While refining students' general analytical and interpretive skills, this course offers intensive examination of specific issues in literature and culture, often those at the center of current critical interest. Recent sections have focused on The Gangster Film, Memoir and Sexuality, Quest for the Grail, and Native American Literature. Students may only count one ENG 255 that is a cross-listed Modern Language course toward the major or minor.
|Arts and Humanities||1 course|
Fall Semester informationIstvan Csicsery-Ronay
255A: Topics: Global Science Fiction
In this course we will study the neglected traditions of science fiction outside the US tradition. Although the US has been the primary and most influential producer of works of science fiction, major works have been produced in other countries. As globalization extends to more and more societies, science fiction has become one of its major artforms. In this course we will study works from Europe, Russia, Asia, Africa, and Latin America. We will focus on the science- fiction traditions and the social-historical contexts in which they emerged.
255B: Topics: Readings in the Black Diaspora
AFST/BLST 240, Readings in the Literature of the Black Diaspora, provides students with the skills to understand the black experience through literary works by black writers from the United States, Africa, the Caribbean, and Latin America. Writing in AFST/BLST 240 consists mainly of analytical papers and revisions of some of those papers. It may also include response papers, in-class writing assignments, journal entries, as well as final examinations that require short answers and short essays.
255C: Topics: The Short Form
We live in an age of short form communication--of texting, of Twitter, and Facebook, so now seems an especially appropriate time to revisit the idea of the short form. Note that while this course may briefly consider flash or sudden fiction, the course's main focus will be on the more traditional short story, short poem, short play, short novel, short film, epigram, and quotation. Centering mainly in the works of American literature from Edgar Allan Poe to George Saunders, the course will address questions about the nature, the effectiveness, the value, and the appeal of brevity.
255D: Topics in Lit Studies: Spy Fiction
The course traces the development of modern spy fiction up to the present. Although there are precursors of the genre in the 19th century and spying is by no means only a recent phenomenon, the modern spy novel is very much entangled in the political, historical, economic, and social developments of the 20th century--especially with regard to imperialism, World War I, World War II, the Cold War and global capitalism. We will study stylistic and thematic particularities of this largely eurocentric genre (complex plotting, polyglottery, the import of surveillance, the spectacular, etc.), the spy novel's place within the history of the novel (for example, its designation as popular fiction--or so-called genre fiction), the genre's construction of a culture of masculinity, and its infringements on, and appropriations of, other genres (like detective fiction). As this is a W-course, our goal is to develop a sophisticated awareness about all matters of writing, including style, audience, genre, voice, language, writing strategies, editing, etc. To that end, you will write frequently and experiment with your writing.
255E: Topics in Lit Studies: Poetry and the Difficult World
This class will examine poetry from around the world written about and for extreme circumstances. It will examine how poetry can witness tragedy, but also somehow provide perspective and even comfort. Poetry can also do the work of making us uncomfortable about circumstances we might otherwise ignore: racism, sexism, climate change, poverty, and war. Students will write four or five papers and contribute weekly to various documents we will share.
Poets we will read include Adonis, Mahmoud Darwish, Paul Celan, Anna Akhmatova, Tarfia Faizullah, Miklos Radnoti, Adrienne Rich, Seamus Heaney, Bei Dao, Wislawa Szymborska, Claudia Rankine, Kofi Awoonor, and many others. We will also, when available, listen to poems in their original languages.
255F: Topics in Lit Studies: African-American Film
Reading African American cinema as a pivotal archive in African American cultural production, this course explores the diverse black aesthetic traditions that African American film has and continues to develop, explore, and shape. Specifically, we will track how African American films produced, written, and/or directed by African Americans are situated in larger debates about the politics of race and representation. Beginning with African American modernism and black cultural politics, we will look at the emergence of African American cinema in the 1910s through to the early 21st century. Films we will investigate include works by Oscar Micheaux, Mario van Peebles, Charles Burnett, Spike Lee, Cheryl Dunye, , and Julie Dash, to name a few.
255G: Topics in Lit Studies: Art of Translation
The Art of Translation course is a workshop in literary translation. Mainly, students work on translations of poems or short prose pieces. Workshop participants approach a translation by doing a very close reading of the source poem or prose piece in the source language and/or in available English translation(s), identifying its deep meanings, its poetic and aesthetic elements, and its overall literary impact, then they recast it in English. Students find out very quickly that this kind of translation is a form of creative writing in its own right. In essence, they learn how to write--and read--as poets and creative writers.
While students are expected to do a close and rigorous study of texts in the source language, the ultimate goal of the course is for students to produce translations that stand as English poems or poetic prose passages in their own right. Throughout the semester, students continue to engage in a close, nuanced study of the meaning, sense, and literary, cultural and historical contexts of the poems or prose passages in their source languages, but they render those poems in a natural English idiom with all the proper attention given to tone, diction, language register, rhythm, cadence, and the various elements that constitute poetic language. Evaluation will be based heavily on the documentation (through a student portfolio) of the process leading up to a final translation, and not solely on the final translations themselves. The portfolio documentation will show the progression of the translation through its various revisions and through short reflections by the translator on the evolution of his/her work. Portfolios will be collected 2-3 times during the semester. Evaluation is based mainly on the portfolios and student engagement in the in-class workshop discussions.
In a translation workshop such as the one offered, there will always be students (and instructor) who are not versed in the source language of the translated work being discussed. So with each translation, the translator presents a "trot", a very literal, almost word-for-word translation of the original poem, together with his/her translation and any other available English translations. Students without a knowledge of the source language offer their critique of the translated work primarily as a stand-alone English poem, but they also comment on the fidelity of the translation to the original by comparing to other translations and to the trot. They also engage in a discussion with the translator based on his/her articulation of the issues and challenges encountered.
There are several options for students without prior knowledge of another language. They could translate 'vertically' (across historical time periods) within the same language, English. An example would be translating portions of Chaucer's Canterbury Tales from Middle English or Beowulf from Old English, into Modern English. Another option is to re-translate a work based on existing English translations, and perhaps a very rudimentary knowledge of the source language. Yet a third option is for a student to work in collaboration with another student who has a native or near native knowledge of the source language, where the former assumes the role of writer and the latter the role of source language and culture expert.
With prior consent of the instructor, a student may choose to translate from genres other than poetry or fiction. In the past, students have translated film dialogue (subtitling, dubbing) and song (lyrics put to music).