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Course Criteria
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4.00 Credits
Acting Techniques focuses on the student’s ability to analyze texts from a performer’s viewpoint; on heightening the actor’s sensitivity to language; on developing the actor’s physical and vocal technique; on building awareness of character and characterization; and on engaging and actively developing creativity and imagination. This is done by constant investigation, rehearsal, and presentation of assorted texts ranging from poetry to contemporary and classical scenes and monologues. No prior acting experience or classwork is required. Applicable English Cluster: Theatre
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4.00 Credits
Voice and Movement for the Actor aims at helping all students (irrespective of their degree--or lack—of actor training or theatrical experience) explore the full range and expressiveness of their speaking voice, and expand their capabilities for expressive movement. The course explores the relationship between text and vocal expression, and provides the student with a descriptive system for understanding movement and meaning. Students analyze their own movement profiles as performers, creating characters through clear movement choices, and learn how to embody these characters fully through vocal technique and physicality. Applicable English Cluster: Theatre Production.
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4.00 Credits
Chaucer is one of the wittiest, most insightful, and intellectually alert of all English poets. A marvelous craftsman and social commentator, he quite rightly deserves the accolade of “first” among modern writers. A master in the subtleties of cognition and philosophical voicing, he has amazed readers for six hundred years with his range of empirical, speculative, and observational psychology. We will study the basic works of Chaucer – his dream visions, Troilus and Criseyde, and The Canterbury Tales, with some background reading in Boethius’ Consolation of Philosophy and Guillaume de Lorris and Jean de Meun’s Romance of the Rose. Emphasis will be put on the performative components of his writing and reading theory. Students will write two papers, do occasional in-class writing, and take a final examination. All Chaucer readings will be in Middle English. Class attendance is required.
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4.00 Credits
The course approaches The Divine Comedy both as a poetic masterpiece and as an encyclopedia of medieval culture. Through a close textual analysis of selected cantos from Inferno, Purgatorio, and Paradiso, students learn how to approach poetry as a vehicle for thought, an instrument of self-discovery, and a way to understand and affect the world. They also gain a perspective on the Biblical, Christian, and Classical traditions as they intersect with the multiple levels of Dante's concern ranging from literature to history, from politics to government, from philosophy to theology. Class format includes lectures and discussion. Intensive class participation is encouraged. No prerequisites.
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4.00 Credits
A survey of English Renaissance writers, with an emphasis on poetry and fictional prose. The course will focus on major authors of the period (including Bacon, Deloney, Donne, Herbert, Jonson, Lodge, Marlowe, Milton, More, Shakespeare, Sidney and Spenser) with some attention to other authors, both male and female, who influenced their writing. Renaissance writers and their audiences were trained to recognize a number of literary conventions that are not always familiar to modern readers. We become familiar with those conventions and spend quite a bit of time in careful analysis of style and form in order to appreciate why Renaissance audiences found these authors so compelling and to understand how their writing responded to readers' cultural, literary, political and religious concerns. Please note that the English Department has defined this as a course in nondramatic Renaissance literature. Fulfills the pre-1800 requirement for the major.
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4.00 Credits
In the 18th and 19th centuries, Gothic literature rose to heights of unprecedented popularity. Themes of specters, damsels in distress, and haunted castles thrilled audiences that crossed class lines, and authors like the “Great Enchantress” Anne Radcliffe were celebrities of their day. However, the Gothic was considered to be a low genre, whose emphases on violence, horror, and spectacle were dangerous for readers. The poets and authors of the Romantic movement tried to distinguish their works from their Gothic contemporaries. Wordsworth's “Preface to Lyrical Ballads” commented on “sickly . . . German Tragedies” that poisoned readers. S. T. Coleridge was shocked at The Monk's lurid descriptions of “libidinous” minutiae. But did Romantic authors protest too much? This class will explore this question and others through discussion of foundational Gothic and Romantic texts, ranging from Lewis's The Monk and Radcliffe's The Italian to Coleridge's vampire tale “Christabel”.
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4.00 Credits
What does it mean for fiction to offer a realistic portrayal of the world? This course will consider American literature from 1865 to 1914 with a special emphasis on the concept of literary realism. Focusing on prose fiction (novels and short stories), we will explore how American writers understood and represented “reality” during a time of social and cultural upheaval at home and abroad. The class will touch on formal concerns, including literary techniques for depicting interiority and urban environments, and will also examine realism in the context of changing ideas of labor, race, gender, and democracy. Several questions will motivate us: is it possible to portray reality objectively in fiction? Why did nineteenth-century American writers value objectivity over other literary possibilities? What makes realist novels such compelling reading? Our texts will include novels by Howells, James, Chopin, Wharton, Twain, Chesnutt, Crane, Dreiser,and Du Bois.
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4.00 Credits
The course covers, in roughly chronological order, the history of the English novel in the 20th century; we will read and discuss the works of such major figures as Conrad, Joyce, Woolf, Lawrence, Greene, Huxley, etc. We will also examine some of the history of the novel, its protean and elastic shape, its reaction to the artistic experimentation of the time, the ways in which the modern novel reflects developments and innovation in the form, as well its traditional relationship to the social contexts from which it springs.
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4.00 Credits
The course will deal with some 20th century American and European (especially East European) poets in a manner that foregrounds the transfer of particular styles beyond the languages in which the poems were originally written. We will pair some names together and through that discuss how post-1945 poetry translations inspired or influenced the ways of writing and the ways of thinking about poetry, both in USA and in Europe. Through close reading of the poems written in English and translated into English we will also talk about how some of the local cultural contexts become part of the contemporary international tradition. The poems discussed will include work by C. P. Cavafy, Derek Mahon, Zbigniew Herbert, Aleksander Wat, W. H. Auden, Miron Bialoszewski, Wislawa Szymborska, Miroslav Holub, Charles Reznikoff, John Cage, Bertolt Brecht, D. J. Enright, Frank O’Hara, Kenneth Koch, John Ashbery.
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4.00 Credits
This course will explore prose works of the twentieth and twenty-first centuries that push the limits of what a novel or short story can do. We will study the development of magical realism, the grotesque, and the carnivalesque – literary modes that use chaos, satire, and a focus on the body to challenge the assumptions of realism. We will see what modernity becomes in the hands of hustlers, carnies, and itinerants. Our readings will include work by Djuna Barnes, Flannery O’Connor, Angela Carter, Italo Calvino, Jeanette Winterson, and W. G. Sebald. Applicable English Cluster: H1ENG008
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