Expository writing done in connection with the reading of selected masterpieces of ancient and modern literature and the study of selected Spanish texts read in the original. Course will help prepare students for more advanced work in Spanish. Satisfies the second half of the Reading and Composition Requirement. This course is in-person.

Expository writing based on analysis of selected masterpieces of ancient and modern literature. R1A satisfies the first half of the Reading and Composition requirement, and R1B satisfies the second half.

In this course we will explore how the horror tropes differ between United States and Latin American literature and film and how these tropes are meant to critique the socioeconomic and sociopolitical states of these countries, especially the negative impact of foreign relations and the description of identities in relation to immigration. We will explore questions such as: How do ghostly apparitions speak about the past and the present? How do demonic manifestations in literature and film critique socio political unrest?

Expository writing based on analysis of selected masterpieces of ancient and modern literature. R1A satisfies the first half of the Reading and Composition requirement, and R1B satisfies the second half.

Expository writing based on analysis of selected masterpieces of ancient and modern literature. R1A satisfies the first half of the Reading and Composition requirement, and R1B satisfies the second half.

Both images of flying or of aerial human ascent and images of falling or of downward movement and descent appear regularly within disparate expressive cultures across time and place. Moreover, despite their ostensible opposition as images or tropes, flight and fall are frequently deployed in curious continuity with one another.

Contemporary philosophy and literature place significant emphasis on the body as a site of knowledge production. We will study this emphasis, as it is taken up in a variety of literary and critical works. But what is the body? Is it my epidermis, my senses, the complicated nexus of impulses called drives, my emotions, the lump of meat known as the brain? Where does my body end and my mind (or my ideas or whatever the not-body is) begin? Is the contemporary emphasis on the body an oblique response to a set of historical and political developments? If so, what are those developments?

We often think of non-fiction as cut-and-dried: there’s the real stuff (that’s non-fiction) and then there’s the made-up stuff (that’s fiction). Non-fiction, to quote the dictionary definition is real; it’s “based on facts, real events, and real people.” Simple as this may seem, this definition actually complicates non-fiction. Non-fiction, according to the dictionary, is not real events or real people but only “based on” them; it is a representation of those events and people documented in prose, comics, or film.

Expository writing based on analysis of selected masterpieces of ancient and modern literature. R1A satisfies the first half of the Reading and Composition requirement, and R1B satisfies the second half.

Expository writing based on analysis of selected masterpieces of ancient and modern literature. R1A satisfies the first half of the Reading and Composition requirement, and R1B satisfies the second half.