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Course Descriptions: Fall 2006
ENGL
110 ENGL 110 is a prerequisite for all upper-level
English courses.
200-010—Approaches
to Literature Dual
emphasis on reading and writing. Offers an introductory of poetry, fiction and
drama, and provides for extensive practice in writing about literary
subjects. THIS COURSE FULFILLS THE 200-011—Approaches
to Literature The
aim of ENGL-200 is not only to discuss and write about fiction,
plays, and poems, but also to enjoy this literature. Specifically in this section, we will sample
some short stories from the American South, then look at plays which
enjoyed Broadway runs and frequently get revived (including a drama
by Shakespeare), and then some clusters of British and American
poems. Authors may include Marjorie Kinnan Rawlings,
Robert Frost, David Mamet, Frank Yerby, among others. For writing, most weeks we will have one-page
essays to get discussion going.
We will also have two or three more sustained essays, including
a research project during the drama unit.
THIS COURSE
FULFILLS THE
200-012—Approaches
to Literature [See ENGL 200-010 for course description] 200-013—Approaches
to Literature [See ENGL 200-010 for course description]
[See ENGL 200-010 for course description] 202-010—Biblical
and Classical Literature Selected
readings from the Hebrew Bible, the New Testament, Greek and Roman
writers. The course examines the cultural, historical, intellectual,
and literary contexts out of which these texts emerge. We will study
the genres found in the Hebrew Bible, the concepts of covenant,
law, history, and prophecy. We will discuss how the Hebrew Bible
became the “Old Testament” and how Judaism and Christianity cam
to read the same texts in radically different ways, how “canon”
was formed and the implications of that formation. We will look
at Greek and Roman attitudes toward history, religion, and human
values and behaviors and contrast them with Hebrew and Christian
cultures. Texts include a “study” bible (NRSV translation), Homer’s
Odyssey, and the Norton Anthology of Classical Literature. Typical requirements include
two exams, response papers, and a creative project. THIS COURSE FULFILLS THE 202-011—Biblical
and Classical Literature We
will exam eight central works by Greek, Hebrew, and Roman writers
so that we can begin to understand the enduring themes and conflicts
which these works first introduced long ago. We will compare these
ancient works to each other and to contemporary movies and television
shows so that we can see their enduring quality first hand. You
will carry out such comparisons and contrasts in three carefully
crafted short pieces of writing that will combine both analytical
as well as creative writing. Fate, sex, betrayal, love, humans’
relationships to God, anger—they’re all to be explored in this course. THIS COURSE FULFILLS THE 202-012—Biblical
and Classical Literature Daily
quizzes, mid-term and final examinations, two 1,000-word papers. THIS COURSE FULFILLS THE 205-010—British
Literature I
This course, with all materials mounted on WebCT, surveys
early British literature with the focus on Geoffrey Chaucer, William
Shakespeare, John Milton, and their contemporaries. We
will concentrate on narrative storytelling, the poetic line, and
the development of drama. PowerPoint slide shows and videos will occasionally
supplement lectures and discussions. Students will read and even compose dramatic
scenes in order to learn by imitating.
Requirements for the course include: class discussion; quizzes
& projects; midterm exam; a 4-6 page paper to be submitted in
stages; final exam. Almost
all of that work will consist of shorter and longer essays.
I will encourage active reading and a culture of writing
for learning and solving problems.
Many classes will include one-minute writing exercises for
best comprehension of the material. All the work for this “paperless” class will
be submitted to me and returned to students as Word documents. THIS COURSE FULFILLS THE 205-011—British
Literature I This
course serves as an introduction to British literature written between
the twelfth and seventeenth centuries. In this course, we will consider poetry, prose,
and drama, including works by well-known authors such as Chaucer,
Shakespeare, and Milton. We
will also be reading works by writers with whom you may be less
familiar, such as Marie de France, Philip Sidney, Aphra Behn. While
the material of the course is highly eclectic, a few crucial ways
of reading the material will hold constant. We will always use the
techniques of close reading in our approach to texts. This means
that we will be attentive to the details, the imagery, the language,
and the development of texts. Secondly,
we will read with an awareness of how history shapes the meanings
of texts. In other words, we will read the texts with
an eye to the important political and cultural forces which surround
and find their ways into the works.
Finally, we will also discuss the ways these texts are presented
– their form, their perspective, the ways they create the experience
of reading. Throughout the class, we will question how the
shape of a text resonates with particular ways of seeing the world. By the end of the course, you will recognize
the moments when new ways of looking at the world emerge and you
will be able to evaluate what happens to these new ideas over time. THIS COURSE FULFILLS THE
Are
you interested in time travel? We cover nearly 800 years of early
English literature in this course, from Beowulf through John
Milton. Along the way we will read selections from Chaucer, “Sir
Gawain and the Green Knight,” medieval drama, Shakespeare, Marlowe,
and Donne. In addition to the readings, requirements include a class
presentation, quizzes, a paper, and two essay examinations. THIS COURSE
FULFILLS THE 205-080—Honors:
British Literature I Emphasizing
content, context, and critical concepts, this course offers a
survey of representative Medieval and Renaissance works set in
their historical and cultural contexts. Among others, authors
studied included Chaucer, Shakespeare, and Milton. Short analytical
essay, term essay, occasional quizzes, midterm, and final are
all required. THIS COURSE FULFILLS THE 206-010—British
Literature II This
course is a survey or overview of British literature from 1700 to
the present. Since people never write, read, or think in a vacuum,
we will consider the ways in which historical, cultural, social,
and political movements and events shape and are shaped by literary
history. We will travel chronologically through the various
literary periods and generations as we consider major developments
in literary history during this period.
This course will include a lot of reading and writing assignments
and will be a mix of discussion and lecture.
THIS
COURSE FULFILLS THE 206-011—British
Literature II This
will be a reading-intensive course that will attempt to go as deeply
as possible into a wide range of representative texts from the 18th
century to the present. The course will highlight the historical
and philosophical contexts of Restoration, Romantic and Modernist
British literature. Like all English courses, it is also a course
that places high expectations on your writing. There will be several
short reaction papers, a five-page essay, a mid-term exam, and the
choice of either a final exam or a final paper. THIS COURSE FULFILLS THE
[See ENGL 206-010 for course description] 206-013—British
Literature II The
course will study the major works of British Literature from 1700
to the present day. The course
will include the study of authors such as Pope, Swift, Shelley,
Byron, Keats, Yates and Walcott.
We will read two novels:
Hardy’s Tess and 207-010—Introduction
to Poetry This
class is a journey into poetry.
What is poetry, anyway?
Why do people write it?
What has made poetry one of the world’s oldest and most
respected art forms? The
goal of the course is not to learn the history of poetry, not
to study the top l00 famous poems, not to hand out wrenches and
screwdrivers for disassembling poems.
It is to learn how to read a poem and, along the way, to
learn to love poetry. To that end, we will look at poetry the way
a poet looks at it. We
will write some poetry and do some exercises that might reproduce
what poets do when they write.
We will emphasize the ways in which poetry is like play.
We will read poetry aloud.
We will memorize some.
We will write three papers during the semester.
There will be both a mid semester and final exam.
And because so much of the class is based on discussion
and reading aloud, there is an attendance policy.
THIS COURSE FULFILLS THE 209-010—Introduction
to the Novel This course aims to increase the student's appreciation of the novel as
an art form. We will study aspects of the novel, such as point
of view, plot, character, imagery, and symbolism. The course
cuts across temporal boundary lines and national boundary lines
in order to study variations in the novel form. The novels
will include works by Capote, In Cold Blood, Dickens Hard Times,
Bellow, Seize the Day, Fitzgerald, The Great Gatsby, Flaubert Madame
Bovary, Camus, The Stranger, Kesey One Flew Over the Cuckoo's
Nest, and Vonnegut Slaughterhouse-Five. The technique of point
of view will be given major emphasis in class discussion.
Method of Instruction: lecture and discussion. Course
requirements include daily participation in class discussion, a
brief (5 minutes) oral report; a paper (5-7pgs.), two in-class essay
exams, and occasional quizzes. THIS COURSE FULFILLS THE 210-010—Short
Story In
this class we will read a wide variety of both traditional and experimental
short fiction. No previous
experience with college literature courses is required. There will be three examinations in this course.
There are no formal papers. ENGL 210 DOES NOT COUNT TOWARD THE ENGLISH MAJOR. THIS COURSE FULFILLS THE 210-011—Short
Story In
this class we will read a wide variety of both traditional and experimental
short fiction. There are
no examinations in this class. The
written work for this class will be six short papers. ENGL 210 DOES NOT COUNT TOWARD THE ENGLISH MAJOR. THIS COURSE FULFILLS THE 217-010—Introduction
to Film This class meets MWF and also meets for a film screening. Attendance at screenings is mandatory. 267-010—Tools
of Textual Analysis This
course introduces students to the basic vocabularies, concepts and
tools used in critical engagement with poetry, fiction, drama, and
a range of non‑fictional genres.
Students will learn to use, in reading and in writing about
a range of texts, the fundamental concepts of textual analysis: plot, character, persona, point of view (1st-
versus 3rd‑person narration), setting, verisimilitude, style,
tone, irony, ambiguity, figurative language (metaphor), versification,
form (in poetry, meter, rhyme scheme, free verse), exposition, denouement,
and the like. Students will
write regularly (totaling 6,500 words), mastering the tools they
will be using throughout their course of study as English majors.
THIS COURSE MAY COUNT AS ONE
OF THE 5 CORE COURSES REQUIRED OF ENGLISH MAJORS. 267-011—Texts
in Time: Writing Black Racicalism
In
this class we will examine the radical tradition in African-American
writing from slavery and reconstruction through Black Nationalism
and hip-hop. Some questions
we will consider include: What
constitutes radicalism? What
is the relationship of politics to literature and other forms of
writing? What are possible sources for these various
examples of radicalism? Who
or what is being resisted? How
can writing be an act of resistance, or language be “radical?”
Can writing adequately represent anger?
What roles do citizenship, gender, class play in these movements
and texts? How do the answers
to these questions change over time?
Where or what is radicalism today in African-American literature
and culture? THIS COURSE MAY COUNT AS ONE OF THE 5 CORE COURSES REQUIRED OF ENGLISH
MAJORS. 267-012—Texts
in Time: Text and the City: Los Angeles, Montreal, London Over
time, each of these cities has figured prominently in literature
and the arts—as both a site and a source of creativity. In this
course, we will look at the cities themselves during certain periods
as environments within which writers and artists worked. We will
examine how writers created novels and short stories in these cities
and created these cities in their texts. We will also look at films
based on such fiction. To add another dimension to the picture,
we will connect these texts to the material culture—architecture,
arts, and crafts—developing simultaneously and shaped by a similar
sense of the possibilities of that particular urban environment.
Students will write 7 short essays based on their readings. THIS COURSE MAY COUNT AS ONE OF THE 5 CORE COURSES REQUIRED OF ENGLISH
MAJORS. 267-013—Literature
of America In this class we will survey American literature from the colonial period through the twentieth century. Our examinations will be guided by a critical concern for the constitution of “American” identities and the formation of a representative national literature. Lectures, discussion, writing assignments, and exams all will take up the ways in which essays, novels, poems and other “texts” (such as maps, needlework, photographs, songs, and machines) not only reflect but also construct the cultures of which they are a part. THIS COURSE MAY BE SUBSTITUTED FOR ENGL 340 OR 341 IN THE CORE REQUIREMENTS. 267-014—Literature
of America This course looks at American literature in its making. Necessarily broad, it ranges from pre-colonial Native American songs to the work of Leslie Silko, a contemporary Laguna poet and novelst. We will read pieces that ahve come to define "America" (Walt Whitman's Leaves of Grass, for instance), as well as texts by lesser known immigrant and minority writers. We will look at transitions and continuing themes tied to key moments in the nation's history. I hope that you will experience this course as a conversation with one another and me of of course, but also with disparate writers across the centuries, many of whom read one another. Requriements include several short papers, a choice of projects, and individual or group presentation.
Feng
P MWF
0125-0215 ENGL 300 is an introduction to theoretical approaches to reading, with an emphasis on ideological approaches, contextual analysis, and narrative structure. We will read and discuss theoretical writings about literature and film (such as Bakhtin, Barthes, Eco, Foucault, and Hall) and then apply these insights to primary texts (such as The Matrix and Nella Larsen's Passing). This course assumes the student has basic understanding of the fundamentals of film, therefore ENGL 217 is a highly-recommended prerequisite to this course. Requirements:
regular attendance, numerous short writing assignments (15 pages
total). THIS COURSE
FULFILLS AN ENGLISH DEPARTMENT CORE REQUIREMENT OR THE ENGLISH
DEPARTMENT DISTRIBUTION REQUIREMENT FOR CULTURAL AND THEORETICAL
STUDIES. 300-080—Honors:
Texts and Contexts: The “Gothic” Impulse
In
this class we will address enduring questions that have circled
around the study of literature in the academy: What is “literature”
as a classification? What constitutes a “literary” text? What aesthetic
and cultural function does literature serve? How (or perhaps even
why) do we interpret literary and cultural texts? We will discuss
the impact various “theoretical” schools of thought (psychoanalysis,
feminism, structuralism, post-structuralism, amongst others) have
had on the ways we answer these questions. To ground our discussion
of these issues, we will analyze several films (Alfred Hitchcock’s
Psycho and Jack Clayton’s The Innocents), a novel
(Toni Morrison’s Beloved), and short stories (Edgar Allan
Poe’s “Fall of the House of Usher” and others) in order to examine
the gothic impulse as an enduring literary and popular cultural
form. What might this particular genre, with its elements of horror
and the macabre, tell us about the ways we infuse artistic texts
with our own individual and cultural anxieties? Course requirements
will include rigorous class discussion, several response papers
(2-3 pp.) and a longer final essay.
THIS COURSE
FULFILLS AN ENGLISH DEPARTMENT CORE REQUIREMENT OR THE ENGLISH
DEPARTMENT DISTRIBUTION REQUIREMENT FOR CULTURAL AND THEORETICAL
STUDIES. 301-010—Expository
Writing Expository
writing, with related studies in grammar, diction and rhetoric.
THIS COURSE DOES NOT COUNT TOWARD THE ENGLISH
MAJOR. THIS COURSE FULFILLS
THE COLLEGE OF ARTS AND SCIENCES 2ND WRITING REQUIREMENT. 301-011—Expository
Writing [See ENGL 301-010 for course description.] 301-012—Expository
Writing [See ENGL 301-010 for course description.] 301-013—Expository
Writing [See ENGL 301-010 for course description.] 302-010—Advanced
Composition Expository
writing in a variety of forms, with emphasis on literary analysis.
THIS COURSE FULFILLS THE COLLEGE OF ARTS
AND SCIENCES 2ND WRITING REQUIREMENT. 303-010—Script
Writing The goal of this workshop is for each participant to write a one-act script for the theatre. Students are not expected to know how to write plays before taking this workshop, but a good knowledge of how to use language is essential. We will focus on how to write dialogue, how to shape a scene, how to develop a beat structure with initiating action and climax, and how to develop character. We will help one another by reading and commenting in class on developing scripts. Emphasis will be on writing scripts that work, and the excitement of theatre as community. This class counts as a course in The Creative Writing Concentration. For Concentrators who are focusing on poetry it will help in the development of voice and metaphor. For Concentrators who are focusing on fiction, it will further develop plot and dialogue. Students who are interested in writing screenplays will find this course useful in learning how to structure a script. Please bring a short writing sample to the first class. Because so much of the work in class focuses around student exchange, there is an attendance policy. 305-010—Introduction
to Creative Writing In this course students will write and revise fiction. They will also read and critique their fellow students’ work in a workshop setting. Each student is expected to write and revise at least two stories. We will also reading published stories and critiquing them as writers. There are no examinations in this class. 306-011—Nonfiction
Workshop This
is a selective source for students (from any major or college) who
are interested in writing long non-fiction pieces designed to be
published, and who can show ability in that area. Students will
write several short exercises, but will spend most of their time
working on one long project. This can be traditional journalism
of various kinds, science writing, critical writing, memoir, or
any other genre that the student wants to pursue. We will read classic
non-fiction writing, from such authors as Joseph Mitchell, John
McPhee, Joan Didion, and others. To be considered for the workshop,
students should preregister and submit a writing sample to the instructor
(byagoda@udel.edu) by May 5. If you miss this deadline and are
interested in the course, contact the instructor. A small number
of seats will be filled over the summer. Enrollment is limited to
fifteen students. 307-010—News
Writing and Editing ENGL
307 News Writing and Editing focuses on "news" judgment;
how to find story ideas; reporting and interviewing skills; information-gathering
through the "Lexis-Nexis" database; finding sources; structuring
stories; attributions; different genres of newspaper prose (e.g.,
speech stories, police and fire beat, obituaries, features); libel
laws; multicultural news; and newsroom ethics. Professional
print journalists will visit class.
The primary focus will be training reporters for eventual
entry into professional journalism. One class meeting per week will be a journalism
lab, where we discuss your most recent story, and the other meeting
will be mostly lecture. Students
will write stories almost weekly, and will have an obligation to
report some stories for (possible) publication in the campus newspaper,
The Review. E307 also includes reading assignments, Stylebook
quizzes, a libel exam. (No
Final Exam.) Students are
expected to have an active interest in writing.
Prerequisite: Minimum grade of B is required
in ENGL 110. THIS
COURSE MAY BE COUNTED FOR THE ENGLISH MAJOR ONLY AS PART OF THE
JOURNALISM CONCENTRATION. THIS
COURSE DOES NOT FULFILL THE COLLEGE OF ARTS AND SCIENCES
2ND WRITING REQUIREMENT. 307-011—News
Writing and Editing [See ENGL 307-010 for course description.]
Reporter’s
Practicum is designed to give students intensive training in the
writing of news and feature stories. Class time will be devoted to reviewing press
law, polishing copy editing skills, and critiquing stories class
members have written for the campus newspaper, The
Review. Prerequisite:
Engl. 307, News Writing and Editing.
Reporter’s Practicum counts toward fulfillment of the requirements
for the journalism concentration.
Prerequisite: ENGL 307. THIS COURSE MAY BE COUNTED FOR THE ENGLISH MAJOR ONLY
AS A PART OF THE JOURNALISM CONCENTRATION. 309-010—Feature
and Magazine Writing The
course covers all aspects of newspaper feature writing: how to find
a good story, research it (including interviewing, library and online
skills), structure it, write it and (last but not least) rewrite
it. And, when it comes to magazine writing, we'll discuss how to
shape and pitch a particular story for a particular magazine. Genres
considered include: trend stories, profiles, scene pieces, arts
reviews, obituaries, “explainers,” how-to (or “service”) pieces
and narratives. Students will read a wide variety of newspaper and
magazine features, and hand in a writing assignment every week.
Prerequisite:
ENGL 307. THIS COURSE MAY BE COUNTED FOR THE ENGLISH MAJOR ONLY
AS PART OF THE JOURNALISM CONCENTRATION. 310-050—Copy
Editing & Layout Copy
editing, headline writing and page design, primarily for newspapers
and online. Emphasis is on practical experience. Discussion topics
include current issues in journalism and ethics. Working journalists
from area newspapers and magazines are guest speakers. Prerequisite:
ENGL 307. THIS COURSE MAY BE COUNTED FOR THE ENGLISH
MAJOR ONLY AS PART OF THE JOURNALISM CONCENTRATION. THIS COURSE FULFILLS THE COLLEGE OF ARTS AND
SCIENCES 2ND WRITING REQUIREMENT.
317-010—Film
History The
course is designed to give the student a sense of the historical
development of European film from the beginning to the present. While film will be examined as an art form,
as an economic institution, as a product of cultural forces, and
as technology, we will focus on the differences between what is
often thought of as the foreign film versus the 318-010—Studies
in Film: War Films This
course will take a close look at the
This
course will provide students with an introduction to Shakespeare's
plays and some of the fundamental concepts and skills of literary
analysis. We will be exploring some of Shakespeare's plays by positioning
them within their historical context. We will consider how Shakespeare's
theater reflected and participated in aspects of the English Renaissance
such as the emergence of the printing press and a growing leisure
industry, changing notions of individualism and its implications
for social and political systems, the cultural fascination with
the concept of the racial "other," and the social and
literary repercussions of the reign of Queen Elizabeth I. Along
the way, we will also consider what the idea of "Shakespeare"
has come to mean in our society, and we will be studying recent
film adaptations of his plays. Throughout the semester, we will
be discussing the nature of storytelling and concentrating on Shakespeare's
vibrant use of language. NOTE: This course is open ONLY to incoming
Freshmen English Majors; students enrolled in this course MUST also
be enrolled in one of the linked corresponding sections of ENGL110.
324-011—Shakespeare Focusing
on the dramatic works, this course offers a survey of representative
Shakespearean plays. In addition, students will be introduced to
some of the major scholarly issues in Shakespearean studies. Short
analytical essay, term essay, occasional quizzes, Problem Based
Learning group oral report, midterm, and final are all required.
The reading load is approximately one play per week.
THIS COURSE FULFILLS THE 324-012—Shakespeare This
course will look at examples of each Shakespearean genre: sonnets,
histories (English and Roman), tragedies, and comedies, with particular
emphasis on the experience of seeing and performing in Shakespeare.
The choice of texts will be affected by what is being performed
on campus or in the area during the semester, and you will be required
to attend and review at least one production.
You will also be required to take part in a performance of
a scene from a play. There will be quizzes on each play and a creative
test involving the writing of a sonnet, as well as in-class writing
and a short paper (5 to 7 pp). You should have read each play by
the time of the first class devoted to it.
Text: David Bevington’s
The Complete Works of Shakespeare (Longman).
You may however use the Norton, the ________________________________________________________________ 325-010—Renaissance
Literature In
this class we will concentrate our attention on the strangeness
of early modern texts and culture.
What we think of as “The Renaissance” often takes on a glow,
or normative quality, in our 21st century imaginations. Shakespeare still ranks as one of the “greatest
writers ever,” the Elizabethan era is seen by many as a “golden
age” in which culture blossomed and the world as we know it took
shape. Over the course of the term, we will consider
- through poetry, drama, and prose - the complexities of this moment
of great cultural significance.
During what we think of as the Renaissance, class structures
as we imagine them began to take shape, notions of individuality
emerged, along with new ideas about gender, sexuality, and what
we now call race. At the
same time, these changes do not occur uncontested. Sometimes they arise through violence and coercion.
both political and religious. Other times they occur through a sort
of cultural and artistic shift in sensibility.
In both cases, the literature of the period offers us a way
to understand not only English culture of the time period, but also
how, and at what cost, some of our most important ways of understanding
ourselves arose. THIS COURSE FULFILLS THE ENGLISH DEPARTMENT DISTRIBUTION
REQUIREMENT FOR MEDIEVAL AND RENAISSANCE LITERATURE. 328-010—Milton A
study of the major poetry of 330-010—The
Detective in Film & Fiction This
course merges the humanities and the social sciences.
That is, the course studies issues in criminal justice through
the prisms of detective/crime stories. We will discuss law, justice, police behavior,
social order, and more, all via in-depth analysis of how authors
have portrayed these issues in their fiction.
A major theme throughout the course will be reasoning: how
detectives--real and fictional--follow distinctive and rational
methods as they investigate. The
readings will cover the history of the genre: from its origins with
Poe and Doyle, through the classical authors (Agatha Christie) and
hard-boiled authors (Hammett and 331-010—The
Age of Satire This
course will investigate satire produced between the years 1660-1760,
the so called age of the satire. Works by Dryden, Pope, Swift, 341-010—American
Lit: CW-WWII This
course covers the period from the end of the Civil War, through
the Gilded Age and the growth of the 341-011—American
Lit: CW-WWII "We Contain Multitudes" Walt Whitman, in Song of Myself wrote, "I am large; I contain multitudes." What did Whitman mean by "containing" multitudes? How does literature do that? This course looks at national "multitudes"—the richness and diversity of American literary cultures, together with themes and issues that preoccupied most Americans at the time and still trouble us now. This course presumes that as we read during the early years of the third millennium, we are not discovering issues of racial identity and conflict, immigration, sexual passion, equality for women, the competing meanings of rural paces, and the fears and seductions of the unknowable city. In fact, the way we understand and express these concerns is shaped by the ways these preoccupations were interpreted, imagined, and represented in the era from slavery and the Civil War to World War II. How do literary traditions, movements and forms from this era—Sentimentalism, Realism, Naturalism, Modernism, Blues, Jazz—shape how we experience the world today? What sorts of dialogs do we find between texts? Between authors? Between the traditional "stars" of the literary canon and authors new to the ever-changing canon of American lit? Between the ways authors thought their works would be read and how we read them today? We will read texts by Rebecca Harding Davis, Lydia Maria Childs, Frederick Douglass, Henry James, Mark Twain, W. E. B. du Bois, Theodore Dreiser, Langston Hughes, and Zora Neale Hurston. This course will root the fiction in the history of its time, and will consider, in turn, the way culture shapes history. Written
work will include short response papers, exams, and a research paper.
This will be a discussion based course. THIS COURSE FULFILLS THE 341-080—Hnrs:
American Lit: CW-WWII This
course will consider a broad range of texts that illustrate the
character and diversity of the literature produced from 1865 to
1940. In assessing what makes
these writings distinctive and significant, we will explore what
they reveal about contemporary developments like realism, regionalism,
naturalism, progressivism, and modernism.
While this background will deepen your understanding to the
intent and reception of these works, our main concern will be the
texts themselves and their communicated meanings. Requirements:
two response papers, two four-page papers, and two in-class
exams. THIS COURSE FULFILLS THE |
