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The libretti of Lorenzo da Ponte for Mozart , and the eloquent music the latter wrote for them, convey a new sense of individuality and freedom. In Beethoven, perhaps the first incarnation since the Renaissance of the artist as hero, the concept of the Romantic musician begins to reveal itself—the man who, after all, morally challenged the Emperor Napoleon himself by striking him out from the dedication of the Symphony no. Beethoven's use of tonal architecture in such a way as to allow significant expansion of musical forms and structures was immediately recognized as bringing a new dimension to music.

The later piano music and string quartets, especially, showed the way to a completely unexplored musical universe. The writer, critic and composer Hoffmann was able to write of the supremacy of instrumental music over vocal music in expressiveness, a concept which would previously have been regarded as absurd.

Hoffmann himself, as a practitioner both of music and literature, encouraged the notion of music as 'programmatic' or telling a story, an idea which new audiences found attractive, however, irritating it was to some composers for example, Felix Mendelssohn. New developments in instrumental technology in the early nineteenth century—iron frames for pianos, wound metal strings for string instruments—enabled louder dynamics, more varied tone colors, and the potential for sensational virtuosity.

Such developments swelled the length of pieces, introduced programmatic titles, and created new genres such as the free standing overture or tone-poem, the piano fantasy, nocturne and rhapsody, and the virtuoso concerto, which became central to musical Romanticism. Enriched timbre and color marked the early orchestration of Hector Berlioz in France, and the grand operas of Giacomo Meyerbeer.

It is the period of to , which must be regarded as the true age of Romanticism in music—the age of the last compositions of Beethoven d. Now that people are able to listen to the work of Mendelssohn d. After this period, with Chopin and Paganini dead, Liszt retired from the concert platform at a minor German court, Wagner effectively in exile until he obtained royal patronage in Bavaria, and Berlioz still struggling with the bourgeois liberalism which all but smothered radical artistic endeavor in Europe, Romanticism in music was surely past its prime—giving way, rather, to the period of musical romantics.

Romantic nationalism—the argument that each nation had a unique individual quality that would be expressed in laws, customs, language, logic, and the arts—found an increasing following after Some of these ideals, linked to liberal politics, had been exemplified in Beethoven's antipathy to Napoleon's adoption of the title of emperor, and can be traced through to the musical patriotism of Schumann, Verdi, and others. For these composers and their successors the nation itself became a new and worthy theme of music.

Some composers sought to produce or take part in a school of music for their own nations, in parallel with the establishment of national literature. Many composers would take inspiration from the poetic nationalism present in their homeland. This is evident in the writings of Richard Wagner, especially after , but can be clearly seen in Russia, where the Kuchka handful of nationalist composers gathered around Mily Balakirev , including Modest Mussorgsky , Alexander Borodin , and Nikolai Rimsky-Korsakov. These composers were concerned about the enormous influence of German music in Russia , and they largely resented the founding of the conservatoires in Moscow and Saint Petersburg by the brothers Nikolai and Anton Rubinstein, which they believed would be Trojan horses for German musical culture however, Russian romantic music is today now closely identified with Anton's favorite pupil, Pyotr Ilyich Tchaikovsky.

Yet Arnold Schoenberg 's later spare style had its roots in rich freely chromatic atonal music evolving from his late Romantic style works, for example the giant polychromatic orchestration of Gurrelieder; and Igor Stravinsky 's originally controversial ballets for Sergei Diaghilev seem to us far less controversial today when we can understand their descent from Rimsky-Korsakov. One of Romanticism's key ideas and most enduring legacies is the assertion of nationalism, which became a central theme of Romantic art and political philosophy. From the earliest parts of the movement, with their focus on development of national languages and folklore , and the importance of local customs and traditions, to the movements which would redraw the map of Europe and lead to calls for self-determination of nationalities.

Early Romantic nationalism was strongly inspired by Rousseau , and by the ideas of Johann Gottfried von Herder , who, in , argued that geography formed the natural economy of a people and shaped their customs and society. The nature of nationalism changed dramatically, however, after the French Revolution , with the rise of Napoleon , and the reactions in other nations. Napoleonic nationalism and republicanism were, at first, inspirational to movements in other nations: Self-determination and a consciousness of national unity were held to be two of the reasons why France was able to defeat other countries in battle.

But as the French Republic became Napoleon's Empire, Napoleon became not the inspiration for nationalism, but the objection to it. In Prussia , the development of spiritual renewal as a means to engage in the struggle against Napoleon was argued by, among others, Johann Gottlieb Fichte a disciple of Immanuel Kant. The word Volkstum , or nationality, was coined in German as part of this resistance to the now conquering emperor. Fichte expressed the unity of language and nation in his thirteenth address "To the German Nation" in Those who speak the same language are joined to each other by a multitude of invisible bonds by nature herself, long before any human art begins; they understand each other and have the power of continuing to make themselves understood more and more clearly; they belong together and are by nature one and an inseparable whole.

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Music, when soft voices die Full Audiobook by Percy Bysshe SHELLEY by Poetry, Multi-version

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The Oxford Companion to Film. New York: Oxford University Press. CS1 maint: extra text: authors list link Berkowitz, Edward D. Cambridge Essential Histories. New York: Cambridge University Press. Block, Alex Ben; Wilson, Autrey, eds. New York: HarperCollins. Carr, Charmian Forever Liesl. New York: Penguin Group. Flinn, Carlyn London: British Film Institute. Glenday, Craig, ed. Guinness World Records Jekyll and Mr. Marocchino, Maritime Academy Dr. Contemporary Literary Ideas. A topics course whose topic in the spring quarter is usually science fiction.

It is most often taught by David Kann, but this spring is being taught by the undersigned. The topic is Hard Science Fiction; some of the course will involve Internet work. Literature and Technology. Examines literary treatments of technology from the late 19th century to the cyberpunk era. LIT The Alien in Science Fiction. A study of the alien worlds, beings, and themes in science fiction and the ways the alien becomes a commentary on our lives and conditions. Neither a history of science fiction, nor a survey of its varieties, this course concentrates on the phenomenon of the alien and the distinctive capacity of sf to extend our consciousness through the encounter with the ambiguities, possibilities, and participation in the at-first unfamiliar.

Philosophy 2. Philosophy of Freedom. Central question of this course: Are freedom and justice possible for each person in society? What are freedom and justice in terms of a way of life or a life style? What economic, social, and philosophical changes must be made to achieve freedom for each purpose? Interdisciplinary Introduction to Women's Studies. Gender, culture, and interdisciplinary approaches. Humanities 2. The Creative Imagination. Twelfth St. English E Popular Fiction: Text and Film.


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This course seeks to discuss the four subgenres of popular fiction: mystery-detective, romance-adventure, gothic-horror, and science fiction. Students view film adaptations of the texts and explore the works as both literature and film-media. English 25D. This survey traces sf and fantasy from their roots in myth to modern concepts of technological man.

The course will focus on sf and fantasy as they reveal the social and psychological implications of the themes explored. At the same time, we will sample the various kinds of stories that sf writers typically write. Readings will consist chiefly of short stories and novels, most of them relatively short, by a wide variety of authors. We will also read a few critical essays and some essays on topics such as space travel, conditions on other planets, etc. Mary's College, Moraga, CA American Fiction: to the Present.

This course uses science fiction, along with novels in other genres, as a vantage on literary, philosophical, and cultural values and issues. Alida Allison, English Dept. Science Fiction and Fantasy. Defining and distinguishing sf from other forms of fantasy; analyzing sf and fantasy as part of the literary canon; applying literary critical techniques to these forms of novels and stories. Felt, English Dept. English 2C. Fictions of Gender and Science. The program of this class is to help you learn how to write clear and effective prose at the college level. Good writing is not a gift.

It is a learned social skill that requires constant practice and revision. Good writing also requires the ability to think critically and read analytically. To develop these skills, you will be required to evaluate the work of your peers and analyze the assigned readings. The assigned readings are organized around the interconnections of gender, science, and science fiction. We will sample many different kinds of science fiction, from the original television series of Star Trek to the short stories of feminist science fiction writers like Joanna Russ.

Political Science Utopian Political Thought. The course will examine a variety of ways in which utopias function: as thought experiments, as standards of judgments, as blueprints for social change. How effective a device is utopia for bringing about social change? What roles do males have in feminist utopias? Are anti-utopias an attack on utopias or merely a pessimistic forecasting of our own future? Seminar in Film Genres: Science Fiction. This graduate seminar will explore theories, methods, and issues relevant to the concept of "genre" within the context of a comparative study of the American sf film with emphasis on the s and the s.

Special concerns will be the relation of formal generic elements and conventions to historical and cultural contexts; the reflexive, iterative, and affective functions of special effects and new technologies as the latter impact both the genre and the cinema, and the organic and technological transformations and reproductions of the human body. Honors 32I. The Science in Science Fiction. The purpose of this course is to explore interrelations of the scientific and literary cultures as they occur in science fiction. Isaac Asimov defined science fiction as the form of literature that measured the impact of scientific and technological advancement on human beings.

For the sake of argument, we will assume that sf as literary form began with the writings of Jules Verne and H. Wells toward the end of the 19th century. Verne's work is informed by then-new technologies of locomotion balloons, submarines, flying machines, ultimately rocket ships ; Wells's by Darwinian evolution and new theories of spacetime. There will be a number of guest speakers in this course, in most cases either scientists who will discuss the works of sf assigned from the perspective of their scientific specialty; or authors of the works, who in many cases are professional scientists themselves e.

Benford, Brin, Forward. Most such encounters will be via interactive TV; some will be classroom appearances. Slusser, "slus ucrac1. CL The Literatures and Cultures of Science. This course examines the cultural and literary ramifications of scientific activity in the Western world, down to the encounter of East-West cosmologies in the modern period. It traces "Science" from the moment this word designates a specific and definable human activity, a "method," through the Greeks and various ages of European culture, to the modern emergence of a two-cultures problem.

Science, as a mode of knowing, can be seen as challenging the ontological systems of myth, religion, culture, and ultimately literature as narrative expression of these realms. Campbell, "Who Goes There? English M. The first paper will focus on Perelandra and its relation to Paradise Lost.

The second will concentrate on the meaning of "situation" and "wonder" in Spenser and in Lewis' fiction and non-fiction. This course will include readings in feminist science fiction, feminist theory, and the philosophy and history of science. The objective of the course is to investigate the ways in which gender construction, scientific knowledge, and various kinds of speculative fiction are mutually implicated and mutually illuminating. Particular attention will be paid to feminist critiques of science and the work of women scientists, the intersection of popular science fiction and contemporary gender theory, and the implications for subject construction including race, class, and gender of new digital technologies.

Some time will be spent collaborating with Dance G students in their investigation of the body and interactivity. Science Fiction: The Next Generation. This course will explore the Next Generation through a reading of this generation's writers, several of whom will be visiting the class for guest lectures. This course considers the scope and significance of science fiction, with some attention to its historical development.

Its origins are glanced at by reading Mary Shelley's Frankenstein and H. Wells's The Time Machine, but we are more concerned with the later developments from Golden Age sf to Cyberpunk and related postmodern developments. Science Fiction in Film and Literature. Film and written classics including Asimov, Heinlein, Wells, Lewis, in the one literary genre that is the "sociology of the future.

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Decker, S. Garrison St. Topics: Science Fiction. Students will examine the evolution of science fiction as a distinct literary form.

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Beginning with Wells, the class will follow the course of science fiction through the Pulp Era of the 20s, the Golden Age of the 40s, the New Wave movement of the 60s, and finally the post-New Wave present, with an emphasis on Cyberpunk. During their readings, students will develop an understanding of science fiction's major themes and its unique literary style and lexicon. Political Science F. Crosslisted in English, Honors, and Master's of Humanities. A senior-level and graduate course in utopian and dystopian fiction and drama, team-taught by a novelist-English professor and a political scientist specializing in practical utopianism.

Catalog description: "Political, philosophic, and literary examination of classic and contemporary works of utopian and dystopian fiction. Fictional visions of wonderful and terrible societies we might become. Examination of practical experiments based on utopian fiction, philosophical speculation, and political movements. Box , Denver, CO Fantasy and Science Fiction.

One-half semester on the history and development of sf, study of sf types and formats, the craft of writing sf, and including a talk by at least one sf writer, sometimes by phone. Colorado, Greeley, CO , "ldworle bentley. The Literature of Science Fiction. English is one of the survey courses in which novel, short story, drama and poetry are included.

TEXTS: Students are asked to read one novel from each of eleven categories and to select one of the two short story collections to read. Bonnymede Rd. Special Topics in Women Writers of Sf. Harlan Ellison once said that the best science fiction being written today is by women. The purpose of this course is to exemplify the truth of this evaluation.

This class may both complement and supplement English Although works by women are included in English , when the same authors appear on both reading lists, either the novels differ or the literary form differs. Rather than reading another novel by Ursula K. Le Guin, either a short story or selected poetry will be read.

Part of the Women's Studies minor.

Car Seat Headrest's 'Twin Fantasy' Remake Fixes What Wasn't Broken

The Cultural Relevance of Star Trek. I have for the past 12 years taught a class called "The Cultural Relevance of Star Trek " at community colleges and area adult education forums. I use Star Trek in my class as a springboard for discussing American culture and my students' own experiences, so that we talk about Star Trek and its influences in science fiction as a metaphor and a mirror. I do sessions on diversity themes, first contact, "the prime directive of non-interference" and the issues it raises, technology its perils and promises , religion, sexual equality issues, environmental issues, psychological profiles of the characters, mythological themes, etc.

For each of these subjects, Star Trek is a vehicle for discussing larger cultural issues. English 2XX. Arthurian Legend. Despite changes in attitude and culture, the legend of King Arthur and the knights of the Round Table has remained potent over a span of eight hundred years. In this course we will survey Arthurian literature from the Middle Ages to the present, examining illustrations, paintings, and film, as well as texts.

Emphasis will be placed on establishing each text in its era and understanding the development of the Arthurian legend. Fuog, Dept. English Lit This sophomore-level course serves as an introduction to science fiction and fantasy and to fantasy's related subgenre, horror. Students read a mixture of novels and short stories, from various eras or literary periods, and see several related films so that they are conversant with the basic definitions, themes, and conventions of each area and with the difficulties of establishing them.


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Definitive texts from the s the scientific romances of H. Wells to the s the cyberpunk movement. The emphasis is on recurring motifs and intertextual echoes among sf writers. LIT F. Objective: To survey representative works in the development of the genre. Literature of Fantasy. A survey of representative works in fantasy and horror.

Seminar: The Fantastic in Literature. Research paper required. Science Fiction in Literature and Film. This introductory course explores the nature and functions of science fiction literature and film from a variety of critical perspectives. Gender Images in Science Fiction. Like speculative fiction itself, this course is a wedding of many ideas: how we define ourselves as women and men; how the genders interact; how we make our decisions and choose and apply our values as individuals, as a nation, as a world; how we learn to celebrate and love the alien, the diverse, the spark of individual fire we see in each other though we seldom comprehend it fully.

We will study literature, the finest use of language, to examine the incomprehensible and define the delicate tendrils of connectedness we must all seek out and nurture in our lives. In speculative fiction, we will find new metaphors to help us analyze the complexities of our values, our gender definitions, our treatment of each other, and our proposed solutions to the complex problems which confront us all as individuals and as an earth whose life is imperiled.

Instead of rereading selected favorite works yours or mine of science fiction, or instead of taking an introductory approach to science fiction, we are taking a much more limited approach. We will study selected dystopian science fiction. IDH Objectives: to survey twentieth-century American science-fiction literature and film, to develop critical skills in thinking about the role of science fiction within contemporary American culture, to develop analytical skills through writing about science-fiction stories and films.

This survey of science fiction emphasizes novels that are generally regarded as influential or innovative. Lectures and class discussions will stress the literary, social, political, and imaginative qualities of the works. McCarthy, English Dept. WRI F. Writing Science Fiction and Fantasy. This course explores the special considerations and opportunities in writing science fiction and fantasy. The class will be required to read most of the short stories in the anthology, focusing on stories by writers such as Heinlein, Asimov, Ellison, etc.

Five classic novels will be read also. The course will also examine common sf themes—the encounter of humans with alien intelligence, for example—as treated by popular sf television series in order to pin down whatever differences national, cultural, etc. Who, Blake's 7. A survey of the fantastic in fiction, including high and low fantasy, horror, myth, and folktales, and a brief survey of classic science fiction. Valdemar," "MS. Survey of Science Fiction. Science fiction is a literature engendered by the strains of the high-change era which has followed the industrial revolution; like all literature, it has roots in ambiguous feelings—in this case, very largely our hopes for a future enhanced by our technology and our fears for our own humanity as the rate of change threatens to swamp traditional mores and values.

While certain elements familiar in sf—most notably the utopia, the fantastic voyage, and the wonderful machine—appear in literature from the earliest times, the sense of historical change at the heart of science fiction is missing from those narratives. After a brief survey of earlier literature, we begin with Mary Shelley's Frankenstein and proceed through the last two centuries at the rate of a novel a week. Senior Seminar in Science Fiction. This course varies in topic; it always concentrates on one author, one period, or one theme related to sf.

During the winter term of , our topic was the sf works of Ben Bova. English B. After taking this course, you will be able to discuss a what science fiction is, who writes it, who reads it, and why it is written and read; b some important sf themes; c the literary aspects of an sf text; and d the evolution of sf. During the first week, we will read Forster's short story "The Machine Stops" as a paradigmatic sf text. We will find definitions of sf and then apply the definitions to this text, with the goal of beginning to understand what sf is all about.

We will then read four groups of authors. All the texts in a group deal with an important sf theme; the themes are arranged "spatially," from the center an individual outward: humans as creator, humans in society, humans meeting the alien, humans and the transcendent. As we discuss each text, I will comment on its literary aspects, frequently by playing the first text in each group a "mainstream" text off against the others, though one of my points will be that the best science fiction compares favorably with works in the literary mainstream.

Sammons, Dept. Though selective, the syllabus nevertheless spans the history of modern sf, from its nineteenth-century precursors Mary Shelley, Jules Verne, H. Wells , on into the twentieth century, and winding up with the 's "cyberpunk" movement. By semester's end, I hope that as a result of taking this course you will feel informed about an important kind of popular literature and more comfortable about your ability to read literary criticism and do literary research. We will begin by reading a paradigmatic sf story, then what many critics consider the first sf novel, then a series of classic sf short stories.

After this basic orientation to the genre, we will read a core sequence of sf texts, each one chosen because of an obvious and sometimes even a multiple affinity to an academic discipline, including—but certainly not limited to—American Studies, anthropology, astronomy, biology, computer science, English, history, linguistics, physics, psychology, sociology, women's studies.

On your own, and for your senior project, you will read and write on an sf work germane to your academic interests and background. Fantastic Literature. This is both an introduction to the study of literature and an examination of a particular literary mode. We will study methods of literary analysis applicable to many sorts of literature, but we will be applying them to fantastic tales, poems, and plays. If you are already a reader of fantasy or science fiction, you should reach a higher level of critical sophistication and become more aware of the traditions behind those contemporary forms.

If you are unfamiliar with them, you should gain an appreciation of the varieties and uses of the fantastic. Introduction to sf and fantasy from an historical perspective; extensive study of some classic sf novels and the tradition behind some major post-modern short fiction to contemporary ; study of some classic sf texts and introduction to critical terminology and theory.

Intense study of the iconography of selected sf and fantasy films. Careful study and analysis of theme and iconography of two major fantasy novels. IDS Senior Seminar: The Future. Senior Seminar is designed to give Eureka College seniors a taste of what graduate school is like as well as provide a "transition to life-long learning. All of the books that we will read and discuss in this course will have ideas and concerns that are important for the future. Logsdon, Humanities Div. Literary Visions of the Future. A study of several 20th-century extrapolative novels, short stories, poems, and films.

Our purpose is to see the sorts of futures these writers have foreseen, to investigate the societal trends that might have inspired them, and to ask how accurate such visions might be. Martin, Dept. ENGL Rhetoric of Technology. This course will provide a forum in which to interrogate the rhetorical underpinnings of technological practices.

The thesis of the course is that what we call technology is in fact a socially constructed activity. All technologies obtain their legitimacy within a given culture through specific social and institutional practices. A technical community is defined by the sorts of practices, discursive and otherwise, within which its knowledge claims are made and against which they are either validated or discarded.

Two questions that this course will consistently confront: Are other technologies possible? Are they desirable? Dearborn St. Composition II. Survey of short stories and poetry. This is an introductory literature course. McKnight, Jr. Honors Tutorial: Texts and Hypertexts. Reading and writing texts and hypertexts, using on-line and print resources to produce hypertext assignments on technology, gender, class and history.

Sheridan Rd. This course is for writers and writer wannabes. It exists to give them access to an audience besides themselves plus access to an editor, me. It concentrates on the students as writers. Of course, they are heavy readers of science fiction as well as Trekkers, Whodies, Dwarfers, and so forth. The end result will be the publication of either a chapter or a short story in booklet form for our delight and edification.

Caveat: This course was designed especially for me; I am leaving Milliken in June, and have no idea when or if this course will ever be taught again. Readings in Science Fiction. This course looks at a variety of early and contemporary literature of the genre, noting its reflection of developing knowledge and experimentation in technology and the natural and social sciences.


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Some readings may focus on the envisioning of future societies which explore possible consequences of this new knowledge. Others use the genre to present classic themes of personal and human identity, journey and test, conflicts between good and evil, and other themes that permeate literature.

In addition to the selected readings, film examples will also be studied. Barnes, 30 N. Brainard St. I do a course about every two years. Every time I try something different; last time it was a summer course in which we went through the Norton Book of Science Fiction , supplemented by various handouts, and focused on fictional strategies rather than the history of the genre. In that class, I set up a speakerphone so that the students could interview all the authors directly except for Wells, of course, although the thought crossed my mind I probably could have fooled most of them with a good impostor.

BGS A one-credit correspondence course. Science-fiction movies are some of the most popular films of all time, but science fiction itself remains the province of a relatively limited number of passionate readers. This course will explore both the reasons for science fiction's popularity and the reasons it seems challenging to many readers—and will offer guidelines on how to read this unique form of literature in order to get the most from it.

The course includes a discussion of the philosophical views underlying the fiction; a brief history of science fiction in literature, art, film, and theater; and an examination of common themes and techniques. Evaluation is based on two paper assignments and exercises in the module. Popular Literature: Science Fiction. An introduction to and survey of sf from Frankenstein to the present; our overview makes use of novels, films, short fiction, and TV shows.

Voller, English Dept. Popular Literature: Feminist sf. Contrary to popular assumption, sf is not—or is no longer—a genre only for adolescent males. We begin with Mary Shelley's Frankenstein published in and end with contemporary works; most of our reading, of necessity, will be in post texts.

Science Fiction and Modern Culture. Morgan, Univ. This course combines extensive readings in sf of the s, 40s, and 50s with readings of other popular fiction of the period in The Saturday Evening Post , The Ladies Home Journal , and Collier's. We will also be reading critics and theorists of literature. Science Fiction and Film.

The course examines recurring science fiction topics or themes as these find expression in paired readings and films. Surveys sf short stories and novels as popular literature and assesses sf's unique contribution to the history of ideas. Harvard Dr. Science Fiction—Psychology and Prophecy. By the end of the course, the student will be familiar with the elements of science fiction that distinguish general fiction from science fiction and science fantasy. Narragansett, Chicago, IL , fax Composition 2. Higher-level instruction in composition with emphasis on critical thinking and writing in response to literary texts.

Wallace, Dept. French Seminar —Science Fiction in France. This course is a survey of science fiction in France from its beginnings to the present. We will explore the origins and evolution of this literary genre from the early imaginary voyages and utopias of the 17th and 18th centuries, to the scientific fictions of Verne's Voyages Extraordinaires , to the modern French sf of the 20th century.

The methodological approach will be threefold: thematic encounters with the alien other, man vs. Evans, Dept. English W. In this course we will study some of the most challenging and complex works of science fiction, paying close attention to certain themes dear to the genre: utopia and dystopia, aliens and extraterrestrial contact, visions of the future and varieties of reality.

All these themes are simultaneously entertaining fictions and philosophical speculations on reality and society. A course is offered each semester in three sections by instructors in the English Dept. Section 1. I lift a quote from Le Guin's introduction—namely, the course is both for those with little knowledge of sf improves their reading skills for sf and for fans to read more deeply. The Norton Book of Science Fiction. Section 2. Representative sf texts from mainstream to pulp, so that students can enjoy both but tell the difference.

Section 3. While we stress cultural critique, we also examine science fiction in relation to both mainstream literature and other popular genres, particularly war fiction and mystery and detection. Moreau, Sterling, ed. Selected short fiction from the Hall of Fame volumes. The complete Blade Runner Director's Cut when that novel is assigned. English C Science-Fiction Film. An historical survey of sf cinema primarily American and British. In each decade we will be concerned with the problem of defining the limits and boundaries of this complex genre, and of exploring the conventions consisting of visual imagery or iconography, narrative, and sound music and dialogue which historically have differentiated the sf film from other genres.

We will also consider the complex thematic interrelationship between science, magic, and religion as it is manifested in the main types and categories of sf film since the s, including the monster film, the disaster film, space opera, hard sf, and cyberpunk. English L V Science Fiction: Cyberpunk.

This course investigates the movement known as "cyberpunk," which came into prominence in the American sf community, but whose ideas, such as "cyberspace," have now spread internationally to the general public and are exerting an influence on film and television as well as comics and other visual media. We will seek to survey major themes and concerns of the movement by reading programmatic statements made by its leaders and spokesmen and by reading major works of fiction by its most prominent members.

We will seek to understand how cyberpunk sf departs from and revises the sf of previous decades. Particular attention will also be given to an analysis of the styles of the texts themselves in order to properly appreciate the aesthetics of cyberpunk. Reading journal is required. English L Stephen King. For eight spring semesters now I have offered a course on Stephen King in which I have taught all the fiction including the Bachman fiction and most of the films.

Normally I use as the centerpiece what has just come out. Since only The Green Mile is certain—there are three others promised in ! If the fourth Dark Tower comes out I will probably do them. Though if the new "Bachman" novel appears, that may open up a whole new line of inquiry. Representative works of science fiction and fantasy, examined in relation to both mainstream and popular literature.

Emphasis is on technique, theme, and form. Essentially a masterworks course with the intent of distinguishing among science fiction, fantasy, and horror. The historical background is shared through lectures rather than readings. English , An "open" course: major themes in literature that various faculty adapt to special interests. It has been primarily used in the summer session. The short stories are designed to illuminate the distinctions among science fiction, fantasy, and horror.

IV and Hartwell, ed. Masterpieces of Fantasy and Enchantment. Writing Advanced Exposition. The course utilizes utopian texts in contrast to "realistic" fiction in order to disclose both the subversive narrative strategies and the insurrectionist epistemologies of utopian authors. Students examine the two basic types of texts and develop extended research projects on utopian themes. Among the issues examined is that of the relation of closural authority, realism, and utopography to the master-narratives of progress and evolution.

Dickens's and Conan Doyle's tidy codas are shown to represent evasions or arbitrary finalizations of a type which utopian authors, on the whole, refuse to employ; consequently, utopian fiction, even in its dystopic mode, eschews finitude and compels its readership into open imagining and narrative reciprocity. Realism and the Supernatural. An attempt to develop a theory of the supernatural and the uncanny in "realistic" fiction from Defoe to James.

ENGL B Arthurian Literature. The stories surrounding Arthur are both the oldest and most enduring fables of the post-classical era. Almost every century since the sixth has contributed at least one major version of the evolving legend. The twentieth century, despite its technological preoccupations, has proved highly receptive to the fantasy and idealism inherent in Arthurian legend. We will examine the origins of the Arthurian story and study in detail the texts listed. ENGL Z Sem: Monsters, Saints, and Heroes. Beowulf, a poem most people consider to be about a hero, shares a manuscript with some rather curious companions: a fragmentary epic on Judith, a story about St.

Christopher, and two texts about various kinds of marvels and monsters. This juxtaposition asks us to consider just how neat the categories "monster," "saint," and "hero," really are. This senior seminar will examine a wide range of critical and cultural issues presented by a number of prose and verse texts in Modern English translation from Anglo-Saxon England. This class will examine the belief systems underlying these texts and the cultural work the texts performed.

The seminar will offer a "hands-on" introduction to work in the field, including some background in the language, in the reading of manuscripts and their illustrations, and in research strategies. From Lucien to Vonnegut and beyond, the writer of Science Fiction has directed attention not to Character as Fate, but to the Will as wearing different instruments and committing prestidigitation with possibility and prophecy. We will read about this will, and the magicians it creates in its determination to command rather than perceive, through the lenses of fictions based on hypotheses in Aristophanes, Lucian, More, Swift, Vonnegut, Vance, and others such as Williamson, Heinlein, Stewart, and Harrison.

ENGL N Fearing Fictions: The Literature of Terror. From Puritan sermons to contemporary "slasher" films, American audiences have been fascinated by the monstrous, the frightening, and the uncanny.