|All these courses are unrestricted and provide VLPA credit.|
|ENGL 243 B: READING POETRY "W"||Cohen||MW 1:30-3:20|
Just as the name implies, this course will focus on reading, understanding, and appreciating poetry, with an emphasis on developing the essential skill of close reading. To do this, the main work of the course will be examining poems in great detail, analyzing the way their formal and thematic elements work together to create constellations of ideas and emotions too complicated to express in any other way. While the class will also consider poetic developments in a larger literary and historical context, our main focus will be on the poems themselves, with the goal of beginning to approach, in a verbal or prose description, an articulation of the complex and multifaceted way a poem works.
Readings will range widely over time, but 20th century American poetry will be the primary focus of our attention. This class meets the requirements for the W (Writing) credit, meaning that there will be a focus on academic writing skills and that assignments will include at least 10 pages of formal writing, with significant revision. Class participation will also comprise a major component of the final grade.
Norton Anthology of Modern and Contemporary Poetry, Ed. Ramazani, et al., ISBN 978-0393324297
|ENGL 345 A: STUDIES IN FILM (Heroes on the Big Screen)||White||MW 3:30-5:20|
This course examines the notion of the hero throughout many genres of film, from silent and western to action and horror. In our discussion of these films, we will question what it means to be a big?screen hero, and how that definition varies from
one genre to another, as well as from one decade to another. Moreover, we will analyze the techniques and strategies employed by filmmakers to indicate the presence and development of the hero, including sound, editing, cinematography,
Each week, we will watch one film. Mondays are designated for screenings and Wednesdays for discussion and analysis. Wednesday classes may include minilectures about the subject, in?class writing assignments, small?group work, and
discussion. Students will be asked to complete a variety of small assignments as well as one longer essay, due in the second half of the quarter.
Readings for this class will include excerpts from Bordwell and Thompson’s Film Art: In Introduction and Pramaggiore and Wallis’s Film: A Critical Introduction, as well as selected articles and journal entries regarding the works. All readings will
be made available on a course webpage, so there is no need to purchase texts at the bookstore.
1. The Silent Hero: Sherlock Jr. (Keaton, 1924) 45 mins
2. The Noir Hero: The Maltese Falcon (Huston, 1941) 100 mins
3. The Western Hero: High Noon (Zinneman, 1952) 85 mins
4. The Romantic Hero: To Catch a Thief (Hitchcock, 1955) 106 mins
5. The Dystopian Hero: Total Recall (Verhoeven, 1990) 113 mins
6. The Heroine: Run Lola Run (Tykwer, 1998) 81 mins
7. The Mythic Hero: O Brother Where Art Thou (Coen brothers, 2000) 106 mins
8. The Action Hero: Kill Bill, Vol. 1 (Tarantino, 2003) 111 mins
9. The Horror Hero: Shaun of the Dead (Wright, 2004) 99 mins
10. The Animated Hero: The Fantastic Mr. Fox (Anderson, 2009) 87 min
|ENGL 353 C: AMER LIT LATER 19C ( American Literature: Later Nineteenth Century)||Holmberg||MW 3:30-5:20|
In The Education of Henry Adams, Henry Adams writes that “the American boy of 1854 stood nearer the year 1 than to the year 1900. The education he had received bore little relation to the education he needed.” While perhaps a bit hyperbolic, the sentiment that Adams is expressing is certainly understandable, given the profound and shocking transformation of the United States in the second half of the nineteenth century. Between the Civil War and World War I, the United States was in a state of extreme transition as it underwent tremendous societal and cultural transformations, moving from a largely preindustrial nation into a role of economic and international political prominence. The shape of the nation—geographical and cultural—was rapidly changing, with the final thrust of westward expansion, the mass immigration of foreigners to work in new factories, the changing roles of women both at home and in the work place, the emancipated African Americans’ entry into the body politic, urbanization, and an array of technological innovations (including the automobile, airplane, telephone, and film) dramatically altering the country and indeed in many ways giving rise to the nation as we know it today. By focusing on American literature from the end of the Civil War through the beginning of the twentieth century, we will explore a period of rapid social and cultural changes and address questions regarding the corresponding impact of these revolutions on literature and art of this period.
In addition to readings likely covering short stories, novels, poetry, and essays, we will also draw on a number of other archival and secondary materials, including music, paintings, and films from the period as well as more recent secondary criticism. Our primary authors will likely include Stephen Crane, Edith Wharton Charlotte Perkins Gilman, Charles Chestnutt, Frank Norris, Jacob Riis, Kate Chopin, Henry James, Jack London, and Theodore Dreiser.