In this second lecture on Flannery O'Connor's Wise Blood, Professor Amy Hungerford continues to offer several specific contexts in which to read and understand the novel. Having used O'Connor's letters to delve into her theological commitments in the previous lecture, Professor Hungerford now explores the southern social context, particularly with respect to race and gender, and the New Critical writing program of which O'Connor was a product.

Professor Amy Hungerford's first lecture on Flannery O'Connor's Wise Blood addresses questions of faith and interpretation. She uses excerpts from O'Connor's copious correspondence to introduce the critical framework of O'Connor's Catholicism, but invites us to look beyond the question of redemption. What do characters see in this text, and what are they blind to? What do we see as readers, and how does methodology shape this vision?

Professor Amy Hungerford continues her discussion of Richard Wright's classic American autobiography, Black Boy. Through a close analysis of key passages, she demonstrates an oscillation in the narrative between the socioeconomic deprivations and racial jeopardy confronting its characters, and the compensations to be found in sensual experience, the imagination, and in particular, the power of words.

In this first lecture Professor Hungerford introduces the course's academic requirements and some of its central concerns. She uses a magazine advertisement for James Joyce's Ulysses and an essay by Vladimir Nabokov (author of Lolita, a novel on the syllabus) to establish opposing points of view about what is required to be a competent reader of literature. The contrast between popular emotional appeal and detached artistic judgment frames literary debates from the Modernist, and through the post-45 period.

Professor Kleiner presents the architecture of Constantine the Great, the last pagan and first Christian emperor of Rome, who founded Constantinople as the "New Rome" in A.D. 324. She notes that Constantine began with commissions that were tied to the pagan past (the Baths of Constantine in Rome) but built others (the Aula Palatina at Trier) that looked to the Christian future. Professor Kleiner makes an impassioned case that some of the finest and most innovative Roman buildings date to the Constantinian period.

Professor Kleiner characterizes third-century Rome as an "architectural wasteland" due to the rapid change of emperors, continuous civil war, and a crumbling economy. There was no time to build and the only major architectural commission was a new defensive wall. The crisis came to an end with the rise of Diocletian, who created a new form of government called the Tetrarchy, or four-man rule, with two leaders in the East and two in the West.

Professor Kleiner explores the architecture of the western provinces of the Roman Empire, focusing on sites in what are now North Italy, France, Spain, and Croatia. Her major objective is to characterize "Romanization," the way in which the Romans provide amenities to their new colonies while, at the same time, transforming them into miniature versions of the city of Rome. Professor Kleiner discusses the urban design of two Augustan towns before proceeding to an investigation of a variety of such established Roman building types as theaters, temples, and aqueducts.

Professor Kleiner discusses the rebirth of Athens under the Romans especially during the reigns of the two philhellenic emperors, Augustus and Hadrian. While some have dismissed the architecture of Roman Athens as derivative of its Classical and Hellenistic Greek past, Professor Kleiner demonstrates that the high quality of Greek marble and Greek stone carvers made these buildings consequential. In addition some structures provide evidence for the frequent and creative exchange of architectural ideas and motifs between Greece and Rome in Roman times.

This lecture examines Inferno IV -VII. Dante's Limbo, modeled on the classical locus amoenus, is identified as a place of repose and vulnerability. Here, in fact, among the poets of antiquity, the pilgrim falls prey to poetic hubris by joining in their ranks. The pilgrim is faced with the consequences of his poetic vocation when he descends to the circle of lust (Inferno V), where Francesca da Rimini, in her failure to distinguish romance from reality, testifies to the dangers inherent to the act of reading.

Professor Mazzotta introduces students to the Divine Comedy, focusing on the first four cantos of Inferno. Stylistic, thematic and formal features of the poem are discussed in the context of its original title, Comedy. The first canto is read to establish the double voice of the poet-pilgrim and to contrast the immanent journey with those described by Dante's literary precursors. Among these is the pilgrim's guide, Virgil.