Class Schedules

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Fall 2014 Class Schedule - updated March 27, 2015 at 09:56 am

Number/Section  Title
Days Time Room Instructor
ENGL 101-01  College Writing
TR 08:00 am-09:30 am MAIN 001 Rebecca Graham
ENGL 105-01  American Voices
MWF 12:00 pm-01:00 pm MAIN 001 Kristin Naca
This course traces the development of Chicana and Chicano writing over the last fifty years, from a collection of personal narratives and poems into a complex and diverse, American literary tradition. We will read a range of texts to ask, What constitutes a vital literary tradition? What’s its range? Who does it include? And whom it serves? We examine literary texts produced through grassroots publishing efforts, in English and Spanish translations. We read Chicana/o cultural theory texts that address issues of race and indigenism, class, citizenship, the status of migrant workers, border crossings, gender and sexuality. We examine experimental and cross-genre writing in relation to the role aesthetics plays in the way we read texts. We will examine a range of genres, from experimental to commercial fiction, ethnography and folklore, poetry, comedy stand-up and performance art, plays and films. We reflect on how these authors re-invent and re-imagine stories based on traditional myths as well as the more recent forces of oppression that affect Chicana/o communities. Our writing will be an experiment, too. Assignments include short writing exercises performed in class that build toward two eight-page, literary analysis papers. Authors include: Sandra Cisneros, Helena Viramontes, Tomás Rivera, Americo Paredes, George Lopez, Josefina Lopez, Lorraine Lopez, Cheech Marin and Tommy Chong.

ENGL 135-01  Poetry and the Gods
MWF 10:50 am-11:50 am MAIN 111 Theresa Krier
This term the English Department’s regular introduction to poetry organizes itself around poetry's ancient relationship to mythology. What does poetry make of deities and numinous beings from Greece, Rome, Africa, India, North America; underworlds and paradises, fertility and nature spirits, hymns, invocations, spells, blessings, chants; human longings, rejections, nostalgia, ecstasies, skepticism, and celebration of divine forces? What is it about such spirits and stories that enliven the reach and resources of poetic languages? This course aims to make its participants into resourceful, creative readers and listeners of poetry, mastering skills that will allow intimacy with a living, changing art. We read contemporary works and very old works, poems from English-speaking cultures as well as translated poems from other cultures, experimental work as well as tried-and-true forms. We consider different ways of writing about poetry and using poetry: descriptive essay, book review, annotation, argument, personal memoir, among others. No prior experience required; no prerequisites; non-majors welcome. For English majors this course fulfills the requirement for a foundation course.

ENGL 150-01  Introduction to Creative Writing
MWF 03:30 pm-04:30 pm MAIN 001 Kristin Naca
*First Year Course only* This course introduces students to the study of technique, convention, form and genre that engrosses writers of literary texts. Student writers engage in analysis of model literary works and frequent writing exercises that lead to longer - more complex and polished - pieces. We also practice dissecting student writing in workshop and learn how to provide the kinds of feedback that lead to meaningful revisions. Our goal is to inspire greater risks and experimentation in each other’s writing through rigorous yet compassionate dialogue.

Through writing exercises, students learn to engage the reader’s senses by gaining fluency with concrete language. Through discussion of prose and poetry arguments, student writers learn what shapes persuade the reader to reflect on life experience. Typically, we read one collection of short stories, one collection of poetry, and one book on writing conventions and process—all by contemporary authors.

ENGL 150-02  Introduction to Creative Writing
MWF 09:40 am-10:40 am MAIN 009 Peter Bognanni
*First day attendance required*

ENGL 150-03  Introduction to Creative Writing
TR 09:40 am-11:10 am NEILL 217 Ping Wang
ENGL 150-04  Introduction to Creative Writing
TR 09:40 am-11:10 am OLRI 170 Marlon James
*First day attendance required* Prose. Poetry. Fiction. Nonfiction. Narrative. Linear. Categories. Boundaries. limitations. What if you want to write a prose poem? A short story that rhymes? A memoir with footnotes? An event in reverse? A thought that stretches time, or a point of view that switches bodies in the same story? Paragraph? Line? Maybe you wish to write something that you have never seen before and are not sure exists? Maybe you want to confront a memory from childhood in the voice of YA, or maybe your fan fiction suddenly came to life. What does it mean to write without boundaries?

At the end of this course you will know what it means to write like a storyteller and read like a writer. As such, Intro to Creative Writing will be as much about active reading as it will be about actual writing. To become a better rule breaker first you have to know the rules. You must learn how to objectively analyze and critique a wide range of texts in your genre. How did the author make that text work?

Intro to Creative Writing will be for many an introduction to the writer inside you, a person that you might be meeting for the first time. It’s about the joys and challenges of expression and learning about your abilities and yourself. It’s an introduction to the art of writing in all shapes and forms, and the craft of critiquing your work and the work of your peers. Inside out, upside down, at the end of this course you will like your were meant to.

ENGL 150-05  Introduction to Creative Writing
MWF 09:40 am-10:40 am MAIN 011 Matthew Burgess
ENGL 150-06  Introduction to Creative Writing
MWF 03:30 pm-04:30 pm CARN 105 Matthew Burgess
ENGL 230-01  Nineteenth-Century British Literature: Victorian Literature and the Global Imagination
TR 01:20 pm-02:50 pm MAIN 002 Lesley Goodman
*First day attendance required* For many people in Great Britain in the nineteenth century, their world seemed to be growing. The British Empire was expanding, and new and more sophisticated communications and travel technologies brought hitherto isolated regions and communities into mutual awareness and interchange. Raymond Williams has suggested that novels traditionally show their readers “knowable communities,” but how do they so in an age of global community? At a certain point, does the world become too big and too complicated to be fully understood or represented? This was a question many Victorian writers were asking themselves, contemplating the limits of individual comprehension; as George Eliot cautioned, “To shift one’s point of view beyond certain limits is impossible to the most liberal and expansive mind; we are none of us aware of the impression we produce on Brazilian monkeys of feeble understanding — it is possible they see hardly anything in us.”

In this class, we will read British texts of the nineteenth century that struggle to represent the emerging sense of global interconnectedness, including The Secret Garden, Dracula, Wilkie Collins’ The Moonstone (the first detective novel), and adventure fiction by H. Rider Haggard. We will consider how these texts represent the structures of power and domination that constituted Britain’s relationship with the rest of the world, how they depict the consequences of a global community for life at home, and how they understand “home.”

ENGL 273-01  American Literature 1900-1945
TR 09:40 am-11:10 am MAIN 003 James Dawes
This course will examine several landmark novels in American literary modernism. We will first examine these texts as aesthetic achievements with specific formal requirements. What are the hidden structures that make up a novel? How do authors produce beautiful effects at the level of line and paragraph? How do they use these small beautiful effects (a phrase that jars the reader into seeing the world anew, a paragraph that has the delicate structure of a stanza) to develop the larger themes of the work as a whole? We will also consider questions of cultural production and political and ethical consequence. How do codes of race, class, and gender function in these texts? How do social systems (manners, language, employment structures) detract from or contribute to the promotion of human dignity? How is the reader changed by the act of reading? We will pay special attention to questions of beauty, humor, cognition, power, epistemology, the grotesque, narrative theory, ideology, urbanization, aesthetics, and ethics. The class will engage in intensive readings of individual texts, but will also seek to examine the larger backgrounds of American literary and cultural history. Authors of special attention may include William Faulkner, Willa Cather, F. Scott Fitzgerald, and Zora Neale Hurston.

ENGL 275-01  African American Literature to 1900
TR 01:20 pm-02:50 pm MAIN 009 Daylanne English
*Cross-listed with AMST 275-01; first day attendance required*

ENGL 280-01  Crafts of Writing: Poetry
TR 01:20 pm-02:50 pm NEILL 112 Ping Wang
ENGL 281-01  Crafts of Writing: Fiction
TR 01:20 pm-02:50 pm OLRI 270 Marlon James
*First day attendance required*

ENGL 281-02  Crafts of Writing: Creative Writing through Homer
MWF 12:00 pm-01:00 pm CARN 305 Matthew Burgess
Dozens of creative writing handbooks are written every year, but in this intermediate workshop we will read only two, the Iliad and the Odyssey, for pretty much everything we’d need to know about plot structure, characterization, descriptive imagery, domestic drama, and of course fantastical action scenes we can learn directly from Homer. Students will be expected to write multiple drafts of two original works of short fiction—no connection to the classics required—and one narrative poem.

ENGL 284-01  Crafts of Writing: Screenwriting
MWF 01:10 pm-02:10 pm MAIN 003 Peter Bognanni
*First day attendance required*

ENGL 294-01  The Literary Bible
MWF 03:30 pm-04:30 pm ARTCOM 102 Theresa Krier
*Cross-listed with RELI 294-01* 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. Topics include 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, the Book of Revelation, nativity stories, angel stories, stories of women. We’ll focus on the strongest creative responses to the Bible – sometimes adversarial, sometimes comic – through our main English texts: modern-English tales from Chaucer’s Canterbury Tales, the anonymous comedy The Second Shepherds’ Play, literary versions 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.

ENGL 294-02  Comparative Feminisms: Whiteness and Postcolonialisms
MWF 02:20 pm-03:20 pm MAIN 009 Sonita Sarker
*Cross-listed with WGSS 240-01*

ENGL 308-01  Literature/Sexuality: Wilde, Warhol, Waters: Queer Aesthetes and Outlaws
TR 09:40 am-11:10 am THEATR 205 Casey Jarrin
*Cross-listed with WGSS 308-01; permission of the instructor required; first day attendance required* Oscar Wilde, Andy Warhol, John Waters AND Claude Cahun, David Bowie, Jean-Michel Basquiat, Quentin Crisp, William S. Burroughs, Fran Leibowitz, Morrissey. Dandies, aesthetes, chameleonic artists, writers, innovators, iconoclasts, masters of the pose, flaneurs, raconteurs, visionary voyeurs, celebrity culture connoisseurs, queer heroes and outlaws, pop icons. We’ll begin with the public and private faces of Wilde: Irish-born, Trinity and Oxford educated, aspiring philosopher, Woman’s World editor, London playboy, literary celebrity, prisoner and exile. We’ll encounter his early poems and reviews, aesthetic lectures (on art, style, interior design, diva culture), essays (“House Beautiful,” “Truth of Masks,” “Decay of Lying,” “Critic As Artist”), key plays (Importance of Being Earnest, Salome), notorious “novel” (Picture of Dorian Gray), prison poem (Ballad of Reading Gaol), posthumously published letter to his estranged lover (De Profundis). How did Wilde link autobiography with artifice? Life and lifestyle with art? Plagiarism with originality? We’ll contextualize Wilde’s body of work at the intersection of fin-de-siècle aesthetics and sexual politics (Aestheticism, Dandyism, rise of the New Woman), and view his struggles against censorship, criminalization of homosexuality, and the Victorian prison as pivotal steps towards queer liberation movements of the 20th century.

We’ll then turn to the paintings, films, and autobiographical writings of Pittsburgh-born Andy Warhol: iconic silkscreens of commodity and celebrity culture (soup cans, Marilyn, Jackie O, Liz, Elvis, Mao, Christ), Death in America series (crime scenes, electric chairs, mushroom clouds), censored Thirteen Most Wanted Men mural, diaries, pop culture magazine (Interview), brief foray into reality television (Andy Warhol’s TV, Warhol’s Fifteen Minutes for MTV). How did Warhol’s Factory link industry, advertising, high art, pornography, street life, junkies, dandies, and the cult of personality known as celebrity? How do Warhol’s films (silent Screen Tests; Haircut, Eat, Sleep, Kiss, Empire; Trash / Flesh / Heat trilogy) and cult films of Baltimore native John Waters (Pink Flamingoes; Female Trouble) perform gender, sex(uality), desire? Fuse the beautiful with the grotesque? Embody camp or cultural kitch? Throughout, we’ll look at contemporaneous artists (Aubrey Beardsley, Robert Rauschenberg, Roy Lichtenstein, Cindy Sherman, Adrian Piper, Keith Haring, Alexander McQueen), filmmakers (Kenneth Anger, Jean Genet, Paul Morrissey, Derek Jarman, Sally Potter, Isaac Julien, Todd Haynes), musicians (Lou Reed/Velvet Underground, Bowie, Blondie, Smiths/Morrissey, Grace Jones, Rufus Wainwright, Prince, Hahn-Bin, Peaches, Lady Gaga, Janelle Monae), choreographer Matthew Bourne, Olympian Johnny Weir, dandies (Quentin Crisp, Betty Bourne, Fran Leibowitz), cultural theorists (Susan Sontag, Leo Ber

ENGL 310-01  Shakespeare Studies: Unruly Women, Agency, and Resistance
MWF 01:10 pm-02:10 pm MAIN 111 Theresa Krier
In Shakespeare's time monarchs, governors, ethicists, churchmen, schoolmasters, fathers, husbands, and aristocrats spoke in discourses of control, authority, order, and the divine establishment of patriarchy. But they did so partly in response to their strong-willed queen Elizabeth, who refused to wed and refused to bear children. Shakespeare's is in fact an age of rebellion, revolt, transgression, mockery, cross-dressing, witchcraft, misrule, insubordination, and generally rumbustious forms of life and literature. This course studies those forms, with focus on his women characters. Through them we'll ponder creative agency, resistance, power, and the relations of all these to dramatic genres. Works may include A Midsummer Night's Dream, As You Like It, Much Ado about Nothing, Measure for Measure, The Merry Wives of Windsor, Antony & Cleopatra, The Winter's Tale, Coriolanus, Venus & Adonis, and scenes from The Taming of the Shrew, Othello, Richard III, 1 Henry VI.

ENGL 331-01  The Brontes
TR 09:40 am-11:10 am NEILL 227 Lesley Goodman
*First day attendance required* “I am no bird; and no net ensnares me; I am a free human being with an independent will.” – Charlotte Brontë

For the Victorians, the Brontë sisters were mysterious and fascinating figures. Their novels were considered shocking, even monstrous, and anything but ladylike in their depiction of the heights and depths of human passion, but the sisters themselves were demure, had lived lonely, isolated lives, and seemed to shy away from attention or scrutiny. Their works never quite seemed to fit the standards and conventions of nineteenth-century readers, but they’ve become some of the mostly wide read and adapted novels of that period, especially Jane Eyre and Wuthering Heights. In this class, we will read works by Charlotte, Emily, and Anne Brontë, including Jane Eyre, Villette, Wuthering Heights, The Tenant of Wildfell Hall, and relevant film adaptions, exploring their similarities and differences, their representation of the limited power and freedom available in Victorian society, and the consequences of these limitations on the minds and hearts of women. We will also examine the creation of the Brontë myth—the fantasies and anxieties that have followed these women over the centuries, from gothic anecdotes about Emily Brontë violently beating her pet dog to the Brontë Sisters Power Dolls.

ENGL 367-01  Postcolonial Theory
MWF 09:40 am-10:40 am CARN 105 David Moore
*Cross-listed with INTL 367-01*

ENGL 386-01  From Literature to Film: Studies in Adaptation: Vietnam: Text, Film, Culture
TR 03:00 pm-04:30 pm NEILL 226 Casey Jarrin
*First day attendance required* Through encounters with film, photography, memoirs, music, plays, and poems, we’ll examine cultural histories, ideological/military contexts, prevailing mythologies, protest movements, and critical reassessments of American involvement in Vietnam and the ensuing conflict (1959-1975). What distinguished the Vietnam War from other 20th-century American military actions? How did the media transmit visions of the war and the anti-war movement to an international audience (via newspapers, photographs, on television), contemporaneous with images of violence at "home" (urban riots, student protests, assassinations of JFK, RFK, MLK)? How have artists, authors, filmmakers responded to the war – its origins, traumas, aftermath – and in what genres/voices (prose, image, performance art, the 1967 International War Crimes Tribunal)? How might we see the ideological and military dramas of Vietnam revisited in Afghanistan and Iraq?

We’ll begin with contexts for the Vietnam conflict and Cold War policy/anxiety (Graham Greene, The Quiet American; Peter Weiss, Discourse on Vietnam; Manchurian Candidate), then view films about psychopathologies of war (Apocalypse Now, The Deer Hunter, Full Metal Jacket), read novels and memoirs (Michael Herr, Dispatches; Tim O'Brien, The Things They Carried; Norman Mailer, Why Are We in Vietnam?; Eldridge Cleaver, Soul on Ice; Denis Johnson, Tree of Smoke), poetry (Adrienne Rich, Yusef Komunyakaa, Muriel Rukheiser, Denise Levertov, Lawrence Ferlinghetti), David Rabe’s Vietnam trilogy of plays (Basic Training of Pavlo Hummel, Sticks and Bones, Streamers), contemporaneous music. We’ll consider representations of Vietnam-era masculinity (Deliverance, Taxi Driver), the trauma of veterans returning from combat (Coming Home, Rambo, Born on the Fourth of July), documentary reassessments (Far from Vietnam, Hearts and Minds, Unfinished Symphony, The Fog of War), and conclude with echoes of Vietnam in Afghanistan and Iraq (Jarhead; An-My Le’s photographs of Vietnam war re-enactors, Small Wars). Essays by Philip Caputo, Susan Sontag, Paul Virilio, Susan Faludi, Howard Zinn, Vivian Sobchack, Lawrence Weschler, Jean Baudrillard. Sunday film screenings.

ENGL 394-01  British Romanticism
TR 03:00 pm-04:30 pm CARN 105 Jennifer Baltzer-Lovato
Study of the great pan-European movement of Romanticism, as it emerges in British literary culture in the late 18th and early 19th centuries. Our survey will encompass poetry, fiction, essays, manifestoes, and philosophical works; we’ll meet writers’ transformative literary inventiveness in the quest to give voice to issues of women’s rights, slavery and empire, revolution, class struggles; we’ll take up the great Romantic philosophical concerns, among them new views of nature, resistance to the preceding “age of reason,” explorations into the nature of imagination and the visionary. We’ll also examine stereotypes and misconceptions that arise about Romanticism.

ENGL 394-02  18th C American Literature
MWF 12:00 pm-01:00 pm CARN 204 Patricia Baehler
*First day attendance required* In this course we will consider the many social, religious, political, and intellectual forces at play in America’s metamorphosis from colony to nation. The American eighteenth century was a time of profound change, and the era’s literature, rich in generic diversity, reflects this volatility. We will read a variety of literary forms, from sermons to treatises, poetry to pamphlets, journals to novels, and explore the relationship between genre and the emerging American identity.

ENGL 394-03  Dead White Men
MWF 03:30 pm-04:30 pm NEILL 214 Kiarina Kordela
*Cross-listed with GERM 337-01, MCST 337-01 and PHIL 294-03; taught in English* The shift away from feudal theocracy (when divinity grounded truth and political authority) to secular capitalist modernity has entailed unforeseen re-conceptualizations of both time and of the distinction between truth and fiction—the latter approaching extinction, as truth is increasingly perceived as a culturally arbitrary (hence fictional) construct. To examine these modern mutations of the central categories of time and truth-fiction, the course will pursue two parallel itineraries. On the one hand, the two competing modes of the secularization of time, as (a) human history progressing toward a certain telos (end or aim), and (b) as a machinic time within which inter-relations within an autonomous structure (one not controlled by humans) determine its participants. And, on the other hand, the replacement of faith with modern philosophy, ideology, and biopolitics. No prerequisites.

ENGL 400-02  Seminar: Special Topics in Literary Studies (Capstone)
TR 01:20 pm-02:50 pm OLRI 370 James Dawes
Suffering deforms and destroys language, turning articulated sound into inarticulate sobs and groans. But suffering also accelerates language, calling into being not only fervent acts of supplication and prayer but also the ornate literary and cultural lament. This course examines the relationship between literature and violations of human rights. How does literature represent the shock that results from witnessing bodies opened in torture and on the battlefield? How does it represent the trauma of peacetime structural violence and domestic injury? What kinds of suffering are more difficult to narrate, and why? How can we use language to alleviate suffering, or to decelerate group violence? We will consider the variety of ways authors and cultural theorists have attempted to speak the unspeakable, paying particular attention to the relationships among pain, belief, and the body. Authors of interest may include Edwidge Danticat, Junot Diaz, Nathan Englander, Julia Alvarez, Thomas Glave, John Edgar Wideman, and others.

ENGL 406-01  Projects in Creative Writing
M 07:00 pm-10:00 pm MAIN 001 Kristin Naca
*Permission of instructor required* This capstone in Creative Writing will focus on poetry. Writers compose and revise several drafts of poems, toward compiling a twenty-page manuscript. Writers will develop a critical practice by reading and annotating up to forty poetry collections and books of poetic craft. Writers will explore avenues of funding for their continued work, drafting letters of aesthetics, craft, and purpose for programs, grants, residencies, etc. Attending several public poetry readings is also required.

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Spring 2015 Class Schedule - updated March 27, 2015 at 09:56 am

Number/Section  Title
Days Time Room Instructor
ENGL 101-01  College Writing
TR 09:40 am-11:10 am NEILL 228 Jake Mohan
ENGL 105-01  American Voices
MWF 10:50 am-11:50 am MAIN 010 Daylanne English
*First day attendance required* In this introductory English course, we will listen to a wide range of American voices in a number of genres, from short stories to novels, to graphic narratives, to a play. The texts in this course, although all are “American,” explore what it means to give voice to many differences within such a national identity. Our authors express and represent, and in some cases perform, complex and layered identities that have been shaped by: national origins, regions, class, languages, races and ethnicities, sexualities, genders, experiences of war and other forms of violence, and time periods (including the future). In the process, they often test or expand the limits of literary, as well as visual and musical, form. We will study works by Sandra Cisneros, Junot Díaz, Tim O’Brien, Alison Bechdel, and Janelle Monàe, among others. Course requirements include: an in-class oral presentation, a brief written response to each primary reading, and three essays of about 5-7 pages each (one of which must be revised). This course will fulfill either the foundation course in literature requirement or the literature by U.S. writers of color requirement for the English major.

ENGL 115-01  Shakespeare
TR 03:00 pm-04:30 pm NEILL 216 Jennifer Baltzer-Lovato
William Shakespeare remains the undisputed central figure of theater and literature in English, even today, more than 400 years since the premiere of his last play (Henry VIII, 1613). His plays are still the most regularly performed in the world, his poetry is the most often quoted, and he can be counted among the most popular screenwriters as well. What continues to draw us to Shakespeare’s writing? How did the plays connect to the time and place in which they were first performed, and how has the cultural understanding of these works changed through time? Whose Shakespeare do we read--or watch--when we engage with it today? In an effort to answer some of these queries, our goals will be to 1--Achieve a greater understanding of the historical context of Shakespeare’s era, 2--Consider how his plays engaged in the construction of social behaviors of the time period, and 3--Contemplate the various ways that Shakespeare and his writings live on today on screen and through social media. We will read six plays, focusing on themes such as the construction of gender identities and the role of the hero in society, among others. The course will include screening of film versions as well as at least one “field trip” to see a live play. This is an intro level course, and as such it will be accessible and welcoming to students of all disciplines.

ENGL 137-01  Novel
MWF 01:10 pm-02:10 pm OLRI 170 James Dawes
ENGL 137-02  Novel: Art and Violence
MWF 03:30 pm-04:30 pm CARN 305 Casey Jarrin
*True class limit is 20; 10 spots for juniors and seniors, and 10 spots for sophomores and freshmen.* Introduction to aesthetic, historical, and ideological transformations in the novel. From the charismatic and ethically complex antiheroes of Dorian Gray, Sula, and Clockwork Orange to the “nonfiction” experiments of In Cold Blood, Vietnam war memoir Dispatches, and graphic novel Persepolis, from modernist stream-of-consciousness in Mrs. Dalloway and aesthetic anarchy in V for Vendetta to the contested profanities of The Satanic Verses, from celebrated to censored texts, we’ll explore the relationship between the novel as a literary form and its representation of violence in language, thought, embodied action. We’ll encounter modernist, postmodern, postcolonial, feminist and queer revolutions in the novel, spend time with authors from a range of historical moments and national contexts whose work challenges what a novel looks and sounds like, often in shocking and subversive ways. Attention to formal and stylistic elements will underscore connections between the novel form and its violent content. We’ll ask: What’s the relation between aesthetic creation and (self)destruction? How might narrative perform gruesome acts of violence, insatiable consumption, or cannibalism? How do particular novels embody violent, criminal, and/or national psychopathologies? What’s the relationship between hyperviolence, pornography, and censorship? How do class, race, gender, and sexual desire manifest themselves in these texts? How have the gothic, magical realist, horror, and war genres shaped our cultural understanding of violence in literature, film, and image - and its translation of "real" bodily/political violence? Discussion of novels will be complemented by close analysis of selected films.

Likely Novels (8-9 of the following): Oscar Wilde, Picture of Dorian Gray; Virginia Woolf, Mrs. Dalloway; Nathanael West, Day of the Locust; Truman Capote, In Cold Blood; William S. Burroughs, Naked Lunch; Vladimir Nabokov, Pale Fire; Anthony Burgess, A Clockwork Orange; Michael Herr, Dispatches; Toni Morrison, Sula; Salman Rushdie, Shame; Isabel Allende, Eva Luna; Manuel Puig, Kiss of the Spider Woman; Cormac McCarthy, Blood Meridian; Marjane Satrapi, Persepolis; Alan Moore, V for Vendetta; Jeanette Winterson, Written on the Body Likely Films: Battle of Algiers (Dir. Gillo Pontecorvo, 1966); A Clockwork Orange (Dir. Stanley Kubrick, 1971); Apocalypse Now (Dir. Francis Ford Coppola, 1979); War Requiem (Dir. Derek Jarman, 1989); The Cook, The Thief, His Wife, and Her Lover (Dir. Peter Greenaway, 1989); Capote (Dir. Bennett Miller, 2005); No Country For Old Men (Dir. Joel & Ethan Coen, 2007); American Psycho (Dir. Mary Harron, 2000); Pan's Labyrinth (Dir. Guillermo del Toro, 2006)

*Course fulfills 100-level/introductory English major requirement

ENGL 150-01  Introduction to Creative Writing
MWF 10:50 am-11:50 am MAIN 003 James Dawes
ENGL 150-02  Introduction to Creative Writing
TR 09:40 am-11:10 am MAIN 003 Peter Bognanni
In this course we will dive right into the study of creative writing by reading and writing poetry, flash fiction, short stories, and personal essays. We will study how published authors craft their pieces, how they convey sensation and emotion, and how they artfully tell a story. Along the way, you’ll try your hand at each literary form we study. This is the basic template you can expect on a day-to-day basis. But, beyond this relatively simple pattern, what I hope will happen this semester is that you’ll lose yourself entirely to the daring act of creating literature. I hope you’ll disappear into what John Gardener calls the “vivid and continuous dream.” I hope you’ll use your growing knowledge of writing technique and literary history to say something fearless and artful about the world around you. And I hope you will see that what you write matters. Great creative writing aspires to more than just a pleasant diversion from life. At its best, it directly engages with life and even tries to change it. I hope this class will be a doorway into that experience for you.

ENGL 150-03  Introduction to Creative Writing
MWF 01:10 pm-02:10 pm NEILL 217 Ping Wang
ENGL 150-04  Introduction to Creative Writing
MWF 02:20 pm-03:20 pm NEILL 217 Ping Wang
ENGL 150-05  Introduction to Creative Writing
TR 09:40 am-11:10 am MAIN 011 Matthew Burgess
ENGL 150-06  Introduction to Creative Writing
TR 01:20 pm-02:50 pm OLRI 170 Matthew Burgess
ENGL 200-01  Major Medieval and Renaissance British Writers
TR 01:20 pm-02:50 pm MUSIC 228 Theresa Krier
This course surveys writers and genres of the Middle Ages and the Renaissance, with a focus on questions of the natural world and environmental issues. The British Isles, a northerly, sea-girt cluster of islands are part of the archipelagic North Sea world as well as part of the larger European continent. During pre-modern centuries, writers who inhabited thee multiple cultures of the Isles take up all kinds of questions about ethical dwelling, environmental preservation, ethnic and tribal conflicts in confined territory, gender issues, the nature of conquest, the formation of nation-states, the clash of religious traditions as Christianity encounters local, indigenous religions. We'll survey works in many genres, forms, and modes of representation. In the process we'll also develop a rich picture of literary cultures and artistic achievements in these centuries. All works will be studied in modern English

ENGL 220-01  Eighteenth-Century British Literature
TR 01:20 pm-02:50 pm OLRI 370 Patricia Baehler
“The birth and development of the novel as a genre takes place in the full light of the historical day.” – Mikhail Bakhtin

The novel is arguably the dominant literary genre of the modern era, but its success obscures its recent and somewhat scandalous origins. What we now see as an established and conventional form was, in the eighteenth century, unfamiliar and new, or “novel.” The concerns of a rapidly changing world played out on the pages of books written by women as well as men, by Grub Street hacks as well as the intellectual elite. Authors experimented with representation, perspective and structure even as they grappled with concepts as diverse as subjectivity, social order, gender roles, and aesthetics. In this course we will study some of the significant texts in the evolution of the novel, texts that demonstrate the inventive, playful, and sometimes bawdy nature of a genre without rules: Aphra Behn’s short fiction; Eliza Haywood’s Love in Excess; Daniel Defoe’s Robinson Crusoe; Samuel Richardson’s Pamela and the parodies it inspired; Horace Walpole’s Castle of Otranto; and Francis Burney’s Evelina. In addition to these primary texts we will also read critical essays that consider the many influences on the genre and the social and political context in which it developed.

ENGL 272-01  Love and Madness in 19th Century American Literature
W 07:00 pm-10:00 pm MAIN 009 James Dawes
ENGL 276-01  African American Literature 1900 to Present
MWF 01:10 pm-02:10 pm MAIN 111 Daylanne English
*First day attendance required* In this survey course, we will trace an African American literary tradition from 1900 to the present. We will read a wide range of genres, including drama, jazz poetry, prose poems, short stories, and novels. Our journey across this rich literary tradition will be guided by place and performance, as we investigate the temporal and geographic locations of our texts and listen to the music of our authors’ times. Our texts show performance to be central within this tradition—performance not only of music, but of race, gender, sexuality, class, region, nation, and even time and narration itself. Our authors will include: W. E. B. Du Bois, Jean Toomer, Zora Neale Hurston, Nella Larsen, Langston Hughes, Amiri Baraka, Sonia Sanchez, James Baldwin, Audre Lorde, Tracy K. Smith, and Toni Morrison. Requirements include: two 7-10 page essays, an in-class presentation, brief response papers on the readings, and a final exam. It also fulfills the English major requirement of a course focused on literature by U.S. writers of color.

ENGL 280-01  Crafts of Writing: Poetry
TR 09:40 am-11:10 am MAIN 111 Kristin Naca
ENGL 281-01  Crafts of Writing: Fiction
MWF 01:10 pm-02:10 pm THEATR 204 Marlon James
*First day attendance required*

ENGL 281-02  Crafts of Writing: Fiction
MWF 03:30 pm-04:30 pm THEATR 204 Marlon James
*First day attendance required*

ENGL 294-01  Heroic Narrative
TR 09:40 am-11:10 am MAIN 009 Theresa Krier
This course focuses on literary developments of heroism in medieval Britain and Scandinavia, archipelagoes whose ethnically hybrid cultures give rise to complex analyses of the power, contradictoriness, and sometimes comedy of warrior ethics. Our texts are alert to gender politics, to the warrior hero’s sense of the natural world, to the monstrous. Our characters will include not only heroes but also dragons, demons, magicians, shape-shifters, nature spirits, fairies, giants, cannibals, grotesques, bear-men, wolf-men, goddesses, and women. (In fact, some of the heroes, and some of the writers, are women.) Big works will be drawn from among these: Beowulf, The Dream of the Rood, The Heliand, The Volsung Saga, The Saga of King Hrolf Kraki, Sir Orfeo, the Anglo-Norman Lais of Marie de France, Sir Gawain and the Green Knight, Arthurian tales from Thomas Malory’s Morte Darthur, Edmund Spenser’s Faerie Queene. There will be shorter, often mysterious lyrics from Old English and Welsh traditions. Students will have opportunities to investigate treatments of Arthurian legend, or the paths by which the medieval became medievalism, the Gothic, and contemporary fantasy.

ENGL 294-03  Literary Humor Writing
TR 03:00 pm-04:30 pm MAIN 111 Peter Bognanni
Humor,” E.B. White said, “can be dissected as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind.” This class then will be a class about innards—specifically, the inner workings of humor writing—and we will be the scientists. We’ll begin with the humble aphorism and make our way through satire, parody, the comedy of manners, the epistolary, the humorous memoir, fake news, the comic novel, and even a little standup comedy. Writers past and present have used these forms not only to amuse and delight, but to level incisive commentary at the world around them. From Jonathan Swift to Jon Stewart, Dorothy Parker to Tina Fey, humorists of each age have sought more than just laughs. They have attempted to shift political and cultural landscapes, to sway public opinion, and to make room for the absurd in an often solemn world. In this course, we will study the work of master humorists with an eye toward craft. Along the way, you’ll be writing your own pieces, and working to develop your comedic voice as the semester progresses. For each joke we dissect, we will create new life with one of our own.

ENGL 294-04  Narrative Journalism
M 07:00 pm-10:00 pm MAIN 003 Stephen Smith
Taught by writer and journalist Stephen Smith (Executive Editor and Host of American RadioWorks, the national documentary series from American Public Media). This course will focus on creating vivid, economical prose as a foundation for many types of expository writing. The fundamental elements of narrative journalism will be explored. Students will do research and interviews for print journalism pieces. Students will write frequently, will edit each other, and will receive detailed suggestions on their writing from the instructor. This course does not count toward any college general distribution requirements.

ENGL 294-05  Acting Shakespeare
MWF 12:00 pm-01:30 pm THEATR 010 Barbra Berlovitz
*Cross-listed with THDA 294-05; counts as fine arts general distribution*

ENGL 294-06  Writing Performance
M 07:00 pm-10:00 pm THEATR 205 James, Waters Jr.
*Permission of instructor required; cross-listed with THDA 294-06; counts for fine arts distribution credit*

ENGL 331-01  Nineteenth Century British Novel
MWF 09:40 am-10:40 am MAIN 011 Lesley Goodman
In the nineteenth century, the novel became the predominant art form. It was popular, a primary source of entertainment and pleasure for many, not unlike the role of television today, but it was also a serious form of cultural commentary and criticism that competed with the most influential intellectual discourses of the day. This course will explore four major novels of the nineteenth century: Jane Austen’s Persuasion, W. M. Thackeray’s Vanity Fair, George Eliot’s Middlemarch, and Thomas Hardy’s Tess of the D’Urbervilles. These novels represent the sweeping ambition of the novel in the nineteenth century, as well as its twin and sometimes opposing goals: detailed psychological analysis and comprehensive social representation. Topics considered include class mobility, sexual politics, the role of women in society, and the changing structure of English communities in the nineteenth century. In particular, we will focus on the representation of dissatisfied and ambitious women.

ENGL 362-01  Gendered, Feminist and Womanist Writings: 19th Century Women Writers
MWF 12:00 pm-01:00 pm MAIN 003 Lesley Goodman
*Cross-listed with WGSS 310-01; first day attendance required* The woman writer occupied an unusual space in nineteenth-century Britain. On the one hand, women had a history of dominating the novel market, and theories of gender difference suggested that women’s apparent strengths—compassion, sensitivity, and an attention to detail—were peculiarly suited to writing novels. On the other hand, the act of publishing a novel was one way of leaving the private sphere of the home and entering the public sphere, dominated by men. Moreover, while nineteenth-century plots often hinged on young women’s marital decisions, critics were quick to point out that there were many topics that a woman writer could not or should not address, as a result of her own ignorance and the vulnerability of her reputation. The works of nineteenth-century women writers address both of these difficulties—the gendered aspects of reading and writing as well as the unforgiving sexual politics of the culture—while the writers themselves struggled to succeed within these codes. Texts include Austen’s Northanger Abbey, Elizabeth Gaskell’s Ruth, Elizabeth Barrett Browning’s Aurora Leigh, George Eliot’s The Mill on the Floss, and Mary Cholmondeley’s Red Pottage, among others.

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; first day attendance required*

ENGL 394-02  Re-writing the Victorians
MWF 02:20 pm-03:20 pm MAIN 001 Lesley Goodman
*First day attendance required* Why do we re-tell stories that have already been told? Why do Victorian texts in particular seem to have such a strong hold on our imaginations, over a century later? In this course we will read three Victorian novels (Jane Eyre, Great Expectations, and Strange Case of Jekyll and Hyde) as well as several twentieth- and twenty-first-century literary adaptations. These responses constitute aesthetic and political interventions into the cultural myths established by the Victorians. While some want to write back to the Victorians in a corrective spirit, addressing those identities and experiences characteristically excluded from Victorian literature, others seem deeply attracted to aspects of Victorian culture. The modern perspective on Victorian literature can clearly identify the limitations of this culture, but it remains a source of fascination, an imaginative space the modern reader wants to experience. How do Victorian narratives make sense to the modern reader, one who is historically distanced from the ideas that animated those narratives? How do Victorian narratives continue to make meaning in the twentieth and twenty-first centuries?

ENGL 394-04  Latino Poetics
TR 01:20 pm-02:50 pm MAIN 011 Kristin Naca
The terms Latina/o and Latinidad encompass myriad cultural practices, language performance, and migrations by and about Hispano American subjects. These terms propose alternative geographic, temporal, and corporeal histories of the West. These terms allude to the desire, of multi-raced, multi-national, and/or multi-lingual subjects for self-identification and self-determination. In this course, we theorize Latina/o aesthetics’ potential to engender spaces of resistance. More specifically, we examine how poetry and prose forms might enact, replicate, or inspire social justice activism. We read examples of poetry from the ancients, 19th century occupations of the Southwest, through the contemporary era. Latina/o theorists Arteaga, Mesa-Baines, Prieto and Ybarra-Frausto help us navigate a program of conciencia. We consider the poetics of nostalgia and reclamation in Puertorriqueños Judith Ortiz Cofer, Clemente Soto Vélez and Martín Espada. We flip over the stone to uncover indigenous histories and histories of the dead in California & Texas with Lorna Dee Cervantes and Tino Villanueva. The experimental, avant-guard anthology, Angels of the Americlyse: New Latino Writing will anchor our discussion. As a W course, we practice thinking through writing; experimentation will groom precision and depth. We write fragments, queries, poems, and book reviews. Poets may also research and produce creative work, to incorporate into their final projects. Our aim is to perform scholar-activism through writing.

ENGL 394-05  Short Forms: Novella, Essay, Aphorism from Boccaccio to Brecht
TR 09:40 am-11:10 am CARN 105 David Martyn
*Cross-listed with GERM 394-02; What can a short text do that a long text can’t? This course will look for answers to this question by reading and discussing short prose works from the Renaissance to the 20th century. We will pursue the history of the novella – which is not a short novel but a literary form in its own right – from its emergence in the Italian Renaissance (Boccaccio) to its modern adaptations in German romanticism (Tieck) and French realism (Flaubert). We will explore the complexities of the essay from Michel de Montaigne, who created the genre in the 16th century, through Francis Bacon, whose scientific method relied on it, to its use as a hybrid form between science and literature in the early twentieth century (Hugo von Hofmannsthal, Sigmund Freud). And we will focus on the form that epitomizes the rhetorical virtue of brevitas: the aphorism, from the 17th century moralists (La Rochefoucauld), through the secular pietism of the 18th century (Lichtenberg), romanticism (Goethe), the 19th century’s answers to nihilism (Schopenhauer, Nietzsche), to the crypticism of Kafka, the irony of Brecht, and the uncompromising pessimism of Adorno. Discussion questions will include: what are the literary and rhetorical effects of brevity? How can words gain by being few? What happens when texts get longer? How is literature a form of knowledge and science a form of literature? Requirements: 3 mid-length papers with revisions; one class presentation. Taught in English, but texts will be made available to those who can and would like to read them in the original.

ENGL 394-06  The Empathy Machine: Feeling 20th Century Literature and Film
MWF 10:50 am-11:50 am MAIN 011 Casey Jarrin
A 2013 study at the New School for Social Research found that reading literary fiction enhances our ability to understand others’ emotional, psychological, even physiological states and “increases our capacity for empathy.” In this interdisciplinary seminar, we’ll expand on this concept and explore how words and images heighten our senses, make us aware that “we all have pink and vulnerable guts”(says film theorist Vivian Sobchack), and invite us to feel in our bodies what we we read/see on the page/screen. Through encounters with novels, plays, poems, photographs, films, and immersive visual art that activate us as readers/viewers, we’ll explore the complex relationship between aesthetic representation and our affective, sensory, and physiological experience of texts/images. Using phenomenological models of “embodied perception” and “lived-body experience” to examine our empathetic response to literary, (audio)visual, and digital/virtual worlds, and with a particular interest in encounters with scenes of historical trauma and violence, we’ll ask a series of interlocking questions: How do aesthetic representations evoke response in the reading or viewing audience, trigger our bodily understanding of what we read/hear/see, resurrect past events to make them present, felt, embodied? How do specific works of art involve the audience in a complex participatory experience, shake spectators from detached viewing, make us complicit in violence represented, and/or provoke embodied empathy? How do narrative and visual art revisit, reanimate, and reenact lived histories of violence and war? How do we feel through reading, listening, seeing? Ultimately we’ll consider the ethical, even utopian possibilities of shared physiological experience, collective sensory involvement and enthrallment in our interactions post-trauma art/film/literature -- and look at these alongside specific technologies of immersive virtual reality, audience participation, and empathetic engagement from 1950s movie theater gimmicks (Percept-O, Smell-O-Vision) and “Sensory Fiction” digital books with wearable electronic vests (developed at MIT in 2014) to war memorials and museums. Likely Texts: Virginia Woolf, Three Guineas and/or Mrs. Dalloway; Truman Capote, In Cold Blood; Peter Weiss, Marat/Sade or The Investigation; Slavenka Drakulic, S: A Novel About the Balkans(also published as As If I Am Not There); Caryl Phillips, The Final Passage; Marlon James, The Book of Night Women; Martin Amis, Time’s Arrow; Edwidge Danticat, Farming of the Bones; Salman Rushdie, Shame; Jean Dominique Bauby, The Diving Bell and the Butterfly; Alison Bechdel, Fun Home; Susan Sontag, Regarding the Pain of Others; Elaine Scarry, The Body in Pain; Vivian Sobchack, Carnal Thoughts. Likely Films: Videodrome (Dir. David Cronenberg, 1983); Wings of Desire/Der Himmel Uber Berlin (Dir. Wim Wenders, 1987) and/or Pina (Dir. Wenders, 2011); The Lives of Others (Dir. Florian Henckel von Donnersmarck, 2006); Bloody Sun

ENGL 400-01  "Dangerous" (Post)Modernisms: Rewriting Histories, Rethinking Bodies, Reinventing the Novel
M 07:00 pm-10:00 pm MAIN 011 Casey Jarrin
*First day attendance required* What can literary texts do, challenge, make anew? In this seminar, we’ll explore the subversive potential of the novel as a contested genre and site of aesthetic transformation and ideological resistance over the last hundred years. We’ll encounter modernist, postmodern, postcolonial, queer, and feminist revisions of the novel, at turns irreverent, iconoclastic, satirical, enigmatic, experimental, polyvocal, self-reflexive, riotous, and wildly entertaining. How do these texts and their authors disrupt narrative conventions, challenge how a novel can look and sound, reanimate language and generate new ways of speaking, thinking, creating? How do they rethink bodies, inspire revolutions in how we understand gender and desire, unmask cultural and psychosexual taboos, revisit and rewrite painful histories, mirror dystopian worlds we already inhabit, imagine utopian futures? How does the postmodern novel harness revolutionary energies at large – and conversely, inspire social transformations, ethical interventions, linguistic revolutions? Likely texts: We’ll look at novels that refuse the fiction/nonfiction divide to merge invented worlds with history and (auto)biography (Virginia Woolf/Orlando, Gertrude Stein/Autobiography of Alice B. Toklas, Marguerite Duras/The Lover + The North China Lover, E.L. Doctorow/The Book of Daniel); postmodern works censored for obscenity and banned for blasphemy (Mikhail Bulgakov/Master and Margarita, William S. Burroughs/Naked Lunch, Anthony Burgess/A Clockwork Orange, Norman Mailer/Why Are We in Vietnam?, Salman Rushdie/Satanic Verses); magical realist, surrealist, and satirical responses to political violence (Flann O’Brien/The Third Policeman, Gabriel Garcia Marquez/Autumn of the Patriarch, Salman Rushdie/Shame, Guillermo del Toro/Pan’s Labyrinth); feminist reinventions that redraw histories/bodies, reinvent language, tell new stories (Jeanette Winterson/Gut Symmetries or Sexing the Cherry, Theresa Hak Kyung Cha/Dictee, Margaret Atwood/The Handmaid’s Tale, Zadie Smith/White Teeth); graphic novels that explode the literary fiction/pulp/comics divide to reanimate historical and bodily traumas (Art Spiegelman/MAUS, Marjane Satrapi/Persepolis, Julie Maroh/Blue is the Warmest Color, Zak Davis/Gravity’s Rainbow Illustrated). Requirements: Weekly journals, project abstract, 15-25 page final project.

ENGL 406-01  Projects in Creative Writing
MWF 10:50 am-11:50 am NEILL 102 Ping Wang

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