pull up stakes and travel to unfamiliar places-and write about the experiences. We read fiction and nonfiction narratives that investigate the human desire to leave home, see other lands and people, and learn about the self in the process. We also investigate anthropological theories about travel and its uses. Authors may include Mark Twain, Isabella Bird, Mary McCarthy, Bruce Chatwin, Mary Morris, Jon Krakauer, Andrew Harvey, Douglas Preston, and others.
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