This anthology is divided into five major sections, starting with the Colonial period and ending with the publication of Harriet Jacobs’s Incidents in the Life of a Slave Girl on the eve of the Civil War. Each section includes an overview and framework for approaching the readings, as well as overarching questions to help students think about the connections between the texts. There is also a brief introduction to each of the authors featured in these sections, followed by discussion questions based on the texts. The textual introductions do not include a great deal of biographical material; instead, I have used them to provide a frame (typically connected to the larger section introduction) that I hope will help students to navigate from. The discussion questions could also easily be used as open-ended exam questions or as essay prompts. Some of the discussion questions are also invitations for students to make intertextual connections, or to consider how the literary landscape changes from its “beginnings” to the Civil War.

Table of Contents:
Introduction
I. Colonial America’s Literary Beginnings
William Bradford
Thomas Morton
John Winthrop
Roger Williams
Anne Bradstreet
Nathaniel Hawthorne
Henry David Thoreau
II. Native American Contact Zones
Cabeza de Vaca
Bartolomé de las Casas
John Smith
Mary Rowlandson
Cotton Mather
David Cusick
The Cherokee Memorials
William Apes
Black Hawk
Washington Irving
III. Revolution, Liberty, and Founding Figures
Phyllis Wheatley
John and Abigail Adams
Thomas Jefferson
Benjamin Franklin
IV. The Age of Reform
Herman Melville
Ralph Waldo Emmerson
Henry David Thoreau
Fanny Fern
Lydia Marie Childs
V. Slave Narratives
Fredrick Douglass
Harriet Jacobs
VI. Added Chapters
William Cullen Bryant
Caroline Kirkland
Walt Whitman
Source Materials

A collection of free and open primary texts in digital formats for the study of early world literature in English translation. Multiple English translations are provided for comparison and study, as well as open secondary and supplemental resources.

This is an anthology in progress of writing in English from 1650-1800. It is designed to be a transatlantic anthology, with examples of texts written in the British Isles, but also colonial America, which was, of course, a part of Britain until 1783, when the Treaty of Paris formally recognized the independence of the new United States of America. Many of the texts have been freshly edited and annotated to provide authoritative and curated editions for the use of students and general readers, and to create an alternative to expensive print anthologies. Over time, all of these texts (and more) will be edited and annotated to use the full resources enabled by the digitization of literary works. Please feel free to comment on these texts; we hope to improve the anthology based on the needs of readers.

Gives students the necessary language skills to successfully employ Spanish in a variety of social situations. Focuses on oral communication and uses popular media for listening practice. Student projects involve reading, oral presentations, and classroom interaction. Emphasizes communication skills needed by students in engineering and management for work in Latin America or Spain. Taught in Spanish. A second-year intermediate course that includes vocabulary enhancement and limited review of selected points of grammar. Focuses on listening comprehension and speaking, with group activities, discussions and individual oral reports based on readings, films, music and art.

From Catullus to Horace, the tradition of Latin erotic poetry produced works of literature which are still read throughout the world. Ovid's Amores, written in the first century BC, is arguably the best-known and most popular collection in this tradition.

Table of Contents
Chapter 1: The Life of Ovid
Chapter 2: The Amores
Chapter 3: The Manuscript Tradition of Ovid's Amores by Bart Huelsenbeck, with the assistance of Dan Plekhov
Chapter 4: Select Bibliography
Chapter 5: Scansion
Chapter 6: Epigram: preface from the author
Chapter 7: Amores 1.1: Ovid finds his muse
Chapter 8: Amores 1.2: Conquered by Cupid
Chapter 9: Amores 1.3: Just give me a chance
Chapter 10: Amores 1.4: Secret signs
Chapter 11: Amores 1.5: The siesta
Chapter 12: Amores 1.6: On the doorstep
Chapter 13: Amores 1.7: Violence and love
Chapter 14: Amores 1.8: The bad influence
Chapter 15: Amores 1.9: Love and war
Chapter 16: Amores 1.10: Love for sale
Chapter 17: Amores 1.11: Sending a message
Chapter 18: Amores 1.12: Shooting messengers
Chapter 19: Amores 1.13: Oh how I hate to get up in the morning
Chapter 20: Amores 1.14: Bad hair
Chapter 21: Amores 1.15: Poetic immortality
Full vocabulary for Ovid's Amores, Book 1

From Catullus to Horace, the tradition of Latin erotic poetry produced works of literature which are still read throughout the world. Ovid’s Amores, written in the first century BC, is arguably the best-known and most popular collection in this tradition.
Born in 43 BC, Ovid was educated in Rome in preparation for a career in public services before finding his calling as a poet. He may have begun writing his Amores as early as 25 BC. Although influenced by poets such as Catullus, Ovid demonstrates a much greater awareness of the funny side of love than any of his predecessors. The Amores is a collection of romantic poems centered on the poet’s own complicated love life: he is involved with a woman, Corinna, who is sometimes unobtainable, sometimes compliant, and often difficult and domineering. Whether as a literary trope, or perhaps merely as a human response to the problems of love in the real world, the principal focus of these poems is the poet himself, and his failures, foolishness, and delusions.
By the time he was in his forties, Ovid was Rome’s most important living poet; his Metamorphoses, a kaleidoscopic epic poem about love and hatred among the gods and mortals, is one of the most admired and influential books of all time. In AD 8, Ovid was exiled by Augustus to Romania, for reasons that remain obscure. He died there in AD 17.
The Amores were originally published in five books, but reissued around 1 AD in their current three-book form. This edition of the first book of the collection contains the complete Latin text of Book 1, along with commentary, notes and full vocabulary. Both entertaining and thought-provoking, this book will provide an invaluable aid to students of Latin and general readers alike.

This book contains embedded audio files of the original text read aloud by Aleksandra Szypowska.

Extract from Ovid's 'Theban History' -- This course book offers a wide-ranging introduction, the original Latin text, study aids with vocabulary, and an extensive commentary. Designed to stretch and stimulate readers, Gildenhard and Zissos's incisive commentary will be of particular interest to students of Latin at AS and undergraduate level. It extends beyond detailed linguistic analysis to encourage critical engagement with Ovid's poetry and discussion of the most recent scholarly thought.

Table of Contents
Introduction

1. Ovid and His Times
2. Ovid's Literary Progression: Elegy to Epic
3. The Metamorphoses: A Literary Monstrum
3a. Genre Matters
3b. A Collection of Metamorphic Tales
3c. A Universal History
3d. Anthropological Epic
3e. A Reader's Digest of Greek and Latin Literature
4. Ovid's Theban Narrative
5. The Set Text: Pentheus and Bacchus
5a. Sources and Intertexts
5b. The Personnel of the Set Text
6. The Bacchanalia and Roman Culture
Text

Commentary

511–26: Tiresias' Warning to Pentheus
527–71: Pentheus' Rejection of Bacchus
531–63: Pentheus' Speech
572–691: The Captive Acoetes and his Tale
692–733: Pentheus' Gruesome Demise
Appendices

1. Versification
2. Glossary of Rhetorical and Syntactic Figures

This extract from Ovid's 'Theban History' recounts the confrontation of Pentheus, king of Thebes, with his divine cousin, Bacchus, the god of wine. Notwithstanding the warnings of the seer Tiresias and the cautionary tale of a character Acoetes (perhaps Bacchus in disguise), who tells of how the god once transformed a group of blasphemous sailors into dolphins, Pentheus refuses to acknowledge the divinity of Bacchus or allow his worship at Thebes. Enraged, yet curious to witness the orgiastic rites of the nascent cult, Pentheus conceals himself in a grove on Mt. Cithaeron near the locus of the ceremonies. But in the course of the rites he is spotted by the female participants who rush upon him in a delusional frenzy, his mother and sisters in the vanguard, and tear him limb from limb.
The episode abounds in themes of abiding interest, not least the clash between the authoritarian personality of Pentheus, who embodies 'law and order', masculine prowess, and the martial ethos of his city, and Bacchus, a somewhat effeminate god of orgiastic excess, who revels in the delusional and the deceptive, the transgression of boundaries, and the blurring of gender distinctions.
This course book offers a wide-ranging introduction, the original Latin text, study aids with vocabulary, and an extensive commentary. Designed to stretch and stimulate readers, Gildenhard and Zissos's incisive commentary will be of particular interest to students of Latin at AS and undergraduate level. It extends beyond detailed linguistic analysis to encourage critical engagement with Ovid's poetry and discussion of the most recent scholarly thought.

Renaissance pastoral poetry is gaining new interest for its distinctive imaginative vein, its varied allusive content, and the theoretical implications of the genre. This is by far the biggest ever anthology of English Renaissance pastoral poetry, with 277 pieces spanning two centuries. Spenser, Sidney, Jonson and Drayton are amply represented alongside their many contemporaries. There is a wide range of pastoral lyrics, weightier allusive pieces, and translations from classical and vernacular pastoral poetry; also, more unusually, pastoral ballads and poems set in all kinds of prose works. Each piece has been freshly edited from the original sources, with full apparatus and commentary. This book will be complemented by a second volume, to be published in 2017, which includes a book-length introduction, textual notes and analytic indices.

This site offers primary and secondary sources for the study of ancient Greece and Rome.

Works of film examined in relation to thematic issues of philosophical importance that also occur in other arts, particularly literature and opera. Emphasis on film's ability to represent and express feeling as well as cognition.

This seminar addresses the inherent challenges of translating poetry from different languages, cultures and eras. Students do some translation of their own, though accommodations are made if a student lacks even a basic knowledge of any foreign language.

In this course, the student will study the poetry of John Milton, focusing on the texts and contexts that are relevant to Milton's oeuvre. Who was John Milton, and how did he manage to write Paradise Lost? By the end of this course, the student will possess a comprehensive understanding of Milton, his times, and his works. Upon completion of this course, students will be able to: explain the social and historical context of John Milton's work; define some of the most important ideas related to Milton's life and times, including (but not limited to) Calvinism, Puritanism, Protestantism, Neo-Classicism, and Predestination; provide accounts of the life of Charles I, the significance of the British Commonwealth, and the Restoration of the Monarchy; explain Milton's major philosophies, his politics, and his religious beliefs; describe Milton's chosen literary forms and rhetoric; provide a brief account of Milton's life, his relationship to Cavalier Poetry, his early elegies and eulogies, and his pastoral elegies, sonnets, and odes; list and describe the major plot developments that occur in Paradise Lost as well as Paradise Regained; analyze and describe both Paradise Lost and Paradise Regained in terms of their respective treatments of Biblical versions of Heaven and Hell, the Creation, Predestination, gender relations, representations of human nature, and the Fall of humankind; discuss the formal aspects and structure of both Paradise Lost and Paradise Regained and analyze and describe both of these works in terms of their epic styles and conventions. (English Literature 402)

In this course, we will investigate popular culture and narrative by focusing on the relationship between literary texts and comics. Several questions shape the syllabus and provide a framework for approaching the course materials: How do familiar aspects of comics trace their origins to literary texts and broader cultural concerns? How have classic comics gone on to influence literary fiction? In what ways do contemporary graphic narratives bring a new kind of seriousness of purpose to comics, blurring what's left of the boundaries between the highbrow and the lowbrow? Readings and materials for the course range from the nineteenth century to the present, and include novels, short stories, essays, older and newer comics, and some older and newer films. Expectations include diligent reading, active participation, occasional discussion leading, and two papers.

Examines the relationship between popular and high culture and the problem of evaluating texts that tell stories. Treats a range of narrative and dramatic works as well as films. May be repeated for credit, with permission of instructor. Topic for Fall: Masterminds. Topic for Spring: Popular Culture in the Age of Media Convergence. Our purpose is to consider some of the most elaborate and thoughtful efforts to define and delineate "all-mastering," and to consider some of the delineations of "all-mastering the intellect" in various guises - from magicians to master spies to detectives to scientists (mad and otherwise). The major written work of the term will be an ongoing reading journal, which you will circulate to your classmates using an e-mail mailing list. The use of that list is fundamental - it is my intention to generate a sort of ongoing cyberconversation.

This 6-unit subject gives students the opportunity to immerse themselves in the poetry of two living Nobel Laureates: the Caribbean poet, Derek Walcott, and the Northern-Irish poet, Seamus Heaney. We will begin and end the semester with their magnificent epic works: Heaney's translation of the Anglo-Saxon epic Beowulf, and Walcott's Omeros (a modern epic set in the West Indies). Between these major narrative poems, we will read a rich selection of their shorter poems, as well as some of their reflections in prose on what poetry does, on what other poets do, and what it means to write in English from the historical and political situation of Northern Ireland (for Heaney) or the Caribbean (for Walcott).

This concise and highly accessible textbook outlines the principles and techniques of storytelling. It is intended as a high-school and college-level introduction to the central concepts of narrative theory – concepts that will aid students in developing their competence not only in analysing and interpreting short stories and novels, but also in writing them.

This textbook prioritises clarity over intricacy of theory, equipping its readers with the necessary tools to embark on further study of literature, literary theory and creative writing. Building on a ‘semiotic model of narrative,’ it is structured around the key elements of narratological theory, with chapters on plot, setting, characterisation, and narration, as well as on language and theme – elements which are underrepresented in existing textbooks on narrative theory. The chapter on language constitutes essential reading for those students unfamiliar with rhetoric, while the chapter on theme draws together significant perspectives from contemporary critical theory (including feminism and postcolonialism).

This textbook is engaging and easily navigable, with key concepts highlighted and clearly explained, both in the text and in a full glossary located at the end of the book. Throughout the textbook the reader is aided by diagrams, images, quotes from prominent theorists, and instructive examples from classical and popular short stories and novels (such as Jane Austen’s Pride and Prejudice, Franz Kafka’s ‘The Metamorphosis,’ J. K. Rowling’s Harry Potter, or Dostoyevsky’s The Brothers Karamazov, amongst many others).

Prose Fiction: An Introduction to the Semiotics of Narrative can either be incorporated as the main textbook into a wider syllabus on narrative theory and creative writing, or it can be used as a supplementary reference book for readers interested in narrative fiction. The textbook is a must-read for beginning students of narratology, especially those with no or limited prior experience in this area. It is of especial relevance to English and Humanities major students in Asia, for whom it was conceived and written.

This course explores the ways in which various American artists view race and class as performed or performable identities. Discussions will focus on some of the following questions: What does it mean to act black, white, privileged, or underprivileged? What do these artists suggest are the implications of performing (indeed playing at or with) racial identity, ethnicity, gender, and class status? How and why are race and class status often conflated in these performances?

This course explores the form, content, and historical context of various works of fiction specifically through the thematic lens of "dysfunctional families." We will focus primarily on questions pertaining to the structure, language, story, and characters of these fictional works.

How do you read a poem? Intuition is not the only answer. In this class, we will investigate some of the formal tools poets use—meter, sound, syntax, word-choice, and other properties of language—as well as exploring a range of approaches to reading poetry, from the old (memorization and reading out loud) to the new (digitally enabled visualization and annotation). We will use readings available online via the generosity of the Poetry Foundation and the Academy of American Poets. We will also think collectively about how to approach difficult poems.