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Indiana University Bloomington - - Adolescents in a Learning Community

Adolescent development in a school context. Understanding adolescents as people and how they function in a community of learners, with particular emphasis on their interaction with others in a school environment marked by a diversity of cultural, social, and personal traits. Includes the role of the teacher in understanding and responding to adolescent needs in this environment. For students seeking admission to a teacher education program. Corequisite course is P 312.
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Indiana University Bloomington - - Adolescents in a Learning Community

Adolescent development in a school context. Understanding adolescents as people and how they function in a community of learners, with particular emphasis on their interaction with others in a school environment marked by a diversity of cultural, social, and personal traits. Includes the role of the teacher in understanding and responding to adolescent needs in this environment. For students seeking admission to a teacher education program. Corequisite course is P 312.
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Indiana University Bloomington - - Life Span Development

P: PSY-P 101 or equivalent. A course surveying human development from infancy through old age, emphasizing the life-span perspective on development. Major theories, current and classical research findings, and educational implications for all life stages from birth to death.
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Indiana University Bloomington - - Life Span Development

P: PSY-P 101 or equivalent. A course surveying human development from infancy through old age, emphasizing the life-span perspective on development. Major theories, current and classical research findings, and educational implications for all life stages from birth to death.
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Indiana University Bloomington - - Foundations of Child Development: Focus on 3- to 8-year-old children

Students will examine child growth and development for typically and atypically developing children, including physical, emotional, social, language, and cognitive development. Particular focus will be on 3- to 8-year-old children.
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Indiana University Bloomington - - Child Development Seminar

Students will revisit child development theories, issues, and trends; and will discuss the direct application of this information in the preschool, kindergarten, and primary grade classrooms in which they are student teaching.
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Indiana University Bloomington - - Topical Seminar in Science Education:University Science Teaching

Fall 2009 EDUC-Q612: University Science Teaching (3 credits) **Class is listed as Topical Seminar in Science Education** Instructor Adam Maltese Meeting Time: Tuesday 4-6:45 University Science Teaching is designed for graduate students and postdocs in the sciences who are looking to improve their teaching - especially those who plan to pursue academic positions. Class will incorporate current findings from educational and psychological research on how people learn and apply this research to the teaching of science to young adult and adult learners. Coverage of relevant topics as well as involvement in teaching and observations will provide students with the chance to discuss, observe and practice methods shown to improve engagement and learning. As part of this course, students will prepare syllabi and teaching philosophy statements to use during the academic job search. Topics will include: - Differentiation – Teaching in a classroom of diverse learners - Conceptual Change - Active Learning in lab and lecture - Assessment - Classroom management, planning, use of technology in the classroom, etc.
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Indiana University Bloomington - - Topical Seminar in Art Education: The Hidden Art Curriculum in Communities

Z550, #2906 (may be taken as J760): Topical Seminar in Art Education: The Hidden Art Curriculum in Communities Instructor: Dr. Elizabeth (Beau) Vallance Tuesday, 4:00-6:45 Room 2280 This seminar explores the arts resources that exist beyond the school building in communities large and small, and their implications for defining art education and its goals. Readings and assignments explore the imagery and objects available in museums (both art museums and other museums including historic houses, and history centers) and displays at public libraries, retail displays in shop windows, nearby landscapes and streetscapes, street furniture, murals, public sculpture, community festivals, posters and billboards, and visual qualities of places of work. Students will develop and critique teaching ideas for connecting community resources to traditional art sources, and critique these resources against established conceptions of art education.
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Indiana University Bloomington - - Literature in English to 1600

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: “The 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, Shakespeare’s 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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Indiana University Bloomington - - Literatures in English to 1600

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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Indiana University Bloomington - - Literatures in English, 1600-1800

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 Shakespeare’s Hamlet (1600) and Ann Radcliffe’s 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 period’s 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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Indiana University Bloomington - - Literatures in English, 1800-1900

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 world—and 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 “the epistemology of secrets.” From the beginning of the century to the end, writers, thinkers, and readers were concerned with questions of “knowing.” 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 secrets—secret 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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Indiana University Bloomington - - Literatures in English, 1900-Present

E304 LITERATURES IN ENGLISH, 1900-PRESENT Dewitt Kilgore 2913 - 4:00p-5:15p TR (30 students) 3 cr. A&H. TOPIC: “Travelers’ 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 “native” 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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Indiana University Bloomington - - Literatures in English, 1900-Present

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. We’ll 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? We’ll 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 Woolf’s To the Lighthouse, R.K. Narayan’s The English Teacher, F. Scott Fitzgerald’s The Great Gatsby, Alan Paton’s Too Late the Phalarope, Eli Wiesel’s Night, Tim O’Brien’s The Things They Carried, Kazuo Ishiguro’s When We Were Orphans, Michelle Cliff’s No Telephone to Heaven, Toni Morrison’s Beloved, Azar Nafisi’s Reading Lolita in Tehran, Ian McEwan’s Atonement, and Mohsin Hamid’s 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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Indiana University Bloomington - - Introduction to the English Language

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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Indiana University Bloomington - - Introduction to Old English

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 Whitelock’s revision of Sweet’s Anglo- Saxon Reader, supplemented by an Old English grammar available through Oncourse.
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Indiana University Bloomington - - Discovering Literature

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 “documentary” qualities and what role can documentaries play in redirecting our beliefs? How do they challenge or reinforce our expectations of what’s culturally “right,” socially “ill,” or morally “good”? Are ironic, impassioned, or satirical depictions of real events any less genuine, authentic, or “real”? This semester, we will consider these and other questions as we investigate different writers’ “realities” 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 “good” life. Within each unit, we’ll 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 vast—including long fiction, polemical essay, memoir, graphic novel, and film—and 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 “expert” 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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Indiana University Bloomington - - Intro Writing & Study of Lit 1

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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Indiana University Bloomington - - Intro Writing & Study of Lit 1

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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Indiana University Bloomington - - Intro Writing & Study of Lit 1

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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Indiana University Bloomington - - Literary Interpretation

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 Hammett’s Red Harvest and Andrew Crumey’s Music, In a Foreign Langauge), drama and poetry. I’m 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 I’ll 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, I’ll 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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Indiana University Bloomington - - Literary Interpretation

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: “Originality” “Make 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 Woolf’s great modernist work, Mrs. Dalloway, with Michael Cunningham’s The Hours, and William Carlos Williams’ poem, “To Elsie,” with Allen Ginsberg’s 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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Indiana University Bloomington - - Literary Interpretation

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: “Far 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 writer’s subject matter and the craft with which it is presented. Finally, because this is a “writing intensive” section, you will write several papers in which you advance your own ideas and analysis of the readings. I’d also like to give this course a thematic focus. All literature “happens” 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 we’ll read, therefore, will have a dimension of outdoor education. Our reading list includes: King Lear; short stories by Hemingway and D.H. Lawrence; Cather’s O Pioneers!; essays by Emerson and Thoreau; poems by Goldsmith, Coleridge, Hopkins, Basho, and Oliver, among others.
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Indiana University Bloomington - - Literary Interpretation

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 what’s 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 (Shakespeare’s A Midsummer Night’s Dream), a number of short stories, and two short novels (Robert Louis Stevenson’s Kidnapped and Jeffrey Eugenides’ The Virgin Suicides). Throughout the term, members of the class will “present” 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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Indiana University Bloomington - - Literary Interpretation

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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