Course Archive

Spring 2020

ENGL 1330-001—The World of Shakespeare. 

TTh 9:30–10:50.  110 Hyer Hall.  Neel.        2012: CA1  2016: LL.

Introductory study of eight major texts, with background material on biographical, cultural, historical, and literary topics.  Five tests, written mid-term and final exams, and one extra credit opportunity.  Play texts from the free Folger Shakespeare Library Digital Archive; lecture templates posted electronically on Canvas.  Theme for the semester: Shakespeare’s use of Ancient Rome for his plays.  We will begin with “The Rape of Lucrece,” which recounts the founding of the Roman Republic in 509 BCE, and end with Titus Andronicus, which describes Rome at the collapse of the Roman Empire about 380 CE.  And by reading such plays as Julius CaesarAntony and Cleopatra, and Cymbeline, we will trace the trajectory of Rome through the flourishing and collapse of the Republic followed by the expansion and collapse of the Empire. Satisfies UC 2016 Breadth: Language and Literature; counts as an elective in both the English major and the English minor.

 

ENGL 1363-001—The Myth of the American West.

TTh 2:00–3:20.  115 Dallas Hall.  Weisenburger.    2012: CA1, HC1 2016: CA, HC.

In this course we study how and why 19th century realities of conquering the American West morphed into 20th century legend and myth. We also ask what defines those forms, how they changed, and why they endure. Our case studies include Texas emigrant Cynthia Ann Parker’s captivity among the Comanche people, as presented in factual, fictional, and cinematic versions; and then make a similar study of Buffalo Bill Cody’s celebrity in the late-19th century. We next turn to the ways that the romance of horse culture and gunfighters in late-19th and early-20th century paintings and sculpture, fictions and films, brought the Myth of the American West to its fullest expression. We conclude by studying revisions of that myth in contemporary film and fiction. Readings include historical and biographical sources, three classic Western novels, and a selection of popular Western films from the Silent Era to the present. Course requirements: evening viewing of 3 feature films, brief response papers, mid-term, and final exam. 

 

ENGL 2102-001—Spreadsheet Lit: Excel.

M 3:00–3:50.  149 Dallas Hall.  Dickson-Carr, Carol. 

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2102-002—Spreadsheet Lit: Excel.

W 3:00–3:50.  149 Dallas Hall.  Dickson-Carr, Carol. 

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2302-001—Business Writing.

TTh 12:30–1:50.  351 Dallas Hall.  Dickson-Carr, Carol.    2012: IL, OC, W 2016: IL, OC, W

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2302-002—Business Writing.

TTh 2:00–3:20.  351 Dallas Hall.  Dickson-Carr, Carol.     2012: IL, OC, W 2016: IL, OC, W

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

ENGL 2311-001—Introduction to Poetry: Image, Form, Experiences.

TTh 9:30–10:50.  106 Dallas Hall.  Holahan.           2012: CA2, W, OC 2016: LL, W, OC

Introduction to the study of poetry and how it works, examining a wide range of poems by English and American writers. Special attention to writing about literature.

 

ENGL 2311-002—Introduction to Poetry: Image, Form, Experiences.

TTh 12:30–1:50.  157 Dallas Hall.  Holahan.           2012: CA2, W, OC 2016: LL, W, OC

Introduction to the study of poetry and how it works, examining a wide range of poems by English and American writers. Special attention to writing about literature.

 

ENGL 2311-003—Introduction to Poetry.

MWF 11:00–11:50.  156 Dallas Hall.  Rosendale.     2012: CA2, W 2016: LL, W

Can poetry help you live a better life?  In this course, we will talk about what poetry is, why it exists, how it works, what can be done with it, and why it’s fun, interesting, and important.  We will attend to various aspects of sound, form, and language, and how they combine to generate meaning.  We will, by working through great poems together, see how analysis leads to understanding (of poems, ideas, the world, and ourselves) and then to pleasure.  We’ll read lots of great British and American poems, many good ones, and a few awful ones, from the middle ages to the present day.  We’ll find poetry in unexpected places, and we’ll find unexpected things in it.  We’ll talk and sometimes argue, as we should, about what, and how, poems mean.  By the end of the course, you’ll have a much fuller sense of what poetry has to offer, and how to make the most of it. 

University Curriculum: 2012 Creativity and Aesthetics II and Writing; 2016 Language & Literature and Writing

 

ENGL 2312-001—Introduction to Fiction: (In)tolerable Heroines.

TTh 2:00–3:20.  142 Dallas Hall.  McWilliams.       2012: CA2, W 2016: LL, W

Tolerable. Ungrateful. Untried and nervous. These are but a few of the terms used to describe the female protagonists who appear on our syllabus this semester. How do these women come to acquire such labels? Under what evaluative frameworks do they receive their unflattering titles? What social structures necessitate their defamation? This introduction to fiction focuses on the figure of the strange, nonconforming, and occasionally intolerable woman and that woman’s relationship to those around her. Our class time will prioritize discussion and the critical thinking that comes with close reading. Expect three essays, a final, occasional reading quizzes, and robust classroom discussion.

 

ENGL 2312-002—Introduction to Fiction: The American Novel, 1960-2020

TTh 11:00–12:20.  357 Dallas Hall.  Weisenburger.            2012: CA2, W 2016: LL, W

A course sampling some of the most compelling voices in American fiction, 1960-2020: novels treating violence, race, eco-disaster, love, loss, and escape. Our readings also span a range of fictional modes: detective fiction and fantasy, humor and satire, and especially modes of historiography in fiction. Our novels: Thomas Pynchon, The Crying of Lot 49 (1966); Leslie Marmon Silko, Ceremony (1977); Don DeLillo, White Noise (1985); Toni Morrison, Beloved (1987); Walter Mosley, Devil in a Blue Dress (1990); Sherman Alexie, Indian Killer (1994); Denis Johnson, Train Dreams (2002); Cormac McCarthy, No Country for Old Men (2005); Colson Whitehead, Underground Railroad (2016). A mix of discussion and lecture. Required work includes: four essays, a mid-term, and final. 

 

ENGL 2312-003—Introduction to Fiction: Classic Short Stories and Contemporary Novels.

TTh 8:00–9:20.  143 Dallas Hall.  Hill.         2012: CA2, W 2016: LL, W

This course is an introduction to narrative fiction. The goal is to introduce you to the structural elements of fiction (point of view, character, story and discourse, setting, style, tone, etc.) and to teach you how to recognize these elements and analyze the roles they play in the assigned texts. We will begin by reading several “classic” or canonical 19th and 20th short stories before moving on to three 21st century novels. Close and careful reading and active participation are essential to your success in this class.

 

ENGL 2315-001—Introduction to Literary Study.

MWF 10:00–10:50.  120 Dallas Hall.  Wilson.          2012: CA2, W 2016: CA, W

Wanderers and wanderings have been literary staples from medieval quests to Oscar-winning films. In turn, the experience of reading a book or film for the first time can take on the quality of an unexpected journey, in which you are hopeful that the destination will be an interesting one, but you are not entirely sure either what it will be or how you will get there. This course will introduce methods of reading and approaches to texts that will help you to navigate a wide range of new literary landscapes by developing habits of wandering productively. Our journey will take us from the classical world to 21st-century America, through a wide array of genres, and accompanied by many different types of speaker. As we will seek to foster our individual literary critical voices, we may all end up at very different destinations but throughout we will be learning how best to make sense of even the most unexpected encounters.

 

ENGL 2315-002—Introduction to Literary Study: Danger: Novels.

TTh 11:00–12:20.  138 Dallas Hall.  Sudan.              2012: CA2, W 2016: CA, W

“[Novels] impair the mind’s general powers of resistance which lays the mind open to terror and the heart to seduction.” So writes Hannah More at the end of the eighteenth century, noting that the noble pleasure of reading was tainted by the scurrilous seductions of prose. But what is it about this literary form that caused such a panic among the educated classes of Britain? This course will examine the dangerous and often scandalous genre of the novel in order to answer some of this question. We will begin our investigation at the end of the eighteenth century, with the advent of the Gothic novel, and extend our inquiry through the twentieth and twenty-first centuries, thinking about other dangerous forms—film, social media—along the way.

 

ENGL 2390-001H—Honors Introduction to Creative Writing: Next Year’s Words.

T 3:30–6:20.  221 Annette Simmons Hall.  Brownderville.         2012: CA1, W 2016: CA, W

“last year’s words belong to last year’s language

And next year’s words await another voice.”

                                                            —T. S. Eliot, “Little Gidding”

It is sometimes said that literature has always been, and will always be, about love and death. If so many beautiful books have already been written on these great themes, why do we need new writing? As James Baldwin put it, the human story “has another aspect in every country, and a new depth in every generation.” It must be told again.

This course is a poetry workshop, where timeless themes meet the new words of now. Students will write and revise their own poems, respond both verbally and in writing to one another’s work, and analyze published poems in short critical essays. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communications skills. There is no textbook; the instructor will provide handouts. As this is an introductory course, prior experience in creative writing is not necessary.

Next Year’s Words, an Honors section of our introductory Creative Writing course, is about the tremendously exciting, and culturally necessary, adventure of the young writer. It’s about singing truth-song in a voice never heard before on earth.

This year can’t write the poems of 2020. Next year’s poetry needs next year’s words.

 

ENGL 2390-002—Introduction to Creative Writing.

TTh 3:30–4:50.  106 Dallas Hall.  Gabbert.             2012: CA1, W 2016: CA, W

The subject of this course is the magic of language. How do writers use voice, imagery, metaphor, character, plot, and other elements of their craft to compel the reader’s imagination? To begin answering this question, students will write and revise their own pieces; respond both verbally and in writing to one another’s work; and analyze published texts. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students hone their skills as oral communicators and collaborative thinkers. As this is an introductory course, prior experience in creative writing is not necessary.

 

ENGL 2390-003—Introduction to Creative Writing.

MWF 3:00–3:50.  157 Dallas Hall.  Smith.               2012: CA1, W 2016: CA, W

In this class, students will write and revise stories, respond to one another’s work, research literary journals and give an oral presentation, and analyze published texts. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to present one of the stories to the class. Prior experience in creative writing is not necessary.

 

ENGL 2390-004—Introduction to Creative Writing.

MWF 11:00–11:50.  120 Dallas Hall.  Smith.             2012: CA1, W 2016: CA, W

In this class, students will write and revise stories, respond to one another’s work, research literary journals and give an oral presentation, and analyze published texts. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to present one of the stories to the class. Prior experience in creative writing is not necessary.

 

ENGL 2390-005—Introduction to Creative Writing.

MWF 9:00–9:50.  105 Dallas Hall.  Smith.  2012: CA1, W 2016: CA, W

In this class, students will write and revise stories, respond to one another’s work, research literary journals and give an oral presentation, and analyze published texts. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to present one of the stories to the class. Prior experience in creative writing is not necessary.

 

ENGL 3310-001—Contemporary Approaches to Literature.

MWF 10:00–10:50.  143 Dallas Hall.  Murfin.

What counts as “literature”?  How do we read or otherwise experience it—and why?  How can students make sense and use of literary criticism?  This course addresses these questions by introducing the linguistic, cultural, and theoretical issues informing contemporary literary discourse, as well by examining original literary texts and some radically divergent interpretations of them.  (We will begin the course with historicist and deconstructive readings of Joseph Conrad’s story “The Secret Sharer” and end with postcolonial approaches to another classic text.)

 

CLAS 3312-001—Classical Rhetoric.

TTh 12:30–1:50.  102 Hyer Hall.  Neel.        2012: HC2, W, KNOW 2016: HSBS, W, KNOW

Course introduces students to the study of Classical Athens from 509 BCE with the reforms of Ephialtes that began the world’s first formal democracy through the final defeat of Greek autonomy after the Lamian War in 322 BCE. Extensive readings from Thucydides, Lysias, Plato, Isocrates, Demosthenes, and Aristotle as the study of rhetoric and study of philosophy emerged into history. Two out-of-class papers, one in-class paper, and five reading quizzes. Satisfies three UC 2016 requirements: Writing Proficiency; Ways of Knowing; and Depth: History, Social, and Behavioral. Satisfies one course requirement for the Classical Studies program and one elective credit for both the English major and the English minor.

 

ENGL 3318-001—Literature as Data.

MWF 11:00–11:50.  138 Dallas Hall.  Wilson.        2012: W  2016: W, LL, TM

How can literature function as data? This course examines a range of theoretical and technological approaches which allow us to think about literature as data and about what that means for literary interpretation. By interrogating theoretical and practical approaches to using technology to analyze literary texts and comparing these with traditional literary scholarship, this course taps into big questions about how – if at all – digital methods change literary studies, and the extent to which thinking about literature as data really is a new idea. How do data-driven approaches to literary analysis fit in with a broader continuum of textual interpretation? We will work with a broad range of texts spanning different time periods and modes to see if digital methods work differently for different types of writing, with possible readings including John Milton's Paradise Lost, poems by Walt Whitman and Alfred Tennyson, and plays from our archives here at SMU, drawing on these experiences to think about what it means to treat literature as data.

 

ENGL 3320-801C/MDVL 3320-801C—Topics in Medieval Literature: Heading to Heaven?.

Th 11:00–12:20.  306 Dallas Hall.  Wheeler.          2012: CA2, W 2016: HFA, W

Literal and literary medieval pilgrimage culminating in study of two spectacular medieval writers, Dante and Chaucer. Weekly comments, mid-term, final.

Attention English majors: Students may use this class to fulfill the 4000-level English major requirement by undertaking additional work in the course. Contact Prof. Wheeler (bwheeler@smu.edu) for details.

 

ENGL 3320-N20C/MDVL 3320-N20C—Topics in Medieval Literature.

T 11:00–12:20.  306 Dallas Hall.  STAFF.          2012: CA2, W 2016: HFA, W

This course must be taken along with ENGL 3320-801C/MDVL 3320-801C.

 

ENGL 3330-001—Topics in Early Modern Literature: Identity and English Comedy.

MWF 9:00–9:50. 156 Dallas Hall.  Connery.            2012: CA2, W 2016: HFA, W.

After a brief examination of classical comedy (Plautus and Terence), we’ll read chronologically a variety of the great comedies of the Elizabethan and Restoration periods (Shakespeare, Jonson, Beaumont & Fletcher, Behn, Dryden, Wycherley, Vanbrugh) and consider a handful of eighteenth-century sentimental comedies (Cibber, Steele, Pix).  While tracing comic history, we’ll focus on the unique perspective that comedy offers on the relation between social and personal identity. We’ll conclude with selections allowing us to consider the modern and contemporary legacy of classic English comedy. Supplementary readings in theories of funniness and the comic. Class will be largely discussion-based. Students will write and share weekly online responses to the readings, complete take-home midterm and final tests, and write a longish paper.

 

ENGL 3340-001—Topics in British Literature in the Age of Revolutions: Jane Austen’s Novels: Money, Manners, and Morals.

TTh 2:00–3:20. 116 Dallas Hall.  Holahan. 2012: CA2, W 2016: HFA, W.

This course covers the six major novels by Jane Austen.  It considers her repeated variations of courtship rituals: proposal, rejection or acceptance, and marriage.  Along the way, it also studies the literary techniques of narration, characterization, plot development, and style.  Certain topics (e.g., Austen’s various ‘limitations’) are studied in relation to historical background as well as in relation to stylistic      or literary concerns.  We will recall that one person’s focus is another person’s narrowness, and that  something similar might be said of ages.  Attention also goes to Austen’s idea of the novel and to the purposes of writing novels. This topic inevitably raises issues of authorial self-consciousness. Some (Henry James) claim that she had little or none; others (this instructor) claim that she had a good deal, that she plants a landscape garden or map for the modern novel.  Norton Critical Editions of Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. Essays of short to middle length; and a final exam.

 

ENGL 3362-001—African American Literature: Voice & Form in African American Women’s Writing.

TTh 9:30–10:50.  137 Dallas Hall.  Kiser.     2012: CA2, W, HD 2016: HFA, W, HD

In a 1962 speech, Malcolm X declared that “the most disrespected person in America is the black woman. The most unprotected person in America is the black woman. The most neglected person in America is the black woman.” This class will take up the literary works of those women to explore how African American Women Writers posited their voices into the black literary aesthetic. This class will strive to understand how black women’s literature has been shaped by history, culture, and the writers' lived experiences. We will also question what forms were best for representing that work and why. Moving rather quickly, the course will begin with Harriet Jacobs, and then explore Harlem Renaissance novelists Zora Neale Hurston and Jesse Fauset, drama by Lorraine Hansberry and Alice Childress, and take a deep dive into the Black Arts Movement to explore the poetry and short stories of Nikki Giovanni, Gwendolyn Brooks, Sonia Sanchez, Octavia Butler, and contemporary novels by Jesmyn Ward and the late Toni Morrison.

 

ENGL 3379-001—Contexts of Disability.

MWF 10:00–10:50.  106 Dallas Hall.  Satz. 2012: CA2, W, HD, OC, KNOW 2016: HFA, W, HD, OC, KNOW

This course deals with the literary and cultural portrayals of those with disability and the knotty philosophical and ethical issues that permeate current debates in the disability rights movement. The course also considers the ways issues of disability intersect with issues of gender, race, class, and culture. A wide variety of issues, ranging from prenatal testing and gene therapy through legal equity for the disabled in society, will be approached through a variety of readings, both literary and non-literary, by those with disabilities and those currently without them. Writing assignments: three short essays, one longer essay; mid-term, final examination.

Texts: Kupfer, Fern, Before and After Zachariah: A Family Story of a Different Kind of Courage; Haddon, Mark, Curious Incident of the Dog in the Night; Rapp, Emily, Poster Child; Jamison, Kay Redfield, An Unquiet Mind; Lessing, Doris, The Fifth Child; Sarton, May, As We Are Now; Mairs, selected essays; O’Connor, selected stories; selected articles from a variety of disciplines.

 

ENGL 3390-001—Creative Writing Workshop: Digging Deeper.

MWF 1:00–1:50.  120 Dallas Hall.  Smith.                2012: CA2, W 2016: HFA, W.

In this class, students will focus on development of elements of fiction, including characterization, scene, dialogue, plot, setting, significant detail, and perspective. In workshop, students will draft two short stories; complete several writing exercises, attend and respond to literary events, as well as read and critique original narratives by peers.  Workshop members will also analyze published short stories in conjunction with chapters in Writing Fiction: A Guide to Narrative Craft and craft articles by various authors. Toward the end of the semester, each student will be required to researchliterary journals, and give an oral presentation and present one of the stories to the class.

 

ENGL 3390-002—Creative Writing Workshop.

T 3:30–6:20.  153 Dallas Hall.  Kimzey.                2012: CA2, W 2016: HFA, W.

 

ENGL 4339-001—Transatlantic Studies I: Going Native.

TTh 12:30–1:50.  138 Dallas Hall.  Cassedy.                        2012: IL, OC 2016: IL, OC

This course is about two related narratives in Anglo-American culture: the narrative of being taken captive, and the narrative of going native.  Captivity narratives took a number of different forms in the eighteenth and nineteenth centuries, including stories of whites being carried off by Indians, women being imprisoned by nefarious men with sexual designs on them, and sailors being stranded in strange lands and waters.  Some of those captives resisted captivity.  Others embraced it, “going native” and finding that their solitude or captivity allowed them to access parts of themselves that their home societies did not. Readings to include Defoe, Robinson Crusoe; Neville, Isle of Pines; Swift, Gulliver’s Travels; Aubin, Charlotta Du Pont; Winkfield, The Female American; Twain, Huckleberry Finn.

 

ENGL 4343-001—Studies in British Literature in the Age of Revolutions: Victorian Gender and Sexuality.

TTh 11:00–12:20.  106 Dallas Hall.  Newman.                    2012: IL, OC 2016: IL, OC

The word “Victorian” has been a synonym for “prudish” for about a hundred years.  One historian has asserted that the sexes were regarded as more radically, absolutely different during the nineteenth century than any time before or since.  Clearly we’re nothing like them--right?  

If that’s the case, why does the literature of Victorian England still speak so meaningfully and directly to many of us about what it means to be a man or woman? (Think of Jane Eyre, which is still a very popular romance novel.) And why do some icons of what we now think of as “queer” identity first appear in the latter part of the nineteenth-century? (Think of Oscar Wilde, perhaps one of the most famous figures of dissident sexuality even now.) Moreover, in nineteenth-century England prostitution, birth control, what it means to consent to sex and the age when one could do so were all being debated, the term “homosexual” was coined, and gender roles and strict gender difference were first rigidly imposed, and later openly questioned.  We will explore these issues through novels, poetry, essays, dramatic literature, and possibly some contemporary films.

Requirements: 2 short papers (4-5 pages); 1 annotated bibliography plus proposal for related research paper; 1 longer paper with secondary sources—min. 10 pages plus bibliography, which may (optionally) integrate some material from a short paper; 1 in-class presentation; some postings to Canvas discussion board; possible in-class quizzes.

Texts (subject to tweaking!): Brontë, Jane Eyre; Dickens, Great Expectations; Hardy, Tess of the d’Urbervilles; Schreiner, The Story of an African Farm; Wilde, The Picture of Dorian Gray; essays by Walter Pater, poetry by Tennyson, D.G. Rossetti, and Michael Field (the pen name of Katharine Bradley and Edith Cooper); possible other short readings posted on line or distributed in class.

 

ENGL 4369-001—Transatlantic Studies III: LGBT Writing Before and After Stonewall.

TTh 2:00–3:20.  157 Dallas Hall.  Bozorth.              2012: IL, OC, HD 2016: IL, OC, HD

The Stonewall Riots of June 1969 marked the birth of the modern LGBT rights movement, and the decades since have seen the “coming out” of lesbian, gay, and transgender literature as well.  We’ll be reading some of the most influential works by UK and US queer writers from the 1960s to the present, considering the aesthetic, psychological, social, political and other elements.  Among issues we’ll explore:  the ongoing fascination of stories about growing up, coming out, and sexual discovery; the search for a queer ancestry and the creation of personal and collective histories in textual form; the spiritual meanings of queer sexuality, love, drag, disco, and sequins; the tensions (and harmonies) between sexual identity and race, ethnicity, and gender; the personal and political challenges posed by HIV/AIDS.  We’ll consider how artists adapt aesthetic forms to grapple with such things, whether in a coming-of-age novel, memoir, film, or stage play.  If this class were a movie, it would get an NC-17 rating:  this course requires an adult capacity to think, talk, and write explicitly about sex and the body in an academic context.  We will use a Discussion Board to post question and topics for class consideration, and students will collaborate on leading class discussions, reflecting their interests and research outside of class.  Writing assignments:  shorter and longer analytical papers, including a final research-based paper, totalling 25 pages. Probable texts:  Alison Bechdel, Fun-Home; Christopher Isherwood, A Single Man; Cleve Jones, When We Rise; Randall Kenan, A Visitation of Spirits; Tony Kushner, Angels in America; Audre Lorde, Zami: A New Spelling of My Name; Mark Merlis, An Arrow’s Flight; Annie Proulx, Brokeback Mountain; Jeanette Winterson, Oranges Are Not The Only Fruit.

 

ENGL 6330-001—Early Modern British Literature: English Renaissance Drama: The Elements of Style.

Th 2:00–4:50.  137 Dallas Hall.  Moss.

What do we mean by such phrases as “Shakespearean tragedy,” “Jonsonian comedy,” “tragicomedy in the manner of Beaumont and Fletcher”? What do we mean, in short, by “dramatic style”? It is fine to collect adjectives in response—to specify that Shakespearean tragedy is characteristically ironic and uncompromising, Jonsonian comedy caustic and moralizing, Jacobean tragicomedy romantic and conservative—but such descriptions provide little sense of the material conditions out of which early modern drama emerged, the cultural conditions in which it thrived, or the critical trends coloring its reception. The conservative, chivalric emphasis of Beaumont and Fletcher, for example, makes more sense in light of these playwrights’ work for private, aristocratic audiences; Jonson’s urbanity has much to do with the internecine professional squabbles twentieth-century criticism dubbed “The War of the Theaters”; the dizzying reversals of fortune that made Shakespeare famous had more to do with his long-term engagement with the Lord Chamberlain’s Men and his mastery of the evolving conditions of dramatic production than with any innate authorial bent or the whimsies of genius.
           In this course, we will aim for a new precision in our sense of dramatic style—its origins, definition, development, and reception—by focusing on selected authors’ engagement with the resources of dramatic production in the late sixteenth and early seventeenth centuries. The reading list will seem rather unorthodox, as this is not a survey of the greatest hits of the Jacobean stage (though there will be a famous play or two); instead, we will focus on experimental plays, collaborations, sequential works, and other anomalies in pursuit of fresh perspectives on dramatists at work and in context. Establishing that context will require research into contemporary documents associated with the theater and its personalities, as well as recent critical and historical discussions of early modern English drama (in addition to the most recent studies, we will construct a historiography of critical accounts of dramatic style).
           The course reading list is still coming together, but will certainly include plenty of Shakespeare, Jonson, Beaumont and/or Fletcher, maybe some Marlowe and Middleton, a few anonymous plays, and ancillary readings in poetry and source documents from the period, in addition to plenty of criticism and a smattering of performance theory, New Historicism, and the like.

 

ENGL 6360-001—Modern and Contemporary American Literature.

M 2:00–4:50.  137 Dallas Hall.  Satz.

This course melds an exploration of the emerging field of disability studies with an examination of how that theory may be applied to life writing and works of fiction. Disability theory will be explored from such earlier works as Goffman’s Stigma and Foucault’s The Birth of the Clinic, through works such as Thomson’s Extraordinary Bodies and Scarry’s The Body in Pain and recent post-modernist and feminist writings in disability theory such as Erevelles’  Disability and Difference in Global Contexts and Kristeva’s writings on the abject. The course will delve into definitional quandaries concerning disability in a cultural context and ethical dilemmas particularly emerging from new reproductive technologies and the exploding field of genetics. Life Writings will be chosen from such work as Mairs, Waist-High in the World, Kuusisto, Planet of the Blind, Greely, Autobiography of a Face, Patchett, Truth and Beauty, Berube, Life as We Know It, Cohen, Dirty Details, Skloot, In the Shadow of Memory, Lorde, Cancer Journals, and Johnson, Too Late to Die Young, Prahlad’s The Secret Life of a Black Aspie. Fictional works will be chosen from such works as Dickens, Our Mutual Friend, Lessing, The Fifth Child, Petry, The Street, Walker, Meridian, Brontë, Villette, Eugenides, Middlesex, and stories of Flannery O’Connor. Requirements: Weekly response papers, role as seminar leader, 3 mid-length papers.

 

ENGL 7340-001—Seminar in British Literature: Victorian Literature and the Secularization Narrative.

W 2:00–4:50.  137 Dallas Hall.  Newman.

Nearly forty years ago in his influential Literary Theory: An Introduction, Terry Eagleton declared: “If one were asked to provide a single explanation for the growth of English studies in the later nineteenth century, one could do worse than reply: ‘the failure of religion.’” With this observation, Eagleton succinctly invoked a set of ideas about the decline of religion often called the secularization narrative (or thesis). As Eagleton’s remark implies, this narrative undergirds not only histories of literature in English, but also histories of English literature as an academic subject and a profession. Victorian literature and culture generally serve as turning points. Matthew Arnold’s “Dover Beach,” in which the speaker hears the “melancholy, long, withdrawing roar,” is an iconic text. George Eliot and Thomas Hardy, who famously lost their faith, are iconic authors. So is Charles Darwin (though we will not read him in this seminar).

Yet scholars across the human sciences have begun to challenge, refine, and complicate the secularization narrative. One result is a burgeoning discourse on secularization and the positing of our own moment as “postsecular.” Our seminar will explore these questions in conjunction with relevant Victorian writing in three genres (the novel, poetry, non-fiction prose). We will situate our discussion of these texts in some of the contemporary scholarship about secularization, focusing on it for two or three weeks with short literary texts serving an illustrative function, and then plunging into some major canonical literary texts and a few less canonical ones. We will give some attention to representations of or engagements with non-Western spiritualities, and with efforts to synthesize spirituality and science.

Primary texts to be drawn from the following: Matthew Arnold, Culture and Anarchy andexcerpts from Literature and Dogma; Marie Corelli, A Romance of Two Worlds; George Eliot, Daniel Deronda; Ryder Haggard; She; Thomas Hardy, Jude the Obscure and, possibly, some poemsA. C. Swinburne (from Poems and Ballads, first series); Alfred, Lord Tennyson, In Memoriam; Mary Augusta (“Mrs. Humphry”) Ward, Robert Elsmere.

Assignments: 2 papers, including a longer one at the end of the course that builds, ideally (but not necessarily), upon the earlier one, for a total of approximately 20-25 pages of writing; additional short, less formal writing assignments intended as skill-building exercises; 1-2 in-class presentations.

 

ENGL 7340-002—Seminar in British Literature.

T 2:00–4:50.  138 Dallas Hall.  Sudan.

Cat #

Sec

Course Title

Instructor

Days

Start

End

Room

UC Tags

1330

001

The World of Shakespeare

Neel

TTh

9:30

10:50

HYER 110

2012: CA1
2016: LL

1363

001

The Myth of the
American West

Weisenburger

TTh

2:00

3:20

DH 115

2012: CA1, HC1
2016: HC, CA

2102

001

Spreadsheet Lit: Excel

C. Dickson-
Carr

M

3:00

3:50

DH 149

 

2102

002

Spreadsheet Lit: Excel

C. Dickson-
Carr

W

3:00

3:50

DH 149

 

2302

001

Business Writing

C. Dickson-
Carr

TTh

12:30

1:50

DH 351

2012: IL, OC, W
2016: IL, OC, W

2302

002

Business Writing

C. Dickson-
Carr

TTh

2:00

3:20

DH 351

2012: IL, OC, W
2016: IL, OC, W

ENGL/ DISC 2306

001H

Honors Humanities Seminar II

Bozorth

TTh

9:30

10:50

KCRC 150

 

ENGL/
DISC 2306

002H

Honors Humanities Seminar II

Spencer

TTh

12:30

1:50

CMRC 132

 

ENGL/
DISC 2306

003H

Honors Humanities Seminar II

Atkinson

TTh

12:30

1:50

DH 120

 

ENGL/
DISC 2306

004H

Honors Humanities Seminar II

Doyle

TTh

2:00

3:20

CMRC 132

 

ENGL/
DISC 2306

005H

Honors Humanities Seminar II

Arbery

MWF

10:00

10:50

DH 343

 

ENGL/
DISC 2306

006H

Honors Humanities Seminar II

Hopper

MWF

10:00

10:50

SHUT 315

 

ENGL/
DISC 2306

007H

Honors Humanities Seminar II

Arbery

MWF

11:00

11:50

DH 143

 

ENGL/
DISC 2306

008H

Honors Humanities Seminar II

Hopper

MWF

11:00

11:50

SHUT 315

 

ENGL/
DISC 2306

009H

Honors Humanities Seminar II

McConnell

MWF

1:00

1:50

VSNI 203

 

ENGL/
DISC 2306

010H

Honors Humanities Seminar II

Hopper

MWF

1:00

1:50

SHUT 315

 

ENGL/
DISC 2306

011H

Honors Humanities Seminar II

Hopper

MWF

2:00

2:50

SHUT 315

 

ENGL/
DISC 2306

012H

Honors Humanities Seminar II

McConnell

MWF

2:00

2:50

VSNI 203

 

2311

001

Poetry: Image, Form,
Experiences

Holahan

TTh

9:30

10:50

DH 106

2012: CA2, OC,
W
2016: LL, OC,
W

2311

002

Poetry: Image, Form,
Experiences

Holahan

TTh

12:30

1:50

DH 157

2012: CA2, OC,
W
2016: LL, OC,
W

2311

003

Poetry

Rosendale

MWF

11:00

11:50

DH 156

2012: CA2, OC, W
2016: LL, W

2312

001

Fiction: (In)tolerable Heroines

McWilliams

TTh

2:00

3:20

DH 142

2012: CA2, OC, W
2016: LL, W

2312

002

Fiction: The American Novel, 1960-2020

Weisenburger

TTh

11:00

12:20

DH 357

2012: CA2, OC, W
2016: LL, W

2312

003

Fiction: Classic Short Stories
and Contemporary Novels

Hill

TTh

8:00

9:20

DH 143

2012: CA2, OC, W
2016: LL, W

2315

001

Introduction to Literary Study

Wilson

MWF

10:00

10:50

DH 120

2012: CA2, W
2016: CA, W

2315

002

Introduction to Literary Study:
Danger: Novel

Sudan

TTh

11:00

12:20

DH 138

2012: CA2, W
2016: CA, W

2390

001H

Introduction to Creative Writing:
Next Year's Words

Brownderville

T

3:30

6:20

ACSH
153

2012: CA1, W
2016: CA, W

2390

002

Introduction to Creative Writing

Gabbert

TTh

3:30

4:50

DH 106

2012: CA1, W
2016: CA, W

2390

003

Introduction to Creative Writing

Smith

MWF

3:00

3:50

DH 157

2012: CA1, W
2016: CA, W

2390

004

Introduction to Creative Writing

Smith

MWF

11:00

11:50

DH 120

2012: CA1, W
2016: CA, W

2390

005

Introduction to Creative Writing

Smith

MWF

9:00

9:50

DH 105

2012: CA1, W
2016: CA, W

3310

001

Contemporary Approaches
to Literature

Murfin

MWF

10:00

10:50

DH 143

 

CLAS 3312

001

Classical Rhetoric

Neel

TTh

12:30

1:50

HYER 102

2012: KNOW,
HC2, W
2016: KNOW,
HSBS, W

3318
001 Literature as Data
Wilson
MWF
11:00
11:50
DH 138

2012: W
2016: W, LL, TM

3320

801C

Topics in Medieval Literature:
Heading to Heaven?

Wheeler

Th

11:00

12:20

DH 306

2012: CA2, W
2016: HFA, W

3320 N20C Topics in Medieval Literature LAB (Must take with 801C)
STAFF
T
11:00
12:20
DH 306

3330

001

Topics in Early Modern Literature:
Identity and English Comedy

Connery

MWF

9:00

9:50

DH 156

2012: CA2, W
2016: HFA, W

3340

001

Topics in British Literature in the Age of Revolutions: Jane Austen's Novels: Money, Manners, and Morals

Holahan

TTh

2:00

3:20

DH 116

2012: CA2, W
2016: HFA, W

3362

001

African-American Literature: Voice & Form in African American Women’s Writing

Kiser

TTh

9:30

10:50

DH 137

2012: CA2, HD, W
2016: HFA, HD, W

3379

001

Contexts of Disability

Satz

MWF

10:00

10:50

DH 106

2012: KNOW,
CA2, W, HD, OC
2016: KNOW,
HFA, W, HD, OC

3390

001

Creative Writing Workshop:
Digging Deeper

Smith

MWF

1:00

1:50

DH 120

2012: CA2, W
2016: HFA, W

3390 001
Creative Writing Workshop
Kimzey T
3:30
6:20
DH 153

2012: CA2, W
2016: HFA, W

4339

001

Transatlantic Studies I:
Going Native

Cassedy

TTh

12:30

1:50

DH 138

2012: IL, OC
2016: IL, OC

4343

001

Studies in British Literature in the Age of Revolutions: Victorian Gender

Newman

TTh

11:00

12:20

DH 106

2012: IL, OC
2016: IL, OC

4369

001

Transatlantic Studies III: LGBTQ+ Writing Before and After Stonewall

Bozorth

TTh

2:00

3:20

DH 157

2012: HD, IL, OC
2016: HD, IL, OC

6330

001

Early Modern British Literature:English Renaissance Drama: The Elements of Style

Moss

Th

2:00

4:50

DH 137

 

6360

001

Modern and Contemporary
American Literature

Satz

M

2:00

4:50

DH 137

 

7340

001

Seminar in British Literature

Newman

W

2:00

4:50

DH 137

 

7340

002

Seminar in British Literature

Sudan

T

2:00

4:50

DH 138

 

 

Cat #

Sec

Course Title

Instructor

Days

Start

End

Room

UC Tags

2390

005

Introduction to Creative Writing

Smith

MWF

9:00

9:50

DH 105

2012: CA1, W
2016: CA, W

3330

001

Topics in Early Modern Literature: Identity and English Comedy

Connery

MWF

9:00

9:50

DH 156

2012: CA2, W
2016: HFA, W

ENGL/ DISC 2306

005H

Honors Humanities Seminar II

Arbery

MWF

10:00

10:50

DH 343

 

ENGL/ DISC 2306

006H

Honors Humanities Seminar II

Hopper

MWF

10:00

10:50

SHUT 315

 

2315

001

Introduction to Literary Study

Wilson

MWF

10:00

10:50

DH 120

2012: CA2, W
2016: CA, W

3310

001

Contemporary Approaches
to Literature

Murfin

MWF

10:00

10:50

DH 143

 

3379

001

Contexts of Disability

Satz

MWF

10:00

10:50

DH 106

2012: KNOW, CA2, W, HD, OC
2016: KNOW, HFA, W, HD, OC

2311

003

Poetry

Rosendale

MWF

11:00

11:50

DH 156

2012: CA2, OC, W
2016: LL, W

2390

004

Introduction to Creative Writing

Smith

MWF

11:00

11:50

DH 120

2012: CA1, W
2016: CA, W

ENGL/ DISC 2306

007H

Honors Humanities Seminar II

Arbery

MWF

11:00

11:50

DH 143

 

ENGL/ DISC 2306

008H

Honors Humanities Seminar II

Hopper

MWF

11:00

11:50

SHUT 315

 

3318 001 Literature as Data Wilson
MWF
11:00
11:50
DH 138
2012: W
2016: W, LL, TM

ENGL/ DISC 2306

009H

Honors Humanities Seminar II

McConnell

MWF

1:00

1:50

VSNI 203

 

ENGL/ DISC 2306

010H

Honors Humanities Seminar II

Hopper

MWF

1:00

1:50

SHUT 315

 

3390

001

Creative Writing Workshop:
Digging Deeper

Smith

MWF

1:00

1:50

DH 120

2012: CA2, W
2016: HFA, W

ENGL/ DISC 2306

011H

Honors Humanities Seminar II

Hopper

MWF

2:00

2:50

SHUT 315

 

ENGL/ DISC 2306

012H

Honors Humanities Seminar II

McConnell

MWF

2:00

2:50

VSNI 203

 

2390

003

Introduction to Creative Writing

Smith

MWF

3:00

3:50

DH 157

2012: CA1, W
2016: CA, W

6360

001

Modern and Contemporary American Literature

Satz

M

2:00

4:50

DH 137

 

2102

001

Spreadsheet Lit: Excel

C. Dickson-
Carr

M

3:00

3:50

DH 149

 

7340

001

Seminar in British Literature

Newman

W

2:00

4:50

DH 137

 

2102

002

Spreadsheet Lit: Excel

C. Dickson-
Carr

W

3:00

3:50

DH 149

 

2312

003

Fiction: Classic Short Stories and Contemporary Novels

Hill

TTh

8:00

9:20

DH 143

2012: CA2, OC, W
2016: LL, W

2311

001

Poetry: Image, Form, Experiences

Holahan

TTh

9:30

10:50

DH 106

2012: CA2, OC, W
2016: LL, OC, W

3362

001

African-American Literature: Voice & Form in African American Women’s Writing

Kiser

TTh

9:30

10:50

DH 137

2012: CA2, HD, W
2016: HFA, HD, W

1330

001

The World of Shakespeare

Neel

TTh

9:30

10:50

HYER 110

2012: CA1
2016: LL

ENGL/ DISC 2306

001H

Honors Humanities Seminar II

Bozorth

TTh

9:30

10:50

KCRC 150

 

2312

002

Fiction: The American Novel, 1960-2020

Weisenburger

TTh

11:00

12:20

DH 357

2012: CA2, OC, W
2016: LL, W

2315

002

Introduction to Literary Study: Danger: Novels

Sudan

TTh

11:00

12:20

DH 138

2012: CA2, W
2016: CA, W

4343

001

Studies in British Literature in the Age of Revolutions: Victorian Gender

Newman

TTh

11:00

12:20

DH 106

2012: IL, OC
2016: IL, OC

2302

001

Business Writing

C. Dickson-
Carr

TTh

12:30

1:50

DH 351

2012: IL, OC, W
2016: IL, OC, W

2311

002

Poetry: Image, Form, Experiences

Holahan

TTh

12:30

1:50

DH 157

2012: CA2, OC, W
2016: LL, OC, W

CLAS 3312

001

Classical Rhetoric

Neel

TTh

12:30

1:50

HYER 102

2012: KNOW, HC2, W
2016: KNOW, HSBS, W

4339

001

Transatlantic Studies I: Going Native

Cassedy

TTh

12:30

1:50

DH 138

2012: IL, OC
2016: IL, OC

ENGL/ DISC 2306

002H

Honors Humanities Seminar II

Spencer

TTh

12:30

1:50

CMRC 132

 

ENGL/ DISC 2306

003H

Honors Humanities Seminar II

Atkinson

TTh

12:30

1:50

DH 120

 

1363

001

The Myth of the American West

Weisenburger

TTh

2:00

3:20

DH 115

2012: CA1, HC1
2016: HC, CA

2302

002

Business Writing

C. Dickson-
Carr

TTh

2:00

3:20

DH 351

2012: IL, OC, W
2016: IL, OC, W

ENGL/ DISC 2306

004H

Honors Humanities Seminar II

Doyle

TTh

2:00

3:20

CMRC 132

 

2312

001

Fiction: (In)tolerable Heroines

McWilliams

TTh

2:00

3:20

DH 142

2012: CA2, OC, W
2016: LL, W

3340

001

Topics in British Literature in the Age of Revolutions: Jane Austen's Novels: Money, Manners, and Morals

Holahan

TTh

2:00

3:20

DH 116

2012: CA2, W
2016: HFA, W

4369

001

Transatlantic Studies III: LGBTQ+ Writing Before and After Stonewall

Bozorth

TTh

2:00

3:20

DH 157

2012: HD, IL, OC
2016: HD, IL, OC

2390

002

Introduction to Creative Writing

Gabbert

TTh

3:30

4:50

DH 106

2012: CA1, W
2016: CA, W

7340

002

Seminar in British Literature

Sudan

T

2:00

4:50

DH 138

 

2390

001H

Introduction to Creative Writing: Next Year's Words

Brownderville

T

3:30

6:20

ACSH 221

2012: CA1, W
2016: CA, W

3390 002 Creative Writing Workshop
Kimzey T 3:30 6:20
DH 153

2012: CA2, W
2016: HFA, W

3320

801C

Topics in Medieval Literature

Wheeler

Th

11:00

12:20

DH 306

2012: CA2, W
2016: HFA, W

3320 N20C Topics in Medieval Literature LAB (Must take with 801C) STAFF
T
11:00
12:20
DH 306

6330

001

Early Modern British Literature: English Renaissance Drama: The Elements of Style

Moss

Th

2:00

4:50

DH 137

 

Fall 2019

ENGL 1320-001—Cultures of Medieval Chivalry: Guts and Glory in the Middle Ages

TTh 11:00-12:20.  155 Fondren Science.  Keene.     2012: CA1, HC1, OC      2016: LL, HC, OC

Chivalry is (not) dead! In this course we will trace the development of the chivalric ethos, mentality, and code of behavior throughout the Middle Ages and into the modern era. As both a lived experience and an aspirational ideal, its various incarnations are revealed in medieval romances, epics, historical chronicles, and biographies. These readings, enlivened by class discussion, will bring chivalry to life through the examples of very real people and fictional characters.  

Readings: BeowulfThe History of William Marshal; Heldris of Cornwall, Silence; Chrétien de Troyes, The Knight of the Cart; Geoffroi de Charny, The Book of Chivalry; Christine de Pizan, The Book of Deeds of Arms of Chivalryand The Tale of Joan of Arc; Jean Froissart, Chronicles; Miguel de Cervantes, Don Quixote.

Course Requirements: Class participation, presentations, mid-term and final exams.

 

ENGL 1330-001—The World of Shakespeare 

MWF 10:00-10:50.  100 Hyer Hall.  Neel.    2012: CA1   2016: LL 

Introductory study of eight major texts, with background material on biographical, cultural, historical, and literary topics.  Five tests, written mid-term and final exams, and one extra credit opportunity.  Play texts from the free Folger Shakespeare Library Digital Archive; lecture templates posted electronically on Canvas.  Theme for the semester: Shakespeare’s use of Ancient Rome for his plays.  We will begin with “The Rape of Lucrece,” which recounts the founding of the Roman Republic in 509 BCE, and end with Titus Andronicus, which describes Rome at the collapse of the Roman Empire about 380 CE.  And by reading such plays as Julius CaesarAntony and Cleopatra, and Cymbeline, we will trace the trajectory of Rome through the flourishing and collapse of the Republic followed by the expansion and collapse of the Empire.  Satisfies UC 2016 Breadth: Language and Literature; counts as an elective in both the English major and the English minor.

 

ENGL 1362-001—Crafty Worlds

MWF 11:00-11:50.  116 Dallas Hall.  Holahan.         2016: LL

An introductory study of selected twentieth-century novels emphasizing both ideas of modernity and the historical or cultural contexts of catastrophe that generated these ideas. Topics include traditions of family and wealth, representations of world war, new effects of capital and society, war and sensibility, race and the novel, Big D. Writing assignments: quizzes, one short essay, mid-term, final examination. Texts: TBD

 

ENGL 1365-001—Literature of Minorities: “Otherness” and Identity in American Culture

TTh 2:00-3:20.  110 Hyer Hall.  Levy.                 2012: CA1, HD     2016: LL, HD

The course interrogates questions of individual and collective identities from historical, contemporary and literary perspectives.  We look closely at the many categories that have constituted identity in the US, including race, ethnicity, gender, sexual orientation and the myriad terms/categories that have come to constitute our cultural conversation about identity, including: “Whiteness,” “Blackness,” “White Supremacy,” “Identity Politics,” “Queerness,” “Pluralism,” etc.   We examine the ways these categories have been deployed to assert and marginalize both group self-selected and imposed, as both fixed and flexible, as located and displaced, as both secure and situational.  

 

ENGL 1400-001—Developmental Reading and Writing

TTh 8:00-9:20.  135 McElvaney Hall.  Pisano.        2012: OC   2016: OC

English 1400 is a class that has been created to respond to the unique needs of some students whose writing and reading skills suggest that they would have little chance of succeeding in the DISC series. In an effort to prepare them for that experience, these students take a 4-hour course, ENGL 1400, that offers intensive work  on reading and writing skills. Annie Maitland and Pat Pisano have crafted a class in which the students receive instruction in reading for 1 hour per week specifically in regard to the texts about which Pat Pisano is having them write in the writing portion of the class (3 hours per week). Writing instruction focuses on sentence-level correctness, vocabulary, paragraphing, and the thesis sentence.  Reading instruction is explicit and systematic, with a focus on the general outcomes of reading. Specific areas of instruction include comprehension strategies, fluency, vocabulary, and word study skills. The goal is for students to emerge from the class more fully prepared to tackle essay-length writing assignments with an understanding of critical reading and analysis of texts.

 

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50.  101 Dallas Hall.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2102-002—Spreadsheet Lit: Excel

W 3:00-3:50.  101 Dallas Hall.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2302-001—Business Writing

TTh 12:30-1:50.  351 Dallas Hall.  Dickson-Carr, Carol.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2302-002— Business Writing

TTh 2:00-3:20.  351 Dallas Hall.  Dickson-Carr, Carol.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2311-001—Introduction to Poetry

MWF 1:00-1:50.  102 Dallas Hall.  Holahan.            2012: CA2, W, OC     2016: LL, W, OC

Introduction to the study of poetry and how it works, examining a wide range of poems by English and American writers. Special attention to writing about literature.

 

ENGL 2311-002—Introduction to Poetry: A Poet-Guided Tour

MWF 10:00-10:50.  102 Dallas Hall.  Moss.              2012: CA2, W, OC     2016: LL, W, OC

In this course, the poets themselves guide us through the formal elements and literary-historical evolution of English and American poetry. During the first half of the semester, each week will emphasize a different technical or generic aspect of poetry, focusing on a representative poet in each case. We will learn rhythm with William Blake, rhyme with Emily Dickinson, sonnet-form with William Shakespeare, persona with Langston Hughes, free verse with Walt Whitman and Allen Ginsberg. The second half explores perennial themes: poets addressing and questioning God; poets protesting social injustice; poets in love; poets struggling with age and loss; poets pondering nature, art, and poetry itself. Guest speakers include John Donne, Ben Jonson, John Keats, Robert Frost, William Butler Yeats, Elizabeth Bishop, Sylvia Plath, Seamus Heaney, and many more. Who knew there were so many poets? Come meet them. Course requirements: two short papers, one longer paper, regular posts to an online discussion board, midterm exam, final exam, recitation. Course text: The Norton Anthology of Poetry, 5th edition.

 

ENGL 2312-001—Introduction to Fiction: Reader, I: Novels and Narrators from Austen to James.

MWF 9:00-9:50.  137 Dallas Hall.  McWilliams.     2012: CA2, W    2016: LL, W

How do authors shape their reading audience and to what extent does that audience, in turn, shape them?  Do writers intend for their texts to inform? Educate? Entertain? To what degree are authors allowed any say in the matter?  This introduction to fiction focuses on the ways in which writers attempt to negotiate the function of literature within the public sphere.  Throughout the semester, we will examine a range of works from the long nineteenth century, all of which concern themselves with the nebulous and occasionally unstable relationship(s) between readers, writers, and the written word.  Our class time will prioritize discussion and close reading, with an emphasis on critical thinking and class participation. Expect two essays, a midterm, a final, occasional reading quizzes, and robust classroom discussion. Possible texts include Jane Austen’sNorthanger Abbey, Charlotte Brontë’sJane Eyre,Charles Dickens’sHard Times,George Eliot’sSilas Marner, Robert Louis Stevenson’sStrange Case of Dr. Jekyll and Mr. Hyde,and Henry James’sThe Turn of the Screw.

 

ENGL 2315-001—Introduction to Literary Study

TTh 12:30-1:50.  157 Dallas Hall.  Weisenburger.   2012: CA2, W    2016: CA, W

A course in the ways that skilled readers engage with, learn from, and take delight in literary texts--indeed, any written text. First we seek to sharpen close reading skills, and how to read and think critically about familiar literary forms: plays, poems and books of poems, the short story and the novel as kinds of fiction. Secondly our readings will also call on us to think critically about the ways that literary texts engage with their historical moment, with particular contexts of cultural and socio-political life and struggle. The traces left by texts and contexts will thus define our work in this course, and what we write about in scheduled essays. Indeed the third main goal of this class is to improve our writing—one sentence, page, and essay at a time. Our required texts: Joseph Conrad’s Heart of Darkness,T. S. Elliott’s The Waste Landand Other Poems,Nathaniel Hawthorne’s The Scarlet Letter, James Joyce’s Dubliners, Denis Johnson’s Train Dreams, William Shakespeare’s The Tempest, and Natasha Trethewey’s Native Guard.  Expect to write four interpretive essays, a mid-term, and a final exam.

 

ENGL 2315-002— Introduction to Literary Study: Those Who Wander

TTh 9:30-10:50.  107 Hyer Hall.  Wilson.                 2012: CA2, W    2016: CA, W

Wanderers and wanderings have been literary staples from medieval quests to Oscar-winning films. In turn, the experience of reading a book or film for the first time can take on the quality of an unexpected journey, in which you are hopeful that the destination will be an interesting one, but you are not entirely sure either what it will be or how you will get there. This course will introduce methods of reading and approaches to texts that will help you to navigate a wide range of new literary landscapes by developing habits of wandering productively. Our journey will take us from the classical world to 21st-century America, through a wide array of genres, and accompanied by many different types of speaker. As we will seek to foster our individual literary critical voices, we may all end up at very different destinations but throughout we will be learning how best to make sense of even the most unexpected encounters.

 

ENGL 2318-001— Introduction to Digital Literature

TTh 11:00-12:20.  137 Dallas Hall.  Wilson.             2012: W    2016: LL, TM, W

What are digital humanities? What is the relationship between technology and the humanities?  How can technology advance our understanding of language, literature, and culture? These are some of the large-scale questions that we will explore in this course. We rely on technologies such as digital maps, e-books, search engines, and databases every day, and understanding them and being able to work with them is a vital part of preparing for professional life. This course offers a hands-on introduction to using these technologies in academic research to analyze literature, and as well as enhancing your skills in academic work, the skills you learn are of immediate value to employers in the job market.

There have been major advances in the application of digital tools to analyze literature, resulting in the creation of new online resources for literary study such as the Milton Reading Room and the Walt Whitman Archive, as well as new research into large-scale patterns of language, ideas, sounds, and images within huge bodies of literary texts. In this course you will have the opportunity to learn the technologies that make this literary scholarship possible, from digitization to creating metadata, making digital maps of literary works, and text mining novels to detect patterns of thoughts, words, phrases, sounds, ideas, and more. We will also think about the theoretical implications of using digital technologies to analyze, advance, and promote the humanities. What are we to make of these advances? What kinds of intellectual questions do they open up? What does it mean to be a digital humanist?

 

ENGL 2390-001H—Introduction to Creative Writing: Getting Started as a Poet

TTh 11:00-12:20. 120 Dallas Science. Brownderville.          2012: CA1, W   2016: CA, W

How do poets craft language so as to enhance the reader’s experience of imagery, voice, metaphor, scene, and persona? To begin answering this question, students will write and revise their own poems; respond both verbally and in writing to one another’s work; and analyze published poems in short critical essays. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communication skills. There is no textbook; the instructor will provide handouts. As this is an introductory course, prior experience in creative writing is not necessary.

 

ENGL 2390-002—Introduction to Creative Writing

MWF 11:00-11:50.  102 Dallas Hall.  Smith.             2012: CA1, W   2016: CA, W

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary.

 

ENGL 2390-003—Introduction to Creative Writing

MWF 12:00-12:50.  138 Dallas Hall.  Smith.             2012: CA1, W   2016: CA, W

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary.

 

ENGL 2390-004—Introduction to Creative Writing

MWF 1:00-1:50.  137 Dallas Hall.  Smith.                2012: CA1, W   2016: CA, W

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary.

 

ENGL 2390-005—Introduction to Creative Writing

MWF 2:00-2:50.  137 Dallas Hall.  Smith.                2012: CA1, W   2016: CA, W

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary.

 

ENGL 2390-006—Introduction to Creative Writing

TTh 3:30-4:50.  101 Dallas Hall.  Staff.               2012: CA1, W   2016: CA, W

What does it mean to be “literary”? Of course, to be literary is to be engaged in the act of writing, and to be generating written expressions of both a particular quality and a certain constitution. But such expressions, as much as they are the product of any given writer’s innate talent, are also grounded in the writer’s attitudes, habits, proclivities, discipline, and familiarity with the raw materials of the craft of writing itself. As such, being literary entails more than writing. To be literary is to assume a disposition; to be literary is to care about language and its use; to be literary is to be conversant in a specific discourse and the vocabulary appropriate to that discourse; to be literary is to be analytical with respect to writing, both one’s own and others’; and to be literary is to declare one’s affiliation with a community of writers, one whose membership is local and contemporary even as it also ranges far back over a variety of traditions and projects itself forward into some barely glimpsed posterity.

Over the course of the semester, we will work together to gain a better understanding of the above definition of the literary. Via regular reading (of model texts; of each others’ texts, via workshop) and writing assignments (common, completed in class; individualized, completed on each student’s own time), we will familiarize ourselves with the essentials of the major literary genres: poetry, fiction, creative nonfiction. We will each also commit to and reflect upon our own unique writing practices, and collaborate on addressing those pragmatic questions—e.g., “How do I find the time to write?”—that every author confronts.

 

ENGL 3310-001—Contemporary Approaches to Literature

TTh 12:30-1:50.   116 Dallas Hall.  Sudan.

This course considers basic questions about what it means to call something literature and how critics have interpreted those texts. From Plato to the Romantics to post-structuralism, readers have shaped and reshaped the nature of interpretation. We will focus on critics and theorists from the last several decades who have produced the contemporary discipline of English. Expect to write a series of short papers making use of recent approaches to reading.

 

CLAS 3312-001—Classical Rhetoric: Ancient Athens During the Rise and Fall of the World's First Democracy

MWF 1:00–1:50.  149 Dallas Hall.  Neel.      2012: HC2, W, KNOW 2016: HSBS, W, KNOW

Course introduces students to the study of Classical Athens from 509 BCE with the reforms of Ephialtes that began the world’s first formal democracy through the final defeat of Greek autonomy after the Lamian War in 322 BCE. Extensive readings from Thucydides, Lysias, Plato, Isocrates, Demosthenes, and Aristotle as the study of rhetoric and study of philosophy emerged into history. Two out-of-class papers, one in-class paper, and five reading quizzes. Satisfies three UC 2016 requirements: Writing Proficiency; Ways of Knowing; and Depth: History, Social, and Behavioral. Satisfies one course requirement for the Classical Studies program and one elective credit for both the English major and the English minor.

 

ENGL 3320-001—Topic in Medieval Literature: Fabulous Fictions and Troublesome Truths in Medieval English Literature

TTh 2:00-3:20.   357 Dallas Hall.  Keene.                2012: CA2, W  2016: HFA, W

Fabulous Fictions can reveal troublesome truths. This course studies the rich political, religious, intellectual, and cultural contexts that generated the literature of medieval England, paying particular attention to how it revealed, shaped, and responded to contemporary anxieties and agendas. In exploring this theme, students will gain an appreciation of how fiction becomes truth and truth becomes fictionalized in order to shape our understanding of events. Fake news is not new.

Readings: Bede,Ecclesiastical History of the English PeopleBeowulf; The Bayeux Tapestry; Geoffrey of Monmouth, The History of the Kings of BritainThe History of William MarshalThe Book of Margery Kempe; Turgot, The Life of Saint Margaret, Queen of the Scots; William Langland, Piers

Course Requirements: class participation, daily comments on the readings, a final paper.

 

ENGL 3346-001—American Literary History I

MWF 10:00-10:50.  116 Dallas Hall.  Cassedy.         2012: CA2, HC2, W   2016: HFA, HSBS, W

What is an American?  This question has been asked from the moment European settlers arrived on the continent in the early sixteenth century, and it has never been easy to answer.  Were Bostonians just English subjects who happened to live far away from England?  Or did the act of migration create a new type of person, not just a transplanted Englishman but something different?  What did it mean that North America was populated by Europeans of a dozen nations and ethnicities — French, German, Dutch, Jewish, Swedish, Spanish, English, Scottish, Irish, etc. — as well as millions of Africans and Native Americans, representing hundreds of distinct peoples, each with different histories, political structures, languages, and cultural practices?  This question — “what is an American?” — was not resolved in the seventeenth, eighteenth, or nineteenth century, but was asked and re-asked over and over again.  This course is an introduction to the stories and ideas through which the meanings of America and Americans were articulated from the first European contact to the Civil War, as seen through the major literary texts of the period.  Readings to include texts by Benjamin Franklin, Susanna Rowson, Frederick Douglass, Edgar Allan Poe, Phyllis Wheatley, Nathaniel Hawthorne, Herman Melville, Harriet Beecher Stowe, Horatio Alger, Emily Dickinson, and Walt Whitman.

 

ENGL 3360-001—Topics in Modern and Contemporary American Literature: Missing in Action: American World War I

TTh 12:30-1:50.   152 Dallas Hall.  Kiser.       2012: CA2, W  2016: HFA, W

WWI brought destruction as Americans had never before seen and it inspired soldiers, nurses, volunteers, and civilians alike to put their experiences on the page. This course will explore a variety of gendered and racial representations of American World War I Literature. Through a combination of canonical novels, poetry, and short stories, our class will explore the themes, tones, genres, and forms that writers from the “Lost Generation” used to depict the war. We will then place such narratives into conversation with understudied diaries, poetry, and novellas. Introducing a diary written by a Mexican-American soldier who fought on the front lines (that was only translated into English in 2014), and never before published poetry written by African American soldiers who fought in segregated troops, this class will progress towards asking what these recently recovered narratives can add to our understanding about war, representation, and nationhood.

 

ENGL 3390-001—Creative Writing Workshop: Make It New!

TTh 2:00-3:20. 137 Dallas Hall. Brownderville.      2012: CA2, W   2016: HFA, W

Percy Bysshe Shelley once wrote that poetry “purges from our inward sight the film of familiarity which obscures from us the wonder of our being. It compels us to feel what we perceive, and to imagine that which we know.” Ezra Pound, more succinctly, instructed his fellow poets to “make it new!” Pound believed that poets should make the world new—and make poetry new—by presenting life in bold, original verse. 

In this course students will write their own poems in an effort to “make it new.” Discussion will center on the students’ writing and on published poems that demonstrate effective technique. Successful students begin to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary American poetry.

 

ENGL 3390-002 Creative Writing Workshop: New Perspectives on Point of View

TTh 11:00-12:20.  102 Dallas Hall.  Staff.           2012: CA2, W   2016: HFA, W

In both literary studies courses and creative writing workshops, point of view has long been held up as a narrative element worthy of close analysis. However, as notions of and attitudes towards consciousness, subjectivity, and representation have changed — especially in the last decade — the concept of point of view now merits a different kind of scrutiny.

In this course, we will work together to gain both a broad and deep understanding of how point of view has been defined, how fiction writers have advanced our notions of what point of view can encompass, and how to traverse a contemporary aesthetic landscape in which point of view is no longer treated as value-neutral.

Specifically, we will examine such topics as voice, self, mind, performance, psychic distance, generative constraint, and narrative ethics. In doing so, we will consider contemporary critical perspectives on these topics. We will also discuss the various tools and techniques that a diverse array of authors employ in order to construct convincing narrative consciousnesses. Further, we will practice certain of these techniques via in-class writing exercises, and focus our workshop sessions on further illuminating those authorial choices that become "rules" for determining how point of view might — or should — function. This course will also provide an opportunity to experiment with collaborative writing (the exact nature of this project TBD, pending student input, which will be solicited).

 

ENGL 4323-001—Chaucer: Playing in Poetry

TTh 11:00-12:20.  156 Dallas Hall.  Wheeler.           2012: IL, OC   2016: IL, OC

Geoffrey Chaucer’s corpus of prose and poetry, its literary, historical, philosophical contexts, served with a sprinkling of some of Chaucer’s favorite classics. Textbook: The Riverside or Wadsworth Chaucer. Other authors include Homer, Virgil, Boethius, and Ovid. Weekly commentaries, several oral presentations, one term paper.

 

ENGL 4333-001—Shakespeare: Fathers and Daughters, Husbands and Wives

MWF 12:00-12:50.  137 Dallas Hall.  Moss.              2012: IL, OC   2016: IL, OC

At the beginning of Shakespeare’s Tempest, the elderly wizard Prospero declares to his daughter Miranda, “I have done nothing but in care of thee.” So what doesshe do, and is it forhim? While single women (sometimes disguised as boys) drive most Shakespearean comedy, his tragedies and late romances almost always center on the strong, complex, painful attachments of socially subordinate women to domineering men. The outrageous demands of fathers and jealous tirades of husbands elicit a range of extravagant responses from Shakespeare’s embattled female characters, from angelic chastity to bloody vengeance to Machiavelliancalculation to playing dead for decades. In this course, we will follow the unequal dance of Shakespeare’s heroes and heroines, alongside contextual readings on gender roles and domestic life from a variety of Renaissance genres, as well as modern criticism. Expect two short papers, one research paper, a creative exercise, a presentation, and about ten plays, including Titus AndronicusMacbethOthelloKing LearPericlesCymbelineThe Winter’s Tale, and The Tempest.

 

ENGL 4343-001—Studies in British Literature in the Age of Revolutions: Romance and Realism in Nineteenth-Century British Fiction

TTh 12:30-1:50.  156 Dallas Hall.  Murfin.        2012: IL, OC   2016: IL, OC

This course will explore the tensions between the traditions of romance and Romanticism, and those now associated with the emergence of realism and naturalism. Readings will include five novels by four of the following authors: Jane Austen, George Eliot, Thomas Hardy, George Meredith, Joseph Conrad.

 

ENGL 4346-001—American Literature in the Age of Revolutions: Nineteenth-Century Classic American Literature Re-examined

CANCELED

 

ENGL 5310-001—Seminar in Literary Theory: Theory, Story, Writing

TTh 3:30-4:50.  156 Dallas Hall.  Foster.

This is course fulfills the first part of the requirements for Distinction in English. If you wish to take the course and have not been invited, please contact our DUS, Professor Moss, or Professor Foster.

The center of the Distinction requirement is an independent study project in literature or creative writing that you undertake with a member of the faculty. Engl 5310 is intended to help prepare students for that course. This course will have several components. The first will be to develop some aspects of literary theory introduced in Engl 3310, spending more time with the primary texts that underlie the ideas. The second is to develop your research abilities, learning to use resources on campus and beyond, developing strategies for managing research, and incorporating research into your thinking. The third is to produce a number of writing and presentation projects ranging from a two minute oral report (your “elevator talk”) to a longer essay leading toward a distinction project. Expect to join the class with a couple of ideas in mind for topics you would like to pursue.

 

ENGL 6310-001—Advanced Literary Studies

M 3:00-5:50.  137 Dallas Hall.  D. Dickson-Carr.  

An introduction to advanced graduate work in literary studies. Our course will focus upon definitions of texts and the languages within them, standards and processes of careful literary scholarship, and the complexities of the profession. The first unit will comprise a short survey of book and manuscript history, including how oral and written texts become books, will the attendant authority and problems contained therein. The second unit will focus on scholarly indexes and databases, both analog and digital; archival research; creation and use of bibliographies. The final unit will focus upon our profession: how the study of literature developed into a profession; the roles of critical theory; professional organizations; developing and presenting scholarly work in professional settings; the paths to publication; the means to enter different levels of the professoriate. In addition to readings that explore all of these subjects, our course will make use of the DeGolyer and Bridwell Libraries, guest speakers, and participants’ regular short writings and in-class presentations. We will surround a number of short literary texts—stories and poems--and one longer work with secondary readings that define and challenge the goals of literary scholarship. The longer text is to be determined.

Texts: MLA Style Manual and Guide to Scholarly Publishing, Third Edition; Introduction to Scholarship in Modern Languages and Literatures, Third Edition; Handbook for Academic Authors, Fifth Edition, by Beth Luey.

 

ENGL 6311-001—Survey of Literary Criticism and Theory

TTh 12:30-1:50.  138 Dallas Hall.  Foster.

A survey of literary criticism and theory from some of the ancient roots of critical thought to contemporary literary practice: from Heraclitus to Badiou. The purpose of the course is to provide the theoretical background necessary to understand the discipline of literary study. The course will require regular critical responses and several essays analyzing both critical and literary texts. Enrollment limit: Graduate Students only. Possible texts: Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life; Alain Badiou, Saint Paul: The Foundation of Universalism; Ian Bogost, Unit Operations; Don DeLillo, The Names; Sigmund Freud:, Civilization and Its Discontents; Michele Foucault:, Discipline and Punish; Henry James, Eight Tales from the Major Phase; Plato, Phaedrus; Arundhati Roy, The God of Small Things.

 

ENGL 6312-001—Teaching Practicum

F 1:00-3:50.  G1 Hyer Hall.  Stephens.

English 6312 (Teaching Practicum) is a year-long course designed to prepare graduate students in English seeking a Ph.D. to teach first-year writing at the college level and, in a larger sense, to design, prepare for, and teach college English classes at any level. During the fall semester, in addition to all of the texts assigned on the DISC 1312 syllabus, students will read and write critical responses to composition theory and the classroom (Erika Lindemann’s A Rhetoric for Writing Teachers and John C. Bean’s Engaging Ideas; The Professor’s Guide to Integrating Writing, Critical Thinking, and Active Learning in the Classroom). These texts provide an overview of the history of rhetoric and methods for fostering critical thinking and writing. Students will also critically assess and review contemporary criticism of rhetorical pedagogy.

 

ENGL 6370-001—African American Literature

T 3:30-6:20.  138 Dallas Hall. D. Dickson-Carr

Course Description TBA

 

ENGL 7340-001—Seminar in British Literature

W 3:00-5:50.  137 Dallas Hall.  Wheeler.

Philosophical Chaucer, playing in poetry, is in constant dialogue with his literary past.  Considering his work in light of what he himself read helps us to observe more about this powerful artist and his times. Weekly commentaries, several oral presentations, one term paper.

Books:

The Riverside or Wadsworth Chaucer.

Virgil, The Aeneid

R.K. Gordon, ed., The Story of Troilus

            Boethius, The Consolation of Philosophy

            Ovid, Metamorphoses

            Ovid, De Amore

Homer, The Iliad

12–14th c. French poems

 

ENGL 7350-001—Seminar in American Literature: Post-1965 American Historical Fiction

Th 3:30-6:20.  137 Dallas Hall.  Weisenburger.

The boom in American historical fictions—by one scholar’s reckoning, 1700-plus titles from 1980 to 2015—is a relatively unstudied territory. We know rather little about the historical novel’s interplay with ironic and satirical modes, for example. The historical novel’s relations with postmodern and contemporary narrative practices are also relatively unstudied. And the theory of historical fiction is rather impoverished; other than chapters in Frederic Jameson’s Antinomies of Realism (2013), there’s been little new work since a handful of Eighties and Nineties monographs.  In sum, this is a likely field for new critical and theoretical work.  Those who enroll will receive (before we leave for the summer) a list of forty-one texts worth considering for our studies. With your feedback, we’ll select 8 or 10 titles, and keep the remainder in reserve. Our aim for the course is, simply, to complete a draft-version of a scholarly essay that, with revision and polish, will be worthy of submission to a scholarly journal.

Cat #

Sec

Course Title

Instructor

Day

Start

End

Room

UC

1320

001

Cultures of Medieval Chivalry: Guts and Glory in the Middle Ages

Keene

TTh

11:00

12:20

FOSC 155

2012: CA1,
HC1, OC
2016: LL,
HC, OC

1330

001

World of Shakespeare

Neel

MWF

10:00

10:50

Hyer 100

2012: CA1 2016: LL

1362

001

Crafty Worlds

Holahan

MWF

11:00

11:50

DH 116

2016: LL

1365

001

Literature of Minorities: “Otherness” and Identity in American Culture

Levy

TTh

2:00

3:20

Hyer 110

2012: CA1, HD
2016: LL, HD

1400

001

Dev Reading and Writing

Pisano

TTh

8:00

9:20

MCEL 135

2012: OC 2016: OC

2102

001

Spreadsheet Lit: Excel

C. Dickson-Carr

M

3:00

3:50

DH 101

 

2102

002

Spreadsheet Lit: Excel

C. Dickson-Carr

W

3:00

3:50

DH 101

 

2302

001

Business Writing

C. Dickson-Carr

TTh

12:30

1:50

DH 351

2012: IL, OC, W 2016: IL, OC, W

2302

002

Business Writing

C. Dickson-Carr

TTh

2:00

3:20

DH 351

2012: IL, OC, W 2016: IL, OC, W

DISC 2305

001H

Honors Humanities Seminar I

Arbery

MWF

9:00

9:50

LDRC 104

 

DISC 2305

002H

Honors Humanities Seminar I

Arbery

MWF

10:00

10:50

LDRC 104

 

DISC 2305

003H

Honors Humanities Seminar I

Arbery

MWF

11:00

11:50

LDRC 104

 

DISC 2305

004H

Honors Humanities Seminar I

Hopper

MWF

11:00

11:50

VSNI 303

 

DISC 2305

005H

Honors Humanities Seminar I

Hopper

MWF

12:00

12:50

VSNI 303

 

DISC 2305

006H

Honors Humanities Seminar I

Hopper

MWF

1:00

1:50

VSNI 303

 

DISC 2305

007H

Honors Humanities Seminar I

McConnell

TTh

9:30

10:50

BOAZ 136

 

DISC 2305

008H

Honors Humanities Seminar I

McConnell

TTh

11:00

12:20

BOAZ 136

 

DISC 2305

009H

Honors Humanities Seminar I

McConnell

TTh

12:30

1:50

BOAZ 136

 

DISC 2305

010H

Honors Humanities Seminar I

McConnell

TTh

2:00

3:20

BOAZ 136

 

DISC 2305

011H

Honors Humanities Seminar I

Atkinson

TTh

11:00

12:20

CMRC 132

 

DISC 2305

012H

Honors Humanities Seminar I

Spencer

TTh

2:00

3:20

LDRC 104

 

DISC 2305

013H

Honors Humanities Seminar I

Bozorth

TTh

12:30

1:50

MCEL 137

 

DISC 2305

014H

Honors Humanities Seminar I

Miller

MWF

1:00

1:50

ARMS 126

 

2311

001

Intro to Poetry

Holahan

MWF

1:00

1:50

DH 102

2012: CA2, W, OC 2016: LL, W, OC

2311

002

Intro to Poetry: A Poet-Guided Tour

Moss

MWF

10:00

10:50

DH 102

2012: CA2, W, OC 2016: LL, W, OC

2312

001

Intro to Fiction: Reader, I: Novels and Narrators from Austen to James.

McWilliams

MWF

9:00

9:50

DH 137

2012: CA2, W
2016: LL, W

2315

001

Intro to Lit Study

Weisenburger

TTh

12:30

1:50

DH 157

2012: CA2, W
2016: CA, W

2315

002

Intro to Lit Study: Those Who Wander

Wilson

TTh

9:30

10:50

Hyer 107

2012: CA2, W
2016: CA, W

2318

 

 

 

 

 

12:20

 

2012: W 2016: LL, TM, W

001

Intro to Digital Lit

Wilson

TTh

11:00

DH 137

2390

001H

Intro to Creative Writing: Getting Started as a Poet

Brownderville

TTh

11:00

12:20

DH 120

2012: CA1, W
2016: CA, W

2390

002

Intro to Creative Writing

Smith

MWF

11:00

11:50

DH 102

2012: CA1, W
2016: CA, W

2390

003

Intro to Creative Writing

Smith

MWF

12:00

12:50

DH 138

2012: CA1, W
2016: CA, W

2390

004

Intro to Creative Writing

Smith

MWF

1:00

1:50

DH 137

2012: CA1, W
2016: CA, W

2390

005

Intro to Creative Writing

Smith

MWF

2:00

2:50

DH 137

2012: CA1, W
2016: CA, W

2390

006

Intro to Creative Writing

Staff

TTh

3:30

4:50

DH 101

2012: CA1, W
2016: CA, W

3310

001

Contemporary Approaches

Sudan

TTh

12:30

1:50

DH 116

 

CLAS 3312

001

Classical Rhetoric: Ancient Athens During the Rise and Fall of the World's First Democracy

Neel

MWF

1:00

1:50

DH 149

2012: HC2, KNOW, W 2016: HSBS, KNOW, W

3320

001

Topics in Medieval Lit: Fabulous Fictions and Troublesome Truths in Medieval English Literature

Keene

TTh

2:00

3:20

DH 357

2012: CA2, W
2016: HFA, W

3346

001

American Lit History I

Cassedy

MWF

10:00

10:50

DH 116

2012: CA2, HC2, W
2016: HFA, HSBS, W

3360

001

Topics in Modern and Contemporary American Literature: Missing in Action: American World War I Literature and its Lost Narratives

Kiser

TTh

12:30

1:50

DH 152

2012: CA2, W
2016: HFA, W

3390

001

Creative Writing Workshop: Make It New!

Brownderville

TTh

2:00

3:20

DH 137

2012: CA2, W
2016: HFA, W

3390

002

Creative Writing Workshop: New Perspectives on Point of View

Staff

TTh

11:00

12:20

DH 102

2012: CA2, W
2016: HFA, W

4323

001

Chaucer: Playing in Poetry

Wheeler

TTh

11:00

12:20

DH 156

2012: IL, OC
2016: IL, OC

4333

001

Shakespeare: Fathers and Daughters, Husbands and Wives

Moss

MWF

12:00

12:50

DH 137

2012: IL, OC
2016: IL, OC

 4343  001 Studies in British Literature in the Age of Revolutions: Romance and Realism in Nineteenth-Century British Fiction  Murfin  TTh 12:30  1:50 DH 156

2012: IL, OC
2016: IL, OC

4346

001

Studies in American Lit in Age of Revs: Nineteenth-Century Classic American Literature Re-examined

Canceled
Canceled

Canceled

Canceled

Canceled

2012: IL, OC
2016: IL, OC

5310

001

Seminar in Literary Theory: Theory, Story, Writing

Foster

TTh

3:30

4:50

DH 156

 

6310

001

Advanced Literary Studies

D. Dickson-Carr

M

3:00

5:50

DH 137

 

6311

001

Survey of Lit Crit

Foster

TTh

12:30

1:50

DH 138

 

6312

001

Teaching Practicum

Stephens

F

1:00

3:50

Hyer 00G1

 

6370

001

African American Lit

D. Dickson-Carr

T

3:30

6:20

DH 138

 

7340

001

Seminar in British Lit

Wheeler

W

3:00

5:50

DH 137

 

7350

001

Seminar in American Lit: Post-1965 American Historical Fiction

Weisenburger

Th

3:30

6:20

DH 137

 

Cat #

Sec

Course Title

Instructor

Day

Start

End

Room

UC

DISC 2305

001H

Honors Humanities Seminar I

Arbery

MWF

9:00

9:50

LDRC 104

 

2312

001

Intro to Fiction: Reader, I: Novels and Narrators from Austen to James.

McWilliams

MWF

9:00

9:50

DH 137

2012: CA2, W
2016: LL, W

1330

001

World of Shakespeare

Neel

MWF

10:00

10:50

Hyer 100

2012: CA1 2016: LL

DISC 2305

002H

Honors Humanities Seminar I

Arbery

MWF

10:00

10:50

LDRC 104

 

2311

002

Intro to Poetry: A Poet-Guided Tour

Moss

MWF

10:00

10:50

DH 102

2012: CA2, W, OC 2016: LL, W, OC

3346

001

American Lit History I

Cassedy

MWF

10:00

10:50

DH 116

2012: CA2, HC2, W 2016: HFA, HSBS, W

1362

001

Crafty Worlds

Holahan

MWF

11:00

11:50

DH 116

2016: LL

DISC 2305

003H

Honors Humanities Seminar I

Arbery

MWF

11:00

11:50

LDRC 104

 

DISC 2305

004H

Honors Humanities Seminar I

Hopper

MWF

11:00

11:50

VSNI 303

 

2390

002

Intro to Creative Writing

Smith

MWF

11:00

11:50

DH 102

2012: CA1, W
2016: CA, W

DISC 2305

005H

Honors Humanities Seminar I

Hopper

MWF

12:00

12:50

VSNI 303

 

2390

003

Intro to Creative Writing

Smith

MWF

12:00

12:50

DH 138

2012: CA1, W
2016: CA, W

4333

001

Shakespeare: Fathers and Daughters, Husbands and Wives

Moss

MWF

12:00

12:50

DH 137

2012: IL, OC
2016: IL, OC

2311

001

Intro to Poetry

Holahan

MWF

1:00

1:50

DH 102

2012: CA2, W, OC 2016: LL, W, OC

2390

004

Intro to Creative Writing

Smith

MWF

1:00

1:50

DH 137

2012: CA1, W
2016: CA, W

CLAS 3312

001

Classical Rhetoric: Ancient Athens During the Rise and Fall of the World's First Democracy

Neel

MWF

1:00

1:50

DH 149

2012: HC2, KNOW, W 2016: HSBS, KNOW, W

DISC 2305

006H

Honors Humanities Seminar I

Hopper

MWF

1:00

1:50

VSNI 303

 

DISC 2305

014H

Honors Humanities Seminar I

Miller

MWF

1:00

1:50

ARMS 126

 

2390

005

Intro to Creative Writing

Smith

MWF

2:00

2:50

DH 137

2012: CA1, W
2016: CA, W

2102

001

Spreadsheet Lit: Excel

C. Dickson-Carr

M

3:00

3:50

DH 101

 

6310

001

Advanced Literary Studies

D. Dickson-Carr

M

3:00

5:50

DH 137

 

2102

002

Spreadsheet Lit: Excel

C. Dickson-Carr

W

3:00

3:50

DH 101

 

7340

001

Seminar in British Lit

Wheeler

W

3:00

5:50

DH 137

 

6312

001

Teaching Practicum

Stephens

F

1:00

3:50

Hyer 00G1

 

1400

001

Dev Reading and Writing

Pisano

TTh

8:00

9:20

MCEL 135

2012: OC 2016: OC

DISC 2305

007H

Honors Humanities Seminar I

McConnell

TTh

9:30

10:50

BOAZ 136

 

2315

002

Intro to Lit Study: Those Who Wander

Wilson

TTh

9:30

10:50

Hyer 107

2012: CA2, W
2016: CA, W

1320

001

Cultures of Medieval Chivalry: Guts and Glory in the Middle Ages

Keene

TTh

11:00

12:20

FOSC 155

2012: CA1,
HC1, OC
2016: LL,
HC, OC

DISC 2305

008H

Honors Humanities Seminar I

McConnell

TTh

11:00

12:20

BOAZ 136

 

DISC 2305

011H

Honors Humanities Seminar I

Atkinson

TTh

11:00

12:20

CMRC 132

 

2318

001

Intro to Digital Lit

Wilson

TTh

11:00

12:20

DH 137

2012: W 2016: LL, TM, W

2390

001H

Intro to Creative Writing: Getting Started as a Poet

Brownderville

TTh

11:00

12:20

DH 120

2012: CA1, W
2016: CA, W

3390

002

Creative Writing Workshop: New Perspectives on Point of View

Staff

TTh

11:00

12:20

DH 102

2012: CA2, W
2016: HFA, W

4323

001

Chaucer: Playing in Poetry

Wheeler

TTh

11:00

12:20

DH 156

2012: IL, OC
2016: IL, OC

2302

001

Business Writing

C. Dickson-Carr

TTh

12:30

1:50

DH 351

2012: IL, OC, W 2016: IL, OC, W

DISC 2305

009H

Honors Humanities Seminar I

McConnell

TTh

12:30

1:50

BOAZ 136

 

DISC 2305

013H

Honors Humanities Seminar I

Bozorth

TTh

12:30

1:50

MCEL 137

 

2315

001

Intro to Lit Study

Weisenburger

TTh

12:30

1:50

DH 157

2012: CA2, W
2016: CA, W

3310

001

Contemporary Approaches

Sudan

TTh

12:30

1:50

DH 116

 

3360

001

Topics in Modern and Contemporary American Literature: Missing in Action: American World War I Literature and its Lost Narratives

Kiser

TTh

12:30

1:50

DH 152

2012: CA2, W
2016: HFA, W

 4343  001 Studies in British Literature in the Age of Revolutions: Romance and Realism in Nineteenth-Century British Fiction Murfin  TTh 12:30
1:50
DH 156
 

2012: IL, OC
2016: IL, OC

4346

001

Studies in American Lit in Age of Revs: Nineteenth-Century Classic American Literature Re-examined

Canceled

Canceled

Canceled

Canceled

Canceled

2012: IL, OC
2016: IL, OC

6311

001

Survey of Literary Criticism

Foster

TTh

12:30

1:50

DH 138

 

1365

001

Literature of Minorities: “Otherness” and Identity in American Culture

Levy

TTh

2:00

3:20

Hyer 110

2012: CA1, HD
2016: LL, HD

2302

002

Business Writing

C. Dickson-Carr

TTh

2:00

3:20

DH 351

2012: IL, OC, W 2016: IL, OC, W

DISC 2305

010H

Honors Humanities Seminar I

McConnell

TTh

2:00

3:20

BOAZ 136

 

DISC 2305

012H

Honors Humanities Seminar I

Spencer

TTh

2:00

3:20

LDRC 104

 

3320

001

Topics in Medieval Lit: Fabulous Fictions and Troublesome Truths in Medieval English Literature

Keene

TTh

2:00

3:20

DH 357

2012: CA2, W
2016: HFA, W

3390

001

Creative Writing Workshop: Make It New!

Brownderville

TTh

2:00

3:20

DH 137

2012: CA2, W
2016: HFA, W

2390

006

Intro to Creative Writing

Staff

TTh

3:30

4:50

DH 101

2012: CA1, W
2016: CA, W

5310

001

Seminar in Literary Theory: Theory, Story, Writing

Foster

TTh

3:30

4:50

DH 156

 

6370

001

African American Lit

D. Dickson-Carr

T

3:30

6:20

DH 138

 

7350

001

Seminar in American Lit: Post-1965 American Historical Fiction

Weisenburger

Th

3:30

6:20

DH 137

 

Summer 2019

ENGL 2302-0011—Business Writing

M – F 12:00-1:50.  242 Umphry-Lee.  Dickson-Carr, Carol.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 3367-0011 ETHICAL IMPLICATIONS OF CHILDREN'S LITERATURE

M – F  10-11:50.  105 Dallas Hall.  Satz

An opportunity to revisit childhood favorites and to make new acquaintances, armed with the techniques of cultural and literary criticism. Examination of children's literature from an ethical perspective, particularly notions of morality and evil, with emphasis upon issues of colonialism, race, ethnicity, gender, and class.Writing assignments: four essays, final examination.Texts: “Snow White,” accompanied by critical essays; picture books such asWhere the Wild Things Are,The Giving Tree,Amazing Grace,Curious George,Babar; chapter books for young children such as Wilder,Little House on the Prairie; White,Charlotte’s Web; Erdrich,Game of Silence; books for young adults such as L’Engle,Wrinkle in Time; Alexie,The Absolute True Diary of a Part Time Indian; Yang,American Born Chinese; and one adult book, Morrison,The Bluest Eye.

 

ENGL 3379-0011—CONTEXTS OF DISABILITY

M – F 12:00-1:50.  105 Dallas Hall.  Satz.

This course deals with the literary and cultural portrayals of those with disability and the knotty philosophical and ethical issues that permeate current debates in the disability rights movement. The course also considers the ways issues of disability intersect with issues of gender, race, class, and culture. A wide variety of issues, ranging from prenatal testing and gene therapy through legal equity for the disabled in society, will be approached through a variety of readings, both literary and non-literary, by those with disabilities and those currently without them. Writing assignments: three short essays, one longer essay; mid-term, final examination.

Spring 2019

ENGL 1360-001—The American Heroine. 

MWF 9:00–9:50.  306 Dallas Hall.  Schwartz.         2012: CA1, HD  2016: CA, HD.

Works of North American Literature by women as they reflect and comment upon the evolving identities of women, men, and culture from the mid-19thCentury to the contemporary period. Novels, memoirs, and short stories will be supplemented by other readings.Writing:Midterm and final examination; regular quizzes; some short writing assignments.Texts:Jacobs,Incidents in the Life of a Slave Girl; Morrison,The Bluest Eye; Chopin,The Awakening; Atwood,The Handmaid's Tale;Bechdel,Fun Home; and others.

 

ENGL 1363-001—The Myth of the American West.

TTh 2:00–3:20.  115 Dallas Hall.  Weisenburger.    2012: CA1, HC1 2016: CA, HC.

In this course we study how and why 19th century realities of conquering the American West morphed into 20th century legend and myth. We also ask what defines those forms, how they changed, and why they endure. Our case studies include Texas emigrant Cynthia Ann Parker’s captivity among the Comanche people, as presented in factual, fictional, and cinematic versions; and then make a similar study of Buffalo Bill Cody’s celebrity in the late-19th century. We next turn to the ways that the romance of horse culture and gunfighters in late-19th and early-20th century paintings and sculpture, fictions and films, brought the Myth of the American West to its fullest expression. We conclude by studying revisions of that myth in contemporary film and fiction. Readings include historical and biographical sources, three classic Western novels, and a selection of popular Western films from the Silent Era to the present. Course requirements: evening viewing of 3 feature films, brief response papers, mid-term, and final exam. 

 

ENGL 1385-001—Power, Passion, and Protest in British Literature.

TTh 11:00–12:20.  357 Dallas Hall.  Sudan.              2012: CA1, HC1  2016: CA, HC

This course is a one-semester introductory overview of British literature, from its medieval beginnings to (almost) the present day, with special attention to literature’s role as an instrument of various forms of desire and power.  As we survey this history, we will consider not just great literature, but also its relation to the social, political, intellectual, and religious histories in which it was written.  

 

ENGL 2102-001—Spreadsheet Lit: Excel.

M 3:00–3:50.  ULEE 243.  Dickson-Carr, Carol. 

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2102-002—Spreadsheet Lit: Excel.

W 3:00–3:50.  ULEE 243.  Dickson-Carr, Carol. 

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2302-001—Business Writing.

TTh 12:30–1:50.  351 Dallas Hall.  Dickson-Carr, Carol.    2012: IL, OC, W 2016: IL, OC, W

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2302-002—Business Writing.

TTh 2:00–3:20.  351 Dallas Hall.  Dickson-Carr, Carol.     2012: IL, OC, W 2016: IL, OC, W

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2311-001—Introduction to Poetry.

TTh 9:30–10:50.  106 Dallas Hall.  Holahan.           2012: CA2, W, OC 2016: LL, W, OC

Introduction to the study of poetry and how it works, examining a wide range of poems by English and American writers. Special attention to writing about literature.

 

ENGL 2311-002—Introduction to Poetry: Serious Word Games.

MWF 11:00–11:50.  120 Dallas Hall.  Bozorth.         2012: CA2, W, OC 2016: LL, W, OC

Now in 4D: how to do things with poems you never knew were possible, and once you know how, you won’t want to stop. You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, and write about poems written centuries ago and practically yesterday. You will learn to distinguish exotic species like villanelles and sestinas. You’ll discover the difference between free verse and blank verse and be glad you know. You will impress your friends and family with metrical analyses of great poems and famous television theme songs. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, witches, God, Satan, and trochaic tetrameter. You’ll satisfy a requirement for the English major and a good liberal-arts education. Shorter and longer papers totally approximately 20 pages; midterm; final exam; class presentation. Text: Helen Vendler, ed., Poems, Poets, Poetry, Compact 3d ed.

 

ENGL 2312-001—Introduction to Fiction: Families, Happy and Unhappy.

TTh 2:00–3:20.  116 Dallas Hall.  Newman.            2012: CA2, W, OC 2016: LL, W, OC

“Happy families are all alike; every unhappy family is unhappy in its own way,” according to one famous novelist. That’s bad news for those of us who grow up in less-than-perfect families—that is, nearly everyone—but good news for those of us who like to read fiction, providing an inexhaustible supply of sad, funny, moving, amusing, disturbing, soothing, entertaining, and otherwise compelling stories about the institution that has nurtured us.

We will read fiction about nuclear families, extended families, broken families, immigrant families, rich, poor, “queer,” and absent families, families at the dawn of the industrial revolution and families in the digital era. We’ll consider the different ways that writers turn family life into plot, imagine character and play with language. In short, we’ll read about the family in order to understand fiction as an art.

Texts: Emily Brontë, Wuthering Heights; Junot Diaz, This Is How You Lose Her; Curtis Sittenfeld (probably You Think It, I’ll Say It), Short fiction anthology (probably Ann Charters, The Story and Its Writer). Assignments: four short papers (4 pages); reading quizzes and informal writing; 1-2 brief oral presentations.

 

ENGL 2312-002—Introduction to Fiction: Religion & Spirituality in Contemporary Literature.

MWF 3:00–3:50.  157 Dallas Hall.  Duke.                2012: CA2, W, OC 2016: LL, W, OC

In this course, we will dive into the religious, social, and political landscape of the last 40 years to explore what contemporary U.S. literature can tell us about contemporary U.S. religion, spirituality, and secularism.  How do contemporary writers imagine religious beliefs, practices, and communities?  How do religions traditions shape key social and political shifts in these decades, and how are they shaped by them?  What is the role of religion in politics?  In art?    We’ll read outstanding short stories and novels by contemporary writers like Jhumpa Lahiri, George Saunders, Michael Chabon, Louise Erdrich, and Jesmyn Ward. Along the way, we will also read further back into the 20th century, looking at what classic American writers like Wallace Stevens, Willa Cather, Zora Neale Hurston, Flannery O’Connor, and Allen Ginsberg have written about and in the languages of religion and spirituality. 

 

ENGL 2312-003H—Honors Fiction: Literature at the US-Mexico Border.

CANCELED

 

ENGL 2312-004—Introduction to Fiction: Literature at the US-Mexico Border.

TTh 12:30–1:50.  157 Dallas Hall.  Sae-Saue.             2012: CA2, W 2016: LL, W

“For any dweller of the Southwest who would have the land soak into him, Wordsworth's ‘Tintern Abbey,’ ‘Ode: Intimations of Immortality,’ ‘The Solitary Reaper,’ ‘Expostulation and Reply,’ and a few other poems are more conducive to a ‘wise passiveness’ than any native writing.”

- J. Frank Dobie, A Guide To Life and Literature of the Southwest

Long regarded as the pre-eminent expert of Southwest culture, J. Frank Dobie has emerged as a controversial figure because of his tendencies to underestimate the power of “native writings” to generate meaningful expressions of local life. Whereas Dobie suggests that residents of the Southwest may properly regard this geography by reading the Anglo European canon (what he calls “good literature”), this class seeks to understand how local writers have used narrative forms in order to structure their own perceptions of social and cultural life in the region. This course will also locate how key southwestern texts written by Mexican Americans challenge their common categorization as a “provincial literature.” We will examine how local writers map cognitively the Southwest as a transnational geography which is interconnected to non-U.S. territories through complex social, economic, and cultural networks.  Through analyses of some of the most important and influential texts of or about the region, we will investigate how Chicana/o literatures generate competing visions of cultural identity. Also, we will explore how these writings constitute a transnational sense of space while engaging issues of race, citizenship, gender, and globalization.

 

ENGL 2313-001—Introduction to Drama.

TTh 9:30-10:50.   110 Hyer Hall.  Neel.                    2012: CA1, W, OC 2016: LL, W, OC 

Introductory study of the origins of Western drama in ancient Greece.  Readings from all four of the great Greek playwrights: Aeschylus, Sophocles, Euripides, and Aristophanes.  Particular focus on the way these writers present, represent, develop, and deconstruct such mythical characters as Clytemnestra, Helen, Iphigenia, Agamemnon, Orestes, and Aristophanes’ version of Socrates.  The course will conclude with a study of Aristotle’s Poetics, which was built from his observation of the plays we will read, and then with a unit on how modern directors continue to stage these plays in the contemporary world.  Four thirty-minute, factual tests; two out-of-class papers; one comprehensive, written final exam; one formal oral presentation. 

 

ENGL 2314-001H—Doing Things With Poems

MW 3:00–4:20.  149 Dallas Hall.  Bozorth.            2012: CA2, W, OC 2016: LL, W, OC

Now in 4D—and Gluten-Free: how to do things with poems you never knew were possible, and once you know how, you won’t want to stop. You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, and write about poems written centuries ago and practically yesterday. You will learn to distinguish exotic species like villanelles and sestinas. You’ll discover the difference between free verse and blank verse and be glad you know. You will impress your friends and family with metrical analyses of great poems and famous television theme songs. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, witches, God, Satan, and trochaic tetrameter. You’ll satisfy a requirement for the English major and a good liberal-arts education. Shorter and longer papers totally approximately 20 pages; midterm; final exam; class presentation. Text: Helen Vendler, ed., Poems, Poets, Poetry, Compact 3d ed.

 

ENGL 2315-001—Introduction to Literary Study: Texts and Contexts.

TTh 11:00–12:20.  106 Dallas Hall.  Weisenburger. 2012: CA2, W 2016: CA, W

A course in the ways that skilled readers engage with, learn from, and take delight in literary texts--indeed, any written text. First we seek to sharpen close reading skills, and how to read and think critically about familiar literary forms: plays, poems and books of poems, the short story and the novel as kinds of fiction. Secondly our readings will also call on us to think critically about the ways that literary texts engage with their historical moment, with particular contexts of cultural and socio-political life and struggle. The traces left by texts and contexts will thus define our work in this course, and what we write about in scheduled essays. Indeed the third main goal of this class is to improve our writing—one sentence, page, and essay at a time. Our required texts: Joseph Conrad’s Heart of Darkness,T. S. Elliott’s The Waste Land and Other Poems,Nathaniel Hawthorne’s The Scarlet Letter, James Joyce’s Dubliners, Denis Johnson’s Train Dreams, William Shakespeare’s The Tempest, and Natasha Trethewey’s Native Guard.  Expect to write four interpretive essays, a mid-term, and a final exam.

 

ENGL 2315-002—Introduction to Literary Study: Those Who Wander.

MWF 12:00–12:50.  138 Dallas Hall.  Wilson.          2012: CA2, W 2016: CA, W

Wanderers and wanderings have been literary staples from medieval quests to Oscar-winning films. In turn, the experience of reading a book or film for the first time can take on the quality of an unexpected journey, in which you are hopeful that the destination will be an interesting one, but you are not entirely sure either what it will be or how you will get there. This course will introduce methods of reading and approaches to texts that will help you to navigate a wide range of new literary landscapes by developing habits of wandering productively. Our journey will take us from the classical world to 21st-century America, through a wide array of genres, and accompanied by many different types of speaker. As we will seek to foster our individual literary critical voices, we may all end up at very different destinations but throughout we will be learning how best to make sense of even the most unexpected encounters. Potential readings include: selections of epic poetry, from Homer's Odyssey to Milton's Paradise Lost; William Shakespeare's The Tempest; Samuel Taylor Coleridge's 'Rime of the Ancient Mariner'; and poetry by Emily Dickinson and Rita Dove, but this is a wandering course, so we will cover many other, varied terrains on our journey. 

 

ENGL 2318-001—Introduction to Digital Literature.

MWF 1:00–1:50.  120 Dallas Hall.  Wilson. 2012: W 2016: W, LL, TM

What are digital humanities? What is the relationship between technology and the humanities?  How can technology advance our understanding of language, literature, and culture? These are some of the large-scale questions that we will explore in this course. We rely on technologies such as digital maps, e-books, search engines, and databases every day, and understanding them and being able to work with them is a vital part of preparing for professional life. This course offers a hands-on introduction to using these technologies in academic research to analyze literature, and as well as enhancing your skills in academic work, the skills you learn are of immediate value to employers in the job market.

There have been major advances in the application of digital tools to analyze literature, resulting in the creation of new online resources for literary study such as the Milton Reading Room and the Walt Whitman Archive, as well as new research into large-scale patterns of language, ideas, sounds, and images within huge bodies of literary texts. In this course you will have the opportunity to learn the technologies that make this literary scholarship possible, from digitization to creating metadata, making digital maps of literary works, and text mining novels to detect patterns of thoughts, words, phrases, sounds, ideas, and more. We will also think about the theoretical implications of using digital technologies to analyze, advance, and promote the humanities. What are we to make of these advances? What kinds of intellectual questions do they open up? What does it mean to be a digital humanist?

 

ENGL 2390-001—Introduction to Creative Writing.

MWF 9:00–9:50.  156 Dallas Hall.  Smith.            2012: CA1, W 2016: CA, W

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary.

 

ENGL 2390-002—Introduction to Creative Writing.

MWF 10:00–10:50.  120 Dallas Hall.  Haynes.         2012: CA1, W 2016: CA, W

This course will introduce the techniques of writing fiction, poetry and creative nonfiction.  The semester will be divided between the three genres; in each students will study the work of published writers and create a portfolio of their own original writing in each genre. Texts: TBA

 

ENGL 2390-003—Introduction to Creative Writing.

TTh 12:30–1:50.  138 Dallas Hall.  Rubin.               2012: CA1, W 2016: CA, W

An introductory workshop that will focus on the fundamentals of craft in the genres of poetry, fiction, and creative nonfiction. Students will learn the essential practice of "reading like a writer" while developing their own work and discussing their classmates'.

 

ENGL 2390-004—Introduction to Creative Writing.

MWF 12:00–12:50.  102 Dallas Hall.  Smith.            2012: CA1, W 2016: CA, W

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary.

 

ENGL 2390-005H—Honors Introduction to Creative Writing: Next Year’s Words.

T 2:00–4:50.  117 Harold Simmons Hall.  Brownderville.  2012: CA1, W 2016: CA, W

“last year’s words belong to last year’s language 
And next year’s words await another voice.”

                                                            —T. S. Eliot, “Little Gidding”

It is sometimes said that literature has always been, and will always be, about love and death. If so many beautiful books have already been written on these great themes, why do we need new writing? As James Baldwin put it, the human story “has another aspect in every country, and a new depth in every generation.” It must be told again.

This course is a poetry workshop, where timeless themes meet the new words of now. Students will write and revise their own poems, respond both verbally and in writing to one another’s work, and analyze published poems in short critical essays. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communications skills. There is no textbook; the instructor will provide handouts. As this is an introductory course, prior experience in creative writing is not necessary.

Next Year’s Words, the first-ever Honors section of our introductory Creative Writing course, is about the tremendously exciting, and culturally necessary, adventure of the young writer. It’s about singing truth-song in a voice never heard before on earth.

This year can’t write the poems of 2019. Next year’s poetry needs next year’s words.

 

ENGL 2390-006—Introduction to Creative Writing.

MWF 10:00–10:50.  343 Dallas Hall.  Smith.            2012: CA1, W 2016: CA, W

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary.

 

ENGL 3310-001—Contemporary Approaches to Literature: Think Twice.

MWF 2:00–2:50.  157 Dallas Hall.  Foster.

Sure, we read for the story, for adventure, for knowledge of other minds and other worlds. But how does this happen? What is literature, anyway? How does it work? This course introduces the linguistic, cultural, and theoretical issues we all use to talk and write about literature. We will read some literary texts and contemporary interpretations of them, as well as some of the theorists who have shaped the discipline. Writing assignments: Seven 2-page Application Exercises; 1 final essay; and a final exam.

Texts (possible): Virginia Woolf, Three GuineasMohsin Hamid, Exit West; Bram Stoker, Dracula; Plato, Phaedrus; and additional selected texts.

 

CLAS 3312-001—Classical Rhetoric: Ancient Athens during the Rise and Fall of the World’s First Democracy.

TTh 12:30–1:50.  102 Dallas Hall.  Neel.                  2012: HC2, W, KNOW 2016: HSBS, W, KNOW

Course introduces students to the study of Classical Athens from 509 BCE with the reforms of Cleisthenes that began the world’s first formal democracy through the final defeat of Greek autonomy after the Lamian War in 322 BCE. Extensive readings from Thucydides, Lysias, Plato, Isocrates, Demosthenes, and Aristotle as the study of rhetoric and study of philosophy emerged into history. Two out-of-class papers, one in-class paper, and five reading quizzes. Satisfies three UC 2016 requirements: Writing Proficiency; Ways of Knowing; and Depth: History, Social, and Behavioral. Satisfies one course requirement for the Classical Studies program and one elective credit for both the English major and the English minor.

 

ENGL 3340-001—Topics in British Literature in the Age of Revolutions: Jane Austen’s Novels.

TTh 12:30–1:50. 102 Hyer Hall.  Holahan.            2012: CA2, W 2016: HFA, W.

This course covers the six major novels by Jane Austen.  It considers her repeated variations of courtship rituals: proposal, rejection or acceptance, and marriage.  Along the way, it also studies the literary techniques of narration, characterization, plot development, and style.  Certain topics (e.g., Austen’s various ‘limitations’) are studied in relation to historical background as well as in relation to stylistic      or literary concerns.  We will recall that one person’s focus is another person’s narrowness, and that  something similar might be said of ages.  Attention also goes to Austen’s idea of the novel and to the purposes of writing novels. This topic inevitably raises issues of authorial self-consciousness. Some (Henry James) claim that she had little or none; others (this instructor) claim that she had a good deal, that she plants a landscape garden or map for the modern novel.  Norton Critical Editions of Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. Essays of short to middle length; and a final exam.

 

ENGL 3362-001—African American Literature: 19th Century Lives & Times.

TTh 2:00–3:20.  142 Dallas Hall.  Greenspan.         2012: CA2, W, HD 2016: HFA, W, HD

This course offers a journey through the momentous, tumultuous lives and times of nineteenth-century black folks – an era conventionally seen as one of slavery, civil war, reconstruction, and Jim Crow but no less one of the flourishing of African American literature, music, and newspapers and magazines. We will read a medley of the finest expressions of black literary creativity during this period, as well as screen 21st-century backward looks at the 19th-century past.

Likely authors: David Walker, Henry Highland Garnet, Maria Stewart, Frederick Douglass, Sojourner Truth, William Wells Brown, Harriet Jacobs, Frances Ellen Harper Watkins, Paul Laurence Dunbar, Pauline Hopkins, Charles Chesnutt, and Natasha Trethewey; likely movies: Twelve Years a SlaveDaughters of the Dust

 

ENGL 3367-001—Ethical Implications of Children’s Literature.

MWF 9:00–9:50.  105 Dallas Hall.  Satz.                  2012: CA2, W, HD, OC, KNOW 2016: HFA, W, HD, OC, KNOW

An opportunity to revisit childhood favorites and to make new acquaintances, armed with the techniques of cultural and literary criticism. Examination of children's literature from an ethical perspective, particularly notions of morality and evil, with emphasis upon issues of colonialism, race, ethnicity, gender, and class. Writing assignments: four essays, final examination. Texts: “Snow White,” accompanied by critical essays; picture books such as Where the Wild Things AreThe Giving Tree,Amazing GraceCurious GeorgeBabar; chapter books for young children such as Wilder, Little House on the Prairie; White, Charlotte’s Web; Erdrich, Game of Silence; books for young adults such as L’Engle, Wrinkle in Time; Alexie, The Absolute True Diary of a Part Time Indian; Palacio, Wonder; and one adult book, Morrison, The Bluest Eye.

 

ENGL 3370-001—Special Topics: Life Writing.

TTh 9:30–10:50.  137 Dallas Hall.  Greenspan.

This is a nonfiction writing workshop devoted to the loosely-twinned genres of biography and autobiography. Over the course of the semester, students will ply their hand at each of these modes of life writing. To advance both their appreciation and their skill, they will read a selection of specimen texts in each of these genres. To improve their research skill, they will make exploratory forays into pre-21st-century lives via searches through print and visual sources and online databases. Each student will submit as a final project a significant work of nonfictional biography or autobiography. Note: This course counts toward the English with Creative Writing specialization.

 

ENGL 3379-001—Contexts of Disability: Gender, Care, and Justice.

MWF 10:00–10:50.  106 Dallas Hall.  Satz.              2012: CA2, W, HD, OC, KNOW 2016: HFA, W, HD, OC, KNOW

This course deals with the literary and cultural portrayals of those with disability and the knotty philosophical and ethical issues that permeate current debates in the disability rights movement. The course also considers the ways issues of disability intersect with issues of gender, race, class, and culture. A wide variety of issues, ranging from prenatal testing and gene therapy through legal equity for the disabled in society, will be approached through a variety of readings, both literary and non-literary, by those with disabilities and those currently without them. Writing assignments: three short essays, one longer essay; mid-term, final examination.

Texts: Kupfer, Fern, Before and After Zachariah: A Family Story of a Different Kind of Courage; Haddon, Mark, Curious Incident of the Dog in the Night; Rapp, Emily, Poster Child; Jamison, Kay Redfield, An Unquiet Mind; Lessing, Doris, The Fifth Child; Sarton, May, As We Are Now; Mairs, selected essays; O’Connor, selected stories; selected articles from a variety of disciplines.

 

ENGL 3384-001— Literature and Medicine: How We Talk about Illness, Doctors & Bodies.

MWF 11–11:50.  156 Dallas Hall.  Foster.                 2012: CA2, W, HD, PRIE2 2016: HFA, W, HD

The course will explore the literary understandings of illness and medicine. We will discuss how people experience illness as both practical and spiritual matters; the practices of doctors, nurses, and others who attend to the ill; the role of sickness and cure in our culture. We will consider how power, knowledge, and authority revolve around societies’ need to care for the body. And we will ask how ethical choices are expressed through the roles of individuals, institutions and governments.

 

ENGL 3390-001—Creative Writing Workshop: The World of the Unseen.

TTh 3:30–4:50.  153 Dallas Hall.  Rubin.                 2012: CA2, W 2016: HFA, W.

Discussing the work of Katherine Porter, the writer Mary Gaitskill names an important advantage the form of the short story has over visual media: "Film, both movies and television," Gaitskill writes, "may accomplish something like this [moment in Porter's work], or try to. But it is precisely the medium's felicity to the seen world that so often makes its attempts to portray the unseen world buffoonish." 

This class will explore the way great fiction evokes the world of the unseen. How is such a thing done? And what can make evocations of this unseen place so thrilling, spooky, and consoling?  In addition to reading the work of contemporary authors—and the writers who influenced them—students will be asked to listen to podcasts, such as Michael Silverblatt's Bookworm, and study interviews and essays.

This class is a fiction-writing workshop with an emphasis on reading and craft.

 

ENGL 4321-001—Studies in Medieval Literature: Before Thrones Were A Game: Medieval Literature in Westeros.

TTh 3:30–4:50.  106 Dallas Hall.  Keene.                 2012: HC2, KNOW, W 2016: IL, HSBS, OC, KNOW, W

In anticipation of the final season of the Game of Thrones series, this class will uncover the medieval stories that inspired George Martin’s world. Using a variety of literary sources — including romance literature, biography, and historical chronicles — we will encounter: the original Brienne of Tarth; knights both exemplary and sketchy; narratives of serial religious upheavals and conquests; imagined and historical uses of dragons; and even the Mother of Dragons. By the time winter finally arrives, we will be well steeped in the narratives that helped to lay the foundation for Westerosi lore.  

 

ENGL 4332-001—Studies in Early Modern British Literature: Sex and the City in the 18th Century.

TTh 2:00–3:20.  157 Dallas Hall.  Sudan.                 2012: IL, OC 2016: IL, OC

In September of 1666, a few short years after the restoration of Charles II to the throne in England, the Great Fire destroyed four-fifths of the commercial and topographical center of London in three days, and, in the process, destroyed everything that had represented London to Londoners. The social, historical, commercial, cultural, and physical city that had been in place for them was simply gone, and the task of rebuilding, re-imagining, and re-conceptualizing the “city” became the major task of Restoration London. Among the many tasks of social reconstruction Londoners had to face was the changing face of sexual identity: building the modern city on the ruins of the medieval city worked in tandem with building a modern sense of self, including a sexualized and gendered self, on older forms of social and national identity. Charles II, fresh from the French court in Paris, brought with him an entirely different concept of fashion, sense, sensibility, and sexual identity. This course examines the ways in which concepts of sexual—or, perhaps, more accurately, gendered—identities developed as ideologies alongside the architectural and topographical conception of urban life in England. And although the primary urban center was London, these identity positions also had some effect in shaping a sense of nationalism; certainly the concept of a rural identity and the invention of the countryside were contingent on notions of the city. Urbanity, in both senses of the word, is an idea that we will explore in various representations stretching from the late seventeenth-century Restoration drama to the Gothic novel of the late eighteenth century.

 

ENGL 4349-001—Transatlantic Studies II: A is for American: New Media in the Atlantic World, 1650–1850.

TTh 11:00–12:20.  138 Dallas Hall.  Cassedy.          2012: IL, OC 2016: IL, OC

In this course, we will study the spread of print and other new communication technologies during the eighteenth and nineteenth centuries — a "media shift" that anticipated the electronic communications revolution that we are living through now.  How did people who lived through the early modern communications revolution make sense of it?  How did new media technologies affect the emergence of new American and British identities?  We’ll study the social and technological developments that made written expression and mass communication available to unprecedented audiences, with special attention to print, literacy, newspapers, and diaries.  Readings to include fiction and poetry by Jonathan Swift, Nathaniel Hawthorne, Emily Dickinson, Daniel Defoe, John Bunyan, Hannah Foster, Washington Irving, and Phyllis Wheatley, and autobiographical writing by John Marrant, Frederick Douglass, Benjamin Franklin, Samson Occom, and John Gilchrist.  Weekly response papers; lively class discussions; seminar paper.

 

ENGL 4369-001—Transatlantic Studies III: LGBT Writing Before and After Stonewall.

MW 3:00–4:20.  149 Dallas Hall.  Bozorth.            2012: IL, OC, HD 2016: IL, OC, HD

CANCELED

 

ENGL 6330-001—Proseminar in Early Modern British Literature: Reading Poetry.

Th 2:00–4:50.  137 Dallas Hall.  Rosendale.

This is a course for everyone.  Not every English PhD needs to specialize in poetry, of course, but no PhD (or job applicant!) in British or American lit should be unable to read, understand, enjoy, discuss, and teach it.  Half proseminar, half reading workshop, this course will focus on short lyric poetry and the basics of understanding it well: form, sound, rhythm, and so forth as well as the higher-order skills of critical, analytical, interpretive reading and writing.

We will begin with the great, diamondlike sonnet sequences of the English Renaissance—Sidney’s, Spenser’s, Shakespeare’s—and their penetrating analyses of desire, deceit, subjectivity, agency, creation, beauty, and memory.  Having established some influential baselines (and also considered poems by early modern women like Mary Sidney and Mary Wroth), we will move on to Donne’s formal and thematic expansions of scope (including erotic and religious devotion, not always separately), and then to Herbert’s extraordinary formal laboratory, The Temple.  The latter weeks of the course will be shaped to the interests of the students taking it, and since people in all fields should be doing so, this will likely involve a wide historical and geographic range of poems: British and American, old and recent and anywhere in between.

 

ENGL 6345-001—American Literature in the Age of Revolutions: Printing Madness.

T 2:00–4:50.  138 Dallas Hall.  Cassedy.

An exploration of archival problems and methods in the study of Anglophone literatures and cultures in the eighteenth and nineteenth centuries.  Topics to include archival recovery, print culture studies, the histories of reading and writing, media shift, authorship, copyright, material texts, diaries, literacy, epistolarity, and print commerce.  Students will conduct primary research with archival material.  Readings will include major texts from transatlantic literary canons that thematize reading, writing, and authorship (e.g., by Swift, Pope, Richardson, Foster, Franklin, Irving, Hawthorne, and Melville); lesser-known primary materials; and secondary readings in literary, media, and cultural history from critics such as Elizabeth Eisenstein, Meredith McGill, Michael Warner, Lisa Gitelman, Friedrich Kittler, William St. Clair, Jacques Derrida, and Carolyn Steedman.

 

ENGL 7311-001—Seminar in Literary Theory: Theory, Now and Then.

W 2:00–4:50.  137 Dallas Hall.  Siraganian.

Every English Ph.D. student takes the introductory theory seminar, but what should you read next—and how do you develop a “theory list” for your qualifying exams? This course is designed for graduate students interested in exploring recent developments and disputes in critical theory in relation to (slightly) longer philosophical genealogies, focusing on topics and authors not typically examined in either the first semester theory seminar or in other graduate classes. We will take about three weeks, give or take, on each of four topics—form, autonomy, feeling, and critique. Each has been a recent subject of interest, debate, or new analysis, yet each of these topics was also a source of critical and philosophical interest in years past. Our aim will be to make sense of today’s most exciting and controversial theoretical interventions and evaluate them both in relation to other theoretical trends and in connection to earlier theory. In addition to historical and philosophical essays (from writers such as Adorno, Benjamin, Cavell, Fish, Jameson, Lukács, Richards, Trilling, etc.), we will read contemporary theory that is likely to include some of the following: Stephen Best and Sharon Marcus, “Surface Reading” (2009), Nicholas Brown, Autonomy: The Social Ontology of Art under Capitalism (2019), Rita Felski, The Limits of Critique (2015), Caroline Levine, Forms: Whole, Rhythm, Hierarchy, Network (2015), Ruth Leys, The Ascent of Affect: Genealogy and Critique (2017), Sianne Ngai, Our Aesthetic Categories: Zany, Cute, Interesting (2012). However, I am also open to incorporating other contemporary related theory; feel free to email me suggestions before January 2019. In addition to in-class presentations, students will have the option of either writing four shorter papers (one per topic) or one longer, synthesizing seminar paper. 

 

ENGL 7376-001—Special Topics: A History of Metatheater in Three Acts .

M 2:00–4:50.  137 Dallas Hall.  Moss.

Why does stage-drama, that most expressive of genres, so often and so obsessively prove introspective? Why is so much theater devoted to showing us how theater is made? We might expect playwrights to reflect on their own art, of course, as Sophocles, Shakespeare, or Beckett routinely do, but what drives theater troupes or for that matter theater audiences to commit to metatheatrical display? Indeed, what are we to make of metatheater, since after all it is a dramatized account of dramatic production, never dramatic production itself? To what extent is metatheater merely a version of the self-regard we find in all the arts, or does drama’s fundamental obsession with performativity and audience response generate a distinct variety of aesthetic introspection? Which of the many critical and theoretical approaches to dramatic authorship, performance, and reception best suit this odd but persistent tendency of the stage to stage itself?

 

Our efforts to answer some if not all of these questions begin in ancient Greece and Rome, with Attic tragedy, Old and New Comedy, and an initial attempt to contextualize our inquiry in responsible theater history, classical criticism and theory, even archaeology. After an interludic week on the civic mystery cycles of medieval England, we turn to the playwrights and professional companies of the Renaissance (not just Shakespeare and the Chamberlain’s Men) for a tour of the “wooden O’s” and an introduction to the personnel—star tragedians, celebrity clowns, and male apprentices in drag—whose influence largely dictates how scenes are designed and characters conceived and performed in all subsequent theater history. A weeklong pause for the Restoration (actresses!) gives way to a romp through the twentieth century, focusing on the Theater of the Absurd, Brecht (inevitably), Beckett (thank goodness), postcolonial and activist theater, culminating in a final week’s discussion of 21st-century metatheater and/or analogues in film (e.g., German expressionism, French New Wave, Hitchcock and the theorists infatuated with him).

 

Likely or possible dramatic authors include Sophocles, Euripides, Aristophanes, Plautus, the “York Realist,” Shakespeare, Jonson, Beaumont, Middleton, Dryden, Congreve, Wycherley, Ibsen, Wilde, Brecht, Ionesco, Beckett, Stoppard, Césaire, Shepard, Fugard, Churchill, Kane. We’re talking three plays a week. Non-dramatic authors might or might not include Aristotle, Sidney, Sedgwick, Butler, Cavell, Zizek, Deleuze, etc. Secondary readings will occasionally take the form of articles on metatheater, but mostly we will contextualize, burying ourselves in theater history in order to observe metatheater’s organic growth from that soil. Obviously the syllabus is still under construction but there should be something here for all students in whichever field.

Fall 2018

ENGL 1320-001—Cultures of Chivalry: King Arthur and the Joys of Chivalry

TTh 3:30-4:50.  156 Dallas Hall.  Wheeler.    2012: CA1, HC1, OC      2016: CA, HC, OC

Courage! Honor! Intensity! Valor! Armour! Love! Romance! Youth! = CHIVALRY

In this course, we study the development of chivalric mentalities in literature, history, and culture from the Middle Ages to modern times. This course moves back and forth from the flowering of chivalry in twelfth-century Western culture to the current moment. Stories of King Arthur form the central thread around which we weave studies of chivalric education and variation, of chivalric rejection and renewal.

King Arthur is the most popular and most frequently revived Western hero from the Middle Ages to the current moment. This course examines aspects of the Arthurian story—Camelot, the knights of the Round Table, the Holy Grail—from its roots in the Middle Ages to its flourishing today. We focus our work on love—romantic love, family love, and love of friends—and profit—how stories of King Arthur can teach us to understand power and succeed in politics and even business organization.

 

ENGL 1330-001—The World of Shakespeare: With a Focus on Shakespeare’s use of Rome as a Setting for His Plays 

MWF 10-10:50.  100 Hyer Hall.  Neel.          2012: CA1   2016: LL 

Introductory study of eight major texts, with background material on biographical, cultural, historical, and literary topics.  Five tests, written mid-term and final exams, and one extra credit opportunity.  Play texts from the free Folger Shakespeare Library Digital Archive; lecture templates posted electronically on Canvas.  Theme for the semester: Shakespeare’s use of Ancient Rome for his plays.  We will begin with “The Rape of Lucrece,” which recounts the founding of the Roman Republic in 509 BCE, and end with Titus Andronicus, which describes Rome at the collapse of the Roman Empire about 380 CE.  And by reading such plays as Julius CaesarAntony and Cleopatra, and Cymbeline, we will trace the trajectory of Rome through the flourishing and collapse of the Republic followed by the expansion and collapse of the Empire.  Satisfies UC 2016 Breadth: Language and Literature; counts as an elective in both the English major and the English minor.

 

ENGL 1362-001—Crafty Worlds

MWF 11-11:50.  116 Dallas Hall.  Holahan.

An introductory study of selected twentieth-century novels emphasizing both ideas of modernity and the historical or cultural contexts of catastrophe that generated these ideas. Topics include traditions of family and wealth, representations of world war, new effects of capital and society, war and sensibility, race and the novel, Big D. Writing assignments: quizzes, one short essay, mid-term, final examination. Texts: TBD

 

ENGL 1365-001—Literature of Minorities: “Otherness” and Identity in America

TTh 2-3:20.  110 Hyer Hall.  Levy.         2012: CA1, HD     2016: LL

The course interrogates questions of individual and collective identities from historical, contemporary and literary perspectives.  We look closely at the many categories that have constituted identity in the US, including race, ethnicity, gender, sexual orientation and the myriad terms/categories that have come to constitute our cultural conversation about identity, including: “Whiteness,” “Blackness,” “White Supremacy,” “Identity Politics,” “Queerness,” “Pluralism,” etc.   We examine the ways these categories have been deployed to assert and marginalize both group self-selected and imposed, as both fixed and flexible, as located and displaced, as both secure and situational.  

 

ENGL 1400-001—Developmental Reading and Writing

TTh 8:00-9:20.  135 McElvaney Hall.  Pisano.   2012: OC   2016: OC

English 1400 is a class that has been created to respond to the unique needs of some students whose writing and reading skills suggest that they would have little chance of succeeding in the DISC series. In an effort to prepare them for that experience, these students take a 4-hour course, ENGL 1400, that offers intensive work  on reading and writing skills. Annie Maitland and Pat Pisano have crafted a class in which the students receive instruction in reading for 1 hour per week specifically in regard to the texts about which Pat Pisano is having them write in the writing portion of the class (3 hours per week). Writing instruction focuses on sentence-level correctness, vocabulary, paragraphing, and the thesis sentence.  Reading instruction is explicit and systematic, with a focus on the general outcomes of reading. Specific areas of instruction include comprehension strategies, fluency, vocabulary, and word study skills. The goal is for students to emerge from the class more fully prepared to tackle essay-length writing assignments with an understanding of critical reading and analysis of texts.

 

ENGL 2102-001—Spreadsheet Lit: Excel

M 2:00-2:50.  105 Dallas Hall.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2102-002—Spreadsheet Lit: Excel

W 2:00-2:50.  105 Dallas Hall.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

 

ENGL 2302-001—Business Writing

TTh 12:30-1:50.  351 Dallas Hall.  Dickson-Carr, Carol.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2302-002— Business Writing

TTh 2:00-3:20.  351 Dallas Hall.  Dickson-Carr, Carol.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

 

ENGL 2310-001—Imagination and Interpretation: Religion and Spirituality in Contemporary Literature

CANCELED

 

ENGL 2310-002Imagination and Interpretation: Chicana/o Culture & Lit

TTh 9:30-10:50.  107 Hyer Hall.  Sae-Saue.   2012: CA2, W       2016: CA, W

This course will explore how novels, plays, and poems produced during and after the US annexation of northern Mexico (now the US Southwest) have communicated social, political, and economic dilemmas of nation making, including matters of race, class, immigration, gender, and citizenship. This means that we will also attend to important texts that deal with Texas in particular.

Primarily, we will look at texts produced by Mexican Americans in order to examine life in the region from an ethnic perspective. We will begin by looking at texts written in the 19th century and conclude having examined contemporary works in order to explore their various formal qualities, and the competing ethnic, political, and national ideologies they articulate. 


ENGL 2311-001—Introduction to Poetry

MW 3:00-4:20.  101 Dallas Hall.  Holahan.    2012: CA2, OC, W     2016: LL, W

Introduction to the study of poetry and how it works, examining a wide range of poems by English and American writers. Special attention to writing about literature.

 

ENGL 2311-002—Introduction to Poetry

TTh 11:00-12:20.  105 Dallas Hall.  Rosendale.

Can poetry help you live a better life?  In this course, we will talk about what poetry is, why it exists, how it works, what can be done with it, and why it’s fun, interesting, and important.  We will attend to various aspects of sound, form, and language, and how they combine to generate meaning.  We will, by working through great poems together, see how analysis leads to understanding (of poems, ideas, the world, and ourselves) and then to pleasure.  We’ll read lots of great British and American poems, many good ones, and a few awful ones, from the middle ages to the present day.  We’ll find poetry in unexpected places, and we’ll find unexpected things in it.  We’ll talk and sometimes argue, as we should, about what, and how, poems mean.  By the end of the course, you’ll have a much fuller sense of what poetry has to offer, and how to make the most of it.

University Curriculum: 2012 Creativity and Aesthetics II and Writing; 2016 Language & Literature and Writing

 

ENGL 2312-001—Introduction to Fiction

TTh 12:30-1:50.  156 Dallas Hall.  Sae-Saue.   2012: CA2, OC, W    2016: LL, W

This course is an introduction to fiction with an emphasis on U.S. ethnic novels. The primary goals of the class are for students to learn to recognize a range of narrative elements and to understand how they function in key U.S. fictions.  Each text we will read represents a specific set of historical and social relationships while also imagining particular U.S. identities and cultural geographies. How does a text construct a cultural and social landscape? How does fiction organize ways human consciousness makes sense of determinate historical events? How does fiction articulate political, social, and cultural dilemmas? And how does it structure our understandings of social interaction?  As these questions imply, this course will explore how fiction creates and then navigates a gap between art and history in order to remark on U.S. social relations. We will investigate how literary mechanisms situate a narrative within a determinate social context and how the narrative apparatuses of the selected texts work to organize our perceptions of the complex worlds that they imagine. As such, we will conclude the class having learned how fiction works ideologically and having understood how the form, structure, and narrative elements of the selected texts negotiate history, politics, human psychology, and even the limitations of textual representation.

ENGL 2312-002 — Introduction to Fiction: Women Writing About The South

MWF 9:00-9:50. 137 Dallas Hall. S. Smith.     2012: CA2, OC, W    2016: LL, W

Women have been writing about the South for centuries. They write about love, loss, family, rape, race, coming of age, and social and political issues. Their fiction constructs historical and cultural identities. In the introduction to fiction course, the class will focus on contemporary novels, short stories, and films about the South. The class will discuss the elements of fiction, form, Language, themes, and historical, political and social issues within the stories. Possible texts and films: Jesmyn Ward: Salvage the Bones and SingUnburied, Sing, Alice Walker: The Color Purple and In Love and Trouble, Natalie Baszile: Queen Sugar, Tayari Jones: An American Marriage, Tananarive Due: Ghost Summer, Gayl Jones: Corregidora, ZZ Packer: Drinking Coffee Elsewhere.

ENGL 2312-003H—Introduction to Fiction: Look Again

TTh 9:30-10:50.  156 Dallas Hall.  Foster.    2012: CA2, OC, W    2016: LL, W

CANCELED

 

ENGL 2313-001—Introduction to Drama: From the Beginnings in Ancient Greece through the English Renaissance to the American Drama of the Last Forty Years

CANCELED

 

ENGL 2314-001H—Doing Things with Poems: Serious Word Games

TTh 11:00-12:20.  120 Dallas Hall.  Bozorth.   2012: CA2, OC, W     2016: LL, W, OC

Now in 4D—and Gluten-Free: how to do things with poems you never knew were possible, and once you know how, you won’t want to stop. You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, and write about poems written centuries ago and practically yesterday. You will learn to distinguish exotic species like villanelles and sestinas. You’ll discover the difference between free verse and blank verse and be glad you know. You will impress your friends and family with metrical analyses of great poems and famous television theme songs. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, witches, God, Satan, and trochaic tetrameter. You’ll satisfy a requirement for the English major and a good liberal-arts education. Shorter and longer papers totally approximately 20 pages; midterm; final exam; class presentation. Text: Helen Vendler, ed., Poems, Poets, Poetry, Compact 3d ed.

 

ENGL 2315-001—Introduction to Literary Study: Those Who Wander

TTh 12:30-1:50.  116 Dallas Hall.  Wilson.       2012: CA2, W    2016: CA, W

Wanderers and wanderings have been literary staples, from medieval quests to Oscar-winning films. In turn, the experience of reading a book or film for the first time can take on the quality of an unexpected journey, in which you are hopeful that the destination will be an interesting one, but you are not entirely sure either what it will be or how you will get there. This course will introduce methods of reading and approaches to texts that will help you to navigate a wide range of new literary landscapes by developing habits of wandering productively. Our journey will take us from medieval England to 21st-century America, through a wide array of genres, and accompanied by many different speakers and guides. As we seek to foster our individual literary critical voices, we may all end up at very different destinations but throughout we will be learning how best to make sense of even the most surprising encounters.

Possible texts include ‘The Wanderer’; William Shakespeare, A Comedy of Errors; Milton, (short!) selections from Paradise Lost; poetry by Rita Dove, Bao Phi, Emily Dickinson, Wallace Stevens, John Keats; J. R. R. Tolkien, (short!) selections from The Lord of the Rings; essays by Ralph Waldo Emerson and Clifford Geertz; film by Quentin Tarantino, Django Unchained.

 

ENGL 2315-002— Introduction to Literary Study: Seen and Seen Again

MWF 10:00-10:50.  102 Dallas Hall.  Moss.     2012: CA2, W    2016: CA, W

Poets, playwrights and novelists show a strange affinity for double vision. This can take many forms: parallel plots featuring twins or imposters; second-chance narratives; serial perspectives on the same scene or event; a haunting sense of déjà vu; a return to some original sin or the scene of the crime. Working from the medieval period to the present in multiple genres, we will explore a series of such double-takes, asking what author and reader stand to gain from this much-used, well-known, yet still mysterious and powerful literary tradition. Don’t expect only one answer…

A tentative list of readings: Sir Gawain and the Green Knight; Shakespeare, The Comedy of Errors; Blake, Songs of Innocence and of Experience; Edgeworth, Castle Rackrent; Austen, Persuasion; Wilde, The Importance of Being Earnest; James, The Turn of the Screw; Freud, “The Uncanny,” Larsen, Passing; Beckett, Waiting for Godot; Hitchcock, Vertigo (film); Barnes, The Sense of an Ending.

 

ENGL 2390-001—Introduction to Creative Writing

TTh 11:00-12:20. 127 Fondren Science. Haynes.  2012: CA1, W   2016: CA, W

This course will introduce the techniques of writing fiction, poetry and creative nonfiction.  The semester will be divided between the three genres; in each students will study the work of published writers and create a portfolio of their own original writing in each genre. Texts: TBA

 

ENGL 2390-002—Introduction to Creative Writing

TTh 2:00-3:20.  149 Dallas Hall.  Haynes.      2012: CA1, W   2016: CA, W

This course will introduce the techniques of writing fiction, poetry and creative nonfiction.  The semester will be divided between the three genres; in each students will study the work of published writers and create a portfolio of their own original writing in each genre. Texts: TBA

 

ENGL 2390-003—Introduction to Creative Writing

MWF 12:00-12:50.  137 Dallas Hall.  Ruben.      2012: CA1, W   2016: CA, W

An introductory workshop that will focus on the fundamentals of craft in the genres of poetry, fiction, and creative nonfiction. Students will learn the essential practice of "reading like a writer" while developing their own work and helpfully discussing their classmates'.

 

ENGL 2390-004—Introduction to Creative Writing

MWF 11:00-11:50.  102 Dallas Hall.  Brownderville.     2012: CA1, W   2016: CA, W

The subject of this course is powerful language. How do writers craft language so as to enhance the reader’s experience of imagery, voice, metaphor, scene, character, and plot? To begin answering this question, students will write and revise their own pieces; respond both verbally and in writing to one another’s work; and analyze published texts in short critical essays. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communications skills. There is no textbook; the instructor will provide handouts. As this is an introductory course, prior experience in creative writing is not necessary.

 

ENGL 2390-005—Introduction to Creative Writing

MWF 10:00-10:50.  116 Dallas Hall.  Smith.     2012: CA1, W   2016: CA, W

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary

 

ENGL 3310-001—Contemporary Approaches to Literature

TTh 3:30-4:50.   101 Dallas Hall.  Foster.

Is there a meaning in a text? If so, how do we figure out the meaning of cultural forms—whether novels, poems, movies, or tweets—including language itself? And how do we understand and use literary criticism? This class addresses these questions by exploring the different theoretical and methodological approaches we use to read literature, to critique culture, and to understand the world. We will familiarize ourselves with a range of theoretical approaches, including structuralism and semiotics, feminism and gender studies, Marxism and cultural studies, psychoanalysis, New Historicism, and queer theory. Along the way, we will interpret both canonical and less familiar literary texts, examining the ways literature and culture make sense of the complex worlds in which we live. Writing assignments: short essays and a final examination. Texts will include Tyson, Critical Theory Today, Fitzgerald, The Great Gatsby, Shakespeare, The Tempest, short stories by Hemingway, Chopin, and Joyce, poetry by Hughes, Rich, Frost, Bishop, and Toomer (among others),plus some additional essays.

 

CLAS 3312-001Classical Rhetoric

MWF 2:00-2:50.  137 Dallas Hall. Neel

ENGL 3344-001—Victorian Gender          

TTh 11:00-12:20.  102 Dallas Hall.  Newman.   2012: CA2, HD, W,   2016: HD, HFA, W

The word “Victorian” has been a synonym for “prudish” for about a hundred years.  One historian has asserted that the sexes were regarded as more radically, absolutely different during the nineteenth century than any time before or since.  Clearly we’re nothing like them--right?  

If that’s the case, why does the literature of Victorian England still speak so meaningfully and directly to us about what it means to be a man or woman?  Take Charlotte Brontë’s Jane Eyre, which remains popular with readers, or Charles Dickens’s Great Expectations, both of which we will read.  Or consider Thomas Hardy’s Tess of the d’Urbervilles and Oscar Wilde’s The Picture of Dorian Gray, which raise questions about female sexuality and gay male identity that still speak to us.  This was also an era when prostitution, birth control, and what it means to consent to sex (and the age when one could do so) were being debated; when gender roles, because so rigidly defined, were challenged; when the term “homosexual” was being coined, along with the concept and identity it names; and when writers found ways of covertly expressing same-sex desire.

Requirements: 3 papers (for a total of about 15 pages), occasional quizzes and discussion board postings, in-class midterm and blue-book final exam.

Texts: Brontë, Jane Eyre; Dickens, Great Expectations; Hardy, Tess of the d’Urbervilles; Wilde, The Picture of Dorian Gray; short essays, some poetry, and other readings posted on line or distributed in class.

 

ENGL 3346-001—American Literary History I: Constructing Early American Identity

TTh 11:00-12:20.  137 Dallas Hall.  Greenspan.  2012: CA2, HC2, W  2016: HFA, HSBS, W

This course will explore the literary responses of a wide array of major American writers from 1775-1900 to issues and problems of individual, group, and national identity emerging in the wake of American political and cultural independence. Central issues will include nationalism as political and cultural phenomenon, individualism and freedom, history of authorship, race and slavery, minority identity, the Civil War, capitalism and literary culture. Writers to include Benjamin Franklin, Thomas Jefferson, Hannah Foster, Ralph Waldo Emerson, Harriet Beecher Stowe, Herman Melville, Walt Whitman, Emily Dickinson, Abraham Lincoln, Henry James, Mark Twain, and Theodore Dreiser

 

ENGL 3360-001—Topics in Modern and Contemporary American Literature: Business Fictions

TTh 12:30-1:50.  127 Fondren Science.  Siraganian.   2012: CA2, HD, OC, W 2016: HFA, HD, OC, W

When you are working for a company, how do you distinguish your ideas, actions, and responsibilities from the firms’—if that is even possible? What is corporate culture or a corporate person, and how is it similar or different from any other kind of culture or person? By reading and thinking about short stories, novels, film, a television series, and a play, we will explore these issues and potential resolutions to them. The course especially considers how problems of action, agency, and responsibility become an intriguing challenge for writers of a variety of modern and contemporary fictions of the business world. Texts will include short stories (Herman Melville’s “Bartleby, the Scrivener,” Alice Munro’s “The Office”), novels (F. Scott Fitzgerald’s The Last Tycoon, Mohsin Hamid’s How to Get Filthy Rich in Rising Asia), and films, plays, and television (Modern Times, Glengarry Glen RossWorking Girl, and an episode Community). Assignments include reading responses, several short papers, a midterm, and a final.

 

ENGL 3362-001—African-American Literature: Wit, Irony, Satire, and Criticism

TTh 12:30-1:50.  157 Dallas Hall.  Dickson-Carr, Darryl.  2012: CA2, HD, W  2016: HFA, HD, W

At the heart of African American literature lies a spirit of dissent, with authors taking a critical look at American culture as they show the many complexities within African American communities and cultural products. In many cases, wit, satire, and irony—that is, critical humor—help African American authors and their works to raise important and challenging questions for us to explore and answer. 

This course takes as its premise that argument, opposition, dissent, and an ironic, satirical spirit are the foundation of African American literature and literary study. Dispensing with the myth of a monolithic, homogeneous African American community, we will focus upon critical issues and debates within African American literary and cultural history. Our goal will be to examine how these debates appear in the literature, whether implicitly or explicitly. We will begin in Colonial times and move through history, touching upon works that best illustrate our topic. In the process, we will read and analyze autobiographies, short stories, poems, novels, comic strips, graphic novels, and films.

Requirements will include three papers, with one requiring research; a midterm; a final; in-class and take-home writings. We will read selections from The Norton Anthology of African American Literature; short stories, essays, and novels by Paul Beatty, Ralph Ellison, Percival Everett, George S. Schuyler, Wallace Thurman, Mat Johnson, ZZ Packer, Danzy Senna, Colson Whitehead, and Toni Morrison; watch such films as BamboozledDear White People, and Black Panther.

 

ENGL 3363-001—Chicana/Chicano Literature: Narratives at the US-Mexico Borderlands

TTh 9:30-10:50.  107 Hyer Hall.  Sae-Saue.  2012: CA2, HD, W  2016: HFA, HD, W

CANCELED

 

ENGL 3383-001—Literary Executions: Imagination and Capital Punishment

MWF 1:00-1:50.  102 Dallas Hall.  Holahan.

A study of the literary treatment of capital punishment. The aim is to locate a social issue of continuing importance within literary traditions that permit a different kind of analysis from that given in moral, social, and legal discourse. The literary forms include drama, lyric, novel, and biography; the periods of history represented range from the English Reformation and the Elizabethan Renaissance to the English Civil War, the French Revolution, and contemporary America. Writing assignments: three short essays, final examination. Texts: TBA.

 

ENGL 3385-001—Literature of the Holocaust

MWF 9:00-9:50.  101 Dallas Hall.  Satz.  2012: CA2, HD, OC, W   2016: HFA, HD, OC, W

This course explores both the literature of the Holocaust and issues surrounding the possibility of aesthetic portrayal  of this horrific event .   It considers   both Holocaust literature and post-Holocaust literature.  It will include texts such as Schwarz-Bart, Last of the Just; Wiesel, Night; Speigelman, Maus; Borowski, This Way for the Gas, Ladies and Gentlemen; Schlink, The Reader. Requirements:  four papers of various lengths, mid-term, final. This course will count for the Jewish Studies minor.

 

ENGL 3390-001—Creative Writing Workshop: The Big Rock Candy Mountain

MWF 1:00-1:50. 137 Dallas Hall. Brownderville.  2012: CA2, W   2016: HFA, W

In 1928 Haywire Mac recorded a folk song about the Big Rock Candy Mountains:

In the Big Rock Candy Mountains,

There’s a land that’s fair and bright,

Where the handouts grow on bushes

And you sleep out every night,

Where the boxcars all are empty

And the sun shines every day

On the birds and the bees

And the cigarette trees,

The lemonade springs

Where the bluebird sings

In the Big Rock Candy Mountains.

In treating the American imagination to this song, Haywire Mac invoked an age-old tradition with many names, all of them completely wonderful (e.g. Topsyturvydomtipteeringmisrulesoulingpeace-egging, and mumming). This is carnival, the crossroads where clown and savior meet as one.

Again and again, when our imaginations whisk us away to this place, we discover to our delight that social hierarchies, rules and regs, and conventions of all kinds tumble upside down. Just at the moment when madness ignites, the sensuous joy of poetry surges to the fore. Letting loose a few choice expletives for the bossman of narrative and the prime minister of discourse, language goes free. No longer must it mean. No longer must it tell a story. At least not in any conventional sense. The nonsense that ensues contains the highest wisdom and beauty. In the end it is no nonsense at all. It is the trickster god and Lear’s fool. It is the quack doctor of the magical mumming plays and Emily Dickinson reminding us that “Much Madness is divinest Sense.” It is Gerard Manley Hopkins singing of “the dearest freshness deep down things.” And those “deep down things” are folklore, mythology, religion, and poetry at play in a realm of endless possibility.

In this course we will write poems, read, and muse in “a land that’s fair and bright” known affectionately in America as the Big Rock Candy Mountains.

 

ENGL 3390-002 Creative Writing Workshop: Screenwriting Workshop

MWF 11:00-11:50.  120 Dallas Hall.  Rubin.    2012: CA2, W   2016: HFA, W

In this advanced course, students will regularly present their own screenwriting as well as critique that of their classmates. Alongside these workshops, we will analyze exemplary models of the form and pore over film clips to study the ways compelling dialogue is written and satisfying scenes are structured. The scope of this class will be catholic: Genres as varied as comedy, action, sci-fi, and noir will be discussed. ENG 2390 is a prerequisite for this course though Meadows students with a background in dramatic arts are encouraged to seek the permission of the instructor.

 

ENGL 4323-001—Chaucer: Chaucer's Shorter Poems

TTh 11:00-12:20.  156 Dallas Hall.  Wheeler.   2012: IL, OC   2016: IL, OC

Study of Chaucer’s dream poems as well as his great love-and-war poem Troilus and Criseyde, along with a sprinkling of staggeringly long classics. Reading: The Wadsworth Chaucer and background texts. Assignments: regular reading comments, in-class oral presentations, short and longer paper.

 

ENGL 4333-001—Shakespeare: All the King’s Men

MWF 12-12:50.  138 Dallas Hall.  Moss.    2012: IL, OC   2016: IL, OC

When we refer to Shakespeare’s theater, we really mean an open-air, state-of-the-art polygonal structure altogether different from our modern playgoing experience. When we refer to the star of a Shakespeare play, we mean a single über-celebrity by the name of Richard Burbage, who also owned half of that polygon. When we laugh or roll our eyes at Shakespeare’s clown, we respond to a consummate performer, whose art had roots in ancient tradition, but whose profession was changing as fast as the latest jig. When we desire, fear, or pity Shakespeare’s queens and princesses, we engage with a series of apprentice boy-actors in feminine garb, whose identities are mostly lost to history but whose number included at least one of the greatest performers of any period or culture.

In this course, we will survey Shakespeare’s works—histories, comedies, tragedies, lyric and narrative poetry—with a constant eye on his relationship with his company, the Lord Chamberlain’s Men (later the King’s Men). To what extent did Shakespeare design his plays around the unique talents and status of Burbage, the company’s leading man and chief shareholder? How did the company and its playwright keep their celebrity clown—whose profession demanded he interrupt everyone and improvise everything—under control? How did such revolutionary roles as Juliet, Lady Macbeth, or Cleopatra develop out of the Elizabethan theater’s cumbersome system of casting male apprentices as women? In a theater with no director, how did Shakespeare’s plays come together?

Requirements: two shorter papers, one research paper, weekly posts to an online discussion list, creative project, final exam.

 

ENGL 4349-001—Transatlantic Studies II: Tough Mothers, 1740-1900

MWF 1:00-1:50.  149 Dallas Hall.  Cassedy.  2012: IL, OC   2016: IL, OC

Mary Wollstonecraft moved to Paris, found an American boyfriend, and then published an exposé about him after he abandoned her with their infant in the middle of the French Revolution.  She was one tough mother.

Two hundred miles away, Victoire-Aimée Gouin du Fief formed a band of counterrevolutionary insurgents and personally led battles against the French Revolution after her husband fled the country.  She was one tough mother.

Twelve thousand miles away, a whale bashed a hole in the side of a ship and sank it in the middle of the Pacific.  The fifteen surviving sailors crowded onto lifeboats and tried to sail to South America.  It took 95 days and they ended up having to eat each other.  Those were fifteen tough mothers.  (Sixteen if you count the whale.)

Some years later (never mind how long precisely), an inspired weirdo wrote the strangest book in the American literary canon.  Herman Melville was one tough mother.

Readings to include Wollstonecraft's Letters in Sweden (1796) and The Wrongs of Woman (1798); Chase's Shipwreck of the Whale-Ship Essex (1821); Melville's Moby-Dick (1851); Fern's Ruth Hall (1854); and other literary texts about "tough mothers" in numerous senses of the term.  Weekly response papers, lively class discussions, seminar paper.

 

ENGL 4350-001—Modern and Contemporary British Writers: British Modernism at the End of the World

TTh 2:00-3:20.  137 Dallas Hall.  Bozorth.  2012: IL, OC   2016: IL, OC

A century later, the radicalism of modernism others still challenges and shapes what writers are doing today.  “On or about December 1910, human character changed,” declared Virginia Woolf.  We will read some of the most revolutionary literature ever written in English, as poetry, fiction, and drama all took on weird, new forms in response to the upheavals of the early 20th century.  We will see how British and Irish writers responded modern psychology and anthropology, new developments in music and visual media, and controversial new attitudes about gender, sex, and class.  We will consider how the cataclysms of “The Great War” of 1914-18 and the Great Depression in the 1930s accelerated changes in poetry and fiction.  We will talk about how literature responded to rising independence movements in Ireland and India, and the prospect of a post-imperial, even post-Christian Britain.   And we will grapple with some of the most weird, wonderful, and powerful literature ever written in English.  While there will be some lecturing, students will help direct this seminar’s explorations in class, through short response papers, and on an online discussion board.  The final weeks will be devoted to discussing research and writing of the final research paper.  Texts:  Selected poetry by W. B. Yeats, T. S. Eliot, W. H. Auden, Wilfred Owen; Virginia Woolf, Mrs. Dalloway; E. M. Forster, A Passage to India; James Joyce, A Portrait of the Artist as a Young Man.

 

ENGL 5310-001—Seminar in Literary Theory: Literature, The Secular, and the “Postsecular”

TTh 2:00-3:20.  357 Dallas Hall.  Newman.

In the late 1980s some intellectuals began to use the term postsecular to challenge widely accepted ideas about the place of religion in modern societies. They sought to revise what has been called the secularization narrative or thesis—that is, the idea that the separation of religion and state that began with the Enlightenment will eventually become a global norm, and that individual religiosity is destined to decline or even wither away.  World events at the beginning of the twenty-first century gave new urgency to claims that the death of God—or of the practices and beliefs we call “religion”--had been announced prematurely.  The same events also confirmed arguments made by some scholars that the secularization thesis, when applied globally, was a Western imposition.  Not surprisingly, these developments have affected the way some literary scholars interpret texts and think about the canon and the history of literary study as discipline. 

We will read selectively in some of the scholarship on secularization and the postsecular, but we will emphasize imaginative writing that has been read as exemplary texts of secularization, as well as other texts that can be read or reread under the banner of postsecularism.  As we make sense of these texts we will read essays introducing other matters of literary and cultural theory—for example, short introductions to feminism, post-colonialism, and other theoretical categories relevant to our texts.

Assignments: one or two short papers; two oral presentations, one of which will be linked to the final project of about twenty pages. Other work relevant to the latter will be a prospectus and provisional bibliography and a first draft.

Literary texts are still under consideration, but will include Thomas Hardy, Jude the Obscure; Margaret Atwood, The Handmaid’s Tale; Leila Aboulelah, Minaret. The syllabus will be filled out with relevant literary and cultural criticism.

 

ENGL 6310-001—Advanced Literary Studies: Professionalization Workshop

W 3:00-5:50.  137 Dallas Hall.  Cassedy.     

The course has essentially two goals.  One is to develop a detailed understanding of the questions currently being asked and investigated by literary scholars.  The other is to practice certain highly specific tasks that are crucial parts of being a professional literary scholar, such as preparing a journal article, a fellowship proposal, or a conference paper.

 

ENGL 6311-001—Survey of Literary Criticism and Theory

TTh 12:20-1:50.  138 Dallas Hall.  Foster.

A survey of literary criticism and theory from some of the ancient roots of critical thought to contemporary literary practice: from Heraclitus to Badiou. The purpose of the course is to provide the theoretical background necessary to understand the discipline of literary study. The course will require regular critical responses and several essays analyzing both critical and literary texts. Enrollment limit: Graduate Students only. Possible texts: Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life; Alain Badiou, Saint Paul: The Foundation of Universalism; Ian Bogost, Unit Operations; Don DeLillo, The Names; Sigmund Freud:, Civilization and Its Discontents; Michele Foucault:, Discipline and Punish; Henry James, Eight Tales from the Major Phase; Plato, Phaedrus; Arundhati Roy, The God of Small Things.

 

ENGL 6312-001—Teaching Practicum

F 1:00-3:50.  G1 Hyer Hall.  Stephens.

English 6312 (Teaching Practicum) is a year-long course designed to prepare graduate students in English seeking a Ph.D. to teach first-year writing at the college level and, in a larger sense, to design, prepare for, and teach college English classes at any level. During the fall semester, in addition to all of the texts assigned on the DISC 1312 syllabus, students will read and write critical responses to composition theory and the classroom (Lindemann’s A Rhetoric for Writing Teachers). Students will also read and discuss Engaging Ideas; The Professor’s Guide to Integrating Writing, Critical Thinking, and Active Learning in the Classroom (John C. Bean); these texts provide students with an overview of the history of rhetoric and methods for fostering critical thinking and writing. Students will also critically assess and review contemporary criticism of rhetorical pedagogy. Finally, students will keep abreast of current issues in Composition Studies and Academia by reading recent online articles in The Chronicle of Higher Education.

 

ENGL 6340-001—British Literature in the Age of Revolutions: The Victorian Novel

M 3:00-5:50.  137 Dallas Hall. Murfin.

Areading-intensive survey of seven major works (dare I say “blockbusters?”) by the following Victorian writers:  Charlotte Brontë, Charles Dickens, Wilkie Collins, William Makepeace Thackeray, Anthony Trollope, George Eliot, George Meredith, and Thomas Hardy.  We will read two works by the same novelist in order to consider the issue of authorial development.  The theme of the course will be representation—historical, political, and novelistic—with special attention paid to the relationship between verbal and pictorial representation in illustrated Victorian novels.

Because a significant amount of reading will be required, writing assignments will be limited to one short and one medium-length paper.

 

ENGL 6380-001—History of Print Culture

T 3:30-6:20.  138 Dallas Hall. Greenspan.

This course will offer an overview of the history of written communications in America from the introduction of the first printing press in the English colonies to the present era of digital and multimedia culture. In moving across four hundred years and formations of writing, it will provide a sophisticated entry to the sprawling multidiscipline of the history of the book in its basic theoretical, methodological, and practical dimensions. Its goals will be to expose graduate students, first, to a literary history of the United States; second, to a narrative of the history of cultural production, dissemination, and consumption of writing – broadly and inclusively defined – in North America; third, to communications issues crucial to our culture, such as literacy, intellectual property, access to information, and freedom of speech; and, fourth, to the formation of the institutions (including schools, libraries, bookstores, print shops, publishing houses, and houses of worship), laws (especially copyright and freedom of speech), and technologies that have mediated our communications history and given rise to our literature, culture, and society.

Major topics: history of American literature; local, regional, and national formation through print; print and race, ethnicity, and gender; history of authorship, reading, and publishing; history of journalism; censorship v. freedom of speech; uses of literacy; formations of lowbrow, middlebrow, and highbrow culture; the history of libraries and archives, with and without walls; and the ongoing shift from print-based to digital-based culture. 

 

ENGL 7340-001—Seminar in British Literature

Th 3:30-6:20.  137 Dallas Hall.  Sudan.

Summer 2018

 

Summer 1

ENGL 3367-0011 ETHICAL IMPLICATIONS OF CHILDREN'S LITERATURE

M – F  10-11:50.  105 Dallas Hall.  Satz

An opportunity to revisit childhood favorites and to make new acquaintances, armed with the techniques of cultural and literary criticism. Examination of children's literature from an ethical perspective, particularly notions of morality and evil, with emphasis upon issues of colonialism, race, ethnicity, gender, and class.Writing assignments: four essays, final examination.Texts: “Snow White,” accompanied by critical essays; picture books such asWhere the Wild Things Are,The Giving Tree,Amazing Grace,Curious George,Babar; chapter books for young children such as Wilder,Little House on the Prairie; White,Charlotte’s Web; Erdrich,Game of Silence; books for young adults such as L’Engle,Wrinkle in Time; Alexie,The Absolute True Diary of a Part Time Indian; Yang,American Born Chinese; and one adult book, Morrison,The Bluest Eye.

ENGL 3379-0011—CONTEXTS OF DISABILITY

M – F 12:00-1:50.  105 Dallas Hall.  Satz.

This course deals with the literary and cultural portrayals of those with disability and the knotty philosophical and ethical issues that permeate current debates in the disability rights movement. The course also considers the ways issues of disability intersect with issues of gender, race, class, and culture. A wide variety of issues, ranging from prenatal testing and gene therapy through legal equity for the disabled in society, will be approached through a variety of readings, both literary and non-literary, by those with disabilities and those currently without them. Writing assignments: three short essays, one longer essay; mid-term, final examination.

Summer 2 

ENGL 2302-0012—Business Writing

CANCELED

Spring 2018

ENGL 1320-001C/MDVL 3329-001C—Cultures of Chivalry: King Arthur for Love and Profit

TTh 12:30–1:50. 306 Dallas Hall. Wheeler. CA1, HC1, CA, HC, OC.

Courage! Honor! Intensity! Valor! Armour! Love! Romance! Youth! = CHIVALRY
In this course, we study the development of chivalric mentalities in literature, history, and culture from the Middle Ages to modern times. This course moves back and forth from the flowering of chivalry in twelfth-century Western culture to the current moment. Stories of King Arthur form the central thread around which we weave studies of chivalric education and variation, of chivalric rejection and renewal.

King Arthur is the most popular and most frequently revived Western hero from the Middle Ages to the current moment. This course examines aspects of the Arthurian story—Camelot, the knights of the Round Table, the Holy Grail—from its roots in the Middle Ages to its flourishing today. We focus our work on love—romantic love, family love, and love of friends—and profit—how stories of King Arthur can teach us to understand power and succeed in politics and even business organization.

ENGL 1360-001—The American Heroine. CA1, CA, HD.

MWF 11–11:50. 115 Dallas Hall. Schwartz.

Works of North American Literature by women as they reflect and comment upon the evolving identities of women, men, and culture from the mid-19th Century to the contemporary period. Novels, memoirs, and short stories will be supplemented by other readings. Writing: Midterm and final examination; regular quizzes; some short writing assignments. Texts: Jacobs, Incidents in the Life of a Slave Girl; Morrison, The Bluest Eye; Chopin, The Awakening; Bechdel, Fun Home; and others.

ENGL 1363-001—The Myth of the American West.

TTh 2–3:20. 115 Dallas Hall. Weisenburger. HC1, CA1, CA, HC.

In this course we study how and why 19th century realities of conquering the American West morphed into 20th century legend and myth. We also ask what defines those forms, how they changed, and why they endure. Our case studies include Texas emigrant Cynthia Ann Parker’s captivity among the Comanche people, as presented in factual, fictional, and cinematic versions; and then make a similar study of Buffalo Bill Cody’s celebrity in the late-19th century. We next turn to the ways that the romance of horse culture and gunfighters in late-19th and early-20th century paintings and sculpture, fictions and films, brought the Myth of the American West to its fullest expression. We conclude by studying revisions of that myth in contemporary film and fiction. Readings include historical and biographical sources, three classic Western novels, and a selection of popular Western films from the Silent Era to the present. Course requirements: evening viewing of 3 feature films, brief response papers, mid-term, and final exam.

ENGL 1365-001—Literature of Minorities: Otherness and Identity in American Culture.

MW 3–4:20. 156 Dallas Hall. Levy. CA1, LL, HD.

The course interrogates questions of individual and collective identities from historical, contemporary and literary perspectives. We look closely at the many categories that have constituted identity in the US, including race, ethnicity, gender, sexual orientation and the ways in which these categories have come to constitute our cultural conversation about identity. Among terms explored are: “Whiteness,” “Blackness,” “White Supremacy,” “Identity Politics,” “Queerness,” “Pluralism,” etc. We examine the ways these categories have been deployed to assert and marginalize both group self-selected and imposed, as both fixed and flexible, as located and displaced, as both secure and situational.

ENGL 2102-001—Spreadsheet Lit: Excel.

W 3–3:50.ULEE 243. Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

ENGL 2102-002—Spreadsheet Lit: Excel.

M 3–3:50.ULEE 243. Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required

ENGL 2302-001—Business Writing.

TTh 12:30–1:50. 351 Dallas Hall. Dickson-Carr, Carol. IL, OC, W.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

ENGL 2302-002—Business Writing.

TTh 2–3:20. 351 Dallas Hall. Dickson-Carr, Carol. IL, OC, W.

 This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

ENGL 2310-001—Imagination and Interpretation: The (R)evolution of Gothic

Literature: Literal and Literary Horrors in Poetry and Prose.

TTh 8–9:20. 143 Dallas Hall. Stampone. CA, CA2, W.

Horace Walpole began a literary revolution in 1764 with the publication of his still famous Gothic tale, The Castle of Otranto. Haunting tales of ghosts and monsters quickly flooded literary markets in both the United Kingdom and America, as artists on both sides of the Atlantic employed, repurposed, and distorted tropes (i.e. erasing the distinction between “horror” and “terror”) from the growing corpus of Gothic Literature to write stories that darken their respective historical moments and deal with insidious problems such as race, gender, and national identity. Intertextuality thus attaches itself to Gothic stories like an ever-present shadow that curiously stalks an author’s text. This course introduces students to various modes of Gothic literature published during the Romantic Century and closely examines the mechanics and—more important—their thematic purpose and historical moment.

ENGL 2310-002—Imagination and Interpretation: What was the Harlem Renaissance?

MWF 8–8:50. 106 Dallas Hall. Kiser. CA, CA2, W.

The Harlem Renaissance can be broadly defined as a cultural, social, and artistic movement that spanned the 1920’s and 1930’s, a time when African American writers, artists, and musicians sought to represent themselves within American culture through their work. This course will explore why such a movement burgeoned around the end of WWI, what this group of intellectuals hoped to gain from their movement, and why they turned to the arts to reach their political, cultural, and social goals. We will ask questions such as, is art always political or can it exist just for art’s sake? If art is truly the best way for such a movement to reach its aims, then what forms of expression are best? Progressing towards answering, “What was the Harlem Renaissance?” we will explore the above questions through poems, novels, and prose essays.

ENGL 2311-001—Introduction to Poetry.

TTh 9:30–10:50. 110 Hyer Hall. Holahan. CA2, LL, W.

Introduction to the study of poetry and how it works, examining a wide range of poems by English and American writers. Special attention to writing about literature.

ENGL 2311-002—Introduction to Poetry.

MWF 2–2:50. 102 Dallas Hall. Newman. CA2, LL, W, OC.

A poem resists being boiled down to a simple “message”; cannot be adequately represented in a PowerPoint; is not written to be digested and deleted; defiantly offers nothing immediately practical or useful; and treats language as the medium of art instead of information. No wonder poetry sometimes seems alien to us—and we need to learn to read it. Learning to do so will provide you with something useful nevertheless: a sharpened awareness of how language works, which will help you as a reader and writer in whatever you do. And it will also provide you with a pleasure that may grow on you slowly—or all at once.
Requirements: four formal short papers; weekly short (2-sentence) postings to class discussion board; short exercises including one poem memorization; blue-book midterm and final exams.

ENGL 2312-001—Introduction to Fiction: The Gothic Novel

TTh 11–12:20. 137 Dallas Hall. Sudan. CA2, LL, W.

Gothic novels were wildly popular in nineteenth-century Britain. Starting with Horace Walpole’s The Castle of Otranto, published in 1764, and continuing almost unabated until about 1820, the Gothic novel, characterized by gloomy landscapes, graveyards, secrets, ghosts, damsels in distress, mysterious heroes, bleeding nuns, and the like, became the most eagerly consumed genre. Net necessarily restricted by gender—almost as many (and arguably more) women published gothic novels as men—these novels represent not only the taste of the literate public but also reflect with an uncanny exactitude the social and cultural milieu of the late-eighteenth through late-nineteenth centuries. We will explore these contexts and, in the process, will learn about the process of textual and cultural analysis. We will also consider contemporary twentieth-century associations with this genre in Daphne Du Maurier’s novel Rebecca, thinking through the symptomatic changes that turn the gothic into something that reflects our current cultural and political climate.

Course Requirements
You have three writing requirements: two short essays and one longer essay. You will also have weekly quizzes and a group presentation scheduled toward the end of the semester. Attendance is mandatory. I will allow three absences, excused or not; after that, your absences will affect your final grade.

ENGL 2312-002—Introduction to Fiction: Ethnic Literary Imaginations.

MWF 10–10:50. 106 Dallas Hall. Sae-Saue. LL, W.

This course is an introduction to fiction with an emphasis on U.S. ethnic novels. The primary goals of the class are that students learn to recognize a range of narrative elements and to see how they function in key U.S. fictions. Each text we will read represents a specific set of historical and social relationships and they imagine particular U.S. identities. Yet how does a text construct a cultural identity, comment on a determinate historical moment, and organize human consciousness around social history? How does literature articulate political, social, and cultural dilemmas? And how does it structure our understandings of social interaction? As these questions imply, this course will explore how fiction creates and then navigates a gap between art and history in order to remark on U.S. social relationships. We will investigate how literary mechanisms situate a narrative within a determinate social context and how the narrative apparatuses of the selected works organize our perceptions of the complex worlds that they imagine. As such, we will conclude the class having learned how fiction works ideologically, understanding how the form, structure, and narrative elements of the selected texts negotiate history, politics, human psychology, and even the limitations of literary representation.

ENGL 2312-003H—Introduction to Fiction: Look Again. OPEN TO ALL STUDENTS

MWF 2–2:50. 157 Dallas Hall. Foster. LL, W, OC.

In ordinary speech and writing—in the language of everyday life, in memos and news, in text books and manuals—we expect a familiar discourse, one where we feel at ease with the meaning and intentions. Literary language, by contrast, tends to make us off center, sometimes uncomfortable, even as it delights us, shifting our perspective so we can see what ordinary life ignores or conceals. This class will look at works of fiction in which someone or something is out of place, looking awry at the ordinary world. We will read, for example, Junot Diaz’s The Brief Wondrous Life of Oscar Wao, whose characters have left and returned to the Dominican Republic, and Arundhati Roy’s The God of Small Things, whose characters leave and return to India. But we will also read Allison Bechdel’s Fun Home in which she looks back on a childhood in a funeral home could not understand at the time. That is, we will take displacement as a narrative technique and a theme. Expect to write four short papers and to talk a lot.

ENGL 2313-001—Introduction to Drama.

TTh 2-3:20. 116 Dallas Hall. Neel. CA1, LL, W, OC.

Course begins with the first great period in Western theatre in Ancient Athens by looking at Aeschylus, Sophocles, Euripides, and Aristophanes; then moves to the first great period in English drama with Shakespeare; then, in order, studies plays by Aphra Behn (the first woman author in English to earn her living as a professional writer), George Bernard Shaw (sometimes called the “second Shakespeare”), David Hwang’s Tony and Drama Desk Award winning M. Butterfly, and concludes with Alejándro González Iñárritu’s recent trilogy, concluding with Babel (starring Brad Pitt and Cate Blanchett). Two out of class papers, one in-class paper, and five reading quizzes.

ENGL 2314-001H—Doing Things with Poems. OPEN TO ALL STUDENTS

MWF 3–3:50. 157 Dallas Hall. Bozorth. LL, W, OC.

Now in 4D: how to do things with poems you never knew were possible, and once you know how, you won’t want to stop. You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, and write about poems written centuries ago and practically yesterday. You will learn to distinguish exotic species like villanelles and sestinas. You’ll discover the difference between free verse and blank verse and be glad you know. You will impress your friends and family with metrical analyses of great poems and famous television theme songs. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, witches, God, Satan, and trochaic tetrameter. You’ll satisfy a requirement for the English major and a good liberal-arts education. Shorter and longer papers totally approximately 20 pages; midterm; final exam; class presentation. Text: Helen Vendler, ed., Poems, Poets, Poetry, Compact 3d ed.

ENGL 2315-001—Introduction to Literary Study: Knights, Drama Queens, and Working Women.

MWF 9–9:50. 105 Dallas Hall. Schwartz. CA, CA2, W.

This course prepares students to read imaginative literature in many of its forms, from drama to fiction, non-fiction, poetry, and film. Writing: Two out of class papers; one in-class essay; five reading quizzes; final exam. Texts: Oedipus; Sir Gawain and the Green Knight; Austen, Pride and Prejudice; Twain, Huck Finn; Egan, A Visit from the Goon Squad; selected poetry and essays.

ENGL 2315-002—Introduction to Literary Study: What Makes Sense.

TTh 9:30–10:50. 137 Dallas Hall. Cassedy. CA, CA2, W.

You’ve probably had the experience of reading a story or a poem, or watching a film or a TV show, or listening to a piece of music, or seeing an advertisement, and sensing that there's something about what it's doing that you can't quite put into words. This class is about learning to put it into words how meaning works — an introduction to the practice of analyzing how words and other symbols add up to meaning in a cinematic, visual, musical, or especially a literary text. You will also learn how to write a compelling interpretation and argument about the meaning of things that are incredibly difficult to pin down. Reading: Vladimir Nabokov, Lolita; William Shakespeare, King Lear; Leslie Jamison, The Empathy Exams; poetry by Emily Dickinson; short fiction by Edgar Allan Poe and Jorge Luis Borges. Grading: Class participation (30%), four papers of 4–5 pp. each (40%), midterm and final (15% each). University Curriculum: Creativity and Aesthetics (CA), Writing (W).

ENGL 2390-001—Introduction to Creative Writing.

MWF 9–9:50. 156 Dallas Hall. Haynes. CA, CA1, W.

This course will introduce the techniques of writing fiction, poetry and creative nonfiction. The semester will be divided between the three genres; in each students will study the work of published writers and create a portfolio of their own original writing in each genre. Texts: The Practice of Creative Writing: A Guide for Students; Heather Sellars

ENGL 2390-002—Introduction to Creative Writing.

MWF 10–10:50. 120 Dallas Hall. Haynes. CA, CA1, W.

This course will introduce the techniques of writing fiction, poetry and creative nonfiction. The semester will be divided between the three genres; in each students will study the work of published writers and create a portfolio of their own original writing in each genre. Texts: The Practice of Creative Writing: A Guide for Students; Heather Sellars

ENGL 2390-003—Introduction to Creative Writing.

TTh 11–12:20. 138 Dallas Hall. Rubin. CA, CA1, W.

An introductory workshop that will focus on the fundamentals of craft in the genres of poetry, fiction, and creative nonfiction. Students will learn the essential practice of "reading like a writer" while developing their own work and helpfully discussing that of their classmates.

ENGL 2390-004—Introduction to Creative Writing.

TTh 3:30–4:50. 153 Dallas Hall. Smith. CA, CA1, W.

In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary.

ENGL 2390-005—Introduction to Creative Writing.

TTh 2–3:20. 142 Dallas Hall. Smith. CA, CA1, W.


In this class students will write and revise stories, essays, and poems; respond to one another’s work; and analyze published texts in short critical essays. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing in all three genres. Prior experience in creative writing is not necessary. 

ENGL 3310-001—Contemporary Approaches

TTh 12:30–1:50. 102 Dallas Hall. Siraganian.

Is there a meaning in a text? If so, how do we figure out the meaning of cultural forms—whether novels, poems, movies, or tweets—including language itself? And how do we understand and use literary criticism? This class addresses these questions by exploring the different theoretical and methodological approaches we use to read literature, to critique culture, and to understand the world. We will familiarize ourselves with a range of theoretical approaches, including structuralism and semiotics, feminism and gender studies, Marxism and cultural studies, psychoanalysis, New Historicism, and queer theory. Along the way, we will interpret both canonical and less familiar literary texts, examining the ways literature and culture make sense of the complex worlds in which we live. Writing assignments: short essays and a final examination. Texts will include Tyson, Critical Theory Today, Fitzgerald, The Great Gatsby, Shakespeare, The Tempest, short stories by Hemingway, Chopin, and Joyce, poetry by Hughes, Rich, Frost, Bishop, and Toomer (among others), plus some additional essays.

CLAS 3312-001—Classical Rhetoric: Ancient Athens During the Rise and Fall of the World’s First Democracy.

TTh 11–12:20. 357 Dallas Hall. Neel. HSBS, W, WK.

Course introduces students to the study of Classical Athens from 509 BCE with the reforms of Ephialtes that began the world’s first formal democracy through the final defeat of Greek autonomy after the Lamian War in 322 BCE. Extensive readings from Thucydides, Lysias, Plato, Isocrates, Demosthenes, and Aristotle as the study of rhetoric and study of philosophy emerged into history. Two out-of-class papers, one in-class paper, and five reading quizzes. Satisfies three UC 2016 requirements: Writing Proficiency; Ways of Knowing; and Depth: History, Social, and Behavioral. Satisfies one course requirement for the Classical Studies program and one elective credit for both the English major and the English minor.

ENGL 3340-001—Topics in British Literature in the Age of Revolutions: Jane Austen’s Novels.

TTh 12:30–1:50. 102 Hyer Hall. Holahan. CA2, HFA, W.

This course covers the six major novels by Jane Austen. It considers the repeated variations of courtship, proposal, rejection or acceptance, and marriage. Along the way, it also studies the literary techniques of narration, characterization, plot development, and style. Certain topics (e.g., Austen’s various ‘limitations’) are studied in relation to historical background as well as in relation to stylistic or literary concerns. Attention also goes to Austen’s idea of the novel and to the purposes of writing novels. This topic inevitably raises issues of authorial self-consciousness. Some (Henry James) claim that she had little or none; others (this instructor) claim that she had a good deal, that she plants the garden of the modern novel. Norton Critical Editions of Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion. Essays of short to middle length; and a final exam.

ENGL 3348-001—History of Print and Digital Culture in America.

MWF 2–2:50. 105 Dallas Hall. Greenspan. CA2, HC2, HFA, HSBS, W.

This course will offer an overview of the history of written communications in America from the introduction of the first printing press in the English colonies to the present era of digital and multimedia culture. In moving across four centuries of writing, it will introduce students from various disciplinary tracks to the sprawling multidiscipline of the history of the book in its basic theoretical, methodological, and practical dimensions. Its goals will be to expose them, first, to a literary history of the United States; second, to a narrative of the history of cultural production, dissemination, and consumption of writing – broadly and inclusively defined – in North America; third, to communications issues crucial to our culture, such as literacy, intellectual property, and freedom of speech; and, fourth, to the formation of the institutions (including schools, libraries, bookstores, print shops, publishing houses, and houses of worship), laws (especially copyright and freedom of speech), and technologies that have mediated our communications history and given rise to our literature, culture, and society.

Major topics: history of American literature; local, regional, and national formation through print; print and race, ethnicity, and gender; history of authorship, reading, and publishing; history of journalism; censorship v. freedom of speech; uses of literacy; formations of lowbrow, middlebrow, and highbrow culture; the history of libraries and archives, with and without walls; and the ongoing shift from print-based to digital-based culture.

ENGL 3362-001—African American Literature: Hurston, Walker, Morrison.

MWF 1–1:50. 115 Dallas Hall. Satz. CA2, HD, HFA, W.

The study of three important figures in twentieth century literature—Zora Neale Hurston, Alice Walker, and Toni Morrison--with attention to the interrelationships among the writers and their works as well as to the relation of the works to important events and movements in American history, such as slavery, segregation, and the Civil Rights movement. Various critical approaches to the works. GENERAL EDUCATION CURRICULUM Diversity credit by petition. Writing assignments: four essays, mid-term, final examination. Texts: Hurston, Their Eyes Were Watching God, selected short stories; Walker, Meridian, The Color Purple, Possessing the Secret of Joy; Morrison, The Bluest Eye, Sula, Beloved,Jazz; essays by Hurston and Walker.

ENGL 3366-001—American Literary History II: American Identities.

MWF 11–11:50. 120 Dallas Hall. Greenspan. CA2, HC2, HFA, HSBS, W.

This course will offer a survey of the literary and cultural history of the United States from the late 19th century to the present. It will introduce students to a wide variety of leading writers of the period: Charles Chesnutt, Willa Cather, Gertrude Stein, F. Scott Fitzgerald, Ernest Hemingway, William Faulkner, Nathaniel West, Arthur Miller, Flannery O’Connor, Toni Morrison, Art Spiegelman, Maxine Hong Kingston, Louise Erdrich, and Michael Chabon.

ENGL 3377-001—Literature and the Construction of Homosexuality: LGBTQ Writing Since the Ancient World.

MWF 12–12:50. 153 Dallas Hall. Bozorth. CA2, HD, HFA, W.

Normal, perverted, evil, non-existent, heavenly, unhealthy, beautiful, backward, queer: all ways to label same-sex desire and love for thousands of years. The course will focus on some of the most important literature by and about LGBT people since the modern "invention" of homosexuality. It will also set this writing in historical context, considering the ongoing influence of ancient Greek, Judaic, and Christian views of sex. We will examine how race, ethnicity, the Stonewall Rebellion, and HIV/ AIDS have shaped contemporary LGBT culture. Requirements: analytical writing totaling twenty pages; directing discussion; final examination. Reading: Plato, Symposium; selections from the Bible and the writings of St. Augustine; Shakespeare’s sonnets; Oscar Wilde, The Importance of Being Earnest, Portrait of Mr. W.H., Salome; Alison Bechdel, Fun Home; Cleve Jones, When We Rise: My Life in the Movement; selected poetry by Homer, medieval monks, Sor Juana Inez de la Cruz, Christina Rossetti, Walt Whitman, Audre Lorde, and others.

ENGL 3384-001— Literature and Medicine: How We Talk about Illness, Doctors, and Bodies.

MWF 11–11:50. 156 Dallas Hall. Foster. CA2, PRIE2, HD, HFA, W.

The course will explore the literary understandings of illness and medicine. We will discuss how people experience illness as both practical and spiritual matters; the practices of doctors, nurses, and others who attend to the ill; the role of sickness and cure in our culture. We will consider how power, knowledge, and authority revolve around societies’ need to care for the body. And we will ask how ethical choices are expressed through the roles of individuals, institutions and governments.

ENGL 3390-001—Studies in Creative Writing: Poetry and Song.

T 2:00–4:50. 138 Dallas Hall. Brownderville. CA2, HFA, W.

When songwriter Bob Dylan won the 2016 Nobel Prize in literature, poets and songwriters across the world fiercely debated the appropriateness of the decision. The debate wasn’t only about Dylan and his Nobel Prize. It was really about the relationship between poetry and song. Do song lyrics qualify as “literature”? Are poetry and song distinct art forms, or are they variants of the same form?

This course, which will explore these fascinating questions, will be a cross between a creative-writing workshop and a discussion seminar. In addition to writing songs and poems of our own, we will talk about songs, poetry that partakes of song tradition, and the historical relationship between song and poetry. Along the way, we will study a large array of poets and musical acts such as Bob Dylan, Bon Iver, Lisa Hannigan, Robert Burns, The National, Lucinda Williams, Hank Williams, Regina Spektor, Robert Johnson, Leonard Cohen, Shakespeare, Tom Waits, and William Butler Yeats. Students will introduce each other to music, producing playlists for the purpose of class discussion. Students need not have musical training or musical skill, though Meadows students focusing on songwriting and performance are encouraged to take the class. Projects will vary in accordance with students’ interests and abilities: some students might focus on analyzing songs, some might write song lyrics or lyric poems, and others might compose songs and perform them for the class.

ENGL 3390-002—Studies in Creative Writing: Short Story Masterpieces.

TTh 12:30–1:50. 138 Dallas Hall. Rubin. CA2, HFA, W.

Franz Kafka famously said that a book "must be the axe for the frozen sea within us." How do great stories function as axes? And why would we want them to? In this class, students will workshop their own short stories while studying masterworks of the form, those that bring about the startling effect Kafka described. Students will develop their own fiction, both in focused exercises and more free-ranging assignments, and helpfully read and critique one another's.

ENGL 4321-001—Studies in Medieval Literature: From the Historical to the Hysterical: Medieval English Holy Women.

TTh 3:30–4:50. 157 FOSC. Keene. HC2, KNOW, W, IL, OC, HSBS.

This course studies writings by, about, and for medieval English holy women – from the historical to the hysterical, including violent virgins, visionary recluses, and holy heretics. Through the interdisciplinary study of primary texts within their historical context the class will investigate the unique and powerful intersection of religion and women’s history, focusing in particular on such topics as: how women fashioned their own piety, society’s anxieties regarding holy women, and the political uses of female saints’ cults.

Readings include: Bede’s Ecclesiastical History of the English People, Ælfric’s Saints Lives, The Life of Christina of Markyate, John Capgrave’s Life of Saint Katherine of Alexandria, Julian of Norwich’s Revelations of Divine LoveThe Book of Margery Kempe, and others.

ENGL 4333-001—Shakespeare: Shakespearean Histories.

TTh 9:30–10:50. 120 Dallas Hall. Rosendale. IL, OC.

Shakespeare is best known for his comedies and tragedies, but about a third of his dramatic corpus consists of remarkable plays on English and Roman history that contain some of his most memorable characters: the delightfully malicious Richard III, the wastrel Prince Hal who becomes the heroic Henry V, the hilarious and perpetually-intoxicated Falstaff, the passionately doomed Antony and Cleopatra. As these characters demonstrate, Shakespeare doesn’t waste his (and our) time with dull recitations of history; he brings it to life, invests it with meaning, and uses it to explore questions and problems of power, ethics, gender, representation, justice, governance, desire, and politics, most of which are as urgent today as they were 400 years ago. In this course we’ll read ten or so of these amazing plays, and think hard—with the help of each other and some relevant literary criticism—about what Shakespeare is up to, and how he can deepen our understanding of power and politics in his time and ours.

Evaluation: midterm and final writing projects; class participation; final exam; presentation.
University Curriculum: OC, IL

ENGL 4343-001—Studies in British Literature in the Age of Revolutions: The Victorian Multiplot Novel.

MWF 11–11:50. 138 Dallas Hall. Newman. IL, OC.

This course is devoted to three big Victorian novels: Charles Dickens’s Dombey and Son (1848), Anthony Trollope’s Can You Forgive Her? (1865), and George Eliot’s Middlemarch (1872). These novels are big because that’s how the Victorians grew them: novels were their version of the best current series TV, a form of mass entertainment that grew into art. All three deal with important questions while entertaining, cajoling, provoking, and moving their readers.
Dombey was the first of Dickens’s novels to attempt a critique of society through a look at its class structure, and (not coincidentally) the first in which he began to work towards an aesthetics of the novel as an organic totality. Can You Forgive Her? chillingly depicts political ambition and women’s agency. Middlemarch, one of the greatest novels in the language, provides panoramic views of a society in the midst of profound change, while also offering shrewd and moving insight into the psychology of individuals. All three novels were published serially over a year or so. We will spend a month on each, together with relevant critical and theoretical readings, considering thematic as well as formal issues, including the implications of serial form.
Assignments: Frequent postings to a class web-based discussion board; 1-2 presentations; 2 short papers; 1 project making use of current scholarly technologies, possibly a bibliography, but possibly using on-line tools with specific relevance to this course; a final research paper of 10-12 pages. If you intend to purchase the books in advance to get cracking, please purchase the following editions, since you must have hard copy.
Dickens, Dombey and Son: Penguin Classics 978-0140435467
Eliot, Middlemarch: Penguin Classics 978-0141439549
Trollope, Can You Forgive Her: Oxford World Classics 978-0199578177

(Or start with the free texts at Project Gutenberg, but make sure to purchase these editions in hard copy for class.)

ENGL 4349-001—Transatlantic Studies II: The Umbrella Man.

TTh 2–3:20. 157 Dallas Hall. Cassedy. IL, OC.

“If you put any event under a microscope,” a private detective said a few years ago, “you will find a whole dimension of completely weird, incredible things going on.” This class is about that weird dimension. We’ll dig into the lives of obscure individuals from the nineteenth century, most of whom have never been researched before. We’ll read their diaries, love letters, scrapbooks, and whatever else they left behind in both physical and digitized archives. We’ll find out what books they read, and read those books. We’ll try to see what the nineteenth century looks like through their eyes, and we’ll compare that with what it looks like through the eyes of several canonical authors (likely some subset of: Jane Austen, Samuel Coleridge, Edgar Allan Poe, Harriet Beecher Stowe, Frederick Douglass, and Herman Melville). By the end of the course, each student will have written a narrative essay that uses one of our obscure individuals as a lens to understand the cultural and literary history of the nineteenth century.
Grading: Class participation (30%), brief response papers (20%), presentation (10%), essay (40%). University Curriculum: Information Literacy (IL), Oral Communication (OC). Why this course is called "The Umbrella Man": see here.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Literature of the U.S.-Mexico Borderlands.

MWF 12–12:50. 102 Dallas Hall. Sae-Saue. CA2, HFA, IL, OC.

This class will focus specifically on literatures of the U.S.-Mexico border where a range of cultures conjoin and intermingle, all with the effect of producing unique transnational space that cannot be understood simply as a place where the U.S. ends, and Mexico begins. As such, we will examine how our selected texts articulate this region as the “borderlands,” a cultural space of “in betweeness” which cannot be regarded properly using traditional national paradigms. This does not suggest that we will ignore the important national histories that have culminated in the formation of this unique political divide. Indeed, students should expect to contextualize each of our texts within the complex and oftentimes violent national histories that continue to shape political and social life in the region. However, our primary focus in the class will be to examine how our selected texts communicate and theorize life at the border beyond national vocabularies by using unique literary means. This means that we will pay particular attention to the ways literary forms at the border articulate important cultural and political issues at the periphery of two nation-states by using distinct means of cultural representation. Note: our readings will negotiate a range of political and cultural matters, including Native American genocide, expansionism, Mexican American racial segregation and civil rights, border policy, immigration, migrant labor, deportations, cross-cultural exchange, bi-cultural identity, NAFTA (economic trade), racism, and more

ENGL 6360-001—Modern and Contemporary American Literature: Disability Studies and Literature

M 3–5:50. 137 Dallas Hall. Satz.

This course melds an exploration of the emerging field of disability studies with an examination of how that theory may be applied to life writing and works of fiction. Disability theory will be explored from such earlier works as Goffman’s Stigma and Foucault’s The Birth of the Clinic, through works such as Thomson’s Extraordinary Bodies and Scarry’s The Body in Pain and recent post-modernist and feminist writings in disability theory such as Erevelles’ Disability and Difference in Global Contexts and Kristeva’s writings on the abject. The course will delve into definitional quandaries concerning disability in a cultural context and ethical dilemmas particularly emerging from new reproductive technologies and the exploding field of genetics. Life Writings will be chosen from such work as Mairs, Waist-High in the World, Kuusisto, Planet of the Blind, Greely, Autobiography of a Face, Patchett, Truth and Beauty, Berube, Life as We Know It, Cohen, Dirty Details, Skloot, In the Shadow of Memory, Lorde, Cancer Journals, and Johnson, Too Late to Die Young, Prahlad’s The Secret Life of a Black Aspie . Fictional works will be chosen from such works as Dickens, Our Mutual Friend, Lessing, The Fifth Child, Petry, The Street, Walker, Meridian, Brontë, Villette, Eugenides, Middlesex, and stories of Flannery O’Connor. Requirements: Weekly response papers, role as seminar leader, 3 mid-length papers.

ENGL 6320-001—Medieval Literature.

T 3–5:50. 351 Dallas Hall. Wheeler.


How is passion (sexual and sacred, love and hate) represented, valued, suppressed, repressed, and transgressed in medieval literature? How are such representations culturally embedded and historically expressed? We will survey varieties of textual representations of emotions (especially passion and desire) from largely Arthurian texts of immensely popularity in the context of some current theories of emotions. These texts help us ponder expressions of (especially) male honor, shame, humiliation, and recuperation. Of course we are concerned with the historical, material, and aesthetic contexts of the works themselves. The huge repertoire of Arthurian texts from the Middle Ages to the current moment gives focus to our study.
Process: Since this is a proseminar, my aim is to introduce you to a broad range of texts and some contemporary theoretical frameworks in which we may consider them at the same time that we remain sensitive to their own historical and cultural contexts. Each student will develop a strong set of weekly questions and commentaries and take responsibility for amplifying the class resources and the directions in which we wander off our pre-established tracks. This is a Good Thing. The syllabus is thus to some degree provisional.

Texts:
Andreas Capellanus On Love, trans. P.G. Walsh (Bristol Classical Press) ISBN: 978-0715616901;
Chanson de Roland, bi-lingual text ed. and trans. G. Brault, student edition (Pennsylvania State University Press pb, 1984).
Chrétien de Troyes, Arthurian Romances, trans. D.D.R. Owen ISBN 978-0345277602;
Geoffrey of Monmouth, History of the Kings of Britain, trans/ed Faletra (Broadview) ISBN: 978-1-55111-639-1;
Heldris of Cornwall. Silence: A Thirteenth-Century French Romance, trans. Sarah Roche-Mahdi (East Lansing: Colleagues Press, 1992) ISBN 978-0870135439;
The Mabinogion, trans. Sioned Davies (Oxford University Press) ISBN-13: 978-0199218783;
Malory, Works of Sir Thomas Malory, ed. Vinaver (Oxford Standard Authors pb).Sir Gawain and the Green Knight; Pearl; [and] Sir Orfeo, trans. J.R.R. Tolkien (Del Rey) ISBN: 978-0345277602
Sir Thomas Malory’s Morte Darthur, trans. Dorsey Armstrong (Parlor Press) ISBN 978-1602351035;

Secondary Background Mind-Bending Readings:
We will be in constant conversation with such contemporary scientific thinkers as Keith Oatley and Jennifer M. Jenkins, Understanding Emotions (Oxford: Blackwell Publishing, 1996); Handbook of Emotions, ed. Michael Lewis, Jeannette M. Haviland , 3rd edition (The Guilford Press, 2008) ; ‘human consciousness’ theorists as Donna Haraway, ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspectives,’ in Feminist Studies, 1988, pp. 575–99 and When Species Meet, Minnesota: University of Minnesota Press, 2008; neuroscientists as Antonio Damasio, Descartes' Error: Emotion, Reason, and the Human Brain, and Looking for Spinoza: Joy, Sorrow, and the Feeling Brain, and cultural anthropologist William M. Reddy, "Against Constructionism: The Historical Ethnography of Emotions," Current Anthropology 38 (1997):327-351, and his The Navigation of Feeling: A Framework for the History of Emotions (Cambridge University Press, 2001); Ennobling Love: In Search of a Lost Sensibility, Stephen Jaeger (U Penn pb, 1999).

On-Line Readings as assigned

ENGL 7340-001—Seminar in British Literature.

W 3–5:50. 351 Dallas Hall. Moss.


Cherry-picking anthologists have decimated Renaissance lyric: The Temple reduced to “Easter Wings” and (if the students are lucky) “The Collar”; Songs and Sonnets abridged to “The Sun Rising” and “A Valediction Forbidding Mourning”; Shakespeare starved to little more than “Shall I Compare Thee” and “My Mistress’ Eyes.” In this survey, we’ll rebuild Herbert’s edifice, reassemble Donne’s playlist, revive the other 152 Sonnets in the most famous lyric sequence of all. Studying whole volumes and never excerpting, we’ll discuss patterns of form, metaphor, and allusion within texts and between them, allow detailed personas and narratives to emerge from paired poems and subsequences, and follow the logic (or endure the chaos) of the real anthologies and miscellanies of the early modern period.

Possible Primary Texts include Sidney, Astrophil and Stella; Shakespeare, Sonnets; Spenser, Amoretti and Complaints; Wroth, Pamphilia to Amphilanthus; Jonson, Epigrams and The Forest; Donne, Songs and Sonnets; Herbert, The Temple; Herrick, Hesperides; Milton, Poems (1645); Mary and Philip Sidney, PsalterTottel’s MiscellanyThe Passionate Pilgrim. Critical and theoretical foci include close-reading, poetics, and related fundamentals; intertextuality; book history and paratext; deconstructed New Historicism; historicized Deconstruction.

ENGL 7350-001 – Seminar in American Literature: Corporate Persons/Literary Subjects: Company Fictions From Norris to Ferris.

Th 3:30-6:20. 357 Dallas Hall. Siraganian, Lisa.

Whether pilloried on signs at Occupy Wall Street or defended in stump speeches, corporate personhood—the claim that corporations have legal standing as persons under the 14th amendment—seems to be a fairly recent controversy in American society. But this divisive idea has a much longer and more involved history entangled with the literary and cultural world of the twenty-century. In this seminar, we will explore the history of corporate personhood in its literary dimensions, focusing primarily on its representation and theorization in the American novel, although we will also look at essays, poetry, short stories, and possibly a film. How does the evolving notion of corporate personhood and corporate aesthetics at the end of the nineteenth century transform representations of individual personhood, subjectivity, and literary form throughout the twenty century and beyond? How do individuals and groups negotiate or create intention and agency within the strictures of corporate personhood? How do the formal strictures of the novel grapple with new kinds of persons and subjects—whether human, corporate, or some other kind of entity entirely?
Generally, we will focus on fiction written between 1900 and 1955, providing us an opportunity to survey and consider the novel’s formal transformations from the late 19th through the mid-20th-c (naturalism, realism, modernism, and into postmodernism). However, we will likely also look at a bit of prose-poetry (Stein), two short stories (James, Saunders), and two contemporary novels (Gibson, Ferris). Supplementing all these works will be literary criticism and some legal background and theorizing. Texts will be selected from the following list: Frank Norris, The Octopus: A Story of California (1901); Henry James, “The Jolly Corner” (1908); Theodore Dreiser, The Financier (1912); selections from Gertrude Stein, G.M.P. (1912) and The Autobiography of Alice B. Toklas (1932); Willa Cather, A Lost Lady (1923); George Schuyler, Black No More (1931); F. Scott Fitzgerald, The Love of the Last Tycoon (1940); Sloan Wilson, Man in the Grey Flannel Suit (1955) and/or possibly the film version (1956); William Gibson, Count Zero (1986); George Saunders, “In Persuasion Nation” (2005); Joshua Ferris, Then We Came to the End (2008).

Fall 2017

ENGL 1330-001 (2895)—THE WORLD OF SHAKESPEARE

MWF 10-10:50.  100 Hyer Hall.  Neel.

Introductory study of eight major plays, with background material on biographical, cultural, historical, and literary topics.  Five tests, written mid-term and final exams, and one extra credit opportunity.  Play texts from the free Folger Shakespeare Library Digital archive; lecture templates posted electronically on Canvas.  Theme for the semester: Shakespeare’s use of and interrogation of the concept “comedy.”  Satisfies UC 2016 Breadth: Language and Literature; counts as an elective in both the English major and the English minor.

ENGL 1362-001 (2962)—CRAFTY WORLDS

MWF 11-11:50.  116 Dallas Hall.  Holahan.

An introductory study of selected twentieth-century novels emphasizing both ideas of modernity and the historical or cultural contexts of catastrophe that generated these ideas. Topics include traditions of family and wealth, representations of world war, new effects of capital and society, war and sensibility, race and the novel, Big D. Writing assignments: quizzes, one short essay, mid-term, final examination. Texts: TBD

ENGL 1365-001 (2834)—LITERATURE OF MINORITIES

TTh 2-3:20.  110 Hyer Hall.  Levy.

Literature of Minorities investigates from historical and literary perspectives the category of "minority" as a cultural paradox, one that simultaneously asserts and marginalizes identity.  Particular attention will be paid to the issue of identity as both self-selected and imposed, as both fixed and flexible, as located and displaced, as both local and global.  Among the authors covered are Frederick Douglass, W.E.B. DuBois, Nella Larson, Phillip Roth, Bharati Mukherjee and Yuri Herrera.  

ENGL 2102-001 (6329)—SPREADSHEET LIT:  EXCEL

Th 3:30-4:20.  351 Dallas Hall.  Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose.

ENGL 2302-001 (2725)—BUSINESS WRITING

TTh 12:30-1:50.  351 Dallas Hall.  Dickson-Carr, Carol.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. The course meets in a computer lab, and may not be counted toward requirements for the English major. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed 

ENGL 2302-002 (2726)—BUSINESS WRITING

TTh 2-3:20.  351 Dallas Hall.  Dickson-Carr, Carol.

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes much active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. The course meets in a computer lab, and may not be counted toward requirements for the English major. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

ENGL 2310-001 (5412)—IMAGINATION AND INTERPRETATION: WHAT WAS THE HARLEM RENAISSANCE?

MWF 10-10:50.  116 Dallas Hall.  Kiser.

The Harlem Renaissance can be broadly defined as a cultural, social, and artistic movement that spanned the 1920’s and 1930’s, a time when African American writers, artists, and musicians attempted to be represented within American culture with their work. This course will explore why such a movement burgeoned around the end of WWI, what this group of intellectuals hoped to gain from their movement, and why they turned to the arts to reach their political, cultural, and social goals. We will ask questions such as, is art always political or can it exist for art’s sake? If art is truly the best way for such a movement to reach its aims, then what forms of expression are best? Progressing towards answering, “What was the Harlem Renaissance?” we will explore the above questions through poems, novels, and short stories written by W.E.B. Du Bois, Claude McKay, Langston Hughes, Nella Larsen, Jessie Fauset, and others.

ENGL 2310-002 (5414)—IMAGINATION AND INTERPRETATION: THE (R)EVOLUTION OF GOTHIC LITERATURE: LITERAL AND LITERARY HORRORS IN POETRY AND PROSE

MWF 9-9:50.  101 Dallas Hall.  Stampone.

Horace Walpole began a literary revolution in 1764 with the publication of his still famous Gothic tale, The Castle of Otranto. Haunting tales of ghosts and monsters quickly flooded literary markets in both the United Kingdom and America, as artists on both sides of the Atlantic employed, repurposed, and distorted tropes (i.e. erasing the distinction between “horror” and “terror”) from the growing corpus of Gothic Literature to write stories that darken their respective historical moments and deal with insidious problems such as race, gender, and national identity. Intertextuality thus attaches itself to Gothic stories like an ever-present shadow that curiously stalks an author’s text. This course introduces students to various modes of Gothic literature published during the Romantic Century and closely examines the mechanics and—more important—their thematic purpose and historical moment.

MWF 9-9:50.  101 Dallas Hall.  Stampone.

TBD

ENGL 2311-001 (2632)—INTRODUCTION TO POETRY: SERIOUS WORD GAMES

TTh 11-12:20.  105 Dallas Hall.  Bozorth.

Now in 4D: how to do things with poems you never knew were possible, and once you know how, you won’t want to stop! You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, perform, and write about poems written centuries ago and practically yesterday. You will learn to spot exotic species like villanelles and aubades. You’ll discover the difference between free verse and blank verse and be glad you know. You will impress your friends and family with metrical analyses of great poems and famous television theme songs. You’ll argue (politely but passionately) about love, sex, garden-tool dependency, and trochaic tetrameter. You’ll satisfy a requirement for the English major and a good liberal-arts education. Shorter and longer papers totally approximately 20 pages; midterm; final exam; class presentation. 

ENGL 2311-002 (3800)—INTRODUCTION TO POETRY

MW 3-4:20.  101 Dallas Hall.  Holahan.

Introduction to the study of poetry and how it works, examining a wide range of poems by English and American writers. Special attention to writing about literature.

ENGL 2312-001 (3549)—INTRODUCTION TO FICTION

TTh 11-12:20.  102 Dallas Hall.  Newman.

Good stories entertain, provoke, and amuse us.  They move us to laugh, cry, or think.  They introduce us to odd, interesting, loveable, and detestable people; to strange, absurd, comic, and tragic situations; and to the meaning in the ordinariness and the everyday.  By reading a variety of short stories and some novellas, traditional and contemporary, we’ll consider the different ways that imaginative writers turn the stuff of life into plot, imagine character, play with language, and tell us things about our world and ourselves in the medium of prose fiction.  We will also work on writing and analytical skills.   

Written work: Daily or almost-daily short writing, some of which will be built upon for 4 more formal short papers (3-4 pages).  Fiction anthology: Charters, The Story and its Writer (ninth edition, compact); Rebecca Lee, Bobcat and Other Stories; Emily Brontë, Wuthering Heights; Leila Aboulelah, Minaret; Joseph M. Williams and Joseph Bizerup, Style: Lessons in Clarity and Grace.

ENGL 2312-002 (3040)—INTRODUCTION TO FICTION: ETHNIC LITERARY IMAGINATIONS

TTh 12:30-1:50.  156 Dallas Hall.  Sae-Saue.

This course is an introduction to fiction with an emphasis on U.S. ethnic novels. The primary goals of the class are for students to learn to recognize a range of narrative elements and to understand how they function in key U.S. fictions.  Each text we will read represents a specific set of historical and social relationships while also imagining particular U.S. identities and cultural geographies. How does a text construct a cultural and social landscape? How does fiction organize ways human consciousness makes sense of determinate historical events? How does fiction articulate political, social, and cultural dilemmas? And how does it structure our understandings of social interaction?  As these questions imply, this course will explore how fiction creates and then navigates a gap between art and history in order to remark on U.S. social relations. We will investigate how literary mechanisms situate a narrative within a determinate social context and how the narrative apparatuses of the selected texts work to organize our perceptions of the complex worlds that they imagine. As such, we will conclude the class having learned how fiction works ideologically and having understood how the form, structure, and narrative elements of the selected texts negotiate history, politics, human psychology, and even the limitations of textual representation.

ENGL 2312-003H (3627)—FICTION: STORIES OUT OF PLACE

TTh 12:30-1:50.  157 Dallas Hall.  Foster.

In ordinary language—in the speech of everyday life, in memos and news, in text books and manuals—we expect a homey discourse, one where we feel at ease with the meaning and intentions. Literary language, by contrast, tends to make us uncomfortable even as it delights us, shifting us off center so we can see what the ordinary ignores or conceals. This class will look at works of fiction in which someone or something is out of place, looking awry at the ordinary world, principally because characters have left home. We will read, for example, Junot Diaz’s The Brief Wondrous Life of Oscar Wao, whose characters have left and returned to the Dominican Republic, and Arundhati Roy’s The God of Small Things, whose characters leave and return to India. But we will also read Allison Bechdel’s Fun Home in which she looks back on a childhood in a funeral home could not understand at the time. That is, we will take displacement as a narrative technique and a theme. Expect to write four short papers and to talk a lot. Other texts: Julio Cortazar, Blow-Up and Other Stories; Kazuo Ishiguro, The Remains of the Day; Don DeLillo, White Noise.

ENGL 2313-001 (5419)—INTRODUCTION TO DRAMA

MWF 11-11:50.  120 Dallas Hall.  Moss.

An historical introduction to drama divided into five acts. We open in ancient Greece and trace the origins of tragedy and comedy. In Act Two, we take in the pageantry of medieval England, where regular citizens brought the Bible to life and anonymous playwrights built ingenious allegories of virtue and vice. Shakespeare dominates Act Three (with cameos by Marlowe and Jonson), as we applaud the rise and triumph of professional theater in Renaissance England. We relax in Act Four to the racy songs and naughty wit of Restoration comedy and early musicals. Act Five begins in the twentieth century, and we watch as modern playwrights and filmmakers from across the English-speaking world revisit the very classics we read earlier in the semester, wrestling with the dark legacies of imperialism, capitalist excess, racial and sexual oppression, and urban violence. Course requirements: two short papers, one longer paper, regular posts to an online discussion board, brief presentation or performance, final exam. Course texts include Sophocles’ Antigone, Aristophanes’ Lysistrata, selections from the York Mystery Cycle, Everyman, Shakespeare’s Hamlet and The Tempest, Gay’s The Beggar’s Opera, Stoppard’s Rosencrantz and Guildenstern are Dead, Fugard’s The Island, Césaire’s A Tempest, and Spike Lee’s film Chi-Raq.

ENGL 2314-001H (5422): Doing Things with Poems: A Poet-Guided Tour

MWF 9-9:50.  137 Dallas Hall.  Moss.

In this course, the poets themselves guide us through the formal elements and literary-historical evolution of English and American poetry. During the first half of the semester, each week will emphasize a different technical or generic aspect of poetry, focusing on a representative poet in each case. We will learn rhythm with William Blake, rhyme with Emily Dickinson, sonnet-form with William Shakespeare, persona with Langston Hughes, free verse with Walt Whitman and Allen Ginsberg. The second half explores perennial themes: poets addressing and questioning God; poets protesting social injustice; poets in love; poets struggling with age and loss; poets pondering nature, art, and poetry itself. Guest speakers include John Donne, Ben Jonson, John Keats, Robert Frost, William Butler Yeats, Elizabeth Bishop, Sylvia Plath, Seamus Heaney, and many more. Who knew there were so many poets? Come meet them. Course requirements: two short papers, one research paper, regular posts to an online discussion board, midterm exam, final exam. Course textThe Norton Anthology of Poetry, 5th edition.

ENGL 2315-001 (3573)—INTRODUCTION TO LITERARY STUDY: KNIGHTS, DRAMA QUEENS, AND WORKING WOMEN

TTh 11-12:20.  127 Fondren Science.  Schwartz.

This course prepares students to read imaginative literature in many of its forms: from drama to fiction, non-fiction, poetry, and perhaps film.  The course begins with Oedipus, an ancient Greek play, and includes numerous literary texts from the Medieval, Early Modern, Modern eras, and culminates with contemporary literature. Two out-of-class papers; one in-class essay; five reading quizzes; required class attendance.

Texts: Sophocles, OedipusSir Gawain and the Green Knight; Shakespeare, As You Like It; Austen, Pride and Prejudice; Twain, The Adventures of Huckleberry Finn; Woolf, Three Guineas; Egan, A Visit from the Goon Squad; selected poetry.

ENGL 2315-002 (2898)—INTRODUCTION TO LITERARY STUDY

TTh 2-3:20.  101 Dallas Hall.  Siraganian.

Introduction to the discipline of literary study, covering methods of literary analysis in selected texts spanning a range of genres and historical periods. Assignments: short writing, essays, final exam.

Texts: Short fiction and essays by Edgar Allan Poe and Leslie Marmon Silko; poetry by William Wordsworth, Robert Frost, Gwendolyn Brooks; short play by Samuel Beckett; novels by Jane Austen and Mark Twain; film by Heckerling (Clueless). 

 

ENGL 2315-003 (5428): INTRODUCTION TO LITERARY STUDIES

MWF 1-1:50.  Dallas Hall 149.  Weisenburger.

As an introductory course ENGL 2315 develops skills in the close reading of English language literature, in using various approaches to the study of fiction, drama and poetry, and in developing critical writing skills. There are no prerequisites. We presume only that students have enrolled in this class to sharpen their skills as critical readers and effective writers. So we ask what literature is and does, as a particular kind of writing. We study literary forms, styles, and strategies; and consider also the historical contexts in which particular texts were created. Discussions and occasional lectures concentrate on the what, how, where, when and why of critical reading, an essential discipline for any career. We do these things while studying with exceptional care and patience several fictions, plays, and books of poetry by major British and American writers:  William Shakespeare, Herman Melville, Joseph Conrad, James Joyce, Robert Frost, Nella Larsen, Sylvia Plath, and August Wilson.

ENGL 2390-001 (2966)—INTRODUCTION TO CREATIVE WRITING

TTh 11-12:20. 120 Dallas Hall. Brownderville.

The subject of this course is powerful language. How do writers craft language so as to enhance the reader’s experience of imagery, voice, metaphor, scene, character, and plot? To begin answering this question, students will write and revise their own pieces; respond both verbally and in writing to one another’s work; and analyze published texts in short critical essays. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communications skills. There is no textbook; the instructor will provide handouts. As this is an introductory course, prior experience in creative writing is not necessary.

ENGL 2390-002 (2967)—INTRODUCTION TO CREATIVE WRITING

TTh 12:30-1:50.  138 Dallas Hall.  Haynes.

This course will introduce the techniques of writing fiction, poetry and creative nonfiction.  The semester will be divided between the three genres; in each students will study the work of published writers and create a portfolio of their own original writing in each genre. Texts: TBA

ENGL 2390-003 (2968)—INTRODUCTION TO CREATIVE WRITING

TTh 3:30-4:50.  156 Dallas Hall.  Haynes.

This course will introduce the techniques of writing fiction, poetry and creative nonfiction.  The semester will be divided between the three genres; in each students will study the work of published writers and create a portfolio of their own original writing in each genre. Texts: TBA

ENGL 2390-004 (5435)—INTRODUCTION TO CREATIVE WRITING

MWF 10-10:50.  120 Dallas Hall.  Rubin.

An introductory workshop that will focus on the fundamentals of craft in the genres of poetry, fiction, and creative nonfiction. Students will learn the essential practice of "reading like a writer" while developing their own work and helpfully discussing that of their classmates.

ENGL 3310-001 (2449)—CONTEMPORARY APPROACHES TO LITERATURE  

TTh 11-12:20.   156 Dallas Hall.  Murfin.

What is literature?  How do we read it, and why?  What counts as “literature”?  How can students make sense—and use—of literary criticism? This course addresses these questions by introducing the linguistic, cultural and theoretical issues informing contemporary literary discourse, as well as by studying some literary texts and contemporary interpretations of them.  Writing assignments:  weekly in-class short exercises, one short essay, one longer essay, final exam.

Texts:  Brontë, ‘Wuthering Heights’:  A Case Study in Contemporary Criticism; Conrad, ‘Heart of Darkness’:  A Case Study in Contemporary Criticism and ‘The Secret Sharer’:  A Case Study in Contemporary Criticism; Shelley, ‘Frankenstein’:  A Case Study in Contemporary Criticism.

ENGL 3310-002 (3358)—CONTEMPORARY APPROACHES TO LITERATURE

TTh 2-3:20. 149 Dallas Hall.  Schwartz.

Why does one English professor see sex in every text and another sees colonialism? Why does one teacher say, “follow the money” and another seem to care more about gender? Why do some classes focus largely on books about books, but others mainly on books about women who commit suicide? This course will help students address the questions above by making sense of some important contemporary trends in literary criticism and theory. Along the way, we’ll read some primary texts in structuralism and semiotics; feminism and gender studies; Marxism and cultural studies; psychoanalysis; new historicism; queer theory; and ethnic studies. We will consider what counts as “literature” from one age to the next; and we’ll read literature and some contemporary criticism of it while we practice writing our own. Writing assignments: Seven 2-page Application Exercises; a final exam.

Texts TBD, but possibilities include: poetry by Blake, Shakespeare and others; fiction by Austen, Faulkner, Morrison and others. Theory by Woolf; Freud; Saussure; Derrida; Foucault; Silverman; Belsey and Moore; Gates; and others. Selected poetry.

CLAS 3312-001 (3372)—CLASSICAL RHETORIC

MWF 2-2:50.  137 Dallas Hall.  Neel.

Course introduces students to the study of Classical Athens from 509 BCE with the reforms of Ephialtes that began the world's first formal democracy through the final defeat of Greek autonomy after the Lamian War in 322 BCE.  Extensive readings from Thucydides, Lysias, Plato, Isocrates, Demosthenes, and Aristotle as the study of rhetoric and the study of philosophy emerged into history.  Two out-of-class papers, one in-class paper, and five reading quizzes.  Satisfies three UC 2016 requirements: Writing Proficiency; Ways of Knowing; and Depth: History, Social, and Behavioral.  Satisfies one course requirement for the Classical Studies program and one elective credit for both the English major and the English minor.

ENGL 3320-001 (5812)TOPICS IN MEDIEVAL LITERATURE: FABULOUS FICTIONS:   MEDIEVAL ENGLISH LITERATURE IN CONTEXT

TTh 12:30-1:50. 127 Fondren Science. Keene.

Fabulous fictions can reveal troublesome truths. This course studies medieval English literature in context, from the Saxon invasions to the Wars of the Roses, examining what dragons, the knights of Camelot, and wonder-working saints can tell us about the anxieties, challenges, and criticisms of society. Texts considered include epic poems, riddles, elegies, saints’ lives, and romances -- from Beowulf to Chaucer.    

ENGL 3341-001 (5460)—BRITISH LITERARY HISTORY II:  NATURE, EMPIRE, APOCALYPSE

TTh 2-3:20.  357 Dallas Hall.  Bozorth.

British society, culture, and politics changed radically over the last two centuries, with the Industrial Revolution and urbanization and rapidly evolving modern technology; with Britain's rise (and decline) as a world power; with the democratization of government and staggering shifts in people's views on gender, sexuality, and the family; with the unsettling scientific ideas from Darwin to Freud to Einstein that threw into crisis people's beliefs about themselves, about God, and about the environment around them.  We'll see how writers revolutionized poetry, drama, and fiction, as they sought to respond to all this, as well as to the cataclysms of the French Revolution and two world wars.  We'll look at key writers from these periods—poets like Blake, Wordsworth, Coleridge, Tennyson, Christina Rossetti, Yeats, Eliot, Owen, and Auden; novels by writers like Emily Bronte and Virginia Woolf; and drama by Oscar Wilde.  We'll read things that readers and writers have come back to again and again to this day.

ENGL 3346-001 (5461)—AMERICAN LITERARY HISTORY I       

MWF 10-10:50.  152 Dallas Hall.  Cassedy.

An introduction to American literature from European contact to the Civil War.  The course will trace three centuries of ideas about what it means to be American, through well-known texts from the American literary canon as well as less familiar texts.  Readings will include fiction by Susanna Rowson, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, and Harriet Beecher Stowe; autobiographical texts by Henry David Thoreau, Frederick Douglass, Mary Rowlandson, Benjamin Franklin, and Harriet Jacobs; and poetry by Phillis Wheatley, Walt Whitman and Emily Dickinson.

ENGL 3365-001 (5462)—JEWISH AMERICAN LITERATURE AND CULTURE

TTh 12:30-1:50.  116 Dallas Hall.  Greenspan.

This course will provide a survey of modern Jewish American literature and culture (including film, comics, popular humor) running from the period of mass immigration of Jews from eastern Europe in the late 19th century through the present. It will sample leading works by a wide array of major Jewish writers, including Sholem Aleichem, Isaac Babel, Lamed Shapiro, Anzia Yezierska, Abe Cahan, Delmore Schwartz, Tillie Olsen, Saul Bellow, Bernard Malamud, Allen Ginsberg, Philip Roth, and Miriam Israel Moses; the humor of Lenny Bruce, Jerry Seinfield, Susan Silverman, and Larry David; and the work of comic book artist-writers Art Spiegelman and Roz Chast. Formal assignments: several papers, midterm, and final.

ENGL 3367-001 (3465)—ETHICAL IMPLICATIONS OF CHILDREN'S LITERATURE

MWF 11-11:50.  102 Dallas Hall.  Satz.

An opportunity to revisit childhood favorites and to make new acquaintances, armed with the techniques of cultural and literary criticism. Examination of children's literature from an ethical perspective, particularly notions of morality and evil, with emphasis upon issues of colonialism, race, ethnicity, gender, and class.Writing assignments: four essays, final examination.Texts: “Snow White,” accompanied by critical essays; picture books such asWhere the Wild Things Are,The Giving Tree,Amazing Grace,Curious George,Babar; chapter books for young children such as Wilder,Little House on the Prairie; White,Charlotte’s Web; Erdrich,Game of Silence; books for young adults such as L’Engle,Wrinkle in Time; Alexie,The Absolute True Diary of a Part Time Indian; Yang,American Born Chinese; and one adult book, Morrison,The Bluest Eye.

ENGL 3376-001 (5463)LITERATURES OF THE SOUTHWEST: IMAGINING A TRANSNATIONAL CULTURAL GEOGRAPHY

TTh 9:30-10:50.  107 Hyer Hall.  Sae-Saue.

 This course will examine how key southwestern texts challenge their common categorization as a “regional literature.” We will examine how local writers map cognitively the U.S. Southwest as a transnational geography which is interconnected to non-U.S. territories through complex social, economic, and cultural networks.  Through analyses of some of the most important and influential texts of the region, we will investigate how literatures of the southwest generate competing visions of cultural identity and how they constitute a transnational sense of space while engaging issues of historical memory, race, citizenship, gender, and globalization.

Objectives: students will learn to understand how U.S. ethnic writers have imagined the Southwest. Students will conclude the course having achieved three important goals: one, they will learn to recognize how local narratives structure ethnic perceptions of life in the region; two, they will understand the aesthetic and cultural interventions these narratives make within a broad social-historical perspective; and three, they will comprehend these literary forms within a transnational and inter-ethnic framework. 

ENGL 3379-001 (3050)—CONTEXTS OF DISABILITY

MWF 10-10:50.  102 Dallas Hall.  Satz.

This course deals with the literary and cultural portrayals of those with disability and the knotty philosophical and ethical issues that permeate current debates in the disability rights movement. The course also considers the ways issues of disability intersect with issues of gender, race, class, and culture. A wide variety of issues, ranging from prenatal testing and gene therapy through legal equity for the disabled in society, will be approached through a variety of readings, both literary and non-literary, by those with disabilities and those currently without them. Writing assignments: three short essays, one longer essay; mid-term, final examination.

Texts: Kupfer, Before and After Zachariah: A Family Story of a Different Kind of Courage; Haddon, Curious Incident of the Dog in the Night; Rapp, Poster Chil ; Jamison, An Unquiet Mind; Lessing, The Fifth Child; Sarton, As We Are Now; Mairs, selected essays; O’Connor, selected stories; selected articles from a variety of disciplines.

ENGL 3383-001 (3118)—LITERARY EXECUTIONS: IMAGINATION AND CAPITAL PUNISHMENT

MWF 1-1:50.  102 Dallas Hall.  Holahan.

A study of the literary treatment of capital punishment. The aim is to locate a social issue of continuing importance within literary traditions that permit a different kind of analysis from that given in moral, social, and legal discourse. The literary forms include drama, lyric, novel, and biography; the periods of history represented range from the English Reformation and the Elizabethan Renaissance to the English Civil War, the French Revolution, and contemporary America. Writing assignments: three short essays, final examination. Texts: TBA.

ENGL 3390-001 (3574)—STUDIES IN CREATIVE WRITING: PLAYING WITH FORMS

TTh 2-3:20. 102 Dallas Hall. Brownderville.

In this poetry workshop, students will experiment with a wide variety of forms, writing and revising their own ghazals, sestinas, villanelles, accentual-syllabic poems, accentual-alliterative poems, sonnets, and haiku. Throughout the semester students will investigate the fascinating relationship between form and content. Organizing questions include the following: How has a particular form been used in the past? What are the resulting associations and expectations? How might a contemporary poet fulfill these expectations or subvert them for effect? In addition to reading and discussing published texts provided by the instructor, students will explore the exciting world of contemporary poetry journals, find work that appeals to their imaginations, and bring it to the class for group discussion.

ENGL 3390-002 (3117)STUDIES IN CREATIVE WRITING: WRITING ABOUT THE REAL WORLD

MWF 12-12:50.  138 Dallas Hall.  Rubin.

An advanced workshop devoted to the craft of creative nonfiction, this class will apply the tenets of fiction writing to the construction of the personal essay. In addition to participating in regular workshops, students will study nonfiction masterpieces by such authors as Virginia Woolf and James Baldwin along with the work of brilliant contemporary essayists currently expanding the form.

ENGL 4323-001 (3223)—CHAUCER

TTh 9:30-10:50.  156 Dallas Hall.  Wheeler.

Study of Chaucer’s dream poems as well as his great love-and-war poem Troilus and Criseyde, along with a sprinkling of staggeringly long classics. ReadingThe Wadsworth Chaucer and background texts. Assignments: regular reading comments, in-class oral presentations, short and longer paper.

ENGL 4332-001 (5465)—STUDIES IN EARLY MODERN BRITISH LITERATURE

MWF 12-12:50.  137 Dallas Hall.  Sudan.

In September of 1666, a few short years after the restoration of Charles II to the throne in England, the Great Fire destroyed four-fifths of the commercial and topographical center of London in three days, and, in the process, destroyed everything that had represented London to Londoners. The social, historical, commercial, cultural, and physical city that had been in place for them was simply gone, and the task of rebuilding, re-imagining, and re-conceptualizing the “city” became the major task of Restoration London. Among the many tasks of social reconstruction Londoners had to face was the changing face of sexual identity: building the modern city on the ruins of the medieval city worked in tandem with building a modern sense of self, including a sexualized and gendered self, on older forms of social and national identity. Charles II, fresh from the French court in Paris, brought with him an entirely different concept of fashion, sense, sensibility, and sexual identity. This course examines the ways in which concepts of sexual—or, perhaps, more accurately, gendered—identities developed as ideologies alongside the architectural and topographical conception of urban life in England. And although the primary urban center was London, these identity positions also had some effect in shaping a sense of nationalism; certainly the concept of a rural identity and the invention of the countryside were contingent on notions of the city. Urbanity, in both senses of the word, is an idea that we will explore in various representations stretching from the late seventeenth-century Restoration drama to the Gothic novel of the late eighteenth century.

ENGLISH 4343-001 (5466)— BRITISH LITERATURE IN AN AGE OF REVOLUTIONS:  ROMANTIC POETRY AND FICTION

TTh 2-3:20.  137 Dallas Hall.  Murfin.             

This course will cover poems by three major Romantic poets—William Wordsworth, Percy Bysshe Shelley, and George Gordon, Lord Byron—and three novels.  One of the novels was written during the Romantic period (Frankenstein, which Mary Shelley composed while she and her husband were vacationing with Byron), the other two were products of the subsequent, Victorian era (Emily Brontë’s Wuthering Heights and George Eliot’s Adam Bede) but were powerfully influenced by Romantic poetry.  We will note and discuss the persistence of various themes, motifs, and genres across the period beginning in 1798 (the publication date of Wordsworth’s Lyrical Ballads) and ending in 1859 (the year in which Adam Bede was published) but also consider the various ways in which these evolve over time. (Thus, Shelley’s poetry will be seen to revise Wordsworth’s; Brontë’s Heathcliff  is a type of Byronic Hero; the landscapes found in Frankenstein and Adam Bede are often darkened versions of ones found in Romantic poetry, and so forth.)  Two papers will be required:  one short (due around mid-term), one long (due toward the end of the semester.  The longer paper will cover several of the works we have read and must make use of secondary sources. 

ENGL 4360-001 (3551)—STUDIES IN MODERN AND CONTEMPORARY AMERICAN LITERATURE

MWF 11-11:50.  138 Dallas Hall.  Weisenburger.

Our focus in this course is American literature of the Cold War period (1945 – 1990), the period that is the hinge from Modern to Contemporary (or postmodern) art. We will take up fictions, poetry, plays and essays in which American writers responded to and made literary art during a remarkable epoch:  of the Civil Rights Movement, of undeclared wars (in Korea, Vi