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UNDERGRADUATE REGISTRATION PROCEDURES— for FALL 2009 courses |
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SEMINAR APPLICATION PROCEDURES KATHERINE BIERS Drama, Theatre, Theory (ENTA W3701x) This course explores issues central to the study of theatre in its social and political context. We will read modern European and American dramatic texts alongside theories of text, actor and stage drawn from a broader, mainly European, philosophical and aesthetic tradition. What is dramatic unity and how does it reflect or project social and national unity? What is realistic acting and how does it relate to ideology? Where does theatre happen? Does it take place only in particular spaces and places or potentially everywhere--as in theatres? of war or the law? We will also pursue broader questions about the relationship between theatrical spectacle and political transformation, and the role of theatre and theatrical presence in an age of mass media. Application Instructions:
E-mail Professor K. Biers (klb2134@columbia.edu)
by Austen, Brontë, Gaskell (ENGL W3962x) The novels of Jane Austen, Charlotte Brontë and Elizabeth Gaskell map much of the terrain for English nineteenth-century narrative. Writing within the tradition of the novel of education, these daughters of Protestant clergymen fashion a fictional discourse posed to explore the liabilities and liberties of a narrative realism that privileges the marriage plot, psychological portraiture, and vocation. Reading these books in two sets of triads (country versus city: Mansfield Park, Villette, North and South; the Governess's Story: Emma, Jane Eyre, Wives and Daughters), we will trace how these authors simultaneous invent and resist ideas about privacy, property, duty, subversion, gender identity and realism itself. The last few weeks will culminate in a reading of George Eliot's The Mill on the Floss as a powerful response to this literary heritage. Requirements: short midterm paper, long final paper, weekly response pages. Application Instructions: E-mail Professor M. Cohen (mlf1@columbia.edu) by noon on Wednesday, April 15, with the subject heading "Austen, Bronte, Gaskell." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. JENNY DAVIDSON Application Instructions: E-mail Professor Jenny Davidson (jmd204@columbia.edu) by noon on Wednesday, April 15, with the subject heading "Clarissa." In your message. include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking this course. ANDREW
DELBANCO In this
seminar we will trace the growing crisis over slavery and disunion as the United States
moved toward war against itself.
Readings include fiction, poetry, memoirs, political discourse, and journalism by such authors
as Harriet Beecher Stowe, Frederick
Douglass, Oliver Wendell Holmes, Harriet Jacobs, Daniel Webster, John C. Calhoun, Abraham
Lincoln, and Herman Melville. We will consider the perspectives of slaves
and slavemasters, North and
South, men and women, committed partisans and neutral observers-- in an effort to understand
what was at stake in the rising
discord during the decade that preceded the Civil War. Application Instructions: Please stop by 415 Hamilton or visit American Studies website at www.columbia.edu/cu/amstudies for application form which is due by 5:00 P.M. on Monday, April 13. The Beat Generation (ENGL W3710x) Instructor's permission
required; limited to seniors, preference to those who have taken at
least one
course in 20th-century American culture, especially history, jazz,
film, and
literature. Surveys the work of the Beats and other artists connected
to the
Beat movement. Application
Instructions: E-mail
Professor Ann Douglas (ad34@columbia.edu)
and copy David Yerkes (dmy1@columbia.edu)
by Satire and Sensibility (ENGL W3950x) Novels, poems, and prose from early and mid-18th century. Critical writings from the period argue the nature and purpose of poetry (broadly speaking), the emulation of narrative and lyrical models (classical, vernacular, and biblical), and dispute religion, liberty, natural psychology, original genius, moral sentiment, and aesthetic imagination; verse genres include epistle, ode, and epic (mock, pastoral, and urban): Swift, Pope, Thomson, Gray, Collins, Goldsmith, others; novels include Fielding's Tom Jones, Richardson's Clarissa, Johnson's Rasselas, Goldsmith's Vicar of Wakefield, and Sterne's Tristram Shandy. An aspect of the satirical and the sentimental, combined, obtains here not only in the rhetorical excess of characters' speeches, but in the way that lyric poetry is incorporated into the fiction, where characters in the novels do themselves write or recite poetry. Application Instructions: E-mail Professor M. Giordani (mg2644@columbia.edu) by MATT HART The novelist Caryl Phillips once
wrote: "For many British people, to accept the idea that their country
has a long and complex history of immigration would be to undermine
their basic understanding of what it means to be British." By focusing
on writing by British people of African and Caribbean origin, this
seminar asks what is "British" about British literary history. Unlike
in the United States, however, the term "Black" is in the United
Kingdom sometimes applied to non-Caucasian people in general. With this
situation in mind, we will investigate the cultural meanings of "Black"
as well as "British," asking how this seemingly racial label can have
transracial implications. Likewise, our approach throughout the seminar
will be to ask how Black British literature is a peculiarly national
product, while also focusing on the way old and new patterns of
immigration, economic life, and literary culture have made the Black
British experience a peculiarly transnational one. The syllabus will
include exemplary texts by some important first and second generation
of Black British writers - Sam Selvon, Beryl Gilroy, and Buchi Emecheta
- as well as a broader focus on contemporary writers, including Linton
Kwesi Johnson, Jackie Kay, Caryl Phillips, and Zadie Smith. Written
requirements will involve a short seminar paper, a critical analysis
paper, and a bibliographic research project. Application Instructions: E-mail Professor Matt Hart (c/o dmy1@columbia.edu) by noon on Wednesday, April 15, with the subject heading "Black British Writing." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. NOTE: APPLICATION DEADLINE HAS BEEN EXTENDED. Reading selections from the late Lacan: Seminars XVII The Other Side of Psychoanalysis, XVIII Of a Discourse that Might Not Be a Semblance, XX Encore: On Feminine Sexuality XXI The Non-dupes Err/The Names of the Father together with selected novels and short stories. Emphasis on Lacan’s elaboration of the four discourses, jouissance, the formulas of sexuation, the sinthome, and the clinic of the real. Consideration of the relevance of his thought to literature and culture, to capitalism, politics, and neuroscience. Application Instructions: E-mail Professor M. Jaanus (mj35@columbia.edu) by noon on Wednesday, April 15, with the subject heading "Reading Lacan." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. PHILIP KITCHER
This seminar will engage in a close
study of James Joyce's final work Finnegans Wake. After an
introductory session, considering the structure of the book, and
strategies for approaching it, we'll read it together in manageable
pieces. Each week, students will be expected to bring to the seminar a
short paper (300-400 words), reflecting on a particular passage
(typically only a sentence or two) from the material read that week.
They will present their responses, and this will serve as a basis for
joint exploration and discussion. No texts other than Finnegans
Wake itself will be assigned, but two secondary sources are
recommended: John Bishop Joyce's Book of the Dark and Philip
Kitcher Joyce's Kaleidoscope: An Invitation to Finnegans Wake.
Students will be evaluated on the basis of their response papers, their
contributions to discussion, and a final essay. Prerequisites:
English 3230 (Joyce) or Permission of the Instructor. (It is
important that those in the seminar have read Joyce's earlier works of
prose fiction, particularly Ulysses, and have done so
thoroughly.) This course is crosslisted with a seminar in Philosophy,
and students who want to treat Joyce "philosophically" may enroll
through the Philosophy number. Those whose primary concerns are with
Literature should enroll under the English designation. Application Instructions: E-mail Professor P. Kitcher
(psk16@columbia.edu)
by noon on Wednesday, April 15, with the subject heading "Finnegans
Wake." In your message, include basic information: your name, school,
major, year of study, and relevant courses taken, along with a brief
statement about why you are interested in taking the course. LEJLA KUCUKALIC
In this course, we will read and
discuss the
fiction, non-fiction, and acceptance speeches of the most recent
recipients of the Nobel Prize in Literature. The writers to be
examined, Jean-Marie Gustave Le Clézio (2008), Orhan Pamuk
(2006), Harold Pinter (2005), Elfriede Jelinek (2004), V. S. Naipaul
(2001), Gao Xingjian (2000), and Günter Grass (1999) record
cultural shifts and social forces central to their societies as well as
our civilization, addressing the world wars, immigration,
postcolonialism, class inequities, gender oppression, and often, the
fragility of identity. Although coming from vastly different
backgrounds and countries, the recent Nobel laureates share a difficult
and challenging view of human nature. We will analyze whether and how
their art, potentially disturbing, challenges the traditional cultural
understanding of narrative representation, evident in their
experimentation with language and modes of representation. We will also
explore the relationship between the authors’ personal point of view
and national concerns with global and universal themes and issues that
they address. Finally, we will explore the tradition of prize-giving as
a vehicle of literary canonization and the global recognition that
Nobel brings to its winners. The assignments will include: a final
essay, comprehensive take-home midterm exam, participation, and one
short presentation for the writer of your choice from the list. Application Instructions: E-mail Professor L. Kucukalic (lk2380@columbia.edu) by noon on Wednesday, April 15, with the subject heading "Nobel Prize Winners." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Ellison, Bellow, Roth (ENGL W3763x) This course will focus on three major postwar novelists, each of whom negotiated the tensions in American culture between racial and ethnic responsibility on the one hand, and the freedom of cosmopolitan multiplicity of affiliations on the other. The turbulent 1960s proved a crucible in each of their careers; Ellison confronted angry voices from the literary and political Left; Bellow offered a sardonic, tragic assessment of the madness of modernity; Roth developed his gift for rude truth and outrage. We will begin with the literary Master they all have in common--Dostoevsky, whose Notes From Underground is the epochal rant that echoes in their later pages. Application Instructions: E-mail Professor Ross Posnock (rp2045@columbia.edu) by JAMES
SHAPIRO This
course explores the plays Shakespeare was writing in 1606-most notably King
Lear and Macbeth-in relation to plays staged that year
by Ben
Jonson, Francis Beaumont, Thomas Dekker, Thomas Middleton, John
Fletcher, and
George Wilkins. ALAN
STEWART This course examines representations of Application
Instructions: E-mail
Professor Alan
Stewart (ags2105@columbia.edu)
by Decolonizing Fictions (ENGL W3851x) ENGL W3851x
Decolonizing Fictions 4 pts.
Prerequisites: permission of the instructor. (Seminar). We will read
works by writers responding to decolonization as an invitation to
rethink the shape of their societies. Ostensibly a gesture of
resistance against imperial control, anti-colonialism also sparked
debates about re-visioning gender relations, the place of minorities in
the nation, religious difference and secularism, internationalism and
models of world unity, among other issues. The course will explore,
through fiction and historical accounts produced at the time of
decolonization, the challenges of imagining a post-imperial society
without reproducing the structures and subjectivities of the colonial
state. Application
Instructions: E-mail Professor G. Viswanathan (gv6@columbia.edu) by |
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