Graduate Courses 2018-2019

Department of English

Spring 2019

Graduate Course Offerings SPRING 2019

revised: 9/6/2018

PURVIS—EN 500 — 001 / 11772

(x – l with WS 530-001)

Feminist Theory: Major Texts

W / 2 – 4:30

Part I in a Women’s Studies course sequence, this course establishes a baseline of knowledge of feminist theory in order to prepare students for the study of contemporary feminist theory in WS 530.  Students may enroll in either course, or both.  This course does not serve as a prerequisite to Part II in the sequence.  “Transfeminisms” takes as its starting point the premise that feminist theory is always-already trans- and embarks on analyses of critical debates within feminist theory concerning sex, gender, subjectivities, epistemologies, power, bodies, politics, and the field of Women’s and Gender Studies.

Much like the term, Queer, Trans- signifies plural locations and non-binary conceptions of bodies and identifications.  Like Queer, it challenges the fixity of meaning and narratives of linear progression.  The subject of this course, trans- and transfeminisms is not simply a trans-cognizant and trans-inclusive approach to feminist theory.  This course examines key moments in the trans-ing of feminism and its constitutive categories and modes of analysis, including the category, woman, which can be traced back to Sojourner Truth’s “Ain’t I a Woman?” speech and other early feminist interventions that interrogate the category, “woman” and linked with contemporary transgender theorists, such as Susan Stryker, Jay Prosser, Jack Halberstam, and Gayle Salamon.  Despite misguided attempts to separate feminism from transgender theory, or trans- from queer theory, this course explores the assertion that the most politically efficacious forms of feminism are always-already trans.  This course investigates what we mean by Transfeminisms, examines not only Transgender Theory but the trans-ing of categories; it extends Trans- and Trans-feminist approaches to transnational, transcultural, transspecies, and transgenerational theories and politics, which generates new methodologies, new modes of gendered subjectivity, new discourses, and new lines of inquiry that promote structural transformation. (Prerequisites: None)

 

 

DAVIES—EN 523 – 001 / CRN: 14274

(x- l with 423)

History of the English Language

T R / 11 – 12:15

This course considers questions such as the following: Why does Southern English have to propose “y’all” for a plural “you”? And while we’re at it, what happened to “thou”? What’s the deal with the subjunctive? How did Scandinavian pronouns (they, their, them) creep into English? Why can’t we ask “Have you not heard?” without sounding weird? Since the momentous event in 1066 was called “the Norman Conquest,” why aren’t we speaking French instead of English? Who decided that we can’t say “Ain’t nothin’ like ‘em nowhere” in standardized English? What’s going on with, like, quotatives, “and he was like….!”? Why can’t everybody open their book? How is English being affected by globalization and the internet? The course is an introduction to the external history of the English language along with the study of the accompanying internal changes in structure. It begins by peering back through the mists of history by means of linguistic tools that allow us to reconstruct what the original language in our “family” was like. Then we will track changes in English through its close encounters with other languages (most notably the Celtic languages, Old Norse, and French), through attempts at standardization, through the effects of globalization, to its diverse contemporary forms. For English majors the course should provide a basis for understanding the evolution of English grammar, pronunciation, and spelling as a background for studying English literature. The course examines the development of English from two perspectives: its outer history (i.e., the sociohistorical, cultural, and political forces that have helped shape the language) and its inner history (the phonological, grammatical, and lexical changes that have taken place). In addition, it looks at some general principles of language change and relates them to specific developments in English. By the end of the course you should understand why the English language is the way it is and be able to predict how it may change. Prerequisite(s): EN 320 or EN 321 or ANT 210 or ANT 401 or ANT 450 or FR 361 or IT 361 or SP 361.

 

 

 

 

 

 

 

DAVIES — EN 525—001 / CRN: 12603

(x- l with 425)

Dialectology (Variation in American English)

T R / 2 – 3:15

At the annual conference every year, the American Dialect Society selects a Word of the Year. For 2016, it was “dumpster fire;” for 2017, is was “fake news.” In the year 2000, the ADS declared that the Word of the Twentieth Century was jazz,” and the Word of the Millennium was “she.” Have you ever wondered where words like “okra,” or “bungalow,” or “ketchup,” or “cyberspace” come from? Who creates brand-new words in American English? How do we know the “correct” grammar to use in various forms of writing (an essay for your English literature class versus a text to a friend) and in different contexts for speaking? Do men and women communicate differently? Is it possible to place a person (within the United States or even within Alabama) by accent? Who uses “y’all” versus “you guys”? What is a foreign accent and are some accents more prestigious than others? Under what circumstances do people change the way they speak? Are Southerners more polite than other Americans? If you’ve ever contemplated questions like these, then this course will be of interest to you, especially if you are planning a career that involves language and communication (e.g., majors in English, Communication, Education, Journalism, Communicative Disorders, Marketing, Social Work…..). The course is designed for anyone who would like to understand more about linguistic diversity within what we think of as “American English.” Using films such as My Fair Lady (and American versions of this film such as Pretty Woman), My Cousin Vinny, classic clips by Key and Peele, and other resources that highlight regional, ethnic, and social distinctions, we’ll explore differences in accent, vocabulary, grammar, and patterns of language use among people from across the United States. We’ll look at how dialect differences developed and how they are changing, reflect on how language is a part of our identity, and consider the consequences of linguistic stereotyping, both positive and negative. Students will have an opportunity to contribute to a website on Language in Alabama for the citizens of our state. Ideal prerequisite(s): an introductory linguistics course (e.g., EN 320 or EN 321 or ANT 210 or ANT 401 or ANT 450 or FR 361 or IT 361 or SP 361.)

 

 

 

 

 

Various Instructors: EN—534

T R / 12:30 – 1:30

Teaching Practicum

Spring semester only. Required of all graduate assistants teaching EN 102 for the first time. Training in reaching EN 102 course goals and writing outcomes.

 

534—001 / CRN: 11615          Kidd, Jessica                 534—101 / CRN:

534 –002 / CRN: 12772          Niiler, Luke                    534—102 / CRN:

534—003 / CRN: 13238         Champagne, Brooke      534—103 / CRN:

534—004 / CRN: 14275         Loper, Natalie               534—104 / CRN:

534—005 / CRN: NEW           Presnall, Marni              534—105 / CRN:

 

Must simultaneously register for Thursday session with same lecture instructor.

 

WELLS—EN 601—001 / CRN: 12644

Fiction Workshop

M / 2 – 4:30

 

This class is intended for students enrolled in the MFA Program in Creative Writing and will concentrate on the writing, reading, and workshopping of fiction.

 

 

 

 

ESTES—EN 603 —320 / CRN: 10474

Poetry Workshop

W / 2 – 4:30

 

A Taste of Your Own Medicine: Divinatory Poetics

“What’s the most you ever saw lost on a coin toss?” When Anton Chigurh—the psychopathic agent of fate in Cormac McCarthy’s No Country for Old Men—asks this of a Texas hill country filling station proprietor as a way of determining whether he should live or die, we are confronted with a vision of nature severe and inscrutable; survival of the fittest does not apply, nor does any principle of justice that trades on righting or deserving. Nature is simply that which is given—the plane of value, the plane of consequence, that is where we live, and meanings are created when our confrontations are translated to action. Thankfully, since we are not psychopaths, our encounters with this given,—whether we brush against the back of God on a mountain or yield our not-self to the Absolute beneath a tree or find the path of love eating mushrooms (or whatever!)—while we do meet an unsentimental mystery, it is nonetheless a mystery that can invite even as it resists, that is a local site of endless distances. How one finds much less crosses that threshold, though, how one pierces the veil of isis, so to speak, how one attempts to unlock and decode a nature that, according to Heraclitus, loves to hide, this is what Selah Saterstrom calls divinatory poetics, which she defines as “[The employment of] various divinatory generators (instructions, methods, and trances), [to] attempt to enter the flux and sing out loud some of the animated strands of potential [seen] inside an illuminated intricacy, by which I mean my life, a life, or the life of others.” In this course as read Saterstrom’s Ideal Suggestions in advance of her campus visit, we will also delve into her source material, not to retrace her steps, per se, but to breathe within that hovering life beneath her text, to be prompted, prodded, and inspired in a similar web of signs to uncover a vision of (a scent for, a dwelling with) what you desire, what drives and lures you, what breaks and heals you, what particular elixir is yours to carry to the world of others. Readings books on the tarot and Southern folklore/witchcraft/voodoo; poetry of CD Wright, CA Conrad, and Joan Fiset; philsophy of Blanchot, Barthes, Diderot; and other works of mystical and natural (i.e. private) history. We come to make things out of language but only, really, as an art of knowing, as a means of finding and keeping on our way; we come to see how much can be won. As Saterstrom says: “We want to see how different lights can be broadcast through reflective particles: We want to read and write.”

 

 

 

 

FELT—EN 605—001 / CRN: NEW

Nonfiction Workshop

T / 2 – 4:30

The Personal Political: Memoir as Activism

In this course we will explore how individual stories can come together to create communities, solidarity, and movements. We will look at the intersection of art and activism, discuss self-care practices, and how to get your writing to the audience that needs it. One of our main goals will be to identify holes in the narratives that most often get told about/by members of your community—and how to expand the parameters of those narratives. We will also address the following questions: What can you do with the frustration of not seeing yourself represented on the page? How can you develop confidence in the value of your story? How might expanding your ideas about the boundaries of self-allow for the amplification of voice?

 

 

RAWLINGS—EN 608—001 / CRN: 14276

A Matter of Time

W / 2 – 4:30

Flashback, flash-forward, pause, reversal, compression, dilation, simultaneity, and leap: how does time unfold in fiction? From Irving’s leap of many years in “Rip Van Winkle” T.C. Boyle’s compression of a whole life into just a few pages in “The Hit Man, “ writers have manipulated time in fiction since, well, the beginning of time (or at least since the beginning of fiction). Our goal this semester will be to read and write several creative pieces that use time in fiction in interesting ways.

 

 

MARTONE—EN 608—002 / CRN: 14277

Ephemera Forms

M / 10 – 12:30

 

Collage, letters, postcards, mail art, broadsides, billboards, memorials, found texts, skywriting, textual installations.

This course will have writers consider the material nature of their art and attempt to create “writing” that goes beyond the default of the 8 ½ x 11 page, the printed book, bookstores, and libraries by examining various other production methods and delivery devices of textual art. We will consider the work of mail-art artists such as Ray Johnson as well as the work of the United States Postal Service; collagists Joseph Cornell and Tom Phillips as well as “writers” such as

Cris Mazza, Mary Ruefle, Howard Junker, Claudia Rankin, Robert O. Butler, Rao Pingru, Walt Whitman, and Emily Dickinson. Writers in the class will explore and create a variety of projects always with an eye on existential, marginal, and ephemeral nature of the art they create. There will be a semester project as well as weekly assignments.

 

  

BROUWER—EN 608—003 / CRN: 11734

Uses of History

R / 2 – 4:30

THE USES OF HISTORY. Henry James, in a scathing 1904 letter to Sarah Orne Jewett, railed against the historical novel, saying that any imaginative interpretation of historical events was “condemned” to “a fatal cheapness,” because it is impossible for an author to represent in fiction “the whole CONSCIOUSNESS, the soul, the sense, the horizon, the vision” of people who lived in an age in which the author did not. This seems like a reasonable charge, and it raises the question of why a creative writer would choose in the first place to base an imaginative text on a historical event or historical characters. Isn’t it the historian’s job to research and explain the facts of history, and the creative writer’s job to invent imaginary events and people? Why would a writer want to burden herself with what James sees as the impossible task of getting “real” history right, when she has the power to simply invent an imaginary histoire of her own? Might imaginative literature have the capacity to express certain historical realities more effectively than traditional historical studies? In what ways might those traditional historical studies themselves be a species of creative writing? In this course, we will investigate the uses of history in imaginative writing (and, to a lesser extent, the uses of the imagination in historical writing), and differences between the past as it is presented in “non-fictional” histories and in imaginative works based upon historical events. We’ll read imaginative works that somehow address a historical era, person, phenomenon, or event; survey some critical essays that examine problems in historiography; and attempt a variety of history-based creative writing exercises ourselves. For a final project, each student will complete a long imaginative work (in any genre) that springs from and/or responds to a historical subject of the student’s choosing. Texts may include works by Isaac Babel, Roberto Bolano, J.M. Coetzee, Martha Collins, Don Delillo, Cornelius Eady, Carolyn Forche, Ha Jin, Herodotus, Henry James, Akira Kurosawa, Rachel Loden, Sigrid Nunez, Michael Ondaatje, Julie Otsuka, Gillo Pontecorvo, Muriel Rukeyser, W.G. Sebald, Joseph Skibell, W.D. Snodgrass, Graham Swift, D.M. Thomas, Thucydides, Natasha Tretheway, David Foster Wallace, Hayden White, C.D. Wright, Marguerite Yourcenar, or others. N.B.: MFA students specializing in any genre are welcome. Writing assignments and final projects may be written in any genre.

 

 

 

 

BEHN—EN 608—004 / CRN: 10464

Documentary Poetics

T / 2 –4:30

EN 608 Documentary Poetics We will explore a variety of poetics and practices in creative documentary writing. Many, but by not all, of our examples will be poetry, but class members are always welcome to write in any genre(s) of their choosing. How, in the face of historical and contemporary narratives, micro or macro, can the writer respond, concerned not with the solitary individual but with community, culture, history, power? What will be our point of view? Our tone, our approach? Shall we be expository, observing, archival, interactive, reflexive? We’ll see examples of these modalities, and of strategies such as collage, narration, monologue, choral speaking, framing, found texts, sampling and extending documents, intercutting, arranging, re-arranging, fictionalizing, staging, transcribing…. How shall we interact with the texts of disadvantaged voices? Multiple voices? To whom are we speaking, and how, and where shall we speak? Can we combine the epic with the lyric? How might we still record the mind-in-action as we respond to what—then, now—is? And how, through all this, might we, in the words of Philip Metres, “confront (our) epistemological limitedness and our position of privilege as text-workers”? Possible readings include Camille Dungy, Tyehimba Jess, Solmaz Sharif, Charles Reznikoff, Muriel Rukeyser, Claudia Rankine, Martha Collins, Layli Long Soldier, H. C. Hix, Public Enemy, James Agee, C.D.Wright, Mark Nowak, Craig Santos Perez, Robert Polito, Tess Taylor, Walt Whitman, Joseph Harrington, Kenneth Goldsmith, Deborah Paradez, M. NourbeSe Philip, Bhanu Kapil, Carolyn Forche, Philip Metres, Richard Wright, Langston Hughes, Gil Scott-Herons, Pablo Neruda, Juliana Spahr, Gayatri Spivak.

 

 

 

STAPLES—EN 608—005 / CRN: NEW

Y A Lit

F/ 9:30 – 11

 

I like it when somebody gets excited about something. It’s nice.—J.D. Salinger, Catcher in the Rye

In this course, we will get excited about the 12-18 set, reading and writing young adult fiction. We will discuss the literary possibilities for the genre, and review subgenres, including adventure, contemporary, dystopia, diaries, and historical—while also considering hybridizing strategies such the inclusion of texts, ads, lists, images, and verse. Readings may include S.E. Hinton’s The Outsiders, M.T. Anderson’s Feed, Julie Bauxbam’s Tell Me Three Things, Jason Reynold’s Long Way Down, and Kevin Waltman’s Slump. 

 

 

 

 

 

ESTES—EN 609—001 / CRN: 14968

CW Pedagogy-200

M / 12:30 – 1:20

This is a course designed to support first-time teachers of EN 200, Introduction to Creative Writing, with a communal space to discuss strategies for effective teaching and creative writing pedagogy.

 

 

 

 

ESTES—EN 609—002 / CRN: NEW

CW Pedagogy-300

F / 12 – 12:50

Creative Writing Pedagogy. This course supports first-time teachers of EN 301, 303, and 305 with a communal space to share classroom strategies, focused on genre-specific writing, the workshop, and the mentoring of others.

 

 

 

BEHN—EN 609—004 / CRN: 16232

Getting Out There

W / 5 – 5:50

Getting Out There: A practical course in two parts. First, getting one’s writing out there: submitting to journals, book contests, and the like. Second, getting one’s self out there on the job market, taking advantage of UA’s resources for non-academic job seekers (we already have an EN 609 on the academic job search, so this is the non-academic complement to that). Give yourself the gift of deadlines and a simpatico group.

 

 

LIU—EN 610—001 / CRN: 12771

Methods for TESOL

T / 2 – 4:30

This course offers an overview of the theoretical bases and practical applications of approaches to Teaching English to Speakers of Other Languages (TESOL). We will cover topics such as the linguistic, psychological and social aspects of second language learning, learner motivation, integrated skills teaching, successful teaching principles and strategies, choosing materials, assessment, culture in the classroom, and technology as a classroom resource.

 

 

 

 

 

 

LIU—EN 612—001 / CRN: 12773

Topics in Applied Linguistics

M / 2 – 4:30

Vocabulary and grammar are arguably the two most important parts in language learning. Using contemporary linguistic theories and approaches, such as cognitive/corpus linguistics and construction/pattern grammar, this course explores effective and creative ways of teaching vocabulary and grammar. Via readings and discussions, the class will gain a sound understanding of the new theories and will use them to ritically examine lexico-grammatical descriptions and teaching practices in existing language textbooks and reference materials. In addition, students will, individually and collectively (in groups), develop lexico-grammatical teaching activities, exercises, assessment instruments, and lesson plans and share them in class.

 

 

 

 

POOLE—EN 617—001 / CRN: 12612

Teaching Academics Writing to Non-native English Speakers

W / 2 – 4:30

This course is a theoretical and pedagogical introduction to the teaching of English academic language skills to adult learners of English with a particular focus on teaching writing in the American university context. We will examine the theories and disciplines that have significantly informed second language writing research and pedagogy. Additionally, we will examine some of the emerging issues in the field of second language writing including such topics as trans lingual practice, identity and politics second language writing, multilingual creativity, and the increasingly multilingual student population at US universities. We will build on this theoretical foundation to develop skills in a variety of pedagogical practices including needs analysis, course design, assignment design, lesson planning, writing assessment, responding to student writing, and error correction.

 

 

 

 

BILWAKESH—EN 640—001 / CRN: 13603

Advanced Studies in American Literature: Herman Melville

T / 2 – 4:30

This course will begin with a thorough reading of Herman Melville’s sixth novel, Moby Dick, and a critical review of its long wake. 2019 marks two hundred years since Melville’s birth, and a hundred years since the critical revival of his work by American modernists, and while those numbers may not mean anything special, they may provide us with a good season to re-evaluate his work and reception while he shows up in popular discourse.

 

In addition to The Whale (1851), we will read his land-based monster, Pierre: or, The Ambiguities (1852), his stories from the mid 1850s, including “Benito Cereno” and “Bartleby, the Scrivener,” his April Fool’s Day trick on the Mississippi, The Confidence-Man: His Masquerade (1857), his volume of poetry following the Civil War, Battle-Pieces and Aspects of the War (1866), and his posthumously published novella Billy Budd, Sailor (1924).

 

In the context of Melville, we will also read Ralph Ellison’s Invisible Man and consider critical and creative work launched in various ways from Melville. Among these other texts that we will read in excerpt: Eve Kosofsky Sedgwick, Epistemology of the Closet; Elizabeth Hardwick, Herman Melville; Charles Olson, Call Me Ishmael; and Edward Said, On Late Style. We will also watch two movies: Querelle (Rainer Fassbinder, 1982) and Beau Travail (Claire Denis 1999).

 

A research project (20-25 pages), with annotated bibliography and oral presentation are required for the course.

 

 

DEUTSCH—EN 643—001 / CRN: 15536

Seminar – 20TH Century American Literature

T / 9:30 – 12

 

Queer Outlaws in 20th Century American Literature: Drag queens, transvestites, hustlers, drug dealers, and lesbian ex-pats, such figures fill the imaginations of queer writers for much of the 20th century. Of course, simply to be queer or to be gender nonconforming was to be marked both legally and metaphorically as an outlaw figure, as someone who lived and often thrived outside the religious, social, medical, and legal conventions of American culture, really up until this day. This course will explore plays, poetry, and novels that depict the lives of such non-homonormative figures, often via works that obtained cult followings and thus managed to influence a wider swathe of American literary narratives. Participants in this seminar, which is not for the faint of heart, must be willing to consider critically points of view with which they might not necessarily agree and settings that they might occasionally find offensive regardless of their own socio-political situation, but which nonetheless engage with vital strands in American literature and history. Together, we’ll examine the art, culture, and contexts of works such as Djuna Barnes’ Nightwood, John Rechy’s City of Night, Amiri Baraka’s Toilet and The Baptism, Leslie Feinberg’s Stone Butch Blues, Essex Hemphill’s Conditions, as well as numerous other works.

 

 

BUCK—EN 652—001 / CRN: NEW

Theories of Teaching Composition

T / 9:45 – 12:15

This course will provide an overview of the major theories and philosophical underpinnings informing the fields of rhetoric/composition studies. We will discuss major assumptions in the field, current pressing debates and more recent theoretical developments as they pertain to the composition classroom and specific pedagogical activities. Required texts may include work by James Berlin, Ann Berthoff, Stephen North, Patricia Bizzell, Lester Faigley, Victor Villanueva, Mary Louise Pratt, Asao Inoue, among others. Oral reports, weekly responses, and a seminar-length research paper will be required.

 

 

 

TEKOBBE—EN 654—001 / CRN: NEW

Digital Rhetoric

R / 2 – 4:30

This seminar focuses on understanding rhetoric in visual and digital texts. This course explores contemporary rhetorical theory connected to visual and digital communication and considers the traditional rhetorical canon (invention, arrangement, style, memory, and delivery) for the digital age. The course readings will explore approaches for analyzing visual and digital texts as well as employing visual and digital methods in rhetoric and composition scholarship. This semester, the course will be engaged with the planning and organizing of the English symposium: Digital Rhetoric/Digital Media in the Post-Truth Age. We will be reading the work of the speakers and facilitating the symposium.

 

 

 

 

McGEE—EN 658—001 / CRN: NEW

History of Rhetoric (II): Renaissance to the Postmodern

W / 9:15 – 11:45

This seminar will investigate rhetorical texts from the Renaissance to the Postmodern era, particularly texts having influence on today’s field of composition. Additionally, this seminar will unpack and consider the impact of “difference” as a factor guiding change in the field of rhetoric and composition. We will continue conversations and readings from Eng 638, specifically with the concept of Rhetoric as “a set of traditions” in mind. You should, in this course, develop an understanding of various techniques used within Rhetoric and Composition and recognize various ways these traditions, frameworks, and/or methods evolve or become manipulated to serve particular purposes over time. We will consider how Rhetoric and Composition came to its current (and contentious) forms.

 

 

 

COOK—EN 661—001 / CRN: NEW

CHAUCER

W / 2 – 4:30

 

Memory and Making in Chaucerian Poetry In this course, you will acquire an easy familiarity with some of Chaucer’s most important poems. You will also gain a historical understanding of memory as it was understood from classical antiquity to the fourteenth century. First, we will study the memory theories of Roman rhetoricians, high medieval schoolmasters and Middle English “makeres” (poem-makers). Next, we will read key works in the Chaucerian canon, discovering the unexpected ways that the idea of memory inflects his representations of everything from the rhetoric of violence to the gender dynamics of mourning. In Middle English, we will read Chaucer’s The Book of the Duchess, The House of Fame, and selections from The Canterbury Tales. We will supplement our study of primary texts with criticism by Mary Carruthers, Marjorie Woods, Frances Yates, A. J. Minnis, Rita Copeland, Jody Enders, and Aranye Fradenburg.

 

 

 

DOWD—EN 667—001 / CRN: NEW

Shakespeare in Performance Practicum

M / 2 – 4:30

This course asks students to think about how scholars, directors, and actors interact with, transform, and reimagine early modern playtexts when they bring them to the stage or screen. Toward that end, we will work with Professor Steve Burch of the Theater department to develop our skill at reading a playtext as a performance script. Texts and performances to be discussed will likely include Shakespeare’s The Winter’s Tale and The Comedy of Errors, and Middleton’s The Changeling, among others. We will also read several works of scholarship by early modern theater historians.

 

 

WEISS—EN 674—001 / CRN: NEW

Seminar in 18TH Century Literature

T R / 11 – 12:15

Women and the Rise of the Novel The most important theorists of the origins of the English novel pay scant attention to the role of women, either as characters or authors, in the genre’s development. The English novel began, however, with late seventeenth-century amatory fictions, which were largely written by women and had as their focus issues of gender and sexuality. Even Daniel Defoe, famous now for that quintessentially male novel Robinson Crusoe (in which the most significant female characters are goats) impersonated a woman in the first-person confessional Moll Flanders. And while mid-century authors such as Henry Fielding and Laurence Sterne were certainly interested in stories about men, the blockbuster novels of Samuel Richardson featured heroines whose experiences captivated the reading public. Like Defoe, Richardson explored female experience through impersonating his heroines, writing as Pamela and Clarissa. At the end of the eighteenth century, women so dominated the novel as readers and writers that it came to be seen as a female genre. And despite the inevitable disdain for such a gendered genre (see Jane Austen’s defense of the novel in Northanger Abbey), late-century authors such as Frances Burney, Ann Radcliffe, and Maria Edgeworth garnered such respect from critics that they helped transform the novel into the preeminent vehicle for moral, social, and psychological exploration in the nineteenth century. In this course, we will read theories of origins of the novel against the emphasis on the female experience in fictions of the long eighteenth century, thereby bringing gender and genre history into fruitful communication. Historians and theorists of the novel will include Ian Watt, Michael McKeon, Paul Hunter, Franco Moretti, and Nancy Armstrong. Novelists will include some (but certainly not all) of the following: Aphra Behn, Eliza Heywood, Samuel Richardson, Charlotte Lennox, Charlotte Smith, Frances Burney, Maria Edgeworth, and Ann Radcliffe.

 

 

 

IHEKA—EN 693—001 / CRN: NEW

Seminar in Postcolonial Literature & Theory

R / 2 – 4:30

The course is interested in areas of the Global South where histories of colonialism, conquest, and globalization have fundamentally altered the local environments. Our explorations will be particularly concerned with the representations of non-western ecologies in literary narratives. Some of the environmental questions that these texts examine include pollution caused by extractive industries such as in the Niger Delta. Others are the questions of the nonhumans in these spaces and the environmental change brought about by development. Through close readings informed by specific contexts of emanation, we will examine texts by Zakes Mda, Bessie Head, Amitav Ghosh, Jamaica Kincaid, among others. In addition to an interest in these environmental problems, the course will be concerned with the narrative strategies employed by these authors to illuminate their thematic concerns. We will begin by engaging with the question of postcolonial literature and its parameters, and return to these throughout the semester as we read the primary texts

 

 

 Non-Thesis Research—EN 598

 

CRN: 14003 – McNaughton: DGS

CRN: 14004 – Wells: CW

CRN:  NEW –   Liu: TESOL

CRN:  NEW   – Dayton: CRES/STRODE                    

 

Thesis Research—EN 599

 

CRN: 10907 – McNaughton: DGS

CRN: 12032 – Wells: CW

CRN: 15534 – Liu: TESOL

CRN: NEW — Dayton: CRES/STRODE

 

 

 

 

 

 

 

 

 

Fall 2018

EN 500-001: Special Topics in Linguistics: Language and Culture

Dorothy Worden
CRN: 47647
M 2-4:30pm

This course focuses on the relationship between language and culture as it is conceptualized and studied in the field of linguistics. Topics will include the historical division of language and culture in linguistics and the relationship between language, culture, and cognition. Special attention will be paid to the implications of culture for language and literacy teaching.

EN 500-002: “Transfeminisms”

Jennifer Purvis
CRN: 48342 (X-L: WS 525)
W 2-4:30pm

Part I in a Women’s Studies course sequence, this course establishes a baseline of knowledge of feminist theory in order to prepare students for the study of contemporary feminist theory in WS 530. Students may enroll in either course, or both. This course does not serve as a prerequisite to Part II in the sequence. “Transfeminisms” takes as its starting point the premise that feminist theory is always-already trans- and embarks on analyses of critical debates within feminist theory concerning sex, gender, subjectivities, epistemologies, power, bodies, politics, and the field of Women’s and Gender Studies. Much like the term, Queer, Trans- signifies plural locations and non-binary conceptions of bodies and identifications. Like Queer, it challenges the fixity of meaning and narratives of linear progression. The subject of this course, trans- and transfeminisms is not simply a trans-cognizant and trans-inclusive approach to feminist theory. This course examines key moments in the trans-ing of feminism and its constitutive categories and modes of analysis, including the category, woman, which can be traced back to Sojourner Truth’s “Ain’t I a Woman?” speech and other early feminist interventions that interrogate the category, “woman” and linked with contemporary transgender theorists, such as Susan Stryker, Jay Prosser, Jack Halberstam, and Gayle Salamon. Despite misguided attempts to separate feminism from transgender theory, or trans- from queer theory, this course explores the assertion that the most politically efficacious forms of feminism are always-already trans. This course investigates what we mean by Transfeminisms, examines not only Transgender Theory but the trans-ing of categories; it extends Trans- and Trans-feminist approaches to transnational, transcultural, transspecies, and transgenerational theories and politics, which generates new methodologies, new modes of gendered subjectivity, new discourses, and new lines of inquiry that promote structural transformation. (Prerequisites: None)

EN 523-001: History of the English Language

Catherine Davies
CRN: 44862 (X-L: EN 423-001, CRN 47504. Cap 10/15)
11:00am-12:15pm

This course considers questions such as the following: Why does Southern English have to propose “y’all” for a plural “you”? And while we’re at it, what happened to “thou”? What’s the deal with the subjunctive? How did Scandinavian pronouns (they, their, them) creep into English? Why can’t we ask “Have you not heard?” without sounding weird? Since the momentous event in 1066 was called “the Norman Conquest,” why aren’t we speaking French instead of English? Who decided that we can’t say “Ain’t nothin’ like ‘em nowhere” in standardized English? What’s going on with, like, quotatives, “and he was like….!”? Why can’t everybody open their book? How is English being affected by globalization and the internet? The course is an introduction to the external history of the English language along with the study of the accompanying internal changes in structure. It begins by peering back through the mists of history by means of linguistic tools that allow us to reconstruct what the original language in our “family” was like. Then we will track changes in English through its close encounters with other languages (most notably the Celtic languages, Old Norse, and French), through attempts at standardization, through the effects of globalization, to its diverse contemporary forms. For English majors the course should provide a basis for understanding the evolution of English grammar, pronunciation, and spelling as a background for studying English literature. The course examines the development of English from two perspectives: its outer history (i.e., the sociohistorical, cultural, and political forces that have helped shape the language) and its inner history (the phonological, grammatical, and lexical changes that have taken place). In addition, it looks at some general principles of language change and relates them to specific developments in English. By the end of the course you should understand why the English language is the way it is and be able to predict how it may change.

EN 524-001: English Structure and Usage

Dilin Liu
CRN: 42053 (X-L: EN 424-001, CRN 43897. Cap 10/15)
TR 12:30-1:45pm

This advanced grammar course examines the structure and usage of the English language, including morphology (word formation/structure), syntax (the patterns of sentences), and discourse (the context in which utterances are patterned and made meaningful). We will review both traditional and contemporary approaches to English grammar, such as cognitive grammar, construction grammar, lexicogrammar, pattern grammar, and systemic functional grammar. Through reading, research projects, and discussion, students will attain a solid understanding of the English language’s structure and usage. Writing proficiency within this discipline is required for a passing grade in this course.

EN 529: Directed Readings

CRN: 47649
529- 001 Alex Cook
529-002 Kellie Wells

EN 533: Practicum in Teaching College English 102

Various instructors
TR 12:30-1:30pm

This is offered Spring semester ONLY and is required for all Graduate Assistants teaching EN 102 for the first time. Training is offered to reach EN 102 course goals and writing outcomes. Further instruction in teaching formal argumentation and advanced research techniques.

  • 533 – 001 / CRN#: 41597 Luke Niiler 534 – 101 / CRN#
  • 533 – 002 / CRN#: 43352 Jessica Kidd 534 –102 / CRN#
  • 533 – 003 / CRN#: 43353 Brooke Champagne 534 – 103 / CRN#
  • 533 – 004 / CRN#: 44869 Natalie Loper 534 – 104 / CRN#

Students must simultaneously register for Thursday session with same lecture instructor.

EN 537-001: Introduction to Graduate Studies

Michelle Dowd
CRN: 42874
TR 9:30am-12:00pm

This course is a study of selected bibliographical resources and of some of the important methodological approaches employed in literary study, including an introduction to critical approaches, scholarly writing, and issues in the profession. Intended as an introductory course for new graduate students, EN 537 takes a broad focus in order to facilitate engagement with the material, theoretical, and practical aspects of literary studies. Along the way, we will consider topics related to the current state of the field and the profession.

EN 539-001: Approaches to Teaching Sophomore EN Survey

Albert Pionke
CRN: 44782 (X-L 609-003)
T 12:30-1:30pm

This course is required for all GTAs assigned to teach a 200-level EN survey for the first time. It may be taken concurrently with or in advance of teaching one’s first literature survey, and is typically taken by Ph.D. students in their second year of coursework and by MFA students in their third year of coursework (all, however, are welcome). We will divide our time among logistical topics like syllabus design, daily lesson plans, and appropriate writing prompts; while also devoting our collective energies to unraveling the daily mysteries of those concurrently teaching literature for the first time. Sympathetic identification, sage advice, and esprit de corps, hopefully with a minimum of sententiousness, awaits. A grade of “pass” is required for students to teach literature courses in the department of English.

Non-Thesis Research

  • EN 598-001: 44377, All Literature/CRES/Strode, James McNaughton
  • EN 598-002: 44378, All Creative Writing, Kellie Wells
  • EN 598-003: 44379, All TESOL, Dilin Liu
  • EN 598-004: 47650, Staff

Thesis Research

  • EN 599-001: 41505 All Literature/CRES/Strode, James McNaughton
  • EN 599-002: 41506, All Creative Writing, Kellie Wells
  • EN 599-003: 41507, All TESOL, Dilin Liu
  • EN 599-004: 7988, Staff

EN 601-001: Graduate Fiction Workshop

Michael Martone
CRN: 41400
M 10:00am-12:30pm

This will be a Hypoxic Prose Workshop

EN 603-001: Graduate Poetry Workshop

Joel Brouwer
CRN: 43844
R 2:00-4:30pm

This is a workshop course, and the majority of our time will be spent discussing the poems you write. However, on the theory that lively reading can aid and abet lively writing, we will also read and discuss poetry and criticism by others. This course is open to any MFA student.

EN 605-001: Nonfiction Workshop

Hali Felt
CRN: 45999
M 2-4:30pm

In this workshop, your goal will be to understand how you make decisions while writing nonfiction. Where is your ego appearing on the page? How are you contorting your writing around a piece of missing research? And what’s truly the best approach to the story? You’ll learn to understand the positive and negative accommodations you’re making for yourself, develop the discipline it takes to keep writing through earthquakes (or even parties), and have a record to return to when memory fails. To get there, you’ll read published works, submit a substantial amount of nonfiction, reflect upon your process, and offer feedback to your peers.

EN 608-001: Varieties of Prose Narrative

Wendy Rawlings
CRN: 41401
R 2-4:30pm

In this course we will explore texts that trouble or expand our definition and understanding of generic conventions. Some of the questions we’ll ask include: What constitutes fiction? Nonfiction? Memoir? How do writers use or bend these expectations in order to explore questions of identity or challenge our reading practices? How does the structure of a narrative influence or shape our readings? Why have so many contemporary writers felt compelled to redefine, expand, or push the boundaries of genre? Possible texts include work by Andy Warhol, Claudia Rankine, Rebecca Solnit, David Shields, & others.

EN 608-002: Writers Writing Together

Robin Behn
CRN: 41405
W 2-4:30pm

We will read, read about, and be inspired by the practices and fruits of writers working with other writers. Things we may explore include everything from writers gathering in the same space (Romantic poets’ ramblings, Algonquin Hotel, Monarch Espresso Bar), long-standing writers groups, writers at colonies (Yaddo, Ragdale), writing collectives (Dark Room Collective, Cave Canem, Muslim Writers Collective, Belladonna…), groups with games and prompts (Oulipo, Dada, CWC) to online spaces and apps for community and collaboration (NaNoWriMo, Reddit Writers Group). We’ll try out methods of collaborating with existing texts (erasure, intercutting, borrowing of elements, response, rejoinder, extension, beginnings, forms, etc.), and actively collaborate with living writers—ourselves and others farther afield—in lots of ways, both in-the-moment and stretched out over time (tankas, various “corpses,” interchanging chapters, poems, paragraphs/lines/words/elements, assigned writerly tasks, letters, research finds, etc.). We’ll read (and, when possible, Skype) current collaborating writers. Poets, fiction writers, non-fiction writers, comic creators: everyone is most welcome. Possible authors/texts include Maureen Seaton and Denise Duhamel, John Ashbery and James Schuyler, Terry Patchett and Neil Gaiman, Twain/Dudley, Dumas, Ntozake Shange and Ifa Bayeze, Groo the Wanderer, John Green and David Levithan, Marc Aronson And Marina Budhos, Jason Reynolds and Brendan Kiely, A Million Penguins, Joshua Beckman and Matthew Rohrer, and other texts suggested by the group.

EN 608-003: All in the (Queer) Family

Hali Felt
CRN: 42986
T 2-4:30pm

Queer folks have long been creating their own family structures, so in this class we’ll read and watch recent texts in which authors create, imagine, and analyze their chosen families. We’ll imagine new definitions for old roles, and write our way toward understanding how we choose and how we let go. Possible texts include: The Essential Dykes to Watch Out for, The First Bad Man, The Argonauts, Trace Elements of Random Tea Parties, Jam on the Vine, Under the Udala Trees, Returning to Reims, and Transparent.

EN 608-004: Forms: Ecopoetics

Heidi Staples
CRN: 47652
F 11:00am-1:45pm

In 2001, poet Jonathan Skinner launched the journal Ecopoetics, responding to our era of environmental crisis and signaling the arrival of what may come to be seen as the most significant poetic influence of our time. Ecopoetic writing and ecopoetic praxis provide a means for addressing ecological concerns at the radically local site of the shared lexicon and the metaphorical complex therein that situates the human in relation to the nonhuman. In this course, we will engage this contemporary emergenc[e/y]. We will read and write works that seek to reinvent the language, refusing resignation for a sense of possibility, for linguistic innovation and intervention, for new forms of consciousness. Assignments will include discussion facilitation, writing and sharing of creative pieces, field writings, and a final public reading. Readings may include Ecopoetics I, Jonathan Skinner; How2: Ecopoetics Feature; Ecopoetics Conference selections; Black Nature, Camille Dungy; Second Nature, Jack Collom; The Ecological Thought, Timothy Morton. A field trip to give a class reading in October as part of Dauphin Island Sealab’s first annual Artslab has been tentatively scheduled with the festival’s administrators and will be discussed.

EN 608-320: The Elegy

Lamar Wilson
CRN: 44785
T 5-7:30pm

“It does many things. It distracts the poet, at least momentarily, from a state of exquisite grief,” Mary Jo Bang says of the elegy, one of the most ancient forms in the poetic tradition, which gave her fifth collection, written in the wake of her son’s death, its name. This form has evolved from mournful verses of Greco-Roman couplets that follow a strict pentameter and hexameter pattern to a more nebulous, all-encompassing term for the mode of writing that responds to the death of a person or a group. This semester, we will focus on the evolution of this form from the 20th-century modern era in the West, dating to Rainer Marie Rilke’s Duinos Elegies, to the present day. We will examine critically this form’s masculinist roots and the ways women, people of color, LGBTQ writers, and others have pushed the elegy’s boundaries of expressing lament for those lost, praise for the departed, and consolation for those left behind. We will discuss essays on the form by poets and critics alike, including those of Peter Sacks, Roland Barthes, Jacques Derrida, Fred Moten, and Carl Phillips. We will examine poets’ ways interrogating the divine, questioning belief itself, and finding something (or someone) to live for amid staggering loss as we write through our own personal valence on grief.

EN 609-001: Creative Writing Pedagogy

John Estes
CRN: 44591
M 12:30-1:20pm

This is a course designed to support first-time teachers of EN 200, Introduction to Creative Writing, with a communal space to discuss strategies for effective teaching and creative writing pedagogy.

EN 609-002: “The Art of…”: A Multi-Generic Journey

Lamar Wilson
CRN: 46000
T 11-11:50am

We will read & discuss some key titles from the Graywolf Press series, including Carl Phillips’s “Daring,” Edwidge Danticat’s “Death,” James Longenbach’s ‘The Poetic Line,” Mark Doty’s “Description,” D’Erasmo’s “Intimacy,” Christopher Bram’s “History,” Ellen Bryant Voigt’s “Syntax,” Dean Young’s “Recklessness,” and Sven Birkert’s “Time in Memoir.”

EN 609-003: Writers at Work: Form, Theory, Practice

Albert Pionke
CRN: 45997 (X-L: 539-001)
T 12:30-1:30pm

This course is required for all GTAs assigned to teach a 200-level EN survey for the first time. It may be taken concurrently with or in advance of teaching one’s first literature survey, and is typically taken by Ph.D. students in their second year of coursework and by MFA students in their third year of coursework. We will divide our time among logistical topics like syllabus design, daily lesson plans, and appropriate writing prompts; while also devoting our collective energies to unraveling the daily mysteries of those concurrently teaching literature for the first time. Sympathetic identification, sage advice, and esprit de corps, hopefully with a minimum of sententiousness, awaits. A grade of “pass” is required for students to teach literature courses in the department of English.

EN 609-004: Forms: Special Topics

John Estes
CRN: 44380
F 12-1:00pm

Creative Writing Pedagogy. This course supports first-time teachers of EN 301, 303, and 305 with a communal space to share classroom strategies, focused on genre-specific writing, the workshop and the mentoring of others.

EN 609-320: The Academic Job Market

Kellie Wells
CRN: 44785
M 5-5:50pm

This course is devoted to educating you about and preparing you for the academic job market. Letters of application, CVs, dossiers, writing samples, teaching philosophies, interviews, these are the things that will be discussed, practiced, and demystified (somewhat) by this course.

EN 612-001: Technologies for Second/Foreign Language Teaching and Learning

R. Poole
CRN: 46001
T 2-4:30pm

This graduate seminar explores theory and pedagogical application of various technologies for second/foreign language education. The course will survey research in computer-assisted language learning (CALL) and technology-enhanced language learning (TELL) with a particular focus on corpora and corpus-based tools, digital games, chat and computer-mediated communication (CMC), and social media.

EN 613-001: Second Language Development

Dilin Liu
CRN: 42988
W 2-4:30pm

This course explores issues and theories about second language development. It focuses on the study of learner language; language learning process; biological, psychological, and social factors affecting the process; and the role of formal instruction in second language development. Where relevant, first, third, and fourth language development issues will also be addressed.

EN 620-001: English Linguistics

Catherine Davies
CRN: 44786
TR 2-3:15pm

An introductory linguistics course at the graduate level with relevance for students in the Applied Linguistics/TESOL, literature, composition and rhetoric, and MFA programs, EN 620 provides an overview of the discipline at the same time that it involves students in dealing with language data from fieldwork. In addition to a midterm and final exam, students engage in various activities including a class project that is a multi-faceted discourse analysis of spoken English data through the examination of a story recorded in conversation. Each student will also learn how to construct a website with basic information about a language chosen by the student. In addition to providing experience with the subfields of linguistics (phonology, semantics, syntax, pragmatics), the course includes an introduction to the thought of two key figures in modern linguistics, Ferdinand de Saussure and Noam Chomsky, whose ideas have had wide-ranging influence on intellectual trends in other disciplines.

EN 630-001: Directed Readings

Various instructors and times
CRN: 41508

Details forthcoming

EN 635-001: Seminar in Literary Criticism

C. Iheka
CRN: 47653
R 2-4:30pm

What is postcolonialism? Is it even possible to define this term? How can we locate it temporally? In other words, when does it start and has it ended? What spatial areas are covered by the term? These are some of the overarching questions that will guide our readings and class selection in this course. We will explore the various definitions of the term and critiques of the idea of the postcolonial as a conceptual category. Our readings and discussions will also consider recent explorations in the field as it pertains to globalization and new critical approaches such as ecocriticism. Readings will include the works of Frantz Fanon, Aime Cesaire, Anthony Appiah, Anne McClintock, Benita Parry, Jennifer Wenzel, Edward Said, Homi Bhabha, and Gayatri Spivak.

EN 637-001: Workshop in Academic Writing

Heather White
CRN: 45390
T 9:30am-12:00pm

The purpose of this class is to shape a piece of each student’s critical writing into publishable form. To this end the class will be run as a workshop, with the students’ own writing as our primary material. On days when we focus on a single student’s essay, another class member will be assigned to present that essay to the class, by identifying its thesis, describing its situation in a larger critical field, and outlining its argument. At other times students will be asked to bring in pieces of their essays for more intense focus. At the end of the class each student will submit his or her essay to a refereed journal.

EN 639-001: Special Topics in Rhetoric and Composition

Amy Dayton
CRN: 47654
W 10-12:30pm

“Literacy and Democracy.” This course will examine the intersections of literacy, democracy, and social class, focusing on how literacy serves as a tool for fostering civic engagement, political activism, and at times, social control. Our texts will include studies of formal and informal educational settings (schools, colleges, adult education programs). We will look at public beliefs about literacy and examine the notion of “popular literacy,” considering everyday uses of language. Finally, we will consider pedagogical approaches that foster civic literacy. Our readings will include foundational studies of literacy as well as new and emerging research.

EN 639-002: Indigenous Rhetorics & Methodologies

Cindy Tekkobe
CRN: 47655
R 2-4:30pm

This graduate seminar examines the rhetorics of indigenous groups of the Americas to determine where such rhetorics are culturally situated, what characterizes these practices, and how these practices work in concert with or in opposition to modern indigenous identities both in native contexts and in popular imagination. Beginning with a brief look at the fields of cultural rhetorics and whiteness, we will expand our reading, writing, and scholarly practices to understand and incorporate indigenous feminisms, survivance, ethics, and research methodologies. Among the authors we may read are: Damian Baca, Victor Villanueva, Lisa King, Malea Powell, Rebecca Tsosie, Kim Andreson, Qwo-Li Driskill, Joyce Rain Anderson, Angela Haas, Sundy Wantanabe, Robin Wall Kimmerer, Linda Tuhiwai Smith, Margaret Kovach, and Krista Ratcliffe. Course Objectives: 1) define and describe whiteness, cultural rhetorics, indigenous rhetorics, indigenous feminisms, indigenous survivance, and indigenous methodologies; 2) connect and situate indigenous rhetorics within larger body of rhetorical studies; 3) identify indigenous rhetorical practices and synthesize them in coursework; 4) identify indigenous research methods and synthesize them in coursework; 5) articulate opportunities for indigenous rhetorics in writing, speaking, and research pedagogies.

EN 640-001: Special Topics Seminar in American Literature: dirty souths

Andy Crank
CRN: 47656
T 3:30-6:00pm

In a recent article in The New Yorker, George Packer concludes that the South’s contemporary political identity has been hijacked by a self-defeating, dogged isolation and stubborn nostalgia — reactionary perspectives that Packer finds indicative of the South’s place as “America’s colonial backwater.” Colonial readings aside, one could make the argument that visions of the South frequently reference tropes of dirt: the region is disposable, unnecessary; its people poor, illiterate “trash”; its customs and traditions worthless and backwards; its “toxic” food consisting of processed garbage; its cultural achievements middling and superfluous. This course will examine southern “dirt” as a framing device for reading (or asserting) an authentic South; we will examine literary and cultural texts (such as cookbooks, manifestos, and films) in order to understand various constructions of the disposable South in contemporary culture (The Queer South, the PostSouth, the Dirty South, the New South, etc.) We’ll also be interested in “disposable” southern identities and how they dialogue with issues of abjection, poverty, queerness, gender, segregation, race, and empire.

EN 653-001: Research Methodology

CRES Hire
CRN: 47657
TBA 2-4:30pm

This course will introduce students to the basic methods for research in composition studies and related fields. It covers each aspect of the research process: identifying a research question, reviewing literature in the field, choosing a methodology, gathering and analyzing data, and writing up/presenting results. Topics covered include qualitative methods such as case studies, interviewing, ethnography and autoethnography, as well as teacher research (sometimes called action research) and programmatic research. It may also cover quantitative methods such sampling/surveys, prediction studies, true or quasi experiments, and meta-analysis. They course will also introduce students to the ethical and institutional dimensions of empirical research, including selecting and working with human subjects and working with IRBs (institutional review boards). It is required for all CRES PhD students and strongly recommended for CRES MA students.

EN 665-001: Seminar in Renaissance Literature I

E. Wilson
CRN: 47658
F 3:30-6:00pm

If Shakespeare was the best, who were the rest? This course immerses students in the lively friendships and bitter rivalries among the network of dramatists who revolutionized the English stage in the age of Shakespeare. We will experience the roar of the greasepaint and the smell of the populous crowd of playwrights jockeying with Shakespeare for glory on the early modern stage. From famed rivalries with Christopher Marlowe and Ben Jonson, to competitive co-writers Middleton and Fletcher, to nextgeneration upstarts with bloodthirsty ideals like Webster and Ford, the semester will allow us to experience Shakespeare and his competition. The course will culminate in a conference presentation of concise research papers about our authors, and during the semester there will be weekly opportunities to get together and to read our plays or parts of our plays aloud to gain a first-hand sense of their performative qualities, challenges, and thrills. At the end of the course, students will have a conferencelength paper in hand to take on to other venues, and to prepare them for professional writing in the field, and throughout, support will be provided to guide everyone through the nuanced and exacting process of early modern research, particularly in terms of engaging with primary texts and historical sources. Welcome to La-La Land, circa 1631.

EN 666-001: Seminar in Renaissance Literature II: Piracy, Slavery, And Cannibalism: The Countercultures of Early Atlantic Literature

Cassie Smith
CRN: 47659
W 2-4:30pm

Perhaps no counterculture in world history stimulates the modern imagination more than does piracy. From the recent series Black Sails on the cable network Starz and the ever-popular Disney franchise Pirates of the Caribbean to modern-day pirates attacking vessels off the coast of Somalia, images of pirate culture abound. This course, then, asks you to draw relationships between our modern-day fascination with pirates and some of the original manifestations of piracy, focusing especially on piracy in the British Caribbean in the 16th through 18th centuries. In the course, students will interrogate questions such as the following: Who were the real pirates of the Caribbean and how did they differ from buccaneers and privateers? What place did they occupy in early British and American social circles? What made theirs a “counter” culture? Why, today, do we have such a fascination with this historical counterculture? Today, popular forms of piracy include downloading music and movies and hijacking planes and other structures. How, then, do space, place, and product determine the contours of piracy? In addition, we will establish parallels among piracy and cannibalism and slavery. We will explore the three categories of identity to determine points of intersection and think about how and why these three groups were popular villains and monsters in the narratives of an early Atlantic world. The course will be of particular interest for those students working in British Renaissance, early American, and early African American literary studies. Readings will include Sir Francis Drake’s sea narratives, Shakespeare’s The Tempest, Defoe’s Robinson Crusoe, the anonymous Female American, Equiano’s Interesting Narrative, Behn’s Oroonoko, and Stevenson’s Treasure Island.

EN 683-001: Seminar in Romantic Literature

Stephen Tedeschi
CRN: 45392
M 2-4:30pm

The Shelleys and Regency Print Production At the beginning of the Regency in Britain, the technology and practices of printing still closely resembled the technologies and practices of the last few centuries, and the cultural logic of print as a mode of textual production and reproduction and as a medium of communication were long familiar. The social, cultural, and political conditions determining the application print, however, were changing radically in a period marked by rapid expansion of a popular reading market, reactionary restrictions on political publication, and intensifying commercialization of the literary field. The course examines the ways in which Percy and Mary Shelley negotiated in practice with these conditions of print production and represented them in their works. The readings center on writings from their time in Italy from 1818 to 1822, when both Percy and Mary were interested in the world of late medieval Italian literature and society, significantly, a world of manuscripts, superstition, and faltering republics. Primary readings will likely include Mary Shelley’s History of a Six Weeks’ Tour and Valperga and Percy Shelley’s Prometheus Unbound, The Cenci, Epipsychidion, Adonais, A Defence of Poetry, and The Triumph of Life. Critical and theoretical readings will likely feature selections from recent work on literature and print during the Romantic period, including the Multigraph Collective’s Interacting with Print (2017), and during the English Renaissance, including Johnson’s Made Flesh (2014), and from specialists in historical poetics, such as Richard Bradford and Donald Wesling.

EN 698-001: Non-Dissertation Research

Staff
CRN: 41509

EN 699-001: Dissertation Research

Staff
CRN: 41511

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