| source Georgetown (X) |
level |
department English (X) |
Credits: 3
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
Credits: 4
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
Credits: 4
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
By starting with the early literary productions in poetry and prose and concluding with /Samson Agonistes/, written in old age, when Milton, like his champion, was blind and disillusioned, we will give attention to the development of his literary powers. But we will spend most of our time on /Paradise Lost/. With all due reverence for Chaucer's /Canterbury Tales /and Shakespeare's /Hamlet/ and /King Lear/, Milton's epic is the greatest single work ever written in English. We will try to understand it mostly on our own but also with help from a few of the best contemporary essays.
Score: 7.837776 Details | Listing | Web page
How do we understand the frequent representation of Muslims and Jews in the plays of early modern England during a time in which neither group was officially permitted to live there? Why are Muslim and Jewish characters so often represented in the same plays? Are Jews and Muslims seen as sharing an important connection, or as relating to each other in significant ways? Do the substantial religious upheavals England following the Reformation, and the resulting struggles to define new religious identities, encourage the English to explore the ways in which they differ not only from other Christians but also non-Christians? In this course we will read sixteenth- and seventeenth-century English plays which represent some of these concerns in their accounts of two non-Christian religious traditions: Judaism and Islam. We will consider the significance of these representations both to discover what the English thought about religious difference as well as what these thoughts reveal about English culture. We will also attend to the ways in which representations of religious difference intersect with early modern ideas of race and gender.
Score: 7.837776 Details | Listing | Web page
Arranged by the student with an English department faculty member. See department for approval and section number. Fall and Spring.
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
In this course, weâll examine late eighteenth and early nineteenth-century womenâs anti-slavery texts, in hopes of understanding how concepts of race, religion, and gender became entangled during the formative years of the United States. What is the relationship between self-love and sympathy within women's abolitionist performances? What propels women to enter the risky world of abolitionism, and how do they protect themselves as they enter fiercely contested public debates? Weâll track the changes in how abolitionists gained access to the public sphere or redefined the âprivateâ sphere, and search out archival materials as we analyze anti-slavery poems, essays, plays, speeches, short stories, letters, and autobiographical novels. Our readings may include Phillis Wheatleyâs poems, Susanna Rowsonâs plays, Maria W. Stewartâs speeches, and Ellen Craftâs narrative, along with a host of lesser-known anti-slavery texts.
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
The first half of this course will focus on William Wordsworthâs radical experiments and innovations in poetic form and content, set within the context of the radical politics of the 1790s (especially with reference to the French Revolution). In this light we will explore the ways in which poetic forms and theories of language are connected to questions of class, gender, and power more generally. We will examine Wordsworth relation to the poetic traditions that preceded him, especially in light of Keatsâs claim that âWordsworth is deeper than Milton . . . [who] did not think into the human heart as Wordsworth has.â The second half of the course will explore the kinds of poetic experiments (in diction, syntax, genre, and content) that occurred in the wake of Wordsworthâs poetic revolution by focusing on British and American poets such as John Keats, Walt Whitman, Gerard Manley Hopkins, William Carlos Williams, and Adrienne Rich. Our exploration of these poets will be set within the personal, aesthetic, and political contexts within which they wrote. In addition to a rigorous reading of the poetry, some attention will be given to such poetic manifestoes as Wordsworthâs âPreface to the Second Edition of Lyrical Ballads, 1800â and Whitmanâs âPreface to the 1855 Edition of Leaves of Grass.â Several brief writing assignments, a longer final essay, and daily class participation will be required.
Score: 7.837776 Details | Listing | Web page
This course examines, via literature and philosophical excerpts, the 19th centuryâs ârequirementsâ to be good in order to probe the complexity of the wicked. Is wicked the opposite of good? Is wicked synonymous with evil? Who determines/identifies another as wicked? How do different writers explain how someone âbecomesâ wicked? Does the 19th century believe that one might be born wicked and do they distinguish natural wickedness from learned ill behavior? With what other factions of human nature and society does this century align the wicked: gender, age, class, educational background, genetic background, etc? What causes the reader to sympathize with the wicked rather than spurning them? How do the wicked prompt our fear and anger? What happens to the wicked? Also to be considered is how discovering and pursuing the wicked shapes the narrative â are there discernable common characterizations, patterns in plot, or implied purposes in these novels? Or do the wicked provoke as many distinct styles, moods, and voices as stories focused on individuals who are weak or struggling unjustly? These quests and others will direct our reading of Henry Jamesâs The Princess Casamassima, George Eliotâs Adam Bede, Thomas Hardyâs Tess of the DâUrbervilles, Margaret Atwoodâs Alias Grace, and Fyodor Dostoevskyâs Crime and Punishment. Students will produce several short response papers, a major class presentation, and a final research paper.
Score: 7.837776 Details | Listing | Web page
The making of the modern nation state of Ireland was not only a complex political event but also a political event that had its origins in the country's literary, cultural, and linguistic heritage. This course examines how that heritage was adapted and deployed in the years leading up to the coming into being of the modern Irish state.
Score: 7.837776 Details | Listing | Web page
Although there has been a sustained black presence in Britain for the last 400 years resulting from the slave trade, it appears, at first glance, that âblacknessâ only came to complicate âBritishnessâ once Britain began to receive large amounts of immigrants from its former colonies immediately after World War II. In this course, we will read contemporary novels, poetry and drama that not only deal with this cultural conflict but also give rise to a âblack Britishâ cultural identity that attempts (and, perhaps, fails) to incorporate African, Caribbean, Asian and mixed-raced peoples as a united political group. But our particular investigation of this contemporary cultural identity will also be informed by, and grounded in, the black presence in British literature that preceded World War II. Beginning with Shakespeareâs Othello, we will map out a historical and political trajectory of the black presence in British literature prior to 1945 using four perspectives: the literature written by and about blacks in Britain, the literature published by blacks in Britain, and the literature written about people who were likened to blacks in Britain. In this way, the course will explore not only the ongoing changes of black representations in British culture from the 17th to the 21st centuries but also how heavily the contemporary âblack Britishâ cultural identity has its roots in political struggles and literary representations of the âblack Britishâ past.
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
This course will explore the fiction and poetry of some of the principal American Expatriate writers, a tradition which has emerged as a rich vein in American Literature. In particular, we will investigate how their perception of America, coupled with their interaction with modern art and with each other, stimulated an experiment in realignment of traditional American values with corresponding innovative literary techniques. Short stories by Hemingway, Fitzgerald and Gertrude Stein; novels by Hemingway, Fitzgerald and Virginia Woolf; poetry by Ezra Pound, Hilda Doolittle, e.e. cummings and T. S. Eliot. (Virginia Woolf was not American, but a significant feminist contemporary.) Students in this four credit course will also research, create, and offer a power point presentationâeither individually or in a groupâon selected issues to further enrich our study of the period. Some of these presentations will be offered in an occasional extra class period of one hour.
Score: 7.837776 Details | Listing | Web page
Credits: 3
Score: 7.837776 Details | Listing | Web page
This course will investigate one of the greatest American literary achievements of the modern era. We will begin with Go Down, Moses, a collection of interrelated short stories as an entree into the world of Faulkner. Subsequently, we will read and discuss, in chronological order, the major works of Faulknerâs most prolific years: The Sound and the Fury; Sanctuary; As I Lay Dying; Light in August; and Absalom, Absalom. We will discuss these works in terms of predominant themes, psychological and sociological, and Faulknerâs corresponding experimentation in a rich variety of literary techniques. We will also view and discuss The Reivers in movie form. Requirements: a mid-term examination, two 5 page papers and one 10-12 page final paper (or a journal).
Score: 7.837776 Details | Listing | Web page
This course principally examines the short story in the 20th century, building upon the strong foundation for story that comes from oral narrative in everyday life. We will analyze both the writerly acts and the readerly responses as we explore works by Eudora Welty, William Faulkner, Ernest Hemingway, Richard Wright, Flannery OâConnor, Paule Marshall, Breece DâJ Pancake and a selection of very recent authorsâ works as found in contemporary anthologies and magazines such as the New Yorker and Atlantic. Throughout the course we will grow more critically aware of contexts around authors and their characters by emphasizing the impacts of class, race, gender, culture, and history on and in the literature. In addition to frequent BlackBoard postings, students will take one test, write one creative piece and one long analytical paper as they explore and experience this flexible genre. [Counts as CIV-- IV option in American Studies. Cross-listed in Program in Justice and Peace] Prerequisites: ENG 040 or 041 or 042 or 043.
Score: 7.837776 Details | Listing | Web page