The effects of environmental problems, from climate change, to water contamination, to the depletion of fisheries, are felt acutely at the local level. But their underlying causes are often global: coal-burning power plants in China affects sea-level rise near Miami, overfishing by European fleets off the coast of Africa affects bush meat hunting in the Congo Basin, and deforestation in Indonesia creates forest fires that affect all of Southeast Asia’s air quality.
Independent reading courses.
Fall and spring semester. The Department.
(Offered as ENGL 481, ARHA 481, and FAMS 481) Experimental film is a vital area of contemporary media culture where artists engage the moving image from a wide range of creative approaches, exploring film as an aesthetic, poetic, or political medium, rather than a commercial enterprise. By departing from the conventions of mainstream film, experimental filmmakers present their audience with a stimulating challenge, asking viewers to develop new critical frameworks through which to assess films that often resist classification and traditional interpretive approaches.
In this upper-level course, we will read literary and theoretical texts that, although loosely grouped in terms of period, geography, and style, are all driven by the same set of questions: Is decolonial love possible? What does it look and feel like? We will read scholars and writers who describe the ways that imperialism, capitalism, racism, and heteropatriarchy structure conventional ways of loving, caring, and forming social bonds, as well as conventional ways of telling stories and writing novels.
(Offered as ENGL 458 and AMST 358) [Before 1800] This course will delve deeply into Indigenous literatures of “Turtle Island,” or North America. The Kiché Maya Popol Wuj (Council Book), the Haudenosaunee (Iroquois) Great Law of Peace, the Wabanaki creation cycle, and Salish Coyote Stories are rooted in longstanding, complex oral narratives of emergence and transformation, which were recorded by Indigenous authors and scribes.
Why, Rita Felski asks, are people “willing to drive five hundred miles to hear a band playing a certain song, or spend years in graduate school puzzling over a single novel?” Concepts like “cultural capital,” “the hegemonic media industry,” or “interpretive communities” do not fully explain “why it is this particular tune that plays over and over in our heads, why it is Virginia Woolf alone who becomes an object of obsession.” Something else has to be involved, a “rogue something,” in the words of Toni Morrison’s
Writing is the landscape through which poets explore the human body. The fluidity of a text often mirrors our relationship to memory–the recollection of the sensory discovering harmony with the fluidity of a poem’s language and syntax. But what happens when a disruption in one’s fundamental experience of being alters the ways in which we experience the world?
(Offered as ENGL 416 and AMST 367) Children’s books have always been part toy. The odd duality of all books–simultaneously object and text, commodity and meaning–is particularly evident in books made for children. Think how much more varied in the shape and size of volumes, the font and layout of print, the style and quantity of illustration are books intended for children compared to books for adults. Sites of innovation and experimentation in book production, children’s literature provides an excellent ground for studying book history.
(Offered as ENGL 377 and FAMS 383) Documentary is one of the fastest-growing areas of media production today, enjoying unprecedented commercial success in theaters, on television, and online streaming services. What drives the urgent desire to represent reality? Where did this impulse originate, and how do documentarians continue to channel it today? This course focuses on the innovative forms and ethical dilemmas that have resulted from the pursuit of reality.
