19 courses with the subject LIT, 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.
A study of poetry, prose, and novels beginning in the late seventeenth century with Aphra Behn and continuing into the eighteenth century with Charlotte Lennox, Frances Burney, Maria Edgeworth, Mary Wollstonecraft, and others. This course will examine issues surrounding female authorship particularly as they relate to the literary marketplace.
A study of women writers and how their ethnic identities affect their work. Students will read work by fiction writers such as: Jhumpa Lahiri, Danzy Senna, Maureen Howard, and Nancy Zafris, memoirists such as Kate Millett, Vivien Gornick, and Barbara Grizzuti Harrison, playwrights such as Wendy Wasserstein, and poets such as Adrienne Rich, Louise Gluck, Toi Derricotte, and Louise Erdrich.
This course will examine the literary short story, its permutations and development from its inception in the 19th century up through the work of contemporary masters of the form. While the insights of some short story theoreticians will be given consideration, the stories and the vision, sensibilities and craft of the authors will be our chief objects of analysis. The course is designed both for those who want to teach the short story at the university level and for writers of short fiction who desire to learn from the masters of the genre. 655
This class is designed as a seminar using a constructivist learning approach, that is, students will engage in collaborative learning and will, in a participatory seminar setting, construct their understanding of the issue of voice in poetry, and, through study of many of America’s poets laureate, will examine the concept of an “American Voice.” We will read and discuss the work of a variety of twentieth and twenty-first century American poets laureate in order to consider whether such a thing as an “American poetic voice” exists, and whether there is, has been, or should be, a “representative American voice.” We will also consider the impact individual poets have had on the contemporary American poetic cannon.
A course which focuses on combining the study of examples of biography, ancient and modern, from The Book of Ruth and Plutarch’s Lives through Boswell’s Life of Samuel Johnson, to such recent experimental works as Richard Holme’s Footsteps, with practice in biographical research and writing. Requirements include several short papers and the development of an article-length biographical study that is to be submitted for possible publication to one or more journals.
An exploration in depth of the literary condition called Modernism through an investigation of the work of F. Scott Fitzgerald, Anita Loos, Gertrude Stein, Nella Larson, E.M. Forster, Rose Macaulay, Virginia Woolf, and D.H. Lawrence.
A study of ancient Greek and Latin writers in the genres of epic, lyric poetry, and prose. The selection includes Home (Iliad), Pindar (the odes), Thucydides (History of the Peloponnesian War), Vergil (Aeneid). Horace (odes and epodes), and Cicero (political speeches), in translation. The purpose of this course is to ground the student in the material that was the common repertory for western authors.
Robert Lowell’s landmark volume, Life Studies (1959) forever changed the content of American poetry. What can be seen as “too much information” in the hands of lesser writers, becomes profoundly moving in masters such as Lowell, Anne Sexton, Sylvia Plath and their literary offspring in the 21st century--writers such as Gregory Orr and Sandra Kohler. To round out our knowledge of their lives and the background for their art, we will also read biographies and autobiographical/memoir texts by the major authors in the course.
This course will introduce students to the discipline of critical thought and its use in the study of literature and art, particularly the concept of how meaning is shaped and interpreted by both the individual and society at large.
Composition pedagogies—process, expressive, rhetorical, collaborative, cultural studies, critical, feminist, community-service, writing across the curriculum, writing center, and basic writing—and the compositional and rhetorical practices associated with them make up the content of this course. As writers, readers, teachers, and scholars, students develop the skills and experience to teach, develop, and assess critical reading, writing, and research skills in the composition classroom.
How do writers shape their experience and try to define themselves in their art? We will explore these questions by reading memoirs such as Virginia Woolf's Moments of Being, Marjorie Keenan Rawling's Cross Creek, Anne Lamott's Operating Instructions: A Journal of My Sons' First Year, Richard Wertime's Citadel on 656
One of the reasons that Shakespeare has survived to become the literary and cultural force he is today is because of the endless possibilities embodied in his dramatic works. Shakespeare's plays have fostered a nearly endless trail of adaptations, continuations, reinterpretations, and revisions, reaching as far back as the seventeenth century. This course will focus both on Shakespeare's original texts and on a correspondng body of adaptated works -- written, drawn, and filmed -- by Dryden, charles and Mary Lamb, Jane Smiley, and Tom Stoppard, among others.
This course will examine the work of some of the most influential and interesting playwrights of the 20th and 21st centuries, and specific themes/issues that connect them. Particular attention will be paid to how the playwright's success hinges not only on the actual written element of his or her work, but also upon production of the work. Playwrights may include Wendy Wasserstein, David Mamet, Paula Vogel, Tony Kushner, and Beth Henley.
An examination of Gothic literature, its prevailing tropes, and the far-reaching effects that this genre has had on subsequent literary movements and even modern fiction. The conflict between the high-reaching artistic achievements of novels, such as Walpole's The Castle of Otranto and Mary Shelley's Frankenstein, and the popular, money-making works of the Gothic trade will be discussed, with a particular view as to what works should constitute the Gothic canon. Reading selections may include The Castle of Ortranto, Frankenstein, Radcliffe's The Italian, as well as several Gothic-influenced works and authors, such as Jane Austen's Northanger Abbey, Bram Stoker's Dracula, Edgar Allan Poe, Joyce Carol Oates, and Ann Rice.
Using works by writers such as Nathaniel Hawthorne and Arthur Miller, as well as fables and fairytales, this course will study the witch as a stock character of literature. It will focus on the perception of this character in fairytales, novels, and plays and then compare these perceptions with the reality of witchcraft through the ages.
Like the translator, the adaptor who translates a classic work of literature for the screen is engaged in an act of transformation which requires him or her to balance the narrational, thematic, and stylistic elements of one moment in a text with those in another and to choose from this nexus of interaction and meaning a solution that is cinematically equivalent to the original situation. The central aim of this course then is to examine the challenging process of translating literature to film and to determine either the richness or the impoverishment of adaptations based on the works of celebrated authors.
This course examines the relationship between pop cultural forms and literature of the 20th-century. We will investigate the ways that film, radio, television, music, comic books, pop art, and advertising have influenced literature since the Second World War, in terms of both form and content. Situating each work within its historical, social, and political contexts, we will examine how specific writers engaged with the pop culture of their day and confronted such issues as civil rights, feminism, class conflict, racial antagonism, intimacy, 657
This course will examine the texts of plays, television scripts, and film scripts using in depth analysis, with an emphasis on the vision and intention of the authors, and how that vision can change during production and the occasionally conflicting vision of the director.
This course looks at modern creative nonfiction memoirs and narrative, beginning with Truman Capote’s In Cold Blood and ending with contemporary works. Creative Nonfiction entails a variety of texts: personal essays, memoir, travel and food writing, biography, literary journalize, and other hybridized forms. This course not only involves reading contemporary creative nonfiction texts but also scholarly and generalist writings about contemporary creative nonfiction, its characteristics and definitions, the ethics of writing “factual fiction.” and the seeming lack of published literary criticism of nonfiction texts. There will be the option to respond to the published works with one’s own creative nonfiction. MASTER OF BUSINESS ADMINISTRATION
Source: Rosemont College's catalog, linked per course · table learning_unit · CourseShelf publish 59
