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Program Overview

Literature

Master of Arts in Literature

Through advanced literary study, students grapple with the thought and creative vision of the world’s most remarkable minds: rediscover and master classic texts while exploring exciting, contemporary works, diverse genres, and cutting-edge ideas in narrative form and interpretation. This broad and stimulating intellectual challenge improves the ability to analyze complex information, challenge assumptions, weigh competing considerations and reach effective conclusions. Graduates of the MALit program are well prepared for application to PhD programs and for success in diverse professional areas from advertising to law. Secondary-school teachers develop a competitive edge by deepening their subject-area knowledge — a key distinction between the MALit program and more general graduate programs in education.

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Paula Derdiger

In a professional sense what made a big difference for me was the opportunity to study with the faculty. One in particular I still work closely with today.”

Paula Derdiger (MALit '08) PhD, assistant professor, University of Minnesota-Duluth

About the MA in Literature

Master's in Literature Program Goals

MALit graduates benefit from an interdisciplinary program that:

  • Exposes students to Northwestern University’s distinguished and world class instructors.
  • Provides students with countless opportunities to engage with others who are passionate to rediscover and master classic texts while exploring exciting, contemporary works, diverse genres and cutting-edge ideas in narrative form and interpretation.
  • Engages students in advanced literary study, which improves critical assessment and problem solving skills which translate to work, personal and intellectual life.
  • Sharpens analytical and writing abilities, which can help prepare students for application to PhD programs.

Literature Curriculum

Students must complete nine courses to complete their Master of Arts in Literature degree. Students must complete one core course (LIT 410 Introduction to Graduate Study), seven elective courses and a capstone project. Students can take elective courses that cover such topics as comparative literary studies, English, French and Italian, Slavic languages and literatures, and theatre. 

Students sign up for the final course in the program during the term in which they start their master's thesis. The capstone project for the MALit program is an essay of 45 to 75 double-spaced pages written under the supervision of an approved faculty member. The project presents an opportunity to research and explore a topic thoroughly. Students often elect to expand a seminar paper from a previous course. With the approval of the program director, students may create an interdisciplinary final project rather than a traditional thesis.

Current students should refer to Liberal Studies Curriculum requirements in place at time of entry into the program.

Literature Courses

Explore Literature Courses. You can narrow your course search by day, location or instructor.

MA in Literature Specializations

Students who wish to lend more structure to their experience can elect to complete a MA in Literature Specialization. A specialization may be especially beneficial to educators, students who are thinking of going on to a PhD program, or anyone who wants to focus their literary study more precisely. Students complete four thematically linked courses for a specialization. Choose from the five subjects below.

  • American literature
  • British literature
  • Comparative and world literature
  • Film, literature, and visual culture
  • Interdisciplinary studies

Literature Faculty

The Master's in Literature faculty is comprised of dynamic and distinguished educators. Get to know the instructors on our Literature Faculty page.

Master's in Literature Admission

A variety of factors are considered when your application is reviewed. Background and experience vary from student to student. For a complete list of requirements, see the Master's in Literature Admission page.

Tuition and Financial Aid for Literature

Tuition for the Master's in Literature program at Northwestern is comparable to similar US programs. Financial aid opportunities exist for students at Northwestern. Complete details can be found on the Literature Tuition and Financial Aid pages.

Registration Information for Literature

Already accepted into the Master's in Literature program? Get ahead and register for your classes as soon as possible to ensure maximum efficiency in your trajectory.

Literature Special Events

The Liberal Studies and Literature lecture series connects MALS and MALit students with Northwestern faculty presenting work from a range of engaging and thought-provoking topics. Visit the SPS events calendar to check for upcoming events. See the Literature Special Events page for summaries and video recordings of past events.

 

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Find out more about Northwestern's MA in Literature

Core Courses:Course Detail
Introduction to Digital Studies <> IPLS 420-0

How do we better understand the conjuncture of digital technologies and the humanities? What kinds of thinking, research, teaching, politics, and cultural analysis can the digital enhance? How, in turn, do the fields that constitute the humanities (history, literary and language studies, philosophy, art history, musicology, cultural anthropology, media studies, etc.) offer guidance and grounding in today's wireless world? This course introduces students to the emerging field of critical digital studies, which looks at the intersection of digital technology and the humanities. Through a blending of weekly online engagements and three, Saturday afternoon face-to-face seminars, we address topics such as: what is the history of both the humanities and digital approaches to it as an interdisciplinary project? How can we address humanities questions today through new tactics of computational study found in informatics, statistical analysis, data visualization, and "big data" approaches? What new modes of publishing and scholarly communication do digital technologies make possible (multimedia presentation, podcasts, video, visualization, etc.)? How do we understand the ethics and politics of the digital world (surveillance, open source, net neutrality, sustainability, power)? Each week, students conduct readings and viewings, explore case studies, and complete online experiments. We pursue vigorous online discussion and convene in person for a seminar three times over the course of the quarter. Students pursue a final digital project in consultation with the instructor and in relation to individual interests and pursuits (graduate work, professional interests, digital humanities methodologies). Weekly topics include: digital annotation and database construction for close reading; "distant reading" tactics; digital mapping and timeline building; data and archives; network analysis; glitching and deformance for hermeneutic interpretation; and platforms and social media for humanities inquiry. (This course may count towards the American Studies, Chicago Studies, Digital Studies, History, Religious and Ethical Studies, or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. This course may also count towards the American Literature, British Literature, Comparative and World Literature, Film, Literature and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course is required of MALS and COAGS students, specializing in Digital Studies. But any interested graduate student may take the course as an elective. Please note, this course is a hybrid which will meet in person on January 13, February 10, and March 17.)


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Intro to Graduate Study <> LIT 410-0

This course approaches literary studies on a graduate level. We will examine the act of reading and literary interpretation, including various methodologies for producing and documenting literary criticism. We will also work to understand a range of literary theories and their suitable deployment through encounters with selected American realist, modernist, and postmodernist works by authors including Whitman, Twain, Cather, Dreiser, Hemingway, Eliot, Morrison, and DeLillo. We will survey various schools of criticism including Marxism, New Criticism, structuralism and post-structuralism, gender and queer theory, cultural studies, and the New York Intellectuals. (This course is required of all MALit students within the first year of study. This course may also count toward the American literature specialization.)


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Introduction to Graduate Study <> LIT 410-0

How do we interpret literary texts? What is a literary text? This course approaches literary studies on a graduate level, and it addresses various methodologies for reading and interpreting texts, as well as the practical skills needed to produce and document literary criticism. We will work to understand a range of literary theories and their suitable deployment through encounters with British writers including Charlotte Brontë, Thomas Hardy, Virginia Woolf, E. M. Forster, Bram Stoker, T. S. Eliot, A. S. Byatt, and Zadie Smith. Principal literary theories under review are formalism (New Criticism), historicism, Marxism, Freudian theory, structuralism, poststructuralism, feminism, queer theory, and postcolonialism. (This course is required of all MALit students within the first year of study. If taken previously, it may also count toward the British literature or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs.)


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Thesis Research <> LIT 590-0

This final project is meant to represent the culmination of students’ experience in the program and must demonstrate mastery of the curriculum and ability to conduct sustained independent research and analysis. The project may be applied or may be a traditional scholarly paper, in both cases a write-up following the paper’s program-specific guidelines is required. Students must submit a proposal and secure a first reader in order to register; for further details students are advised to review the student handbook and contact their academic advisor.


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Elective Courses:Course Detail
Buddha, Jesus, and Muhammad <> IPLS 401-0

The Buddha, Jesus and Muhammad were among the most influential spiritual teachers in history and were the founders of three of the world’s major religions. This course examines and compares the lives, the traditions and the legacies of these three distinctive figures. We will focus on both the sacred literature of each tradition and the interpretations of these teachers in literature generally, past and present, Western and Eastern. Questions to be considered include the search for the historical identities of these teachers, the nature of their teachings and religions, the similarities, differences and possible influences among them, and the ways that these figures have been interpreted and compared in art and literature.  (This course may count towards the American Studies, Religious and Ethical Studies, History, or Interdisciplinary Studies specializations in the liberal studies graduate and advanced graduate study certificate programs. This course may also count towards the Comparative and World Literature and Interdisciplinary Studies specializations in the master's in literature and advanced graduate study certificate programs.)


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Religion, Existentialism, and Film <> IPLS 401-0

In the aftermath of the World War I, many artists and filmmakers asked new questions about the relationship between realism and religion. Could one reconcile concrete reality (or realism) with faith in the other-worldly? Many of the artists under discussion in the course drew upon themes that had already been raised by Kierkegaard in the 19th century. What is the relationship between religion and modernity, faith and ethics, reality and the supernatural, observable phenomena and invisible causes? How does one make sense of death in a meaningless universe? Is the universe meaningless? Can meaning be found in realism itself? This course asks students to grapple simultaneously with philosophy and film. We will dig into the language of existential philosophy and compare it to the language of film. We will read Kierkegaard and Sartre and watch films made by Robert Bresson, Luis Buñuel, Pier Paolo Pasolini, Ingmar Bergman, and Woody Allen. In so doing, we will study how mid-to-late 20th century filmmakers sought to understand and portray life's many meanings, presenting protagonists who actively take up religious life, or who consider themselves inhabiting a godless and meaningless universe. In both genres, we will think about the problem of “experience” and how to narrate it. We will discuss the relationship between realism, atheism, Christianity and modernity, as well as the role of Christian symbolism in existentialist literature and film. (This course may count towards the American Studies, History, Religious and Ethical Studies, or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. This course may count towards the Film, Literature and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs.)


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Imagining the Internet: Fiction, Film and Theory <> IPLS 401-0

Much recent fiction, film, and theory are concerned with representing the internet and online environments. Sometimes cyberspace is depicted as a continuation of previous media such as television, cinema, or telephone, but often it is envisioned as a new frontier. This course will examine the ways in which digital interfaces appear in cultural discourses. We consider how technological objects and tools participate in shaping elements of our culture that may appear natural, logical, or timeless. Our guiding questions will include the following: In what ways are these narratives shaping collective perceptions of the internet? How have virtual technologies challenged experiences of language, gender, sex, race, ethnicity, and location? We will focus on literary and filmic representations of social networking, gaming, news delivery, and artificial intelligence. Following a Cultural Studies model for inquiry, this course will be text-based with require that you develop close reading strategies, as well as revise your work. (This course may count towards the American Studies, Digital Studies, History, Religious and Ethical Studies, or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. This course may also count towards the Film, Literature and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. But any interested graduate student may take the course as an elective. Please note, this course is a hybrid which will meet in person on January 13, February 10, and March 17.)


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Asian Religions in Lit & Film <> IPLS 402-0

Since the age when the maritime explorers searched for a passage to India and a shorter route to the East, Asia has held a fascination for the West and the religions and cultures of Asia have influenced Western literature, philosophy and religion. This course explores some of the classic literature of the Asian religions, Hinduism, Buddhism and Daoism, and also considers some of the ways that this literature has been interpreted in the modern period in both Asian and Western film and literature. Among our readings will be two of the great epics of Hinduism, the Bhagavad Gita and the Ramayana, as well as key writings from the Buddhist tradition, and the Chinese Tao Te Ching (Dao De Jing). We shall also view examples of Asian and Western film and read modern works by authors such as Thoreau, Forster and Kerouac in order to inquire how this Asian literature and its religious themes have been interpreted and re-imagined in the modern period. (This course may count toward the American, World and Comparative literature, or Literature, film, and visual culture specializations in MALit. It may count toward the American studies, History, and Religion and ethical studies specializations in MALS. It may also count toward any of these specialization certificate programs. It may also count as a literature course or elective in the creative writing program.)


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Millennial Masculinities <> IPLS 492-0

The “crisis of contemporary masculinity” is routinely discussed in both popular media and academic circles. Due to changing geopolitical and socioeconomic conditions, constructions of American manhood have been reconfigured in the past twenty years. Or have they? This course will examine American manhood and masculinity in the millennial age. Drawing heavily from examples of popular culture such as motion pictures, reality television, men’s magazines, literature and sports, issues that be considered will include body image, race and masculinity, fatherhood, labor, education, the anti-hero in popular culture, sexual fluidity and metrosexuality. Students will read contemporary gender theory and interrogate cinematic, televisual and online representations of masculinity. (This course may count toward the American literature or Literature, film, and visual culture specializations in MALit. It may count toward the American studies specialization in MALS. It may also count toward any of these specialization certificate programs.)


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Loving the Child <> IPLS 492-0

One comes to this course with a willingness to question the relationships between parents and children, beginning with Georgian England and continuing to those of contemporary times, in literature, art and film. While these relationships can be loving, they also can be deeply disturbing, even abusive; in Dame Iris Murdoch's work, for example, the young are often sacrificial lambs for the older generation, sacrificed even to death. Causes of discord between the generations are often more numerous than causes for agreement and harmony. To unpack these relationships and explore these themes, we will read novels, view films and works of art and photography. Some of the work we will examine point out areas of disagreement between parents and children that come with one generation's shock when a child's homosexuality is revealed, as in Nadine Gordimer's The House Gun; political disagreement between generations can be equally difficult in Turgenev's Fathers and Sons; looking at Lewis Carroll's Alice in Wonderland, while viewing the photographs he took of the young child he used as the model for Alice can give us another view of adults and children in Victorian England, for example. Our list will be wide-ranging. (This course may count towards the History or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count towards the British Literature, Film, Literature, and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs.)


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New Documentary Film <> IPLS 492-0

Documentary film has been one of the most acclaimed genres of film since 2000. Numerous documentary films have made valuable political or social statements (Fahrenheit 9/11) while others have simply entertained us (March of the Penguins). What all documentary films do is constrict a vision of reality – whether it is the perspective of a president, the crimes of a serial killer, the lives of a group of penguins or the courage of cancer survivors. We will examine the impact of reality television on the genre. Through the screening of documentaries both within and outside of class, we will consider documentaries as performative acts. Their very fluidity and instability will allow us to examine the differing spectatorial reactions to these films. (This course may count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count towards the Film, Literature, and Visual Culture or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs.)


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Queer Theory <> IPLS 492-0

This course will introduce you to Queer Theory and theories of sexuality, emphasizing the practice of reading theory from a variety of textual sources as well as conceiving of sexualities within both local and transnatinoal contexts. We will trace the development of both the term queer and the history of queer theory, beginning with foundational texts about sexuality and its regulation by Foucault and seminal essays about queer theory by Eve Sedgwick, Judith Butler, Michael Warner and Lauren Berlant. We will then read canonical essays by a variety of queer theorists which will serve the basis for analyzing several books and films including Lawrence Chua's Gold by the Inch, Jules Rosskam’s Transparent, and the British television series, Metrosexuality. Discussions will query how queer theory formulates racial, class and national identities in relation to sexuality, and how it might offer politics beyond those based on identity. In the duration of the course, we will discuss "gay" versus "queer"; processes for conducting a “queer critique”; the historical emergence of the concept of sexuality; the emergence and trajectory of Queer Theory as a disciplinary category; techniques of normalization; the authority of experience; politics beyond identity politics; the aesthetics of self-formation, self-care, self-replication, and selfdissolution; polymorphous perversity; intersectionality and its relationship to Queer Theory; race and class as key interventions into the Queer Theory canon; trans theory as it intersects with and contributes to with Queer Theory; intergenerational sex; transnational queer theories and concerns; how queer theory formulates racial, class and national identities in relation to sexuality. Reading list to include: Michel Foucault History of Sexuality Vol 1 Laurence Chua Gold by the Inch Ed. Hall and Jagose Routlege Queer Studies Reader (2013). (This course may count towards the History and Interdisciplinary Studies specializations in the liberal studies graduate and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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Black Chicago <> IPLS 492-0

This course surveys the major aesthetic, political, economic, social, and cultural developments of the African American population in the city of Chicago from its founding by Jean Baptiste du Sable, an African American man, to the present day. This course will consider the role of black Chicagoans in the 19th century, through the Civil War, Gilded Age, Progressive Era, World War I, Chicago Race Riot of 1919, World War I and the Great Depression, the Civil Rights movement, the 1970s and 1980s up to the present day. Special emphasis will be placed upon the racial segregation of Chicago, the Black Panthers, and the relationship between the Black Chicago police and the Chicago Police Department. We will be also be exploring Black Chicago outside of the classroom. Analysis of primary source documentation of the African American press will be included in this course. (This course may  count towards the American Studies, Chicago Studies, History or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs.This course may count towards the American Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs.  It may also count as an elective in the creative writing program.)


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What is the Truth? <> IPLS 492-0

“Fake news” has become one of the most discussed contemporary issues in American culture since the 2016 presidential election. But a firm description of exactly what is “fake news” is lacking. This course will examine this phenomenon. We will begin with an examination of the cultural and political polarization of the United States in the second decade of the 21st century. We will then attempt to define “fake news” in its various incarnations and examine how it is both a national and a global phenomenon. We will investigate how “fake news” is not a new construct and we will look at historical examples of it. We will discuss YouTube as it relates to news and cultural production, its political purposes and the rationales for downloading videos on the file sharing service and its relationship to the production of documentary films. The lines between archival material, YouTube and documentary filmmaking has become muddled in the past decade, particularly as it relates to the manipulation of original footage for reasons of political intent. Students will complete the course by analyzing a full-length documentary and determine its objectivity, realism, use of archival sources, biases, purposes, and whether if extrapolates “fake news” in its construction. (This course may count towards the American Studies, Digital Studies, History, or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. This course may also count towards the Film, Literature and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. Please note, this course is a hybrid which will meet in person on TBD Saturdays.)


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Defining Chicago <> IPLS 492-0

In this course, we will examine two parallel, though often intersecting, discourses which attempt to define Chicago: formal urban planning documents and literary representations of the city. From Daniel Burnham and Edward Bennett’s 1909 Plan of Chicago onwards, Chicago powers-that-be have tried to transform the chaotic city into the City Beautiful (and/or the City Profitable) with formal planning documents, some aspects of which (when enacted by law) transform the cityscape itself. These documents demonstrate deep and complicated relationships between economic forces, political power, and human agency and identity. Meanwhile, Chicago’s poets and fiction writers shape our understanding of American identity in that same dynamic cityscape. In this course, we will examine planners as poets, and poets as planners to explore the evolution of Chicago from the early 20th Century to today. (This course may count towards the American Studies, Chicago Studies, History, or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. This course may also count towards the American Literature or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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20th C British & American Lit <> LIT 405-0

What's modern about modern literature? How did new forms and experimental styles emerge from early twentieth-century conditions and events during this "lethal century" of rapid technological development, more violent than any previous era? The literature of this period confronts that violence in many forms and on many fronts, from racialized economic and cultural violence of European empires in Ireland, Africa, and India to rising totalitarianism, antisemitism, genocide, and war, from decolonization and its vicissitudes to the "clash" between a declining "west" and various rising "non-wests." In this seminar we'll grapple with the exhilarating intellectual challenges and the fierce, compelling new beauty of several key works from this extraordinary period. Joseph Conrad's Heart of Darkness bears witness to brutal racialized European imperialism. W. B. Yeats and James Joyce envision Ireland's future after a long struggle for freedom from centuries of English rule in utterly different ways. World War I, in which British war poets fought, wrote, and in some cases died, casts its shadow over T. S. Eliot's Waste Land. Women's struggles for freedom of body and mind--citizenship, suffrage, economic independence, public speech--­reverberate in the art and thought of Bloomsbury, including essays and novels by Virginia Woolf published by her Hogarth Press. Seeing new challenges for European languages in a rapidly shrinking world, Ernest Fenollosa and Ezra Pound experimented with translating classical Chinese poetry into the radically different grammar of English. E. M. Forster faces off western and eastern modes of thought in Dr. Aziz's trial in A Passage to India. "Postcolonial" writers grapple with violence in the aftermath of empire. We'll think about the often remarked "difficulty" of modern literature and art, and about aesthetic and ethical dimensions of their resistance to (fictions of) transparency as we approach these works in the spirit of what Edward Said calls a "worldly" recognition of the historical moments that inspired their creators and still illuminate them for us. (This course may count towards the American literature and British literature specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs.)


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Topics: 1890s British Lit <> LIT 405-0

The label of “decadence” was deployed by both detractors and champions of British literature in the final decade of the nineteenth century. Social critics of decadence associated it with degeneracy and decline. Those writers and artists who identified with the movement claimed it as a badge of distinction, and its flagship literary magazine, The Yellow Book, set the tone with its devotion to transgressive behavior. Some influence can be traced to the work of the French symbolist poets as well as Joris-Karl Huysmans, whose novel A rebours (“Against the Grain”), was dubbed the “breviary” of decadence. Looking further back, the mid-Victorian visual art and poetry of the Pre-Raphaelite Brotherhood must also be considered formative. Much of the period's writing still has the power to shock. Thomas Hardy, the last of the great Victorian novelists, and a writer who never self-identified as decadent, nevertheless ceased writing novels after critics lambasted both Tess of the d’Urbervilles (1892) and Jude the Obscure (1895) as sexually immoral. One critic called the latter "Jude the Obscene.” William Butler Yeats began his career in the company of the Rhymers' Club, a group of aesthetes more remembered for their drug habits than their poetic output. Bram Stoker wrote his influential masterpiece, Dracula, in 1897, and to this day his delicious tale of pansexual vampires has been endlessly generative in popular culture, as well as influential in rethinking the terms of feminism and sexuality more generally. The New Woman was a principal theme. George Gissing's The Odd Women and George Bernard Shaw's Mrs. Warren's Profession both appeared in 1893. Still, it was Oscar Wilde, playwright and author of The Picture of Dorian Gray (1890), who most vividly dominates the decade. Put on trial, found guilty, and imprisoned on charges of "gross indecency," Wilde ushered in a new age when he referred to "the love that dare not speak its name." (This course may count towards the British Literature and Interdisciplinary Studies specializations in the master's in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program. Please note, this course is a hybrid which will meet in person on April 28, May 19, and June 9.)


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Virtues/Vice - Renaissance Lit <> LIT 405-0

The European Renaissance produced works of art and literature that are venerated as treasures of Western culture. Along with those artifacts, the Renaissance bequeathed ethical and moral priorities that continue to inform contemporary values. In analyzing a broad range of Renaissance texts--including poetry, drama, sermons, and paintings--this course will afford insight into Renaissance morality and its legacy. We will consider, in sequence, each of the seven deadly sins alongside each sin’s remediating virtue: pride/humility, envy/kindness, gluttony/temperance, lust/chastity, wrath/patience, greed/liberality, sloth/diligence. Authors/artists will include Shakespeare, Donne, Spenser, Skelton, Giotto, Lorenzetti, and Bruegel.

 

Counts toward the the British Literature specialization for MALit students.


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20th C Lit: Joyce and Woolf <> LIT 405-0

In this seminar we will study two landmark novelists whose works still reverberate around the globe: the Irish expatriate James Joyce and the English writer and critic Virginia Woolf (each 1882-1941). Living and writing in a period of accelerating scientific, technological, social, political, and economic change as well as civil and world war, each created radically new narrative forms to register modern time and modern times from the antithetical vantage points, respectively, of colonial Dublin and the imperial London metropolis. Through a selection of each author’s major works, we’ll explore their creative interventions in literary genres (e.g., short story, autobiographical fiction, epic, elegy, the novel) in light of a host of influences; among others, theories of the unconscious and “the psychopathology of everyday life”; scapegoat dynamics in theory and everyday practice; relations among bodies, desire, gender, representational strategies; performance (studied and unconscious) and theatricality; loss and elegy; the power of love; the scalpel of wit; the social life of comedy and humor; the socio-economic sex/gender system, including marriage and prostitution, as keys to political authority; the powers and pleasures of language in their modernist medleys of voices and styles: interior monologue, dialogue, poetry, news, advertising, jokes, parody, obfuscation, song, music, play script, letters, catechism, allusion, citation, non-English words, silence. We will approach these challenging, exhilarating, deeply rewarding books in ways playful and critical, jocoserious and analytic, each of us seeking singular revelations with serious purpose and imaginative freedom.

Requirements: Active, informed participation; short weekly analytic and interpretive exercises; oral presentation; proposal and seminar project.

(This course may count towards the British Literature, Film, Literature, and Visual Culture, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs.)


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Grief and Mourning - Brit Lit. <> LIT 405-0

The Protestant Reformation radically changed the ways in which early modern Europeans experienced grief and mourning after the death of loved ones. Reformed religious doctrine emphasized an absolute and unbreachable divide between the living and the dead. This course will consider different genres of English literature concerned with death, grief,mourning, and resurrection during this period of ideological change. Students will gain familiarity with sixteenth- and seventeenth-century texts in multiple genres, develop skills of close reading and literary analysis, and learn to practice historicist and psychoanalytic methodologies of literary criticism. (This course counts toward the British Literature specialization.)


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Reading Romantic Poetry <> LIT 405-0

Great poets, according to Coleridge, have to create the taste by which they are enjoyed; they make new readers as well as original poems. During an age of revolutions, Romantic poets tried to transform not only the world of poetry but also the world outside it. This course will explore the projects of Romantic poetry by reading poems that challenge the reader to reimagine literature and life. Through a variety of critical approaches, we will try to enter the moment when each poet sought to answer radical, personal questions: what has been done in poetry? what has been left for me to do? Those poets will include such major figures as Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats, as well as many less well known, such as Charlotte Smith and John Clare. The course will begin by looking at responses of Romantic poems to earlier poetry, and it will end by looking at the presence of Romantic poems in later poetry. (Note: this course counts toward the specialization in British literature.)


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Henry James and Film <> LIT 405-0

Henry James wrote his illustrious fictions at the end of the 19th century and the beginning of the 20th, just as the technology of cinema was being perfected and its artistic potentials were first realized. To an uncanny degree, James’s central concerns as a writer were also those of cinema: the mysteries of personality and behavior; the tension between the old world and the new; the contrasting traditions of Europe and America; the revelation of character through objects, environments, and reckless impulses; and the various problems posed across the social ladder by sex, gender, money, death, and the supernatural. Comparing some of James’s short stories and novels to their film adaptations shows us how his plots and themes have been differently understood over time, and how film’s capabilities for rendering psychology, conflict, love, horror, aesthetics, and thought have also evolved. Students will learn key techniques of film analysis, will absorb some core ideas and innovations in the work of a dazzling author, and will braid these two areas of knowledge in their own sophisticated essays. (This course may count toward the American literature, British literature, or Literature film and visual culture specialization in MALit or the American studies specialization in MALS.)


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Can You Have Good Without God? <> LIT 405-0

British author and philosopher Dame Iris Murdoch explores this intriguing question in much of her fiction, introducing it, in part in her mid-career novel, A Fairly Honourable Defeat, an allegorical tale of the perennial struggle between good and evil. Having begun life as a practicing Anglican, and ending it (before the onset of Alzheimer's disease) as an agnostic, Dame Iris touches upon this subject in much of her fiction, in particular posing the age-old human question, who or what is responsible for evil and suffering in the universe if there is no God? If there is no God, can you have Good? It is important to remember that she began life as a philosopher.

Many of Murdoch's characters are caught in this dilemma; some seem to be "evil", using the term rather loosely, and some too good to be true. The young are often sacrificial lambs for the older generation. This course will examine Murdoch's universal themes and her very topical writing for today's world. She is a writer who needs to be remembered and respected.

Texts will include A Fairly Honourable Defeat, The Sovereignty of Good, A Severed Head, The Sea, The Sea, The Black Prince and The Book and The Brotherhood, among possible others. Course will feature some lecture, active discussion and short papers as well as one final longer paper.

(This course may count toward the British literature specialization. It may also count toward the Religion and ethical studies specialization in MALS. It may also count toward any of these specialization certificate programs.)


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Reading Romantic Poems <> LIT 405-0

Great poets, according to Coleridge, have to create the taste by which they are enjoyed; they make new readers as well as original poems. During an age of revolutions, Romantic poets tried to transform not only the world of poetry but also the world outside it. This course will explore the projects of Romantic poetry by reading poems that challenge the reader to reimagine literature and life. Through a variety of critical approaches, we will try to enter the moment when each poet sought to answer radical, personal questions: what has been done in poetry? what has been left for me to do? Those poets will include such major figures as Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats, as well as many less well known, such as Charlotte Smith and John Clare. The course will begin by looking at responses of Romantic poems to earlier poetry, and it will end by looking at the presence of Romantic poems in later poetry. (This course may count toward the British literature specialization. It may also count toward the British literature specialization certificate program.)


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Representing the Psyche <> LIT 405-0

This course considers the distinct and complementary ways in which literature and psychoanalysis have inquired into the structure and constitution of the human mind. Historically, literature and psychoanalysis have a long-standing, intimate, and sometimes fraught relationship. Beginning with its founding father Sigmund Freud, psychoanalysis has founded its theories based on the observation of not only of real-life patients but also literary characters. And literary critics have drawn on the work of Freud and later psychoanalysts to afford insight into the structure, imagery, language, and characterizations of literary texts. This course will consider how literature and psychoanalysis offer alternative ways of representing the human psyche—sometimes complementarily, sometimes contradictorily. Texts will include foundational works of psychoanalytic theory by Freud, Jacques Lacan, Melanie Klein, and Julia Kristeva; and literary texts that have been influential for, and/or influentially interpreted by, psychoanalysis. Students will gain fluency in the discourse of psychoanalysis; competency in using psychoanalytic concepts to interpret literary texts; and an appreciation for both the possibilities and the limits of such interpretative strategies.  (This course may count towards the British Literature and Interdisciplinary Studies specializations in the master's in literature and advanced graduate study certificate programs.)


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Experiments With Verse <> LIT 405-0

When Stéphane Mallarmé spoke at Oxford and Cambridge in 1894, he claimed that he was bringing news--"the most amazing and unprecedented news. . . . We have been experimenting with verse." But Mallarmé spoke in French. Twenty years would pass before the news took hold in England and America. Yet when it did, it sparked an outburst of profound experiments, a revolution that we still call modern poetry.

This course will explore the flowering and triumph of that revolution. Focusing on English and American poetry between the two world wars, we will read poems by a galaxy of modern masters, including William Butler Yeats, Robert Frost, Ezra Pound, HD, T. S. Eliot, D. H. Lawrence, William Carlos Williams, Marianne Moore, e. e. cummings, Wallace Stevens, Hart Crane, and W. H. Auden. Together, their experiments transformed ideas of what poetry could be. The object of this course will be to recapture, through close and creative readings, the freshness and the energy of that time, when modern poetry came into its own.

(This course may count towards the British Literature and Interdisciplinary Studies specializations in the master's in literature and advanced graduate study certificate programs.)


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Victorian Travel & Crime <> LIT 405-0

This seminar will explore Victorian travel and crime fiction, looking at the interpenetration of popular and serious literature during the rise of the British Empire and the expansion of the United States. We will examine several important literary narratives that develop the concept of travel—as a form of escape, as a search for knowledge, as a source of adventure, and as an instrument in empire-building—in order to address its role in forming the identity of both individuals and nations. We will also discuss the growing importance of sensational (mystery and crime) fiction, examining its cultural and historical contexts, as well as its influence on serious writers such as Dickens, Conrad, and James. (This course may count towards the British Literature and Interdisciplinary Studies specializations in the master's in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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Anglo-American Mysteries <> LIT 405-0

Why is mystery fiction (aka detective or crime fiction) such a popular genre, read across social strata and generating material for film and TV? What are the ways in which mysteries have influenced serious literary fiction? To address these questions we will explore the development of Anglo-American crime fiction from its mid-nineteenth-century origins to its global expansion today. We will examine the historical and social conditions for the emergence and development of the popular genre (urbanization of Europe and America; rise of the British Empire; importance of the inter-war period; Cold War, etc.). This will allow us to discuss the structure and evolution of formula fiction and its role in popular and high culture, its reflection of the preoccupations of Western societies, and the ways in which canonical writers have used elements of mystery fiction in their own literature. Readings will include works by representative mystery writers (Poe, Conan Doyle, Christie, Chandler), as well as literary fiction by Pynchon, O’Brien and Atkinson. (This course may count towards the British Literature and Interdisciplinary Studies specializations in the literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the liberal studies graduate and advanced graduate study certificate programs. )


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The Seven Deadly Sins <> LIT 405-0

This course will consider representations of the seven deadly sins in Renaissance thought, art, and literature of the western European tradition, with a particular focus on the English canon. Texts will include both visual and textual artifacts, including paintings by Pieter Bruegel the Elder and Hieronymus Bosch; narrative poetry by John Skelton and Edmund Spenser; lyric poetry by Ben Jonson and Andrew Marvell; and prose sermons and essays by John Donne and Michel de Montaigne. (All texts will be provided in translation.) To complement the Renaissance texts, we will read contemporary essays about the conception and practice of the seven deadly sins in contemporary secular culture. By comparing early modern and contemporary conceptions of the sins, we will foster a larger conversation about the cultural history of western ethics and morality. (This course may count towards the British Literature, Film, Literature, and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Religious and Ethical Studies or Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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Conceptions of the Body in Midieval Literature <> LIT 405-0

Forthcoming.


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Jane Austen and The Rise of The Novel <> LIT 405-05

This course will trace the development of the English novel from travel narrative, Gothic and sentimental fiction to the realism of Jane Austen. We will read selections from Daniel Defoe’s Robinson Crusoe (1719), usually considered the first English novel, and from 18th-C. Gothic and sentimental fiction to compare these to Austen’s realistic comedies of manners. The course will focus on Austen’s novels, from her parody of Gothic and sentimental romances in Northanger Abbey to her satire of British society in Persuasion. We will also look at the enduring popularity and afterlife of Jane Austen’s oeuvre and current “Austenmania” with its plethora of film adaptations, sequels, and parodies, including a more serious treatment of Austen’s fictional world in Jo Baker’s 2013 novel Longbourn, the story of Pride and Prejudice told from the perspective of the servants. (This course may count towards the British Literature, Film, Literature, and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. It may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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Liberty in Western Drama <> LIT 480-0 Whether the idea of liberty is a universal constant or something conditioned by historical circumstances and whether or not it can arise in the context of traditionally authoritarian political structures is an important issue in the history of ideas. Are human beings at all times and places capable of conceiving the idea of liberty, or is this idea possible only in particular circumstances and not an intrinsic part of human nature? And if humans after all are capable of conceiving the idea of liberty at all times and places, how are the expression of this idea, its consequences and preconditions affected by changing historical, social, and political circumstances that may favor or even demand authority rather than liberty? What role does religion play in all these issues? And how can even tentative answers to these questions be of help in understanding our present day situation, in the kind of historical "location" where we now exist? As in the case of other issues, literary works can illuminate directly and indirectly important philosophical and political questions. The open-ended quality of literary works offers the opportunity to explore philosophical and political issues in less precise but also less restricted ways than philosophical and political treatises because literature by its very nature is more open to the interpretive imagination and can be related to many more aspects of human existence; and also because the study of artistic form can illuminate these issues, since form and content are not separable in the best literary works. Since drama is a particularly "social" form of literature, this colloquium will examine a number of dramatic works from different times and places in order to throw light on the questions of liberty and authority from a comparative literary and historical viewpoint. Among the plays read will be Sophocles' Antigone, Everyman, Shakespeare's Richard II, Lope de Vega's Fuenteovejuna, Calderon de la Barca's Life is a Dream, and Addison's Cato. Counts toward the Comparative & World Literature specialization.
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Comp Lit: Fictions of the City <> LIT 480-0

This course will examine the central role played by the city in inventing the forms for representing modern life, beginning with Paris (sometimes called the "capital of the 19th century" because of its central place in the elaboration of the new narrative and cultural forms of industrial civilization) and then focusing on New York and Los Angeles as privileged spaces where a "culture industry" then becomes both the producer and the subject matter of literature and film. Students examine the tensions between realist and mythic representations of the modern city in such writers as Balzac and Baudelaire, as well as the city as a site for the invention of "modern myths" expressing the utopian and dystopian aspects of modern life in the work of surrealists such as Aragon. Students will also explore how these approaches are taken up by classic Hollywood cinema in the 1930s (notably in such popular genres as the musical and the gangster film) and how these same problems are ultimately reinvented, in the second half of the 20th century, in a postmodern culture dominated by media images and global cultural flows, which will give rise to new social spaces and new utopias but will consequently also give rise to new forms of mythic and realist narrative. Authors read will include such writers as Honoré de Balzac, Charles Baudelaire, Louis Aragon, Thomas Pynchon, Toni Morrison, and Don DeLillo. We will also discuss films by such directors as Raoul Walsh, Lloyd Bacon, Busby Berkeley, Jean-Luc Godard, Ridley Scott, Jim Jarmusch, and Michael Haneke. Counts toward the American Literature and the Comparative & World Literature specializations. (This course may count towards the Film, Literature, and Visual Culture, American Literature, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. It may also count towards the American Studies, Digital Studies, or Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. Please note, this course is a hybrid which will meet in person on TBD Saturdays.)


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Lit. and Cultures of 1968 <> LIT 480-0

This course focuses on literary and cultural engagements with the near-revolutionary events of Mai '68 in Paris and the social conditions preceding and following them. Our primary materials include films, novels, and essays on consumer society and everyday life in the modern world, the situation of women and feminine desire in patriarchal society, and calls for revolutionary change in various arenas, including everyday life, language, and desire. Throughout the course, we will pay particular attention to issues and critiques related to everyday life and consider the French events and cultural production in relation to those in other areas of the world, including the US. (This course may count towards the Comparative and world literaturespecializations in the master's in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs.)


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Feminism as Cultural Critique <> LIT 480-0

As sci-fi, as manifesto, as memoir, and as eco-apocalypse and horror, second-wave feminism links domestic change and transformative utopia. We’ll read second-wave utopian novels, mostly from the 1970s and 80s, with short second-wave manifestos for context. We will ponder the following questions: How are the personal and the political connected? What challenges do these fictional worlds pose to our own? What critical methods or tools does this movement offer us? How do we evaluate second-wave utopian fiction as literary and/ or theoretical form?

We will also read several anti-utopian depictions, as well as some texts written outside of the US (Canada, France), and, if time permits, one contemporary dystopia. Tentative reading list includes: Sylvia Plath, The Bell Jar (1963); Monique Wittig, Les Guérillères (1969; French or English); Ursula K. Le Guin, The Left Hand of Darkness (1969); Shulamith Firestone, The Dialectic of Sex (1970); Erica Jong, Fear of Flying (1973); Marge Piercy, Woman on the Edge of Time (1976); Joanna Russ, The Female Man (1975); Margaret Atwood, The Handmaid’s Tale (1985); Octavia Butler, Lillith’s Brood [Dawn] (1987). Short texts: Simone de Beauvoir, The Second Sex; Carol Hanisch, “The Personal is Political”; Pat Mainardi, “The Politics of Housework”; Alix Kates Shuman, “Shulman’s Marriage Agreement”; Judy Syfers, “I Want a Wife”; Shere Hite, The Hite Report; Jill Johnston, Lesbian Nation; Susan Brownmiller, Against our Will; Valerie Solanas, S.C.U.M. Manifesto.

Counts toward the American literature specialization as well as the world and comparative literature specialization.


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Indochina and Duras <> LIT 480-0

Taking the creative work of Marguerite Duras as a navigational thread, this course--taught in English--, examines literary, filmic, and other cultural images of Indochina from the eve of World War II to the early 21st century. Our main concerns include: writing, film, and politics, the place and role of Indochina and Vietnam in the symbolic universe of the Cold War and the contemporary era, and Duras's creative impact on subsequent engagements with the former colony, including the international French colonial nostalgia films of the late 1980s. This trajectory permits us to read some of the best creative work produced in France in the last half of the 20th century--Duras's The Seawall, Eden Cinema, The Lover, The North China Lover andtwo of Linda Lê's stunning achievements, Slander and The Three Fates. We also read Tim O'Brien's The Things They Carried and study the crucial films of Southeast Asia--Coppola's Apocalypse Now, Jean-Jacques Annaud's The Lover, Wargnier's Indochine, and Tran Anh Hung's Scent of Green Papaya and Cyclo. Counts toward the Comparative and World Literature specialization.


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Postmodern Film <> LIT 480-0

This course will explore the place of film in postmodern culture. We will examine how the aesthetic and narrative forms of film have been reinvented by postmodern film makers, as well as the ways in which the most important of these recent films have (from a variety of ideological and aesthetic perspectives) contested the dominant culture of postmodernity. The course will begin by providing the conceptual and historical background for an understanding of postmodernism, through an analysis of a number of key films of the ’60s and ‘70s. Some of the interrelated themes of these films (including works by such directors as Jean-Luc Godard, Robert Altman, Jacques Tati, Ridley Scott, and Chris Marker) are the new experiences of urban space characteristic of postmodern culture; the new cultural forms associated with the triumph of consumerism; and the emergence of a new global culture of the image. We will then explore a number of problems central to current debates about the nature and limits of postmodernism—such as the place of dystopian and utopian fantasy in postmodernity; the possibilities of and alternatives to realist representation of postmodern experience; the representation of new forms of sexual and ethnic identity and the intertwining individual and collective histories in an age of globalization—through discussions of cinematic works by directors from Europe, the Americas, Africa and Asia, including such film makers as Alain Resnais, Gianni Amelio, Patricio Guzmàn, Quentin Tarantino, Stanley Kubrick, David Cronenberg, Jim Jarmusch, Abderrahmane Sissako, Agnès Varda, Todd Haynes, Djibril Diop Mambéty, Quentin Tarantino, Raoul Ruiz and Tsai Ming-Liang. (This course may count towards the Film, Literature, and Visual Culture, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs.)


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Love and Sexuality - Comp Lit <> LIT 480-0

This course explores notions of love and sexuality in western culture from the late Middle Ages to the end of the Renaissance (1200-1600). We will focus on secular formulations of love and sexuality, such as “courtly love” or chaste love, love as marriage, and love as friendship, paying special attention to the role they played in the shaping of modern notions of love and sexuality and to their relevance for current debates on marriage, civil-unions and sexual diversity. In class, we will read authors such as Dante, Boccaccio, Aretino, and Vittoria Colonna and examine the works of artists and directors such as Botticelli, Michelangelo, Caravaggio, and Fellini. (This course counts toward the Comparative and World Literature specialization.)


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The Novel Novel <> LIT 480-0

This course will explore the responses of selected writers from Eastern Europe and the United States to conditions of absurdity and alienation brought on by the loss of stable values, the rise of totalitarianism, and the experience of war in the twentieth century. We will examine the ways in which these writers use imaginative distortions of reality or create imaginary worlds in order to comment obliquely on social and political conditions, address philosophical questions, and playfully engage the reader in a dialogue on the narrative process. Beginning with fiction from the first decades of the twentieth century (Schulz, Bulgakov), we will move on to the "postmodernist" writers of the 1960s to 1980s, including one cosmopolitan novel by the Italian writer Calvino, with Nabokov as the bridge between Europeans and Americans. Our readings include a novel in the form of a lexicon, a collection of reviews of imaginary books, a novel written in the second person, and a narrative consisting of a poem with commentary.

Readings will include: Bruno Schulz, The Street of Crocodiles (1934); Michail Bulgakov, The Master and Margarita (1928-1940, publ. 1966)—ONLY in the Burgin/O'Connor translation (1995); Milorad Pavic, Dictionary of the Khazars (1983)—either male or female edition; Stanislaw Lem, A Perfect Vacuum selections (1971); Italo Calvino, If on a winter’s night a traveler (1979); Vladimir Nabokov, Pale Fire (1962); Thomas Pynchon, The Crying of Lot 49 (1966); and Tim O'Brien, Going After Cacciato (1978), plus secondary sources posted online.

(This course may count toward the Comparative and World Literature specialization or the American Literature specialization.)


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An Exploration of German Film <> LIT 480-0

What beckons people to the metropolis? What draws crowds to the cinema? Why should we think "cinema" in tandem with "the city"? Departing from these questions, we will analyze relations between cinema and the city, using Germany as our geopolitical launching pad. Drawing on a range of classic and lesser-known (but mesmerizing) films from the Weimar period onward, we will visit the real and imagined cities of Germany, evaluating how space and social relationships are imagined in the German metropolis and, in some cases, between a German and an “extra-territorial” city. Our travels will take us to the cities of Hamburg and Istanbul, Frankfurt and Jakarta, and Berlin and New York, among other locations. Critical questions steering our cosmopolitan navigations include: how does urban space influence how we think about forms of national, gendered, ethnic, sexual, and class identity? How does the historical network of social relationships in the urban setting--and in cinematic form--organize our view of political and social networks we now inhabit? How should we analyze urban economies in the context of cinema? Approaches to these questions will include: formal and aesthetic analysis of film and the historical background and cultural context of the films under consideration (including, Walter Ruttmann's Berlin: Symphony of a Metropolis (1927); Fritz Lang's M (1931); Eduard von Borsody's Wunschkonzert (1940), Rainer Werner Fassbinder's The Marriage of Maria Braun (1979), Fatih Akin's Head-On (2004), and Christoph Hochhäusler's The City Below (2010). These films will be considered in tandem with a selection of classical texts on modernity, mass society, and theories of space. (This course may count towards the Film, Literature, and Visual Culture, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs.)


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Latin Amer. & Latina/o Sci-Fi <> LIT 480-0

While science fiction has often been thought of as an English-language genre, in fact Latin America has its own rich history of science fiction writing. This course offers an introduction to science fiction literature and film in Latin America. Beginning with a critical definition of the genre (and the ways in which it differs from “magical realism” and the fantastic), we will examine some early examples of science fiction in Spanish language literature by writers such as Eduardo Holmberg and Eduardo Urzaiz. We will then read some now-classic texts that can be considered science fiction, such as Adolfo Bioy Casares’ The Invention of Morel, Jorge Luis Borges’ “Tlön, Urqbar, Orbis Tertius,” and the absurdist short stories of Mexican writer Juan José Arreola. Finally, we will trace the regional shift from science fiction to cyberpunk through texts like Cuban writer Yoss’s Planet for Rent and films such as Alex Rivera’s Sleep Dealer, looking at the ways in which recent Latin American and Latina/o writers and directors have expanded on and experimented with this sub-genre. As we read, we will seek to understand how science fiction navigates the divide between "popular" and "elite" literature, its function as a form of social criticism, and the ways in which writers and filmmakers have used science fiction to interrogate social categories such as race, class, and gender. We will also ask what might make science fiction from this region different from science fiction produced elsewhere. (This course may count towards the Film, Literature, and Visual Culture, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs.)


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Slum Cinema <> LIT 480-0

This seminar is about slums, as much about their socio-cultural dynamics as about their cinematic representations. Slums are proliferating across the globe at an extraordinarily rapid rate. Today more than one billion people live in slums and that number is expected to double by 2030. By 2050, two thirds of the world’s population will be living in cities and a vast majority of them in slums or slum-like-conditions. We do, in fact, as Mike Davis puts it, live on a planet of slums. Life in the slums as described and analyzed both in scholarly studies and in popular media is one of the most dynamic points of intersection of the good, the bad, and the ugly. The material conditions of life, especially sanitary conditions that severely compromise public health, are palpably “ugly.” The “bad” is pervasive in slums: crime and corruption, violence and intimidation, sheer poverty, inequality and injustice point to the general abuse of human beings by the members of the same species. On the other hand, there is also much that is “good” in slums: resilience in the face of adversity, community spirit, creative and economic use of scarce resources etc. Without celebrating the slums, there is much to learn from slums for the society at large. This seminar is not just about films about slums. Slum Cinema is also not a film course as such. We will be using the cinematic representations of all sorts (feature films, documentaries, TV mini-series etc.) to examine the slum as a space of life and work of billions of people across the globe. This seminar will focus on the fact that a significant part of creative cultural production (films, TV series, music, novels, comics etc) takes place against backdrop of slums or slum life. Films to include: City of God (Brazil, 2002), Slumdog Millionaire (India, 2008), District 9 (South Africa location, 2009), Ali Zaoua (Morocco, 2000), Tsotsi (South Africa 2005), Gangs of New York (USA, 2002) and La Haine (France, 1995). The seminar has a very explicit global focus as it seeks to juxtapose cinematic representations from varied national/cultural terrains, from both from the advanced countries and from the developing countries of the global south. (This course may count towards the Film, Literature, and Visual Culture, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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French & Francophone Women’s Writing <> LIT 480-0

The course is devoted to the exciting efflorescence of women’s writing in French that began in the postwar period with a veritable bursting forth of novels by women--existentialist novels, working class novels, novels of interethnic love and loss, novels responding to psychoanalytic and materialist feminist theories, including novels exploring (or questing) a feminine relation to desire and sexuality, writings of/on the body, writings of revolution, and literary engagements with the linguistic, racial, and sexual complexities of living or writing in diaspora. Our work will span the period from Simone de Beauvoir’s The Second Sex, her groundbreaking 1949 attempt to understand what it means to be(come) a woman, to the second wave feminisms of the late 1960s and ‘70s, to our contemporary era. We will read short theoretical pieces by psychoanalytic feminists and by lesbian materialists to develop an understanding of the intellectual context in which creative writers worked, but the vast majority of our readings will be literary. These will include works by some the most talented and critically esteemed women writing in French, such as Marguerite Duras, Assia Djebar, Linda Lê, Anne Garréta, Marie Darrieussecq, Nina Bourouai, and Chloê Delaume. We will complete our work with a films by female filmmakers working in the last half century. (This course may count towards the Comparative and World Literature or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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Topics in Lit: The Jazz Age <> LIT 492-0

In this course, students will read a selection of poetry, criticism, comics, film and fiction dealing with a central concern for American writers of the 1920s: the nature of art. The focusing lens will be depictions of parallels between artistic creation and romantic love/sexual procreation (as the term "jazz" refers to both, the musical art form and sex), and how these depictions grapple with the sense of cultural crisis that informs so much of modernism. Our texts will include Hemingway's The Sun Also Rises and several short stories; Kay Boyle's short fiction; Dos Passos', Manhattan Transfer; poetry by Pound, Cummings, Stein, Eliot, and others; as well as pop-culture texts like Harriman's Krazy Kat and Disney's Mickey Mouse. We will pay special attention to how various sorts of subject position (including, but not limited to, race, class, and gender) influence how writers portray their own creative projects.  (This course may count towards the American Literature or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the American Studies or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs.)


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19th-C American Lit Culture <> LIT 492-0 This seminar will explore the literary climate of the United States in the mid- and late-19th century, by focusing on the concerns, themes, and techniques of representative fiction writers. We will examine works by Nathaniel Hawthorne, Herman Melville, Edgar Allen Poe, Henry James, and Mark Twain, setting them in their literary and cultural contexts, including a discussion of Hawthorne's influence on James and the role of literary tradition in the making of a writer. We will also consider works by such immensely popular women writers as Fanny Fern (Sara Payson Willis) and Harriet Beecher Stowe in connection with the growing importance of women as consumers and producers of literature. Class participants wishing to explore other 19th-century writers will be able to do so in class presentations and written work. Counts toward the American Literature specialization.
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Topics: Proust <> LIT 492-0

This course will be devoted to an intense engagement with one of the major figures in the history of literature, Marcel Proust, and to his In Search of Lost Time, which remains a crucial text in the development of modern thought. The focus will be on four volumes of the Search: Swann's Way, Within a Budding Grove, Sodom and Gomorrah, and Time Regained. We will explore Proust's reinvention of the novel as a form in relation to a number of Proustian problems and themes: his analyses of desire, perversion and sexuality; his reflections on the nature of time and memory; and his exploration of the relationship of art to life. We will also consider Proust's powers as a satirist and critic of ideology, who mercilessly dismantled the individual and collective illusions of his contemporaries. (This course may count towards the Comparative and World Literature or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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In the Heart of the City <> LIT 492-0

Throughout the twentieth century, the terms "urban" and "black America" became so intimately connected that they are often used as synonyms. By tracing different representations of urban life, this course examines the signification of the metropolis in African American cultural production. Although our focus will primarily center on cultural texts, we will address a number of the "push and pull" factors that prompted the Great Migration and the social forces that have subsequently kept many African Americans in the city. In focusing on a set of cultural texts, we will consider the ways in which African Americans have imagined both the allure and dangers of life in the city. Literature may include work by Nella Larsen, Ralph Ellison, and LeRoi Jones; visual artists may include the photographers Wayne Miller and Camilo José Vergara as well as the painter Jacob Lawrence; film media may include Coolie High and Good Times; music will include hip hop artists by a range of performers from Public Enemy to Common. Critics may include W.E.B. DuBois, St. Clair Drake, Raymond Williams, Mike Davis, and Mary Patillo. (This course may count toward the American literature specialization in MALit and the American studies specialization in MALS.)


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Founding Terrors <> LIT 492-0

This course will read against the accepted tradition of the American Revolution as an essentially rational, Lockean, and non-terroristic Revolution. We will examine American Revolutionary writing as a rhetorical battlefield in which a multiplicity of voices and a plurality of forms—history, letters, notes, autobiography, novel, epic, lyric, play, pamphlet, and journalistic piece—struggled over the cultural and political formation of America and the American. We shall pay particular attention to the grammar of Revolution—the language, images, myths, and forms through which the American Revolution and the American republic were constituted in and through writing. We shall focus in particular on sites of contest, contradiction, resistance, and taboo in Revolutionary writing: the representation of “citizens” and “others”; conflicts between reason and passion, liberty and slavery, civilization and savage, progress and blood; anxieties about nature, the body, gender, human psychology, race, and madness; the terrors of democracy, mob violence, slave insurrection, and political faction; and debates about the excesses of language, print, and representation. We shall read relevant political and cultural theory—from Kant, to Poe, to the Frankfurt school—and consider various past and recent contests about the meaning of the American Revolution. Counts towards the American literature specialization.


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Mysteries of Cities - Amer Lit <> LIT 492-0

Crime and cities go together in the American cultural imagination, and both canonical and non-canonical fiction and film interrogate the construction of guilt and innocence in a web of ideology and conflict as tangled as any street grid. In this course, we will examine how defining aspects of urban American life, from the 19th Century boom-town industrialism of Chicago to the noir landscapes of San Francisco Los Angeles, inform, complicate, and challenge our understanding of crime, criminality, punishment, the law, and the creation of American identity.

Our readings will include The Devil in the White City, The Man with the Golden Arm, The Big Sleep, and 100 Bullets: First Shot, Last Call. We will screen and discuss several films as well, including The Big Sleep, The Maltese Falcon, Call Northside 777, The Grifters, and Pulp Fiction.

(This course counts toward the American Literature specialization.)


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Travelers, Exiles, and Expats <> LIT 492-0

Writing about foreign or unfamiliar spaces offers a rich field for interrogating key questions animating literary studies today: the place of the nation and national traditions within a period of rapid globalization; the relationship of travel writing to colonialism and imperialism; how to develop transnational and comparative approaches to literary studies. Writers based in the United States have produced powerful fiction, poetry, and literary non-fiction (including the sub-genre of travel writing) set in foreign spaces. Even while their authors were only loosely anchored to the places represented, many of these texts were seen at the time and subsequently to offer authoritative accounts of these places and peoples. Less well known to most Americans are literary portraits of the United States by prominent foreigners. In this course we will read fiction and literary non-fiction about the United States by outsiders and about foreign spaces by Americans. This will allow us not only to read major work by major writers, but to ask questions about the relationship of place to fiction, of the expectations we attach to narrative representation of difference, about the ways in which transnational currents among writers undergird national literatures. Primary texts will be accompanied by critical and theoretical essays. (This course may count towards the American literature and Comparative and world literaturespecializations in the master's in literature and advanced graduate study certificate programs.)


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Poetics of African Amer. Lit. <> LIT 492-0

From the very outset of the nation with Phillis Wheatley to the contemporary moment with figures like Elizabeth Alexander, African American writers have been fascinated with the play and sound of words. This course seeks to explore the significance of poetics as it resonates in African American letters as well as culture more broadly. While we read poetry, we will be principally engaged with how poetry comes to bear upon, if not shape and reshape, oral forms (such as sermons, speeches, and hip hop, among others) and written forms (such as short stories and novels, for example). Works under consideration may include Gwendolyn Brooks's Maud Martha, W.E.B. DuBois's The Souls of Black Folk, Langston Hughes's Selected Poems, Douglas Kearney's The Black Automaton, and Jean Toomer's Cane; speeches by Frederick Douglass, Martin Luther King, and Barack Obama; and music by hip hop, jazz, and R&B artists. (This course may count toward the American literature specialization in MALit and the American studies specialization in MALS.)


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Race, Space & Place in Chicago <> LIT 492-0

Chicago is still the most segregated big city in America, and it has a long history of writers who represented its racial and ethnic conflicts. In this course, we will read and discuss the canon of Chicago’s African-American literary tradition, along with other writers who represent how American identity is shaped by the Chicago, by issues of access to space, and the freedom (or lack thereof) to move through the urban landscape.

Our texts will include: Gwendolyn Brooks, Selected Poems; Lorraine Hansberry, A Raisin in the Sun; Richard Wright, Native Son; James T. Farrell, Chicago Stories; Bill Granger, Time for Frankie Coolin; and Bruce Norris, Clybourne Park.

(This course may count towards the American Literature and Interdisciplinary Studies specializations in the literature and advanced graduate study certificate programs. This course may also count towards the American Studies, Chicago Studies, History, or Interdisciplinary Studies specializations in the liberal studies graduate and advanced graduate study certificate programs. )


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Contemporary Adaptation <> LIT 492-0

Courses in literature-to-film adaptation often emphasize canonical and historically distant works by such authors as Shakespeare, Austen, or the Victorians. This course instead centers on contemporary novels and short stories as well as their film adaptations, mostly but not exclusively produced in Hollywood. Beyond simply comparing these texts in terms of story or style, we will ask how literary fiction has itself changed in a 21st-century media environment where film rights are often sold before novels get finished, and where financing, production, media circulation, and creative processes constantly change. We will read American stories that have been adapted differently by U.S. and international filmmakers, and we will contemplate the politics that appear to motivate which texts get adapted -- and which themes are considered "literary," "prestigious," or globally marketable in an era when comic books, video games, and prior movies inspire more adaptations than do recent novels or plays. Along the way, we will master key skills of formal analysis and thematic argument regarding both literature and film. Key texts are likely to include "Brokeback Mountain" (Proulx), Children of Men (James), No Country for Old Men (McCarthy), "So Much Water So Close to Home" (Carver), Oil! (Sinclair), Atonement (McEwan), "Lust, Caution" (Zhang), The Reader (Schlink), and Persepolis (Satrapi), as well as the movies derived from these texts.  (This course may count towards the American literature, British Literature, Comparative and World Literature, Film, Literature, and Visual Culture or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs.)


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Lit of Amer. Century & After <> LIT 492-0

This course looks at the way in which U.S. writers imagined both the domestic scene and the greater world in the wake of the rising status of the United States as a global power. In the post-WWII period, writers rethought many of the presumptions about America’s place in the world and revised earlier narratives about Americans abroad and internationalism. In the twenty-first century, those presumptions changed again, both because of the changing geopolitical status of the U.S. and the impact of the digital age. This course will take a look at two extended moments: the early cold war of the late 1940s and 1950s; and the first decade of the 21st century. Authors will include writers such as: Ralph Ellison, Norman Mailer, Sylvia Plath, Paul Bowles, Gwendolyn Brooks, Dave Eggers, Claire Messud, Junot Díaz, Craig Thompson, Jennifer Egan. (This course may count towards the American Literature and Interdisciplinary Studies specializations in the literature and advanced graduate study certificate programs. This course may also count towards the American Studies or Interdisciplinary Studies specializations in the liberal studies graduate and advanced graduate study certificate programs. )


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Inventing the American Novel <> LIT 492-0

With attention to some of the most important American writers, this course focuses on different forms of aesthetic experimentation that authors use to invent and reinvent the novel. In addition to analyzing the ways writers blur and reframe the boundaries of the novel by engaging other sub-genres of literature (including, for example, visual art, drama, and non-fiction prose), the course will investigate how themes of desire, history, and science are not only represented within narrative fiction but how they transform and render metamorphic the novel’s very form. Writers may include Herman Melville, Edith Wharton, William Faulkner, Samuel R. Delany, Toni Morrison, Don Delillo, Philip Roth, Mark Danielewski, and Alison Bechdel. (This course may count towards the American Literature or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the American Studies or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs.)


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21st-Century Latino Literature <> LIT 492-0

This course will examine some of the exciting and innovative Latina/o literary works produced since the beginning of the new millennium, including novels by Junot Diáz and Luis Alberto Urrea, short stories by Joy Castro, a memoir by Carmen Giménez Smith, and poetry by Rosa Alcalá and US Poet Laureate Juan Felipe Herrera. Latinidad as an umbrella category comprising many diverse groups, each with its own history and cultural traditions, is a relatively recent phenomenon. But how did this group come into existence as a social phenomenon, let alone as a literary field? In addition to considering this question, we will pay special attention to how the works we study portray relationships among different US Latino groups and between Latinos and other US ethnic and minority groups. The tensions between the internal divisions of latinidad and its lateral affiliations make this body of literature vital for anyone interested in understanding the complexity of twenty first-century American racial formations. (This course may count towards the American Literature, Film, Literature, and Visual Culture, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the Interdisciplinary Studies specialization in the master of arts in liberal studies and advanced graduate study certificate programs.)


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Literature and Wartime <> LIT 492-0

From the Civil War to the Lost Generation, and from the Vietnam conflict to the invasion and occupation of Iraq and Afghanistan, there has long been an intimate relationship between war and American literature. In the past decade, a number of returning US veterans have published novels and short stories set in Iraq and Afghanistan, many of them ambitious and sophisticated. Works set in and around war have frequently been places where questions about national identity and the changing status of the United States in the world have been played out in rich ways. In the past century, new technologies of warfare and the ever changing media used to report war has had a profound impact on the way these conflicts have been experienced and translated to a distant public. This course explores the relationship between literature (and some film) representing war, the historical understanding of the opposing side (the enemy), and narrative techniques developed to make sense of what is an inherently confusing situation. We will focus especially on World War II, Vietnam, and the 21st century conflicts in Afghanistan and Iraq, with comparative attention to representations of the war from the “other side.” Close readings of literature will be enhanced with some theoretical writings on cinema frontier narratives, war and postmodernism, empire and imperialism, and postcolonial studies; we will attend to questions of gender, race, disability, nation, subalternity. Texts: Works by writers such as Gertrude Stein, John Hersey, Miné Okubo, Hisaye Yamamoto, Norman Mailer, Gwendolyn Brooks, Joseph Heller, Ralph Ellison, Tim O’Brien, Michael Herr, Siobhan Fallon, Ben Fountain, Phil Klay, Michael Pitre, Elliott Ackerman, Hassan Blassim, Sinan Antoon, and Viet Thanh Nguyen. Theoretical and critical writings by authors including Paul Virilio, Friedrich Kittler, Richard Slotkin Jean Baudrillard, Gayatri Spivak, and Edward Said. (This course may count towards the American Literature, Film, Literature, and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the American Studies or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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Bad Mothers <> LIT 492-0

We hear about bad mothers on the news, read about them online and in news print, see them in movies, and perhaps complain about them with our friends. But what, exactly, is a Bad Mother? How do we know? Where does she come from? In this course we will read novels and watch films that help to constitute, perpetuate, and challenge normative scripts of what constitutes good mothering. This seminar will likewise provoke students to critically analyze the varied factors that shape and define contemporary motherhood as an embodied ideology. Our seminar’s key themes include the institutionalization of motherhood, motherhood as subjectivity, agency and performance, technologies of reproduction, narratives of adoption, and the politicization of motherhood. Texts and authors will include Nella Larsen, Adrienne Rich, Philip Roth, Alice Walker, Buchi Emecheta, Edwidge Danticat, Margaret Atwood, Tillie Olsen, Mommie Dearest, Rosemary’s Baby, The Manchurian Candidate, Kramer v. Kramer, Juno, The Good Wife, and The Blind Side, along with a unit on global media and iconic mothers including Angelina Jolie, Lady Di, Mother Theresa, Mother Goose, Margaret Sanger, Hillary Clinton, Elizabeth Bowes-Lyon, MADD, Whistler’s mother, and Kate Gosselin. (This course may count towards the Film, Literature, and Visual Culture, American Literature, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the American Studies, History, or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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Chicago Transformed <> LIT 492-0

The only constant in Chicago history, and literature, is change. In this course, we will read and discuss more than a century's worth of textual explorations of fundamental shifts in Chicago's built environment, racial and ethnic identities, and literaary expressions. Who lives where? Who has power and who takes it? Who expresses the most important aspects of these transformations, and how do writers across generations agree and disagree? Our readings will include canonical and more obscure writers, from Carl Sandburg, Gwendolyn Brooks, and Nelson Algren to Bill Granger, Stuart Dybek, and Dan Sinker. (This course may count towards the  American Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. This course may also count towards the American Studies, Chicago Studies, History, or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or elective in the creative writing program.)


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The US-Mexico Border in Literature and Film <> LIT 492-0

The US-Mexico border has been the site of intense cultural conflict since the mid-nineteenth century. It marks both the connection and the division between two nations, and many of our most fraught conversations concern whether the border should be a bridge or a wall. As an entry point into these conversations, this course will survey literature and film centering on the US-Mexico border. Students will become familiar with the history of the border, beginning with the Treaty of Guadalupe-Hidalgo in 1848 and extending through NAFTA and up to the current political climate. Together we will consider how the border has become such a potent site for contemporary mythmaking, a flashpoint for anxieties about race, labor, gender, and sexuality. Literary texts will include Gloria Anzaldúa’s Borderlands / La Frontera (1987), Sandra Cisneros’s Woman Hollering Creek (1991), Cormac McCarthy’s The Crossing (1994), Carlos Fuentes’s La frontera de cristal (1995), Juan Felipe Herrera’s 187 Reasons Mexicans Can’t Cross the Border: Undocuments (1995), and Carmen Boullosa’s Tejas (2014). (Texts originally written in Spanish will be taught in English translation.) Films will include The Ballad of Gregorio Cortez (1982), Selena (1997), The Three Burials of Melquiades Estrada (2005), and Sin Nombre (2009). (This course may count towards the American Literature, Comparative and World Literature, Film, Literature, and Visual Culture, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. It may count towards the American Studies, History or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or an elective in the creative writing program.)


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Feminism in Trumplandia LIT 492-0

When Donald J. Trump became the 45th president of the United States, many felt that a new era of precarity for women had begun. The defunding of Planned Parenthood, the Muslim ban, assault on pro-choice legislation, rescinding of protections for transgender students, the President’s own history of sexual assault—to name only a few—all seemed to present an unprecedented dystopia for women across the political spectrum. Indeed, this course begins by asking, how we can talk about feminism in a Trump era? Taking an historical approach to feminism this course asks how many of the issues facing American women today are familiar ones; and what might a Trump administration mean for feminism, both broadly speaking in its global iterations and on more local, micro levels of quotidian experience? How has the conception, performance, politics, embodiment and circulation of feminism been reconceived? As a research course, this class will require students to conduct original research, taking from feminism’s archive over the last thirty years an animating idea, concept, historical moment, material object, or study around which each student will frame a question in relation to Trump feminism. From this question they will devise an original argument, compose a bibliography of primary and secondary sources, outline, and then write a 10-15 page paper. Readings/texts will include but not be limited to those by Betty Friedan, Shulamith Firestone, Robin Morgan, Adrienne Rich, Angela Davis, Andrea Dworkin, Susan Faludi, Patricia Williams, Hortense Spillers, Margaret Atwood, Rebecca Traister, Barbara Ehrenreich, Beyonce, Jessa Crispin, Chimamanda Ngozie Adichie, Victoria Lomasko, and Lena Dunham. (This course may count towards the American Literature, Comparative and World Literature, or Interdisciplinary Studies specializations in the master of arts in literature and advanced graduate study certificate programs. It may count towards the American Studies, History or Interdisciplinary Studies specializations in the master of arts in liberal studies and advanced graduate study certificate programs. It may also count as a literature course or an elective in the creative writing program.)


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