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Course Criteria
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4.00 Credits
This course will reflect on the theme and use of secrecy in a wide variety of texts (mostly prose) from the Middle Ages up to the present. Important to this course is an examination of how secrets are structured rhetorically, technologically, and epistemologically within literary texts and within discourses in general (science, psychoanalysis, religion) as a means for organizing knowledge and meaning. Literary texts include (but are not limited to): Le Roman de Silence, Tanizaki's The Key, Pynchon's Crying of Lot 49, the pseudo-Aristotle Secretum Secretorum, troubadour poetry, and short stories by Henry James (tbd). We will also be reading works by Freud: "Screen Memories" and "Remembering, Repeating, and Working Through," and looking at Coppola's film The Conversation. Other works will be added to our syllabus. Requirements: one in-class presentation and two longer papers. : E-mail Professor Dailey (pd2132@columbia.edu) and Professor Strand (ms3091@columbia.edu) by noon on Wednesday, April 11th, with the subject heading, "Secrecy 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). This course will use a wide range of print texts and films to explore the intersections of cyberculture, popular culture, and postmodern critique. Taking as our starting point the questions how or whether the new media have changed our understanding of poular culture, we will look at genres such as cyberpunk, hyperfiction, fan fiction, computer games and their narrative off-shoots (graphic novels; machinima) as well as novels and films that illustrate the process of remediation: the cycling of different media through one another. Topics include the representations and cultural meanings of the cyborg, the prevalence of techno-orientalism, the creative potential of transformative play and transformative works, and the role of the internet in the creation of a new form of "folk" culture. Texts will include fictions by William Gibson, James Triptree Jr., Philip K. Dick, Neal Stephenson, Lev Grossman; films such as Blade Runner, Ghost in the shell, The Matrix, Run Lola Run; and essays by Bruce Sterling, Donna Haraway, Frederic Jameson, Roland Barthes, Jean Baudrillard, Scott Bukatman, Wendy Chun, among others. E-mail Professor Silver (brs2134@columbia.edu) by noon on Wednesday, November 16th, with the subject heading, "Cyberculture 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
Application Instructions: E-mail Professor Blount (mb33@columbia.edu) by noon on Wednesday, April 11th, with the subject heading, "Race & Masculinity in American Cinema 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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3.00 Credits
Introduction to Old English Language & Literature (Lecture). This class is an introduction to the language and literature of England from around the 8th to the 11th centuries. Because this is predominantly a language class, we will spend much of our class time studying grammar as we learn to translate literary and non-literary texts. While this course provides a general historical framework for the period as it introduces you to the culture of Anglo-Saxon England, it will also take a close look at how each literary work contextualizes (or recontextualizes) relationships between human and divine, body and soul, individual and group, animal and human. We will be using Mitchell and Robinson's An Introduction to Old English, along with other supplements. We will be looking a recent scholarly work in the field and looking at different ways (theoretical, and other) of reading these medieval texts. Students will be expected to do assignments for each meeting. The course will involve a mid-term, a final exam, and a final presentation on a Riddle which will also be turned in.
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3.00 Credits
No course description available.
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3.00 Credits
This course will look at the major works of John Milton in the context of 17th-century English religious, political and social events. In addition to reading Milton's poems, major prose (including The Doctrine and Discipline of Divorce, Areopagitica, and The Ready and Easy Way to Establish a Free Commonwealth), and the full texts of Paradise Lost and Sampson Agonistes (the course text will be Orgel and Goldberg, eds. John Milton), we will look at the authors and radicals whose activities and writings helped to provide the contexts for Milton's own: poets and polemicists, sectarians and prophets, revolutionaries and regicides, Diggers and Levelers. Requirements for this course include two short primary research papers (3 pp.) and an exam. Graduate students will also be required to write a seminar paper.
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3.00 Credits
Poetry and prose from the death of Queen Elizabeth in 1603, through the civil wars and Cromwellian commonwealth, to the restoration of the monarchy in 1660. We will consider the linked revolutions in English politics, religion, science, philosophy, and social and erotic relations, and will ask how these cultural transformations influenced literary form. Authors will include James I, John Donne, Ben Jonson, Francis Bacon, Lancelot Andrewes, George Herbert, Richard Crashaw, John Milton, Elizabeth Cary, Thomas Browne, Henry Vaughan, Robert Herrick, Andrew Marvell, Margaret Cavendish and Thomas Hobbes, as well as various Levellers, Ranters, Quakers, and perhaps a Muggletonian or two
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3.00 Credits
In addition to two lectures per week, there will also be a required weekly discussion section, led by a teaching assistant. There is no extra reading or written work required for the discussion sections.
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3.00 Credits
The term "modernism" is unusual in that refers simultaneously to a style, an idea, and a period. Critics often argue about the beginning of the modernist period, some joining Virginia Woolf in dating it from "on or about 1910" (when "human character changed"), others pushing it back to 1890 or earlier. There is even more debate about when - or if - modernism ends. In the 1980s, critical theorists such as Fredric Jameson posited the existence of a decisive break between modernism and so-called postmodernism. More recently, scholars have become interested in the longevity and temporal unevenness of modernism as an aesthetic and social phenomenon. Inspired by such scholarship, this lecture class examines the evidence for a concept of "late modernism." We will examine late modernism in a number of guises: as an extension of modernist aesthetics into the late twentieth century; as an elegiac, negative, or inward turn within the modernist avant-garde; and as a symptom of an unevenly globalized modernity. Literary readings by the likes of W. H. Auden, Djuna Barnes, Samuel Beckett, Basil Bunting, T. S. Eliot, B. S. Johnson, Ann Quin, Jean Rhys, and Virginia Woolf. Critical and theoretical readings will come from figures such as T. W. Adorno, Clement Greenberg, Fredric Jameson, and Edward Said.
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3.00 Credits
Postmodern Poetry & Poetics (Lecture). This class will look at major developments in experimental, innovative, and avant-garde poetry and poetics from 1950 to the present, paying attention to parallel developments in the visual arts. Surrealism, Constructivism, Black Mountain, Minimalism, Conceptualism, L=A=N=G=U=A=G=E, Flarf.
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