INTRODUCTION TO COMICS & GRAPHIC NOVELS
INTRO TO COMICS/GRAPHIC N
This course provides students with an introduction to the scholarly study of comics and graphic novels. It is designed to teach students how to analyze these texts by paying special attention to narrative forms and page design. As part of this focus, attention will be given to the way that comics and graphic novels are created and the importance of publication format. In addition to studying comics and graphic novels themselves, we will look at the way that scholars have approached this emergent field of academic interest.
- TR 8:40 a.m.-9:55 a.m.
-
Instructor:
Benjamin M Breyer
CULPA: 13
Info
- 3 points
ACADEMIC WRITING INTENSIVE
Academic Writing Intensive is a small, intensive writing course for Barnard students in their second or third year who would benefit from extra writing support. Students attend a weekly seminar, work closely with the instructor on each writing assignment, and meet with an attached Writing Fellow every other week. Readings and assignments focus on transferable writing, revision, and critical thinking skills students can apply to any discipline. Students from across the disciplines are welcome. This course is only offered P/D/F. To be considered for the course, please send a recent writing sample to
wschorha@barnard.edu
, ideally from your First-Year Writing or First-Year Seminar course, or any other writing-intensive humanities or social sciences course at Barnard (no lab reports please).
- T 9 a.m.-10:50 a.m.
-
Instructor:
Wendy C Schor-Haim
CULPA: 11
Info
- 4 points
THE ART OF THE ESSAY
Essay writing above the first-year level. Reading and writing various types of essays to develop one's natural writing voice and craft thoughtful, sophisticated and personal essays.
- R 10:10 a.m.-noon
- T 12:10 p.m.-2 p.m.
- T 2:10 p.m.-4 p.m.
-
Instructor:
Nina Sharma
CULPA: 5
Info
-
Instructor:
Vrinda Condillac
CULPA: 28
Info
-
Instructor:
Shelly Fredman
CULPA: 3
Info
- 3 points
FICTION & PERSONAL NARRATIVE
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. Short stories and other imaginative and personal writing.
- W 12:10 p.m.-2 p.m.
-
Instructor:
Alexandra P Watson
CULPA: 16 Info - 3 points
INTRODUCTION TO FICTION WRITING
INTRO TO FICTION WRITING
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. In this course, we will learn and practice essential concepts and techniques of writing fiction. We’ll break down the elements of the craft—everything from character, setting, and pacing to point of view, syntax, and imagery––and we’ll build an understanding of how stories work. Class time will include exercises and prompts; close reading of a wide range of published stories; discussions of process; and workshops of student stories. Come prepared to work hard, be open, and take risks.
- M 9 a.m.-10:50 a.m.
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Instructor:
Cleyvis Natera
Info - 3 points
INTRODUCTION TO POETRY WRITING
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.
Varied assignments designed to confront the difficulties and explore the resources of language through imitation, allusion, free association, revision, and other techniques.
- F 4:10 p.m.-6 p.m.
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Instructor:
Marissa Davis
Info - 3 points
PLAYWRITING II
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. What makes a play alive? Often a playwright is surprised into their strongest work. The practices of experimentation and analysis, curiosity and audacity lead to new possibilities. Students will read and respond to plays, identifying elements and strategies, and each week bring in fragments and scenes written in response to weekly prompts. By the middle of the semester, students will choose the piece that feels the most viable and develop it into what in most cases will be a thirty page play. NOTE: Playwriting I (ENGL BC3113) is NOT a prerequisite, and students need not have written a play before.
- T 2:10 p.m.-4 p.m.
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Instructor:
Kathleen Tolan
CULPA: 1 Info - 3 points
STORY WRITING II
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. Advanced workshop in writing, with emphasis on the short story. Some experience in the writing of fiction required. Conference hours to be arranged.
- T 11 a.m.-12:50 p.m.
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Instructor:
Nellie G Hermann
Info - 3 points
FICTION WRITING
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.
Assignments designed to examine form and structure in fiction.
- M 11 a.m.-12:50 p.m.
- T 6:10 p.m.-8 p.m.
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Instructor:
Jennifer F Boylan
Info -
Instructor:
Sarah Wang
Info - 3 points
ADVANCED POETRY WRITING
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. Weekly workshops designed to generate and critique new poetry. Each participant works toward the development of a cohesive collection of poems. Readings in traditional and contemporary poetry will also be included.
- F 2:10 p.m.-4 p.m.
-
Instructor:
Latasha N Diggs
Info - 3 points
PUBLIC SPEAKING
FIRST-YEAR PUBLIC SPEAKNG
Open only to undergraduates.
This course will introduce you to principles of effective public speaking and debate, and provide practical opportunities to use these principles in structured speaking situations. You will craft and deliver speeches, engage in debates and panel discussions, analyze historical and contemporary speakers, and reflect on your own speeches and those of your classmates. You will explore and practice different rhetorical strategies with an emphasis on information, persuasion and argumentation. For each speaking assignment, you will go through the speech-making process, from audience analysis, purpose and organization, to considerations of style and delivery. The key criteria in this course are content, organization, and adaptation to the audience and purpose. While this is primarily a performance course, you will be expected to participate extensively as a listener and critic, as well as a speaker.
- TR 11:40 a.m.-12:55 p.m.
-
Instructor:
Daniela Kempf
Info - 3 points
PUBLIC SPEAKING
Open only to undergraduates.
This course will introduce you to principles of effective public speaking and debate, and provide practical opportunities to use these principles in structured speaking situations. You will craft and deliver speeches, engage in debates and panel discussions, analyze historical and contemporary speakers, and reflect on your own speeches and those of your classmates. You will explore and practice different rhetorical strategies with an emphasis on information, persuasion and argumentation. For each speaking assignment, you will go through the speech-making process, from audience analysis, purpose and organization, to considerations of style and delivery. The key criteria in this course are content, organization, and adaptation to the audience and purpose. While this is primarily a performance course, you will be expected to participate extensively as a listener and critic, as well as a speaker.
- TR 1:10 p.m.-2:25 p.m.
-
Instructor:
Daniela Kempf
Info - 3 points
ADVANCED POETRY WRITING II
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. In this workshop, we will explore poetry writing as the pursuit and expression of a liberatory language– the language of our highest attention and freedom– shared between reader and writer, and consider the metaphysics and motivations for making meaning and making it our own. In addition to workshops, we will alternate between classes centered on formal and thematic explorations with others focusing on contemplative practices and our writing process. Readings will range diversely through eras and modes including works, among others, by Sun Buer, Audre Lorde, Hannah Emerson, Mei-Mei Berssenbrugge, and Mónica de la Torre.
- W 10:10 a.m.-noon
-
Instructor:
Farnoosh Fathi
Info - 3 points
THE AMERICAN COWBOY AND THE ICONOGRAPHY
AMER COWBOY/ICONOG OF WES
This upper-level research-oriented seminar will study the all-American icon of the cowboy, with its signature embrace of masculinity, stoicism, elegiac music, and love of nature. We will read Cormac McCarthy’s
The Border Trilogy
and other works that emerge from this icon, watch a curated series of cowboy movies, and write critical essays.
- W 10:10 a.m.-noon
-
Instructor:
Margaret R Ellsberg
CULPA: 54 Info - 4 points
CREATIVE NON-FICTION
CREAT NON-FIC: REAL LIFE
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
.
Section 3 course description
: Explores how to write essays based on life, with some comics and cartooning thrown in.
Section 4 course description
: In this course we will explore various genres of creative non-fiction, including memoir, profile writing, travel writing, family history, the personal essay, and criticism. We will practice a range of craft techniques, paying special attention to the construction of the writing self and the ethics of writing about real people and events. Each student will write two 5-page essays and one 20-page final essay.
- W 9 a.m.-10:50 a.m.
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Instructor:
Christine M Smallwood
Info - 3 points
SHAKESPEARE IN PERFORMANCE
Shakespeare's plays as theatrical events. Differing performance spaces, acting traditions, directorial frames, theatre practices, performance theories, critical studies, cultural codes, and historical conventions promote differing modes of engagement with drama in performance. We will explore Shakespeare's plays in the context of actual and possible performance from the Renaissance to the twenty-first century.
- T 12:10 p.m.-2 p.m.
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Instructor:
Patricia D Denison
CULPA: 10 Info - 4 points
MODERN AMERICAN DRAMA & PERFORMANCE
MOD AMERCN DRAMA & PERFOR
Modern American Drama and Performance in an era of cultural contestation. What is united about the United States? How are the important claims of cultural difference related to the intercultural claims of shared community? Is there a place for historical continuity in the modernist pursuit of change? How have these issues been addressed in the emergence and development of modern drama and performance in America? Questions such as these will be addressed in the context of theatrical exploration, performance history, and social change. Canonical and experimental playwrights include Rachel Crothers, Susan Glaspell, Georgia Douglas Johnson, Eugene O’Neill, Clifford Odets, Thornton Wilder, Tennessee Williams, Arthur Miller, Lorraine Hansberry, Edward Albee, Suzan-Lori Parks, Sarah Ruhl, and Dominique Morisseau.
- W 12:10 p.m.-2 p.m.
-
Instructor:
Patricia D Denison
CULPA: 10 Info - 4 points
MAJOR ENGLISH TEXTS II
A chronological view of the variety of English literature through study of selected writers and their works. Spring: Romantic poets through the present.
- MW 8:40 a.m.-9:55 a.m.
-
Instructor:
Margaret R Ellsberg
CULPA: 54 Info - 3 points
EARLY AMERCN DRAMA & PERFRMNC
Competing constructions of American identity in the United States date back to the early republic when a newly emerging nation struggled with the questions: What makes an American American? What makes America America? From colonial times forward, the stage has served as a forum to air differing beliefs as well as medium to construct new beliefs about Nation, self and other. The texts we will read, from colonial times through WWI, explore diverse topics such as politics, Native American rights, slavery, labor unrest, gender roles, and a growing immigrant population.
- T 10:10 a.m.-noon
-
Instructor:
Pamela Cobrin
CULPA: 6
Info
- 4 points
INVENTION, REVISION, AND IMAGINATION
INVENTION AND REVISION
Writing sample required to apply. Instructions and the application form can be found here:
https://english.barnard.edu/english/creative-writing-courses
. A creative writing workshop in fiction, devoted to the imaginative process, and most specifically, to the arts of invention and revision. In addition to considering the wellspring of creative ideas themselves, students will write stories in a variety of lengths—moderate, long, and as short-shorts. Through this process, apprentice writers will become intimate with the most essential aspect of creating imaginative work: the dedication to seeing one’s ideas morph and grow over time.
- M 9 a.m.-10:50 a.m.
-
Instructor:
Jennifer F Boylan
Info - 3 points
THE ENGLISH COLLOQUIUM
Prerequisites: Enrollment limited to Barnard English majors. In the Enlightenment colloquium we will look at English and European imaginative and intellectual life during the late seventeenth and eighteenth centuries. During this period, writers tried in new ways to reconcile the tensions between reason and religion. Categories of thought that underlie our world today were taking shape: secularity, progress, the public and the private, individual rights, religious tolerance. Writers articulated principles of equality in an era of slavery. Literary forms like the novel, which emerges into prominence during this period, express in irreducibly complex ways these and other changes. In this intensive course, we will study from multiple angles a variety of authors that may include Hobbes, Dryden, Locke, Spinoza, Lafayette, Defoe, Swift, Pope, Richardson, Voltaire, Fielding, Johnson, Diderot, Sterne, and Wollstonecraft, among others.
- R 11 a.m.-12:50 p.m.
- M 2:10 p.m.-4 p.m.
- T 2:10 p.m.-4 p.m.
- W 10:10 a.m.-noon
-
Instructor:
James G Basker
CULPA: 7
Wikipedia
Info
-
Instructor:
Nathan Gorelick
Info -
Instructor:
Andrew L Lynn
CULPA: 17
Info
-
Instructor:
Eugene A Petracca
Info - 4 points
SHAKESPEARE II
Prerequisites: Enrollment limited to 60 students. Critical and historical introduction to selected comedies, histories, tragedies, and romances by Shakespeare. Please note that you do not need to take ENGL BC3163: Shakespeare I and ENGL BC3164: Shakespeare II in sequence; you may take them in any order.
- MW 8:40 a.m.-9:55 a.m.
-
Instructor:
Peter Platt
CULPA: 23
Info
- 3 points
AMERICAN LITERATURE 1871-1945
This interdisciplinary course situates late nineteenth- and early twentieth-century American literature within the context of historical and cultural change. Students read works by Whitman, Twain, James, Griggs, Wharton, Faulkner, and Hurston alongside political and cultural materials including Supreme Court decisions, geometric treatises, composite photography and taxidermy.
- MW 11:40 a.m.-12:55 p.m.
-
Instructor:
Kristi-Lynn Cassaro
Info - 3 points
CRITICAL WRITING
(Formerly called Literary Criticism - Theory.) Provides experience in the reading and analysis of literary texts and some knowledge of conspicuous works of literary criticism. Frequent short papers. Required of all English majors before the end of the junior year. Sophomores are encouraged to take it in the spring semester even before officially declaring their major. Transfer students should plan to take it in the fall semester.
- W 2:10 p.m.-4 p.m.
- R 12:10 p.m.-2 p.m.
- R 2:10 p.m.-4 p.m.
- W 11 a.m.-12:50 p.m.
-
Instructor:
Atefeh Akbari Shahmirzadi
Info -
Instructor:
Meredith A Benjamin
CULPA: 5 Info -
Instructor:
Kristin Carter
CULPA: 2 Info -
Instructor:
John J Pagano
CULPA: 27
Info
- 4 points
LITERARY THEORY
In this course, we will trace the complex category of
imitation
from its ancient roots to some of its modern theoretical and literary manifestations. Interpreted differently by different thinkers, imitation can refer to the problem of art’s imitation of things in the world (e.g., your portrait looks like you), art’s imitation of other artistic works (e.g., your portrait looks like a Rembrandt), people’s imitation or even mimicry of one another (who does she think she is?). The latter form of imitation raises the most overtly socio-political questions, whether by replicating social power structures in order to “pass” in a potentially hostile environment or by subverting these same structures through mimicking, outwitting, critiquing, or mocking them. At its core, the category of imitation focuses our attention on what is so central to artmaking that it almost eludes our notice: the question of resemblance. Put in its simplest form: What are we doing (philosophically, artistically, socially) when we make one thing resemble another?
- W 4:10 p.m.-6 p.m.
-
Instructor:
Rachel Eisendrath
CULPA: 6
Info
- 4 points
WORLD LITERATURE REVISITED II
(Please note that you do
not
need to take ENGL BC3204 World Literature Revisited I and ENGL BC3205 World Literature Revisited II in sequence; you may take them in any order.)
As a discipline, World Literature dates back to the early 19th century and Goethe’s concept of
weltliteratur
. Yet, despite the fact that Goethe was well-versed in the literature of the “Orient” and he emphasized their centrality in
weltliteratur
, the languages that he spoke of and underlined within the formation of this literature were mostly German and Romance languages. Institutionally speaking, not much has changed over the past couple of centuries. More often than not, studying the literature of locations such as the Middle East, Africa, or East Asia takes place in Area Studies departments, and offerings of these areas’ literatures in Comparative Literature departments are few and far in between.
In World Literature Revisited I, we imagined what a survey of World Literature in a literary studies department could look like, as we dealt with ancient texts until around the 14th century, with a focus on origin stories and epic narratives, lyric poetry, historical narratives, and sacred/religious texts. In World Literature Revisited II, we will continue to investigate and challenge the categories of “Eastern” and “Western” literature and think through the categories of “world” and “literature” in the course title. In this part of the course, we will work on (classical, early modern, and modern) drama, modern poetry, and the novel, with a particular focus on reading in comparison adaptations, appropriations, and literary responses.
What/where/whom constitutes the world in World Literature? How can we read and trace literary influence across these literatures without reducing them to a mere repetition of the same themes and ideas? Finally, we will think about the role that translation plays in the production and politics of World Literature, particularly when it comes to adaptations and appropriations, and how the issue of translation differentiates between the disciplines of Comparative Literature and World Literature.
- TR 4:10 p.m.-5:25 p.m.
-
Instructor:
Atefeh Akbari Shahmirzadi
Info - 3 points
THE 'GLOBAL' NOVEL
"Yes, globalization can produce homogeneity, but globalization is also a threat to homogeneity." --Kwame Anthony Appiah, "The Case for Contamination," New York Times Magazine, 2006
Thinking through the arguments both in favor of and against globalization, particularly in the realm of cultural productions, in this course we will discuss the "global" novel. To that end, we will read essays from
The Global Novel: Writing the World in the 21st Century
about works such as
Americanah, Snow,
and
The Reluctant Fundamentalist
(along with the novels themselves) to investigate what is meant by "global" and what the criteria for including novels in this categorization are. We will also consider whether there is an erasure of cultural difference and nuance in reading novels using a globalizing perspective in order to render them more approachable for a (primarily) US audience.
In order to think through and challenge this category of the global, we will also read novels that can be roughly categorized as postcolonial. We will thus consider how struggles for independence and the desire to locate one’s identity either within freshly liberated nation-states or in the process of immigrating to former metropoles could give rise to cultural and psychological anxieties. We will also consider the manner in which late-stage capitalism could indeed push toward homogenized senses of self that manifest in a category such as the "global novel" and whether arguments could be made in favor of such homogenization. Ultimately, we will think about the politics of globalization and the desire to include in or exclude from the “global” certain locations, cultural products, or peoples.
- TR 1:10 p.m.-2:25 p.m.
-
Instructor:
Atefeh Akbari Shahmirzadi
Info - 3 points
AMERICAN LIVES, AMERICAN STORIES
AMER. LIVES, AMER. STORIE
Writing sample required to apply: https://english.barnard.edu/english/creative-writing-courses
In this class we will discuss the narrative of the "American" story, and how stories of immigrants and minority identities redefine and complicate it. The goal of the class is to investigate how writers frame a sense of identity in relation to the "American ideal". We will explore this theme through three creative non-fiction pieces each focusing on a different perspective of place, person, and personal experience. What are your stories, and what makes them "American"?
- R 9 a.m.-10:50 a.m.
-
Instructor:
Maria D Hinojosa
Info - 3 points
ANTI-COLONIAL LITERATURE BEFORE 1900
ANTI-COLONIAL LIT BEFORE
“We are all bound up together in one great bundle of humanity,” wrote the abolitionist writer Frances Ellen Watkins Harper a few years after the Civil War. This course explores the creative productions, critiques, and political projects of colonized people themselves, specifically focusing on writers in the indigenous, African American, and global anti-imperialist traditions. How did these heterogeneous communities differently diagnose the context of colonialism? What positive horizons of freedom, equality, and democracy did they aspire towards? What do their works tell us about gender, land, and labor? We explore themes of sovereignty against settler colonialism in the work of indigenous writers like Kandiaronk, William Apess, E. Pauline Johnson, Sarah Winnemucca, Zitkala Sa, and Liliuokalani, Queen of Hawaii. Next, we read the African American abolitionist tradition, beginning with Phillis Wheatley and slave narratives (Frederick Douglass, Mary Prince, Harriet Jacobs) followed by works by Harriet Wilson, Ida B. Wells, and Machado de Assis. The final third of the class will focus on works by those encountering imperialism in Egypt, South Asia, Latin America, the Philippines, and China: Al-Jabarti, Dinabandhu Mitra, José Martí, Jose Rizal, Huang Zunxian, and Qiu Jin.
ABSENT MOTHERS, WICKED STEPMOTHERS
ABSENT MOTHERS:FOLK&FAIRY
Why are stepmothers and stepdaughters inevitable enemies in folk and fairy tales? Why are fathers blameless and biological mothers absent (and usually dead)? And how do these narratives, so deeply woven into our own media and language, affect our sense of our own lived reality? In this course, we’ll untangle the complicated web of relationships between mothers, daughters, and stepmothers in folk and fairy tales, from ancient Rome to current cinema. We’ll read analytic psychology, feminist literary theory, cultural history, and other critical perspectives to help us analyze the absent mother, virginal daughter, hapless father, and evil stepmother tropes across time and space, so we can defamiliarize these familiar figures and develop a deeper understanding of how and why they dominate the popular imagination. This is an upper-level course, with priority for juniors and seniors.
- W 2:10 p.m.-4 p.m.
-
Instructor:
Wendy C Schor-Haim
CULPA: 11
Info
- 4 points
PROUST: SWANN S WAY
This class is organised around one book,
Swann’s Way,
volume one of Marcel Proust’s magnum opus,
In Search of Lost Time
, a work that is central to the history of the novel
.
Due to the length and complexity of the six volumes that make up
In Search of Lost Time,
it is not a novel that benefits from a schematic reading. It calls, instead, on our attention to be paid in an unusually close manner. It is a novel that is committed to the details, to close observation and the expansive and meditative nature of the life of the mind. Therefore, as well as being about Proust’s work, the class is also concerned with questions of attention. As Adorno argued,
In Search of Lost Time
is a book that is “against the brutal untruth of a subsuming form forced on from above…”
Students will get a chance to read
Swann’s Way
—a book that is just under 500 pages long—in great depth over the course of the semester. And because the adjective “Proustian”, it could be argued, has come to refer to works that have both succeeded as well as preceded Proust himself, students will be introduced to works by authors who might have influenced Proust — such as: Baudelaire, Balzac, George Eliot, Thomas Hardy, John Ruskin and Ralph Waldo Emerson — as well as examples of writers who had been inspired by Proust’s work — such as: Virginia Woolf, Vladimir Nabokov, Javier Marias, Thomas Bernhard and W.G. Sebald. Creative and analytic close reading will be the primary tool of analysis.
- R 2:10 p.m.-4 p.m.
-
Instructor:
Hisham Matar
CULPA: 2 Wikipedia Info - 4 points
WRITING THE MEDIEVAL SELF
The late Middle Ages and early Renaissance saw an explosion in the use of the first-person singular "I" by European writers of narrative texts. Although these narratives – among them dream visions, philosophical allegories, spiritual autobiographies, and straight-up novels – do not always correspond to modern ideas about autobiography, they nonetheless demonstrate a growing interest in such "autobiographical" topics as personal identity, sexual difference, mental illness, and disability, even as they experiment with a variety of literary forms and raise fundamental questions about the relationship between truth and writing. Writers will include Augustine, Dante, Boccaccio, Chaucer, Christine de Pisan, Thomas Hoccleve, Julian of Norwich and Teresa de Cartagena, among others. No foreign language experience is required for this course, but knowledge of Latin or Romance languages may be useful.
- TR 1:10 p.m.-2:25 p.m.
-
Instructor:
Eugene A Petracca
Info - 3 points
THE MARRIAGE PLOT
This upper-level research-oriented seminar will engage with literary expressions of the universally interesting topic of marriage. Tony Tanner in his famous
Adultery in the Novel
characterizes marriage as “the structure which supports all structure.” Contemporary critics have seen marriage as essential to maintaining the “family values” of the bourgeoisie; feminists and Marxists have challenged the economic assumptions of patriarchally-defined marriage. Folklorists have treated marriage as the endpoint of the search for a safe domestic space.
Starting in ancient times with classic fairy tales and the Hebrew Bible, moving on to a famous medieval poem, a medieval memoir, and three nineteenth-century novels, we will encounter cultural expressions which address intimate partnerships with an emphasis on marriage as a defining condition.
- M 10:10 a.m.-noon
-
Instructor:
Margaret R Ellsberg
CULPA: 54 Info - 4 points
INTRODUCTION TO US LATINX LITERATURE
INTRO TO US LATINX LITERA
This course introduces students to a growing body of work by Latina and Latino writers in the United States, and engages with the critical tools necessary for analyzing a field of inquiry and practice that continues to reframe itself, right down to the label "Latinx." What does that name include, and what does it exclude, in cultural productions born of conflicts of origin, language, race, gender, sexuality, and nationality? For some understanding of context, we will turn to the history and pressures of transnational migration, exile, assimilation, bilingualism and queerness as these variously affect the means and modes of the literary productions with which we're concerned. At the same time, the course will emphasize the invented and hybrid nature of Latinx literary and cultural traditions, and it will investigate the place of those inventions in the larger framework of American intellectual and literary traditions. Readings will be drawn from work written primarily in English, but we will also consider graphic novels, Latinx performance, and works in translation.
- TR 11:40 a.m.-12:55 p.m.
-
Instructor:
Kristin Carter
CULPA: 2 Info - 3 points
NINETEENTH-CENTURY THRILLERS
This class will investigate the ways in which the nineteenth-century novel is shaped by the forces of horror, sensation, suspense and the supernatural. We will ask how the melodramatic imagination, the rhetoric of monstrosity, and the procedures of detection mark high narrative realism with the signs of cultural anxieties building up around nineteenth-century revolution, industrialization, capitalism, bigamy, Catholicism and immigration. Looking at representative samples of the Romantic neo-gothic novel, mid-century ghost stories, the highly popular and controversial sensation novels of the 1860’s along with their spectacular iterations on the Victorian stage, we will come away with a deeper and more nuanced understanding of the intersection between the novel and popular entertainment. Readings will probably include Austen’s
Northanger Abbey,
Brontë’s
Villette,
Braddon’s
Lady Audley’s Secret,
Collins’s
The Woman in White,
Dickens’s
Bleak House,
Stoker’s
Dracula,
plays by Boucicault, Hazelwood, Lewis, and Wood, and ghost stories by Edwards, Gaskell, Hood, and Mulock.
- W 12:10 p.m.-2 p.m.
-
Instructor:
Monica F Cohen
CULPA: 8
Info
- 4 points
ILLEGAL IS NOT A NOUN: DISRUPTING NARRAT
This course engages with narratives about detention and deportation in the modern United States, with special attention to the stories of Latinx people. We will analyze how journalistic writing, documentaries, and personal narratives shape public policy and American attitudes about the "the immigrant experience." What are these narratives, how are they told, and what are their implications? How do writers disrupt these narratives? We will develop four scholarly essays over the course of the semester to investigate these questions.
- R 2:10 p.m.-4 p.m.
-
Instructor:
Maria D Hinojosa
Info - 4 points
ROMANCE
The literary mode we call “romance” has been enormously popular and influential from its origins in Hellenistic antiquity to current science fiction, and at all levels of textual ambition from popular culture to canonical literature. Within this mass of material, one constant element is romance’s encounter with boundaries. This course will explore such boundary moments in texts from the 5th to the 20th centuries: boundaries and transgressions of desire (romances of marriage and adultery), of time (the reimagining of antiquity), of national foundation, of geography (settings in a fantasy east), of gender, and of class, indeed the boundary of the human and the monstrous.
- TR 5:40 p.m.-6:55 p.m.
-
Instructor:
Christopher C Baswell
CULPA: 8
Info
- 3 points
SENIOR SEMINAR IN FILM AND LITERATURE
SR SEM:FAMILY IN FILM/LIT
Enrollment limited to Barnard senior English majors with a Film Studies concentration and Barnard senior Film Studies majors. To see the current course description, visit the English Department website:
https://english.barnard.edu/english/senior-seminars
- M 4:10 p.m.-6 p.m.
-
Instructor:
Maura L Spiegel
CULPA: 40 Info - 4 points
SENIOR SEMINAR IN ENGLISH
SR SEM: BORDERS AMER LIT
Enrollment is limited to Barnard senior English majors. To see the current course description for each section, visit the English Department website:
https://english.barnard.edu/english/senior-seminars
- T 9 a.m.-10:50 a.m.
-
Instructor:
Kristin Carter
CULPA: 2 Info - 4 points
SENIOR SEMINAR IN ENGLISH
SR SEM: WORDS & PICTURES
Enrollment is limited to Barnard senior English majors. To see the current course description for each section, visit the English Department website:
https://english.barnard.edu/english/senior-seminars
- T 4:10 p.m.-6 p.m.
-
Instructor:
Rachel Eisendrath
CULPA: 6
Info
- 4 points
SENIOR SEMINAR IN ENGLISH
SR SEM: WRITE TO VOTE
Enrollment is limited to Barnard senior English majors. To see the current course description for each section, visit the English Department website:
https://english.barnard.edu/english/senior-seminars
- W 2:10 p.m.-4 p.m.
-
Instructor:
Jennie Kassanoff
CULPA: 20
Info
- 4 points