Department of English, College of LAS, University of Illinois


Graduate Studies in English
   Course Descriptions

Fall 2015 Course Description
Spring 2015 Course Descriptions
Fall 2014 Course Descriptions
Spring 2014 Course Descriptions

 

Fall 2015 Course Descriptions

 

402 1U/1G DESCRIPTIVE ENGLISH GRAMMAR, D. Baron. (34483)  TUTH 2-3:15

same as BTW

Area Requirement – None

 

This is a course in English linguistics. We will study the English language: how we use it; how it uses us. We will learn and practice techniques for describing English, both its words and sentences and larger elements of discourse in context. We will look at the social, historical, and political forces that shape language and its use. And we will suggest ways to use what we learn about language both in the classroom and in the professional world.

          Text: Curzan, Anne, and Michael Adams, How English Works: A Linguistic Introduction. Latest edition.

 

403 1U/1G HISTORY OF THE ENGLISH LANG.  MWF 1

Area Requirement – None

 

Language variation and change from the earliest forms of English to the present day, with emphasis on the rise of Standard English and the social, geographic, and cultural aspects of linguistic change in English.

 

404 U3/G4 ENGL GRAMMAR FOR ESL TEACHERS, Ionin.  (42951) MWF 11

same as EIL 422

 Area Requirement – None

 

This course is designed to help prospective teachers of English as a Second or Foreign Language (ESL/EFL) enhance their understanding of English grammar and develop pedagogical approaches to teaching English grammar. This course has two main components: (1) instruction in English grammar, with particular emphasis on those areas that present difficulties for ESL students; and (2) development of pedagogical approaches for teaching English grammar. In order to provide practical teaching experience, the course also offers a tutoring practicum where participants tutor ESL students on topics of English grammar that have been covered in the course, using pedagogical materials that are sound in light of current second language acquisition (SLA) theories, research findings, and teaching methodologies.

 

407 1U/1G INTRO TO OLD ENGLISH, C. Wright.  (49440) TUTH 12:30-1:45

same as MDVL 407

Area Requirement – Medieval British Lit & MFA Lit

 

          Thiis pure contemplation / of a language of the dawn—Jorge Luis Borges, “On Embarking on the Study of the Anglo-Saxon Language”

 

In this course you will learn to read Old English prose and poetry in the original language, which was spoken by the Anglo-Saxon inhabitants of England from the sixth through eleventh centuries. This was the native language of Caedmon, who wrote the earliest surviving English poem (“Cædmon’s Hymn”); of King Alfred, who prevented the Vikings from conquering England, and who then undertook a revival of learning by translating into English “those books which it is most necessary for all to know”; of the anonymous author of Beowulf, who memorialized a Germanic hero’s battles with a man-eating monster, his vengeful mother (the monster’s, that is), and a dragon; and of abbot Ælfric and archbishop Wulfstan, who preached in English for those who could not understand Latin, the official language of the medieval church.

          We will begin with some easy prose readings (the story of Adam and Eve from Genesis, and a school dialogue about Anglo-Saxon “career choices”), and as you gradually master the basics of Old English grammar we will work our way up to more literary narrative prose such as Bede’s story of Cædmon’s miraculous transformation from cowherd to poet; King Alfred’s manifesto on education reform; and Ælfric’s story of the martyrdom of King Edmund, slain by Vikings invaders (featuring Edmund’s decapitated talking head). Then in the second half of the semester we will read some of the finest shorter Old English poems, including The Wanderer and The Seafarer, two elegiac poems of exile; The Battle of Maldon, recounting the heroic defeat of an English army by the Vikings; The Dream of the Rood, a mystical vision of the Crucifixion, as told by the Cross; and The Wife’s Lament, about a woman abandoned by her former lover.  Along the way we will learn about aspects of Anglo-Saxon history, culture, and art.

 

418 1U/1G SHAKESPEARE, L. Newcomb. (40436) TUTH 2-3:15

Area Requirement – British, 1485-1660 & MFA Lit

 

This course explores seven Shakespearean plays from a range of dramatic genres.  We’ll look especially at the features that made these plays popular in their day:  their open staging, their playful language, their laying bare of the period’s familial, national, gender, and racial tensions.  We'll also consider how the meanings of ‘Shakespeare’ proliferate through the constant, sometimes subversive, reinvention of the plays by literary critics, performers, and adapters world-wide.  That diversity compels us to use multiple interpretive frames to look at the plays:  close reading; informal staging; film analysis; feminist, historicist, postcolonial, and queer studies critical approaches.  Be ready for proactive discussion, performance experiments, a library visit, and attending at least on Shakespeare play on campus.  Written assignments include informal writings, two focused short papers, a longer paper based on guided research (7-9 pp.), and a final exam.

 

TEXTS:     (these print editions are required):  Greenblatt et al, eds., Shakespeare: Complete Works (3rd edition, forthcoming summer 2015); McDonald, ed., Bedford Companion to Shakespeare (2nd edition, ISBN 978-0312248802); at least one individual play edition, probably tied to the What You Will fall season.

 

421 1U/1G LATER RENAISS POETRY & PROSE, Gray. (40364) MWF 10

Area Requirement – British, 1485-1660 & MFA Lit

 

Most literary historians like to claim their period as a turning point, but scholars of the seventeenth-century have an edge: in 1649, the British took the unprecedented step of trying their king for treason and beheading him. In this course, we will explore the artistic and intellectual questioning that characterizes seventeenth-century poetry and prose. We will combine study of some of the major poets and prose writers of the time, such as John Donne, Robert Herrick, and Andrew Marvell, with analysis of lesser-known writers such as Mary Wroth, Gerrard Winstanely and Anna Trapnel. Early in the course, we will establish some of the traditional ideas about genre and gender, sexuality and the desiring body, religious identity and political form. We will then watch as these mutate in the context of revolutionary debate.

 

429 1U/1G 18th CENTURY FICTION, Pollock. (40392) MWF 2

Area Requirement – British, 1660-1800 & MFA Lit

 

This course will examine the link between European colonialism and the development of recognizably modern fiction during the course of the long eighteenth century—a period commonly referred to as the Enlightenment—in England, France, and the Americas.  We will analyze travel both as a literal means of disseminating “enlightenment” between cultures, and as a metaphor for describing the formation of the "enlightened" person, an idealized subject defined by her/his movement into trans-cultural spaces where complicated ethical and political dilemmas must be negotiated.  Indeed, one of the influential legacies of these Enlightenment fictions (or fictions of Enlightenment) has been their formulation of cosmopolitanism as a solution to the often violent clash between cultures.  The popular narratives we'll study test the Enlightenment's cosmopolitan ethos by imagining European observers in a wide range of locales: Brazil, West Africa, the Caribbean, Persia, the Ottoman Empire, Abyssinia, and Egypt, to name a few.  Time permitting, we will finish by reading some recent philosophical work on the question “What is Enlightenment?” and we will attempt to answer that question ourselves.  Texts by Montaigne, Behn, Defoe, Montesquieu, Swift, Montagu, Johnson, Voltaire, and Equiano.

          Requirements: active participation, journal responses, three essay projects, and a final exam.

 

435 1U/1G 19TH C BRITISH FICTION, Courtemanche. (40394) MWF 1

Area Requirement – British, 1800-1900 & MFA Lit

 

An optimistic note of progress is the keynote of many 19th-century novels: characters learn and grow, society works through conflict, secrets are uncovered. But in British fiction, this process of discovery and growth is often complicated by nostalgia and fears of loss.  Sometimes the characters discover that what they were looking for was in front of them all along, or find they can never truly untangle the dark origins of the problems that entrap them.  In this class, we’ll be focusing on this particular mixture of romance, Bildungsroman, the detective story, and Gothic historicism.  Our readings will include Jane Austen’s Emma, Charles Dickens’s Bleak House, Emily Brontë’s Wuthering Heights, Wilkie Collins’s The Moonstone, Oscar Wilde’s The Picture of Dorian Gray, and Joseph Conrad’s The Heart of Darkness.  These novels are tremendously fun to read, but also very long, so be prepared for a great deal of reading (both fiction and secondary criticism). The course will require one close-reading paper, one research paper, a midterm and final, weekly written assignments, and active class participation.

 

441 1U/1G BRITISH LIT 1900-1930, Gaedtke. (49201) TUTH 2-3:15

Area Requirement – British, 1900-Present & MFA Lit

 

The literature of the first three decades of the twentieth century was marked by the trauma of a world war, new media technologies, a collapsing British empire, and shifting gender roles. This course will explore the ways that literature provoked and was transformed by these cultural forces. This is the era made famous by Downton Abbey, and while we will read fiction of the English manor, we will also examine experiments in stream of consciousness, imagist poetry, avant-garde manifestos, and radio dramas. This course will survey key works by Virginia Woolf, Joseph Conrad, James Joyce, Mina Loy, T.S. Eliot, Charlie Chaplin, and Samuel Beckett that defined “modernism” as well as philosophical and cultural theories that have attempted to answer questions of how Britain became modern and what “modern” meant.

 

452 1U/1G AMERICAN LIT 1945-PRESENT, Hunt. (64568)  TUTH 2-3:15

Area Requirement – American, Civil War to present & MFA Lit

 

In the period after World War II the US experienced a barrage of momentous events: multiple wars, a widening gap between the rich and poor, the triumphs and dashed hopes of the Civil Rights and Black Power movements, and growing waves of feminism. A new range of voices and literary forms emerged to clarify and influence these changes to the national landscape, changes that redrew lines of class, race, gender, and nationality. Reading novels, poetry, essays, and plays, we will ask how writers redefined not only what it means to belong to these categories of identity and class, but also what it means to resist respective forms of exclusion. We will also consider how writers represent the violence of discrimination, the traumas of war, and the possibilities of healing. In the process, we will historicize the various conventions of modernism, realism, and postmodernism and question how well they account for an author’s literary ancestry and artistic project. Requirements include active participation in class discussions, regular brief reading responses, two formal essays, a midterm, and a final. Authors may include Gwendolyn Brooks, Ralph Ellison, Allen Ginsberg, Kurt Vonnegut, Bharati Mukherjee, Toni Morrison, August Wilson, and Suzan-Lori Parks.

 

455 1U/1G MAJOR AUTHORS, Freeburg. (40444) MWF 11

TOPIC: Herman Melville and Frederick Douglass

Area Requirement – American, beginning to Civil War & MFA Lit

 

Frederick Douglass and Herman Melville do not actually have a lot in common but what they do have in common is not only exciting and interesting—it is profound. Douglass’ writings, from newspaper articles to autobiographies, are fiercely anti-slavery.  Herman Melville’s fiction and letters (including Moby-Dick), while certainly not abolitionist, reflect his deep thinking about regional and national conflicts over slavery and imperialism.  Both men felt that there was an overall crisis of being in the nineteenth-century world that stemmed from rapidly changing notions of power/knowledge, self-reflection, as well as what it meant for someone to practice moral and spiritual commitments.  We will study these legendary American figures through their poetry, prose, and other letters to analyze how they engaged and contested the historical moment that created them.  This course will have a few short writing assignments and a final paper.

 

476 1U/1G TOPICS LIT & ENVIRONMENT, Jones. (56412) TUTH 12:30-1:45

TOPIC: Literature and the Sea

Area Requirement – American, Civil War to present & MFA Lit

         

The sea is a persistent metaphor for ideas as vast as the ocean itself:  sexual awakening, freedom, death, fluidity, and escape.  At the same time, the sea is a factory and workplace, a place where cultural exchange, trade relationships, and political power are all made material in the bodies of working sailors.  This course will explore oceanic texts, answering questions such as:

 

  • What does the sea mean for authors of various races, genders, sexual identities, and ethnicities?

  • How has the literature of the sea contributed to environmental (and environmentalist) concerns?

  • How does American literature respond to the decline of maritime industry and the rise of seashore tourism?

  • How does sea literature construct new categories of local, national, and global belonging?

 

We will read American literature of the 19th and early 20th centuries, exploring works by Herman Melville, Frederick Douglass, Kate Chopin, and Sarah Orne Jewett. The course ends with a short unit on contemporary maritime culture:  container shipping, leisure cruising, and globalization.  Along with literary texts, we will study book illustrations, tattoos, paintings and magazine articles. We will explore a variety of critical approaches, including oceanic studies, critical race theory, ecocriticism, and visual culture.

          Students will write two critical essays and a large volume of informal writing.  Students will also be assessed based on exams and on active, engaged participation in class discussion.

 

TEXTS:     Henry David Thoreau, Cape Cod; Herman Melville, Moby-Dick; Herman Melville, Benito Cereno; Sarah Orne Jewett, Country of the Pointed Firs; Kate Chopin, The Awakening

 

481 1U/1G COMP THEORY AND PRACTICE, Prior. (40460)  MW 12:30-1:45

Area Requirement – Critical Theory for WS students only

 

English 481 addresses four key areas of Writing Studies: how writing is accomplished through situated practices; how writing is read and valued as part of response and assessment practices; how writing shapes, and is shaped by, individual and social development; and how instructional and other activity can shape people’s learning and ability to write. One key goal of the course is to provide a foundation for future teachers of writing (at whatever level). Both theoretical and practical understanding of literate activity in workplaces, communities, and homes is critical to understanding the means, motives, and resources of pedagogy. The course is, therefore, designed to encourage reflective inquiry, synthesis, and application and a number of the activities—in class and out—require active participation.

 

482 1U/1G WRITING TECHNOLOGIES, D. Baron. (40463) TUTH 12:30-1:45

same as LIS 482

TOPIC: Communicating in the Digital Age

Area Requirement – None

 

We will examine the impact of the new digital technologies on our reading and writing practices and look at ways in which readers and writers impact the direction of communication technology. We’ll look as well at the relationship of today’s digital genres—everything from text to Twitter—to earlier, more traditional genres; how they develop unique conventions and practices; how they self-regulate, moving from freewheeling anarchy toward definable forms and expected behaviors; how they deal with violations of conventional norms; and how new practitioners learn and perfect their art.  We’ll consider how the new genres create an aesthetic, and we’ll examine the legal and ethical problems these new technologies pose.

          All readings will be available online. Students will write short essays and a term paper or semester project on an appropriate topic.

 

500 R INTRO TO CRITICISM & RESEARCH, M. Basu. (30190) TU 1-2:50

Area Requirement – Critical Theory

 

This course provides a historical survey of the foundational thinkers, texts, and schools that orient contemporary work in the humanities, from Kant and Hegel to Cultural Studies and Postcolonial Theory, with the emphasis being on the relations between these different texts and schools. What are the linkages, for instance, between aesthetics, history, the subject, value, power, language, ideology, materiality, gender, sexuality, race, and colonialism? Through these question and some responses to them, the course aims to ensure that graduate students receive a rigorous introduction to critical theories and methodologies that will provide the basis for interdisciplinary conversation and intellectual community among students and faculty members from across the university.

  

505 G WRITING STUDIES I, Prior. (35705)  W 3-4:50

same as CI 563

Area Requirement – Writing Studies

 

This seminar offers an introduction to writing studies, an interdisciplinary field that emerged in the 1980s and explores the theory, research and practice of writing in any context (school, workplace, home, community). Across these contexts, the course will examine such issues as how to study and engage with writing processes; the collaborative nature of writing and varied types of authorship; intersections of writing with other modes (reading, talk, visual representation) and varied technologies (paper, screen and other materials for production and distribution); the nature of specialized genres and genre systems; and situated forms of learning and pedagogy (whether formal or informal). This seminar aims at helping students to engage in meaningful scholarship in this field. In addition to common readings, participation in activities, and regular informal writing, each student will select, explore and write on an issue of interest in in greater depth.

 

524 R SEMINAR IN SEVENTHEENTH -CENTURY LITERATURE, L. Newcomb. (52415) W 3-4:50

TOPIC: Materiality and Early Modern British Books

Area Requirement – Early Modern

 

Historians of the book and of reading repeatedly invoke “materiality” as a maker of meaning in early modern studies.  What exactly is meant by “material,” and what does it exclude?  Why and how does this material turn preoccupy an increasingly digital scholarly practice?  Can analyzing the materiality of printed books access consumers as well as producers? Why was printed matter disturbing in early modern Britain, and why is the value of some items still contested? This seminar assesses the current state of book history in early modern studies, putting special pressure on how materiality is deployed and (sometimes) theorized in claims about early modern texts and the practices of authorship, publication, printing, book-buying, reading, and inscription.

 

This seminar is appropriate for graduate students specializing in a wide range of historical periods, national literatures, and disciplines.  Together, we’ll explore the distinctive material conditions of the hand press era, and also claims for materiality that reach across period and national boundaries.  Our readings will include some of the founding statements in the fields of book and reading history, and representative critical work that engages early modern texts both well-known (Philip Sidney, Mary Wroth, William Shakespeare, Margaret Cavendish) and little-read (crime pamphlets, broadside ballads).  Lots of our work will be hands-on, in the Rare Book Library and with pathbreaking digital surrogates, and class writings too will aim for practical impact: short projects exploring how print historical methods can inform interpretation and teaching of familiar texts, or offer access to unfamiliar archives; and individual research projects (ultimately presented in a miniconference and/or virtual exhibit).

After an initial survey of theoretical definitions of materiality, we’ll look at several clusters of texts produced from about 1550 to 1660, especially in genres well-represented in our rare-book collections, to test what materiality may mean and may uncover:

The Reformation and the threat of popular literacy

Prose romance and the gendering of literacy

Playbooks and the transfer of embodied performance to printed page

Dissent and censorship

Material studies, early modern print objects, and the environment

Illustrations, branding, and alterity

Broadside ballads, appropriation, and print proliferation

 

537 R SEMINAR VICTORIAN LIT, Saville. (30193) TH 1-2:50

TOPIC: Soul-talk in Democratizing Britain (1840-1885)

Area Requirement – British, 1800-1900 & MFA Lit

 

In “Signs of the Times,” his 1829 polemic against Utilitarian hedonism and instrumentality, Thomas Carlyle rages against the growing pragmatism of British society: “It is no longer the moral, religious, spiritual condition of the people that is our concern, but their physical, practical, economical condition, as regulated by public laws. Thus is the Body-politic more than ever worshipped and tended; but the Soul-politic less than ever” (“Signs of the Times,” 71). Utilitarian and radical W. J. Fox refused this perspective not simply defending Utilitarians but identifying poetry as the particular discourse through which the soul-politic could be roused. With debates about extending the franchise, conversations arose about how to cultivate an inventive, humane, and vital citizenry.  Novelists like Anthony Trollope (The Warden), essayists like Harriet Martineau, Ralph Waldo Emerson, John Stuart Mill, and Oscar Wilde, and above all poets like the Brownings, Arthur Hugh Clough, A. C. Swinburne and Walt Whitman used “soul-talk” to address the spiritual well-being of their own and neighboring European and transatlantic communities as they evolved into modern democracies. As we read the work of these and other writers (for instance, Plato, Aristotle, Jeremy Bentham, and Alexander Bain), we will ask ourselves what “the soul” actually meant to them, how it differed from the idea of moral character, why “soul-talk” might be considered the special bailiwick of poets, and how it differed from the “character-talk”  of public moralists. We will consider whether the conceptions of soul in skeptics and atheists like Swinburne, and Whitman differ from those of believers. We will also debate the political value of the category today, especially in the light of work by political theorists like William E. Connolly, prosody theorists like Simon Jarvis and Joseph P. Phelan, and others.

 

543 E SEMINAR MOD BRITISH LIT, Mahaffey. (30195) M 1-2:50

TOPIC: Joyce and Beckett

Area Requirement – British, 1900- Present & MFA Lit

 

Joyce was an important influence on Beckett. Beckett began to write—essays, fiction, and poetry—after meeting Joyce at the age of 22 in Paris. Beckett proposed writing a dissertation on Joyce and Proust at the Ecole Normale (it wasn’t approved). One of Beckett’s first published essays was “Dante. . . Bruno. Vico. . Joyce,” the inaugural piece in in Our Exagmination Round his Factification for the Incamination of Work in Progress (1929).  Lucia’s infatuation with Beckett was well known, along with the cooling between Joyce and Beckett that occurred when Beckett indicated that he had no romantic interest in her. Beckett (with Alfred Péron) made the first effort at translating the “Anna Livia Plurabelle” section into French, and Beckett was part of the small coterie of supporters and helpers that Joyce depended on as he was writing Finnegans Wake. There are other connections as well: their shared Irishness combined with Francophone sensibilities, the zest with which they both read Dante in Italian, their interest in the relation between language and gesture, their common attachment to peculiar language, enlivened by what is almost an obsession with etymology.

          The main question that drives this course is whether or not it is time to revise the usual view of how Joyce and Beckett differ: that Joyce tried to approach omniscience, whereas Beckett—in reaction—developed a comedy and an ethos based on impotence. Is it possible that the

connections between them are closer than this version of the story allows? We will read Joyce’s Dubliners followed by Beckett’s More Pricks than Kicks.  Then we will read Joyce’s Ulysses and the “Anna Livia Plurabelle” section of Finnegans Wake, followed by Beckett’s essay for Our Exagmination, a sampling of his early writing (including Murphy, Watt, and Mercier and Camier). We will read the first volume of the trilogy (Molloy), and then spend the remaining time on the plays: Waiting for Godot, Endgame, Krapp’s Last Tape, Not I, and as many others as we can fit into the remaining time.

          Requirements include at least one written and oral report and the equivalent of 15-20 pages of written work (either in the form of a longer seminar paper or in the form of three shorter essays on individual works).

 

547 E SEMINAR EARLIER AMERICAN LIT, Musison. (39492)  W 1-2:50

TOPIC:  American Literary History and the Problem of the Civil War

Area Requirement – American, Beginning to Civil War & MFA Lit

 

The traditional periodization for American literary history pivots at the Civil War. Yet this periodization leaves many questions unanswered, such as how to account for authors like Walt Whitman or Frederick Douglass, whose careers span the century, or how scholars ought to periodize writing published during the war itself. Indeed, Civil War literature challenges certain accepted stories we tell about national literature and the nation more largely.  Can we strictly claim the common nineteenth-century narrative of antebellum romance to postbellum realism, with the crucible of the war as the impetus for this formal change? Can we even categorize literature written during the war years, especially the literature of the Confederacy, as “American literature”?  This seminar will focus on two components: familiarizing students with the common narratives about and periods of nineteenth-century American literature; and offering a survey that spans from the antebellum era through the Civil War and Reconstruction, so as to consider more carefully how periodization shapes and forecloses our reading and scholarly practices. We will read authors such as Walt Whitman, Frederick Douglass, Harriet Beecher Stowe, Nathaniel Hawthorne, Henry David Thoreau, Herman Melville, Augusta Jane Evans, Emily Dickinson, and Elizabeth Keckley, as well as theories of periodization and field-defining literary histories of the war.

 

 

553 M SEMINAR LATER AMERICAN LIT, Parker. (32356) TUTH 9:30-10:45

TOPIC: American Fiction in the 1920s and 1930s

Area Requirement – American, Civil War to Present & MFA Lit

 

This course, deliberately organized more by time-period than by any particular argument about the time-period, will study a wide range of novels and stories and their varying refractions of formal, historical, and social interests, including Modernism and stream-of-consciousness; race, ethnicity, and indigeneity; poverty; region; and literary and social value. We will also address questions about gender, agency, representation, narrative form, literary history, and close reading that I might bring to almost any course. We will read canonical works as well as works that rarely appear on a syllabus, and we will read a modest assortment of related materials: works by the same or related writers, contemporary magazines, contemporary responses, history, criticism, etc. Prospective seminar members may find it particularly helpful to have the chance to read or reread The Sound and the Fury in the context of a class. This seminar will work by discussion. If you do not like to participate in discussion, then do not sign up for this seminar. Registered students can expect an emailed reading assignment for the first class approximately a week before classes begin.

          Reading list (highly tentative): Ernest Hemingway, selections from The Short Stories; William Faulkner, The Sound and the Fury; Anita Loos, Gentlemen Prefer Blondes; Nella Larsen, Passing; Dorothy Parker, selections from Complete Stories; Tess Slesinger, The Unpossessed; Tom Kromer, Waiting for Nothing; John Steinbeck, The Grapes of Wrath; D’Arcy McNickle, The Surrounded; Zora Neale Hurston, Their Eyes Were Watching God; Carson McCullers, The Heart Is a Lonely Hunter; and selections from The Collected Stories of Eudora Welty.

 

578 G SEMINAR LIT & OTHER DISCIPLINES, C. Wright. (60133)  M 3-4:50

TOPIC: Medieval Paleography

Area Requirement – Medieval British

 

The course will cover the major European scripts from Late Antiquity through the Middle Ages, focusing on Latin scripts (from Roman cursive to Gothic), but also including major vernacular scripts (all of which were based on Latin scripts).  In addition to learning the history and development of the scripts themselves, we will learn about medieval scribal practices such as abbreviation, punctuation, and mise-en-page (layout), as well as the fundamentals of codicology from the preparation of parchment to the construction of manuscript books (including how to collate a manuscript).  A basic reading knowledge of Latin is required, but students whose focus is on a particular medieval vernacular literature can write seminar papers on those vernacular scripts or manuscripts.  We will work with facsimiles but will also conduct some meetings in the Rare Book Room and work with actual manuscripts in our collections.  We will also read classic essays on medieval palaeography and manuscript studies.  Each student will give a seminar report on one particular script (Latin or vernacular), complete exercises (transcriptions, etc.) throughout the semester, and write a seminar paper (on a script, a scribal practice or codicological topic, or on a particular scribe, manuscript, or group of manuscripts).

 

578 WH SEMINAR LIT & OTHER DISCIPLINES, Hassan. (58162) M 3-4:50

meets with CWL 571

TOPIC: What is World Literature

Area Requirement – MFA Lit

 

This seminar examines the concept of “world literature,” from Goethe’s coinage of the term “Weltliteratur” to the current academic industry, which has boomed since the end of the Cold War, producing conferences, workshops, monographs, and anthologies. What are the theoretical underpinnings of “world literature” in its various articulations and paradigms? What is considered “world literature” and what is not? The role of translation, transnational mobility, literary prizes, publishing houses, and the star system will be examined, along with the multiple afterlives of older classics such as The Arabian Nights and Shakespeare. Various practical aspects of the teaching of world literature—survey and theme-based formats, anthologies, constructing syllabi—will be central to our discussions in the latter part of the course. The seminar should appeal to students with interest in globalization and transnational studies, and those who would like to acquire a foundation for teaching world literature courses at the college level.

          Readings include: Theo D’haen, The Routledge Concise History of World Literature; World Literature: A Reader; David Damrosch, What is World Literature?; Teaching World Literature; Pascale Casanova, The World Republic of Letters; Emily Apter, Against World Literature.  Additional articles and literary selections

 

581 V SEMINAR LITERARY THEORY, Rodriguez. (40464) TH 4-5:50

TOPIC: Psychoanalysis and Cultural Criticism

Area Requirement – Critical Theory

 

This seminar will explore the interface of contemporary cultural criticism and psychoanalytic theory. Beginning with key texts by Freud, Lacan, and Laplanche, the seminar will shift focus to examine the engagement with psychoanalysis in race and ethnic studies and feminist and queer theory. Readings will include work by Kaja Silverman, Teresa de Lauretis, David Eng, Hortense Spillers, Antonio Viego, David Marriott, Leo Bersani, Tim Dean, Homay King, and others.

 

584 E TOPICS DISCOURSE & WRITING, Prendergast. (39504) M 1-2:50

same as CI 569

TOPIC: Economies of Literacy

Area Requirement – Writing Studies

 

This course presents the opportunity to examine closely the conversation between two domains of knowledge: economics and literacy studies. Economic theory has long influenced research in literacy.  Similarly, economics is filled with metaphors that speak of literacy: brain drain, informatics, knowledge spillovers. We will read classic texts in literacy studies with and against texts in economics that inform them, are misused by them, and/or that they could inform. In addition to course readings, students will serve as collectors of economic theory (either by sitting in on the occasional economics lecture on campus or joining MOOC) and will bring that knowledge back to the class. Students will have choice in devising their final project for the class, whether a traditional seminar paper, multimedia project, or proposal for further study.

          Course texts in literacy will include:  Karl Marx, Capital, Vol. 1; Deborah Brandt, Literacy in American Lives; Dalton Conley, The Pecking Order; Catherine Prendergast, Buying into English; Mike Rose, The Mind at Work; Evan Watkins, Class Degrees; Viviana Zelizer, Economic Lives: How Culture Shapes the Economy. All other readings will be available online or through some sort of reserve.

 

593 D PROF SEMINAR COLLEGE TCHNG, Ritter. (32361) M 11-12:50

TOPIC: The Teaching of Rhetoric

Area Requirement – None

 

This is a course for students new to the teaching of college writing. Over the course of the semester, we will explore connections between theories of writing instruction, language acquisition, and teaching practices. In particular, students in the course will theorize, through readings in history and theory of composition studies, practices relating to: syllabus and assignment design, conferencing with students, responding to student work, handling conflicts, maintaining language diversities in the classroom, and developing teaching personae. Requirements for the course include weekly readings, active participation in class discussion, a statement of teaching philosophy, and other periodic shorter course writings.

 

 

Fall 2015 Creative Writing Course Description 

 

500 T THE CRAFT OF FICTION, Sneed.  (45291) TH 3:30-5:20

Area Requirement – None

 

Examination of the creative process of fiction from the perspectives of aesthetics and techniques, illustrated from the work of selected authors.

 

502 G PROBLEMS IN POETRY WRITING, Kelly. (45292) W 3-4:50

Area Requirement – None

 

Examination of the creative process of poetry from the perspective of aesthetics and techniques, illustrated from the work of selected authors.

 

504 W WRITING WORKSHOP IN FICTION, Shakar. (45293) M 5-6:50

Area Requirement – None

 

Directed projects in fiction writing, either short stories or sections of a novel, with group discussion and critique.  There will be a course packet for the class, featuring short stories and essays on the writing of fiction and related topics; there will be a discussion of these readings at the beginning of each class meeting. 

 

506 T WRITING WORKSHOP IN POETRY, Madonick. (45294) TH 3-4:50

Area Requirement – None

 

Directed individual projects, with group discussion in fiction.

 

563 JH SPECIAL TOPICS, Harjo. (64836) TH 2-5:20

(First 8 week session: August 24 – October 16, 2015)

TOPIC: Memoir

Area Requirement – None 
 

This course is an examination of the memoir form and will address the art and craft of memoir writing, including revelation, narrative density, risk-taking, plot structures and trajectories, honesty, and other considerations. This is not a workshop but a hybrid directed course in memoir writing. Readings will be tailored to each student. I will meet individually with each student every week. Students will come together twice during the eight-week workshop to share and discuss.