Major narrative texts from diverse Western cultures, beginning with Homer and concluding with at least one film. Emphasis on literary and cultural issues: on the artistic significance of the chosen texts and on their identity as anthropological artifacts whose conventions and assumptions are rooted in particular times, places, and technologies. Syllabus varies, but always includes a sampling of popular culture (folk tales, ballads) as well as some landmark narratives such as the Iliad or the Odyssey, Don Quixote, Anna Karenina, Ulysses, and a classic film. This class will investigate the ways in which the formal aspects of Western storytelling in various media have shaped both fantasies and perceptions, making certain understandings of experience possible through the selection, arrangement, and processing of narrative material. Surveying the field chronologically across the major narrative genres and sub-genres from Homeric epic through the novel and across media to include live performance, film, and video games, we will be examining the ways in which new ideologies and psychological insights become available through the development of various narrative techniques and new technologies. Emphasis will be placed on the generic conventions of story-telling as well as on literary and cultural issues, the role of media and modes of transmission, the artistic significance of the chosen texts and their identity as anthropological artifacts whose conventions and assumptions are rooted in particular times, places, and technologies. Authors will include: Homer, Sophocles, Herodotus, Christian evangelists, Marie de France, Cervantes, La Clos, Poe, Lang, Cocteau, Disney-Pixar, and Maxis-Electronic Arts, with theoretical readings in Propp, Bakhtin, Girard, Freud, and Marx.

This course introduces the history and practice of English as a scholarly discipline. After outlining basic approaches to the text, the course embarks upon a genre-study, devoting each of the four remaining units to a different genre of writing: poetry, the novel, drama, and rhetoric and the critical essay. Upon successful completion of this course, students will be able to: demonstrate mastery and/or awareness of the major skills, techniques, and approaches necessary for college-level literary and cultural studies; explain and employ in close readings of texts (i.e., poems, novels, plays, etc.) a variety of approaches to textual and discourse analysis; define and identify a number of theoretical approaches to literary and cultural studies (such as Marxist, feminist, and New Historicist approaches); employ poetic scansion and analysis techniques in the analysis of poetry; explain basic concepts in narrativity and be able to identify various forms of the novel; define a number of dramatic techniques and forms of theater and drama; recognize, compare, and contrast a variety of rhetorical forms and terms as well as concepts involving the essay form. (English Literature 101)

This course will introduce you to the field of literary theory by identifying and engaging with the key problems and questions that animate theoretical discussion among literary scholars and critics, including issues pertaining to ideology, cultural value, the patriarchal and colonial bases of Western culture, and more. The student will be acquainted with the basic principles and preeminent texts that have defined many of the major critical debates of the 20th and 21st centuries. Upon successful completion of this course, the student will be able to define both literary criticism and literary theory, and explain the emergence of literature as a discipline of study; identify and discuss classical Greek explanations of the purpose of literature; explain and account for the rise of critical theory in the 20th century, and describe the place of theory in contemporary English and cultural studies; provide a brief overview of the major tenets, practitioners, and ideas of the following critical and theoretical movements and/or schools: Russian Formalism, structuralism, post-structuralism, semiotics, Deconstruction, psychoanalysis, feminism, gender theory, Marxism, Reader-Response paradigms, New Historicism, Post-Colonialism, Ethnic and Cultural Studies, Eco-criticism and Eco-theory and trauma theory; identify and discuss some of the viewpoints opposed to the practice of criticism and literary theory; identify and discuss some of the newly emerging trends in literary theory, such as eco-criticism, trauma theory, chaos theory, game theory, and trans-identity criticism; identify, discuss, and define some of the key literary theories of such major literary and cultural critics and theorists as Plato, Aristotle, Karl Marx, Michele Foucault, Judith Butler, Jacques Derrida, Jacques Lacan, T.S. Eliot, Henry Louis Gates, Sigmund Freud, Carl Jung, Eve Sedgwick, and Frederic Jameson. (English Literature 301)

This subject examines the ways in which we read. It introduces some of the different strategies of reading, comprehending and engaging with literary texts developed in the twentieth century, paying special attention to post-structuralist theories and their legacy. (What poststructuralism means will be discussed often in this course, so don't worry if you don't know what it means right now!) The course is organized around specific theoretical paradigms. In general, we will: (1) work through selected readings in order to see how they determine or define the task of literary interpretation; (2) locate the limits of each particular approach; and (3) trace the emergence of subsequent theoretical paradigms as responses to the achievements and limitations of what came before. The literary texts and films accompanying the theoretical material will serve as concrete cases that allow us to see theory in action. For the most part, each week will pair a text or film with a particular interpretative approach, using the former to explore the latter. Rather than attempting a definitive or full analysis of the literary or film work, we will exploit it (unashamedly — and indeed sometimes reductively) to understand better the theoretical reading it accompanies.

This class explores ways that writers portray human experience in their short stories, poems and plays. Through class discussions, lectures and creative responses, students will gain a deeper understanding and appreciation of literary works.” In this course, students develop and express their own analytic responses to a variety of works of literature, paying special attention to the ways that literary works are crafted and also to the ways that readers’ understanding of literature is subject to your personal perspectives and various theoretical frameworks.

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Introduces practice and theory of literary criticism. Seminar focuses on topics such as the history of critical methods and techniques, and the continuity of certain subjects in literary history. Instruction and practice in oral and written communication. Topic: Theory and Use of Figurative Language. This seminar offers a course of readings in lyric poetry. It aims to enhance the student's capacity to understand the nature of poetic language and the enjoyment of poetic texts by treating poems as messages to be deciphered. The seminar will briefly touch upon the history of theories of figurative language since Aristotle and it will attend to the development of those theories during the last thirty years, noting the manner in which they tended to consider figures of speech distinct from normative or literal expression, and it will devote particular attention to the rise of theories that quarrel with this distinction. The seminar also aims to communicate a rough sense of the history of English-speaking poetry since the early modern period. Some attention will be paid as well to the use of metaphor in science.

Examines competing ethical concepts and the ethical implications of certain actions and commitments by close reading of literary works. Topics include: origins of morality, ideals of justice, the nature of the virtues, notions of responsibility, ethics and politics, and the ethics of extreme situations. Philosophic texts by Plato, Aristotle, Machiavelli, Hobbes, and Kant. Narrative and dramatic texts by Sophocles, Euripides, Shakespeare, Swift, Ibsen, Shaw, Dostoyevsky, and Conrad; plus some Biblical materials. The aim of this subject is to acquaint the student with some important works of systematic ethical philosophy and to bring to bear the viewpoint of those works on the study of classic works of literature. This subject will trace the history of ethical speculation in systematic philosophy by identifying four major positions: two from the ancient world and the two most important traditions of ethical philosophy since the renaissance. The two ancient positions will be represented by Plato and Aristotle, the two modern positions by Immanuel Kant and John Stuart Mill. We will try to understand these four positions as engaged in a rivalry with one another, and we will also engage with the philosophy of Thomas Hobbes, which offers a bridge between ancient and modern conceptions and provides a source for the rivalry between the viewpoints of Kant and Mill. Further, we will be mindful that the modern positions are subject to criticism today by new currents of philosophical speculation, some of which argue for a return to the positions of Plato and Aristotle.

Aspects of the tragic as a mode of literature and a quality of lived experience pursued in readings that extend from the warfare of the ancient world to the experiences of modern life. Authors include Aeschylus, Sophocles, Euripides, Shakespeare, Balzac, Tolstoy, Ibsen, Conrad, Dinesen, Faulkner, and Camus. Includes viewing of at least two films. "Tragedy" is a name originally applied to a particular kind of dramatic art and subsequently to other literary forms; it has also been applied to particular events, often implying thereby a particular view of life. Throughout the history of Western literature it has sustained this double reference. Uniquely and insistently, the realm of the tragic encompasses both literature and life. Through careful, critical reading of literary texts, this subject will examine three aspects of the tragic experience: The scapegoat; The tragic hero; The ethical crisis. These aspects of the tragic will be pursued in readings that range in the reference of their materials from the warfare of the ancient world to the experience of the modern extermination camps.