English Introductory Courses | English

A full itemizing of all English course choices is available on.

ENGLISH LANGUAGE AND LITERATURE

Undergraduate Introductory Course Offerings Spring 2020

Students who wish to enroll in a bit of those seminars ought to participate in, from 9:00 a.m. on Friday, December 6 until 5:00 p.m. on Wednesday, January eight.

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ENGL 114, Writing Seminars.

Instruction in writing well-reasoned analyses and tutorial arguments, with emphasis on the importance of reading, analysis, and revision. Using examples of nonfiction prose from a variety of tutorial disciplines, particular person sections give attention to matters similar to town, childhood, globalization, inequality, food culture, sports activities, and struggle..

Section 01, Rebels, Outcasts, and Heretics, Felisa Baynes-Ross. MW 11.35-12.50.

“Rebellion,” writes Albert Camus, is “greater than pursuit of a claim.” When someone rebels, he “demonstrates with obstinacy, that there's something in him which is worth-while” and that implicit in the act of insurrection is a “spontaneous loyalty to certain aspects of himself.” In these occasions of intensifying political activism, we would consider insurrection and dissent as the battle against oppression, the struggle for social justice, or the defense of some perfect. But as Best English learning course suggests, folks’s particular person and collective identities are additionally deeply implicated in the causes they take up. How do discourses of resistance legitimate marginalized identities? In this course, we'll seek to understand the ideologies that inspire dissent and the way these discourses subvert social, political, and non secular orthodoxies. How do embodied contradictions of cultural norms complicate our ideas about race, class, gender, and sexuality? Is insurrection at all times empowering? Drawing from a spread of views in disciplines that include psychology, anthropology, sociology, theology, philosophy, important concept, and performance research, we will think about how resistant considering and apply shape identification and tradition. These various views will inform our discussions on subjects similar to colonialism, civil rights, and up to date movements like Zionism and Black Lives Matter.

Section 02, Sound. Rasheed Tazudeen. MW eleven.35-12.50.

“For twenty-5 centuries, Western information has tried to look upon the world. It has failed to understand that the world just isn't for the beholding. It is for listening to.” —Jacques Attali, Noise:
The Political Economy of Music(1977)

“Right now, if you’re capable of hear this, you are a miracle.” —2 Chainz, “Burglar Bars” (2017)

What does it mean to understand the world via listening to somewhat than vision? How are social, cultural, racial, sexual, and political identities, as well as the environments we inhabit, formed by the sounds and noises we hear? How have such identities figured into the composition of music from seventeenth-century opera to up to date pop music? This course will investigate, through a collection of historic, theoretical, philosophical, musicological, and literary readings and listenings, the ways by which sound manifests itself on the earth. Sounds could be harmonious and nice, they will make us really feel fulfilled, and so they can give us new experiences and new ways of looking on the world. However, sounds can also annoy us, they will harm us, they'll make us expertise a variety of highly effective and typically disagreeable feelings, and in extreme instances, sound can become a weapon of warfare and torture. Sounds, as well as types of music, can also mark the borders between completely different identities, in addition to the websites the place identities merge. Finally, we will discover how technological advances, from the invention of the piano to the phonograph to on-line music streaming services, affect how sound is produced, distributed, and consumed.

We will start by exploring theoretical readings on the nature of listening, and on the manifold cultural and political distinctions between sound and its other, “noise.” We will then flip to issues of how race, gender, tradition, and sexuality have influenced the manufacturing of music from early opera to nineteenth-century symphonies to modernist avant-garde music to jazz, pop, and hip-hop. We will end by inspecting two contemporary works that replicate on the intersections between sound, music, politics, and racial and sexual identities: St. Vincent’s
Strange Mercy(2011) and Kendrick Lamar’s
DAMN(2017).

Section 03, Black and Indigenous Ecologies. Rasheed Tazudeen. MW 2.30-three.forty five.

“Red earth, blood earth, buddy earth” —Aimé Césaire,
Notebook of a Return to My Native Land(1965)

Who gets to define the that means of ecology, along with the earth we stand on, and the way is that this definition certain up with the legacies of colonial energy, empire, slavery, and different types of racialized oppression? And what new modes of ecological thought might emerge as soon as we have interaction with the views of indigenous peoples and communities of shade—historically excluded from dominant environmentalist discourses—and their alternative routes of thinking and imagining a relation to the earth? Through readings in anthropology, geology, important race studies, philosophy, literature, and poetry, this course explores the ecologies and counter-ecologies born of anti-imperial opposition, from 1492 to the current. Struggles for liberation, as we are going to examine, are never separable from struggles for land, food, water, air, and an earth in common. From Standing Rock to Sao Paulo, the Antilles to New Zealand, and Mauna Kea to Lagos, we are going to engage with anti-colonial and anti-racist attempts to craft a picture of the earth no longer made within the ecocidal image of imperialist Western Man (or the
anthroposof “Anthropocene”), and to imagine a future to be held and composed in frequent by all.

Section 04, Freedom and Choice. Marcus Alaimo. TTh 1.00-2.15.

Is
freedomin a liberal democracy best outlined as the liberty to decide on, as the 20th-century economist Milton Friedman has claimed? If so, what can we – as individuals, communities, nations – do when the free selection of one other prevents us from selecting freely, or vice versa? What roles do civil rights, equality and fairness, and human dignity play in defining and preserving free selection? This seminar examines the way philosophers, political theorists, economists, and different writers have thought about the connection between freedom and choice in liberal democracies. We will talk about how freedom is usually linked to the right to personal property, but additionally with the creation and preservation of civil rights. We pays explicit attention to the extent to which traits corresponding to race, class, and setting (both pure and social) may fall exterior the realm of alternative. How do such determinations alter our sense of political liberty and the existential situations at no cost alternative?

Section 05, Progress and Its Critics. Peter Conroy. TTh 11.35-12.50.

“How does moral progress occur? Is it piecemeal, gradual, and natural—or does it come about all of a sudden, when a set of apparently important social practices face objections, falter, and die off? How does one era’s common sense come to seem unusual and even absurd to the next? In this class, we’ll think about how those questions have been answered by a few of the most important fashionable theories of morality, motivation, and social reform (e.g. utilitarianism, Kantianism, Marxism). We’ll additionally think about how well these theories explain a couple of historic examples of ethical progress, together with the abolition of the slave commerce, girls’s liberation, and the animal welfare movement. Do such upheavals within the history of morals conform to a shared sample? Can we infer from them a common account of what motivates folks to vary their conduct? Throughout, we’ll ask whether or not and how our inquiries into the past illuminate the present. What ethical revolutions are we dwelling via today? How might we intervene in them more successfully? Our readings will embrace works by Martin Luther King Jr., Peter Singer, Kwame Anthony Appiah, Michelle Alexander, and J.M. Coetzee.”

Section 06, Gossip, Scandal, and Celebrity. Margaret Deli. TTh 9.00-10.15.

In a society as obsessed with celebrity as ours is today, what does the urge to gossip inform us about where we stay and who we're—as a nation, as a neighborhood, and as individuals? In this ENGL 114 course, we’ll ask ourselves why certain names, faces, and our bodies are elevated above others, and how we take part within the efficiency of superstar. We’ll take into consideration gossip and scandal: not simply as a means of policing human habits, but as two totally different methods for safeguarding the less highly effective. And we’ll contemplate how social media has definitively altered the conception and consumption of fame. In other words, this can be a class that celebrates and scrutinizes Instagram, net apps, and all issues Kardashian, which will contact on topics as various as anthropology, sociology, art history, and media research. Along the way in which, we’ll deal with the next questions: Are gossip, scandal, and movie star basically frivolous? Or can in addition they benefit society? And how can they best be employed in our modern moment?

Section 07, (Re)Defining Family. Alison Coleman. TTh 2.30-three.45.

What is household? Who can or can't constitute a family? How do exterior forces—ranging from war to social media to the financial system—have an effect on households around the globe today? And why have so many writers throughout the ages, whether comic or critic, philosopher or politician, been impressed to take up the subject? In this writing seminar, we'll examine the establishment and the idea of household via a spread of scholarly lenses together with history, regulation, literature, psychology, and sociology. Taking our cue from the signs and symbols of family that proliferate on the earth round us, a selection of academic texts on the topic, and our personal experiences in addition to the lives of these round us, we'll deconstruct the time period “family” in an effort to investigate its many sides and implications. Through our writings and in our class discussions, we will ask: How do I outline household—and the way does household define me?

Section 08, The Myth of Authenticity. Maximilian Chaoulideer. MW eleven.35-12.50.

What is pretend and what is actual? Who decides? Who cares? How are these concepts of what counts as genuine shaped by laws, financial forces, and the best way we view and value artworks? This course explores and challenges the trendy pursuit of originality as it reveals up in our ideas of nature, id, reality, historical past, artwork, and economic worth. Is authenticity to be found in beauty, financial or cultural worth, custom, uniqueness, representativeness, or some mixture of these? Our class will explore these questions with shut attention to canonical essays in art theory and cultural criticism, works of literature, movie, as well as case studies of “inauthentic” phenomena. Throughout the course, you may be honing your individual academic voice as you develop abilities as a important reader, incisive author, and confident speaker.

Section 09, The Politics of Museums. Ben Pokross. MW 9.00-10.15.

Museums are everywhere in American society, with approximately 850 million individuals visiting cultural establishments across the United States every year. But what's a museum? And whom is it for? To reply these questions, this course will look at the work of art historians imagining what museums are and could be, sociologists investigating how museum-goers see, and historians tracing the legacy of protest in opposition to major American museums. You’ll have the opportunity to visit the world-class museums on Yale’s campus and to examine the work of artists thinking critically in regards to the relation of their work to institutions. Throughout the semester we'll think about museums as central websites for debates over class, race, disability, and representation in contemporary tradition.

Section 10, Sedition and Dissent. Stephanie Ranks. MW 1.00-2.15.

What do we danger after we speak out towards the state? If a authorities or institutional authority can declare anything it doesn’t prefer to be seditious, is speech really free? Modern institutions, from governments to companies to universities, have adopted “sedition” as a term of disapprobation towards topics, workers, and members who engage in protest. How does the necessity for a legislation against speech that incites social and political upheaval sq. with free speech values and First Amendment rights? Through contemporary theorists and historic authors, we are going to think about how radical speech has been punished and restricted over time. Our conversations will expand into matters as diverse as the ethics of protest, the necessity of investigative journalism, and the consequences – like expenses of treason – that make “free speech” such a precarious class. We will ask who has the right to speak freely, whether speech constitutes a kind of action, and how these thorny issues translate into our present political second. We will take a look at this matter via a spread of lenses: literary important, historic, legal, political. And we'll ask ourselves how these questions map onto the current explosion of free speech debates across faculty campuses nationwide.

Section eleven, Truth and Media. Anna Shechtman. MW four.00-5.15.

This course focuses on questions each timely—“How can information be pretend?”—and timeless—“What counts as the reality?” Each of our 4 course items will current scenes in the history of media and know-how that complicate the solutions to these questions. How, for example, has Big Data revived the thought of theological omniscience that Nietzsche pronounced useless in 1882? How did atlases and encyclopedias inform the notion of “scientific objectivity” in the nineteenth century? How has photography and movie sophisticated the truism, “I’ll consider it after I see it”? Focusing on these and other moments of historical certainty and doubt, we'll return to contemporary debates in regards to the position of communication technology in presenting details (“various” or in any other case) to an informed public. We will finish our course by questioning what sort of hope, confidence or resistance we are able to discover in a world with no stable epistemological foundation for truth.

Section 12, Shaping Voices. Melissa Tu. MW 11.35-12.50.

We are continually surrounded by the language, images, and vocabulary of voice. For a long time, the notion of voice has been one of the familiar and fundamental approaches to making sense of ourselves and the world round us. But what exactly is a voice, and what does it mean to have one?

Through readings from disciplines of philosophy, social science, literature, and other fields of study, as well as compositions of music and dance, this course will study how we acknowledge – or resolve – whether or not something constitutes a voice, and the stakes of making and manipulating voices. In our readings and viewing/listening assignments, we will encounter voice in a variety of varieties, together with (however not restricted to) the voices of music, animals, machines, orators, ventriloquists, musical devices, and the divine. We will explore the methods by which voices bring together media varieties, interact the senses, make use of silence, and craft social, cultural, racial, sexual, political, and non secular narratives. Do voices need to have sound? Do they should have bodies, and if not, then what does it imply for a voice to be without a body? Why can we typically find the attribution of sure voices to certain sources complicated – or disturbing? Powerful? Perhaps even dangerous?

(No prior experience with musical notation is required for this course.)

Section thirteen, Nature and Healing. Helen Yang. TTh four.00-5.15.

What is healing about Nature? What are the issues for which we search therapeutic? What is the “Nature” that we discuss with when speaking about its therapeutic qualities? In this course, we are going to discover these questions through an interdisciplinary strategy. Nature is often held up as therapeutic and curative in our sociocultural creativeness. From architectural designs of hospitals that seek to herald elements of the natural surroundings, to writing about one’s walk out within the woods to capture a sense of properly-being and achievement, the vary of interconnections between well being and Nature is huge. In talking about the therapeutic qualities of Nature, we may even grapple with the definition of Nature itself, and the distinction between nature and Nature. What do we mean when we say that we
exitto Nature? Does a tuft of weed growing via the cracks of the sidewalk depend as Nature? How about an idyllic, rolling farmland that produces excess runoff, and was created by deforestation? What are we anticipating from such encounters?

ENGL one hundred fifteen, Literature Seminars.

Exploration of main themes in selected works of literature. Individual sections focus on topics corresponding to warfare, justice, childhood, sex and gender, the supernatural, and the pure world. Emphasis on the event of writing skills and the analysis of fiction, poetry, drama, and nonfiction prose..

Section 01, What is Popular Culture? Clio Doyle. MW 2.30-3.forty five.

From medieval stories about King Arthur to gory Elizabethan revenge dramas to summer blockbusters and superheroes, popular tradition has always got down to thrill and shock. We will ask what makes a work popular, and what “in style” even means.

Section 02, Writing Exile. Karin Gosselink. TTh eleven.35-12.50.

What is human identity? Who are we when every thing that shapes us—our houses, our households, our friends, our work—has been all of a sudden stripped away? These are the central questions posed by the literature of exile. We will learn a mix of traditional and modern literature as we explore what we lose and acquire in leaving home, changing into strangers, and making our means in new lands. Readings embody a Shakespeare play (King Lear); short tales by Anton Chekhov, Edwidge Danticat and Jhumpa Lahiri; essays by Edward Said, Hamid Naficy, and Bharati Mukherjee; poetry by Ovid, Julia Alvarez, Warsan Shire and Agha Shahid Ali; novels by Vladimir Nabokov and Aleksandar Hemon; a graphic memoir by Marjane Satrapi (Persepolis), and a movie (The Grand Budapest Hotel).

Section 03, Clones and Copies. Sophia Richardson. MW 1.00-2.15.

Does being a dually diasporic particular person—both “Black” and “Latinx”—impact how U.S.-based Afro-Latinx people relate to themselves, their families, and local and world communities? This course explores the complexities of id, migration, language, and power represented in Afro-Latinx literatures.

Section 04, U.S. Afro-Latinx Literatures. Cera Smith. TTh 1.00-2.15.

What does it imply to make—or be—a replica or a clone? This course investigates how various forms and applied sciences of copying, from portray and printing to genetic modification and artificial intelligence, reshape authenticity, individuality, artwork, and ethics.

ENGL 120, Reading and Writing the Modern Essay.

Close studying of nice nonfiction prepares college students to develop mastery of the craft of highly effective writing in the humanities and in all fields of human endeavor, within the university and past. Study of a few of the most interesting essayists within the English language, together with James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to painting individuals and places, and to interpret basic features of modern tradition..

Section 01, Shifra Sharlin. MW 9.00-10.15.

Section 02, Felisa Baynes-Ross. MW 2.30-3.forty five.

Section 03, Margaret Deli. MW 1.00-2.15.

Section 04, Trina Hyun. TTh 11.35-12.50.

Section 05, Rosemary Jones. MW 11.35-12.50.

Section 06, Pam Newton. TTh 1.00-2.15.

Section 07, Lindsay Gellman. TTh 1.00-2.15.

Section 08, Barbara Stuart. TTh 2.30-three.forty five.

Section 09, Emily Ulrich. TTh 11.35-12.50.

ENGL 121, Styles of Academic and Professional Prose.

A seminar and workshop in the conventions of fine writing in a particular area. Each section focuses on one educational or professional kind of writing and explores its distinctive features through quite a lot of written and oral assignments, during which college students both analyze and practice writing within the area. Section matters, which change yearly, are listed initially of each term on the English departmental website. This course could also be repeated for credit score in a piece that treats a special genre or type of writing; will not be repeated for credit score towards the most important..

Prerequisite: ENGL 114, a hundred and fifteen, one hundred twenty, or one other writing-intensive course at Yale. ENGL 121 may be repeated for credit in a bit that treats a special style or fashion of writing; may not be repeated for credit score toward the main.

Section 01, Thinking and Writing about the Law. Andrew Ehrgood. MW 11.35-12.50.

Law has an mental structure of its own, and the legal professionals and judges who make regulation and interpret it have peculiar methods of imagining and speaking in regards to the world, habits of thought and expression that can mystify the nonlawyer. In this course, you'll start to study to learn and converse and write the lawyer’s language: you will learn to purpose and argue in distinctively lawyerly methods concerning the types of issues that attorneys are paid to attend to. And as you acquire and become adept at this odd language, additionally, you will evaluate it, assessing its enchantment and usefulness to you as a thinker, author, and citizen.

Section 02, Writing about Medicine and Public Health. Randi Epstein. MW 1.00-2.15.

Medical and public well being tales shape the way in which individuals view health and disease, and protection someday influences scientific research or health policy. This course will give college students the prospect to join this conversation by writing about drugs and public well being for basic audiences. To do this properly, students must develop a keen sense of viewers as they translate difficult science, explain its ramifications, and supply historical context.

Students will write breaking information tales, weblog posts, a researched feature article, and a personal essay. They can also have the chance to interview a patient from Yale-New Haven Hospital.

In class, we will analyze essays, book chapters, and information tales for craft. Students may even explore visual media to hone observational skills, and we’ll go to the Center for British Art for a workshop on remark developed for Yale medical college students.

Section 03, Writing about the Past. Rona Johnston Gordon. TTh 11.35-12.50.

If a tree falls in a forest and no one is around to listen to it, does it make a sound? If historical past happens and no one writes about it, what have we missed? If a historian writes about historical past and nobody wants to learn it, how could that historian have carried out a greater job?

In writing about history, you place your self between the history and your audience. Without you, the connection isn't made. But historical past, historian, and audience are at all times altering: we uncover new sources and ask new questions of old sources; the grand outdated men of historical scholarship at the moment are historical past themselves; numerous readerships look to historical past for info, for inspiration, for entertainment, for identity.

In this class we'll discuss, read, and write about who we're once we write history and about how we can write a historical past – from biography to obituary, from museum information to encyclopedia entry – that is each partaking and sincere.

Section 04,
Writing about Finance, Entrepreneurship, and Responsibility. Heather Klemann. TTh 1.00-2.15.

How do we put ideas about trendy monetary markets and company methods into phrases and images? This course examines the art and efficacy of white papers, instances research, investment memos, and open letters in corporate America. Each unit of the course considers assignment-specific questions: Who is the first viewers? What is the objective of the genre? What stylistic, organizational, and rhetorical practices does the style deploy? Alongside these more customary enterprise genres, we are going to think about inventive journalism that brings to life the seemingly knowledge-pushed, mechanistic worlds of finance. Through workshops, readings, and in-class discussions, we are going to follow constructing concise and persuasive arguments, and, alternatively, dramatizing particulars, description, and dialogue to inform Wall Street tales.

Section 05, Writing about Music. Adam Sexton. TTh 1.00-2.15.

It has been stated that writing about music is like dancing about architecture – and indeed, evoking melody, harmony, and rhythm with words can challenge even essentially the most observant and eloquent among us. In this part of English 121, students will learn and discuss writing on music by not only scholars and critics (e.g. Margo Jefferson and Kalefa Sanneh) but in addition journalists (Joan Didion and Susan Orlean), a poet (LeRoi Jones), a novelist (Jonathan Lethem), and plenty of others. The focus shall be on well-liked music, very broadly defined, and among the many concepts to be investigated are taste and “cool.” Written assignments will embody a important evaluate of a performance or recording, a literary essay on a musical topic, a profile of a musician, and an academic paper. The goal of the course is for students to enhance their skills at remark, description, and analysis of culture.

Section 06, Cultural Critique: Style as Argument. Kim Shirkhani. TTh eleven.35-12.50.

An examination of how exemplary critics, such as David Foster Wallace, Joan Didion, Eula Biss, Kelefa Sanneh, Ariel Levy, Ian Frazer, Kyoko Mori, Adam Gopnik, Henry Louis Gates, Louis Menand, Ted Conover, Amitava Kumar, Wesley Yang, Malcolm Gladwell, Roxane Gay, Eric Schlosser, and Elizabeth Kolbert, and others, use components of favor—diction, tone, narrative structure—as both a mode of investigation and a means of persuasion. Our shut attention to how these writers use fashion as argument will help students develop essential rhetorical skills especially in mild of current social scientific studies that have affirmed that in terms of persuading readers on cultural issues, the emotional and experiential are no less than as necessary because the rational or factual.

Units shall be organized around readings that highlight a selected stylistic approach—critique through private narrative, artful analyses of cultural framing (society’s narrative intuition), and extra in-depth critiques that interweave personal narrative or perspective with analysis and evaluation. Students will shut read model essays for craft, research cultural objects that interest them, and craft their own cultural critiques designed to question and persuade not merely with style however by means of style.

ENGL a hundred twenty five, Readings in English Poetry I.

Introduction to the English literary tradition via close reading of select poems from the seventh via the seventeenth centuries. Emphasis on creating skills of literary interpretation and important writing; numerous linguistic and social histories; and the numerous varieties of identity and authority in early literary cultures. Readings could embrace
Beowulf,
The Canterbury Tales, Middle English lyrics,
The Faerie Queene,
Paradise Lost, and poems by Isabella Whitney, Philip Sidney, William Shakespeare, Amelia Lanyer, John Donne, and George Herbert, among others..

Section 01, Catherine Nicholson. TTh 1.00-2.15.

Section 02, Alexandra Reider. MW 2.30-3.forty five.

ENGL 126, Readings in English Poetry II.

Introduction to the English literary tradition via close studying of choose poems from the eighteenth century through the present. Emphasis on creating skills of literary interpretation and critical writing; diverse genres and social histories; and modernity’s multiple canons and traditions. Authors may include Alexander Pope, William Wordsworth, Elizabeth Barrett Browning, Robert Browning, W. B. Yeats, T. S. Eliot, Langston Hughes, Gertrude Stein, Gwendolyn Brooks, Elizabeth Bishop, and Derek Walcott, among others..

Section 01, Naomi Levine. TTh 11.35-12.50.

Section 02, Naomi Levine. TTh 2.30-three.45.

Section 03, Anastasia Eccles. TTh 1.00-2.15.

ENGL 127, Readings in American Literature.

Introduction to the American literary tradition in quite a lot of poetic and narrative forms and in diverse historical contexts. Emphasis on creating abilities of literary interpretation and significant writing; diverse linguistic and social histories; and the place of race, class, gender, and sexuality in American literary culture. Authors could embrace Phillis Wheatley, Henry David Thoreau, Herman Melville, Walt Whitman, Emily Dickinson, Frederick Douglass, Gertrude Stein, Langston Hughes, Ralph Ellison, Flannery O’Connor, Alan Ginsberg, Chang-Rae Lee, and Toni Morrison, amongst others..

Section 01, Wai Chee Dimock. TTh eleven.35-12.50.

Section 02, Ben Glaser. TTh 9.00-10.15.

Section 03, Alanna Hickey. MW 1.00-2.15.

ENGL 128, Readings in Comparative World English Literatures.

An introduction to the literary traditions of the Anglophone world in a wide range of poetic and narrative varieties and historic contexts. Emphasis on developing abilities of literary interpretation and important writing; diverse linguistic, cultural and racial histories; and on the politics of empire and liberation struggles. Authors could embody Daniel Defoe, Mary Prince, J. M. Synge, James Joyce, C. L. R. English summer course for adults , Claude McKay, Jean Rhys, Yvonne Vera, Chinua Achebe, Ngũgĩ wa Thiong’o, J. M. Coetzee, Brian Friel, Amitav Ghosh, Salman Rushdie, Alice Munro, Derek Walcott, and Patrick White, among others..

Section 01, Cajetan Iheka. MW 11.35-12.50.

Section 02, Priyasha Mukhopadhyay. MW 9.00-10.15.

ENGL 130, Epic in the European Literary Tradition.

The epic tradition traced from its foundations in historic Greece and Rome to the trendy novel. The creation of cultural values and identities; exile and homecoming; the heroic in times of war and of peace; the function of the individual inside society; reminiscence and historical past; politics of gender, race, and religion. Works embody Homer’s
Odyssey, Vergil’s
Aeneid, Dante’s
Inferno, Cervantes’s
Don Quixote, and Joyce’s
Ulysses. Focus on textual analysis and on developing the craft of persuasive argument through writing. Preregistration required; see under English Department..

Section 01, Anastasia Eccles. TTh 2.30-3.forty five.

Section 02, Katja Lindskog. TTh eleven.35-12.50.

Questions? Contactor, or name .