Columbia University in the City of New York · Courses
ENGL GU
12 courses with the subject ENGL GU, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
ENGL GU4131NATURE, RACE, AND INDIGENEITY IN THE U.S4.00
“Nature” is one of the weirdest words in the English language—it can refer to human trait (“it is in her nature”), a nonhuman environment (“we walked in nature”), a divine power (“mother nature”), or a biological process (“nature calls”). Despite—and indeed, because of—these ambiguities, nature has played pivotal roles in the territory that has come to be known as the United States. In various guises, nature has inspired pilgrims, pioneers, and tourists. At the same time, nature has staged struggles between settlers and Natives, whites and racialized peoples, upper classes and working classes. In this seminar, we will learn how nature has brought us together and torn us apart. By engaging with a variety of media—from colonial-era captivity narratives to nineteenth-century abolitionist texts to contemporary Kumeyaay poetry—we will recover conflicting ideas of nature. And by reading in the environmental humanities—including history, anthropology, and literary criticism—we will discover how these ideas have impacted all-too-human identities and more-than-human entities. While our inquiries will take us from prehistory to the present, they will converge on the future: now that we are destroying our ecosystems, extinguishing our fellow species, and altering our atmosphere, is there still such a thing as nature? During the semester, we will navigate this tricky terrain both collectively and individually, with each undergraduate completing a four-to five-page theoretical essay, a fourteen- or fifteen-page research essay, and a natural history mini-exhibit, and with each graduate student preparing a presentation for our end-of-semester conference that they then revise as a seminar paper and/or repurpose by organizing a panel for a national conference
Overview: This class will carefully and searchingly read Mary Shelley’s 1818 Frankenstein as well as her 1831 revision, using those two texts as the seeds for a much larger investigation about what the Frankenstein paradigm brought to later American literary and cinematic culture. We’ll look at how Mary Shelley developed the genre of science fiction from nothing, wrote the first recognizable book of horror in the English cannon, pioneering literary philosophical writing in the absence of a clear hero, and used her novel as a mechanism for thinking about reproductive violence, domestic abuse, and the social problem of male loneliness. From there, we’ll examine the Frankenfilms of the 20th and 21st century—many of which are excellent, but many of which are downright offensive—to think about what Shelley’s literary and philosophical paradigm contributed to Anglo-American cinematic discourse about patriarchy, power, sex, class, God, reproduction, fascism, and feminism
ENGL GU4426The Protest Novel … or Books that Change the World4.00
This course asks a simple question: what kind of action (political, social, instrumental) can a novel take? In the seminar, we will consider the tradition of protest fiction— or what we might call Books that Change the World— taking stock of how the novel has embraced the overt aim of creating change. Our goal as a class will be to set our own terms for what a protest novel is, was, should be, or might be, and to consider both the reach and limitations of this tradition. The terrain is broad, covering works from the beginning of the 20th century to the present, with a center of gravity in the early-mid 20th century, and engaging a range of topics on which novels have sought to make change. The course is organized thematically and chronologically, with works (mostly English language) from the U.S., England, Ireland, Canada, India, Nigeria, and elsewhere. Each week we will read a novel, occasionally paired with other materials, such as visual works, other literary materials, theoretical readings, etc. Themes to which these activist works are geared include: slavery and abolition; working conditions; sexuality, gender and patriarchy; war, peace, and revolution; race and racism; incarceration; and environmental crisis. This is a discussion seminar, and each student is expected to participate in every class meeting
ENGL GU4462Gender and Resistance in Early Modern Literature4.00
This class will focus on early modern literature’s fascination with the relationship between women, gender, and political resistance in the early modern period. The works we will read together engage many of the key political analogies of the period, including those between the household and the state, the marital and the social contract, and rape and tyranny. These texts also present multiple forms of resistance to gendered repression and subordination, and reimagine sexual, social, and political relationships in new and creative ways. Readings will include key classical and biblical intertexts, witchcraft and murder pamphlets, domestic conduct books, defenses of women, poetry (by William Shakespeare, Aemilia Lanyer and Lucy Hutchinson), drama (Othello, The Winter’s Tale, and Gallathea), and fiction (by Margaret Cavendish). The class will also include visits to The Morgan Library, Columbia’s Rare Book and Manuscript Library, and The Metropolitan Museum of Art
In this seminar we will read the complete published plays of August Wilson along with significant unpublished and obscurely published plays, prose, and poetry. The centerpieces of this course will be what Wilson termed his “century cycle” of plays: each work focusing on the circumstances of Black Americans during a decade of the twentieth century. As we consider these historical framings, we also will explore closely on what Wilson identified as the “four B’s” that influenced his art most emphatically: Bessie Smith (sometimes he called this first B the Blues), Amiri Baraka, Romare Bearden, and Jorge Luis Borges. Accordingly, as we consider theoretical questions of cross-disciplinary conversations in art, we will study songs by Bessie Smith (and broad questions of the music and literary form), plays, prose, and poetry of Baraka (particularly in the context of Wilson’s early Black Arts Movement works), the paintings of Bearden, and the poetry and prose (along with a few lectures and transcribed interviews) of Borges. We will use archival resources (online as well as “hard copy” material, some of it at Columbia) to explore Wilson’s pathways as a writer, particularly as they crisscrossed the tracks of his “four B’s.” Along the way we will examine several drawings and paintings (from his University of Pittsburgh archives) as we delve into the rhythmical shapes, textures, and colors he used on paper and canvas as well as in his plays. Visitors to the class will include Wilson’s musical director Dwight Andrews and at least one of his regular actors
(Lecture). This lecture course is intended as the first half of the basic survey in African-American literature. By conducting close readings of selected song lyrics, slave narratives, fiction, poetry, and autobiography, we will focus on major writers in the context of cultural history. In so doing, we will explore the development of the African- American literary tradition. Writers include, but are not limited to, Wheatley, Equiano, Douglass, Jacobs, Harper, Dunbar, Chestnutt, Washington, Du Bois, and Larsen. Course requirements: class attendance, an in-class midterm exam, a five-page paper, and a final exam
(Lecture). This course will focus on the arts of the Harlem Renaissance as experiments in cultural modernity and as forms of incipient political empowerment. What was the Harlem Renaissance? Where and when did it take place? Who were its major players? What difference did it make to everyday Harlemites? What were its outposts beyond Harlem itself? Was there a rural HR? An international HR? As we wonder about these problems of definition, we will upset the usual literary/historical framework with considerations of music and painting of the period. How to fit Bessie Smith into a frame with W.E.B. Du Bois? Ellington with Zora Neale Hurston? Aaron Douglas with Langston Hughes? Where is Harlem today? Does it survive as more than a memory, a trace? Is it doomed to be black no more? How does Harlem function in our national/(international?) imagination? Has the Harlem Renaissance's moment come and gone? What continuities might we detect? What institutions from the early twentieth century have endured?
(Lecture). This survey of African American literature focuses on language, history, and culture. What are the contours of African American literary history? How do race, gender, class, and sexuality intersect within the politics of African American culture? What can we expect to learn from these literary works? Why does our literature matter to student of social change? This lecture course will attempt to provide answers to these questions, as we begin with Zora Neale Hurstons Their Eyes Were Watching God (1937) and Richard Wrights Native Son (1940) and end with Melvin Dixons Loves Instruments (1995) with many stops along the way. We will discuss poetry, fiction, drama, and non-fictional prose. Ohter authors include Ralph Ellison, James Baldwin, Gwendolyn Brooks, Malcom X, Ntzozake Shange, Audre Lorde, and Toni Morrison. There are no prerequisites for this course. The formal assignments are two five-page essays and a final examination. Class participation will be graded
The class is an intensive reading of the prose and poetry of Emerson, Thoreau, Whitman, Higginson and Emily Dickinson. Through detailed analysis of Emerson’s Essays we will try to understand his philosophy as an effort to radically reformulate traditional concepts of identity, thinking, and everyday living, and investigate the politics that guided his philosophical efforts, especially his stance on slavery and his activism against the Cherokee removals. But we will also be interested in his thinking on dreams, visions and mental transports and in order to ask how those experiences come to model his understanding of personal identity and bodily integrity. In Thoreau, we will look closely into ideas about the art of living and his theory of architecture, as well as quotidian practices of dwelling, eating or cooking, as ways to come to terms with one’s own life. We will pay special attention to Thoreau’s understanding of thinking as walking, as well as the question of space vs. time and we will spend a lot of time figuring his theory of living as mourning. With Whitman we will attend to his new poetics and investigate its relation to forms of American Democracy. We will also want to know how the Civil War affected Whitman’s poetics both in terms of its formal strategies and its content. Finally, we will try to understand how ideas and values of transcendentalist philosophy fashion poetry of Emily Dickinson both in its form and its content. We will thus be looking at Dickinson’s famous fascicles but also into such questions as loss, avian and vegetal life and the experience of the embodied more generally
(Lecture). Beginning with an overview of late medieval literary culture in England, this course will cover the entire Canterbury Tales in the original Middle English. We will explore the narrative and organizational logics that underpin the project overall, while also treating each individual tale as a coherent literary offering, positioned deliberately and recognizably on the map of late medieval cultural convention. We will consider the conditions—both historical and aesthetic—that informed Chaucer’s motley composition, and will compare his work with other large-scale fictive works of the period. Our ultimate project will be the assessment of the Tales at once as a self-consciously “medieval” production, keen to explore and exploit the boundaries of literary convention, and as a ground-breaking literary event, which set the stage for renaissance literature
This course is an intensive study of Aldous Huxley’s influential novel, Brave New World (1932). It aims to introduce students both to the context of Huxley’s world and the extensive reflections it spawned on the reimagining of what Anthony Burgess called “the perfectibility of man” conducted as a “scientific programme.” If Brave New World has entered the lexicon as a moniker for totalitarian overreach and mind conditioning, the novel merits closer examination for the unique means by which it achieves its effects, ranging from radical social engineering to the management of desire. Among the many questions the course addresses are the following: What are readers to make of the inversion of norms that identifies the World State with the acme of modernity and the “savage reservation” with a discredited past that includes concepts like the family? Does this inversion obscure the standpoints from which a critique of the World State can be made? How does Huxley unsettle the terms of analysis of the novel’s politics? These questions, among others, are posed as learning tools for approaching the novel, the context in which it was written, and the broader influences it exerted. The syllabus assigns several weeks of reading Brave New World alongside relevant secondary criticism, with a view to encouraging students to probe different critical perspectives and identify evolving paradigms that amplify the novel’s cross-disciplinary engagements. Examples of the questions that students are encouraged to address are: Can the World State’s project of control through pleasure effectively eliminate feeling while requiring sensation? Is the technocratic manipulation of time (through the organization of workers’ bodies and labor) undone by a necessary recourse to the eternity-promising drug soma? How is Brave New World both a futuristic view of a dominant world order, which is carefully produced by social engineering and conditioning, and a depiction of a subversive counterculture, uprooting the norms transmitted across generations? The syllabus includes adjacent works, such as Yevgeny Zamyatin’s We (1924), viewed as a direct predecessor to Brave New World, George Orwell’s Nineteen Eighty-Four (1949), and Anthony Burgess’s A Clockwork Orange (1962). Students will read Nineteen Eighty-Four to determine whether its depiction of totalitarianism resonates with or differs from Brave New World, and examine what the comparison reveals about the uses of pain and pleasure in both novels. Other novels by Huxley included in the course are Brave New World Revisited, in which Huxley reflected on a changed world after the Second World War and the challenges posed by the Cold War. Brave New World Revisited will provide students with an opportunity to engage with Huxley’s thought process as he reviewed his earlier novel’s aims and re-contextualized them in a significantly altered context. Students will also read Huxley’s final novel, Island (1962), to assess the distance he traveled from the dystopianism of Brave New World to the utopian possibilities of Pala, the imaginary island he envisioned in his last novel
Prison literature—poems, plays, memoirs, novels, and songs written in prison or about prison—constitute a significant part of American literature. Prisons expose many of the systemic inequalities of American life, above all those based on racism and the enduring legacies of slavery. Using the tools of critical race theory, feminism, and class analysis, this course will explore the forms of cultural expression that have emerged in relationship to the American prison experience. Though the course will touch on the rise of convict leasing, chain gangs, and work farms as part of the penal system under Jim Crow, the main focus will be on developments in the U.S. prison system and in prison literature since the 1960s, roughly from the prison writing of George Jackson, Angela Davis, and Malcolm X to the outpouring of contemporary fiction and poetry about prison life by Jesmyn Ward, Colin Whitehead, Rachel Kushner, and Reginald Betts. This is the era of what Michelle Alexander has called “the new Jim Crow,” the rise of mass incarceration, the partial privatization of the penal system, and the growth of supermax facilities. Among the questions we will explore together are these: What tools and techniques do writers use to construct the prison experience? What are the affordances offered by various genres (drama, autobiography, poetry, the novel) for exploring the prison system and the systems of oppression that converge at that site? Does some literature of incarceration perpetuate damaging discourses about “felons,” or does it revise and complicate stereotypes and narratives about incarcerated individuals? How do narratives involving change, conversion, growing up, or being defeated operate in various genres of prison literature? What role do mourning, witnessing, testifying, and resistance play in such writing? What is the imagined audience of various genres of prison writing, that is, for whom is it written? What ethical and political demands does such writing make on us as readers, citizens, activists?
