In this course we will think in a focused way about the uses of the laboratory model for Humanities Research and Teaching. What features of early humanities laboratories might we revive or redirect? What liabilities to the lab model are legible either from the example of the Chaucer Laboratory, or in other examples today?
Learn more about this courseIn this course, we’ll investigate the roles of borders and boundaries, terrain and territory, commonlaw and jurisdiction. Starting with the premise that the definition of persons is as artificial as the boundaries that limit or signify nation-states, we’ll see how Shakespeare’s plays anatomize and test our modern conceptions of places and persons.
Learn more about this courseThis course explores the reasons—sociohistorical, philosophical, and political—for this rise, fall, revival, and revivification. It also seeks to understand the formal dimensions and aesthetic power of epistolary fiction.
Learn more about this courseThis seminar will explore the rich array of voices that constitutes nineteenth-century American poetry, from William Cullen Bryant, Lydia Sigourney, and Margaret Fuller to Walt Whitman, James Whitcomb Riley, and Paul Laurence Dunbar. This class meets at the Lilly Library, which means that the emphasis of our work with this semester will be on the ways in which primary material (manuscripts, first editions, objects in the collections of the Lilly) can help us better understand and recover the practice of writing and reading poetry in the 1800s as well as the development of American print culture.
Learn more about this courseThis course explores the reasons—sociohistorical, philosophical, and political—for this rise, fall, revival, and revivification. It also seeks to understand the formal dimensions and aesthetic power of epistolary fiction.
Learn more about this courseIn this seminar we will explore race and ethnicity in American comic strips, comic books and graphic novels. After laying the historical foundation of American comics in the early twentieth century we will situate the bulk of our inquiry in the decades following the Second World War.
Learn more about this courseIn this course, we’ll trace the historical roots of today’s rhetoric of poetry and anti-poetry, lyric and anti-lyric, the tradition and “the other tradition,” examining the tacit conceptions of the literary that shape our reading, writing, and teaching of poems.
Learn more about this courseThis course has two main purposes: 1) to provide Associate Instructors teaching W131 for the first time with various strategies for connecting reading and writing, preparing assignments, and evaluating student writing; and 2) to engage new instructors in reflective practice through readings, speakers, and discussion of a variety of approaches and materials.
Learn more about this courseThrough reading and experience we will explore the creative process as well as the assumptions and practices unique—and not so unique—to creative writing classes.
Learn more about this courseOur workshop will focus on reading, discussing, and writing linked short stories. As a class we’ll emphasize storytelling fundamentals while preparing for a rapidly changing publishing marketplace.
Learn more about this courseThis class will be a festival of the imagination, a making zone, a laboratory, a collaborativity, a workshop in the sense of making things, like a shop where you make work, and together.
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The College of Arts