FALL 2003
UNDERGRADUATE COURSES
ENGLISH 17: SHAKESPEARE . This course, intended primarily for non-English majors, is designed to provide an understanding of drama as a form of literary art and to encourage a familiarity with Shakespeares' most important works. Plays from each dramatic genre (comedy, history and tragedy) will be included.
Ms. Deese. MWF 4:10-5:00.
ENGLISH 23A: ENGLISH LITERARY TRADITION: THE MIDDLE AGES THROUGH THE EARLY 17 TH CENTURY. An introduction to the literature of England in the Middle Ages and the Renaissance. Lectures will attempt to place major literary works in their historical and social context as well as to suggest their relation to issues of current critical and theoretical concern. Since the course covers a wide range of genres, including epic, romance, drama, lyric and autobiographical and political prose, and spans nearly a thousand years of British history, we will consider the works we are reading in terms of the ways that they stake out the foundational claims of our own notions of national identity, gender construction, religious discourse and the performance of war, death, heroism, love, sacrifice and conquest. Some examples of what we will be reading: Beowulf's fights against the monster Grendel, Grendel's mother and the dragon; Sir Gawain's encounter with the Green Knight; the Wife of Bath's memoir of her five husbands; King Lear's conflicts with his daughters; Margery Kempe's autobiography, the first in English; fables by Marie de France, the first woman known to be writing in Britain; Queen Elizabeth's speeches; the adventures of Britomart, Spenser's female warrior. TEXT: The Norton Anthology of English Literature, Volume 1, Seventh Edition, ed. M. H. Abrams, et. al. Please be sure to have the Seventh Edition. Please be aware that the CD packaged with the NAEL is required listening.
Mr. Ganim. LECTURE: TR 11:10-12:30. DISCUSSION: M 9:10-10:00 A.M., T 7:10-8:00 A.M., T 7:40-8:30 P.M., T 7:40-8:30 A.M., R 1:10-2:00 P.M., R 6:40-7:30 P.M.
ENGLISH 101: CRITICAL THEORY. Hamlet is, by common consent, one of the most influential literary achievements of Western Civilization. This course will examine typical examples of the sense and nonsense in a range of current critical perspectives on the work. The course will be graded on the basis of four quizzes (20%), class presentations (10%), and an outside paper (to be assigned in class: 70%). The text will be a casebook, with the text of the play, accompanied by representative critical pieces written in the last decade or so.
Mr. Stewart. MWF 9:10-10:00.
ENGLISH 102-01: CRITICAL METHODS. We will study exemplary texts, from the Renaissance to the present, in three major genres: poetry, prose fiction, and drama. We will bring a variety of critical perspective to these works, including formalist, linguistic/philosophical, sociological , and psychoanalytic methodologies. The emphasis will be on applied criticism rather than critical theory. Class text: Abcarian and Klotz, eds., Literature: The Human Experience , 8 th edition. Class assignments: Mid-term exam, term paper, final exam.
Mr. Essick. MWF 8:10-9:00.
ENGLISH 102-02: CRITICAL METHODS: WRITING AND MEMORY. This course for English majors is designed to serve as an introduction to the critical methods necessary for doing work in the field of literary criticism and literary interpretation. More generally, it is a course about the work of reading and the work of writing. What does it mean to engage in the act of reading? How do we begin to write about what we read? In answering these fundamental questions at the core of any critical literary project, we will examine the role of memory in a variety of genres and forms--novel, short story, memoir, essay, testimony, psychoanalytic case study-- as well as touch on the basic tenets of various schools of literary criticism (poststructuralism, psychoanalysis, feminism, queer theory) while always interrogating each of our positions as readers of texts. In order to carry out this task, the course is structured around the theme of memory, the act of narrating the past in the present-- how what we remember (or what we forget) shapes our experience of who think we are, who we want to be. We will focus on three key historical moments: U.S. slavery, the Nazi holocaust, and the Vietnam War. Some of our central questions will include: What is the difference between personal memory and collective memory? Is there such a thing as 'racial memory'? Is there an "ethics of memory," a responsibility to remember? How can writing enable memory? Are memories true? Is all remembering a literary act? Can we use memory to construct a self? The course is reading and writing intensive and demands that each student engage each texts critically as both reader-respondents and as writers grappling with their own memories. Students will be asked to account for both their experiences as 'readers of memories' and their experiences as 'writers of memories' and how this new heightened consciousness transforms the experience of interpretation.
Mr. Kun. TR 9:40-11:00.
ENGLISH 102-03: CRITICAL METHODS. We will read and practice different critical approaches to texts of different media, form, genre, and historical period; and survey key debates about the relationships between texts, bodies, identities, politics, and history. We will focus intensively on a handful of texts loosely connected by the theme of creativity and monstrosity: poems by S. T. Coleridge and John Keats, Mary Shelley's Frankenstein, Salman Rushdie's Shame, and Cameron Mitchell's film, Hedwig and the Angry Inch. Two papers, a group facilitation, and a final exam will be required.
Ms. Zieger. MWF 12:10-1:00.
ENGLISH 103: ADVANCED COMPOSITION . Principles of expository prose, with intensive practice. Advanced course in composition, not remedial.
Ms. Spaise. MWF 3:10-4:00.
ENGLISH 117A: SHAKESPEARE'S HISTORY PLAYS . A course on Shakespeare's history plays. Among other things, we will explore the plays' insistent questioning of heroic values, honor, and manhood; the problematic place of women within the text of history; and Shakespeare's use of theatricality and role-playing as a tool for exploring social and political relationships. Readings will include Richard II, Henry IV, Parts I and II, Henry V, Richard III, and two of Shakespeare's Roman plays.
Ms. Willis. MW 5:10-6:30.
ENGLISH 127T: STUDIES IN AMERICAN POETRY. CONTEMPORARY POETRY AND ITS AMERICAN ROOTS. We shall read and discuss a selection of contemporary poems by such poets as Elizabeth Bishop, James Merrill, Allen Ginsberg, Adrienne Rich, Sylvia Plath, Anne Sexton, Lucille Clifton, Susan Howe, Joy Harjo, Alberto Rios, and Li-Young Lee. Students will also pick poems for us to study. In addition, we shall look at some of the foundational poems in American literary history to see how contemporary poems reflect, resist, and dialogue with their precursors. We shall look at such classic American poets as Anne Bradstreet, Henry David Thoreau, Walt Whitman, and Emily Dickinson, and at Native-American poems. There will be two short papers, a midterm, and a final exam. Required texts: The Norton Anthology of Modern and Contemporary Poetry , Volume 2; and The New Anthology of American Poetry , Volume 1.
Mr. Axelrod. TR 12:40-2:00.
ENGLISH 138T: STUDIES IN AFRICAN AMERICAN LITERATURE. SLAVERY IN THE AFRICAN AMERICAN LITERARY IMAGINATION. This course examines the legacy of slavery for African American literary and cultural production. Focusing on questions of memory, trauma and representation, the course will explore the way in which the history of slavery has been narratively and artistically reconfigured in order to represent the "unrepresentable" horrors of slavery. We will begin with the slave narrative tradition in order to locate the ways in which the experience of slavery is constitutive for an African American literary tradition and end with contemporary work that reflects and refashions that tradition. Works examined will include Toni Morrison's Beloved , Margaret Walker's Jubilee , Julie Dash's Daughters of the Dust , Gayl Jones' Corregidora , David Bradley's Chaneysville Incident , and Ishmael Reed's Flight to Canada among others.
Mr. Danner. TR 5:10-6:30.
ENGLISH 140J: LITERACY NARRATIVE. In this course, we will read and write literacy narratives. When we think of literacy, we typically think of reading and writing as simple, technical skills that should be mastered at an early age. The literacy narratives we will read, however, envision literacy in much broader terms, as social and cultural practices that organize our ways of knowing ourselves and others. Literacy, in critical theorist Henry Giroux's words, can be seen as "a narrative for agency," wherein "human beings can locate themselves in their own histories and in doing so make themselves present as actors in the struggle to expand the possibilities of human life and freedom."
We will read several essays about the field of literacy studies as well as a variety of literacy narratives including ethnographies, which are studies of other people's literacy practices, and auto-ethnographies, which are studies of the author's own literacy experience. The final project will be an in-depth analysis of your writing development in your major field to see how your sense of self as a student has been linguistically, ideologically, and culturally constituted.
Ms. Axelrod. MWF 10:10-11:00.
ENGLISH 144I: RACE, ETHNICITY& VISUAL CULTURE. BLACK BODY POLITICS AND VISUAL CULTURE. This class will examine the current cultural and theoretical discourse relating to the production and consumption of the Black body in film and film theory. We will consider the politics of representation in relationship to questions of masculinity, violence, commodification, urbanity, and the Black body in a transnational economy. Films might include The Color Purple , Julie Dash's Illusions and Daughters of the Dust , F. Gary Gray's Friday , Charles Burnett's The Glass Shield , Reginald and Warrington Hudlin's Bebe's Kids , and the Hughes brothers' American Pimp and Dead Presidents among others.
The Staff. LECTURE: TR 2:10-3:30. SCREENING: W 4:10-7:00 P.M.
ENGLISH 145I: SPECIAL TOPICS: FILM & VISUAL CULTURE. Film noir (literally "black film" or "black cinema") is one of the richest and most compelling film cycles ever to emerge from the American cinema. These dark, pessimistic films emerged in the 1940s, but were not noticed as a genre until French film critics coined the term after the end of World War II. This course offers an introduction to the genre and an exploration of its major themes. A careful viewing of eleven films and a reading of essential articles will ultimately build to a substantial final paper to be submitted at the end of the quarter. Issues to be examined include: film noir and the problem of genre, the hard-boiled detective, noir and 1940s film history, noir and masculinity, women in film noir, revisionist noir.
Ms. Peterson. Lecture: T 9:10-2:00; Screening: R 9:10-12:00.
ENGLISH 151T: STUDIES IN MIDDLE ENGLISH LITERATURE. English literature of the Middle Ages, with attention (where pertinent) to its continental backgrounds (the latter read in translation). Detailed examination of major literary works chosen to illuminate such topics as Christian theology, monasticism, chivalry and courtly love.
Mr. Beehler. TR 12:40-2:00.
ENGLISH 154: LATER RENAISSANCE LITERATURE. This course will focus on English literature of the later Renaissance, including the poetry, prose, and drama of such notable authors as Bacon, Browne, Hobbes, Jonson, Donne, Herbert, Crashaw, Milton, Marvell, Middleton, Webster, and Ford, as well as selected minor figures. The student's grade will be based on a midterm and a final examination. Texts for the course are:
- Drama of the English Renaissance II: The Stuart Period . Ed. Russell A. Fraser and Norman Rabkin. New York: Macmillan, 1976.
- The Later Renaissance in England: Nondramatic Verse and Prose, 1600-1660 . Ed. Herschel Baker. Prospect Heights, Il.: Waveland Press, 1996.
Mr. Stewart. MWF 1:10-2:00.
ENGLISH 166A: THE BRITISH ROMANTICS-THE FIRST GENERATION. Close readings of William Blake, William Wordsworth, and Samuel Taylor Coleridge, with an emphasis on their poetry. With Blake we will consider his pictorial works as well as his texts; with Wordsworth we will concentrate on his self-fashioning as a poet; with Coleridge we will trace his philosophy of mind. Class text: The Norton Anthology of English Literature , 7 th edition, volume 2A (The Romantic Period). Class assignments: two quizzes, term paper, final exam.
Mr. Essick. MWF 10:10-11:00.
ENGLISH 172B: LATER VICTORIAN LITERATURE. Imagine England at the end of the nineteenth century. You might see a nocturnal urban street, with a murderer or a detective lurking in the shadows; you might think of a decadent poet or writer delighting in obscure artistic objects; or perhaps you don't see England at all, but English soldiers in an Indian landscape. Such associations were shaped by texts such as James Thomson's The City of Dreadful Night, Oscar Wilde's The Picture of Dorian Gray, Arthur Conan Doyle's The Adventures of Sherlock Holmes, and Rudyard Kipling's Plain Tales from the Hills. In this class, we will study these and other texts to introduce the cultural, intellectual, and literary history of the period from 1860 to 1900 in England. We
will broaden and deepen our imagination of this exciting period by studying shifts in Victorian definitions of culture and aesthetics, including the Aesthetic and Decadent movements and their implications for class and sexuality; the relationship between evolutionary and aesthetic theories; the technological management of the British empire and the production of English identities; and the "forgotten female aesthetes" and "lady detectives" who rivaled their more familiar male counterparts. We will seek to understand the development of literary forms such as the short story and long poem, and genres such as the ghost story and science fiction. We will supplement our investigations by considering late nineteenth-century paintings and design, and by reading a selection of critical essays. Requirements include two papers, a final exam, regular attendance, and informal assignments.
Ms. Zieger. MWF 9:10-10:00.
ENGLISH 176B: 20 TH CENTURY BRITISH AND AMERICAN LITERATURE. Focusing on literature written between 1920 and 1940, this course will examine a range of "high modernist" concerns: the reevaluation and decentering of human identity; the representation of the self in relationship to language and others; the functions of innovations in narrative, verbal, and pictorial forms. Students should be aware of the fact that the majority of this literature for this course is experimental; they must be willing to engage unconventional--and often difficult--textual styles. Readings will include Lawrence's St. Mawr, Faulkner's The Sound and the Fury, Woolf's The Waves, Waugh's A Handful of Dust, Ernst's surrealist collage novel Une Semaine du Bonte, and several chapters of Joyce's Finnegans Wake.
Ms. Devlin. MWF 12:10-1:00.
GRADUATE COURSES
ENGLISH 200: INTRODUCTION TO GRADUATE STUDIES. This course is designed to be both an introduction to graduate study in English and a provocation to consider what it means to embark on a career in professional scholarship in the Humanities. I will serve as the course's curator, organizing and leading all of us through a wide variety of key topics and questions central to the study of English as a discipline. That said, much of the course will throw into question the very "disciplinarity" of English-- to what extent is English still an identifiable, bordered and bounded discipline? Can we agree on what it means to do work in "English'? In order to best think about these questions, the course will historicize the evolution of English as a field and survey its major changes and ruptures. Each week, you will meet a different member of the English Department, who will not only introduce themselves and their interests, but will offer key readings and points of discussion for their respective fields. Along the way, you will be reading selections from two critical dictionaries of literary and cultural criticism (Childers and Hentz's The Columbia Dictionary of Modern Literary and Cultural Criticism, Lentricchia and McLaughlin's Critical Terms for Literary Study), individual readings that I have selected to raise further questions, and readings selected by our weekly guests. Also highly recommended is Greenblatt and Gunn's collection Redrawing the Boundaries. But this is not a reading-intensive seminar the way most of your seminars will be. It is intended, more broadly, to start the professionalization process, which means you will be responsible for a number of writing exercises that will help prepare you for the kinds of professional writing graduate study in English demands: conference paper abstracts, journal book reviews, critical text summaries. I will also ask each of you to write a brief "entry" essay that explains, in your own words, why you are here, what you want to accomplish, what you see as the value of the professional life you are embarking on. At the end of the course, you will follow up with an "exit" essay that re-visits these topics with new perspective. Your final project will be an annotated bibliography.
In order to prepare for the first week of seminar, there are a few things you should be doing. First, do your best to identify your field, your specific interests, as much as possible and begin assembling a list of the five texts you currently see as central to what you want to do (during the quarter, you will be asked to write a critical summary of your texts) and a list of what you understand to be the key critical debates currently facing your area of study. Second, and most important, think hard about what this all means to you--as a person, as a scholar-- and begin developing a vocabulary for your passions, a critical language for what inspires you. "One writes out of one thing only," James Baldwin wrote, "one's own experience." This is the first step for any graduate study that will sustain you: knowing how to speak critically about the things you love. As we get closer to the fall, I will be in touch with all of you with more specific instructions and thoughts. If you have any questions or comments before then, send an email to joshkun@aol.com.
Mr. Kun. T 2:10-5:00.
ENGLISH 260: MEDIEVAL LITERATURE: PREMODERN GEOGRAPHIES. The Medieval Seminar this quarter will study the literature of exploration and geographical description in the Middle Ages and will itself explore the considerable scholarship surrounding this literature. Our guidebook will be Mandeville's Travels, but we will also be reading guides to the Holy Land and to Rome as pilgrimage sites; topographical descriptions of Britain; crusade accounts; conquest narratives of the Americas. In so doing, we will be investigating a global Middle Ages, but we will also explore the paradoxes of this and subsequent globalisms. Research projects may focus on some of these documents themselves, or may concern themselves with the relation between the literature of travel and exploration and works by Chaucer, Malory (and other Arthurians), Margery Kempe or other canonical or non-canonical medieval authors. We will be testing the usefulness of the categories of postcoloniality and Orientalism as they have been applied to these texts, and you may wish to look at J. J. Cohen, ed. The Postcolonial Middle Ages or Geraldine Heng's Empire of Magic as examples. If you are considering this seminar, you will want to read the Penguin translations of Mandeville's Travels and the Travels of Marco Polo before the first class, but some of the other texts we will probably end up reading include Theodoric, Guide to the Holy Land (c.1172) DS105 .T4713 1986; Gerald of Wales, Journey through Wales (c.1214) DA725 .G5 1978; Friar William of Rubruck's Journey to Mongolia (13th cent); Joinville, Life of Saint Louis(in Chronicles of the Crusades ); and perhaps Bernal Diaz, The discovery and conquest of Mexico , 1517-1521
Mr. Ganim. M 4:10-7:00 p.m.
ENGLISH 262: RENAISSANCE EPIC/ROMANCE.
(The Return of the Repressed)
A critical study of three towering works whose popularity and influence in England and Europe far outlasted the Renaissance: Ariosto's Orlando Furioso (the first half, in an elegant modern translation), Tasso's Jerusalem Delivered , and Spenser's The Faerie Queene . We will read the poems with the assistance of materials from the Renaissance critical controversy over the nature of romance and the ends of poetry, as well as recent criticism. We may have time for some discussion of modern irruptions of epic material on film and in print.
Ariosto:
Ariosto's chief aim in writing the poem - composed over a period of twenty-seven years, and one of the greatest works of the Italian Renaissance - was to give delight, and in this he admirably succeeded. He created a world situated between high fantasy and reality: a dazzling kaleidoscope of fabulous adventures, orgres, monsters, barbaric splendour and romance, all tempered by the unifying personality of the author - his humour and serenity, his humanity and moderation.
-- Editor, Penguin Classics Edition
Tasso:
Late in the eleventh century the First Crusade culminated in the conquest of Jerusalem by Christian armies. Five centuries later, when Torquato Tasso began to search for a subject worthy of an epic, Jerusalem was governed by a sultan, Europe was in the crisis of religious division [and war with the Turks], and the Crusades were a nostalgic memory. Tasso turned to the First Crusade both as a subject that would test his poetic ambition and as a reflection on the quandaries of his own time.
-- Editor, Johns Hopkins Press Edition
Spenser:
Formally considered, the Faerie Queene is the fusion of two kinds, the medieval allegory and the more recent romantic epic of the Italians. Because it is allegory, and allegory neither strictly religious nor strictly erotic but universal, every part of the poet's experience can be brought in . . Spenser, let us say, has experienced in himself and observed in others sensual temptation; frivolous gallantry; the imprisonment and frustration of long, serious, and self-condemned passions; happy love; and religious melancholy. You could, perhaps, get all this in a lengthy, biographical novel, but that form did not exist in his time. You could get it into half a dozen plays; but only if your talent were theatrical, and only if you were ready to see these states of the heart (which were Spenser's real concern) almost smothered by the Elizabethan demands for an exciting plot and comic relief. But in Faerie Land it is all quite simple. All the states become people or places in that country. . [Spenser] may not always know where he is going as regards the particular stories: as regards he symphony of moods, the careful arrangement of different degrees of allegory and different degrees of seriousness, he is always in command.
-- C. S. Lewis
The seminar's presentations and papers will take up issues raised by our comparative readings of these texts. Suggested summer reading (largely for the sake of contrast, but also to gain a familiarity with some of the most important sources of the sources these poets worked with): the Iliad , the Odyssey , and the Aeneid .
Mr. Briggs. W 2:10-5:00.
ENGLISH 267: VICTORIAN LITERATURE . DICKENS. This seminar will focus on one of the most important novelists of the period, Charles Dickens. Among the novels we will read are Dombey and Son, David Copperfield, Little Dorrit, Bleak House, Hard Times, Our Mutual Friend. We will not only examine Dickens's work (especially the later novels), but also his status as a cultural figure in his own time and in ours; how the Dickens "industry" developed; his reception by his contemporaries; his political and social involvement and impact; his place in considering what it means to be a "Victorianist"; the current status of "single author" studies. We will also be considering the ways in which Dickens scholarship has shaped nineteenth-century studies and will be reading criticism by Raymond Williams, D.A. Miller, J.H. Miller, Hilary Schor, Jeff Nunakowa, Georg Lukacs, Rosemarie Bodenheimer, and others. I am toying with the idea of reading one of the novels serially (2 parts for each class meeting). Should I decide this is a good idea, that novel will probably be Bleak House.
Mr. Childers. F 2:10-5:00.
ENGLISH 269: AMERICAN LITERATURE TO 1900.
Colonial Encounters: Transnational Representations of the 'Other'
This seminar will examine the various transnational responses to and representations of the 'Other' from indigenous oral narrative through the Enlightenment in what is now known as Canada, the United States, Mexico, and the Caribbean. We will be reading literature within Native American, French, Spanish, Portuguese, English and German contexts with special attention to captivity narratives, administrative documents, oral narratives, autobiography, and texts that address issues of anthropophagy. We will also be thinking critically about how and why English Puritan literature of the 17 th century has been positioned historically as the origin of American literature and offering a political reading of the ideologies informing the invisibility of Native Americans in early American literary scholarship. Students should read pp. 3-22 of The Literatures of Colonial America and pp. 11-126 (first voyage) of Columbus.
Ms. Raheja. R 2:10-5:00.
ENGLISH 270: SEMINAR IN AMERICAN LITERATURE SINCE 1900. MODERNISM/MODERNITY. We shall study a variety of texts that arguably fall under the rubric of "the new modernisms." Fiction will include H. D.'s HERmione , Ernest Hemingway's The Sun Also Rises , Langston Hughes's "The Blues I'm Playing," Zora Neale Hurston's "Spunk" and "Sweat," Gertrude Stein's "Miss Furr and Miss Skeene" and "Pink Melon Joy," and Wallace Thurman's "Emma Lou." Poetry will include H. D.'s Selected Poems , Ezra Pound's Selected Poems , Muriel Rukeyser's The Book of the Dead , and William Carlos Williams' Paterson . Plays will include Langston Hughes's Mulatto and Gertrude Stein's "Ladies' Voices." Portraits will include Gertrude Stein's "Picasso." We shall also be looking at theory and criticism by Houston Baker, Peter Nicholls, Michael North, and Marjorie Perloff. Seminar responsibilities will include engaged participation, two oral reports, and a term paper.
Mr. Axelrod. W 5:10-8:00 p.m.
ENGLISH 274: FEMINIST DISCOURSES. The class will be feminist theory (gender and sexuality); it will not be primarily a women's literature or film class. There will be a reading assignment for the first meeting, but I won't know what that will be for some time now. I just don't have time to come up with a full syllabus in the immediate future because I have too much else that is due just now. Students also should look for the blackboard course web site a few weeks before the course when I will post a final syllabus.
Ms. Tyler. T 5:40-8:30 p.m.
ENGLISH 275: MUSIC ON SCREEN: VISUAL CULTURES OF MUSIC IN FILM, VIDEO, AND DIGITAL MEDIA. This course presents musically informed works of multimedia as points of convergence towards which audiences are oriented through a number of perceptual, interpretive, and physical modalities. We will consider a range of films, videos, and interactive works which point up changes in and between media, paying close attention to the practices of listening as well as those of seeing. Practices of listening and seeing will be addressed in distinction or complementation to interactive gesture; methods drawn from film studies and cultural studies of music will provide a range of analytics according to which we will analyze a variety of musical multimedia. Each of the screened works will highlight a particular musical effect, tendency, genre, or value of audiovisual media with emphasis on gender, bodily identities, and the problematics of affect and the musical image, with examples including but moving beyond the Hollywood musical, the filmic underscore, and the music video. In addition to these rather well-known genres of musical multimedia, examples will also include: the abstract animation form known as Visual Music, dramatic musical biography, filmic documents of concerts for communities, the cinematic appearance of the phonograph record, musical narratives of place, the jazz narrative, performer documentary, the rock opera, musical meta-narrative, the variety show, and the musical video game. As we survey and compare a variety of musical techniques for synchronizing media streams, we will explore the aesthetic effects and cultural references that result.
Mr. Tobias. SEM: W 2:10-5:00. SCR: R 6:10-9:00.
ENGLISH 277: BRITISH LITERATURE AND THE HISTORY OF SEXUALITY. In this course we will examine a series of texts-several novels, a long poem, and some diaries-that participate in and to a certain extent determine the history of sexuality in England in the eighteenth and nineteenth centuries. Our primary focus will be on the expression of sexual excess in these works, but in doing so, we may also find ourselves considering issues of gender, class, race, colonialism, and other topics germane to the history of sexuality.
Mr. Haggerty. R 5:10-8:00 p.m.