Literature

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Term
Time & Day Offered
Level
Credits
Course Duration

Style and Tone in Nonfiction Writing — LIT2104.01

Fall 2013
Instructor: Wayne Hoffmann-Ogier
Days & Time: TBA
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Style and Tone in Nonfiction Writing — LIT2104.01

Fall 2014
Instructor: wayne hoffmann-ogier
Days & Time: TBA
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Style and Tone in Nonfiction Writing — LIT2104.01

Spring 2015
Instructor: Wayne Hoffmann-Ogier
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Style and Tone in Nonfiction Writing — LIT2104.01

Spring 2014
Instructor: Wayne Hoffmann-Ogier
Credits: 4
This introductory course focuses on the weekly writing of extended essays, including nonfiction narrative, personal essay, literary criticism, research writing, and the analytical essay. It gives particular attention to developing individual voice and command of the elements of style. The class incorporates group editing in a workshop setting with an emphasis on re-writing. It
Literature

Sun Ra: Space is the Place — MPF2146.01

Spring 2021
Instructor: Michael Wimberly
Credits: 2
SUN RA…SPACE IS THE PLACE takes a look at the life of Herman Poole Blount, (May 22, 1914 - May 30, 1993) founder and creator of the Sun Ra Arkestra. Considered a prolific composer of jazz and a pioneer of electronic music, Herman Blount aka Le Sony’r Ra better known as Sun Ra, was quite controversial for his electronic music and unorthodox lifestyle. He claimed he was of the
Music Dance Literature

Swift and Pope — LIT4252.01

Fall 2014
Instructor: brooke allen
Days & Time: TBA
Credits: 4
This class will concentrate on the Augustan authors Jonathan Swift (1667-1745) and Alexander Pope (1688-1744). We will read many of the two writers' major works: from Pope, Essay on Criticism, Essay on Man, The Rape of the Lock, The Dunciad, Imitations of Horace, Epistle to Dr Arbuthnot, and Moral Essays; from Swift, Gulliver's Travels, A Modest Proposal, Journal to Stella,
Literature

Teaching a Stone to Talk and Other Adventures in Writing Nature — LIT2587.01

Spring 2027
Instructor: Jenny Boully
Days & Time: TU,FR 2:10pm-4:00pm
Credits: 2

This a course in encounters and exhibitions that takes its cue from Annie Dillard’s essay collection Teaching a Stone to Talk. While studying the essays of Dillard, students will also be asked to walk, wander, wonder, and, of course, write. In addition to keeping a journal of silence, students will be asked to discover a place on

Environment Literature

Technologies of Heartbreak — LIT2409.01

Spring 2023
Instructor: Carly Rudzinski
Credits: 4
Reading itself is a mystery -- that these small black and white symbols on a page or screen should be able to pass along information, much less evoke specific emotions in a reader is ludicrous and makes no reasonable sense (not to me, anyway) -- and this class hopes to explore and pull at the loose threads of this mystery with a focus on writing that has the potential to break
Literature

Tell the Truth: Reading and Writing the Modern Memoir — LIT4286.01

Spring 2017
Instructor: Michael Dumanis
Credits: 4
In the past twenty years, the genre of memoir has exploded onto the literary scene. What is it about the intimate details of someone else's life that intrigues the reading public? Is there a hint of voyeurism is our enjoyment? Or do we simply fall in love with real people through the power of their words, and hope for them to overcome the obstacles that life has thrown in their
Literature

Terrible Choices: Philosophy & Tragedy — PHI4226.01

Fall 2025
Instructor: Catherine McKeen
Days & Time: TH 1:40pm-5:20pm
Credits: 4

The tragic protagonist is a person pushed to the breaking point- dealing with disaster, fate, suffering, unspeakable loss, and often the consequences of their own bad decisions. Greek tragedy shows human beings struggling in a world that often seems brutal, senseless, and beyond their control, where contingency is a hard fact of life. As such, tragedy raises significant

Literature Philosophy

That Dweam within a Dweam: Mawwiage in the Shakespeare Comedies — LIT2583.01

Fall 2026
Instructor: Manuel Gonzales
Days & Time: TH 1:40pm-5:20pm
Credits: 4

In this exploration of Shakespeare's comedies, we will focus our attentions on the marriage plot, the movement from disorder to order, the means by which the world is set to rights when a man marries a woman, whether or not they love each other or are right for each other, or if perhaps one of them is trapped in a love-potion spell cast on them by Robin Goodfellow, or maybe

Literature

The "I" of the Beholder — LIT4386.01

Fall 2023
Instructor: Franny Choi
Credits: 2
From James Baldwin's writing on Richard Wright, to Maggie Nelson's Argonauts, to Hanif Abdurraqib’s essays on pop music, many writers of nonfiction have taken up the task of looking at works of art, media, and literature by first looking inward. This 2-credit class will explore autotheory, first-person cultural criticism, and other critical writing that employs a
Literature

The "I" of the Beholder — LIT4386.01

Fall 2024
Instructor: Franny Choi
Credits: 4
From Maggie Nelson’s Argonauts, to Hanif Abdurraqib’s essays on pop music, to Saidiya Hartman’s writing on archives of the transatlantic slave trade, many writers have taken up the task of looking at history, art, and culture by first looking inward. This 4-credit class will explore autotheory, first-person cultural criticism, and other critical writing with a distinctly
Literature

The Anglo-Irish Novel — LIT2167.01

Fall 2017
Instructor: Annabel Davis-Goff
Credits: 4
The contribution to British literature by the politically powerful, Protestant, land owning, Anglo-Irish is substantial and important. We will read Maria Edgeworth, Elizabeth Bowen, and Somerville Ross as representatives of the Ascendancy, as well as novels that reflect the political changes of the 1920s, and life, after Irish independence, for the descendants (actual and
Literature

The Art of Literary Criticism — LIT4586.01

Spring 2021
Instructor: Benjamin Anastas
Credits: 4
“We live in a golden age of criticism,” W.J.T. Mitchell famously declared in 1987, and by that he meant that the dominant literary forms of the late 20th Century—poetry, fiction, drama and film—had lost the supremacy they’d long held to the emergent high-minded fields of literary criticism and literary theory. The Critic and the Artist have always been at odds, though recent
Literature

The Art of Literary Translation — LIT4319.01

Spring 2022
Instructor: Marguerite Feitlowitz
Credits: 4
It may well be that the closest, most interpretative, and creative reading of a text involves translating it from one language to another. Questions of place, culture, epoch, voice, gender, and rhythm take on new urgency, helping us to deepen our writerly skills and sensibilities. As Joseph Brodsky put it: “You must memorize poems, do translation, study foreign languages. And
Cultural Studies and Languages Literature

The Art of Literary Translation — LIT4319.01

Spring 2017
Instructor: Marguerite Feitlowitz
Credits: 4
It may well be that the closest, most interpretative, and creative reading of a text involves translating it from one language to another. Questions of place, culture, epoch, voice, gender, and rhythm take on new urgency, helping us to deepen our writerly skills and sensibilities. As Joseph Brodsky put it: “You must memorize poems, do translation, study foreign languages. And
Literature

The Art of Literary Translation — LIT4319.01

Spring 2015
Instructor: Marguerite Feitlowitz
Credits: 4
It may be that the closest, most interpretative and creative reading of a text involves translating from one language to another. Questions of place, culture, epoch, voice, gender, and rhythm take on new urgency, helping us deepen our skills and sensibilities in new ways. The seminar has a triple focus: comparing and contrasting existing translations of a single work; reading
Literature

The Art of Literary Translation — LIT4319.01

Fall 2013
Instructor: Marguerite Feitlowitz
Days & Time: TBA
Credits: 4
It may be that the closest, most interpretative and creative reading of a text involves translating from one language to another. Questions of place, culture, epoch, voice, gender, and rhythm take on new urgency, helping us deepen our skills and sensibilities in new ways. The seminar has a triple focus: comparing and contrasting existing translations of a single work; reading
Literature

The Art of Literary Translation — LIT4319.01

Spring 2020
Instructor: Marguerite Feitlowitz
Credits: 4
It may well be that the closest, most interpretative, and creative reading of a text involves translating it from one language to another. Questions of place, culture, epoch, voice, gender, and rhythm take on new urgency, helping us to deepen our writerly skills and sensibilities. As Joseph Brodsky put it: “You must memorize poems, do translation, study foreign languages. And
Literature

The Art of Literary Translation: Your Histories, Texts, and Authorial Selves — LIT4319.01

Spring 2023
Instructor: Marguerite Feitlowitz
Credits: 4
It may well be that the closest, most interpretative, and creative reading of a text involves translating it from one language to another. Questions of place, culture, epoch, voice, gender, and rhythm take on new urgency, helping us to deepen our writerly skills and sensibilities. In this course, you will translate a myriad of texts, including works you have written, or are
Cultural Studies and Languages Literature

The Art of Spectacle — DRA4291.02

Fall 2020
Instructor: Michael Giannitti
Credits: 4
This class will be a focused study of Spectacle - or writing the impossible play -- in conjunction with a short study of the Poetics.  We will investigate how spectacle can be deeply connected to the perception shift (when done correctly).  Reading will include a wide breadth of works from Robert LaPage and the Rude Mechs, to B.J. Jenkins and Young
Drama Literature

The Bible as a Key to Environmental Thought — MED2120.01

Spring 2021
Instructor: Michael Cohen
Credits: 1
This survey course will analyze the environmental dimensions and lessons of the book of Genesis and other books of the Bible, and at times from other traditions as well. Through the use of mostly contemporary commentators the text of the Bible will also be read as an environmental text. The course will also examine the scores of references to nature and the environment with an
CAPA Environment Literature

The Black Aesthetic — LIT4267.01

Spring 2016
Instructor: Benjamin Anastas
Credits: 4
This course will focus on the history and practice of the black aesthetic, as it has been defined by African Americans from three incarnations: slave narratives, the Harlem Renaissance of the 1920’s and 30’s and the Black Arts Movement of the 1960’s and its evolution thru the end of the 20th Century. There will be assigned readings from various literary critics,
Literature

The Camp Aesthetic — DRA2167.01

Fall 2023
Instructor: Maya Cantu
Credits: 4
An elusive sensibility that defies definition, camp is everywhere in 2023, as fueled by the worldwide juggernaut success of “RuPaul’s Drag Race.” Sometimes seen as gaudy, perverse or excessive, camp is a sophisticated and consummately theatrical style, doubly viewing life as theater and gender as performance. Camp’s essence “is its love of the unnatural: of artifice and
Drama Literature Society Culture and Thought