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Course Criteria
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3.00 Credits
A survey of the history of rhetoric.
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1.00 Credits
A one-credit course for students interested in tutoring in the University Writing Program.
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3.00 Credits
"This new critical perspective [Disability Studies] conceptualizes disability as a representational system rather than a medical problem, a discursive construction rather than a personal misfortune or a bodily flaw, and a subject appropriate for wide-ranging cultural analysis within the humanities instead of an applied field within medicine, rehabilitation, or social work. Such an approach focuses its analysis, then, on how disability is imagined, specifically on the figures and narratives that comprise the cultural context in which we know ourselves and one another." - Rosemarie Garland Thomson, "The Beauty and the Freak," p. 181. What is disability? What does it mean to be considered disabled? What is the relationship of disability to what is thought to be non-disabled, or "normal?" In this course, we will consider writings and films about disability and individuals labeled disabled. Our readings will include fiction and nonfiction works about people with various physical and cognitive disabilities, including blindness, multiple sclerosis, autism, and others. We will explore the ways in which the disabled have been represented in such works, and the rhetorical resources for constructing "disability" in literature, non-fiction, and film. We will consider the ways in which writers considered disabled write about themselves, telling their own stories, and the ways in which these writings may complicate, subvert, or defy conventional representations of the disabled. In exploring these and related issues, we will consider the implications of disability for individuals and society.
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3.00 Credits
A theory- and practice-based course in the teaching of writing to junior and high school students.
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3.00 Credits
This course will introduce students to many of the critical perspectives and theories that enliven contemporary literary and cultural studies on gay and lesbian film and literature. Throughout the semester we will examine a collection of films and literary texts by self-identified gay and lesbian writers and/or by authors who deal with gay and lesbian themes and characters, irrespective of their sexual identity. Through the analysis of the selected texts we will also examine the history, politics, and theoretical arguments both current and historical that deal with homosexuality to see how this human phenomenon and its cultural expression has affected and been affected by heterosexual culture and the conflicts that have arisen between them. We will also explore how sexual and gender norms are constructed historically and culturally; how sexual and gender norms affect gay, lesbian and heterosexual people's development and self-perception; how new definitions and theories of human sexuality generated by gay and lesbian individuals and communities present alternatives to dominant heterosexist traditions. One of the main objectives of this interdisciplinary course is to open intellectual dialogue, to broaden students' awareness of the human experience at the same time we acquaint ourselves with some of the most intellectually interesting works that have stemmed from gay inspiration. Films to be studied will include a selection from the following list: Beautiful Thing (Hettie Macdonald); Boys don't Cry (Kimberly Peirce); Brokeback Mountain (Ang Lee); Love's the Devil (John Maybury); Saving Face (Alice Wu); Stage Beauty (Richard Eyre); All about my mother (Pedro Almodóvar); Another Gay Movie (Todd Stephens); Nico and Dani (Francesc Gay), and The Celluloid Closet.(Rob Epstein). Literary texts will include most of the following: Walt Whitman's Calamus poems, Virginia Woolf's Orlando, E. M Forster's Maurice; The Kiss of the Spider Woman by Manuel Puig; a selection of poems by Constantine Kavafy; The Well of Loneliness by Radcliff Hall; Djuna Barnes' Nightwood; a selection of poetry by Adrienne Rich; Rubyfruit Jungle by Rita Mae Brown, and Yukio Mishima's Confessions of a Mask.
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3.00 Credits
One of the most beloved storytellers of the 20th century, J.R.R. Tolkien, contemplates the power of stories within his masterwork, The Lord of the Rings. Resting for a while on the road to Mordor, Sam and Frodo find a measure of solace and purpose as they ruminate together on the nature of "the tales that really mattered, the ones that stay in the mind." Shakespeare also acknowledges the power of story, albeit in a different sense, when he has Hamlet assert: "The play's the thing/Wherein I'll catch the conscience of the king." Central to this course is our study of two great writers of the English tradition, Shakespeare and Tolkien. We will read and discuss works that "stay in the mind" - Romeo and Juliet, Hamlet, King Lear, and The Lord of the Rings. In one sense the contemporary classroom will be our own! Yet we will also study these works in the context of contemporary education, one in which, for example, English teachers find that many of their students either complain about reading or choose not to read much at all, at least in part because they lack the skill and patience to read long or difficult texts. So as we study Shakespeare and Tolkien, we will do so with attention to questions about the purpose of literature, issues of literacy, and the challenges and opportunities of teaching literature in the contemporary classroom.
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3.00 Credits
Selected topics in medieval literature.
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3.00 Credits
An exploration of the idea of "the city" in Chaucer's work by looking at the cities he does represent (Troy, London) in his work, by examining his relationship to urban forms of cultural expression (mystery cycles, mummings, processions), and by investigating city life in 14th-century London.
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3.00 Credits
An examination of the textual traditions surrounding the once-and-future-king, Arthur, through readings of Geoffrey of Monmouth's History of the Kings of Britain, Chretien de Troyes' The Story of the Grail, The Quest of the Holy Grail, selected short fictions from the Welsh Mabinogion, Marie de France's Lais, Sir Gawain & the Green Knight, and selections from Malory's Morte D'Arthur, Tennyson's Idylls of the King, and T. H. White's The Once & Future King.
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3.00 Credits
An examination of the supernatural in Shakespeare.
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