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Course Criteria
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3.00 Credits
A concentrated analysis of the points of contact between two major American writers, Nathaniel Hawthorne and Henry James. Two representative works that speak to each other - Rappaccini's Daughter and Daisy Miller - are introduced to show the difference between Hawthornian romance and Jamesian realism. After examining Hawthorne's Puritan-oriented works (such as "Young Goodman Brown" and The Scarlet Letter), as well as his novel about transcendentalism, The Blithedale Romance, the course examines how James' more realistic novels, such as Washington Square and The Portrait of a Lady, take up where Hawthorne left off. We see how they represent not only the "deeper psychology," but also issues related to nineteenth-century feminism and consumer capitalism. The moral, social, and aesthetic views of both writers are explored, and James' novellas such as The Beast in the Jungle and The Aspern Papers are read in order to demonstrate the intersecting interests of the writers: how the realist and cosmopolitan literature James produced never escaped the influence of Hawthorne's more provincial romances. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
Covering Melville's exotic travel narrative about the South Seas (Typee), his famous novel about the pursuit of a great whale (Moby-Dick), his gothic urban novel Pierre, his story of con-artists on the Mississippi (The Confidence Man), as well as his shorter works such as "Bartleby the Scrivener," Benito Cereno, and Billy Budd, this course examines Herman Melville's journey as a writer interested in "forms" of all kinds: aesthetic, novelistic, social, cultural, legal, and historical. We will analyze Melville experiments in narrative construction, and will relate this to the ideological implications of history writing and to the power structures such writing serves. In addition, we will consider other aspects of the work: Melville's view of race and non-Western culture; the connections between slavery in the South and the economic conditions in the industrial North; nature's law and man's law; national identity and the notion of a national literature for America. Melville will be also be discussed in relation to his contemporaries: Emerson, Poe, and Hawthorne. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
An exploration of autobiographies and quasiautobiographies that tell the story of Americans from the early colonial period right up to the twentieth century. Discussions will revolve around the aesthetics of autobiography, the mixture of fiction and fact, and the construction of different "selves" that typify various strains of American intellectual thought as well as various cultural and social circumstances within different eras of American history. Approximately six works are chosen from such autobiographies as the following: Mary Rowlandson's History of Captivity, Benjamin Franklin's Autobiography, Harriet Jacobs's Incidents in the Life of a Slave Girl, Henry David Thoreau's Walden, Mark Twain's Life on the Mississippi, Adams' The Education of Henry Adams, Gertrude Stein's Autobiography of Alice B. Toklas, Ernest Hemingway's Moveable Feast, Henry Miller's Tropic of Capricorn, Malcolm X's Autobiography, and Paul Auster's The Invention of Solitude. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
An examination of literary works set in New York that explore the city as the site of material ambition, romance, cultural diversity, wealth, poverty, and alienation. Discussions will revolve around the way the literature invites sociological as well as psychological analysis of the city's impact on human lives. Among the five or six works to be read in the course are such New York stories as the following: Melville's "Bartleby: A Story of Wall Street," James' Washington Square, Riis's How the Other Half Lives, Cahan's The Rise of David Levinsky (or H. Roth's Call It Sleep), Wharton's House of Mirth, Dreiser's Sister Carrie, Fitzgerald's The Great Gatsby, Salinger's Catcher in the Rye, Auster's City of Glass, Wolfe's Bonfire of the Vanities, Delillo's Cosmopolis, P. Roth's The Dying Animal, and Morrison's Jazz. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
The course will focus on the distinctly American essence of the plays that have shaped our dramatic tradition. Viewing American drama from its eighteenth-century origins to the mid-twentieth century, we will trace the American playwright's ability to create native characters, to address topics of particular national interest, and to present themes particularly relevant to the American psyche, while simultaneously sharing in the lively currents of international theatre. Consideration will be given to the cultural and historical forces that fostered the creation of new genres, including vaudeville and tent shows. These and sparkling comedies of manners, sensational melodramas, and domestic dramas all contributed to the development of American drama during the first century and a half of its existence. With the emergence of Eugene O'Neill, Arthur Miller, and Tennessee Williams in the twentieth century, American drama attained and continues to hold a highly respected position on the world stage. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
This course examines writing in America before 1800 (roughly the period between the European "discovery" and the first products of an officially independent United States). We will examine the written evidence to find who the settlers were, what they expected or wanted or demanded, how they reacted to what they found, and what models of expression they developed to record their experiences. Readings will emphasize the variety of viewpoints that described America life and the terrific energy that writers brought to their tasks. We will also examine critical models of interpretation in both historical and contemporary forms. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
The subject of this course is poetry of the first half of the twentieth century - a literary moment usually referred to as "Modernism." This was the era of T.S. Eliot, Ezra Pound, Edna Vincent Millay, and e. e. cummings, as well as the period that saw the birth of jazz, the development of cinema, the rise of the American metropolis, and the horrors of two World Wars. It was a time of great literary freedom, and consequently also a period of great literary uniqueness. We could also think of this period as a time of great and deliberate difficulty in literature, and in particularly in poetry. The readings will be motivated by this combination of peculiarity and difficulty. By looking carefully at individual poems we will work to understand the major themes and typical methods of each poet. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
This course explores what it means to write effectively through a consideration of purpose, audience, context, and genre. In particular, we will pay attention to the strategic deployment of pathetic, ethical, and logical appeals as well as other relevant rhetorical principles that aid us in creating and understanding "good writing." Class will be conducted in a workshop format whenever possible with emphasis on the composing and revision process. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
This course introduces students to a variety of literary genres, including short fiction, poetry, drama, and screenwriting, and helps them develop the analytical and technical skills to be better readers, writers, and critics. The lecture/workshop format of the course is designed to help students recognize that good writing and reading is a process. Students will be given numerous exercises (on character, dialogue, plot, etc.) and will distribute one scene and one longer work to the class for constructive feedback. By studying established writers, reading student work, and receiving lots of feedback from the instructor and peers, students will develop proficiency in various literary techniques and style. Prerequisites of ENG 1 and ENG 2 are required.
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3.00 Credits
This workshop, in which students present their original writing and learn how to give and receive feedback on their work, explores nonfiction genres such as biography, autobiography and memoir, travel writing, and journal writing but particular emphasizes the essay and its elastic form governed by an aesthetic and epistemology distinct from traditional academic writing and argument. Academic writing often teaches students to defend assertions through logical appeal and to establish authority by eliminating the word "I." The creative nonfiction essay, on the other hand, relies on the subjectivity of an enquiring persona that tentatively explores questions and ideas. In this class, we will consider the value of this latter sensibility and how to cultivate it in our writing as well as the history that enabled and the theory that explains this genre. We will also give attention to the role/form of creative nonfiction in the evolving Web 2.0 environment. Prerequisites of ENG 1 and ENG 2 are required.
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