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Course Criteria
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0.00 - 4.00 Credits
An examination of how the medieval intrigue with objects is dropped in early modern thought, in its concern with transcendental subjects, as described in ethics and metaphysics. This problem is traced from the classic Neoplatonic inspection of the object world (in Plotinus) to its amusing limits (in Augustine and Boethius) to its sophisticated redeployment (in Scotus) to its symptomatic occlusion (in Descartes, Kant, Fichte) and, finally, to its rediscovery (in Spinoza and Hegel).
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0.00 - 4.00 Credits
This course examines the two longer versions of William Langland's great and enigmatic poem, a poem that draws from a host of traditional discourses--theology, law, politics, philosophy, economics--and whose politics are putatively traditional. Yet it was also a revolutionary text: Langland has been called an author "in advance of himself." We will examine this aporia by considering literary form and philosophical form; revision, publication, and canonicity; theories of medieval narrative and normativity; heterodoxy and "reformation"; authority and authorial identity.
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0.00 - 4.00 Credits
A seminar on the dramatic oeuvre of Marlowe, in the context of the many biographical, social, religious, and political questions raised by his brief career. The class will read Marlowe chiefly as a playwright whose life and work aroused suspicions of "atheism" among his contemporaries. The course will explore the question of what atheism means in pervasively Christian society, and how the paranoid representation of this perhaps imaginary figure supports the development of Marlowe's theatrical innovations.
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0.00 - 4.00 Credits
Intensive consideration of Andrew Marvell's poetry, prose and letters both for its own sake and in order to illuminate the transformation of Renaissance and 17th-century poetics, politics, diplomacy and religion. Marvell is presented as innovator in poetry, political and social theory, and freethinking. Predecessors, contemporaries and successors are also featured and include: Pindar, Horace, Ancrene Riwle, Machiavelli, Guarini, Jonson, May, Milton, Hester Pulter, Katherine Philips, Waller, Fleckno, Dryden, Swift, Sterne, Emerson, Archibald MacLeish, Susan Stewart.
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0.00 - 4.00 Credits
An examination of the development of the modern novel during the European Enlightenment as a narrative epistemology of character, through an intensive reading of Richardson's "Clarissa." Interpreting this seminal work in the context of contemporary British and European texts and recent criticism and theory help us to observe the relation of literary genres to pervasive ideas of the period, such as gender and identity politics, probability, sensibility, nationalism, etc.--major trends in Western literary, cultural and intellectual history which still resonate today.
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0.00 - 4.00 Credits
An intensive reading of the greatest epics of the Romantic period--Wordsworth's Prelude (1798-1850) and Byron's Don Juan (1819-1824), E.B. Browning's Aurora Leigh (1856), works usually encountered in anthology selections. All cast long shadows across the 19th and 20th centuries and their force is felt in several genres: poetry, the novel, and literary criticism and theory, as a magnetic focus for principles, methods, and practices. Your acquaintance with Paradise Lost and the Romantic period will be helpful.
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0.00 - 4.00 Credits
This seminar will examine American popular writing from the late eighteenth century through 1900. We will read representative examples from a variety of genres, including fiction, gift books, stage melodrama, dime novels, children's literature, self-help books, and religious tracts. We will also track important developments in U.S. publishing and the history of the book, and we will be particularly interested in the claims that various popular literary modes (gothic, sentiment, reform, seduction, adventure) make on readers and authors alike.
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0.00 - 4.00 Credits
In this course we will read works of fiction, cultural history and critical race theory that explore the relationship between property ownership and citizenship rights. We will also consider texts that question the role of property in the constitution of racialized identities.
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0.00 - 4.00 Credits
This course examines America's two most accomplished novelists, both of whom were obsessed with the ensnaring effects of plot and imagined fictional realms that are as much "designs" on the reader as on their characters. Despite obvious differences, they share a set of recurrent emphases: on the language of perception and the relativism of perspective; on a Keatsian dialectic of chaotic vitality and lifeless aesthetic perfection; on the morality of art and the "ethics of readings"; on the costs of education; and preeminently on the active textual role of the reader.
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0.00 - 4.00 Credits
"What is Poetry?" Asked Coleridge; asked Gertrude Stein; ask some contemporary poets. This course proposes a polemical eclecticism as we explore several strains of and in contemporary poetry and poetics: we will sustain throughout a focus on "poiesis"--"making" in its broadest sense. Other foci: poetry as/or knowledge; as prose; as verse; as medium; as/or object. Our reading (and occasional listening) will be weighted toward contemporary English-language poetry but may well include some examples of British romantic poetry, 19th C. American poetry, signal modernists, and poetry-in-translation, as well as ballads, manifesti, and essays.
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