This course is designed to develop a student’s abilities as an environmental problemsolver through practice. The problems come in two forms: a campus or local problem related to environmental sustainability or resilience, and the problem of what to do with one’s life. To address each, students engage in a semester-long group project that addresses a real-world environmental issue or question (projects vary from year to year) and a more individualized examination of the student’s own values, career aspirations and skills.

In this laboratory complement to 201, students use a variety of methods to gather and analyze different types of environmental data (quantitative, qualitative, spatial). Enrollment limited to 18. Q

While focusing on topical environmental issues, students learn how to gather, analyze and present data using methods from the natural and social sciences. Data are drawn from multiple sources, including laboratory experiments, fieldwork, databases, archival sources, surveys and interviews. Emphasis is on quantitative analysis. Environmental topics vary in scale from the local to the global. Note: 202 must be taken concurrently. Prerequisite: 101. Enrollment limited to 18. Q

In this seminar, we trace the evolution of the legend of the greenwood outlaw with his merry men and (later) his intrepid ladylove, through medieval popular tale, ballad, drama, lyric, novel, and film—from first mention in the late Middle Ages to recent works and current events. Everyone knows the social bandit who robs from the rich and gives to the poor, hated by the authorities and loved by the people, but few have read the early formative texts that first inspired this unceasingly popular legend. We also explore and add to the rich legacy of Robin Hood criticism.

Members of the Bloomsbury movement led non-normative (what many now call queer) lives. The complexity and openness of their relationships characterized not only the lives but also the major works of fiction, art, design, and critical writings its members produced. “Sex permeated our conversation,” Woolf recalls, and in Bloomsbury and Sexuality we’ll explore the far-reaching consequences of this ostensible removal of discursive, social, and sexual inhibition in the spheres of literature, art, and social sciences.

Same as GER 271. This course explores how artists and thinkers over the centuries have grappled with the presence of evil —how to account for its perpetual recurrence, its ominous power, its mysterious allure. Standing at the junction of literature, philosopy, and religion, the notion of evil reveals much about the development of the autonomous individual, the intersection of morality, freedom and identity, and the confrontation of fantasy and history.

This course considers how literature represents environmental change and crisis, and shapes our understanding of the natural world. How can poetry provide new ways for thinking through extinction, conservation, and environmental justice? We explore these issues by reading a selection of environmental poetry in conversation with key texts from the environmental humanities.

This course aims to identify, analyze, and complicate the dominant narrative of U.S. suburbia vis-à-vis the postwar American novel. While the suburb may evoke a shared sense of tedium, U.S. fiction positions suburbia as "contested terrain," a battleground staging many of the key social, cultural, and political shifts of our contemporary age.

Same as ENG 255. How did the modern short story emerge—why, where, when? What is its relation to other forms of short fiction, such as the fairy tale of the German Novelle? Why are they often so elaborately framed, with their kernel presented as a kind of oral performance; a story told by one character to another? Why do they so often rely on fantastic and unlikely events---and how, by the end of the century, did the short story come to concentrate instead on the mundane and the ordinary? What, in short, makes a tale worth telling?

Same as CLT 255. How did the modern short story emerge—why, where, when? What is its relation to other forms of short fiction, such as the fairy tale of the German Novelle? Why are they often so elaborately framed, with their kernel presented as a kind of oral performance; a story told by one character to another? Why do they so often rely on fantastic and unlikely events---and how, by the end of the century, did the short story come to concentrate instead on the mundane and the ordinary? What, in short, makes a tale worth telling?