Online courses directory (19947)

This subject offers a broad survey of texts (both literary and philosophical) drawn from the Western tradition and selected to trace the growth of ideas about nature and the natural environment of mankind. The term nature in this context has to do with the varying ways in which the physical world has been conceived as the habitation of mankind, a source of imperatives for the collective organization and conduct of human life. In this sense, nature is less the object of complex scientific investigation than the object of individual experience and direct observation. Using the term "nature" in this sense, we can say that modern reference to "the environment" owes much to three ideas about the relation of mankind to nature. In the first of these, which harks back to ancient medical theories and notions about weather, geographical nature was seen as a neutral agency affecting or transforming agent of mankind's character and institutions. In the second, which derives from religious and classical sources in the Western tradition, the earth was designed as a fit environment for mankind or, at the least, as adequately suited for its abode, and civic or political life was taken to be consonant with the natural world. In the third, which also makes its appearance in the ancient world but becomes important only much later, nature and mankind are regarded as antagonists, and one must conquer the other or be subjugated by it.

The aim of this subject is to acquaint the student with some important works of systematic ethical philosophy and to bring to bear the viewpoint of those works on the study of classic works of literature. This subject will trace the history of ethical speculation in systematic philosophy by identifying four major positions: two from the ancient world and the two most important traditions of ethical philosophy since the renaissance. The two ancient positions will be represented by Plato and Aristotle, the two modern positions by Immanuel Kant and John Stuart Mill. We will try to understand these four positions as engaged in a rivalry with one another, and we will also engage with the philosophy of Thomas Hobbes, which offers a bridge between ancient and modern conceptions and provides a source for the rivalry between the viewpoints of Kant and Mill. Further, we will be mindful that the modern positions are subject to criticism today by new currents of philosophical speculation, some of which argue for a return to the positions of Plato and Aristotle.

This subject examines the ways in which we read. It introduces some important strategies for engaging with literary texts developed in the twentieth century, paying special attention to poststructuralist theories and their legacy. The course is organized around specific theoretical paradigms. In general, we will: (1) work through the selected readings in order to see how they construe what literary interpretation is; (2) locate the limits of each particular approach; and (3) trace the emergence of subsequent theoretical paradigms as responses to what came before.

This course provides an introduction to the major popular music cultures of the Chinese-speaking world. We will consider a wide variety of genres, from Shanghainese shidaiqu to Cantopop to Taiwanese rap, with the goal of listening beyond the notion of a monolithic "Chinese popular music" to something more dynamic, multivocal, and translocal. We will ask: What, if anything, is so "Chinese" about Chinese popular music? How does popular music participate in the formation of identities for artists and audiences in these areas? How does it enable the articulation of diverging social and political values while also facilitating meaningful connections among disparate communities? We will approach these questions through a diverse array of source materials, including sound recordings, music videos, films, and online multimedia.

Roman Literature of the Golden Age of Augustus Caesar, produced during the transition from Republican to Imperial forms of government, was to have a profound and defining influence on Western European and American societies. These writings ultimately established lasting models of aesthetic refinement, philosophical aspiration, and political ambition that continue to shape modern cultures. This class will be exploring the Golden Age of Latin Literature from an historical perspective in order to provide an intensive examination of the cultural contexts in which these monumental works of classical art were first produced. Readings will emphasize the transition from a Republican form of government to an Empire under the rule of Augustus Caesar and the diversity of responses among individual authors to the profound structural changes that Roman society was undergoing at this time. Particular attention will be devoted to the reorganization of society and the self through textuality, the changing dimensions of the public and the private, the roles of class and gender, and the relationship between art and pleasure. Writings covering a wide variety of literary genres will include the works of Caesar, Cicero, Catullus, Livy, Virgil, Horace, and Ovid, with additional readings from Cassius Dio for background.

It is easy to think of love as a "universal language" - but do ideas about love translate easily across history, culture, and identity? In this course, we will encounter some surprising, even disturbing ideas about love and sex from medieval writers and characters: For instance, that married people can never be in love, that the most satisfying romantic love incorporates pain and violence, and that intense erotic pleasure can be found in celibate service to God. Through Arthurian romances, Chaucer's Canterbury Tales, love letters, mystical visions, and more, we will explore medieval attitudes toward marriage, sexuality, and gender roles. What can these perspectives teach us about the uniqueness of the Middle Ages—and how do medieval ideas about love continue to influence the beliefs and fantasies of our own culture?

The Renaissance has justly become both famous and notorious as an age of discovery, and its voyages took place in many realms. This semester, we will read several history making narratives of early modern travel: first-hand accounts of discovery, captivity, conquest, or cultural encounter. As Europeans came to acquire experience of unfamiliar places, literary texts of the period began to assimilate this experience by describing imagined voyages across real or fantastic landscapes. Finally, voyages of exploration served Renaissance writers as a metaphor: for intellectual inquiry, for spiritual development, or for the pursuit of love. Among the literary genres sampled this semester will be sonnets, plays, prose narratives, utopias, and chivalric romance. Authors and travellers will include Francis Petrarch, Amerigo Vespucci, Thomas More, Christopher Marlowe, Edmund Spenser, Hernán Cortés, John Donne, Francis Drake, Mary Rowlandson, Francis Bacon.

When John Locke declared (in the 1690 Essay Concerning Human Understanding) that knowledge was derived solely from experience, he raised the possibility that human understanding and identity were not the products of God's will or of immutable laws of nature so much as of one's personal history and background. If on the one hand Locke's theory led some to pronounce that individuals could determine the course of their own lives, however, the idea that we are the products of our experience just as readily supported the conviction that we are nothing more than machines acting out lives whose destinies we do not control. This course will track the formulation of that problem, and a variety of responses to it, in the literature of the "long eighteenth century." Readings will range widely across genre, from lyric poetry and the novel to diary entries, philosophical prose, and political essays, including texts by Alexander Pope, Jonathan Swift, Mary Astell, David Hume, Laurence Sterne, Olaudah Equiano, Mary Hays, and Mary Shelley. Topics to be discussed include the construction of gender identities; the individual in society; imagination and the poet's work. There will be two essays, one 5-6 pages and one 8-10 pages in length, and required presentations.

In this class, you will read, think about, and (I hope) enjoy important examples of what has become one of the most popular literary genres today, if not the most popular: the novel. Some of the questions we will consider are: Why did so many novels appear in the eighteenth century? Why were they—and are they—called novels? Who wrote them? Who read them? Who narrates them? What are they likely to be about? Do they have distinctive characteristics? What is their relationship to the time and place in which they appeared? How have they changed over the years? And, most of all, why do we like to read them so much?

This subject traces the history of the European novel by studying texts that have been influential in connection with two interrelated ideas. (1) When serious fiction deals with matters of great consequence, it should not deal with the actions of persons of consequence—kings, princes, high elected officials and the like—but rather with the lives of apparently ordinary people and the everyday details of their social ambitions and desires. To use a phrase of Balzac's, serious fiction deals with "what happens everywhere". (2) This idea sometimes goes with another: that the most significant representations of the human condition are those dealing with persons who try to compel society to accept them as its destined agent, despite their absence of high birth or inheritance.

The course covers British literature and culture during Queen Victoria's long reign, 1837-1901. This was the brilliant age of Charles Dickens, the Brontës, Lewis Carroll, George Eliot, Robert Browning, Oscar Wilde, Arthur Conan Doyle, Rudyard Kipling, Alfred, Lord Tennyson – and many others. It was also the age of urbanization, steam power, class conflict, Darwin, religious crisis, imperial expansion, information explosion, bureaucratization – and much more.

This course considers some of the substantial early twentieth-century poetic voices in America. Authors vary, but may include Moore, Frost, Eliot, Stevens, and Pound.

We'll read the major poems by the most important poets in English in the 20th century, emphazinig especially the period between post-WWI disillusionment and early WW II internationalism (ca. 1918-1940). Our special focus this term will be how the concept of "the Image" evolved during this period. The War had undercut beliefs in master-narratives of nationalism and empire, and the language-systems that supported them (religious transcendence, rationalism and formalism). Retrieving energies from the Symbolist movements of the preceding century, early 20th century poets began to rethink how images carry information, and in what ways the visual, visionary, and verbal image can take the place of transcendent beliefs. New theories of linguistics and anthropology helped to advance this interest in the artistic/religious image. So did Freud. So did Charlie Chaplin films.

We'll read poems that pay attention both to this disillusionment and to the compensatory joyous attention to the image: to ideas of the poet-as-language-priest, aesthetic-experience-as-displaced-religious impulse, to poetry as faith, ritual, and form.

Central to our era is the gradual movement of all the world's regions toward a uniform standard of economic and political development. In this class we will read a variety of recent narratives that partake of, dissent from, or contribute to this story, ranging from novels and poems to World Bank and IMF statements and National Geographic reports. We will seek to understand the many motives and voices – sometimes congruent, sometimes clashing – that are currently engaged in producing accounts of people in the developing world: their hardships, laughter, and courage, and how they help themselves and are helped by outsiders who may or may not have philanthropic motives. Readings will include literature by J. G. Ballard, Jamaica Kincaid, Rohinton Mistry, and John le Carré, as well as policy documents, newspaper and magazine articles, and the Web sites of a variety of trade and development commissions and organizations.

This course covers techniques of creating narratives that take advantage of the flexibility of form offered by the computer. The course studies the structural properties of book-based narratives that experiment with digression, multiple points of view, disruptions of time and of storyline. The class analyzes the structure and evaluates the literary qualities of computer-based narratives including hypertexts, adventure games, and classic artificial intelligence programs like Eliza. With this base, students use authoring systems to model a variety of narrative techniques and to create their own fictions. Knowledge of programming is helpful but not necessary.

This course covers works by major American novelists, beginning with the late 18th century and concluding with a contemporary novelist. The class places major emphasis on reading novels as literary texts, but attention is paid to historical, intellectual, and political contexts as well. The syllabus varies from term to term, but many of the following writers are represented: Rowson, Hawthorne, Melville, Twain, Wharton, James, and Toni Morrison. Previously taught topics include The American Revolution and Makeovers (i.e. adaptations and reinterpretation of novels traditionally considered as American "Classics"). May be repeated for credit with instructor's permission so long as the content differs.

This course explores the ways in which various American artists view race and class as performed or performable identities. Discussions will focus on some of the following questions: What does it mean to act black, white, privileged, or underprivileged? What do these artists suggest are the implications of performing (indeed playing at or with) racial identity, ethnicity, gender, and class status? How and why are race and class status often conflated in these performances?

What is a "life" when it's written down? How does memory inform the present? Why are autobiographies and memoirs so popular? This course will address these questions among others, considering the relationship between biography, autobiography, and memoir and between personal and social themes. We will examine classic authors such as Mary Rowlandson, Benjamin Franklin, Frederick Douglass, Harriet Jacobs, and Mark Twain; then more recent examples like Tobias Wolff, Art Spiegelman, Sherman Alexie, Shirley Geok-lin Lim, Edwidge Danticat, and Alison Bechdel.

This course offers an introduction to Women's and Gender Studies, an interdisciplinary field that asks critical questions about the meanings of sex and gender in society. The primary goal of this course is to familiarize students with key issues, questions and debates in Women's and Gender Studies, both historical and contemporary. Gender studies scholarship critically analyzes themes of gendered performance and power in a range of social spheres, such as education, law, culture, work, medicine and the family.  WGS. 101 draws on multiple disciplines--such as literature, history, economics, psychology, sociology, philosophy, political science, anthropology and media studies-- to examine cultural assumptions about sex, gender, and sexuality. This course integrates analysis of current events through student presentations, aiming to increase awareness of contemporary and historical experiences of women, and of the multiple ways that sex and gender interact with race, class, nationality and other social identities.

Alienation, overcrowding, sensory overload, homelessness, criminality, violence, loneliness, sprawl, blight. How have the realities of city living influenced literature's formal and thematic techniques? How useful is it to think of literature as its own kind of "map" of urban space? Are cities too grand, heterogeneous, and shifting to be captured by writers? In this seminar we will seek answers to these questions in key city literature, and in theoretical works that endeavor to understand the culture of cities.

What has been said of Moby-Dick—that it's the greatest novel no one ever reads—could just as well be said of any number of American "classics" like The Scarlet Letter, Uncle Tom's Cabin, or The Adventures of Huckleberry Finn. This course reconsiders a small number of nineteenth-century American novels by presenting each in a surprising context.