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English

Students may complete a major or minor in English. Within the major, students may complete a concentration in creative writing or environmental studies.

Faculty

Linda-Susan Beard, Associate Professor
Peter M. Briggs, Professor
Anne F. Dalke, Senior Lecturer
Aileen Forbes, Lecturer
E. Jane Hedley, Professor and Interim Chair
Gail Hemmeter, Senior Lecturer
Jennifer Horne, Visiting Assistant Professor
Jonathan Kahana, Assistant Professor (on leave 2005-06)
Meta Mazaj, Lecturer
Ray Ricketts, Instructor
Katherine A. Rowe, Professor and Chair (on leave 2005-06)
Bethany Schneider, Assistant Professor (on leave 2005-06)
Kate Thomas, Assistant Professor (on leave 2005-06)
Karen M. Tidmarsh, Associate Professor
Michael Tratner, Professor (on leave semester I)

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.

Concentration in Environmental Studies

The Department of English participates with other departments in offering a concentration within the major in environmental studies.

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 questions; analyzing 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 questions; analyzing 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. (staff)

ENGL B204 Literatures of American Expansion

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 2005-06.

ENGL B205 Introduction to Film

This course is intended to provide students with the tools of critical film analysis. Through 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 add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory. (Horne, Division III; cross-listed as HART B205)

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 2005-06.

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) Not offered in 2005-06.

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 Donne, Herbert, Jonson, Shakespeare, Sidney, Spenser and Wyatt. (Hedley, Division III)

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 2005-06.

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. (Thomas, Division III) Not offered in 2005-06.

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 EDUC B219)

ENGL B223 The Story of Evolution and the Evolution of Stories

In this course we will 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 will begin with several science texts that explain and explore evolution and turn to stories that (may) have grown out of one another, asking where they come from, why new ones emerge, 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 or III; cross-listed as BIOL B223) Not offered in 2005-06.

ENGL B225, 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 B225 is not a prerequisite for B226. B225 will explore the "erotics" of Shakespearean drama (among other matters); B226 will focus on "the redemption of time." (staff, Division III) Not offered in 2005-06.

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 COML B229) Not offered in 2005-06.

ENGL B231 Modernism in Anglo-American Poetry

The purpose of this course will be to familiarize students with the broad outlines of that movement in all the arts known as Modernism, and in particular to familiarize them with Modernism as it was evolved in Anglo-American poetry - both from its American sources (Marianne Moore, Wallace Stevens, William Carlos Williams) and from its European sources (T.S. Eliot, Ezra Pound, Gertrude Stein). The course is intended to prepare students for English 232, American Poetry Since World War II; together, these courses are intended to provide an overview of American poetry in the 20th century. (Kirchwey, Division III)

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 Beats, Black Mountain poets, Confessional poets, New York School, political-engagement poets, post-New Criticism poets, Poundians, Surrealists, Whitmanians, Zen and the environment poets, and other individual and unaffiliated voices. (Kirchwey, Division III) Not offered in 2005-06.

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 COML B234) Not offered in 2005-06.

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 aesthetic movements and traditions of the period as they pertain to changes in social and cultural contexts of cinema. This course will incorporate accounts of cinema presented in audience ethnographies, the documentary history of the cinema and film publicity. Past topics included: DeMille, Griffith, Micheaux and the Birth of Film Art. (Horne, Division III; cross-listed as HART B238)

ENGL B239 Women and Cinema

This course explores the wide range of roles played by women throughout the 100-year history of filmmaking. If 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. 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 HART B239) Not offered in 2005-06.

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 Defoe, Dryden, early feminist writers, Pope, Restoration dramatists and Swift. (Briggs, Division III) Not offered in 2005-06.

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, Donne, Jonson, Milton and Shakespeare. (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. Featured poets: Browning, Seamus Heaney, Christina Rossetti, Derek Walcott and Wordsworth. (Briggs, Division III)

ENGL B246 Scribbling Sisters: Pan-African Women Writers

An intensive study of seven works by six artists representing constructed experiences in the Caribbean, Africa and the United 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: The Salt Eaters (Toni Cade Bambara), Parable of the Talents and Parable of the Sower (Butler), Maru (Bessie Head), Contending Forces (Hopkins), The Chosen Place, The Timeless People (Marshall) and Paradise (Morrison). (Beard, Division III) Not offered in 2005-06.

ENGL B249 Beauty: A Conversation Between Chemistry and Culture

This course 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. (Dalke, Division III) Not offered in 2005-06.

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 B251 Eating Culture: Britain and Food 1789-1929

This class will explore British culinary culture across the long 19th century, paying particular attention to the relationship of food to the 19th-century colonial and imperial discourse. We will also work towards theorizing the materiality of food. Units may include: sugar and slavery; industrialization and chocolate: corn laws, potato famine and rebellion; vegetarianism and socialism; cannibalism and vampirism. (Thomas, Division III) Not offered in 2005-06.

ENGL B252 Curiosity, Stupidity and Wonder: Approaching the Sublime

This course will approach Romanticism's central aesthetic mode through dicsussions of the "emotions of cognitive difficulty" that edge, inhabit or approximate sublimity: curiosity, stupidity and wonder. Reading literature, philosophy and theory, we will consider tropes of secrecy, enlightenment, novelty, trauma and excess in texts of DeLillo, Shakespeare, Shelly and Wordsworth. (Forbes, Division III)

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

This course traces the changing representation 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. 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 Henry Adams, Margaret Fuller, Thomas Jefferson, Herman Melville, Catharine Maria Sedgwick, Harriet Beecher Stowe and Harriet Wilson. (Schneider, Division III) Not offered in 2005-06.

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; cross-listed as HART B259) Not offered in 2005-06.

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 2005-06.

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)

ENGL B267 Poets of Cinema

A study of several filmakers who made a distinct mark on cinema of the 20th century. In the face of commercial Hollywood cinema, directors such as Yasujiro Ozu, Andrei Tarkovsky, Theo Angelopoulos, Miklos Jansco, Krzysztof Kieslowski and Ildiko Enyedi broke with convention as they opened new frontiers of creativity and filmic expression. These filmmakers not only shaped their national cinemas, but also had profound influence around the world, forging new ways of thinking about cinematic language and specificity. Through their work, we will explore connections between cinema, the study of language and narrative, visual arts, literature and philosophy. (Mazaj, Division III; cross-listed as COML B267 and HART B267)

ENGL B273 From Chivalry to Civility

This course will examine images and concepts of masculinity as represented in a wide variety of texts in English. Beginning in the early modern period and ending with our own time, the course will focus on texts of the "long" 18th century to contextualize the relationships between masculinity and chivalry, civility, manliness and femininity. (Ricketts, Division III)

ENGL B274 Romantic Love

This course aims to critique the sentimentalism and idealism associated with "romantic love" by centering on a core body of Romantic literature that includes Shelley and Byron, looking back to earlier romance models - as in Tristan and Isolde and Adam and Eve - and looking forward to modern romance, as in Nabokov's Lolita. (Forbes, Division III)

ENGL B277 Nabokov in Translation

(Harte, Division III; cross-listed as RUSS B277) Not offered in 2005-06.

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, Ayi Kwei Armah's Fragments, Mariama Bâ's Si Longe une Lettre, Tsitsi Danga-rembga's Nervous Conditions, Bessie Head's Maru, Sembène Ousmane's Xala, plays by Wole Soyinka and his Burden of History, The Muse of Forgiveness and Ngugi wa Thiong'o's A Grain of Wheat. We will address the "transliteration" of Christian and Muslim languages and theologies in these works. (Beard, Division III; cross-listed as COML B279)

ENGL B285 Contemporary International Films

This course will focus on world cinema or non-Hollywood cinemas, which means films that are made geographically far from Hollywood and films which have adopted different aesthetic models from those used in Hollywood. Such films have formed, as we will see, a major part of the national history and culture in countries around the world. (Mazaj, Division III; cross-listed as COML B285 and HART B285)

ENGL B287 Media Culture and Movies

What happens when the media see themselves in the mirror? This question is the premise of this course, a study of how films have become Media Movies, a strange but powerful body of films that make us think of the media culture. This self-critique, it turns out, is a healthy preoccupation of quite a few films, which embody the philosophical crises in our media culture, and which reflect thoughtfully on the nature of our lives, the structure of our values and the spirit of our culture. (Mazaj, Division III; cross-listed as HART B287)

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. (Kahana, Division III; cross-listed as HART B291) Not offered in 2005-06.

ENGL B299 History of Narrative Cinema

(King, Division III; cross-listed as HART B299) Not offered in 2005-06.

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 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. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. (staff, Division III; cross-listed as COML B306 and HART B306)

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. Readings may include works by Sherman Alexie, Diane Glancy, Thomas King, N. Scott Momaday, Leslie Marmon Silko and Gerald Vizenor. (Schneider, Division III) Not offered in 2005-06.

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 19th-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 19th-century British citizen. We will account for the fears, desires and politics of the 19th-century "mediated" citizen and analyze the networks of affiliation that became "intermediated": family, nation, community, erotics and empire. (Thomas, Division III) Not offered in 2005-06.

ENGL B316 Spenserian Allegory

This course will focus on Edmund Spenser's allegorical epic, The Faerie Queene, which will be read in its entirety to gain access to the rich resources of the allegorical mode as it was understood and practiced in the Middle Ages and the Renaissance: resources for staging self-confrontation, constructing and reconstructing the experience of falling in love, and probing the mysteries of life and death, good and evil. The course will also explore the allegorical mode in the 19th and 20th centuries, as it appears in works such as Ralph Ellison's Invisible Man and Nathaniel Hawthorne's The Scarlet Letter. (Hedley. 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 HART B317)

ENGL B319 A Sense of Place: Classical, European, American

The purposes of this course are to explore strategies for the artistic representation of place and to look into historical, emblematic and theoretical dimensions of literary and pictoral settings. The course will also ask whether classical, European and American writers sought to realize settings in similar or distinctively different ways. (Briggs, Division III; cross-listed as COML B319)

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 2005-06.

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) Not offered in 2005-06.

ENGL B322 Feminist Film Theory and Practice

(King, Division III; cross-listed as HART B327) Not offered in 2005-06.

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 The Last of the Mohicans, The Lone Ranger and Tonto Fistfight in Heaven, Moby Dick and Robinson Crusoe. 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) Not offered in 2005-06.

ENGL B340 Brown Affect: Narrating Latina and Latino Lives

(Lima, Division III; cross-listed as SPAN B329)

ENGL B348 Cinema and Popular Memory

This course is a broad and eclectic introduction to the relationship between cinema, history and popular memory. It explores a diverse range of films which claim to show that film can express and also shape popular memory, and pays special attention to the manner in which films write and rewrite history by articulating and shaping such memory. The course will be based on a premise that cinema shapes or negotiates the vision of who we are as individuals, groups and larger collectivities. (Mazaj, Division III; cross-listed as COML B348 and HART B346)

ENGL B349 Theories of Authorship in the Cinema

(King, Division III; cross-listed as HART B349) Not offered in 2005-06.

ENGL B356 Topics in Victorian Literature

ENGL B362 African American Literature: Hypercanonical Codes

Intensive study of six 18th-21st century hypercanonical African American written and visual texts (and critical responses) with specific attention to the tradition's long use of speaking in code and in multiple registers simultaneously. Focus on language as a tool of opacity as well as transparency, translation, transliteration, invention and resistance. Previous reading required. (Beard. Division III)

ENGL B363 Young Romantics

This course will focus on second-generation Romantic authors and their influence on later Victorian literature. We will read Hemans, Keats, M. W. Shelly and P. B. Shelly, along with Browning, Stoker and Tennyson, and consider topics ranging from poetic creativity, desire and selfhood to human suffering, ethical responsibility and death. Prerequisites: Two 200-level English courses or the permission of the instructor. (Forbes, Division III)

ENGL B368 Pleasure, Luxury and Consumption in British Literature and Culture

This course will consider pleasure and consumerism in English texts and culture of the 17th and 18th centuries. Readings will include classical and neoclassical philosophies of hedonism and Epicureanism, John Cleland's "Memoirs of a Woman of Pleasure," Defoe's "Roxana," Mandeville's "Fable of the Bees," Pope's "Rape of the Lock" and early periodical essays, among others. Secondary readings will include critical studies on cultural history and material culture. Prerequisites: at least two 200-level English courses. (Ricketts, 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 2005-06.

ENGL B370 Psychoanalytic Theory

This course examines psychoanalysis as a critical strategy. We will read Freud to engage key psychoanalytic paradigms, including the "Oedipal complex," paranoia, mourning, the "uncanny," fetishism and trauma. We will also consider post-Freudian theory in Irigaray, Kristeva and Lacan, as well as in contemporary debates regarding identification and ethics. (Forbes, Division III; cross-listed as COML B370)

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) Not offered in 2005-06.

ENGL B385 Problems in Satire

An exploration of the methodological and theoretical underpinnings of great satire in works by Blake, Dryden, Pope, Rabelais, Smiley, Swift, Wilde and others. (Briggs, Division III) Not offered in 2005-06.

ENGL B398 Senior Seminar

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. (Hedley, Hemmeter, Ricketts)

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 Supervised 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:

ARTW B159 Introduction to Creative Writing
ARTW B251 Travel Writing
ARTW B260 Writing Short Fiction
ARTW B261 Writing Poetry I
ARTW B262 Playwriting I
ARTW B268 Writing Literary Journalism
ARTW B364 Approaches to the Novel
ARTW B382 Poetry Master Class

 
     
 
Bryn Mawr College · 101 North Merion Ave · Bryn Mawr · PA · 19010-2899 · Tel 610-526-5000