Literature Requirements

This interdisciplinary course will explore the theme of justice through the medium of the graphic novel. Although the battle between 'good' and 'evil' has been a mainstay of comic books for many generations, the emergence of the graphic novel as a recognized and serious artistic and literary medium has also problematized the theme of justice and its many variants, whether environmental, social, sexual, gendered, or racial. This course takes a serious look at how the graphic novel tells stories about justice. It explores the rhetorical, visual and semiotic strategies authors are using to tell those stories, considers critical approaches to the graphic novel as a medium, and studies the reception of graphic novels about justice in comparison with other media.

This interdisciplinary, writing-intensive 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. (This writing-intensive course counts towards the Academic Writing requirements.)

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.

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.

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).

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?

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.

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.

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. (This writing-intensive course counts towards the Academic Writing requirements.)

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. (This writing-intensive course counts towards the Academic Writing requirements.)

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.

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.

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. (This writing-intensive course counts towards the Academic Writing requirements.)

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. (This writing-intensive course counts towards the Academic Writing requirements.)

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).

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.

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.)

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.)