Literature

A BOOK GROUP: Reading Critically Acclaimed Literary Works

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Price: 350.00 USD
0 Weeks

09 - 26 - 2017, 01:00 PM - 03:00 PM 2017-09-26 01:00 PM - 03:00 PM

This class will meet once a month to discuss eight literary works. We will meet the fourth Tuesday of each month, from September to May, excluding December. The selections have been made from novels, collections of short stories, and memoirs that have received critical acclaim from peers, reviewers, and the reading public. Led by author and writing instructor Nancy Geyer, the course will differ from a lecture format in that class members will be encouraged to participate in the discussion of the monthly book assignment. It is patterned on the classic formula of book clubs that became popular in the early 20th century and continue to the present day. Emphasis will be placed on characterization, plot, structure, dialogue, style, and atmosphere. The book selections and dates follow: (A limited enrollment class) • September 26 "A Gentleman in Moscow" - Amor Towles • October 24 "News of the World" - Paulette Jiles • November 28 "The Underground Railroad" - Colson Whitehead • December No Meeting • January 23 "The House of the Spirits" – Isabelle Allende • February 27 "Nutshell" – Ian McEwan • March 27 "The Old Man and the Sea" and "A Moveable Feast" Earnest Hemigway • April 24 "My Mother’s Keeper: A Daughter’s Memoir of Growing Up in the Shadow of Schizophrenia" – Tara Elgin Holley with Joe Holley • May 22 "The Day the World Came to Town" – Jim Defede

HOW THE NOVEL WORKS

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Price: 250.00 USD
12 Weeks

02 - 08 - 2018, 01:00 PM - 03:00 PM 2018-02-08 01:00 PM - 03:00 PM

Is the most important thing about the novel the narrator’s relation to the author, the plot’s beginning and end, or the importance of its moral themes? It is actually the narrator’s relation to the protagonist, then that protagonist’s relationships to the other characters in the system of their complementary and contending points of view, which therefore makes the middle part of the novel the most important part of the “plot.” So, to explore these and other formal issues, we will read a variety of classical modernist novels, most of them short, which play against each other and offer a variety of answers to these questions. The novel is a most capacious genre, including both Pride and Prejudice and Ulysses, and makes up its own rules as it goes along. • Introduction to Terms, Definitions, and Lionel Trilling • Chandler: The Big Sleep (Vintage) • Conrad: The Heart of Darkness (Penguin) • Dostoevsky: Notes from Underground (Modern Library) • Kertesz: Fateless (Northwestern) • Woolf: To the Lighthouse (Harcourt Brace) • Faulkner: As I Lay Dying (Vintage) • Jones: The Known World (Amistad) • O’Brien: The Things They Carried (Houghton Mifflin) • Roth: The Ghost Writer (Vintage) • Pushkin: Eugene Onegin (Penguin

MASTERWORKS OF ROMANTICISM

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Price: 175.00 USD
6 Weeks

04 - 03 - 2018, 01:00 PM - 03:00 PM 2018-04-03 01:00 PM - 03:00 PM

Romanticism was a period (ca. 1750s-1850s) marked by revolutions: the American Revolution, French Revolution, Industrial Revolution, and the dozen or more revolutions of 1848. While the vast majority of Romantic writers weren’t directly involved in any armed conflicts, they contributed to the revolutionary spirit of their day through their poetry and prose—which we now know was revolutionary in its own right. Romantic writers gave voice to a new set of values and beliefs that not only challenged the prevailing social norms, but also unmasked broad social anxieties about the place of the individual in society, the rise of industry, and the degradation of the natural world. In this course, we will read seven masterworks of British and American Romanticism by seven representative authors in these traditions. Ranging from poetry and songs to novels and essays, the selected texts will provide a sense of the breadth and depth of Romanticism in both its British and American forms. We will devote the first three weeks to our British Romantic authors and the last three weeks to our American Romantics. We will seek both to understand these individual texts in terms of their content, form, and historical context, as well as think about the nature of cultural movements like Romanticism more broadly. The authors and texts covered in this course include: • William Blake, Songs of Innocence and of Experience (1794) • William Wordsworth and Samuel Taylor Coleridge, Lyrical Ballads (1798) • Mary Shelley, Frankenstein (1818) • Ralph Waldo Emerson, “Nature” (1836) and “Self-Reliance” (1841) • Henry David Thoreau, Walden (1854) • Walt Whitman, Leaves of Grass (1855)

THE BEST OF THE SHAKESPEARE COMEDIES

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Price: 175.00 USD
6 Weeks

04 - 17 - 2018, 10:00 AM - 12:00 PM 2018-04-17 10:00 AM - 12:00 PM

In the past few decades a number of Shakespearean comedies have been made into entrancing films. Like the original plays, these presentations are a treat for popular and esoteric audiences alike. Kate Pogue has chosen six of her favorite comedies to watch in their entirety: Love’s Labour’s Lost, Taming of the Shrew, A Midsummer Night’s Dream, Much Ado about Nothing, As You Like It, and Twelfth Night, making this course a joyful, mini Shakespeare Festival. The films have been directed by the best of the best—Franco Zefferelli, Trevor Nunn, and Kenneth Branagh. If this summer is not the right one for you to travel to Stratford or London, or if you’ve always wondered why people love Shakespeare and would like to find out, come and be transported and amused as we enjoy the best of the Shakespeare comedies. (*The extra 30 minutes is for viewing the films. A limited enrollment class)

ROMANCING THE 20TH CENTURY

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Price: 175.00 USD
6 Weeks

05 - 01 - 2018, 10:00 AM - 12:00 PM 2018-05-01 10:00 AM - 12:00 PM

How does the twentieth century treat love and passion on the page? Truth be told, the past century is known for its rebellion against traditional emotional expression, which modernist and postmodernist writers replaced with abstractions, distancing themselves from the more tender connections between people. Despite this aversion to feeling, however, authors were writing romantic texts, although of a different texture than the likes of, say, Jane Austen. What are the defining characteristics of the twentieth-century romance? How do authors express sexual desire, abiding love, romantic jealousy, and romantic sorrow? We’ll begin with short stories by Faulkner and Raymond Carver, then read selections by D. H. Lawrence, Daphne du Maurier, Jean Rhys, and Michael Ondaatje. For the final session, the class will vote on whether to read and discuss Nicolas Sparks’ The Notebook or Diana Gabaldon’s Outlander. Either way, we’ll have a viewing party at the end of the six weeks to watch one of these films/episodes, eat popcorn, and discuss the translation of romantic text to romantic film. Week 1 • “A Rose for Emily,” William Faulkner (1920) • “What We Talk about When We Talk about Love,” Raymond Carver (1981) Week 2 • Lady Chatterley’s Lover and “The Fox,” D. H. Lawrence (1928 and 1922) Week 3 • Rebecca, Daphne du Maurier (1938) Week 4 • Wide Sargasso Sea, Jean Rhys (1966) Week 5 • The English Patient, Michael Ondaatje (1992) Week 6: Student Choice • The Notebook, Nicolas Sparks (1996) OR • Outlander, Diana Gabaldon (1991)