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Course Criteria
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3.00 Credits
Investigation of the principal figures and approaches to literary criticism that developed in the modern era.
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3.00 Credits
An introduction to composition studies from the 19th century to the present day.
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3.00 Credits
A study of the history of aesthetics from the 18th to the 20th century, this course traces the genealogy of the main debates about the social functions of art in modernity.
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3.00 Credits
The Literature Programs course on Literary Theory deals with theories of different time and places with emphasis on the critical problems that arise when what we call "Literature" is investigated in a multicultural context. Issues that may be expected to arise include the following the problems of translation, the meaning of metaphor, hermeneutics complexity, the meaning of the word "style" the relation between oral and written literatures. Eric Auerbach's essay "Philology and Weltliteratur", from which this course derives its title, serves as a point of departure for exploring the possibility of developing an approach to literary history and literary interpretation that: (a) attends to the historical, cultural and aesthetic specificity of the individual literary work and (b) at the same time, brings into relief the complex ways in which cultures interact, overlap, and modify one another. The course will focus primarily on the pertinent works of Vico, Herder, and the German Romantics, Auerbach (and other historicists), Arnold, C. L. R. James, Raymond Williams, and Edward W. Said, as well as selections from the writings of Fanon, Ngugi, Lamming, Cesaire, and others.
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3.00 Credits
A close study of some of the major texts in modern and contemporary European and North American poetry and poetics by focusing on writings on poetry by poets rather than by literary professors.
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3.00 Credits
The aim of this course will be to compare and contrast what one might loosely term ancient (medieval, early modern) and post-modern approaches to the reading of texts, following the twin approaches of theoretical exposition and practical application neither of which can be sustained without the intervention of the other. It will be necessary to rely on concrete examples of the ancient and contemporary methods. The examples in the first half of the semester will be Augustine's On Christian Teaching and Literal Interpretation of Genesis and Derrida's Of Grammatology, Writing and Difference and Dissemination. This double reading will put us in a position to take as our examples Augustine's Confessions and Derrida's Circonfession in the second half of the semester. Certain questions - which can sometimes but not always be answered in the conventional sense - will persist during our readings. These will include: What is philosophy? What is literature? What is the relation between philosophy and exegesis? What is the relation between literature and exegesis? What is the relation between philosophy and literature? Language requirement: Latin and/or French desirable but not necessary. Written requirement: one final essay (20 pp.) either a. on one of the texts or authors studied in the course, or b. applying the methodologies discussed to another philosophical or literary text of your choice.
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3.00 Credits
This graduate course will introduce students to some of the critical perspectives and theories that enliven contemporary literary and cultural studies on Gay and Lesbian Film and Literature. The course materials come from a wide array of disciplines, and accordingly we'll be asking how different genres (such as literature, film, psychoanalytic study, "theory," and documentary film) help frame sexuality in everyday, academic, and political contexts. Beginning with early sexologists like Havelock Ellis and Freud, our discussions will consider a series of questions surrounding the issues of desire, closets, cures, and etiologies, attempting to understand how medical theories on homosexuality have influenced cultural discourses represented in the films and literary texts we will be examining. Against this backdrop we'll juxtapose some contemporary queer theory by Foucault and Jeffrey Weeks, using this as a springboard from which to examine a variety of contemporary novels and films, from classic "high modernist" texts (such as Orlando) to non-canonical literature (such as The Hours). We will look closely at the relation between each author's textual innovations and their representation of sexual difference, asking the crucial question: is sexuality conceived as something that is natural, or is it understood to be a cultural construct? We will examine the various conceptual permutations the body and desire have experienced, paying close attention to how these representations intersect with the categories of gender and sexual identity in general.
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3.00 Credits
This seminar reads lyric poetry through influential readings of poems by scholars and poets from the beginnings of modern 'close reading' in the 1920s to the present, discussing ideological and poetic challenges to close reading practice. Although rooted in English language poetry and Anglo-American criticism, the theories of lyric developed by Adorno and Heidegger will also be brought into play.
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3.00 Credits
The "gendering" of "writing" and "writing" of "gender".
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3.00 Credits
In this course we'll investigate the history and practice of feminist theatre. The seminar will focus not only on feminist playwrights (such as Caryl Churchill, Sarah Daniels, & Pam Gems in England, and Maria Irene Fornes, Paula Vogel, Claire Chafee, Eve Ensler in the US) but also on feminist theories of the theater and on theoretical and critical responses to the plays we read (i.e. Elin Diamond, Sue-Ellen Case, Peggy Phelan, etc.). The course will pay particular attention to feminist theatre by women of color (i.e. Adrienne Kennedy, Ntozake Shange, Suzan-Lori Parks, Cherrie Moraga, Coco Fusco, Diana Son) and to intersections between feminist theatre and queer theatre (The Five Lesbian Brothers, Tony Kushner, Charles Ludlam, Kate Bornstein). We will at all times keep our texts in context, and look closely at the processes and practices which distinguish "feminist" theater (as a stage product, and not merely a playtext) from "nonfeminist" theater. We'll also devote significant attention to feminist performance artists such as Holly Hughes, Karen Finley, Robbie McCauley, and Laurie Anderson. The course will include several translated texts; PhD in Literature students will be required to read texts in the original language if they have proficiency in that language. In addition, they will be encouraged to pursue a final project that incorporates research in one of their language proficiences (for example, a student proficient in French will be directed to research French feminist theatres). The seminar will require each student to offer a presentation of original research, and to write an article length paper on a topic of their choice.
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