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Course Criteria
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3.00 Credits
An introduction to the study of literature and narrative form, this course is devoted to detailed readings of a variety of literary works from diverse cultures, periods, and genres. The course investigates questions of framing, point of view and narrative form, and the relationship of rhetorical forms, prosody, tropes, and figures of speech to their historical and cultural contexts. ( Offered each semester)
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3.00 Credits
This course focuses on specific aspects of the filmic system and how they work. Attention is paid to detailed analyses of images and sounds and their dynamic relation to the film's narrative. The goal of the course is a keener understanding not only of the world of film, but of the increasingly visual world in which we live. The primary emphasis is on what is called the Classical Hollywood Model, the dominant (culturally, economically, ideologically) mode of filmmaking in the world today (although not the only mode). As such it is crucial for students of film and, arguably, for us all to be actively aware of its structures and assumptions. Open to first-year students only. (Lyon, Fall, offered annually)
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3.00 Credits
The Jacobean era (1603-1625) brought a great many revolutions toEngland- in science, in philosophy, in medicine, in religion, incosmology, in economics, and in politics.The new world of theseventeenth century offered staggering new possibilities, andrenaissance minds boggled to make sense of it all.In this course, wewill explore how poets, essayists, and dramatists from this era actedas midwives for the birth of modernity. Readings will include poetry,prose, and drama by Donne, Jonson, Herbert, Herrick, Montaigne, Bacon,Burton, Cary, Beaumont, Middleton, Webster, and Ford. (Carson, offeredalternate years)
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3.00 Credits
This course asks a number of questions: What is the goal of film adaptation What is the nature of the relationship between the adaptation and the source text What is lost and what is gained when a written narrative is presented as a visual and spoken one Because Jane Austen's novels are essentially her own, written creations and films based on them are collaborative and characterized by sound, motion, and visual detail, the two media approach narrative in fundamentally different ways. We will consider to what extent a film version of a Jane Austen novel is an entirely new work that is artistically independent of the original. We will also examine the consequences of viewing such films as translations of Austen's novels both for the filmmakers who approach their projects this way and for critics who read the films from this perspective. While we will certainly take into account the techniques employed by directors and screenwriters to create a coherent and effective narrative that captures the original story-according to their notions of what this means-as they strive to keep the finished film within a reasonable running time, it is important to note that this is not a film course. The focus here is on the interplay between two methods of storytelling that results when novels written by an author who deliberately avoids description are made into film
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3.00 Credits
This course includes formal analysis and explication of selected stories by masters of the genre, with some attention to its history and development. (Staff, offered alternate years)
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3.00 Credits
An introduction to fiction from the American South as well as to fictions of the American South from the mid-19th century to the present. We will analyze works by major southern authors to uncover what if anything they have in common. We will also look at "The South" itself as a kind of fiction - constructed through literature, film and popular culture. Our readings will cluter around subgenres of southern fiction and contemporary so-called "K-mart realism" and "grit lit" movements. We will work to npack the tensions around sex, race, class and religion that have haunted southern fiction from its beginnings. (Creadick, offered annually)
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3.00 Credits
Why isn't knight spelled nay Why did people stop saying three and thou Why did they start Why is children the plural of child or feet the plural of foot If drove is the past tense of drive, why isn't televose the past tense of televise And where did English come from anyway This course will pursue these among many other questions about the nature and origins of the English language, from its beginnings in continental Old West German dialects through Old English, Middle English, Early Modern English and the various versions of English today. This course will also provide an introduction to the concepts and methods of historical linguistics and phonology. Students will become acquainted with the main currents, theories, and standing disputes in these disciplines; they will learn to recognize, understand and analyze linguistics change; and they will also make a few anecdotal discoveries, such as the reasons why the brothers Grimm ever had the idea of recording folktales. The coursework will include regular reading assignments as well as exercises, quizzes and exams. (Erussard and Sowards, offered alternate years)
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3.00 Credits
A study of the major American transcendentalists, this course considers literary works in terms of their textual qualities and in terms of the social contexts that produced them. Not open to first year students. (Patterson, offered alternate years)
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3.00 Credits
This course surveys American literature written from the turn of the century through the first three decades of the 20th century. It examines the works as responses to America's movement toward modernization and focuses on how gender, class, ethnicity, and race inform these novels. Not open to first year students. (Creadick, Spring, offered annually)
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3.00 Credits
This course is a study of selected major early 20th century figures, including Mina Loy, T.S. Eliot, Hilda Doolittle, Wallace Stevens, and William Carlos Williams. (Staff, Spring, offered alternate years)
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