I like to think that I’ve taught every kind of course in every possible context (all right, I am exaggerating a bit, but not by that much). I’ve taught introductory and advanced seminars at a small liberal arts college in the US, delivered ‘supervisions’ for Cambridge undergraduates, and taught introductory lecture courses at public universities in Belgrade and Hong Kong. 
What does it mean to become someone in a world as complex as the one we inhabit—a world defined by rapid globalization, by the legacies of colonialism, by unprecedented mass migrations? This course aims to answer such questions by exploring the creative responses to the experience of growing up and building an individual identity in contemporary fiction: focusing on books and films created between mid-1980s and the early years of our century, we follow young women and men exposed to colonial oppression, struggling with conflicting cultural demands, and seeking to navigate the complexities of immigrant experience. We will focus on such topics as the legacies of slavery in contemporary Caribbean narratives, coming of age in post-colonial Africa, and the immigrant experience in Europe and the US.  
This course introduces students to that strange, exciting, and paradoxical period known as the Victorian Age — the time of unprecedented economic expansion, the growth of great urban centers, technological change, and scientific advancement, but also of shocking urban poverty, political unrest, and imperial expansion. In order to understand this contradictory period we will turn to such writers as Charles Dickens, Elizabeth Barrett Browning, Charlotte Bronte, and Elizabeth Gaskell.  We also engage a healthy dose of Victorian musings on revolutionary violence (Thomas Carlyle), gender roles (Harriett Martinaeu), and poverty (Friedrich Engels, Henry Mayhew, and just about everyone else).
We begin at the beginning, which is to say: with Ibsen and Strindberg. We then march through a succession of  great twentieth-century plays which exemplify some of the major tendencies of the century. We look at such texts as Six Characters in Search of an AuthorWaiting for Godot (obviously), Long Day’s Journey into Night, and Death of a Salesman. We also look at some contemporary cinema and reflect, along with Raymond Williams and George Steiner, whether there is such a thing as modern tragedy (of course there is).
A series of two consecutive courses intended to help first-year students  master some of the basic theoretical concepts and main developments in the history of literature in English. We examine a range of concepts related to genre (tragedy, short story, lyric poetry, farce), periodization (Romanticism, Modernism, Avant-Garde), technique (deux ex machina, narrative perspective, stream of consciousness), and read texts by authors as diverse as Shakespeare, Wordsworth, Oscar Wilde, T.S. Eliot, Virginia Woolf, Langston Hughes, Jean Rhys, Toni Morrison, and Jhumpa Lahiri.
We cover as much as we can reasonably chew on. Our aim is to explore the unique variety of things that passed as ‘novels’ over the past three hundred years or so. We begin with Daniel Defoe’s Robinson Crusoe (1719), an important early example of the modern novel, then move to Jane Austen’s remarkable use of romantic comedy in Pride and Prejudice (1813)With Charles Dickens’ A Tale of Two Cities (1859) we explore the genre of the historical novel, and with Virginia Woolf’s The Waves (1931) we move into the demanding territory of modernist fiction. We end with  Ray Bradbury’s dystopian Fahrenheit 451 (1953).  In the process, we examine various ideas about novelistic form (including those of Russian Formalists and French Structuralists), along with a range of important reflections on the novel’s relationship to history and society (such as those by Georg Lukacs, Mikhail Bakhtin, and Franco Moretti).