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  • 3.00 Credits

    Through close attention to texts grouped by topic, genre, or historical moment, this course explores how race serves as a foundational means of thinking about America and the American experience. We focus on texts produced by both white and black writers as we consider ways in which writers have sought to represent the African-American experience. Themes and issues might include the institution of slavery and the slave narrative; uplift; passing and identity; assimilation vs. isolation; double-consciousness; the emergence of a distinctly black culture in America; manners and modes of representing African-American life and culture; and notions of America as filtered through African-American consciousness and literary production.
  • 3.00 Credits

    This course explores the means, styles, and purposes of self-representation, at both the individual and the communal levels, in a variety of texts by Native American writers. Themes and issues might include the struggle for cultural authenticity, the experience of conquest and the idea of the reservation, ideas of nationhood and the relations of tribal nations to the United States, and the pluralism of cultures within the Native American community itself.
  • 3.00 Credits

    Ethnicity, often linked to but not the same as race, has a complex history in this nation whose motto is "E Pluribus Unum" (from many, one). Ithas been an obstacle to achieving our motto's unity, and it has been a sustaining value to many of our citizens. Often it has been both these things simultaneously. This course examines literary representations of ethnic identity and culture, inviting students to explore definitions of ethnicity and their implications in the daily operations of peoples and nations. The course considers such questions as these: What is the difference between race and ethnicity Do only "minorities" have ethnicity How might we defineethnicity in an increasingly multiracial society How do we handle the history of discrimination in today's world
  • 3.00 Credits

    This course explores the ways in which American writers have conceptualized the American experience and America as a nation. The plural in the title is deliberate; variety is a key concept. Possible areas of focus include key genres such as the Romance, realism, regionalism, and naturalism; central themes such as race and ethnicity, religion, technology and the self-making narrative; and repeated motifs such as the American Adam and the American abroad.
  • 3.00 Credits

    The particular poets and poems for versions of this course can be selected according to several different criteria: by historical period, for example, by particular genre (e.g., epic, lyric, etc.), by adherence to a theory of composition (e.g., projectivists, language poets, surrealists, new formalists), and by other categories, no doubt. But however the writers and texts are chosen, the course focuses on issues specific to the genre and history of poetry, including the very definition of poetry in various places and times, the resources of prosody and form, and the relation of the art to its audience.
  • 3.00 Credits

    However the particular texts for any version of this course are chosen, it focuses on issues related to the nature and history of the novel, the literary form that has, over the last 250 years, become the dominant mode of literary production. The course explores conventions, traditions, and innovations in point of view, narrative structure and style, and the cultural place of the novel in relation to its historical moment and its audience.
  • 3.00 Credits

    Writers of drama rely on living people-actors and auditors-to maketheir works fully real. Studies in drama therefore rely on an understanding of those contemporary audiences, the conditions of theater, and the politics of the day, as well as shifting generic conventions. In some semesters, this course focuses on Renaissance drama, of which Shakespeare makes only a portion, in others Restoration Comedies, or Theater of the Absurd, or any of a number of periods in which the English language theater flourished.
  • 3.00 Credits

    While it is common to distinguish between "high" culture and mass culture,that distinction is often blurred, and more and more consistently, critics have devoted concentrated attention to the products of mass culture, arguing that their widespread popularity and large audiences suggest that they may be especially revealing about the structures and concerns of the public mind. Moreover, the various forms of popular culture have their own sets of styles and conventions, just as the traditional arts do, that help us to define them and to recognize innovation within them. This course focuses on such popular genres as (mass market) films, TV series, music videos, genre fiction (e.g., romances, detective novels, westerns), and comics to investigate both the nature of the forms themselves and what they may tell us about their social and cultural contexts.
  • 3.00 Credits

    This course introduces students to postcolonial theory to help them develop an understanding of the historical forces and literary influences shaping writers in both the colonial and postcolonial eras. Reading classic literature of Empire along with emerging literature from the postcolonial world, students put texts into dialogue with each other and examine how the experience of colonization affects individual authors and the process of cultural production.
  • 3.00 Credits

    An exploration of major works of English and/or American women writers often grouped by historical period. This course attempts to discover common themes and images in women's writing that we place in a cultural and historical context. Mindful of the astonishing variety in this literature, students try to discern whether there is what Sandra Gilbert and Susan Gubar call "a strong continuity" in the writings of English-speaking women,and if so, to what degree, as Virginia Woolf contends, books (particularly by women) "continue each other."
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