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THE COMPLEAT GARGOYLE - Graham School of General Studies ...

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James Joyce’s Dubliners<br />

James Joyce’s 15 Dubliners short<br />

stories are jewels: detailed, radiant,<br />

edge-cut. Joyce’s capturing <strong>of</strong><br />

Irish—and human—psychology; <strong>of</strong><br />

nationalist, religious, and family<br />

webs; <strong>of</strong> nuances <strong>of</strong> language is all<br />

so provocative that he had to fight<br />

for nine years to get the Dubliners<br />

1914 collection published. From<br />

the funny—and fraught—youthful<br />

stories through “Araby,” the middle<br />

tales’ longings and dashings through<br />

middle life, to the senses <strong>of</strong> truth,<br />

loss, time, and mystery found in<br />

the crowning “The Dead,” Joyce’s<br />

epiphanies reveal great Art, and<br />

great Life.<br />

Claudia Traudt<br />

See bio under James Joyce’s Ulysses.<br />

Course Code BPUJJD<br />

Section 12U1<br />

Summer 2012<br />

Gleacher Center<br />

$335 Early registration ends June 13<br />

$365 Regular registration<br />

Tuesdays<br />

June 19–August 7<br />

10 am–1:15 pm<br />

Teacher Recertification CPDUs: 24<br />

Novels <strong>of</strong> Thomas Hardy I:<br />

Under the Greenwood Tree<br />

and Tess <strong>of</strong> the D’Urbervilles<br />

Thomas Hardy, younger contemporary<br />

<strong>of</strong> George Eliot, can easily be<br />

called the greatest British novelist<br />

<strong>of</strong> the end <strong>of</strong> the 19th century.<br />

Standing out for the depth <strong>of</strong> his<br />

characterizations and his powerful<br />

treatment <strong>of</strong> place, Hardy’s novels<br />

are imbued with a deep critical<br />

social and philosophic consciousness<br />

that is anti-Victorian, and, in<br />

the case <strong>of</strong> his later novels, provoked<br />

extreme controversy that eventually<br />

forced him to give up writing fiction.<br />

We will begin our study <strong>of</strong> Hardy<br />

by pairing one <strong>of</strong> his early novels,<br />

Under the Greenwood Tree, with one<br />

<strong>of</strong> the late masterpieces, Tess <strong>of</strong> the<br />

D’Urbervilles.<br />

Clare Pearson<br />

See bio under Heidegger’s The<br />

Principle <strong>of</strong> Reason.<br />

Course Code BPUNTH<br />

Section 12U1<br />

Summer 2012<br />

Gleacher Center<br />

$210 Early registration ends June 13<br />

$240 Regular registration<br />

Wednesdays<br />

June 20–July 25 (no class July 4)<br />

10 am–1:15 pm<br />

Teacher Recertification CPDUs: 15<br />

Please read the Preface and first two<br />

parts <strong>of</strong> Under the Greenwood Tree<br />

for the first class.<br />

William Faulkner’s Intruder in<br />

the Dust and Light in August<br />

We will engage in Faulkner’s<br />

Yoknapatawpha County’s Light in<br />

August and Intruder in the Dust,<br />

intriguingly different in tone. In<br />

the first, we will trace the love,<br />

grief, hatred, grace, violence, and<br />

uncertainty in self-hunting Joe<br />

Christmas, pregnant and trusting<br />

Lena Grove, innocent Byron Bunch,<br />

Abolitionist-descended Joanna<br />

Burden, and the complex Reverend<br />

Hightower’s—and other Jefferson<br />

denizens’—attempts to live. In the<br />

latter, we will explore—<strong>of</strong>ten laugh,<br />

sometimes cringe—as a young black<br />

and young white boy, a salty spinster,<br />

and his own ramrod righteousness<br />

work to clear black McCaslin<br />

descendant Lucas Beauchamp <strong>of</strong> a<br />

wrongful murder charge.<br />

Claudia Traudt<br />

See bio under James Joyce’s Ulysses.<br />

Course Code BPUWFI<br />

Section 12U1<br />

Summer 2012<br />

Gleacher Center<br />

$335 Early registration ends June 13<br />

$365 Regular registration<br />

Wednesdays<br />

June 20–August 15 (no class July 4)<br />

10 am–1:15 pm<br />

Teacher Recertification CPDUs: 24<br />

Humanities<br />

Before the Cemetery: Eco’s<br />

Early Novels<br />

Once upon a time, an internationally<br />

respected literary scholar and<br />

pr<strong>of</strong>essor <strong>of</strong> semiotics “wanted to<br />

poison a monk,” in Umberto Eco’s<br />

own words explaining why he began<br />

a new career as a novelist. Thirty<br />

years later, Eco’s novels continue to<br />

incarnate the same philosophical<br />

questions as his scholarship, and<br />

(most recently with The Prague<br />

Cemetery) intrigue millions <strong>of</strong><br />

readers with their testing <strong>of</strong> the<br />

boundaries between images and<br />

ideas, fantasies and realities. This<br />

summer we will explore the new<br />

worlds created in Eco’s first three<br />

novels: The Name <strong>of</strong> the Rose,<br />

Foucault’s Pendulum, and The Island<br />

<strong>of</strong> the Day Before.<br />

Michaelangelo Allocca<br />

Mr. Allocca has been a journalist,<br />

chef, classicist, linguist, and theologian.<br />

He has taught and traveled<br />

in Alabama, Greece, Italy, Poland,<br />

Spain, and Chicago, in disciplines<br />

including algebra, Sanskrit,<br />

Shakespeare, Santeria, and Scholastic<br />

philosophy. He received the<br />

2010 <strong>Graham</strong> <strong>School</strong> Excellence<br />

in Teaching Award for the Basic<br />

Program.<br />

Course Code BPUBCE<br />

Section 12U1<br />

Summer 2012<br />

Gleacher Center<br />

$250 Early registration ends June 13<br />

$280 Regular registration<br />

Wednesdays<br />

July 11–August 8<br />

10 am–1:15 pm<br />

Teacher Recertification CPDUs: 18<br />

Please read through the end <strong>of</strong> the<br />

Second Day in The Name <strong>of</strong> the Rose<br />

for the first class.<br />

Residual Statements and<br />

Volatile Truths: Reading<br />

Thoreau’s Walden<br />

Novelist John Updike observes that<br />

Thoreau’s Walden is in danger <strong>of</strong><br />

being as revered—and unread—as<br />

the Bible. This course is intended<br />

to rectify that deficiency. We will<br />

engage in a close, slow reading <strong>of</strong><br />

the text, a work that Updike further<br />

describes as the one that, <strong>of</strong> all the<br />

“densely arisen” classics <strong>of</strong> the mid-<br />

19th century, has contributed most<br />

to America’s sense <strong>of</strong> self.<br />

Texts & Contexts<br />

11

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