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English

Professors:
Peter M. Briggs
E. Jane Hedley
Joseph E. Kramer
Michael Tratner, Chair
Associate Professors:
Linda-Susan Beard
Katherine A. Rowe (on leave 2004-05)
Karen M. Tidmarsh

Assistant Professors:
Jonathan Kahana
Bethany Schneider
Kate Thomas

Visiting Assistant Professor:
Jennifer Horne

Senior Lecturers:
Anne F. Dalke
Gail Hemmeter

Affiliated Faculty:
Karl Kirchwey

The Department of English offers students the opportunity to develop a sense of initiative and responsibility for the enterprise of interpretation. Through its course offerings, individual mentoring, and intense conversations in and out of class, the department provides rigorous intellectual training in the history, methods and theory of the discipline.

With their advisers, English majors design a program of study that expands their knowledge of diverse genres, literary traditions and periods. We encourage students to explore the history of cultural production and critical reception and also to interrogate the presuppositions of literary study. A rich variety of courses allows students to engage with all periods and genres of literatures in English, including modern forms such as film and contemporary digital media.

The department stresses critical thinking, incisive written and oral analysis of texts, and the integration of imaginative, critical and theoretical approaches. The major culminates in an independently written essay, in which each student synthesizes her creative and critical learning experience.

Major Requirements

The English major requires at least 11 course selections, including three required courses: English 250, 398 and 399. Students generally begin by taking 200-level courses and then, in their sophomore or junior year, enroll in English 250 (Methods of Literary Study). Starting in their sophomore year, students will select from a range of courses that will total at least eight elective English courses, including two at the 300 level (courses other than English 398 and 399). One of the 200-level courses may be a unit of Creative Writing. In their senior year, students enroll in English 398 (Senior Conference) in the fall, and English 399 (Senior Essay) in the spring.

As students construct their English major, they should seek to include:
• Historical depth/construction of traditions.
• Breadth, to include more than one genre, more than one cultural tradition.
• Courses that build on one another.
• Exposure to several approaches, theories or models of interpretation.

Minor Requirements

Requirements for an English minor are English 250 and five second-year or advanced units in English literature. At least one unit must be at an advanced (300) level.

Concentration in Creative Writing

Students may elect a Concentration in Creative Writing. This option requires that, among the eight course selections besides English 250, 398 and 399, three units will be in Creative Writing; one of the Creative Writing units will be at the 300 level and may count as one of the two required 300-level courses for the major.

ENGL B125. Writing Workshop

This course offers students who have already taken College Seminar 001 an opportunity to develop their skills as college writers. Through frequent practice, class discussion and in-class collaborative activity, students will become familiar with all aspects of the writing process and will develop their ability to write for an academic audience. The class will address a number of writing issues: formulating substantive questions to explore through writing; analyzing audience and purpose; generating ideas; structuring and supporting arguments; marshalling evidence; using sources effectively; and developing a clear, flexible academic voice. Students will meet regularly with the course instructor, individually and in small groups, to discuss their work. (Hemmeter, staff)

ENGL B126. Writing Workshop for Non-Native Speakers of English

This course offers non-native speakers of English a chance to develop their skills as college writers. Through frequent practice, class discussion and in-class collaborative activity, students will become familiar with the writing process and will learn to write for an academic audience. Student writers in the class will be guided through the steps of composing and revising college essays: formulating substantial questions to explore through writing; analyzing audience and purpose; generating ideas; structuring and supporting arguments; marshalling evidence; using sources effectively; and developing a clear, flexible academic voice. Writers will receive frequent feedback from peers and the instructor. In addition, the course gives speakers of other languages the opportunity to achieve competence in standard written English and to improve grammar, syntax, diction and style. (staff)

ENGL B204. Literatures of American Expansion, 1776-1900

This course will explore the relationship between U.S. narratives that understand national expansion as "manifest destiny" and narratives that understand the same phenomenon as imperial conquest. We will ask why the ingredients of such fictions — dangerous savages, empty landscapes, easy money and lawless violence — often combine to make the master narrative of "America," and we will explore how and where that master narrative breaks down. Critical readings will engage discourses of nation, empire, violence, race and sexuality. Texts will include novels, travel narratives, autobiographies, legal documents and cultural ephemera. (Schneider, Division III) Not offered in 2004-05.

ENGL B205. Introduction to Film

This course is intended to provide students with the basic tools of critical film analysis. Through close readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that, taken together, add up to the experiences and meanings we call cinema. Although much of the course material will focus on the "classic" or Hollywood style of film, examples will be drawn from across the generic and geographic range of the history of cinema. Attendance at weekly screenings is mandatory. (Kahana, Division III; cross-listed as History of Art 205)

ENGL B207. Big Books of American Literature

This course focuses on the "big books" of mid-19th-century American literature, viewed through the lenses of contemporary theory and culture. Throughout the course, as we explore the role that classics play in the construction of our culture, we will consider American literature as an institutional apparatus, under debate and by no means settled. This will involve a certain amount of antidisciplinary work: interrogating books as naturalized objects, asking how they reproduce conventional categories and how we might re-imagine the cultural work they perform. We will look at the problems of exceptionalism as we examine traditional texts relationally, comparatively and interactively. (Dalke, Division III) Not offered in 2004-05.

ENGL B210. Renaissance Literature: Performances of Gender

Readings chosen to highlight the construction and performance of gender identity during the period from 1550 to 1650 and the ways in which the gender anxieties of 16th- and 17th-century men and women differ from, yet speak to, our own. Texts will include plays, poems, prose fiction, diaries and polemical writing of the period. (Hedley, Division III)

ENGL B211. Renaissance Lyric

Both the continuity of the lyric tradition that begins with Wyatt and the distinctiveness of each poet's work are established. Consideration is given to the social and literary contexts in which lyric poetry was written. Poets include Wyatt, Spenser, Sidney, Shakespeare, Donne, Herbert and Jonson. (Hedley, Division III) Not offered in 2004-05.

ENGL B212. Thinking Sex: Representing Desire and Difference

In this class we will examine our ability to put sexual experience into language. As we look at the various ways in which sexuality can be expressed linguistically, we will ask whether (and if so, why) it is "necessary" to "put sex into" language, and explore what various scientific, social-scientific and literary discourses of desire look and sound like. What are the capacities and limitations of each? What other languages might be used? Can we imagine a curriculum to do this work? Can we teach such a curriculum? Praxis I course. (Dalke, Division III) Not offered in 2004-05.

ENGL B213. Nature Writing and Environmental Concern

An exploration of cultural ideas and literary strategies that writers have used to frame man's problematical place in relation to "Nature," in the work of writers from Thoreau and John Muir to Annie Dillard and Terry Tempest Williams. (Briggs, Division III) Not offered in 2004-05.

ENGL B214. Here and Queer: Placing Sexuality

The power of the marching-cry "We're here. We're queer. Get used to it." emanates from the ambiguity of the adverb "here." Where is "here?" In the face of exclusion from civic domains, does queerness form its own geography or nationality? This course will ask what it means to imagine a queer nation, and will work towards theorizing relations between modern constructions of sexuality, nationality and ethnicity. We will pay particular attention to the ways in which assertion of queer presence can cut both ways: both countering discourses of displacement and functioning as vehicles for colonial or racial chauvinism. Our "place study" will be Britain, and our texts will be British fiction and film of the nineteenth and twentieth centuries. (Thomas, Division III)

ENGL B216. American Nonfiction: The Documentary Style in Film and Literature

This course investigates a number of significant moments in the formation of a documentary tradition in American culture: urban realism of the 1890s; Depression-era ethnography; state propaganda of the 1930s and 1940s; the New Journalism and New American Cinema of the 1960s and 1970s; and recent hybrid experiments in nonfiction art and performance. We will ask whether the documentary does indeed constitute a distinct manner of representation that makes its products and effects more "real," or whether it merely constitutes a modulation of fictional conventions of narrative, aesthetics and fantasy under particular social and political circumstances. Readings in theory and criticism will familiarize us with the arguments for an American cultural tradition distinct from or opposed to the fictional. (Kahana, Division III) Not offered in 2004-05.

ENGL B220. Writing in Theory/Writing in Practice

This course is designed for students interested in tutoring college or high- school writers or teaching writing at the secondary-school level. Readings in current composition studies will pair texts that reflect writing theory with those that address practical strategies for working with academic writers. To put pedagogic theory into practice, the course will offer a praxis dimension. Students will spend a few hours a week working in local public school classrooms or writing centers. In-class collaborative work on writing assignments will allow students to develop writing skills and share their insights into the writing process with others. (Hemmeter, Division III; cross-listed as Education 219)

ENGL B221, ENGL B222. Early Modern English Drama to 1642

This two-semester survey of the astonishing growth, variety, culture and excellence of theater in England during the reigns of the Tudor and Stuart monarchs (1498-1642) will include examples of all genres and modes: Marlowe, Greene, Peele, Marston, Jonson, Webster and Ford, among many other authors, will be read and discussed from numerous perspectives. 221 (Tudor Drama) is not a prerequisite for 222 (Stuart Drama): a student may elect to take either course or both. (Kramer, Division III)

ENGL B223. The Story of Evolution and the Evolution of Stories In this course we'll experiment with two interrelated and reciprocal inquiries — whether the biological concept of evolution is a useful one in understanding the phenomena of literature (in particular, the generation of new stories), and whether literature contributes to a deeper understanding of evolution. We'll begin with several science texts that explain and explore evolution, pausing for philosophical reflections on the meaning of the concept, and turn to stories that (may) have grown out of one another, asking where they come from, why new ones emerge, what causes them to change, and why some disappear. We will consider the parallels between diversity of stories and diversity of living organisms. Lecture three hours a week. (Dalke, Grobstein, Division II and III; cross-listed as Biology 223)

ENGL B225, ENGL B226. Shakespeare

This two-semester sequence creates a space for the student who wishes to experience Shakespeare's theatrical works in breadth and depth. However, each course will have its own integrity (i.e., different foci; different syllabus) and 225 is not a prerequisite for 226. 225 will explore the "erotics" of Shakespearean drama (among other matters); 226 will focus on "the redemption of time." (Kramer, Division III)

ENGL B229. Movies and Mass Politics

This course will trace in the history of movie forms a series of debates about the ways that nations can become mass societies, focusing mostly on the ways that Hollywood movies countered the appeals of Communism and Fascism. (Tratner, Division III; cross-listed as Comparative Literature 229) Not offered in 2004-05.

ENGL B232. Voices In and Out of School: American Poetry Since World War II

This course will survey the main developments in American poetry since 1945, both as made manifest in "movements" (whether or not self-consciously identified as such) and in highly original and distinctive poetic voices. The course will consider the work of the New York School, Beats, Confessional poets, post-New Criticism poets, Black Mountain poets, Zen and the Environment poets, political-engagement poets, Surrealists, Poundians, Whitmanians and other individual and unaffiliated voices. (Kirchwey, Division III) Not offered in 2004-05.

ENGL B233. Spenser and Milton

The course is equally divided between Spenser's Faerie Queene and Milton's Paradise Lost, with additional short readings from each poet's other work. (Briggs, Division III) Not offered in 2004-05.

ENGL B234. Postcolonial Literature in English

This course will survey a broad range of novels and poems written while countries were breaking free of British Colonial rule. Readings will also include cultural theorists interested in defining literary issues that arise from the postcolonial situation. (Tratner, Division III; cross-listed as Comparative Literature 234) Not offered in 2004-05.

ENGL B238. Silent Film: International Film to 1930

This course surveys the history of cinema as commercial product and specific cultural form, from the years surrounding the technological advent of moving images to just before the commercial addition of synchronous sound. An overview of the rise of national cinemas in the silent era, we will discuss the major aesthetic movements and film traditions of the period, particularly as they pertain to changes in social and cultural contexts of cinema. In addition, this course will incorporate accounts of cinema presented in audience ethnographies, the documentary history of the cinema, and film publicity. Topics in the past have been: DeMille, Griffith, Micheaux and the Birth of Film Art. (Horne, Division III; cross-listed as History of Art 238)

ENGL B239. Women and Cinema

This course explores the wide range of roles played by women throughout the one hundred-year history of filmmaking. If, as feminist film criticism has shown, the representation of women on the silver screen has tended to be narrow and damaging, these images are only part of the larger picture of women's involvement in cinema. The course examines the spectrum of generic images of women in feature films (vamp, femme fatale, damsel in distress, fast-talking dame, and so on). It also locates where else women have been represented in the industry and examines the impact women have had on film culture as writers, editors, directors, publicity agents, technical artists, and as film exhibitors and critics. (Horne, Division III; cross-listed as History of Art 239) Not offered in 2004-05.

ENGL B240. Readings in English Literature, 1660-1744

The rise of new literary genres and the contemporary efforts to find new definitions of heroism and wit, good taste and good manners, sin and salvation, individual identity and social responsibility, and the pressure exerted by changing social, intellectual and political contexts of literature. Readings from Dryden, the Restoration dramatists, early feminist writers, Defoe, Swift and Pope. (Briggs, Division III) Not offered in 2004-05.

ENGL B242. Historical Introduction to English Poetry I

This course traces the development of English poetry from 1360 to 1700, emphasizing forms, themes and conventions that have become part of the continuing vocabulary of poetry, and exploring the strengths and limitations of different strategies of interpretation. Featured poets: Chaucer, Jonson, Shakespeare, Donne, Milton. (Briggs, Division III)

ENGL B243. Historical Introduction to English Poetry II

The development of English poetry from 1700 to the present. This course is a continuation of English 242 but can be taken independently. Wordsworth, Browning, Christina Rossetti, Seamus Heaney, Derek Walcott. (Briggs, Division III)

ENGL B246. Scribbling Sisters: Pan African Women Writers

An intensive study of seven works by six artists representing constructed experiences in Africa, the Caribbean and the States. We will focus primarily on intertextual conversations between and among these works, the use of memory as subject as well as intellectual idea, differences between and among works created in different centuries and cultural settings, and the reshaping of genre(s) on the part of these artists. Featured works: Parable of the Talents and Parable of the Sower (Butler), Contending Forces (Hopkins), Paradise (Morrison), Maru (Bessie Head), The Chosen Place, The Timeless People (Marshall), and The Salt Eaters (Toni Cade Bambara). (Beard, Division III) Not offered in 2004-05.

ENGL B249. Beauty: A Conversation Between Chemistry and Culture

This course, designed by professors of chemistry and literature, will explore the topic of "beauty," ranging from the molecular to the political levels, with considerable time spent on aesthetics. The conversation will occur in four stages — Exploring Form: What Is Beautiful; Apprehending the Physical World: The Structures of Nature; Appreciating Beautiful Objects: What Moves Us, How and Why; and The Shaping Work of Politics or The Ethical Turn: On Beauty and Being Just. The class will draw heavily on the work of John Dewey (whose Art as Experience will be a guiding text). There will be aesthetic objects on-and-about which we will conduct our analysis of beauty. The recent Symposium on Beauty will be a resource for the course: serendip.brynmawr.edu/local/scisoc/beauty. (Dalke, Division III)

ENGL B250. Methods of Literary Study

Through course readings, we will explore the power of language in a variety of linguistic, historical, disciplinary, social and cultural contexts and investigate shifts in meaning as we move from one discursive context to another. Students will be presented with a wide range of texts that explore the power of the written word and provide a foundational basis for the critical and creative analysis of literary studies. Students will also refine their faculties of reading closely, writing incisively and passionately, asking speculative and productive questions, producing their own compelling interpretations and listening carefully to the textual readings offered by others. (staff, Division III)

ENGL B254. Subjects and Citizens in American Literature, 1750-1900

This course traces the changing repre-sentation of the citizen in U.S. literatures and cultural ephemera of the 18th and 19th centuries. We will explore the ideal of American civic masculinity as it developed alongside discourses about freedom and public virtue, and ask how this ideal evolved and survived because and in spite of the continued disenfranchisement of large bodies of nonvoting American subjects. The course will focus on the challenges to the ideals of citizenship produced by conflicts over slavery, women's suffrage, homosexuality and Native-white relations. In addition to critical articles, legal and political documents, and archival ephemera, texts may include works by Thomas Jefferson, Catharine Maria Sedgwick, Mary Jamison, Margaret Fuller, Herman Melville, Harriet Beecher Stowe, Harriet Wilson and Henry Adams. (Schneider, Division III) Not offered in 2004-05.

ENGL B255. Counter-Cinema: Radical, Revolutionary and Underground Film

This course explores a global variety of practices and theories of film, linked by their attitude of opposition to mainstream or dominant institutions — political, social and cinematic. Film studies are drawn from: Soviet cinema; left documentary; anti- and postcolonial cinemas of Africa, Latin America and Asia; experimental and queer cinema of the 1960s and after; Black American cinema; and feminist film and video. Readings include works by filmmakers central to these movements as well as by critics and historians who illuminate the political and formal stakes of each particular mode of opposition. Attendance at weekly screenings is mandatory. (Kahana, Division III) Not offered in 2004-05.

ENGL B262. Survey in African American Literature: Laughin' to Keep from Cryin'

A study of African American representations of the comedic in literary and cinematic texts, in the mastery of an inherited deconstructive muse from Africa, and in lyrics that journey from African insult poetry to Caribbean calypso to contemporary rap. We will examine multiple theories about the shape and use of comedy and decide what amendments and emendments to make to these based on the central texts of our analysis. (Beard, Division III) Not offered in 2004-05.

ENGL B263. Toni Morrison and the Art of Narrative Conjure

All of Morrison's primary imaginative texts, in publication order, as well as essays by Morrison, with a series of critical lenses that explore several vantages for reading a conjured narration. (Beard, Division III) Not offered in 2004-05.

ENGL B277. Nabokov in Translation

(Harte, Division III; cross-listed as Russian 277) Not offered in 2004-05.

ENGL B279. Introduction to African Literature

Taking into account the oral, written, aural and visual forms of African "texts" over several thousand years, this course will explore literary production, translation and audience/critical reception. Representative works to be studied include oral traditions, the Sundiata Epic, Chinua Achebe's Anthills of the Savannah, Sembène Ousmane's Xala and Les Bois du Dieu, Mariama Bâ's Si Longe une Lettre, Ngugi wa Thiong'o's A Grain of Wheat or Petals of Blood, Ayi Kwei Armah's Fragments or Two Thousand Seasons, Bessie Head's Maru or A Question of Power, plays by Wole Soyinka and his Burden of History, The Muse of Forgiveness, Tsitsi Danga-rembga's Nervous Conditions. We will address the "transliteration" of Christian and Muslim languages and theologies in these works. (Beard, Division III; cross-listed as Comparative Literature 279) Not offered in 2004-05.

ENGL B284. Women Poets: Giving Eurydice a Voice

This course studies the careers of five American women who began to publish poems after 1945: Elizabeth Bishop, Gwendolyn Brooks, Sylvia Plath, Adrienne Rich and Anne Sexton. Poetry by other women will also be studied. (Hedley, Division III) Not offered in 2004-05.

ENGL B289. Lesbian and Gay Literature

An introduction to and rich sampling of the varieties of literary production by uncloseted, hence unfurtive, lesbian and gay writers in the United States, United Kingdom and Canada since 1969. The focus of the course regularly shifts. (Kramer, Division III) Not offered in 2004-05.

ENGL B291. Documentary Film and Media

This course will explore the history and theory of the documentary mode in cinema and other audiovisual media. Readings and weekly screenings will survey the international history and development of the documentary genre, from the actualities and newsreels of the early years of cinema to the reality TV and amateur video of the present. This range of materials will help us pose critical questions about the aesthetics, politics, and ethics of documentary in all its guises: as knowledge; as artifact, souvenir, or memory; as propaganda or social activism; and as entertainment. We will develop formal and theoretical methods of analysis, in order to ask what gives these diverse forms the impression of truth, authenticity, or immediacy. (Kahana, Division III)

ENGL B299. History of Narrative Cinema

(King, Division III; cross-listed as History of Art 299)

All courses at the 300-level are limited in enrollment and require permission of the instructor to register.

ENGL B306. Film Theory

This course is an introduction to major developments in film theory and criticism. Topics covered will include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example of this principle. Class time will be divided between discussion of the critical texts and attempts to apply them to a primary cinematic text. (Horne, Division III; cross-listed as Comparative Literature 306 and History of Art 306)

ENGL B309. Native American Literature

This course focuses on late-20th-century Native literatures that attempt to remember and redress earlier histories of dispersal and genocide. We will ask how various writers with different tribal affiliations engage in discourses of humor, memory, repetition and cultural performance to refuse, rework or lampoon inherited constructions of the "Indian" and "Indian" history and culture. We will read fiction, film and contemporary critical approaches to Native literatures alongside much earlier texts, including oral histories, political speeches, law and autobiography. In addition to historical and critical texts, readings may include works by N. Scott Momaday, Gerald Vizenor, Leslie Marmon Silko, Diane Glancy, Spiderwoman Theater, Sherman Alexie and Thomas King. (Schneider, Division III) Not offered in 2004-05.

ENGL B310. Victorian Media

This course proposes that the Victorian era was an information age — an age in which the recording, transmission and circulation of language was revolutionized. The railroad, the postal system, the telegraph, the typewriter and the telephone were all nineteenth century inventions. These communication technologies appeared to bring about "the annihilation of time and space" and we will examine how they simultaneously located and dislocated the nineteenth-century British citizen. We will account for the fears, desires and politics of the nineteenth-century "mediated" citizen and analyze the networks of affiliation that became "intermediated": family, nation, community, erotics and empire. Topics of interest will be the archive, the public sphere, the rise of the civil service, sex scandals, blackmail, mesmerism and mapping. (Thomas, Division III)

ENGL B317. Exhibition and Inhibition: Movies, Pleasure, and Social Control

This course is a wide-ranging exploration of what it means to go to the movies. In it, we investigate the changing nature of the cinema in society-including all cinematic modes of display and exhibition, spanning pre-cinematic visual technologies to more recent film and video- practices. Topics covered include audience segregation, film censorship and the reform movement, the Hollywood production code, movie theatre architecture, fan cultures of various kinds, journalistic and narrative accounts of moviegoing, and the shift from analog to digital images. Readings from film and cultural theory on mass spectacle, the observer, the spectator, and the mass audience will shape our discussion and guide our individual research. (Horne, Division III; cross-listed as History of Art 317) Not offered in 2004-05.

ENGL B321. Early Stages: Strange Passions in Medieval and Renaissance Drama

A thematic survey of English medieval and Renaissance drama, from the early comic allegory, Mankynde, through Shakespeare's tragedies and romances, to bloody Jacobean revenge tragedies. The course will have three goals: to study a central critical problem in the context of this early drama, drawing on current criticism; to introduce students to advanced research techniques; to take students through the process of writing a long, analytic essay. Prerequisite: at least one course in medieval or Renaissance drama, theater or history. (Rowe, Division III) Not offered in 2004-05.

ENGL B322. Love and Money

This course focuses on literary works that explore the relationship between love and money. We will seek to understand the separate and intertwined histories of these two arenas of human behavior and will read, along with literary texts, essays by influential figures in the history of economics and sexuality. The course will begin with The Merchant of Venice, proceed through Pride and Prejudice to The Great Gatsby, and end with Hollywood movies. (Tratner, Division III)

ENGL B324. Advanced Study of Shakespeare

Topics vary from year to year; the course supposes significant prior experience of Shakespearean drama and/or non-Shakespeare Renaissance drama. (Rowe, Division III) Not offered in 2004-05.

ENGL B327. Feminist Film Theory and Practice

(King, Division III; cross-listed as History of Art 327) Not offered in 2004-05.

ENGL B328. Renovating Shakespeare

Not for an age, but for all time, Shakespeare's plays have been adapted, borrowed from, revised and burlesqued to serve very different interests in different periods. This course explores the history of Shakespearean adaptation from the 17th to the 20th centuries. (Rowe, Division III) Not offered in 2004-05.

ENGL B330. Writing Indians: Sidekicking the American Canon

How have written Indians — the Tontos, Fridays, Pocahontases and Queequegs of the American canon — been adopted, mimicked, performed and undermined by Native American authors? This course will examine how canonical and counter-canonical texts invent and reinvent the place of the Indian across the continuing literary "discovery" of America from 1620 to the present. Readings include Robinson Crusoe, Moby Dick, The Last of the Mohicans, Eulogy on King Philip, Green Grass Running Water, and The Lone Ranger and Tonto Fistfight in Heaven. Critical texts, research presentations, written assignments and intensive seminar discussion will address questions of cultural sovereignty, mimesis, literacy versus orality, literary hybridity, intertextuality and citation. (Schneider, Division III)

ENGL B347. Identity Machines: Autobiography in Print, Film and Performance

Literary critics have observed that autobiography involves an act of self-alienation, and many contemporary thinkers have said as much about the very notion of identity: it is only by relating to an "other" that we discover who "we" are. We will extend this line of thinking to instances of the first person in literature, cinema and the arts of performance. The central questions will be: what forms of life-narrative are made possible by cinematic and televisual technologies, and what forms of the self are produced by this relation to technology? Most of the works we will examine touch on philosophical problems: the difference between public and private experience; the nature of memory; and the relation between the body and knowledge. (Kahana, Division III) Not offered in 2004-05.

ENGL B349. Theories of Authorship in the Cinema

(King, Division III; cross-listed as History of Art 349)

ENGL B354. Virginia Woolf

Virginia Woolf has been interpreted as a feminist, a modernist, a crazy person, a resident of Bloomsbury, a victim of child abuse, a snob, a socialist and a creation of literary and popular history. We will try out all these approaches and examine the features of our contemporary world that influence the way Woolf, her work and her era are perceived. We will also attempt to theorize about why we favor certain interpretations over others. (Tratner, Division III) Not offered in 2004-05.

ENGL B361. Transformations of the Sonnet from Petrarch to Marilyn Hacker

Theory and practice of the sonnet in the Renaissance, 19th and 20th centuries. Sonnets and sonnet sequences by Dante, Petrarch, Shakespeare, Sidney, Wordsworth, Barrett Browning, H.D., Christina Rossetti, Hopkins, Countee Cullen, Frost, Millay, Dove, Hacker and others. (Hedley, Division III)

ENGL B369. Women Poets: Gwendolyn Brooks, Adrienne Rich, Sylvia Plath

In this seminar we will be playing three poets off against each other, all of whom came of age during the 1950s. We will plot each poet's career in relation to the public and personal crises that shaped it, giving particular attention to how each poet constructed "poethood" for herself. (Hedley, Division III) Not offered in 2004-05.

ENGL B379. The African Griot(te)

A focused exploration of the multi-genre productions of Southern African writer Bessie Head and the critical responses to such works. Students are asked to help construct a critical-theoretical framework for talking about a writer who defies categorization or reduction. (Beard, Division III)

ENGL B381. Post-Apartheid Literature

South African texts from several language communities which anticipate a post-apartheid polity and texts by contemporary South African writers (Zoe Wicomb, Mark Behr, Nadine Gordimer, Mongane Serote) are read in tandem with works by Radical Reconstruction and Holocaust writers. Several films are shown that focus on the complexities of post-apartheid reconciliation. (Beard, Division III; cross-listed as Comparative Literature 381) Not offered in 2004-05.

ENGL B385. Problems in Satire

An exploration of the methodological and theoretical underpinnings of great satire in works by Rabelais, Dryden, Swift, Pope, Blake, Wilde, Smiley and others. (Briggs, Division III)

ENGL B387. Allegory in Theory and Practice

Allegory and allegories, from The Play of Everyman to The Crying of Lot 49. A working knowledge of several different theories of allegory is developed; Renaissance allegories include The Faerie Queene and Pilgrim's Progress, 19th- and 20th-century allegories include The Scarlet Letter and Ralph Ellison's Invisible Man. (Hedley, Division III; cross-listed as Comparative Literature 387) Not offered in 2004-05.

ENGL B398. Senior Conference

Required preparation for English 399 (Senior Essay). Through weekly seminar meetings and regular writing and research assignments, students will explore a Senior Essay topic or topics of their choice, frame exciting and practical questions about it, and develop a writing plan for its execution. Students will leave the course with a departmentally approved Senior Essay prospectus, an annotated bibliography on their chosen area of inquiry, and 10 pages of writing towards their Senior Essay. Students must pass the course to enroll in English 399. (Hemmeter, Rowe, Schneider)

ENGL B399. Senior Essay

Supervised independent writing project required of all English majors. Students must successfully complete English 398 (Senior Conference) and have their Senior Essay prospectus approved by the department before they enroll in English 399. (staff)

ENGL B403. Independent Work

Advanced students may pursue independent research projects. Permission of the instructor and major adviser is required. (staff)

Bryn Mawr currently offers the following courses in Creative Writing.

159. Introduction to Creative Writing
260. Writing Short Fiction I
261. Writing Poetry I
264. Feature Journalism
265. Creative Nonfiction
266. Screen writing
269. Writing for Children
364. Approaches to the Novel
366. Writing Memoir II

Haverford College currently offers the following courses in English:

150b. Introduction to Literary Analysis
205b. Legends of Arthur
218a. The Western Dramatic Tradition
230a. Sacred and Profane: Seventeenth-Century English Poetry
258a. The Novel
260b. In the American Grain: Traditions in North American Literature
262a. The American Moderns 1915-1950
266b. A Sense of Place
270b. Portraits in Black: The Influence of an Emergent African-American Culture
278b. Contemporary Women Writers
281a. Fictions of Empire
285b. Disabilities: Autobiography, Education, and Theory
291a. Poetry Writing: A Practical Workshop
292b. Poetry Writing II
293a. Fiction Writing: From the Conventional to the Experimental
294b. Fiction Writing: States of Mind
302a. Topics in Medieval English Literature: Speaking in Tongues
321b. Topics in Poetics: The Sonnet
330a. Topics in Sixteenth Century Literature: Spenser and Elizabethan Identity
347b. Topics in 18th Century Literature: The Gothic
353a. Poverty and Its Representation in 19th Century Britain
361b. Topics in African-American Literature
364a. After Mastery: Trauma, Reconstruction, and the Literary Event
365a. Topics in American Literature: Henry James and Others
372b. Topics in Irish Literature: Joyce/Beckett
377b. Problems in Postcolonial Literature

 
     
 
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