FALL 2002 - University of Redlands



SPRING 2016English DepartmentCourse #Course Title & Cross-listsLocationDaysTimesInstructorLAFsEngl. 100-01Analytical Reading and WritingHOL 217MW9:30-10:50TBAEngl. 102-01Academic Writing SeminarHOL 207MW8:00-9:20TBAWAEngl. 102-02Academic Writing SeminarHOL 211MW8:00-9:20TBAWAEngl. 102-03Academic Writing SeminarHOL 211TTH8:00-9:20TBAWAEngl. 102-04Academic Writing SeminarHOL 209TTH8:00-9:20TBAWAEngl. 102-05Academic Writing SeminarHOL 211MW9:30-10:50TBAWAEngl. 102-06Academic Writing SeminarHOL 211TTH9:30-10:50Claudia IngramWAEngl. 102-07Academic Writing SeminarHOL 111TTH9:30-10:50TBAWAEngl. 102-08Academic Writing SeminarHOL 211MW11:30-12:50TBAWAEngl. 102-09Academic Writing SeminarHOL 211TTH1:00-2:20TBAWAEngl. 102-10Academic Writing SeminarHOL 211MW2:30-3:50TBAWAEngl. 102-11Academic Writing SeminarHOL 211TTH2:30-3:50TBAWAEngl. 110-01Poetry HOL 207TTH2:30-3:50Daniel KieferHL, WAEngl. 120-01Contemporary Literature:Contemporary South/Asian Literature and CultureCross-listed with AST, WGST.HOL 209MW11:30-12:50Priya JhaHLEngl. 130-01Literature of the Americas:“Murder, Magic, Mortality, Madness”Cross-listed with REST.HOL 209TTH1:00-2:20Sharon OsterHL, WAEngl. 201-01Critical Reading HOL 207MW9:30-10:50Priya JhaEngl. 202-01Texts and ContextsHOL 211MW1:00-2:20Sheila LloydEngl. 206-01Composing in New MediaTBATBATBATBAWAEngl. 213-01Drama HOL 213TTH2:30-3:50Nancy Carrick HLEngl. 215-01Children’s Literature Cross-listed with WGST.HOL 209WF9:30-10:50Heather KingEngl. 216-01Lyric Poetry East-WestCross-listed with AST.Fulfills pre-1800 requirement.HOL 315TTH8:00-9:20Anne CavenderHL, WAEngl. 217-01Images of Women:“Portrait of a Lady” DD, HLCross-listed with AST, WGST.HOL 209TTH2:30-3:50Anne CavenderDD, HLEngl. 222-01Shakespeare after 1600Fulfills pre-1800 requirement.HOL 213MW2:30-3:50Nancy Carrick Engl. 242-01Studies in Language:What’s in a Name?HOL 213WF11:30-12:50Judith TschannSPRING 2016English DepartmentCourse #Course Title & Cross-listsLocationDaysTimesInstructorLAFsEngl. 332-01American Literature: Making It New “Dead White Men (and one White Woman) I’ve Been Meaning to Read”HOL 207TTH9:30-10:50Sharon OsterEngl. 361-01Studies in Literature:Women Poets of the Twentieth and Twenty-First CenturiesHOL 213MW1:00-2:20Claudia IngramEngl. 361-02Studies in Literature:Afro-Asian Literary and Cultural Studies: Race, Politics, AestheticsCross-listed with AST, REST, WGST.HOL 211TTH11:30-12:50Priya JhaEngl. 362-01Single-Author Seminar:Adapting Jane AustenCross-listed with VMS, WGST.HOL 207MWF11:30-12:50Heather KingEngl. 403-01Contemporary Literary Criticism and TheoryCross-listed with WGST.HOL 207TTH1:00-2:20Daniel KieferSPRING 2016Courses by English Facultyin other departmentsCourse #Course Title & Cross-listsLocationDaysTimesInstructorLAFsAST-111-01Introduction to Chinese LiteratureCross-listed with ENGL.Fulfills pre-1800 requirement.HOL 209TTH11:30-12:50Anne CavenderCC, HLJNST 000E-01Greek Stories in Plays & Vase PaintingCross-listed with ARTH, ENGL & VMS.Fulfills pre-1800 requirement.HOL 213TTH1:00-2:20Nancy Carrick JNST 000L-01Latin Tutorials HOL 213WF9:30-10:50Judith TschannJNST 000P-01Decadence and Its RubbleHOL 207TTH11:00-12:20Daniel KieferJulie TownsendMAY TERM 2016English DepartmentCourse #Course Title & Cross-listsLocationDaysTimesInstructorLAFsEngl. 161-01Studies in Literature:Law, Lawyers, Legal StorytellingHOL 211MTWTH10:00-12:50Claudia IngramEngl. 161-02Studies in Literature:Homer’s OdysseyFulfills pre-1800 requirement.HOL 213MTWTH1:00-3:50Judith TschannHLEngl. 217-01Images of WomenCross-listed with REST, VMS, WGST.HOL 211MTWTH1:00-3:50Sheila LloydDD, HLEngl. 261-01Holding out for a Hero: Graphic Novels and ComicsCross-listed with VMS, WGST.HOL 209MTTHF9:00-11:50Heather KingJNST 000F-01Interrogating Jewish Literature and CriticismHOL 207MTWTH10:00-12:50Sharon OsterJNST 000G-01The Greeks’ War with Troy: The Stories and the EvidenceTravel course.Cross-listed with ARTH, ENGL, VMS.Fulfills pre-1800 requirement.HOL 213MTTHF10:00-12:50Nancy Carrick SPRING 2016English DepartmentENGLISH 102-06TTH 9:30-10:50Academic Writing SeminarWAClaudia IngramDiscovering new writing strategies can be a peculiarly liberating experience. This may be the most important class you’ll take in college.ENGLISH 110-01TTH 2:30-3:50PoetryHL, WADaniel KieferHip-hop rhymes and hooks, Emily Dickinson’s hymn meter, contemporary free verse, Walt Whitman’s free-flowing lines, love sonnets by Shakespeare and sonnet-sonnets by William Wordsworth and John Keats, elegies, dramatic monologues, and more. Let’s explore the design of feeling in poems, how like instrumental musical compositions or abstract paintings they are, how expressive their metaphoric language can be. How does the intensity of utterance in a lyric poem give us a new experience of emotion?You’ll have different kinds of writing to do: exercises in analyzing poetic form, short response papers, and longer essays. You’ll memorize some 15 or 20 lines of a favorite poem to recite to the class. Along the way you’ll discover how song captures the heart.ENGLISH 120-01MW 11:30-12:50Contemporary Literature:HLContemporary South/Asian Literature and CultureCross-listed with Asian Studies and Women, Gender and Sexuality Studies Priya JhaIn this course, we will read the works of South Asian and South Asian American authors and cultural critics, but our focus will be on South Asian writers who live and work in the United States. The course will focus on the experiences the history of European imperialism as it is refracted through American social formations and the effects this history has had on South Asians in the United States. We will consider how these writers and a few filmmakers explore gender, class, religious, and other differences amongst South Asians in the U.S. In addition, we will examine the position of South Asian Americans in the U.S. in relation to other Asian American populations, to the black and white dichotomy of racial discourses, and to the global cultures of transnational capital including those of the homelands. We will focus on themes of identity, memory, alienation, assimilation, solidarity, and resistance. ENGLISH 130-01TTH 1:00-2:20Literature of the Americas:HL, WA“Murder, Magic, Mortality, Madness”Cross-listed with Race and Ethnic StudiesSharon OsterAmerican writers since the Colonial era have written about extreme experiences: the inexplicable, the exceptional, and the idiosyncratic, particularly in the face of an otherwise conformist social world. This course will focus on some of the experiences that challenge our thinking: murder, magic, mortality, and madness. Why are such experiences attractive to writers? How do they help writers challenge and redefine everyday experience? Or inherited beliefs about race, religion, gender, sexuality, and mental illness? Or structures of power? What kinds of literary characters do they produce and what do they reflect about what it means to be American? In this introduction to American literature, we will read a variety of authors who represent the tension between extreme individuality and conformity, and the problem of tolerance in American culture. We consider ourselves a tolerant people, but what happens when our tolerance, or even our understanding, reaches its limit? This course is also writing-intensive, and will therefore require you to develop a regular writing practice. This will involve every stage of literary-critical writing including brainstorming about texts; discovering their interpretive problems; close, careful interpretation of evidence and literary data; developing and refining interpretive arguments; composing for different audiences; drafting; and revision, revision, revision. We will discuss assigned literature each class period, and engage in writing mini-lessons throughout the term. Finally, this course will introduce the basic genres of literature: poetry, drama, and prose, including both short stories and full-length novels. We will read some EXCELLENT works! Be prepared to be shocked, disturbed, and delighted!ENGLISH 201-01MW 9:30-10:50Critical ReadingPriya JhaHow does literature work? This introductory course in the theory and method of literary reading has two goals that might, at first, seem contradictory: (1) to introduce the conventions of reading, thinking, and concept-making crucial to flourishing as an English major; and (2) to step back from those processes of interpretation to examine them critically, turning na?ve reading into self-conscious method. In light of our literary texts, those short theoretical works will provide new models of reading; ask new questions about literature and its relations to the world; and push us to see from new angles the very processes of close reading, interpretation, and contextualization that are the bread and butter of college English. Our goal, in other words, will be to develop a self-aware, historically-grounded sense of how we read and why --an urgent problem at a moment when new media technologies have altered forever, we’re told, our most cherished ideas of what counts as thinking.Prerequisite: one 100-level literature class or comparable first-year seminar or by permission.ENGLISH 202-01MW 1:00-2:20Texts and ContextsSheila LloydThis course provides students who have taken English 201 with a more advanced introduction to the scholarly and critical study of literature. It is appropriate both for students who have had some course work in literary theory and criticism and for those who are relatively new to these modes of textual engagement. We will begin with an examination of key critical terms such as “writing,” “interpretation,” “representation,” and “literature” in order to fix our aim on what is at stake in the scholarly enterprise of literary studies. We will then proceed to read a number of literary texts, both canonical and counter-canonical, in relation to two ways of contextualizing literature. One way of initially establishing a context for interpreting literary texts will involve studying the composition, textual, and early reception histories of selected textspracticing, that is, some of the basics of literary scholarship. At the same time that we explore these more formalist methods of literary analysis, we will also consider the social contexts of cultural and political history, personal biography, colonial and minority discourses, and rhetorical and generic fields. Along with the literary texts assigned for this course, we will also read relevant essays representing critical and theoretical frames such as new criticism, feminist and gender studies, postcolonialist and race studies, structuralism, poststructuralism, psychoanalysis, and deconstruction. Prerequisite: ENGL 201 recommended.ENGLISH 206-01TBAComposing in New MediaWAInstructor to be announcedPractice in modes of literacies enabled by new media. Introduction to a range of issues, theories, and practices relevant to working in new media environments. May include writing in digital environments, digital video, weblogs, document, and web design.ENGLISH 213-01 TTH 2:30-3:50DramaHLNancy Carrick As Tolstoy tells us, “All happy families are like one another; each unhappy family is unhappy in its own way.” We will read plays in which unruly love challenges families and the communities they comprise. From Agamemnon and Clytemnestra to Kate and Petruchio, from Romeo and Juliet to Stella and Stanley, we will explore the consequences of passion as depicted on the stage. We will read Greek tragedy and modern comedy, Shakespeare and Williams, and view a few contemporary films. As each work invites you into its world and the perspectives of the time in which it was written, we will discover both the traditions of tragedy and comedy and innovations in the forms. We will read, discuss, debate, perform, and write.ENGLISH 215-01WF 9:30-10:50Children's LiteratureCross-listed with Women, Gender and Sexuality StudiesHeather KingThe stories we tell children serve a variety of purposes - from explaining away childhood fears to inculcating values we would like to see replicated - and a closer look at many children's stories reveals both surprisingly adult themes and interesting messages about how a culture defines childhood and the transition to adulthood. This course will cover some of the old and new classics of children's and young adult fiction. Possible titles include: Catch You Later, Traitor (Avi), Keeping Score (Suzanne Lori Park), Breaking Stalin’s Nose (Eugene Yelchin); Speak (Laurie Halse Anderson), Ring of Endless Light (Madeleine L’Engle); Tale of Desperaux (Kate diCamillo), The Amazing Maurice and his Educated Rodents (Terry Pratchett); Ender’s Game (Orson Scott Card), The Hunger Games (Suzanne Collins). Our examination of this literature will be grounded in relevant secondary and theoretical texts. The Charlotte Huck Children’s Literature Festival will take place on campus February 26 and 27th. Interested students are encouraged to attend and take advantage of the chance to meet authors (please note, the registration fee is $200 and will include lunches on Friday and Saturday and dinner on Friday. For more information: . aspx#.Vhvh5flVhHw). Active discussion and frequent writing assignments will provide avenues for you to explore your ideas in more depth. JNST students, LBST students, and non-majors welcome.Prerequisite: sophomore standing; one literature course recommended or by permission.ENGLISH 216-01TTH 8:00-9:20Lyric Poetry East-WestHL, WACross-listed with Asian StudiesFulfills pre-1800 requirementAnne CavenderThis course will explore the nature of the lyric poem as it appears in the Chinese and Anglo-American contexts. Most of our energies will be engaged in the attentive reading of poems from all periods, ancient to modern, as we attempt to come to some conclusions about the basic similarities and differences between these two extensive poetic traditions. The course will also introduce certain key examples of poetic theory in order to consider more generally the long history of theoretical disputes about what poetry is or does in both traditions. No previous knowledge of Chinese language or literature is required.ENGLISH 217 -01TTH 2:30-3:50Images of Women: “Portrait of a Lady” DD, HLCross-listed with Asian Studies and Women, Gender and Sexuality StudiesAnne CavenderThis course will explore “portraits” of women in a wide variety of texts by American, British and Chinese writers. We will investigate cross-cultural topics such as the construction of female identity, definitions of beauty, the power of the gaze, and the link found in both cultures between “female” emotions and desire and “male” reason and restraint. Texts will include novels: Virginia Woolf To the Lighthouse, Zhang Ailing Rouge of the North; poetry by Li Qingzhao and H.D.; and short stories by Katherine Mansfield, Ling Shuhua, Bai Xianyong, and others, and a few bits of feminist theory.ENGLISH 222-01MW 2:30-3:50Shakespeare after 1600Fulfills pre-1800 requirementNancy CarrickEnglish 222 explores Shakespeare’s plays written after 1600, the world they present, Shakespeare's language and theatre. We will confront the dilemmas and ethical questions posed in the plays and, through informal writing and research, an exam, and performances, gain greater appreciation for Shakespeare's art.ENGLISH 242-01WF 11:30-12:50Studies in Language: What’s In a Name?Judith TschannIn our broad-ranging investigation of what’s in a name, we will begin by studying aspects of phonology, morphology, syntax, and pragmatics, categorizing (e.g. ) the particular sounds that members of the seminar use in speaking English, and describing rules and conventions we follow in forming words and sentences and in conversing. For the fun of it, we’ll diagram sentences in old and new ways, and jump into arguments about the brain and language raised by cognitive scientists. To emphasize change in language, we will turn to the history of English, introducing ourselves to Old English and Middle English, and considering especially the nature of metaphor in a few literary works (perhaps in Beowulf, “The Pardoner’s Tale,” and Romeo and Juliet). Throughout the semester, we will also consider sociolinguistic issues, notably multilingualism.Course open for evaluation.ENGLISH 332-01TTH 9:30-10:50American Literature: Making It New“Dead White Men (and one White Woman) I’ve Been Meaning to Read”Sharon OsterWhat makes a text “canonical”? This course will focus on representations of sex, violence, and behaviors deemed “deviant” in key canonical texts in American literature from WWI until the post-WWII era. It’s also a chance for us to read a stack of books by famous white male writers I’ve been meaning to read (not all of whom are actually dead; one of whom is a woman; another Jewish; and a few whose works I’ve actually read, but not taught). These texts mark key “canonical” moments in American literature. Why? Each is devoted to exploring war, violence, race, sex, sexuality, gender, or Americanness (in some cases, by Americans living outside the U.S), and some explore several of these overlapping issues. Many were banned books at one time or another. Some reflect transformations in literary technique and style, from the post-WWI modernist rejection of inherited realisms to the postmodern experimentation in form, playful referentiality, and cynical disdain for sincerity following WWII. We will explore questions like: What qualities led these novels to be awarded, remembered, or banned, and ultimately rendered part of a literary tradition? What qualities also make them problematic? How do representations of sex and violence change over time in these works? And how do these changes register on the level of literary form? Do these works illustrate the radical shifts in style that the categories “modernism” and “postmodernism” suggest? And how is literary subjectivity constructed in these works in terms of race, class, gender, sexuality or religion? We will read some theory to help us answer these questions. Authors may include Ernest Hemingway, Henry Miller, Carson McCullers, Vladimir Nabokov, Ken Kesey, Kurt Vonnegut, and Philip Roth. Please expect to read and write a lot, to challenge each other, and be challenged.Prerequisite: Engl. 202 or by permission.ENGLISH 361-01MW 1:00-2:20Studies in Literature:Women Poets of the Twentieth and Twenty-First CenturiesClaudia Ingram… because there are so many and they are so fabulous: witty, haunting, wild.Prerequisite: Engl. 202 or by permission.ENGL 361-02TTH 11:30-12:50Studies in Literature:Afro-Asian Literary and Cultural Studies: Race, Politics, AestheticsCross-listed with Asian Studies, Race and Ethnic Studies,and Women, Gender and Sexuality StudiesPriya JhaDifferent people across the globe have been suppressed and oppressed by the people of dominant groups in the name of caste, creed, religion, gender, colonization and race. Over the past several decades, we have witnessed how oppressed people have also raised a war against people of the dominant ideology and cultural hegemony through their arts and literature and often by forging bonds with cultures other than their own, thus eschewing nationalism in favor of transnational and transhistorical aesthetic forms. What are the transnational dimensions to these forms of resistance? How do we theorize the aesthetics of such work even as it wraps itself into a politics of resistance? In the interest of exploring one such example of this kind of cultural resistance, the aim of this course is two-fold: 1) to introduce you to the historical linkages between African-American and South Asians – both in India and the U.S. – since the 19th century; and, 2) to introduce and historicize the literary contributions of the untouchables, known as Dalits, in India and the links they have formed with African-American political and literary traditions, in particular slave narratives and the Harlem Renaissance. The critical and creative interventions that the Dalits have made rely upon different language, style, techniques, images, similes, symbols, metaphors, myths, miracles, fables, legends, folksongs and folklore. Prerequisite: Engl. 202 or by permission.ENGLISH 362-01MWF 11:30-12:50Single-Author Seminar: Adapting Jane AustenCross-listed with Visual and Media Studies andWomen, Gender and Sexuality StudiesHeather KingA quick Netflix search or browse through Amazon attests to the enduring legacy of Jane Austen as a writer and, some would argue, as a cultural commodity. This course will focus on one of Jane Austen’s most beloved (and adapted) novels, Pride and Prejudice. We will use an interactive e-book edition of the novel to help establish the historical context for Austen’s work, supplemented by reading in relevant contemporary texts. Then we will consider both print and film adaptations (possible titles include: Longbourne, Pride and Prejudice and Zombies, Bridget Jones’ Diary, The Marvel Illustrated Classic version, and The Unpleasantness at Scargrave Manor). We will also consider the film tradition, from Sir Lawrence Olivier’s drastic re-write to the current darling of Facebook, Guinea Pig Pride and Prejudice. To ground our discussions of adaptation, we will use Linda Hutcheon’s A Theory of Adaptation. The class will not assume previous familiarity with Austen, but will begin from the premise that all students enrolled are sophisticated readers of complex texts, comfortable with identifying and analyzing literary devices such as irony and symbolism, and ready to engage in rigorous written and oral conversation about them. The final project for the course will be creating your own adaptation of Austen, informed by the theories and practices we’ve examined all semester. JNST students welcome.ENGLISH 403-01TTH 1:00-2:20Contemporary Literary Criticism and TheoryCross-listed with the Women, Gender and Sexuality StudiesDaniel KieferReaders and writers have long investigated, from different vantage points, how poetry, drama, and fiction work. Considering literary criticism as the practical response to an individual work, and literary theory as a more abstract undertaking concerned with its own argument, we’ve been engaged in criticism all along, with theory as our subliminal conversation. This course takes up that conversation directly, looking to critical theory for bright thought about literary structure, aesthetic pleasure, personal and cultural experience, and human knowledge.There are many schools of contemporary literary theory: new critical, deconstructive, Marxist, psychoanalytic, feminist, queer, new historical, postcolonial, and more. We’ll choose several schools to study pretty thoroughly, reading essays by prominent thinkers like Jacques Derrida, Michel Foucault, Julia Kristeva, and Judith Butler, and we’ll look at other schools more briefly. We’ll also study plays, poems, and stories in light of those theorists.By writing an essay each month you’ll sharpen your own powers of argument. Propose a thesis about the theory you’re addressing, defend it example and embellishment, and demonstrate its use by interpreting passages of the literary work. Later in the term you’ll lead discussion of particular works, in teams of two or three. If you’re working on a project like a senior thesis that involves theory, even political or anthropological or economic theory, these essays will help focus your methodology.Prerequisite: junior standing or by permission.SPRING 2016Courses by Literature Facultyin other departmentsASIAN STUDIES 111-01TTH 11:30-12:50Introduction to Chinese LiteratureCC, HLCross-listed with EnglishFulfills pre-1800 requirementAnne CavenderThis course will introduce you to a wide range of Chinese literature written over a three thousand year span, from ancient folk songs to Zen poetry to a play about transgressive lovers. We will be investigating two interlocking topics: the nature of writing, and the writing of nature. In other words, how does the Chinese tradition define the nature of writing? In different contexts, Chinese writers have emphasized literature’s ability to express emotions, to provide role models for moral development, to offer political critique, or to work through philosophical truths. At the same time, the theme of nature, and the human being’s communion with or separation from nature, is one of the most important themes in the Chinese literary tradition. How do Chinese writers write about the natural world and their relationship with it? Does literature reserve a special place for the unnatural, the ghostly and the weird? All works will be read in English; no previous knowledge of Chinese language or culture is required.JOHNSTON SEMINAR, JNST 000E-01TTH 1:00-2:20Greek Stories in Plays and Vase PaintingCross-listed with Art History, English, and Visual and Media Studies Fulfills pre-1800 requirementNancy CarrickThis seminar will explore the stories the Greeks told as they are revealed in the great tragedies of Aeschylus, Sophocles, and Euripides and in ancient Greek vase painting. We will examine how the playwrights and painters alike chose their stories from the traditions they inherited and how they presented the details of those stories. We will explore Greek theatrical performance and stagecraft, the craft of actors and chorus, the conventions of narrative art, and topics of your choosing. You will have opportunities to investigate this material in discussion, informal journal reflection, researching an aspect of the making of the stories, and writing – opportunities that will offer you a variety of ways to encounter the Greeks’ world through its art and theatre.JOHNSTON SEMINAR, JNST 000L-01WF 9:30-10:50Latin TutorialsJudith TschannFor some of you, this Latin tutorial will be the second-semester continuation of intensive beginning college Latin. We will quickly review some aspects of grammar from the first semester, and then plow ahead in Wheelock to the glorious end, covering such fine points of grammar as the various forms and uses of the subjunctive, deponent verbs, gerunds and gerundives, “fear” clauses, sequence of tenses, and much more. We will emphasize practices and theories of translation as we move beyond exercises to unaltered literary and historical works.For others, this tutorial will be an intensive beginning Latin class. By the end of the semester, you will have a firm grasp of basic grammar (of Latin and of English), a developing sense of the joys and challenges of translating, a bigger vocabulary, and at least a budding interest in Roman literature and history.Everyone is welcome.JOHNSTON SEMINAR, JNST 000P-01TTH 11:00-12:20Decadence and Its RubbleDaniel Kiefer and Julie Townsend Malcolm: I don't believe that there is much of a future to speak of.Pearl: We're in a bit of a decadent spiral, aren't we?Billy: Sinking fast. –Todd Haynes, Velvet GodlmineIf we think of decadence as a falling away from aesthetic or moral elevation, especially in fin de siècle arabesques of beauty and horror, eroticism and death, we have many questions to ask. What makes for decadent form and subject in literature, painting, opera, and film? How do the aesthetics of decadence engage with surrounding aesthetic, political, sexual, and social formations? How have decadent aesthetics changed over time? Where is decadence at play in our contemporary moment?We may begin with poems by John Keats, Alfred Tennyson, and Charles Baudelaire (The Flowers of Evil, 1857) before moving on to Oscar Wilde’s 1890 novel The Picture of Dorian Gray, his 1893 play Salomé, and the brilliant 1895 opera Salomé by Richard Strauss. Here are some other possibilities: Rachilde’s novel The Juggler (1900), Arthur Schnitzler’s novella Night Games (1926). Caravaggio’s baroque paintings (1600-1610), Derek Jarman’s film Caravaggio (1986), and films by Todd Haynes, Velvet Goldmine (1998), and John Cameron Mitchell, Shortbus (2006).We’ll study critical works by Walter Pater, David Weir, Eugenio Donato, and others. Your writing will be frequent and performed; that is, you’ll present your short essays to the class every other week or so. This seminar will serve as a 300-level course for the English literature major.MAY TERM 2016English Department andCourses by English Faculty in other departmentsENGLISH 161-01MTWTH 10:00-12:50Studies in Literature:Law, Lawyers, Legal StorytellingClaudia IngramStorytelling—by witnesses, lawyers, judges, and others—is crucial to the process of making legal meaning. This class will examine both narratives internal to legal processes and narratives told about those processes. This focus will require us to reexamine how stories themselves function—the cultural assumptions they may embody, the identities they may create for their narrators, and their implication of readers and auditors in their design. ENGLISH 161-02MTWTH 1:00-3:50Studies in Literature:HLHomer’s OdysseyFulfills pre-1800 requirementJudith TschannTen years after the end of the Trojan War, the hero Odysseus has still not returned home to Ithaka. His son Telemachus decides he must search for his father, and his wife Penelope keeps up her hopes and her weaving tricks, holding off the suitors who pester her endlessly. What has detained Odysseus, and how does he finally get home? If you haven’t read Homer’s epic poem, you have a great treat ahead: wily Odysseus’s adventures, the goddess Athena’s intervention in human affairs, Telemachus’s coming of age, Penelope’s strength, and a family reunion full of ruthless vengeance as well as tender love. If you have read this epic, you will have the joy of rediscovering its beauty, relevance, moral force, and humor.ENGLISH 217-01MTWTH 1:00-3:50Images of WomenDD, HLCross-listed with Race and Ethnic Studies,Visual and Media Studies, andWomen, Gender and Sexuality StudiesSheila LloydThis course is meant to appeal to students in English, Visual and Media Studies, Women’s and Gender Studies, and Race and Ethnic Studies. It will begin by questioning the very notion of an “images of women” approach to representations of women and girls by shifting to an approach that requires examining representations produced by women, specifically by African-American women working in postmodern art and literature. English 217 will focus on African-American women visual artists and writers who have been active from the second half of the twentieth century to today and who have brought technical and aesthetic challenges to their fields. Not only do these writers and artists push the boundaries of their fields with their bold and daring reconceptualizations of the social, political, and ethical roles of the arts, they also invite readers and viewers to see literature and art anew. Artists and writers will include the photographers, Carrie Mae Weems and LaToya Ruby Frazier; poets, Claudia Rankine and Tracy K. Smith; conceptual artist and philosopher, Adrian Piper; paper artist, Kara Walker; and playwrights, Adrienne Kennedy and Suzan-Lori Parks. ENGLISH 261-01MTTHF 9:00-11:50Holding out for a Hero: Graphic Novels and ComicsCross-listed with Visual and Media Studies and Women, Gender and Sexuality StudiesHeather KingSince 1939, super heroes have been a part of our cultural landscape, a uniquely American literary production. This course will consider the big three – Super Man, Batman, and Wonder Woman – as well as more recent additions to the super hero galaxy in both the D.C. and Marvel universes (most likely Captain America and the Avengers as a group). We will use texts like Scott McCloud’s Understanding Comics and samples from the extensive secondary material on superheroes to investigate how caped crusaders show us our fears and aspirations at different points in their historical development. Beginning in the Jewish immigrant experience, superheroes have become important symbols of national identity and metaphors for how we handle difference in our society. We will also read Michael Chabon’s The Amazing Adventures of Kavalier and Clay. We will take advantage of the immersive nature of May term to watch selected film and television representations as well. We will consider the comics and graphic novels as literary, visual, and cultural products, exploring representations of gender and class, among other lines of inquiry. VMS and JNST students welcome.JOHNSTON SEMINAR, JNST 000F-01MTWTH 10:00-12:50Interrogating Jewish Literature and CriticismSharon OsterThere is a debate currently underway over the concept of identity in Jewish Studies. Benjamin Schreier’s study, The Impossible Jew (2015), for example, asks: is Jewish Studies necessarily the study of Jews? Why is Jewish American literature contained in a sort of “academic ghetto,” alienated from fields like comparative ethnic studies, American studies, and multicultural studies? Can the field engage in self-critique about the very meaning of the term “Jewishness,” in relation to “race” and “nation” (i.e., diaspora, Zionist politics, etc.), as other identity-based literary fields do? Is literary Jewishness “post-ethnic,” as Dean Franco asserts? Fundamentally, we might also ask: how well do conceptions of race and ethnicity account for Judaism, for Jewish religious experience in literature?Given the brevity of May term, this course will focus on a limited range of authors we can study in depth, whose literature helps us interrogate the very meaning of “Jewishness,” perhaps not as a given—the culture of a self-evident population to be represented—but something being invented or questioned through literary discourse itself. Authors may include some of the following: Abraham Cahan, Mary Antin, Philip Roth, Cynthia Ozick, Chaim Potok, Jonathan Safran Foer, Nicole Krauss, or maybe even Gish Jen. I’ll be open to suggestions, possibly including film. Interested students: please get in touch soon!JOHNSTON SEMINAR, JNST 000G-01MTTHF 10:00-12:50The Greeks’ War with Troy: The Stories and the EvidenceTravel CourseCross-listed with Art History, English, and Visual and Media StudiesFulfills pre-1800 requirementNancy CarrickThis May Term travel course will explore the archaeological, physical, and textual depictions of Helen and the Greeks’ war with Troy, both in their world of the 13th-century BCE late Bronze Age and the classical 5th-century BCE of the great tragedians. We will read historian Bettany Hughes’s book Helen of Troy and some classical Greek tragedies such as Aeschylus’ trilogy The Oresteia and Euripides’ Helen and Iphigenia at Aulis. We will spend the first part of the course on campus discussing the history and plays and preparing research questions to guide our time in Greece. In Greece we will begin in Athens in the National Archaeological Museum (and of course see the major sites on the Acropolis), visit the best preserved classical theatre at Epidaurus to get an idea of the original performances of the great tragedies, visit Mycenae (home of Agamemnon), Delphi (by way of Marathon and Thebes), the mouth of the river where Odysseus quizzed the shades, and then explore the well preserved Minoan site of Knossos on Crete, which yields important information about the Greeks’ and Trojans’ bonze age, and we’ll visit Mycenaean sites on Crete. Other sites can be negotiated with the group. We will be accompanied by Greek guide Maria Synodinou, an archaeologist and wonderful host (she led my last May Term student group as well as two University of Redlands Alumni groups). BIOGRAPHIESNANCY CARRICK Nancy teaches Shakespeare, Milton, and drama in its many guises. She is especially interested in the interdisciplinary study of dramatic images on stage and in book illustration, in classical texts and vase painting, and in the interaction of text and performance. ANNE CAVENDERAnne Cavender studies and teaches classical Chinese poetry, British and American modernism, and cross-cultural poetics, particularly the relationship between literature and ethics in the Chinese and Western traditions. Many of her classes will be cross-listed with Asian Studies and can be taken for credit under either major.CLAUDIA INGRAMYears ago I was a lawyer, and I’m still interested in that discourse. Now I’m drawn to the ways poems and novels complicate things.PRIYA JHAAs of late, I have taken to a new, and very expensive hobby: globe-trotting. The love I have always had of reading novels from and about places and people far and farther, of watching films about the same, and listening to their music has now found a different kind of home in my travels in the globalized world of the 21st century. The intersections of passions, imaginations, cultural productions like food and music as well as divergences from the same breathe new life into my classes and in my own critical practices. I get excited to hear about adventures – of the mind and of the body – that my students take and how they are able to synthesize it with their intellectual life at Redlands.DANIEL KIEFERIt took only a few years for Redlands to change my dreary existence to a life of glamour. I used to be so drab, teaching only the household poets of the nineteenth century. Now I go dancing under the stars with disreputable poets and theorists of every kind. After decades of earnest propriety--seminary high school in Cincinnati, college in Boston, graduate work at Yale, teaching in the coal fields of Southern Illinois--I have become dissolute in Tinseltown. If Johnston is the cause of my ruin, that's all right; somebody had to take over.HEATHER KINGBorn in Claremont, CA, I come back to the area by way of Boston University (BA) and the University of Wisconsin (Ph.D.), now recreating a sunny Southern California childhood for my two sons. My research on 18th century British writers has convinced me that discussions of literature should always be both rigorous and a bit irreverent. My particular interests center on women’s writing and questions of morality, but don’t let that mislead you -- whatever the genre, whatever the time period, I'm determined to find the meaning and the merriment in the text.SHEILA LLOYDSheila Lloyd teaches courses on nineteenth- and twentieth-century African-diasporic literatures and on American literature from the late nineteenth and early twentieth centuries; specific courses include “War in Literature and Film,” “James Baldwin,” “The Dark Side of Innocence,” “American Industry and Enterprise,” “Film and Literature,” and “Introduction to Film.” Her most recent research projects include a study on neoliberalism, desire, and fantasy in African-American literature and film.SHARON OSTERMy scholarship focuses on late nineteenth- and early twentieth-century American literary realism, religion and the novel, and Jewish literature, as well as literature of the Holocaust. I am also interested in spatial and digital approaches to literature. I teach a range of courses in nineteenth- and twentieth-century American literature featuring authors like Henry James, Abraham Cahan, Edith Wharton, and Mark Twain; courses like "Coming of Age in the Gilded Age"; "Holocaust Memoirs: Reading, Writing, Mapping"; "Immigrant Literature"; "American Jewish Literature"; "Autobiography and Graphic Narrative"; “History of Literary Criticism and Theory”; and occasionally courses on satire, time travel, or on the 1960s.JUDITH TSCHANNJudy Tschann teaches a variety of courses in literature and language, including Chaucer, Shakespeare, History of English, Linguistics, and History of Literary Criticism. ................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download