Fall 2013 Class Schedule - updated June 19, 2013 at 04:56 pm
| Number/Section Title | |||
| Days | Time | Room | Instructor |
| ENGL 101-01 College Writing | |||
| TR | 09:40 am-11:40 am | MUSIC 219 | Rebecca Graham |
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| ENGL 115-01 Shakespeare | |||
| TR | 01:20 pm-02:50 pm | OLRI 370 | Theresa Krier |
| This course traces the development of Shakespeare's stagecraft and poetic imagination, by reading major plays spanning his entire writing life. We'll look at his handling of theatrical resources, language, characterization, genre. For our focus, we'll study Shakespeare's representations of families and his pondering of pain, love, vulnerability, motivation, violence, restoration in family patterns: fraught relationships between fathers and daughters or mothers and sons; foundlings separated from their parents by tempest, shipwreck, and violence; thresholds between adolescence and adulthood or adulthood and death; children loved by families or threatened by family ties; sisters, brothers, twins, cousins, uncles, step-parents; courtship, wedding, birth; incest, murderous rivalry; families broken up, families re-united. Plays will include A Midsummer Night’s Dream, Twelfth Night, 1 Henry IV, Macbeth, Lear, The Tempest, and excerpts from As You Like It, The Merry Wives of Windsor, Hamlet, The Winter’s Tale. For English majors, it fulfills the 100-level course requirement. |
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| ENGL 125-01 Studies in Literature: Human Rights and the Humanities | |||
| MWF | 09:40 am-10:40 am | MAIN 011 | James Dawes |
| *First Year Course only* This course is an introduction to the study of human rights by way of the arts and humanities. We will seek to better understand the contemporary norms and practices of human rights by examining its deep historical contexts, and by considering the philosophical and religious debates that continue to shape human rights theory and practice. We will also examine theories of trauma and torture, personal accounts of human rights and humanitarian fieldwork, representational ethics, and studies of human rights in film and media. We will scrutinize relevant literary texts as works of art, as case studies in human rights, and as models for understanding how words can change the world, whether in the form of human rights reports and newspaper accounts or of poems and novels. In other words, we will seek to better understand how spectators of suffering develop (or fail to develop) empathy for distant persons or for persons considered alien by also examining how they can so palpably feel for the dreams, desires, and dignity of fictional persons. In The Defense of Poesy Sir Philip Sidney describes the tyrant, Alexander Pheraeus, “from whose eyes a tragedy well-made and represented drew abundance of tears; who without all pity had murdered infinite numbers, and some of his own blood, so as he that was not ashamed to make matters for tragedies, yet could not resist the sweet violence of a tragedy.” What is the line that separates those who are merely moved from those who are moved to act? When does the story become real enough to change you? Our list of authors will span the range of intellectual and ethical endeavor, including Sophocles, Aristotle, Henrik Ibsen, Herman Melville, Dave Eggers, Franz Kafka, Ursula Le Guin, Hannah Arendt, Marx and Engels, Immanuel Kant, J. M. Coetzee, Kazuo Ishiguro, John Rawls, Michel Foucault, Naomi Klein, Greil Marcus, Elaine Scarry, Richard Rorty, Martha Nussbaum, Lynn Hunt, Alan Dershowitz, and Kenneth Cain. |
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| ENGL 125-02 Studies in Literature: Creative Writing Narrative Mechanics | |||
| MWF | 01:10 pm-02:10 pm | THEATR 205 | Marlon James |
| *First Year Course only* Before your first birthday, you have caught on to the fact that the louder you cry (expression) the quicker you’re picked up (response). In little over a year you have grasped language complexity and tone (stop it vs. stop it now). By age four, you’ve mastered metaphor (my toes are little piggies). Before your fifth birthday you have learned without anyone telling you that it’s a pretty red book, not a red pretty book, and by seven you have seen more drama than the total creative output of the Renaissance. So what’s left to teach in creative writing? Quite a bit. There is a universe of difference between a competent sentence and a dazzling one. Words that connect grammatically and words that fire the imagination. Otherwise there would be no difference between a training manual and a novel. In this course you will tackle creative writing from the ground up, breaking it down to the mechanics of literature: from word to phrase, sentence, paragraph, page and story. Why a romance word for love here and a Germanic word for hate there? When is a verb not an action word? Is ‘I’ necessary in first person? ‘You’ in second? How can we know a house is burning without describing house or fire? Why is his perfectly acceptable sentence more acceptable than your equally perfect one? After excellent grammar, and wonderful vocabulary, what comes next? Narrative Mechanics, is where we get down to the nuts and bolts of creative writing. Over the course of the semester we will go from merely correct, to striking prose. We will write 200 word sentences that never run out of breath, five page stories covering 500 years, and two word sentences that capture what other writers take pages to capture. We will pinpoint the 16 things that cause bad dialogue, and uncover what really happens, word for word when the reader says, “It felt like I was there.” And yes, you will be writing as if you’ve never written before. |
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| ENGL 135-01 Poetry | |||
| TR | 09:40 am-11:10 am | ARTCOM 202 | Neil Chudgar |
| This course is an introduction to poetry. In other words, it will introduce a variety of things that we can do in relation to objects like poems and, just as much, to a variety of things that poems can do in relation to objects like us. Along the way we will have occasion to ask some challenging questions. How do we distinguish poems from other objects? Why would we want to? What kinds of things can we say about poems, and in what environments? Can they be hurt? What are they made of? What do they want? We will ponder these questions (and many others we haven’t thought of yet) in the company of many famous English poems from the seventeenth and eighteenth centuries, but also poems from more recently and nearer by, and also other objects that might or might not be poems at all. Some philosophy will occur. Reciting a small poem from memory is required; singing, though encouraged, is optional. You'll earn your grade for the course by good-faith participation in our class discussion, by submitting brief response papers as assigned, and by completing three formal works of different kinds. You will be able to choose, within bounds, the kinds of works that best suit your interests and abilities: you might choose, for example, to discover and report on objects from beyond our syllabus, or to interpret the poems we encounter in poems of your own. This course counts toward the English major as an introductory course, but students of all majors, all years, and all intellectual persuasions are emphatically welcome. |
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| ENGL 137-01 Novel | |||
| MWF | 09:40 am-10:40 am | HUM 227 | Lesley Goodman |
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| ENGL 150-01 Introduction to Creative Writing | |||
| TR | 09:40 am-11:10 am | HUM 217 | Ping Wang |
| This workshop explores the artistic modes of expression in poetry, fiction and creative non-fiction writing. Students will learn how other writers create their imagery, figurative language, sound, rhythmic structures, voice, plot, character, point of view, etc., and how they use these techniques as carriers to reach their artistic goals. In other words, techniques, no matter how basic and important, are not their own ends in writing, but should be cultivated and used as tools to find our voices, and to best express our original ideas. Written exercises are designed to help students get familiar with such necessary writing skills and explore the art of finding the right forms for the contents. Students will also learn how to read their work aloud in class. Reading aloud is not only to complete the writing process, but also to train the ear for sound, rhythm, image, and the flow of a poem or story. It also teaches both the reader and listeners the art of criticism, helps them overcome their weaknesses and cultivate their strengths in writing. There are about 6-9 hours of reading and writing assignments outside of class per week. Students are expected to enter this course with skills in close reading of literature and familiarity with literary terms and concepts, and most importantly, with a passion and devotion for reading and writing. |
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| ENGL 150-02 Introduction to Creative Writing | |||
| TR | 09:40 am-11:10 am | MAIN 011 | Matthew Burgess |
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| ENGL 150-03 Introduction to Creative Writing | |||
| TR | 03:00 pm-04:30 pm | MAIN 010 | Matthew Burgess |
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| ENGL 150-04 Introduction to Creative Writing | |||
| MWF | 10:50 am-11:50 am | HUM 226 | Nick Dybek |
| This course offers an introduction to the techniques and vocabulary of poetry, creative nonfiction, and fiction writing. We’ll read examples of published work in all three genres (and maybe a few others) with an eye towards understanding how a piece of creative writing is constructed from the ground up—how the choices a writer makes in crafting imagery, plot, characterization, language, etc., come to serve the expressive vision of the writer, and help a reader connect with that vision. This class will primarily follow the workshop model. Be prepared to discuss the creative work of your peers, and to have your own writing discussed. Vigilant attendance and participation are essential. |
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| ENGL 150-05 Introduction to Creative Writing | |||
| MWF | 02:20 pm-03:20 pm | HUM 217 | Nick Dybek |
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| ENGL 150-06 Introduction to Creative Writing | |||
| MWF | 01:10 pm-02:10 pm | OLRI 101 | Jon Lurie |
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| ENGL 265-01 Justice | |||
| MWF | 01:10 pm-02:10 pm | MAIN 009 | James Dawes |
| This course is an introduction to the study of human rights by way of the arts and humanities. We will seek to better understand the contemporary norms and practices of human rights by examining its deep historical contexts, and by considering the philosophical and religious debates that continue to shape human rights theory and practice. We will also examine theories of trauma and torture, personal accounts of human rights and humanitarian fieldwork, representational ethics, and studies of human rights in film and media. We will scrutinize relevant literary texts as works of art, as case studies in human rights, and as models for understanding how words can change the world, whether in the form of human rights reports and newspaper accounts or of poems and novels. In other words, we will seek to better understand how spectators of suffering develop (or fail to develop) empathy for distant persons or for persons considered alien by also examining how they can so palpably feel for the dreams, desires, and dignity of fictional persons. In The Defense of Poesy Sir Philip Sidney describes the tyrant, Alexander Pheraeus, “from whose eyes a tragedy well-made and represented drew abundance of tears; who without all pity had murdered infinite numbers, and some of his own blood, so as he that was not ashamed to make matters for tragedies, yet could not resist the sweet violence of a tragedy.” What is the line that separates those who are merely moved from those who are moved to act? When does the story become real enough to change you? Our list of authors will span the range of intellectual and ethical endeavor, including Sophocles, Aristotle, Henrik Ibsen, Herman Melville, Dave Eggers, Franz Kafka, Ursula Le Guin, Hannah Arendt, Marx and Engels, Immanuel Kant, J. M. Coetzee, Kazuo Ishiguro, John Rawls, Michel Foucault, Naomi Klein, Greil Marcus, Elaine Scarry, Richard Rorty, Martha Nussbaum, Lynn Hunt, Alan Dershowitz, and Kenneth Cain. |
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| ENGL 280-01 Crafts of Writing: Poetry | |||
| TR | 01:20 pm-02:50 pm | MAIN 111 | Ping Wang |
| Conversation in the Mountains If you were to ask me why I dwell among green mountains, I should laugh silently; my soul is serene The peach blossom follows the moving water; There is another heaven and earth beyond the world of men --- Li Po "Works of art are indeed always products of having been in danger, of having gone to the very end in an experience, to where man can go no further." --Rilke We start with the body, the body in pain, the body seeking harmony with the mind and spirit, through rebellion of words, sounds, images. We’ll look inward (the shadow world of dreams and unconsciousness) as well as outward (body, nature, society), and our poetry will weave them into a tapestry of healing. This poetry workshop plays with the forms and contents, and explores different genres from the lyrical to prose poems and collage poems. We learn how to see, sing and play like a new-born, as Rilke implores to his young poet friend. |
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| ENGL 281-01 Crafts of Writing: Fiction | |||
| M | 07:00 pm-10:00 pm | MAIN 002 | Matthew Burgess |
| One of the best ways to gain a more intuitive understanding of storytelling is to re-vision a preexisting classic from the inside out. In this course students will be expected to write multiple drafts of two short stories, one fabulist and one realistic, that re-tell a myth, legend, fairy tale, or canonical work from a new point-of-view, or in a new setting, with new characters or timeframes. Throughout we will focus on the basic elements of narrative craft so that you will be better prepared to continue writing fiction, whether it be re-visions or not. Readings may include selections from the Brothers Grimm, the King James Version of the Bible, The Odyssey, Beowulf, The Metamorphoses, Joyce Carol Oates’s re-telling of James Joyce’s “The Dead,” and Neil Gaiman’s Sandman comics. |
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| ENGL 281-02 Crafts of Writing: Fiction | |||
| W | 07:00 pm-10:00 pm | MAIN 001 | Nick Dybek |
| Tim O’Brien writes that a story, if truly told, makes the “stomach believe.” A story must feel true. But how do you convince a reader to believe, or even to care about, something that, by definition, never happened? In this class, we will attempt to answer this question—and many others—by reading and critiquing both published and unpublished works of fiction, and completing short exercises that aim to illuminate the finer points of craft (imagery, perspective, character, etc.). This course will follow the workshop model of peer critique, so be prepared to write and read quite a bit and have at least two pieces of fiction workshopped in class. |
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| ENGL 294-01 Learning to Read | |||
| TR | 01:20 pm-02:50 pm | ARTCOM 102 | Neil Chudgar |
| *Cross-listed with EDUC 294-01; first day attendance required* At Macalester, most of us spend time reading in highly specialized ways—reading code, cinema, sediments, rituals, verse—but we tend to assume that plain literacy is (or should be) as natural and automatic as breathing. Yet the act of reading is an amazing accomplishment, not natural but laboriously invented, impossible for many and complex for us all. This course invites us to ask, in the most expansive way, what it means to learn to read. From the distinct disciplinary bases of literary theory and educational psychology, we will consider reading in a variety of ways: histories of reading; arguments for its value and against its perils; methods for teaching reading and learning to read; models of reading as process, as practice, as a means and as an end in itself. Students in the course will work to synthesize the disparate theoretical materials we encounter with their own experience as readers and teachers of reading. Assignments will include daily readings, frequent informal response papers, and a final project that involves reporting on experiences of reading (broadly conceived) in practice. This course will be appropriate for students interested in, e.g., education, literacy, literary theory, psychology, public policy, etc. |
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| ENGL 294-01 Learning to Read | |||
| TR | 01:20 pm-02:50 pm | ARTCOM 102 | Tina Kruse |
| *Cross-listed with EDUC 294-01; first day attendance required* At Macalester, most of us spend time reading in highly specialized ways—reading code, cinema, sediments, rituals, verse—but we tend to assume that plain literacy is (or should be) as natural and automatic as breathing. Yet the act of reading is an amazing accomplishment, not natural but laboriously invented, impossible for many and complex for us all. This course invites us to ask, in the most expansive way, what it means to learn to read. From the distinct disciplinary bases of literary theory and educational psychology, we will consider reading in a variety of ways: histories of reading; arguments for its value and against its perils; methods for teaching reading and learning to read; models of reading as process, as practice, as a means and as an end in itself. Students in the course will work to synthesize the disparate theoretical materials we encounter with their own experience as readers and teachers of reading. Assignments will include daily readings, frequent informal response papers, and a final project that involves reporting on experiences of reading (broadly conceived) in practice. This course will be appropriate for students interested in, e.g., education, literacy, literary theory, psychology, public policy, etc. |
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| ENGL 294-02 Tearjerkers | |||
| MWF | 02:20 pm-03:20 pm | MAIN 010 | Lesley Goodman |
| *First day attendance required* Why—and how—does literature make us cry? And why do we seek out aesthetic experiences that bring tears to our eyes? This course explores the idea of the “tearjerker” in its different iterations over the centuries, from Aristotelian catharsis to Bambi, considering the different techniques authors use to elicit tears and their different theories of the value of tears. |
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| ENGL 294-03 The Literary Bible | |||
| TR | 09:40 am-11:10 am | MAIN 003 | Theresa Krier |
| *Cross-listed with RELI 294-02* This course studies the Bible in the English literary imagination, investigating how its narrative, style, character, figurative language, song, and translation inform literature in English. We'll find out about political struggles over access to literacy; the creation of the King James Bible; Dissenters' traditions of biblical reading; constant issues of enslavement, freedom, and empire. We'll give time to the biblical genres most dynamic in English fiction, drama, oratory, and poetry: cosmogony, ancestor stories, folk tales, prophecy, love poetry, prayer, proverb, philosophical poetry, parables, biography, letters, and testimony. We'll survey the shape of the whole English Bible, but focus on Genesis, Exodus, the stories of David and Solomon, the prophetic books Isaiah and Hosea, the Song of Songs, Job, Psalms, the Wisdom books, the Gospel of Luke, 1 Corinthians, and the Book of Revelation. We'll focus on the strongest creative responses to the Bible – sometimes adversarial, sometimes comic – through our main English texts: modern-English tales from Chauce'’s Canterbury Tales, the anonymous comedy The Second Shepherds' Play, medieval representations of the Nativity and Passion accounts from the Gospels, Shakespeare's King Lear and excerpts from other Shakespeare plays, excerpts from Spenser's Faerie Queene and Milton's Paradise Lost, Blake's Songs of Innocence and Experience. We'll view Bill Viola's great video sequence The Passions and hear music from Bach, Bernstein, and Handel to Bono and Bob Marley. |
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| ENGL 294-04 Jane Austen | |||
| MWF | 12:00 pm-01:00 pm | MAIN 001 | Lesley Goodman |
| Every generation seems to produce new adaptations and new responses to the works of Jane Austen, from the relatively straightforward (BBC miniseries) to the outlandish (Pride and Prejudice and Zombies). Indeed, Austen and her novels have long been a major touchstone in Anglo-American culture, asked to stand for often contradictory values and a passionate source of interest to many readers. Why do Jane Austen’s novels continue to be interpreted and re-interpreted? In this course, we will read Austen’s six novels and juvenilia, considering Austen's formal innovations, historical context, social critique, and aesthetic legacy. |
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| ENGL 294-05 Creative Writing: Young Adult Fiction | |||
| W | 07:00 pm-10:00 pm | MAIN 111 | Andrea Robertson |
| Amid recent years of rapid and turbulent change in the world of traditional publishing, young adult fiction has emerged as a powerhouse of commercial success and literary acclaim. This course strives to examine the forces behind YA lit’s popularity and the ways in which its novels defy boundaries of genre and appeal to an exceptionally diverse readership. Through creative writing projects as well as the analysis of select YA novels, students will focus on discerning the ways that voice, structure, and character work in concert to afford young adult literature a unique role in the worlds of readers, writers, and publishing industry. Once upon a time Professor Andrea Robertson taught history at Macalester College, but after a horse broke her foot she spent the summer on her couch writing a novel. One novel turned into several and (writing as Andrea Cremer) Professor Robertson is now a New York Times and international bestselling author of the Nightshade series and Invisibility (with David Levithan) who reside in Manhattan’s Upper West Side. Her first novel for adults (writing as A.D. Robertson) is forthcoming from Dutton/Penguin in October 2013. Though she is still busy writing novels, Professor Robertson missed teaching at Macalester so much she decided to split her time between New York and Minnesota so she can share her writing journey with Mac students. |
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| ENGL 294-06 Icons, Ideas, Instruments: Feminist Re-constructions | |||
| W | 07:00 pm-10:00 pm | MAIN 009 | Sonita Sarker |
| *Cross-listed with WGSS 220-01; first day attendance required; no prerequisites* "Indian Women Writers:" India is still described as "exotic" in current cultural vocabularies, by Indians and others. We will investigate the material realities on which these cultural vocabularies rest, through the mirrors held up by Indian women writers who are this nation-state's citizens, expatriates, and diasporans. These writers' historico-political contexts, tussles with language, and other self-imaginings, create a compelling force in developing the idea of "India" and its relationships to East Africa, North America and Western Europe. |
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| ENGL 367-01 Postcolonial Theory | |||
| MWF | 01:10 pm-02:10 pm | CARN 404 | David Moore |
| *Cross-listed with INTL 367-01* |
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| ENGL 377-01 Native American Literature | |||
| MWF | 09:40 am-10:40 am | MAIN 001 | Jon Lurie |
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| ENGL 394-01 A Kafkaesque Century | |||
| MWF | 01:10 pm-02:10 pm | HUM 214 | Kiarina Kordela |
| *Taught in English; cross-listed with GERM 394-01* “Kafkaesque” is a word that has become part of everyday vocabulary in innumerous languages, used by millions of people who might or not have ever read Kafka. Evidently, the work of this German-speaking Jewish author from Prague captured something about modern life that no word could express except one deriving from his own name. This is probably why 'everybody knows' the word and 'nobody can explain' it. To understand therefore the "Kafkaesque" is to understand at once Kafka’s work and modern life, at least as we know it since the early twentieth century. To do so, in this course we are going to read closely some of Kafka's stories and excerpts from his novels, as well as some influential commentaries on his work. We shall also have the chance to see and compare adaptations of his work (including his diaries) in the media of graphic novel and film. All readings will be in English. Though this a 394-level course, it requires no pre-knowledge and is appropriate for all level students. |
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| ENGL 400-02 Literature and the Sense of Touch | |||
| M | 07:00 pm-10:00 pm | CARN 204 | Neil Chudgar |
| *This course is intended for senior English majors; other students will be admitted only if space allows* In this senior seminar for English majors, we will explore the points of contact between literary language, objects, and the sense of touch. We’ll take the first third of the term to explore some of the ways Western intellectual traditions have understood encounters between sensitive bodies and tangible objects. To learn about touch, we'll read some important texts in the philosophy of sensation, from Aristotle to Locke to Maurice Merleau-Ponty. We'll also learn about objects as they take part in economies both material (Marx, Baudrillard, Michael Taussig) and libidinal (Freud, Melanie Klein, D.W. Winnicott), and we'll grapple with the object-oriented thinking that scholars are doing today (Bill Brown, Jane Bennet, Graham Harman). Having established a common theoretical framework for our discussion, we'll devote the remaining two-thirds of the semester to a workshop, discussing the texts that you and your colleagues have chosen to read and write on your own. You'll sign up for a day to assign the rest of us excerpts from the literature you're thinking about and the project you're developing, read and comment on your colleagues' written responses to the reading you've assigned, and lead our discussion of it in class. Our conversation about your work in progress will help you prepare your final project. That project may take any of several forms: from a scholarly essay to a work of prose fiction. To help graduating students prepare for their next steps in the world, we will also devote some of our time to professional development. |
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| ENGL 406-01 Projects in Creative Writing | |||
| MWF | 03:30 pm-04:30 pm | THEATR 205 | Marlon James |
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Spring 2014 Class Schedule - updated June 19, 2013 at 04:56 pm
| Number/Section Title | |||
| Days | Time | Room | Instructor |
| ENGL 105-01 American Voices | |||
| TR | 03:00 pm-04:30 pm | MAIN 002 | Daylanne English |
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| ENGL 136-01 Drama: Staging Violence | |||
| MWF | 09:40 am-10:40 am | MAIN 011 | Casey Jarrin |
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| ENGL 150-01 Introduction to Creative Writing | |||
| MWF | 01:10 pm-02:10 pm | HUM 217 | Ping Wang |
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| ENGL 150-02 Introduction to Creative Writing | |||
| MWF | 02:20 pm-03:20 pm | HUM 217 | Ping Wang |
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| ENGL 150-03 Introduction to Creative Writing | |||
| MWF | 12:00 pm-01:00 pm | MAIN 003 | Matthew Burgess |
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| ENGL 150-04 Introduction to Creative Writing | |||
| MWF | 03:30 pm-04:30 pm | MAIN 003 | Matthew Burgess |
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| ENGL 150-05 Introduction to Creative Writing | |||
| TR | 09:40 am-11:10 am | HUM 227 | Kristin Naca |
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| ENGL 150-06 Introduction to Creative Writing | |||
| TR | 09:40 am-11:10 am | HUM 102 | Nick Dybek |
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| ENGL 220-01 Eighteenth-Century British Literature | |||
| MWF | 10:50 am-11:50 am | OLRI 170 | Neil Chudgar |
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| ENGL 230-01 Nineteenth-Century British Literature | |||
| TR | 09:40 am-11:10 am | MAIN 009 | Lesley Goodman |
| *First day attendance required* |
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| ENGL 240-01 Twentieth Century British Literature | |||
| MWF | 12:00 pm-01:00 pm | MAIN 011 | Casey Jarrin |
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| ENGL 260-01 Science Fiction: From Matrix Baby Cannibals to Brave New Worlds | |||
| W | 07:00 pm-10:00 pm | HUM 402 | James Dawes |
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| ENGL 262-01 Studies in Literature and the Natural World | |||
| MWF | 01:10 pm-02:10 pm | ARTCOM 202 | Neil Chudgar |
| *Cross-listed with ENVI 262-01* |
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| ENGL 275-01 African American Literature to 1900 | |||
| TR | 09:40 am-11:10 am | HUM 214 | Daylanne English |
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| ENGL 277-01 Angels and Demons of the American Renaissance (1835-1880) | |||
| TR | 01:20 pm-02:50 pm | MAIN 111 | James Dawes |
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| ENGL 280-01 Crafts of Writing: Poetry | |||
| TR | 01:20 pm-02:50 pm | HUM 213 | Kristin Naca |
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| ENGL 281-01 Crafts of Writing: Fiction | |||
| TR | 01:20 pm-02:50 pm | HUM 227 | Nick Dybek |
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| ENGL 281-02 Crafts of Writing: Fiction | |||
| TR | 03:00 pm-04:30 pm | ARTCOM 202 | Marlon James |
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| ENGL 285-01 Playwrighting and Textual Analysis | |||
| MWF | 12:00 pm-01:00 pm | THEATR 204 | STAFF |
| *Cross-listed with THDA 242-01* |
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| ENGL 294-01 Narrative Journalism | |||
| MWF | 08:30 am-09:30 am | MAIN 001 | STAFF |
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| ENGL 294-02 The New Woman: Fictions of Feminisms in the Nineteenth Century | |||
| TR | 01:20 pm-02:50 pm | MAIN 001 | Lesley Goodman |
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| ENGL 315-01 Milton | |||
| MWF | 12:00 pm-01:00 pm | MAIN 010 | Theresa Krier |
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| ENGL 366-01 Nabokov | |||
| MWF | 10:50 am-11:50 am | THEATR 205 | Julia Chadaga |
| *Cross-listed with RUSS 366-01* |
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| ENGL 384-01 Langston Hughes: Global Writer | |||
| TR | 08:00 am-09:30 am | CARN 404 | David Moore |
| *Cross-listed with AMST 384-01 and INTL 384-01* |
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| ENGL 386-01 From Lit to Film/Adaptation: Vietnam War Text/Image/Culture | |||
| M | 07:00 pm-10:00 pm | HUM 401 | Casey Jarrin |
| *Permission of the instructor required; first day attendance required* |
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| ENGL 394-01 Topics Course in ENGL | |||
| TR | 01:20 pm-02:50 pm | THEATR 204 | Marlon James |
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| ENGL 394-02 Topics Course in ENGL | |||
| W | 07:00 pm-10:00 pm | THEATR 204 | Marlon James |
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| ENGL 394-03 Writing Human Rights | |||
| TR | 09:40 am-11:10 am | CARN 05 | James Dawes |
| *Cross-listed with ANTH 394-01; signature of instructor required; first day attendance required* This writing intensive seminar will explore the relationship between human rights and life narratives. Life stories are of increasing importance across a range of academic disciplines, but nowhere more so than in the interdisciplinary work of human rights. Human rights advocacy has always relied upon the use of peoples' stories—to give voice to those cruelly silenced by violence, to generate sympathy in global bystanders, to shame perpetrator governments. The special challenges of this sort of storytelling have recently become topics of special attention in academic scholarship. Many of the questions are ethical: How can you move audiences without being sensational? How can you speak for others without displacing them? How can you put incommunicable trauma into words without somehow altering the truth of it? This interdisciplinary course, co-taught by faculty in Anthropology and English, will train students in the methods and ethics of life history interviewing and the craft of narrative writing. Priority for registration will be given to students who can count the course for one or more of the following: English, Anthropology, Human Rights and Humanitarianism. We also aim to achieve a mix of sophomores, juniors, and seniors in the course. |
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| ENGL 394-03 Writing Human Rights | |||
| TR | 09:40 am-11:10 am | CARN 05 | Dianna Shandy |
| *Cross-listed with ANTH 394-01; signature of instructor required; first day attendance required* This writing intensive seminar will explore the relationship between human rights and life narratives. Life stories are of increasing importance across a range of academic disciplines, but nowhere more so than in the interdisciplinary work of human rights. Human rights advocacy has always relied upon the use of peoples' stories—to give voice to those cruelly silenced by violence, to generate sympathy in global bystanders, to shame perpetrator governments. The special challenges of this sort of storytelling have recently become topics of special attention in academic scholarship. Many of the questions are ethical: How can you move audiences without being sensational? How can you speak for others without displacing them? How can you put incommunicable trauma into words without somehow altering the truth of it? This interdisciplinary course, co-taught by faculty in Anthropology and English, will train students in the methods and ethics of life history interviewing and the craft of narrative writing. Priority for registration will be given to students who can count the course for one or more of the following: English, Anthropology, Human Rights and Humanitarianism. We also aim to achieve a mix of sophomores, juniors, and seniors in the course. |
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| ENGL 394-04 Advanced Feminist/Queer Theories and Methodologies | |||
| TR | 01:20 pm-02:50 pm | MAIN 011 | Corie Hammers |
| *Cross-listed with INTL 300-01 and WGSS 300-01* |
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| ENGL 400-01 Special Topics in Lit Studies: Shakespeare: Gender and Race | |||
| MWF | 02:20 pm-03:20 pm | MAIN 003 | Theresa Krier |
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| ENGL 406-01 Projects in Creative Writing | |||
| MWF | 09:40 am-10:40 am | HUM 217 | Ping Wang |
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