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through its representation of different genres in an array of texts, manuscript illuminations, music and other artistic expressions. It exposes the cultural and social conditions that are illustrated by these texts. Students will evaluate the social, religious and gender politics that are revealed by each genre. The investigation will begin with texts origi- nally written in Latin. It will start around 700 with the writings of an Anglo-Saxon monk, the Venerable Bede. Students will follow Saint Brendan in the adventures that probably led him from his Irish monastery to the coast of America, many centuries before Columbus. Students will then reach the continent and discover the troubadour Bernard de Ventadorn and other poets from France. They will travel between France, England, Italy and Germany to evaluate the genres of fables, popular romance, fabliaux and dramatic farce. (Erussard) ENG 136 Shakespeare on Screen So far as we can tell, Shakespeare’s plays were written for the stage rather than for the page. In other words, they were meant to be experienced in an embodied public performance of sights and sounds, rather than read silently and in solitude. In this introduction to Shakespeare’s work, we will draw upon the rich archive of Shakespeare on film to study six of his most influential plays in multiple performances, exploring how different directors brought these plays to life in different ways, working in a new medium and within different social and political contexts in the twentieth and twenty-first centuries. (Carson) ENG 152 American Revolutions From Declaration of Independence to the Declaration of Sentiments, America’s revo- lutionaries and reformers have written their own literature. This course will explore the history of politics and culture in the United States from the American Revolution to the Civil War. We will study the work of writers who were for the rights of women and against the removal of Indians from their lands, who were for the liberation of enslaved peo- ple of African descent and against the use and abuse of alcohol. We will also read the writings of the early labor and environmental movements. Like the figures we study, we will experiment with different forms to express our ideas and arguments. (Black)

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censored, banned, even burned. But which books? By whom? When? Where? And why? The course is arranged as a series of case studies in which we read texts that have been banned at specific historical moments. Why, for exam- ple, was Alan Ginsberg’s beat-generation poem HOWL so dangerous that it sparked a landmark obscenity trial in the 1950s? What could cause a novel about black women’s resilience like Alice Walker’s THE COLOR PURPLE to be targeted by censors in the 1980s? Who could possibly object to Harry Potter? And how did Alison Bechdel’s graphic novel FUN HOME become a blockbuster, a critical success, a smash on Broadway, and a banned book, too? In the last section of the course, students will choose a book that is being contested in their own historical moment, to determine the patterns at play in the banning of books, and to consider how writers - and readers - might respond to such challenges. (Creadick) ENG 165 Introduction to African American Literature We begin with a slave narrative from the nineteenth century, but this course concentrates on African American narratives of the twentieth century, from the Harlem Renaissance through the “protest” novel and black nationalism to black women writers. Students focus on a central concern of the African American traditions, the tension between the political and the aesthetic. Students pay attention to both the aesthetic properties of the literary text and to its political dimensions. In addition to the concerns with race, class, gender, and sexuality, students examine the intricate set of intertextual relations between different writers which constitute the tradition of African American writing. (Basu) ENG 170 Global English: Literature in English in a Multi-Lingual World What comprises global English literature? Colonialism was not only an economic, but a cultural, technological, linguistic, and demographic phenomenon. Movements of westerners to colonial spaces evoked counter-movements of people from around the globe traveling to the west. These flows resulted in a new body of literature in western languages written by people from other parts of the globe. In this course students will study examples of this world literature written in English. Readings HWS.EDU/CATALOGUE 198 2023 - 2024 CATALOGUE

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heart.” Across genres, media, cultures, and traditions, the environmental writer must reckon with a world in motion beyond themselves. From idyllic pastorals to modern ecopoetry, from clear-eyed environmental journalism to ecofic- tion and the nature essay, environmental writing is as varied and alive as the subjects of its study. In this workshop, students will try their hand at these many modes of writing. Via the Trias Reading Series and other on-campus and remote events, students will build a sense of their place in the current literary and ecological landscape. Together, we will seek to explore the depth and boundaries of this many-faceted tradition, to consider the ethics and aesthet- ics of the field, and plunge into this vital conversation headfirst. (Schonning)

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selves with the human experience of and relation to nature. These diverse writers artfully evoke the landscape while at the same time contemplating the modern environmental crisis. They approach the question of the meaning of nature in our lives in personal, as well as philosophical and ethical, ways. Cross-listed with Environmental Studies. (Ivanchikova) ENG 214 Victorian Poets The poets of the nineteenth century lived in an age of rapid change, as well as the ques- tioning and re-thinking of once-established truths. They saw themselves as participants in the collective (though not-always concerted) effort of their age to make sense of their changing world and influence the direction their society would take in politics, religion, morality, and art, to name a few areas of concern. This course introduces students to the works of well-known Victorian poets, such as Alfred Tennyson, Elizabeth Robert Browning, and W. B. Yeats. It will also focus on Thomas Hardy, Charles Dickens, and Charlotte Bronti, writers we are accustomed to think of as novelists. (Minott-Ahl) ENG 231 Comparative Medieval Literature This course surveys some of the major forms of medieval literature - the epic, the romance, and the fable - and attempts to relate these works to the earlier classical tradition. In addition, it attempts to make both cross-cultural connections and connections with the social, historical, and philosophical levels of medieval culture. (Erussard)

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lar romances which are not well known, such as: Floriz and Blancheflur, Amis and Amiloun, Aucassin and Nicolete, King Horn, Havelock the Dane, Sir Orfeo, and Sir Bevis. All texts will be read in Modern English translations. These romances will be compared and contrasted with some canonical works intended for an aristocratic audience. (Erussard)

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tenth to the fifteenth centuries. The stylistic diversity includes the sadomasochistic plays of the Saxon canoness Hrotsvit of Gandersheim, the proto-opera form of Hildegard of Bingan, some English mystery plays from different cycles and a selection of French sexual farce. The study is based on both historicist and formalist critical analysis and on occasional classroom performance. (Erussard)

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heresy, English imperialism, and the aftermath of the Black Death and in the literary context of both the Alliterative Renaissance and the influence of the French and Italian traditions. A first topic focuses on a careful reading of The Canterbury Tales and the second concentrates on a comparative study of Troilus and Criseyde and its main source, Boccaccio’s II Filostrato. Both courses investigate issues surrounding the authorship, language, audience, and ideol- ogies of Chaucer’s work within the larger cultural, social, and political context of late medieval England. (Erussard)

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concerning Arthur and the Knights of the Round Table. How did the possibly historical and legendary figure of Arthur and his fictitious knights came to inspire so many stories? Why do Arthurian myths continue to flourish in literature and films today? This course follows Arthur, Guinevere and the Knights of the Round Table from the sixth century and the medieval mists of Tintagel through their Romantic revival and to the edge of the twenty-first century. The main focus is the exploration of the emergence and the development of the legends of King Arthur and their relationship to the imaginative literature and the glorious chivalric mentality of the Middle Ages. All texts and their textual charac- teristics are studied within their historical and socio-cultural contexts. Therefore, the basic approach is both formal- ist and historicist. (Erussard) HWS.EDU/CATALOGUE 200 2023 - 2024 CATALOGUE

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literary aspect, characterized primarily by the pursuit of heightened experience (sensory and imaginative) in the face of the social and ethical constraints of late nineteenth and early twentieth century European culture. Although our primary emphasis will be on the phenomenon of literary decadence in English, we will read a number of seminal French texts (in translation) and discuss a number of European painters and composers by which late nineteenth century English writers were inspired. We will explore the ways in which decadence can be situated historically in terms of such broader social and cultural phenomena as imperialism, poverty, the emergence of the metropolis, the emergence of socialism, the establishment of commodity capitalism, the “advent” of feminism and the New Woman, and debates about sexuality. (Cope) ENG 247 Irish Literary Renaissance This course is designed as a sustained and extensive study of the major texts (poetic, novelistic, dramatic, essayistic) of the “Irish Renaissance” and an Irish Modernism in which thematic con- cerns with cultural and political nationalism converged with an abiding interest in radical forms of literary experimen- tation. We will look at these texts in terms of what Seamus Deane has called “Irish Renaissances”: those periods of Irish literary flourishing that both inspired and were inspired by Irish Modernism. (Cope) ENG 248 The Modern British Novel: City, Country Colony This course consists of an exploration of the development and transformation of the British Novel in the late 19th and early 20th centuries as exemplified by the work of three British writers. Our emphasis will be on the ways in which definitions of British culture and identity were reflected by these novelists’ representations of the city, the country, and the colony as the defining social and geographical features of the British Empire. We pay close attention to the ways in which race, class, gender, and other markers of social difference and inequality are represented and redefined in the novels as the opportunities and encroachments of Modernity - increased social and geographical mobility, the emergence of commodity Capitalism, first-wave HWS.EDU/CATALOGUE 201 2023 - 2024 CATALOGUE

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important contributions to U.S. literature. Authors, genres, and periods will vary depending on the instructor’s area of interest and expertise. (Creadick)

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much of its own time and way ahead of its time. Poets like Walt Whitman and Emily Dickinson are, in their own ways, entirely exceptional and wholly representative of verse written before the Modernist Movement. This course will explain why. In addition to spending about half of the term on Whitman and Dickinson, the course will treat the work of a dozen other poets, black and white, who worked in as many different forms. We will read authors who are bet- ter known for their prose (Poe, Melville), authors who were popular in their time but have since fallen out of critical favor (Longfellow, Whittier), and a large group of women writers who were described, and were often dismissed , as “poetesses.” We will also read prose-like Emerson’s essays, Poe’s articles, Whitman’s prefaces, and Dickinson’s letters-that will help us understand them. Together, they will demonstrate for us the diversity of writers and writings from this period. (Black) ENG 261 Popular Fiction When a novel acquires a mass readership, does it lose aesthetic value? What is the dif- ference between “literary fiction” and “popular fiction”? Focusing on a genre fiction, cult bestsellers, middlebrow blockbusters, “pulp” or “trash” fiction produced across American history, this course invites students to consider the politics of taste and hierarchies of literary value embedded in popular reading practices. Students will read these literary works alongside a number of primary and secondary texts in order to illuminate the pleasures and anxieties of reading. (Creadick) ENG 264 Southern Fictions An introduction to fiction from the American South as well as to fictions of the American South from the mid-19th century to the present. We will analyze works by major southern authors to uncover what if anything they have in common. We will also look at “The South” itself as a kind of fiction - constructed through literature, film and popular culture. Our readings will cluster around subgenres of southern fiction and contemporary “grit lit” movements. We will work to unpack the tensions around sex, race, class and religion that have haunted southern fiction from its beginnings. (Creadick) ENG 266 Modern American Poetry This course is a study of selected major early twentieth century figures, includ- ing Gertrude Stein, T.S. Eliot, H. D., Jean Toomer, Ezra Pound, Marianne Moore, and William Carlos Williams. (Cowles)

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both the close reading of poems and the placing of recent American poetry within its social and literary contexts. (Cowles) ENG 270 Globalization and Literature Globalism as a contemporary phenomenon has been in the ascendancy. It is, among other things, an economic, cultural, technological, and demographic phenomenon. Students examine glo- balism and its related metaphors of hybridity, cosmopolitanism, migrancy, exile, and so on against nationalism and its privileged metaphors of rootedness and identity. If the production of a national subject is no longer the purpose HWS.EDU/CATALOGUE 202 2023 - 2024 CATALOGUE

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between power and desire as it is represented in literature and popular culture. The term “sadomasochism” (com- monly, S&M) collapses two terms, sadism (after the famous French writer, the Marquis de Sade) and masochism (after the famous German writer, Leopold von Sacher-Masoch). A sadist is one who derives (sexual) pleasure from inflicting pain and/or degrading another. A masochist is one who derives (sexual) pleasure from being subjected to pain and/ or degradation by another. We will use Nietzschean, Freudian, and Marxist theories to read some of the classic texts of sadomasochism. We will also try to understand its pervasiveness in contemporary culture in texts as disparate as Fifty Shades of Grey, film, television, commercials, videos by Rhianna, Britney Spears, and others. Some of the read- ings will contain explicit descriptions of violence and sex. (Basu) ENG 311 Story and History Fiction writers have long been enchanted with the writing of historians, at times imi- tating, at times stealing, and even at times attempting to pass their inventions off as legitimate history. Since the 1960s, historians have also considered the role of fiction in their work. To what extent is history fiction? This course examines the evolution of the relationship between history writing and fiction, moments of cross-over such as falsi- fied documents and hoaxes, and the way contemporary writers wrestle with the murky territory between the two. (Conroy-Goldman) ENG 314 The Art of Memoir How can a lived life be transformed into literature? What forms has life-writing taken in the past? Why is memoir one of the most popular literary forms today? Through lecture, discussion, readings, and criticism, this class explores a wide array of memoirs, such as graphic/illustrated memoir, confessional, portrait, or memoir-in-essay. Alongside the works themselves, we study theoretical concepts important to life-writing such as memory, subjectivity, confession, narrative, and affect. In addition to substantial critical papers, students will try their hands at some creative exercises in order to consider how memoirs function internally, as well as in the context of a broader literary landscape. (Staff, offered occasionally) ENG 330 Male Heroism in the Middle Ages This course studies a broad array of ideals of heroic masculinity in a variety of medieval cultural contexts. Examining questions of epic violence, heroic extravagance, dramatic sainthood and impetuous love, this course follows heroes of legend, romance and history from the battlefield to the woods, from the bedroom to the hermitage. The cast of characters will include Beowulf, Guthlac, El Cid, Siegfried, Amadis of Gaul, Perceval, the outlaws of Icelandic sagas, Saint Francis and many more. (Erussard) ENG 331 Iconoclastic Women Since the last third of the twentieth century, feminist literary criticism has paid attention to the realm of medieval women which, for diverse reasons, had “previously been an empty space” (Showalter). This course looks at a variety of unconventional female lives in hagiography, fiction, history and legend HWS.EDU/CATALOGUE 204 2023 - 2024 CATALOGUE

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The Faerie Queene? A rollicking adventure story, a powerful national epic, a searching philosophical meditation and guide for moral conduct, a profound exploration of renaissance theology, a pointed critique of traditional attitudes toward gender and class, a widely imaginative work of fantasy, and, not least, a deeply beautiful poem unto itself: this is surely one of the most fascinating works in all of English literature. We will read the whole poem, top to bot- tom, paying special attention to historical questions about gender, class politics, and religion. (Carson)

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This course will devote itself to reading Paradise Lost. Our work will be to understand Paradise Lost, its poetics, its structure, its story, its political, theological and sexual ideas; its historical moment of the English revolution. To do this we will read some criticism and history, some of Milton’s prose, in the Norton, which he devoted the middle years of his life to writing before Paradise Lost, and we will read some sonnets and early poems to familiarize our- selves with Milton’s style and more generally, how a poem makes its meaning. (Carson)

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ing within a thriving theatre community in Elizabethan London, where he was seen to be just one of about a dozen notable playwrights of the era. In this class we will read fantastic plays by some of his most notable peers, including Christopher Marlowe, Thomas Kyd, John Lyly, Ben Jonson, Thomas Middleton, Francis Beaumont, John Webster, and others, whose best work is arguably every bit as important and as impressive as Shakespeare’s works. (Carson) ENG 340 The Architectural Novel This course focuses on how Sir Walter Scott, Victor Hugo, William Ainsworth, and Alexandre Dumas use fictional narrative to make sense of the realities of their age. From about 1792 to the late 1840s, when revolution was again in the air in Europe, the last remnants of feudalism in England and France, in particular, were swept away by the tides of political unrest, technological advances, and economic change. These novelists supply architecture, history, legend and landscape as the basis for understanding the events of their own present. In their novels, the gothic building becomes a point of reference for exploration of the nature of the novel itself, the relevance of medieval architecture in post-feudal societies, the vanishing of ancient buildings, landscapes, and tradi- tions in the face economic change and industrial revolution, as well as the idea of a national art - and of nation itself. (Minott-Ahl) ENG 342 Modernist Experiments Poems with footnotes, portraits in prose, characters in search of authors, manifes- toes praising plastic surgery and the demolition of museums, translations from the Chinese (redacted by editors who don’t know the Chinese language): these are some of things modernism is known for. In the first half of the twentieth century writers working in a variety of genres, visual artists, and musicians were convinced that the available forms of artistic expression were outmoded. Our focus: the ways they experimented with language and literary form to represent a distinctly “modern” experience, one that needed to accommodate the realities of world war, the “dis- covery” of the unconscious, advances in transport and communication technologies, mass production and consump- tion, and the rise (and fall) of empires. (Cope) HWS.EDU/CATALOGUE 205 2023 - 2024 CATALOGUE

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Trans Studies:

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the world? By engaging with a variety of contemporary narratives from around the globe, students will examine how personal and collective identities are constructed, expressed, and transmitted. We will talk about identity in its rela- tionship to desire, power, asceticism, consumption, faith, and nihilism. We will consider the ways in which narratives of identity shed light on one of life’s greatest mysteries - the mystery of the self. (Ivanchikova)

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resident’s genre. Students are expected to read assignments in contemporary literature, complete writing exercises, read and critically respond to other students’ work, and produce a portfolio of polished, original writing. Students will be expected to attend all Trias events in the fall and to engage with the work of visiting writers. Admissions to the workshop is by application only. (Trias Writer-in-Residence) ENG 391 Advanced Poetry Workshop For students highly motivated to write poetry, this course offers the opportu- nity to study, write, and critique poetry in an intensive workshop and discussion environment. Students will produce multiple poems, write critically in response to contemporary works of poetry, and produce, workshop, and revise a chapbook-length collection of poems as a final project. Class time is divided between discussions of contemporary poetry and workshops on student writing. Prerequisite: ENG 290 or ENG 190 and permission of instructor. (Cowles) ENG 392 Small Press Book Publishing: Book Contest and Acquisitions Editing In this course, students will help publish a book. We will focus on small press acquisitions editing through the facilitation of Seneca Review’s first biennial Deborah Tall Lyric Essay Book Contest. The editors of Seneca Review will have narrowed down manuscript submissions to approximately 15 semi-finalists. Over the course of the semester, students will have the opportunity both to learn about and to engage in the acquisitions editorial process by reading, discussing, and evaluating each of the semi-finalist manuscripts and by ultimately helping select five finalists. The TRIAS resident will meet with the class several times and serve as the contest judge. Students will work in small groups to pitch one of the finalist manuscripts to the judge. By engaging in the book publishing and acquisitions process, students will grapple with such questions as: How do lyric essays and hybrid texts work in conjunction with one another in a book-length manuscript? What makes a creative manuscript good and how do we weigh it against competing manuscripts with different strengths? And how can we distinguish between manuscripts that cross the threshold into the realm of literary excellence and those that do not? (Babbitt) ENG 393 Fiction Workshop II: Theory of Fiction Writers represent a loose theoretical camp which addresses issues like the creative process, experimental writing, and the relationship between art and politics, in a way that other areas of literacy criticism do not. In this course, we will use writing and readings in theory and cutting edge exper- imental fiction in order to explore some of these issues. This course is suitable for students strongly committed to fiction writing. Fiction I and Fiction II may be taken in either order. Prerequisite: Permission of the instructor, based on writing sample. ENG 260 is generally required. (Conroy-Goldman) ENG 394 Workshop: The Craft of Fiction An intensive workshop devoted to the creation and critiquing of student fiction, this course is suitable for students strongly committed to fiction writing. Students are expected to produce a portfolio of polished stories. Prerequisite: Permission of instructor, based on writing sample. ENG 190/290 is general- ly required. (Conroy-Goldman) ENG 396 The Lyric Essay HWS is the birthplace of the lyric essay. It was in the introduction to the Fall 1997 issue of Seneca Review that esteemed HWS professor Deborah Tall and Hobart alumnus John D’Agata gave the lyric essay its most seminal and enduring definition, which begins by characterizing the new hybrid form as “a fascinating sub- genre that straddles the essay and the lyric poem, give[s] primacy to artfulness over the conveying of information, [and] forsake[s] narrative line, discursive logic, and the art of persuasion in favor of idiosyncratic meditation.” We will begin our course examining the essays of Tall, D’Agata, and writers published in Seneca Review. And in order to gain an appreciation of the lyric essay as an inherently innovative, ever-evolving, genre-busting art form, we will proceed to study a wide range of essayists. Students will both create their own lyric essays and respond critically to each other¹s creative work in regularly held workshops. (Babbitt) ENG 397 Creative Nonfiction Workshop This is a writing course in creative nonfiction designed for English majors or others seriously interested in working to develop their own voices in the medium of the personal essay. Students read and discuss essays by major contemporary American essayists. They also read and discuss each others’ essays in a workshop with an eye toward revision. Participants should be prepared to write one essay a week. Prerequisite: permission of instructor, based on a writing sample. (Staff) HWS.EDU/CATALOGUE 207 2023 - 2024 CATALOGUE

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2023-2024

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www.hws.edu

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

to the typewriter, the record player, the camera, or the film reel, artists have used new technologies to expand our notions of art and to skirt borders of genres and media. In the advent of the internet and digital technologies, the possibilities for expansion and experimentation have again exploded, and contemporary artists are involved in a re- naissance of hybrid forms that has become bigger than the technologies that started it. Poets are using cameras and bullhorns, musicians are using kitchen utensils, translators are using languages they don’t actually speak, artists are using old books and exacto knives, sculptors are using live (and not live) human bodies, film directors are using col- ored pencils and moth wings, dancers are using dirt and armchairs. In this creative writing workshop, the focus will be on hybrid texts that include language in some form. We will track a strange vein of precedent for contemporary hybrid texts across decades and even centuries, we will explore what artists and writers are producing right now, and we will create and workshop our own hybrid texts. We will learn new critical language for talking about such texts, and we will participate in collaborative and guerilla art projects. Artists from outside the English Department who are interested in working with language in some way are encouraged to ask for permission, even if they have not taken ENG 290. Prerequisites: ENG 190/290 or permission of the instructor. (Cowles)

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

the future as discussed in contemporary fiction, creative non-fiction, and theoretical texts. Our moment is defined by pervasive anxiety about the future. Three moments of crises are frequently discussed: environmental (climate change, resource depletion, and mass extinctions), economic (automation and rising inequality), and existential (Al research and development forcing us to redefine the notion of the human). In this course, we will discuss texts that push against visions of apocalypse and imagine futures that are both radically different and hopeful. We will discuss radical proposals that inhabit the liminal space between fiction and science, such as cryonics and brain emulation, extinct species revival, socio-economic equality, and space exploration. What role will humanities play in these future developments? Students will be required to write an extensive research paper on one of the topics discussed in the course. (Ivanchikova) ENG 417 Shakespearean Adaptation Shakespeare’s plays exist in a state of continual reinterpretation, not just through the work of literary scholars and of theatre artists, but also through the creations of adapters who gener- ate entirely new artworks - novels, poems, plays, films, television series, graphic novels, operas, pop songs, video games, dance, visual and performance art - that engage in dialogue with their Shakespearean sources. In this cap- stone class, we will investigate the world of Shakespeare adaptations, exploring how artists of all sorts have repur- posed, transformed, interrogated, satirized, lionized, translated, inverted, and fought back against Shakespeare’s works across time, across cultures, and across media. (Carson)

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

In the fifteenth-century, as the Eastern part of the Roman Empire collapsed and as England suffered the conse- quences of the plague and strained under the repeated threats of multiple wars, Sir Thomas Malory found himself in prison and wrote his monumental Le Morte d’Arthur. This course centers on the development of the Arthurian story in Mallory’s fiction. The text of Le Morte d’Arthur will be read in its original fifteen century prose and in relation to its specific historical, political, and cultural contexts. It will also be read as prison literature and as an example of deriv- ative literature. Because students will be reading and comparing different accounts of similar narratives, this course will emphasize close readings and source studies research. The first printing of Malory’s work was made by Caxton in 1485. Only two copies of this original printing are known to exist and one of them can be seen in the collections of the Morgan Library & Museum. We will try to organize a trip to NY City to look at the original 15th century edition. (Erussard) ENG 441 Writing Women: Defining Femininity in Late Nineteenth Century Britain This course will reconstruct the social and legal conditions under which British women lived in the last two decades of the nineteenth century. Together, we will use research skills and techniques learned in previous English coursework to examine the work and lives of women writers who used the print medium to construct a new femininity in this age of increasing female presence in the work force, increasing discontentment with legal and economic disadvantage, and restrictive social mores in a rapidly modernizing and more urban age. In our investigations, we will look at journals and read letters written by women living in late nineteenth and early twentieth century Britain with a view to understanding their concerns as they understood them. Through close reading and analysis of their writings, we will also explore the HWS.EDU/CATALOGUE 208 2023 - 2024 CATALOGUE

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu

Subject

ENG

Type

course

Edition

2023-2024

Source

www.hws.edu