The People in the Castle is a new collection of short stories by Joan Aiken. In her introduction to this volume, Kelly Link makes some insightful observations about the form. These came about as a result of a literary festival she attended, where she detected, on the part of certain participants, a decided negative attitude toward the short story:
I came upon this story in an unassuming little paperback anthology I picked up at an airport several years ago. Edited by Milton Crane, 50 Great Short Stories first came out in 1952; it was reissued several times subsequently, the last being in 2005. This terrific collection contains some of my favorites:
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I fear that the airport bookstore is fast becoming a thing of the past. I especially lament the passing of the Hudson Bookstore at BWI (Baltimore-Washington International), a store with a carefully curated stock where I formerly loved to browse. At any rate, it appears that 50 Great Short Stories is still in print and for all I know still turns up now and again in airport outlets. I recommend it.
All men are, at times, influenced by inexplicable sentiments. Ideas haunt them in spite of all their efforts to discard them. Prepossessions are entertained, for which their reason is unable to discover any adequate cause. The strength of a belief, when it is destitute of any rational foundation, seems, of itself, to furnish a new ground for credulity. We first admit a powerful persuasion, and then, from reflecting on the insufficiency of the ground on which it is built, instead of being prompted to dismiss it, we become more forcibly attached to it.
Poor Charles Brockden Brown: his life was brief and his literary renown, apparently even briefer. Yet he was arguably the forerunner of Hawthorne, Poe, and other bright literary lights. His story is immediately followed by a veritable roll call of greatest hits of early American literature:
This introductory course for non-English majors will draw upon a limited number of diverse literary texts--including poems, short stories, a play, and a novel--in order to prioritize the development of analytical skills ("How do I approach a literary text?") above broad-based knowledge of the canon ("What am I supposed to know about this particular text?"). Students will learn to respond critically to texts with different themes, styles, purposes, and audiences by identifying major elements common to all literary analyses and then articulating those features both orally and in writing. In the process students will not only gain a deeper understanding and appreciation of literature, but also become more effective critical thinkers and communicators, skills that should transfer productively to any discipline. Course requirements include active participation in class discussions, several short response papers, an oral presentation, a midterm, and a final exam.
The zombie is an important figure in American popular culture. We are fascinated by the living dead, their hunger for human flesh, their mindless group mentality, and the fallout caused by their existence. Yet we should also be aware that the zombie offers more than just a gory depiction of the macabre. Monsters represent a broader commentary on the individual, race relations, survival instincts, natural disasters, scientific progress, capitalism, and the collective social consciousness, among other things. This class will explore monster theory, the historical foundations behind common fears, and the fascination with demons, witches, mutants, and vampires. We will spend a large portion of the semester exploring current issues such as cannibalism, gun control, natural disasters, perspectives on the end of the world, and mental illness. TV shows, movies, music, comics, and advertisements all work together to create a broad base of content knowledge, therefore this course will function as a multimodal learning experience. A multimedia and multimodal approach will improve student progress and retention of the material, and will allow students to actively engage with the outcomes outlined by the English department. We will begin the course by studying Islamic, Jewish, and Christian notions of the demons and the end of the world. Next, we will move through medieval female spirituality, early modern identification of demons and persecution of heretics. We will also evaluate contemporary theories about borderlands and the notion of "the other." The second half of the course will focus on the rhetoric of American popular culture. We will read Pride and Prejudice and Zombies and work closely with the first compendium of the popular series of graphic novels, The Walking Dead. Film plays a large role in constructing the mythos surrounding monsters and zombies, and our class will spend time analyzing motion pictures including George Romero's Night of the Living Dead, Zombieland, and The Walking Dead TV series. The assignments for this course will involve film analyses, a commentary, and rhetorical and literary analyses. The final paper will be an in-depth research paper on a pre-approved subject of their choice.
The Legal Imagination is an advanced course in reading and writing. It is a study of what lawyers and judges do with words. The focus of the course is law, but it will be useful to any student interested in how language is manipulated and controlled by writers and how language practices come to shape a profession and the professionals operating within that profession. The title of this class derives from the book The Legal Imagination published in 1973 by James Boyd White. This text is widely considered to be Professor White's seminal work and one of the founding documents of the law and literature movement. Readings are derived mostly from literature and the classics and include selections from Plato, Aristotle, Twain, Frost, Hume, Thoreau, Proust, Dickens, E.M. Forster, Chaucer, and others. We will also examine prominent and well known court cases, legal statutes, and other legal literature including writings from Justices Oliver Wendell Holmes, Jr. and Benjamin Cardozo. The writing assignments in the course will primarily ask you to reflect on your own use of language. The final eight to ten page research paper will ask you to apply the principles learned in class to your own area of academic interest. No background in law or legal studies is required, but an interest in the field will be useful.
This course will explore not only how cultures construct their heroes but also how heroes construct a sense of cultural identity. We will consider both the hero's ancient origins and its transformation over time and across cultures -- from the epic hero to its latter-day counterpart: the superhero. To that end, we will examine such texts as The Epic of Gilgamesh, The Saga of the Volsungs and Christopher Nolan's Dark Knight trilogy. Along the way, we will develop a framework that will help us understand how some characteristics of the hero remain constant while others arise from specific cultural beliefs and values. Students will hone their writing and research skills through assignments that include reviews, comparative analyses, and multimodal presentations.
Following The Great War (WWI), women threw away their corsets, shortened their hemlines, and bobbed their hair. Undaunted by Prohibition, many became flappers as they joined men in the world of bathtub gin and speakeasies. The twenties were also a time when "Great Migration" began. Eventually six million African Americans would leave the rural South and move to the urban areas of the North. With them came their music--Jazz and the Blues. All of these major upheavals greatly changed America of the 1920s, otherwise known as "The Jazz Age." Offering a multimodal approach rather than the traditional lecture approach, this English 220 course offers an opportunity for students to recapture the rhetoric of one of the most exciting times in America. Therefore, assignments and activities for students will include varied formats and genres. The first unit will feature two iconic figures of "The Jazz Age": F. Scott and Zelda Sayre Fitzgerald. Students will read The Great Gatsby and Save Me the Waltz. The most recent Gatsby film starring Leonardo DiCaprio will be shown in class. Excerpts from the earlier Robert Redford film will provide a comparative look at the subject matter. The second unit will feature some of the poetry of Langston Hughes, one of the most important thinkers and writers of "The Harlem Renaissance." Supplementing Hughes' poetry will be the biographies and music of Louis Armstrong, who came North during "The Great Migration," and Edward Kennedy "Duke" Ellington. The role of the woman musician in the early development of the Blues and Jazz is well represented by Bessie Smith, "The Empress of the Blues." Students will have the opportunity to view performances of these musicians in film clips. Ernest Hemingway will provide the focus for the third unit. Students will read A Farewell to Arms andThe Sun Also Rises. The first selection offers Hemingway's perspective on The Great War where he was an ambulance driver. The disillusionment following the war is well portrayed in The Sun Also Rises. Students will have the opportunity to view film productions of both works in class. The poetry of Gertrude Stein will supplement Hemingway's novels. If you are interested in the frenetic rhetoric of the Roaring Twenties, this is the class for you! 152ee80cbc
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