Instructor: Derek Miller Tuesday & Thursday, 10:30-11:45 am | Location: TBA
To many of its fans, Hamilton poses a problem. How can a show that presents so many talented artists of color represent a white-washed American history? And how should we evaluate the show’s impact when sky-high ticket prices make it accessible primarily to a wealthy (read: white) audience? In its aspirational embrace of a multi-ethnic America and its failure fully to realize that promise, Hamiltonembodies the paradox of Broadway. This course examines that paradox since World War II, particularly as it pertains to multiple aspects of identity including race, gender, sexuality, and disability. We will examine how shows such as South Pacific, with its famous anti-racist anthem, or M. Butterfly, which explored the intersections of Orientalism, gender, and sex, temper their inclusive representations to appeal to wide commercial audience. Broadway is a particularly fertile ground for exploring these issues because theatrical performances always call attention to the performative nature of subjectivity: that is, who you are is a product of what you do. As we shall see, though, theatrical performatives risk being “infelicitous,” in the words of philosopher J.L. Austin: instead of affirming the subjects they represent, the performances can turn those subjects into mere theater. Our starting assumption is that many Broadway stake-holders genuinely desire broader representation in and for their work, but that the structure of the industry constrains how these shows challenge the status quo. To understand those constraints we will ask what stories Broadway tells, who sees them, and how they are marketed—while always attuned to “who tells your story.”
Instructor: Ju Yon Kim Tuesday & Thursday, 1:30-2:45pm | Location: TBA
This course will examine horror—defined expansively to include the uncanny, the abject, the monstrous, and the ghostly—in American literature, considering its formal and aesthetic implications and its relationship to major cultural and social issues. What are the methods and theories that critics have used to study horror in literature? How and to what effect have works of American literature used horror to reflect on contemporary social concerns or to depict historical events? We will explore a range of literary works from the nineteenth century to the present next to critical and theoretical studies of horror and the Gothic.
Note: This course satisfies the English Concentration "Migrations" requirement for the Class of 2022 and was formerly offered as English 60a. Migrations: American Horrors.
Instructor: Philip Fisher Monday & Wednesday, 10:30-11:45am | Location: TBA
A survey of the 20th-century novel, its forms, patterns of ideas, techniques, cultural context, rivalry with film and radio, short story, and fact. Wharton, Age of Innocence; Cather, My Antonia; Hemingway, A Farewell to Arms and stories; Faulkner, The Sound and the Fury and stories; Ellison, Invisible Man; Nabokov, Lolita; Robinson, Housekeeping; Salinger, Catcher in the Rye and stories; Ha Jin, Waiting; Lerner, Leaving the Atocha Station. Stories by James, London, Anderson, Fitzgerald, Hemingway, Gaitskill, Wallace, Beattie, Lahiri, and Ford.