| source Indiana University Bloomington (X) |
level |
department English (X) |
E301 LITERATURES IN ENGLISH TO 1600 Rob Fulk 11931 - 4:00p-5:15p TR (30 students) 3 cr. A&H. Open to majors and declared minors only. TOPIC: ÂThe Archaeology of Early English Texts The topic of this section will be "The Archaeology of Early English Texts," and "archaeology" is meant here in its broadest sense. Although the primary focus of the course will be on the close reading of English texts from earliest times to the age of Shakespeare, we will continually attempt to supplement close reading by placing these texts in their cultural contexts, recovering the material conditions under which they were produced and received in the Anglo-Saxon, late medieval, and early modern periods. That is, we will map and navigate the methods of interpretation peculiar to the study of texts from periods separated from modern literature by time and cultural difference. We will, for example, study the Elizabethan book trade to understand the milieu in which works like the poems of Wyatt and Surrey, Marlowe's Hero and Leander, and Shakespeare's sonnets reached the reading public. We will study how the late medieval explosion of book production and the invention of the printing press molded the development of canonical forms of literature, language, and religious and political belief. We will examine how the concurrent rise of the Gothic style in art and architecture and of more natural, less stylized literary forms express a profound cultural shift related to the rise of affective lay piety. And we will examine the nature of monastic life to facilitate an understanding of how modern conceptions of literacy as print-based, of literature as high art, and of authors as independent agents of inspiration stand in the way of our understanding of the intentions of those who recorded such works as Beowulf and The Wanderer in the Old English period. In the process we will examine some of these works in their manuscript contexts and learn how to decipher varieties of Tudor and medieval handwriting. We will be "archaeologists," then, in the sense that we will attempt to reconstruct literate cultures from their disparate remains and make sense of early English texts in the context of what we know about the uses of literacy in early times. In fine, we will aim to do the work of professional scholars in these periods--the kinds of work that make medieval and Renaissance studies refreshingly different and medieval and Renaissance texts documents both absorbing and enjoyable to study. The texts to be studied will include all or parts of Beowulf, Sir Gawain and the Green Knight, Chaucer's Canterbury Tales, Julian of Norwich's Showings, The Book of Margery Kempe, Spenser's Faerie Queene, the Wakefield Secunda pastorum, two Marlowe dramas, ShakespeareÂs Richard III, and lyrics by Wyatt, Surrey, Sidney, Marlowe, and Shakespeare. Assignments will include three examinations and three brief analytic papers.
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E301 LITERATURES IN ENGLISH TO 1600 Staff 2910 - 1:00p-2:15p TR (30 students) 3 cr. A&H. Open to majors and declared minors only. The historical study of literature in English for the period 450 to 1600.
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E302 LITERATURES IN ENGLISH, 1600-1800 Ellen MacKay 2911 - 2:30p-3:45p TR (30 students) 3 cr. A&H. The organizing principle for this survey will be to question whether seeing really is believing, a maxim we will trouble by looking at texts that call attention to hallucination, verisimilitude and the dangers that attend unconstrained, rapturous or biased sight. This query should help us to illuminate profound cultural concerns about the political, scientific, religious, aesthetic and imperial tumult that takes place during the seventeenth and eighteenth centuries as we contemplate how proof, beauty, faith (that is, what is believed without visual evidence) and the definition of what is obvious shifts, sometimes radically, over this time. We will also consider the relation of the visual to the reader in a variety of print genres, including devotional poetry, tragedy, the scientific treatise, the political polemic, the martyrdom narrative, the gothic novel, children's literature, and "newes." The literary brackets for the course will be ShakespeareÂs Hamlet (1600) and Ann RadcliffeÂs The Italian (1797), and between these two works we will explore a variety of writings and writers, including works by Addison and Steele, Milton, Crashaw, Bacon, Burke and Massinger. We will contextualize our readings with some examination of the periodÂs visual culture and wider (non-literary) print culture, particularly in terms of the work of William Hogarth. The course will require close readings of primary materials and of some representative criticism. Each member of the class will complete at least two in-class presentations, one on a play and another on a critical essay, both of which involve a written component. The course will culminate in a research essay which will be undertaken in a series of steps over the course of the semester.
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E303 LITERATURES IN ENGLISH, 1800-1900 Miranda Yaggi 2912 - 12:20p-1:10p MWF (30 students) 3 cr. A&H. TOPIC: "Epistemology of Secrets" Though by no means a perfect story of forward-marching progress, the nineteenth century Atlantic worldÂand its literatures in English confronted, represented, and gave voice to some of the most fundamental debates which still concern the Atlantic world today. Since trying to fit a truly representative study of this richly diverse period into a single semester would prove an overwhelming task, we will opt instead to focus our attention on one of the dominant themes which preoccupied literature across both sides of the Atlantic throughout the entire century, a preoccupation which we will call Âthe epistemology of secrets. From the beginning of the century to the end, writers, thinkers, and readers were concerned with questions of Âknowing. How do we know things? Do we know through rational systems like reason, observation, and experimentation? Or do we know through more emotive systems like sympathy, imagination, inspiration, sensation, and superstition? How do we really know another human being? Or even ourselves? Perhaps most interestingly, these epistemological questions were routinely staged in literature through the language of secretsÂsecret selves, secret lives, secret motives, family secrets. This semester we will investigate how a fascination with secrets is always and necessarily a fascination with the very nature of knowingness.
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E304 LITERATURES IN ENGLISH, 1900-PRESENT Dewitt Kilgore 2913 - 4:00p-5:15p TR (30 students) 3 cr. A&H. TOPIC: ÂTravelers Tales: Exploration and Adventure in American and British Writing The twentieth century marked the peak of global exploration motivated by imperial ambition and missionary zeal, commercial interest and scientific curiosity. This course considers the record of that movement in British and American writing during the past hundred years. Through our reading of fictional and non-fictional narratives of travel, exploration, and adventure we will explore the following questions: How did English-speaking writers come to know and exercise imaginative control over the world beyond their native lands? What are the conventions necessary to literary narratives presenting the relationship between the West and the rest; how were they created, maintained or subverted? What role does race and gender play in the making of western and Ânative persons? And how have the rest used the tropes of exploration to contest and rewrite their place in the Anglo-American imagination? Our principle destinations will be Africa, Antarctica, India and South America. We will explore several modes of rendering other people and places including popular and cinematic representations. Our literary guides will likely include Owen Wister, Joseph Conrad, Charlotte Perkins Gilman and Salman Rushdie. This course requires two papers (3-5 typewritten pages, double- spaced), two exams, one research team project, active and informed classroom participation and attendance.
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E304 LITERATURES IN ENGLISH, 1900-PRESENT Judith Brown 2914 - 1:00p-2:15p TR (30 students) 3 cr. A&H. In this class, we will look at literatures from across the world that explore, in one way or another, the concept of memory. WeÂll think about memory as a personal and private experience, as well as memory more broadly as an articulation of culture. We remember the past through our layered and emotionally-laden perceptions in the present. How, do literary texts from around the world, and throughout the twentieth century, express an engagement with memory, and a reinvention of the past? WeÂll consider a variety of novels and memoirs that engage with and reimagine former times, from stories of personal loss, to stories that speak to the history of a nation, a culture, or the particular experiences of war, colonialism, revolution, and the Holocaust. Our readings will likely include the following works (although this is subject to change): Virginia WoolfÂs To the Lighthouse, R.K. NarayanÂs The English Teacher, F. Scott FitzgeraldÂs The Great Gatsby, Alan PatonÂs Too Late the Phalarope, Eli WieselÂs Night, Tim OÂBrienÂs The Things They Carried, Kazuo IshiguroÂs When We Were Orphans, Michelle CliffÂs No Telephone to Heaven, Toni MorrisonÂs Beloved, Azar NafisiÂs Reading Lolita in Tehran, Ian McEwanÂs Atonement, and Mohsin HamidÂs The Reluctant Fundamentalist. The reading in this class will be fairly heavy  roughly a short- to medium-length novel per week. Students should be prepared to keep up with the reading and to arrive to each class ready to discuss the works in question. Course work will include two exams and two papers.
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G205 INTRODUCTION TO THE ENGLISH LANGUAGE Michael Adams 8943 - 1:25p-2:15p MWF (30 students) 3 cr. This course serves as an introduction to the English language in all of its formal aspects: phonetics and phonology (sounds and sound system), morphology and lexicology (the structure of words and vocabularies), syntax (the structure of phrases, clauses, and sentences), semantics (meaning), discourse (the structure of conversation and other extended speech), and style (the linguistic aspects of literature and other writing, as well as stylized speech). We will also consider variation in English, how the language has developed over time, and the politics of usage. Language is so natural to us that we use it and judge it without thinking about it much. Obviously, educated folks should be thoughtful about language, which, after all, is central to our social, professional, and intellectual lives. This course will help you to think more precisely about language as a natural and social phenomenon; it will introduce you to the forms and functions of English in particular; it will inform your use of the language, but also your judgments about others use; it will prepare some of you to teach about English, some of you to write about it, and all of you to participate in public debate about the role of English (and language generally) in American culture. The text is Anne Curzan and Michael Adams, How English Works: A Linguistic Introduction (AB Longman, 2006). Coursework includes frequent quizzes, three examinations (including the final), and two brief essays (5-8 pages).
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G601 28850 FULK (#6) Introduction to Old English 4:00p  5:15p TR This course is designed to provide all the language background necessary to the professional study of Old English texts, including the essentials of Old English phonology, morphology, syntax, semantics, and dialect variation. But it also demands some attention to the history and prehistory of the language, particularly its phonological development. And so the normal business of the course will be the day-to-day translation of texts in class, supplemented by lectures on the structure and history of the language. We will be reading texts in prose and verse and studying such aspects of Anglo-Saxon culture as runic inscriptions, material manuscript culture, the ends and modes of textual production, and the history of the period, especially the devastating Scandinavian invasions. But this is primarily a language course, so most of our time will be devoted to studying the structure of the Old English language. There will be two examinations devoted chiefly to translation, along with some shorter assignments, and a final project that will involve a paper of no more than ten pages. The textbooks will be John C. Pope's Eight Old English Poems and Dorothy WhitelockÂs revision of SweetÂs Anglo- Saxon Reader, supplemented by an Old English grammar available through Oncourse.
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L111 DISCOVERING LITERATURE Tarez Graban 30957 - 9:30 a.m.-10:45 a.m. TR (30 students) 3 cr., A&H. TOPIC: "Living Literature/Documenting Reality" What gives literature its Âdocumentary qualities and what role can documentaries play in redirecting our beliefs? How do they challenge or reinforce our expectations of whatÂs culturally Âright, socially Âill, or morally ÂgoodÂ? Are ironic, impassioned, or satirical depictions of real events any less genuine, authentic, or ÂrealÂ? This semester, we will consider these and other questions as we investigate different writers Ârealities by reading, analyzing, and building our own theories about the possibilities and limitations of the documentary as a rhetorical and literary form. The semester will be divided into four units, representing different purposes and complexities of documentary literature, including social and political critique, uplift, enculturation, and defining the Âgood life. Within each unit, weÂll focus on key concepts to help us think more about how documentary literature may stem from a longer tradition of using texts to make a public record and deliver urgent messages for urgent times. Our covering of genres is eclectic and vastÂincluding long fiction, polemical essay, memoir, graphic novel, and filmÂand some of them have highly persuasive aims. We will actively explore how texts can be functional and aesthetic, and how and why various writers have chosen their genres to deliver messages that were perhaps not so easy to talk about and sometimes less easy to read. We will conclude the semester by considering how we should read them, and what kind of audiences we are called to be. Course Requirements  Regular reading, active and engaged participation.  Paired presentation. Everyone will have the opportunity to pair up with a classmate and become a resident Âexpert on a particular concept or term for the semester, which you will then deliver to the class in 10-minute presentation.  3 short critical essays (2-3 pages each)  Final exam
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L141 INTRO WRITING & STUDY OF LIT 1 TOPIC: Survivor Lecture: 2917 12:20p-1:10p MW BH 109 Anderson, Dana Discussion: 2918 9:05a-9:55a TR TBA 2919 10:10a-11:00a TR TBA 2920 11:15a-12:05p TR TBA 2921 12:20p-1:10p TR SY 006 2922 1:25p-2:15p TR TBA Are you a "survivor"? Do you have a story to tell? Most people who answer "yes" to the first question also say so to the second. Stories about survival are as common as they are miraculous: from wars, ethnic "cleansings," and natural disasters to plane crashes, personal traumas, and hiking mishaps that force one to sever one's own arm with a pocket knife in order to escape a crushing boulder, a broad range of human events inspire an equally broad genre of what we would call survivor stories. What are these events, these things that one can endure -- and presumably live through -- and be called a "survivor"? For what reasons do we tell these stories, as much in fiction as in nonfiction? For what reasons do we read and view them, both individually and as a culture that seems ever ready to hear the next new tale of survival? These are some of the key questions we'll be asking and trying to answer through a semester together of careful reading and writing. Because this is also a composition course, we will devote considerable lecture and discussion section time to considering about what we're reading. There will be two longer papers (4 pages), four shorter papers (2 pages), and midterm and final exams. But if you can muster Gloria Gaynor's helpful determination, you too will, well, you know.
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L141 INTRO WRITING & STUDY OF LIT 1 TOPIC: Generational Stories Lecture: 7094 11:15a-12:05p TR WH 101 Hedin, Ray Discussion: 7096 10:10a-11:00a MW TBA 7099 11:15a-12:05p MW TBA 7095 12:20p-1:10p MW TBA 7097 12:20p-1:10p MW TBA 7098 1:25p-2:15p MW TBA This course will focus on generational stories: stories that address various relationships between generations (family; parent-child; adult-child). The assumption behind this course is that these relationships are central to most of us, and that we can benefit from looking at stories that clarify (and complicate) the way we understand them. We will also look at works that are recognized as effectively capturing the mood of an entire generation. We will address these topics through stories because stories are the primary mechanism by which individuals and cultures make sense of everything that matters to them. So I will begin with a lecture on the way that stories do make sense of things; the sense-making power of stories will continue as a focus throughout the course. We will then turn to a wide range of stories and forms - fairy tales, two children's books, short stories and novels, films - in which generational issues are addressed.
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L141 INTRO WRITING & STUDY OF LIT 1 TOPIC: Obsession/Compulsion Lecture: 9512 1:00p-1:50p TR BH 109 Fleissner, Jennifer Discussion: 9513 9:05a-9:55a MW TBA 9514 10:10a-11:00a MW FA 005 9515 11:15a-12:05p MW TBA 9516 12:20p-1:10p MW TBA 9517 1:25p-2:15p MW TBA From TV's "Monk" or Bree on "Desperate Housewives," to the main characters of such films as "As Good As It Gets," "Matchstick Men," or "The Aviator," to a host of recent novels and memoirs with titles like "Just Checking In!" and "The Devil in the Details," obsessions and compulsions seem suddenly to be everywhere. Why? Does modern culture in some way encourage such behaviors and forms of thinking, as some have argued? Where exatly do we draw the line between admirable dedication and pathological obsession? Between mere habit and dangerous compulsion? Should we? What is at stake in doing so? This class will look at the different ways in which such symptoms have been represented and explained in literature, essays, films, and psychiatric writings since the nineteenth century. Subjects of our discussion will include repetition, list-making, counting, irresistible impulses, songs that get stuck in your head, cleanliness, death, hoarding, doubting, and the "feeling of imcompleteness." Texts will likely include novels by Jonathan Lethem (Motherless Brooklyn)and Aimee Bender (An Invisible Sign of My Own); short stories by Edgar Allan Poe, Mark Twain, Herman Melville, Charlotte Perkins Gilman, Henry James, and Pamela Zoline; and essays by William Gass, David Sedaris, and Sigmund Freud. Assignments will include two formal papers and two exams, in addition to shorter quizzes and informal writing exercises.
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L202 LITERARY INTERPRETATION Nick Williams PREREQUISITE: Completion of the English Composition requirement. Open to majors and declared minors only. 2923 - 1:25p-2:15p MWF (25 students) 3 cr., A&H, IW. As the gateway course for the English major, L202 is designed to provide a vocabulary and practical experience for interpretation in a variety of genres. This section will look at the genres of fiction (through short story as well as 2 novels: Dashiell HammettÂs Red Harvest and Andrew CrumeyÂs Music, In a Foreign Langauge), drama and poetry. IÂm planning on using the Norton Introduction to Literature as our source for texts other than the novels. My focus will be on practical criticism, so IÂll ask students to develop the practices of asking good questions about literary texts and experimenting with their own answers (rather than providing my own speculations about texts). Since L202 is an Intensive Writing course, IÂll be asking students to do a number of short writing assignments as well as a few (probably 3) longer interpretive essays. A mid-term and a final will test students command of in-class material (both my introduction of literary terminology and the product of class discussion).
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L202 LITERARY INTERPRETATION Judith Brown PREREQUISITE: Completion of the English Composition requirement. Open to majors and declared minors only. 2924 - 4:00p-5:15p TR (25 students) 3 cr., A&H, IW. TOPIC: ÂOriginality ÂMake it new! proclaimed Ezra Pound, an early twentieth-century poet and advocate for the emerging modernist movement. The slogan stuck and a new century of literature began with the demand for originality. Newness was at a premium in the first decades of the century  but what did it mean to be an original? In this class we will investigate the notion of originality: What is it? What is its relationship to the old? Or the new? What is its relationship to creativity and what we call the creative process? Can there even be such a thing as the new, or has it all been said before? We will look at a number of articulations of the new, beginning with some early century examples of the avant-garde (the dada movement, etc.) and moving onto some key twentieth century works in literature. We will think about the relationship between the original and copy: is a painting more original than a photograph, for example? Or is a sculpture more original than a ready-made? Finally, we will consider some paired texts, including Virginia WoolfÂs great modernist work, Mrs. Dalloway, with Michael CunninghamÂs The Hours, and William Carlos Williams poem, ÂTo Elsie, with Allen GinsbergÂs Howl. This is a writing intensive class that will be discussion- based and committed to original thinking about the problems of originality. Course work will include a mid-term exam and several essays, with revision.
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L202 LITERARY INTERPRETATION Maurice Manning PREREQUISITE: Completion of the English Composition requirement. Open to majors and declared minors only. 2925 - 11:15a-12:30p TR (25 students) 3 cr., A&H, IW. TOPIC: ÂFar Out! The focus of this course is to introduce students to a variety of literary genres (drama, poetry, fiction, and essays), and to develop the basic skills of literary analysis and appreciation. We will learn to read with care and precision. We will thoroughly discuss our reading in order to understand the complexities of a writerÂs subject matter and the craft with which it is presented. Finally, because this is a Âwriting intensive section, you will write several papers in which you advance your own ideas and analysis of the readings. IÂd also like to give this course a thematic focus. All literature Âhappens in a place, and sometimes that place is a significant factor in the events of a story, the turning point of a play, the contemplations of a poem. In fact, in many works of literature human experience is often transformed or refined by being thrust into the natural world, whether that world is a wilderness or a pastoral scene of idealized domestic bliss. Everything weÂll read, therefore, will have a dimension of outdoor education. Our reading list includes: King Lear; short stories by Hemingway and D.H. Lawrence; CatherÂs O Pioneers!; essays by Emerson and Thoreau; poems by Goldsmith, Coleridge, Hopkins, Basho, and Oliver, among others.
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L202 LITERARY INTERPRETATION Michael Adams PREREQUISITE: Completion of the English Composition requirement. Open to majors and declared minors only. 2926 - 10:10a-11:00a MWF (25 students) 3 cr., A&H, IW. Literary Interpretation is (supposed to be) the beginning of your career as an English major, one in which you practice attentive reading and thoughtful interpretation, pushing beyond whatÂs said literally or what happens in a poem or story to problems of literary value and purpose. The course serves as an introduction to several genres of literature and should help you to read works in those genres proficiently (perhaps even with pleasure) throughout your college career and, perhaps, throughout life. We will range widely over poetry in English (our earliest poem dates from about 1400, the latest from 2008), read a play (ShakespeareÂs A Midsummer NightÂs Dream), a number of short stories, and two short novels (Robert Louis StevensonÂs Kidnapped and Jeffrey Eugenides The Virgin Suicides). Throughout the term, members of the class will Âpresent poems of their own choosing (that is, poems not on the syllabus), reading them and commenting on them for a few minutes. English L202 is an intensive writing course, an opportunity to cultivate good writing as well as good reading and especially to discover the relationship between the two. Members of this class will write three short essays (7-8 pages), each of which will undergo revision, as well as a final examination.
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L202 LITERARY INTERPRETATION Bonnie Erwin PREREQUISITE: Completion of the English Composition requirement. Open to majors and declared minors only. 2927 - 1:00p-2:15p TR (25 students) 3 cr., A&H, IW. Development of critical skills essential to participation in the interpretive process. Through class discussion and focused writing assignments, introduces the premises and motives of literary analysis and critical methods associated with historical, generic, and/or cultural concerns.
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L202 LITERARY INTERPRETATION Christoph Irmscher PREREQUISITE: Completion of the English Composition requirement. 2928 - 9:30a-10:45a TR (25 students) 3 cr. A&H, IW. TOPIC: "Authors In the history of critical thinking about literature, authors have been praised and vilified, deconstructed and reconstructed. James JoyceÂs Stephen Dedalus saw the author as the invisible, indifferent ÂGod of creationÂ; Henry Adams envisioned him (and himself) with his Âhistorical neck broken by the sudden irruption of forces totally newÂ; Roland Barthes formally announced the death of the author and celebrated the Âbirth of the reader. More recent theorists, freshly intrigued by the emancipatory potential of authorship, have heralded the authorÂs Âreturn, if in more complex form, and the Âauthoring systems of cyberfiction and electronic storytelling are often said to have transformed new audiences into potential authors. The texts that I have selected for the course (poems, novels, a play, and a non-fiction text) reflect, in varying degrees, a concern with the problems of authorship, with self- empowerment or self-entrapment through words, writing, and ultimately, publication. Texts to be purchased will include Walt WhitmanÂs Leaves of Grass, The Vintage Book of Modern American Poetry, a novel by Kurt Vonnegut, and ShakespeareÂs The Tempest. This class is intended as an introduction to literary interpretation. You will be evaluated on your ability to read all assigned texts thoroughly and thoughtfully; to share opinions of these texts in class; and to express your opinions in writing. I hope to create an environment in which you can acquire confidence in your argumentative abilities. Writing assignments will range from short blog postings to more formal essays. The final project for the course will involve primary research at the Lilly Library.
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L202 LITERARY INTERPRETATION Scott Herring PREREQUISITE: Completion of the English Composition requirement. Open to Hutton Honors College students; English majors/minors only. 7357 - 2:30p-3:45p TR (25 students) 3 cr., A&H, IW. TOPIC: ÂTown and Country Are you a city slicker or bona fide hoosier? Is your Zip code from inside the Circle City or from the hinterlands of IN? And why do these questions seem to matter so much? No matter where you live, almost all of us have an opinion on the differences between the country and the city. Usually, itÂs not very pretty. This class will tackle this topicÂits history from the Romans to Amy Poehler, its stereotypes, and where it may be going in contemporary American cultureÂover sixteen brief weeks. WeÂll read some novels, a play, some poems, a memoir, and a short story. WeÂll also listen to a few songs and watch a film. To make the large topic of Âtown and country manageable, the course is divided into three sections that each addresses a different theme: pastoral, migration, and places left behind. In ÂPastoral, we start with Book Two of VirgilÂs Georgics on the uses of olive oil, move to Our Town and My Ãntonia, and end with some songs by John Mellencamp, Bruce Springsteen, and Gladys Knight and the Pips. In ÂMigration, weÂll cover two classic works in African-American literature, Sula and Their Eyes Were Watching God, then a heartbreaking memoir about Haitian refugees by Edwidge Danticat. In ÂPlaces Left Behind weÂll read short stories by Bobbie Ann Mason and Mary E. Wilkins Freeman and address some local tensions between BloomingtonÂs recent Slow Food movement and the IN-37 Cracker Barrel. Coming full circle, our course concludes with another work that uses olive oil creatively: the 2008 film Baby Mama.
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L203 INTRODUCTION TO DRAMA Steven Watt 2929 - 2:30p-3:45p TR (30 students) 3 cr. A&H. The central aim of this course is to introduce students to both the history of modern drama and to elements of the genre. The writers we will read include Shakespeare, Henrik Ibsen, Anton Chekhov, Samuel Beckett, Tennessee Williams, Margaret Edson, Cherrie Moraga, and others, Another aim of the course includes the development of each student's writing abilities, achieved in part through the writing of several very short response papers and two fuller essays of 4-6 pages (plus exams). We will make a trip to the IU Theatre to see ShakespeareÂs comedy As You Like It. Texts: Walter Kalaidjian, Judith Roof, and Stephen Watt, Understanding Literature (Boston: Houghton Mifflin, 2004), William Shakespeare, As You Like It
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L204 INTRODUCTION TO FICTION Staff 2930 Â 8:00a-8:50a MWF (25 students) 3 cr. A&H, IW. 2931 Â 9:05a-9:55a MWF (25 students) 3 cr. A&H, IW. 2932 Â 10:10a-11:00a MWF (25 students) 3 cr. A&H, IW. 2933 Â 12:20p-1:10a MWF (25 students) 3 cr. A&H, IW. 2934 Â 11:15a-12:05p MWF (25 students) 3 cr. A&H, IW. 2935 Â 1:25p-2:15p MWF (25 students) 3 cr. A&H, IW. 2936 Â 2:30p-3:20p MWF (25 students) 3 cr. A&H, IW. 2937 Â 3:35p-4:25p MWF (25 students) 3 cr. A&H, IW. 2938 Â 8:00a-9:15a TR (25 students) 3 cr. A&H, IW. 2939 Â 9:30a-10:45a TR (25 students) 3 cr. A&H, IW. 2940 Â 11:15a-12:30p TR (25 students) 3 cr. A&H, IW. 2941 Â 4:00p-5:15p TR (25 students) 3 cr. A&H, IW. 2942 Â 1:00p-2:15p TR (25 students) 3 cr. A&H, IW. 2943 Â 2:30p-3:45p TR (25 students) 3 cr. A&H, IW. 2944Â 5:45p-7:00p TR (25 students) 3 cr. A&H, IW. Representative works of fiction; structural techniques in the novel. Novels and short stories from several ages and countries.
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L205 INTRODUCTION TO POETRY Staff 2945 - 11:15a-12:30p TR (25 students) 3 cr. A&H, IW. 2946 - 11:15a-12:05p MWF (25 students) 3 cr. A&H, IW. Kinds, conventions, and elements of poetry in a selection of poems from several historical periods.
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L208 TOPICS IN ENGLISH AND AMERICAN LITERATURE AND CULTURE Mark Harrison 29984 - 11:15a-12:05p MWF (30 students) 3 cr., A&H. TOPIC: "The Myth and Literature of the American Hobo" Through much of the twentieth century, the hobo was the figure par excellence of American freedom. This course will examine the myth and lore of this, once celebrated, now all but disappeared, avatar of the boundless. Through an examination of previous representations of the wanderer and close readings of various accounts, both first and second hand, of the vagabond life, we will address such questions as: Why is the hobo so readily romanticized as an emblem of freedom?; What was life as a hobo actually like?; and Why has the hobo as cultural icon all but disappeared from the American consciousness and what does this imply about contemporary U.S. culture? While we will spend some time discussing both earlier and later historical moments, our focus will be on the early part of the twentieth century, more specifically the 1920Âs and 1930Âs. The so- called Âgolden age of the hobo, these two decades were also a time of great turmoil in U.S. culture and society. Our study of the hobo will provide us a unique perspective on the birth pangs of the twentieth century. Radical politics, embattled gender norms, issues of race and class, and the specter of Âsocial deviance all emerge in narratives of the road, the latter comprising a kind of Âhidden history of the early twentieth century. Required texts include: You CanÂt WinÂJack Black Sister of the Road: The Autobiography of Boxcar BerthaÂBen L. Reitman Beggars of Life: A Hobo AutobiographyÂJim Tully The RoadÂJack London On Hobos and HomelessnessÂNels Anderson One More Train to Ride: The Underground World of Modern American HoboesÂCliff Williams Riding Toward Everywhere by William T. Vollmann The Hobo - The Sociology of the Homeless Man, by Nels Anderson
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L220 INTRODUCTION TO SHAKESPEARE Staff 2947 - 1:25p-2:15p MWF (40 students) 3 cr. A&H. Rapid reading of at least a dozen of ShakespeareÂs major plays and poems.
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L306 MIDDLE ENGLISH LITERATURE Shannon Gayk 2948 - 11:15a-12:30p TR (30 students) 3 cr. A&H. Topic: Medieval Appetites From feasting to fasting, eating books to eating bodies, appetite is an important motif in medieval literature. In this course we will read widely in early English literature, considering allegorical pilgrimages, Arthurian legends, saints lives, medieval dietaries, recipes, and advice books, and religious lyrics. In our discussions of these readings, we will focus on discourses of desire, appetite, and consumption and ask some of the following questions: What does food mean in medieval literature? What did people eat, and how did they understand and represent their relation to food? What does food have to do with sex? With religion? What does the hungry body have to do with the hungry soul? What social and ethical issues are bound up with the production and distribution of food in late medieval England? Over the course of semester we will consider representations of: feasting, fasting, cannibalism, Eucharistic consumption, eating books, medieval ideas about health, and the ethics of eating. Required Texts include: The Complete Works of the Pearl Poet, Piers Plowman, and a course packet containing all additional readings. Course requirements include daily attendance and active participation in discussion, several short writing assignments, a researched project, and midterm and final exams.
Score: 8.92174 Details | Listing | Web page