060.100 (H,W) Intro Expository Writing - Staff (5 sections)
Introduction to "Expos" is designed to introduce less experienced writers to the elements of academic argument. Students learn to recognize the paradigm of academic argument as they learn to read and summarize academic essays, and then they apply the paradigm in academic essays of their own. Classes are small, no more than 10 students, and are organized around three major writing assignments. Each course guides students' practice through pre-writing, drafting, and revising, and includes discussions, workshops, and tutorials with the instructor. In addition to its central focus on the elements of academic argument, each "Intro" course teaches students to avoid plagiarism and document sources correctly. "Intro" courses do not specialize in a particular topic or theme and are available to freshmen only. (10 per section)
060.107.01 (H,W) Introduction to Literary Study - Kramnick TTh 1:30-2:45pm
This course examines some foundations of literary analysis: form, genre, literary history, and context. We will also pay attention to how to write about literary texts, including the basics of close reading. (Limit 20)
060.107.02 (H,W) Introduction to Literary Study - Grener TTh 10:30-11:45am
In this course, we'll learn how to think carefully and write critically about a variety of literary genres, including poems, fairy tales, short stories, and novels. You’ll not only acquire a set of skills to better understand and analyze literary texts, but also develop strategies for presenting and articulating your ideas in clear writing. Readings will include works by Austen, Frost, Dickinson, Melville, and Shakespeare, among others. (Limit 20)
060.110 (H,W) The African American Novel - Tye MW 3-4:15pm
This course will survey classic novels by African-American writers. From slavery to freedom, from subjection to the qualified triumph of integration, we’ll examine several examples of black writers writing about what it means to be "black" in America, and what it means to be "white" from a "black" perspective. (Limit 18)
060.146 (H,W) Detective Fiction - Rosenthal TTh 10:30-11:45am
This course will look at the history of English-language detective fiction through the nineteenth and twentieth centuries. We will pay special attention to the way clues and suspense operate, the role of the reader in figuring out the mystery, and the complicated relationship of the detective with official authority. Authors will likely include some selection of Wilkie Collins, Edgar Allan Poe, Arthur Conan Doyle, Agatha Christie, Dashiell Hammet, and Raymond Chandler. This class is for non-majors.
060.114 (H,W) Expository Writing - Staff (24 sections)
"Expos" is designed to introduce more confident student writers to the elements of academic argument. Students learn to apply the paradigm of academic argument in academic essays of their own. Classes are capped at 15 students and organized around four major writing assignments. Each course guides students’ practice through pre-writing, drafting, and revising, and includes discussions, workshops, and tutorials with the instructor. In addition to its central focus on the elements of academic argument, each "Expos" course teaches students to document sources correctly and provides its own topic or theme to engage students' writing and thinking. Please see the individual course descriptions listed under "Courses" to decide which sections of "Expos" will most interest you. "Expos" courses are available to freshmen, sophomores, and juniors and to seniors by special permission. (15 per section) Please note: Each course has a different topic. To check individual course descriptions, go to the EWP web site: http://web.jhu.edu/ewp.
060.139 (H,W) Expository Writing: The Essay - Kain MW 1:30-2:45pm
Since its invention in the 1500s, the essay has proven itself to be an unusually flexible form of thinking. Writers as different as Francis Bacon and Leo Tolstoy, Alice Walker and Stephen Jay Gould have adapted the essay form to manifold purposes, including personal essays, critical arguments, and scientific articles. This course aims to teach students how the essay can be shaped around any kind of subject and how this shaping uses the conventions of expository writing to achieve its effects. Classes are organized around four major writing assignments. Each course includes discussions, workshops, and tutorials with the instructor as it guides students’ practice through pre-writing, drafting, and revising. In addition, each course focuses on a particular kind of essay such as, for instance, the narrative essay, the philosophical essay, the essay about science and the natural world. “The Essay” is designed for students who already have experience with expository writing but is open to freshmen, sophomores, juniors, and seniors. (Limit 12)
060.212 (H) British Literature II - Mao MW 10-10:50am (lec)
F 10-10:50am (sec)
This course provides a framework for understanding the explosive innovation of literature in English during the last quarter-millennium. Attending to textual details as well as historical contexts, lectures and sections will explore how Wordsworth, Austen, Keats, Tennyson, Dickens, Wilde, Woolf, Joyce, Rushdie, and other writers extend and undo tradition, illuminate their times as well as our own, and conspire to engender the intense experience distinctive to great literary art. (Limit 80)
060.308 (H,W) The Novelty of the Novel – Maioli TTh 12-1:15pm
The English novel has been traditionally regarded as having originated in the eighteenth century, with the works of Defoe, Richardson, and Fielding. This view of the novel’s origins owes much to the influence of Ian Watt’s The Rise of the Novel (1957). Watt claims that the prose fiction written by these three authors is defined and distinguished from other varieties by its “formal realism” – a set of procedures that made the novel much more lifelike than picaresque tales, courtly novellas, or the romance. Watt’s view of the canon is now taken to be too restrictive, but his thesis concerning what was novel about the novel remains influential. In this course students will engage with two aspects of Watt’s argument that have been criticized by later critics but still retain some of their original force: the idea that eighteenth-century prose fiction marks a break with the past and that the tradition emerging at that point has English origins. We will be testing these two theses by reading and contrasting older and newer forms of prose fiction from England, France, and Spain, comparing their formal procedures, and discussing how satisfactorily Watt accounts for them. We will also be reading critiques and defenses of Watt by critics including Michael McKeon, J. Paul Hunter, Margaret Anne Doody, and Nicholas Seager. Primary sources will include excerpts from Roger Boyle’s romance Parthenissa (1651) alongside Defoe’s Moll Flanders (1722); the picaresque tale Lazarillo de Tormes (1554) together with Fielding’s road epic Joseph Andrews (1742); and the conjugal drama of Madame de Lafayette’s La Princesse de Clèves (1678) together with Richardson’s treatment of a similar topic in Pamela (1740). As we read the primary sources we will be also reading the relevant chapters of The Rise of the Novel. By gaining a first-hand view of the actual changes in prose fiction students will be able to appreciate the force of Watt’s thesis as well as its limitations. Toward the end of the course they will also engage with the provocative final chapter of Watt’s book, which claims that the problems raised by formal realism as practiced by Richardson and Fielding are finally resolved in the work of Jane Austen. Sense and Sensibility should provide the testing ground for this thesis. Pre 1800 course. (Limit 18)
060.321 (H,W) Victorian Poetry - Fessenbecker MWF 9-9:50am
In this class, we’re going to briefly survey the major poets of the Victorian era: Alfred, Lord Tennyson, Robert and Elizabeth Barrett Browning, Dante Gabriel Rossetti and his sister Christina, Matthew Arnold, George Meredith, and others. Moreover, we’ll try to situate them in the social, political, and intellectual contexts that gave rise to their works, and investigate the questions that stimulated them and which their works address: we will, for instance, follow Arnold in thinking about the place of religion in the modern world, Meredith in thinking about the nature of moral egoism, and Elizabeth Barrett Browning in recovering the voices of oppressed classes. We’ll also try to address the various formal innovations of poetry in the Victorian era, attending to—for example— Tennyson’s complex re-imagination of the verse of the Arthurian legends and Robert Browning’s development of sophisticated forms of irony. Specific poems to be studied include Tennyson’s “Ulysses” and “The Lady of Shalott,” George Meredith’s “Modern Love,” and Christina Rossetti’s “Goblin Market.” (Limit 18)
060.329 (H,W) Prophecy after Science - Miller MW 3-4:15pm
Prophets and their prophecies are everywhere: whether preached by evangelical visionaries of Rapture, opined by primetime sports forecasters, or sold at hourly rates by countless fortunetellers and astrologers. Our dizzying era, predicated economically, technologically, and politically on objective methods of prediction, comfortably accommodates and even welcomes pre-scientific, prophetic modes of futurity. We look up our horoscopes on our smartphones. How did we come to balance these futures so blithely? Do we – and should we – think of these modes as continuous or separate, complementary or conflicting? This course explores the history of prophecy, from ancient Greek and Judaic sources to current intimations of technological singularity and ecological doom, with a focus on the effect of the rise of science in shaping the course of prophetic writings. The majority of texts in this course come from the literature of 1600-1800 – centuries that witnessed the emergence of our modern scientific disciplines, and the recasting of prophecy in terms of the human imagination. Dean’s Teaching Fellowship Course Pre 1800 course. (Limit 18)
060.337 (H,W) James Joyce –Mao W 1:30-3:50pm
A seminar covering the oeuvre of James Joyce, including Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and sections of Finnegans Wake. Selected readings in other writers and relevant historiography. Some attention to Joyce criticism. (Limit 18)
060.343 (H,W) Milton and Liberty: TTh 12-1:15pm
Public and Private - Buckham
This course examines John Milton’s commitment to liberty in its many varieties, both public and private, as articulated in his early prose writings and as imagined in his poetic works. Dean’s Teaching Fellowship Course. Pre 1800 course. (Limit 18)
060.350 (H,W) Literature by Other Means: T 1:30-3:50pm
Experimental and Conceptual Fiction and Poetry - Daniel
This course will introduce students to experimental, conceptual, and constraint-generated literature. In some cases, the texts we will read were created through the application of some particular premise, constraint, or rule-governed system. In other cases, practices of appropriation, creative re-use, or sampling were involved in the generation of textual material (sometimes subjected to editing and transformation, sometimes presented “as is”). What happens to literary meaning, genre identification, and the author/reader contract under these conditions? Can an experiment be evaluated as a success or failure as literature? What’s so “conceptual” about this practice, anyway? And why are the results- often typecast as difficult or resistant to understanding- frequently so funny? In search of answers, we will read widely in experimental and conceptual literature and in the manifestos and critical analyses that surround this work, and we will look at the overlap between experimental and avant-garde literary movements and concurrent processes of “dematerialization” in play within the related domain of the visual arts. Finally, we will consider the importance of digital tools, search engines, and databases in the construction of experimental literature at the present time.
Possible authors/texts include Raymond Queneau “Exercises in Style”, Raymond Roussel “How I Wrote Certain of My Books”, Georges Perec “A Void”, Harry Matthews “Oulipo Compendium”, Walter Abish “Alphabetical Africa”, Marjorie Perloff “Unoriginal Genius”, William S. Burroughs “The Cut-Up Method”, Charles Bernstein, “The L=A=N=G=U=A=G=E Book”, Vanessa Place “Notes on Conceptualisms”, Kenneth Goldsmith “The Weather”, Gary Sullivan “The Flarf Files”, Aaron Kunin “The Sore Throat”, Christian Bok “Eunoia”, and David Trinidad and D. A Powell’s “By Myself, An Autobiography”. (Limit 18)
060.357 (H,W) The Novels of Jane Austen - Kramnick M 1:30-3:50pm
An intensive study of Austen's six major novels, read in their literary and historical context. Pre 1800 course. (Limit 18)
060.395 (H,W) Global Tales of Transformation - Wedekind MW 12-1:15pm
A traveling salesman turns into a giant cockroach, an American adman switches bodies with his wife, a Brazilian philosopher may or may not be reincarnated as his beloved dog, and a British scientist creates half-animal humanoids on a secluded island. These are just a few examples of the fantastical, allegorical, comical, dreamlike, grotesque, and bizarre stories that were produced throughout the world during the modernist period. Modernism has often been associated with social and political change; colonial rule was waning, cosmopolitanism emerging, and new modes of production were affecting social organization. In literature, modernist authors broke from the realist style and turned instead to myths, folktales, and new forms of expression. In this class, we will consider a range of cultural and historical conditions that inform these stories of transformation. Do these stories reveal anxieties about dehumanization in an increasingly high-pressure workplace or do they reveal fantasies about idleness? Are they nostalgic for a local folkloric tradition in an age of cosmopolitanism or are they creating a kind of mythic universalism? How do these character transformations allow for reassessments of identity in terms of gender construction, sexuality, or in terms of human and animal relations? Authors include: Edgar Allan Poe, Nickolai Gogol, Franz Kafka, H. G. Wells, Virginia Woolf, Rebecca West, Machado de Assis, T. S. Eliot, Charlotte Gilman Perkins, Thorne Smith, and James Joyce. (Limit 18)
Throughout the semester, the primary texts will be supplemented with secondary reading and critical interpretations.
Machado de Assis, "Philosopher or Dog"
T. S. Eliot, "The Wasteland"
Charlotte Gilman Perkins, "Herland"
Nikolai Gogol, "The Nose"
Franz Kafka, "The Metamorphosis"
Ovid, selections from "Metamorphoses"
Edgar Allan Poe, selections
Thorne Smith, "Turnabout"
H. G. Wells, "Island of Dr. Moreau"
Rebecca West, "The Return of the Soldier"
Virginia Woolf, "Orlando"
060.397 (H,W) Thomas Pynchon - Nealon Th 1:30-3:50pm
This course is a study of the fiction of Thomas Pynchon. We will likely focus on two novels, Gravity's Rainbow (1973) and Against The Day (2009). Along the way, we will discuss Pynchon's particular interpretation of what character should look like, what the novel's relationship to history might be, and whether and how his writing examples something called "postmodernism." (Limit 18)
060.398 (H,W) Obscenity and the Law TTh 9-10:15 am
in 20th-Century Literature - Chilton
In order to log on to JHU’s GuestNet you must “agree that your activities on the Guest Network shall not…[among other things] be obscene.” But what is obscene? What does the law determine as obscene today, and how has that determination changed over the past century? These questions will lead us to considerations of publicity and privacy, morality and standards of decency. This course will examine artworks and performances in a variety of media that have been publicly accused of indecency or obscenity. We will read legal judgments of obscenity and discuss their implications for figures such as Wilde, Joyce, Miller, Ginsberg, Bruce, Carlin, Prince, 2 Live Crew, and others. (Limit 18)
212.478.01 Guillaume de Machaut: exploring medieval authorship in the digital age-Rose-Steel F 1:30-4pm
Using new websites devoted to the lyrics and music of Guillaume de Machaut, the foremost poet and composer of the 14th-century French royal court, this seminar will explore the role of music and literature during the Hundred Years War. Students will learn to use digital tools to view and analyze original illustrated musical manuscripts of Machaut’s work.
214.341 The Book of Nature, the Nature of Books: The Origins of Literary Ecology-Tower W 5-7:30pm
This course investigates how ecological factors inspired storytellers, influenced modes of literary publication, and determined reader responses in Europe before 1700. Students enrolling in the second section will attend a supplementary one hour session at a time to be mutually decided and complete the work in Italian for an additional credit.
060.607 (H) Lives and Afterlives of Anti-Humanism-Nealon T 1-4pm
This seminar will offer a preliminary history of the 20th-century critique of "humanism" -- a critique that has continued to take new forms, long after we might imagine humanism to have been laid to rest. Beginning with Heidegger and Carl Schmitt, we will spend time with Sartre, Althusser, the phenomenologists, and key post-structuralists, before moving on to the current variety of post- and anti-humanisms in philosophy (object-oriented ontology, speculative realism), and cultural and critical theory (eco-criticism and queer theory). Why has it been important to critique "humanism"? What is the ongoing appeal of making that critique? (Limit 8)
060.679 (H) Realism: Theory and Practice–Rosenthal M 1-4pm
This seminar will offer an in-depth examination of the theory and practice of the nineteenth-century realist novel in three traditions: American, British, and French. Our aim will be to understand the central theories and controversies surrounding realism, as well as to interrogate the centrality of realism to novel theory and narrative theory. Authors will likely include Jane Austen, Charles Dickens, George Eliot, Honoré de Balzac, Gustave Flaubert, Frank Norris and William Dean Howells. Theorists and critics will likely include Erich Auerbach, M. M. Bakhtin, Roland Barthes, Leo Bersani, Bertolt Brecht, Richard Chase, René Girard, Howells, Roman Jakobson, Henry James, Fredric Jameson, Harry Levin, G. H. Lewes, Georg Lukács, Boris Tomashevsky, Ian Watt and Émile Zola. (Limit 8)
060.692 (H) The Enlightenment, Aesthetics and Race-Thompson W 1-4pm
This course examines the philosophical interplay between Enlightenment aesthetics and the construction of the concept of race. We will read texts in aesthetics and on human difference by Rousseau, Voltaire, Condorcet, Kant, Herder, Jefferson, Burke, Hume and others, in an attempt to see the points at which reflections on art and notions of human biological hierarchy intersect. Particular attention will be paid to the idea of the sublime as it pertains to early anthropological thought. (Limit 8)
213.725.01 Proto-Modern, and Post-Locating the ism in Modernism-Caplan Th 3-5pm
This graduate seminar will seek to disentangle the interrelationship among “proto-modernism,” “modernism,” and “post-modernism” from the straightjacket of periodization and taxonomy by focusing instead on questions of temporality and phenomenology. When is the time of modernity? What precedes modernism? How is post-modernism a continuation of modernism and a break with modernity? What follows the “post” or precedes the “proto”? How does literature establish a dialogue not just across linguistic borders but temporal ones as well? And when do these processes repeat themselves due to historical and political factors? By way of complicating all of these questions we will be considering writers from “across” the 20th century, including Walter Abish, Thomas Bernhard, André Breton, Orly Castel-Bloom, Henry Dumas, Moyshe Kulbak, Machado de Assis, Mendele Moykher-Sforim, Joseph Roth, Anton Shammas, Gertrude Stein, and Robert Walser. All discussions in English.
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