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Course Criteria
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3.00 Credits
Considering various genres and mediums (poetry, art, cinema, music, drama, and performance) from a range of geographic locations, an investigation of the avant-garde movement of the late 19th and early 20th centuries.
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3.00 Credits
This course will introduce you to the vibrant contemporary literature in Irish (Gaelic) from the Gaelic Revival, which sought to rescue the language from extinction, right up to the present. This course will focus on developing your ability to read, analyze and write about literature with care and precision. You will do a LOT of writing, both graded and ungraded, to become a stronger reader and writer. In the process, we'll consider the particular excitement and difficulty of writing in (and about!) a minority language that also happens to be the first official language of Ireland, as well as debates about identity, belonging, symbolization, history, anglicization, assimilation and hybridity, the new prominence of women writers, and ongoing challenges to stereotypes about Irish as tradition-bound (rather than, say, tradition-enabled), puritanical or pre-modern.
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3.00 Credits
Ireland possesses the oldest vernacular literary tradition in Europe, spanning over 1500 years to the present day. This course will provide a survey of the origins and development of that literary tradition through more than a millennium from its beginnings until the seventeenth century, when political circumstances led to the collapse of the highly-developed native system of learning, poetry and patronage. The development of the Irish literary tradition will be traced against this background of political and cultural upheavals from approximately 500 to 1650.
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3.00 Credits
A study of the spaces of modernity and gender in the novel.
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3.00 Credits
An analysis of British and Irish poetry written after War War Two.
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3.00 Credits
This course will survey major authors, genres, and themes of the literature of Scotland from the era of Burns to the present.
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3.00 Credits
How do you tell a story that is supposed to be unspeakable? In this course, we will investigate the ways in which gay, bisexual, and lesbian writers have transformed narrative conventions as they explore their experiences and their identities through fiction. Beginning with the short fiction of Oscar Wilde at the end of the 19th century and continuing through the modern and postwar eras into the contemporary period, we will look at gay, bisexual and lesbian British, Irish and American writers whose work engaged with or dramatically departed from the dominant conventions that typically shaped fictions of identity formation, of love and marriage, of sexual experience, of political protest, and of death and loss. We will also investigate the public responses to some of these fictions, and the changing discourses about gender identity, homosexuality, and sexual orientation that have shaped both the realities and the fictions of gay, bisexual, and lesbian writers over the past century. Students will write three papers and be responsible for one in-class presentation.
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3.00 Credits
Attention to the circulation of ideas about literary Modernism and Modernity in a range of publications: little magazines, "slicks", feminist periodicals, women's magazines, and alternative/oppositional journals.
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3.00 Credits
Close readings of dramatic literatures written by British playwrights over the span of the twentieth century, with particular emphasis on the various aesthetic and experimental forms used by the playwrights.
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3.00 Credits
British writing of the 1930s was shaped by economic and political crisis, and the resulting ideological and aesthetic struggles begin to look all too contemporary. This course will look at the poetry of the Auden circle and Marxism; at the early sociological work of Mass Observation and the documentaries of Humphrey Jennings; at the scientism of the Cambridge group around William Empson, Jacob Bronowski and J.D. Bernal; at responses to the Spanish Civil War, both left and conservative, including those of George Orwell, Wyndham Lewis and Roy Campbell; and at the fiction writers Elizabeth Bowen, Christopher Isherwood, Graham Greene, Evelyn Waugh and Edward Upward and their different treatments of social and political pressure points. This broad range will be focused through a group of texts selected for their mutual contentiousness. Throughout, the responsibilities and irresponsibilities of writers during perilous times will be in question.
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