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Course Criteria
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3.00 Credits
An analysis of the early stages of British Modernism as the novel shifted (in some cases) away from the predominant forms of Victorian Realism and toward the more experimental structures of the early 20th century.
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3.00 Credits
Study of competing galaxies of late-20th-century British poets, for whom more than art was at stake: agendas of race, gender, region, class, and other cultural materials.
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3.00 Credits
A focus on the first quarter of 20th-century British literature in order to tease out the relationships between revolutions in art and seismic social change.
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3.00 Credits
Close readings of three British--David Jones, W.H. Auden, and Geoffrey Hill--and two Irish poets--W.B. Yeats and Seamus Heaney.
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3.00 Credits
This course introduces students to modernist writing by familiarizing them with the period's infamously groundbreaking texts, such as T.S. Eliot's "The Waste Land," Edith Sitwell's "Facade," Hugh MacDiarmid's "A Drunk Man Looks at the Thistle" and David Jones's "In Parenthesis." Contextual study of revolutions in the other arts -- like painting and music -- as well as of Britain's "war culture" between 1914 and 1945 will illuminate the pressures that produce revolutionary artforms from figures as various as D.H. Lawrence, Stevie Smith, W.H. Auden and Kathleen Raine. Two papers, one presentation and a final exam.
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3.00 Credits
We will read representative literary and philosophical texts by Sartre (excerpts from Being and Nothingness, Nausea, a few plays), Beauvoir (The Philosophy of Ambiguity, excerpts from The Second Sex, A Very Easy Death, a novel and/or excerpts from A Memoir), and Camus (Myth of Sisyphus, excerpts from The Rebel, The Stranger, The Plague, and/or The Fall).
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3.00 Credits
Modern and postmodern fiction (and some nonfiction prose) by British women. Authors may include Woolf, Butts, Rhys, Cunard, Richardson, Carrington, West, Mansfield, Carter, and Winterson.
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3.00 Credits
In looking at several British novels, each published at a different moment of the 20th-century, students will explore how art (in this case literature) engaged, or did not engage, the social world.
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3.00 Credits
This course is designed to give students a firm grasp of the major developments that occurred in poetry overseas during the last century. That grasp will depend on our linkage of rather spectacular changes in poetic form to changes in culture; students will exit the course with an understanding of how the century's unprecedented violence in warfare and grand upheavals in philosophy, science, social-psychology and political thought impacted upon the artforms of these nations. (The "United Kingdom" contains, more precisely and often uncomfortably, four entities - England, Scotland, Wales and Northern Ireland - and requires study as a political "unity" with much internal turmoil.) We'll focus on writing between the great stock market crash of 1929 and the present moment, and much of our conversation will involve the differences between poetic responses to changing contexts in the experimental or small-press world of writing versus the mainstream. As we go, we'll discuss comparative issues too, like the differences between studying African American and black British poetry, as well as differences between studying women's poetry in the States and women's poetry overseas. Evaluation will be based on two papers, two presentations, and class participation. No prior experience of reading poetry is expected.
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3.00 Credits
This course studies the Irish short story as a literary genre that reflects the changing political and cultural forces at play in Ireland. We begin the course by surveying various critical theories that can be applied to the genre before reading and discussing a wide selection of short stories. The course considers Irish writing in the broader sense - literature written in either Irish or English. Among the authors included are: Patrick Pearse, Pádraic Ó Conaire, Séamus Mac Grianna, James Joyce, Liam O'Flahery, Elizabeth Bowen, Frank O'Connor, Sean O'Faolain, Éilís Ní Dhuibhne, Angeal Bourke, Seán Mac Mathúna, Micheál Ó Conghaile, Eithne Strong, Pádraic Breathnach, Alan Titley, Mary Lavin, William Trevor, Gerry Adams and Bernard MacLaverty.
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