Course Archive

Current Course Offerings

Fall 2023

ENGL 1320-001—Cultures of Medieval Chivalry

TTh 11:00-12:20. Dallas Hall 306. Wheeler. 2016: HC, LL, OC CC: LAI

What is more exciting than the stories of quests and adventures that shape masculine life and heroic literature? We share these stories when we probe the development of chivalric mentalities in the literature, history, and cultures of the Middle Ages, from the flowering of chivalry as ideal and practice in twelfth-century Western culture to its persistent presence in the current moment. Readings and movies include background sources as well as adventure tales of real medieval noble heroes—Rodrigo de Vivar (The Cid, poem and movie) and William Marshal—and those of legend—Lancelot, Yvain, Gawain, and more. Stories from the legends of King Arthur (such as Sir Gawain and the Green Knight and Malory’s Le Morte D’Arthur) provide a mirror through which we can see chivalric education and variation, chivalric seduction and betrayal, chivalric rejection and renewal, and persistence of chivalric ideas in our own lives. This lecture/discussion course requires two structured in-class debates, a mid-term, and a final exam.

ENGL 1330-001—World of Shakespeare

MWF 11:00-11:50. Dallas Hall 306. Rosendale. 2016: LL CC: LAI

Time to (re-)introduce yourself to our language’s greatest writer. In this course, you will meet Shakespeare’s princes, tyrants, heroes, villains, saints, sinners, lovers, losers, drunkards, clowns, outcasts, fairies, witches, ghosts, and monsters. You’ll watch and listen as they love, woo, kiss, charm, hate, curse, mock, fool, sing to, dance with, get drunk with, sleep with, fight with, murder, and haunt each other. You will visit Renaissance England, a place and time as strange, troubled, exciting, delightful, fearful, thoughtful, political, magical, bloody, sexy, and confused as your own. You will read poetry you will never forget, about important issues and ideas, and will better understand and enjoy it.

Our introductory survey will cover plays in all of the major Shakespearean genres: comedy, tragedy, history, and romance, as well as some nondramatic poetry. Background readings, lectures, and films will contextualize Shakespeare’s achievement within Renaissance society and life (and death), engaging the religious, political, cultural, philosophical, and economic debates of that glorious but tumultuous age.

ENGL 1365-001H—Literature of “Minorities”

TTh 2:00-3:20. Dallas Hall 115. Levy. 2016: LL, HD CC: LAI, HD

This course explores questions of individual and collective identities from historical, literary, and contemporary social perspectives. We look closely at the many categories that have come to constitute 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: “Nation” “Whiteness,” “Blackness,” “White Supremacy,” “Identity Politics,” “Queerness,” “Pluralism,” etc. We examine the ways these identities can be both self-selected and imposed, fixed and/or flexible, transformative an/or disruptive.

Authors will include W.E.B. DuBois, Nella Larson, Philip Roth, Ayad Akhtar, Bharati Mukherjee, and Yuri Herrera.

Assignments: one paper, a midterm and a final.

ENGL 2102-001—Spreadsheet Lit: Excel

W 3:00-3:50. Hyer Hall 106. Dickson-Carr, Carol.

This course introduces Excel 2019 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 the results of their analyses in clear, readable prose. Laptops required real-time in the classroom with the latest version of Excel. Students will take the Excel Associates Exam for certification by the end of the semester.

ENGL 2102-002—Spreadsheet Lit: Excel

M 3:00-3:50. Hyer Hall 106. Dickson-Carr, Carol.

ENGL 2302-001—Business Writing

TTh 12:30-1:50. Virginia-Snider Hall 203. Dickson-Carr, Carol. 2016: IL, OC, W CC: W

This course introduces students to business and professional communication, including various 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 active learning, which means students will attend events on campus and off and conduct a detailed field research project at a worksite. Please note that this course may not count toward the English major requirements and that laptops are required in class. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. The priority goes to Markets & Cultures majors. The second and third priorities are graduating seniors and Dedman students, respectively. Text: Kolin, Philip C. Successful Writing at Work, 11th ed. or later.

ENGL 2302-002— Business Writing

TTh 2:00-3:20. Virginia-Snider Hall 203. Dickson-Carr, Carol. 2016: IL, OC, W CC: W

ENGL 2311-001—Introduction to Poetry: Meeting Our Makers

TTh 8:00-9:20. Dallas Hall 101. Wilson. 2016: LL, W CC: LAI, W

The word “poetry” comes from the Greek meaning “to make.” In this course we will traverse a geographically, chronologically, spiritually, and stylistically diverse array of works by “makers” whose poetry gives us new ways of seeing the world. From love poems written in fourth century China and epic tales from ancient Europe and the Middle East through Black poets in twentieth-century America to Instagram poets and songwriters in the twenty-first, we will encounter beautiful, bewitching, and challenging worlds. Over the course of the semester we will become comfortable and familiar with poetry: we will get to know these makers, to understand and appreciate their craft, and revel in the pleasure that great poetry (or sometimes even bad poetry!) can bring. Additionally, we will experience form through writing and recitation. To add in some workplace skills for our digital age, we will create a physical and digital exhibition about “Making Poetry.”

ENGL 2311-002—Introduction to Poetry: Contemporary American Poets

MWF 9:00-9:50. Harold Clark Simmons Hall 107. Rivera. 2016: LL, W CC: LAI, W

By focusing on contemporary American poetry, this course celebrates writers from the margins, writers within academia, and workaday journey poets who experiment with both form and content to document myriad lyrical impulses. Their poetic efforts form a type of call-and-response dialogue that widens concepts of inclusiveness in ways that many view as threatening. In this course, we will annotate, read, discuss, argue the merits and failures of the poems. acquiring shared language with which to discuss poets and their work. As we embrace these newer voices, we will attempt a radical reimagining of what we consider poetry.

ENGL 2311-003H—Introduction to Poetry

MWF 10:00-10:50. Dallas Hall 120. Newman. 2016: LL, W CC: LAI, W

Why bother with poetry? It offers nothing practical or profitable. It’s made of words, but conveys no information. Reading it probably does not make us better people. An individual poem may refuse to offer a “message”; resist efforts to summarize it; and strike us as pointlessly simple or maddeningly opaque. Furthermore, reading poetry demands a focused attention that we may find hard to provide. No wonder poetry sometimes seems alien to us, and provoked even one poet to confess: “I, too dislike it: there are things that are important beyond all this fiddle.” This course proceeds from the conviction that learning to read, talk, and write about poetry sharpens our awareness of how language works, and perhaps even more important, may afford pleasures that grow on us slowly—or all at once. Texts: Helen Vendler’s Poems, Poets, Poetry, plus other poems to be determined. Assignments: three to four short papers of increasing length; a presentation; a recitation; possible brief discussion board postings; occasional short exercises; final exam.

ENGL 2311-004—Introduction to Poetry

MWF 12:00-12:50. Dallas Hall 137. Caplan. 2016: LL, W CC: LAI, W

Poetry is language that sounds better and means more,” the poet Charles Wright once observed. “What’s better than that? This class will train the students to hear the many sounds and the many meanings that great poems articulate. We will gain the skills and the vocabulary to analyze poems more precisely by reading and discussing a wide range of poetry and by writing formal exercises. Finally, we will have the pleasure of hearing two leading poets visit our class via Zoom.

In short, we will spend the semester considering language that sounds better and means more, and, as the poet put it, what’s better than that?

ENGL 2312-001—Introduction to Fiction : Fatness in American Fiction

MWF 9:00-9:50. Annette Caldwell Simmons Hall 225. Dinniene. 2016: LL, W CC: LAI, W

We live in an era in which the meaning of bodily fatness is hotly contested. Is fatness a disease? A moral failing? Simply one of many bodily types? These questions have been raised since at least the seventeenth century, and continue to be taken up today, by the media, the medical industrial complex, police, government, the fat liberation movement, and more. American authors have reflected these debates in their works, to varying ends. This class considers contemporary American fiction, including Toni Morrison’s The Bluest Eye and Susan Stinson’s Martha Moody, to see how authors respond to popular notions of the meaning of the fat body. Students will read and analyze assigned texts to understand how authors use narrative to tell stories of fatness that affirm, complicate, and/or resist dominant notions of normative bodies that often take the meanings of fatness and thinness for granted. Some questions we will consider: Why and how do our authors use fatness to create meaning in their texts? How do they affirm or challenge popular notions of the fat body as a marker of race, gender, class, morality, (dis)ability, and national identity? What do our authors want us to do with what we read and learn? Assignments: several short essays, some of which will contribute to a collaborative podcast or to a longer paper at the end.

ENGL 2312-002—Introduction to Fiction

MWF 9:00-9:50. Dallas Hall 120. Hennum. 2016: LL, W CC: LAI, W

ENGL 2312-003—Introduction to Fiction: The Global Novel

TR 9:30-10:50. Dallas Hall 102. Hermes. 2016: LL, W CC: LAI, W

This course will consider fiction that reflects and responds to the increasing interconnectedness of our globalized world—stories and novels written about, from, and across places outside the U.S. and Britain, including South and Southeast Asia, sub-Saharan Africa, and the Caribbean. How do writers of global literature balance precise, local specificity with the imperative to connect to a “universal” audience? What is the work’s relation to a shared cosmopolitan ethos? What do terms like globalization, cosmopolitanism, postcolonialism, and world literature mean in the first place?

With these texts and concepts as our foundation for discussion, we will build a set of tools for analyzing and writing about literature, including close reading, awareness of genre, and familiarity with important elements of fiction. We will think deeply about not just what texts say, but how they say it. Finally, reading these works of fiction will help us see our contemporary world in new ways, and better understand our place in it. Readings may include Jean Rhys, Teju Cole, Yaa Gyasi, Mohsin Hamid, Han Kang, and Pitchaya Sudbanthad.

ENGL 2312-004—Introduction to Fiction: Black Southern Writers

MWF 10:00-10:50. Dallas Hall 153. Rivera. 2016: LL, W CC: LAI, W

The South has long held sway in the cultural imagination of the United States. Dogged by such lingering images and ideas as slavery, Jim Crow, Gone with the Wind, and Larry the Cable Guy, the region cannot seem to escape a past riddled with caricatures. In this course we will examine works by Black fiction writers from the South. We will analyze the complexity of their characters, their invocations of place, and their allusions to culture and collective memory. We will see how their explorations of race, class, gender, and sexual orientation trouble old stereotypes and create a place of more than just moon pies and mint juleps. The South, a site of American trauma, has managed to provide a home for writers who love their homeplace fiercely yet remain keenly aware of its faults. Writers studied include Alice Walker, Crystal Wilkerson, Ernest Gaines, Jesmyn Ward, Maurice Carlos Ruffin, Zora Neale Hurston, De'Shawn Charles Winslow, Margaret Wilkerson Sexton, and Rivers Solomon.

ENGL 2312-005—Introduction to Fiction: The Real Fake

MWF 11:00-11:50. Dallas Hall 357. Cassedy. 2016: LL, W CC: LAI, W

A typical American spends about 1,000 hours a year reading and watching made-up stories in books, TV, and movies. Why do we spend so much time with fake stories instead of true facts? This has never been an easy question to answer, and there have always been some people who think that fiction is bad, because it’s a lie. Yet we keep consuming it. Is fiction necessary because it’s pleasurable? Because it’s educational? Because it tells the truth — maybe a truer, darker, or broader truth than nonfiction will allow? In this class we’ll read fictional stories from the 14th to the 21st century that tackle the “why fiction?” question. We’ll study what these stories have to say about the purpose of fiction, and how they exemplify (or fail to exemplify) their own theories of storytelling. Likely texts include Boccaccio, The Decameron; Rowson, Charlotte Temple; Márquez, One Hundred Years of Solitude; Eugenides, The Virgin Suicides. Three essays and a final.

ENGL 2312-006—Introduction to Fiction

MWF 2:00-2:50. ULEE 228. Ryberg. 2016: LL, W CC: LAI, W

ENGL 2312-007—Introduction to Fiction: Diverse Voices in Fiction

T 6:00-8:50. Dallas Hall 105. González. 2016: LL, W CC: LAI, W

Examines how underrepresented and marginalized communities are represented in contemporary fiction, including people of color, LGBTQ+ communities, and individuals with disabilities. We will analyze both mainstream and contemporary literary fiction to consider how these representations reflect social realities and cultural contexts. It aims to develop students' skills in literary analysis, critical thinking, and creative engagements with fiction while also fostering an understanding of social justice issues and the importance of representation in literature. Texts include The Color Purple by Alice Walker, The Brief Wondrous Life of Oscar Wao by Junot Díaz, The Parable of the Sower by Octavia Butler, The Thing Around Your Neck by Chimamanda Ngozi Adichie, and A Manual for Cleaning Women: Selected Stories by Lucia Berlin. Assignments: 2-3 analytical essays, creative exercises, and a research project.

ENGL 2313-001—Introduction to Drama

TR 5:00-6:20. Dallas Hall 157. Garelick. 2016: LL, W CC: LAI, W

Modern drama reshaped our understanding of home and family, bodies and relationships, and what it means to have a personality or be a ‘character.’ This class examines the arc of modern drama, which began in the 19th century and stretched into the 20th, looking at the classic, often startling plays—from several countries—that revolutionized the stage forever, and which continue to be produced the world over. These include: Strindberg’s Miss Julie, a story of a young woman trying to break out of her narrow social world; Ibsen’s A Doll’s House, a re-examination of middle-class marriage; Chekhov’s Three Sisters, about a family undergoing personal and economic crisis; and Beckett’s Waiting for Godot, one of the most famous plays of the twentieth century, about the comforts of friendship; the terrors of solitude; and the profound struggle of daily life. In addition to reading the plays, you will watch film and video clips of performances, and learn to ‘read’ the rich variety of interpretations and choices made by actors and directors. Possibilities exist for brief, in-class performance for interested students (acting ability NOT required!). Taught in combined lecture/seminar format. Students will write two short papers plus periodic one-paragraph reading responses. Midterm and take-home essay-form final.

ENGL 2313-002—Introduction to Drama: A History of Western Drama in Three Acts

MWF 10:00-10:50. Dallas Hall 115. Moss. 2016: LL, W CC: LAI, W

From Antigone to Hamilton, the most memorable reflections on human nature and the most provocative critiques of social and political life have taken dramatic form, presented onstage before mass audiences. This trans-historical success is largely the result of the unique nature of drama, which alone fully unites the arts: writing, speech, gesture, and costume at a minimum, but often incorporating song, dance, and related arts, as in ancient Greece or the modern musical. Thanks to drama’s popular appeal, theaters and the troupes acting in them have always been at the heart of Western culture, from the choruses of the Festival of Dionysus to the Lord Chamberlain’s Men in London’s Globe to Broadway and its stars. At the same time, drama has lent its powerful voice to social protest and revolution, especially in the twentieth century, as traditional power structures crumbled and empires fell. The course is divided into three “Acts”: the rise of tragedy and comedy in ancient Greece and Rome, the coming-of-age of English drama during the Renaissance, and the radically experimental and socially critical drama of the modern period. Smaller “Interludes” provide short introductions to medieval and eighteenth-century English drama, and the syllabus closes with a brief glimpse of present-day American theater. Additionally, we will be honing our critical writing skills throughout the semester, with three class sessions devoted to the topic.

ENGL 2315-001—Introduction to Literary Study: Pomp and Circumstantial Evidence

TR 12:30-1:50. Dallas Hall 105. Dickson-Carr, D. 2016: CA, W CC: LAI, CAA, W

ENGL 2315 is an introduction to the pleasing art of literary study and to the English major. We will read, contemplate, and discuss poetry, essays, plays, short stories, and novels from different nations and literary traditions to enjoy their many rich complexities. We will begin with different ways of defining literature and literary study, then proceed to examine how and why we read various genres. We will discuss frequently the roles that literature may play in shaping our world. In addition, we will discover and discuss a few of the more prominent issues in contemporary literary studies. By the end of the course, the student should be able to read and write critically about literary works. This skill will serve each student well in other courses in English, but will apply equally well in other disciplines. Our topic, “Pomp and Circumstantial Evidence,” refers to the many moments in our readings in which individuals—whether poets, kings, fools, heroes, or villains—wrestle with and confront the same issues that we will discuss: the sublime; the gap between what we perceive and reality; facts versus fantasy, illusion, or delusion; the eternal and pleasurable challenge of interpretation. Assignments: regular writing (in class and on your own); two critical papers; several short benchmark reading exams. NOTE: We will watch a few selected films outside of regular class time. Tentative texts: James, The Turn of the Screw; Best American Essays of the Century, ed. Joyce Carol Oates; Shakespeare, King Lear; Wisława Szymborska, Poems: New & Collected, 1957-1997; Derek Walcott, Omeros; selected poems by Caroline Crew, Kay Ryan, et al.

ENGL 2315-002— Introduction to Literary Study: Strange Passages

MWF 9:00-9:50. Dallas Hall 343. Fanning. 2016: CA, W CC: LAI, CAA, W

This introduction to the discipline of literary studies proposes that we think of literature as a kind of “estrangement device”—a medium meant to shake us out of our ordinary habits of thinking. Over the course of the semester, our minds will warp and bend as we navigate a labyrinth of “strange passages,” covering methods of interpretation and analysis in selected texts spanning a range of historical periods and genres, including lyric poetry, satire, sci-fi/weird fiction, and literature of the absurd. A sampling of authors and texts: Emily Dickinson, Walt Whitman, Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde; stories by Franz Kafka and Flannery O’Connor; George Schuyler’s Black No More, and science fiction by Vonnegut, LeGuin, and/or Phillip K. Dick.
Assignments: short weekly response papers; 3-4 essays approximately 4-5 pages each; a final exam.

ENGL 2315-003— Introduction to Literary Study

TTh 2:00-3:20. Dallas Hall 152. Roudabush. 2016: CA, W CC: LAI, CAA, W

ENGL 2318-003— Literature and Digital Humanities: An Introduction

TTh 9:30-10:50. Dallas Hall 101. Wilson. 2016: CA, W CC: CA, CAA, W

What is digital literature? 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.

ENGL 2390-001—Introduction to Creative Writing: Introductory Poetry Workshop

M 2:00-4:50. Dallas Hall 152. Brownderville. 2016: CA, W CC: CA, CAC, 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 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. As this is an introductory course, prior experience in creative writing is not necessary. Students will be invited to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary American poetry.

ENGL 2390-002—Introduction to Creative Writing: The Shapes of Fiction

W 2:00-4:50. Dallas Hall 343. Farhadi. 2016: CA, W CC: CA, CAC, W

In this course, we’ll read a variety of fictional genres and styles to analyze the particular decisions writers use to give their stories shape. While structure will be our entry point, we’ll also focus on the smaller scale choices writers make in order to develop characters, further plot, and stimulate, satisfy, and subvert expectations in the service of providing a compelling read.

Throughout the course we’ll use critical and creative assignments to develop our craft vocabulary. Students will write their own full-length short stories, which we’ll workshop in the second half of the semester.

ENGL 2390-003—Introduction to Creative Writing: The Moves Writers Make

TTh 12:30-1:50. Dallas Hall 120. Hermes. 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”
― Anton Chekhov
This course will explore the foundational aspects of creative writing in poetry and fiction. To prepare ourselves to write our own stories and poems, we will begin by reading published work along with craft essays that talk about how great writing gets made. These readings are meant to provide artistic models and stimulate discussion about craft. Together, we’ll identify the “moves” successful pieces of writing make and practice incorporating them in our own creative work. During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. With engaged participation, we will have an opportunity to sharpen both our critical and creative skills.

ENGL 2390-004—Introduction to Creative Writing: The Moves Writers Make

TTh 2:00-3:20. Dallas Hall 120. Hermes. 2016: CA, W CC: CA, CAC, W

ENGL 2390-005—Introduction to Creative Writing: Love Letter Poems

MWF 12:00-12:50. Dallas Hall 343. Lama. 2016: CA, W CC: CA, CAC, W

Letters are one of the most intimate forms of human communication. A letter privately reveals the sender, the recipient, and their relationship. But what happens if a third person “eavesdrops” on it? And what if that’s precisely the intent of the writer? The Epistolary Poem is a letter-poem where the author intends it to be read by this third person, “the eavesdropper,” in addition to, sometimes even instead of, the addressee. In this class, using the fundamental concepts and skills of creative writing and poetry such as image, metaphor, sound, lineation, and form, we will write letter-poems to our loved ones, a stranger, the dead, the future, and finally to ourselves.

In the first half of the semester, informed and inspired by the great poets that have come before us--Agha Shahid Ali, Emily Dickinson, Seamus Heaney, Brigit Pegeen Kelly, Czeslaw Milosz, to name a few--we will learn the basic concepts and skills and write poems. In the second half, we will workshop them, giving and receiving thoughtful and generous feedback, culminating in a final portfolio. The final portfolio will consist of three significantly revised poems, guided by the knowledge that revision is a long and thoughtful form of writing which often results in radical changes and not just fixing of a few grammatical errors. You may have a considerable amount of experience in creative writing or very little to none. The only prerequisite for this class is that you’ve an interest in writing (and reading, of course)—and the willingness to put in a sincere amount of effort into your craft, for in my humble opinion talent alone—without sustained labor and dedication—has rarely, if ever, produced a great artist.

ENGL 2390-006—Introduction to Creative Writing

TTh 11:00-12:20. Dallas Hall 105. Rubin. 2016: CA, W CC: CA, CAC, W

An introductory workshop that will focus on the fundamentals of craft in the genre of fiction writing. Students will learn the essential practice of "reading like a writer" while developing their own work and discussing that of their classmates.

ENGL 2390-007—Introduction to Creative Writing

TTh 3:30-4:50. Dallas Hall 153. Smith. 2016: CA, W CC: CA, CAC, W

This workshop-heavy course focuses on the craft, structure, and thematic elements of developing short stories. Students will create and critique short literary narratives focused on the elements of fiction. By the end of the semester, students will complete a portfolio including two short stories.

ENGL 2390-008—Introduction to Creative Writing

TTh 9:30-10:50. Hyer Hall 102 . Hawkins. 2016: CA, W CC: CA, CAC, W

ENGL 3310-001—Research and Critical Writing for Literary Studies: The World and the Text

MWF 1:00-1:50. Dallas Hall 138. Newman.

ESPECIALLY RECOMMENDED FOR SOPHOMORE AND JUNIOR ENGLISH MAJORS
This course, designed as preparation for more advanced work in the major, explores several key questions: What is a text? What are some of the approaches thoughtful critics have taken in recent years to the analysis of texts? How do we as readers make sense both of texts and of their critics? How, in practice, do we progress from the reading to the written analysis of texts? Our guiding question this semester will be: Do literary texts reflect the world, construct alternative worlds, or in some way create the world? Employs a combination of lecture, discussion group activity, and writing exercises with the goal of refining critical thinking, reading, and writing skills.
Texts: still under consideration, but will likely be drawn from the following: Dickens, A Tale of Two Cities or Emily Brontë’s Wuthering Heights; poems by Natasha Tretheway and others; possible short play; Bennett and Royle, An Introduction to Literature, Criticism, and Theory as a read-along textbook.
Assignments: Several short papers and exercises, including discussion-posts; 2 papers (one 3-4 pp., one multi-source paper of approx. 7-8 pages; possible midterm exam or short quizzes.

ENGL 3320-001—Topics in Medieval Literature: Fact or Fiction? Paradigms of Truth in Medieval Literature

TTh 9:30-10:50. Clements Hall 325. Amsel. 2016: HFA, W CC: LAI, W

Are you ready to explore fact and fiction in the literature of the Middle Ages? How is it that we make history? And, how do we discern truth? Sounds familiar to us because we are still grappling with questions of real truths vs. fake truths in our everyday lives. This course examines real and imagined medieval histories and legends, including stories of King Arthur and Joan of Arc, so we can learn about medieval paradigms still present in contemporary culture, literature, films, other types of media.
Assignments include: Case Study Reading Responses and Final Research Paper on medieval themes in contemporary culture and media.
Readings include: Joan of Arc: Her Story by Régine Pernoud and Marie Véronique Clin, Le Mort D’Arthur by Sir Thomas Malory, and The DaVinci Code by Dan Brown.

ENGL 3347-001—Topics in American Lit Age Rev: The Ethics of Democracy: A Moral Paradox

TR 3:30-4:50. Dallas Hall 101. Torres de Veneciano. 2016: HFA, W CC: LAI, W

This class will read some of the most important prose writers from the late-eighteenth through the nineteenth centuries. These writers trained their pens to ethical matters, including the cultivation of character and personality, the tone of social manners, the pursuit of political and social equity, gender and racial equality, and the end of slavery. Such topics, central to literature in the formative period of American democracy, persist in their relevance to this day. Authors we will read include Jane Addams, Ralph Waldo Emerson, Frederick Douglass, Margaret Fuller, José Martí, Thomas Jefferson, Thomas Paine, Sojourner Truth, Mark Twain, and Walt Whitman.

ENGL 3355-001—Transatlantic Encounters III: Possible Futures: Feminist Theory and Speculative Fiction

TTh 9:30-10:50. Dallas Hall 106. Boswell. 2016: HFA, GE, W CC: LAI, HD, W

What do feminist theory and speculative fiction have in common? Both genres engage with our culture through imaginative critique, using the “possible future” to envision the ways our world could change for the better—or the worse. Feminist thought has often turned to fiction to imagine “what if” and to engage with ideas of sex, gender, and sexuality. In this course, we will examine a variety of speculative texts alongside works of feminist theory. By making our world and assumptions strange to us, these speculative fictions offer a kind of testing ground for many ideas in feminist theory. This course will examine the underlying systems that have shaped our concepts of sex, gender, race, and other categories. Students will end the semester by giving a researched oral presentation over a literary work or film of their choosing.

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

TTh 9:30-10:50. Dallas Hall 156. Dickson-Carr, D. 2016: HFA, HD, W CC: 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 on 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 briskly 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.

Assignments will include three critical papers, one requiring research; a midterm; a final; in-class

and take-home writings. Tentatively, 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 Bamboozled, Sorry to Bother You, and Black Panther: Wakanda Forever, and more.

ENGL 3363-001—Chicana/Chicano Literature: Borders, Barrios, and Beyond

TTh 11:00-12:20. Dallas Hall 152. González. 2016: HFA, HD, W CC: HD, W

Chicana/Chicano Literature: "Borders, Barrios, and Beyond" examines the literary production of Mexican Americans and Chicanas/Chicanos in the United States. By analyzing novels, poetry, and essays, students will explore themes such as identity, belonging, migration, and resistance, and how they are shaped by borders, both physical and metaphorical. Required readings includeThe House on Mango Streetby Sandra Cisneros,Borderlands/La Frontera: The New Mestizaby Gloria Anzaldúa,Bless Me, Ultimaby Rudolfo Anaya,The Devil's Highwayby Luis Alberto Urrea, andAlways Runningby Luis J. Rodríguez. The course aims to encourage critical engagement with Chicana/Chicano literature and to deepen students' understanding of the experiences and histories that shape these communities.

Assignments: short analytical exercises, a presentation, 2-3 essays, a creative assignment, and a multimedia piece.

ENGL 3390-001—Creative Writing Workshop: Poetry and Song

W 2:00-4:50. Dallas Hall 152. Brownderville. 2012: CA2, W 2016: HFA, W CC: 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 songwriters such as Adrianne Lenker (Big Thief), Lucki, Joanna Newsom, Hugh Lupton, The National, Benny the Butcher, Lucinda Williams, Hank Williams, Robert Johnson, Leonard Cohen, Emily Dickinson, 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 might write song lyrics or lyric poems, and others might compose songs and perform them for the class.

ENGL 3390-002— Creative Writing Workshop: Screenwriting

Th 2:00-4:50. Dallas Hall 138. Rubin. 2016: HFA, W CC: W

In this course students will present their own screenwriting as well as critique that of their classmates. Alongside these workshops we will analyze exemplary models of the form and study film clips to understand the ways compelling dialogue is written and satisfying scenes are structured. Readings will include such classics as Casablanca and Chinatown as well as newer scripts like Lady Bird and Get Out. ENG 2390 is a prerequisite for this course although Meadows students with a background in dramatic arts are encouraged to seek the permission of the instructor.

ENGL 3390-003— Creative Writing Workshop: Character Development and Plot

TTh 11:00-12:20. Dallas Hall 102. Smith. 2016: HFA, W CC: W

This workshop-heavy course focuses on the craft, structure, and thematic elements of developing short stories. Students will create and critique short literary narratives focused on the elements of fiction, with primary focus on character development and plot structure. By the end of the semester, students will complete a portfolio including two short stories.

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

MWF 12:00-12:50. Dallas Hall 156. Moss. 2016: HSBS, IL, KNOW, OC, W

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 does she do, and is it for him? 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 Machiavellian calculation 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.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Escape Artists Under Fugitive Law

TTh 2:00-3:20. Dallas Hall 137. Pergadia. 2016: HFA, IL, OC

From Henry Box Brown to Harriet Jacobs, Boots Riley to Jordan Peele, Margaret Garner to Sethe, Black escape artists fill the history and imagination of African American art. How do Black escape artists, from those who escaped fugitive slave catchers to those who composed under slavery and carceral capitalism, offer a map and history for how we got trapped, here, in this America, on this sinking ship, this the sunken place, this afterlife of chattel slavery? And how do we find the keys to get out, to build classrooms, multi-racial coalitions, cities, countries, contacts, loving contagions that abolish the schoolteachers who have colonized our minds, settled us into sunken worlds through ships we think of as a part of the American dream that turn instead to the Middle Passage? This course traces escape artists, broadly conceived. We explore escape artists through the African American literary tradition and interrogate how to build classrooms and pedagogy that abolish the Schoolteachers of the world, teaching them to read history not from the master’s pen but from Sethe’s song. How, the course asks, do we imagine making art and building worlds for Toni Morrison’s Pecola, for Jesmyn Ward’s Jojo?

Assignments: weekly in-class writing prompts, two multi-media projects, weekly discussion posts, and an in-class group presentation. NOTE: there will be film screenings outside of regular class time. Tentative texts: Toni Morrison, The Bluest Eye, Jesmyn Ward, Sing, Unburied, Sing, Octavia Butler, Kindred, Jordan Peele, Us, Harriet Jacobs, Incidents in the Life of a Slave Girl, visual art by Kara Walker, Glen Ligon, et al.

ENGL 4369-001— Transatlantic Studies III: LGBTQ+ Writing Before and After Stonewall

TTh 12:30-1:50. Dallas Hall 138. Bozorth. 2016: HD, IL, OC CC: OC

The Stonewall Riots of June 1969 marked the birth of the modern LGBTQ+ rights movement, and the decades since have seen the “coming out” of lesbian, gay, and trans literature as well. We’ll read 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; spiritual meanings of queer sexuality, love, drag, disco, and sequins; tensions (and harmonies) between sexual identity and race, ethnicity, and gender; 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, totaling 20 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 4397-001—Distinction Seminar

MWF 1:00-1:50. Dallas Hall 137. Cassedy

Open by invitation. (Address questions about invitations to Prof. Tim Cassedy.)

This course is required for students pursuing Distinction in English, and its purpose is to help you envision and design a critical or creative project that you will undertake in the spring semester to complete the Distinction program. Your Distinction project is the most extensive and ambitious project that you are likely to undertake in college — and whether a creative writing project or a literary critical project, it will involve considerable planning, research, and preparatory writing. This course will introduce you to advanced research and project management strategies employed by professional writers and critics; provide frequent opportunities for you to share your ideas in progress and draw on your classmates’ collective insights; and yield a detailed plan for the research and writing that you will undertake in the spring with a faculty member of your choice. The syllabus will be partly student-generated, using scholarship and creative writing located by members of the class and relevant to their projects.

ENGL 6310-001—Advanced Literary Studies

F 12:00-3:00. Dallas Hall 120. Sudan

ENGL 6311-001—Survey of Literary Criticism and Theory

W 2:00-4:50. Dallas Hall 138. Pergadia.

This course introduces graduate students to some of the central debates in cultural and literary theory through foundational texts that formulate or complicate our understanding of the subject. Students will learn how to write and speak about theoretical texts and how to recognize the theoretical assumptions that underlie acts of interpretation. Theoretical approaches include: structuralism, poststructuralism, Marxism, psychoanalysis, feminist and queer theory, postcolonial theory; critical race studies, and posthumanism. As we begin to disentangle the meanings of what we mean when we say “I,” we will inevitably analyze the relationships between the subject and subjection, ideology and power, language and authorship, theory and politics. To this end, we will consider the synergy between theories of the subject and contemporary feminist and postcolonial interventions. We will ground our analyses within particular literary, visual, and theoretical works, learning how to read cultural production as theory, rather than “applying” theory to selected texts. The course is geared towards developing skills of close-reading and critical writing.

ENGL 6312-001—Teaching Practicum

F 1:00-3:50. Dallas Hall 157. Stephens.

English 6312 (Teaching Practicum) is 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 WRTR 1312 syllabus, students will read and write critical responses to composition theory and the classroom (excerpts from 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, review, and present 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 6320-001— Medieval Literature

T 2:00-4:50. Dallas Hall 157. Wheeler

How is passion (sexual and sacred, love and hate) represented, valued, suppressed, repressed, and transgressed in medieval prose and poetry? How are such representations culturally embedded and historically expressed? We will survey varieties of textual representations of emotions (especially desire and joy) from a few major medieval literary texts that still resonate in our contemporary cultures. We will grapple with the historical, material, and aesthetic contexts of the works themselves. The huge repertoire of chivalric texts from the Middle Ages to the current moment gives central 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 while remaining sensitive to their own historical and cultural contexts. Each student will develop a strong set of weekly commentaries and take responsibility for amplifying the class resources and the directions in which we wander off our pre-established tracks. This 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;
Sir Gawain and the Green Knight; Pearl; [and] Sir Orfeo, trans. J.R.R. Tolkien (Del Rey) ISBN: 978-0345277602
The Works of Geoffrey Chaucer, on-line Harvard edition.
Malory, Works of Sir Thomas Malory, ed. PJC Field (Boydell and Brewer).

ENGL 6330-001— Early Modern British Literature: Eminent Non-Shakespeareans, 1500-1700

CANCELED

ENGL 7374-001— Problems in Literary History: Poetics

M 2:00-4:50. Dallas Hall 138. Caplan.

This class will consider the much-debated question of what defines the art of poetry. We will examine this question historically, with close attention to shifting modern and contemporary arguments. The readings will include canonical statements by poets such as William Wordsworth, T.S. Eliot, Walt Whitman, Emily Dickinson, and Langston Hughes, as well as recently published scholarship. Together, they will clarify the rancorous debate and its literary and cultural consequences.
Several of the assigned authors (Jonathan Culler, Stephanie Burt, Jahan Ramazani, and others) will meet with the class via Zoom and visit the SMU campus for the conference on poetic form that will be held here in March 2024. We also will consider the poetics that governs the contemporary moment by reading recent poetry collections such as Jericho Brown’s Pulitzer Prize winning book, The Tradition. (Jericho Brown will participate in the March conference and give a reading.). The poet Maggie Millner will meet the class via Zoom to discuss her celebrated new collection, Couplets: A Love Story. Finally, we will review poetic techniques (meters, forms, etc.) so the students will gain a solid grounding in them. In short, the class will train the students in a subject and methods to understand poetic and generic thinking.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
1320	001	Cultures of Medieval Chivalry	Wheeler	TR	11:00	12:20	DH 306	2016: HC, LL, OC	LAI
1330	001	Shakespeare	Rosendale	MWF	11:00	11:50	DH 306	2016: LL	LAI
1365	001H	Literature of Minorities	Levy	TR	2:00	3:20	DH 115	2016: HD, LL	LAI, HD
2102	002	Spreadsheet Literacy	Dickson-Carr, C	M	3:00	3:50	HYER 106
2102	001	Spreadsheet Literacy	Dickson-Carr, C	W	3:00	3:50	HYER 106
2302	001	Business Writing	Dickson-Carr, C	TR	12:30	1:50	VSNI 203	2016: IL, OC, W	W
2302	002	Business Writing	Dickson-Carr, C	TR	2:00	3:20	VSNI 203	2016: IL, OC, W	W
2311	001	Poetry: Meeting Our Makers	Wilson	TR	8:00	9:20	DH 101	2016: LL, W	LAI, W
2311	002	Poetry: Contemporary American Poets	Rivera	MWF	9:00	9:50	HCSH 107	2016: LL, W	LAI, W
2311	003H	Poetry	Newman	MWF	10:00	10:50	DH 120	2016: LL, W	LAI, W
2311	004	Poetry	Caplan	MWF	12:00	12:50	DH 137	2016: LL, W	LAI, W
2312	001	Fiction: Fatness in American Fiction	Dinniene	MWF	9:00	9:50	ACSH 225	2016: LL, W	LAI, W
2312	002	Fiction	Hennum	MWF	9:00	9:50	DH 120	2016: LL, W	LAI, W
2312	003	Fiction: The Global Novel	Hermes	TR	9:30	10:50	DH 102	2016: LL, W	LAI, W
2312	004	Fiction: Black Southern Writers	Rivera	MWF	10:00	10:50	DH 153	2016: LL, W	LAI, W
2312	005	Fiction: The Real Fake	Cassedy	MWF	11:00	11:50	DH 357	2016: LL, W	LAI, W
2312	006	Fiction	Ryberg	MWF	2:00	2:50	ULEE 228	2016: LL, W	LAI, W
2312	007	Fiction: Diverse Voices in Fiction	González	T	6:00	8:50	DH 105	2016: LL, W	LAI, W
2313	001	Drama	Garelick	TR	5:00	6:20	DH 157	2016: LL, W	LAI, W
2313	002	Drama: A History of Western Drama in Three Acts	Moss	MWF	10:00	10:50	DH 115	2016: LL, W	LAI, W
2315	001	Introduction to Literary Study: Pomp and Circumstantial Evidence	Dickson-Carr, D	TR	12:30	1:50	DH 105	2016: CA, W	LAI, CAA, W
2315	002	Introduction to Literary Study: Strange Passages	Fanning	MWF	9:00	9:50	DH 343	2016: CA, W	LAI, CAA, W
2315	003	Introduction to Literary Study	Roudabush	TR	2:00	3:20	DH 152	2016: CA, W	LAI, CAA, W
2318	001	Literature and Digital Humanities: An Introduction	Wilson	TR	9:30	10:50	DH 101	2016: LL, TM, W	LAI, W
2390	001	Introduction to Creative Writing: Introductory Poetry Workshop	Brownderville	M	2:00	4:50	DH 152	2016: CA, W	CA, CAC, W
2390	002	Introduction to Creative Writing: The Shapes of Fiction	Farhadi	W	2:00	4:50	DH 343	2016: CA, W	CA, CAC, W
2390	003	Introduction to Creative Writing: The Moves Writers Make	Hermes	TR	12:30	1:50	DH 120	2016: CA, W	CA, CAC, W
2390	004	Introduction to Creative Writing: The Moves Writers Make	Hermes	TR	2:00	3:20	DH 120	2016: CA, W	CA, CAC, W
2390	005	Introduction to Creative Writing: Love Letter Poems	Lama	MWF	12:00	12:50	DH 343	2016: CA, W	CA, CAC, W
2390	006	Introduction to Creative Writing	Rubin	TR	11:00	12:20	DH 105	2016: CA, W	CA, CAC, W
2390	007	Introduction to Creative Writing	Smith	TR	3:30	4:50	DH 153	2016: CA, W	CA, CAC, W
2390	008	Introduction to Creative Writing	Hawkins	TR	9:30	10:50	HYER 102	2016: CA, W	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies: The World and the Text	Newman	MWF	1:00	1:50	DH 138		WIM
3320	001	Topics in Medieval Literature: Fact or Fiction? Paradigms of Truth in Medieval Literature	Amsel	TR	9:30	10:50	CLEM 325	2016: HFA, W	LAI, W
3347	001	Topics in American Lit Age Rev: The Ethics of Democracy: A Moral Paradox	Torres de Veneciano	TR	3:30	4:50	DH 101	2016: HFA, W	LAI, W
3355	001C	Transatlantic Encounters III	Boswell	TR	9:30	10:50	DH 106	2016: HFA, HD, GE	LAI, HD, W
3362	001	African American Literature	Dickson-Carr, D	TR	9:30	10:50	DH 156	2016: HD, HFA, W	LAI, HD, W
3363	001	Chicana/Chicano Literature: Borders, Barrios, and Beyond	González	TR	11:00	12:20	DH 152	2016: HD, HFA, W	LAI, HD, W
3390	001	Creative Writing Workshop: Poetry and Song	Brownderville	W	2:00	4:50	DH 152	2016: HFA, W	W
3390	002	Creative Writing Workshop: Screenwriting	Rubin	R	2:00	4:50	DH 138	2016: HFA, W	W
3390	003	Creative Writing Workshop: Character Development and Plot	Smith	TR	11:00	12:20	DH 102
4333	001	Shakespeare: Fathers and Daughters, Husbands and Wives	Moss	MWF	12:00	12:50	DH 156	2016: IL, OC
4360	001	Studies in Modern and Contemporary American Literature: Escape Artists Under Fugitive Law	Pergadia	TR	2:00	3:20	DH 137	2016: HFA, IL, OC
4369	001	Transatlantic Studies III: LGBTQ+ Writing Before and After Stonewall	Bozorth	TR	12:30	1:50	DH 138	2016: HD, IL, OC	OC
4397	001	Distinction Seminar	Cassedy	MWF	1:00	1:50	DH 137
6310	001	Advanced Literary Studies	Sudan	F	12:00	3:00	DH 120
6311	001	Survey of Literary Criticism	Pergadia	W	2:00	4:50	DH 138
6312	001	Teaching Practicum	Stephens	F	1:00	3:50	DH 157
6320	001	Medieval Literature	Wheeler	T	2:00	4:50	DH 157
6330	001	CANCELED	CANCELED
7374	001	Problems in Literary History: Poetics	Caplan	M	2:00	4:50	DH 138

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
2311	002	Poetry: Contemporary American Poets	Rivera	MWF	9:00	9:50	HCSH 107	2016: LL, W	LAI, W
2312	001	Fiction: Fatness in American Fiction	Dinniene	MWF	9:00	9:50	ACSH 225	2016: LL, W	LAI, W
2312	002	Fiction	Hennum	MWF	9:00	9:50	DH 120	2016: LL, W	LAI, W
2315	002	Introduction to Literary Study: Strange Passages	Fanning	MWF	9:00	9:50	DH 343	2016: CA, W	LAI, CAA, W
2311	003H	Poetry	Newman	MWF	10:00	10:50	DH 120	2016: LL, W	LAI, W
2312	004	Fiction: Black Southern Writers	Rivera	MWF	10:00	10:50	DH 153	2016: LL, W	LAI, W
2313	002	Drama: A History of Western Drama in Three Acts	Moss	MWF	10:00	10:50	DH 115	2016: LL, W	LAI, W
1330	001	Shakespeare	Rosendale	MWF	11:00	11:50	DH 306	2016: LL	LAI
2312	005	Fiction: The Real Fake	Cassedy	MWF	11:00	11:50	DH 357	2016: LL, W	LAI, W
2311	004	Poetry	Caplan	MWF	12:00	12:50	DH 137	2016: LL, W	LAI, W
2390	005	Introduction to Creative Writing: Love Letter Poems	Lama	MWF	12:00	12:50	DH 343	2016: CA, W	CA, CAC, W
4333	001	Shakespeare: Fathers and Daughters, Husbands and Wives	Moss	MWF	12:00	12:50	DH 156	2016: IL, OC
3310	001	Research and Critical Writing for Literary Studies: The World and the Text	Newman	MWF	1:00	1:50	DH 138		WIM
4397	001	Distinction Seminar	Cassedy	MWF	1:00	1:50	DH 137
2312	006	Fiction	Ryberg	MWF	2:00	2:50	ULEE 228	2016: LL, W	LAI, W
2390	001	Introduction to Creative Writing: Introductory Poetry Workshop	Brownderville	M	2:00	4:50	DH 152	2016: CA, W	CA, CAC, W
7374	001	Problems in Literary History: Poetics	Caplan	M	2:00	4:50	DH 138
2102	002	Spreadsheet Literacy	Dickson-Carr, C	M	3:00	3:50	HYER 106
2390	002	Introduction to Creative Writing: The Shapes of Fiction	Farhadi	W	2:00	4:50	DH 343	2016: CA, W	CA, CAC, W
3390	001	Creative Writing Workshop: Poetry and Song	Brownderville	W	2:00	4:50	DH 152	2016: HFA, W	W
6311	001	Survey of Literary Criticism	Pergadia	W	2:00	4:50	DH 138
6330	001	Early Modern British Literature: Eminent Non-Shakespeareans, 1500-1700	Rosendale	W	2:00	4:50	DH 138
2102	001	Spreadsheet Literacy	Dickson-Carr, C	W	3:00	3:50	HYER 106
6310	001	Advanced Literary Studies	Sudan	F	12:00	3:00	DH 120
6312	001	Teaching Practicum	Stephens	F	1:00	3:50	DH 157
2311	001	Poetry: Meeting Our Makers	Wilson	TR	8:00	9:20	DH 101	2016: LL, W	LAI, W
2318	001	Literature and Digital Humanities: An Introduction	Wilson	TR	9:30	10:50	DH 101	2016: LL, TM, W	LAI, W
2390	008	Introduction to Creative Writing	Hawkins	TR	9:30	10:50	HYER 102	2016: CA, W	CA, CAC, W
3320	001	Topics in Medieval Literature: Fact or Fiction? Paradigms of Truth in Medieval Literature	Amsel	TR	9:30	10:50	CLEM 325	2016: HFA, W	LAI, W
3362	001	African American Literature	Dickson-Carr, D	TR	9:30	10:50	DH 156	2016: HD, HFA, W	LAI, HD, W
2312	003	Fiction: The Global Novel	Hermes	TR	9:30	10:50	DH 102	2016: LL, W	LAI, W
3355	001C	Transatlantic Encounters III	Boswell	TR	9:30	10:50	DH 106	2016: HFA, HD, GE	LAI, HD, W
2390	006	Introduction to Creative Writing	Rubin	TR	11:00	12:20	DH 105	2016: CA, W	CA, CAC, W
1320	001	Cultures of Medieval Chivalry	Wheeler	TR	11:00	12:20	DH 306	2016: HC, LL, OC	LAI
3363	001	Chicana/Chicano Literature: Borders, Barrios, and Beyond	González	TR	11:00	12:20	DH 152	2016: HD, HFA, W	LAI, HD, W
3390	003	Creative Writing Workshop: Character Development and Plot	Smith	TR	11:00	12:20	DH 102
2315	001	Introduction to Literary Study: Pomp and Circumstantial Evidence	Dickson-Carr, D	TR	12:30	1:50	DH 105	2016: CA, W	LAI, CAA, W
2390	003	Introduction to Creative Writing: The Moves Writers Make	Hermes	TR	12:30	1:50	DH 120	2016: CA, W	CA, CAC, W
2302	001	Business Writing	Dickson-Carr, C	TR	12:30	1:50	VSNI 203	2016: IL, OC, W	W
4369	001	Transatlantic Studies III: LGBTQ+ Writing Before and After Stonewall	Bozorth	TR	12:30	1:50	DH 138	2016: HD, IL, OC	OC
1365	001H	Literature of Minorities	Levy	TR	2:00	3:20	DH 115	2016: HD, LL	LAI, HD
2302	002	Business Writing	Dickson-Carr, C	TR	2:00	3:20	VSNI 203	2016: IL, OC, W	W
2315	003	Introduction to Literary Study	Roudabush	TR	2:00	3:20	DH 152	2016: CA, W	LAI, CAA, W
2390	004	Introduction to Creative Writing: The Moves Writers Make	Hermes	TR	2:00	3:20	DH 120	2016: CA, W	CA, CAC, W
4360	001	Studies in Modern and Contemporary American Literature: Escape Artists Under Fugitive Law	Pergadia	TR	2:00	3:20	DH 137	2016: HFA, IL, OC
2390	007	Introduction to Creative Writing	Smith	TR	3:30	4:50	DH 153	2016: CA, W	CA, CAC, W
3347	001	Topics in American Lit Age Rev: The Ethics of Democracy: A Moral Paradox	Torres de Veneciano	TR	3:30	4:50	DH 101	2016: HFA, W	LAI, W
2313	001	Drama	Garelick	TR	5:00	6:20	DH 157	2016: LL, W	LAI, W
6320	001	Medieval Literature	Wheeler	T	2:00	4:50	DH 157
2312	007	Fiction: Diverse Voices in Fiction	González	T	6:00	8:50	DH 105	2016: LL, W	LAI, W

Summer 2023

MAY & SUMMER SESSION 2023 COURSES

Cat #	Sec	Session	Course Title	Instructor	Day	Start	End	Room	UC	CC
2302	0011	S1	Business Writing	Dickson-Carr, C.	M-F	2:00	3:50	ULEE 242	2016: IL, OC, W	W
2315	0011	S1	Introduction to Literary Study: Pomp and Circumstantial Evidence	Dickson-Carr, D.	M-F	10:00	11:50	DH 138	2016: CA, W	CA, CAA, W
2311	0012	S2	Poetry	McConnell	M-F	10:00	11:50	DH 149	2016: HFA, KNOW, HD, W	HD, OC, W
3367	0012	S2	Ethical Implications of Children's Literature	Stephens	M-F	12:00	1:50	DH 102	2016: IL, OC, W	W

MAY & SUMMER 2023 SESSION

COURSE DESCRIPTIONS

ENGL 2302-0011— Business Writing
M – F 2:00-3:50. Umphrey Lee 242. Dickson-Carr, C. 2012: IL, OC W 2016: IL, OC, W CC: W
This course introduces students to business and professional communication, including various 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 active learning, which means students will attend events on campus and off and conduct a detailed field research project at a worksite. Please note that this course may not count toward the English major requirements and that laptops are required in class. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. The priority goes to Markets & Cultures majors. The second and third priorities are graduating seniors and Dedman students, respectively. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

ENGL 2315-0011—Introduction to Literary Study: Pomp and Circumstantial Evidence
M – F 10:00-11:50. Dallas Hall 138. Dickson-Carr, D. 2016: LL, W CC: LAI, W
ENGL 2315 is an introduction to the pleasing art of literary study and to the English major. We will read, contemplate, and discuss poetry, essays, plays, short stories, and novels from different nations and literary traditions to enjoy their many rich complexities. We will begin with different ways of defining literature and literary study, then proceed to examine how and why we read various genres. We will discuss frequently the roles that literature may play in shaping our world. In addition, we will discover and discuss a few of the more prominent issues in contemporary literary studies. By the end of the course, the student should be able to read and write critically about literary works. This skill will serve each student well in other courses in English, but will apply equally well in other disciplines. Our topic, “Pomp and Circumstantial Evidence,” refers to the many moments in our readings in which individuals—whether poets, kings, fools, heroes, or villains—wrestle with and confront the same issues that we will discuss: the sublime; the gap between what we perceive and reality; facts versus fantasy, illusion, or delusion; the eternal and pleasurable challenge of interpretation.
Assignments: regular writing (in class and on your own); two critical papers; several short benchmark reading exams. NOTE: We will watch a few selected films outside of regular class time. Tentative texts: James, The Turn of the Screw; Best American Essays of the Century, ed. Joyce Carol Oates; Shakespeare, King Lear; Wisława Szymborska, Poems: New & Collected, 1957-1997; Derek Walcott, Omeros; selected poems by Caroline Crew, Kay Ryan, et al.

ENGL 2311-0012—Poetry
M – F 10:00-11:50. Dallas Hall 149. McConnell. 2016: LL, W CC: LAI, W
In 1910, the poet William Henry Davies complained, “What is this life, if full of care, / We have no time to stand and stare.” In thee levity - three years since then, changes in lifestyle and advances in communication technology—from television to texts to tweets—have nearly destroyed our capacity for standing and staring. Poetry is the antidote. Poetry yields itself slowly. It demands that we silence distractions and pause in our frantic rushing from place to place. In this summer course, we will pursue an immersive, meditative program of standing and staring at a huge range of texts, from medieval Finnish epic to twenty-first-century Instapoetry. We will read poems carefully and insightfully so that we can truly understand and appreciate our objects of study. There are precious few opportunities in this hectic life to stand and stare, and this course is one of them. The authors we include William Shakespeare, John Milton, William Wordsworth, Elizabeth Barrett Browning, Countee Cullen, Pablo Neruda, Stevie Smith, and the astoundingly prolific Anonymous.

ENGL 3367-0012— Ethical Implications of Children’s Literature
M – F 12:00-1:50. Dallas Hall 102. Stephens. 2016: HFA, KNOW, HD, W CC: HD, OC, W
This course exams children’s literature with an emphasis on notions of morality and evil, including issues of colonialism, race, ethnicity, gender, and class. To better comprehend the influences and effects of literature for young people, we’ll discuss and research scholarly criticism and popular reception along with the stories. We begin with an examination of moral codes within folk and fairy tales and then move to picture books, focusing on the implications of book bans and changing cultural attitudes toward traditional concepts and values of family and community. The course culminates in an exploration of YA dystopian literature as vehicles for re-envisioning discrimination, class inequities, and personal responsibility. Because of the abbreviated nature of the summer course, students are strongly encouraged to read the course texts before the beginning of the term.

Spring 2023

ENGL 1362-001—Speculative Fiction

MWF 10:00-10:50. Dedman Life Science 131. Dickson-Carr, D., 2012: CA1, HC1, OC 2016: HC, LL, OC CC: LAI

This introductory survey of selected 20th-century novels and short stories emphasizes both ideas of modernity and the historical or cultural contexts that generate these ideas. We study speculative fiction, which comprises such genres as science fiction, fantasy, historical fiction, and post-apocalyptic fiction, among others. All of the works we study either imagine possible futures or reimagine the past. We will look at speculative fiction’s history, place the works we read and their authors in historical contexts, and examine how different authors build worlds that allow us to understand our own.

Coursework includes regular quizzes, written midterm and final exams, two short response papers, and participation.

ENGL 1365-001—Literature of Minorities

T 6:00-8:50. Dallas Hall 116. Levy. 2012: CA1, HD 2016: LL, HD CC: LAI, HD

The course interrogates questions of individual and collective identities from historical, literary, and contemporary social 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. These include: “Nation” “Whiteness,” “Blackness,” “White Supremacy,” “Black Lives Matter,” “Identity Politics,” “Queerness,” “Pluralism,” etc. We examine the ways these categories have been deployed to assert and marginalize identity, seeing identity as both self-selected and imposed, fixed and flexible, located and displaced, secure and situational. In addition, we examine the status of “minority” literature as a category within the American literary and cultural canon, and critique the ways in which this imposed status has been used to diminish the craftsmanship and aesthetic reach of literature written by women, LGBQT authors and peoples of color.

ENGL 2102-001—Spreadsheet Lit: Excel

W 3:00-3:50. Hyer Hall 106. Dickson-Carr, Carol.

ENGL 2102-002—Spreadsheet Lit: Excel

M 3:00-3:50. Hyer Hall 106. Dickson-Carr, Carol.

ENGL 2302-001—Business Writing

TTh 12:30-1:50. Virginia-Snider Hall 203. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

ENGL 2302-002— Business Writing

TTh 2:00-3:20. Virginia-Snider Hall 203. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

HIST 2306-001H—The Kids Are Alright: Interdisciplinary Approaches to Childhood and Adolescence

TR 12:30-1:50. Dallas Hall 116. Levy & Deluzio. 2016: KNOW, HC CC: HC, W

Note: this course counts towards the English major or minor as a 2000-level elective. Intended for students in the University Honors Program.

The Kids Are Alright examines from historical, literary, and other disciplinary perspectives key issues associated with American youth. The course explores childhood and adolescence as flexible social constructs that reflect – and respond to – larger forces of historical change. Among the questions we will seek to answer are these: At any given historical moment, what were the prevailing expectations for girls and boys growing up and how did those expectations resonate with broader cultural hopes, longings, and anxieties? How were young people shaped by prevailing expectations for growing up and how did they play a role in shaping those expectations and the wider society in return? What has changed and what has stayed the same regarding how children were viewed and treated and how they lived their lives over the course of U.S. history, and with what consequences for children’s lives in the present? We will consider children and adolescents in a variety of contexts: in the family, at school, at work, and at play, as well as examine their roles and influence as objects of reform, consumers, social activists, and cultural icons. Throughout the course, we will pay close attention to the multiple paths of growing up in the United States, especially to the ways in which experiences and representations of childhood and adolescence have been shaped by the categories of gender, race, ethnicity, and social class.

ENGL 2311-001—Introduction to Poetry: Lifting the Veil

TTh 2:00-3:20. Dedman Life Science 132. Condon. 2012: CA2, W 2016: LL, W CC: LAI, W

“Poetry,” wrote Percy Bysshe Shelley, “lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were unfamiliar.” He’s right: poetry reveals the unexpected beauty and strangeness in the ordinary landscapes, people, and emotional situations we encounter every day. Yet, the famous stereotype of poetry suggests that the genre doesn’t reveal anything without a lot of decoding on a reader’s part—that the poem is the veil that hides a complicated message. In this course, we will explode this stereotype by learning about poetic characteristics and devices that are meant to delight readers, not confuse them. Each week we will focus on a different poetic technique or form—image, repetition, the sonnet—and discuss how poets across the centuries have used them to bring us pleasure, making something as mundane as grass seem suddenly breathtaking and strange. Requirements include a midterm and final exam, one long paper, several short reflections, a poetry recitation, and regular participation in class.

Course Text: Helen Vendler, ed., Poems, Poets, Poetry, Compact 3d ed

ENGL 2311-002H—Introduction to Poetry

MWF 1:00-1:50. Dallas Hall 157. Caplan. 2012: CA2, W 2016: LL, W CC: LAI, W

“Poetry is language that sounds better and means more,” the poet Charles Wright once observed. “What’s better than that?” This class will train the students to hear the many sounds and many meanings that great poems articulate. In addition to writing critical essays, we will compose formal imitations, write brief analyses of particular elements of the assigned poetry, and perform a poem from memory. We also will have the pleasure of having two poets visit our class via Zoom to discuss their work with us. In short, we will spend the semester considering language that sounds better and means more, and, as the poet put it, what’s better than that?

ENGL 2311-003—Introduction to Poetry: American Poetry Since 1960—Legitimate Dangers

MWF 12:00-12:50. Dallas Hall 137. Rivera. 2012: CA2, W 2016: LL, W CC: LAI, W

Typically, most students in the United States view legitimate poetry as that of fixed forms or the work of established writers accepted into the traditional canon of American literature. However, contemporary American poetry continues to inundate readers with an ever-widening corpus that includes and celebrates writers from the margins, writers within academia, and workaday journey poets who experiment both with form and content to document myriad lyrical impulses. These poetic efforts form a type of call-and-response dialogue that widens concepts of inclusiveness—which many view as threatening. In this course, we will annotate, read, discuss, argue the merits and failures of the poems in addition to acquiring a system of shared language with which to discuss poets and their work. As we engage with the unending font of American poets, we will attempt a radical reimagining of what we consider poetry. We will attempt to embrace these newer voices—as we look to a more capacious understanding of exigencies of the human condition within contemporary American poetry.

ENGL 2312-001—Introduction to Fiction

TTh 8:00-9:20. Dallas Hall 101. STAFF. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2312-002—Introduction to Fiction: Dangerous Novels

TTh 9:30-10:50. Clements Hall 325. Sudan. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2312-003—Introduction to Fiction: The Global Novel

MWF 11:00-11:50. Dallas Hall 157. Hermes. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2312-004—Introduction to Fiction

MWF 12:00-12:50. Dallas Hall 156. Sae-Saue. 2012: CA2, W 2016: LL, W CC: LAI, 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. We will investigate how fiction constructs cultural identities, comments on determinate historical moments, and organizes human consciousness around social history. In doing so, we shall ask: 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 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 2312-005—Introduction to Fiction: The Global Novel

MWF 12:00-12:50. Dallas Hall 153. Hermes. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2313-001—Introduction to Drama: Modern Drama and the Reinvented Self

TTh 9:30-10:50. Dallas Hall 102. Moss. 2012: CA2, W 2016: LL, W CC: LAI, W

The course is divided into three “Acts”: the rise of comedy and tragedy in ancient Greece, the ascendance of Shakespeare and his company in Renaissance England, and the radical left-wing and anti-imperialist theater of the mid-twentieth century. Smaller “Interludes” provide short introductions to medieval and eighteenth-century English drama, and the syllabus closes with a brief glimpse of the theater and film of present-day America. To facilitate a sense of contemporary drama’s continuity with ancient and early modern precursors, most of the works we will study toward the end of the semester respond directly to plays covered by the first half of the syllabus. Additionally, throughout the semester, we will be honing our critical writing skills, with three class sessions devoted to the topic.

Course Requirements: In keeping with drama’s multimedia essence, coursework will take the form of daily posts to the class discussion board, one shorter paper with a required revision, one longer paper incorporating secondary research, and a brief oral presentation or performance.

ENGL 2315-001—Introduction to Literary Study: Race in the English Renaissance and Beyond

MWF 2:00-2:50. Dallas Hall 152. Atkinson. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

This course introduces the discipline of literary study by tracing literary representations of race and “the Other” from the Renaissance to the present. Drawing on a variety of texts – plays, poems, essays, and true accounts – we will consider how beliefs and attitudes from the early modern period have been revisited, refined and questioned by modern authors. The work of this class will be to examine how literature represents evolving perceptions of racial and cultural difference and to think about how literature can be a tool of self-reflection, both for the cultures who produce it and for us as modern readers. This work will be accomplished through analytical reading and writing, which we will used to develop nuanced and thoughtful interpretations.

Possible texts include Montaigne’s “On Cannibals,” Shakespeare’s The Tempest, Marlowe’s Tamburlaine, Olaudah Equiano’s Interesting Narrative, James Baldwin’s Giovanni’s Room, Derek Walcott’s Omeros. Major assignments include two short papers and one long, with weekly short reflections.

ENGL 2315-002— Introduction to Literary Study: On the Road (again): Road Narratives from Homer to Kerouac

TTh 11:00-12:20. Dallas Hall 102. Rosendale. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

This course will survey one of literature’s oldest, best, and most useful tricks: the journey. What is it that has made travel so irresistible to 3000 years of Western writers? What range of different uses have they made of this deeply resonant metaphor, and what possibilities has it offered? How are later road narratives in conversation with earlier ones? (And why, until quite recently, have so few of them been written by women?) From ancient Greece to 20thC America, we will read epics, novels, poems, plays, and other kinds of texts to better understand the depth and variety of a mechanism so pervasive that you may hardly have noticed it.

ENGL 2390-001—Introduction to Creative Writing: The Shapes of Fiction

TTh 11:00-12:20. Dallas Hall 152. Farhadi. 2012: CA2, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-002—Introduction to Creative Writing: Short-Form Creative Writing

TTh 9:30-10:50. Dallas Hall 120. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

This course focuses on the craft, structure, and thematic elements of developing flash fiction stories. Students will create and critique short literary narratives focused on the elements of fiction. By the end of the semester, students will complete a portfolio including two short stories.

ENGL 2390-003—Introduction to Creative Writing: The Art of Listening

TTh 9:30-10:50. Dallas Hall 156. Lama. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“Poetry always begins and ends,” remarks W.S. Merwin, “with listening.” In this class, we will learn to listen—to the sky, the earth, the body, the live language, the song in language, the language in song. Through recitations, we will explore the lyre of the lyric in our own throats. In addition to sound, we will practice other fundamentals of poetry such as the line, image, metaphor, and form through creative assignments and workshops. We will imitate and emulate the great poets from classical to contemporary with the goal of finding our own voice and music. “The quieter you become,” says Rumi, “the more you hear.” In this class, we will learn to be quiet but also ecstatic.

ENGL 2390-004—Introduction to Creative Writing: Short-Form Creative Writing

TTh 12:30-1:50. Dallas Hall 351. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-005—Introduction to Creative Writing: The Moves Writers Make

MW 3:00-4:20. Dallas Hall 152. Hermes. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

― Anton Chekhov

This course will explore the foundational aspects of creative writing in poetry and fiction. To prepare ourselves to write our own stories and poems, we will begin by reading published work along with craft essays that talk about how great writing gets made. These readings are meant to provide artistic models and stimulate discussion about craft. Together, we’ll identify the “moves” successful pieces of writing make and practice incorporating them in our own creative work.

During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. With engaged participation, we will have an opportunity to sharpen both our critical and creative skills.

ENGL 2390-006—Introduction to Creative Writing: Writing Creative Nonfiction

Th 2:00-4:50. Dallas Hall 137. Rubin. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-007—Introduction to Creative Writing: Poetry Unbound—How Dare We! Write

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

This course is designed for beginning writers or those who have never had the opportunity to study creative writing in a classroom setting while also applying and synthesizing the use of literary and rhetorical devices. More experienced writers may gain insight from reevaluating both their work and the creative work of others. No matter how advanced a writer’s skills become, the journey-artist still strives to improve the fragile braid that is content, communication, and craft. Students will learn the fundamental elements of poetry in addition to critiquing their work as well as that of others via marginalia and facilitated dialogue. Instrumental to this class is the required idea journal in which students will accumulate ideas, complete artistic exercises, and draft poems. Final grades are largely dependent upon the amount of writing, revising, and rewriting one does throughout the semester. Students should be willing to hone their poems by testing various techniques, styles, formats, and aesthetics. By experimenting with what they have written and what they have internalized about writing as process, students will develop a small portfolio and a better understanding of what being a practicing writer means.

ENGL 3310-001—Research and Critical Writing for Literary Studies

MWF 10:00-10:50. Dallas Hall 120. González. CC: WIM

This foundational course presents students with the process of researching and writing critically about literary texts, the many forms a literary text might take, and the critical methods that have been established in the discipline of English upon which successful interpretation and analysis is based. Engaging with literary texts in this way creates new knowledge, underscores the significance of these texts, and helps us understand the many contexts in which these works of literature exist. Students will examine exemplar literary texts across media through an array of critical lenses while refining their research and critical writing skills. Several short papers, one presentation, one exam, and one research paper will create the core of the student assessment.

ENGL 3346-001—American Literary History I

TTh 2:00-3:20. Hyer Hall 200. Cassedy. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, W

“America”: it’s not just a place, but also a set of concepts and ideas. The place has always been here; the concepts and ideas had to be invented. This course is an introduction to the texts and stories through which the meanings of “America” and “Americans” were invented, from the first European contact to the Civil War, as seen through major literary works 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.

Three essays, a midterm, and a final.

MDVL 3351-801: The Pilgrimage

Th 11:00 – 12:20. Dallas Hall 306. Wheeler. 2016: KNOW, LL, W CC: LAI, W

A look at the medieval world through one of its own literal and metaphorical images, investigating the music, art, monuments, and literature of pilgrimage during the Middle Ages.

Students seeking credit towards the English major or minor must contact Prof. Beth Newman, Director of Undergraduate Studies, once they have enrolled, and include their SMU ID numbers.

ENGL 3360-401—Topics in Modern and Contemporary American Literature: Women in Popular Culture

TTh 11:00-12:20. ONLINE. Garelick. 2012: CA2, HD, OC, W 2016: HFA, HD, OC, W CC: LAI, W

(Offered as online course with some synchronous meetings)

Popular culture (including film, television, magazines, music, social media, the worlds of fashion and shopping, and more) floods us daily with images that shape our understanding of the world—including our notions of gender, sexuality, class, race, social and economic life. Often, we are so saturated with these images that we stop even noticing them, even while we continue to absorb their influence. In this

class, we shall seek to read popular culture consciously and thoughtfully, to examine the way its illusions and myths about women, its female avatars and characters shape our world view. We shall consider the historical roots of these images, how the images have (or haven’t!) changed over time, and what they reveal to us about ourselves.

This class will range widely over genres and time periods, going back two thousand years to the ancient Roman poet, Ovid, moving through 18th and 19^th century folk and fairy tales, and continuing up to the present day. We will look at popular genres—such as television shows and films—alongside literary, critical, or theoretical texts.

ENGL 3362-001—African-American Literature

TTh 12:30-1:50. Dallas Hall 105. Pergadia. 2012: CA2, HD, W 2016: HFA, HD, W CC: LAI, HD, W

This course surveys the history of African American aesthetic forms from the nineteenth century to the present. We will engage the debates that animated contestations over black literary form, including the role of the realist aesthetic, naturalism, modernism, folklore and dialect, Pan-Africanism and diasporic alliances. We will identify connections between literary texts and historical contexts – slavery, reconstruction, the Great Migration, the Harlem Renaissance, the Black Arts Movement, the civil rights movement, mass incarceration – but will also consider the autonomy of art, the hybrid literary forms emerging from a Black aesthetic tradition, and worlds remade through the word. Primary texts may include: Frederick Douglass, Narrative of the Life of Frederick Douglass (1845); Harriet Jacobs, Incidents in the Life of a Slave Girl (1861); W.E.B. Du Bois, Data Portraits (1900); Nella Larsen, Passing (1929); Octavia Butler, Kindred (1979); Toni Morrison, Beloved (1987); Claudia Rankine, Citizen (2014); Jordan Peele, Get Out (2017); Boots Riley, Sorry to Bother You (2018).

ENGL 3364-401—Women and the Southwest: Mujeres Fatales and the Fates of Feminism in Mexican America

TTh 2:00-3:50. ONLINE. Torres de Veneciano. 2012: CA2, HD, OC 2016: HFA, HD, OC CC: LAI

Offered as online course with some synchronous meetings)

This course reads the femme fatale as a figure of certain powers of provocation, as both threatening and target of threat. We borrow the term from visual media to help us identify and unfold the dualities and duplicities informing seven archetypical figures of Mexican culture. They are at once mythical and historical: Coatlicue, la Malinche, la Virgen de Guadalupe, Sor Juana Inéz de la Cruz, la Llorona, la Calavera Catrina, and Frida Kahlo.

We take the concept of fatales in the sense of fate or destiny and applies it critically to reading the inscription and reception of these seven figures. We will examine the destinies that befell these figures and the alternate destinies they imply. Destiny is understood here as social inscription and therefore patriarchal and discursive. We will weave visual historical, literary critical, postcolonialist, and poststructuralist methodologies in conducting feminist readings of select literature and visual art.

Our feminism therefore will be more rhetorical-practical than historical—a form of feminist praxis conducted by critically reading (analyzing) the discursive constructions of culture, gender, and patriarchy. This course is very much interdisciplinary in its ways of teaching and learning. Students will learn to interweave and apply conceptual and interpretive methods from critical prose and poetry, visual art analysis, feminist practice, historical contextualization, mythology and its psychoanalytic receptions, and philosophies of destiny. Using these methods, we will analyze and interpret texts (prose, poetry) and visual cultural material (art, film, video, advertising).

Short essays; final exam.

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

MWF 9:00-9:50. Dallas Hall 115. Stephens. 2012: CA2, HD, KNOW, OC, W 2016: HFA, HD, KNOW, OC, W CC: LAI, HD, OC, W

ENGL 3390-001—Creative Writing Workshop

T 2:00-4:50. Dallas Hall 137. Rubin. 2012: CA2, W 2016: HFA, W CC: W

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 3390-002— Creative Writing Workshop: The Art of Voice

TR 11:00-12:20. Dallas Hall 115. Condon. 2012: CA2, W 2016: HFA, W CC: W

Find your voice! the old writer says to the young writer, as if a signature artistic sound were as simple to locate as a spare house key hidden inside of a ceramic toad. But what if I told you that it is that easy? Voice, though it has a reputation for being elusive, is an ultimately simple idea: that the way we talk in a poem is what blesses our speakers with personality. In this course, we will experiment with many kinds of voices, from the colloquial to the authoritative, with the goal of creating dynamic and captivating speakers interesting enough to hold our audience’s attention. You will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own. One characteristic of poetry is its translation of human experience into art that lasts. Often, these experiences raise challenging questions. You should be prepared to read and respond respectfully to poetry that addresses sensitive material. Other requirements include a final portfolio of revised poems with an accompanying introduction to the work. All reading supplied on Canvas.

Course text: The Art of Voice by Tony Hoagland

ENGL 4330-001—Renaissance Writers: Poetic Occasions

TTh 12:30-1:50. Dallas Hall 120. Moss. 2012: IL, OC 2016: IL, OC CC: OC

In the Renaissance, everything from falling in love to falling into sin to falling off your horse called for a poem, and by focusing our readerly attention on the occasions for poetry, we can begin to comprehend the sheer variety of the early modern period’s lyric modes and forms. Certain occasions, such as aristocratic weddings, the celebration of a famous person, or the urgent need for a short, devastating insult prompted poets—especially those in the humanist tradition—to translate or adapt classical subgenres like the epithalamium, ode, and epigram. Devout Catholic and Protestant poets, on the other hand, generated an astonishing mix of fresh tones and forms as they sought a language both dignified and humble enough to address heaven (or angry enough to condemn the heresies of opposing Christian sects). In an age of church censorship, royal spy networks, and public executions, many English poets turned to allegory and the broad social critiques of satire to express displeasure with the monarchy, the church, and the patriarchy. Perennial occasions like love, sex, drinking, and death, meanwhile, drove poets to innovate so as not to sound endlessly cliché, with astounding (and still-quotable) results. Poets to be discussed include famous names like Thomas Wyatt, Philip Sidney, Edmund Spenser, Christopher Marlowe, William Shakespeare, Ben Jonson, John Donne, George Herbert, and John Milton, as well as ought-to-be-famous names like George Gascoigne, Mary Sidney, Robert Southwell, Mary Wroth, Aemelia Lanyer, Henry Vaughan, Anne Bradstreet, Margaret Cavendish, and Aphra Behn.

Written work for the course includes two papers (one shortish, one longish), weekly discussion posts, and a creative exercise. Students are expected to recite poetry and present in groups.

ENGL 4339-001—Transatlantic Studies I: A Is For American: New Media in the Atlantic World, 1650–1850

TTh 9:30-10:50. Dallas Hall 101. 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 4360-001—Studies in Modern and Contemporary American Literature: Contemporary American Poetry

MWF 11:00-11:50. Dallas Hall 357. Caplan. 2012: CA2, IL, OC 2016: HFA, IL, OC

This class will study the work of the most exciting poets writing today. We will examine how they create art with our moment’s particular resources: the language, technologies, pleasures, and anxieties that mark contemporary life. They reinvigorate older forms and invent new ones. They write love poetry, mixing intense longing and keen ambivalence, and political poetry fueled by anger, fear, and, more faintly, hope. We will closely read several recent collections and enjoy Zoom conversations with their authors. Likely assigned poets include Denise Duhamel, Erica Dawson, Randall Mann, Claudia Rankine, and Albert Goldbarth.

Short essays and responses, a midterm exam, and a take-home final.

ENGL 4360-002—Studies in Modern and Contemporary American Literature : Literature at the US-Mexico Borderlands

MWF 2:00-2:50. Dallas Hall 156. Sae-Saue. 2012: CA2, IL, OC 2016: HFA, IL, OC

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, gender, and citizenship.

Primarily, we will look at texts produced by Mexican Americans, Chicana/os, and Native Americans in order to examine American 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 6330-001— Early Modern British Literature: Eminent Non-Shakespeareans, 1500-1700

T 2:00-4:50. Dallas Hall 138. Rosendale

Time to fill in some important gaps! This course is essentially a high-level survey of important early modern writers who wander in the shadow of Shakespeare—extraordinary talents that might, had they been not been contemporaries of the sweet swan of Avon, been the greatest figures of another era. Living and writing in an era of profound religious, political, and social change, these authors still speak to aftertimes in surprising and compelling ways about sex, politics, agency, form, subjectivity, progress, epistemology, economics, God, aspiration, authority, identity, gender, desire, truth, representation, ethics, social organization, reading, good & evil, and much more. Each week we will focus on a small number of writers and carefully think about their work in its own time; we will also consider that work’s significance in the intellectual, political, literary, and critical times to come, including our own.

ENGL 6370-001—African American Literature: Contemporary Narratives of Slavery

W 2:00-4:50. Dallas Hall 137. Pergadia

Since the nineteenth century, the slave narrative has been central to the U.S. imagination and a genre that some scholars claim as foundational to American literature itself. After the 1960s, novelist, filmmakers, and visual artists repeatedly turned to and reimagined this form, an act that both commemorates legacies of slavery and comments on power dynamics of the present. Toni Morrison’s Beloved (1987), for example, rewrites the story of a fugitive slave and speaks to the political history of the Reagan era. This course centralizes the “contemporary narrative of slavery,” a genre of writing that resurrected and reimagined the history of slavery. These postmodern works are often anachronistic, experimental, irreverent. They defy strict genre labels, pushing aesthetic form to lodge their critiques. After studying the canonical works of Frederick Douglass and Harriet Jacobs, we’ll turn to contemporary imaginative works that remember, memorialize, and recreate the experience of American slavery—from works as varied as the novels of Margaret Atwood and Kazuo Ishiguro, the visual artwork of Kara Walker and Glenn Ligon, the films of Jordan Peele and Boots Riley, to The 1619 Project. Students will gain an understanding both of the lives of Americans in bondage and how those lives transformed into stories that continue to shape national consciousness and animate aesthetic forms.

ENGL 7311-001—Seminar in Literary Theory: Narratology and Narrative Theory

M 2:00-4:50. Dallas Hall 138. González

This course is a graduate-level exploration of the expansive field of Narrative Theory, from its Aristotelian roots to recent developments in cognitive science and neuroscience. As we trace our way through the major movements of this field, we will apply our understanding of these theoretical positions to a number of exemplar texts. We will consider developments in Narrative Theory from Barthes, Chatman, Booth, Todorov, Genette, Richardson, Rimmon-Kenan, Cohn, McHale, Phelan, Herman, Prince, Warhol, Fludernik, Ryan, González, Palmer, Aldama, Hogan, and many others. At its core, this journey through Narrative Theory will make you more cognizant of the structural and dynamic features that undergird how narratives are created, how they are experienced, and how they persist in our changing world. Students with specific thematic or scholarly interests are encouraged to integrate them into the coursework whenever possible. Students should plan to engage in and at times lead productive discussions based on the theoretical and commonplace readings; develop ideas via questions posed in response to the readings; hone the skills presenting before an academic audience, continue to develop writing via short, analytical essays, and write a final seminar paper aimed at publication in a peer-reviewed journal or section of a dissertation. We will continually test our theoretical readings against two works of fiction: Chris Ware’s Rusty Brown and Yaa Gyasi’s Homegoing.

ENGL 7372-001—Seminar in Transatlantic Literature: Enclosures

Th 2:00-4:50. Dallas Hall 138. Sudan.

We will identify and analyze the material and figurative implications of “enclosure” from the late seventeenth century through to the virtual demise of the second British empire (including the effects of the idea that this demise is “virtual”). I have purposely used the plural form of “enclosure” in order to engage the myriad of meanings this term evokes, particularly its oppositional definitions. We will identify the ways in which the quotidian activity of the intellectual life of the Enlightenment--seeing, sensing, reading, understanding, knowing—may be understood as acts of “enclosure.” What are the implications for the emergence of aesthetic, philosophical, and scientific truth, method, and form in the Enlightenment, especially when juxtaposed with the legal history of “enclosure”?

ENGL 7374-001—Problems in Literary History: The Realist Novel in Practice and Theory

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

The words “realist” and “realism” enter Anglophone writing about literature decades after the emergence of the mainstream Victorian novel in the 1840s, meaning that this mode of writing was identified and theorized after the fact. Precise definition remains elusive—as we shall see.

We will read several novels spanning from Austen to Hardy or Woolf, some of which, like George Eliot’s Middlemarch, are iconically “realist,” others exemplifying realism more problematically. We will also read some important critical and theoretical statements about realism drawn from the twentieth century and from contemporary scholarship. Finally, we’ll consider the relationship of the nineteenth-century realist canon to the problematic of secularization—that is, to recent scholarship that has engaged with contemporary critiques of the secularization thesis, which has either explicitly or tacitly undergirded most humanities and social sciences scholarship throughout the twentieth century.

Texts will be drawn from the following: Austen, Northanger Abbey; Dickens, Oliver Twist (or an alternative); E. Brontë, Wuthering Heights; Collins, The Moonstone; Thackeray, Vanity Fair; Eliot, Middlemarch; Ward, Robert Elsmere; Hardy, Jude the Obscure; Woolf, Mrs. Dalloway; essays by Auerbach, Barthes, Bersani, Lukács, Freud, Jameson, and more recent theorists of realism. End of semester seminar paper (approx. 15 pages + bibliog.), presentation and write-up, posts to discussion board.

Cat#

Sec

CourseTitle

Instructor

Days

Start

End

Room

UCTags

Tags

1362

001

SpeculativeFiction

Dickson-Carr,D.

MWF

10:00

10:50

DLSB131

2016:LL

1365

001

LiteratureofMinorities

Levy

6:00

8:50

DH116

2012:CA1,HD

2016:HD,LL

LAI,HD

2102

001

SpreadsheetLiteracy

Dickson-Carr,C.

3:00

3:50

HYER106

2102

002

SpreadsheetLiteracy

Dickson-Carr,C.

3:00

3:50

HYER106

2302

001

BusinessWriting

Dickson-Carr,C.

12:30

1:50

VSNI203

2012:IL,OC,W

2016:IL,OC,

2302

002

BusinessWriting

Dickson-Carr,C.

2:00

3:20

VSNI203

2012:IL,OC,W

2016:IL,OC,

2311

001

Poetry:LiftingtheVeil

Condon

2:00

3:20

DLSB132

2012:CA2,W

2016:LL,W

LAI,W

2311

002H

Poetry

Caplan

MWF

1:00

1:50

DH157

2012:CA2,W

2016:LL,W

LAI,W

2311

003

Poetry:AmericanPoetrySince1960—Legitimate Dangers

Rivera

MWF

12:00

12:50

DH137

2012:CA2,W

2016:LL,W

LAI,W

2312

001

Fiction: Alt-Narratives in AmericanLiteratureSince1945

STAFF

8:00

9:20

DH101

2012:CA2,W

2016:LL,W

LAI,W

2312

002

Fiction:DangerousNovels

Sudan

9:30

10:50

CLEM325

2012:CA2,W

2016:LL,W

LAI,W

2312

003

Fiction:TheGlobalNovel

Hermes

MWF

11:00

11:50

DH157

2012:CA2,W

2016:LL,W

LAI,W

2312

004

Fiction: Ethnic LiteraryImaginations

Sae-Saue

MWF

12:00

12:50

DH156

2012:CA2,W

2016:LL,W

LAI,W

2312

005

Fiction:TheGlobalNovel

Hermes

MWF

12:00

12:50

DH153

2012:CA2,W

2016:LL,W

LAI,W

2313

001

Drama

Moss

9:30

10:50

DH102

2012:CA2,W

2016:LL,W

LAI,W

2315

001

IntroductiontoLiteraryStudy:Race in the English RenaissanceandBeyond

Atkinson

MWF

2:00

2:50

DH152

2012:CA2,W

2016:CA,W

CAA,CA,W

2315

002

IntroductiontoLiteraryStudy:

OntheRoad(again):

RoadNarrativesfromHomertoKerouac

Rosendale

11:00

12:20

DH102

2012:CA2,W

2016:CA,W

CAA,CA,W

2390

001

IntroductiontoCreativeWriting:TheShapesofFiction

Farhadi

11:00

12:20

DH152

2012:CA1,W

2016:CA,W

CAC,CA,W

2390

002

IntroductiontoCreativeWriting:Short-FormCreativeWriting

Smith

9:30

10:50

DH120

2012:CA1,W

2016:CA,W

CAC,CA,

2390

003

IntroductiontoCreativeWriting:TheArtofListening

Lama

9:30

10:50

DH156

2012:CA1,W

2016:CA,W

CAC,CA,W

2390

004

IntroductiontoCreativeWriting:Short-FormCreativeWriting

Smith

12:30

1:50

DH351

2012:CA1,W

2016:CA,W

CAC,CA,W

2390

005

IntroductiontoCreativeWriting:

TheMovesWritersMake

Hermes

3:00

4:20

DH152

2012:CA1,W

2016:CA,W

CAC,CA,

2390

006

IntroductiontoCreativeWriting:

WritingCreativeNonfiction

Rubin

2:00

4:50

DH137

2012:CA1,W

2016:CA,W

CAC,CA,W

2390

007

IntroductiontoCreativeWriting:

Poetry Unbound—How Dare We!Write

Rivera

MWF

1:00

1:50

DH137

2012:CA1,W

2016:CA,W

CAC,

CA,W

3310

001

Research and CriticalWriting forLiteraryStudies

González

MWF

10:00

10:50

DH120

WIM

3346

001

American Literary History I

Cassedy

2:00

3:20

HYER200

2012:CA2,HC2,

W2016:HFA,

HSBS,W

LAI,W

3360

401

Topics in Modern and

Contemporary American Literature:

Women in Popular

Culture

Garelick

11:00

12:20

ONLINE

2012:CA2, HD,OC,W2016:HFA,

HD,OC,W

LAI,W

3362

001

AfricanAmericanLiterature

Pergadia

12:30

1:50

DH105

2012:CA2,HD,

W2016:HFA,

HD,W

LAI, HD,W

3364

401

WomenandtheSouthwest:

Mujeres Fatales and the Fates of

Feminism in Mexican America

TorresdeVeneciano

2:00

3:50

ONLINE

2012:CA2,HD, OC2016:HFA,

HD,OC

LAI

3367

001

Ethical Implications of Children'sLiterature

Stephens

MWF

9:00

9:50

DH115

2012:

CA2,HD,

KNOW,OC,

W2016:

HFA,HD,

KNOW,

OC,W

LAI,

HD,

OC,

3390

001

CreativeWritingWorkshop

Rubin

2:00

4:50

DH137

2012:CA2,W

2016:HFA,W

3390

002

Creative Writing Workshop: TheArt of Voice

Condon

11:00

12:20

DH115

2012:CA2,W

2016:HFA,W

4330

001

RenaissanceWriters

Moss

12:30

1:50

DH120

2012:IL,OC

2016:IL,OC

4339

001

TransatlanticStudiesI:

AIsForAmerican

Cassedy

9:30

10:50

DH101

2012:IL,OC

2016:IL,OC

4360

001

Studies in Modern and Contemporary

American Literature:

Contemporary

AmericanPoetry

Caplan

MWF

11:00

11:50

DH357

2012:

CA2,IL,OC

2016:HFA,

IL,OC

4360

002

StudiesinModernand ContemporaryAmerican

Literature:

Literature at the US-MexicoBorderlands

Sae-Saue

MWF

2:00

2:50

DH156

2012:

CA2,IL,OC

2016:HFA,

IL,OC

6330

001

Early Modern

British Literature:

Eminent Non-Shakespeareans,1500-1700

Rosendale

2:00

4:50

DH138

6370

001

AfricanAmericanLiterature:

Contemporary Narratives of Slavery

Pergadia

2:00

4:50

DH137

7311

001

SeminarinLiteraryTheory:

Narrative Theory

González

2:00

4:50

DH138

7372

001

Seminar in Transatlantic Literature:Enclosures

Sudan

2:00

4:50

DH138

7374

001

Problems in Literary History: The Realist Novel in Practice and Theory

Newman

12:30

1:50

DH138

Cat #

Sec

Course Title

Instructor

Days

Start

End

Room

UC Tags

Tags

3367

001

Ethical Implications of Children's Literature

Stephens

MWF

9:00

9:50

DH 115

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

OC, W

LAI, HD, OC, W

1362

001

Speculative Fiction

Dickson-Carr, D.

MWF

10:00

10:50

DLSB 131

2016: LL

3310

001

Research and Critical Writing for Literary Studies

González

MWF

10:00

10:50

DH 120

WIM

2312

003

Fiction: The Global Novel

Hermes

MWF

11:00

11:50

DH 157

2012: CA2, W

2016: LL, W

LAI, W

4360

001

Studies in Modern and Contemporary American Literature: Contemporary American Poetry

Caplan

MWF

11:00

11:50

DH 357

2012: CA2, IL, OC 2016: HFA,

IL, OC

2311

003

Poetry: American Poetry Since 1960—Legitimate Dangers

Rivera

MWF

12:00

12:50

DH 137

2012: CA2, W

2016: LL, W

LAI, W

2312

004

Fiction

Sae-Saue

MWF

12:00

12:50

DH 156

2012: CA2, W

2016: LL, W

LAI, W

2312

005

Fiction: The Global Novel

Hermes

MWF

12:00

12:50

DH 153

2012: CA2, W

2016: LL, W

LAI, W

2311

002H

Poetry

Caplan

MWF

1:00

1:50

DH 157

2012: CA2, W

2016: LL, W

LAI, W

2390

007

Introduction to Creative Writing: Poetry Unbound—How Dare We! Write

Rivera

MWF

1:00

1:50

DH 137

2012: CA1, W

2016: CA,

CAC, CA, W

2315

001

Introduction to Literary Study: Race in the English Renaissance and Beyond

Atkinson

MWF

2:00

2:50

DH 152

2012: CA2, W

2016: CA,

CAA, CA, W

4360

002

Studies in Modern and Contemporary American Literature: Literature at the US-Mexico

Borderlands

Sae-Saue

MWF

2:00

2:50

DH 156

2012: CA2, IL, OC 2016: HFA,

IL, OC

2390

005

Introduction to Creative Writing: The Moves Writers Make

Hermes

3:00

4:20

DH 152

2012: CA1, W

2016: CA,

CAC, CA, W

7311

001

Seminar in Literary Theory: Narrative Theory

González

2:00

4:50

DH 138

2102

002

Spreadsheet Literacy

Dickson-Carr, C.

3:00

3:50

HYER 0106

6370

001

African American Literature: Contemporary Narratives of Slavery

Pergadia

2:00

4:50

DH 137

2102

001

Spreadsheet Literacy

Dickson-Carr, C.

3:00

3:50

HYER 0106

2312

001

Fiction

STAFF

8:00

9:20

DH 101

2012: CA2, W

2016: LL, W

LAI, W

2312

002

Fiction: Dangerous Novels

Sudan

9:30

10:50

CLEM 325

2012: CA2, W

2016: LL, W

LAI, W

2313

001

Drama

Moss

9:30

10:50

DH 102

2012: CA2, W

2016: LL, W

LAI, W

2390

002

Introduction to Creative Writing: Short-Form Creative Writing

Smith

9:30

10:50

DH 120

2012: CA1, W

2016: CA,

CAC, CA, W

2390

003

Introduction to Creative Writing: The Art of Listening

Lama

9:30

10:50

DH 156

2012: CA1, W

2016: CA,

CAC, CA, W

4339

001

Transatlantic Studies I: A Is For American

Cassedy

9:30

10:50

DH 101

2012: IL, OC

2016: IL, OC

2315

002

Introduction to Literary Study: On the Road (again): Road Narratives from Homer to Kerouac

Rosendale

11:00

12:20

DH 102

2012: CA2, W

2016: CA,

CAA, CA, W

2390

001

Introduction to Creative Writing: The Shapes of Fiction

Farhadi

11:00

12:20

DH 152

2012: CA1, W

2016: CA,

CAC, CA, W

3360

401

Topics in Modern and Contemporary American Literature: Women in Popular Culture

Garelick

11:00

12:20

ONLINE

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

HD, OC, W

LAI, W

3390

002

Creative Writing Workshop: The Art of Voice

Condon

11:00

12:20

DH 115

2012: CA2, W

2016: HFA,

2302

001

Business Writing

Dickson-Carr, C.

12:30

1:50

VSNI 203

2012: IL, OC, W 2016: IL,

OC, W

2390

004

Introduction to Creative Writing: Short-Form Creative Writing

Smith

12:30

1:50

DH 351

2012: CA1, W

2016: CA,

CAC, CA, W

3362

001

African American Literature

Pergadia

12:30

1:50

DH 105

2012: CA2, HD, W 2016: HFA,

HD, W

LAI, HD, W

4330

001

Renaissance Writers: Poetic Occasions

Moss

12:30

1:50

DH 120

2012: IL, OC 2016: IL,

7374

001

Problems in Literary History: The Realist Novel in Practice and Theory

Newman

12:30

1:50

DH 138

2302

002

Business Writing

Dickson-Carr, C.

2:00

3:20

VSNI 203

2012: IL, OC, W 2016: IL,

OC, W

2311

001

Poetry: Lifting the Veil

Condon

2:00

3:20

DLSB 132

2012: CA2, W

2016: LL, W

LAI, W

3346

001

American Literary History I

Cassedy

2:00

3:20

HYER 200

2012: CA2, HC2, W 2016: HFA,

HSBS, W

LAI, W

3364

401

Women and the Southwest: Mujeres Fatales and the Fates of Feminism in Mexican America

Torres de Veneciano

2:00

3:50

ONLINE

2012: CA2, HD, OC 2016: HFA,

HD, OC

LAI

3390

001

Creative Writing Workshop

Rubin

2:00

4:50

DH 137

2012: CA2, W

2016: HFA,

6330

001

Early Modern British Literature: Eminent Non-Shakespeareans, 1500-

1700

Rosendale

2:00

4:50

DH 138

1365

001

Literature of Minorities

Levy

6:00

8:50

DH 116

2012: CA1, HD

2016: HD,

LAI, HD

2390

006

Introduction to Creative Writing: Writing Creative Nonfiction

Rubin

2:00

4:50

DH 137

2012: CA1, W

2016: CA,

CAC, CA, W

7372

001

Seminar in Transatlantic Literature: Enclosures

Sudan

2:00

4:50

DH 138

Fall 2022

ENGL 1320-001—Cultures of Medieval Chivalry

TTh 11:00-12:20. Dallas Hall 115. Wheeler. 2012: CA1, HC1, OC 2016: HC, LL, OC CC: LAI

In this course we study the development of chivalric mentalities in the literature, history, and culture of the Middle Ages, from the flowering of chivalry as an ideal and in practice in twelfth-century Western culture to its presence in the current moment. Readings will include background sources as well as adventure tales of real medieval knights—Rodrigo de Vivar and William Marshal—and those of legend—Lancelot, Yvain, Gawain, and more. Stories from King Arthur provide a looking glass through which we can see chivalric education and variation, chivalric rejection and renewal, and even our own culture reflected. This is a lecture/discussion course; grading criteria: reading commentaries, presentations, final exam.

ENGL 1330-001—World of Shakespeare

MWF 10:00-10:50. Dedman Life Science 131. Moss. 2012: CA1 2016: LL CC: LAI

Time to (re-)introduce yourself to our language’s greatest writer. In this course, you will meet Shakespeare’s princes, tyrants, heroes, villains, saints, sinners, lovers, losers, drunkards, clowns, outcasts, fairies, witches, and monsters. You’ll watch and listen as they love, woo, kiss, charm, hate, curse, mock, fool, sing to, dance with, get drunk with, sleep with, fight with, murder, and haunt each other. You will visit Renaissance England, a place and time as strange, troubled, exciting, delightful, fearful, thoughtful, prejudiced, political, magical, bloody, sexy, and confused as your own. You will read poetry you will never forget.

Our introductory survey will cover 7 plays in all of the major Shakespearean genres: comedy, tragedy, history, and romance (all texts are digital and free, with a print option for students who prefer Shakespeare’s preferred format). Background readings, lectures, and films will contextualize Shakespeare’s achievement within Renaissance society and life (and death), engaging the religious, political, cultural, and economic debates of that glorious but tumultuous age.

Coursework includes frequent short quizzes, written midterm and final exams, and one extra credit opportunity. No papers.

ENGL 1330 satisfies the Literary Analysis and Interpretation requirement for the Common Curriculum, and counts toward the English major and minor.

ENGL 1365-001—Literature of Minorities

TTh 2:00-3:20. Dallas Hall 306. Levy. 2012: CA1, HD 2016: LL, HD CC: LAI, HD

The course interrogates questions of individual and collective identities from historical, literary, and contemporary social 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. These include: “Nation” “Whiteness,” “Blackness,” “White Supremacy,” “Critical Race Studies,” “Black Lives Matter,” “Identity Politics,” “Queerness,” “Pluralism,” etc. We examine the ways these categories have been deployed to assert and marginalize identity, seeing identity as both self-selected and imposed, fixed and flexible, located and displaced, secure and situational. In addition, we examine the status of “minority” literature as a category within the American literary and cultural canon, and critique the ways in which this imposed status has been used historically to diminish the craftsmanship and aesthetic reach of literature written by women, LGBQT authors and peoples of color.

ENGL 1365-002—Literature of Minorities

TTh 11:00-12:20. Dallas Hall 102. González. 2012: CA1, HD 2016: LL, HD CC: LAI, HD

This course will provide students with an excellent opportunity to explore literature by and about historically-marginalized communities in the United States. Because the presence of diverse peoples and literatures reaches back to even before the founding of the United States, an exploration of multicultural, so-called "minority" literature in U.S. is no small matter. The aim of this course is to engage substantively with this rich and rewarding tradition of literary and cultural production. We will explore literature from a range of diverse authors and forms that highlight the cultural experiences of many Americans across varied media forms and genres (fiction, poetry, life writing, etc.).

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50. Hyer Hall 106. Dickson-Carr, Carol.

ENGL 2102-002—Spreadsheet Lit: Excel

W 3:00-3:50. Hyer Hall 106. Dickson-Carr, Carol.

ENGL 2302-001—Business Writing

TTh 12:30-1:50. Virginia-Snider Hall 203. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

ENGL 2302-002— Business Writing

TTh 2:00-3:20. Virginia-Snider Hall 203. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

ENGL 2311-001—Introduction to Poetry: Serious Word Games

MWF 1:00-1:50. Dallas Hall 138. Bozorth. 2012: CA2, W 2016: LL, W CC: LAI, W

Now 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 Christmas carols. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, teen-age rebellion, God, and Satan, and learn the difference between “cliché” and “cliched.” You’ll satisfy a requirement for the English major and a good liberal-arts education.

ENGL 2311-002—Introduction to Poetry

TTh 8:00-9:20. Dallas Hall 101. Luttrel. 2012: CA2, W 2016: LL, W CC: LAI, W

For many, poetry can seem intimidating or prohibitively difficult. In this class, we’ll demystify poetry and explore the ways in which it can enrich your life and your understanding of the world. We will learn about form, sound, and language, as well as how they impact meaning. We will read poems from both canonical and contemporary authors, covering themes that range from romantic love to nature to social justice to notions of God. We’ll write a few poems and analyze many more. By the end of the course, poetry will no longer be intimidating, but rather a way to understand yourself and the world we live in.

ENGL 2311-003—Introduction to Poetry

MWF 10:00-10:50. Dallas Hall 120. Caplan. 2012: CA2, W 2016: LL, W CC: LAI, W

“Poetry is language that sounds better and means more,” the poet Charles Wright once observed. “What's better than that?” This class will train the students to hear the many sounds and meanings that great poems articulate. We will use a number of methods to listen more carefully. In addition to writing critical essays, we will compose formal imitations, write brief analyses of particular elements of the assigned poetry, and perform a poem from memory. We also will have the pleasure of having poets visit our class via Zoom to discuss their work with us. The visitors will include Diane Seuss, whose collection, frank: sonnets, won this year's Pulitzer Prize for Poetry. In short, we will spend the semester considering language that sounds better and means more, and, as the poet put it, what’s better than that?

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

MWF 2:00-2:50. Dallas Hall 106. Hermes. 2012: CA2, W 2016: LL, W CC: LAI, W

With these texts and concepts as our foundation for discussion, we will build a set of tools for analyzing and writing about literature, including close reading, awareness of genre, and familiarity with important elements of fiction. We will think deeply about not just what texts say, but how they say it. Finally, reading these works of fiction will help us see our contemporary world in new ways, and better understand our place in it. Readings may include Jean Rhys, Chimamanda Ngozi Adichie, Mohsin Hamid, Rattawut Lapcharoensap, and Bapsi Sidwa.

ENGL 2312-002—Introduction to Fiction: The Global Novel

MWF 3:00-3:50. Dallas Hall 106. Hermes. 2012: CA2, W 2016: LL, W CC: LAI, W

With these texts and concepts as our foundation for discussion, we will build a set of tools for analyzing and writing about literature, including close reading, awareness of genre, and familiarity with important elements of fiction. We will think deeply about not just what texts say, but how they say it. Finally, reading these works of fiction will help us see our contemporary world in new ways, and better understand our place in it. Readings may include Jean Rhys, Chimamanda Ngozi Adichie, Mohsin Hamid, Rattawut Lapcharoensap, and Bapsi Sidwa.

ENGL 2312-003—Introduction to Fiction: Alt-Narratives in American Literature Since 1945

MWF 9:00-9:50. Harold Clark Simmons Hall 107. Urban. 2012: CA2, W 2016: LL, W CC: LAI, W

“Writin’ is fightin’.”

—Ishmael Reed

Of course, we all know the cliché about how the pen is mightier than the sword — but is Ishmael Reed’s statement about writing merely rehashing a stale saying, or trying to express something different? As a Black American writer, Reed contends that oppositional texts necessarily subvert conventions, undermine power structures, and provide counter narratives to dominant epistemologies. Writing, in Reed’s sense, requires strategy, planning, preparation, and training. We proceed from the idea that art — whether it be music, literature, film, virtual performance, etc. — has the potential to expose structural inequities that appear natural and/or inevitable, but which are, as the late anarchist David Graeber notes, ultimately, “something that we make, and could just as easily make differently.” With this sentiment in mind, students will read, analyze, and critique a range of literary texts that counter the status quo. Additionally, students will read “alt-narratives” by writers from a range of backgrounds who, in some sense, rely on fiction to expose how visual and textual representations reinforce dominant, heteronormative ideas about race, ethnicity, gender, and class. Some, but not all, of the texts will include: Allen Ginsberg’s Howl and Other Poems, selections from Ed Sanders’s Fuck You/ a magazine of the arts, Ishmael Reed’s Mumbo Jumbo, Darius James’s Negrophobia, Theresa Hak Kyung Cha’s Dictee, Kathy Acker’s Don Quixote, and Claudia Rankine’s Citizen. In addition to these primary sources, students will read short articles that attend to a given text’s literary form, genre, and historical context(s). At the end of the semester, students will watch Obscene: A Portrait of Barney Rosset and Grove Press.

ENGL 2312-004—Introduction to Fiction: Shipwrecks & Their Spectators

TTh 9:30-10:50. Dallas Hall 156. Atkinson. 2012: CA2, W 2016: LL, W CC: LAI, W

“To see a ship tossed, and threatened every moment by the merciless waves,” says the Roman philosopher Lucretius, “is a spectacle which those that stand safe at shore, cannot but behold with pleasure as well as compassion.” In our class we will put ourselves in the position of both the spectator and the sailor as we explore one of the most ancient and enduring literary subjects: the shipwreck. Our course begins on dry land, where we will ponder why humans are compelled to leave safe harbors for the danger of the high seas. As the semester progresses we will use literary texts as well as true accounts to trace an oceanic voyage culminating in the terror of shipwreck. Finally we will find ourselves on a distant shore, contemplating the physical and psychological transformations produced by disaster – what Shakespeare calls “something rich and strange.” Shipwreck compels us to ask questions about human longing and curiosity, about our relationship with oceans and the divine, and about the miracle of salvation. But equally important, examining the literary history of shipwrecks will allow us to explore the purposes behind storytelling as a human pastime.

ENGL 2312-005—Introduction to Fiction: Contemporary Short Stories since 1970: Salty, Thirsty, Savage, Woke

MWF 11:00-11:50. Dallas Hall 357. Rivera. 2012: CA2, W 2016: LL, W CC: LAI, W

No matter that fiction inundate readers with a constant fare of death, divorce, destruction, disillusion, dysfunction, and dystopia—while occasionally offering escape, revelation, return—this discussion-based course in contemporary literature introduces students to formidable works of short fiction. Throughout the semester, we will annotate, read, discuss, and critique the merits and shortcomings of the genre in addition to performing analyses of narrative forms and structures that test the limits of characterization, setting, plot, and style. Students will consider narrative tropes juxtaposed against a backdrop of historical and current events as one method of considering broader literary movements. Based upon a framework of literary and rhetorical devices, this course relies upon academic research, writing, and technical presentations to witness the fears and risks and conflicts and failures intrinsic to understanding any specific narrative of our culture. Thus, our class will seek to understand the culturally ubiquitous sentiment of “I can’t believe that happened here” and impart greater awareness of the range of the human condition.

ENGL 2312-006—Introduction to Fiction: Surveying Literary Novellas since 1965: Women on Top

MWF 12:00-12:50. Dallas Hall 156. Rivera. 2012: CA2, W 2016: LL, W CC: LAI, W

This reading-intensive, contemporary literature course introduces students to novellas by women through the paradigm of intersectionality. Through consistent, classroom-based dialogue, students will situate their own feminist interrogations of novellas by Dura, El-Saadawi, Erdrich, Ferrante, Keegan, Lessing, Moore, Morrison, Okorafor, Otsuka, Rhys, and Winterson. Via journal responses, class-curated annotated bibliographies, close reading, literary analysis, and comparative literary synthesis, students will chart the throughlines of how women writers create fictive realities in this condensed narrative form as one possible mode of social commentary. We will attend to conventions and tropes of this genre—while we evaluate the centrality of one or two complex characters, the narrowing of conflict, the broad strokes used to structure aesthetic pacing, and the limitations of chronological locality. Further, students should expect to both consider and discuss the complex psycho-social beliefs and motives intrinsic to the identity-politics of race, gender, class, ability, religion, gender, gender identity, sexuality, orientation, class, age, education, religion, and national origin vis-à-vis the historicity of women’s lives as we contextualize the aesthetic choices of these writers and the specific use of their voices to question and challenge the socio-political exigencies and oppressions of community.

ENGL 2312-007—Introduction to Fiction: Contemporary Short Stories since 1970: Salty, Thirsty, Savage, Woke

MWF 2:00-2:50. Dallas Hall 357. Rivera. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2313-001—Introduction to Drama: Modern Drama and the Reinvented Self

CANCELED

ENGL 2315-001—Introduction to Literary Study: The Interpretation of Culture

MWF 12:00-12:50. Dallas Hall 138. Cassedy. 2012: CA2, W 2016: CA, W CC: CA, CAA, 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 difficult to pin down. Tentative reading list includes texts by Karen Russell (Swamplandia!), William Shakespeare (King Lear), Leslie Jamison (The Empathy Exams), Gabriel García Márquez (One Hundred Years of Solitude), and Emily Dickinson. Four essays and a final exam.

ENGL 2315-002— Introduction to Literary Study: Black and Banned

MWF 9:00-9:50. Annette Caldwell Simmons Hall 225. Rivera. 2012: CA2, W 2016: CA, W

CC: CA, CAA, W

An ongoing discussion exists within the United States about who gets to decide what’s appropriate for inclusion in the academic classroom as well as school libraries. As we acknowledge that within the context of community standards, both censorship and book bans have existed throughout American history, across all artistic genres and media. However, given the necessity for literacy for modern survival/autonomy, and this country’s specific history of limiting educational access and funding for marginalized groups, how does an individual construct and contribute to interpreting meaning within shared or contested spaces? Through class discussions, journal entries, research, short papers, and technical presentations, students will analyze instances of banned Blackness by directly interpreting the work of M. K. Asante, James Baldwin, Octavia Butler, Ernest Gaines, Mikki Kendal, Kiese Laymon, Toni Morrison, Ijeoma Oluo, and Junauda Petrus.

ENGL 2315-003— Introduction to Literary Study: Manner, Method, and Meaning

TTh 9:30-10:50. Dallas Hall 102. Goyne. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

Have you ever read a story or finished a novel or poem and wondered, “Well, what did that mean?” You had the feeling something was going on that you didn’t quite get? In this course we will explore a variety of texts—novels, short stories, poems, maybe films—from particular literary points of view that reveal historical moments and places, and raise cultural questions about gender, economic class, and racial inequality. By coming to some conclusions about how authors create meaning in their writing, we will gain a better understanding of how literature engages and enthralls us, tickles our fancy, or moves us to action. Percy Bysshe Shelley claimed, “Poets are the unacknowledged legislators of the world.” Let’s see how they do it.

ENGL 2315-004— Introduction to Literary Study: Bad Mothers

CANCLED

ENGL 2390-001—Introduction to Creative Writing: Notice How You Notice

TTh 12:30-1:50. Dallas Hall 351. Condon. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

Writing poetry has the potential to render our attention to the world more acute. This creative writing workshop will teach you to notice how you notice the world as well as the essential craft tools needed to translate your perceptions to the page. To learn these tools, we will read and discuss the work of poets who have mastered them, focusing on how their formal decisions communicate something fundamental about the ways we perceive our world. In-class writing and homework prompts will help you generate your own original poetry. As the semester progresses you will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own. One characteristic of poetry is its translation of human experience into art that lasts. Often, these experiences raise challenging questions. You should be prepared to read and respond respectfully to poetry that addresses sensitive material. Other requirements include a final portfolio of revised poems with an accompanying introduction to the work. All reading supplied on Canvas.

ENGL 2390-002—Introduction to Creative Writing: Introduction to Fiction Writing

M 2:00-4:50. Crum Residential Commons 132. Rubin. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-003—Introduction to Creative Writing: The Moves Writers Make

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

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

―Anton Chekhov

During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. With engage participation, we will have an opportunity to sharpen both our critical and creative skills.

ENGL 2390-004—Introduction to Creative Writing: Short Form

TTh 11:00-12:20. Dallas Hall 105. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

This workshop-heavy course focuses on the craft, structure, and thematic elements of developing short-form stories. Students will read, create, and critique short literary narratives focused on the elements of fiction. By the end of the semester, students will complete a portfolio including two short stories.

ENGL 2390-005—Introduction to Creative Writing: Art of Listening

MWF 9:00-9:50. Dallas Hall 343. Lama. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“Poetry always begins and ends,” remarks W.S. Merwin, “with listening.” In this class, we will learn to listen—to the sky, the earth, the body, the live language, the song in language, the language in song. Through recitations, we will explore the lyre of the lyric in our own throats. In addition to sound, we will practice other fundamentals of poetry such as the line, image, metaphor, and form through creative exercises, workshops, and a final portfolio. We will imitate and emulate the great poets from classical to contemporary with the goal of finding our own voice and music. “The quieter you become,” says Rumi, “the more you hear.” In this class, we will learn to be quiet but also ecstatic.

ENGL 2390-006—Introduction to Creative Writing: The Shapes of Fiction

MWF 2:00-2:50. Umphrey Lee 228. Farhadi. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 3310-001—Research and Critical Writing for Literary Studies

TTh 12:30-1:50. Dallas Hall 120. Sudan.

This course fulfills the “Criticism and Theory” requirement for English majors.

This is a gateway course designed as an intensive introduction to the study of literary texts. It explores several key questions: What is a text? What are some of the approaches critics have taken to the analysis of texts? How do we as readers make sense both of texts and of their critics? And how, in practice, does the interpretation of texts reflect on our psycho-social presence in our culture; for example, how do ideologies of race get reflected in our reading and analysis of texts?

The course consists of five modules in which we explore these questions in relation to a handful of major literary texts of the eighteenth through twentieth centuries. In each one, we will employ a combination of lecture, discussion group activity, and writing exercises with the goal of refining our critical thinking, reading, and writing skills.

ENGL 3320-001—Topics in Medieval Literature: Paradigms of Truth in Medieval Literature: Real Truths vs. Fake Truths

TTh 9:30-10:50. Clements Hall 325. Amsel. 2012: CA2, W 2016: HFA, W CC: LAI, W

ENGL 3340-001—Topics in British Literature in the Age of Revolutions: Austen, Bronte, Eliot

MWF 10:00-10:50. Dallas Hall 115. Satz. 2012: CA2, W 2016: HFA, W

We will read with a variety of critical approaches six great novels: Pride and Prejudice, Emma, Jane Eyre, Villette, Mill on the Floss, and Middlemarch. This course is an opportunity to savor some of the monumental works of literature. Requirements: three short papers (4 pp.) and one longer paper (10 pp.); mid-term and final.

ENGL 3355-001—Transatlantic Encounters III: Possible Futures: Feminist Theory and Speculative Fiction.

TTh 9:30-10:50. Dallas Hall 101. Boswell. 2012: CA2, GE, W 2016: HFA, GE, W CC: HD

Cross-listed with WGST 3370

ENGL 3360-001—Topics in Modern and Contemporary American Literature: Violence and the Politics of Narrative at the US-Mexico Border

TTh 11:00-12:20. Dallas Hall 152. Sae-Saue. 2012: CA2, HD, OC, W 2016: HFA, HD, OC, W CC: LAI, W

This course interrogates and examines violence as the condition of the US West. Of course, violence expresses itself in many fashions, not all of which the course will be able to address. We will begin with the US enterprise of expansion and Native American genocide and move through historical and contemporary social crises, including cultural eradication, police brutality, mass incarceration, local Texas rebellions, the Mexican Revolution, the “zoot suit riots,” social uprisings of the 60s, The American War in Viet Nam (as expressed and experienced by ethnic writers of the West), Asian immigration restrictions, anti-miscegenation laws, and more. Moving through these historical concerns (organized as thematic ones in our course texts), students will examine primarily how Native American and Latinx writers have deployed literary strategies in order to narrate historical correctives to US national (organizing) myths such as manifest destiny (and others) in order to examine how fiction articulates ethnic experiences and social crises, imagines social resolutions, and grapples with paradoxes and impasses of their own representative limits in an era of neo-liberalism.

ENGL 3360-002—Topics in Modern and Contemporary American Literature: Caribbean Theater and Performance

CANCELED

ENGL 3362-001—African-American Literature

CANCELED

ENGL 3363-001—Chicana/Chicano Literature

TTh 2:00-3:20. Dedman Life Science 132. González. 2012: CA2, HD, W 2016: HFA, HD, W CC: HD, W

This course will examine how contemporary Chicana/o novelists, poetry, and short story writers, use a variety of different storytelling forms to create characters and events that open readers' eyes to new ways of perceiving the world. The goal will be to balance close literary readings with larger socio-political concerns specific to the Chicana/o experience. As such, we will not only direct our attention to issues of form--such as how a given author employs specific narrative voices and point of view, for example--but also how each author addresses issues of Chicana/o identity and experience at the thematic level. We will also explore how Chicana/o writers expand our understanding of race, gender, class, and sexuality as constituted within the Chicana/o community (and that varies from region to region, from urban to rural, for example) and within a larger U.S. mainstream.

ENGL 3364-001C—Women and the Southwest: Mujeres Fatales: The Fates of Feminism in Mexican America

CANCELED

ENGL 3379-001—Literary and Cultural Contexts of Disability

MWF 9:00-9:50. Dallas Hall 115. Satz. 2012: CA2, HD, KNOW, OC, W 2016: HFA, HD, KNOW, OC, W CC: HD, OC, W

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.

ENGL 3390-001—Creative Writing Workshop: Advanced Poetry Workshop: Lyric Address and Apostrophe: Listen Up, I’m Talking to You

TTh 3:30-4:50. Dallas Hall 137. Condon. 2012: CA2, W 2016: HFA, W CC: W

In this course we will study and write poetry that employs lyric address and apostrophe. We will discover how directly addressing our worst enemy or our secret crush, the West Wind or a Wendy’s drive-thru, transforms poems from monological recollections into active dialogues. In addition to writing free-verse poetry, we will practice the poetic forms that spotlight lyric address and apostrophe, such as odes, elegies, and ghazals. You will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own. One characteristic of poetry is its translation of human experience into art that lasts. Often, these experiences raise challenging questions. You should be prepared to read and respond respectfully to poetry that addresses sensitive material. Other requirements include a final portfolio of revised poems with an accompanying introduction to the work. All reading supplied on Canvas.

ENGL 3390-002— Creative Writing Workshop: Advanced Screenwriting Workshop

W 2:00-4:50. Dallas Hall 137. Rubin. 2012: CA2, W 2016: HFA, W CC: W

In this course students will present their own screenwriting as well as critique that of their classmates. Alongside these workshops we will analyze exemplary models of the form and study film clips to understand the ways compelling dialogue is written and satisfying scenes are structured. Readings will include such classics as Casablanca and Chinatown as well as newer scripts like Lady Bird and Get Out. ENGL 2390 is a prerequisite for this course although Meadows students with a background in dramatic arts are encouraged to seek the permission of the instructor.

ENGL 3390-003— Creative Writing Workshop: Character Development

TTh 12:30-1:50. Dallas Hall 105. Smith. 2012: CA2, W 2016: HFA, W CC: W

This workshop-heavy course focuses on the craft, structure, and thematic elements of developing characters. Students will create and critique literary narratives focused on character development, and will learn how to change a flat character into a well-rounded character. By the end of the short semester class, students will complete a portfolio and present a revised story in class. We will read stories, excerpts, and craft references that are heavily focused on character development.

ENGL 4321-001—Studies in Medieval Literature: Monsters and Marvels

MWF 1:00-1:50. Dallas Hall 137. Wheeler. 2012: HC2, IL, KNOW, W 2016: HSBS, IL, KNOW, OC, W

Medieval literature is richly populated by fantasy, fable, magic, broad humor and deep spirituality. Even in its earliest poetic forms, English poetry unsettles and challenges readers. We will experience a wide variety of this imaginative literature from the “masterpieces” like Beowulf and Chaucer’s Canterbury Tales to odd poems, treatises, and plays found in dark corners of the imagination. Each student will choose a monster to search and a marvel to share. Weekly comments, in-class presentations, final synthetic paper.

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

TTh 11:00-12:20. Dallas Hall 120. Newman. 2012: IL, OC 2016: IL, OC CC: 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? And why do some icons of what we now think of as “queer” identity first appear in the latter part of the nineteenth-century? 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, and contemporary criticism.

Likely Texts: Charlotte Brontë, Jane Eyre; Charles Dickens, David Copperfield; Oscar Wilde, The Picture of Dorian Gray; various poems; relevant critical essays.

Assignments: Two short and one longer, multi-source paper or creative project supported by relevant research; various shorter low-stakes writing assignments.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Apocalypse Now and Then: Modern American Speculative Fiction

TTh 9:30-10:50. Dallas Hall 120. Dickson-Carr, D. 2012: CA2, IL, OC 2016: HFA, IL, OC

This course focuses on American speculative fiction—comprising science fiction, fantasy, dystopian fiction, and historical fiction—of the 20^th and 21^st centuries. Speculative fiction, broadly speaking, imagines or reimagines past and future worlds in ways that both depend on and alter reality, or the world we think we perceive and know. In many cases, these works build worlds beyond an Apocalyptic moment, often a cataclysmic shift in the environment, major political upheaval, wars, or—yes—a global pandemic. Although We will pursue several general questions along the way, including—but not limited to—the following: How have American writers (re)imagined American cultures and histories to comment upon the past and predict the future? How might we use their work to track shifting views of humanity’s fate? What, if anything, makes these works distinctly “American,” other than the authors’ origins? What kinds of guidance may be found in these works? How do these works function aesthetically, as literature? How do they exist in or interact with other genres?

Given the vast number of texts that fall in this genre, we will be reading or viewing a relatively small sample consisting of both renowned texts and those less known. These will range from short stories and novels to films and television shows. TENTATIVE List of Authors: Paul Beatty; Ray Bradbury; Octavia Butler; Ta-Nahisi Coates; Samuel R. Delany; Tananarive Due; Percival Everett; William Gibson; Ursula K. LeGuin; Cormac McCarthy; Richard Matheson; Toni Morrison; George S. Schuyler; The Wachowskis. Written and Other Requirements: Short responses; an oral presentation; three major papers, including a paper requiring research.

ENGL 4397-001—Distinction Seminar

TTh 2:00-3:20. Dallas Hall 137. Newman

Open by invitation. An undergraduate writing project that truly merits distinction in English demands considerable planning, research, and preparatory writing, whether the project is creative or critical. This seminar is devoted to that preparatory work. By the end of the semester you should have most of your research behind you and a fairly detailed writing plan in order, plus some writing under your belt that you can build on over winter break. All of this preparation will position you to complete a viable draft (approximately 25-30 pages) by the end of next spring break, so that you can spend the remainder of the spring semester, probably your final one, revising, honing, and polishing your project into a superior piece of creative or critical work.

Obviously, a distinction project entails a serious commitment of time. That commitment begins, at least in a preliminary way, over the summer. During this time you should think about the work that has excited you the most and write at least one informal proposal of 350-500 words describing the general topic you wish to write about, or the general kind of creative project you wish to write. (Examples furnished upon request, or after registration. Write to bnewman@smu.edu.)

Our syllabus will be partly student-generated, using scholarship and creative writing located by members of the class and relevant to their projects. Writing assignments are conceived as scaffolding for the work to be done in the spring, and some of it will be workshopped in class. Students working on creative writing projects will also work with Dr. Richard Hermes, and should expect to meet with him, whether individually or as part of a group, about eight times during the semester, sometimes in lieu of regular class meetings.

Required textbook: Aaron Ritzenberg and Sue Mendelson, How Scholars Write (Oxford University Press).

Required writing: informal proposal(s), 350-500 words; preliminary bibliography of relevant sources (not annotated); annotated bibliography (12-15 sources for critical writers, fewer for creative writers, in both cases focusing on their relevance to student project); possible draft of poster for Research Day in the spring semester; literature review-style bibliographic essay of relevant work (approx. five pages); final proposal, heuristic outline, and several draft pages of the project itself.

ENGL 6310-001—Advanced Literary Studies

F 12:00-2:50. Dallas Hall 120. Caplan

This course prepares doctoral students for literary studies. We will evaluate various genres of professional writing – the book review, the journal article, the conference paper, the abstract, the fellowship proposal. We will also grapple with some current debates around the methods and objectives of literary study – the archival turn, the digital humanities, postcritique, the environmental humanities. Students will also produce and workshop genres of academic writing, gaining experience in the collegial art of giving and receiving editorial feedback.

ENGL 6311-001—Survey of Literary Criticism and Theory

T 12:30-3:20. Dallas Hall 138. Sae-Saue.

ENGL 6312-001—Teaching Practicum

F 1:00-3:50. Prothro Hall 200. Stephens.

ENGL 6330-001— Early Modern British Literature: Early Modern English Drama: The Exclusive Backstage Pass

W 2:00-4:50. Dallas Hall 138. Moss

This course is conceived as a reintroduction to Shakespeare’s dramatic works through constant and sustained comparison to drama by his colleagues, peers, and rivals. It seeks to reinvigorate and ultimately answer the age-old, cliché, tautological, and generally useless question, “What makes Shakespeare Shakespeare?” through careful attention to the elements that constituted his art and informed his process. That is no different, of course, from any well-historicized Shakespeare survey, but here the emphasis shifts from the usual source-study, recovery of political context, and application of modern theoretical models to the simultaneous and cumulative study of analogous texts, especially plays by Marlowe and Jonson, informed throughout by recent trends in early modern theater studies (most often in a materialist mode). Put another way, we will familiarize ourselves with the ways and means of early modern English theater companies—their stages, properties, rhetorics, texts, personnel, audiences, and professional practices—while distinguishing between Shakespeare’s application of those resources and response to their limitations on the one hand, and alternative dramaturgies on the other.

While our emphasis will be on weekly paired plays, each week will feature two or more critical selections to help us feel somewhat at home in the altogether different playmaking and playgoing environment of early modern London. Further context will be provided by the examination of important supplementary primary materials (e.g., the account book of an important playhouse manager, records of court performance, apprenticeship contracts for boy actors). Lest we mistake living theater for dead text, we will further supplement our study with viewings of modern performances, perhaps even a live local performance. Students should expect to contribute copiously both on Canvas and in class, to write both critically and creatively (!), and to present on some key aspect of one of the plays we study.

ENGL 7370-001—Seminar in Minority Literature: African American Critical Modalities: Satire, Humor, Rhetoric, and Theory

Th 2:00-4:50. Dallas Hall 138. Dickson-Carr, D.

This seminar will focus on critical issues and debates within African American literary and cultural history, with a particular emphasis on satire and African American rhetorical traditions and texts. We will place these works in conversation with African American critical theory from various scholars and critics. Our goal will be to examine how these debates manifested themselves in the literature in both implicit and explicit forms. We will begin in the mid-19^th century and end in the present. In the process, we will have an opportunity to read literature of various genres, movements, and perspectives. Requirements: Weekly critical responses; an oral presentation; one article-length paper; regular and vocal participation.

TENTATIVE Texts: Napier (ed.), African American Literary Theory; Gates and Burton, Call and Response (excerpts); Studies in American Humor Fall 2022 issue; selected works by Baker, Baldwin, Beatty, Bell, Bennett, Coates, Douglass, Du Bois, Ellison, Everett, Gates, L. Guerrero, Himes, Hurston, Jacobs, Mat Johnson, Jones, King, Malcolm X, B. Manning, D. Fuentes Morgan, Morrison, Obama, Rankine, Schuyler, Thurman, Patricia Williams, C. Wright, R. Wright, Walker, M. Johnson.

ENGL 7372-001—Seminar in Transatlantic Literature: Archives Workshop

M 2:00-4:50. Dallas Hall 138. Cassedy.

Archives are where people put stories that they want to preserve. They’re also where they bury stories that they hope will be forgotten. What could we learn about the past if we looked at literature alongside diaries, love letters, scrapbooks, and the other textual remains that ordinary people leave behind? This course is a hands-on workshop on the theories, practices, and methods of using archival resources in literary studies. Designed to be useful to students working in any national, period, or genre specialization, this course will survey recent work being done with archives by literary and cultural historians, introduce students to a variety of archival resources, and provide practical training in working with physical and digitized materials. Each student will develop and undertake an archivally driven research project, culminating in a narrative essay that uses archival evidence to understand cultural and literary history anew.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
1320	001	Cultures of Medieval Chivalry	Wheeler	TTh	11:00	12:20	DH 115	2012: HC1, CA1, OC 2016: HC, LL, OC	LAI
1330	001	World of Shakespeare	Moss	MWF	10:00	10:50	DLSB 131	2012: CA1 2016: LL	LAI
1365	001	Literature of Minorities	Levy	TTh	2:00	3:20	HYER 200	2012: CA1, HD 2016: HD, LL	LAI, HD
1365	002	Literature of Minorities	González	TTh	11:00	12:20	DH 102	2012: CA1, HD 2016: HD, LL	LAI, HD
2102	001	Spreadsheet Lit: Excel	Dickson-Carr, C.	M	3:00	3:50	HYER 106
2102	002	Spreadsheet Lit: Excel	Dickson-Carr, C.	W	3:00	3:50	HYER 106
2302	001	Business Writing	Dickson-Carr, C.	TTh	12:30	1:50	VSNI 203	2012: IL, OC, W 2016: IL, OC, W	W
2302	002	Business Writing	Dickson-Carr, C.	TTh	2:00	3:20	VSNI 203	2012: IL, OC, W 2016: IL, OC, W	W
2311	001	Poetry: Serious Word Games	Bozorth	MWF	1:00	1:50	DH 138	2012: CA2, W 2016: LL, W	LAI, W
2311	002	Poetry	Luttrell	TTh	8:00	9:20	DH 101	2012: CA2, W 2016: LL, W	LAI, W
2311	003	Poetry	Caplan	MWF	10:00	10:50	DH 120	2012: CA2, W 2016: LL, W	LAI, W
2312	001	Fiction: The Global Novel	Hermes	MWF	2:00	2:50	DH 106	2012: CA2, W 2016: LL, W	LAI, W
2312	002	Fiction: The Global Novel	Hermes	MWF	3:00	3:50	DH 106	2012: CA2, W 2016: LL, W	LAI, W
2312	003	Fiction: Alt-Narratives in American Literature Since 1945	Urban	MWF	9:00	9:50	HCSH 107	2012: CA2, W 2016: LL, W	LAI, W
2312	004	Fiction: Shipwrecks & Their Spectators	Atkinson	TTh	9:30	10:50	DH 156	2012: CA2, W 2016: LL, W	LAI, W
2312	005	Fiction: Contemporary Short Stories since 1970: Salty, Thirsty, Savage, Woke	Rivera	MWF	11:00	11:50	DH 357	2012: CA2, W 2016: LL, W	LAI, W
2312	006	Fiction: Surveying Literary Novellas since 1965: Women on Top	Rivera	MWF	12:00	12:50	DH 156	2012: CA2, W 2016: LL, W	LAI, W
2312	007	Fiction: Contemporary Short Stories since 1970: Salty, Thirsty, Savage, Woke	Rivera	MWF	2:00	2:50	DH 156	2012: CA2, W 2016: LL, W	LAI, W
2313	001	CANCELED	CANCELED
2315	001	Introduction to Literary Study: The Interpretation of Culture	Cassedy	MWF	12:00	12:50	DH 138	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	002	Introduction to Literary Study: Black and Banned	Rivera	MWF	9:00	9:50	ACSH 225	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	003	Introduction to Literary Study	Goyne	TTh	9:30	10:50	DH 102	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	004	CANCELED	CANCELED
2390	001	Introduction to Creative Writing: Notice How You Notice	Condon	TTh	12:30	1:50	DH 351	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	002	Introduction to Creative Writing: Introduction to Fiction Writing	Rubin	M	2:00	4:50	CMRC 132	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	003	Introduction to Creative Writing: The Moves Writers Make	Hermes	MWF	12:00	12:50	DH 137	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	004	Introduction to Creative Writing: Short Form	Smith	TTh	11:00	12:20	DH 105	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	005	Introduction to Creative Writing	Lama	MWF	9:00	9:50	DH 343	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	006	Introduction to Creative Writing	Farhadi	MWF	2:00	2:50	ULEE 228	2012: CA1, W 2016: CA, W	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies	Sudan	TTh	12:30	1:50	DH 120
3320	001	Topics in Medieval Literature: Paradigms of Truth in Medieval Literature: Real Truths vs. Fake Truths	Amsel	TTh	9:30	10:50	CLEM 325	2012: CA2, W 2016: HFA, W	LAI, W
3340	001	Topics in British Literature in the Age of Revolutions: Austen, Bronte, Eliot	Satz	MWF	10:00	10:50	DH 115	2012: CA2, W 2016: HFA, W
3355	001	Transatlantic Encounters III: Feminist Theory & Spec Fiction	Boswell	TTh	9:30	10:50	DH 101	2012: CA2, GE, HD 2016: HFA, GE, HD	HD
3360	001	Topics in Modern and Contemporary American Literature: Violence and the Politics of Narrative at the US-Mexico Border	Sae-Saue	TTh	11:00	12:20	DH 152	2012: CA2, HD, OC, W 2016: HD, HFA, OC, W	LAI, W
3360	002	CANCELED	CANCELED
3362	001	CANCELED	CANCELED
3363	001	Chicana/Chicano Literature	González	TTh	2:00	3:20	DSLB 132	2012: CA2, HD, W 2016: HFA, HD, W	LAI, HD, W
3364	001C	CANCELED	CANCELED
3379	001	Literary and Cultural Contexts of Disability	Satz	MWF	9:00	9:50	DH 115	2012: CA2, HD, KNOW, OC, W 2016: HFA, HD, KNOW, OC, W	HD, OC, W
3390	001	Creative Writing Workshop: Advanced Poetry Workshop: Lyric Address and Apostrophe: Listen Up, I’m Talking to You	Condon	TTh	3:30	4:50	DH 137	2012: CA2, W 2016: HFA, W	W
3390	002	Creative Writing Workshop: Advanced Screenwriting Workshop	Rubin	W	2:00	4:50	DH 137	2012: CA2, W 2016: HFA, W	W
3390	003	Creative Writing Workshop: Character Development	Smith	TTh	12:30	1:50	DH 105	2012: CA2, W 2016: HFA, W	W
4321	001	Studies in Medieval Literature: Monsters and Marvels	Wheeler	MWF	1:00	1:50	DH 137	2012: HC2, IL, KNOW, W 2016: HSBS, IL, KNOW, OC, W
4343	001	Studies in British Literature in the Age of Revolutions: Victorian Gender & Sexuality	Newman	TTh	11:00	12:20	DH 120	2012: IL, OC 2016: IL, OC	OC
4360	001	Studies in Modern and Contemporary American Literature: Apocalypse Now and Then: Modern American Speculative Fiction	Dickson-Carr, D.	TTh	9:30	10:50	DH 120	2012: CA2, IL, OC 2016: HFA, IL, OC
4397	001	Distinction Seminar	Newman	TTh	2:00	3:20	DH 137
6310	001	Advanced Literary Study	Caplan	F	12:00	2:50	DH 120
6311	001	Survey of Literary Criticism	Sae-Saue	T	12:30	3:20	DH 138
6312	001	Teaching Practicum	Stephens	F	1:00	3:50	PRTH 200
6330	001	Proseminar in Early Modern British Literature: Early Modern English Drama: The Exclusive Backstage Pass	Moss	W	2:00	4:50	DH 138
7370	001	Seminar in Minority Literature: African American Critical Modalities: Satire, Humor, Rhetoric, and Theory	Dickson-Carr, D.	Th	2:00	4:50	DH 138
7372	001	Seminar in Transatlantic Literature: Archives Workshop	Cassedy	M	2:00	4:50	DH 138

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
2312	003	Fiction: Alt-Narratives in American Literature Since 1945	Urban	MWF	9:00	9:50	HCSH 107	2012: CA2, W 2016: LL, W	LAI, W
2315	002	Introduction to Literary Study: Black and Banned	Rivera	MWF	9:00	9:50	ACSH 225	2012: CA2, W 2016: CA, W	CA, CAA, W
2390	005	Introduction to Creative Writing	Lama	MWF	9:00	9:50	DH 343	2012: CA1, W 2016: CA, W	CA, CAC, W
3379	001	Literary and Cultural Contexts of Disability	Satz	MWF	9:00	9:50	DH 115	2012: CA2, HD, KNOW, OC, W 2016: HFA, HD, KNOW, OC, W	HD, OC, W
1330	001	World of Shakespeare	Moss	MWF	10:00	10:50	DLSB 131	2012: CA1 2016: LL	LAI
2311	003	Poetry	Caplan	MWF	10:00	10:50	DH 120	2012: CA2, W 2016: LL, W	LAI, W
3340	001	Topics in British Literature in the Age of Revolutions: Austen, Bronte, Eliot	Satz	MWF	10:00	10:50	DH 115	2012: CA2, W 2016: HFA, W
2312	005	Fiction: Contemporary Short Stories since 1970: Salty, Thirsty, Savage, Woke	Rivera	MWF	11:00	11:50	DH 357	2012: CA2, W 2016: LL, W	LAI, W
2312	006	Fiction: Surveying Literary Novellas since 1965: Women on Top	Rivera	MWF	12:00	12:50	DH 156	2012: CA2, W 2016: LL, W	LAI, W
2315	001	Introduction to Literary Study: The Interpretation of Culture	Cassedy	MWF	12:00	12:50	DH 138	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	003	Introduction to Creative Writing: The Moves Writers Make	Hermes	MWF	12:00	12:50	DH 137 DH 137 DH 137	2012: CA1, W 2016: CA, W	CA, CAC, W
2311	001	Poetry: Serious Word Games	Bozorth	MWF	1:00	1:50	DH 138	2012: CA2, W 2016: LL, W	LAI, W
4321	001	Studies in Medieval Literature: Monsters and Marvels	Wheeler	MWF	1:00	1:50	DH 137	2012: HC2, IL, KNOW, W 2016: HSBS, IL, KNOW, OC, W
2312	001	Fiction: The Global Novel	Hermes	MWF	2:00	2:50	DH 106	2012: CA2, W 2016: LL, W	LAI, W
2390	006	Introduction to Creative Writing	Farhadi	MWF	2:00	2:50	ULEE 228	2012: CA1, W 2016: CA, W	CA, CAC, W
3360	002	CANCELED	CANCELED
2312	002	Fiction: The Global Novel	Hermes	MWF	3:00	3:50	DH 106	2012: CA2, W 2016: LL, W	LAI, W
2390	002	Introduction to Creative Writing: Introduction to Fiction Writing	Rubin	M	2:00	4:50	CMRC 132	2012: CA1, W 2016: CA, W	CA, CAC, W
7372	001	Seminar in Transatlantic Literature: Archives Workshop	Cassedy	M	2:00	4:50	DH 138
2102	001	Spreadsheet Lit: Excel	Dickson-Carr, C.	M	3:00	3:50	HYER 106
3390	002	Creative Writing Workshop: Advanced Screenwriting Workshop	Rubin	W	2:00	4:50	DH 137	2012: CA2, W 2016: HFA, W	W
6330	001	Proseminar in Early Modern British Literature: Early Modern English Drama: The Exclusive Backstage Pass	Moss	W	2:00	4:50	DH 138
2102	002	Spreadsheet Lit: Excel	Dickson-Carr, C.	W	3:00	3:50	HYER 106
6310	001	Advanced Literary Study	Caplan	F	12:00	2:50	DH 120
6312	001	Teaching Practicum	Stephens	F	1:00	3:50	PRTH 200
2311	002	Poetry	Luttrell	TTh	8:00	9:20	DH 101	2012: CA2, W 2016: LL, W	LAI, W
2312	004	Fiction: Shipwreck & Their Spectators	Atkinson	TTh	9:30	10:50	DH 156	2012: CA2, W 2016: LL, W	LAI, W
2315	003	Introduction to Literary Study: Manner, Method, and Meaning	Goyne	TTh	9:30	10:50	DH 102	2012: CA2, W 2016: CA, W	CA, CAA, W
3320	001	Topics in Medieval Literature: Paradigms of Truth in Medieval Literature: Real Truths vs. Fake Truths	Amsel	TTh	9:30	10:50	CLEM 325	2012: CA2, W 2016: HFA, W	LAI, W
3355	001	Transatlantic Encounters III: Feminist Theory & Spec Fiction	Boswell	TTh	9:30	10:50	DH 101	2012: CA2, GE, HD 2016: HFA, GE, HD	HD
4360	001	Studies in Modern and Contemporary American Literature: Apocalypse Now and Then: Modern American Speculative Fiction	Dickson-Carr, D.	TTh	9:30	10:50	DH 120	2012: CA2, IL, OC 2016: HFA, IL, OC
1320	001	Cultures of Medieval Chivalry	Wheeler	TTh	11:00	12:20	DH 115	2012: HC1, CA1, OC 2016: HC, LL, OC	LAI
1365	002	Literature of Minorities	González	TTh	11:00	12:20	DH 102	2012: CA1, HD 2016: HD, LL	LAI, HD
2390	004	Introduction to Creative Writing: Short Form	Smith	TTh	11:00	12:20	DH 105	2012: CA1, W 2016: CA, W	CA, CAC, W
3360	001	Topics in Modern and Contemporary American Literature: Violence and the Politics of Narrative at the US-Mexico Border	Sae-Saue	TTh	11:00	12:20	DH 152	2012: CA2, HD, OC, W 2016: HD, HFA, OC, W	LAI, W
4343	001	Studies in British Literature in the Age of Revolutions: Victorian Gender & Sexuality	Newman	TTh	11:00	12:20	DH 120	2012: IL, OC 2016: IL, OC	OC
2302	001	Business Writing	Dickson-Carr, C.	TTh	12:30	1:50	VSNI 203	2012: IL, OC, W 2016: IL, OC, W	W
2390	001	Introduction to Creative Writing: Notice How You Notice	Condon	TTh	12:30	1:50	DH 351	2012: CA1, W 2016: CA, W	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies	Sudan	TTh	12:30	1:50	DH 120
3364	001C	CANCELED	CANCELED
3390	003	Creative Writing Workshop: Character Development	Smith	TTh	12:30	1:50	DH 105	2012: CA2, W 2016: HFA, W	W
1365	001	Literature of Minorities	Levy	TTh	2:00	3:20	HYER 200	2012: CA1, HD 2016: HD, LL	LAI, HD
2302	002	Business Writing	Dickson-Carr, C.	TTh	2:00	3:20	VSNI 203	2012: IL, OC, W 2016: IL, OC, W	W
2313	001	CANCELED	CANCELED
3362	001	CANCELED	CANCELED
3363	001	Chicana/Chicano Literature	González	TTh	2:00	3:20	DLSB 132	2012: CA2, HD, W 2016: HFA, HD, W	LAI, HD, W
4397	001	Distinction Seminar	Newman	TTh	2:00	3:20	DH 137
2315	004	CANCELED	CANCELED
3390	001	Creative Writing Workshop: Advanced Poetry Workshop: Lyric Address and Apostrophe: Listen Up, I’m Talking to You	Condon	TTh	3:30	4:50	DH 137	2012: CA2, W 2016: HFA, W	W
6311	001	Survey of Literary Criticism	Sae-Saue	T	12:30	3:20	DH 138
7370	001	Seminar in Minority Literature: African American Critical Modalities: Satire, Humor, Rhetoric, and Theory	Dickson-Carr, D.	Th	2:00	4:50	DH 138

Summer 2022

MAY & SUMMER SESSION 2022 COURSES

Cat #	Sec	Session	Course Title	Instructor	Day	Start	End	Room	UC	CC
3367	0011	S1	Ethical Implications of Children's Literature	Satz	M-F	10:00	11:50	DH 138	2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, W	HD, OC, W
3379	0011	S1	CANCELED	CANCELED						HD, OC, W
3385	0011	S1	Literature of the Holocaust	Mueller	M-F	12:00	1:50	DH 143	2012: CA2, HD, OC, W 2016: HFA, HD, OC, W	HD, OC, W
2302	0012	S2	Business Writing	Dickson-Carr, C.	M-F	2:00	3:50	ULEE 242	2012: IL, OC, W 2016: IL, OC, W	W
2311	0012	S2	Poetry	McConnell	M-F	10:00	1150	DH 149	2012: CA2, W 2016: LL, W	LAI, W
2390	0012	S2	Introduction to Creative Writing: Notice How You Notice	Condon	M-F	2:00	3:50	DH 156	2012: CA1, W 2016: CA, W	CA, CAC, W

MAY & SUMMER 2022 SESSION

COURSE DESCRIPTIONS

ENGL 3367-0011— Ethical Implications of Children’s Literature

M – F 10:00-11:50. Dallas Hall 138. Satz. 2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, W

An opportunity to revisit childhood favorites and to make new acquaintances, armed with the techniques of cultural, literary, and philosophical criticism. This course ranges from fairy tales through picture books and young children’s chapter books to young adult fiction. This course will examine literature from an ethical perspective, particularly notions of morality and evil, with emphasis upon issues of colonialism, race, ethnicity, gender, sexual identity, and class. Examples of texts: Snow White, accompanied by critical essays; picture books such as Where 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; books for young adults such as Wonder and Absolute True Diary of a Part-time Indian. Four short papers and a final.

ENGL 3379-0011—Contexts of Disability

M – F 12:00-1:50. Dallas Hall 138. Satz. 2012: CA2, KNOW, HD, OC, W
2016: HFA, KNOW, HD, W

ENGL 3385-0011— Literature of the Holocaust

M – F 12:00-1:50. Dallas Hall 134. Mueller. 2012: CA2, HD, OC, W 2016: HFA, HD, W CC: HD, OC, W

How can a few pages of a short story or lines of a poem shed light upon something as horrific as the Holocaust? In this course, we will examine how various Holocaust literary genres illuminate our understanding of the atrocities that took place across Europe during the Holocaust. In this course, we will examine how the Holocaust is represented in literature. This course is a writing-based seminar course and will consists of short analytical writing responses, essay, and one final analytical research essay.

ENGL 2302-0012— Business Writing

M – F 2:00-3:50. Umphrey Lee 242. Dickson-Carr, C. 2012: IL, OC W 2016: IL, OC, W

ENGL 2311-0012—Poetry

M – F 10:00-11:50. Dallas Hall 149. McConnell. 2012: CA2, W 2016: LL, W CC: LAI, W

In 1910, the poet William Henry Davies complained, “What is this life, if full of care, / We have no time to stand and stare.” In the eleventy-two years since then, changes in lifestyle and advances in communication technology—from television to texts to tweets—have nearly destroyed our capacity for standing and staring. Poetry is the antidote to this trend. Poetry yields itself slowly. Poetry demands that we silence distractions and pause in our frantic rushing from place to place. And in so doing, it heals us. In this summer course, we will pursue an immersive, meditative program of standing and staring at a huge range of texts, from medieval Finnish epic to 21st-century Instapoetry. We will read poems carefully and insightfully, so that we can truly understand and appreciate our objects of study. There are precious few opportunities in this hectic life to stand and stare, and this course is one of them. The authors that we will study include William Shakespeare, John Milton, William Wordsworth, Elizabeth Barrett Browning, Countee Cullen, Pablo Neruda, Stevie Smith, and the astoundingly prolific Anonymous (to name but a few).

ENGL 2390-0012— Introduction to Creative Writing:
Notice How You Notice

M – F 2:00-3:50. Dallas Hall 156. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

Spring 2022

ENGL 1320-001—Cultures of Medieval Chivalry

TTh 11:00-12:20. Elizabeth Perkins Prothro Hall 100. Goyne. 2012: CA1, HC1, OC 2016: HC, LL, OC CC: LAI

ENGL 1365-001—Literature of Minorities

MWF 2:00-2:50. Dallas Hall 306. Satz. 2012: CA1, HD 2016: LL, HD CC: LAI, HD

An introduction to the literature of racial and ethnic minorities, immigrants, the disabled, and the LGBTQ community. This course will investigate such common themes as alienation, oppression from the dominant community and oneself, and divergent cultural values. It will also explore such current controversial topics as diversity, inclusion and critical race theory. Literary and theoretical works will be included. Mid-term, final, and two short papers.

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50. Fondren Science 157 101. Dickson-Carr, Carol.

This course is an introduction to Excel 2019 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 the results of their analyses in clear, readable prose. Laptops required real-time in the classroom with the latest version of Excel.

ENGL 2102-002—Spreadsheet Lit: Excel

W 3:00-3:50. Fondren Science 157. Dickson-Carr, Carol.

ENGL 2302-001—Business Writing

TTh 12:30-1:50. Dallas Hall 343. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: 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. Dallas Hall 343. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

ENGL 2310-001— Imagination and Interpretation: Shipwrecks and Survival

MWF 2:00-2:50. Umphrey Lee 228. Atkinson. 2012: CA2, W 2016: LL, W CC: CA, CAA, W

“To see a ship tossed, and threatened every moment by the merciless waves,” says the Roman philosopher Lucretius, “is a spectacle which those that stand safe at shore, cannot but behold with pleasure as well as compassion.” In our class we will put ourselves in the position of both the spectator and the sailor as we explore one of the most ancient and enduring literary subjects: the shipwreck. Our course will begin on dry land, where we will ponder why humans are compelled to leave safe harbors for the danger of the high seas. As the semester progresses we will use literary texts – novels, short stories, and poetry – as well as true accounts, to trace an oceanic voyage culminating in the terror of shipwreck. Finally we will find ourselves on a distant shore, contemplating the physical and psychological transformations produced by disaster – what Shakespeare calls “something rich and strange.” Shipwreck compels us to ask questions about human longing and curiosity, about our relationship with oceans, and about the miracle of salvation. The writings of Homer, Shakespeare, Aphra Behn, Defoe, Poe, and others will guide us as we plunge “full fathom five” into the history of the shipwreck tale.

ENGL 2311-001—Introduction to Poetry

MWF 10:00-10:50. Clements 334. Newman. 2012: CA2, W 2016: LL, W CC: LAI, W

“I, too, dislike it,” the poet Marianne Moore famously said about poetry; “there are things that are important beyond all this fiddle.” She is acknowledging the difficulty many readers have making sense of what is ostensibly written for pleasure and yet requires that we do some kind of intellectual or imaginative work. After all, 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, not of information. No wonder poetry sometimes seems alien to us, and why we need to learn to read it. Learning to do so provides something useful nevertheless: a sharpened awareness of how language works. It can also bring a pleasure that grows on you slowly—or all at once.

Texts: Helen Vendler’s Poems, Poets, Poetry and others TBD. Assignments: four shorter papers of increasing length, totaling 15-20 pages; 1-2 presentations; frequent discussion board postings; occasional short exercises; midterm and final exams.

ENGL 2311-002—Introduction to Poetry

TTh 9:30-10:50. Dallas Hall 138. Rosendale. 2012: CA2, W 2016: LL, W CC: LAI, W

Life is better with poetry. 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 supercool and worth caring a lot about. 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 and then to pleasure. We’ll read lots of great poems, quite a few good ones, and a few terrible 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 argue sometimes about what a poem means, but it will be okay: that’s part of how thoughtful, interesting reading works. We’ll become better readers, thinkers, and writers. 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.

ENGL 2312-001—Introduction to Fiction: Visions of Environmental Destruction

MWF 8:00-9:20. Harold Clark Simmons Hall 107. Spencer. 2012: CA2, W 2016: LL, W CC: LAI, W

Biologists have been warning us since the 1960s that we are irrevocably changing the natural world around us. In the 1980s scientists started talking about human-caused climate change, and in 2008, geologists formally proposed a name tying the planet’s sixth mass extinction to human activity—the Anthropocene. But while scientists have created models to predict the changing world around us, fiction writers have imagined its impact on individuals and society in varying and creative ways. In this course we will learn common approaches to literary analysis through the work of recent U.S. novelists who have wrestled with this environmental breakdown or prophesied an ecological apocalypse to come. Whether our demise comes about through uncontrollable global warming, nuclear holocaust, a global epidemic, or the slow decay of our bodies due to our own toxic waste, U.S. writers use fiction to reflect on our world by imagining a possible future where greed, blindness, or just sheer stupidity (as Vonnegut would say, “thanks, big brain”) tip our world into destruction. Potential novels to read this semester include Kurt Vonnegut’s Galapagos, Octavia Butler’s Parable of the Sower, Leslie Marmon Silko’s Ceremony, and Ana Castillo’s So Far from God. Some of these works are hopeful and some are not, but all of them imagine the moments in which human beings face the inevitable consequences of our own choices as a species.

ENGL 2312-002—Introduction to Fiction: The Dark Side of American Literature

TTh 3:30-4:50. Dallas Hall 153. Degrasse. 2012: CA2, W 2016: LL, W CC: LAI, W

This course is an introduction to fictional American literature from the early 19th to the mid-20th centuries with a particular emphasis on Gothic elements. The American Gothic, according to literary critic Charles L. Crow, is “the imaginative expression of the fears and forbidden desires of Americans… [and] it offers a forum for discussing some of the key issues of American society, including gender and the nation’s continuing drama of race.” This course will cover a variety of fictional texts from the Gothic genre and will interrogate what it is about Gothic themes, elements, and plots that American authors have found so useful in their explorations of central issues in American society. How can seemingly fantastic, supernatural, grotesque, and terrifying stories provide grounds for serious discussions and critiques of life in America three hundred years later? We will think about these and other questions throughout the course of the semester. Possible texts: The Turn of the Screw by Henry James, Hangsaman by Shirley Jackson, and short stories by Washington Irving, Nathaniel Hawthorne, Edgar Allan Poe, H.P. Lovecraft, Charlotte Perkins Gilman, Edith Wharton, and Shirley Jackson.

ENGL 2312-003—Introduction to Fiction: There’s Gotta Be Something Better Than This

MWF 9:00-9:50. Dallas Hall 105. Hennum. 2012: CA2, W 2016: LL, W CC: LAI, W

Do we want our world to be different? Could it be different? Can fiction help us imagine a different world? Can fiction help us make a different world? What is the difference between fiction and the world, anyways? Where does the one end and the other begin? In this course, we will study these questions by looking at works of fiction that complicate our understanding of this category, as well as fictions that ask us to think critically and creatively about the worlds that produced them and the worlds in which they are read. Along the way, we will think extensively and intensively about our world, our place in it, and fiction’s relationship to both.

ENGL 2313-001—Introduction to Drama: The Modern Irish Stage

TTh 9:30-10:50. Dallas Hall 115. Connery. 2012: CA1, OC, W 2016: LL, OC, W

The drama of Ireland in the twentieth century developed simultaneously with the struggle for independence from Great Britain and with a volatile debate about national identity. Irish theatre subsequently produced playwrights and work that quickly achieved renown throughout the English-speaking world: W.B. Yeats, Lady Augusta Gregory, Sean O’Casey, George Bernard Shaw, Samuel Beckett, Brian Friel, Marina Carr, Conor McPherson, and Martin McDonagh, among others.

Throughout this course, we’ll think about how the plays respond to and represent their social and political context, and we’ll practice using our theatrical imagination to think about these scripts in performance, exploring how the essential nature of drama – its immediacy, its public nature, its exchanges between performer and audience, and its calls to judgment – make it a particularly effective vehicle for social and political expression.

Curiosity is the major course pre-requisite, and a commitment to diligent reading and active participation is the major requirement for the course. No prior knowledge of Irish history or culture or of drama is expected. Class meetings will be primarily discussion with some lecture. Students will share a weekly reading response, take a short factual quiz on each play, and write two take-home tests.

ENGL 2313-002—Introduction to Drama: Acting Like an American

CANCELED

ENGL 2314-001H Introduction to Poetry

TTh 12:30-1:50. Dallas Hall 137. Rosendale. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2315-001—Introduction to Literary Study: Identity and Difference

MWF 2:00-2:50. Dallas Hall 143. Pergadia. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

How does literature represent identity and how does it approach encounters with difference? In this course, we will read literary texts alongside recent criticism in order to develop a vocabulary and skillset for further work in literary studies. We will discuss the relationship between literature and history and between literature and philosophy, attending to questions of race, gender, sexuality, and citizenship. One of the main questions we will ask: How do texts address us as readers and how do we respond to their address? As we discern what is at stake in being a reader, we will learn how to unpack the way a text generates its meaning. Tentative reading list includes works by William Shakespeare (The Merchant of Venice), Eliza Haywood (Fantomina), Mary Shelley, (Frankenstein), Nella Larsen (Passing), Toni Morrison (“Recitatif”), and Claudia Rankine (Citizen).

ENGL 2315-002— Introduction to Literary Study: Seeing & Being Seen

TTh 9:30-10:50. Embrey Engineering 129. Kiser. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

This class will introduce you to a variety of genres and how they make meaning in their own unique ways by exploring the class theme “Seeing and Being Seen.” We will move through the semester by asking questions such as: How do we “see” knowledge or meaning in text? How are characters, plots, and tropes made visible? Is what is not visible in a text just as important—or even more so—than what we do see? What are the politics of visibility? And perhaps most importantly, do texts play hide and seek? Our class will progress towards answering these questions, and many more, through fiction, non-fictional prose, poetry, tv, and film. We will draw from works by a variety of authors such as Nathaniel Hawthorne, Henry James, Ann Petry, Claude McKay, Sherwood Anderson, Elizabeth Bishop, and more.

ENGL 2390-001—Introduction to Creative Writing: Intro to Short-Form Creative Writing

TTh 11:00-12:20. Dallas Hall 152. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-002—Introduction to Creative Writing

M 2:00-4:50. Harold Clark Simmons Hall 318. Rubin. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

An introductory workshop that will focus on the fundamentals of fiction writing. Students will learn the essential practice of "reading like a writer" while developing their own work and discussing their classmates'.

ENGL 2390-003—Introduction to Creative Writing: The Writer’s Toolkit

MW 10:30-11:50. Dallas Hall 138. Hermes. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

This course will explore the foundational aspects of creative writing in poetry and fiction. To prepare ourselves to write our own stories and poems, we will begin by reading published work along with craft essays that talk about the writing process. These readings are meant to stimulate discussion about what makes a successful poem or story and to provide models for your own creative work.

During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. It is important, therefore, that all students engage in active and respectful participation every class meeting, so that we can all make the most of this opportunity to sharpen our critical and creative skills.

ENGL 2390-004—Introduction to Creative Writing: Analyzing and Writing Poetry: A Writer’s Guide

MWF 12:00-12:50. Dallas Hall 149. Rivera. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

This course is designed both for beginning writers who have never had the opportunity to study poetry-writing in a classroom setting and for more experienced writers striving to improve the fragile braid that is content, communication, and craft. Students will learn the fundamental elements of poetry, practice literary analysis and critique, improve their creative and critical writing skills, and thoughtfully consider their work as well as that of others via annotated and facilitated dialogue. Students should be willing to hone their poems by testing various techniques, styles, formats, and aesthetics and experimenting with what they have written to develop a small writing portfolio and a better understanding of what being a practicing writer means.

ENGL 2390-005—Introduction to Creative Writing: Analyzing and Writing Short Fiction: Life & Death

MWF 2:00-2:50. Dallas Hall 101. Rivera. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

Fiction inundates us with a constant fare of death, divorce, destruction, disillusion, dysfunction, and dystopia—and simultaneously offers escape, revelation, return. In this course, we will annotate, read, discuss, argue the merits and failures of the genre in addition to writing short stories that test which components a writer may include or exclude to create plot. As we explore the current limits of the form, we will attempt a radical reimagining of what we consider inexorable rules. This course familiarizes students with the fears and risks and conflicts and failures inherent to writing any specific narrative of our culture, even as we immerse ourselves in other milieus—real and imagined—trying to impart greater understanding of the human condition. Via writing vignettes and stories, students will learn to incorporate daily observations and consider how these ideas may fit into or shape their narrative vision. When we invest ourselves in either portraying or witnessing life’s exigencies as well as experiencing its conflicts, we commit ourselves to the ongoing work of defining what living might mean.

ENGL 2390-006—Introduction to Creative Writing: Next Year’s Words

Th 3:30-6:20. Dallas Hall 137. Brownderville. 2012: CA1, W 2016: CA, W CC: CA, CAC, 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 books already engage 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-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.

Next Year’s Words is about the tremendously exciting, and culturally necessary, adventure of the young writer. It’s about singing truth-song in a voice not heard before on earth.

This year can’t write the poems of 2022. Next year’s poetry needs next year’s words.

ENGL 2390-007—Introduction to Creative Writing: Crafting Lyrical Gestures

MWF 11:00-11:50. Dallas Hall 357. Rivera. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

Small, intimate, bodily gestures possess the ability to illuminate everything from motives and intentions to physical and psychological states. What is true of the body is also true of the written word: creative writers deploy allusive gestures to the arts, history, regions, academic fields of study, and popular culture — sometimes working with and sometimes against what the text is doing aurally and structurally. Focusing on these figurative nods, this course provides intermediate to advanced practice in the craft of poetry and poetics vis-à-vis the fine balance of playfulness and emotion embedded in the creative process. By exploring literary nods and gestures in the work of contemporary poets of the United States (from the 1960s to present day), we will investigate our own assumptions, biases, and prejudices about who makes up the canon of American letters—especially considering the linguistic diversity of the personal and cultural landscapes from which we all pull.

ENGL 3310-001—Research and Critical Writing for Literary Studies

MW 9:00-10:20. Elizabeth Perkins Prothro Hall 223. Greenspan.

This is a gateway course to the English major designed as an intensive introduction to the study of literary texts. It explores several key questions: What is a text? What are some of the approaches thoughtful critics have taken in recent years to the analysis of texts? How do we as readers make sense both of texts and of their critics? How do paths and pathways to texts change in a digitized, multimediated environment? And how, in practice, does each of us progress from the reading and researching to the written analysis of texts?

The course consists of five modules in which we explore these questions in relation to a handful of major literary texts of the nineteenth and twentieth centuries. In each one, we will employ a combination of lecture, discussion group activity, and writing exercises with the goal of refining our critical thinking, reading, and writing skills.

ENGL 3341-001— British Literary History II: The Ordinary, Extraordinary, and "Real"

MWF 1:00-1:50. Elizabeth Perkins Prothro Hall 100. Newman. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, W

Officially known as “Wordsworth through Yeats,“ this course familiarizes students with some of the main currents in British literature during the Romantic, Victorian, and Modern periods--that is, from the “Age of Revolutions” beginning around 1780 to the period between the two World Wars. We begin with the self-conscious turn in the Romantic period to the language of ordinary people and the experiences of ordinary life. But we also consider the continuing attraction of the strange, the unusual, and the visionary that gripped both readers and writers throughout all three historical periods. And we attend to the ways that the literary imagination, beginning with the Romantics, finds the extraordinary in the ordinary and recalibrates its sense of the real and how to represent it.

We will give significant attention to the social and historical contexts to which writers were responding. Therefore, though we will focus on big-name, canonical British writers (e.g., Blake, Wordsworth, Dickens, Woolf), we will also include some lesser-known Black and women writers. In short, we will trace a story about the canon of British literature, while keeping in mind that there are other ways of telling the story. The writing assignments are designed to help you learn the skills of close reading and improve your written expression. About 15-20 pages of formal paper-writing (3-4 papers, including one with a creative options); three timed exams (one on each of the literary periods); frequent small “low-stakes” homework assignments to practice the skills.

Texts: An anthology, to be determined; Dickens, A Christmas Carol; Woolf, Mrs. Dalloway.

ENGL 3366-801—American Literary History II: America the Multiple

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

Lecture: MW 12:00–12:50. Hyer 201. Greenspan.

Enrollment in one discussion section is required:

Discussion section 001: F 12:00–12:50. Umphrey Lee 233. Rhodes.

Discussion section 002: F 12:00–12:50. Dallas Hall 105. Thriffiley.

Our course will explore a wide variety of fictional voices and visions produced in America over the period 1900 to the present. A continuing focus will be on ways that writers interrelate historical and fictional time. This version of the generic "American Literary History II" is specifically offered with an awareness that it comes at a time of extraordinary historical instability, agitation, and activism in the United States. History lives! Readings are chosen to reflect issues of current concern that have roots in our history, such as immigration, racial division, gender authority, control over the writing and interpretation of the past, and the relationship between media and the public sphere. Our intent and goal is to provide means for each of us to arrive at a fuller understanding of our rich cultural heritage (however each of us defines it) and a finer-grained appreciation of the grounding of current issues in earlier times.

Writers to include Abraham Cahan (The Rise of David Levinsky), Willa Cather (My Antonia), Gertrude Stein (Melanctha), Ernest Hemingway (In Our Time), Flannery O'Connor ("Good Country People" and "A Good Man Is Hard to Find"), Toni Morrison (Song of Solomon), Octavia Butler (Kindred), Maxine Hong Kingston (The Woman Warrior), and Richard McGuire (Here).

ENGL 3367-001— Ethical Implications of Children's Literature

MWF 1:00-1:50. Dallas Hall 357. Satz. 2012: CA2, HD, KNOW, OC, W 2016: HFA, HD, KNOW, OC, W CC: HD, OC, W

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

T 3:30-6:20. Dallas Hall 137. Rubin. 2012: CA2, W 2016: HFA, W CC: 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, consoling, and even spooky? In addition to studying the work of contemporary authors—and the writers who influenced them—students will be asked to read interviews and essays. This class is a fiction-writing workshop with an emphasis on reading and craft.

ENGL 3390-002— Creative Writing Workshop: Creating Fiction

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

ENGL 3390-003— Creative Writing Workshop: Poetry: Crafting Lyrical Gestures

CANCELED

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

MWF 12:00-12:50. Dallas Hall 138. 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 4339-001— Transatlantic Studies I: The Archives Workshop

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

Archives are where people put stories that they want to preserve. They’re also where they bury stories that they hope will be forgotten. What could we learn about the past if we looked at literature alongside diaries, love letters, scrapbooks, and the other textual remains that ordinary people leave behind? This course is a hands-on workshop on using archival resources in literary studies. We’ll dig into the lives of obscure and not-so-obscure individuals from the eighteenth, nineteenth, and twentieth centuries, using both physical and digitized archives. We’ll try to see what the past looks like through their eyes, and we’ll compare that with what it looks like through the eyes of several canonical authors. Each student will undertake an archival research project, culminating in a narrative essay that uses archival evidence to understand cultural and literary history anew.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Queer America

W 2:00-4:50. Dallas Hall 137. Edwards. 2012: CA2, IL, OC 2016: HFA, IL, OC

What does it mean to have a sexual identity? How does the concept of sexuality change over time? How have people described their desires and expressed their erotic feeling? This course examines a range of American voices that engage in queer desire, identity, and conceptions of the family. Beginning with these questions, the course looks to canonical and non-canonical authors to explore a multitude of perspectives on sexuality. Although the regulation of gender and sexual behavior—and transgression of sex/gender norms—have been central to American culture from its beginnings, this course focuses on texts from the second half of the nineteenth century through the very contemporary. By addressing these concerns, students will come to their own questions of the texts that go beyond finding moments of heightened desire and sexual transgressions. How do moments of quiet contemplation or moments of camp, play, and protest become places for queerness? With help from queer theorists and social historians, we will pay close attention to how discourses shape queer expression, and how queer authors have changed culture. It will thus be important for us to interrogate not only the meaning of “American” and “queer” but what is likewise the consequence of labeling these texts as part of a canon. The course will end, then, with a reflection on what we missed, the potential pitfalls of interdisciplinarity, and the problems that might emerge from an (over)emphasis on sexuality in the practice of queer theory and analysis.

ENGL 6330-001— Early Modern British Literature: Worldmakers

M 2:00-4:50. Dallas Hall 138. Sudan

We are all global subjects, or so the saying goes, and even in these restrictive times of the plague, we still turn to other ways to access the “world” from our desks. But what counts as “the” world? “A” world? What sensory evidence do we use to convince ourselves that the world exists as an epistemological phenomenon? Focusing on early modern Europe—a historical period that extends through the eighteenth century--this course will explore the various human and non-human environments that shape our collective understanding of worlds, worlding, and, finally, the world. We will question the myriad assumptions underwriting and informing that innocent yet definitive article and question, as James C. Scott does, the “imposition of a single political authority” upon a variety of ecological settings.

ENGL 6360-001— Modern and Contemporary American Literature: Violence and its Telling in the US West

F 12:00-2:50. Dallas Hall 137. Sae-Saue

With a focus on the novel, this course will explore regional, national, and international violence in the contexts of ethnic communities of the US West. The texts we will read will address several seismic moments of US history and a range of social crisis, including: expansionism and settler colonialism; The US-Mexico War; The Seditionist Movement of South Texas; ecological destruction; regional mass incarceration, civil-rights uprisings, immigration, poverty, and more. In particular, students will study how ethnic art negotiates this regional violence as a political culture, including how it resists and may be complicit with forms of regional and ethnic oppression.

ENGL 7311-001—Seminar in Literary Theory: Theories and Methods in American Studies

Th 3:00-5:50. Dallas Hall 138. Edwards.

This course is an interdisciplinary introduction to American Studies, beginning by addressing the vexed and recurring question of “What is American Studies?” and continue to explore a variety of themes, theoretical influences, and methodological approaches currently alive in the field, particularly engaging perspectives on globalization and transnationalism, representational and semiotic communication, material and visual evidence, popular and consumer culture, and individual and group identity formations. During the semester, you will have the opportunity to craft an autobiographical statement, lead a class discussion, review and report on a variety of readings, design an American Studies syllabus, and review and assess critical work in the field.

ENGL 7370-001—Seminar in Minority Literature: Comparative Race and Ethic Relations

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

Beyond the dyad of black/white American racial politics are encounters, conflicts, and alliances between multiple racial and ethnic minority groups. This course traces the common goals and conflicts between African American, Asian American, Latinx, and the eclipsed Native American presence in the U.S. to ask: How do racial alliances form? What are the political possibilities or pitfalls of racial analogy in either building coalition or erasing difference? We’ll read literature by minority writers alongside efforts in sociology, law, and critical/comparative race/ethnic studies that comprehend or aim to police racial imaginaries in a diverse America. Given the pitfalls of multiculturalism and post-racial discourse, we seek a language, comparative method, and narrative to make sense of America’s myriad minority racial forms. We’ll investigate, for example, the relationship between chattel slavery and Asiatic coolieism, between the Civil Rights Movement and immigration reform. How does literature, film, and art respond to the shifting terrain of U.S. race relations to reimagine multi-racial coalitions?

Primary texts may include: W.E.B. Du Bois’s Dark Princess (1928), Charles Johnson’s Oxherding Tale (1982), Spike Lee’s Do the Right Thing (1989), Anna Deavere Smith’s Twilight: Los Angeles (1992), Patricia Powell’s The Pagoda (1998), Cristina Garcia’s Monkey Hunting (2003), Toni Morrison’s A Mercy (2008), Shailja Patel’s Migritude (2008), Karen Tei Yamashita’s I Hotel (2010), Ishmael Reed’s Conjugating Hindi (2018), Cathy Park Hong’s Minor Feelings: An Asian American Reckoning (2020)

ENGL 7376-001—Seminar: Special Topics: The Lure of the Middle Ages

W 2:00-4:50. Dallas Hall 120. Wheeler.

Why do we (contemporary audiences) find medieval texts and objects deeply seductive at the same time that we recoil from their perceived difference, difficulty, and political deviance? The highly valorized English medieval writers Chaucer and Malory form the core of our common work but we share responsibility for designing our seminar around varieties of genres and authors.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
1320	001	Cultures of Medieval Chivalry	Goyne	TTh	11:00	12:20	PRTH 100	2012: CA1, HC1, OC 2016: HC, LL, OC	LAI
1365	001	Literature of Minorities	Satz	MWF	2:00	2:50	DH 306	2012: CA1, HD 2016: LL, HD	LAI, HD
2102	001	Spreadsheet Lit: Excel	Dickson-Carr, C.	M	3:00	3:50	FOSC 157
2102	002	Spreadsheet Lit: Excel	Dickson-Carr, C.	W	3:00	3:50	FOSC 157
2302	001	Business Writing	Dickson-Carr, C.	TTh	12:30	1:50	DH 343	2012: IL, OC, W 2016: IL, OC, W	W
2302	002	Business Writing	Dickson-Carr, C.	TTh	2:00	3:20	DH 343	2012: IL, OC, W 2016: IL, OC, W	W
ENGL/ WRTR 2306	001H	Honors Humanities Seminar II	Arbery	MWF	9:00	9:50	ACSH 138	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	002H	Honors Humanities Seminar II	Arbery	MWF	10:00	10:50	ACSH 138	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	003H	Honors Humanities Seminar II	Arbery	MWF	11:00	11:50	ACSH 138	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	004H	Honors Humanities Seminar II	Ryberg	MWF	11:00	11:50	PRTH 203	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	005H	Honors Humanities Seminar II	Hopper	MWF	12:00	12:50	VSNI 203	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	006H	Honors Humanities Seminar II	Hopper	MWF	1:00	1:50	VSNI 203	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	007H	Honors Humanities Seminar II	Hopper	MWF	2:00	2:50	VSNI 203	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	008H	Honors Humanities Seminar II	McConnell	TTh	9:30	10:50	MCEL 137	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	009H	Honors Humanities Seminar II	McConnell	TTh	11:00	12:20	MCEL 137	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	010H	Honors Humanities Seminar II	Levy	TTh	11:00	12:20	HCSH 318	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	011H	Honors Humanities Seminar II	McConnell	TTh	12:30	1:50	MCEL 137	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	012H	Honors Humanities Seminar II	Roudabush	TTh	12:30	1:50	FOSC 155	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	013H	Honors Humanities Seminar II	McConnell	TTh	2:00	3:20	MCEL 137	2012: CA1, W 2016: CA, W	CA, CAA, W
2310	001	Imagination and Interpretation: Shipwrecks and Survival	Atkinson	MWF	2:00	2:50	ULEE 228	2012: CA2, W 2016: CA, W	CA, CAA, W
2311	001	Poetry	Newman	MWF	10:00	10:50	CLEM 334	2012: CA2, W 2016: LL, W	LAI, W
2311	002	Poetry	Rosendale	TTh	9:30	10:50	DH 138	2012: CA2, W 2016: LL, W	LAI, W
2312	001	Fiction: Visions of Environmental Destruction	Spencer	MWF	8:00	8:50	HCSH 107	2012: CA2, W 2016: LL, W	LAI, W
2312	002	Fiction: The Dark Side of American Literature	Degrasse	TTh	3:30	4:50	DH 153	2012: CA2, W 2016: LL, W	LAI, W
2312	003	Fiction: There’s Gotta Be Something Better Than This	Hennum	MWF	9:00	9:50	DH 105	2012: CA2, W 2016: LL, W	LAI, W
2313	001	Drama: The Modern Irish Stage	Connery	TTh	9:30	10:50	DH 115	2012: CA1, OC, W 2016: LL, OC, W
2313	002	CANCELED	CANCELED					2012: CA1, OC, W 2016: LL, OC, W
2314	001H	Poetry	Rosendale	TTh	12:30	1:50	DH 137	2012: CA2, W 2016: LL, W	LAI, W
2315	001	Introduction to Literary Study: Identity and Difference	Pergadia	MWF	2:00	2:50	DH 143	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	002	Introduction to Literary Study: Seeing & Being Seen	Kiser	TTh	9:30	10:50	EMBY 129	2012: CA2, W 2016: CA, W	CA, CAA, W
2390	001	Introduction to Creative Writing: Intro to Short-Form Creative Writing	Smith	TTh	11:00	12:20	DH 152	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	002	Introduction to Creative Writing	Rubin	M	2:00	4:50	HCSH 318	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	003	Introduction to Creative Writing: The Writer's Toolkit	Hermes	MW	10:30	11:50	DH 138	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	004	Introduction to Creative Writing: Analyzing and Writing Poetry: A Writer’s Guide	Rivera	MWF	12:00	12:50	DH 149	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	005	Introduction to Creative Writing: Analyzing and Writing Short Fiction: Life & Death	Rivera	MWF	2:00	2:50	DH 101	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	006	Introduction to Creative Writing: Next Year's Words	Brownderville	Th	3:30	6:20	DH 137	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	007	Introduction to Creative Writing: Crafting Lyrical Gestures	Rivera	MWF	11:00	11:50	DH 357	2012: CA1, W 2016: CA, W	CA, CAC, W
310	001	Research and Critical Writing for Literary Studies	Greenspan	MW	9:00	10:20	PRTH 223
3341	001	British Literary History II: The Ordinary, Extraordinary, and "Real"	Newman	MWF	1:00	1:50	PRTH 100	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
3366	801	American Literary History II: America the Multiple	Greenspan	MW	12:00	12:50	HYER 201	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
3366	N10	American Literary History II	Pollard	F	12:00	12:50	ULEE 233
3366	N20	American Literary History II	Thriffiley	F	12:00	12:50	DH 105
3367	001	Ethical Implications of Children's Literature	Satz	MWF	1:00	1:50	DH 357	2012: CA2, HD, KNOW, OC, W 2016: HFA, HD, KNOW, OC, W	HD, OC, W
3390	001	Creative Writing Workshop: The World of the Unseen	Rubin	T	3:30	6:20	DH 137	2012: CA2, W 2016: HFA, W	W
3390	002	Creative Writing Workshop: Creating Fiction	Smith	TTh	12:30	1:50	DH 152	2012: CA2, W 2016: HFA, W	W
3390	003	CANCELED	CANCELED
4332	001	Studies in Early Modern British Literature: Sex and the City in the 18C	Sudan	MWF	12:00	12:50	DH 138	2012: IL, OC 2016: IL, OC
4339	001	Transatlantic Studies I: The Archives Workshop	Cassedy	TTh	12:30	1:50	DH 138	2012: IL, OC 2016: IL, OC
4360	001	Studies in Modern and Contemporary American Literature: Queer America	Edwards	W	2:00	4:50	DH 137	2012: CA2, IL, OC 2016: HFA, IL, OC
6330	001	Early Modern British Literature: Worldmakers	Sudan	M	2:00	4:50	DH 138
6360	001	Modern and Contemporary American Literature: Violence and its Telling in the US West	Sae-Saue	F	12:00	2:50	DH 137
7311	001	Seminar in Literary Theory: Theories and Methods in American Studies	Edwards	Th	3:00	5:50	DH 138
7370	001	Seminar in Minority Literature: Comparative Race and Ethic Relations	Pergadia	T	3:30	6:20	DH 138
7376	001	Seminar, Special Topics: The Lure of the Middle Ages	Wheeler	W	2:00	4:50	DH 120

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
2312	001	Fiction: Visions of Environmental Destruction	Spencer	MWF	8:00	8:50	HCSH 107	2012: CA2, W 2016: LL, W	LAI, W
ENGL/ WRTR 2306	001H	Honors Humanities Seminar II	Arbery	MWF	9:00	9:50	ACSH 138	2012: CA1, W 2016: CA, W	CA, CAA, W
2312	003	Fiction: There's Gotta Be Something Better Than This	Hennum	MWF	9:00	9:50	DH 105	2012: CA2, W 2016: LL, W	LAI, W
2313	002	CANCELED	CANCELED					2012: CA1, OC, W 2016: LL, OC, W
ENGL/ WRTR 2306	002H	Honors Humanities Seminar II	Arbery	MWF	10:00	10:50	ACSH 138	2012: CA1, W 2016: CA, W	CA, CAA, W
2311	001	Poetry	Newman	MWF	10:00	10:50	CLEM 334	2012: CA2, W 2016: LL, W	LAI, W
ENGL/ WRTR 2306	003H	Honors Humanities Seminar II	Arbery	MWF	11:00	11:50	ACSH 138	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	004H	Honors Humanities Seminar II	Ryberg	MWF	11:00	11:50	PRTH 203	2012: CA1, W 2016: CA, W	CA, CAA, W
2390	007	Introduction to Creative Writing: Crafting Lyrical Gestures	Rivera	MWF	11:00	11:50	DH 357	2012: CA1, W 2016: CA, W	CA, CAC, W
3390	003	CANCELED	CANCELED
ENGL/ WRTR 2306	005H	Honors Humanities Seminar II	Hopper	MWF	12:00	12:50	VSNI 203	2012: CA1, W 2016: CA, W	CA, CAA, W
2390	004	Introduction to Creative Writing: Analyzing and Writing Poetry: A Writer’s Guide	Rivera	MWF	12:00	12:50	DH 149	2012: CA1, W 2016: CA, W	CA, CAC, W
4332	001	Studies in Early Modern British Literature: Sex and the City in the 18C	Sudan	MWF	12:00	12:50	DH 138	2012: IL, OC 2016: IL, OC
ENGL/ WRTR 2306	006H	Honors Humanities Seminar II	Hopper	MWF	1:00	1:50	VSNI 203	2012: CA1, W 2016: CA, W	CA, CAA, W
3341	001	British Literary History II: The Ordinary, Extraordinary, and "Real"	Newman	MWF	1:00	1:50	PRTH 100	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
3367	001	Ethical Implications of Children's Literature	Satz	MWF	1:00	1:50	DH 115	2012: CA2, HD, KNOW, OC, W 2016: HFA, HD, KNOW, OC, W	HD, OC, W
1365	001	Literature of Minorities	Satz	MWF	2:00	2:50	DH 357	2012: CA1, HD 2016: LL, HD	LAI, HD
ENGL/ WRTR 2306	007H	Honors Humanities Seminar II	Hopper	MWF	2:00	2:50	VSNI 203	2012: CA1, W 2016: CA, W	CA, CAA, W
2310	001	Imagination and Interpretation: Shipwrecks and Survival	Atkinson	MWF	2:00	2:50	ULEE 228	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	001	Introduction to Literary Study: Identity and Difference	Pergadia	MWF	2:00	2:50	DH 143	2012: CA2, W 2016: CA, W	CA, CAA, W
2390	005	Introduction to Creative Writing: Analyzing and Writing Short Fiction: Life & Death	Rivera	MWF	2:00	2:50	DH 101	2012: CA1, W 2016: CA, W	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies	Greenspan	MW	9:00	10:20	PRTH 223
2390	003	Introduction to Creative Writing: The Writer's Toolkit	Hermes	MW	10:30	11:50	DH 138	2012: CA1, W 2016: CA, W	CA, CAC, W
3366	801	American Literary History II: America the Multiple	Greenspan	MW	12:00	12:50	HYER 201	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
2390	002	Introduction to Creative Writing	Rubin	M	2:00	4:50	HCSH 318	2012: CA1, W 2016: CA, W	CA, CAC, W
6330	001	Early Modern British Literature: Worldmakers	Sudan	M	2:00	4:50	DH 138
2102	001	Spreadsheet Lit: Excel	Dickson-Carr, C.	M	3:00	3:50	FOSC 157
4360	001	Studies in Modern and Contemporary American Literature: Queer America	Edwards	W	2:00	4:50	DH 137	2012: CA2, IL, OC 2016: HFA, IL, OC
7376	001	Seminar, Special Topics: The Lure of the Middle Ages	Wheeler	W	2:00	4:50	DH 120
2102	002	Spreadsheet Lit: Excel	Dickson-Carr, C.	W	3:00	3:50	FOSC 157
3366	N10	American Literary History II	Pollard	F	12:00	12:50	ULEE 233
3366	N20	American Literary History II	Thriffiley	F	12:00	12:50	DH 105
6360	001	Modern and Contemporary American Literature: Violence and its Telling in the US West	Sae-Saue	F	12:00	2:50	DH 137
ENGL/ WRTR 2306	008H	Honors Humanities Seminar II	McConnell	TTh	9:30	10:50	MCEL 137	2012: CA1, W 2016: CA, W	CA, CAA, W
2311	002	Poetry	Rosendale	TTh	9:30	10:50	DH 138	2012: CA2, W 2016: LL, W	LAI, W
2313	001	Drama: The Modern Irish Stage	Connery	TTh	9:30	10:50	DH 115	2012: CA1, OC, W 2016: LL, OC, W
2315	002	Introduction to Literary Study: Seeing & Being Seen	Kiser	TTh	9:30	10:50	EMBY 129	2012: CA2, W 2016: CA, W	CA, CAA, W
1320	001	Cultures of Medieval Chivalry	Goyne	TTh	11:00	12:20	PRTH 100	2012: CA1, HC1, OC 2016: HC, LL, OC	LAI
ENGL/ WRTR 2306	009H	Honors Humanities Seminar II	McConnell	TTh	11:00	12:20	MCEL 137	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	010H	Honors Humanities Seminar II	Levy	TTh	11:00	12:20	HCSH 318	2012: CA1, W 2016: CA, W	CA, CAA, W
2390	001	Introduction to Creative Writing: Intro to Short-Form Creative Writing	Smith	TTh	11:00	12:20	DH 152	2012: CA1, W 2016: CA, W	CA, CAC, W
2302	001	Business Writing	Dickson-Carr, C.	TTh	12:30	1:50	DH 343	2012: IL, OC, W 2016: IL, OC, W	W
ENGL/ WRTR 2306	011H	Honors Humanities Seminar II	McConnell	TTh	12:30	1:50	MCEL 137	2012: CA1, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	012H	Honors Humanities Seminar II	Roudabush	TTh	12:30	1:50	FOSC 155	2012: CA1, W 2016: CA, W	CA, CAA, W
2314	001H	Poetry	Rosendale	TTh	12:30	1:50	DH 137	2012: CA2, W 2016: LL, W	LAI, W
3390	002	Creative Writing Workshop: Creatiing Fiction	Smith	TTh	12:30	1:50	DH 152	2012: CA2, W 2016: HFA, W	W
4339	001	Transatlantic Studies I: The Archives Workshop	Cassedy	TTh	12:30	1:50	DH 138	2012: IL, OC 2016: IL, OC
2302	002	Business Writing	Dickson-Carr, C.	TTh	2:00	3:20	DH 343	2012: IL, OC, W 2016: IL, OC, W	W
ENGL/ WRTR 2306	013H	Honors Humanities Seminar II	McConnell	TTh	2:00	3:20	MCEL 137	2012: CA1, W 2016: CA, W	CA, CAA, W
2312	002	Fiction: The Dark Side of American Literature	Degrasse	TTh	3:30	4:50	DH 153	2012: CA2, W 2016: LL, W	LAI, W
7311	001	Seminar in Literary Theory: Theories and Methods in American Studies	Edwards	Th	3:00	5:50	DH 138
3390	001	Creative Writing Workshop: The World of the Unseen	Rubin	T	3:30	6:20	DH 137	2012: CA2, W 2016: HFA, W	W
7370	001	Seminar in Minority Literature: Comparative Race and Ethic Relations	Pergadia	T	3:30	6:20	DH 138
2390	006	Introduction to Creative Writing: Next Year's Words	Brownderville	Th	3:30	6:20	DH 137	2012: CA1, W 2016: CA, W	CA, CAC, W

Fall 2021

ENGL 1320-001—Cultures of Medieval Chivalry

TTh 11:00-12:20. Owens Fine Arts 2020. Goyne. 2012: CA1, HC1, OC 2016: LL, HC, OC CC: LAI

ENGL 1330-001—The World of Shakespeare

MWF 11:00-11:50. Umphrey Lee 241. Rosendale. 2012: CA1 2016: LL CC: LAI

Time to (re-)introduce yourself to our language’s greatest writer. In this course, you will meet Shakespeare’s princes, tyrants, heroes, villains, saints, sinners, lovers, losers, drunkards, clowns, outcasts, fairies, witches, and monsters. You’ll watch and listen as they love, woo, kiss, charm, hate, curse, mock, fool, sing to, dance with, get drunk with, sleep with, fight with, murder, and haunt each other. You will visit Renaissance England, a place and time as strange, troubled, exciting, delightful, fearful, thoughtful, political, magical, bloody, sexy, and confused as your own. You will read poetry you will never forget.

Our introductory survey will cover 6–8 plays in all of the major Shakespearean genres: comedy, tragedy, history, and romance, as well as some poetry (all texts are digital and free, with a print option for students who prefer print). Background readings, lectures, and films will contextualize Shakespeare’s achievement within Renaissance society and life (and death), engaging the religious, political, cultural, and economic debates of that glorious but tumultuous age.

Coursework includes frequent quizzes, written midterm and final exams, and one extra credit opportunity. No papers.

ENGL 1330 satisfies the Language and Literature requirement for the University Curriculum, and counts toward the English major and minor

ENGL 1365-001—Literature of Minorities

TTh 2:00-3:20. Annette Simmons Hall 218. Levy. 2012: CA1, HD 2016: LL, HD CC: LAI, HD

English 1365 examines 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, religion, sexual orientation and the myriad terms/categories that have come to constitute our cultural conversation about who “We, The People” are. These include: “Whiteness,” “Blackness,” “White Supremacy,” “Identity Politics,” “Cancel Culture,” “Pluralism,” etc. We look at identity as both self-selected and imposed, as fixed and flexible, as located and displaced, as permanent and situational.

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50. Hyer Hall 100. Dickson-Carr, Carol.

ENGL 2102-002—Spreadsheet Lit: Excel

W 3:00-3:50. Hyer Hall 100. Dickson-Carr, Carol.

ENGL 2302-001—Business Writing

TTh 12:30-1:50. Dallas Hall 351. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: 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 count toward the English major requirements and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. The priority goes to Markets & Cultures majors. The second and third priority goes to graduating seniors and Dedman students, respectively. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

ENGL 2302-002— Business Writing

TTh 2:00-3:20. Dallas Hall 351. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: 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 count toward the English major requirements and that laptops are required. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. The priority goes to Markets & Cultures majors. The second and third priority goes to graduating seniors and Dedman students, respectively. Text: Kolin, Philip C. Successful Writing at Work, 11th ed.

ENGL 2310-001—Imagination and Interpretation: Authorship and Prophecy

MWF 9:00-9:50. Clements Hall 334. Ray. 2012: CA2, W 2016: LL, W CC: CA, CAA, W

What does it mean to author a text? Does all of this creative energy come from the author, or can some of it (or all of it) be located elsewhere? Is this notion of authorship more in line with concepts of prophecy and prophets, religious or otherwise? Where does the concept of inspiration fit in? This class will grapple with these questions as far back as the Old Testament and as modern as the current decade. We will read parables, journals, letters, fiction, science fiction, satire and science. Along the way, we will think deeply about the relationship between author and text, inventor and invention, artist and art.

~~ENGL 2310-002—Imagination and Interpretation: Greco-Roman Ideas in Early Modern Literature~~

CANCELED

ENGL 2311-001—Introduction to Poetry: A Poet Guided Tour

MWF 10:00-10:50. Junkins 205. Moss. 2012: CA2, W 2016: LL, W CC: LAI, W

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, Aphra Behn, John Keats, Robert Frost, W.H. Auden, Elizabeth Bishop, Sylvia Plath, Gwendolyn Brooks, Seamus Heaney, and many more. Who knew there were so many poets? Come meet them. Course requirements: two papers (one short, one longish), regular posts to an online discussion board, midterm exam, final exam, recitation, and the dreaded-at-first-later-beloved creative exercise. Course text: The Norton Anthology of Poetry, 6th edition.

ENGL 2311-002—Introduction to Poetry: The Language Distillery

TTh 11:00-12:20. Dallas Hall 105. Brownderville. 2012: CA2, W 2016: LL, W CC: LAI, W

Life goes down in sips and swigs of language, and poets, being the best distillers around, serve words that quicken our sense of wonder and play and meaning. Unlike some other inebriants, poetry actually improves our thinking—critical thinking, sure, but that’s not the best of the buzz: when we open ourselves to poems, we get better at beautiful thinking and thereby turn our minds into amazing places to live. That’s what this course is really about. We’ll visit the imaginary distillery together, enjoy the liquor of language, and try to figure out how the magic is made and why we crave it. Course requirements: one short paper, one longer paper, one creative exercise, one recitation, regular participation, midterm, and final. Course text: TBD.

ENGL 2311-003—Introduction to Poetry: Serious Word Games

TTh 2:00-3:20. Caruth Hall 161. Bozorth. 2012: CA2, W 2016: LL, W CC: LAI, W

Now 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 Christmas carols. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, teen-age rebellion, God, Satan, and what the difference is between “cliché” and “cliched.”You’ll satisfy a requirement for the English major and a good liberal-arts education.

ENGL 2312-001—Introduction to Fiction: Visions of Environmental Destruction in Contemporary American Fiction

MWF 8:00-8:50. Dallas Hall 149. Spencer. 2012: CA2, W 2016: LL, W CC: LAI, W

Biologists have been warning us since the 1960s that we are irrevocably changing the natural world around us. In the 1980s scientists started talking about human-caused climate change, and in 2008, geologists formally proposed a name tying the planet’s sixth mass extinction to human activity—the Anthropocene. But while scientists have created models to predict the changing world around us, fiction writers have imagined its impact on individuals and society in varying and creative ways. In this course we will learn common approaches to literary analysis through the work of recent U.S. novelists who have wrestled with this environmental breakdown and prophesied the ecological apocalypse to come. Whether our demise comes about through uncontrollable global warming, nuclear holocaust, a global epidemic, or the slow decay of our bodies due to our own toxic waste, U.S. writers use fiction to come to grips with a civilization teetering on the edge of destruction out of greed, blindness, or just sheer stupidity (as Vonnegut would say, “thanks, big brain”). Potential novels to read this semester include Kurt Vonnegut’sGalapagos, Octavia Butler’s Parable of the Sower, Leslie Marmon Silko’s Ceremony, and Ana Castillo’s So Far from God. Some of these works are hopeful and some are not, but all of them imagine the moments in which human beings face the inevitable consequences of our own choices as a species.

ENGL 2312-002—Introduction to Fiction: The Forms & Functions of the Stories We Tell

TTh 9:30-10:50. Hyer Hall 110. Hermes. 2012: CA2, W 2016: LL, W CC: LAI, W

This course offers a comprehensive overview of the major areas and periods of literary fiction, from Poe to the present day. We will build a set of tools for writing effectively about literature, including close reading, awareness of genre, and familiarity with important elements of fiction. We will think deeply about not just what texts say, but how they say it and the significance of those features. And we’ll engage in scholarly argument about fiction by putting these skills into practice on the page, in our own analyses. Readings include Kate Chopin, Oscar Wilde, William Faulkner, Zora Neale Hurston, Gish Jen, J. M. Coetzee, and Mohsin Hamid. Two papers and two exams.

ENGL 2312-003—Introduction to Fiction: The Forms & Functions of the Stories We Tell

TTh 11:00-12:20. Hyer Hall 110. Hermes. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2312-004H—Introduction to Fiction

TTh 12:30-1:50. Umphrey Lee 228. Sae-Saue. 2012: CA2, W 2016: LL, W CC: LAI, 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 2312-005—Introduction to Fiction: Magic and Science in Fiction

TTh 2:00-3:20. Heroy 153. Jones. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2315-001—Introduction to Literary Study: The Interpretation of Culture

MWF 11:00-11:50. Clements Hall 225. Cassedy. 2012: CA2, W 2016: CA, W CC: CA, CAA, 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 difficult to pin down. Tentative reading list includes texts by Karen Russell (Swamplandia!), William Shakespeare (King Lear), Leslie Jamison (The Empathy Exams), Edgar Allan Poe (Narrative of Arthur Gordon Pym), Mat Johnson (Pym), and Emily Dickinson. Four essays, a midterm, and a final.

ENGL 2315-003—Introduction to Literary Study: Women Who Wonder & Wander

MWF 9:00-9:50. Annette Simmons Hall 218. Kiser. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

This class will introduce you to a variety of genres and how they make meaning in their own unique ways. We will approach this topic by exploring the class theme: “Women Who Wonder & Wander” and we will ask questions such as: What do these women, found throughout cultural production, search for? What do they lack in their current lives? How does the theme of wander intersect with that of wonder? How are such topics, which are portrayed by taking up both interior and exterior space, represented in narrative? Our class will progress toward answering these questions, and many more, through fiction, non-fictional prose, poetry, tv, and film.

ENGL 2315-002—Introduction to Literary Study

MWF 10:00-10:50. Harold Simmons Hall 207. Hennum. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

ENGL 2390-001—Introduction to Creative Writing: Notice How You Notice

MWF 11:00-11:50. Dallas Hall 137. Condon. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-002H—Introduction to Creative Writing

T 2:00-4:50. Harold Simmons Hall 107. Rubin. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-003—Introduction to Creative Writing: Make it New!

Th 2:00-4:50. Dedman Life Science 132. Brownderville. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

Percy Bysshe Shelley 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.

Students will analyze published poems, write and revise their own poems, and respond both verbally and in writing to one another’s work. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communication skills. As this is an introductory course, prior experience in creative writing is not necessary. Students will be invited to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary American poetry.

ENGL 2390-004—Introduction to Creative Writing

TTh 11:00-12:20. Dedman Life Science 132. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

In this class, students will write, critique and revise short fiction and analyze published texts using the elements of fiction. A significant portion of class will be devoted to workshop. Toward the end of the semester, each student will be required to research literary journals and submit a carefully revised story. Prior experience in creative writing is not necessary.

ENGL 2390-005—Introduction to Creative Writing: The Writer’s Toolkit

TTh 3:30-4:50. Heroy 153. Hermes. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

This course will explore the foundational aspects of creative writing in prose and poetry. To prepare ourselves to write our own stories and poems, we will begin by reading published work along with craft essays that talk about the writing process. These readings are meant to stimulate discussion about what makes a successful poem or story and to provide models for your own creative work.

During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. It is important, therefore, that all students engage in active and respectful participation every class meeting, so that we can all make the most of this opportunity to sharpen our critical and creative skills.

ENGL 3310-001—Research and Critical Writing for Literary Studies

TTh 9:30-10:50. Umphrey Lee 233. Greenspan. 2012: CA1, W 2016: CA, W

Texts: Jane Austen, Pride and Prejudice; Charles Chesnutt, The Marrow of Tradition; Art Spiegelman, Maus, 2 volume set; Art Spiegelman, MetaMaus; Harriet Beecher Stowe, Uncle Tom’s Cabin.

Schedule of Course Modules: Module 1 – Introduction to the Study of Texts; Module 2 – Reading and Responding to Pride and Prejudice; Module 3 – Reading and Responding to Uncle Tom’s Cabin; Module 4 – Reading and Responding to The Marrow of Tradition; Module 5 – Reading and Responding to Maus.

ENGL 3320-001—Topic in Medieval Literature: Paradigms of Truth in Medieval Literature

TTh 11:00-12:20. Annette Simmons Hall 218. Amsel. 2012: CA2, W 2016: HFA, W CC: LAI, W

ENGL 3346-001—American Literary History I

MWF 1:00-1:50. Dallas Hall 152. Cassedy. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, W

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

TTh 2:00-3:20. Fondren Science 158. Greenspan. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, 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,

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 3362-001—African-American Literature: Rewriting Slavery

TTh 12:30-1:50. Dedman Life Science 132. Pergadia. 2012: CA2, HD, W 2016: HFA, HD, W CC: HD, W

Since the nineteenth century, the slave narrative has been central to the U.S. imagination. After the 1960s, novelist, filmmakers, and visual artists repeatedly turned to and reimagined this form, an act that both commemorates legacies of slavery and comments on the racial politics of thepresent. This survey of African American literature centralizes the “neo-slave narrative,” a genre of writing that resurrected and reimagined the history of slavery. These postmodern works are often anachronistic, experimental, irreverent. They defy strict genre labels, pushing aesthetic form to lodge their critiques. After studying the canonical works of Frederick Douglass and Harriet Jacobs, we’ll turn to contemporary imaginative works that remember, memorialize, and recreate the experience of American slavery—the novels of Octavia Butler and Patricia Powell, the visual artwork of Kara Walker and Glenn Ligon, the films of Jordan Peele and Boots Riley, The 1619 Project. Students will gain an understanding both of the lives of Americans in bondage and how those lives transformed into stories that continue to shape our national consciousness. We’ll consider, for example, how Toni Morrison’s Beloved (1987) rewrites the story a fugitive slave and speaks to the political history of the Reagan era. Students will learn how to analyze literary and visual art to ask: How do aesthetic forms become vehicles for social and political protest? What are the ethics of remembering?

Texts:

· Frederick Douglass, Excerpts from Narrative of the Life of Frederick Douglass (1845)

· Harriet Jacobs, Excerpts from Incidents in the Life of a Slave Girl (1861)

· Octavia Butler, Kindred (1979)

· Octavia Butler, Wild Seed (1980)

· Charles Johnson, Oxherding Tale (1982)

· Toni Morrison, Beloved (1987)

· Patricia Powell’s The Pagoda (1998)

· Kara Walker, selected works

· Glenn Ligon, selected works

· Jordan Peele, Get Out (2017)

· Boots Riley, Sorry to Bother You (2018)

ENGL 3390-001—Creative Writing Workshop: You Are What You Read

MW 3:00-4:20. Dallas Hall 343. Condon. 2012: CA2, W 2016: HFA, W CC: W

When we read poetry by other people, we consume and internalize not only their ideas but also their methods. In this sense even history’s greatest poets were apprentices all of their lives, constantly learning from the aesthetic choices of other writers. We will continue our own apprenticeship in this advanced workshop by cultivating a daily reading and writing practice. At the center of our practice is the daybook, a large sketchbook that modernist writers often used for their daily musings, doodles, and drafts. We will use our daybooks in much the same way, with the added prompt of transcribing and then imitating a poem by another writer. Such transcription is a physical practice—it works that poet’s linguistic perspective and formal attention into our memory. Our original, imitative draft that follows transcription attunes us to the aesthetic modes we feel most comfortable in and challenges us to write beyond them. You will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own. One characteristic of poetry is its translation of human experience into art that lasts. Often, these experiences raise challenging questions. You should be prepared to read and respond respectfully to poetry that addresses sensitive material. Other requirements include a final portfolio of revised poems with an accompanying introduction to the work. All reading supplied on Canvas.

ENGL 3390-002— Creative Writing Workshop: Screenwriting

Th 2:00-4:50. Dallas Hall 138. Rubin. 2012: CA2, W 2016: HFA, W CC: W

In this advanced course students will work on their own screenwriting as well as critique that of their classmates. Alongside these workshops we will analyze exemplary models of the form and watch film clips. Readings will include such classics as Casablanca as well as newer scripts like Lady Bird and Get Out. ENG 2390 is a prerequisite for this course although Meadows students with a background in dramatic arts are encouraged to seek the permission of the instructor.

ENGL 3390-003— Creative Writing Workshop

TTh 9:30-10:50. Dallas Hall 343. Smith. 2012: CA2, W 2016: HFA, W CC: W

In this class students will take a deeper dive into the elements of fiction. They will write revise, and analyze imaginative prose. Discussions will center on the students' writing and on published works that demonstrate solid craftsmanship.

ENGL 4323-001—Chaucer: Canterbury Tales

TTh 9:30-10:50. REMOTE. Wheeler. 2012: IL, OC 2016: IL, OC

What’s it like to be a writer in the middle of a pandemic? Chaucer is our greatest example in English poetry. In his wise and hilarious stories, his poetry urges us to balance life’s delights and difficulties.

Reading: The Norton Chaucer (e-text) and background texts.

Assignments: regular reading comments, in-class oral presentations, longer paper.

ENGL 4333-001—Renaissance Writers: The Big Four

MWF 1:00-1:50. Dallas Hall 101. Moss. 2012: IL, OC 2016: IL, OC

Beyond the outsize influence of Shakespeare’s drama in general, four tragedies in particular—Hamlet, Othello, Macbeth, and King Lear—have at one time or another emerged as the playwright’s greatest achievement and, by virtue of Shakespeare’s limitless prestige and viral popularity, each has seemed for a time the most influential and important play in the Western world. While the “Big Four” tragedies are no longer so consistently elevated above the rest of Shakespeare’s work, or for that matter the rest of drama, they remain central to Shakespeare scholarship, theater repertories, and artistic innovation of all types. Yet because the giant reputation of these four plays lingers on in our cultural imagination and any one of them could anchor a class or headline a theatrical season, they are rarely taught or performed together anymore, depriving students and audiences of their deep continuities and cumulative power. At the same time, Hamlet, Othello, Macbeth, and King Lear, as four of Shakespeare’s most searching and troubling accounts of society and the self under pressure, have rarely if ever been more relevant and revealing as in the troubled present.

Each of these four tragedies gets equal billing in this course, occupying a quarter of the semester. We will not only read and discuss each play, but in each case we will watch a theatrical performance (live, if any of the plays are being produced locally), as well as an innovative film adaptation. In addition to weekly discussion boards and critical papers (one short, one long), students should expect to create, collaborate, and perform as we seek new access to these perennially famous plays.

ENGL 4360-001— Studies in Modern and Contemporary American Literature: Literature of the US West and Southwest

TTh 9:30-10:50. Dallas Hall 156. Sae-Saue. 2012: CA2, IL, W 2016: HFA, IL, OC

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 US nation-making, including matters of race, class, 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, Chicana/os, and Native 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 4360-002—~~ ~~Studies in Modern and Contemporary American Literature: Studies in the American Novella~~

CANCELED

ENGL 4397-001—Distinction Seminar

MWF 10:00-10:50. Dallas Hall 102. Satz. 2012: CA2, IL, W 2016: HFA, IL, OC

This course fulfills the first part of the requirements for Distinction in English.

The center of the Distinction requirement is an independent study project in literature or creative writing that the student undertakes with a member of the faculty. This course is designed to provide a variety of skills to the student to prepare for this venture. The student will engage in projects ranging from a two minute oral report to creating an abstract to a longer essay leading toward the ultimate project. This course will deal with critical race, gender, and disability theory and literary texts that provide rich occasions to discuss those critical theories.

ENGL 6310-001—Advanced Literary Studies

W 2:00-4:50. Florence Hall 308. Rosendale

ENGL 6311-001—Survey of Literary Criticism and Theory

M 2:00-4:50. Umphrey Lee 278. Pergadia.

ENGL 6312-001—Teaching Practicum

F 1:00-3:50. Prothro Hall 207. Stephens.

ENGL 6370-001— African-American Literature: Hurston, Baldwin, Morrison

T 2:00-4:50. Dedman Life Science Building 132. Edwards.

Through the twentieth century and into the twenty-first, Zora Neale Hurston, James Baldwin, and Toni Morrison shaped and reshaped Black literature, providing a critical lens toward religion, gender, culture, music, politics, and love. This graduate seminar places these authors' works at the center of African American studies, focusing on recent theoretical and methodological trends in afro-pessimism, Black feminism, speculative fiction, and queer of color critique. Additionally, to better understand these African American literature pillars, there will be readings from Nella Larsen, Langston Hughes, and Octavia Butler. By the end of the course, students will question how we might think of these writers within the context of American and African diasporic traditions across the Atlantic. What are the limits of their contributions to African American studies, and where might we be able to turn our attention within the world of literature for better answers?

ENGL 7340-001— Seminar in British Lit: The Realist Novel in Practice and Theory

Th 2:00-4:50. Dallas Hall 156. Newman.

As a literary mode, realism reached its high-water mark in British literature with the Victorian novel. But eighteenth-century novelists like Defoe were writing under the sway of an empiricism and anti-idealism that seem “realist”; and Virginia Woolf, writing a self-consciously modern(ist) novel, rejected the recognizably realistic representational practices of some of her contemporaries on the grounds that they focused on superficial things that did not adequately or meaningfully represent reality. So what do we mean by “realism”?

The word “realist” enters Anglophone literary decades after the emergence of the mainstream Victorian novel in the 1840s. The unidiomatic ordering of this course’s subtitle, which puts “practice” before “theory,” reflects that anachronism, and is the starting point for our inquiry into what “realism” is.

We will also explore the changing fortunes of realism in literary theory and criticism, especially since the anti-realist turn of post-structuralist critics writing in the later twentieth century. Some questions we will ask in their wake: does realism resign us to a quietist acceptance of the status quo, promote and reinforce an ideology of bourgeois individualism, and express a naïve understanding of representation? Or does it express a healthy adult skepticism about heroism, idealism, and easy consensus about what “reality” is—or is like?

Book list: Jane Austen, Northanger Abbey; Charles Dickens, Oliver Twist; Emily Brontë, Wuthering Heights; William Makepeace Thackeray, Vanity Fair; E. C. Gaskell, Mary Barton; Wilkie Collins, The Moonstone; Eliot, George, Middlemarch; Virginia Woolf, Mrs. Dalloway. Optional: Pam Morris, Realism (Routledge New Critical Idiom series)

Writing assignments to be specified, but will certainly culminate in one longer (15pp) seminar paper and include at least one presentation, as well as shorter, informal writing assignments throughout the semester.

ENGL 7376-001— Seminar: Special Topics: Disability and Literature

T 2:00-4:50. Dallas Hall 138. Satz.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC
1320	001	Cultures of Medieval Chivalry	Goyne	TTH	11:00	12:20	OFAC 2020	2012: HC, LL, OC 2016: HC, LL, OC	LAI
1330	001	World of Shakespeare	Rosendale	MWF	11:00	11:50	ULEE 241	2012: CA1 2016: LL	LAI
1365	001	Literature of Minorities	Levy	TTH	2:00	3:20	ACSH 218	2012: CA1, HD 2016: HD, LL	LAI, HD
2102	001	Spreadsheet Literacy	C Dickson-Carr	M	3:00	3:50	HYER 100
2102	002	Spreadsheet Literacy	C Dickson-Carr	W	3:00	3:50	HYER 100
2302	001	Business Writing	C Dickson-Carr	TTH	12:30	1:50	DH 351	2012: IL, OC, W 2016: IL, OC, W	W
2302	002	Business Writing	C Dickson-Carr	TTH	2:00	3:20	DH 351	2012: IL, OC, W 2016: IL, OC, W	W
WRTR 2305	001H	Honors Humanities Seminar I: Problems of Knowledge	Arbery	MWF	9:00	9:50	DH 138
WRTR 2305	002H	CANCELED	CANCELED
WRTR 2305	003H	Honors Humanities Seminar I: Problems of Knowledge	Arbery	MWF	10:00	10:50	DH 138
WRTR 2305	004H	Honors Humanities Seminar I: Problems of Knowledge	Ryberg	MWF	11:00	11:50	DH 120
WRTR 2305	005H	Honors Humanities Seminar I: Problems of Knowledge	Roudabush	MWF	12:00	12:50	DH 138
WRTR 2305	006H	Honors Humanities Seminar I: Problems of Knowledge	Hopper	MWF	12:00	12:50	ACSH 213
WRTR 2305	007H	Honors Humanities Seminar I: Problems of Knowledge	Hopper	MWF	1:00	1:50	ACSH 213
WRTR 2305	008H	Honors Humanities Seminar I: Problems of Knowledge	Hopper	MWF	2:00	2:50	ACSH 213
WRTR 2305	009H	Honors Humanities Seminar I: Problems of Knowledge	McConnell	TTH	9:30	10:50	PRTH 220
WRTR 2305	010H	Honors Humanities Seminar I: Problems of Knowledge	Bozorth	TTH	9:30	10:50	OFAC 2030
WRTR 2305	011H	Honors Humanities Seminar I: Problems of Knowledge	McConnell	TTH	11:00	12:20	PRTH 220
WRTR 2305	012H	Honors Humanities Seminar I: Problems of Knowledge	Atkinson	TTH	11:00	12:20	OFAC 1030
WRTR 2305	013H	Honors Humanities Seminar I: Problems of Knowledge	McConnell	TTH	12:30	1:50	PRTH 220
WRTR 2305	014H	Honors Humanities Seminar I: Problems of Knowledge	McConnell	TTH	2:00	3:20	DH 102
2310	001	Imagination and Interpretation: Authorship and Prophecy	Ray	MWF	9:00	9:50	CLEM 334	2012: CA2, W 2016: CA, W	CA, CAA, W
2310	002	CANCELED	CANCELED
2311	001	Poetry: A Poet-Guided Tour	Moss	MWF	10:00	10:50	JKNS 205	2012: CA2, W 2016: LL, W	LAI, W
2311	002	Poetry: The Language Distillery	Brownderville	TTH	11:00	12:20	DH 105	2012: CA2, W 2016: LL, W	LAI, W
2311	003	Poetry: Serious Word Games	Bozorth	TTH	2:00	3:20	CARU 161	2012: CA2, W 2016: LL, W	LAI, W
2312	001	Fiction: Visions of Environmental Destruction in Contemporary American Fiction	Spencer	MWF	8:00	8:50	DH 149	2012: CA2, W 2016: LL, W	LAI, W
2312	002	Fiction: The Forms & Functions of the Stories We Tell	Hermes	TTH	9:30	10:50	HYER 110	2012: CA2, OC, W 2016: LL, W	LAI, W
2312	003	Fiction: The Forms & Functions of the Stories We Tell	Hermes	TTH	11:00	12:20	HYER 110	2012: CA2, W 2016: LL, W	LAI, W
2312	004H	Fiction	Sae-Saue	TTH	12:30	1:50	ULEE 228	2012: CA2, W 2016: LL, W	LAI, W
2312	005	Fiction: Magic and Science in Fiction	Jones	TTH	2:00	3:20	HERY 153	2012: CA2, W 2016: LL, W	LAI, W
2315	001	Introduction to Literary Study: The Interpretation of Culture	Cassedy	MWF	11:00	11:50	CLEM 225	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	002	Introduction to Literary Study	Hennum	MWF	10:00	10:50	HCSH 207	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	003	Introduction to Literary Study: Women Who Wonder & Wander	Kiser	MWF	9:00	9:50	ACSH 218	2012: CA2, W 2016: CA, W	CA, CAA, W
2390	001	Introduction to Creative Writing: Notice How You Notice	Condon	MWF	11:00	11:50	DH 137	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	002H	Introduction to Creative Writing	Rubin	T	2:00	4:50	ACSH 107	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	003	Introduction to Creative Writing: Make it New!	Brownderville	TH	2:00	4:50	DLSB 132	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	004	Introduction to Creative Writing	Smith	TTH	11:00	12:20	DH 343	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	005	Introduction to Creative Writing: The Writer’s Toolkit	Hermes	TTH	3:30	4:50	HERY 153	2012: CA1, W 2016: CA, W	CA, CAC, W
3310	001	Contemporary Approaches	Greenspan	TTH	9:30	10:50	ULEE 233
3320	001	Topics in Medieval Literature	Amsel	TTH	11:00	12:20	ACSH 218	2012: CA2, W 2016: HFA, W	LAI, W
3346	001	American Literary History I	Cassedy	MWF	1:00	1:50	DH 152	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
3348	001	History of Print and Digital Culture in America	Greenspan	TTH	2:00	3:20	FOSC 158	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
3362	001	African-American Literature: Rewriting Slavery	Pergadia	TTH	12:30	1:50	DLSB 132	2012: CA2, HD, W 2016: HFA, HD, W	HD, W
3390	001	Creative Writing Workshop: You Are What You Read	Condon	MW	3:00	4:20	DH 343	2012: CA2, W 2016: HFA, W	W
3390	002	Creative Writing Workshop: Screenwriting	Rubin	TH	2:00	4:50	DH 138	2012: CA2, W 2016: HFA, W	W
3390	003	Creative Writing Workshop	Smith	TTH	9:30	10:50	DH 343	2012: CA2, W 2016: HFA, W	W
4323	001	Chaucer: Canterbury Tales	Wheeler	TTH	9:30	10:50	REMOTE	2012: IL, OC 2016: IL, OC
4333	001	Shakespeare: The Big Four	Moss	MWF	1:00	1:50	DH 101	2012: IL, OC 2016: IL, OC
4360	001	Studies in Modern and Contemp American Lit	Sae-Saue	TTH	9:30	10:50	DH 156	2012: CA2, IL, W 2016: HFA, IL, OC
4360	002	CANCELED	CANCELED
4397	001	Distinction Seminar	Satz	MWF	10:00	10:50	DH 102
6310	001	Advanced Literary Studies	Rosendale	W	2:00	4:50	FLOR 308
6311	001	Survey of Literary Criticism	Pergadia	M	2:00	4:50	ULEE 278
6312	001	Teaching Practicum	Stephens	F	1:00	3:50	PRTH 207
6370	001	African-American Literature: Hurston, Baldwin, Morrison	Edwards	T	2:00	4:50	DLSB 132
7340	001	Seminar in British Lit: The Realist Novel in Practice and Theory	Newman	TH	2:00	4:50	DH 156
7376	001	Seminar: Special Topics: Disability and Literature	Satz	T	2:00	4:50	DH 138

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC
2310	002	CANCELED	CANCELED
2312	001	Fiction: Visions of Environmental Destruction in Contemporary American Fiction	Spencer	MWF	8:00	8:50	DH 149	2012: CA2, W 2016: LL, W	LAI, W
WRTR 2305	001H	Honors Humanities Seminar I: Problems of Knowledge	Arbery	MWF	9:00	9:50	DH 138
WRTR 2305	002H	Honors Humanities Seminar I: Problems of Knowledge	Hennum	MWF	9:00	9:50	DH 106
2310	001	Imagination and Interpretation: Authorship and Prophecy	Ray	MWF	9:00	9:50	CLEM 334	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	003	Introduction to Literary Study: Women Who Wonder & Wander	Kiser	MWF	9:00	9:50	ACSH 218	2012: CA2, W 2016: CA, W	CA, CAA, W
WRTR 2305	003H	Honors Humanities Seminar I: Problems of Knowledge	Arbery	MWF	10:00	10:50	DH 138
2311	001	Poetry: A Poet-Guided Tour	Moss	MWF	10:00	10:50	JKNS 205	2012: CA2, W 2016: LL, W	LAI, W
2315	002	Introduction to Literary Study	Hennum	MWF	10:00	10:50	HCSH 207	2012: CA2, W 2016: CA, W	CA, CAA, W
4397	001	Distinction Seminar	Satz	MWF	10:00	10:50	CLEM 334
1330	001	World of Shakespeare	Rosendale	MWF	11:00	11:50	ULEE 241	2012: CA1 2016: LL	LAI
WRTR 2305	004H	Honors Humanities Seminar I: Problems of Knowledge	Ryberg	MWF	11:00	11:50	DH 120
2315	001	Introduction to Literary Study: The Interpretation of Culture	Cassedy	MWF	11:00	11:50	CLEM 225	2012: CA2, W 2016: CA, W	CA, CAA, W
2390	001	Introduction to Creative Writing: Notice How You Notice	Condon	MWF	11:00	11:50	DH 137	2012: CA1, W 2016: CA, W	CA, CAC, W
WRTR 2305	005H	Honors Humanities Seminar I: Problems of Knowledge	Roudabush	MWF	12:00	12:50	DH 138
WRTR 2305	006H	Honors Humanities Seminar I: Problems of Knowledge	Hopper	MWF	12:00	12:50	ACSH 213
4360	002	CANCELED	CANCELED
WRTR 2305	007H	Honors Humanities Seminar I: Problems of Knowledge	Hopper	MWF	1:00	1:50	ACSH 213
3346	001	American Literary History I	Cassedy	MWF	1:00	1:50	DH 152	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
4333	001	Shakespeare: The Big Four	Moss	MWF	1:00	1:50	DH 101	2012: IL, OC 2016: IL, OC
WRTR 2305	008H	Honors Humanities Seminar I: Problems of Knowledge	Hopper	MWF	2:00	2:50	ACSH 213
3390	001	Creative Writing Workshop: You Are What You Read	Condon	MW	3:00	4:20	DH 343	2012: CA2, W 2016: HFA, W	W
6311	001	Survey of Literary Criticism	Pergadia	M	2:00	4:50	ULEE 278
2102	001	Spreadsheet Literacy	C Dickson-Carr	M	3:00	3:50	HYER 100
6310	001	Advanced Literary Studies	Rosendale	W	2:00	4:50	FLOR 308
2102	002	Spreadsheet Literacy	C Dickson-Carr	W	3:00	3:50	HYER 100
6312	001	Teaching Practicum	Stephens	F	1:00	3:50	PRTH 207
WRTR 2305	009H	Honors Humanities Seminar I: Problems of Knowledge	McConnell	TTH	9:30	10:50	PRTH 220
WRTR 2305	010H	Honors Humanities Seminar I: Problems of Knowledge	Bozorth	TTH	9:30	10:50	OFAC 2030
2312	002	Fiction: The Forms & Functions of the Stories We Tell	Hermes	TTH	9:30	10:50	HYER 110	2012: CA2, W 2016: LL, W	LAI, W
3310	001	Contemporary Approaches	Greenspan	TTH	9:30	10:50	ULEE 233
3390	003	Creative Writing Workshop	Smith	TTH	9:30	10:50	DH 343	2012: CA2, W 2016: HFA, W	W
4323	001	Chaucer: Canterbury Tales	Wheeler	TTH	9:30	10:50	REMOTE	2012: IL, OC 2016: IL, OC
4360	001	Studies in Modern and Contemp American Lit: Literature of the US West and Southwest	Sae-Saue	TTH	9:30	10:50	DH 156	2012: CA2, IL, W 2016: HFA, IL, OC
1320	001	Cultures of Medieval Chivalry	Goyne	TTH	11:00	12:20	OFAC 2020	2012: HC, LL, OC 2016: HC, LL, OC	LAI
WRTR 2305	011H	Honors Humanities Seminar I: Problems of Knowledge	McConnell	TTH	11:00	12:20	PRTH 220
WRTR 2305	012H	Honors Humanities Seminar I: Problems of Knowledge	Atkinson	TTH	11:00	12:20	OFAC 1030
2311	002	Poetry: The Language Distillery	Brownderville	TTH	11:00	12:20	DH 105	2012: CA2, W 2016: LL, W	LAI, W
2312	003	Fiction: The Forms & Functions of the Stories We Tell	Hermes	TTH	11:00	12:20	HYER 110	2012: CA2, OC, W 2016: LL, (OC), W	LAI, W
2390	004	Introduction to Creative Writing	Smith	TTH	11:00	12:20	DH 343	2012: CA1, W 2016: CA, W	CA, CAC, W
3320	001	Topics in Medieval Literature	Amsel	TTH	11:00	12:20	ACSH 218	2012: CA2, W 2016: HFA, W	LAI, W
2302	001	Business Writing	C Dickson-Carr	TTH	12:30	1:50	DH 351	2012: IL, OC, W 2016: IL, OC, W	W
WRTR 2305	013H	Honors Humanities Seminar I: Problems of Knowledge	McConnell	TTH	12:30	1:50	PRTH 220
2312	004H	Fiction	Sae-Saue	TTH	12:30	1:50	ULEE 228	2012: CA2, W 2016: LL, W	LAI, W
3362	001	African-American Literature: Rewriting Slavery	Pergadia	TTH	12:30	1:50	DLSB 132	2012: CA2, HD, W 2016: HFA, HD, W	HD, W
1365	001	Literature of Minorities	Levy	TTH	2:00	3:20	ACSH 218	2012: CA1, HD 2016: HD, LL	LAI, HD
2302	002	Business Writing	C Dickson-Carr	TTH	2:00	3:20	DH 351	2012: IL, OC, W 2016: IL, OC, W	W
WRTR 2305	014H	Honors Humanities Seminar I: Problems of Knowledge	McConnell	TTH	2:00	3:20	DH 102
2311	003	Poetry: Serious Word Games	Bozorth	TTH	2:00	3:20	CARU 161	2012: CA2, W 2016: LL, W	LAI, W
2312	005	Fiction: Magic and Science in Fiction	Jones	TTH	2:00	3:20	HERY 153	2012: CA2, W 2016: LL, W	LAI, W
3348	001	History of Print and Digital Culture in America	Greenspan	TTH	2:00	3:20	FOSC 158	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
2390	005	Introduction to Creative Writing: The Writer’s Toolkit	Hermes	TTH	3:30	4:50	HERY 153	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	002H	Introduction to Creative Writing	Rubin	T	2:00	4:50	ACSH 107	2012: CA1, W 2016: CA, W	CA, CAC, W
6370	001	African-American Literature: Hurston, Baldwin, Morrison	Edwards	T	2:00	4:50	DLSB 132
7376	001	Seminar: Special Topics: Disability and Literature	Satz	T	2:00	4:50	DH 138
2390	003	Introduction to Creative Writing: Make it New!	Brownderville	TH	2:00	4:50	DLSB 132	2012: CA1, W 2016: CA, W	CA, CAC, W
3390	002	Creative Writing Workshop: Screenwriting	Rubin	TH	2:00	4:50	DH 138	2012: CA2, W 2016: HFA, W	W
7340	001	Seminar in British Lit: The Realist Novel in Practice and Theory	Newman	TH	2:00	4:50	DH 156

Summer 2021

MAY & SUMMER SESSION 2021 COURSES

Cat #	Sec	Session	Course Title	Instructor	Day	Start	End	Room	UC	CC
2311	091	May	Poetry (Taos)	Rosendale	M-F	9:00	1:00	VIRTUAL	2012: CA2, W 2016: LL, W	LAI, W
2390	001	May	Introduction to Creative Writing	Condon(Hermes)	M-F	11:00	3:45	VIRTUAL	2012: CA1, W 2016: CA, W	CA, CAC, W
2312	0011	S1	Fiction: The Forms & Functions of the Stories We Tell	Hermes	M-F	2:00	3:50	VIRTUAL	2012: CA2, W 2016: LL, W	LAI, W
3367	0011	S1	Ethical Impl - Children's Lit	Satz	M-F	10:00	11:50	VIRTUAL	2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, OC, W	HD, OC, W
3379	0011	S1	Contexts of Disabilitiy	Satz	M-F	12:00	1:50	VIRTUAL	2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, OC, W	HD, OC, W
2302	0012	S2	Business Writing	Dickson-Carr, C.	M-F	12:00	1:50	ULEE 303	2012: IL, OC, W 2016: IL, OC, W	W

MAY & SUMMER 2021 SESSION

COURSE DESCRIPTIONS

ENGL 2312-0011—Introduction to Fiction: The Forms & Functions of the Stories We Tell

M – F 2:00-3:50. VIRTUAL. Hermes. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

ENGL 3367-0011— Ethical Implications of Children’s Literature

M – F 10:00-11:50. VIRTUAL. Satz. 2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, W

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 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; Palac io, Wonder and one adult book, Morrison, The Bluest Eye.

ENGL 3379-0011—Contexts of Disability

M – F 12:00-1:50. VIRTUAL. Satz. 2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, W

ENGL 2302-0012— Business Writing

M – F 12:00-1:50. Umphrey Lee 303. Dickson-Carr, C. 2012: IL, OC, W 2016: IL, OC, W

Spring 2021

ENGL 1363-001—The Myth of the American West

TTh 3:30-4:50. Heroy 153. Weisenburger. 2012: CA1, HC1 2016: CA, HC CC: CA, CAA

Our studies take up a long and bloody record of settlement in the trans-Mississippi West—a history of land grabs, Indian wars, outlawry and bravado; of ranch, railroad, town, and state building—and how they became the stuff of legend and myth. That process began in 19^th century American popular culture, and continues today. We study the substance and uses of these legend- and myth-making efforts; and ask why western mythmaking flourished in the modern period (1900 to 1960), well after the frontier was settled. We begin with three case studies: first, the story of Texas immigrant Cynthia Ann Parker’s captivity among the Comanche, retold for decades in multiple media; second, Deadwood Dick, a classic of “Dime Novel” western storytelling; third, a biography of Buffalo Bill Cody, a late-19^th century international celebrity —“The Last of the Great Scouts.” We also study 20^th century classics of western fiction and film, art and photography from the modern period, and conclude with the “revisionist Western” that, after 1960, upends The Standard Myth—of borderland spaces, horse culture, white manhood and violence, as they play out in various print and visual media.

ENGL 1380-001— Introduction to Literature: From Stone Tablets to Hypertext

TTh 9:30-10:50. Heroy Hall 153. Wilson. 2012: CA1 2016: CA CC: CA, CAA

How can we think of literature as technology? From Ashurbanipal’s massive library of stone tablets in the 7th century BCE to modern digital literature projects aiming to teach computers to “read” a million texts, books have had a hold on our collective imagination. Every age has experimented to find the perfect “text technology” to share new ideas, to inspire, to challenge the status quo, and to dream. In this course, we’ll encounter a series of books ranging from stone engravings and Medieval manuscripts to early printed books, experiments in visual poetry printing, and Instapoets, each of which represents an innovative way in which people have “upgraded” their reading technology, and we’ll think about how these different stories and their technologies make meaning, both philosophical and aesthetic, for us. You'll learn methods of detailed reading as well as ways of using technology to analyze any and every kind of book you may encounter.

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

TTh 12:30-1:50. Fondren Science 133. Rosendale. 2012: CA1, HC1 2016: CA, HC CC: HC

A high-speed, high-altitude survey of a thousand-plus years of British literature and history, with special attention to literature’s role as an instrument of various forms of desire and power. From its prehistoric and colonial origins through the medieval, Renaissance, Enlightenment, imperial, and modern eras, the story of Britain is full of kings, queens, wars, resistance, sex, beheadings, treachery, heroism, magic, belief, doubt, progress, failure, and marvelous literature that can improve your life. 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. Exams, quizzes, discussion boards, attendance & participation.

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50. Dallas Hall 101. 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. Dallas Hall 102. Dickson-Carr, Carol.

ENGL 2302-001—Business Writing

TTh 12:30-1:50. Dallas Hall 102. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

ENGL 2302-002— Business Writing

TTh 2:00-3:20. Dallas Hall 102. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

ENGL 2310-001— Imagination and Interpretation: Eve’s Reply

MWF 9:00-9:50. VIRTUAL. Jones. 2012: CA2, W 2016: LL, W CC: CA, CAA, W

“Frailty, thy name is woman!” Hamlet’s famous declaration is hardly alone; many male poetic geniuses throughout the western literary canon expound upon the flaws of women. Yet despite lack of educational access, low literacy rates, and other institutional barriers, several women took up their pens to provide a female perspective that counters the misogynistic ideas and established gender roles of their time periods. This course will survey proto-feminist texts that take the form of plays, speeches, poems, political pamphlets, biographies, and novels. Some authors we will encounter include Sappho, Christine de Pizan, Margery Kempe, Elizabeth I, Elizabeth Cary, Mary Wroth, Margaret Cavendish, Jane Austen, Emily Brontë, and Mary Shelley. Students should expect class assignments to include two essays, a midterm, a final, and occasional quizzes.

ENGL 2311-001—Introduction to Poetry: Serious Word Games

TTh 2:00-3:20. VIRTUAL. Bozorth. 2012: CA2, W 2016: LL, W CC: LAI, W

Now 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 2311-002—Introduction to Poetry: Lifting the Veil

TTh 12:30-1:50. VIRTUAL. Condon (Hermes). 2012: CA2, W 2016: LL, W CC: LAI, W

“Poetry,” wrote Percy Bysshe Shelley, “lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were unfamiliar.” He’s right: poetry reveals the unexpected beauty and strangeness in the ordinary landscapes, people, and emotional situations we encounter every day. Yet, the famous stereotype of poetry suggests that the genre doesn’t reveal anything without a lot of decoding on a reader’s part—that the poem is the veil that hides a complicated message. In this course, we will explode this stereotype by learning about poetic characteristics and devices that are meant to delight readers, not confuse them. Each week we will focus on a different poetic technique or form—image, repetition, the sonnet—and discuss how poets across the centuries have used them to bring us pleasure, making something as mundane as grass seem suddenly breathtaking and strange. Requirements include a midterm and final exam, two papers, one creative exercise, a poetry recitation, and regular participation in discussions both on Canvas and in class. Course Text: TBD

ENGL 2312-001—Introduction to Fiction: Women Who Wonder & Wander

MWF 8:00-9:20. Hyer Hall 107. Kiser. 2012: CA2, W 2016: LL, W CC: LAI, W

This class will introduce you to elements of fiction through texts that represent women who wonder and wander in a variety of ways. We will ask questions such as: What do these women, found throughout American literature, search for? What do they lack in their current lives? How does the theme of wander intersect with that of wonder? How are such topics, which are portrayed by taking up both interior and exterior space, represented in narrative? Our class will progress toward answering these questions, and many more, through Kate Chopin’s The Awakening, Henry James’ The Portrait of a Lady, short stories by Mary Hunter Austin, Nella Larsen’s Quicksand, Zora Neale Hurston’s Their Eyes Were Watching God, and more.

ENGL 2312-002—Introduction to Fiction: The Self and the Other

MWF 2:00-2:50. VIRTUAL. Newman. 2012: CA2, W 2016: LL, W CC: LAI, W

The relationship between self and other is a theme of many short stories and novels. But it is more than just a theme; it is also central to how fiction works. What we have learned to call “point of view” is a series of strategies by which writers ask us to experience the world as others do. Prose fiction asks us to empathize with others whose perspectives differ from ours whether because of gender, class, ethnicity, “race,” age, religion, or some other category. By attending to these strategies and related aspects of narrative, this course aims to help you learn to read fiction intelligently and pleasurably. It also helps you practice and hone your analytical writing skills.

Texts include Junot Diaz, This Is How You Lose Her; Leila Aboulela, Minaret; either Butler, Kindred, or Atwood, The Handmaid’s Tale; and an anthology of short fiction. Four papers totaling 15-20 pages; frequent short “low-stakes” writing assignments.

ENGL 2312-003—Introduction to Fiction: Forms & Functions of the Stories We Tell

MWF 12:00-12:50. VIRTUAL. Hermes, R. 2012: CA2, W 2016: LL, W CC: LAI, W

ENGL 2312-004—Introduction to Fiction: Technology and 20th Cen. American Fiction

MWF 10:00-10:50. Dedman Life Sciences Building 110. Clemmer. 2012: CA2, W 2016: LL, W CC: LAI, W

This course is an introduction to fiction focused on depictions of technology in 20^th century American writing. The main goal of this course is that students learn to recognize the basic narrative, formal, and structural conventions of fiction so they can understand how they function in a given text.

Each text we read prominently features a technology or set of technologies—sometimes fictional but often real—that profoundly shape both its narrative and its world. We will learn how the basic conventions and devices of fiction function by closely examining the text’s depiction of both its major technology or technologies and the larger social and political consequences of its development and implementation.

We will spend most of our class time discussing a series of 20^th century American novels where technology plays a major thematic role. A likely—but not final—list of these texts includes Black No More (1931) by George Schuyler, Player Piano (1952) by Kurt Vonnegut, The Crying of Lot 49 (1965) by Thomas Pynchon, Flight to Canada (1976) by Ishmael Reed, White Noise (1985) by Don DeLillo, and Parable of the Sower (1993) by Octavia Butler. We may also read selections from secondary texts that will enrich our understanding of a given novel, but these texts will make up a much smaller portion of our reading and available via Canvas.

Grade coursework will include class participation, weekly discussion posts, a written midterm consisting primarily of short-answer questions, and a final 10-12 page paper.

ENGL 2315-001—Introduction to Literary Study: Identity and Difference

MWF 1:00-1:50. VIRTUAL. Pergadia. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

How does literature represent identity and how does it approach encounters with difference? In this course, we will read a series of literary texts alongside recent criticism and theory to develop a vocabulary and skillset for further work in literary studies. We will discuss the relationship between literature and history and between literature and philosophy, attending to questions of race, gender, sexuality, and citizenship. One of the main questions we will ask: How do texts address us as readers and how do we respond to their address? As we discern what is at stake in being a reader, we will learn how to unpack the way a text generates its meaning. Tentative reading list includes texts by William Shakespeare (The Merchant of Venice), Eliza Haywood (Fantomina), Emily Dickinson, Nella Larsen (Passing), Vladimir Nabokov (Lolita), Toni Morrison (“Recitatif”), and Claudia Rankine (Citizen).

ENGL 2315-002— Introduction to Literary Study: Pomp and Circumstantial Evidence

TTh 11:00-12:20. VIRTUAL. Dickson-Carr, Darryl. 2012: CA2, W 2016: CA, W CC: CA, CAA, W

ENGL 2315 is an introduction to the pleasing art of literary study and to the English major. We will read, contemplate, and discuss poetry, short stories, essays, and novels from different nations and literary traditions to enjoy their many rich complexities. We will begin with different ways of defining literature, then proceed to examine how and why we read various genres and the roles that literature may play in our world. In addition, we will discover and discuss a few of the more prominent issues in contemporary literary studies. By the end of the course, the student should be able to read and write critically about literary works. This skill will serve each student well in other courses in English and elsewhere. Assignments: regular writings (in class and on your own); three papers; and five short benchmark exams will be required. NOTE: We will watch a few selected films outside of regular class time. Tentative texts: A Handbook to Literature, Twelfth Edition, ed. William Harmon; James, The Turn of the Screw; Best American Essays of the Century, ed. Joyce Carol Oates; Shakespeare, King Lear; Wisława Szymborska, Poems: New & Collected, 1957-1997; Derek Walcott, Omeros; selected poems by Caroline Crew, Kay Ryan, et al.

ENGL 2315-003— Introduction to Literary Study: Danger: Novels

MWF 1:00-1:50. Hyer Hall 201. Sudan. 2012: CA2, W 2016: CA, W CC: CA, CAA, 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 2318-001— Introduction to Digital Literature

TTh 8:00-9:20. Heroy Hall 153. Wilson. 2012: W 2016: LL, TM, W CC: LAI, W

ENGL 2390-001H—Introduction to Creative Writing: Next Year's Words

T 3:30-6:20. VIRTUAL. Brownderville. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

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

—T. S. Eliot, “Little Gidding”

Next Year’s Words, the 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 not heard before on earth.

This year can’t write the poems of 2021. Next year’s poetry needs next year’s words.

ENGL 2390-002—Introduction to Creative Writing

M 2:00-4:50. VIRTUAL. Rubin. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-003—Introduction to Creative Writing

TTh 3:30-4:50. VIRTUAL. Condon (Hermes). 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-004—Introduction to Creative Writing

TTh 9:30-10:50. Dedman Life Sciences Building 110. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

In this class, students will write, critique and revise short fiction and analyze published texts using the elements of fiction. A significant portion of class time will be devoted to workshop. Toward the end of the semester, each student will be required to research literary journals and submit a carefully revised story. Prior experience in creative writing is not necessary.

ENGL 2390-005—Introduction to Creative Writing: The Writer's Toolkit

MWF 2:00-2:50. VIRTUAL. Hermes, R. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. It is important, therefore, that all students engage in active and respectful participation every class period, so that we can all make the most of this opportunity to sharpen our critical and creative skills.

ENGL 2390-006—Introduction to Creative Writing: The Writer’s Toolkit

MWF 3:00-3:50. VIRTUAL. Hermes, R. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. It is important, therefore, that all students engage in active and respectful participation every class period, so that we can all make the most of this opportunity to sharpen our critical and creative skills.

ENGL 3310-001—Contemporary Approaches to Literature

TTh 9:30-10:50. VIRTUAL. Greenspan.

Texts: Jane Austen, Pride and Prejudice; Charles Chesnutt, The Marrow of Tradition; Art Spiegelman, Maus, 2 volume set; Art Spiegelman, MetaMaus; Harriet Beecher Stowe, Uncle Tom’s Cabin.

Schedule of Course Modules: Module 1 – Introduction to the Study of Texts; Module 2 – Reading and Responding to Pride and Prejudice; Module 3 – Reading and Responding to Uncle Tom’s Cabin; Module 4 – Reading and Responding to The Marrow of Tradition; Module 5 – Reading and Responding to Maus.

ENGL 3341-001— British Literary History II: The Ordinary, Extraordinary, and "Real"

MWF 12:00-12:50. VIRTUAL. Newman. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, W

We will give significant attention to the social and historical contexts to which the writers were responding, while also practicing the skills of close reading and writing about literature. In short, we will trace a story about the canon of British literature, while keeping in mind that there are other ways of telling the story. About 15-20 pages of formal paper-writing (3-4 papers), a midterm and final; frequent small “low-stakes” homework assignments.

Texts: The Broadview Anthology of British Literature (possibly a customized version); Dickens, Oliver Twist; Woolf, Mrs. Dalloway.

ENGL 3346-001— American Literary History I: One Nation under Multiplicity

TTh 2:00-3:20. VIRTUAL. Greenspan. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, W

E pluribus unum -- The motto for the seal of the United States, first proposed in 1776, serves as the motto of this course. But what has it meant to writers of all backgrounds during the early years of the Republic? And what does it mean for us, looking backward at the period 1776-1900? This course will explore the literary responses of a wide array of major American writers who explored that founding issue. Writers to include Benjamin Franklin, Thomas Jefferson, Hannah Foster, William Apess, Frederick Douglass, Herman Melville, Harriet Jacobs, Walt Whitman, Emily Dickinson, Abraham Lincoln, Henry James, Mark Twain, and Charles Chesnutt, and Kate Chopin.

ENGL 3362-001—African-American Literature: Fugitive Literatures

TTh 11:00-12:20. VIRTUAL. Edwards. 2012: CA2, HD, W 2016: HFA, HD, W CC: HD, W

American film and television have been a prime site for liberatory action, where heroes lead bold escapes from chain gangs, gladiatorial slave pits, and prison of war camps. Nevertheless, this liberation, in both fantastic and realistic settings, often figures only within reach of the white slave or prisoner. This course examines the relationship between the experiences of Black Americans and their portrayal in historical narratives of slavery, the convict-lease system, and the modern carceral state. Starting with the writings of Frederick Douglass, William and Ellen Craft, and Harriet Jacobs, the class builds on literature that built sympathy for enslaved people. From there, students become familiar with the changing definition of liberation that develops into mainstream popular culture. Appropriating the definitions of freedom from Black American experiences, film has suggested that white experiences are synonymous with narratives of Black enslavement and imprisonment. Works as diverse as I am a Fugitive from a Chain Gang to The Great Escape to Shawshank Redemption have provided white heroism in the face of systems of imprisonment that likewise keep traumatic histories of racial injustice perpetually obscured. In addition, the course looks at postmodernist trends of the last half-century that have allowed Black filmmakers and their allies to use film, such as Django Unchained as a place for fulfilling fantasies and historical narratives of revolt. The class considers how incarceration narratives position the representation of Black Americans as perpetually enslaved in an unceasing reenactment.

ENGL 3363-001—Chicana/Chicano Literature

MWF 10:00-10:50. Dallas Hall 115. Sae-Saue. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, HD, W

This class will examine the aesthetic and thematic attributes of key texts of the Mexican American and Chicana/o literary archives. Our primary goal is to map the literary development of Chicana/o consciousness. That is, we will examine how essential Chicana/o texts mobilize literary elements in order to organize perceptions of social interaction, articulate political needs, and to explore cultural values. With particular emphasis on Chicana/o novels and Mexican American culture, we shall learn to recognize how each narrative engages issues of race, class, and gender within a diverse set of social circumstances. As such, we shall attend to how the selected texts articulate the Chicana/o imagination not as something “essential,” but rather as the means by which to conceive of community within disparate and complex social-historical situations. In this regard, this class will examine how Chicana/o literature negotiates racial injustice, legal disenfranchisement, economic exploitation, and cultural eradication, among other topics. This class will pay particular attention to texts that explore life in Texas and at the US-Mexico border.

ENGL 3390-001—Creative Writing Workshop

W 2:00-4:50. VIRTUAL. Rubin. 2012: CA2, W 2016: HFA, W CC: W

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 3390-002— Creative Writing Workshop

TTh 12:30-1:50. Hyer Hall 111. Smith. 2012: CA2, W 2016: HFA, W CC: W

In this class students will write, revise, and analyze imaginative prose. Discussion will center on the students’ writing and on published work that demonstrates solid craftsmanship. The primary focus will be on revision. Toward the end of the semester, each student will be required to research literary journals and submit a carefully revised story. Prerequisite: Pre-written 5 page short story.

ENGL 4323-001—Chaucer: The Canterbury Tales

TTh 2:00-3:20. VIRTUAL. Wheeler. 2012: IL, OC 2016: IL, OC

What’s it like to be a writer in the middle of a pandemic? Chaucer is our greatest example in English poetry. In his strong, wise, and rich narratives, his (frequently hilarious) poetry urges us to balance the delight with the difficulty of life.

Reading: The Norton Chaucer and background texts

Assignments: regular reading comments, in-class oral presentations and memorization, short and longer paper.

ENGL 4330-001—Renaissance Writers: Welcome to Faerieland, Eden, and Hell

TTh 12:30-1:50. VIRTUAL. Moss. 2012: IL, OC 2016: IL, OC CC: OC

As Renaissance poets, Edmund Spenser (c. 1552–99) and John Milton (1608–74) are counterparts: the former’s Faerie Queene celebrates the English monarch and her realm in an elaborate and open-ended allegorical fiction, while the latter’s Paradise Lost appeals directly to the Bible for its authority, depicting England’s king as a satanic usurper intent on destroying the commonwealth. Spenser mesmerizes his readers with the intricacy of his rhymed stanzas and with his narrative’s infinite convolutions, while Milton’s exacting language and sublime metaphors push us inexorably toward the climactic Fall from Eden and beyond. As they apply themselves to the praise and critique of their nation and its institutions of faith and government, both poets transform the English language and the culture that language serves and expresses.

In this course, we will read about half of Spenser’s Faerie Queene and the entirety of Milton’s Paradise Lost, as well as shorter poems and illuminating prose by both poets. In our efforts to build working interpretations of each poem, we will examine biblical, classical, medieval, and Renaissance sources, explore the culture and politics of Renaissance England, and evaluate modern critical accounts of these landmark texts.

ENGL 4343-001— Studies in British Literature in the Age of Revolutions: Austen, Charlotte Bronte, and Eliot

MWF 9:00-9:50. VIRTUAL. Satz. 2012: IL, OC 2016: IL, OC CC: OC

We will read with a variety of critical approaches six great novels: Pride and Prejudice, Emma, Jane Eyre, Villette, Mill on the Floss, and Middlemarch. This course is an opportunity to savor some of the monumental works of literature. Requirements: three short papers (4 pp.) and one longer paper (10 pp.); mid-term and final.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Queer America

TTh 3:30-4:50. VIRTUAL. Edwards. 2012: CA2, IL, OC 2016: HFA, IL, OC

ENGL 6340-001—Proseminar in British Literature in the Age of Revolutions

M 3:00-5:50. Clements Hall 225. Sudan

This course examines the structures of British imperialism as they are reflected in literature, science, and technology. The premise for our examination, however, is that such structures were nor necessarily European in origin. Resisting the self-image of the “Enlightenment” as it was developed in seventeenth- and eighteenth-century Europe, we will investigate how “Enlightenment” values and socio-political norms prized by modernity also had roots in cultures and geographies other than Europe. Our focus will be on the critical encounters between England and Asia with an eye to deconstructing legacies of Eurocentrism. Ultimately, we will consider the implications of these histories in relation to our own (post)modern understanding of imperial identity and the assumptions about legacy, power, and control in the global marketplace.

ENGL 7340-001—Seminar in British Literature: Allegory and Allusion in Spenser's Poetry

T 3:30-6:20. VIRTUAL. Moss.

Edmund Spenser’s Faerie Queene, the longest major poem in English, is at once the early modern period’s most ambitious and successful allegory and a comprehensive guide to the phenomenon and practice of intertextuality. We will begin with the youthful pastoral, The Shepheardes Calender (1579), introducing ourselves to Spenserian modes of allegory, intertextuality, pastoral, and paratext, while locating Spenser’s poetic career and Protestant theology in their humanist and Reformation contexts. Following two crash-course weeks in theories of allegory and intertextuality, alongside the groundwork of reading Virgil, Ovid, and Chaucer, we will pivot to The Faerie Queene, which we will read in its entirety over the remaining classes, supported by relevant criticism both classic and current.

Key to this course will be learning to balance minute close-reading (your dreams will begin to rhyme ababbcbcC) with large-scale claims embracing a sprawling text, its major intertexts, and the historical, political, and theological preoccupations of the period. We will explore early modern English theories and prejudices regarding ethnic difference, including Spenser’s own notorious tract, A View of the Present State of Ireland, as well as the troubled relationship between an intensely patriarchal humanism and an aging, unmarried queen with her cult of virginity. We will navigate the generic borderlands between didactic allegory and delightful romance, and we shall have to decide whether we are rooting for the knights or the dragons.

ENGL 7370-001—Seminar in Minority Literature: Rethinking Race and Posthumanism

W 3:00-5:50. VIRTUAL. Pergadia.

This course explores the semantic, ideological, aesthetic and material conflations and connections between the human, animal, and object through the racial inflections of these categories. We will analyze contemporary debates in animal studies, posthumanism, and critical race studies that renews the investment in the connection between race, animality, and posthumanism. Is the connection between race and animality always a debased alliance? How does race re-signify species and vice versa? Students will gain dexterity with recent debates of posthumanism and will develop historically-specific, materially-attuned accounts of the relationship between race, animality, and posthumanism. The archive for the seminar consists of texts in contemporary American fiction: Toni Morrison, Octavia Butler, Ruth Ozeki, Art Spiegelman. Theoretical texts by Sylvia Wynter, Jacques Derrida, Cary Wolfe, Alexander G. Weheliye, Zakiyyah Iman Jackson, Donna Haraway.

ENGL 7376-001—Seminar: Special Topics: Arts of Violence

TTh 12:30-1:50. Dedman Life Science Building 132. Weisenburger.

This seminar takes up studies of violence in American fiction, from 1939 to 2016—Chandler, to Whitehead. As a fact and an eternal scourge of American life, bloody violence is as prominent in our time as in prehistory. Our readings in modern and postmodern American fictions will span seventy-seven years of modern and contemporary history. It’s an age as immersed in violence as any other. And as in any other historical period and place, violence in our period of study is the seedbed or ur-stuff of heroes and Hitlers, of legends, critiques, entertainment, moral & political analyses, and of spiritual crises. Violence has also been, from the early-twentieth century onward, a subject of intense critical and philosophical analyses. In those efforts, he secondary texts listed below are exemplary yet surely not alone in the approaches and analyses those critics have developed.

By semester’s end each participant in our seminar will have developed a critical approach to a particular text (or more) and the challenges it poses. Looking forward, be prepared to present, at the mid-point in the semester, a short, 15- to 20-minute presentation that discusses your project, where it’s going, and why.

ENGL 7376-002—Seminar: Special Topics: On the Road [again]

Th 3:30-6:20. Clements Hall 225. Rosendale.

This course will survey one of literature’s oldest and most flexible structural tropes: the journey. What is it that has made travel, and its combination of temporal and geographic movement, so irresistible to three millennia of Western writers? What range of different uses have they made of this deeply resonant metaphor, and what possibilities has it offered? How are later road narratives in conversation with earlier ones? (And why, until quite recently, have so few of them been written by women?) From ancient Greece to 20^thC America, we will read epics, novels, poems, plays, captivity and slave narratives, and criticism to better understand the depth and variations of a trope so pervasive that we may hardly have noticed it.

Authors will likely include Homer, Chaucer, Bunyan, Johnson, Voltaire, Rousseau, Tennyson, Douglass, Whitman, Conrad, Lawrence, Eliot, Hemingway, Beckett, and Kerouac. Further possible additions include The Wanderer, Dante, Spenser, Cavendish, Swift, Mark Twain, Faulkner, Steinbeck, O’Connor, Pirsig, Heat-Moon; other suggestions from seminar enrollees are welcome.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
1363	001	The Myth of the American West	Weisenburger	TTh	3:30	4:50	HERY 153	2012: CA1, HC1 2016: CA, HC	CA, CAA
1380	001	Introduction to Literature: From Stone Tablets to Hypertext	Wilson	TTh	9:30	10:50	HERY 153	2012: CA1 2016: CA	CA, CAA
1385	001	Power, Passion, and Protest in British Literature	Rosendale	TTh	12:30	1:50	FOSC 133	2012: CA1, HC1 2016: CA, HC	HC
2102	001	Spreadsheet Lit: Excel	Dickson-Carr, C.	M	3:00	3:50	DH 101
2102	002	Spreadsheet Lit: Excel	Dickson-Carr, C.	W	3:00	3:50	DH 102
2302	001	Business Writing	Dickson-Carr, C.	TTh	12:30	1:50	DH 102	2012: IL, OC, W 2016: IL, OC, W	W
2302	002	Business Writing	Dickson-Carr, C.	TTh	2:00	3:20	DH 102	2012: IL, OC, W 2016: IL, OC, W	W
ENGL/ WRTR 2306	001H	Honors Humanities Seminar II	Arbery	MWF	9:00	9:50	DH 157
ENGL/ WRTR 2306	002H	Honors Humanities Seminar II	Arbery	MWF	10:00	10:50	DH 157
ENGL/ WRTR 2306	003H	Honors Humanities Seminar II	Arbery	MWF	11:00	11:50	DH 157
ENGL/ WRTR 2306	004H	Honors Humanities Seminar II	Miller	MWF	11:00	11:50	DLSB 132
ENGL/ WRTR 2306	005H	Honors Humanities Seminar II	Hopper	MWF	12:00	12:50	Virtual
ENGL/ WRTR 2306	006H	Honors Humanities Seminar II	Hopper	MWF	1:00	1:50	Virtual
ENGL/ WRTR 2306	007H	Honors Humanities Seminar II	Hopper	MWF	2:00	2:50	Virtual
ENGL/ WRTR 2306	008H	Honors Humanities Seminar II	McConnell	TTh	9:30	10:50	HYER 106
ENGL/ WRTR 2306	009H	Honors Humanities Seminar II	Ray	TTh	9:30	10:50	FOSC 152
ENGL/ WRTR 2306	010H	Honors Humanities Seminar II	McConnell	TTh	11:00	12:20	HYER 106
ENGL/ WRTR 2306	011H	Honors Humanities Seminar II	Bozorth	TTh	11:00	12:20	Virtual
ENGL/ WRTR 2306	012H	Honors Humanities Seminar II	McConnell	TTh	12:30	1:50	HYER 106
ENGL/ WRTR 2306	013H	Honors Humanities Seminar II	Ivie	TTh	12:30	1:50	DLSB 110
ENGL/ WRTR 2306	014H	Honors Humanities Seminar II	McConnell	TTh	2:00	3:20	HYER 106
2310	001	Imagination and Interpretation: Eve’s Reply	Jones	MWF	9:00	9:50	Virtual	2012: CA2, W 2016: CA, W	CA, CAA, W
2311	001	Poetry: Serious Word Games	Bozorth	TTh	2:00	3:20	Virtual	2012: CA2, W 2016: LL, W	LAI, W
2311	002	Poetry: Lifting the Veil	Condon	TTh	12:30	1:50	Virtual	2012: CA2, W 2016: LL, W	LAI, W
2312	001	Fiction: Women Who Wonder & Wander	Kiser	TTh	8:00	9:20	HYER 107	2012: CA2, W 2016: LL, W	LAI, W
2312	002	Fiction: The Self and the Other	Newman	MWF	2:00	2:50	Virtual	2012: CA2, W 2016: LL, W	LAI, W
2312	003	Fiction: Forms & Functions of the Stories We Tell	Hermes, R.	MWF	12:00	12:50	Virtual	2012: CA2, W 2016: LL, W	LAI, W
2312	004	Fiction: Technology & 20th C. American Fiction	Clemmer	MWF	10:00	10:50	DLSB 110	2012: CA2, W 2016: LL, W	LAI, W
2315	001	Introduction to Literary Study: Identity and Difference	Pergadia	MWF	1:00	1:50	Virtual	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	002	Introduction to Literary Study: Pomp and Circumstantial Evidence	Dickson-Carr, D.	TTh	11:00	12:20	Virtual	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	003	Introduction to Literary Study: Danger: Novels	Sudan	MWF	1:00	1:50	HYER 201	2012: CA2, W 2016: CA, W	CA, CAA, W
2318	001	Introduction Digital Literature	Wilson	TTh	8:00	9:20	HERY 153	2012: W 2016: LL, TM, W	LAI, W
2390	001H	Introduction to Creative Writing: Next Year's Words	Brownderville	T	3:30	6:20	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	002	Introduction to Creative Writing	Rubin	M	2:00	4:50	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	003	Introduction to Creative Writing	Condon, K.	TTh	3:30	4:50	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	004	Introduction to Creative Writing	Smith	TTh	9:30	10:50	DLSB 110	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	005	Introduction to Creative Writing: The Writer's Toolkit	Hermes, R.	MWF	2:00	2:50	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	006	Introduction to Creative Writing: The Writer's Toolkit	Hermes, R.	MWF	3:00	3:50	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
3310	001	Contemporary Approaches to Literature	Greenspan	TTh	9:30	10:50	Virtual
3341	001	British Literary History II: The Ordinary, Extraordinary, and "Real"	Newman	MWF	12:00	12:50	Virtual	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
3346	001	American Literary History I: One Nation under Multiplicity	Greenspan	TTh	2:00	3:20	Virtual	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
3362	001	African–American Literature: Fugitive Literatures	Edwards	TTh	11:00	12:20	Virtual	2012: CA2, HD, W 2016: HFA, HD, W	HD, W
3363	001	Chicana/Chicano Literature	Sae-Saue	MWF	10:00	10:50	DH 115	2012: CA2, HD, W 2016: HFA, HD, W	LAI, HD, W
3390	001	Creative Writing Workshop	Rubin	W	2:00	4:50	Virtual	2012: CA2, W 2016: HFA, W	W
3390	002	Creative Writing Workshop	Smith	TTh	12:30	1:50	HYER 111	2012: CA2, W 2016: HFA, W	W
4323	001	Chaucer: The Canterbury Tales	Wheeler	TTh	2:00	3:20	Virtual	2012: IL, OC 2016: IL, OC
4330	001	Renaissance Writers: Welcome to Faerieland, Eden, and Hell	Moss	TTh	12:30	1:50	Virtual	2012: IL, OC 2016: IL, OC	OC
4343	001	Studies in British Literature in the Age of Revolutions: Austen, Charlotte Bronte, and Eliot	Satz	MWF	9:00	9:50	Virtual	2012: IL, OC 2016: IL, OC	OC
4360	001	Studies in Modern and Contemporary American Literature: Queer America	Edwards	TTh	3:30	4:50	Virtual	2012: CA2, IL, OC 2016: HFA, IL, OC
6340	001	Proseminar in British Literature in the Age of Revolutions	Sudan	M	3:00	5:50	CLEM 225
7340	001	Seminar in British Literature: Allegory and Allusion in Spenser's Poetry	Moss	T	3:30	6:20	Virtual
7370	001	Seminar in Minority Literature: Rethinking Race and Posthumanism	Pergadia	W	3:00	5:50	Virtual
7376	001	Seminar: Special Topics: Arts of Violence	Weisenburger	TTh	12:30	1:50	DLSB 132
7376	002	Seminar: Special Topics: On the Road [again]	Rosendale	Th	3:30	6:20	CLEM 225

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	UC Tag
ENGL/ WRTR 2306	001H	Honors Humanities Seminar II	Arbery	MWF	9:00	9:50	DH 157	2012: CA1, W 2016: CA, W
2310	001	Imagination and Interpretation: Eve’s Reply	Jones	MWF	9:00	9:50	Virtual	2012: CA2, W 2016: CA, W	CA, CAA, W
4343	001	Studies in British Literature in the Age of Revolutions: Austen, Charlotte Bronte, and Eliot	Satz	MWF	9:00	9:50	Virtual	2012: IL, OC 2016: IL, OC	OC
ENGL/ WRTR 2306	002H	Honors Humanities Seminar II	Arbery	MWF	10:00	10:50	DH 157	2012: CA1, W 2016: CA, W
2312	004	Fiction: Technology & 20th C. American Fiction	Clemmer	MWF	10:00	10:50	DLSB 110	2012: CA2, W 2016: LL, W	LAI, W
3363	001	Chicana/Chicano Literature	Sae-Saue	MWF	10:00	10:50	DH 115	2012: CA2, HD, W 2016: HFA, HD, W	LAI, HD, W
ENGL/ WRTR 2306	003H	Honors Humanities Seminar II	Arbery	MWF	11:00	11:50	DH 157	2012: CA1, W 2016: CA, W
ENGL/ WRTR 2306	004H	Honors Humanities Seminar II	Miller	MWF	11:00	11:50	DLSB 132	2012: CA1, W 2016: CA, W
ENGL/ WRTR 2306	005H	Honors Humanities Seminar II	Hopper	MWF	12:00	12:50	Virtual	2012: CA1, W 2016: CA, W
2312	003	Fiction: Forms & Functions of the Stories We Tell	Hermes, R.	MWF	12:00	12:50	Virtual	2012: CA2, W 2016: LL, W	LAI, W
3341	001	British Literary History II: The Ordinary, Extraordinary, and "Real"	Newman	MWF	12:00	12:50	Virtual	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
ENGL/ WRTR 2306	006H	Honors Humanities Seminar II	Hopper	MWF	1:00	1:50	Virtual	2012: CA1, W 2016: CA, W
2315	001	Introduction to Literary Study: Identity and Difference	Pergadia	MWF	1:00	1:50	Virtual	2012: CA2, W 2016: CA, W	CA, CAA, W
2315	003	Introduction to Literary Study: Danger: Novels	Sudan	MWF	1:00	1:50	HYER 201	2012: CA2, W 2016: CA, W	CA, CAA, W
ENGL/ WRTR 2306	007H	Honors Humanities Seminar II	Hopper	MWF	2:00	2:50	Virtual	2012: CA1, W 2016: CA, W
2312	002	Fiction: The Self and the Other	Newman	MWF	2:00	2:50	Virtual	2012: CA2, W 2016: LL, W	LAI, W
2390	005	Introduction to Creative Writing: The Writer's Toolkit	Hermes, R.	MWF	2:00	2:50	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	006	Introduction to Creative Writing: The Writer's Toolkit	Hermes, R.	MWF	3:00	3:50	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
2390	002	Introduction to Creative Writing	Rubin	M	2:00	4:50	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
2102	001	Spreadsheet Lit: Excel	Dickson-Carr, C.	M	3:00	3:50	DH 101
6340	001	Proseminar in British Literature in the Age of Revolutions	Sudan	M	3:00	5:50	CLEM 225
2102	002	Spreadsheet Lit: Excel	Dickson-Carr, C.	W	3:00	3:50	DH 102
3390	001	Creative Writing Workshop	Rubin	W	2:00	4:50	Virtual	2012: CA2, W 2016: HFA, W	W
7370	001	Seminar in Minority Literature: Rethinking Race and Posthumanism	Pergadia	W	3:00	5:50	Virtual
2312	001	Fiction: Women Who Wonder & Wander	Kiser	TTh	8:00	9:20	HYER 107	2012: CA2, W 2016: LL, W	LAI, W
2318	001	Literature and Digital Humanities: An Introduction	Wilson	TTh	8:00	9:20	HERY 153	2012: W 2016: LL, TM, W	LAI, W
1380	001	Introduction to Literature: From Stone Tablets to Hypertext	Wilson	TTh	9:30	10:50	HERY 153	2012: CA1 2016: CA	CA, CAA
ENGL/ WRTR 2306	008H	Honors Humanities Seminar II	McConnell	TTh	9:30	10:50	HYER 106	2012: CA1, W 2016: CA, W
ENGL/ WRTR 2306	009H	Honors Humanities Seminar II	Ray	TTh	9:30	10:50	FOSC 152	2012: CA1, W 2016: CA, W
2390	004	Introduction to Creative Writing	Smith	TTh	9:30	10:50	DLSB 110	2012: CA1, W 2016: CA, W	CA, CAC, W
3310	001	Contemporary Approaches to Literature	Greenspan	TTh	9:30	10:50	Virtual
ENGL/ WRTR 2306	010H	Honors Humanities Seminar II	McConnell	TTh	11:00	12:20	HYER 106	2012: CA1, W 2016: CA, W
ENGL/ WRTR 2306	011H	Honors Humanities Seminar II	Bozorth	TTh	11:00	12:20	Virtual	2012: CA1, W 2016: CA, W
2315	002	Introduction to Literary Study: Pomp and Circumstantial Evidence	Dickson-Carr, D.	TTh	11:00	12:20	Virtual	2012: CA2, W 2016: CA, W	CA, CAA, W
3362	001	African–American Literature: Fugitive Literatures	Edwards	TTh	11:00	12:20	Virtual	2012: CA2, HD, W 2016: HFA, HD, W	HD, W
1385	001	Power, Passion, and Protest in British Literature	Rosendale	TTh	12:30	1:50	FOSC 133	2012: CA1, HC1 2016: CA, HC	HC
2302	001	Business Writing	Dickson-Carr, C.	TTh	12:30	1:50	DH 101	2012: IL, OC, W 2016: IL, OC, W	W
ENGL/ WRTR 2306	012H	Honors Humanities Seminar II	McConnell	TTh	12:30	1:50	HYER 106	2012: CA1, W 2016: CA, W
ENGL/ WRTR 2306	013H	Honors Humanities Seminar II	Ivie	TTh	12:30	1:50	DLSB 110	2012: CA1, W 2016: CA, W
2311	002	Poetry: Lifting the Veil	Condon	TTh	12:30	1:50	Virtual	2012: CA2, W 2016: LL, W	LAI, W
3390	002	Creative Writing Workshop	Smith	TTh	12:30	1:50	HYER 111	2012: CA2, W 2016: HFA, W	W
4330	001	Renaissance Writers: Welcome to Faerieland, Eden, and Hell	Moss	TTh	12:30	1:50	Virtual	2012: IL, OC 2016: IL, OC	OC
7376	001	Seminar: Special Topics: Arts of Violence	Weisenburger	TTh	12:30	1:50	DLSB 132
2302	002	Business Writing	Dickson-Carr, C.	TTh	2:00	3:20	DH 102	2012: IL, OC, W 2016: IL, OC, W	W
ENGL/ WRTR 2306	014H	Honors Humanities Seminar II	McConnell	TTh	2:00	3:20	HYER 106	2012: CA1, W 2016: CA, W
2311	001	Poetry: Serious Word Games	Bozorth	TTh	2:00	3:20	Virtual	2012: CA2, W 2016: LL, W	LAI, W
3346	001	American Literary History I: One Nation under Multiplicity	Greenspan	TTh	2:00	3:20	Virtual	2012: CA2, HC2, W 2016: HFA, HSBS, W	LAI, W
4323	001	Chaucer: The Canterbury Tales	Wheeler	TTh	2:00	3:20	Virtual	2012: IL, OC 2016: IL, OC
1363	001	The Myth of the American West	Weisenburger	TTh	3:30	4:50	DLSB 132	2012: CA1, HC1 2016: CA, HC	CA, CAA
2390	003	Introduction to Creative Writing	Condon, K.	TTh	3:30	4:50	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
4360	001	Studies in Modern and Contemporary American Literature: Queer America	Edwards	TTh	3:30	4:50	Virtual	2012: CA2, IL, OC 2016: HFA, IL, OC
2390	001H	Introduction to Creative Writing: Next Year's Words	Brownderville	T	3:30	6:20	Virtual	2012: CA1, W 2016: CA, W	CA, CAC, W
7340	001	Seminar in British Literature: Allegory and Allusion in Spenser's Poetry	Moss	T	3:30	6:20	Virtual
7376	002	Seminar: Special Topics: On the Road [again]	Rosendale	Th	3:30	6:20	CLEM 225

Fall 2020

ENGL 1320-001—Cultures of Medieval Chivalry: COURAGE! HONOR! SHAME! ROMANCE! DRAGONS!

TTh 11:00-12:20. REMOTE. Goyne. 2012: CA1, HC1, OC 2016: LL, HC, OC

In this course we study the development of chivalric mentalities in literature, history, and culture from the Middle Ages to modern times, from the flowering of chivalry as an ideal and in practice in twelfth-century Western culture to its presence in the current moment. Stories from King Arthur form the central thread around which we will examine chivalric education and adventure, sin and atonement. This is a lecture/discussion course; grading criteria: reading commentaries, mid-term exam, presentations, final exam, and participation.

ENGL 1330-001—The World of Shakespeare

MWF 10:00-10:50. Moody Mil. Rosendale & Moss. 2012: CA1 2016: LL

Time to (re-)introduce yourself to our language’s greatest writer. In this course, you will meet Shakespeare’s princes, tyrants, heroes, villains, saints, sinners, lovers, losers, drunkards, clowns, outcasts, fairies, witches, and monsters. You’ll watch and listen as they love, woo, kiss, charm, hate, curse, mock, fool, sing to, dance with, get drunk with, sleep with, fight with, murder, and haunt each other. You will visit Renaissance England, a place and time as strange, troubled, exciting, delightful, fearful, thoughtful, political, magical, bloody, sexy, and confused as your own. You will read poetry you will never forget.

Coursework includes frequent quizzes, written midterm and final exams, and one extra credit opportunity. No papers.

ENGL 1330 satisfies the Language and Literature requirement for the University Curriculum, and counts toward the English major and minor.

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

TTh 2:00-3:20. Fondren Science 133. Levy. 2012: CA1, HD 2016: LL, HD

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50. 201 Hyer Hall. Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize data, professionally format worksheets, use and link worksheets, create tables and charts, and communicate results of their analyses in clear, readable prose. Students must bring laptop with most recent version of Excel to each class as exercises are done real-time in class.

ENGL 2102-002—Spreadsheet Lit: Excel

W 3:00-3:50. 107 Hyer Hall. Dickson-Carr, Carol.

ENGL 2302-001—Business Writing

TTh 12:30-1:50. 107 Hyer Hall. Dickson-Carr, Carol.

Introduction to business and professional communication, including a variety of writing and speaking tasks, and the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. First priority is given to Markets & Cultures majors; second priority is given to upper-class Dedman students. Prerequisite: DISC 1312 or DISC 2305

ENGL 2302-002— Business Writing

TTh 2:00-3:20. 126 Clements Hall. Dickson-Carr, Carol.

ENGL 2311-001—Introduction to Poetry: Serious Word Games

TTh 2:00-3:20. REMOTE. Bozorth. 2012: CA2, W, OC 2016: LL, W, OC

Now 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 2311-002—Introduction to Poetry

TTh 12:30-1:50. REMOTE. Newman. 2012: CA2, W, OC 2016: LL, W, OC

Texts: Helen Vendler’s Poems, Poets, Poetry and others TBD. Assignments: four shorter papers of increasing length; 1-2 presentations; discussion board postings; occasional short exercises; blue-book midterm and final exams.

ENGL 2311-003—Introduction to Poetry: A Poet-Guided Tour

MWF 1:00-1:50. REMOTE. 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: one short paper, one longer paper, one creative exercise, one recitation, regular posts to an online discussion board, midterm exam, final exam. Course text: The Norton Anthology of Poetry, 6th edition.

ENGL 2312-001—Introduction to Fiction

MWF 1:00-1:50. 110 Hyer Hall. Satz. 2012: CA2, W 2016: LL, W

This course takes up the conventions and innovations in American fictions, from 1850 to the present. We are interested in how writers’ formal practices—in the short story, the novella, and the full-length novel—have changed over that century and a half; and in the ways that writers have used, for example, humor, fantasy, and historical incidents in their work. Along the way we will acquire a critical vocabulary and key concepts for thinking about some exemplary texts from a century and a half of American fictions. Our aim: to better think about, discuss, and appreciate what fictions do, and how, and why. Our texts: Herman Melville, Bartleby & Benito Cereno; Kate Chopin, The Awakening & Selected Stories; Nella Larsen, Passing: Nathanael West, Miss Lonelyhearts & The Day of the Locust; Raymond Chandler, The Big Sleep; Ishmael Reed, Mumbo Jumbo; Toni Morrison, Beloved; Cormac McCarthy, No Country for Old Men; and Denis Johnson, Train Dreams.

ENGL 2312-002—Introduction to Fiction: US Ethnic Literatures

TTh 11:00-12:20. REMOTE. Sae-Saue. 2012: CA2, W 2016: LL, W

Each text we will read represents a specific set of historical and social relationships and they imagine particular U.S. identities. We shall investigate how fiction constructs cultural identities, comments on determinate historical moments, and organizes human consciousness around social history.

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

TTh 8:00-9:20. REMOTE. Edwards. 2012: CA2, W 2016: LL, W

What makes a good story? Does it entice its readers with a grand epic narrative, lovable characters, and a twist ending that sticks in the mind for years to come? Does it have to do anything at all? This course explores a variety of stories from the short stories of Washington Irving and Edgar Allan Poe to the searing critiques of modern society in Sylvia Plath and Toni Morrison. Throughout the semester, students will look for connections between American stories of the past and their relationship to our present. In particular, the class will think through how writers understand and deal with issues of race, class, gender, and sexuality to the ever-changing concept of the canon. What we might find is not simply an evolution of thought from Antebellum America to our present day but a variety of ways of constructing and performing the self. By the end of the class, students will be able to engage with concepts of narrative, character, plot, and historic contexts.

ENGL 2312-004—Introduction to Fiction: Art & Identity during the Harlem Renaissance

TTh 8:00-9:20. 100 Hyer Hall. Kiser. 2012: CA2, W 2016: LL, 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: How does representing a collective identity become complicated when various perspectives and voices are at stake? Is art always political or can it exist just for art’s sake? Progressing towards answering, “What was the Harlem Renaissance?,” we will explore why black writers during the Harlem Renaissance turned to fiction to debate and investigate the above questions.

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

TTh 11:00-12:20. 153 Fondren Science. 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: What Makes Sense

MWF 2:00-2:50. REMOTE. Cassedy. 2012: CA2, W 2016: CA, 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 difficult to pin down. Tentative reading list includes texts by Vladimir Nabokov (Lolita), William Shakespeare (King Lear), Leslie Jamison (The Empathy Exams), Edgar Allan Poe (Narrative of Arthur Gordon Pym), Mat Johnson (Pym), and Emily Dickinson. Four essays, a midterm, and a final.

ENGL 2315-003— Introduction to Literary Study: After Emancipation

MWF 9:00-9:50. REMOTE. Edwards. 2012: CA2, W 2016: CA, W

In understanding the changing nature of Black citizenship and subjecthood in the United States, “After Emancipation” traces a century of Black intellectual thought responding to the conception of freedom and liberty. In the wake of the Emancipation Proclamation and the Thirteenth Amendment in 1863 and 1865, respectively, Black Americans developed a complex literature that reckoned with these ideas. Although early theories of freedom suggested that the end of chattel slavery would reveal to white Americans the possibilities of a Black citizenry, this period instead led to new restrictions that prescribed roles for the newly emancipated. Yet as emancipation gave way to Black codes, Jim Crow, and other forms of institutional racism, Black novels, plays, poetry, and music responded in kind by defining the contours of Black life. This course looks to major transitions in conceptions of Black freedom, from the creation of cultural practices at the turn of the twentieth century, to the international aspects of the Harlem Renaissance, to the aftermath of Martin Luther King Jr.’s “Dream.” By examining this rich literary tradition, students will come to understand the multifaceted ways that these texts are in conversation with the changing contours of the United States. The course ends by putting one of the most important abolitionist texts, Uncle Tom’s Cabin, in conversation with Toni Morrison’s radical rewrite of the aftermath of Emancipation. As students finish their final assignments, this “looking backwards” provides an opportunity to think back upon the course to remind us all of the changing discourses of freedom.

Designed as an entry level course for prospective majors and those completing their distribution requirements, “After Emancipation” focuses on reading primary texts and close readings. Students will submit ten reading responses and two critical essays during the semester.

ENGL 2390-001—Introduction to Creative Writing: Introduction to Fiction Writing

TTh 11:00-12:20. REMOTE. Rubin. 2012: CA1, W 2016: CA, W

An introductory workshop that will focus on the fundamentals of craft in the genre of fiction writing. Students will learn the essential practice of “reading like a writer” while developing their own work and helpfully discussing their classmates’.

ENGL 2390-002H—Introduction to Creative Writing: MAKE IT NEW!

TTh 3:30-4:50. REMOTE. Brownderville. 2012: CA1, W 2016: CA, W

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. As this is an introductory course, prior experience in creative writing is not necessary. Students will be invited to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary American poetry.

ENGL 2390-003—Introduction to Creative Writing

MWF 2:00-2:50. 115 Dallas Hall. Smith. 2012: CA1, W 2016: CA, W

In this class, students will read, write, critique and revise fiction. A significant portion of class time will be devoted to the workshop of students’ short stories. Toward the end of the semester, students will be required to present one of their stories publicly.

ENGL 2390-004—Introduction to Creative Writing

CANCELED

ENGL 2390-005—Introduction to Creative Writing

MWF 12:00-12:50. 115 Dallas Hall. Smith. 2012: CA1, W 2016: CA, W

ENGL 2390-006—Introduction to Creative Writing: The Writer’s Toolkit

TTh 2:00-3:20. REMOTE. Hermes, R.. 2012: CA1, W 2016: CA, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

This course will explore the foundational aspects of creative writing in prose and poetry. To prepare ourselves to write our own stories and poems, we will begin by reading published workalong with craft essays that talk about the writing process. These readings are meant to stimulate discussion about what makes a successful poem or story and to provide models for your own creative work.

During the second half of the course, we will discuss your original creative work in a whole-class review commonly referred to as a workshop. If our workshop conversations are successful, you will learn from each workshopped piece whether you are the writer or the reader, because each story or poem will present particular challenges in writing that all of us face in our work. It is important, therefore, that all students engage in active and respectful participation every class period, so that we can all make the most of this opportunity to sharpen our critical and creative skills.

ENGL 3310-001—Contemporary Approaches to Literature

TTh 9:30-10:50. REMOTE. Greenspan.

This is a gateway course designed as an intensive introduction to the study of literary texts. It explores several key questions: What is a text? What are some of the approaches thoughtful critics have taken in recent years to the analysis of texts? How do we as readers make sense both of texts and of their critics? And how, in practice, does each of us progress from the reading to the written analysis of texts?
The course consists of five modules in which we explore these questions in relation to a handful of major literary texts of the nineteenth and twentieth centuries. In each one, we will employ a combination of lecture, discussion group activity, and writing exercises with the goal of refining our critical thinking, reading, and writing skills.

ENGL 3320-001—Topic in Medieval Literature: Paradigms of Truth in Medieval Literature

TTh 12:30-1:50. REMOTE. Amsel. 2012: CA2, W 2016: HFA, W

This course looks at fact and fiction in literature from and about the Middle Ages, exploring issues of real and imagined histories and legends. How is it that we make history? And, how do we discern truth? Sounds familiar to us because we are still grappling with questions of real truths vs. fake truths in our everyday lives. Our readings will take us from a popular grail story, back through medieval sources and texts, to learn about medieval paradigms still present in contemporary culture.

ENGL 3355-001—Transatlantic Encounters III: Political Theater: Modern Drama and the Arts of Assembly

MWF 10:00-10:50. REMOTE. Kastleman. 2012: CA2, GE, HD 2016: HFA, GE, HD

Politics relies on spectacle. Many core components of political action—from campaigns to protests, from conducting trials to enacting laws—require political actors to attend to certain elements of theater, including performance, audience, and setting the scene. The fact that the activities of modern politics borrow from the theater was not lost on major modern playwrights, who harnessed the structural features of theater in order to create new spaces for political deliberation and social transformation. Dramatists such as Bertolt Brecht celebrated the theater as a means of developing the capacity for political judgment, while contemporary playwrights including Suzan Lori-Parks and Larissa FastHorse have shown how theater can prompt reckonings with historical injustice. These innovative dramatists have explored theater’s distinctive “art of assembly,” in which audiences are drawn together to form judgments in the company of others. In this course, we consider how the theater both reflects and generates the mechanisms of political decision-making. We approach these topics by examining a wide range of influential dramatic works from throughout the English-speaking world. Our conversations will continually attend to aspects of live performance, including dramaturgy, design, embodiment, movement, and direction, and students will be asked to view at least one live theater event over the course of the semester. Students will hone their ability to analyze dramatic form and to evaluate the cultural, historical, and political contexts of performance.

ENGL 3362-001—African-American Literature: Reimagining Slavery

TTh 12:30-1:50. REMOTE. Pergadia. 2012: CA2, HD, W 2016: HFA, HD, W

This course considers a variety of imaginative works that remember, memorialize, and recreate the experience of American slavery—the neo-slave novels of Toni Morrison and Octavia Butler, the artwork of Kara Walker, the cinematic adaptation of Solomon Northup’s 12 Years a Slave, The 1619 Project. Beginning with the canonical slave narratives of Frederick Douglass and Harriet Jacobs, students will gain an understanding both of the lives of Americans in bondage and how those lives transformed into stories that continue to shape our national consciousness. Students will learn how to analyze literary and visual art to ask: How do aesthetic forms become vehicles for social and political protest? What are the ethics of remembering?

ENGL 3366-001—American Literary History II: America the Multiple

TTh 2:00-3:20. REMOTE. Greenspan. 2012: CA2, HC2, W 2016: HFA, HSBS, W

This course will explore a wide variety of fictional voices and visions produced in America over the period 1900 to the present. A continuing focus will be on ways that writers interrelate historical and fictional time. Writers to include Abraham Cahan (The Rise of David Levinsky), Willa Cather (My Antonia), Ernest Hemingway (In Our Time), William Faulkner (Go Down, Moses), Toni Morrison (Song of Solomon), Octavia Butler (Kindred), Tillie Olsen (Tell Me a Riddle), Michael Chabon (The Amazing Adventures of Kavalier & Clay), and Richard McGuire (Here).

ENGL 3367-001—Ethical Implications of Children's Literature

MWF 11:00-11:50. REMOTE. Satz. 2012: CA2, HD, KNOW, OC, W 2016: HFA, HD KNOW, OC, W

An opportunity to revisit childhood favorites and to make new acquaintances, armed with the techniques of cultural, literary, and philosophical criticism. This course ranges from fairy tales through picture books and young children’s chapter books to young adult fiction. This course will examine literature from an ethical perspective, particularly notions of morality and evil, with emphasis upon issues of colonialism, race, ethnicity, gender, sexual identity, and class. Examples of texts: Snow White,” accompanied by critical essays; picture books such as Where 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; books for young adults such as Wonder and Absolute True Diary of a Part-time Indian. Four short papers and a final.

ENGL 3370-001—Special Topics: Life Writing

CANCELED

ENGL 3390-001—Creative Writing Workshop: Advanced Screenwriting Workshop

TTh 3:30-4:50. REMOTE. Rubin. 2012: CA2, W 2016: HFA, W

In this advanced course students will present their own screenwriting as well as critique that of their classmates. Alongside these workshops we will analyze exemplary models of the form and study film clips to understand the ways compelling dialogue is written and satisfying scenes are structured. Readings will include such classics as Casablanca and Chinatown as well as newer scripts like Lady Bird and Get Out. ENGL 2390 is a prerequisite for this course although Meadows students with a background in dramatic arts are encouraged to seek the permission of the instructor.

ENGL 3390-002— Creative Writing Workshop: Voice

TTh 12:30-1:50. REMOTE. Brownderville. 2012: CA2, W 2016: HFA, W

Long before poems were written down or printed in books, they were sung, chanted, or spoken. The voice of a deft reciter gave poetry a special timbre and texture.

In the modern era, when speaking of a poet’s “voice,” we have mostly used the term metaphorically. A writer’s voice is largely a matter of style: diction, syntax, formal habits, rhetorical idiosyncrasies, and so on. Because of the technology of the book, we have learned to think of poetry primarily as a thing we encounter not as sounds in the air but as words on a page. The printing press, if never quite rendering the human voice obsolete as a vehicle of literature, certainly went a long way toward ending the oral tradition as we had known it.

In the twenty-first century, all of that is changing, and changing rapidly. Take, for instance, the growing popularity of well-written podcasts. Many of us, while walking the dog, cooking dinner, or commuting, are listening to podcasts regularly, some of us obsessively. Human beings might be listening to carefully crafted language more than at any time in recent history. Which is to say: technology, which once took the oral tradition away from us, is now giving it back.

What does this mean for poetry, and for our ideas about poetic “voice” and genre? What special opportunities does current technology present to word-artists? These questions are at the heart of ENGL 3390: VOICE.

In this workshop-based course, we will attend to the conventional elements of craft that contribute to poetic voice in the metaphorical sense (i.e. style). But we will also explore how podcasts, live poetry events, and video can change the ways we make and experience poems.

ENGL 3390-003— Creative Writing Workshop: You Are What You Read

MWF 12:00-12:50. REMOTE. Hermes, K. (Condon). 2012: CA2, W 2016: HFA, W

We will continue our own apprenticeship in this advanced workshop by cultivating a daily reading and writing practice. At the center of our practice is the daybook, a large sketchbook that modernist writers often used for their daily musings, doodles, and drafts. We will use our daybooks in much the same way, with the added daily prompt of transcribing and then imitating a poem by another writer. Such transcription is a physical practice—it works that poet’s linguistic perspective and formal attention into our memory. Our original, imitative draft that follows transcription attunes us to the aesthetic modes we feel most comfortable in and challenges us to write beyond them.

We will read and write toward poems by Anne Carson, Rita Dove, Dorothea Lasky, Frank O’Hara, W.S. Merwin, Joy Harjo, Kenneth Koch, Rainier Maria Rilke, Louise Glück, and June Jordan, to name just a few.

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

TTh 11:00-12:20. REMOTE. 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 4330-001—Renaissance Writers: Donne & Herbert

MWF 1:00-1:50. 152 Dallas Hall. Rosendale. 2012: IL, OC 2016: IL, OC

This course focuses on the amazing work of two of early modern England’s greatest (and most formally innovative) lyric poets and analysts of desire. John Donne and George Herbert were two seventeenth-century Anglican clergymen—the latter a quiet country parson, the former a brilliantly urbane (and often scandalous) social climber and eroticist—who also happened to be remarkable poets, the best-known writers of what has retrospectively become known as “metaphysical poetry.” We’ll read many of Donne’s poems, and nearly all of Herbert’s, taking time to focus in depth on a selected number of them. Our readings of the poetry will be complemented by some of their prose works, and by extensive engagement with current criticism. By the end of the course, you will know these writers

ENGL 4341-001—Victorian Writers: The Novels of the Brontës

TTh 3:30-4:50. REMOTE. Newman. 2012: IL, OC 2016: IL, OC

When the novels of Currer, Ellis, and Acton Bell (known to posterity as Charlotte, Emily, and Anne Brontë) appeared within three months of one another in 1847, they created a sensation. Who were these unknown writers who produced such fresh, imaginative, compelling (or, as some thought, immoral, disgusting) stuff? Were they really one person, as some people claimed, and if so, male or female? Today the novels of the three Brontë sisters are among the most widely read English novels in the world. This is a good time to study them. The year 2020 marks the bicentenary of Anne Brontë’s birth. The often-invoked “Brontë myth”—the story of three sheltered, virginal, untutored sisters from a backward village in the north of England who lived austere lives but somehow understood passion—has been studied, corrected, debunked. Meanwhile, films, novels based on the Brontës, novels about the Brontës, new biographies, and new scholarship continue to appear.

Let’s see what the fuss is about. We’ll read the six main novels in the context of their times; consider their lives, the reception of their work over the last century and three quarters, and the development of the “myth”; and perhaps peek at some film versions as well. Texts: C. Brontë: Jane Eyre; Shirley; Villette; E. Brontë: Wuthering Heights; A. Brontë: Agnes Grey; The Tenant of Wildfell Hall. (Please buy the Oxford editions of everything except Jane Eyre and Wuthering Heights, for which we will use my Bedford and Broadview editions respectively.)

Requirements: 2-3 Short papers; “low-stakes” discussion board postings; one research paper on a topic to be determined in consultation with instructor; 1–2 in-class presentations; possible blue-book midterm and/or final.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: End Times: American Apocalyptic Fictions

MWF 2:00-2:50. 110 Dedman Life Sciences Building. Satz. 2012: CA2, IL, OC 2016: HFA, IL, OC

Visions of the end-times have circulated at least since the apostle John’s revelation in the Bible’s last book. Secular versions of the last days, as in English writer Mary Shelley’s 1826 novel, The Last Man, have focused on world-ending crises such as pandemic disease, nuclear warfare, and environmental catastrophe. And yet, grim as these fictions are, they remain in circulation. Indeed, the acclamation for Ling Ma’s multi-award winning 2019 novel Severance, published a year before the 2020 coronavirus pandemic, underscores the wide and sustained public interest in these fictions, and gives our studies a timely, sharper edge. We will work chronologically through our required texts. Plan on two short papers, a mid-term, and a longer final paper to wrap up our work.

ENGL 5310-001—Seminar in Literary Theory

MWF 10:00-10:50. REMOTE. Satz.

This is course fulfills the first part of the requirements for Distinction in English.

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. This course will deal with critical race, gender, and disability theory and literary texts that provide rich occasions to discuss those critical theories. Examples of literary texts: Morrison, The Bluest Eye, Campbell, 24 Hour Hold, Bronte, Villette The course is also designed to advance research skills. The student will projects ranging from a two minute oral report to a longer essay leading toward a distinction project.

ENGL 6310-001—Advanced Literary Studies

Th 3:30-6:20. REMOTE. D. Dickson-Carr.

An introduction to advanced graduate work in literary studies. Our course will focus on definitions of texts and the languages within them, standards and processes of careful literary scholarship, and the profession’s complexities. The first unit will comprise a short survey of book and manuscript history, including how oral and written texts become books, with the attendant authority and problems contained therein. The second unit will focus on scholarly indexes and databases, both analog and digital; archival research; creation of bibliographies and their uses. The final unit will focus on 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, the occasional guest speaker, 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

M 3:00-5:50. 117 Dedman Life Sciences Building. Sudan.

ENGL 6312-001—Teaching Practicum

F 1:00-3:50. REMOTE. Stephens.

English 6312 is 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. Students will read and present texts on pedagogical approaches, as well as participate in teaching observations. Students need permission to enroll in this course.

ENGL 6330-001—Early Modern British Literature: The Digital Edition

TTh 12:30-1:50. 428A Heroy Hall. Wilson.

In 2000, Jonathan Sawday and Neil Rhodes co-edited The Renaissance Computer charting the information revolution that came about with the advent of printed books and considering the ramifications of this revolution for all kinds of different branches of study and inquiry. The collection traces connections between information innovations in early modern Europe and those taking place in our modern digital information culture. Twenty years on, this course revisits this approach to set modern advances in networked information and digital communications and analytical capabilities alongside parallel advances in the earlier information revolution that both characterizes and catalyzes the early modern period, the printing press and its concomitant vocabulary documenting and driving the expansion of knowledge and knowledge horizons. Are there only metaphoric or actual, living genealogical connections between the early modern and modern information explosions? What can we learn by putting modern digital ideas into dialogue with early modern precursors or counterparts? What did it mean then, and what does it mean now, to live in an information society? We will begin by thinking in theoretical terms about ways in which early modern and modern people conceptualize information, its creation, organization, and dissemination. Then in the second part of the course we will put these theories into practice, working with early modern books from our own archives on campus to understand how these were originally printed, and then to apply modern digital technology to create our own encoded digital editions and interpretations of these texts. Through a combination of theory and practice we will seek new understandings of the relationship between literature and technology, and what this relationship means both for early modern people and for us today.

ENGL 7370-001—Seminar in Minority Literature

T 3:30-6:20. REMOTE. Sae-Saue.

This course explores how Chicanx literature, from the 19th century to the contemporary era, articulates historical and social concerns through aesthetic designs. We will read some of the most influential texts of the canon and examine how their formal arrangements communicate the community’s diverse political values across distinct episodes of US history. As such, students will learn to recognize the relationship between ideology and form in Chicanx culture, including the significance of its aesthetic experiments. Furthermore, students will familiarize themselves with the field’s critical history in order to position themselves to make possible interjections in on-going (and sometimes contentious) conversations surrounding this political culture.

Texts include: George Washington Gómez; Loving in the War Years (lo que nunca pasó por sus labios); The People of Paper; The Squatter and the Don; Caballero; works by Teatro Campesino; God’s Go Begging; and more.

ENGL 7372-001—Seminar in Transatlantic Literature: Archives Workshop

W 3:00-5:50. REMOTE. Cassedy.

A hands-on workshop in the theories, practices, and methods of using archival resources in literary studies. Designed to be useful to students working in any national, period, or genre specialization, this course will survey recent work being done with archives by literary and cultural historians, introduce students to archival resources available in and around Dallas, and provide practical training in working with physical and digitized archival materials. Each student will develop and undertake an archivally driven research project, culminating in a seminar paper.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags
1320	001	Cultures of Medieval Chivalry: COURAGE! HONOR! SHAME! ROMANCE! DRAGONS!	Goyne	TTh	11:00	12:20	REMOTE	2012: CA1, HC1, OC 2016: LL, HC, OC
1330	001	World of Shakespeare	Rosendale/ Moss	MWF	10:00	10:50	MoodyMil	2012: CA1 2016: LL
1365	001	Literature of Minorities: “Otherness” and Identity in American Culture	Levy	TTh	2:00	3:20	FOSC 133	2012: CA1 , HD 2016: LL, HD
2102	001	Spreadsheet Lit: Excel	C. Dickson-Carr	M	3:00	3:50	HYER 201
2102	002	Spreadsheet Lit: Excel	C. Dickson-Carr	W	3:00	3:50	HYER 107
2302	001	Business Writing	C. Dickson-Carr	TTh	12:30	1:50	HYER 107	2012: IL, OC, W 2016: IL, OC, W
2302	002	Business Writing	C. Dickson-Carr	TTh	2:00	3:20	CLEM 126	2012: IL, OC, W 2016: IL, OC, W
WRTR 2305	001H	Honors Humanities Seminar I	Arbery	MWF	9:00	9:50	DSLB 110
WRTR 2305	002H	Honors Humanities Seminar I	Arbery	MWF	10:00	10:50	DH 142
WRTR 2305	003H	Honors Humanities Seminar I	Arbery	MWF	11:00	11:50	CLEM 126
WRTR 2305	004H	Honors Humanities Seminar I	Hopper	MWF	12:00	12:50	REMOTE
WRTR 2305	005H	Honors Humanities Seminar I	Hopper	MWF	1:00	1:50	REMOTE
WRTR 2305	006H	Honors Humanities Seminar I	Hopper	MWF	2:00	2:50	REMOTE
WRTR 2305	007H	Honors Humanities Seminar I	McConnell	TTh	9:30	10:50	CLEM 126
WRTR 2305	008H	Honors Humanities Seminar I	McConnell	TTh	11:00	12:20	DH 152
WRTR 2305	009H	Honors Humanities Seminar I	McConnell	TTh	12:30	1:50	CLEM 126
WRTR 2305	010H	Honors Humanities Seminar I	McConnell	TTh	2:00	3:20	DH 152
WRTR 2305	011H	Honors Humanities Seminar I	Bozorth	TTh	11:00	12:20	REMOTE
WRTR 2305	012H	Honors Humanities Seminar I	Ivie	TTh	12:30	1:50	DLSB 132
WRTR 2305	013H	Honors Humanities Seminar I	Ray	MWF	9:00	9:50	DH 115
WRTR 2305	014H	Honors Humanities Seminar I	Arbery	MWF	12:00	12:45	DH 142
2311	001	Poetry: Serious Word Games	Bozorth	TTh	2:00	3:20	REMOTE	2012: CA2, OC, W 2016: LL, (OC), W
2311	002	Poetry	Newman	TTh	12:30	1:50	REMOTE	2012: CA2, OC, W 2016: LL, (OC), W
2311	003	Poetry: A Poet-Guided Tour	Moss	MWF	1:00	1:50	REMOTE	2012: CA2, OC, W 2016: LL, (OC), W
2312	001	Fiction: Forms, Modes, & Kinds	Satz	MWF	1:00	1:50	HYER 110	2012: CA2, W 2016: LL, W
2312	002	Fiction: US Ethnic Literatures	Sae-Saue	TTh	11:00	12:20	REMOTE	2012: CA2, W 2016: LL, W
2312	003	Fiction: Classic Short Stories and Contemporary Novels	Edwards	TTh	8:00	9:20	REMOTE	2012: CA2, W 2016: LL, W
2312	004	Fiction: Art & Identity during the Harlem Renaissance	Kiser	TTh	8:00	9:20	FOSC 153	2012: CA2, W 2016: LL, W
2315	001	Intro to Literary Study: All Those Who Wander	Wilson	TTh	11:00	12:20	FOSC 153	2012: CA2, W 2016: CA, W
2315	002	Intro to Literary Study: What Makes Sense	Cassedy	MWF	2:00	2:50	REMOTE	2012: CA2, W 2016: CA, W
2315	003	Intro to Literary Study: After Emancipation	Edwards	MWF	9:00	9:50	REMOTE	2012: CA2, W 2016: CA, W
2390	001	Intro to Creative Writing: Introduction to Fiction Writing	Rubin	TTh	11:00	12:20	REMOTE	2012: CA1, W 2016: CA, W
2390	002H	Intro to Creative Writing (Honors): MAKE IT NEW!	Brownderville	TTh	3:30	4:50	REMOTE	2012: CA1, W 2016: CA, W
2390	003	Intro to Creative Writing	Smith	MWF	2:00	2:50	DH 115	2012: CA1, W 2016: CA, W
2390	004	Intro to Creative Writing	CANCELED
2390	005	Intro to Creative Writing	Smith	MWF	12:00	12:50	DH 115	2012: CA1, W 2016: CA, W
2390	006	Intro to Creative Writing: The Writer’s Toolkit	Hermes. R	TTh	2:00	3:20	REMOTE	2012: CA1, W 2016: CA, W
3310	001	Contemporary Approaches to Literature	Greenspan	TTh	9:30	10:50	REMOTE
3320	001	Topics in Medieval Literature: Paradigms of Truths in Medieval Literature	Amsel	TTh	12:30	1:50	REMOTE	2012: CA2, W 2016: HFA, W
3355	001	Transatlantic Encounters III: Political Theater: Modern Drama and the Arts of Assembly	Kastleman	MWF	10:00	10:50	REMOTE	2012: CA2, GE, HD 2016: HFA, GE, HD
3362	001	African-American Literature: Reimagining Slavery	Pergadia	TTh	12:30	1:50	REMOTE	2012: CA2, HD, W 2016: HFA, HD, W
3366	001	American Literary History II: America the Multiple	Greenspan	TTh	2:00	3:20	REMOTE	2012: CA2, HC2, W 2016: HFA, HSBS, W
3367	001	Ethical Implications of Children's Literature	Satz	MWF	11:00	11:50	REMOTE	2012: CA2, HD, KNOW, OC, W 2016: HFA, HD KNOW, OC, W
3370	001	Special Topics: Life Writing	CANCELED
3390	001	Creative Writing Workshop: Advanced Screenwriting Workshop	Rubin	TTh	3:30	4:50	REMOTE	2012: CA2, W 2016: HFA, W
3390	002	Creative Writing Workshop: Voice	Brownderville	TTh	12:30	1:50	REMOTE	2012: CA2, W 2016: HFA, W
3390	003	Creative Writing Workshop: You Are What You Read	Hermes, K. (Condon)	MWF	12:00	12:50	REMOTE	2012: CA2, W 2016: HFA, W
4323	001	Chaucer: Chaucer's Shorter Poems	Wheeler	TTh	11:00	12:20	REMOTE	2012: IL, OC 2016: IL, OC
4330	001	Renaissance Writers: Donne & Herbert	Rosendale	MWF	1:00	1:50	DH 152	2012: IL, OC 2016: IL, OC
4341	001	Victorian Writers: The Novels of the Brontës	Newman	TTh	3:30	4:50	REMOTE	2012: IL, OC 2016: IL, OC
4360	001	Studies in Modern and Contemporary American Literature: End Times	Satz	MWF	2:00	2:50	DLSB 110	2012: CA2, IL, OC 2016: HFA, IL, OC
5310	001	Distinction Seminar	Satz	MWF	10:00	10:50	REMOTE
6310	001	Advanced Literary Study	Carr,Darryl	Th	3:30	6:20	REMOTE
6311	001	Survey of Literary Criticism	Sudan	M	3:00	5:50	DLSB 117
6312	001	Teaching Practicum	Stephens	F	1:00	3:50	REMOTE
6330	001	Early Modern British Literature: The Digital Edition	Wilson	TTh	12:30	1:50	HERY 428A
7370	001	Seminar in Minority Literature	Sae-Saue	T	3:30	6:20	REMOTE
7372	001	Seminar in Transatlantic Literature: The Archives Workshop	Cassedy	W	3:00	5:50	REMOTE

Summer 2020

SUMMER SESSION 2020 COURSES

Cat #	Sec	Session	Course Title	Instructor	Day	Start	End	Room	UC
2302	0011	S1	Business Writing	Dickson-Carr, C.	MTWThF	1:00 AM	2:50 AM	REMOTE
3367	0011	S1	Ethical Impl - Children's Lit	Satz,Martha G	MTWThF	10:00 AM	11:50 AM	REMOTE	2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, W
3379	0011	S1	Contexts of Disabilitiy	Satz,Martha G	MTWThF	12:00 PM	1:50 PM	REMOTE	2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, OC, W
2302	0022	S2	Business Writing	Dickson-Carr, C.	MTWThF	1:00 PM	2:50 PM	REMOTE
ENGL/ DISC 2306	0012	S2	Honors Humanities Seminar II	Doyle	MTWThF	10:00 AM	11:50 AM	REMOTE

FIRST SUMMER 2020 SESSION

COURSE DESCRIPTIONS

ENGL 2302-0011— Business Writing

M – F 1:00-2:50. 102 Dallas Hall. Dickson-Carr, C.

ENGL 3367-0011— Ethical Implications of Children’s Literature

M – F 10:00-11:50. 105 Dallas Hall. Satz. 2012: CA2, KNOW, HD, OC, W 2016: HFA, KNOW, HD, W

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

This course deals with the literary and cultural portrayals of those with disability and the knotty philosophical 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.

FIRST SUMMER 2020 SESSION

COURSE DESCRIPTIONS

ENGL 2302-0022— Business Writing

M – F 1:00-2:50. REMOTE. Dickson-Carr, C.

ENGL 2306-0012—Honors Humanities Seminar II

M – F 10:00-11:50. REMOTE. Doyle.

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 Caesar, Antony 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.

ENGL 2102-002—Spreadsheet Lit: Excel.

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

ENGL 2302-001—Business Writing.

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

ENGL 2302-002—Business Writing.

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

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

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

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

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

ENGL 2390-005—Introduction to Creative Writing.

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

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

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

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 poems; A. 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: Beowulf; The 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

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.

ENGL 2102-002—Spreadsheet Lit: Excel

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

ENGL 2302-001—Business Writing

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

ENGL 2302-002— Business Writing

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

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

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

ENGL 2390-004—Introduction to Creative Writing

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

ENGL 2390-005—Introduction to Creative Writing

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

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

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 People; Beowulf; The Bayeux Tapestry; Geoffrey of Monmouth, The History of the Kings of Britain; The History of William Marshal; The 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

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

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 Andronicus, Macbeth, Othello, King Lear, Pericles, Cymbeline, The 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.

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
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
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.

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.

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.

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.

ENGL 2102-002—Spreadsheet Lit: Excel.

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

ENGL 2302-001—Business Writing.

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

ENGL 2302-002—Business Writing.

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

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

ENGL 2318-001—Introduction to Digital Literature.

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

ENGL 2390-001—Introduction to Creative Writing.

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

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

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”

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

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 Guineas; Mohsin 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 Slave, Daughters 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 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; 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

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.

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

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

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

ENGL 1362-001—Crafty Worlds

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

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

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

ENGL 1400-001—Developmental Reading and Writing

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

ENGL 2102-001—Spreadsheet Lit: Excel

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

ENGL 2102-002—Spreadsheet Lit: Excel

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

ENGL 2302-001—Business Writing

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

ENGL 2302-002— Business Writing

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

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

CANCELED

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

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

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.

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

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 Sing, Unburied, 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

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

ENGL 2390-002—Introduction to Creative Writing

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

ENGL 2390-003—Introduction to Creative Writing

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

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

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 3312-001—Classical 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

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 Ross, Working 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

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 Bamboozled, Dear 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. Topsyturvydom, tipteering, misrule, souling, peace-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.

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.

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.

ENGL 2102-002—Spreadsheet Lit: Excel.

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

ENGL 2302-001—Business Writing.

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

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

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 Love, The 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, Psalter; Tottel’s Miscellany; The 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.

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.

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.

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.

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 text: The 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, Oedipus; Sir 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.

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

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

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

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

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

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

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.

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.

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.

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

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

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, Vietnam, Iraq) and a vigorous anti-war movement, assassinations, countercultural agitation, and the Reagan Eighties—all of it running nonstop on The Tube. Some of our writers resisted censorship of their work; most were active politically, all sought ways to challenge conventions of literary expression, for example in new modes of humor and satire. Our writers: Allen Ginsberg, Loraine Hansberry, Kurt Vonnegut, Sylvia Plath, Thomas Pynchon, Ishmael Reed, August Wilson, and Joan Didion; supplemented by non-fictional essays and criticism. Expect to write several short essays in response to particular works, a mid-term, and a research paper due at semester’s end.

ENGL 4369-001 (5468)—TRANSATLANTIC STUDIES III: DISPLACEMENT, MIGRATION, FLIGHT

TTh 3:30-4:50. 106 Dallas Hall. Foster.

This course will be about how writers have imagined the movement of people around in the world, mostly in the period since the war in Vietnam. What forms have they found to represent the encounters with their new worlds and how these encounters knit and fracture relationships among cultures and peoples. We’ll read works from Vietnam, to the middle east, Africa and the Caribbean. I invite students who are enrolling this spring to talk to me about the class as I develop the syllabus. You should expect to write several short papers and a longer research paper.
Texts: Jhumpa Lahiri, The Namesake; Graham Greene, The Quiet American; Viet Thanh Nguyen, The Sympathizer; Or: Viet Thanh Nguyen, The Refugees; Mohsin Hamid, Exit West; Or: Mohsin Hamid, The Reluctant Fundamentalist; E. M. Forester, A Passage to India; Chimamanda Ngozi Adichie, Americanah.

ENGL 5310-001 (3582)—DISTINCTION SEMINAR: POSTSECULARISM AND LITERARY STUDIES

TTh 3:30-4:50. 116 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 in the eighteenth century will eventually become a global norm, and that individual religiosity is destined to decline or even wither away. (Put more imaginatively: the world has become “disenchanted.”) World events at the beginning of the twentieth 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. Also not surprisingly, others reject the whole concept and the discourse surrounding it.

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 exemplars of secularization, as well as authors who are being read or reread under the banner of postsecularism. (Sometimes these are the same writers.) Along the way, we will encounter literary expressions of faith, doubt, and unbelief, and alternative understandings of the spiritual.

Assignments: one or two short papers; one prospectus and provisional bibliography for a longer final paper; a final paper of about twenty pages, linked to a preliminary draft and an oral presentation.

Primary texts are still under consideration, but will be drawn from the following: poetry by William Wordsworth, Emily Brontë (possibly along with Wuthering Heights), Swinburne, Thomas Hardy, Emily Dickinson, and/or Walt Whitman; Charles Dickens, Hard Times; Mary (“Mrs. Humphry”) Ward, Robert Elsmere; James Joyce, Dubliners; Henry Roth, Call It Sleep; Marilynne Robinson, Gilead; Lila Aboulelah, Minaret; Naomi Alderman, Disobedience, Tom Perotta, The Abstinence Teacher; Martin Scorcese (dir.), Silence (the film) and/or the novel by Shūsako Endō.

ENGL 6310-001 (3119)—ADVANCED LITERARY STUDIES

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

This course is a professionalization workshop: it’s a course about how to be a professional literary scholar. It’s not about any particular literary-historical period or problem; rather, it’s about how professional literary scholars do their work. What types of questions do literary scholars ask, and how have the directions of those questions changed over time? How do they go about answering them, and how have their strategies for doing so changed over time? What kinds of objects count as objects of literary study, and what types of things constitute evidence in a literary argument? The course has essentially two goals. One is to develop a detailed understanding of the questions asked and investigated by literary scholars — in the past, and especially in the present and near future. 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 (3128)—SURVEY OF LITERARY CRITICISM AND THEORY

TTh 11-12:20. 137 Dallas Hall. Siraganian.

A survey of literary criticism and theory from some of the ancient roots of critical thought to contemporary literary practice, from Aristotle to Moretti. The purpose of the course is to provide the theoretical background necessary to understand the discipline of literary study. The course will require regular multiple essays analyzing both critical and literary texts. Writers studied include Freud, Levi-Strauss, Saussure, Althusser, Derrida, DeMan, Foucault, Bourdieu, Wittig, MacKinnon, Fish, Sedgwick.

ENGL 6312-001 (3156)—TEACHING PRACTICUM

Th 8-10:50. Clements Hall 112. Stephens.

English 6312 serves as an introductory support structure for PhD candidates who are teaching their first composition (Discernment & Discourse) classes at SMU. The course helps PhD students write syllabi for and plan their classes for the fall term; it also offers an ongoing conversation about grading, conferences, classroom management, etc. In addition, all students read pedagogical books on composition courses, the history of rhetoric, and critical thinking in the classroom.
Texts: TBA.

ENGL 6370-001 (5469): AFRICAN AMERICAN LITERATURE: CRITICISM, DISSENT, WIT, AND SATIRE

M 3-5:50. 138 Dallas Hall. Dickson-Carr, Darryl

This proseminar 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 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 manifested themselves in the literature, whether implicit and explicit forms. We will begin in antebellum times and end in the contemporary era. In the process, we will read and analyze a corpus comprising various genres, movements, and perspectives.

The African American literary tradition has always been fully intertwined with and informed by historical events and critical perspectives defining the subjectivity and ensuring the survival of individuals and groups alike. Although certain perspectives tend to dominate each era, dissenting voices and robust debate remain essential to this outcome. We hear far less about radical solutions than those normalizing African Americans’ lives and concerns, or more conservative views of social and political issues. More to this course’s point, literature that pushes generic, stylistic, and technical boundaries tends not to be assigned or read. The same might be said for popular debates about literary aesthetics and art’s functions. This course helps to correct these tendencies by focusing upon dissent, iconoclasm, contrarianism, wit, and satire.

Our course has an equally important pedagogical raison d’être. An equally significant course goal is to provide the foundation from which each participant could organize and teach an undergraduate course in African American literature. Our readings comprise a substantial portion of the background material that an instructor would need to know and to be prepared to discuss with her students.

Although we will read a number of landmark works of fiction and poetry throughout the term, each participant will be responsible for reading independently and reporting on a work not assigned for the course. That report may be the foundation of one or both of the course’s two major papers if the participant wishes, but it should demonstrate an ability to work with the diverse materials at hand. Most of the work for this course, however, shall consist of reading and weekly responses to the reading.

Two short papers, weekly written responses, an oral presentation, and a final examination shall be required. Textbooks: Most readings will come from Gates and Burton’s Call and Response anthology. We will also read poetry, essays, stories and novels by Baraka, Beatty, Cullen, Ellison, Everett, Garvey, Hughes, Hurston, Malcolm X, McKay, Morrison, Naylor, Nugent, Schuyler, Thurman, David Walker, and others.

ENGL 7340-001 (5470)—SEMINAR IN BRITISH LITERATURE: MILTON

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

Few (and arguably no) writers in English cast a longer, more varied, and more controversial shadow than John Milton. Milton the Divorcer. Milton the Regicide. Milton the Heretic. Milton the blind bard, the polemicist, the libertarian patriot, the heroic and Oedipal father to future poets, the fulfiller and destroyer of literary forms, the guy who announced in his first shot at epic that it would be the greatest one ever and may have been right—and who expressed his deep desire to “leave something so written to after-times, as they should not willingly let it die.” This course will offer an overview of Milton’s work, including some of his prose and most of his poetry and drama, and consider what aftertimes (including subsequent writers, literary critics, and we ourselves) have made of this colossal, contentious genius.

ENGL 7350-001 (3554)—SEMINAR IN AMERICAN LITERATURE: TWENTY-FIRST-CENTURY STUDIES IN CLASSIC AMERICAN LITERATURE

T 3:30-6:20. 137 Dallas Hall. Greenspan.

This seminar will apply 21st-century terms and methodologies to the study of classic 19th-century American writing. Writers: Cooper, Apess, Hawthorne, Whitman, Melville, Stowe, Wells Brown, Rollin Ridge, Dickinson, and Dreiser. Students will explore these writers using the latest evidential discoveries, research tools, and interdisciplinary and digital humanities resources the seminar can devise. Each student will be working toward the semester-end production of a major written or digital humanities research project.

Summer 2017

SUMMER I

ENGL 2312-0011 (2214)—FICTION

M – F 2-3:50. 106 Dallas Hall. Newman.

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

ENGL 3367-0011 (1602)— ETHICAL IMPLICATIONS OF CHILDREN'S LITERATURE

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 (1603)—CONTEXTS OF DISABILITY

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

SUMMER II

ENGL 2302-0012 (2434)—BUSINESS WRITING

M – F 10-11:50. 143 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.

Spring 2017

ENGL 1360-001 (5316): The American Heroine

12:30-1:50 TTh. 306 DH, Schwartz

Works of American literature as they reflect and comment upon the evolving identities of women, men, and culture from the mid-19th Century to the contemporary period. Novels will be supplemented by other readings. Several short writing assignments; midterm and final examinations; some quizzes. Texts: Jacobs, Incidents in the Life of a Slave Girl; Morrison, The Bluest Eye; Erdrich, Tracks; other short novels and short stories TBA. GENERAL EDUCATION CURRICULUM: PERSPECTIVES, HUMAN DIVERSITY. UNIVERSITY CURRICULUM: PROFICIENCIES & EXPERIENCES/HUMAN DIVERSITY

ENGL 1363-001 (3565): The Myth of the American West

2–3:20 TTh. 115 DH, Weisenburger

In this course we study how the realities of conquest in the nineteenth century American West were transformed into twentieth century legend and myth. Our case studies include Texas emigrant Cynthia Ann Parker’s captivity among the Comanche, as presented in factual, fictional, and cinematic versions; the late-19th phenomenon of Buffalo Bill Cody’s worldwide celebrity; the romance of horse culture and gunfighters in mid-20th century novels and films; and late-20th century revisions to that tradition. Readings will include biographical and historical sources, representative novels, and a selection of classic Western films from the Silent Era to the present. Course requirements: evening viewing of 3 feature films, several brief response papers, a mid-term and final exam.

ENGL 2302-001 (2856): Business Writing

12:30-1:50 TTh. 351 DH, Tongate

This course introduces students to business and professional communication, including a variety of writing and speaking tasks, and 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. Texts: Kolin, Philip C. Successful Writing at Work, 10th ed. Boston: Wadsworth Cengage, 2013.

ENGL 2302-002 (2857): Business Writing

2–3:20 TTh. 351 DH, Tongate

ENGL 2310-001 (5720): Imagination and Interpretation: Fantasies Over State.

8-8:50 MWF. 106 DH, McKelvey, R.

Literature has long fantasized alternatives to the political realities surrounding it. Focusing on recent American iterations of this tradition, this course will explore the ways writers have tried to imagine other, better ways of coordinating human relationships and interactions. In particular, we will look at the ways the state has taken hold of literary imagination as the dominant mode of political and social organization, crowding out the very kinds of alternatives literature fantasizes on the page. Towards these ends, we’ll read radical and contemporary poets with utopian visions, including Lawrence Ferlinghetti, John Cage, Amiri Baraka, Nathaniel Mackey, and Stephen Collis, as well as speculative fictions, ranging from science fiction to magical realism, including works by Isaac Asimov, Robert Heinlein, Stephen King, and Karen Tei Yamashita. We’ll also explore these issues in related media, including comics, film and digital narratives.

ENGL 2310-002 (5728): Imagination and Interpretation: Transatlantic Gothic Fiction

11-11:50 MWF. 107 Hyer, Miskin.

From Twilight to American Horror Story, the gothic tradition continues to haunt the Western imagination. Throughout the semester, we will read literature across history and genre, following Gothic heroes and heroines through labyrinthine spaces of decaying castles and ancestral mansions as well as their own psyches. We will think about the ways that the gothic has been used to explore broader cultural anxieties and desires related to gender, sexuality, race, imperialism, the uncanny, and the pathological. And we will ask such questions as: What can spooky tales of vampires, ghosts, and madwomen tell us about the societies in which they were written? How has the gothic sparked debates about the distinctions between high art and popular entertainment? How do American writers repurpose the gothic to suit their particular aims, creating subgenres like the female gothic, the Southern gothic, and the African American gothic? And finally – why do gothic themes and subjects continue to enthrall readers while other literary traditions lie long dead in their graves?

Possible texts include: Horace Walpole’s The Castle of Otranto, Jane Austen’s Northanger Abbey, Sheridan Le Fanu’s Carmilla, Henry James’s The Turn of the Screw, Toni Morrison’s Beloved, and short stories by Edgar Allen Poe, Flannery O’Conner, Iris Murdoch, Anne Rice, and Stephen King.

ENGL 2310-003 (6501): Imagination and Interpretation: Digital Humanities

2-4:50 W. 138 DH, Stampone

Can modern technology help us excavate meanings buried in Romantic-period (1750-1867) literature? Do toolboxes from the “digital humanities” allow us to reach wider audiences beyond the classroom and discover how history, editorial processes, and reading strategies shape the ways we understand a text? This class will combine traditional modes of literary analyses with digital humanities tools to help us present our research on British and American Romantic literature in new and meaningful ways and explore some of the many exciting avenues open for literary studies.

ENGL 2311-001 (2685): Introduction to Poetry

9:30–10:50 TTh. 137 DH, 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 2311-002 (3566): Introduction to Poetry

3–4:20 MW. 156 DH, Newman

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.

Text: Helen Vender, Poems, Poets, Poetry, third edition. Probably another book related to writing, TBA.

Requirements: frequent short papers (building from 500 words up to 5–6 pages at most); occasional exercises both in class and as homework; 1–2 presentations.

ENGL 2312-001 (3367): Introduction to Fiction: The Real Fake

2–3:20 TTh. 157 DH, Cassedy

A typical American spends about 1,000 hours a year reading and watching made-up stories in books, TV, and movies. Why do we spend so much time with fake stories instead of true facts? This has never been an easy question to answer, and there have always been some people who think that fiction is bad, because it’s a lie. Yet we keep consuming it. Is fiction necessary because it’s pleasurable? Because it’s educational? Because it tells the truth? — a truer, darker, or broader truth than nonfiction will allow? In this class we’ll read fictional stories that tackle the “why fiction?” question. We’ll study what these stories have to say about the purpose of fiction, and how they exemplify (or fail to exemplify) their own theories of storytelling. Texts will include some or all of the following: Boccaccio, The Decameron; Jeffrey Eugenides, The Virgin Suicides; Gabriel Garcia Marquez, One Hundred Years of Solitude; Susanna Rowson, Charlotte Temple; Horatio Alger, Ragged Dick; short stories by Karen Russell; Gone Girl by Gillian Flynn.

ENGL 2312-002 (6560): Introduction to Fiction: Genre Boundaries

9:30-10:50 TTh. 120 DH, Schwartz

In this class, we’ll read several stories and novels that challenge the boundaries of literary conventions in various ways through detective noir, science fiction, non-traditional narrators, and a little magical realism. Such challenges will require us to define those conventions in order to see their disruptions. Short essays, quizzes, and a final exam.

Texts: Butler, Parable of the Sower; Cortazar, Stories; Haddon, Curious Incident of the Dog in the Night; Mina, Garnethill; Moseley, Devil in a Blue Dress.

ENGL 2312-003 (5318): Introduction to Fiction

11–12:20 TTh. 137 DH, Weisenburger

Human beings use story-telling to compose and express understandings of ourselves, others, and our world. While giving us pleasure, narrative also structures memory and is thus foundational to critical and historical thinking and knowledge-making in general. This class aims to build analytical, critical, and writing skills through guided studies of and writings about the short story, novella, novel, and narrative film. We ask what individual fictions do, how they do what they do, where and why these doings are unique to narrative art, and how some stories work to conserve storytelling traditions while others work disrupt conventions. Developing such critical sensitivities to the designs of literary narratives will sharpen our sense of how narrative operates in other fields. This is an introductory course using discussion and lecture, close-reading, and short critical essays. Texts: a fiction anthology, Raymond Chandler’s classic detective novel, The Big Sleep (1939), and Toni Morrison’s historical novel, A Mercy (2009).

ENGL 2312-004 (5722): Introduction to Fiction: Myth and Legend

3-3:50, MWF. 106 DH, McKelvey, C.

How are myths and legends made? This introduction to fiction focuses on narrative constructions of myths and legends. Our objectives will be to define, understand, and then deconstruct the distinctions between myth and legend within the broader category of fiction. We will also consider how myths and legends can be a source of social and political empowerment as well as cultural confusion. We will read a variety of fictional myths as well as the fact/fiction blend of legends, including Malory, Shakespeare, Milton, Keats, Hardy, and Woolf, among others. Most class time will be discussion-based, with an emphasis on critical thinking and class participation. Class assignments will include two essays, a midterm, a final, and quizzes.

ENGL 2314-001 Honors (2716): Doing Things With Poems

11-12:20, TTh. 138 DH, 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, 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. Assignments: shorter and longer papers approximately 20 pages total; midterm; final exam; class presentation. Texts: Helen Vendler, Poems, Poets, Poetry (3rd ed.).

ENGL 2315-001 (2686): Introduction to Literary Study

2–3:20 TTh. 116 DH, Neel

The purpose of this course is to prepare students to read imaginative literature in all its forms, from drama to fiction, creative non-fiction to poetry, digital print to film. The course is historically oriented, beginning with major texts from the Classical Period in Ancient Greece and from both canonized and apocryphal biblical texts, passing through numerous major literary texts from the Early Modern to Modern eras, and culminating with the very contemporary poetry of Rita Dove and the recent films of Alejandro Iñárritu, each of whom is very aware of and quite self-consciously works within the long tradition of Western literature. Two out-of-class papers, each completely rewritten after submission and critique; one comprehensive in-class essay; five reading quizzes; required class attendance. Some, but not all, of the authors we will look at include: Aeschylus, Sophocles, Euripides, Aristotle, John Milton, Mary Wroth, Charlotte Turner Smith, Virginia Woolf, Kurt Vonnegut, William Shakespeare, and William Wordsworth.

ENGL 2315-002 (3553): Introduction to Literary Study: Imagining “America” in Narrative

12–12:50 MWF. 153 DH, Ards

In this course, you will learn to interpret literature through close attention to literary form, genre, and historical context. This critical project is grounded in the thematic approach of exploring the idea of “America” in texts that have been central to the definition of American national identity during crucial periods of national transformation. Sample texts include William Shakespeare, The Tempest; Henry James, Daisy Miller; Walt Whitman, Leaves of Grass; James Weldon Johnson, The Autobiography of an Ex-Coloured Man; Harper Lee, To Kill a Mockingbird; NoViolet Bulawayo, We Need New Names.

ENGL 2390-001 (3095): Introduction to Creative Writing

10–10:50 MWF. 106 DH, Haynes

ENGL 2390-002 (3555): Introduction to Creative Writing

2–2:50 MWF. 137 DH, Haynes

ENGL 2390-003 (3567): Introduction to Creative Writing

12:30-1:50 TTh. 138DH, Rubin

ENGL 2390-004 (3743): Introduction to Creative Writing

11–11:50 MWF. 138 DH, Smith

ENGL 3310-002 (2436): Contemporary Approaches to Literature

9-9:50am MWF. 156 DH, Foster

Texts (possible): Lois Tyson, Critical Theory Today: A User-Friendly Guide (second edition); F. Scott Fitzgerald, The Great Gatsby (Scribner); James Joyce, The Dead(Bedford Case Studies ed.); Shakespeare, The Tempest (Bedford Case Studies ed.); additionalselected readings.

CLAS 3312-001: Classical Rhetoric

11–12:20 TTh. 152 DH, 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 (each rewritten after critique), one comprehensive in-class paper, and five reading quizzes. Class attendance required. Counts toward graduation in the Classical Studies Program and as an elective in both the English major and the English minor.

ENGL 3320-001 (5319): Topics in Medieval Literature: King Arthur

9:30-10:50 TTh. 156 DH, Wheeler

King Arthur is the most popular and most frequently revived Western hero from the Middle Ages to the current moment. This course examines the Arthurian story—Camelot, the knights of the Round Table, chivalry, and the Holy Grail—from its roots in the Middle Ages to its flourishing in literature and movies today.

ENGL 3382-001 (5320): Heroic Visions: The Epic Poetry of Homer and Virgil

12:30-1:50 TTh. 102 Hyer, Holahan

This course studies the traditions of heroic representation that come down to Western literature from the epic poetry of Greece and Rome. Attention also goes to the influence of Middle-Eastern and North-African traditions of heroic or passionate story as these cultural elements are embedded in Homer and Vergil. The story of the hero raises issues that bear upon gender identity and the warrior’s psychology as well as the relation between myth and history. Battle and quest are the primary narrative shapes, although the elusive figure of the poet can be made out at important moments of conquest and discovery. Throughout an attempt will be made to consider the idea of a classic and whether or not that idea can ever be separated from controversies over vision.

Texts

Homer The Iliad, tr. Lattimore Chicago paperback

Homer, The Odyssey, tr Fitzgerald, Noonday paperback

Vergil, The Aeneid, tr. Mandelbaum, Bantam Classics

ENGL 3384-001 (3440): Literature and Medicine

11-11:50 MWF. 115 DH, Foster

UC components: UC 2012: CA2, PRE2, W, HD; UC 2016: HFA2, W, HD

What can Hemingway teach us about surgery and pain? Susanna Kaysen about being diagnosed with a personality disorder? Atul Gawande about the uncertain path of medicine? Through literature, we can begin to imagine experience of medicine for both doctors and patients. The sick and injured live in a complex relationship not only with doctors and hospitals, but with friends and family, law and government, insurance and big pharma. The ill take on a new identity as the patient, and can find themselves swept up into the narratives of a healthcare system whose goals sometimes seem at odds with those of the patient. Doctors must tend to the bodies and minds of patients, but also handle family, colleagues, medical institutions and the accidents of nature. This course will help us to understand the roles each of us play as patients and healers. We will have to think, for example, about the stories, both horrific and heroic, that arise in response to the maladies that afflict us individually and collectively (as Ebola or Zika have transformed the health narrative world-wide). We’ll consider the birth of the modern clinic in an enlightenment world; the role of the mentally ill as sanity’s shadow; and the stories doctors tell to help them endure the hardships of medicine. We will explore the ethical dilemmas that arise in this age of medical marvels when we must decide who will live, for how long, under what conditions, at what expense, at whose choice. We will read a wide variety of literature, history, biography, philosophy, and science to help us understand the ways in which illness and medicine talk together.

Readings may include: Michele Foucault: The Birth of the Clinic; Atul Gawande: Complications; Tony Hope: Medical Ethics: A very short introduction; Susanna Kaysen: Girl Interrupted; Tracy Kidder: Mountains Beyond Mountains

ENGL 3385-001 (3771): Literature of the Holocaust

10-10:50 MWF. 120 DH, Satz

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 consider both literary and ethical questions swirling around this horrific event. Examples of texts: Bassanni, Garden of the Finzi-Continis, Wiesel, Night; Speigelman, Maus; Borowski, This Way for the Gas; Ladies and Gentlemen; Schlink, The Reader; Roth, The Ghostwriter; Holocaust poetry. Course requirements: four papers of various lengths; mid-term and final.

ENGL 3390-001 (3125): Studies in Creative Writing: Poetry Workshop

12:30–1:50 TTh. 102 DH, Brownderville

In this workshop-intensive course, students will write, revise, and analyze poetry. Discussion will center on the students’ writing and on published work that demonstrates solid craftsmanship. Students will write five-page belletristic articles about published poetry, including work by Rigoberto Paredes, Evie Shockley, Eduardo Corral, and Nicole Sealey. In addition, toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own poems. Successful students will begin to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary poetry.

ENGL 3390-002 (3126): Studies in Creative Writing - Short Story Masterpieces

3:30-4:50 TTh. 153 DH, Rubin

This workshop will give students an opportunity to work on their own short stories while reading foundational masterpieces of the short story form, including work by Kafka, Chekhov, Melville, Welty, Baldwin, and Oates.

ENGL 3390-003 (3642): Studies in Creative Writing

1–1:50 MWF. 115 DH, Smith

In this class students will write, revise, and analyze imaginative prose. Discussion will center on the students’ writing and on published work that demonstrates solid craftsmanship. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing.

ENGL 4339-001 (5322): Transatlantic Studies I: Going Native

11–12:20 TTh. 357 DH, Cassedy

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. Texts: Robinson Crusoe; Gulliver’s Travels; The Female American;Mary Rowlandson’s Captivity; The Noble Slaves; Captivity of Mrs. Maria Martin; Walden; Huckleberry Finn; Avatar.

ENGL 4343-001 (5323): British Literature in the Age of Revolutions: Austen, Bronte, Eliot

11-11:50 MWF. 120 DH, Satz.

A consideration of the works of three major nineteenth century novelists against the background of history, gender constraints, and philosophical considerations. Assignments: four papers of varying lengths, mid-term and final. Texts:Austen, Pride and Prejudice; Austen, Emma; Bronte, Jane Eyre; Bronte, Villette; Eliot, Middlemarch; and Eliot, Mill on the Floss.

ENGL 4360-001 (5325): Studies in Modern American Literature: Beyoncé’s New South Aesthetics

2-2:50 MWF. 153DH, Ards

Beyoncé Knowles’ 2016 audiovisual project, Lemonade, conjures a black southern experience from multiple places and modes—from memories and sounds of New Orleans pre- and post Hurricane Katrina, to the ancestral wisdom of grandmothers passed down through the generations. The course explores how Lemonade flips familiar cultural markers of black southern identity into a meditation and manifesto about what it means to be black and southern now. We will ground our readings and discussions with question such as these: What type of South is Lemonade trying to get us to see and hear? What are the feminist frameworks, from Zora Neale Hurston’s Their Eyes Were Watching God and Gloria Naylors' Mama Day to filmmaker Julie Dash’s Daughters of the Dust, that animate Lemonade’s vision? And what exactly does it mean to “get in formation”? What are the theories of change embedded in this groundbreaking cultural work?

Sample Texts

Their Eyes Were Watching God, Zora Neale Hurston

In Love and Trouble, Alice Walker

Mama Day, Gloria Naylor

Teaching My Mother How to Give Birth, Warsan Sire

The Fire This Time: A New Generation Speaks about Race, ed. Jesmyn Ward

Anthem: Social Movements and the Sound of Solidarity, Shana Redmond

Sister Citizen, Melissa Harris-Perry

Grading Scale

Reading Responses 20%

Reading Quizzes 10%

Final Research Project 25%

Final Exam 25%

Class Leadership 20%

ENGL 4360-002 (5324): Studies in Modern American Literature: Literature at the US-Mexico Borderlands

9:30–10:50 TTh. Hyer 110, Sae-Saue

Primarily, we will look at texts produced by Mexican Americans, Chicana/os, and Native Americans in order to examine an ethnic perspective of American life in the region. 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.

Tentative reading list:

Caballero, The Squatter and The Don, Who Would Have Thought it?, George Washington Gomez, Ceremony, Los Vendidos, various Corridos, and more.

ENGL 6330-001 (5326): Early Modern British Literature: Sex and the City in the 18th Century

3-5:50 M. 137 DH, 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 labors 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. The aims of this course are twofold. We will examine the ways in which gendered identities develop 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. But we will also examine the materials of empire-building in relation to the reconstruction of this English city, and in so doing, uncover other genealogies and histories that shape the emergence of British imperialism.

ENGL 6340-001 (5327) – British Literature Age of Revolutions: Victorian Fiction

3-5:50pm W. 137 DH, Murfin

A reading-intensive survey of works by Charles Dickens, William Makepeace Thackeray, Anthony Trollope, Geroge Eliot, George Meredith, and Thomas Hardy. The recurring theme of the course will be representation--within the novel, of the novel and its role, of a changing political reality by the novel, and of history via narrative strategies and techniques that are unavailable to historians. The goal of the course is to ensure that every student taking it emerges from our Ph.D. program with a mastery of--and hence the ability to teach--six or seven works generally deemed to represent the best of Victorian fiction. Because a significant amount of reading will be required, writing assignments will be limited to one short and one medium-length paper. Each student will also make an oral presentation and take an essay final.

ENGL 7370-001 (5328): Seminar in Minority Literature: History, Form and Genre at the Borderlands

12:30–3:20 Th. 00G1 Hyer, Sae-Saue

This course will explore the relationship between historical contingencies at the US-Mexico border and the formal and generic responses within the Chicana/o literary imagination. We will begin by examining texts produced at the moment of the US annexation of Northern Mexico in the 19th century and continue through the present day to explore how writers have borrowed, deployed, and innovated forms of literary representation in order to articulate matters of history, race, identity, gender, and class from an ethnic perspective.

To help theorize the modes of representation that have characterized borderlands art (and the concept of the “borderlands” proper) we will read theories of Gloria Anzaluda, Rafa Perez-Torres, Ramon Saldivar, Jose Limon and others in conjunction with broader works on the theory of form and genre, including those by M.M. Bahktin, G. Lukacs, F. Jameson, and more. Other theoretical and critical material will come from Frantz Fanon, Anne Cheng, Dorris Sommer, and Ann Kaplan, among others.

Primary works by: Maria Amparo Ruiz de Burton, Luis Valdez, Virginia Grise, Americo Paredes, Rudolfo Anaya, and the Hernandez Brothers.

ENGL 7372-001 (6523): Seminar in Transatlantic Literature: Historical Consciousness and LGBT Literature

3:30-6:20 T. 120 DH, Bozorth

Major work by LGBT writers from Oscar Wilde to the present. The advent of the sexual revolution and gay liberation in the 1970s brought about a vast increase in US and UK literature by and about LGBT people. Nonetheless, a striking amount of this writing has shown a preoccupation with the past, and in this it shares a great deal with pre-Stonewall queer writing. This course will survey major works by LGBT writers, with a focus on how and why this historical concerns have shaped their work following what Foucault called the “invention” of homosexuality, in the 19th century, and up through contemporary fiction and film. We will consider which eras from the past LGBT writers have turned to, and what this says about sexual politics in their present. We will examine the sexual-political tension between seeking authority for modern queer desire in past eras (e.g. the ancient world), and the impulse to be liberated from an oppressive history. We will consider how ideas about history and disease have shaped responses to AIDS in the 1980s and 90s. And we will try to figure out why pre-Stonewall tales of LGBT experience have so shaped contemporary cinematic representations.

Possible texts from the following: Oscar Wilde, Salome and The Portrait of Mr. W. H.; E. M. Forster, Maurice; poetry by HD, W. H. Auden, Allen Ginsberg, Adrienne Rich, and others; Virginia Woolf, Orlando; Gore Vidal, The City and the Pillar; Rita Mae Brown, Rubyfruit Jungle; Andrew Holleran, Dancer From the Dance; Jeanette Winterson, Oranges Are Not the Only Fruit; Alan Hollinghurst,The Swimming-Pool Library; Mark Merlis, An Arrow’s Flight; Tony Kushner, Angels In America; Annie Proulx/Ang Lee, Brokeback Mountain; Christopher Isherwood/Tom Ford, A Single Man.

Fall 2016

ENGL 1330-001: The World of Shakespeare

10 AM MWF, 100 Hyer Hall, Neel

Introductory study of eight major plays, with background material on biographical, cultural, historical, and literary topics. Assignments: ten unannounced quizzes, written mid-term and final exams, and one extra credit opportunity. Texts: Royal Shakespeare Company’s William Shakespeare: Complete Works, 2007 and Arp’s Synopses of the Plays.

ENGL 1362-001: Crafty Worlds

9:30 AM TTh, 107 Hyer, Holahan

ENGL 1365-001: Literature of Minorities

2 PM TTh, 110 Hyer, Levy

The course interrogates 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 self-selected and imposed, as fixed and flexible, as located and displaced, and as local and global.

ENGL 1400-001: Developmental Reading and Writing

8 AM TTh, 137 DH, Pisano

ENGL 2302-001: Business Writing

12:30 PM TTh, 351 DH, Tongate

ENGL 2302-002: Business Writing

2 PM TTh, 351 DH, Tongate

ENGL 2310, Imagination and Interpretation: Page and Stage

9 AM MWF, 101 DH, McKelvey

How do we know who we are? How do we distinguish between authentic and performed versions of self? This course will introduce students to a variety of texts and authors as they appear on the private page and the public stage. Students will learn how to read and discuss texts with an analytical eye and how to write a short literary analysis of a text. Authors will include Shakespeare, Donne, Milton, Wordsworth, Austen, Woolf, and others. Requirements: 2 papers, midterm, final exam, and some quizzes.

ENGL 2311-001: Introduction to Poetry

11 AM TTh, 137 DH, 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 2311-003: Introduction to Poetry

2PM TTh, 137 DH, Murfin

In this course, we will introduce ourselves to the formal elements and literary-historical evolution of English and American poetry. Each week we will emphasize a different technical or generic aspect of poetry, focusing on a representative poet in each case. Hence, 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, and so forth. Requirements: in-class writing assignments, a short essay, a midterm, and a final exam.

ENGL 2312-001: Introduction to Fiction

2 PM TTh, 106 Hyer, Miskin

Femme fatales, wanton women, and coquettes – this introductory fiction course will investigate literary examples of such “bad girls” to open up questions about how writers have used literature to confront dominant gender ideologies. We will read a range of literary works – across various time periods and genres – including Daniel Defoe’s Roxana (1724), Mary Elizabeth Braddon’s Lady Audley’s Secret (1862), Kate Chopin’s The Awakening (1899), Toni Morrison’s Sula (1973), and Susanna Kayson’s Girl Interrupted (1993). Throughout the course of the semester, we will grapple with questions such as: How has the ideal of the “good woman” changed over time? In what ways has fiction both registered and challenged this ideal? What about “bad” men? Do different genres endorse different standards for women’s behavior? You will learn to think through these questions using the interpretative strategies of literary theory. Requirements: two short essays, a midterm, final exam, and regular class participation.

ENGL 2312-002: Introduction to Fiction

1 PM MWF, 149 DH, McKelvey

Introduction to the study of fiction with an emphasis on U.S. novels and short stories. We will explore a range of storytelling strategies and formal techniques as we move through various stages in the past 150 years of U.S. fiction: we’ll begin with the rise of realism in the late 19th century, then turn to modernist and postmodernist aesthetic experiments in the 20th century, and detour through science fiction, fantasy, and cyberpunk before wrapping up with contemporary fiction and interactive narratives (video games and others) in the 21st century. Writers will include Charlotte Perkins Gilman, Henry James, Ernest Hemingway, Thomas Pynchon, Octavia Butler, Nathaniel Mackey, and others. Assignments will include a few short essays and quizzes, a midterm, and a final exam.

ENGL 2312-003H: Introduction to Fiction

1 PM MWF, 102 DH, Sae-Saue

This course is an introduction to fiction with an emphasis on U.S. ethnic novels. The primary goals of the class are that students to 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 matters. 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. Texts: Maxine Hong Kingston: The Woman Warrior, John Okada: No-No Boy, Karen Tei Yamashita: Tropic of Orange, Junot Díaz: The Brief Wondrous Life of Oscar Wao, Oscar Casares: Brownsville, Luis Alberto Urrea, Devil’s Highway

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

11 AM TTh, 149 DH, Weisenburger

In this course we will study and practice two fundamental ways that skilled readers engage with, learn from, and take delight in literary texts. First they regard the ways a particular a play, book of poems, novel, or book of short stories illustrates and innovates on prior texts of its kind. And they train themselves to be aware of the ways a text will engage, often critically, with particular contexts of cultural and socio-political life and struggle. The traces left by texts and contexts thus define our work in this course, and what we write about in scheduled essays. In fact the other main goal of this class is to improve students’ writing—one sentence, page, and essay at a time. Our 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, Herman Melville’s Billy Budd, Sailor, William Shakespeare’s The Tempest, and Natasha Trethewey’s Native Guard. Requirements: expect to write four papers, a mid-term, and a final exam.

ENGL 2315-002: Introduction to Literary Study

12:30 TTh, 156 DH, Dickson-Carr

ENGL 2315 is an introduction to the pleasing art of literary study and to the English major. We will read, contemplate, and discuss poetry, short stories, essays, and novels from different nations and literary traditions to enjoy their many rich complexities. We will begin with different ways of defining literature, then proceed to examine how and why we read various genres and the roles that literature may play in our world. In addition, we will discover and discuss a few of the more prominent issues in contemporary literary studies. By the end of the course, the student should be able to read and write critically about literary works. This skill will serve each student well in other courses in English and elsewhere. Assignments: regular writings (in class and at home), three papers, and five short benchmark exams will be required. NOTE: We will watch a few selected films outside of regular class time. Tentative texts: A Handbook to Literature, Twelfth Edition, ed. William Harmon; James, The Turn of the Screw; Best American Essays of the Century, ed. Joyce Carol Oates; Shakespeare, King Lear; Wisława Szymborska, Poems: New & Collected, 1957-1997; Derek Walcott, Omeros; selected poems by Kay Ryan, et al.

ENGL 2390-001: Introduction to Creative Writing

12:30 PM TTh, 138 DH, Haynes

ENGL 2390-002: Introduction to Creative Writing

11 AM TTh, 343 DH, Brownderville

The subject of this course is powerful language. How do words move readers? To begin answering this question, students will write and revise poems, stories, and essays; 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. Toward the end of the semester, each student must submit a carefully revised portfolio of his or her own writing in all three genres. There is no textbook; the instructor will provide handouts. As this is an introductory course, prior experience in creative writing is not necessary.

ENGL 2390-003: Introduction to Creative Writing

9 AM MWF, 137 DH, [Instructor TBA]

ENGL 3310-001: Contemporary Approaches to Literature

11 AM TTh, 156 DH, Murfin

What is literature? How do we read it, and why? What counts as "literature"? How can students make sense of and make 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 examination. 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: Contemporary Approaches to Literature

11 AM MWF, 138 DH, Schwartz

What is literature? How do we read it, and why? How can students make sense of and use literary criticism? This course introduces the linguistic, cultural, and theoretical issues informing contemporary literary discourse, and considers some literary texts and contemporary interpretations of them. Writing assignments: seven 2-page application exercises; 1 final essay; a final exam. Texts: Lois Tyson, Critical Theory Today: A User-Friendly Guide (second edition); F. Scott Fitzgerald, The Great Gatsby (Scribner); James Joyce, The Dead (Bedford Case Studies ed.); Shakespeare, The Tempest (Bedford Case Studies ed.); additional selected readings.

CLAS 3312-001: Classical Rhetoric

2 PM MWF, 137 DH, 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. Requriements: three out-of-class papers, one in-class paper, and ten reading quizzes. Satisfies UC Writing Proficiency; Pillars II Philosophy, Religion, and Ethical Inquiry; Pillars II Historical Contexts; one requirement for the Classical Studies program; and one elective credit for both the English major and the English minor. Class attendance required.

ENGL 3346-001: American Literary History I

2 PM MWF, [Room TBA], Greenspan

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. Texts: The Norton Anthology of American Literature (8th ed.); Dreiser, Sister Carrie; James, Daisy Miller

ENGL 3362-001: African-American Literature: Dramatizing Revolution

11 AM TTh, 102 DH, Ards

This course explores representations of social movements in literature, drama, and film from the 1960s to the present. Class sessions will include lectures on literary and cultural history, screenings of films and documentaries, and guided discussion. Together, we will encounter a rich cross-section of cultural texts, productions, and traditions—from Lorraine Hansberry’s “genuine realism” and Amiri Baraka’s “revolutionary theater” to Eisa Davis’s “hip hop aesthetics” and Ta-Nehisi Coates’s Afro-futurism. Our explorations will probe the relationship between the formal properties of literary and cultural works and their sociopolitical contexts, as we ask: what can narrative strategies and aesthetic choices teach us about an era that has been widely touted as “post-civil rights” but is in fact defined by continuing struggles for justice? Sample Texts: Hansberry, A Raisin in the Sun; Baraka, Dutchman; Baldwin, The Fire Next Time; Davis, Angela’s Mixtape; Rankin, Citizen; Coates, Between the World and Me; O’Hara, Insurrection. Sample films and docs to be shown in class: The Untold Story of Emmett Till, dir. Keith Beauchamp; 4 Little Girls, dir. Spike Lee; Free Angela Davis and All Political Prisoners, dir. Shola Lynch; Night Catches Us, dir. Tanya Hamilton; Twilight: Los Angeles, dir. Marc Levin; Ferguson: A Report from Occupied Territory, dir. Orlando de Guzman. Grading Scale: Class Presentation: 15%; Two exams: 40% Three critical papers: 45%

ENGL 3365 (CF3398): Jewish American Literature and Culture

12 PM MWF, [Room TBA] 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, Sarah Silverman, and Larry David; and the work of comic book artist-writers Art Spiegelman and Roz Chast.

ENGL 3367-001: Ethical Implications of Children's Literature

11 AM MWF, 101 DH, 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 as Where 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 3377-001: Literature and the Construction of Homosexuality

10 AM MWF, 152 DH, Bozorth

Normal, perverted, evil, 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. Finally, it will examine how race, ethnicity, the Stonewall Rebellion, and HIV/ AIDS have shaped contemporary LGBT culture. Writing assignments: weekly response papers and longer essays, totaling twenty pages; final examination. Texts: Plato, Symposium; selections from the Bible and the writings of St. Augustine; Shakespeare, Sonnets; Oscar Wilde, The Importance of Being Earnest, Portrait of Mr. W.H., Salome; Bechdel, Fun Home; selected poetry by Homer, medieval monks, Sor Juana Inez de la Cruz, Christina Rossetti, Walt Whitman, Audre Lorde, and others.

ENGL 3379-001: Contexts of Disabilities

10 AM MWF, 102 DH, Satz

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 Chil ; 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 3383-001: Literary Executions: Imagination and Capital Punishment

2 PM TTh, 357 DH, Holahan

ENGL 3390-001: Studies in Creative Writing: Craft-Focused Fiction Writing

Workshop

3:30 PM TTh, 156 DH, Haynes

Building on basic techniques developed in Introduction to Creative Writing, students will further develop their skills, with particular attention to scene craft and to increasing their range of technique. In addition to fiction, students will write craft analyses of published fiction. Text: TBA

ENGL 3390-002: Studies in Creative Writing

2 PM TTh, 102 DH, Brownderville

In this workshop-intensive course, students will write, revise, and analyze poetry. Discussion will center on the students’ writing and on published work that demonstrates solid craftsmanship. Students will write five-page belletristic articles about published poetry. In addition, toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own poems. Texts will include chapbooks or slender volumes of poetry such as David Berman’s Actual Air, Evie Shockley’s The New Black, and Nicole Sealey’s The Animal After Whom Other Animals Are Named. Successful students will begin to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary poetry.

ENGL 3390-003: Studies in Creative Writing

12 PM MWF, 138 DH, [Instructor TBA]

In this class students will write, revise, and analyze imaginative prose. Discussion will center on the students’ writing and on published work that demonstrates solid craftsmanship. Toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own writing.

ENGL 4323-001: Chaucer

9:30 AM TTh, 156 DH, Wheeler

ENGL 4330-001: Renaissance Writers

11 AM TTh, 105 DH, Rosendale

This course focuses on the amazing work of two of early modern England’s greatest (and most formally innovative) lyric poets and analysts of desire. John Donne and George Herbert were two seventeenth-century Anglican clergymen—the latter a quiet country parson, the former a brilliantly urbane (and often scandalous) social climber and eroticist—who also happened to be remarkable poets, the best-known writers of what has retrospectively become known as “metaphysical poetry.” Donne in particular is a fascinating figure, a writer of both magnificent devotional works and astoundingly dirty poems, and a famous preacher who both loved and resented God in deeply complex ways; Herbert, while less radically troubled, is one of the great masters of poetic form and spiritual self-analysis. In ENGL 4330, we will intensively study the writings of these two figures, attending primarily to their knotty, challenging, conflicted, and deeply rewarding poetry, which has a peculiar power to make us better readers and thinkers.

ENGL 4341-001: Victorian Writers: The Brontës

12:30 PM TTh, 157 DH, Newman

When the novels of Currer, Ellis, and Acton Bell (known to posterity as Charlotte, Emily, and Anne Brontë) appeared within three months of one another in 1847, they created a sensation. Who were these unknown writers who produced such fresh, imaginative, compelling (or, as some thought, immoral, disgusting) stuff? Were they really one person, as some people claimed, and if so, male or female? Today the novels of the three Brontë sisters are among the most widely read English novels in the world. This is a good time to study them. The year 2016 marks the bicentenary of Charlotte Brontë’s birth. The often-invoked “Brontë myth”—the story of three sheltered, virginal, untutored sisters from a backward village in the north of England who lived austere lives but somehow understood passion—has been studied, corrected, debunked. Meanwhile, films, novels based on the Brontës, novels about the Brontës, new biographies, and new scholarship continue to appear.

Let’s see what the fuss is about. We’ll read the six main novels; look at some of the poetry and possibly some of the juvenilia that constituted their apprenticeships; consider the lives, the reception of their work over the last century and three quarters, and the development of the “myth”; read one or more novels based on Brontë fictions or lives, and watch some films as well. Texts: C. Brontë: Jane Eyre; Shirley; Villette; E. Brontë: Wuthering Heights; A. Brontë: Agnes Grey; The Tenant of Wildfell Hall; Gaskell, The Life of Charlotte Brontë; other novels to be decided, but probably J. Rhys, Wide Sargasso Sea; one or two others drawn possibly from M. Condé, Windward Heights; C. Firth, Branwell Brontë’s Barber’s Tale. Requirements: Possible short papers and/or quizzes or discussion board postings; one paper tracing the reception of one of the novels; one research paper on a topic to be determined in consultation with instructor; 1–2 in-class presentations; blue-book midterm and final.

ENGL 4360-001: Studies in Modern and Contemporary American Literature: Thin Fictions.

2 PM TTh, 101 DH, Weisenburger.

Studies in the American novella from Henry James’s Daisy Miller (1878) to Don DeLillo’s Train Dreams (2011). What elements of narrative art, aside from an arbitrary word count (12,000 to 40,000 words) define the American novella? What readerly satisfactions define the novella’s enduring appeal, compared to thick, door-stopper novels? Can the novella be formally defined? If so, how does it respond to modern and contemporary ways of storytelling? To bring some rigor to our survey of nine thin fictions we will use Shlomith Rimmon-Kenan’s (also thin) Narrative Fiction: Contemporary Poetics (2002). In between Daisy Miller and Train Dreams we will take up: Stephen Crane, Maggie, A Girl of the Streets (1893); Herman Melville, Billy Budd, Sailor (1891; 1924); Edith Wharton, Ethan Frome (1911); Nella Larsen, Passing (1928); Thomas Pynchon, The Crying of Lot 49 (1966); Norman Maclean, A River Runs Through It (1976); and Don DeLillo, Point Omega (2010). Plan for 2 short papers; a mid-term; and a research paper.

ENGL 5310-001: Distinction Seminar in Literary Theory: Trauma

3 PM MW, 101 DH, Schwartz

This course will consider a series of literary and theoretical texts organized around the topic of “trauma.” The term is one we hear constantly in contemporary life to describe a variety of overwhelming personal and social phenomena, from the death of a loved one to the experience of war to global famine. But what does it mean for an individual or a group to undergo “trauma,” and is this term stable: that is, does it mean the same thing from one historical period to another? Did Oedipus experience “trauma” upon discovering that he had murdered his father and slept with his mother? What happened to the contemporary audience watching the play upon “discovering” what he had done? What happens to us upon reading the play, given that, for most of us, the secret is well known? To address these questions, we will read a range of literary and theoretical texts (just a sample of which are listed here).

But because we will be analyzing literary and film representations of trauma, our goal is to think about not just what trauma is but also about its social functions: why are we so interested in it? What do we gain as readers and viewers from the experience of “vicarious” traumatization? And what kind of cultural work is achieved in these representations?

This seminar aims to prepare English Distinction students for the writing of their senior theses, so in addition to analyzing the texts and theory discussed above, we will also concentrate on effective analytical, critical, research and writing practices and skills used in humanities disciplines. Expect to produce several short responses, two short papers (4 – 5 pgs), and a research paper.

Representative reading list: Caruth, Unclaimed Experience: Trauma, Narrative, History; Freud, Civilization and Its Discontents; Leys, Trauma: A Genealogy; McEwan, Atonement; Roy, The God of Small Things;Sophocles, Oedipus

ENGL 6310-001: Advanced Literary Studies

3:30-6:20 PM Th, 137 DH, Foster

This course is an introduction to advanced graduate work in literary studies. We will approach literary studies both as an intellectual activity and as a profession. Issues will include: the distant and recent history of literary studies; the place of “literature” in literary studies; methods and tools of literary research; physical and digital archives; textual materiality; the digital humanities; major and minor genres of scholarly performance including the journal article and the conference paper. In addition to short primary and secondary texts that foreground various interpretive strategies or problems, we will read Ulysses.

ENGL 6311-001: Survey of Literary Criticism and Theory

10-11:20 AM MW, 116 DH, Sae-Saue

How to read literature? How to make meaning of cultural forms, including language itself? How to regard the imaginary representation of a real social situation? How to understand and to make use of “literary criticism”? How does language both make possible and limit our understanding of ourselves and the worlds in which we live? This class addresses these questions by exploring how theory offers us a logic with which to read literature, to critique culture, to understand historical conditions, and to imagine our identities. We will familiarize ourselves with a range of theoretical approaches in order to familiarize ourselves with contemporary approaches to literary interpretation and to consider representations of social relationships. In doing so, we will begin to apply theory in order to examine the ways literature and culture seek to make sense of the complex worlds through which we move.

Throughout the course, we will look closely at key writings by some of the most influential (and most recognizable) linguistic, literary and cultural theorists of our field, including Ferdinand Saussure, Jacques Lacan, Jacques Derrida, Michel Foucault, Karl Marx, Sigmund Freud, Fredric Jameson, Antonio Gramsci, Theodore Adorno, Louis Althusser, Roland Barthes, Raymond Williams, Frantz Fanon, Jean Baudrillard, Chinua Achebe, Edward Said, Judith Butler, Gloria Anzaldua, Donna Haraway, Stuart Hall, and many more. We will familiarize ourselves with the main ideas and interjections of these thinkers and put them in conversation with one another to identify their major assumptions and the limitations of their work for contemporary critical practices.

ENGL 6312-001: Teaching Practicum

2-4:50 PM F, [Room TBA], Stephens

English 6312 has two purposes: First, it serves as an introductory support structure for PhD candidates who are teaching their first first-year writing classes at SMU. Second, in a general way, it introduces graduate students to the field of composition studies that has emerged in North American English Departments in the last forty years. The course helps PhD students write syllabi for and plan their classes for the fall term; it also offers an ongoing conversation about grading, conferences, classroom management, etc. In addition, all students read three books that outline the development of the field of composition studies, and each student reads and reports on a fourth book that describes the field as it exists now. Texts: TBA.

ENGL 6330-001: Early Modern British Literature: Sequence, Volume,

Miscellany

3-5:50 PM W, 137 DH, Moss

Those meddling anthologists have decimated Renaissance lyric: The Temple reduced to “Easter Wings” and (if professor and 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, Psalter; Tottel’s Miscellany; The Passionate Pilgrim. Critical and theoretical foci include close-reading, poetics, and related fundamentals; book history, paratext, and intertextuality; imitation and adaptation; reception and pedagogy.

ENGL 7340-001: Studies in British Literature

3:00–5:50 PM M, 138 DH, Sudan

James C. Scott argues that a certain level of abstraction is necessary for all forms of analysis and that often these forms of abstraction serve the fiscal interests of the state. This course examines the social, cultural, economic, political, and geographic territories that get abstracted in digital discourse in order to profit transnational corporations. To engage in this “restoration” of space, we will examine the genealogies of British empire-building of the late eighteenth through early-twentieth centuries to understand the economic shift of power from the nation-state/empire to twenty-first century transnational traffic in digital discourse. We will look at such landmarks as the Longitude Act of 1714, histories of land surveys, land reform acts, and definitions of “waste lands;” environmental histories of India and parts of Southeast Asia and Africa, and contemporary literature on ewaste sites. Literary works include Defoe, Austen, Collins, Stoker, Orwell, and others. Theoretical and historical works include David Abraham, Bill Brown, Herman Daly, Johanna Drucker, Elaine Freegood, Jonathan Lamb, Bruno Latour, Ulises Mejias, Kavita Philip, James C. Scott, Nicole Starosielski, and others.

ENGL 7350-001: Studies in Modern American Literature: Race and Real Estate

3:30-6:20 PM T, 137 DH, Ards

Narratives of race and real estate in the United States have usually focused on dispossession and forced segregation. This course acknowledges the validity of these histories while qualifying and complicating traditional notions of race, property, and citizenship. We will draw on the work of literary critics, legal scholars, sociologists and architects to examine intersections among race and architecture, homeownership, place/space, property, and narrative aesthetics as sites of social storytelling. Sample Primary Texts: Craft, The Bondwoman’s Narrative; Chesnutt, The Conjure Stories; Biggers, The House without a Key; Gonzalez, Caballero; Ellison, Invisible Man; Hansberry, A Raisin in the Sun, Norris, Clybourne Park; Jordan, His Own Where; Cisneros, House on Mango Street; Thomas, Down These Mean Streets; Johnson, Hunting in Harlem; Tretheway, Native Guard; Danticat, The Dew Breaker; Kincaid, A Small Place; Secondary Texts: Brown and Smith, eds., Race and Real Estate (OUP, 2015); Gleason, Sites Unseen (NYU, 2011); Cheng, The Changs next door to the Diazes (U of Minnesota P, 2013)

Summer 2016

Summer I

ENGL 3367-001C (CF3364): Ethical Implications of Children's Literature

12 PM M–F, 105 DH, Satz [CA2, HD, OC, W]

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 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 3379-001C (CF3379): Contexts of Disabilities: Gender, Care, and Justice

11 AM M–F, 105 DH, Satz [CA2, HD, OC, W]

Spring 2016

ENGL 1363-001: The Myth of The American West [HC1, CA1]

11:00 AM MWF, 115 DH, Weisenburger

ENGL 1385-001: Power, Passion, and Protest in British Literature [CA1, HC1]

12:30 PM MWF, 306 DH, Sudan

A high-speed, one-semester introductory overview of British literature, from its medieval beginnings to (almost) the present day, with attention to literature’s capacities to pursue desire and to exercise (and resist) various kinds of power. As we survey this history, and trace the story of one of the world’s great cultural treasures, we will consider literature in relation to the social, political, intellectual, and religious histories in which it was written, as well as its relevance to our own time. Authors covered will include Chaucer, Shakespeare, Wroth, Donne, Milton, Behn, Swift, Wordsworth, Keats, Browning, Rossetti, Tennyson, Woolf, Joyce, Eliot, and Beckett. Method of instruction: lecture and discussion. Methods of evaluation: midterm and final exams, quizzes, short essays, participation.

ENGL 2302-001: Business Writing [IL, OC, W]

12:30 PM TTh, 351 DH, Tongate

ENGL 2302-002: Business Writing [IL, OC, W]

2:30 PM TTh, 351 DH, Tongate

ENGL 2310-001: Imagination and Interpretation: Literature and Life Questions [CA2, W]

8:00 AM MWF, 156 DH, Stampone

Who am I? Why am I here? What is love? What is death to me? This class will introduce students to life’s biggest questions through the lens of literature. To answer these questions, students will be introduced to a variety of historical periods, artists, genres, and forms. Students will be expected to contribute regularly to class, complete quizzes, write focused responses on a work or works, and write exams that demonstrate their knowledge of assigned material. Please note that some of the works deal with adult themes and use adult language.

ENGL 2311-001: Poetry [CA2, W]

12:00 PM MWF, 153 DH, 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 2311-002: Poetry [CA2, W]

11:00 AM MWF, 138 DH, Newman

ENGL 2311-003: Poetry [CA2, W]

11:00 AM TTh, 137 DH, 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, and write about poems written centuries ago and practically yesterday. You will learn to spot 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, 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. Texts: Helen Vendler, Poems, Poets, Poetry (3d ed.); Andrea Lunsford, EasyWriter (4th ed.).

ENGL 2312-001: Fiction [CA2, W]

9:30 AM TTh, 120 DH, Sae-Saue

This course is an introduction to fiction with an emphasis on U.S. ethnic novels. The primary goal of the class is for students to 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 and cultural geographies. Yet how does a text construct a cultural landscape and organize human consciousness? How does a work of fiction comment on a determinate historical moment? How does it 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. Learning Outcomes: By the end of this course, you will be able to: identify several formal elements in a work of literature. Write an analysis of an interpretive problem in a work of literature. Texts: Maxine Hong Kingston: The Woman Warrior, John Okada: No-No Boy, Karen Tei Yamashita: Tropic of Orange, Junot Díaz: The Brief Wondrous Life of Oscar Wao, Oscar Casares: Brownsville, Luis Alberto Urrea, Devil’s Highway

ENGL 2312-002: Fiction [CA2, W]

9:00 AM MWF, 156 DH, McAvoy

This course is an introduction to reading, interpreting, discussing, and writing about works of fiction with a particular emphasis on Gothic tales and Gothic elements in American literature from the late 18th to the early 21st century. Literary critic Charles L. Crow defines the American Gothic as “the imaginative expression of the fears and forbidden desires of Americans… [and] it offers a forum for discussing some of the key issues of American society, including gender and the nation’s continuing drama of race.” This course will cover a variety of fictional texts that relate in some way to the Gothic genre and will interrogate what it is about Gothic themes, elements, and plots that American authors have found so useful in their explorations of central issues in American society over the last three centuries. How can seemingly fantastic, supernatural, grotesque, and terrifying stories provide grounds for serious discussions and critiques of life in America? We will think about this and a number of other questions throughout the course of the semester. Possible texts: Charles Brockden Brown, Wieland; Hannah Crafts, The Bondwoman’s Narrative; Herman Melville, Benito Cereno; Cormac McCarthy, The Road; short stories by Washington Irving, Nathaniel Hawthorne, Henry James, Edgar Allan Poe, Joyce Carol Oates, and Shirley Jackson.

ENGL 2314-001H: Doing Things With Poems [CA2, W]

9:30 AM TTh, 137 DH, Spiegelman

Introduction to the study of poems, poets, and how poetry works, focusing on a wide range of English and American writers. Some attention to matters of literary history. Writing assignments: approximately five short essays, daily paragraphs, final examination if necessary. Students will memorize 100 lines of poetry. Texts: Vendler, Poems, Poets, Poetry; Hollander, Rhyme’s Reason

ENGL 2315-001: Introduction to Literary Study: Imagining “America” in Narrative [CA2, W]

11:00 AM MWF, 120 DH, Ards

In this course, you will learn to interpret literature through close attention to language, form, genre, and historical context. This critical project is grounded in the thematic approach of exploring the idea of “America” in texts that have been central to the definition of New World identities. Across four thematic sections—discovery, nationhood, citizenship, borders—the course features exemplary writers and a diverse selection of literary genres to understand how narrative shapes (trans)national character. Sample texts include The Tempest, Shakespeare; Jane Eyre, Charlotte Bronte; Daisy Miller, Henry James; The Autobiography of an Ex-Coloured Man, James Weldon Johnson; Slouching Toward Bethlehem, Joan Didion; Drown, Junot Diaz; and Americanah, Chimananda Adichie.

ENGL 2315-002: Introduction to Literary Study [CA2, W]

12:30 PM TTh, DH 102, Neel

Reading, thinking about, discussing, and writing about the great texts of imaginative literature have been the foundation for advanced education in the West since Isocrates and Plato opened their schools sometime around 390 BCE in Athens. This course is based on and operates deeply within that 2,500-year-old tradition. We will begin with literature from Golden Age Greece and the Judeo-Christian Apocrypha and then concentrate on the high-culture Anglo-American canon of the last three centuries, considering poetry, drama, and fiction and concluding with creative non-fiction and film. Three out-of-class papers, one major in-class paper, and occasional reading quizzes. Satisfies the UC Writing Proficiency and Creativity and Aesthetics Pillars II requirement. Class attendance required.

ENGL 2390-001: Introduction to Creative Writing [CA2, W]

12:30 PM TTh, 138 DH, Brownderville

The subject of this course is powerful language. How do words move readers? To begin answering this question, students will write and revise poems, short stories, and creative essays; respond both verbally and in writing to one another’s creative work; and analyze published texts in three-page 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. Toward the end of the semester, each student must submit a carefully revised portfolio of his or her own writing in all three genres. 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 [CA2, W]

10:00 AM MWF, 106 DH, Milazzo

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 ta 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 2390-003: Introduction to Creative Writing [CA2, W]

2:00 PM TTh, 115 DH, Diaconoff

This course introduces students to the practice of writing poems, short stories, and creative essays. Class time is devoted to the study of published pieces, workshop discussion of students' pieces, and in-class writing exercises. Some students taking it will have no prior experience in creative writing, whereas others might have quite a bit. One presupposition of the course is that students will learn at least as much from reading and responding to each other’s writing as they will from any other activity. Students will write and revise poems, stories, and creative essays to culminate in a portfolio for each of those genres; short (2-3 page) critical papers will also be assigned (one each in the poetry, fiction, and creative essay units). The course will culminate in the division of the class into small-group collectives who work together to curate a literary ‘zine. Texts: Richard Hugo, The Triggering Town; Jeff Knorr and Tim Schell, eds, A Writer’s Country.

ENGL 3310-001: Contemporary Approaches to Literature

11:00 AM TTh, 152 DH, Murfin

ENGL 3310-002: Contemporary Approaches to Literature

12:30 PMTTh, 102 Hyer, Sae-Saue

How to read literature? How to make meaning of cultural forms, including language itself? How to regard the imaginary representation of a real social situation? How to understand and to make use of “literary criticism”? This class addresses these questions by exploring how theory offers us a logic with which to read literature, to critique culture, and to understand historical conditions. We will familiarize ourselves with a range of theoretical approaches in order to interpret familiar literary texts. In doing so, we will learn to apply theory in order to examine the ways literature and culture seek to make sense of the complex worlds in which we live.

Throughout the course, we will look closely at key writings by some of the most influential (and most recognizable) linguistic, literary and cultural theorists of our field, including Ferdinand Saussure, Roland Barthes, Jacques Lacan, Jacques Derrida, Michel Foucault, Karl Marx, Sigmund Freud, Edward Said, Judith Butler, Gloria Anzaldua, and Henry Louis Gates. We will explore the ideas of these transformative thinkers to critique some of the most recognizable literary texts of our discipline, including works by: Franz Kafka, Virginia Wolf, Joseph Conrad, William Shakespeare, Edgar Allen Poe, Sophocles, Samuel Beckett, Toni Morrison, and more!

CLAS 3312-001: Classical Rhetoric [HC2, PRIE2]

9:30 AM TTh, 143 DH, 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. Three out-of-class papers, one in-class paper, and ten reading quizzes. Satisfies UC Writing Proficiency; Pillars II Philosophy, Religion, and Ethical Inquiry; Pillars II Historical Contexts; one requirement for the Classical Studies program; and one elective credit for both the English major and the English minor. Class attendance required.

ENGL 3340-001: Topics in British Literature in the Age of Revolutions: Jane Austen: Manners, Morals, Courtship [CA2, W]

2:00 PM MWF, 153 DH, Holahan

This course covers the six major novels of 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 ‘limita-tions’) are studied in relation to historical background as well as in relation to stylistic or literary concerns. Some attention is also given to Austen’s idea of the novel and the purposes of writing novels. This inevitably raises the issue of authorial self-consciousness. Some (Henry James) have claimed she had none; others (this instructor) have claimed she had a good deal. Norton Critical Editions of Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, and Persuasion.

ENGL 3344-001: Victorian Gender [CA2, HD, W]

1:00 PM MWF, 115 DH, Newman

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, the term “homosexual” was being coined, and gender roles, after a long period of rigidity, were being openly questioned. Requirements: 3 papers (for a total of about 15 pages), occasional quizzes and discussion board postings, in-class midterm and final exams. 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 3348/CF 3374: History of Print and Digital Culture in America [CA2, HC2]

11:00 AM TTh, 357 DH, 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 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.

ENGL 3362-001: African American Literature [CA2, HD, OC, W]

3:00 PM MWF, 153 DH, Ards

Since its eighteenth-century beginnings, some have considered African American literature a human impossibility and others, an act of self-assertion. The understanding of what constitutes an African American literary tradition, consequently, has been rife with debate and redefinition. In this course, we will examine how black writers wrestled with major themes and motifs of American literature to respond to these questions of origin, legitimacy, and tradition. We will read authors within the major literary movements of their time and consider their direct influence on later generations. Some writers we will read are Phillis Wheatley, Frederick Douglass, James Weldon Johnson, Zora Neale Hurston, Richard Wright, James Baldwin, Toni Morrison, Ta-Nehisi Coates, and Janet Mock.

ENGL 3366-001: American Literary History II [CA2, HC2, W]

2:00 PM TTh, 116 DH, Greenspan

This course will offer a survey of the literary and cultural history of the United States from the turn of the twentieth 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, Maxine Hong Kingston, Art Spiegelman, Louise Erdrich, and Michael Chabon. It will also include a unit on twentieth-century film and drama.

ENGL 3370-001: Special Topics: Literature of the Holocaust

10:00 AM MWF, 120 DH, Satz

ENGL 3384: Literature and Medicine [CA2, PRIE2, HD, W]

11:00 AM MWF, 107 Hyer, Nixon

What can Hemingway teach us about surgery and pain? Susanna Kaysen about being diagnosed with a personality disorder? Atul Gawande about the uncertain path of medicine? Through literature, we can begin to imagine experience of medicine for both doctors and patients. These experiences often escape our grasp. The sick and injured, after all, live in a complex relationship not only with doctors and hospitals, but with friends and family, law and government, insurance and big pharma. The ill take on a new identity as the patient, and see themselves swept up into the narratives of a healthcare system whose goals often seem at odds with those of the patient. Doctors must tend to the bodies and minds of patients, but also handle family, colleagues, medical institutions and the accidents of nature. This course will help us to understand the roles each of us play as patients and healers. We will begin by considering the case history, the story that defines what has brought doctor and patient together. But the story is always bigger and older than two people speaking. We will have to think, for example, about the stories, both horrific and heroic, that arise in response to the maladies that afflict us individually and collectively (as Ebola has transformed the health narrative world-wide). We’ll consider the birth of the modern clinic in an enlightenment world; the role of the mentally ill as sanity’s shadow; and the stories doctors tell to help them endure the hardships of medicine. We will explore the ethical dilemmas that arise in this age of medical marvels when we must decide who will live, for how long, under what conditions, at what expense, at whose choice. We will read a wide variety of literature, history, biography, philosophy, and science to help us understand the ways in which illness and medicine talk together.

ENGL 3390-001: Studies in Creative Writing [CA2, W]

3:30 PM TTh, 142 DH, Brownderville

In this workshop-intensive course, students will write, revise, and analyze poetry. Discussion will center on the students’ writing and on published work that demonstrates solid craftsmanship. Students will write five-page belletristic articles about published poetry. In addition, toward the end of the semester, each student will be required to submit a carefully revised portfolio of his or her own poems. Texts will include slender volumes of poetry such as David Berman’s Actual Air, Kay Ryan’s Say Uncle, and Ross Gay’s Bringing the Shovel Down. Successful students will begin to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary poetry.

ENGL 3390-002: Studies in Creative Writing [CA2, W]

2:00 PM MWF, 137 DH, Milazzo

In this workshop-intensive course, we will work together to gain both a broad and deep understanding of what it means to devise settings for one's narratives. We will examine elements of time, place, and cultural context at both the micro- and macro- levels via both regular in-class writing exercises and readings of model texts. We will discuss the various tools and techniques that a diverse array of authors employ in order to create mappable as well as navigable fictional realities. We will also practice certain of these techniques, and focus our workshop sessions on further illuminating those authorial choices that become "rules" for determining how individual imaginary worlds function. This course will also provide an opportunity to experiment with collaborative writing (the exact nature of this project TBD, as student input will be solicited).

ENGL 3390-003: Studies in Creative Writing: Fairy Tales and Fiction [CA2, W]

9:30 AM TTh, HYER 110, Diaconoff

For fiction writers, studying fairy tales means going back to the basics in order to clear space for even more richness and complexity in our stories. At least, that is the hope for this course. In fairy tales, the elements of fiction are so highly concentrated as to seem raw; the stories have the immediate, inevitable quality that can seem like magic to writer and reader alike. With their unique ability to combine elements of “real” life and the logic of dreams to result in effects that bypass the rational mind, fairy tales and folk tales can lead the writer to a realm of image and emotion otherwise not accessible. At the same time, it’s fascinating to read fairy tales in their guise as socializing mechanisms. What do they say about the values of the culture in which they’re read and taught to children? How might we “write back” at them—how might we question the underlying assumptions of the lessons they impart?

Students will write three stories for workshop as well as a series of shorter (2-3 page) critical papers and, likely, a series of shorter creative exercises. Published readings will include folk tales in versions collected by the Brothers Grimm and Charles Perrault as well as contemporary fairy-tale based stories by the master of that form, Angela Carter (The Bloody Chamber), and the writers collected in Kate Bernheimer’s anthology My Mother She Killed Me, My Father He Ate Me as well as the journal Fairy Tale Review. Movie versions of famous fairy tales may also be an object of interest in the course.

ENGL 4323-001: Fun and Games in Chaucer’s Canterbury Tales: Risk and Reward in Storytelling [IL, OC]

9:30 AM TTh, 156 DH, Wheeler

This course focuses on the delight and difficulty of life as seen in Chaucer's strong, wise, and rich narratives.

Reading: The Wadsworth Chaucer and background texts

Assignments: regular reading comments, in-class oral presentations, short and longer paper.

ENGL 4332-001: Studies in Early Modern British Literature: Shakespearean Pairings [IL, OC]

3:30 PM TTh, 102 DH, Moss

As a dramatist, Shakespeare populates his stages with twins, couples, best friends, and arch-rivals. As a lyric and narrative poet, he likewise cultivates mirror-images, relishing the interplay of complementary or antithetical pairings of language, metaphor, and tone. Shakespeare’s double-vision moreover extends between his texts—so much so that often the most rewarding way to study them is in tandem, allowing each play or poem to illuminate its counterpart. In this course, we will identify Shakespeare as the poet of pairs, close-reading the doublings within each work and interpreting the often surprising binary relations between them. Course requirements: two shorter papers, one research paper, weekly posts to an online discussion list, creative project, final exam. Texts: Shakespeare, The Comedy of Errors; Titus Andronicus; Venus and Adonis; Sonnets; The Merchant of Venice; Measure for Measure; Richard II; Henry V; Cymbeline; The Winter’s Tale

ENGL 4343-001: British Literature in the Age of Revolutions: Secrecy in the 19th-Century Novel

[IL, OC] 2:00 PM TTh 153 DH, Murfin

A consideration of six works of fiction dating from the nineteenth and early-twentieth centuries. Some of these texts include important secrets known to the narrator and some characters (but not others, sometimes including the protagonist). Others contain information unknown by the narrator and/or reader until revelatory turning points in the plot. Still other works seem to involve additional secrets that are never revealed, except through what J. Hillis Miller calls “traces or marks,” “indirect signs announcing their hidden existence”—secrets perhaps unknown at any conscious level by the authors themselves. Such fictions often involve real or phantasmal doubles (twins) or Doppelgängers (counterparts); their plots often contain instances of what Freud termed the “uncanny” and are typically conveyed through complex, achronological narrative structures. (These include twice-told tales, interpolated stories, and so-called “Chinese box” narratives that at once invite readers to be “in on” the secret and that, at the same time, keep readers at a distance.) Works covered will include Jane Austen’s Northanger Abbey, Thomas Hardy’s The Mayor of Casterbridge, Joseph Conrad’s Lord Jim and The Secret Sharer, Henry James’s The Turn of the Screw, and Ford Madox Ford’s The Good Soldier. In addition to writing a short paper and a longer paper involving secondary sources, students will complete three in-class writing assignments and lead a discussion.

ENGL 4356-001: American Poetry, 1945–Present [IL, OC]

12:30 PM TTh, 115 DH, Spiegelman

This course is an introduction to some of the major poets and poetic currents in the USA, roughly from 1945 to the present, including Beat and Confessional poetry, formalism and the avant-garde. We shall discuss, albeit peripherally, the changing place of poetry in culture, and issues of gender, and the relationship of poetry to the public realm, but our primary focus will center on the reading of particular poems, and the ways in which an individual poet arranges his or her creative life and output. The aim is to help you develop the skills and perspectives you’ll need to appreciate---and write cogently about---recent poetry, in response to the aesthetic and speculative issues it raises. This is a course in how to read contemporary poetry, and in why it matters. Previous work in poetry is expected but not required. The focus will be on the following poets: Elizabeth Bishop, Robert Lowell, James Merrill, Allen Ginsberg, John Ashbery, Sylvia Plath, Louise Glück, and Jorie Graham. Other poets (Richard Wilbur, Anthony Hecht, Howard Nemerov, Frank O’Hara, Anne Carson) will be brought into the discussion. There will be several short paper assignments, a mid-term exam, a final paper, and a final exam.

ENGL 4369-001: Transatlantic Studies III: Contemporary LGBT Writing [IL, OC]

2:00 PM TTh, 157 DH, Bozorth

The Stonewall Rebellion of June 1969 marked the birth of the modern gay 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 novels, plays, and memoirs by British and US queer writers from the 1960s to the present, considering the aesthetic, psychological, social, political and other elements of their work. 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 forms; 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, a memoir, film, or a 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 intellectual context. We will use a Discussion Board to post question and topics for class consideration, and students will collaborate on leading class discussions for each text, reflecting their interests and research outside of class. Writing assignments: shorter and longer analytical papers, including a final research-based paper, totalling 25 pages. Possible texts: Alison Bechdel, Fun-Home; Richard Blanco, The Prince of Los Cocuyos, Alan Hollinghurst, The Swimming-Pool Library; Christopher Isherwood, A Single Man; 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; Jeanette Winterson, Oranges Are Not The Only Fruit.

English 6360-001: Disability Studies and Literature

2:00 PM W, 157 DH, 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. 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. Fictional works will be chosen from such works as Castillo, Peel My Love Like an Onion, Petry, The Street, Barth, End of the Road, Brontë, Villette, Eugenides, Middlesex , Kesey, One Flew Over the Cuckoo;’s Nest, Lessing, The Fifth Child and stories of Flannery O’Connor. Requirements: Weekly response papers, role as seminar leader, 3 mid-length papers.

Engl. 6380-001: History of Print and Digital Culture, 1639–Present

5:00 PM W, 120 DH, 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 doing so, it will introduce English Ph.D. students to the sprawling multidiscipline of the history of the book in its basic theoretical, methodological, and practical dimensions; present them with multiple possible master narratives of literary history tied to authorship, printing, technology, and legal regimes such as copyright; and give them a learned context for understanding editorial, scholarly and institutional components of academic life.

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; the history of libraries and archives, with and without walls; and the historical shift from print-based to digital based culture and its consequences for the conduct of scholarly research.

ENGL 7340, Seminar in British Literature: For All Time: Eminent Non-Shakespeareans

3:30 PM, 357 DH, Rosendale

In a 1623 poem that powerfully shaped centuries of subsequent attitudes, Ben Jonson famously described his drinking buddy Will Shakespeare as uniquely “not of an age but for all time!” In this Jonson was doubly wrong. Not only was Shakespeare a keen partaker and analyst of the concerns of his own age; he was also not alone in addressing contemporary issues in enduring and influential ways that have both anticipated and shaped the problematics of our own time. Jonson’s apotheosizing impulse explicitly denigrates several of his great contemporaries—Spenser, Kyd, Marlowe—in order to create the towering, singular Shakespeare that has over peered British (and American) literature ever since.

This course will focus on releasing from Shakespeare’s penumbra a number of extraordinary 16th- and 17th-century authors who can still speak to aftertimes in surprising and compelling ways about sex, politics, agency, form, subjectivity, progress, epistemology, economics, God, aspiration, identity, gender, desire, truth, representation, ethics, social organization, reading, good & evil, and much more. Each week we will focus on one or two writers and carefully think about their work in its own time; we will also consider that work’s significance in the intellectual, political, literary, and critical times to come, including our own. Potential objects of attention include More, Tyndale, Wyatt, Surrey, Sidney (Philip and Mary), Spenser, Hooker, Kyd, Marlowe, Jonson, Lanyer, Beaumont, Webster, Cary, Donne, Herbert, Ford, Milton, Browne, Burton, Hobbes; enrollees will have some say as to who and what we cover.

ENGL 7350-001: “A White Man’s Country,” Race and Nation during The Nadir

2:00 PM M, 157 DH, Weisenburger

Bookending our semester’s readings with Lydia Maria Child’s A Romance of the Republic (1867) and George Schuyler’s Black No More (1931), we focus on the period 1890 -1930, decades U.S. historians have named The Nadir. It’s a period of hotly contested cultural, socio-political, and legal struggles over race and rights, and especially over the nation’s supposed racial identity, its fictional purity. The period’s Battle of the Books presents rich potentials for studies of canonical, recently recuperated and long forgotten novels, popular, middlebrow and highbrow. We’ll contextualize them against Supreme Court justices’ legal fictions upholding segregation. And with an American visual and verbal print culture obsessing over questions of race and nation. We will ask: How did African American writers answer the bloody fictions of loud and proud white supremacists? Why were white liberal responses so self-disabled? To answer, our other fictions (both print and etext versions) will include: Arthur Henry, Nicholas Blood, Candidate (1890); William Dean Howells, An Imperative Duty (1891); George Ade, Pink Marsh (1897); Sutton Griggs, Imperium in Imperio (1899); Charles Chesnutt, The Marrow of Tradition (1902); Robert Lee Durham, The Call of the South (1908); Thomas Dixon Jr., The Clansman (1905); James Weldon Johnson, Autobiography of an Ex-Colored Man (1912). Among the documents for this work: Booker T. Washington, “Atlanta Exposition Address” (1895); W. E. B. Du Bois, “Of Mr. Booker T. Washington and Others” (1903); Ida B. Wells, A Red Record (1895); U.S. v. Cruikshank, 92 U.S. 542 (1875); Civil Rights Cases 109 U.S. 3 (1883); Plessy V. Fergusson 163 U.S. 537 (1896). Requirements: paper proposal and working bibliography, presentation, and seminar paper of ca. 25 pages.

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