Reading Literature: Fantastic This course seeks to develop skills for the close reading of literature through discussion of and writing about selected poems, plays, and short stories. A basic vocabulary of literary terms and an introductory palette of critical methods will also be covered, and the course's ultimate goal will be to enable students to attain the skills and tools vital to further course work in the major.

Reading Women's Writing: Living a Feminist Life from Mary Wollstonecraft to Sara Ahmed In this course we will investigate the tradition of women's writing in English from the sixteenth century to the present day, focusing on the complex relationships among writing, sexuality, race, and gender.  We will consider the ways in which writers identifying as female respond to--and often subvert--traditional literary themes and conventions. An organizing focus of our reading will be the articulation or suppression of female anger and other related emotions in a variety of repressive contexts. Though our focus will be primarily on the interpretation of literary works, we will also develop an awareness of relevant debates in feminist theory, from Mary Wollstonecraft’s revolutionary contribution to notions of female education to Sara Ahmed’s concept of the feminist “killjoy.”  Other texts may include: Jane Austen, Mansfield Park; Margaret Cavendish, The Convent of Pleasure; Grace Cho, Tastes Like War; Brittney Cooper, Eloquent Rage; Harriet Jacobs, The Life of a Slave Girl; Toni Morrison, Sula; Carmen Maria Machado, Her Body and Other Parties; Meredith Talusan, Fairest; and Virginia Woolf, A Room of One’s Own, and Mrs Dalloway.

Reading Women's Writing: Living a Feminist Life from Mary Wollstonecraft to Sara Ahmed In this course we will investigate the tradition of women's writing in English from the sixteenth century to the present day, focusing on the complex relationships among writing, sexuality, race, and gender.  We will consider the ways in which writers identifying as female respond to--and often subvert--traditional literary themes and conventions, looking critically as we do so at our own interpretive assumptions as readers. An organizing focus of our reading will be the articulation and/or suppression of female anger and other related emotions in a variety of repressive contexts. Though our focus will be primarily on the interpretation of literary works, we will also develop an awareness of relevant debates in feminist theory, from Mary Wollstonecraft’s revolutionary contribution to notions of female education to Sara Ahmed’s concept of the feminist “killjoy.”  Other texts may include: Jane Austen, Mansfield Park; Virginia Woolf, Mrs Dalloway; Toni Morrison, Sula; Tsitsi Dangarembga, Nervous Conditions; Brittney Cooper, Eloquent Rage; Carmen Maria Machado, Her Body and Other Parties; Kristen Roupenian, You Know You Want This, Rebecca Traister, Good and Mad: The Revolutionary Power of Women’s Anger.

Introduction to Contemporary Literary Theory In this course we will introduce several major schools of contemporary literary theory. By reading theoretical texts in close conjunction with works of literature, we will illuminate the ways in which these theoretical stances can produce multiple interpretations of a given literary work. The approaches covered may include New Criticism, Psychoanalysis, Marxism and Cultural Criticism, Race Theory and Multicultural Criticism, Feminism, Post-Colonial Criticism, Queer Studies, Eco-Criticism, Post-Structuralism, and others. These theories will be applied to various works of fiction, poetry, and drama. The goal will be to make students critically aware of the fundamental literary, cultural, political, and moral assumptions underlying every act of interpretation they perform.

English Literature Survey: 1800-Present This course is designed as an introductory survey of English poetry, fiction, plays, and non-fiction prose from the late 18th century to the present. We will look at literary innovations and trends as we read a broad range of texts from the Romantic, Victorian, Modern, and Contemporary eras in their social, historical, and cultural contexts.

Literature and the Visual Arts In this course, we will explore the intersection of literary texts and visual artworks. We will read literary works which respond to specific paintings and look at artworks which respond to specific literary works; we will also look at literature which strives to be visual and artworks which try to tell stories. Additionally, we will examine hybrid texts which include both words and images, such as the graphic novel, illuminated manuscripts, children's picture books, and composite/engraved poetry. Course readings will include poems, short stories, illustrated books, and graphic novels from English and American literary traditions from the 18th century through the present; visual art examples will be drawn primarily from European and American painting, sculpture, and installation art from Antiquity to the present.

Victoria's Secrets Known as the great age of the realist novel and the epitome of staid decorum, the nineteenth century also had its guilty pleasures--mysteries, ghost stories, science fiction, adventure tales, and more--which exposed a radical underside to the Victorian imagination where norms of gendered, racial, and ethnic identity were called into question. In this course we will read both canonical realist novels and their non-traditional counterparts in an attempt to understand the productive interplay between these two seemingly disparate literary traditions. Authors may include: Austen, Dickens, Eliot, Hardy, the Brontës, Wilkie Collins, R.L. Stevenson, Arthur Conan Doyle, H.G. Wells, Bram Stoker, Mary Elizabeth Braddon, and others.

Victoria’s Secrets Known as the great age of the realist novel and the epitome of staid decorum, the nineteenth century also had its guilty pleasures--mysteries, ghost stories, science fiction, adventure tales, and more--which exposed a radical underside to the Victorian imagination where norms of gendered, racial, and ethnic identity were called into question. In this course we will read both canonical realist novels and their non-traditional counterparts in an attempt to understand the productive interplay between these two seemingly disparate literary traditions. Authors may include: Austen, Dickens, Eliot, Hardy, the Brontës, Wilkie Collins, R.L. Stevenson, Arthur Conan Doyle, H.G. Wells, Bram Stoker, Mary Elizabeth Braddon, and others.

Literature and the Visual Arts In this course we will explore the intersections of literary texts with the visual arts. What happens when literature tries to capture in words a visual image? What happens when a picture tries to tell a story? We will examine literary texts which respond directly to specific paintings as well as texts which are more broadly visual in their impact on readers; we will also look at hybrid texts like the graphic novel which include both words and images. Course readings will include poems, short stories, short novels, illustrated books, and graphic novels. We will also look at a wide range of paintings, sculptures, and other visual artifacts.

Animals in Literature and Culture Animals, wrote anthropologist Claude Levi-Strauss, are good to think with. They are good to write with as well; almost all works of literature include animals, their importance varying from the merely peripheral to the absolutely central.  Among other narrative functions, animals serve as essential metaphors for understanding the human animal. In this course we will read a wide variety of fiction, poetry, children's literature, philosophy, science, history, and cultural theory from Ancient Greek sources (in translation) to the present. We will consider theoretical, ethical, religious, psychological, linguistic, and political issues pertaining to animals and their representation in literary texts. lect./disc.

Towards a Poetics of Community Why read literature? One answer: such reading is not individual but communal. It links readers to each other in aesthetic experience, in ethical and hermeneutic debate, and in appreciation for writers and fellow readers. As we read literary texts from different times, cultures, and genres, we will examine how they anticipate, create, or recreate readerly communities, and how these communities in turn help shape the texts as they are experienced. We will also strive to form our own readerly community—one that is as inclusive and as intellectually generous as possible. We will begin with close analysis of poetry in various forms from various historical periods. We will then read dramas by such playwrights as William Shakespeare, Margaret Edson, and/or Lolita Chakrabarti, as well as two works from among such prose writers as Charles Dickens, Emily Brontë, Herman Melville, Mark Twain, Marilynne Robinson, Virginia Woolf, Toni Morrison, Ian McEwan, Walter Moseley, and Jean Rhys.

Writer's Decathlon One of the best skills a writer can hope to cultivate is flexibility—the ability to write for different audiences, different situations, different media, and with different goals in mind. In this course we will develop our skills as flexible writers by tackling ten different writing exercises, including the op-ed, several sub-genres of the traditional academic paper, personal essays, creative fiction, the persuasive essay, business communications, modern tech-based genres, and more—we may even try our hand at writing an old-fashioned love letter with a quill pen. We will workshop our writings in class regularly, and examples of these various genres will be our course readings.

Antonia Losano

Reviews and ratings for Antonia Losano at Middlebury College.Antonia Losano teaches Reading Literature, Reading Women's Writing, Intro:Contemporary Lit. Theory and more.  Explore top rated instructors and find the best for you.Is Antonia Losano good ? Find out on MiddCourses.

Very engaging and fun, but be ready to read a book a week. Every week or so there are writing reflections, but she isn't too harsh of a grader on them. Overall, would take again. Don't take if you don't like reading a lot.

Antonia is genuinely one of the kindest professors I’ve met at Middlebury. The course can be a bit challenging since literary theory is pretty abstract, but she does a really good job of breaking down each concept and explaining it clearly. There are two essays and two take-home midterms. The reading load is probably heavier than in some other classes, but overall it’s still very manageable. Definitely a good class if you’re interested in literary theory.

Great class, super interesting, amazing and engaging professor. If you are not an English Lit major, it can get a little boring, but the books make up for it. Lots of reading (about a book every week), but they are great books