Read beyond national and disciplinary boundaries

The major in Literature is perfectly suited for students who love to read, analyze and create texts. Students seeking a bachelor's degree in Literature will encounter canonical literature, including poems, plays and novels, as well as films, oral storytelling, song, journalism, comics, digital media and so much more. In addition to acquiring a broad knowledge of literary history, criticism and theory, students will learn the skills to create some of the forms they study. The major thus produces critical readers and writers.

Central to the major in Literature is the notion that literature has a vital relationship to culture and society. As the major offers students a traditional grounding in literary study and, at the same time, opens up connections to professional pathways, our students learn to think critically about the ways in which literary culture operates in the global sphere. Our topics-based courses are taught by faculty who publish internationally and have connections with the creative industries. Our offerings are particularly strong in the fields of postcolonial studies, travel writing, ecocriticism, media studies and modern literature and culture.

Students who pursue a Literature major graduate prepared and inspired to pursue careers in fields such as journalism, publishing, researching, non-profit or government agencies and the media. Many students go on to further education in literary studies.

    Majors

    The Literature major is organized around three components. After completing foundation courses that give students the essential tools for literary analysis and a strong theoretical grounding, students go on to choose among more specialized and advanced literary studies courses in a broad range of topics. Students are also encouraged to pursue elective courses that explore the socio-historic and environmental contexts that influence literary forms and cultures of production. Finally, students take electives that link up with particular professional pathways.

    View Requirements

    Literature

    Central to the major in Literature is the notion that literature has a vital relationship to culture and society. In addition to acquiring a broad knowledge of literary history, criticism, and theory, students learn the skills to create many of the forms they study. As such, the major produces critical readers and skilled writers. A degree in Literature is perfectly suited for students who love to read, write, analyze, and create. Students in this major will study canonical literature (including poems, plays, and novels), as well as film, oral storytelling, song, journalism, comics, and digital media forms. The major offers students a traditional grounding in literary study and, at the same time, invites students to think critically about the ways in which literary culture is embedded in various practical and professional spheres. The department’s offerings are particularly strong in the fields of postcolonial studies, travel writing, print and media studies, and modern literature and culture.

    Students who major in Literature graduate prepared and inspired to pursue careers in fields such as journalism, publishing, teaching, professional writing, researching, non-profit or government agencies, and the media industries. Many students go on to further education in literary studies.

    The Literature major is organized around three components: foundational courses that provide essential tools for literary analysis and a strong theoretical grounding; more specialized and advanced topic-based courses; and finally elective courses that explore related fields, areas of study (e.g. history and media studies), and industries.

    Major Requirements (45 credits)

    Foundation Courses (6 Credits)
    LC 100 The Stories We Live By

    Stories are everywhere. We use them, consciously or unconsciously, to make sense of identities, experiences, and desires. And, at the same time, we are shaped by the stories that we absorb and interpret. This course explores how storytelling both reflects and shapes our lives. It introduces students to keywords and terms for reading and reflecting upon stories, both in the pages of books and in everyday life. The course considers a variety of narrative forms, including short stories, novels, fairy tales, self-help manuals, comics, films, podcasts, and political discourse. The course introduces students to fundamental questions about the nature of storytelling, while developing the vocabulary and critical skills for analysing and discussing stories. This is a writing intensive course in which students read as they learn to write. Students practice applying a critical vocabulary to textual forms as well as becoming familiar with the skills of drafting and editing. The course also introduces students to some of the professional pathways open to writers and storytellers.

    LC 110 Reading Cultures: Approaches to Cultural Studies

    This course has two primary goals: to introduce students to the history and theoretical writings of various strands of cultural studies, and to acquaint them with some of the intersecting axes - race, class and gender - that energize the field. Close attention will be paid to issues such as the shaping of identity, forms of representation, the production, consumption and distribution of cultural goods, and the construction of knowledge and power in a host of cultural practices and cultural institutions.

    Literature Courses (18 Credits)

    Six of the following, at least two of which must be at the 300-level:

    LIT 201 Deception

    Deception, in all its forms, including eavesdropping, adultery, cheating, and trickery, functions as a narrative motor in the nineteenth- and twentieth-century novel and film. This class examines this notion of deception in literary and visual cultures. In particular, this class will focus on the strategies of narrative structures in the European novel and film from 1840s through the late twentieth century. Students will consider eavesdropping, lying, adultery, cheating, gender switching, and their narrative consequences relating to gender and class through the course of the semester. European Realism, with its focus on the every-day and the darker side, signals a shift away from the Romantic and will introduce the study of deception in a cross-cultural context.

    LIT 221T Bloomsbury Britain: Art, Craft, Culture

    The primary thematic focus of this course is the Bloomsbury Group, a loose network of writers, artists, and intellectuals (including Virginia Woolf, E. M. Forster, John Maynard Keynes, and Roger Fry) who gathered in the squares of the Bloomsbury area of London during the first decades of the twentieth century. The course considers the exciting and creative possibilities of living in this period of dramatic social and cultural change. It pays particular attention to the possibilities for artistic creation at a time when art was not ethereal but rather a concrete and vibrant part of everyday life. Students will visit a variety of locations associated with the Bloomsbury Group: the homes that became laboratories for artistic production; public spaces of popular, commercial, and high art such as cinemas, galleries, and bookshops; as well as muse-ums and archives. In addition to London, the travel will take students to other locations in southern England, including Brighton, Lewes, and Charleston.

    LIT 236T Prague on the Page: Alienation and Absurdity

    The literature of Prague lies in the city's complex web of identities, a web created by social upheaval through the ages. Beginning with sixteenth-century tales of the Golem, the clay figure animated by Rabbi Loew to protect the city's Jewish community, students will investigate how Prague's writers have responded to the politics of their times by embracing the surreal and the ambiguous. In particular, this class will look at how these authors have found inspiration in the city itself. Reading includes Franz Kafka's evocation of the early twentieth-century city and a selection of works by more recent writers such as Weil, Kundera, and Hakl. Studying the way these writers repeatedly draw on each other through the idea of the city as a text, students will visit their haunts in Prague and its surroundings, and map their works onto the city's landscape and onto its history, with the surreal Kafka museum as a starting point.

    LIT 238 Crafting the Journey: Studies in Travel Narratives

    In this course, students will engage with representations of travel produced across time and in various forms and genres, from the exploration novel to travel journalism to the road movie. They will consider how travelers negotiate and adapt various tropes of travel (such as quest, exploration, exile, and pilgrimage) as models for their own journeys. They will explore how the ephemeral experience of travel can be translated onto the page or screen, and question what we, as readers or viewers, gain from experiencing travel second hand. And, finally, students will analysis the particular narrative features that shape the form and content of travel writing. In this writing intensive course, students will also get the chance to practice the forms that they study.

    LIT 243 On Being Human

    This course examines what it means to ''be human'' and how humanity, or its opposite, has been depicted in literature and film. Through reading a broad selection of texts, from the classics to the present day, students will explore such issues as: the relationship between self and other; madness; the borders between human and monster, human and animal, and human and machine. The course will cover religious, philosophical, scientific, and cultural conceptions of human character and purpose. Students will read a broad variety of works that unsettle the boundaries of the self, that draw attention to those groups that have been excluded from the category of the human, and that ask us to engage with what Aristotle called, ''being qua being'' or, the study of what it is to be. The course reading list may include such works as: Mary Shelley's Frankenstein, Janice Galloway's The Trick is to Keep Breathing, Guillermo del Toro's Pan's Labyrinth, Andrew Currie's Fido, Richard Wright's The Invisible Man, and Jeanette Winterson's Sexing the Cherry.

    LIT 254 Introduction to Postcolonial Literatures and Theories

    This course is designed as an introduction to the field of postcolonial studies. Readings will familiarise students with a diversity of ''world literature'' and grant an understanding of key debates in postcolonial studies. As postcolonialism is not a unified field of study, the course engages with different theoretical understandings of the term and queries what it even means to be ''postcolonial.'' When exactly does the postcolonial begin? What are the implications of using such a broad umbrella term to designate writings from around the world? Students will explore depictions of the colonial encounter and decolonisation, question the links between colonialism and globalisation, and examine constructions of East and West, Global North and Global South. Central to the course will be the themes of: power and violence; economics and class; land and nation; authenticity and development; gender and sexuality; history and memory; the politics of literature; and the politics of print culture. Students will read a diverse and broad historical selection of texts from a variety of geographical locations including, India, Kenya, New Zealand, South Africa, Zimbabwe, and Jamaica. Literary texts will be paired with theoretical readings from such critics as Kwame Anthony Appiah, Ann McLintock, Benita Parry, Franz Fanon, and Edward Said. Although the main focus of study is literature, the course will adopt an interdisciplinary approach, understanding literary works as products of cultural, historical, social, and political circumstances. Throughout the course, students will explore how colonial power has shaped—and continues to shape—the world in which we live.

    LIT 255T Scotland, Story and Song

    For such a small nation, Scotland is certainly a very noisy one. From traditional Mouth Music, to Gaelic folk tales, to the Bay City Rollers, The Proclaimers, and indie-pop groups such as Belle and Sebastian and Django Django, Scotland has a long and rich culture of music. This travel course places Scotland’s rich musical heritage in the broader context of storytelling in all its forms and genres, including film, fiction, and poetry. Students will travel from Edinburgh on the east coast to Glasgow on the west, and will also visit the Highlands and Islands to study the vibrant folk music culture there. Scottish music will be used as an entrance point to the country’s culture and history. As students close read (and close listen) a variety of works, they will investigate the ways in which these works buy into, help to build, or struggle against particular mythologies of ''Scottishness.'' The course will also explore the links between storytelling and nationalism, oral and written tradition, popular and ''high'' culture. While most attention will be paid to works produced in Scotland, the course will also take into account externally produced images of Scotland and the Scottish (for example, the abiding popularity of Braveheart or The Simpson’s Groundskeeper Willie). Finally, the course will consider how Scottish music and literature has been marketed and produced in such venues as university departments of Scottish or Celtic Studies, record labels such as Postcard Records, and publishers such as Cannongate Press.

    LIT 256 Britain in Fragments: Literary Production from 1945 to the Present

    In this course, students will read a broad selection of British Literature, from the post-war period to the present day. While the literature of the early twentieth century is often characterized as international in nature, in the post-war era and during the epoch of decolonization, British literature takes an apparent inward turn, becoming increasingly interested in the nature and definition of Britishness. Yet, the literature from this period is not necessarily insular or parochial, but rather depicts the emergence of a complex and contested national identity as the British archipelago developed from within its own borders to become a more and more culturally diverse territory. During the course, students will examine how regional identities conflict or overlap with national identity considering, for example, the North/South divide and urban/rural divisions; will study the rise of various competing nationalisms within the bounds of the archipelago, including Scottish nationalism; and will explore the growing impact of diverse immigrant communities on the national character. The course examines British literature and culture not as a homogenous whole but as a varied and sometimes contentious conglomeration. Through reading a variety of poetry, prose, and drama, students will explore what characterizes contemporary Britain and what the status and role of literary culture is today. They will develop an understanding of the current state of British literary production as well as the relation between the nation state and the state of fiction. Reading list may include works by: Julian Barnes, Seamus Heaney, Sam Selvon, Ali Smith, Zadie Smith, and Irvine Welsh.

    LIT 258 Literary Adaptations

    Students gain familiarity with some of the canonical texts of literary tradition as well as the ways in which these have been adapted, rewritten, appropriated, and deconstructed at different times, and for various purposes and audiences. Students explore an interdisciplinary range of texts, from film, graphic novel, drama, and fiction, as they investigate how, in the words of Robert Stam, adaptations ''help their sources . . . ‘survive’ . . . changing environments and changing tastes.'' As students consider primary texts alongside some adaptation theory, they will ask such questions as: what differences do genre and form make? What are the opportunities and challenges inherent to the process of adaptation? How do multiple versions of the same story trouble our ideas about originality? The course may also focus on feminist and postcolonial adaptations, or those that otherwise challenge or re-chart their original texts, thus providing them with sometimes surprising afterlives. (Recommended prerequisite: LC 100W)

    LIT 300 Modernism/Modernity: "Making It New"?

    This course explores the meanings of ''Modernism,'' the artistic tendency which sprang up in a profusion of forms in the first half of the twentieth century. This was a time of sweeping social change and radical innovation in literature. As students ask, ''what is modernism?'' they will engage with the contingencies, complexities, and contradictions of modern literature, and acknowledge the sheer diversity of the literary responses to modern times. Students will read works from a variety of modernist movements, and consider the relationship between literary modernism and developments in music and the visual arts. They will study works by such writers as Mulk Raj Anand, Virginia Woolf, T. S. Eliot, Evelyn Waugh, and Nella Larsen. As modern literature often broke with or transformed traditional concepts of literary realism, some of the course work will be challenging; it will ask students to pay close attention to narrative innovations such as stream of consciousness, irony, and multiple point of view. The course will consider various issues, including: emerging psychological theories, responses to imperialism, technological and scientific advances, the city, attitudes towards history, concepts of self and other, and changing relations between genders, cultures, and races.

    LIT 305 Home

    How do we define home? What does it mean to feel or make one's self at home? Is a home a house, a place, or, to use another cliché, is home ''where the heart is''? In this course, students will examine different conceptions of home in a variety of fictional works. The course will look at constructions of home as an architectural, domestic, and often gendered space. It will also ask students to think about what it means to define home more broadly as, for example, a homeland or native tongue, and, in so doing, consider how modern immigration and the processes of globalisation have changed our relationship to our homes. Throughout the course readings will invite us to reflect upon the links between home and belonging. Finally, as students read about homes that are on the move (caravans, nomads, etc.) or otherwise in flux, they will rethink the binary opposition between the home and the journey. Works read include: Jean Rhys's Voyage in the Dark, Evelyn Waugh's A Handful of Dust, Henry James's The Spoils of Poynton, and Amitav Ghosh's The Shadow Lines.

    LIT 308 Printing Dissent: Protest on the Page

    From the pamphlet wars of the eighteenth century to the suffragette newspapers and ephemera of the nineteenth century, from the Irish revolutionaries who printed the Proclamation of the Irish Republic in 1916 to the anti-apartheid activists at South Africa’s Drum magazine, printing and publishing has long been associated with protest and activism. In this course students will examine print as a tool of dissent. Through looking at key examples of protest in print culture, students will study how print has been used to document, explain, and disseminate dissatisfaction with the status quo and to push for change. The course will focus on historical moments where technological developments in print culture coincided with (or, indeed, enabled) the growth of dissenting ideas. As well as studying the material and social contexts of publishing, students will read fictional works where protesting on the page is a key theme, and, finally, will also have the opportunity to practice various aspects of the craft of printing in small practical workshops.

    LIT 320 Elective Ties: Love, Friendship, Community

    E. M. Forster famously said, ''if I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country.'' His words suggest that, in thinking about the communities that we live within, we might distinguish between those that we are born into and those that we form by choice. Throughout the semester this course will consider both specific literary representations of chosen or ''elective'' ties and their broader cultural significance. The course is interested in examples of what can happen when elective ties clash with other concepts of community. Students will thus consider various philosophies of and models for friendship, including comradeship, brother/sisterhood, and loyalty. They will look not only at positive examples of elective ties but also at examples of potentially dangerous or destructive ties, such as bullying. Because one significant aspect of elective ties is the way in which they cross over national, cultural, and linguistic borders, the works studied will also cross these borders. Students will engage with a broad range of critical texts, novels and films.

    LIT 353 Advanced Studies in Postcolonial Literatures

    This course considers a special topic in postcolonial studies. At different times, the course may focus on a particular region, writer, or theme, such as, for example, litera-ture from post-apartheid South Africa, depictions of the immigrant experience, or Car-ibbean poetry.

    COM 204 Media Ecology

    This course explores media from the lens of ecology, using ecological concepts and thinking to both explore media as ecosystemic and reflect upon media production and consumption in terms of sustainability. Ecology is evoked because it is one of the most useful and expressive contemporary discourses to help articulate both the dynamic interrelations and interactions that characterize all forms of community as well as the ethical and political implications of their maintenance, management and/or disruption. The ultimate goal of this course is to put media in its place; situating prominent media forms within their unique cultural, historical, and geographical places and putting media in its appropriate place in our own lives and communities.

    ENV 220 Ecocritical Approaches to Literature

    This interdisciplinary course will introduce students to environmental literary criticism, more commonly known since the 1990s as ''ecocriticism.'' As a theoretical approach to literature, eco-criticism provides a secondary lens through which to analyze primary sources; an eco-critical approach focuses on how these primary sources have ''constructed'' our relationship to the natural world through writing and narrative. In applying eco-critical theory to a selection of primary fiction, students will examine some of the major environmental themes found in literature, among others: land use, speciesism, climate change, environmental apocalypse, and the post-human. Students will explore these themes using some of the basic critical tools and methodologies of ecocriticism, not only to explore how authors write about the environment, but also to examine how the environment itself is constructed through aesthetic discourse. Students should leave the course with improved critical environmental literacy skills that will enable interdisciplinary reflection about our interactions with the natural environment.

    Electives (15 Credits)
    Literary Contexts

    Three of the following, at least one of which must be at the 300-level:

    AHT 213 Art and Ideas: Exploring Vision

    The course departs from the question of whether vision is simply what the external world imprints on our retina or if it is a cultural construct? Is it purely physiological or can we speak of a history or histories of the eye? How do culture, science, and ethnicity influence what we see and how se see it? Keeping these questions in mind the course studies aspects of vision (perception, reception, revelation, blindness) - both from an empirical and from an historical point of view. Besides practical exercises related to the seeing eye, the course examines the discovery of perspective in the Renaissance, the invention of the Baroque theater, gender and gaze in modernity, and optical instruments of the Enlightenment as precursors for modern photography and film.

    AHT 216 Introduction to the History of Photography

    This course offers an introduction to the history of photography from its inception in the early 19th century to the present day. It considers the specific historical development of the photographic medium through the evolution of both its technical possibilities during the period and the range of its applications. The course will question past and present readings of photographs, while reflecting on the peculiar modes of representation implied by the use of the daguerreotype, the calotype and the negative-positive photographic process, the commercialization of photographic equipment in the early 20th century, the introduction of the Kodacolour film in 1942, and the changes in the late 20th century with the introduction of the digital camera. It will consider a set of different objects favored by the medium, such as the landscape, the city, the portrait, the body, taking into account the historical socio-political contexts in which these various photographic practices developed. It will consider the history of genres within photography: documentary photography, photography as fine art, photography in advertising and media, fashion photography, as well as its archival and historical documentation. Finally, the course will emphasize the question of the impact and influence of photography on other artistic mediums, such as painting and literature, as well as on the modern and contemporary experience of the world.

    CLCS 200 Gender and Sexuality in a Global Context

    This course presents an interdisciplinary introduction to key concepts in gender studies. Focusing on the way in which gender operates in different cultural domains, this class investigates the manner in which race, culture, ethnicity, and class intersect with gender. (This writing-intensive course counts towards the Academic Writing requirements).

    CLCS 371 Law and Culture

    This course aims to investigate law's place in culture and culture's place in law. This focus proceeds from the realization that law does not function in a vacuum but exerts a powerful influence on all manner of cultural practice and production, even as its own operation is influenced in turn by various forms of culture. Given this increasing porosity and interpermeability of Law and different forms of culture, the focus of this course is on the mutual influence between law and other discursive practices, such as literature, TV sit-coms and film. In studying a number of prominent legal cases such as Brown v the Board of Education, we will explore the following questions: What are the mechanisms by which popular representations and cultural practices find their way into legal processes and decisions? How does law in turn bleed into and influence cultural processes? Does law act as a buffer against societal assumptions about, and constructions of, gender, age, ability, sexuality and ethnicity, or does it re-enforce and re-inscribe existing social norms?

    CLCS 360 Critical Race Studies in a Global Context

    In this course, the class will work to create a more critical understanding of what race is, what race does, and how contemporary racial meanings are constructed and disseminated. In order to do so, students will explore Critical Race Theory (CRT) and critical theories of race in several contexts. CRT refers to a theory that emerged among legal educators in the US in the 1980s and 1990s. In the last twenty years, a growing number of scholars in fields such as cultural studies, gender studies, history, media studies, politics, postcolonial studies and sociology have integrated and developed the work done by critical race theorists. This course will focus in particular on this interdisciplinary approach to critical race studies. The practice of race will be examined as well as the policies and institutions that shape race in a global context in the twentieth and twenty-first centuries. Finally, students will consider the intersection of race and other social hierarchies, including gender, sexuality and social class.

    COM 301 Globalization and Media

    This course examines media in the context of globalization. Most broadly, students will explore what constitutes globalization, how globalization has been facilitated and articulated by media, how media have been shaped by the processes of globalization, and perhaps most significantly, the social implications of these complex and varied processes on politics, international relations, advocacy and cultural flows. In order to map this terrain, students will survey the major theories that constitute this dynamic area of study.

    HIS 211 The Human in History: Biography and Life Writing

    The study of history is about the role of human beings in changing times. Over the last two hundred years the idea of the role of humans in history has developed from the ‘hero’s’ perspective of agency to an understanding of the interplay between the individual and the wider environment and society. This course explores how these changing examples have been represented in biographical and autobiographical writings, and what these different perspectives mean for our interpretation of the role of human beings in history. Starting with the autobiography of Benjamin Franklin and excerpts from various biographies of this Founding Father of the United States, this course also serves as an introduction to the history of historiography and life writing in a western context, and enables students to further contextualize their own experience and research.

    HIS 358 Global Britishness

    The concept of ‘Global Britishness’ began as loyalty to the colonial motherland on the part of Britain’s white settler colonies (Canada, Australia, South Africa, New Zealand). This was transformed after the Second World War into a set of uneasy nationalisms by the 1970s. In recent years these ex-colonies have witnessed a re-identification with earlier concepts of Britishness (royal visits, war commemoration) at a time when the very concept of Britishness is perceived to be under threat from Scottish devolution (and possible independence) and Britain’s exit from the European Union. ‘Global Britishness’ presents a fascinating array of competing and intersecting identities across global, imperial and national lines. Students gain a greater understanding and awareness of; the processes and agencies of Britain’s imperial decline; the reactions to this among the various white settler colonies; the differences and similarities between these reactions; the practices of cultural and transnational history; and, contemporary legacies of the British Empire in the settler colonial world.

    IS 279 Italian Myths and Counter-Myths of America

    The stories told in the films and novels to be studied in this course were written by two generations of Italians typically associated in literary history with what has been called the mito americano, or American myth. Defining and contextualizing this myth will be among our first objectives. In what ways has the New World positively impacted Old World culture and, conversely, what are some of the negative perceptions of America (or apocalyptic anxieties) represented by Italian writers and filmmakers? Authors to be studied (in translation) may include Mario Soldati, Ignazio Silone, Beppe Fenoglio, Eugenio Montale, Italo Calvino, Curzio Malaparte, Elio Vittorini, Cesare Pavese, Umberto Eco, Alberto Moravia, Giorgio Bassani. Among the chief learning goals in this course is to provide students with the opportunity to consider some of the common metaphorical and allegorical terms in which America has been positively and negatively mythified through the lens of Italian film, poetry, and fiction.

    One upper-level French, German, or Italian class in the original language
    Professional Pathways

    Two of the following:

    BUS 136 Marketing in a Global Context

    This course is an introduction to the tools and concepts used in the marketing process for consumer and industrial products as well as for services. The focus is on the basic marketing concepts (product, place, price, promotion) as they relate to the field of global marketing. Emphasis is placed on the increasingly important role of interdisciplinary tools to analyze economic, cultural and structural differences across international markets. Specific consideration is given to the development of integrated marketing programs for a complex, global environment.

    BUS 285 Integrated Marketing Communications

    This course exposes students to an integrated, global approach of two-way communication with consumers, customers and suppliers, and other stakeholders of companies and organizations. Students explore the communications process that is essential in contemporary global business cultures. Media options are explored for a range of target audiences. Discussions on the use of advertising, public relations, sales promotions, internet promotion, direct marketing and other techniques will be included. It takes a contemporary approach to the field of integrated marketing communications, highlighting how recent changes and rapid changes in the family, business environment, technology and the world in general are forcing communications specialists and advertisers to make major changes in the way they reach their markets. The course will draw on knowledge in fields such as psychology, sociology and anthropology, as well as media studies and communications.

    COM 201 Fundamentals of Media Studies and Criticism

    Media pervades our social and private lives. We make it and in turn it makes us. This course offers an introduction to media studies, a field which seeks to understand and use media in complex and intentional ways. The course explores media as content, as an industry and as a social force. In this way, media is understood as both as an artifact (constituted by many parts) and as a set of complex processes (including production, distribution, regulation and consumption). Students will learn key vocabularies and concepts in and approaches to media studies that will help them to define, describe, and critique media artifacts and processes in a variety of written and spoken formats. In addition to equipping students with the skills to understand and critique media, this course encourages and provides students with the building blocks to produce media content. Students who successfully complete this course will be prepared to take advanced courses in media studies.

    COM 310 Issues in Journalism

    This course uses key topics, themes and trends in journalism to explore the foundations and functions of the press, learn techniques of gathering and writing news, discuss the shifting terrain of journalism, and reflect upon the status and functions of journalism in different cultural contexts. As a writing-intensive course, this course is designed to help students produce high quality written work through a process of drafting, workshopping and editing. Written work may include journalistic reviews, letters to the editor, pitches to the editor and interviews.

    CRW 100 Introduction to Creative Writing

    This course presents an introduction to creative writing through a variety of genres, including poetry, prose, fiction and non-fiction. By paying close attention both to literary models and original student writing, this class asks that participants reflect on the relationship between reading and writing, and voice and context. Students will compose short pieces in a variety of genres and present them for critique in weekly workshops. A final portfolio of all work during the semester will act as a springboard for more advanced courses in creative writing.

    CRW 110T Paris Protagonist: Lost in Translation

    This Academic Travel and creative writing course creates the occasion for an intensive hybrid scholarly/creative encounter with a mythical urban landscape which figuratively lives and breathes, as a protagonist, through French literature and film. The travel component that underscores this course will also mark the culmination of this Parisian encounter, ushering students from the realm of theory to practice with daily (on-location/site-driven) writing prompts and workshop-style events designed to address the following key questions: What forms does this protagonist assume as s/he endures through time? What voices emerge from the space of her debris? What gets lost in translation and how can the dialogue between art and cultural theory aide us in finding our way through this impasse of loss? How can the deepening of a student’s cultural awareness help the City of Light avoid being subsumed by her own, distinctive, and almost irresistible, charme fatal? Three thematic modules will frame this exploration and create a groundwork on which to base the student’s intellectual discovery and experimentation as writers/travelers: the poetry of Charles Baudelaire highlights the unique experience of Parisian space; the contribution of Surrealism which both defines and defies the peculiarities of Parisian time; the French New Wave (contrasted to foreign cinematic renderings of Paris), with a focus on the twin concepts of translation-transfiguration, allegories of Light and ''Othering.'' Students enrolling in this course may expect dual-language editions of French literary sources and French films with English subtitles (when possible).

    CRW 325 Advanced Creative Writing Workshop

    A writing workshop that allows students to explore different forms of prose writing including the traditional novel, the epistolary novel, and the graphic novel. This course will emphasize central techniques such as character, setting, beginnings and endings. Each week students will present sketches for critique in the writing workshop, and will compose a short piece of fiction for publication in the final class journal.

    FRE 303 French Translation

    This course first aims at showing students how translation studies are very much concerned with interpretative categories such as gender, race, and class. It is then designed to reinforce student knowledge and understanding of different linguistic systems. It finally results in sharpening an awareness of the distinctive characteristics of both French and English cultures and languages through the translation of literary and non-literary texts.

    STA 106 Introduction to Printmaking

    This experimental, introductory course will explore the creative possibilities of media that have often been considered largely mechanical and reproductive processes. Comments on the history of printing will be integrated in lessons on relief and intaglio printing processes (monoprints, linoleum cuts, wood block prints, embossing, drypoint). Visits to museums, exhibits or ateliers may be organized if possible. (This course carries a fee for art supplies.)

    STA 206 Intermediate Printmaking

    Intermediate course aimed at further developing the basic printing skills learned in STA 106. More techniques of printmaking may be explored, for example, silkscreen or collagraph. (This course carries a fee for art supplies.)

    VCA 200 The Arts of Independent Publication

    In an increasingly digital age, books have experienced a renaissance as a privileged channel of independent creative expression. This course takes this resurgence as a starting point to investigate the historical forms and contemporary opportunities offered by the book medium to artists, writers and activists. First, students will be introduced to the history of the printing revolution in Europe, the development of typography and their impact on intellectual and political history. Second, the course will look at the production of artists’ books in the 19th and 20th century, in parallel with the advent of modernity, where numbered editions signalled a printing alternative to the rise of mass culture. Third, a strong emphasis is placed on exploring a range of models and opportunities offered by contemporary independent publishing. In that vein, the course will consider both material and virtual channels, taking into account the surge of digital technologies and their implications in both the return to the book as a physical object, and the connections the latter nurtures with its electronic parent. Students will look at the aesthetic, social and political remit of contemporary publishing practices, and will be asked to develop a personal publishing project. Recommended prerequisite: AHT 102 or AHT 103 or LC 100 or COM 201

    Capstone Requirement (6 Credits)
    LC 497 Capstone: Comprehensive Readings in CLCS and Literature

    LC 497 is the first of two capstone courses for majors in CLCS and in LIT. LC 497 is designed for all students and will follow the trajectory of a traditional reading course. Students and the professor will choose an extensive reading list that includes fundamental, primary and theoretical texts in literature and CLCS taken largely from the courses taught in the disciplines. Students will then choose their own texts to add to the core list that represent the individual student's particular area of interest. Class sessions will be devoted to the development of the list and subsequent discussion of the chosen works. Evaluation pieces include a comprehensive exam and a proposal for the subsequent thesis (LC 499) or internship project (LC 498).

    One of the following:
    LC 498 Capstone: Internship in CLCS or Literature

    LC 498 is one of two available alternatives (the other being a thesis) for the second of two capstone courses for majors in CLCS and in LIT. LC 498 represents the culmination of the interdisciplinary, intercultural experience at Franklin. Students will complete an internship that represents the capstone to their major experience. An internship is recommended for students entering a professional field.

    LC 499 Capstone: Thesis in CLCS or Literature

    LC 499 is one of two available alternatives (the other being an internship) for the second of two capstone courses for majors in CLCS and in LIT. LC 499 represents the culmination of the interdisciplinary, intercultural experience at Franklin. Students will complete a thesis that represents the capstone to their major experience. A thesis is recommended in particular for students interested in pursuing graduate school.

    Faculty

    Coordinator of Digital Pedagogy Initiatives and the WLCAdjunct Professor of Languages, Literatures and Cultures

    Ph.D., University of Manchester, UKM.A., University of Otago, New ZealandB.A. (Double Hons), University of Otago, New Zealand

    Office: Kaletsch Campus, Office 8
    Phone: +41 91 986 53 20
    kroy@fus.edu

    Kate Roy

    THIS PROGRAMIS ORGANIZED BY