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Course Criteria
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4.00 Credits
Prerequisites: Permission of the instructor. (Seminar). American poetry after WWII is marked by increasingly radical experimentation as poets continue Ezra Pound's injunction to "make it new." We will examine writers from the last half-century who respond formally and thematically to the complicated theoretical, political, and social displacements of post-modernity. Poets will include John Ashbery, various Black Mountain poets, Clark Coolidge, Charles Bernstein, Susan Howe, Harreyette Mullen, Myung mi Kim, and others. E-mail Professor Golston (mg2242@columbia.edu) by noon on Wednesday, November 16th, with the subject heading,"Postmodern Poetries seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.
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4.00 Credits
Ralph Ellison & Hannah Arendt (Seminar). E-mail Professor Posnock (rp2045@columbia.edu) by noon on Wednesday, April 11th, with the subject heading, "Ralph Ellison seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.
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4.00 Credits
When available, an admit list will be posted at http://www.columbia.edu/cu/english/courses_ugsemadmit.htm.
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4.00 Credits
Prerequisites: Permission of the instructor. (Seminar). The aim of this course is to try to develop our own theories about the relation between poetry and erotic love, as each of these is understood and practiced. We will read a wide range of Western love poetry - especially lyric but also narrative - from antiquity to the present, though not necessarily in chronological order. These readings will be complemented by theoretical writings about love and by recent criticism of the major authors and genres we discuss. Please submit, in addition to your basic information (name, year, email address, relevant courses taken, reasons for interest in the course), a brief analysis - no more than one page single-spaced - of a poem of your choosing. The poem should be no longer than 16 lines; please include a copy of the poem with your application. Please submit a hard copy of the application to Prof. Gray's mailbox in 602 Philosophy Hall by the end of the day on November 16th.
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4.00 Credits
Absolutely no prerequisites are required. The course will focus on the poem's language, especially the use of subjunctive verb forms. Required book: the Norton critical edition, edited by Stephen A. Barney (paperback). No need to apply for the course: just BE SURE TO COME TO THE FIRST CLASS -- no one will be accepted into the course after that. Attendance is mandatory.
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3.00 Credits
The novelist Ralph Ellison called the Harlem Renaissance "a sophisticated moment" when black Americans had survived the shocks of slavery and the disappointments of Reconstruction sufficiently to think of leadership on a very broad scale. Ellison referred to black political leadership, in the United States and abroad. But like Alain Locke and many of the founders of the Harlem Renaissance, he also stressed the importance of leadership across the spectra of the arts: in literature, music, and the visual arts. This course will focus on the arts of the Harlem Renaissance as experiments in cultural modernity and as forms of incipient political empowerment. What was the Harlem Renaissance? Where and when did it take place? Who were its major players? What difference did it make to everyday Harlemites? What were its outposts beyond Harlem itself? Was there a rural HR? An international HR? As we wonder about these problems of definition, we will upset the usual literary/historical framework with considerations of music and painting of the period. How to fit Bessie Smith into a frame with W.E.B. Du Bois? Ellington with Zora Neale Hurston? Aaron Douglas with Langston Hughes? Ellison also wrote that "Harlem is Nowhere." (There is an important new book by Sharifa Rhodes-Pitts that borrows Ellison's title.) Where is Harlem today? Does it survive as more than a memory, a trace? How does it function in "our" "national"/(international?) imagination? Has the Harlem Renaissance's moment ended come and gone? What continuities might we detect? What institutions from the early twentieth century have endured?
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4.00 Credits
Prerequisites: Permission of the instructor. (Seminar). When available, an admit list will be posted at http://www.columbia.edu/cu/english/courses_ugsemadmit.htm.
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4.00 Credits
Prerequisites: Permission of the instructor. (Seminar). An examination of forms of the 'sublime': exalted, overwhelmingly powerful, often disturbing experiences frequently described during the romantic period. Traces the development of the concept of the sublime in the eighteenth century, and tracks its role in depictions of genius, terror, nature, revolution, eros, intoxication, and other fixations of British poetry and gothic novels of the period. Looks at the ways the romantic sublime moves freely between aesthetics, philosophy, morality, and politics, challenging the rationalism of the Enlightenment. Considers, finally, how ideas and techniques of romantic sublimity have survived in the present day. E-mail Professor Phillipson (mlp55@columbia.edu) by noon on Wednesday, April 11th, with the subject heading, "Sublime seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.
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4.00 Credits
Focusing on the ways in which Dickens treats the city itself as his most important character. We will also read some other nineteenth-century "facts" and "fictions" of city life (including Poe, Baudelaire, Charlotte Mew, Mayhew, Engels, Georg Simmel), and nineteenth- and twentieth-century theories of urbanization and the public sphere. Throughout, we will explore the impact of the city on narrative form, paying special attention to readings of Dickensian dispersal and overview; satire and allegory; and realism. E-mail Professor Freeland (nf2303@columbia.edu) by noon on Wednesday, November 16th with the subject heading "Dickens seminar." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.
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4.00 Credits
Prerequisites: Permission of the instructor. (Seminar). A study of the novelistic genre, in nineteenth and twentieth-century Britain and the US, that centers on the vexed relation between individual consciousness and social behavior, particularly as revealed by the small customary norms known as "manners." How manners express, encode, inhibit, or produce things like social conflict, ethics, and desire will be our theme. We will also give special attention to manners as a crucial cultural battleground between aristocratic status and bourgeois striving: not just the details of eating, dress, gesture, and speech, in other words, but also how those details tell the story of modern subjectivity. Novels to be selected from among Austen, Gaskell, Trollope, Meredith, James, Wharton, Waugh, Pym, Hollinghurst; supplementary reading from Trilling, Geertz, Douglas, Goffman, Elias, Bourdieu, and others; likely attention to at least one cinematic example, such as Renoir's La règle du jeu. Application Instructions: E-mail Professor Dames (nd122@columbia.edu) by noon on Wednesday, April 11th, with the subject heading, "Novel of Manners seminar." In your message, include basic information: your name, school, major, year of study, relevant courses taken, and along with a brief statement about why you are interested in taking the course.
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