English

This course explores issues of crime and detection in a variety of literary texts from different historical contexts and from a variety of European and, depending on staff availability, also Latin American countries. This is done in relation to the main tropes of the genre and a range of theoretical approaches. It considers the contexts in which the texts appear and how crime fiction addresses ideological and social issues.
 

This course examines how working-class writers have represented themselves as well as how they have been represented by others. It pays due attention to the formal modes employed by working-class writing (realism, expressionism, surrealism, fantasy etc.) across a range of genres - fiction, poetry, drama, and film. The course moves from the 19th century to the present in order to understand how class identities change over time yet it also affirms how the reconstitution of class is not synonymous with its disappearance. The course focuses on key issues such as the relationship between culture and politics, the intellectual or writer as a socially mediated figure, solidarity and individuality, social mobility, gender, voice and vernacular, the politics of representation.

This course provides an introduction to early modern English literature and the social, cultural, and intellectual contexts that shaped it. It begins with an introductory lecture, outlining the chronology of the period and the major themes that will be addressed in the following weeks – the concept of renaissance, the Protestant reformation, the discovery of the so-called New World, and the English revolution. The course covers a range of genres, from across the whole period of 1500-1660, and features a number of lectures on major canonical authors combined with broader thematic concerns, which trace the development of early modern literature.

This is a historical and critical survey of modern Chinese fiction from 1917 to 1949, with emphasis on the forms of novella and short story. 

This course introduces the field of California Studies in its plurality, combining elements of literary and film studies, notions and texts from civilization studies, as well as cultural studies. Starting from the question of what constitutes a “Studies” discipline, it then examines specific works and documents – literature, film, essays, and poetry – that provide insight into the specificities of California culture and its representation. Sometimes trivialized, California has a significant place in the spheres of cultural, artistic, and economic development which has had a vast impact on not only American but also Western and global cultures. Californian representations and themes are often a perfect paradox of dominant and subcultural elements, and the course explores several works and aspects of this construction. As such, it is a perfect laboratory through which to ask broader questions about culture and cultural productions. Authors studied range from Richard Henry Dana to Kem Nunn to Frederick Kohner, and films include titles such as the independent film Humboldt County (2008). In keeping with the Puissance du mode minor thematic, not only odes the course explore this smaller Studies discipline but it also looks at alternative positions in the examination of the works discussed. Students are also encouraged to explore works or concepts linked to the topic and to relate them to their own fields of emerging specialization. This is a seminar rather than a lecture, and active participation in discussions and various activities is expected.

This course considers the profound changes which marked British literature from the Restoration to the beginning of the Romantic Age and contributed to the cultural shaping of the country. The first half of the century (the Augustan Age) saw a revival of classical standards in prose and verse, appealing to reason to edify, amuse, and criticize. With the reopening of theatres in 1660, new forms of drama also emerged, especially the “comedy of manners,” which reflected on the corrupt morals and hypocrisy rife in the upper-classes. Satire and parody thus became the main literary weapons during the Enlightenment period. The rise of the middle-class, the development of newspapers, the increase in literacy, together with the domination of Empiricism in philosophy and science and a new interest in feelings led to the invention of the novel. The latter not only appealed to wider audiences than previous literary genres but offered unprecedented insight into contemporary British society and history. Finally, in the second half of the century (the Age of Sensibility), public concerns yielded to more private ones and reason gradually lost ground to sensibility and imagination, thus paving the way to Romanticism.

This course focuses upon Supernatural literature and film from the late 20th and early 21st centuries. Students study novels by authors such as Ira Levin, Shirley Jackson, Jay Anson, Paul Tremblay, Silvia Moreno-Garcia, and Koji Suzuki. Selected films from a variety of national contexts are also featured. Students are introduced to the work of key critics and theorists dealing with the supernatural as a literary and filmic form and are encouraged to consider the ways in which classic supernatural themes and tropes have been updated to reflect contemporary anxieties, social mores, and cultural preoccupations. Students reflect upon the ways in which supernatural literatures from a range of global cultures (the USA, Wales, Spain Japan and England) might differ in their approach to depicting the otherworldly and the uncanny. The ways in which past national and personal traumas (and sources of guilt) can be refracted through supernatural narratives is also considered, and issues pertaining to faith, identity, and modernity are discussed.

This course reassesses the multi-medial and genre-averse nature of the works of Samuel Beckett. The first part of the seminar focuses on modern interpretations of Beckett’s works in areas such as disability studies, queer studies, transhumanism, and feminism. The second part examines how Beckett challenges the boundaries and norms of the written word through various cross-generic mediums.

The course focuses on the new media technologies that have emerged and spread from the time of the Second World War and onwards. A clear emphasis is on digital media and network cultures, as well as the broad influence of television. Highlighted themes are the cultural understanding of technological development, convergence culture and intermedial relations. Different aspects of media and communication as moral panic, paper bureaucracy and tourism are also discussed. Finally, the arguments of some of the most influential late 20th century media theorists such as Raymond Williams and Marshall McLuhan are analyzed.

This course examines the history of British radicalism, with a focus on two moments: the late 19th century around the work of William Morris, and the post-war years, up to the 1980s. It explores the intellectual, artistic, and material production both of Morris and his circle and of alternative cultures in the post-war period. The course first examines the evolutions of radicalism in post-war Britain through the development of alternative cultures and “new social movements,” while exploring intellectual debates within the British left. It pays close attention to artistic expression and cultural practices within radical cultures. The themes covered include the intellectual debates of the New Left in the late 1950s and early 1960s; the cultural politics of the underground in the 1960s; the challenges of feminism; the emergence of participatory forms of political action around “community politics” and “community arts” practices; the influence of Black and Asian political and cultural organizations on a post-colonial critique of Britain’s imperial legacies; the cultural and class politics of Punk and the question of its position in the British history of radicalism. The second part of the course focuses on the work of William Morris. NEWS FROM NOWHERE (1890), “a Utopian romance” as well as a book supporting anarchist ideology, details the radical reconstruction of society. It serves as a base for the exploration of late-Victorian aesthetics and politics, and highlights the contemporary scope and significance of William Morris’s revolutionary cultural legacy.