Jose Rizal Epic Poem Essay

A natural hero was born on 1861 His name was Jose Rizal A gifted child who studied foreign languages This great hero was the founder of La Liga Filipina. During his lifetime there was a war The Philippines was shattered to the ground.. Many uprisings were fought against the Spaniards! All of it failed until the Noble Jose Rizal came. His divine weapon was not a sword nor a gun But a small pen. A pen so great it united the Filipinos. His words inspired the hearts of all It spread all over the country like a wild fire The Spaniards heard it just like a wind whispering to them They locked Jose Rizal in a dark tiny chamber in a basement They tortured him.. Oh poor sir Jose Rizal.. Yet his hated grows and burns within his soul The Filipinos planned to free him They had worked so hard.. and it succeeded! Jose sighed.. â€Å"What a beautiful sight† But he said â€Å" I’ll stay here to represent our nation† Andres Bonifacio another great hero said.. â€Å"Are you sure Jose?† And Jose replied â€Å"with all my heart yes I am..† The Spaniards came with an army so great They have to leave Jose Rizal to the hands of the Evil Spaniards They confine him with a great heavy chains Tormented his life for trying to escape And one day the government ordered his death His death day was on December 30, 1896 There he was standing alone under the heavy rain Behind him a hundred gunman to shoot him dead. The leader shouted Fire! and then a gun echoed in the area, the Heroic Jose Rizal was shot in the back.. his eye sight blurred for the last time He felt the pain starts to erupt up to his spine he breathe for the very last time He looked up into the misty sky collapsing facing the gunman There he was lying dead on the bloody ground The Clouds weeps for his death All the Filipinos who watched him get shot screamed No! His death inflamed the hearts of the Filipinos

Kubla Khan Essay

Born in 1772 in Ottery. St., T.S.Coleridge lead a very disquiet life in his early childhood. After his father’s death he was sent to the Christ’s hospital school. There he had felt a great emotional vacuum, which was the beginning of his continuos ill health. Charles Lamb, his schoolmate, gave us an account of this period affirming that Coleridge was highly imaginative, who sought refuge in reading old romantic tales as well as Homer, Virgil, and Shakespeare. Perhaps the most influential period in Coleridge’s life was the period when he met Wordsworth in 1795, after he had left Cambridge. It seemed that in the company of Wordsworth, Coleridge found the mental peace, security, and environmental harmony. This had resulted in the sudden flowering of his genius, a sudden release of his creative impulses, and he wrote â€Å"The Ancient Mariner†, â€Å"The Christable†, and â€Å"Kubla Khan†. Much about the composition and subject matter of â€Å"Kubla Khan† can be detected from Coleridge’s Preface to that poem: † This fragment with a good deal more, not recoverable, composed, in a sort of reverie brought on by two grains of opium taken to check a dysentery†¦Ã¢â‚¬  This fact raises the issue of the drug’s effect on the poet’s creative imagination. Early critics assumed that there was a direct and immediate correlation between opium and imagination. In 1934 M.H. Abrams declared that the â€Å"great gift of opium† to men like Coleridge â€Å"was to access to a new world as different from this one; and one which is ordinary mortal†. According to Elizabeth Schneider, opium can only work â€Å"on what is already there in a man’s mind and memory† and † if he already has a creative imagination and a tendency to† recall dreams and visions. Then opium may intensify and focus his perceptions. This last interpretation seems to be the most acceptable one, because this is what really happens to Coleridge. Before he began to dream he had been reading the following words of the same substance, in Purchas’s â€Å"Pilgrimage†: â€Å"Here the Khan Kubla commanded a palace to be built, and a stately garden thereunto. And thus ten miles of fertile ground were inclosed within a wall†. These words, it is quite apparent, formed the background upon which opium worked, encouraging Coleridge’s mind for imagination. The effect opium had on Coleridge’s mind manifests itself while examining the structure of the poem itself. It quite obvious that the third stanza is entirely different from the first two ones, as if was written by a human being whereas the other earlier stanzas seem to had been written by a demon or some divine hand. Coleridge himself confesses that he couldn’t revive the interrupted composition of the first two stanzas that were written under the influence of opium, and that when he returned to his writing â€Å"all the rest had passed away like images on the surface of a stream†. Perhaps that’s why we find it a fragmentary work, filled with strange, unusual imagery, and lacking a rational structure; its rhythms suggest a mind vacillating between conscious and unconscious modes of being. Matter of fact â€Å"Kubla Khan† is reliable to different levels of interpretation. First, the poem could be approached as a descriptive poem that shares the common beautiful characteristics and techniques of most romantic poets, especially when describing natural elements. Still Coleridge described the world of â€Å"Kubla Khan† in terms of the ancient Platonic idea of â€Å"Dualism†; where the world of material existence is described as the world of shadows, and the world of Ideals as the elevated one. Accordingly, â€Å"Kubla Khan† could be regarded as a beautiful expression of the poet’s longing for some ultimate beauty combining the work of man with those of nature and those of pure imagination; to resurrect lost archetypal worlds within the imagination. In this way the â€Å"pleasure dome† that has been established in fulfillment of the orders of the Tartar Prince can be regarded as an attempt to reach such an ideal world. That’s why the first stanza opens with a carefully constructed image of a walled garden containing â€Å"incense bearing trees† and forests enclosing â€Å"sunny spots of greenery†; a description that adds a paradisal spirit into the place Kubla has created. The ideal spirit and holiness of this world has been emphasized in a variety of expressions: in affirming that in this â€Å"stately pleasure dome did† †¦ Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea†¦ The sacredness of this world has been further affirmed by the fact that it is â€Å"girdled round† and protected from undesirable or unharmonious influences. This scene that has been described in the first stanza stands in contrast to the opening lines of the second stanza; where the poet’s â€Å"But† contrasts the planned classical artifact of Kubla with the romantic chasm; the birthplace of poetic genius and true creativity: But oh! That deep romantic chasm which slanted Down the green hill athwart a cedarn cover! Now the atmosphere is different: the rational order of the garden has been replaced by a scene outside the walls, which is â€Å"savage†, â€Å"wholly†, and â€Å"enchanted†. This natural scene is, indeed, a more perfect symbol of the reconciliation of oppositions in the world of imagination, thereby more eternal. In this stanza we are, also, introduced to the source of that sacred river- Alph- which is seen as symbolizing Plato’s theory of â€Å"Dualism† in terms of Man’s journey through life in search for the Ideal world: it flows from a mysterious source- (Man’s birth)- through â€Å"a mazy† course- (the complexities of life; poetically symbolized by the â€Å"mighty fountain† that â€Å"burst† small stones as if breathing)- to sink tumultuously into â€Å"a lifeless ocean†-(the sea of death). Between birth and death Man is overwhelmed by a dream of permanence- (the shadow cast by the dome of pleasure). This very last symbol has been developed in representing the dome in dream-like terms inaccessible to Man: It was miracle of rare devise, A sunny pleasure-dome with caves of ice! That’s to say the dome itself- by possessing sunny weather and caves of ice- represent a reconciliation of opposites which is impossible to human life. With the beginning of the third stanza the poem seems to take a new tern of thought. Now it gives us a vivid picture of a poet caught in a spell of poetic inspiration, who, once in a vision, saw an abyssinian maid playing on her dulcimer and singing of the wild splendor of mount Abora. At this point the poem becomes reliable to another level of interpretation. It is a poem about poetic creation. With this consideration in mind Kubla Khan, who caused a pleasure-dome and elaborated gardens to be constructed in Xanadu, is a type of the artist whose glorious creation becomes a balanced reconciliation of the natural and artificial. Similarly the poet enters the poem- using first person pronoun- in an attempt to establish his own dome. If only, Coleridge laments, he could â€Å"revive within† him the maid’s lost â€Å"symphony and song†, if only he could recapture the whole original vision instead of just a portion of it, then he would be able to establish â€Å"that dome in air† so that his witnesses would declare him to be divinely inspired and form a circle of worship around him. Being filled with â€Å"holy dread† they would cry:

English William Shakespeare

?ENGLISH NOTES 2012-2013 Advising and Preregistration ONLY declared English majors (who have formally declared their major by Monday, April 30th) may preregister for English classes via the web on Monday, May 7th during their registration appointment times according to the following schedule: The last day to add a class for Fall Quarter is Friday, September 7th. The last day to drop a class for Fall Quarter is yet to be determined. PLEASE NOTE: The Registrar has indicated that students may preregister for a maximum of two courses in any one department.Students can sign up for additional courses in that department during regular advanced registration. Information Sources When you declare, the undergraduate program assistant automatically signs you up for the departmental listserv. Consult your email regularly for announcements about upcoming deadlines and special events. Additional information is posted in University Hall, published in the WCAS column in the Daily Northwestern, and po sted on the English Department web page at URL: www. english. northwestern. edu. Also, up-to-date information on courses can be found on the Registrar's home page at: http://www. registrar. northwestern. du/ Contact the English Department: Northwestern University Department of English 1897 Sheridan Rd. University Hall 215 Evanston, IL 60208 (847) 491-7294 http://www. english. northwestern. edu/ [email  protected] edu 1 ?ENGLISH NOTES 2012-2013 Applications for the following are available early spring quarter through either the English Office in University Hall 215 or the departmental website at www. english. northwestern. edu Annual Writing Competition The English Department will be conducting its annual writing competition Spring Quarter, with prizes to be awarded in the categories of essay, fiction, and poetry.Announcements about specific prizes, eligibility and submission will be available in the English office by April 1st. The following rules apply: 1) Students may not enter competitions for which they are not eligible. 2) Students may submit only one work per genre. 3) The maximum length for essay and fiction manuscript is 20 pages; the maximum length for a poetry manuscript is 10 pages or 3 poems. Students should submit only one copy of each work. The deadline for submission of manuscripts for the 2012 contest is Thursday, May 3rd by 3:00pm. Awards will be announced at a ceremony on May 25th, 2012 at a time that is yet to be determined.A reception will follow. Literature Major 399 Proposals Individual projects with faculty guidance. Open to majors with junior or senior standing and to senior minors. Students interested in applying for independent study in literature during spring quarter should see the potential adviser as soon as possible. Guidelines for 399 are available in UH 215 and on the English webpage. Writing Major Honors Proposals Writing majors should apply for Honors in the spring of their junior year. The department will have application forms available early spring quarter. The application deadline for the 2012-2013 academic year is yet to be determined.Literature Major 398 Honors Applications Literature majors who wish to earn honors may apply during the spring of their junior year for admission to the two- quarter sequence, 398-1,2, which meets the following fall and winter quarter. The departmental honors coordinator for 2012- 2013 is Professor Paul Breslin. The application deadline to apply for the 2012-2013 academic year is Tuesday, May 8th, 2012by 4:30pm. Declaring the Major or Minor In the past, in order to declare the English Major or Minor, students needed to complete prerequisites. Prerequisites are no longer required to declare the Major or Minor.To declare the Major or Minor, pick up the appropriate declaration form in UH 215 and consult the Director of Undergraduate Studies (Professor Grossman) in stipulated office hours. At this point, the new major will choose a Departmental Advisor and become eligi ble for English preregistration in succeeding quarters. WCAS policy requires instructors to return student work in person or by mail. Student work is not to be kept in the departmental office, nor is it to be distributed in any public place. **Reminder to Seniors: Seniors who have not yet filed their Petitions to Graduate must do so immediately. A Calendar of Course Offerings Taught by English Department Faculty *Class times and course descriptions are subject to change without notice. 105 Expository Writing 205 Intermediate Composition 206 Reading & Writing Poetry MW 9:30-10:50 Webster MWF 11-11:50 Curdy MWF 1-1:50 Kinzie MWF 2-2:50 Curdy TTh 9:30-10:50 Goldbloom MWF 10-10:50 Bresland MW 9:30-10:50 Webster MW 3:30-4:50 Curdy TTh 12:30-1:50 Altman TTh 2-3:20 Breslin MW 11-12:20 Seliy MW 12:30-1:50 Donohue TTh 9:30-10:50 Goldbloom TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Bouldrey TTh 9:30-10:50 Bresland TTh 2-3:20 Bresland MWF 1-1:50 Lane (210-2)MWF 1-1:50 Gibbons MW 3:30-4:50 Curdy M WF 11-11:50 Webster MW 11-12:20 Seliy TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Biss MWF 2-2:50 Webster TTh 9:30-10:50 Kinzie TTh 11-12:20 Bouldrey MWF 11-11:50 Soni (210-1) 207 Reading & Writing Fiction 208 Reading & Writing Creative Non Fiction 210-2,1 English Literary Traditions (Additional Discussion Section Required) FALL WINTER SPRING Several Sections Offered Each Quarter Several Sections Offered Each Quarter ? 3 211 212 213 220 Gender Studies 231 234 270-1,2 273 275 298 302 306 307 Introduction to Poetry (Additional Discussion Section Required) Introduction to DramaIntroduction to Fiction (Additional Discussion Section Required) The Bible as Literature (Additional Discussion Section Required) Gender Studies Introduction toShakespeare (Additional Discussion Section Required) American Literary Traditions (Additional Discussion Section Required) Intro. to 20th-Century American Literature (Additional Discussion Section Required) Introduction to Asian American Studies Introductory Se minar in Reading and Interpretation History of the English Language Advanced Poetry Writing Advanced Creative Writing MWF 11-11:50 Gottlieb FALL WINTER SPRING TTh 9:30-10:50 Phillips MWF 12-12:50 Erkkila (270-1)MW 12:30-1:50 Kim MWF 11-11:50 Grossman TTh 9:30-10:50 Thompson TTh 3:30-:50 Roberts TTh 11-12:20 Breen TTh 12:30-1:50 Goldbloom MWF 12-12:50 N. Davis MWF 2-2:50 Feinsod TTh 11-12:20 Cutler TTh 3:30-4:50 Lahey MW 2-3:20 Gibbons TTh 2-3:20 Kinzie TTh 11-12:20 Froula MWF 11-11:50 Thompson MWF 12-12:50 Stern (270-2) TTh 9:30-10:50 Erkkila TTh 11-12:20 Phillips TTh 2-3:20 Harris TTh 12:30-1:50 Dybek TTh 3:30-4:50 Cross MWF 1-1:50 Manning MWF 10-10:50 Newman ?4 311 Studies in Poetry 312 Studies in Drama 313 Studies in Fiction 323-1 Chaucer 324 Studies in Medieval Literature 331 Renaissance Poetry 332 Renaissance Drama 333 Spenser 35 Milton 338 Studies in Renaissance Literature 339 Special Topics in Shakespeare 340 Restoration & 18th Century Literature 353 Studies in Romantic Liter ature 359 Studies in Victorian Literature 365 Studies in Post-Colonial Literature 366 Studies in African American Literature MWF 11-11:50 Passin TTh 3:30-4:50 Hedman TTh 4-5:20 Schwartz TTh 12:30-1:50 Harris TTh 12:30-1:50 Roberts TTh 2-3:20 Thompson TTh 2-3:20 Law TTh 11-12:20 Feinsod MW 9:30-10:50 T. Davis MWF 10-10:50 Breen MWF 11-11:50 Newman TTh 9:30-10:50 Masten TTh 11-12:20 Evans TTh 2-3:20 Grossman/Soni TTh 9:30-10:50 Soni MW 3:30-4:50 Lane MW 11-12:20 WeheliyeMW 3:30-4:50 Hedman MW 9:30-10:50 Johnson MWF 1-1:50 Newman TTh 3:30-4:50 Harris MW 11-12:20 West MW 3:30-4:50 Evans TTh 12:30-1:50 Harris TTh 2-3:20 Sucich TTh 11-12:20 Roberts TTh 11-12:20 Lane TTh 12:30-1:50 Lahey TTh 9:30-10:50 Dangarembga FALL WINTER SPRING ?5 368 Studies in 20th-Century Literature 369 Studies in African Literature 371 American Novel 372 American Poetry 377 Topics in Latina/o Literature 378 Studies in American Literature 383 Studies in Theory and Criticism 385 Topics in Combined Studies 386 Studie s in Literature and Film 393- Theory & Practice of Poetry FW/TS 394- Theory & Practice of Fiction FW/TS 95- Theory & Practice of FW/TS Creative Nonfiction 398-1,2 Senior Seminar Sequence (Lit) TTh 12:30-1:50 Hedman TTh 4-5:20 Mwangi TTh 2-3:20 Mwangi MWF 11-11:50 Lahey MWF 2-2:50 Grossman MWF 10-10:50 Bouldrey TTh 3:30-4:50 Weheliye MWF 1-1:50 Leong MW 3:30-4:50 Leahy MW 12:30-1:50 Webster MW 12:30-1:50 Bouldrey MW 12:30-1:50 Bresland W 3-5 Breslin MWF 11-11:50 Hedman MW 12:30-1:50 Passin TTh 12:30-1:50 Cross MW 3:30-4:50 Stern TTh 2-3:20 Erkkila MWF 1-1:50 Cutler MW 2-3:20 Roberts TTh 12:30-1:50 Lahey MW 2-3:20 Froula TTh 2-3:20 N. Davis TTh 3:30-4:50 Leong MW 12:30-1:50 Webster/Curdy MW 12:30-1:50 Bouldrey/SeliyMW 12:30-1:50 Bresland/Bouldrey W 3-5 Breslin MW 9:30-10:50 diBattista MW 12:30-1:50 Passin TTh 11-12:20 Froula T 6-8:20 diBattista TTh 3:30-4:50 Cutler MWF 10-10:50 Smith TTh 12:30-1:50 Savage MWF 2-2:50 Soni MWF 1-1:50 Breslin MWF 11-11:50 Feinsod MW 12:30-1:50 Curdy MW 1 2:30-1:50 Seliy MW 12:30-1:50 Biss FALL WINTER SPRING ?6 399 Independent Study SeveralSections Offered Each Quarter FALL WINTER SPRING ?7 ENG 206 [Prerequisite to English Major in Writing] Reading & Writing Poetry Course Description: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic.Creative work will be assigned in the form of poems and revisions; analytic writing will be assigned in the form of critiques of other members’ poems. A scansion exercise will be given early on. All of these exercises, creative and expository, as well as the required readings from the Anthology, are designed to help students increase their understanding of poetry rapidly and profoundly; the more wholehearted students’ participation, the more they will learn from the course. Prerequisites: No prerequisites. No P/N registration. Attendance of first class is mandatory.Course especially recommended for prospective Writing Majors. Literature Maj ors also welcome. Freshmen are NOT permitted to enroll until their spring quarter. Seniors require department permission to enroll in English 206. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student poems. Evaluation Method: Evidence given in written work and in class participation of students’ understanding of poetry; improvement will count for a great deal with the instructor in estimating achievement.Texts include: An Anthology, a critical guide, 206 Reader prepared by the instructor, and the work of the other students. [Prerequisite to English Major in Writing] Reading & Writing Fiction Course Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and dist ance to shape their art.Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique. Prerequisites: English 206. No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Teaching Method: Discussion of readings and principles; workshop of student drafts.Evaluation Method: Evidence given in written work and in class participation of students’ growing understanding of fiction; improvement will count for a great deal with the instructor in estimating achievement. Texts include: Selected short stories, essays on craft, and the work of the other students. Fall Quarter: Rachel Webster Averill Curdy Mary Kinzie Averill Curdy Winter Quarter: Rachel Webster Averill Curdy Toby Altman Paul Breslin Spring Quarter: Reg Gibbons A verill Curdy Rachel Webster ENG 207 MW 9:30-10:50 MWF 11-11:50 MWF 1-1:50 MWF 2-2:50 MW 9:30-10:50 MW 3:30-4:50 TTh 12:30-1:50 TTh 2-3:20MWF 1-1:50 MW 3:30-4:50 MWF 11-11:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 Sec. 23 Sec. 24 Sec. 20 Sec. 21 Sec. 22 Fall Quarter: Goldie Goldbloom Winter Quarter: Shauna Seliy Sheila Donohue Goldie Goldbloom Goldie Goldbloom Spring Quarter: Shauna Seliy Goldie Goldbloom TTh 9:30-10:50 MW 11-12:20 MW 12:30-1:50 TTh 9:30-10:50 TTh 12:30-1:50 MW 11-12:20 TTh 12:30-1:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 ENG 208 [Prerequisite to English Major in Writing] Reading & Writing Creative Non Fiction Course Description: An introduction to some of the many possible voices, styles, and structures of the creative essay.Students will read from the full aesthetic breadth of the essay, including memoir, meditation, lyric essay, and literary journalism. Discussions will address how the essay creates an artistic space distinct from the worlds of poetry and 8 fiction, and how truth and fact function within creative nonfiction. Students will be asked to analyze the readings closely, and to write six short essays based on imitations of the style, structure, syntax, and narrative devices found in the readings. Students can also expect to do some brief writing exercises and at least one revision. Prerequisites: English 206. No P/N registration.Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student work. Note: Prerequisite to the English Major in Writing. Fall Quarter: moment, does it become possible to ignore or overlook the political projects embedded in these texts? In readings of Chaucer, More, Sidney, Shakespeare, Milton, Behn and Swift, among others, we will consider how importan t it is to understand these texts from a political erspective, and wonder why this perspective is so often ignored in favor of psychologizing and subjectivizing readings. Teaching Method: Two lectures per week, plus a required discussion section. Evaluation Method: Regular reading quizzes (15%); class participation (25%); midterm exam (20%); final exam (20%); final paper (20%). Texts include: Beowulf; Mystery Plays; Chaucer, Canterbury Tales; More, Utopia; Sidney, Defense of Poesy; Shakespeare, Tempest and selected sonnets; Milton, Paradise Lost; Behn, Oroonoko; Swift, Gulliver’s Travels. ENG 210-2 English Literary Traditions Christopher LaneMWF 1-1:50 Winter Quarter Course Description: English 210-2 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement. This course is a chronological survey of important, representative, and highly enjoyable British works from Romanticism to the modern period (rou ghly the French Revolution to the First World War). Focusing on poetry, drama, essays, and several short novels, we'll examine compelling themes, styles, movements, and cultural arguments, paying particular attention to the way literary texts are located in history.For perspective, the course also tackles several comparative issues in nineteenth-century art and intellectual history, drawing on such large-scale themes as tensions between individuals and communities, the narrative fate of women and men, and the vexed, uncertain role of authors as commentators on their social contexts. An overview of English literary history and its traditions during a fascinating century, English 210-2 provides excellent training in the analysis of fiction. Teaching Method: Two lectures per week and one required discussion section each Friday (section assignments will be made during the first week of class). John Bresland Winter Quarter: Brian Bouldrey John Bresland John Bresland Spring Quarter: Eula Biss Rachel Webster Mary Kinzie Brian Bouldrey MWF 10-10:50 MW 9:30-10:50 TTh 9:30-10:50 TTh 2-3:20 MW 9:30-10:50 MWF 2-2:50 TTh 9:30-10:50 TTh 11-12:20 Sec. 20 Sec. 21 Sec. 22 Sec. 20 Sec. 21 Sec. 22 Sec. 23 ENG 210-1 English Literary Traditions Vivisvan Soni MWF 11-11:50 Spring Quarter Course Description: English 210-1 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement.This course is an introduction to the early English literary canon, extending from the late medieval period through the eighteenth century. In addition to gaining a general familiarity with some of the most influential texts of English literature, we will be especially interested in discovering how literary texts construct, engage in and transform political discourse. What kinds of political intervention are literary texts capable of making? What are the political implications of particular rhetorical strategies and generic choices? How do literary texts encode or allegorize particular political questions?How, at a particular historical ? 9 Evaluation Method: Two short analytical papers; one final essay; performance in discussion section; final exam. Texts include: The Norton Anthology of English Literature: The Major Authors (8th edition; volume B); Jane Austen, Sense and Sensibility (Penguin); Charles Dickens, Hard Times (Norton); Virginia Woolf, Mrs. Dalloway (Harvest/HBJ). Please buy new or used copies of the editions specified. Texts available at: The Norris Center Bookstore. ENG 211 Introduction to Poetry: The Experience and Logic of Poetry Susannah Gottlieb MWF 11-11:50 Fall QuarterCourse Description: The experience of poetry can be understood in it at least two radically different ways: as a raw encounter with something unfamiliar or as a methodically constructed mode of access to the unknown. The experience of poetry includes both of these models, and theories of poetry from antiquity to the present da y have grappled with these two dimensions of the poetic experience. In order to understand a poem, a reader must, in some sense, enter into its unique and complex logic, while nevertheless remaining open to the sometimes unsettling ways it can surprise us.In this class, we will read some of the greatest lyric poems written in English, as we systematically develop an understanding of the formal techniques of poetic composition, including diction, syntax, image, trope, and rhythm. Students should come prepared to encounter poems as new and unfamiliar terrain (even if you've read a particular poem before), as we methodically work through the formal elements of the poetic process. Teaching Method: Lectures and weekly discussion groups. Evaluation Method: Three papers (5-7 pages), weekly exercises, active participation in section discussions, and a final exam.Texts Include: The Norton Anthology of Poetry. ENG 212 Introduction to Drama: Modernism in Performance Susan Manning MWF 1-1:50 Sp ring Quarter Course Description: This survey course follows the emergence of modernism in diverse genres of theatrical performance—drama, dance, cabaret, and music theatre. In London, Paris, Berlin, and New York, new theatrical practices emerged in the late 19th century and through the first half of the 20th century, practices that have continued to inspire theatre artists into the present.Readings are complemented by film and video viewings and by excursions to Chicago-area theatres. Teaching Method: lecture with weekly discussion sections Evaluation Method: three short papers and a take- home final exam. Texts include: Noel Witts, ed. , The Twentieth- Century Performance Reader (3rd edition); Gunter Berghaus, Theater, Performance and the Historical Avant-Garde. ENG 213 Introduction to Fiction: Worlds in a Grain of Sand Christine Froula TTh 11-12:20 Winter Quarter Course Description: What is fiction? How is it different from history, biography, nonfiction?How and why do peop le invent and tell stories, listen to them, pass them on, often in new versions, forms, or media? In this course we’ll study a selection of fictional narratives from around the globe and from different historical moments, in a variety of prose and verse forms—short story, novella, novel, myth, story cycle, serial—and in visual and aural as well as literary media: ballad, theatre, zine, painting, photograph, graphic novel, film. If, as Ezra Pound put it, literature is news that stays news, we’ll consider how these fictional works bring news from near and far.We’ll think about the traditions, and occasions of storytelling, the narrators who convey them, the conventions and devices they inherit or make new, and some ways in which stories may influence or talk to one another, as well as to audiences and communities within and across cultures. We’ll consider whether and how each work’s historical origin and context may illuminate ? 10 the situation and conflict it depicts; and how its point of view, narrative voice, techniques of character- drawing, plot, imagery, dialogue, style, beginning and end help shape our questions and interpretations.As we taste some of â€Å"the rarest and ripest fruit of art which human thought has to offer,† in Nabokov’s words, we’ll seek to develop skills and awareness that will deepen our pleasure in the inexhaustible riches of imaginative literature. Teaching Method: Lecture and Discussion Evaluation Method: Attendance, participation, weekly exercises, two short papers, midterm, final. Texts include: Texts and course packet TBA. Texts Include: Bible, New Revised Standard Version (NRSV) with apocrypha (Oxford U. Press). GNDR ST 231/co-listed w/ Comp Lit 205 Gender Studies:Feminism as Cultural Critique Helen Thompson MWF 11-11:50 Winter Quarter Course Description: In this class, we will consider the origins and ongoing powers of feminism as a critique of culture. At its origins in the 1790s through the middle of the twentieth century, modern Western feminism fought on two fronts, condemning women’s legal and political disenfranchisement as well as more subtle practices and norms, like the wearing of corsets, that shored up women’s subordinate status at the level of everyday life.In this class, we will explore feminism in America after the legal and political battle has, to some extent, been won: we’ll examine the so-called second wave of feminism, from roughly 1960 to 1980. This exciting, volatile, and radical phase of the feminist movement dedicated its critical energies to problems that persisted beyond women’s nominal political and legal enfranchisement.By disrupting everyday institutions like the Miss America pageant, second- wave feminism revealed that mainstream norms, habits, and assumptions might operate just as powerfully as repressive laws. Because so much second-wave feminism consists of physical activism, cultural interventions, and artistic production, in this class we will encounter a variety of media: academic writing, but also manifestos, journalism, film, visual art, novels, performances, and documentaries.An ongoing goal of the class will be to explore the critical methodologies enabled by the second wave. What tools does second-wave feminism use to read culture? What tools does second-wave feminism use to re-tell history? The class will begin by looking at part of Simone de Beauvoir’s The Second Sex (French, 1949; English, 1953) to examine how its foundational claim that â€Å"one is not born, but rather becomes, a woman† invites us to analyze culture rather than nature. The remainder of the class is broken into units.Unit One, â€Å"Beauty,† includes the documentary â€Å"Miss . . . or Myth? † (1987) on the Miss American pageant and its feminist re-staging, Gloria Steinem on her experience as a Playboy Bunny (1969), and founding discussions of wom en’s looks by Kate Millet, Germaine Greer, Betty Friedan and others. Unit Two, â€Å"Housework/ Domesticity,† covers pivotal texts on women’s lives at home (â€Å"The Politics of Housework,† â€Å"The ENGLISH 220 The Bible as Literature Barbara Newman MWF 10-10:50 Combined w/ CLS 210 Spring QuarterCourse Description: This course is intended to familiarize literary students with the most influential text in Western culture. No previous acquaintance with the Bible is presupposed. We will consider such questions as the variety of literary genres and strategies in the Bible; the historical situation of its writers; the representation of God as a literary character; recurrent images and themes; the Bible as a national epic; the New Testament as a radical reinterpretation of the â€Å"Old Testament† (or Hebrew Bible); and the overall narrative as a plot with beginning, middle, and end.Since time will not permit a complete reading of the Bible, we will c oncentrate on those books that display the greatest literary interest or influence, including Genesis, Exodus, Psalms, Ecclesiastes, the Song of Songs, Ruth, Job, Daniel, and Isaiah; the Gospels according to Luke and John, and the Book of Revelation. We will look more briefly at issues of translation; traditional strategies of interpretation (such as midrash, typology, and harmonization); and the historical processes involved in constructing the Biblical canon.Teaching Method: Three lectures, one discussion section per week. Evaluation Method: Two midterms and final exam, each worth 25% of grade; participation in sections; occasional response papers; some interactive discussion during lectures. ?11 Personal is Political,† â€Å"Why I Want a Wife,† and others); we will examine one mainstream reaction to the feminist critique of domestic labor, Ira Levin’s horror novel and adapted film The Stepford Wives.Unit Three, â€Å"Sex,† will look at second-wave femin ist challenges to both the social and anatomical determinants of eroticism and pleasure (The Myth of the Vaginal Orgasm, Sex and the Single Girl, Lesbian Nation, Pornography); we will read one early 70s feminist novel (Erica Jong, Fear of Flying) and one early 70s mainstream romance (Janet Woodiwiss, The Flame and the Flower) to examine their contesting representations of women’s sexual desire and agency.In the course of this comparison, we’ll take up the issue of rape, or â€Å"rape culture† (Susan Brownmiller, Against our Will, and others); the material conditions and ideologies at stake in romance reading; and the charge that second-wave feminism reflected the concerns of only white middle-class women (bell hooks, Ain’t I A Woman? ). Unit Four of the class will look at feminist cultural production. We’ll look at avant-garde art (short films include Carolee Schneeman’s â€Å"Meat Joy,† Martha Rosler’s â€Å"Semiotics of the Kitchen,† and other videos, images, and performances) and artistic provocations (like Valerie Solanas, â€Å"The S.C. U. M. Manifesto†) to consider how these texts challenge high art and cultural values down to the present day. Macbeth, Henry V, Anthony and Cleopatra, Measure for Measure, and The Tempest. Teaching Method: Lectures with Q; required weekly discussion section. Evaluation Method: Attendance and section participation, two papers, midterm, final exam. Texts include: The required textbook is The Norton Shakespeare, ed. Stephen Greenblatt et al. Textbook available at: Norris Center Bookstore. ENG 234Introduction to Shakespeare Susie Phillips TTh 9:30-10:50 Fall Quarter Course Description: What spooks America? From the Puritan â€Å"city upon a Hill,† to Tom Paine’s Common Sense, to Emerson’s American Adam, America was imagined as a New World paradise, a place to begin the world anew. And yet, from the story of Pocahontas and John Smith, to the origins of the American Gothic in the Age of Reason, to Melville’s Moby Dick, American literature has been haunted by fantasies of terror, sin, violence, and apocalypse.Why? This course will seek to answer this question. Focusing on a selection of imaginative writings, including origin stories, poems, novels, and a slave narrative, we shall seek to identify and understand the significance of the terrors—of the savage, the dark other, the body, nature, sex, mixture, blood violence, authoritarian power, and apocalypse—that haunt and spook the origins and development of American literature.Students will be encouraged to draw connections between past American fantasies and fears and contemporary popular culture and politics, from classic American films like Hitchcock’s Psycho to The Hunger Games, from American blues and jazz to Michael Jackson’s Thriller, from the Red Scare and the Cold War to the war on terror. Teaching method: Lecture and discuss ion; weekly discussion sections. Evaluation Method: 2 papers; quizzes; final examination.Texts Include: The Norton Anthology of American Literature: Beginnings to 1820 (Volume A; 8th edition); Charles Brockden Brown, Edgar Huntly; or Course Description: This course will introduce students to a range of Shakespeare’s comedies, tragedies, histories and romances. During the quarter, we will be considering these plays in their Early Modern context—cultural, political, literary and theatrical. We will focus centrally on matters of performance and of text.How is our interpretation of a play shaped by Shakespeare’s various â€Å"texts†Ã¢â‚¬â€ his stories and their histories, the works of his contemporaries, the latest literary fashions, and the various versions of his plays that circulated among his audience? Similarly, how do the details of a given performance, or the presence of a particular audience, alter the experience of the play? To answer these question s, we will consider not only the theaters of Early Modern England, but also recent cinematic versions of the plays, and we will read not only our modern edition of Shakespeare but also examine some pages from the plays as they originally circulated.Our readings may include Much Ado About Nothing, Romeo and Juliet, Hamlet, Othello, ENG 270-1 American Literary Traditions: What Spooks America? Betsy Erkkila MWF 12-12:50 Fall Quarter ?12 Memoirs of a Sleep-Walker; Ralph Waldo Emerson, Selected Writings; Edgar Allan Poe, Great Short Works; Frederick Douglass, The Narrative of Frederick Douglass; Nathaniel Hawthorne, The Scarlet Letter; Herman Melville, Moby Dick. ENG 273 Post 1798 Introduction to 20th-Century American Lit.Nick Davis MWF 12-12:50 Spring Quarter Course Description: This course aims to draw English majors and non-majors alike into a substantive, wide-ranging, and vivacious conversation about American literature and life, spanning from modernist watersheds of the 1920s to th e present moment. In all of the literature we read, the impressions we form, and the insights we exchange, we will track complex evolutions of â€Å"America,† both as a nation and as a notion, deepened and ransformed over time by new ideas about language, history, movement and migration, individuality and collectivity, social positioning, regional identities, political attitudes, and other forces that shape, surround, and speak through the texts. However, we shall remind ourselves at all points that literature is not just a mirror but an engine of culture; it produces its own effects and invites us into new, complicated perspectives about language, form, structure, voice, style, theme, and the marvelous, subtle filaments that connect any text to its readers.Teaching Method: Lecture and discussion Evaluation Method: Two formal essays, quizzes, and a final exam, plus participation in discussion sections and occasionally in lecture Texts include: William Faulkner’s As I L ay Dying; Marita Bonner’s The Purple Flower; Nathanael West’s Miss Lonelyhearts; Don DeLillo’s White Noise; Suzan-Lori Parks’s The America Play; and others. ENG 270-2 American Literary Traditions Julia Stern MWF 12-12:50 Winter Quarter Course Description: This course is a survey of American literature from the decade preceding the Civil War to 1900.In lectures and discussion sections, we shall explore the divergent textual voices – white and black, male and female, poor and rich, slave and free – that constitute the literary tradition of the United States in the nineteenth century. Central to our study will be the following questions: What does it mean to be an American in 1850, 1860, 1865, and beyond? Who speaks for the nation? How do the tragedy and the triumph of the Civil War inflect American poetry and narrative?And how do post- bellum writers represent the complexities of democracy, particularly the gains and losses of Reconstruction, the advent of and resistance to the â€Å"New Woman,† and the class struggle in the newly reunited nation? Evaluation Method: Evaluation will be based on two short (3-page) essays, in which students will perform a close reading of a literary passage from one of the texts on the syllabus; a final examination, involving short answers and essays; and active participation in section and lecture. Texts include: Herman Melville, â€Å"Bartleby,Scrivener†; Harriet Wilson, Our Nig; Rebecca Harding Davis, â€Å"Life in the Iron Mills†; Harriet Jacobs, Incidents in the Life of a Slave Girl; Emily Dickinson, selected poems; Walt Whitman, â€Å"Song of Myself† and other selected poems; Mark Twain, The Adventures of Huckleberry Finn; Charles Chestnut, selected tales; Kate Chopin, The Awakening. Textbooks will be available at: Norris Bookstore. Note: Attendance at all sections is required; anyone who misses more than one section meeting will fail the course unless both his or her T. A. and the professor give permission to continue.ENG 275/co-listed w/ Asian_Am 275 Introduction to Asian American Studies Jinah Kim MW 12:30-1:50 Fall Quarter Course Description: This course examines literature, film, and critical theory created by Asian Americans in order to examine the development of Asian America as a literary field. We will explore how Asian American literature and theory engages themes and questions in literary studies, particularly related to questions of race, nation and empire, such as sentimentalism, the autobiography, bildungsroman and genre studies.For example, how does Carlos Bulosan draw on tropes and images of 1930’s American depression to Post 1798 ?13 draw equivalence between Filipino colonial subjects and domestic migrant workers? How does Siu Sin Far use sentimentalism as a strategy to evoke empathy for her mixed race protagonists? How does Hirahara manipulate conventions of literary noir to contest dominant recollections of W WII? Thus we are also learning to ‘deconstruct’ the text and understand how Asian American literature and culture offers a parallax view into American history, culture and political economy.Starting from the premise that Asian America operates as a contested category of ethnic and national identity we will consider how Asian American literatures and cultures â€Å"defamiliarize† American exceptionalist claims to pluralism, modernity, and progress. The novels, short stories, plays and films we will study in this class chart an ongoing movement in Asian American studies from negotiating the demands for domesticated narratives of immigrant assimilation to crafting new modes of ritique highlighting Asian America’s transnational and postcolonial history and poesis. Teaching Method: Lecture, Discussion, Readings, Class participation, Guest speakers, Writing assignments, Films / video. Evaluation Method: Presentations, attendance, class participation, mid-term pa per, final paper. Texts Include: Carlos Bulosan, America is in the Heart, University of Washington Press, 1974; Don Lee, Country of Origin, W. W.Norton and Company, 2004; Karen Tei Yamashita, Through the Arc of the Rainforest, Coffee House Press, 1990; Jhumpa Lahiri, Interpreter of Maladies, Mariner Books, 1999; Susan Choi, Foreign Student, Harper Collins, 1992; John Okada, No-No Boy University of Washington Press, 1978; A required reader is available from Quartet Copies and films for the course will stream on blackboard. ENG 298 Introductory Seminar in Reading and Interpretation Course Description: English 298 emphasizes practice in the close reading and analysis of literature in relation to important critical issues and perspectives in literary study.Along with English 210-1,2 or 270- 1,2 it is a prerequisite for the English Literature Major. The enrollment will be limited to 15 students in each section. Nine sections will be offered each year (three each quarter), and their speci fic contents will vary from one section to another. No matter what the specific content, 298 will be a small seminar class that features active learning and attention to writing as part of an introduction both to the development of the skills of close reading and interpretation and to gaining familiarity and expertise in the possibility of the critical thinking.Prerequisites: One quarter of 210 or 270. Note: First class mandatory. No P/N registration. This course does NOT fulfill the WCAS Area VI distribution requirement. Fall Quarter: Jay Grossman Helen Thompson Wendy Roberts Winter Quarter: Betsy Erkkila Susie Phillips Carissa Harris Spring Quarter: Harris Feinsod John Alba Cutler Sarah Lahey FQ Section 20: MWF 11-11:50 TTh 9:30-10:50 TTh 3:30-4:50 TTh 9:30-10:50 TTh 11-12:20 TTh 2-3:20 MWF 2-2:50 TTh 11-12:20 TTh 3:30-4:50 Section 20 Section 21 Section 22 Section 22 Section 21 Section 20Section 20 Section 21 Section 22 Literary Study: â€Å"Coming to Terms† Jay Grossman M WF 11-11:50 Course Description: This seminar will introduce you to some of terms–and through these terms, to some of the materials, methods, theories, and arguments– that have become central to literary study today. By coming to know these terms, we will begin to come to terms with literary study in other, broader ways–to think about what the study of texts might have to do with reading, writing, and thinking in twenty-first century American culture.The seminar is organized around the following terms: writing, author, culture, canon, gender, performance. Some of these terms are of course familiar. Initially, some will seem impossibly broad, but our approach will be particular, through particular literary texts and critical essays. Throughout the course we will also return to two important terms that aren't a part of this list: literature (what is it? who or what controls its meaning? why study it? ) and readers (who are we? what is our relation to the text and i ts meaning[s]? what does â€Å"reading† entail? hat is the purpose of reading? what gets read and who decides? ). ?14 Teaching method: Mostly discussion. Evaluation method: Mandatory attendance and active participation. Shorter papers, some of them revised, and one longer final paper. No exams. Texts Include: Mostly fiction and poetry, including some of the following: Walt Whitman, Leaves of Grass; Emily Dickinson’s poetry; Elizabeth Bishop, Geography III; Michael Chabon, The Mysteries of Pittsburgh; Henry Blake Fuller, Bertram Cope’s Year; Critical Terms for Literary Study (eds.Lentricchia and McLaughlin; second edition). FQ Section 21: Romanticism and Criticism Helen Thompson TTh 9:30-10:50 Course Description: This seminar pairs a series of key texts in the history of critical thought with canonical fiction and poetry of the Romantic era. You’ll learn about critical movements— psychoanalysis, Marxism, feminism, and post- structuralism or deconstr uction—by testing their substantive and methodological claims against poems, novels, plots, images, and fictions.As the class proceeds, you’ll be able to mix and match critical and literary texts to experiment with the kinds of interpretations and arguments their conjunctions make possible. How do entities like history, class struggle, the unconscious, manifest versus latent content, patriarchy, the body, sex, gender, signification, and textuality continue to engender literary meaning and galvanize the claims we make for the poems and novels we read?We’ll pair Karl Marx’s Communist Manifesto and William Blake’s Songs of Innocence and Songs of Experience; Sigmund Freud’s The Interpretation of Dreams and Mary Shelley’s Frankenstein; William Wordsworth’s Lyrical Ballads and key essays in Jacques Derrida’s theory of deconstruction; and Jane Austen’s Pride and Prejudice and Simone de Beauvoir’s The Second Sex. T here will be short supplemental critical or historical materials to flesh out some of these methodologies and provide context for the literary texts.Again, you’ll be encouraged to recombine authors and approaches as we proceed. A central aim of this class will be to facilitate your appreciation of not only the substantive claims made by Marx, Freud, Derrida, and Beauvoir, but also the methodological possibilities that their challenging worldviews open for the interpretation of literature. At the same time, we’ll appreciate that Blake, Shelley, Wordsworth, and Austen are also critical thinkers: indeed, perhaps their poetic and fictional texts anticipate the methodological and historical provocations offered by Marx and the rest.As we gain facility with some of the dominant methodological strands of literary analysis, we’ll think about their historical roots in the Romantic era and ponder the still urgent critical possibilities they open for us today. Teaching Met hod: Seminar. Evaluation Method: TBA FQ Section 22: Contact Wendy Roberts TTh 3:30-4:50 Course Description: European contact with the â€Å"new world† initiated various textual interpretations of people groups and cultures, including our own. The very project of defining what it means to be American can be said to egin in the first encounter with the other. It is often noted that the physical senses were central to this narrative in which textuality became linked to modernity and orality to the primitive. In many ways, the rich metaphor of â€Å"contact† is helpful for thinking about literary methodologies, which often attempt to make strange, at the same time that they attempt to understand, a given text. This course will introduce English majors to some of the key terms and issues in textual interpretation through reading American literature pertaining to contact, broadly conceived.Whether coming face to face with the savage Indian in the wilderness, or conversely, a white ghost, experiencing a supernatural event, or stepping onto American soil after surviving the Middle Passage, the texts we read will offer compelling narratives of rupture, displacement, and recreation helping us to reflect on the various methodologies literary studies offers for interpreting texts and the claims it makes on the real world. We will think about the definition of literature, our status as readers, and the way our encounter, contact, or discovery of a given text becomes literarily, culturally, and personally meaningful.Teaching Method: Discussion. 15 Evaluation Method: Participation, attendance, shorter writing assignments, group blog project, and one revised paper. Texts include: Mostly fiction and poetry, including some of the following: contact narratives by Christopher Columbus and Alvar Nunez Cabeza de Vaca, selection of Native American tales and songs, including contemporary poet Leslie Marmon Silko, Mary Rowlandson’s captivity narrative, John Marra nt’s conversion narrative, Phillis Wheatley’s poetry, Charles Brockden Brown’s novel Wieland, and Walt Whitman’s Leaves of Grass.WQ Section 20: Reading and Interpreting Edgar Allan Poe Betsy Erkkila TTh 9:30-10:50 Course Description: Edgar Allan Poe invented the short story, the detective story, the science fiction story, and modern poetic theory. His stories and essays anticipate the Freudian unconscious and various forms of psychoanalytic, poststructuralist, and modern critical theory. Poe wrote a spooky novel called The Narrative of Arthur Gordon Pym and several volumes f poetry and short stories. As editor or contributor to many popular nineteenth- century American magazines, he wrote sketches, reviews, essays, angelic dialogues, polemics, and hoaxes. This course will focus on Poe's writings as a means of learning how to read and analyze a variety of literary genres, including lyric and narrative poems, the novel, the short story, detective fiction, s cience fiction, the essay, the literary review, and critical theory.We shall study poetic language, image, meter, and form as well as various story- telling techniques such as narrative point of view, plot, structure, language, character, repetition and recurrence, and implied audience. We shall also study a variety of critical approaches to reading and interpreting Poe’s writings, including formalist, psychoanalytic, historicist, Marxist, feminist, queer, critical race, poststructuralist, and postcolonial theory and criticism.We shall conclude by looking at the ways Poe's works have been translated and adapted in a selection of contemporary films and other pop cultural forms. Teaching Method: Some lecture; mostly close- reading and discussion. Evaluation Method: 2 short essays (3-4 pages); and one longer essay (8-10 pages); in-class participation. Texts Include: Edgar Allan Poe: Poetry, Tales, and Selected Essays (Library of America); M. H. Abrams and Geoffrey Galt Harpham: A Glossary of Literary Terms (Thomson, 8thEdition); Julie Rivkin and Michael Ryan, eds. Literary Theory: An Anthology (Blackwell, rev. ed. ). WQ Section 21: Songs and Sonnets Susie Phillips TTh 11-12:20 Course Description: Beginning with the sonnet craze in the late sixteenth century, this course will explore the relationship between poetry and popular culture, investigating the ways in which poets draw on the latest trends in popular and literary culture and, in turn, the ways in which that culture incorporates and transforms poetry—on the stage, in music, and on the screen.We will consider how poets borrow from and respond to one another, experimenting with traditional forms and familiar themes to make the old new. In order to recognize and interpret this experimentation, we will first study those traditional forms, learning to read and interpret poetry. While we will be reading a range of poems in modern editions, we will be situating them in their social, historical, lite rary and material contexts, analyzing the ways in which these contexts shape our interpretation.How for example might our reading of a poem change if we encountered it scribbled in the margins of a legal notebook or posted as an advertisement on the El rather than as part of an authoritative anthology? Teaching Method: Discussion. Evaluation Method: Two papers, short assignments, and class participation. Texts Include: Poetry by Shakespeare, Donne, Marlowe, Sidney, Spenser, Keats, Shelley, Williams, Stevens, and Eliot. WQ Section 22: Representing the Prostitute in Early Modern EnglandCarissa Harris TTh 2-3:20 Course Description: The London stage was continually populated by actors playing prostitutes, from the morality dramas of the 16th century to early 17th-century plays in which the prostitute takes 16 center stage, such as The Dutch Courtesan and The Honest Whore Part 1 and 2. Why was the figure of the prostitute particularly important to early modern English writers, and what did staging the prostitute mean for both authors and audiences?In this course we will explore how early modern English writers used the character of the prostitute to embody a variety of popular anxieties concerning female sexuality, social disorder, the continual influx of foreigners to London, the rapid spread of syphilis, urban growth, and widespread poverty. We will study the literary and cultural meanings of the prostitute, seeking to identify what precisely representing the prostitute on stage accomplished for both authors and audiences in early modern London.We will also investigate the roles the prostitute performs in particular genres, including satirical love poetry, erotica, gender debates, and drama. Readings for the course will include William Shakespeare’s comedy Measure for Measure, Thomas Dekker’s plays The Honest Whore Part 1 and 2, Thomas Nash’s poem A Choyse of Valentines, several short poems by court poet John Skelton, and John Marstonâ€℠¢s plays The Insatiate Countess (unfinished) and The Dutch Courtesan (selections). Teaching Method: Seminar. Evaluation Method: 2 short close-reading papers (3- 4 pp. , an in-class presentation with an accompanying paper (2 pp. ), and a final paper (5-7 pp. ). Texts include: Shakespeare, Measure for Measure (Arden Shakespeare edition); and a course reader Textbooks will be available at: Quartet Copies. SQ Section 20: Modern Poetry & Poetics: Experiments in Reading Harris Feinsod MWF 2-2:50 Course Description: This course offers an introduction to key texts and major paradigms for the reading and interpretation of modern poetry in English. The first half of the course contends with questions at the heart of the discipline of poetics: what is poetry?Is it of any use? How do poems employ figures, rhythms, sounds, and images to address problems of experience and society? How do poems acknowledge or reject tradition? How does poetry enhance or alter our relationships to language and to t hinking? We will read â€Å"experimentally,† pairing works by poets such as Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound and Eliot with theoretical statements of poetics by Paz, Jakobson, Agamben, Stewart, Frye and others. This will allow us to gain fluency with poetic forms and genres, and to practice the fundamentals of close reading.In the second half of the course our attention will shift from individual poems to a series of scandalously inventive collections and sequences (including Williams, Brooks, Oppen, Ginsberg, O'Hara, or others). We will learn to shuttle with agility between the observations of minute formal elements and larger historical, performative, and transnational logics. We will continue to experiment widely and self-consciously with practices of close reading, but we will also flirt with alternatives such as â€Å"close listening† and â€Å"wild reading. We will move between an understanding of a â€Å"text† and its social â€Å"context,† between iterative â€Å"forms† and unrepeatable â€Å"performances,† between discrete â€Å"works† and the wider â€Å"networks† of poems to which they belong. At the conclusion of the course, we will begin to speculate about the future of poetry and poetics in the new media environment of the 21st century. Teaching Method: Lecture and discussion. Evaluation Method: frequent short writing assignments, one ~10 page paper, one in-class presentation. Careful preparation and participation is crucial.Texts include: Individual poems and collections by Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound, Eliot, Williams, Bishop, Ginsberg, and others; criticism by Agamben, Adorno, Culler, de Man, Frye, Greene, Jakobson, Ramazani et. al. ; Brogan, The New Princeton Handbook of Poetic Terms. This list is subject to change, contact me for the syllabus during enrollment. Texts available at: Beck’s Bookstore SQ Section 21: Adapt ation John Alba Cutler TTh 11-12:20 Course Description: This seminar will examine literary adaptation as a way to approach questions of reading, interpretation, genre, and literary culture.Literary works have much to teach us about the act of reading itself, especially when those works adapt some other source material and in the process 17 interpret it. The process of adaptation into poetry or fiction foregrounds how literary texts make meaning. Adaptation will thus provide us a framework for studying basic concepts from poetics, including meter, rhyme, and form, as well as from narratology, including point of view, characterization, plot, and narrative temporality. We will consider literary adaptation from a variety of perspectives: what choices do writers make when creating a work of fiction from historical records?Or a play from a poem? How have poets from the Early Modern period to the present used sources as various as the Bible and visual art as inspiration? What do all of th ese adaptations teach us about how literature compares to other forms of cultural production? The seminar will end by considering what happens when a canonical work of American literature, F. Scott Fitzgerald’s The Great Gatsby, becomes the subject of adaptation and re-adaptation. Teaching Method: Discussion Evaluation Method: Quizzes, short essays. Texts include: Poems by John Milton, W. H.Auden, Langston Hughes, and Frank O’Hara; â€Å"Benito Cereno,† by Herman Melville; A Raisin in the Sun, by Lorraine Hansberry; and The Great Gatsby, by F. Scott Fitzgerald SQ Section 22: Many Faces of Gothic Fiction Sarah Lahey TTh 3:30-4:50 Course Description: The Turn of the Screw has famously been interpreted as both a ghost story and a psychological drama. Some claim it is a novella about supernatural events, and others argue it revolves around a crazy governess suffering hallucinations. As a genre, gothic literature inspires an unusually diverse range of critical reacti ons.Yet, how many ways can we accurately read the same story? What prompts one form of criticism over another? What are the stakes of choosing to read a story in a particular way? These questions will drive our discussion as we examine classic works of gothic fiction in the British tradition from the 18th and 19th centuries. We also will pair each primary text with an excerpt of literary theory or criticism. Our aim is to understand the practice of literary criticism, while at the same time enjoying the thrills – and horrors – of gothicism’s most famous creations.Teaching Method: Discussion Evaluation Method: In-class presentation, two short papers (4-5 pages), and one longer paper (6-8 pages). Texts include: The Castle of Otranto (1764); Confessions of a Justified Sinner (1824); Strange Case of Dr. Jekyll and Mr. Hyde (1886); Dracula (1897); and The Turn of the Screw (1898). ENG 302 History of the English Language Katherine Breen TTh 11-12:20 Fall Quarter Cours e Description: Have you ever noticed that, unlike many other languages, English often has two different names for the same animal?These double names can be traced back to 1066, when the French- speaking Normans, led by William the Bastard, conquered England and installed their countrymen in almost every position of power. In the aftermath of this victory, William the Bastard became William the Conqueror and cows and pigs and sheep became beef and pork and mutton – at least when they were served up to the Normans at their banquets. Like many other high-falutin’ words in English, these names for different kinds of meat all derive from French.As long as the animals remained in the barnyard, however, being cared for by English-speaking peasants, they kept their ancient English names of cow and pig and sheep. In this course we will investigate this and many other milestones in the history of the English language, focusing on the period from the Middle Ages through the eight eenth century. We will pay particular attention to the relationship between language and power, and to the ways people in these periods conceived of their own language(s) in relation to others.This class will also help you to develop a more sensitive understanding of the English language that you can bring to other classes and to life in general. Have you ever thought about analyzing a poem – or a political speech – in terms of which words come from Latin, which from French, and which from Old English? Teaching Method: Mostly discussion, with some lecture. Evaluation Method: Quizzes, a midterm exam, and a final exam, plus a couple of short papers and an oral report. Texts Include: David Crystal, The Stories of English; a course reader. 18Texts available at: Beck’s Bookstore and Quartet Copies NOTE: This course fulfills the English Literature major Theory requirement. ENG 306 Combined w/ CLS 311 Advanced Poetry Writing: Theory and Practice of Poetry Translation Reg Gibbons MW 2-3:20 Spring Quarter Course Description: A combination of seminar and workshop. Together we will translate several short poems and study theoretical approaches to literary translation and practical accounts by literary translators. We will approach language, poems, poetics, culture and theoretical issues and problems in relation to each other.Your written work will be due in different forms during the course. In your final portfolio, you will present revised versions of your translations and a research paper on translation.. Prerequisite: A reading knowledge of a second language, and experience reading literature in that language. If you are uncertain about your qualifications, please e-mail the instructor at to describe them. Experience writing creatively is welcome, especially in poetry writing courses in the English Department. Teaching Method: Discussion; group critique of draft translations; oral presentations by students.Evaluation Method: Written work (â€Å" blackboard† responses to reading, draft translations, revised translations, and final papers) as well as class participation should demonstrate students’ growing understanding of translation as a practice and as a way of reading poetry and engaging with larger theoretical ideas about literature. Texts include: Essays on translation by a number of critics, scholars and translators, in two published volumes and on the Course Management web site (â€Å"blackboard†). ENG 307 CROSS-GENRE Advanced Creative Writing: Finding a Place Goldie Goldbloom TTh 12:30-1:50 Fall QuarterCourse Description: Setting is an often overlooked aspect informing fiction, and yet, when we think back on our favourite books, what remains with us, besides character, is often connected with setting. What would Harry Potter be without Hogwarts? What would The Lord of the Rings be like without Middle Earth, Charlotte's Web without the farmyard, To Kill a Mockingbird without Maycomb, Alabama? We wi ll be examining setting in our own work and in the work of published writers, to determine what it adds to the dreamscape of a story, and how it can be manipulated to express hidden emotion.This is a workshop class, and you will be expected to bring in your own writing for analysis and critique. Prerequisites: Prerequisite English 206. No P/N registration. Attendance at first class is mandatory. This course may be used toward the inter-disciplinary minor in creative writing. Texts include: The Street of Crocodiles, Bruno Schulz, 978-0-14018625-5; Nadirs, Herta Muller, 978-0-80328254-4; Too Loud a Solitude, Bohumil Hrabal, 978-0-15690458-2; Being Dead, Jim Crace, 978-0-31227542-6; The Woman in the Dunes, Kobo Abe, 978-0-67973378-2; Bastard Out of Carolina, Dorothy Alison; Lord of the Rings, J.R. R. Tolkein ENG 307 Advanced Creative Writing: Fabulous Fiction Stuart Dybek TTh 12:30-1:50 FICTION Winter Quarter Course Description: Fabulous Fictions is a writing class that focuses on writ ing that departs from realism. Often the subject matter of such writing explores states of mind that are referred to as non- ordinary reality. 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Human Resource Law - Memo Research Paper Example | Topics and Well Written Essays - 1250 words

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Comprehension Assignment Example | Topics and Well Written Essays - 1000 words

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Environmental Degradation Essay Example for Free

Environmental Degradation Essay The deterioration of the environment by natural or human forces is known as environmental degradation. Natural happenings like heavy rain, floods, storms, earthquakes, volcanoes etc. are not under human control and they play havoc with environment time to time by making the land unfit lor cultivation. Here man is helpless. He can do nothing except to see the havoc. But when man himself plays a vital role in degrading the environment in which he lives, and then the problem becomes more serious. Needless to say that environmental degradation is one of the major global issues. The overuse of resources is it land or water and the industrialisation process are the major causes of this phenomenon. Man has been felling the tress for his various purposes. He never minds if this process goes on without check it will lead to soil erosion, floods, silting of irrigation canals and cultivated lands, which finally degrade our environment. Our population is increasing fast, which has also degraded the environment to a great extent. Mans insatiable needs and distress have disturbed the whole environmental equilibrium. The race of armament among countries is no less responsible for this global issue. Apart from these our industries emit smoke and discharge liquids including polluted water. The smoke contains many undesirable gases such as carbon monoxide and sulpher dioxide. All borne particles in solid, liquids and gaseous form. The pollution in atmosphere has tendency to form their layers and sinks in atmosphere. The chlorofluorocarbons which come from aerosol sprays nuclear weapons, refrigerators etc., have caused a hole in the ozone layer of atmosphere. This hole is allowing increased amount of ultraviolet radiation reaching our earth. The above mentioned factors have really degraded the environment and if ways to check it are not applied we will have face serious consequences. We must put an end to our ir satiable needs and desires. There must not be indiscriminate cutting of trees because it will lead to ecological imbalances. Instead, we should know the value of tree plantation and should plant trees as many as we can in our surrounding area. Next, our ever growing population must be checked because it puts an extra burden .on our natural resources. Last but not the least, factories should not be allowed to emit large quantities of harmful effluents into air through their chimneys. They should discharge them into the rivers aid other water bodies because this dirty water can be treated aid recycled to be used again. Our environment must be protected by all means. We must realise the fact that so long environment is there, our life is there. The day, when there is no environment, there will be a complete doom.

Plato Analysis Essay Example for Free

Plato Analysis Essay Platos The Republic centers on a simple question: is it better to be just than unjust? In answering this overlying question, Socrates outlines the ideal city and how justice is a virtue of that city. From there, he characterizes justice as a virtue of the soul. It is while he is discussing the soul that Socrates begins to define the different types of souls. Rather than comparing and contrasting each soul, Plato quickly jumps into contrasting the tyrannical soul with the aristocratic soul ? the most unjust with the most just. In Book IX of Platos The Republic, Socrates describes a man in an awful state asserting that the worst of souls is the tyrant. This accurate assertion can be seen through the consideration of not only the tyrants personal characteristics but also the negative ______ he contributes to the city. In Book VIII of Platos Republic, the five types of people are presented in parallel to the fives types of regimes. The most inferior of the five regimes is tyranny. Correspondingly, the tyrannical soul is then the most inferior person. Socrates examines the steady decline from one regime to the next, starting with the fall from aristocracy to timocracy when factions arise between auxiliaries and guardians. This decline comes because of injustice and the spirit of the auxiliaries not abiding by the edicts of reason. Further decline due to an excess of desire and the degradation of spirit ultimately leads to tyranny. This is the most wretched of all the regimes as the tyrant is the most wretched of souls. Book IX of The Republic begins with a story of two young men whose lives take opposite paths. The first is raised in a home more Spartan than Athenian, born to a parsimonious father who honors the money-making desires while despising the ones that arent necessary but exist for the sake of play and showing off (572c). The son rebels against his austere upbringing, and revels in the company of subtler men who delight in the pleasures of the world (572c). However, because the young man has been brought up to abhor such worldliness, in the end he chooses a middle path ? neither illiberal nor hostile to law ? having become what Plato describes as a man of the people (572d). This introduction is important, because Plato uses the young man previously described to contrast the second. The second man is perhaps the son of the first, raised in moderation, to appreciate both the diligence of work and the joy of pleasure. When the same influences, friends, and ideas that changed his father begin to work on him, this young man does not have the inner moral courage to chart his own path. With his father urging moderation and his friends encouraging irresponsibility, the young man is torn between the two. Herein lies the downfall of the man ? the dread enchanters and tyrant-makers who espouse reckless pleasure-seeking realize that they will not win him over with continued persuasion, so they seek to make him a slave to his own desires (573a). Plato calls these desires love, but lust may be a more apt description (573b). Having now become a drone, the young man is imbued with desire to satisfy the temporal passions that bring momentary pleasure (573b). This desire drives him insane. He has madness as his bodyguard, and runs amuck, eliminating those whose own decency contrasts with his own lack thereof, killing them out of shame. The tyrant is characterized as the worst of souls because of his personal attributes that are detrimental and undesirable to any man. Drunken, erotic, and melancholic, he lives solely to satisfy the passions and desires that run rampant in his mind (573c). This man does little good by himself or his fellowmen, and, if given the opportunity, would become the most terrible of rulers. Plato defines this man to be his tyrant and describes him as the most miserable person in society. Socrates and Glaucon characterize the person ruled by lawless attitudes as enslaved, having the least amount of control to what he wants. The tyrant is full of confusion and regret, fearful and poor, with an insatiable appetite (577c-578a). To any human being, it would be least desirable to become a person as described above who is never satisfied. The greatest control an individual can obtain is control over their own thoughts and desires. Without this control, a person is miserable and relies on the outside world to fill his appetite. To illustrate the idea that a tyrant is simply one whose passions are out of control, Plato compares the tyrant to a drunken man. Just as a drunken man has a tyrannical spirit, so a man drunk on his own lustful desires has the same (573c). The tyrannical soul is seen as enslaved because it desires satisfactions that solely depend on external circumstances. As long as these desires continue to consume the tyrant and are never completely satisfied, the tyrant is least able to do what he wants. By virtue of not being able to do what he wants, the tyrant is full of confusion and disorder. This man is in an awful state and lives only in misery. By showing the development of the tyrant from undisciplined childhood to irrational adulthood, Plato shows his reader the warning signs that accompany such a person. He describes the despots of the ancient world for what they were: lustful men whose bodily appetites reign over their personal lives and the societies unfortunate enough to be at their command. Socrates explains that the only thing worse than the tyrannical soul is the tyrannical soul who goes public and becomes the political tyrant (578c). Socrates continues, The man who is mad and deranged undertakes and expects to be able to rule not only over human beings but gods, too (573c). With this phrase, Socrates begins to show why the reader should be wary of the rise of a political tyrant. He describes how a tyrants rule is bad for those he rules over. Having gotten the idea that he should rule over both men and gods, the tyrant uses this power, once obtained, to satisfy his selfish desires. Feasts, revels, parties, courtesans, and everything else of the sort, are hallmarks of his reign (573d). Such living, however, rapidly depletes his income and resources, and he is then forced to obtain resources from others which consequently becomes to the city. The tyrannical man can only give so much to the people of the city. He will therefore enlist them in necessary and just wars to continue his popularity and to account for the poor economy. These just wars serve to perpetuate the continual need for a tyrant. Because the tyrants actions displease those who helped set him up, he must gradually do away with them until he is left without a friend or foe. Socrates contrasts this to the work of a doctor. A doctor is seen as helpful and needed because he takes off the worst of the body and leaves the rest (567c). However, the tyrant does the opposite, taking off the best and leaving the worst. This is a necessity for him to rule; consequently, he hurts the city. The tyrant, slave to his love, or personal passions, becomes a tyrant over others. He begins to find those with means and seeks to deprive them of it, usually by force. He is addicted to his desires, racked with pains and aches when he cannot fill them (Plato, 263). No one is immune to his wild demands. He will victimize his own parents, claiming he deserves to get the better of his father and mother (574a). If they resist, they will meet the same fate as anyone else who opposes the madman. In short, his childhood of moderation has become a career of chaos. The tyrant is a slave to himself and his desires in the city. The moral of Platos argument is clear. Even a small minority of tyrants can cause trouble within a community. Plato suggests that in times of war, tyrants flock to the battlefront, volunteering their services to distant tyrants as mercenaries and bodyguards (Plato, 264). But in times of peace, they remain at home and comprise a class of lawless criminals. Thieves, burglars, cutpurses, pickpockets, temple robbers, kidnappers, all are tyrants waiting for their chance to take power (Plato, 265). Platos warning to society is to teach temperance and philosophy to the rising generation, so that they do not become tyrants and lead their city into ruin. In an age where democracy was a new and rare commodity, the threat of becoming subject to a tyrant in ancient Greece was very real indeed. Philosophers like Plato tried to discover how the tyrants of the age became so, so that they could avoid coming under their power. Having philosophically defined tyrants as evil and unjust in the realm of philosophy, Plato uses logic in Book IX of The Republic to support the assumption that totalitarian societies, like those of Athenss neighbors, suffer under the reign of such leaders. This argument will later lead to his assertion that philosophers are the best leaders a state can have. Bound by ethics and reason, philosopher-kings would ensure that society is properly educated, supremely tolerant, and, most importantly, true to the ideal of justice that Plato holds dear.