English

The course explores how drama, theatre, and performance reflect and effect social change. Students think about the relationship of the individual and the community in relation to wider social or institutional structures. The course brings together historical perspectives about drama, theatre, and performance and urgent issues in the present. Key skills students gain include working with theatre texts, historical understanding, and critical analysis about social and cultural change.

This course is a non-academic creative writing course intended to foster student creativity through the practice of creative expression in written English. Topics include creative nonfiction, poetry, and fiction. Students analyze readings from a writer's perspective to heighten awareness of features common to successful creative writing. Students adapt these features to their own work as appropriate, using a process approach that encourages thoughtful peer review and revision for personal expression.  

The goals of this class are to articulate eloquently in English about creative texts, write in multiple genres that demonstrate an engagement with course readings and discussions, and enhance creativity and critical thinking by synthesizing feedback into one's own work. 

Students consider a range of Shakespeare's plays (comedies, tragedies, tragi-comedies, and romances) from different stages of his career, analyzing the playwright's stagecraft, his use of language and his reworking of traditional forms for the commercial stage. While students explore some recent adaptations for stage and screen, the course also focuses on the plays as produced in their original historical and cultural contexts. The course familiarizes students with Renaissance drama's negotiation of contested social and political issues at the turn of the 17th century. Students investigate the social processes of the theatre – notably the playhouses used by Shakespeare's company (the Theatre, the Globe and Blackfriars) – and focus on the interplay of Shakespearean texts and their performance in the production of meaning.

This lecture series provides an introductory, selective, and exemplary overview of English literary history from the Middle Ages to the present. Selected English literature texts from Chaucer to Kureishi (and others) are presented in their contexts and interpreted in their specific aesthetics and as representatives of the respective epoch.

This seminar examines the close relationship of textuality, storytelling and subjectivity in three canonical modernist texts: Joseph Conrad, Heart of Darkness; James Joyce, A Portrait of the Artist as a Young Man; and Virginia Woolf, To the Lighthouse. Students study the period of Modernism and the distrusts and questions of the claim of human reason to be a reliable means for understanding and controlling the world. Key topics include narrative strategies within a newly structured world, textual experiments as empowering spaces for the shaken subject, and textual patterns emphasized in order to compensate for the loss of a more tangible world order. Additionally, the texts focus on textual representation served as a 'hyper-realist' depiction of the chaotic state of decay whereas story telling provided a potential panacea in a world devoid of meaning. 

This course explores the representation of women and the construction of female sexuality and feeling in a wide range of 18th-century writing. The course addresses fictional and non-fictional writing by both women and men in novels, medical works, advice books for women, and erotic literature. The course explores contemporary debates about the place of women in society, (including personal conduct), and the place of sexuality (both socially-sanctioned and otherwise). A central concern is attitudes to female feeling, from sexual passion to sensibility, and the ways in which feeling of various kinds enables conformity to, or critical interrogation of, a larger social and cultural order. Attention also is paid to the relationship between bodies and passion, the social disciplining of feeling, and the relationship between emotion and gender. Literary works are supplemented with a range of additional sources that enable students to contextualize the novels and poems and link them into contemporary debates and attitudes.

At the end of the 20th century, several scholars famously pronounced that society had become “posthuman” (N. Katherine Hayles) and that “we are cyborgs” (Donna Haraway). Two and a half decades later, this diagnosis seems even more accurate: cyborgs, androids, and artificial intelligence populate literature and film; ‘cyborg’ technology in medicine can replaces limbs, organs, and senses; and artificial intelligence assists humans in various ways in their daily lives, from applications in their phones to digital assistants and chatbots. What are the implications of these developments for a traditional understanding of the human and the relationship between humans and machines? How do these transformations impact ideas about, and representations of, the human body and embodiment? What ethical and socio-political issues are at stake? The course explores these questions with the help of theoretical approaches from the fields of Posthumanism, Gender Studies and Critical Race Studies, as well as literary texts and films. Students read two contemporary novels – Jeanette Winterson’s Frankissstein (2019) and Kazuo Ishiguro’s Klara and the Sun (2021) – and watch two films – Alex Garland’s Ex Machina (2014) and Ridley Scott’s Prometheus (2012). They also have a chat with Chat GPT.

The focus of this course will be the discussion and comparative analysis of English language narrative and film within the domain of the Strange, Fantastic, Sci-fi, Slipstream and New Weird sub-genres. The lectures and discussions will cover the cross-medium experience, adaptation, film theory and literary "readings" of film. An interdisciplinary approach involving literary theory, film theory, philosophy, pop culture and psychoanalysis will be employed in these analyses.

This course introduces into the linguistic sub-discipline pragmatics. Students examine how meaning emerges in context, and how this contextual meaning can be distinguished from the literal meaning of a linguistic expression. The range of topics includes assertion, presupposition, implicature, and speech acts.

George Orwell once wrote that "many people who would consider themselves extremely sophisticated and “advanced” are actually carrying through life an imaginative background which they acquired in childhood." This course examines the political lessons children’s books encode about what childhood is, and about which children matter and why. Students read children’s texts from a range of genres and forms – including fantasy, school stories, picture books, and domestic fiction – written between the late 18th century and the present day. Key focuses include agency, gender, race, class, and the environment.