FYW Curriculum and Courses
First-Year Writing: Critical Conversations courses invite students into the vibrant scholarly life of the college. Working in small, discussion-based seminar classes over the course of one semester, we read challenging literary texts and critical scholarship, helping students to develop fundamental skills in analysis and academic writing that allow them to take their place in vitally important scholarly conversations. Students choose one of three rubrics – Legacy of the Mediterranean, Women and Culture, or The Americas – each of which explores and questions a particular literary tradition.
A “critical conversation” is a conversation about ideas. It is sophisticated and thoughtful rather than one-sided and simplistic; it’s not about finding one right answer but rather about closely analyzing all of the evidence at hand and discovering something meaningful. By communicating what you discover clearly and cogently, you add to the broader scholarly conversation. When engaged in a critical conversation with other scholars, you consider their ideas in ways that help you develop your own thinking, rather than merely agreeing or disagreeing with what others have to say. The critical reading, discussion, and academic writing skills we focus on in First-Year Writing provide a foundation that crosses disciplinary boundaries and will help you in all of your courses.
First-Year Writing Workshop (ENGL BC1204) is a four-credit course designed for students who feel they would benefit from extra preparation for the critical reading and writing that you will do at Barnard. FYW and FYW Workshop are equally rigorous -- both courses have the same critical reading and writing goals, both courses follow one of the three course rubrics, and both courses satisfy your First-Year Writing requirement. FYW Workshop, however, meets 3 days per week instead of 2; it is worth 4 credits instead of 3; and the class sizes are smaller.
Students who are interested in one of the limited number of spaces in FYW Workshop should inform the First-Year Class Dean by email (first-year@barnard.edu), but please be aware that placement cannot be guaranteed. You will receive an email (in your Barnard inbox) in early July letting you know if you have secured a spot.
*NOTE: All readings listed in the course descriptions below are subject to change.
FALL 2019
Legacy of the Mediterranean: The Present Past: Race, Gender and Ethnicity
In this class we will study the relationship between a selection of major texts from the ancient and medieval Mediterranean world and modern texts that reimagine and re-contextualize them. We’ll seek to understand how the modern writers use different historical and geographical contexts to give the language of the ancient and medieval texts alternate meanings, particularly as it pertains to notions of race, gender and ethnicity. The course reading list will include excerpts from Homer’s Odyssey and Iliad, Sappho’s lyrics, Virgil’s Aeneid and lyric poems from Arab Andalusia, which will inform our analysis of Gwendolyn Brooks The Anniad , Derek Wolcott's Omeros and Amitav Ghosh's In an Antique Land.
Legacy of the Mediterranean: Border Crossings
When a poet takes his place on the tripod of the Muse, he cannot control his thoughts [and] is obliged to contradict himself... But for the legislator, this is impossible: he must not let his laws say two different things on the same subject. -- Plato, The Laws
For Plato, literature is dangerous because it is ambivalent, or even self-contradictory. Where a virtuous society must set up boundaries – between right and wrong, or between inside and outside – literature tends to blur distinctions and connect ideas that should be kept apart. This writing course tests these ideas through a set of readings in “classical” Western literature. Does literature work as Plato believes it does, to subvert social norms and create ambiguity? Can literature also enforce boundaries and set up barriers?
We will begin our investigation of these questions with a close look at figurative language – one of the primary devices poetry uses to connect ideas – in two archaic Greek poets, Homer and Sappho. We’ll then consider how classical Athenian tragedy represents cultural and gender difference: if theater is at its heart a kind of game with identity, what really happens when we dress up as other people? In our final unit, we’ll examine how two much later writers, Virgil and Dante, both model themselves on their Greek predecessors and fashion new roles for themselves as modern, political poets. Throughout the course, our literary readings will be accompanied by philosophical texts that will help us focus our thinking.
Readings may include: literature from Ghosh, Sappho, Homer, Euripides, Virgil, Dante; philosophy and criticism from Longinus, Barthes, Butler, Douglas, Bourdieu. Books for the course may be acquired via a semester-long loan via the Barnard FLIP library; purchasing the books will cost less than $30.
Legacy of the Mediterranean: Queer/Migrant
“Perhaps home is not a place but simply an irrevocable condition.” -James Baldwin
This course focuses on modern and contemporary works about queer and/or migrant experiences in the Mediterranean. We will take the Mediterranean and its diasporas as a geopolitical site in which queer and migrant subjects negotiate their identities vis-à-vis dominant discourses of gender, sexuality, nationality and citizenship. We will investigate notions of home, belonging and identity for queer, immigrant, migrant and refugee subjects and pay particular attention to how these identities intersect in fiction, nonfiction, artistic and theoretical works by a wide range of authors. How are immigrant, migrant and refugee bodies racialized and queered by dominant discourses, for instance? How do queer subjects negotiate belonging when they travel across cultural, geographical, national, linguistic and religious borders? How do experiences of queerness and migration inform one another in these authors’ works?
Readings may include works by James Baldwin, Virginia Woolf, C.P. Cavafy, Masha Gessen, Trish Salah, Négar Djavadi, Warsan Shire, Edward Said, Gayatri Gopinath, Jasbir Puar and Afsaneh Najmabadi.
*NOTE: All readings listed in the course descriptions below are subject to change.
FALL 2019
The Americas: Contact Zones
This course will approach the idea of America in a broad sense, both geographically and temporally, with attention to how each text constructs, deconstructs, and/or reconstructs ideas of America. We will assess the ways in which an author’s identity and context shape their representation of encounters with their cultural “others.” We will practice relying on the insights that close reading of these texts give us, rather than making unfounded assumptions about these identities and contexts.
We’ll explore thematic oppositions—coloniality and indigeneity; darkness and lightness; freedom and bondage; belonging and alienation; assimilation and cultural preservation; subservience and resistance--while observing how these concepts influence one another and thus resist binaries. We’ll read literature by Sor Juana Inés de la Cruz, Phillis Wheatley, Herman Melville, José Martí, and Nella Larsen; and critical texts by W.E.B. Du Bois, Franz Fanon, Toni Morrison, and others.
Our reading list will not be comprehensive or fully representative of “The Americas”--this is not a literature survey course, but a writing course with some thematic threads across its readings.
In this class, we will read, discuss, and write about texts that describe physical and psychological violence, including sexual and racial violence. We will discuss the relevance of texts and research we encounter to contemporary controversies. Working through discomfort is often essential to deep intellectual engagement with texts and peers, especially as we come across new concepts, contexts, and perspectives. We will talk about how to work through and reflect on this discomfort in class discussions. If you have concerns about your engagement with the readings at any point, please come talk to me during student hours.
The Americas: Contact, Colonialism, Revolutions
This course breaks away from traditional distinctions separating Caribbean, North, South and Central American literatures. Through its literature, the Americas emerge not as colonial subjects but as active historical and aesthetic agents. Emerging as the geographical site of modernity, American literature is characterized by diversity and innovation. In addition to poetry and essays, short stories and a novel, this multicultural curriculum includes works ranging in scope from fictional accounts to autobiographies, as well as indigenous genres such as creation myths, slave narratives, and New World declarations of independence. We will discuss both linguistic and cultural translation, and the interaction of cultures. Readings will be in English, though students are encouraged to read in the original language. Bilingual students (especially Spanish) are welcome.
Readings will include:
Anzaldúa, Gloria. From Borderlands/La Frontera: The New Mestiza (1987)
Apess, William, "An Indian's Looking-Glass for the White Man" (1833)
Bolivar, Simón Bolívar. The Jamaica Letter (1815)
de la Cruz, Sor Juana. Poems, Protest, and a Dream: Selected Writings (Penguin)
Darío, Rubén. From Prosas profanes y otros poemas (1896)
Dickinson, Emily. Selected Poems (c. 1860)
Esteban Echeverría, “El Matadero” (“The Slaughterhouse”, 1838)
Gates, Henry Louis, ed. The Classic Slave Narratives (Signet)
Gómez de Avellaneda, Gertrudis. Sab (Texas Pan-American Series)
Hawthorne, Nathaniel. Young Goodman Brown and Other Stories (Dover)
Martí, Jose. “El Poeta Walt Whitman” (1887)
Melville, Herman. Bartleby and Benito Cereno (Dover)
L’Ouverture, Toussaint. Memoir of Toussaint L’Ouverture (1803)
Poe, Edgar Allan, The Gold-Bug and Other Tales (Dover)
Tedlock, Dennis, tr. Popol Vuh (The Mayan Book of the Dawn of Life)
Thoreau, Henry David. Civil Disobedience (1849)
Wheatley, Phillis. Poems on Various Subjects (1773)
Whitman, Walt. “Song of Myself” (1855)
The Americas: Imagining America in New York City
Discover New York City! Beginning in the 19th century and moving to the present day, this course employs NYC as a lens through which we focus our exploration of the ways race, class, gender, and religion play parts in defining America. Our readings alternately imagine and challenge the idea that NYC is a locus of freedom and the American dream, a place that welcomes immigrants and refugees. Traveling back in time, we explore the city that Walt Whitman idealized as inclusive and democratic and that Frederick Douglass, escaping slavery, knew as a place of precarious freedom. Moving forward, we explore Edith Wharton’s city of the 1880’s Gilded Age, Zora Neale Hurston and Langston Hughes’ city of the 1920’s Harlem Renaissance. We explore Alan Ginsberg’s city of the 1950’s Beats and the contemporary city of international immigrants and newcomers. In plays, poems, novels, and short stories – and in excursions throughout the city – we explore the diverse and startling ways NYC becomes home for our authors and for us. Writers may include Walt Whitman, Frederick Douglass, Horatio Alger, Edith Wharton, Edgar Alan Poe, Isador Zangwill, Langston Hughes, Zora Neale Hurston, Alan Ginsberg, Frank O’Hara, Oscar Hijuelos, Bernard Malamud, and Teju Cole.
Textbook costs: you may borrow required texts from the Barnard/FLIP library, or you can purchase your own copies at Book Culture. If you purchase the books, the total cost for books and for excursions should not exceed $50.
*NOTE: All readings listed in the course descriptions below are subject to change.
FALL 2019
Women and Culture: Bodies, Power, Voice
Topics will include reproductive power and the body, maternity, courtship, literacy and voice, consent and bodily autonomy; we may also connect our readings to current issues/problems in 21st century culture. Throughout we will consider the way the female is ‘constructed’ and how literature and theory can help us re-construct and complicate received notions about gender, femininity, masculinity and sexuality. A tentative list of readings include Hymn to Demeter, selections from Ovid’s Metamorphoses, Sei Sonagon’s The Pillow Book, Kebra Nagast, selected Andalusian and Elizabethan poetry, the poetry of Sor Juana de la Cruz, and contemporary stories including “The Husband Stitch”and “Cat Person.” Critical scholarship sources may include Sara Ahmed, Chimamanda Ngozi Adichie, bell hooks, Audre Lorde, Nancy Chodorow, Sherry Ortner, and Gayle Rubin. The vast majority of readings will be available to you for free via a Coursereader, PDFs, or handouts; you may borrow the one required text from the Barnard/FLIP library, or you can purchase your own copy at Book Culture. The total cost will be between $35-47 depending on whether you purchase a used or new book.
Women and Culture: Wild Tongues
In this section of Women & Culture, we’ll examine storytelling and language through the lens of gender. How are constructions of gender used to police what kinds of stories are told, who can tell them, and who is believed? What forms and strategies of narration are available and to whom? Our focus on tongues—both linguistic and anatomical—allows us to ask questions about the forms that language takes and the relationship of narrations and language to the body. How have women engaged and re-deployed existing myths and narratives? How is the self both constructed and policed through narratives of gender, race, class, sexuality, family? In our analyses, we’ll work to challenge fixed or binary understandings of gender and power by asking how these writers engage and challenge the various ways in which the category of “women” is constructed within culture.
Readings are subject to change but may include The Hymn to Demeter, selections from Ovid’s Metamorphoses, selected poems by Sor Juana Ines de la Cruz, Toni Morrison’s The Bluest Eye, Yvette Christianse’s Castaway, and/or selections from Cherrie Moraga’s Loving in the War Years and Theresa Hak Kyung Cha’s Dictee and critical conversation texts by authors including Gloria Anzaldúa, Sara Ahmed, and Audre Lorde.
Women and Culture: Seeing, Surveilling, and Performing
In this Women and Culture section, we will read texts that raise questions about how gender, race, class and sexuality are performed under the surveillance of culture. We will discuss not only how performance helps to create and stabilize categories that include and exclude, but also how performance can disrupt and destabilize these categories. Literary texts will include Passing by Nella Larsen, Fantomina by Eliza Haywood, poems by Ovid, and the film Paris is Burning. Secondary texts will include Sara Ahmed, Talia Bettcher, Judith Butler, Mary Ann Doane, W.E.B Dubois, Frantz Fanon, Michel Foucault, Jack Halberstam, bell hooks, Audre Lorde, Laura Mulvey, and James C. Scott.
*NOTE: All readings listed in the course descriptions below are subject to change.
FALL 2019
Women & Culture: Difference and Identity
People who love reading fiction and poetry, or who love the theater, often say that they do because it expands their emotional lives by allowing them to understand the experiences of others without needing actually to undergo those experiences. But when this happens, does it happen because these people are already predisposed to such different experiences, or can fiction provide us with true insights into others’ realities? And when it does provide insight, does it change anything in the world? How can fictional texts help us see the lives of others in new ways?
This course aims to build on your current writing and interpretative skills as we examine how writing changes minds. We will read literary texts that explore the power of beauty to prompt violence (Hawthorne, Balzac), and the conflicts that can arise when personal loyalty conflicts with the law (Morrison, Sophocles). We will also work with theories drawn from philosophy and anthropology (Butler, Behar) that will help guide our critical interpretations of these fictional texts.
Our writing and research assignments will all be designed to assist you in addressing problems of difference and identity that we uncover these readings, as we work together to prepare for the increasingly complex inquiries college will open up.
Women & Culture: Reading the Body
In this course, we’ll think of the human body as a text we can “read” — one that represents, responds to, and negotiates the world(s) it inhabits. Tracing literary depictions of the body from ancient Rome, the Harlem Renaissance, witnesses to los desaparecidos (“the disappeared”) in Latin America, and recent feminist sci-fi and speculative fiction, we will ask: What do these writers tell us about and through the body, particularly about histories of colonialism, knowledge, resistance, and identity formation? How do the literary and scholarly texts we read both define and reimagine the body? What ways of thinking do these texts resist and inspire? Through our readings and class discussions, we will unpack how literature about the body both scripts and resists inscription, produces culture and yet is borne from it.
Readings are subject to change, but will likely include literature by Ovid, Octavia Butler, Isabel Allende, and Nella Larsen, as well as select texts from feminist, queer, postcolonial, and critical race studies. All required texts will be available in the library and for purchase at Book Culture (not to exceed $30).
Note: Many of the readings for this class depict different forms of sexual and identity-based violence. I believe these texts are important for understanding the relationships between power, identity formation, and the body. We'll spend some time as a class at the beginning of the semester talking about how we can work through the discomfort this material can prompt.
Legacy of the Mediterranean: Women and Violence
This course will focus on female characters from ancient Greece and Rome and on their legacies. In texts both ancient and modern, we will examine women as agents and victims of various forms of psychic and physical violence. (These forms of violence include, among others, abandonment, manipulation, deception, sexual violence, murder, and suicide.) Our discussions will cover such topics as: the role of love and lust in violence by and against women; questions of bodily autonomy, consent, and power; patriarchal structures and gender roles; authorship and voice; and intersections between gender, sexuality, class, and ethnicity.
We will also explore the concept of “legacy” in relation to violence and power. Following several female characters through various literary adaptations, we will consider the agency of women to write and re-write their own stories. We will examine the ways in which the legacies of these characters perpetuate violence against women, serving (as Atwood writes in her Penelopiad) as “sticks with which to beat other women.” We will also examine, conversely, the ways in which the legacies of these characters provide avenues for resistance, and for speaking out against violence and oppression.
Our readings and discussions will focus on the Greco-Roman classical tradition and thus draw upon only a small part of the Mediterranean world. Despite this limited scope, the course will present opportunities for students to explore in their own research (and with the professor’s guidance) texts and traditions from elsewhere in the Mediterranean, including North Africa and the Middle East.
Readings (subject to change) may include: Ovid’s Metamorphoses, Virgil’s Aeneid, Ovid’s Heroides, Euripides’ Medea, Cherrie Moraga’s The Hungry Woman, Homer’s Odyssey, Katerina Anghelaki-Rooke’sScattered Papers of Penelope, and Margaret Atwood’s Penelopiad.
First-Year Writing and First-Year Seminar are foundational elements in a student's academic experience, giving students academic skills Barnard considers necessary for future success at the college. For this reason, as with courses students take to fulfill a major or minor requirement, understanding how a student has mastered these skills requires a more specific and nuanced assessment than a simple Pass/Fail. Therefore, students may not take either First-Year Seminar or First-Year Writing courses Pass/Fail.