English

This course traces the premodern histories of contemporary constructions of race and gender, exploring the figuration of these concepts in (mainly) non-dramatic texts from Old English to the 17th-century. Students read works including Old English texts scrutinizing the practices of slavery, early modern women’s conduct books, the diplomatic correspondence between Elizabeth I and the Ottoman “Sultana” Safiye, travel writings by Leo Africanus and Al-Hasan al-Wazzan, and Zadie Smith’s reimagining of Chaucer, THE WIFE OF WILLESDEN. Students draw upon important recent scholarship in Premodern Critical Race Theory, Post-Colonial Theory, Gender Studies, Trans Studies and Queer Temporalities to trace how premodern texts helped to construct, perpetuate, challenge, critique, or explore ideas of race and gender, and how this has shaped our field and our world today. 

This course explores the relationship between literary texts and their precursors. The course moves from the ancient world of classical Greece, Rome, and the Middle East to the present day. Students focus on the transhistorical, however, not chronological. The course introduces some of the ways in which writers speak to one another across and through time, considering what it means for a writer to invoke other literary texts in their work. Students explore different theoretical models for thinking about this relationship, moving beyond ideas of influence to instead consider more creative ways in which texts have existed in relation to one another. 

In this course, students read, view, and analyze a selection of plays, performances, and other texts that pose gender as a central problem. In conjunction with these performance texts, students also read a variety of theoretical texts that offer methods both for interpreting gender in performance and for understanding gender as performance. The course focuses on theatre and performance works produced from the 1950s to the present and covers a range of performance forms, including dramatic realism, experimental theatre, performance art, and drag performance. 

The course educates students in the main features of the art form, how to achieve them on the page, and how to recognize and appreciate the literary contexts out of which they emerge. Students work through their notebooks and workshops to recognize their own poetic impulses and render them with greater precision in what they write. Students are encouraged to write poems in the workshops, to be discussed by the group. 

This course offers anyone new to creative writing a chance to learn about different types of writing and to try them out with encouragement, support, and guidance. Students read and discuss inspiring examples of writing (such as poetry, short story, novel, non-fiction and drama) to find literary techniques, craft, and skills that they can apply to their own work. Writing exercises allow students to practice these skills and share their work for feedback. Students also discuss habits and ideas that help them write. Overall, this course offers a welcoming first step to the art of writing creatively.

This course focuses on comic writing for the English stage during one of its most exuberantly creative periods. Beginning with the romantic comedy of Shakespeare and concluding with some of the most daringly sceptical drama of the Restoration period, the course explores the varieties of comic theatre developed over the 17th century, including festive comedy, the carnivalesque, fable, city comedy, and different modes of satire. In doing so, it examines the comic engagement with a range of moral, social and political debates and conflicts, both of the early modern period and in our own time. It also reads the plays in the light of theories of the purposes and workings of comedy, as well as in the context of the very different social and staging conditions obtaining at either end of the century.

This course explores why it is that the coming of age narrative is such an enduring form in US culture. It covers a range of different modes, including autobiography, fiction, film, and music and crosses over the past two centuries to capture the varied historical experience of entering into adulthood within the United States. It has a particular interest in identities, selves, and experiences whose testimonies are antagonistic to the developmental objectives of the genre in its most canonical renderings. Students are also encouraged to reflect on their own experience at university—their own coming of age tale—in order to elucidate and theorize the central critical issues of the course. 

This course traces the history of gothic, ghost stories, and science fiction literature through the 19th century, giving students the chance to consider the development of a range of dark and frightening imaginaries in this period. Exploring the political, psychological, and creative functions of these dark imaginings in writings by Charles Dickens, Hannah Crafts, George Eliot, Charlotte Perkins Gilman, Jean Toomer and others, students consider the role and function of monsters, ghosts, werewolves, and the uncanny in 10th-century culture (and in culture at large). 

The course introduces students to the extraordinary variety of Irish literature produced during the 20th century.  Students study major writers such as James Joyce, W.B Yeats, J.M Synge, Elizabeth Bowen and Seamus Heaney, and place their work in the context of a period that included such traumatic events as colonial occupation, a war of independence, partition, civil war, and a protracted period of social violence in Northern Ireland. The course is organized thematically around significant events, cultural movements and social phenomena. No prior knowledge of Irish literature or history is assumed.  

This broadly chronological course gives students a detailed understanding of black and Asian British writing in its historical, political, and cultural contexts. It examines a range of works by black and Asian writers published in Britain. It explores how black and Asian writers shape and reflect a changing Britain and how race, gender, class, migration, and generation intersect and impact on changing notions of British identity. Students consider how these writers have shaped shifting notions of "Britishness" and engaged with a range of pressing contemporary issues including racism, anti-racism, multiculturalism, gender politics, terror, asylum-seekers, Islamophobia, and debates on free-speech.