English

Using selected Singapore texts from a variety of different genres, this course explores the historical roots and contemporary relevance of literary production in Singapore. Beginning with colonial writing, the course moves through considerations of national and postcolonial literatures to contemporary concerns. Given Singapore's history, the notion of a "Singapore" text will be used creatively in order to reflect upon the growth of Singaporean identity and culture, and literary texts from other countries in the region may be used for comparative purposes.

The course aims at introducing to the students the art of short story writing and the cultural messages therein contained, as well as the way to interpret and write critically on short stories.

The course consists of a series of interpretive and critical readings of about 20 English short story masterpieces, by authors ranging from British, American (for the early stage of the course development), Irish, Canadian and Australian (to be added as replacements later on).

This course utilizes The Great Gatsby not only to understand the complex desires of the characters and the gilded age of 1920s America, but also to compare them with those here and now in Korea. The course begins by reading The Great Gatsby, and then reading select critical perspectives on the story, along with an introduction to such critical perspectives.

This course examines the ways in which writers in different parts of the world have used ideas around food to express and communicate the fundamental human experience. Focusing on the recurring images of cooking, eating, feasting, and fasting in a range of literary works and cultural productions, the course explores how food is imagined to convey the innermost feelings and desires of individuals, evoke cultural memory, and form a sense of community.

This course examines the creative process of writing literary work, from the first idea through the development, editing and presentation, including the identification of sources, and choice of style and form. Students will be encouraged to attempt a variety of forms including creative non-fiction, graphic narratives, photo-essays, screenplays, and scripts for games and podcasts. 

This course is an introduction to the most important texts in English Literature written between the Middle Ages and the end of the eighteenth century. The course begins with the Anglo-Saxon ('Old English') epic poem Beowulf (a tale of heroes and monsters) and ends with the lyrical poetry of the early Romantic period. The course studies a wide range of poets, including Marie de France, Chaucer, Spenser, Shakespeare, Donne, Herrick, Milton, Marvell, and Pope; as well as the letters and political speeches of England's first modern queen, Elizabeth I.

The course includes reading scenes from Shakespeare’s Twelfth Night and Christopher Marlowe’s Doctor Faustus, and parts of Jonathan Swift’s satirical adventure novel, Gulliver’s Travels. 

The course emphasizes themes of the medieval and early modern worlds; the importance of religion in shaping English literature; comic and tragic heroes; women and gender in society, and English poetic language.
This Foundation Course has no prerequisite courses.

Dylan Trigg argues that time and place are the twin pillars of identity, and that selfhood is constructed in the space in between them (A Phenomenology of the Uncanny, xiii). This course is concerned with that space in between, with the ways in which time and place interact to create or facilitate experience in children’s literature. Across a literary chronology that moves from 1954 to 2016, the course provides access points into diverse and complex representations of place and interpretations of time in books written for children and young people. Students engage with a broad range of texts, exploring how the central concepts have developed in the latter part of the 20th century, across a variety of modes and genres, using the core texts as touchstones for discussion and analysis. 

This is a project-centered course, in which students will choose and research a topic of their own choice (subject to approval), with the aim of producing a popularly-oriented non-fiction text which exhibits the fruits of sound scholarship. It examines the structures and strategies of a number of published texts, examining their structure and style, and the variety of sub-genres that can be deployed in writing creative non-fiction.

This course introduces the history of American literature after 1865.

In 1900, American sociologist W.E.B. Du Bois wrote that “the problem of the twentieth century is the problem of the color line.” Du Bois could hardly have anticipated how enduring that color line would be or how complex it would grow, both in the United States and across the world under American empire. As one example, Martin Luther King, Jr., pointed out in 1967 that while under segregation in the U.S. Black and white men could hardly sit on the same bus, the state was happy to sit them side-by-side in warplanes meant to kill Vietnamese people. Evidently, the color line is entwined with lines of class and nation -- who works, who rules -- in ways we must study closely if the twenty-first century is to look different from the twentieth.

This course examines how these lines have been drawn and redrawn in the post-Civil War era and across the “American century,” from Jim Crow to Banana Republics, from Black Power to what the Zapatistas call “the fourth world war.” Along the way, it studies study fiction, film, and poetry from some of the greatest minds in American culture and politics.

The course features works of authors such as W.E.B. Du Bois, Flannery O’Connor, Richard Wright, Langston Hughes, Huey P. Newton and Bobby Seale, Amiri Baraka, June Jordan, George Romero, Martin Luther King, Jr., Che Guevara, Pablo Neruda, Subcomandante Marcos, and Karen Tei Yamashita.

Students should expect to read 10-25 pages of material per week or more.