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Spring 2013









 
Spring 2013 Graduate Courses
(Click on any course name to see its description.)
 
COURSE COURSE TITLE
INSTRUCTOR DAY/TIME LOCATIoN
LIterature
ENGL 5002 Intro to Critical Theory  Gold, M. R 6:20 - 8:50 RH Dealy 107
MVST 5305 Writing East:Outremer&Identity in M.A  Paul, N./Yeager, S. R 2:20 - 5:00 RH FMH 416
ENGL 5634 Modernists/Victorians  GoGwilt, C. T 3:45 - 6:15 RH Dealy 107
ENGL 5762 American Novel 1900-1940  Cassuto, L. F 3:45 - 6:15 RH Dealy 105
ENGL 5848 Violence & American Literature  Hendler, G. M 6:20 - 8:50 RH Dealy 208A
ENGL 5999 Colloquium:Ped Theo/Pra 1  Gold, M./Fernald, A. T 1:30 - 3:20 LC & RH TBD
ENGL 6239 French of England III  Wogan-Browne, J. T 9:30 - 12:30* RH FMH 322
ENGL 6265 Manuscript into Print  Erler, M. F 3:45 - 6:15 RH Dealy 208A
ENGL 6376 Shakespeare and Popular Culture  Bly, M. W 3:00 - 5:25* RH Dealy 105
ENGL 6596 Keats & Company  Zimmerman, S. W 5:30 - 8:00 RH Dealy 203
ENGL 6906 Literature and Language  Kramer, L. M 3:45 - 6:15 RH FMH 308
ENGL 7127
New Perspectives Early Mod Lyric  Dubrow, H. M 3:45 - 6:15 RH Dealy 102
ENGL 7940 Postwar American Lit 1945-1975  Contreras, D. T 6:20 - 8:50 RH Dealy 102
ENGL 8935 Dissertation Writing Seminar  Cahill, E. W 5:30 - 8:00 RH Dealy 110
WRiting
ENGL 5700 Playwriting Workshop  Barfield, T. 1:15 - 4:30 LC LL 1118
ENGL 5966 Master Class: Creative Online  Gambito, S. W 6:00 - 8:00*
LC LL 413
ENGL 6977 Arc of a Novel  Nair, M. M 6:20 - 8:50* RH Dealy 102
ENGL 6978 In Your Own Voice THIS CLASS HAS BEEN CANCELLED
 Stone, E. R 6:20 - 8:50* RH TBD
*Yellow highlights indicate day/time changes.
COURSE NO. / CRN / Description / Req. & PreREQ. / Instructor
Scroll to see all course descriptions or click on course title links above.
   
ENGL 5002

CRN 15675
Introduction to Critical Theory
A broad sampling of recent critical approaches (from structuralism to queer theory), ground in selected “classic” readings from Plato to New Criticism.
Required  Gold, M.
Though 5000 level, this course is restricted to Graduate Students.
 
MVST 5305

CRN 20401
Writing East: Outremer & Identity in the Middle Ages
As the stage for the central events of the Gospel narrative, the lands of the eastern shore of the Mediterranean long occupied a central place in the collective imagination of Latin western Europe. Over the course of the Middle Ages, however, increasingly frequent encounters resulting from trade, pilgrimage, and crusade not only enriched the European image of the East, but vastly enhanced the significance to how medieval Christians approached the eastern Other. This course will trace the rise of a discourse of differences centered in what was called in England and France, "Outremer," the land beyond the sea. Together with medieval literary productions, histories, letters and travel narratives, we will read works from the growing body of scholarship on this important topic.  This course is cross listed with Medieval Studies; it will count for British 1 in English automatically.
British 1  Yeager, S. / Paul, N.
 
ENGL 5634

CRN 20779
Modernists/Victorians
This course examines landmarks of Victorian literature and transatlantic English modernism, exploring breaks and continuities between Vicotrian and Modernist writers. Covering major texts from the 1840s to the 1940s, the course will also consider theorectical arguments about the status of the “classic” in literary history, and specifically as these define the fields of Victorian studies, modernism, modernity, and the classifications of “English” and “American” literature.
British 3 or American 2  GoGwilt, C.
 
ENGL 5700

CRN 20949
Playwriting Workshop
The primary goals of the course are to hone basic craft and to create an environment that will guide the writers’ exploration of their individual voices. We concentrate on four major issues: storytelling, character, structure, and the poetic voice. The course is taught from overlapping perspectives of traditional and alternative techniques. Exercises are rooted instorytelling techniques and character development.
Writing or Elective TBA
 
ENGL 5762

CRN 20941
American Novel 1900-1940
Richard Wright claimed Theodore Dreiser as an influence, but Wright's 1940 masterpiece, Native Son, also bears the traces of the eventful, many-branched journey taken by the American novel in the early twentieth century. Between the bookends of Dreiser's Sister Carrie (1900) and Wright, we'll read authors like Wharton, Hemingway, Faulkner, and Dos Passos as we trace the literary historical journey from one to the other against the backdrop of a rapidly changing nation. 
American 2  Cassuto, L.
 
ENGL 5848

CRN 20780
Violence & American Literature
At least since Richard Slotkin's 1973 American Studies classic Regeneration Through Violence, “violence” has been a keyword in the study of American literature and culture. This course will trace a literary history of violence in 19th and early 20th-century writing, viewing violence primarily as a problem of representation. Is state-sanctioned violence (e.g. war, Indian removal, suppression of slave revolts) represented differently than is non-state or anti-state violence (riots, strikes, lynchings)? Do collective forms of violence raise issues of literary form different from the depiction of individual violence? Is “violence” a sufficiently coherent and capacious category to cover all of these diverse practices? Readings may include some of the following: Ned Buntline (Mysteries and Miseries of New York, and/or a western dime novel); Charles Chesnutt (The Marrow of Tradition); Stephen Crane (“The Monster”); Anna E. Dickinson (What Answer?); Thomas Dixon (The Leopard's Spots or The Clansman); Theodore Dreiser (Sister Carrie); Pauline Hopkins (Contending Forces); James Weldon Johnson (Autobiography of an Ex-Colored Man); George Lippard (New York: Its Upper Ten and Lower Million); Herman Melville (Battle-Pieces and Aspects of the War; “Benito Cereno”); Frank Norris (McTeague and/or The Octopus); Walter Hines Page (The Southerner); María Amparo Ruiz de Burton (The Squatter and the Don); Harriet Beecher Stowe (Dred); Frank Webb (The Garies and Their Friends). Grading will be based on in-class and on-line participation, in-class presentations, and a final research essay.
American 1 Hendler, G.   
 
ENGL 5966

CRN 20781
Master Class: Creative Online
This multi-genre writing workshop will take on the website as a performance space for creative avatars. What possibilities for creative projects lie in the malleability of the Internet — its multi-directional readability and possibilities for instant gratification editing? Students will design websites, workshop website content, generate multi-media through collaborative teams and make presentations.
NOTE: This course is open to five undergraduate students with the instructor's permission and five Master's with Writing Concentration graduate students for a total of ten students. If there is room, MFA Theatre and English Master's students will be permitted to enroll. For more information on undergraduate enrollment in the class, please click here: Applying to Master Class
Writing   Gambito, S.
 
ENGL5999

CRN 17980
Colloquium:Pedagogy Theo/Pra 1
The required 10th course for English Ph.D. students consists of sequenced pedagogy training spanning two semesters. ENGL 5999 is the first part of the Teaching Practicum, which is to be taken in the spring of English PhD Student's 2nd Year. Thispart of the course is taken in the Spring (before teaching), and includes individual interviews, assignment of written work and practice teaching. Each student will have a mentor, complete a portfolio of materials, and create multiple assignments. This part of the course is graded as pass or fail. Once students pass the first part of the course in the Spring semester, they will be approved to take the second part of the course in the Fall semester--when English PhD students begin to teach. This part the "Colloquium" intrduces stduents to different pedagogical approaches and methods. The second part of the course is registered as ENGL 6004 Colloquium: PED Theory:Pr.
Firstpart of 10th Required Course for PhD's Gold, M./Fernald, A.
 
ENGL 6239

CRN 20935
Frenchof England III
French of England III studiesthe rich, under-researched corpus (c. 1000 literary texts and large bodies of documentary records) composed and/or circulating in medieval England and related regions from the twelfthto the fifteenth centuries. French was a major regional and transnational language in England, used in literary culture, governance, administration, trade, and the professions. Taking francophone literary and documentary culture into account changes our paradigms for English medieval literary history and equips graduate students for the full range of insular culture.   FoE I or II is not a necessary pre-requisite.
British 1   Wogan-Browne, J.
 
ENGL 6265

CRN 20936
Manuscript Into Print
The course will explore the transition from manuscript to print culture in England during the half-century from William Caxton's introduction of printing to the death of Henry VIII. It will ask about the cultural changes produced by printing, particularly in audiences, reading, and book ownership. Sample topics might include: what happens to medieval authors like Chaucer or Langland when they first appear in print? How do books of hours, the most popularbook of the middle ages, negotiate the transition to print? Early reading will be done in Middle English.
British 1  Erler, M. 
 
ENGL 6376

CRN 20782
Shakespeare and Popular Culture
A graduate level course studying Shakespeare's texts in relation to film scripts, fictional rewritings, 20th Century ephemera and theories.
British 2   Bly, M.   
 
ENGL 6596

CRN 20937
Keats & Company
This course takes John Keats as our guide into the sociable, politically volatile world of Regency London. Officially, this era begins with George III’s declared lapse into madness and ends with his son’s ascent to the throne (1811-20). But the Regency has come to be defined more generally as an era characterized by two extremes: the decadence exemplified by the Prince Regent’s court and the popular protest movements that would lead to the first Reform Act (1832). Keats’s immersion in that world, first as a medical student and then as an aspiring poet, avid theater-goer and friend to painters, musicians, and journalists, provides a “personal” introduction to it. After an initial, intensive focus on Keats’s poems, letters, and life, we will view Regency London from the perspective of his contemporaries, including Mary Robinson, Lord Byron, Charles Lamb, and John Clare. The course focuses on poetry, and we will discuss a range of formal and historical approaches to the genre, making use of a new biography of Keats by Nicholas Roe.
British 3   Zimmerman, S.
 
ENGL 6906

CRN 20938
Literature and Language
According to Michel Foucault, language becomes autonomous, fundamentally independentoftheworld and in some a sense a world unto itself, only at the beginning of the nineteenth century. The same might be said of literature, beginning with the literary theories of English and German Romanticism. One consequence was the idea that the character of literature should, or must, mirror the character of language.This course will track the history of this idea, and its offshoots and contraries, by sampling both literature andwritings about language and literature drawn from the past two centuries. The readings will include poetry and prose by Lessing, Wordsworth, Friedrich Schlegel, Hegel, Poe, Mallarmé, Dickinson, Woolf, Stevens, Beckett, and Ashbery, and critical/theoretical writing by Benjamin, Foucault, Heidegger, Derrida, Giorgio Agamben, and Susan Stewart.
British 3 or American 2  Kramer, L.   
 
ENGL 6977

CRN 20783
Arc Of A Novel
Good novels are seamless and smooth, skillfully persuading us of the authenticity of the time and place and the emotional landscape of the characters. We are shown only what needs to be illuminated, carried forward at the right speed, kept at arm’s length sometimes and clasped close at other times. Great novels work at every level because the writer has mastered the craft of fiction. This class will examine those elements of craft that lead to better storytelling—compelling protagonists, ingenious use of point of view, narrative voice, pacing, meaningful description and telling detail, effective dialogue and many more. We will examine novels for these aspects of craft. You will be expected to closely read and consider the assigned novel  and come to class prepared to discuss it. When we begin workshops, you will be required to submit 60-100 pages at least twice a semester.
Writing  Nair, M.   
 
THIS CLASS HAS BEEN CANCELLED
ENGL 6978
In Your Own Voice
As a culture, we are more opinionated than ever, with more (and more varied) outlets than ever to express those opinions. Using readings as models and jumping off points, this course will explore how we may cultivate our own voices for genres ranging from editorial to review to “think piece” to lovelorn column, in venues ranging from Facebook wall to audiocast to blog to pulpit…and including the periodicals (which exist in the thousands) and are still reliant on paper. As for subjects—anything goes. Not too long ago, a Pulitzer Prize for agile and vigorous writing went to….a car columnist. So think of all the realms you care about, get your voice in fourth gear, rev up and join us.
Writing   Stone, E.   
 
ENGL 7127

CRN 20942
New Perspectives in the Early Modern Lyric
What is lyric poetry? The course will explore the transhistorical challenges of defining lyric-- what cultural and critical work is done when writers, critics, anthologists and so on affix  a generic label? why is lyric especially tricky—and intriguing-- to define? what are the implications of those  definitions for cutting-edge questions about subjectivity, gender, and the material text  as well as for more longstanding but still central concerns about subjects like  the workings of genre? And in what ways are all these questions historically specific?

The reading will focus on early modern poetry including about 8 of the major poets of the period (e.g., Wyatt, Shakespeare, Sidney, Spenser, Donne, Herbert, Wroth, and Marvell) and also some less known work such as anonymous poetry from miscellanies. It will, however, also include comparisons with lyrics from other periods and encompass some discussions of lyric  by writers and critics from those periods; students whose specialty is in another era may write on it in their final paper, and students interested in creative writing can substitute a project in it for one of the shorter assignments (though not for the seminar paper). We will deploy—and evaluate—varied critical methods, from cultural critique  and study of the material text to new formalist analysis.

As this description suggests, the course is designed for students with a range of different backgrounds and interests: it will provide intensive work in the major poets of the period for both specialists and non-specialists, it should also be of value to people interested in lyric poetry written in other eras and in form and genre in general. As in all my courses, we’ll work together on techniques of “professionalizing”—e.g., beginning to publish, delivering conference papers successfully.
British 2   Dubrow, H.   
 
ENGL 7940

CRN 20784
Postwar American Literature 1945-1975
This course considers US authors from the post war period--John Hershey, Lorraine Hansberry, Jack Kerouac, Allen Ginsburg, Sylvia Plath, Tom Wolfe, and others--in terms of contemporary cultural trends (suburbanization, the Cold War) and countercultural movements (beatniks, hippies, feminists). The main focus is an original research project.
American 2   Contreras, D.   
 
ENGL 8935

CRN 15661
Dissertation Writing Seminar
Open to Ph.D. students who have passed their comprehensive exam. Students will present work in progress. In addition, the seminar will focus on bibliographic research, and writing techniques and exercises specificto large projects. Some attention will also be given to the process of getting published.
Prerequisite: Post Ph.D. Comps     

  

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