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Course Criteria
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3.00 Credits
The question of whether an author's gender defines his or her voice continues to be a hotly contested debate in contemporary letters. Computer programs exist which claim to be able to identify an author's sex based on his or her writing style. Writers are lauded-or challenged-based on their abilities to write from the perspective of another sex. In this course, students explore this issue through a series of theoretical and literary readings by authors who challenge prevailing notions of gendered authorship. Texts may include works by authors such as Jonathan Franzen, Wally Lamb, Ann Carson, Jeffrey Eugenides, Rose Tremain and Jane Smiley. Students complete a series of analytical and creative writing assignments which respond to these works. (Conroy-Goldm an, Spring, offered every three year
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3.00 Credits
This course addresses popular fiction, popular culture, and popular memory of post-World War II America. In popular memory, The Fifties are often cast either as the "golden age" of nuclear families, domestic bliss and affluence, or as the "dark ages" of sexual and political repression, conformity and hyper-consumerism before the "enlightenment" of the Sixties. Students read popular fiction of the era, including WWII novels, noir/detective novels, romance novels, and gay and lesbian "pulp" fiction. The course incorporates the fiction with a range of primary and secondary postwar texts in order to illuminate postwar anxieties around war/violence, gender/sexuality, class/conformity, and race/ethnicity. (Cr eadick, Spring, offered ann
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3.00 Credits
This course offers a topology of desire in the 18th century as it manifests itself in literary, architectural, and graphic productions. This course pays special attention to fantasies of power; architectural fantasies and imaginary landscapes; the oppositions of Gothicism and Classicism; the garden and the city; the sublime and the beautiful; and the relationship of the teleology of desire to narrative form. (Holly, offered alternate years)
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3.00 Credits
Globalism as a contemporary phenomenon has been in the ascendancy. It is, among other things, an economic, cultural, technological, and demographic phenomenon. Students examine globalism and its related metaphors of hybridity, cosmopolitanism, migrancy, exile, and so on against nationalism and its privileged metaphors of rootedness and identity. If the production of a national subject is no longer the purpose of "discipline," what does it mean to produce a transnational subject These are some of the concerns of the fiction students read for this course. (Basu , offered annually)
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3.00 Credits
This course is designed to be a survey of significant themes and techniques in the novels of the period, with some attention paid to continental influences and development and metamorphoses of 18th century themes in the novels of the 19th and 20th centuries. Special attention is given to novels by and about women. (Holly, offered alternate years)
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3.00 Credits
This course is a comprehensive look at Romanticism and its proponents, its aesthetic context and the charged political environment in which it developed and thrived. The poets of this movement saw themselves thinkers and as agents of agents of important change in the world. The poems they wrote were like the words of a magic spell, meant to unleash the power of imagination and speak new political and intellectual realities into being. In addition to reading the works of well known Romantics, such as Wordsworth and Byron, the course examines the provocative writings of abolitionists, visionaries, and poets whose support of Revolution in France made them distrusted at home in England. We will also explore the works of lesser known poets and delve into the ideas of influential thinkers such as Edmund Burke, whose views on the sublime, as well as his Reflexions on the Revolution in France influenced generations of English writers. His lively debate in print with Thomas Paine and Mary Wollstonecraft, who both wrote replies to Burke helped launch a national debate about the significance of the French Revolution beyond politics. ( Offered every three years)
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3.00 Credits
This course offers a panorama of Medieval dramatic genres. It surveys works from the 10th to the 15th centuries. The stylistic diversity includes the sadomasochistic plays of the Saxon canoness Hrotsvit of Gandersheim, the proto-opera form of Hildegard of Bingan, some English mystery plays from different cycles and a selection of French sexual farce. The study is based on both historicist and formalist critical analysis and on occasional classroom performance. (Erussard, offered alternate years)
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3.00 Credits
This course investigates origins of the modern world view as anticipated and expressed in 19th century English literature: the breakdown of traditional religious beliefs; the alienation and isolation of the individual; changing attitudes toward nature; the loss of communication; the role of education; and the affirmation of art. ( Offered alternate years)
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3.00 Credits
This course will explore the Gothic novel from the mid-eighteenth century to the end of the nineteenth, when Bram Stoker's Dracula first appeared. Disparaged as sensational reading likely to corrupt young women and as something that distracted men from more important things, Gothic novels were extremely popular from the moment Horace Walpole's Castle of Otranto found its way into booksellers' shops. It achieved this success against a backdrop of tightening social strictures on the conduct of women of the upper and newly emerging middle classes. Alongside exciting, often titillating stories of abducted maidens, vampires, and demonic monks were numerous treatises enjoining young women to act sensibly, be virtuous, and eschew novel reading. We will explore how some18th century Gothic novels actually reinforce the values and social mores they are accused of undermining, while others subvert those values they profess to uphold. We will also explore the ways in which the definition of what is horrible or terrifying changed in response to social and historical realities, i.e. after the revolutions-political, industrial, and scientific-of the eighteenth and nineteenth centuri es. (Offered every three yea
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3.00 Credits
Some of the bitterest struggles of the Victorian era were between personal sensibilities and mass production, between the dreamer and artist and the pragmatist, between aesthete as revolutionary and the common consumer. Such figures as Charles Dickens, John Ruskin, Robert Browning, William Morris, and Oscar Wilde are studied, for each was concerned with the cost to human beings of a dehumanizing education in dehumanizing environments, yet each met the issues in a different way. ( Offered every three years)
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