91254 |
LIT 2002 Americans Abroad |
Donna Grover |
. T . Th . |
10:10 - 11:30 am |
Olin 305 |
ELIT |
Cross-listed: Africana Studies Post World War I was an exciting time for American artists
who chose to come of age and discover their own American-ness from other
shores. We will read writers of the so-called ‘ Lost Generation’ including
Ernest Hemingway, Gertrude Stein and F. Scott Fitzgerald. But in our
reexamination of ‘The Lost Generation’ we will also include expatriate writers
best known for their participation in the Harlem Renaissance, such as Jean
Toomer, Claude McKay and Jessie Fauset. The African-American presence in Europe
which included the iconic figure Josephine Baker as well as jazz great Louis
Armstrong altered this picture in ways that we are only beginning to
appreciate. This course looks at a period in which American culture found roots
abroad.
91241 |
LIT 2009
Representing Medicine & Body |
Andrew Schonebaum |
. T . Th . |
10:10 - 11:30 am |
Olin 308 |
ELIT |
Cross-listed:
Asian Studies, STS
Doctors and researchers do not hold a monopoly on medical knowledge or
beliefs. While theirs may be more scientific,
that does not make them necessarily more relevant to the study of the patient
and of the illness. Both the
actualities and the metaphorical possibilities of illness and medicine abound
in literature, film and modern culture.
These other “meanings” of disease, illness, organ transplants, genetic
engineering and prosthesis have stirred debate about what it means to be an
individual or even what it means to be human.
In this course, we will investigate conceptions and representations of
the body in world literature and film.
We will begin by discussing such medical beliefs and metaphors, as
“invading armies” of cancer, “high-risk groups,” social Darwinism and gendered
constructions of illness. We will use
these lexical tools to consider advertisements for hospitals, health
organizations and pharmaceuticals as well as media fads such as the Ebola
scare. We next consider traditions of
medicine in literature and history to try to get at the origins of some of
these ideas and meanings. We will read stories and essays by Kafka, Mann,
Proust, Chekov, Lu Xun, Mo Yan, Kenzaburo Oe, Wang Zhenhe, Alphonse Daudet,
Kushner, Sontag, Dumas fils,
Foucault, Karatani Kojin, Donna Haraway and others. We will watch also view a
few films and consider visual representations of illness and the abnormal body.
91398 |
LIT 2026 Introduction to Children’s and Young Adult Literature |
Maria Sachiko Cecire |
M . W . . |
11:50 – 1:10 pm |
Olin 310 |
ELIT |
In this course, students will explore questions about
what children can, do, and should read, and be encouraged
to think about how the notion of childhood is constructed and reproduced
through texts and images. We will ask how we, as adults, can read a book that
has been classed as ‘children’s literature’ and how to theorize texts that are
written for children by adults. What makes a work of children’s literature a
classic? Who are these texts really for? Does children’s literature “colonize”
the child? Together we will examine a range of children’s and young adult
literature genres including the school story, fairy tale, fantasy, historical
fiction, and the teenage novel. We will cover issues such as the child in the
book, the pastoral child, crossover fiction, the children’s publishing
phenomenon in the years since Harry
Potter, and taboo teen realism. Course texts include literature by Kenneth
Grahame, Francis Hodgson Burnett, J.M. Barrie, Enid Blyton, Diana Wynne Jones,
C.S. Lewis, Philip Pullman, J.K. Rowling, and Stephenie Myer, among others.
91561 |
LIT 2028 Poe |
Geoffrey Sanborn |
. T . Th . |
1:30 -2:50 pm |
Olin 205 |
ELIT |
Cross-listed: American Studies In this course, we will read Edgar Allan
Poe’s entire output of tales and poems, along with many of his essays, reviews,
and letters. The emphasis will be on the tension between Poe’s aesthetic
idealism and his cadaverous materialism, his aspirations toward the absolute
Oneness represented by the love-object and his obsession with the way that
love-objects tend to “turn,” or go bad, like milk. Related topics: perversity,
race, death, mourning, evidence, gradation, angels, and the divine.
91341 |
LIT 2035 Religion & the Secular in American
and British Modernism |
Matthew Mutter |
M . W . . |
3:10 -4:30 pm |
Olin 107 |
ELIT |
Cross-listed:
American Studies, Religion, Theology This
course seeks to understand the intricate relations between religion and
literature in modern culture. We will
ask questions such as: Can literature
become a substitute for religion? Is poetic
consciousness connected to religious consciousness? How does secularism impact the way writers think about the nature
of language or the experience of pain?
We will examine how certain modernists looked to paganism as a form of
religious feeling tied to the fortunes of the body; how some saw poetic speech
as a form of magic; and how others hoped to employ language to attune
consciousness to mystical realities.
Lastly, we will explore how certain literary genres foster religious or
secular attitudes towards human experience.
Texts will include Willa Cather’s Death
Comes for the Archbishop, Nathanael West’s Miss Lonelyhearts, T.S. Eliot’s Four
Quartets, Jean Toomer’s Cane,
stories by Flannery O’Connor and poems by Wallace Stevens and W.B. Yeats.
91232 |
LIT 2101 Myth/Tale/Story |
Benjamin La Farge |
. T . Th . |
1:30 -2:50 pm |
Olin 301 |
ELIT |
As
the anthropologist Malinowski has written, myths are "a special class of
stories, regarded as sacred...stories [that] live not as fictitious or even as
true narratives; but are to the natives a statement of a primeval, greater, and
more relevant reality." It is the purpose of this course to demonstrate
how myths that once were sacred are secularized when recycled as literary art,
and how many of the greatest stories written by modem masters--from Melville to
Kafka--have tapped into the great myths of the past. But between those myths
and the modem short story lies the vast, unchartered region of the tale--the
oral tradition of story-telling. "The first true storyteller is, and will
continue to be, the teller of fairy tales," wrote Walter Benjamin, who
argued that "the fairy tale taught mankind...to meet the forces of the
mythical world with cunning and high spirits." We will explore these
mysterious waters by first reading The Metamorphoses of Ovid, followed
by The Golden Ass of Apuleius, and classic fairy tales by Charles
Perrault, the Brothers Grimm et aI., before tracing the residual presence of myth
in the work of modem masters, both male and female. Some of the papers assigned
will give students an opportunity to write their own tales if they wish.
91333 |
LIT 2137 African-American Literary Traditions |
Charles Walls |
M . W . . |
1:30 -2:50 pm |
RKC 101 |
ELIT/DIFF |
Cross-listed: Africana Studies What special problems arise when the presentation of ourselves into literary culture contributes to or challenges an already diminished social presence and power? In what ways would we want to create and imagine ourselves, remember our history, and construct our future? In this course, we will explore African-American literature from the Colonial era to the Harlem Renaissance and examine the various forms and voices that African-Americans have used to achieve literary and, consequently, social authority. We will interrogate the degree to which this body of literature forms a coherent tradition and complicates notions of race, nation, gender, citizenship, and diaspora. We will also consider its relationship to traditional literary modes like sentimentalism, realism, naturalism, and modernism. Readings will include autobiography, essays, novels, poetry, and plays; writers will likely include Wheatly, Douglass, Jacobs, Chesnutt, Du Bois, Hopkins, Toomer, Larsen, Hughes, McKay, and Hurston.
91606 |
LIT 2156 Romantic Literature in English |
Cole Heinowitz |
. T . Th . |
3:10 -4:30 pm |
Olin L. C. 118 |
ELIT |
This
course offers a critical introduction to the literature produced in Britain at
the time of the Industrial Revolution, the French Revolution, and the
Napoleonic wars. The term traditionally
used to categorize this literature, “romantic,” is interestingly problematic:
throughout the course we will question the assumptions built into this term
instead of assuming that we know what it means or taking for granted a series
of supposed characteristics of “romantic” literature and art. We will also explore the extent to which key
conflicts in British culture during the “romantic period,” including the
foundingof the United States, independence movements in the Americas, the
development of free trade ideology, and the debates over slavery and
colonialism, are still at issue today. The centerpiece of this course is the
close reading of poetry. There will also be a strong emphasis on the historical
and social contexts of the works we are reading, and on the specific ways in
which historical forces and social changes shape and are at times shaped by the
formal features of literary texts. The question of whether “romantic” writing
represents an active engagement with or an escapist idealization of the
importanthistorical developments in this period will be a continuous focus.
Readings include canonical and non-canonical authors: William Blake, William
Wordsworth, Helen Maria Williams, Thomas Beddoes, Anna Letitia Barbauld, Robert
Southey, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron,
John Clare, and Laetitia Elizabeth Landon.
91224 |
LIT 2172 The Politics and Practice of Cultural
Production in the Middle East and North
Africa |
Dina Ramadan |
M . W . . |
3:10 -4:30 pm |
Olin 309 |
FLLC |
Cross-listed: Human Rights, Middle Eastern Studies The politics and practice of cultural
production in the Middle East and North Africa can provide for a complicated
and multifaceted understanding of the region. This course will draw upon a
series of thematic case studies, beginning with European colonialism in the
late 19th century to today’s contemporary globalized context that illustrate
how cultural production can be read as a form of documentation, resistance, and
potential intervention to a range of prevailing narratives. Topics covered
include tradition and modernity, the rise (and fall) of nationalism, narrating
war, the role of the state, and the performance gender. Interdisciplinary in
its approach, this course will ask students to apply the historical and theoretical
frameworks provided through the lectures and readings, to a close examination
of a range of texts including novels (Sonallah Ibrahim, Assia Djebar), films
(Jackie Salloum, Lamia Joreige, Tahani Rached), video artworks (Walid Raad,
Wael Shawky), painting (Mahmud Said, Jewad Selim) and blogs (Riverbend) from
across the region including Egypt, Lebanon, Iraq, Palestine/Israel, Algeria,
Morocco and Turkey.
91260 |
LIT 2176 The Revenge Tragedy |
Lianne Habinek |
. T . Th . |
11:50 -1:10 pm |
Olin 201 |
ELIT |
Cross-listed: Human Rights
What makes a good revenge tragedy? Clandestine murders,
otherworldly revenants, disguise, madness, and a final scene of brutal
bloodshed: these characterize the revenge tragedy, a form of drama
extremely popular in Elizabethan and Jacobean England. Revenge
tragedies function not only as a form of social critique - they also speak
to the anxieties and wonder that accompanied new modes of
understanding the physical world, human emotion, and individual accountability.
We’ll begin by investigating the early modern revenge
tragedy’s antecedent, Senecan tragedy, before moving to consider the
emergence of the revenge tragedy in its own context during the late-16th
and early-17th centuries. Finally, we shall examine modern
instantiations of the genre.
91334 |
LIT 2177 Afro-Futurism: Race and Technology in African-American
Literature and Culture |
Charles Walls |
. T . Th . |
1:30 -2:50 pm |
HEG 200 |
ELIT/DIFF |
Cross-listed: Africana Studies, American Studies, STS This interdisciplinary course will examine how African-American and black diasporic communities have used science fiction, magical realism, cosmology, and fantasy to explore the intersections between race, science, and technology. Drawing on the work of a variety of writers, artists, and musicians, we will consider the development of this theme and its related aesthetic forms to analyze how “Afro-futurism” occupies a provocative but little explored place in the interrogation and challenge to normative historical narratives, class divisions, sexism, and racism. Figures likely to appear on our syllabus will reflect a broad historical range from the nineteenth- to twenty-first centuries: Pauline Hopkins, George Schuyler, Ralph Ellison, Ishmael Reed, Walter Mosley, Samuel Delaney, Octavia Butler, Melvin Tolson, Colson Whitehead, Nalo Hopkinson, Rene Cox, Jean-Rene Basquiat, Sun Ra, Paul D. Miller, Keith Matthew Thornton, Parliament, and others.
91399 |
LIT 2178 Literary Networks and New Writing out of
Africa 2000-2008 |
Binyavanga Wainaina |
M . W . . |
10:10 – 11:30 am |
Olin 302 |
ELIT |
Cross-listed: Africana Studies, Human Rights The movement started in
the late 1990s in Cape Town, South Africa, a year after Nelson Mandela's
inauguration as president of South Africa. The possiblity of a new kind
of society attracted writers, artists, and thinkers, some local, some
recently arrived from exile, others from various African countries and
diaspora. After over twenty years of some stasis, an explosion of literary
activity began on the continent, led by small independent publishing
houses. In 2002, the print magazine Chimurenga was founded in Cape Town by
the Cameroonian-born writer and intellectual, Ntone Edjabe. In 2003,
Kwani magazine was founded in Kenya, and Farafina in Lagos, Nigeria in
2005. Over the past 8 years, hundreds of new writers have been
published. This class will look at work produced in this period, mostly
short fiction, essays, reportage and creative nonfiction, from
these magazines and from novels and literary blogs and other media
produced between 2002 and 2009. We will do close readings from selected
texts and from case-studies of the three megacities that are becoming literary
centers: Lagos, Cape Town and Nairobi. There will be weekly assignments,
and a term project.
91529 |
LIT 2232 Writing the World: Nonfiction Prose |
Celia Bland |
. . . Th . |
1:30 -3:50 pm |
Olin 101 |
ELIT |
This is a course in two skills: learning to make
excellent nonfiction prose and learning to see the world around you. When it comes
to the art of nonfiction prose, the emphasis nearly always falls on the
personal, and especially on essay and memoir. In this course, I want to turn
our gaze outward and to think about how we write from direct experience of
events. Our models will be drawn from history and from the broad category of
nonfiction writing often, and absurdly, called "current events." Our
goal will be to become compelling witnesses and makers of acute prose—but our
goal will also be art, not journalism. Students will be expected to write 4-5
pages every week.
91400 |
LIT 225 Strange Books and the Human Condition |
Francine Prose |
. . . . F |
1:30 -3:50 pm |
Olin 203 |
ELIT |
Cross-listed: Human Rights Every literary masterpiece is unique, but some
are more unique than others. This class will involve the close-reading of books
so peculiar as to verge on "outsider" literature, by authors ranging
from Jane Bowles to Felisberto Hernandez, from Robert Walser to Hans Christian
Andersen, novels and stories that have as much to tell us about what it means
to be a human being as the most naturalistic or conventional fiction. Admission
is by email application ([email protected]) explaining why the student wishes to
take the course. Enrollment is not limited to literature or writing majors, and
the only prerequisite is that students will be expected to have read enough
"not strange" literature to understand why the books on the list are
so unusual.
91776 |
LIT / ITAL 225 Dante |
Joseph Luzzi |
. T . . |
1:30 -3:50 pm |
Olin 107 |
FLLC |
This course will introduce students to the world and work of the
so- called “founder of all modern poetry,” Dante Alighieri. Our close
reading of the entire Divine Comedy (Inferno, Purgatorio, Paradiso)
will consider such issues as the phenomenology of poetic
inspiration, medieval theories of gender, Dante’s relationship with
the literary ghosts Virgil and Cavalcanti, the sources and shapes
of the human soul, and how the weight of love (pondus amoris) can
save this same soul. We will also read from Dante’s other
works, including the story of his poetic apprenticeship (The New
Life) and his linguistic treatise (On Eloquence in the Vernacular).
Conducted in English, readings in English translation; option of work
in Italian for qualified students, if student wishes. Weekly
section for Writing Intensive course, time to be determined.
91542 |
LIT 230 Innovative Novellas and Short Stories |
Justus Rosenberg |
M . W . . |
11:50 -1:10 pm |
Heg 300 |
ELIT |
An
in-depth study of the difference between the short story, built on figurative
techniques closely allied to those employed in poetry which allows the writer
to achieve remarkable intimacy and depth of meaning in the space of a few pages
and the novella that demands the economy and exactness of a short work while at
the same time allowing a fuller concentration and development of both character
and plot. We explore the range and
scale of the artistic accomplishments of such masters in these genres as
Voltaire, de Maupassant, Leo Tolstoy, Chekhov, Sholem Aleichem, Thomas Mann,
Isaac Babel, Camus, Kafka, Colette, Borges.
In addition to writing several analytical papers, students are asked to
present their own short story or draft for a novella by the end of the
semester.
91440 |
LIT/ RUS 2317 Duels, Doubles, Dualities: The
Nineteenth-Century Russian Classics |
Sara Pankenier |
. T . Th . . |
1:30 -2:50 pm |
Olin 307 |
FLLC |
Dramatic duels do play out in the lives and works of many nineteenth-century
Russian authors, but this course also will focus on literary and critical
confrontations between writers, their writings, and how they were read. As we
discuss the nineteenth-century classics, as well as their reflections in
film, music, and other arts, we consider these works in the light of
significant oppositions in Russian culture, history, and politics. We also
examine doubling and dualities reflected in the texts themselves to consider
their symbolic implications. Major works by Pushkin (Eugene Onegin), Lermontov (A Hero of Our Time), Gogol (Dead
Souls), Pavlova (A Double Life), Turgenev (Fathers and Sons), Dostoevsky (Crime
and Punishment), and
Tolstoy (Anna Karenina) will be
read. Conducted in English.
91488 |
LIT 2318 Toward the Condition of Music: Poetry and
Aesthetics in Victorian England |
Stephen Graham |
M . W . . |
1:30 -2:50 pm |
Heg 200 |
ELIT |
Cross-listed:
Victorian Studies John
Ruskin announced in Modern Painters (1843)
that the greatest art must contain “the greatest number of the greatest ideas.”
Fifty years later, Oscar Wilde declared with equal assurance the “All art is
quite useless.” What happened in that
intervening half-century? Reading major Victorian poets including Tennyson,
Browning, Christina Rossetti, Gerard Manley Hopkins, Thomas Hardy and William
Butler Yeats, as well as criticism by Ruskin, Matthew Arnold, Walter Pater, and
Wilde—among the finest prose stylists of the century—this course follows the
evolution of poetry and poetic theory, and the accompanying Victorian debate
about the status of art and of the artist in relation to society. This latter
narrative begins with Alfred Lord Tennyson, Poet Laureate and cultural institution,
and concludes with Oscar Wilde, social pariah and convicted felon, as Victorian
poets gradually withdraw from their position in the center of the culture to a
stance of defiance, transgression, and martyrdom.
91261 |
LIT 2421 Milton |
Lianne Habinek |
M . W . . |
1:30 -2:50 pm |
Olin 305 |
ELIT |
Famed
encyclopedist Samuel Johnson terms him “an acrimonious and
surly republican”; T. S. Eliot laments the fact that he had been
“withered by book-learning.” John Milton, man of letters,
Englishman, poet of and for his country. Milton was an insightful
observer of human relationships, and particularly, of man's relationship
to God. In this course, we will examine the history of mid-17th-century
England - religious controversies, the Civil Wars, the nature of
intellectual debate - alongside Milton's important writings. The key
focus of this course will be on Paradise Lost, though we will also
consider Milton’s sonnets, theatrical works, and essays and tracts.
As we do, we shall develop a nuanced and complex picture of one of
England's greatest epic poets.
91079 |
LIT 2501 Shakespeare |
Nancy Leonard |
M . W . . |
10:10 - 11:30 am |
Olin 310 |
ELIT |
Too often Shakespeare is less exclaimed over than dentally
drilled: this course promises to remedy that by a close reading of seven great
plays, spread over the various kinds of play he wrote: comedy, history, tragedy
and romance. We will find out how
characters enact our contemporary concerns with issues like politics,
sexuality, gender, and race, but also how they appeared within their own
historical framework. For instance,
knowing how limited the prospects of early modern European women were, even
aristocrats, creates new admiration for Shakespeare’s bold and quirky comic
heroines. The plays will be
supplemented by some theater history, film, and performance, but this is
primarily a course in close reading.
Plays to be read include A Midsummer Night’s Dream, Romeo and Juliet,
1 Henry IV, As You Like It, Hamlet, Othello, and The Tempest. Open
to all students.
91173 |
HIST/ LIT 255 The Victorians: British History and
Literature 1830-1901 |
Deirdre d'Albertis / Richard Aldous |
. T . Th . |
10:10 - 11:30 am |
Olin L. C. 115 |
HIST |
Through
interdisciplinary study of culture, politics and society in the British Isles,
we will consider the rise and fall of Victorian values with particular
attention to nationalism, imperialism, government, and domestic ideology.
Consulting a variety of texts – novels, plays, essays, music, poetry and
historical works – we will also examine changing (and often conflicting)
conceptions of crime, sexuality, race, social class, the position of women, the
vote, and the crisis of faith in nineteenth-century Britain.
91256 |
LIT 272 The Irish Renaissance |
Terence Dewsnap |
M . W . . |
3:10 -4:30 pm |
RKC 200 |
ELIT |
Cross-listed:
Irish and Celtic Studies The
Irish Renaissance of the first few decades of the twentieth century was the creation
of those cultural leaders who founded the Abbey Theatre to nourish a
specifically Irish (not British, not European) imagination. The revival
exploited three sources: the mythical Ireland of Celtic legend where Cuchulain,
Maeve, Finn, and Fergus waged epic battles over cows and birthrights with the
aid and interference of magic; western Ireland, poetry and story; and a
political history that is a persistent record of invasion, oppression, and
faction, and of heroic gestures accompanied by a mood of tragic failure. The
course begins with a brief history of Ireland, concentrating on three discrete
moments: the end of the seventeenth century and the battles of Boyne and
Aughrim, the abortive rising of 1798, and the 1890s spirit of nationalistic
renewal. Then we consider the Abbey Theatre and its reconstruction of the
legends of the past and the use of idioms and characters of the west of
Ireland, chiefly in the drama of Yeats and Synge. We will look at the
development of these themes in the literature associated with the troubles of
1916‑22 and in later writings, which continue or challenge the themes of
the Renaissance, including works by Sean O'Casey, Liam O'Flaherty, Frank
O'Connor, Flann O'Brien, and Brendan Behan.