Spring 2025 Class Schedule
**Meeting days and times may be subject to change.**
Click on a course title to view the description.
Course | Title | Instructor | Day/Time | |
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English 200 | Literary Histories: Literature and Energy Through the Ages (Historical Breadth Pre 1830) | Narayan | MW 2-3:20 | |
English 200 Literary Histories: Literature and Energy Through the Ages (Historical Breadth Pre 1830)Course Description: This course explores the way literary writers have imagined “energy” in all its manifestations from the life force that moves human and animal bodies and the motive power derived from fossil fuels to human attributes like efficiency and productivity. We will consider how classical thinkers like Aristotle and Epicurus, early Modern ones like Cavendish and Shakespeare, and modern ones ranging from Charles Dickens to productivity vloggers on Youtube use “energy” as a metaphor to name a variety of dynamics, including those of race, gender, class, empire, nature, and god. Reading literary texts alongside a social history of science, we’ll ask: how does the science of energy make its way through literature into our imaginations about work? Through what literary maneuvers and historical conditions have we come to imagine work and productivity as ultimately good? What political horizons emerge when we argue that writing about energy negotiates the complex acts of doing work, forcing work, shirking work, and refusing to work? Teaching Method: Discussion. | ||||
English 202 | Introduction to Creative Writing | Taveras | WF 9:30-10:50 | |
English 202 Introduction to Creative WritingCourse Description: This course will introduce students to the major elements and tools of poetry, fiction, and creative nonfiction writing. Through exercises and projects, you’ll practice using these tools to produce original, exciting works of literary art. Along the way, you’ll sharpen your ability to track these elements both in published texts and in the work of your classmates, and further develop how you measure aesthetic value. You’ll be encouraged to see yourself as an active member of a community of artists, and to establish a regular discipline as a working writer. Writing and reading will be due in nearly every class, and peer workshop will play an important role in learning to see your work more objectively. Teaching Methods: Discussion. Evaluation Methods: Evaluation of a final portfolio. Texts include: A course reader. | ||||
English 206 | Reading and Writing Poetry | Curdy | MW 12:30-1:50 | |
English 206 Reading and Writing Poetry[Prerequisite to English Major in Writing] Course Description: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic. Creative work will be assigned in the form of poems and revisions; analytic writing will be assigned in the form of critiques of other class members’ poems. A scansion exercise will be given early on. All of these exercises, creative and expository, as well as the required readings from the anthology, are designed to help students increase their understanding of poetry rapidly and profoundly; the more wholehearted students’ participation, the more they will learn from the course. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student poems. Evaluation Method: Evidence given in written work and class participation of students’ understanding of poetry; improvement will count for a great deal in estimating achievement. Texts include: An anthology, a critical guide, a 206 Reader prepared by the instructor, and the work of other students. Prerequisites:
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English 206 | Reading and Writing Poetry | Webster | TTh 9:30-10:50 | |
English 206 Reading and Writing Poetry[Prerequisite to English Major in Writing] Course Description: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic. Creative work will be assigned in the form of poems and revisions; analytic writing will be assigned in the form of critiques of other class members’ poems. A scansion exercise will be given early on. All of these exercises, creative and expository, as well as the required readings from the anthology, are designed to help students increase their understanding of poetry rapidly and profoundly; the more wholehearted students’ participation, the more they will learn from the course. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student poems. Evaluation Method: Evidence given in written work and class participation of students’ understanding of poetry; improvement will count for a great deal in estimating achievement. Texts include: An anthology, a critical guide, a 206 Reader prepared by the instructor, and the work of other students. Prerequisites:
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English 206 | Reading and Writing Poetry | Barcelona | TTh 12:30-1:50 | |
English 206 Reading and Writing Poetry[Prerequisite to English Major in Writing] Course Description: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic. Creative work will be assigned in the form of poems and revisions; analytic writing will be assigned in the form of critiques of other class members’ poems. A scansion exercise will be given early on. All of these exercises, creative and expository, as well as the required readings from the anthology, are designed to help students increase their understanding of poetry rapidly and profoundly; the more wholehearted students’ participation, the more they will learn from the course. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student poems. Evaluation Method: Evidence given in written work and class participation of students’ understanding of poetry; improvement will count for a great deal in estimating achievement. Texts include: An anthology, a critical guide, a 206 Reader prepared by the instructor, and the work of other students. Prerequisites:
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English 207 | Reading and Writing Fiction | Sears | MW 9:30-10:50 | |
English 207 Reading and Writing FictionCourse Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and distance to shape their art. Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique. Teaching Method: Discussion of readings and principles; workshop of student drafts. Evaluation Method: Evidence given in written work and class participation of students’ growing understanding of fiction; improvement will count for a great deal in estimating achievement. Texts include: Selected short stories, essays on craft, and the work of the other students. Prerequisites:
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English 207 | Reading and Writing Fiction | Seliy | MW 12:30-1:50 | |
English 207 Reading and Writing FictionCourse Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and distance to shape their art. Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique. Teaching Method: Discussion of readings and principles; workshop of student drafts. Evaluation Method: Evidence given in written work and class participation of students’ growing understanding of fiction; improvement will count for a great deal in estimating achievement. Texts include: Selected short stories, essays on craft, and the work of the other students. Prerequisites:
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English 207 | Reading and Writing Fiction | Seliy | MW 3:30-4:50 | |
English 207 Reading and Writing FictionCourse Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and distance to shape their art. Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique. Teaching Method: Discussion of readings and principles; workshop of student drafts. Evaluation Method: Evidence given in written work and class participation of students’ growing understanding of fiction; improvement will count for a great deal in estimating achievement. Texts include: Selected short stories, essays on craft, and the work of the other students. Prerequisites:
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English 207 | Reading and Writing Fiction | Scanlon | TTh 12:30-1:50 | |
English 207 Reading and Writing FictionCourse Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and distance to shape their art. Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique. Teaching Method: Discussion of readings and principles; workshop of student drafts. Evaluation Method: Evidence given in written work and class participation of students’ growing understanding of fiction; improvement will count for a great deal in estimating achievement. Texts include: Selected short stories, essays on craft, and the work of the other students. Prerequisites:
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English 208 | Reading and Writing Creative Nonfiction | Bresland | TTh 9:30-10:50 | |
English 208 Reading and Writing Creative NonfictionCourse Description: An introduction to some of the many possible voices, styles, and structures of the creative essay. Students will read from the full aesthetic breadth of the essay, including memoir, meditation, lyric essay, and literary journalism. Discussions will address how the essay creates an artistic space distinct from the worlds of poetry and fiction, and how truth and fact function within creative nonfiction. Students will be asked to analyze the readings closely, and to write six short essays based on imitations of the style, structure, syntax, and narrative devices found in the readings. Students can also expect to do some brief writing exercises and at least one revision. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student work. Prerequisites:
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English 208 | Reading and Writing Creative Nonfiction | Bresland | TTh 2-3:20 | |
English 208 Reading and Writing Creative NonfictionCourse Description: An introduction to some of the many possible voices, styles, and structures of the creative essay. Students will read from the full aesthetic breadth of the essay, including memoir, meditation, lyric essay, and literary journalism. Discussions will address how the essay creates an artistic space distinct from the worlds of poetry and fiction, and how truth and fact function within creative nonfiction. Students will be asked to analyze the readings closely, and to write six short essays based on imitations of the style, structure, syntax, and narrative devices found in the readings. Students can also expect to do some brief writing exercises and at least one revision. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student work. Prerequisites:
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English 210-1 | British Literary Traditions, Part 1 (Historical Breadth Pre 1830) | Thompson | TTh 11-12:20, plus discussion section | |
English 210-1 British Literary Traditions, Part 1 (Historical Breadth Pre 1830)Course Description: This class surveys major texts in the development of English literature from the epic Beowulf (c. 750 – 950) to Olaudah Equiano’s Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1788). A central goal of the class is to develop tools for approaching literary texts as creative expressions as well as challenging reflections on society, power, knowledge, and difference. The millennium-long sweep of English 210 will help us approach literature not as escapist leisure but as social thought expressed in new representational modes. We will pay special attention to the role of transoceanic travel, exploitation, and mercantile capitalist trade in the development of English literary forms. At a time of unprecedented encounters with other peoples and places, how did English literary forms represent—and contest—these new realities? Required Texts
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English 215 | Topics in Literature, Film and Media: The Genres of Classic Hollywood Cinema | Hodge and Stern | MW 12:30-1:50, plus discussion section | |
English 215 Topics in Literature, Film and Media: The Genres of Classic Hollywood CinemaCourse Description: Film noir! the musical! melodrama or the "woman's film"! the western! the screwball comedy! This course surveys the most powerful genres of Hollywood cinema's "classical" era, the period of studio production from the 1910s to about 1960. Focusing on the sound era this course introduces students to the study of Hollywood cinema as a mode of industrial cultural production at the dynamic intersection of art and mass culture. Our approach will be to study one film per week with an emphasis on formal analysis supplemented by readings from film theory and history. Films will likely include The Wizard of Oz (1939), Sullivan's Travels (1941), Now, Voyager (1942), Double Indemnity (1944), Sunset Boulevard (1950), and Singin' in the Rain (1952), among others. Readings may include writings by Bordwell, Thompson, and Staiger, Altman, Cavell, L. Williams, and others. Assignments will include short papers, a video editing exercise (no expertise required), and a final project. Teaching Methods: Lecture & discussion. Evaluation Methods: Short writing assignments. | ||||
English 215 | Topics in Literature, Film and Media: Speculative Fictions of Race and Empire | Gutierrez-Lowe | TTh 3:30-4:50 | |
English 215 Topics in Literature, Film and Media: Speculative Fictions of Race and EmpireCourse Description: TV shows like The Mandalorian, House of the Dragon, and The Boys have sought to portray great empires: the Galactic Empire, Targaryen House, and Vought International. All-powerful, authoritarian kingdoms and state and/or corporate powers abound in the many genres of speculative fiction—from fantasy to space western, from superhero to dystopian. This class is an exploration of how empires are conceived and constructed and what role race plays in their creation. Working with both contemporary popular media and the literary works of writers of color, we’ll ask: How are empires built? How do they construct (and deconstruct) the meanings of race and gender? And how do they, to follow Luthen Rael from the Star War’s series Andor, breed rebellion? Texts and media may include selections from Helena María Viramontes’ The Moths, Vanessa Angélica Villareal’s Magical/ Realism, Octavia E. Butler’s Parable of the Sower, Fernando A. Flores’ Tears of the Trufflepig, The Mandalorian, Andor, House of the Dragon, and The Boys. | ||||
English 220 | The Bible as Literature | Schwartz | TTh 9:30-10:50 | |
English 220 The Bible as LiteratureCourse Description: This course is meant to familiarize you with the most influential text in Western culture from a literary perspective. No previous acquaintance with the Bible is presupposed. We will consider such questions as the variety of literary genres in the Bible—primeval myth, epic, lyric poetry, prophecy, proto-novel; the representation of God as a literary character; and dominant images and themes. We will focus on those books that have had greatest literary interest or influence. From the Torah we will read Genesis, Exodus, and parts of Numbers, Leviticus, and Deuteronomy; from the Prophets, Amos, Hosea, Jonah, selections from Jeremiah and Second Isaiah; and from the Writings, the books of Judges, Ruth, Psalms and the Song of Solomon, along with the stories of Kings Saul and David and portions of the Wisdom literature. In the New Testament, we will read selections from the Gospels according to Matthew, Luke, and John and the book of Revelation. (We’re skipping Paul because he’s more a theologian than a literary writer.) Reading Requirement: The Bible, (either the Oxford Annotated Bible (ISBN 0190276088) or the Jerusalem Bible (ISBN 0525573194) are preferred).Recommended Reading:
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English 275 | Topics in Asian American Literature (Historical Breadth Post 1830) | Huang | MW 11-12:20, plus discussion section | |
English 275 Topics in Asian American Literature (Historical Breadth Post 1830)Course Description: Asian American, Asian-American, Asian/American: from Chinese Americans to Hmong Americans to mixed race Asian Americans, from fourth-generation Californians to cosmopolitan college students, from desert internment camps to New York City office buildings, what do the many subjects and locations of Asian American literature tell us about the capaciousness of the category itself? This class has two goals—first, providing an overview of literature written by Asian Americans in the twentieth- and twenty-first centuries and placing these texts in conversation with key concepts from Asian American culture and history. Second, interrogating the constructed, pan-ethnic nature of Asian American identity, a category that came into use only in the 1960s as a coalitional entity defined by shared histories of labor, discrimination, and national and cultural unbelonging. Teaching Method(s): Lecture, discussion, discussion section, writing assignments Evaluation Methods: Attendance, class participation, writing assignments, quizzes, readings, papers Texts include:
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English 300 | Seminar in Reading & Interpretation: Fans and Fictions: Adaptation as Critique in Literature and Film | Comerford | TTh 12:30-1:50 | |
English 300 Seminar in Reading & Interpretation: Fans and Fictions: Adaptation as Critique in Literature and FilmCourse Description: Though we often think of fan fiction as an advent of our contemporary moment, fan fiction extends at least as far back as the eighteenth century. Fans and fictions have increasingly shaped the way we encounter literature, animating works from the past with different agendas, desires, and needs that speak to the contemporary moment. This course explores texts and the adaptations they inspire. We will think about how adaptations not only comment on and critique earlier texts, but also how they might inspire us to encounter the original text in new ways. How might we regard adaptations as standalone works, with lives and afterlives of their own? From modern reworkings of Shakespeare to critical retellings of Austen, adaptations ask us to consider how familiar stories might be leveraged to address different audiences. We will also explore some related concerns around fan fiction including fandoms and fan culture, the death of the author, and approaching work created by problematic authors. Texts May Include: William Shakespeare, The Taming of the Shrew (1594) and Ten Things I Hate About You (1999), Daniel Defoe Robinson Crusoe (1719) and J. M. Coetzee, Foe (1986), Jane Austen, Pride and Prejudice (1813), Jo Baker, Longbourn (2013), and Fire Island (2022), Jane Austen, Emma (1815) and Clueless (1995), Mary Shelley, Frankenstein (1818) and Alasdair Gray, Poor Things (1992), Charlotte Brontë, Jane Eyre (1847) and Jean Rhys, Wide Sargasso Sea (1966), Howard’s End and Zadie Smith, On Beauty (2005), Rainbow Rowell, Fangirl (2013). | ||||
English 300 | Seminar in Reading & Interpretation: Representing the Nonhuman | Shannon | TTh 3:30-4:50 | |
English 300 Seminar in Reading & Interpretation: Representing the NonhumanCourse Description: How do we “capture” nonhuman phenomena within literary forms and genres that are designed (mainly) by humans? As an introduction to critical methods in textual studies, our seminar will think about how representation works across species and how it can grasp the relationship between animate creatures and their elemental surroundings. These habitats will range from literal fields, forests, skies, and oceans to the wily conceptual terrain of “Nature” itself. By focusing on human representations of animals and the nonhuman more broadly, this seminar delves into the question of how literary re-presentations of the natural world work – this is both a practical and a philosophical question. To address it, we’ll analyze the raw materials and core resources of the written word: close observation and description; perspective, point-of-view, and matters of voice; anthropomorphizing and/or animalizing imagery; and the mind-bendingly disparate frameworks of narrative, human, evolutionary, and planetary time. In return, our readings will also trouble assumptions about how exclusively “human” we humans ever really are when we write. Our syllabus will include classics of nature writing and environmental literature, even as we push the boundaries of what is “literary” in the first place. With various contextualizing materials (from Aesop’s fables to poetry to legal verdicts) provided by the instructor, our main texts will be selected from the following major works: Shakespeare’s As You Like It and A Midsummer Night’s Dream; Michel de Montaigne’s Essays; sections of Charles Darwin’s The Origin of Species and The Descent of Man; Henry David Thoreau’s “Walking” and “Wild Apples”; Octavia Hill’s “Open Spaces”; Virginia Woolf’s Flush: A Biography; Rachel Carson’s “The Road of the Hawks” and Under the Sea-Wind; J.R. Ackerley’s My Dog Tulip; Donna Haraway’s The Companion Species Manifesto and Staying with the Trouble; Derek Jarman’s Modern Nature; Sy Montgomery’s The Soul of an Octopus; and Helen MacDonald’s H is for Hawk. | ||||
English 306 | Advanced Poetry Writing | Trethewey | W 3-5:50 | |
English 306 Advanced Poetry WritingCourse Description: TBA | ||||
English 312 | Studies in Drama: Race in Motion (Post 1830/Race & Ethnicity/Gender, Sexuality & Embodiment) | Manning | W 9:30-11:50 | |
English 312 Studies in Drama: Race in Motion (Post 1830/Race & Ethnicity/Gender, Sexuality & Embodiment)Course Description: How are bodies racialized on the US stage? How does performance make and unmake the meanings of bodies in motion? This seminar deploys readings and examples from dance studies to explore these questions from the years between the two world wars to the present. Artists studied include Michio Ito, Zora Neale Hurston, Katherine Dunham, Martha Graham, José Limón, Eiko and Koma, Jawole Zollar, Bill T. Jones, Miguel Gutierrez, and Rosy Simas. | ||||
English 313 | Studies in Fiction: Love Triangles, Gender, and Desire (Post 1830) | Comerford | TTh 3:30-4:50 | |
English 313 Studies in Fiction: Love Triangles, Gender, and Desire (Post 1830)Course Description: Fierce rivalries. Raging jealousies. Misplaced desires. Unequal affections. Love triangles have long been one of the most popular tropes in fiction. In this course, we will explore how triangulated love affairs mediate channels of desire. While love triangles may seem immediately legible as a conventional structure of the heterosexual marriage plot, things are not necessarily what they seem. From cases of mistaken identity to specters of missed opportunities, what happens when desire gets oriented, misdirected, or redirected in different ways? If love triangles seem to position the third person as antagonist, then what happens when the third person instead becomes a vector through which the other two characters may express their mutual desire? We will consider the queer undertones (or, in some cases, overtones) of triangulated relations and the ways in which love triangles often open up alternative narrative trajectories that make us consider what might have been or what could be. By attending to love triangles (and the occasional rectangle or pentagon), we will consider the dynamics of gender, sexuality, and race. Possible texts include Shakespeare, Twelfth Night (1602), Austen, Sense and Sensibility (1811), Bronte Wuthering Heights (1847), Wilde, The Importance of Being Earnest (1895), du Maurier, Rebecca (1938). Possible films and shows include She’s the Man (2006), Past Lives (2023), and selected episodes of Bridgerton (2020). | ||||
English 331 | Renaissance Poetry: John Milton's Work in Context (Pre 1830) | Schwartz | TTh 11-12:20 | |
English 331 Renaissance Poetry: John Milton's Work in Context (Pre 1830)Course Description: We will study John Milton’s poetry and prose in context, with sustained attention to the complexities of his art, the crisis of his times, the subtlety of his thought, and the extent of his influence. Milton’s defenses of political, personal, and religious liberty, his self-presentation, and his grappling with key ethical questions involving free will, gender definitions, crime, authority, rebellion and redemption will be among the many concerns that arise as we explore his work in the context of the raging political and theological controversies of his time. “There are three reasons for Milton’s remaining a controversial figure: he gave such eloquent answers to questions that still divide mankind; he made his own character an issue in the public causes for which he fought; and as a poet he did not detach himself from his imaginative creation.” James Holly Hanford Texts will include either: The Complete Poetry and Major Prose of John Milton, ed John Rumrich, Stephen Fallon and William Kerrigan (Modern Library) 0679642536 OR Paradise Lost, ed Gordon Teskey 0393617084 | ||||
English 339 | Studies in Shakespeare: Hamlet: That is the Question (Pre 1830) | Masten | MW 9:30-10:50 | |
English 339 Studies in Shakespeare: Hamlet: That is the Question (Pre 1830)Teaching Method: Seminar with some mini-lectures. Evaluation Method: Thorough preparation and participation in our discussions; essays. Texts include: Shakespeare, Hamlet (Arden edition, ed. Thompson and Taylor, ISBN 9781472518385, this edition only); Stoppard, Rosencrantz and Guildenstern are Dead (ISBN 9780802126214); critical, theoretical, and historical articles. | ||||
English 340 | Studies in 18th-Century Literature: Marriage Plots Before Jane Austen (Pre 1830/Gender, Sexuality & Embodiment) | Thompson | TTh 2-3:20 | |
English 340 Studies in 18th-Century Literature: Marriage Plots Before Jane Austen (Pre 1830/Gender, Sexuality & Embodiment)Before Jane Austen means that we will not be reading Austen! Prepare yourself for novels you will like just as much, or even better. Required Texts:
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English 353 | Studies in Romantic Literature: Romanticism & Revolution (Pre 1830) | Soni | MW 11-12:20 | |
English 353 Studies in Romantic Literature: Romanticism & Revolution (Pre 1830)Teaching Method: Seminar. Evaluation Method: Class participation (20%), midterm paper 6-8pp (20%), final paper 7-9pp (20%), midterm and final exam (20% each). Texts Include: Burke, Enquiry; Burke, Reflections on the Revolution; Rousseau, Second Discourse; Wollstonecraft, Vindication; Blake, Songs of Innocence and Experience; Blake, Marriage of Heaven and Hell; Blake, America and Europe; Wordsworth and Coleridge, Lyrical Ballads; Wordsworth, Prelude; Shelley, Prometheus Unbound; Shelley, Mask of Anarchy; Shelley, Ode to the West Wind; Shelley, Triumph of Life; Shelley, Hellas; Shelley, Defence of Poetry; Mary Shelley, Frankenstein. | ||||
English 357 | 19th Century British Fiction: Decadent, Degenerate and Gothic: Aesthetic Hedonism in Victorian Literature and Modern Culture (Post 1830) | Godfrey | MW 12:30-1:50 | |
English 357 19th Century British Fiction: Decadent, Degenerate and Gothic: Aesthetic Hedonism in Victorian Literature and Modern Culture (Post 1830)Course Description: It’s hard to imagine modern alternative culture—the queer aesthetics of the goth 1980s, the drugged-up industrial 1990s, or even Matty Healy of The 1975’s swaggering claim that his style is “black and expensive”—without its roots in the fashionable decadent movement of the late nineteenth century. In 1891, four years before his trial for sodomy and indecency, Oscar Wilde’s The Picture of Dorian Gray shocked the Victorian public with its seductive exploration of queer sensuality, decadence, indulgence, and drug use. What is it about Wilde’s rallying cry of “art for art’s sake” that was so transgressive? As a survey of nineteenth-century decadent and aesthetic literature, this course unpacks the seedier, darker side of the stiffly corseted Victorians and their cultural afterlives. We will explore key canonical works by authors including Wilde, Robert Louis Stevenson, and Henry James, and recover important aesthetic fantasies by lesser-known writers. Over the course of this class, students will build a foundational understanding of aesthetic theory and learn to interrogate texts through queer and postcolonial frameworks. In addition to reading key Victorian texts, students will unpack Romantic precedents and the ways that these distinctly nineteenth-century preoccupations with decay, degeneracy, and transgression influenced and shaped counterculture through the present day. Teaching Methods: seminar discussion, short lectures. Evaluation Methods: Participation, presentation on a selection from the decadent magazine The Yellow Book, one analytical essay, final project. Texts Include: Thomas De Quincey, Confessions of an English Opium-Eater (1821), Edgar Allen Poe, “The Fall of the House of Usher” (1839); Robert Louis Stevenson, “The Suicide Club” (1878); Vernon Lee, “Oke of Okehurst” (1881); Oscar Wilde, The Picture of Dorian Gray (1891); Jim Jarmusch, Only Lovers Left Alive (2013); selected episodes of What We Do in the Shadows (2019) and Interview with the Vampire (2022); selections from alternative music criticism, fashion magazines, and zines from the 1990s-present. Texts will be available at: The Picture of Dorian Gray (ISBN 978-0393696875) at Norris, all others on Canvas. | ||||
English 365 | Studies in Postcolonial Literature: Inhuman Conditions (Post 1830/Gender, Sexuality & Embodiment/Race & Ethnicity/Postcolonial & Comparative Literatures/Transnationalism and Textual Circulation/Global Overlay) | Nadiminti | TTh 3:30-4:50 | |
English 365 Studies in Postcolonial Literature: Inhuman Conditions (Post 1830/Gender, Sexuality & Embodiment/Race & Ethnicity/Postcolonial & Comparative Literatures/Transnationalism and Textual Circulation/Global Overlay)Reading List:
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English 366 | Studies in African American Literature: Black Speculative Fiction (Post 1830/Race & Ethnicity/Identities, Communities, and Social Practice/US Overlay) | Mann | TTh 9:30-10:50 | |
English 366 Studies in African American Literature: Black Speculative Fiction (Post 1830/Race & Ethnicity/Identities, Communities, and Social Practice/US Overlay)Texts May Include:
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English 368 | Studies in 20th- and 21st-Century Literature: Reading Joyce's Ulysses (Post 1830/Gender, Sexuality & Embodiment/Transnationalism and Textual Circulation) | Froula | TTh 9:30-10:50 | |
English 368 Studies in 20th- and 21st-Century Literature: Reading Joyce's Ulysses (Post 1830/Gender, Sexuality & Embodiment/Transnationalism and Textual Circulation) | ||||
English 368 | Studies in 20th- and 21st-Century Literature: Women Writing Worldliness (Post 1830/Gender, Sexuality & Embodiment) | Froula | TTh 2-3:20 | |
English 368 Studies in 20th- and 21st-Century Literature: Women Writing Worldliness (Post 1830/Gender, Sexuality & Embodiment) | ||||
English 371 | American Novel: Big Books: Herman Melville's "Moby-Dick" (Post 1830) | Grossman | TTh 2-3:20 | |
English 371 American Novel: Big Books: Herman Melville's "Moby-Dick" (Post 1830)One can find only a few examples in world literature of bigger, more capacious, more ambitious books than Moby-Dick. In the first place, of course, the book is long, and part of our work will be to consider the specific pleasures and challenges of reading a big book. But Moby-Dick is also big in another sense: it has proven to be a hugely influential and profoundly consequential novel. Indeed, one cannot really understand U.S. literary, cultural, and political history if one has not come to terms with its story and the issues it engages. Our work will be, like Captain Ahab, to take on Melville’s Leviathan better to understand the worlds the novel has helped to shape—including, by no means incidentally, our own. Teaching Method: Mostly Discussion. Possible student oral presentations. Evaluation method: It is essential to keep up with the reading and there may be occasional quizzes to gauge compliance. Possible short writing assignments. Two longer papers (8-10 pages each). Texts: Herman Melville, Moby-Dick; or, The Whale (first published in 1851), and a range of reviews and critical essays, including film adaptations. Everyone MUST purchase and read ONLY THIS Norton Critical third edition of the novel, edited by Hershel Parker; ISBN: 978-0-393-28500-0. | ||||
English 375 | Studies in Asian American Literature: Techno-Orientalism (Post 1830/Race & Ethnicity) | Huang | MW 2-3:20 | |
English 375 Studies in Asian American Literature: Techno-Orientalism (Post 1830/Race & Ethnicity)Teaching Method: Seminar-based discussions. Evaluation Method: Graded participation; in-class presentation; regular reading responses; two short essays; and one longer essay.
Texts will be available at: Primary texts will be available at the Norris Bookstore and on reserve in the library. Other texts will be available on Canvas. | ||||
English 381 | Literature & Medicine: Disability Studies (Identities, Communities, and Social Practice) | Chaskin | TTh 12:30-1:50 | |
English 381 Literature & Medicine: Disability Studies (Identities, Communities, and Social Practice) | ||||
English 385 | Topics in Literature and Culture: Monsters: Real and Imagined (Post 1830) | Syvertsen | MW 12:30-1:50 | |
English 385 Topics in Literature and Culture: Monsters: Real and Imagined (Post 1830)Course Description: Whether fathoms beneath the ocean's surface or in the shadowy spots under our beds, supernatural beasts lurk just outside the range of our perceptions—until they emerge from concealment in order to wreak havoc! What drives our morbid fascination with these creatures? Drawing on insights from literary scholars who have explored the role of monsters in our cultural imaginary, this course aims to explore how monstrous depictions reflect the fears, desires, prohibitions, and prescriptions of the societies that create them. From the elusive “Grendel” in Beowulf to the colossal creatures of kaiju films like Godzilla, we will examine a diverse range of texts and films that have sent shivers down the spines of audiences across cultures for generations. As we explore these haunting and mysterious works, we will delve into questions such as: How have historical fears and anxieties been represented? Whom do we classify as "monstrous" and why? How do these representations either mirror or challenge prevailing cultural norms? And since real monsters don’t exist, what are we actually afraid of? Teaching Method: Seminar style, discussion based; small group exercises. Evaluation Method: Participation, two short analytical papers, final exam. Course Materials: Paperback editions of the novels (and one narrative poem) will be available for purchase at Norris or any other major book retailer. All other media will be made available through NU Library Course Reserves. The novels are as follows: Seamus Heaney, Beowulf (ISBN: 978-0393320978); Mary Shelley, Frankenstein: The 1818 Text (ISBN: 978-0143131847); Octavia E. Butler, Fledgling (ISBN: 978-0446696166). | ||||
English 386 | Studies in Literature & Film: Adapting Women’s Stories for Modern Screens (Post 1830/Gender, Sexuality & Embodiment) | Davis, N. | MW 9:30-10:50 | |
English 386 Studies in Literature & Film: Adapting Women’s Stories for Modern Screens (Post 1830/Gender, Sexuality & Embodiment)Teaching Method(s): Seminar-based discussion. Evaluation Method(s): Writing exercises (papers, practice exercises, annotations, etc.), possible group presentations. Texts include: If Beale Street Could Talk, James Baldwin (9780307275936); The Lost Daughter, Elena Ferrante (9781609457693); Ma Rainey’s Black Bottom, August Wilson (9780452261136); Nomadland, Jessica Bruder (9780393356311); Passing, Nella Larsen (9780142437278); Poor Things, (Alasdair Gray); Valencia, Michelle Tea (9781580052382); Women Talking, Miriam Toews (9781635574340). | ||||
English 386 | Studies in Literature & Film: Besties and Frenemies: Representations of Female Friendship in Twentieth and Twenty-first Century Literature and Film (Post 1830/Gender, Sexuality, and Embodiment/Identities, Communities & Social Practices) | Godfrey | MW 3:30-4:50 | |
English 386 Studies in Literature & Film: Besties and Frenemies: Representations of Female Friendship in Twentieth and Twenty-first Century Literature and Film (Post 1830/Gender, Sexuality, and Embodiment/Identities, Communities & Social Practices)Teaching Methods: seminar discussion, collaborative group exercises. Evaluation Methods: Participation, presentation, short analytical paper, final project. Texts Include: Willa Cather, My Mortal Enemy (1926); Nella Larsen, Passing (1929); Dorothy Baker, Cassandra at the Wedding (1962); Peter Weir, Picnic at Hanging Rock (1975); Joyce Carol Oates, Foxfire (1993); David Mirkin, Romy and Michele’s High School Reunion (1997); Brit Bennett, The Vanishing Half (2020); selected episodes from Insecure (2016-2021) and Yellowjackets (2021). Texts will be available at: Passing (ISBN 9780593437841) and The Vanishing Half (ISBN 9780525536963) at Norris, all others on Canvas. | ||||
English 393-3 | Theory and Practice of Poetry | Curdy | MW 3:30-4:50 | |
English 393-3 Theory and Practice of PoetryCourse Description: This selective-enrollment, yearlong "Sequence" is designed to make students 64 Return to Calendar increasingly informed readers and self-sustaining apprentices of poetry. The Fall portion of the course begins with summer reading and intensive study in which poets learn to identify operative modes in poetry -- including description, rhetoric, story and song -- and begin connecting contemporary participants with root systems in the tradition. We support our studies with reading exercises and "imitation" assignments, in which students convert close reading into fodder for original writing. Students will write at least four papers and will write, workshop and revise four poems during the Fall term. They also will lead presentations on one chosen poet and one classmate during workshop. In the Winter term, students will continue to read and complete close reading assignments and will stretch their skills as they complete a week of "Daily Poems," thereby drawing on original energy and stamina to bring their work to the next level of accomplishment. Finally, in the Spring term, students will focus entirely on their own work, drafting, revising, workshopping and completing one long poem of at least 120 lines that combines autobiographical material with writing from research. Throughout the year, our close reading assignments hone skills in sensitive and critical thinking; our imitation poems challenge existing habits as they introduce new strategies; our Daily Poems exercise agility and confidence; and our workshops cultivate the openness and humility necessary to serious writing and lifelong learning. Through this intensive and nurturing Sequence, students become careful readers of each others -- work and complete a polished portfolio of original writing. Note: No P/N registration. Attendance at first class mandatory. Admission by application only. | ||||
English 394-3 | Theory and Practice of Fiction | Bouldrey | MW 3:30-4:50 | |
English 394-3 Theory and Practice of FictionTeaching Method: Lectures, discussion, small- and large-peer workshops. Evaluation Method: This is a portfolio- and participation-based course. Grade based on timely delivery of all assigned work, with equal weight placed on your own stories and revisions and on your peer feedback. Texts Include: TBA Note: No P/N registration. Attendance at first class mandatory. Admission by application only. | ||||
English 395-3 | Theory and Practice of Creative Nonfiction | Bresland | MW 3:30-4:50 | |
English 395-3 Theory and Practice of Creative NonfictionTeaching Method: Discussion. Evaluation Method: Based on creative and critical work; class presentations and participation. Texts Include: Varies each quarter. Texts will be available at Norris Center Bookstore and Quartet Copies. Note: No P/N registration. Attendance at first class mandatory. Admission by application only. | ||||
English 397 | Research Seminar: Divas of Classical Hollywood | Stern | MW 3:30-4:50 | |
English 397 Research Seminar: Divas of Classical Hollywood | ||||
English 441 | Studies in 18th-Century Literature: Novel Utopias: Critique and Normativity in 18th Century Realism | Soni | W 2-4:50 | |
English 441 Studies in 18th-Century Literature: Novel Utopias: Critique and Normativity in 18th Century RealismCourse Description: The utopian tradition plays a significant role in the emergence of the novel in the eighteenth century. Novels often include embedded utopias within them, so much so that these might be considered a “chronotope” of the early novel. On the face of it, this is paradoxical. Utopias portray visions of idealized societies, while novels operate in the mode of a critical realism scrutinizing the present. In this class, we will try to understand the place of utopian thinking in eighteenth-century novels. Are utopianism and realism at odds in the early novel? Does the critical potential of realism need the normative guidance of utopian thought to be effective? Why do embedded utopias become more scarce in later novels, and how is realism able to get along without them? This class will read an array of early novels with embedded utopias. (Possibilities include: Cervantes, Don Quixote; Swift, Gulliver’s Travels (book 4); Mandeville, Fable of the Bees; Fielding, Joseph Andrews; Rousseau, Julie; Goethe, Wilhelm Meister; Jane Austen, Persuasion; Mary Shelley, Frankenstein.) We will also read a selection of early utopias such as More’s Utopia and Bacon’s New Atlantis. Alongside these texts, we will read contemporary critical writing about utopias (Bloch, Jameson), realism (Watt, Lukacs, Jameson) and the crisis of ends-oriented thinking in eighteenth century ethics and politics (Horkheimer, Charles Taylor, Alasdair MacIntyre, Thomas Pfau). Our aim will be to arrive at an account of the function of the “embedded utopia” chronotope in early novels. | ||||
English 461 | Studies in Contemporary Literature: Translation Problems | Johnson | T 2-4:50 | |
English 461 Studies in Contemporary Literature: Translation ProblemsCourse Description: This course gives students grounding in contemporary topics in translation studies by focusing on some of the problems embedded in its history and practice: translation’s employment in the contexts of war, displacement, and empire; its role in national canon formation and transnational literary circulation amid the hegemonic force of Anglicization; and the importance of translation problems—mistranslation, pseudo-translation, “bad translation,” and untranslatability—to current discussions of translation's politics and ethics. Alongside a corpus that includes important translation theorists, we will work through case studies of translation problems and problematic translations of literary texts between Arabic and (largely) English. The course serves, then, as both a history of Arabic-English literary transmission (from the 19th to 21st centuries) and an introduction to the historical, linguistic, and political problems embedded in that transmission. | ||||
English 461 | Studies in Contemporary Literature: Digital Aesthetics | Hodge | Th 2-4:50 | |
English 461 Studies in Contemporary Literature: Digital AestheticsCourse Description: This seminar introduces students in the arts-based humanities to the study of digital aesthetics across the arts, including literature, visual art, moving images, and music. It will examine a range of aesthetic forms responsive to the popular emergence of the computer and the internet, including computer-generated prints, video games, electronic music, hypertext, print fiction, and projects inflected by vernacular digital forms such as memes. Moving historically, roughly decade by decade from the 1960s to the present, the main task of the class will be to consider the difference digital computational technologies make in the creation of aesthetic forms and the experience of them. For instance, what new forms and modes of experience become possible with computers? What exactly makes something "digital"? And how can we tell (or not) -- and does it matter at all -- if something was made with the aid of automated processes? And finally, how do the answers to these questions change as we move from one computational era to another, e.g. from the mainframe and hobbyist eras to the domestic reception of popular electronics and computers in the 1980s to the emergence of the World Wide Web and social media and smartphones in the 1990s, 2000s, and 2010s up to and possibly beyond our historical present. The seminar will also emphasize the formal analysis of a range of both experimental and popular works across media, taking care to measure the aesthetic and historical meanings of the digital in the changing imagination of computers as central to society. Finally, students will encounter and write about forms native to their chosen discipline (literature, visual art, the moving image, music) but also about newer forms that do not fit easily into discipline-specific histories. Possible texts and objects of aesthetic analysis include computer-generated prints in the collection of Northwestern's Block Museum, the Detroit Techno and Chicago House electronic music scenes, fiction by William Gibson and Patricia Lockwood, net.art by Mendi + Keith Obadike and Ricardo Dominguez, films by Ridley Scott and the Wachowskis, glitch art by JoDi, Takeshi Murata, Jon Satrom, Rosa Menkman, and others, a group session devoted to video game play, meme aesthetics, and a class devoted to experimenting with artificial intelligence. Assignments will likely include a short presentation, a short formal analysis paper, and a final paper or project on digital aesthetics on an approved topic of the student's choosing. | ||||
English 471 | Studies in American Literature: The Black Novel | Mann | Th 2-4:50 | |
English 471 Studies in American Literature: The Black NovelCourse Description: In this course students will assess how the novel has figured in the development of Black literature and life over the long 20th Century. Through our engagement with this form, student’s will examine how long-form narrative fiction has captured the historical and social realities of Black life since the turn of the 21st century and how it has called for different worlds through innovative technique and style. We will read topically from the end of the 19th century through to the 21st century and will consider how the novel has evolved as a form that takes in multiple genres. In addition to fiction, students will also read theories of narrative written by black and non-black authors to better understand how narrative works. Some conceptual questions for consideration include: What historical, stylistic, aesthetic qualities produce the novel? How do Black American novels innovate formally, stylistically, and narratively? How do such innovations (or, on the contrary, adherence to tradition) help us understand literature and culture’s work in the project of Black freedom? Texts Include:
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English 481 | Studies in Literary Theory and Criticism: Mimesis and Its Doubles | West | M 2-4:50 | |
English 481 Studies in Literary Theory and Criticism: Mimesis and Its DoublesCourse Description: Mimesis names a relation of likeness: the way a work of art of literature is like something else—not the only way, but a uniquely central way in theories of representation in the traditions of Europe and the Mediterranean. Since Plato and Aristotle, mimesis has often stood for a kind of natural relation of one thing to another. It thus paradoxically is a relation that often goes without saying: you are supposed to recognize likeness when you see it. This course will explore some of the things that literature is supposed to be like (action? the world? other literature?), but also what it means for one thing to be said to be like another thing at all. We will balance theoretical discussions of mimesis with theatrical and other explorations of its role, as well as strategies for representation besides likeness, representing things that are like nothing, and hierarchies implied or subverted by the concept of mimesis. Readings might include selections from Aristotle, Longinus, Shakespeare, Corneille, Calderon, Cavendish, Freud, Woolf, Warburg, Benjamin, Auerbach, Wittgenstein, Capote, Latour, Bhabha, Ranciere, Viveiros de Castro, or Hartman. | ||||
English 496 | MFA Poetry Workshop | Trethewey | T 2-4:50 | |
English 496 MFA Poetry WorkshopCourse Description: TBA | ||||
English 498 | MFA Creative Nonfiction Workshop | Hernández | M 10a-12:50p | |
English 498 MFA Creative Nonfiction WorkshopCourse Description: TBA |