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The course introduces seminal examples, key texts of game theory and relevant critical theory. Students consider the creative aspects of writing for games including: narrative and storyboards, world building, shooting/scripts, characters and avatars, players, virtuality and corporeality, queer feminist game play, play addiction, and algorithms and chance.
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From sparkly vampires to blockbuster monsters, gothic tropes appear to be all-pervasive in contemporary culture. As Catherine Spooner claims in CONTEMPORARY GOTHIC (2006), like "a malevolent virus, Gothic narratives have escaped the confines of literature and spread across disciplinary boundaries to infect all kinds of media, from fashion and advertising to the way contemporary events are constructed in mass culture." This course introduces students to Gothic’s literary expression in the British 19th century, before exploring the many ways in which this dark heritage continues to affect contemporary cultural production. Focusing on three key texts from the 19th century, FRANKENSTEIN (1818), THE STRANGE CASE OF DR JEKYLL AND MR HYDE (1886), and DRACULA (1897), this course discusses their adaptation, appropriation, and influence on popular narratives such as those found in fiction, film, tv, fashion, and music video.
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This course examines the dominant socio-cultural framework and literary and critical practices that define postmodernism in the twentieth century. Students will explore the major debates, key ideas and texts that enable an understanding of the postmodern turn and continue to define contemporary literature in the present.
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This is an introductory course in English-language literature written by, about, or for gay men and lesbians in the twentieth century. It studies a variety of representations of homosexuality in a selection of novels, short stories, plays, and essays. The course also covers literature on other identities within the LGBTQ spectrum, such as bisexuality, asexuality, and transgender identities.
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This course discusses what it means to read for the politics of a text and to read a text politically. We reflect on the different kinds of desire at play in the class: desire for social justice, for solidarity, for purpose in what we, as readers, activists and critics, do. In so doing, we learn to situate texts in terms of their contemporary commitments and in relation to our own. In the second half of the class, students discover literature in the context of, and in service to, a series of social movements and hone our skills in the archive to recreate these past moments of insurgency.
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In this course, students read a range of literature by writers from the British Romantic period (c1776-1832) – an age of political, social, environmental, and aesthetic revolution. In a period marked by rapid industrialization at home, and overshadowed by the practices and legacies of slavery and empire internationally, writers such as Mary Wollstonecraft, William Blake, Lord Byron, Mary Prince, Jane Austen, Felicia Hemans, and P. B. Shelley were negotiating what it meant to live and write in a rapidly changing world.
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This course offers a study the literature of the United States to 1850, taking into consideration the history of the country and the evolution of literary forms, notably prose and poetry. It examines the context of socio-political and cultural relations that have shaped the literary history and traditions of the US. This course discusses literary works from the following historical periods: Pre-colonial and Puritan traditions (1492-1776), literature of the New Republic (1776-1836), and Romanticism and the so-called American Renaissance (1836-1850).
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This course examines representative novels of twenty-first-century literature in English and in English translation. In what ways have these literary works of the twenty-first century reshaped the novel form in order to respond to the crises that define our present
moment? How is the distribution and circulation of these works influenced by developments in technology and social media? What are the dominant criteria of success for literary works? We will look to answer these crucial questions and many more by focusing on the form and content of several novels published between 2013 and 2023.
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This course fulfils the dual function of introducing students to various canonical French texts and films and of introducing students to the study of narrative poetics, or "narratology" an important mode of literary analysis which was largely developed in France. Beginning with a comparative analysis of the narrative techniques of a 19th-century short story by Guy de Maupassant and its film adaptation by the great director Jean Renoir, the course then turns to the medieval and early modern versions of the popular tale LA CHESTELAINE DE VERGI. Afterward, students read the crucial 18th-century novel MANON LESCAUT, the source for Puccini's opera of the same name; they shall then turn to Emile Zola's 19th-century novel THÉRÈSE RAQUIN, studying both this text and its film adaptation. Finally, students examine a contemporary text remarkable for its narrative technique: Annie Ernaux's LA PLACE.
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This course reads against the grain of those dominant narratives of colonialism as world-making by focusing on the pirate as an interruptive force, who derails the movement of peoples, goods, ideas, and laws across the maritime routes linking the Atlantic and Indian Ocean worlds. Important tools in the course are the reading practices of postcolonial theory, which will teach us to extract and assess this alternative history of the post/colonial pirate. The course also teaches students to nuance standard maritime historiographies through literary reading practices, as well as evaluate the metaphoric application of piracy to contemporary, interruptive, economic practices.
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