Spring 2011 English Department Course Descriptions

We’ve had trouble getting these course descriptions posted to our website, so we’re putting them here.

English Course Descriptions – Spring 2011 (updated 11/15/2010)

Dean’s Seminars

14905 0801.10

Cuba and the Cultures of U.S. Imperialism

Professor Tony Lopez

GCR: Humanities

WF 9:35-10:50

OLD Course Number: 801

This seminar explores representations of Cuba in relation to both U.S. imperialism and contemporary global empire—a related, though quite different, phenomenon. We will introduce students to an array of U.S. literary and cultural representations of the Cuban nation from the War of 1898 to the establishment of Camp X-Ray at the U.S. Naval Base in Guantánamo Bay in 2002. U.S. texts produced about the island during the period often suggest an imperialist understanding of Cuba, reproducing ideas of Cuban inferiority. Just as often, however, they challenge ideologies of U.S. hemispheric supremacy by engaging instead with the particulars of the island’s history and struggle for national liberation. Students will analyze a variety of texts that invoke the contradictions of U.S. imperialist relations with Cuba. We will also consider works by Cubans themselves, on the island and in the diaspora, that imagine Cuba’s history not simply as an effect of U.S. political or cultural interests on the island.

12296 0801.11

Inquiries, Stories, Histories

Professor Ormand Seavey

GCR: Humanities

MW 4:45-6:00

OLD Course Number: 801

It is naively accepted by many that history, the record of solid factual events, and story, a constructed narrative of events which may or may not have happened, are opposed extremes. But both history and story derive from the same Greek word, a word meaning inquiries, the title of the pioneering work of history by Herodotus. This course considers various chapters in the complex interplay among fact, myth, story, history, and narrative in Western writing over nearly 3000 years. Beginning with the story of the late years of King David and the perceived presence of the God of Israel in Jerusalem court politics, the course asked how a scrupulous witness can identify a divine hand. Herodotus, writing centuries later about the Persian War, believes in the Greek gods and collects evidence of history and culture in the ancient Mediterranean world. The story is continued in the centuries from 1600 to 1900 in story and history by Cervantes, Shakespeare, Cotton Mather, Henry Fielding, Francis Parkman, and Henry Adams.

14296 0801.12

The Art of the Diary

Professor Thomas V. Mallon

GCR: Humanities

TR 12:45-2:00

OLD Course Number: 801

From its long-ago precursors (the ship captain’s log, the reader’s commonplace book) to its post-modern successors (the publicly intimate blog), the diary has been an art form unto itself. It has also been a source for our understanding of private lives and vivid personalities, as well as evidence of what goes into the making of literature, art and history. This seminar will consider the many uses to which diaries have been put: to chronicle the texture of everyday life; record travels; chart spiritual progress; brainstorm creative projects; confess and justify conduct; leave testaments from times of war and years in prison. We will read the diaries of such well-known figures as Samuel Pepys, Virginia Woolf and Anne Frank, as well as a disparate assortment of lesser-known ones. Students will write several short papers, take a midterm and a final examination, and, for a portion of the term, keep a diary.

13641 0801.13

Race and Identity in American Literature

Professor Evelyn Schreiber

GCR: Humanities

TR 3:45-5:00

OLD Course Number: 801

This Dean’s Seminar explores these issues of race and individual/collective identity in American literature. We will ground the course in theories of race and subjectivity through readings by W. E. B. Du Bois, Frantz Fanon, Raymond Williams, Jacques Lacan, Kaja Silverman, bell hooks, Paul Connerton, Joel Williamson, Vamik Volkan, and Toni Morrison. Then we will read five literary works, by black and white authors, to study regional and national representation of racial issues: Flannery O’Connor’s The Displaced Person, William Faulkner’s Go Down, Moses, Toni Morrison’s Sula and Jazz, and Edward P. Jones’s The Known World. Students will write about these representations in papers and group projects. In addition we will watch the film version of Faulkner’s Intruder in the Dust and attend a performance of a play concerning racial/identity/culture issues at a local theater. The course also will draw on Washington, DC as a cultural site for race issues, including northern migration and civil rights activities (March on Washington of 1963, race riots of 1968). South of the Mason-Dixon Line, Washington has a history of segregation that provides concrete examples of contested social spaces: Glen Echo Park, the Carter Barron Amphitheater, the Howard Theater, and the DC public schools.

16528 0801.14

Imitations

Professor Jane Shore

GCR: Humanities

TR 11:00-12:15

OLD Course Number: 801

Robert Lowell writes in the introduction to his book of poems Imitations: “I believe that poetic translation—I would call it an imitation—must be expert and inspired, and needs at least as much technique, luck and rightness of hand as the original poem . . . I have been almost as free as the authors themselves in finding ways to make them ring right for me.” In this course we will focus on several modern and contemporary American poets, who may include Elizabeth Bishop, Sharon OLDs and Tony Hoagland. After reading a volume by each of them, students will analyze and discuss the poet’s work in class and then write their own poems by imitating that poet’s style—paying attention to syntax, subject matter, imagery, patterning, and music. The class will then “workshop” these new poems. Students are encouraged to subvert, refute, and play off the originals. Craft may be teachable, but vision isn’t; even so, one can “learn to write” in the way that painters of the past learned to paint—by apprenticing themselves to master painters. As they gain this invaluable learn-by-doing experience, students will also hone their critical skills and come to understand the way poems work from the inside out.

Creative Writing Classes

14861 1210.10 Intro to Creative Writing Page

W 11:10AM – 12:25PM, F 12:45PM – 02:00PM

OLD Course Number: 081

14862 1210.11 Intro to Creative Writing Miller

TR 12:45PM – 02:00PM

OLD Course Number: 081

14863 1210.12 Intro to Creative Writing Pardlo

TR 04:45PM – 06:00PM

OLD Course Number: 081

14864 1210.13 Intro to Creative Writing Page

WF 02:20PM – 03:35PM

OLD Course Number: 081

14866 1210.14 Intro to Creative Writing Pollack

M 02:20PM – 03:35PM, W 03:45PM – 05:00PM

OLD Course Number: 081

14867 1210.15 Intro to Creative Writing Martin

MW 04:45PM – 06:00PM

OLD Course Number: 081

14868 1210.16 Intro to Creative Writing

TR 09:35AM – 10:50AM

OLD Course Number: 081

14869 1210.17 Intro to Creative Writing Daub

TR 11:10AM – 12:25PM

OLD Course Number: 081

14870 1210.18 Intro to Creative Writing Payne

MW 12:45PM – 02:00PM

OLD Course Number: 081

15369 1210.19 Intro to Creative Writing Carrillo

TR 02:20PM – 03:35PM

OLD Course Number: 081

15439 1210.20 Intro to Creative Writing Saalfeld

TR 09:35AM – 10:50AM

OLD Course Number: 081

14872 1210.MV Intro to Creative Writing Levine

TR 11:30AM – 12:45PM

This course is being taught at the Mount Vernon campus.

OLD Course Number: 081

14873 1210.MV1 Intro to Creative Writing Levine

TR 01:00PM – 02:15PM

This course is being taught at the Mount Vernon Campus.

12630 2240.80 Play Analysis Stokes

MW 12:45PM – 02:00PM

OLD Course Number: 124

14879 2250.80 Dramatic Writing Stokes

M 03:30PM – 06:00PM

OLD Course Number: 105

14874 2460.10 Fiction Writing Moskowitz

TR 09:35AM – 10:50AM

OLD Course Number: 103

14875 2460.11 Fiction Writing Brafman MW 09:35AM – 10:50AM

OLD Course Number: 103

14876 2460.12 Fiction Writing Bayard

MW 12:45PM – 02:00PM

OLD Course Number: 103

14877 2470.10 Poetry Writing Willis

TR 12:45PM – 02:00PM

OLD Course Number: 104

14878 2470.11 Poetry Writing McAleavey

MW 12:45PM – 02:00PM

OLD Course Number: 104

14880 2560.10 Intermediate Fiction Writing Carrillo

TR 11:10AM – 12:25PM

OLD Course Number: 106

15095 2570.10 Intermediate Poetry Writing Pardlo

TR 11:10AM – 12:25PM

OLD Course Number: 107

14887 3250.80 Intermediate Dramatic Writing Griffith

W 03:30PM – 06:00PM

OLD Course Number: 108

16516 3380.10 Creative Writing Workshop Mazzeo

TR 02:20PM – 03:35PM

OLD Course Number: 181

16517 3390.10 Spec Topics: Creative Writing Jones

MW 02:20PM – 03:35PM

OLD Course Number: 182

11912 4220.0 Creative Writing Senior Thesis Mallon

Old Course Number: 194

Literature Survey Courses

16509 1320W. 80 Literature of the Americas Wald

M 11:10AM – 12:25PM

This course will satisfy a WID requirement. Also register for one discussion section 1320W.30-35. (See Schedule of Classes for days and times of discussion sections.)

OLD Course Number: 041W

13631 1410W.10 Intro to English Literature Busse

TR 1245PM – 2:00PM

This course will satisfy a WID requirement.

OLD Course Number: 051W

17037 1410W.11 Intro to English Literature Busse

TR 11:10AM – 12:25PM

This course will satisfy a WID requirement.

OLD Course Number: 051W

13632 1411W.10 Intro to English Literature Carter

TR 09:35AM – 10:50AM

This course will satisfy a WID requirement.

OLD Course Number: 052W

17039 1411W.11 Intro to English Literature Ravy MW 12:45PM – 02:00PM

This course will satisfy a WID requirement

OLD Course Number: 052W

17308 1411W.12 Intro to English Literature Vazquez

MW 0935AM – 10:50AM

This course will satisfy a WID requirement.

OLD Course Number: 052W

17310 1411W.MV Intro to English Literature Fullerty

TR 11:30AM – 12:45PM

This course is being taught at the Mount Vernon Campus.

This course will satisfy a WID requirement.

OLD Course Number: 052W

13427 1510W.10 Intro to American Literature Fisher

MW 08:00AM – 09:15AM

This course will satisfy a WID requirement.

OLD Course Number: 071W

13635 1511W.10 Intro to American Literature Romines

MW 12:45PM – 02:00PM

This course will satisfy a WID requirement.

OLD Course Number: 072W

15593 1511W.11 Intro to American Literature Soltan

TR 2:20PM – 03:35PM

This course will satisfy a WID requirement.

OLD Course Number: 072W

17040 1511W.12 Intro to American Literature Kentoff

MW 02:20PM – 03:35PM

This course will satisfy a WID requirement.

OLD Course Number: 072W

15510 1611W.10 Intro to Black American Lit Miller

TR 03:45PM – 05:00PM

This course will satisfy a WID requirement.

OLD Course Number: 074W

13636 1711W.10 Intro to Postcolonial Lit Daiya

T 02:20PM – 04:40PM

This course will satisfy a WID requirement.

OLD Course Number: 092W

13633 1830W.10 Tragedy Goswami

TR 11:10AM – 12:25PM

This course will satisfy a WID requirement.

OLD Course Number: 061W

13634 1840W.10 Comedy Carter

TR 12:45PM – 02:00PM

This course will satisfy a WID requirement.

OLD Course Number: 062W

Upper-Level Literature Classes

14890 2800.10 Critical Methods Cook

R 02:20PM – 03:35PM

OLD Course Number: 120

A survey of literary, cultural and psychological theories applicable to the study of literature, from Aristotle’s Poetics to post-modernism. There will be two midterm exams and a term paper, as well as daily written exercises. Texts: The Norton Anthology of Theory and Criticism, Shakespeare’s The Tempest, and Toni Morrison’s Beloved.

14891 2800.11 Critical Methods Alcorn

R 11:10AM – 12:25PM

OLD Course Number: 120

This course will study the major schools and theoretical methods that have influenced the study the literature since 1940. We will examine formalist claims about literature, French structuralist and post-structuralist claims, and conclude with a section on the study of literature from the context of culture. Students will demonstrate an understanding of these methods by writing papers that apply each of the three methods to a literary work.

13104 3410.10 Chaucer Cohen

MW 12:45PM – 02:00PM

Old Course Number: 112

This course examines Chaucer’s Canterbury Tales in all their complexity, perversity, and artfulness. We will be especially attentive to Chaucer’s explorations of identity and the ways in which his texts envision various kinds of community. Students will gain insight into how contemporary scholars interpret the tales. All primary readings are in Middle English. Requirements: class attendance and participation; five relatively short writing exercises during the term; a 12-15 page research paper; and a final examination.

17042 3430.10 The English Renaissance Dugan

MW 09:35AM – 10:50AM

Old Course Number: 125

In this course, we will in interrogate how the concept of utopian space helped to shape the foundational works of the English Renaissance. Sir John Mandeville’s descriptions of foreign lands, Christine de Pizan’s vision of a women’s library, Thomas More’s garden discussion about the island of Utopia, William Shakespeare’s idealized forest of Arden in As You Like It, Ben Jonson’s homage “To Penshurst,” John Milton’s Paradise Lost, and Margaret Cavendish’s New Blazing World, to name just a few texts on our syllabus, describe idealized spaces for aesthetic and emotional revelation. As such, each proffers an imaginary landscape that surpasses the realities of the everyday. In this course, we will examine the contours of these landscapes, querying how they connect to the key concepts of “discovery” and “rediscovery” that define the English Renaissance. Our classroom work will be discussion-oriented; it will entail intensive close-reading of primary and secondary texts and attention to their historical contexts.

10978 3441.10 Shakespeare Dugan

MW 12:45PM – 02:00PM

Old Course Number: 128

In Shakespeare After All, Marjorie Garber, a leading Shakespearean scholar, posits that there is nothing universal about Shakespeare’s “genius.” Rather, Garber argues that Shakespeare’s status as the greatest playwright “of all time” culminates from vastly different cultural definitions of what makes his plays “great.” Every age creates its own Shakespeare, defining—and defined by—the cultural spaces in which his plays are performed. Taking Garber’s provocative argument as our starting point, this class approaches Shakespeare’s plays through their relationships with two distinct cities: early modern London and contemporary Washington, DC. We will query: what was the relationship between early modern London’s topography and Shakespeare’s theater? How do Shakespeare’s plays imagine city spaces (such as Rome, Venice, Verona)? What other kinds of topographies define these spaces? How are these spaces performed? And how does our own relationship to the District of Columbia shape our encounters with urban Shakespeare? Texts will include Antony & Cleopatra, Hamlet, The Merchant of Venice, Richard III, Romeo & Juliet, The Tempest, and The Taming of the Shrew. Our classroom work will be discussion-oriented; it will entail intensive close- reading of the texts and attention to dramatic staging and historical contexts.

14892 3441.11 Shakespeare Harris

Desiring Shakespeare (Prof. Jonathan Gil Harris; TA Jessica Frazier)

TR 12:45PM – 02:00PM

Old Course Number: 128

This course will examine both desire in Shakespeare and desire for Shakespeare: that is, the ways in which his poems and plays depict love, longing, eroticism and appetite, as well as the extent to which our own desires are unleashed by the very act of reading and interpreting Shakespeare – whether those desires take the form of an unabashed Bardolatry, a more strategic investment in the cultural capital that familiarity with his work supposedly confers, a longing for knowable play-texts that “speak Shakespeare’s mind” and/or “speak the truth,” or other more polymorphous and illicit modes of Shakespeare-related pleasure. Some topics to be considered: reproductive vs. non-reproductive love; homoeroticism; male vs. female sexuality; the death drive; desire for fashion; venereal disease; policing desire; desire in a capitalist society; the relationship between sex and (theatrical) performance; narcissism; cross-cultural desire.

Texts we will examine include The Sonnets; Venus and Adonis; Romeo and Juliet; The Taming of the Shrew; Measure for Measure; Troilus and Cressida; The Phoenix and the Turtle; Antony and Cleopatra; A Lover’s Complaint.

14128 3450.10 Shakespeare on Film Cook

TR 04:45PM – 06:00PM

Old Course Number: 129

This course will consider the strange and powerful interaction of Shakespeare and the cinema over the past century. We will analyze selections from a wide range of films, both mainstream and experimental, to try to understand the ways that cinematic methods of representation can develop, distort and enhance the Shakespearean play-text. Students must have convenient access to a VCR or DVD player and will be required to obtain copies of several films on their own in the appropriate format. Writing requirements will include two substantial analytic essays and a number of short ungraded assignments.

13939 3481W.10 The Eighteenth Century Seavey

MW 02:20PM – 03:35PM

This course will satisfy a WID requirement.

Old Course Number: 132W

As the assured certainties of Classicism yield to the corrosive influences of sentiment and religious questioning, eighteenth-century writers like Johnson, Gibbon, Hume, Boswell, and Voltaire scrambled to erect structures of signification that preserved the Old values while accommodating to incoming political and cultural developments. Even seduction and romance come to have larger political and cultural meanings. Employing a comparative literature approach, this course focuses on British eighteenth-century figures with some attention to French and Austrian figures.

12746 3510.10 Children’s Literature Goswami

TR 09:35AM – 10:50AM

Old Course Number: 134

The primary objective of this course is to become familiar with the kinds of literature available for children and young adults. We will focus on nineteenth- and early twentieth century classics central to the development of children’s literature as well as more contemporary works. We will read representative works by Lewis Carroll, Edward Lear, Rudyard Kipling, Beatrix Potter, J.K. Rowling, Lois Lowry, Maurice Sendak, Louis Sachar, and others.

16510 3530.10 The Romantic Movement Plotz

TR 02:20PM – 03:35PM

Old Course Number: 133

The Romantic Movement: Romanticism and the Sense of Place The romantic period in Britain was a time of the expansion of empire, the world-historical population shift from country to city, and a cultural turn to the psychological “journey to the interior”. Thus “place”—whether conceived as the alien spaces of empire, the intimacies of the English rural landscape, the shock of metropolitan London, the realm of “Nature”, the inner spaces of the psyche—is at the thematic and aesthetic center of romantic literature. This

course will focus on three substantial prose works (Austen’s Mansfield Park, a country-house novel set in England; Edgeworth’s Castle Rackrent, set in Ireland; Lewis’s Journal of a West Indian Proprietor, set in Jamaica); and on selected works by six poets (Wordsworth, Keats, Blake, Byron, Coleridge, and Clare).

10781 3541.10 Victorian Literature Carter

MW 12:45PM – 02:00PM

Old Course Number: 136

This course on the period 1865-1910 tracks the development of modernism and the critique of “Victorianism” from deep in the Victorian period. We study not only major British writers—Swinburne, Pater, Oscar Wilde, and Thomas Hardy—but also powerful continental figures—Baudelaire, Nietzsche and Proust–whose achievements intersect with and complement those of their British counterparts. The death of God and the development of aestheticism are two themes among others that we trace.

16524 3570.10 19th-Century Black Literature: Race, James

Romance and Revolution in Transatlantic

Antislavery Fiction

MW 04:45PM – 06:00PM

Old Course Number: 190

This course will examine literature by black and white writers from the U.S., the Caribbean, France and Britain who turned to “romance”–tales of love, forbidden attraction and sexual temptation–to interrogate contact, power, and racial identity in the Atlantic world. Some works will include Aphra Behn, Oroonoko; Anonymous, The Woman of Colour; Victor Sejour, “The Mulatto”; Alexander Dumas, Georges; Claire de Duras, Ourika; William Wells Brown, Clotel, or the President’s Daughter; Harriet Wilson, Our Nig, or Sketches in the Life of a Free Black.

3610.10 Modernism Green-Lewis

TR 12:45PM – 02:00PM

OLD Course Number: 137

The early decades of the twentieth century saw an extraordinary shift of emphasis in all kinds of cultural and literary production, as the rise of realism, with its promise of a world that might be more or less accurately represented through language, gave way to a focus on language itself as world. The Great War is often touted as the chasm marking off the Victorian from the modern world, but we shall see that Modernism as a movement – with its attention to the uncertainties of life, its suspicions of the known, its skepticism regarding such novelistic fundamentals as plot and character— also grows out of the pre-war world of such writers as Henry James and Joseph Conrad. In this course we will trace a discernible literary history that helps us to be made ready for Modernism’s demands and difficulties, and in our discussions of some of the works from the period with which Modernism is associated (c. 1900-1930) we will focus on the following topics: nationalism and national identity; the idea of character; loss; beauty; and urban culture.

16514 3621W.10 American Poetry McAleavey

MW 03:45PM – 05:00PM

This course will satisfy a WID requirement.

OLD Course Number: 164W

This course intends to help you engage with and gain increased mastery of American poetry written and published from the WW I era to the present. You will be asked to read carefully, to read aloud, to memorize and recite poems, and to participate as fully as is reasonably possible in class discussion. Papers will enable you to discuss specific authors and ideas in greater depth and with more accuracy than is possible in class discussions. The final exam will ascertain your familiarity with the assigned reading and will also test your ability to make insightful connections and to reason in various ways about modern/contemporary poetry. As this is a Writing in the Disciplines course, there will be an emphasis on writing throughout the semester; the purposes or imagined audiences for your various assignments will vary; and there will be opportunities for revision, usually involving peer review.

13638 3631.10 American Drama Combs

TR 11:10AM – 12:25PM

OLD Course Number: 166

American Drama II: developments in American Drama from the 1960s to the present, including works by Edward Albee, David Mamet, August Wilson, David Henry Hwang, Marsha Norman, Wendy Wasserstein, Beth Henley, and others. Requirements: two oral reports, in-class midterm exam, play attendance project, take-home final exam. Clips from films of plays will be shown in class.

14894 3641W.10 Twentieth-Century American Novel Moreland

TR 12:45PM – 02:00PM

This course will satisfy a WID requirement.

OLD Course Number: 168W

This course will satisfy a WID requirement.

In this course, we will explore literary modernism in the context of the development and transformation of the American novel during the 20th century. Taking a psychobiographical and sociocultural approach, we will examine the ways in which the psychologicalconcerns of various American writers shape their novels, and the ways in which the novels–and indeed the writers–are “written” or encoded by American culture.

Representative Texts: Fitzgerald, The Great Gatsby; Hemingway, A Farewell to Arms; Faulkner, Sanctuary; Steinbeck, The Grapes of Wrath; Heller, Catch-22; Walker, The Color Purple

Requirements: An annotated bibliography, a long paper, a final exam, and participation in

class

11769 3650.10 The Short Story Combs

TR 02:20PM – 03:35PM

OLD Course Number: 170

The Short Story: developments in short fiction from Poe to the present, including works by Hawthorne, Maupassant, Chekhov, Tolstoy, James, Kafka, Mann, Fitzgerald, Hemingway, Mansfield, O’Connor, Singer, Wright, Baldwin, Welty, Cheever, Olsen, Cortazar, Garcia Marquez, Barthelme, Mason, Beattie, Munro, and others. Requirements: two oral reports, daily in-class writing, in-class midterm exam, take-home final exam.

16511 3660.10 Irish Lit: Yeats, Poet, Playwrights Griffin

W 11:10AM – 12:25PM, F 12:45PM – 02:00PM

OLD Course Number: 139

ENGLISH 139/3660 studies Twentieth-Century Irish Literature with the emphasis on drama and poetry. Four Irish writers have won the Nobel Prize for Literature: Shaw, Yeats, Beckett, and Heaney. As well as these great writers, there have also been many good poets and dramatists (including poets of the theatre) who have been admired by readers and theatre-goers as well as imitated by other international writers. With Lady Gregory, Yeats founded the Irish National Theatre and provided a space and institution at the Abbey where playwrights like themselves, J. M. Synge, Sean O’Casey, Brendan Behan, Tom Murphy, Brian Friel, and Hugh Leonard could celebrate and criticize the human condition in Ireland. Yeats was also the giants of Irish poetry and was followed by fine poets like Clarke, Kavanagh, McNeice, Montague, Heaney, the Longleys, Boland, Ni Dhomhaill, and Clifton. ENG 139/3660 will explore the world-renowned and not-so-famous writers from a small country with a high degree of quality. In class we will read aloud and discuss sections from plays and poems.

“What ish my nation?” asked the Irishman in Shakespeare’s Henry V. W. B. Yeats claimed that “art is tribeless, nationless, a blossom gathered in No Man’s Land.” These are among many thorny issues of conflict and identity which we will explore. As Yeats said, “Out of our quarrels with others we make rhetoric; out of our quarrels with ourselves we make poetry.” ENGL 139/3660 will explore the world-renowned and not-so-famous writers from a small country with a high degree of quality.

13189 3661.10 Irish Literature: James Joyce Soltan

TR 11:10AM – 12:25PM

OLD Course Number: 140

Our focus will be on the remarkable achievement of Irish fiction writers in the twentieth and twenty-first centuries. We’ll read Joyce’s Portrait of the Artist as a Young Man, and we’ll read excerpts from Ulysses. Our main text will be The Vintage Book of Contemporary Irish Fiction, but we’ll also read novels by Flann O’Brien, John Banville, Anne Enright, and others. The course will trace the evolution of Ireland through these years from a rather provincial, politically unsettled, and pretty impoverished Catholic country to the worldly, politically calmer, reasonably affluent, and increasingly secular country we see today.

16512 3710W.10 Contemporary Drama Griffith

MW 12:45PM – 02:00PM

This course will satisfy a WID requirement.

OLD Course Number: 158W

A study of outstanding recent American drama, requiring attendance at theatre and a creative presentation.

16515 3721W.10 Contemporary American Literature Moreland

TR 03:45PM – 05:00PM

Comments: The course will satisfy a WID requirement.

OLD Course Number: 178W

As the hegemonic influence of literary modernism began to wane after the mid-point of the twentieth century, literary critics and scholars became curious about the new direction that American literature would take. While the initial answer seemed to be “postmodernism” of a narrowly specific sort, that proved to be only a temporary answer. However, it helped to enable a number of other answers—that is, various “postmodernisms,” all of which manifest a freedom from the constraints of the realistic conventions that modernism had borrowed from the nineteenth-century and used for its own ends. This course will focus on novels and short stories from the 1960s to the 2000s in order to explore how this emergence from the limitations of realism enabled a new era of literary experimentation.

Representative Texts: Jong, Fear of Flying; Barth, Lost in the Funhouse; Martin, Mary Reilly (in conjunction with Stevenson, Dr. Jekyll and Mr. Hyde); Kennedy, Legs; Morrison, Beloved; Jones, The Known World

Requirements: An annotated bibliography, a long paper, a final exam, and participation in

class

14900 3730.10 Around the World in 80 Days: Travel Writing Daiya

Fictional Travels, and Identity in International

Literature and Film

TR 12:45PM – 02:00PM

OLD Course Number: 173

This course explores the experience of travel and how it shapes cultural and gender identity in modern global writing and cinema. From Jules Vernes’ classic “Around the World in Eighty Days” (1873) to Elizabeth Gilbert’s runaway best-seller “Eat, Pray, Love” (2006), our literature shows that people travel for several different reasons: as representatives of colonizing empires, as tourists wishing to encounter and learn about a different culture, as study-abroad students, as immigrants to better prospects, as emotional refugees seeking self-discovery, as adventurers to experience the pleasure of cross-cultural encounters, among other reasons. We explore travel literature, fiction about travel, as well as films that represent travel, to debate a range of questions: what happens to identities in travel? How do we represent the encounter with cultural and linguistic difference? How does travel shape and reshape our identities, around gender, race, sexuality, culture and class? How do narratives of travel shape politics? We will look at representations of Jewish people who migrate to India, Frenchmen who circumnavigate the world, Nigerians who travel to America, Americans who journey to South-east Asia, among others. In the process, we will explore the historically changing forms of thinking identity – racial, gendered, cultural, national- in fiction and films about travel and global circulation, and theories of empire and globalization.

12195 3810.10 Adolescence/OLD Age in 20^th Century Writing Romines

MW 03:45PM – 05:00PM

OLD Course Number: 172

In the twentieth century, concepts of adolescence and Old age (often inflected by gender) were invented and reinvented in American culture. In this class, we will explore how these concepts are reflected, and often juxtaposed, in American fiction and memoir of the twentieth and twenty-first centuries Our primary texts will include Sherwood Anderson, Winesburg, Ohio; short fiction by Willa Cather, John Updike, and others; J.D. Salinger, The Catcher in the Rye; Richard Wright, Black Boy; Rudolfo Anaya, Bless Me, Ultima; Toni Morrison, Sula; Sandra Cisneros, The House on Mango Street; Leslie Marmon Silko, Storyteller, and Junot Diaz, The Brief, Wondrous Life of Oscar Wao. Additional texts, either fiction or film, will be chosen by the class. Supplementary texts will include related critical, theoretical, and historical readings. Assignments will include in-class reports, major paper, midterm and final exams.

14131 3810.11 Representations of the Holocaust in Raphael

Literature And Film TR 02:20PM – 03:35PM

OLD Course Number: 172

This course will focus on representations, both documentary and fictional, of the Nazi destruction of European Jewry in the Holocaust. How (and, for that matter, why) does one “realistically” depict a very real event, the Holocaust? What role does “unrealistic” depiction play? Whose experiences are more “authentic,” whose more suited for a book or a film than another writer’s and why? Which genre — poetry memoir, fiction, chronicle or film — is the “best” for telling (retelling?) what happened? Is there, as Saul Friedlander suggests in his book Probing the Limits of Representation, a limit to what kind of representations we might accept? Furthermore, what does it mean to survive the Shoah, to live and write about it? How does that complex identity get worked through in fiction?

14896 3820.10 DeLillo Soltan

TR 09:35AM – 10:50AM

OLD Course Number: 171

Texts: Players, Great Jones Street; Libra, White Noise, Mao I, The Name, Underworld. Falling Man, Point Omega, “Midnight in Dostoevsky,” Various readings via Blackboard

Considered by many to be America’s best living novelist, Don DeLillo writes fiction that readers and fellow writers consider both politically engaged and aesthetically satisfying. This course will be an intensive reading of his most significant works, along with a reading of some important essays about his themes and styles. We will begin in the middle of his career, with his best-known novel, White Noise. We’ll then move chronologically through his other novels (we’ll read one short story), noting recurrent ideas and techniques.

To read DeLillo is to read contemporary American history and culture, and our discussions will focus not only on the content of his novels, but on the degree to which that content successfully captures our own sense of the reality of being postmodern Americans.

13945 3820W.10 Faulkner and Morrison Schreiber

TR 12:45PM – 02:00PM

This course will satisfy a WID requirement.

OLD Course Number: 171W

This course, taught by Professor Schreiber, links authors Toni Morrison and William Faulkner through the ways in which their fictional and discursive practices reflect on each other. Specifically, we will examine how the texts of both authors reenact and resist racism and patriarchal structures; how they explore the ways in which memory and the past construct identity; and how they experiment with style. We will consider the ways in which the texts illuminate a continuum in American literature through discussions of socially constructed identity and issues of race, class, and gender. In addition, the class utilizes cultural studies and psychoanalytic critical approaches to the texts of these authors. The reading list may include Playing in the Dark, Beloved, Song of Solomon, The Bluest Eye, Light in August, The Sound and the Fury, and Go Down, Moses. Writing assignments include two papers with revisions and a final exam. In-class workshops for papers

16520 3930.10 Nation, Migration, and Diaspora in Twentieth- Lopez

Century Latino Literature and Culture

WF 12:45PM – 02:00PM

This seminar analyzes a range of Latino texts in relation to questions of nation, migration, and diaspora. The period encompasses the “long 20th century” in the Americas: the aftermath of U.S. occupation of Mexican territory and imperial intervention in the Caribbean in the 19th century; the development of U.S. Latino/a communities in the first half of the 20th; the rise of cultural nationalism in the 1960s; and the contemporary circulations of latinidad as a marker of “global culture.” In particular, the course will explore how writers in the Cuban-American, Dominican-American, Puerto Rican/Nuyorican, and Chicano/a traditions invoke forms of migrant and diasporic culture to represent latinidad: the vexed historical and cultural condition of Latino belonging in the U.S. We will become familiar with key theoretical concepts such as the border and mestizaje, and, through them, consider how texts might deploy Latino/a understandings of gender, race, class, and sexuality, in tension with such discourses in Anglo-American culture. Readings from the earlier part of the period will include José Martí’s exiled literary journalism from New York in the 1880s and 1890s, as well as María Amparo Ruiz de Burton’s historical romance The Squatter and the Don (1885). Early to mid twentieth-century migrant and border-crossing texts will allow us to construct a critical dialogue between “Latino/a modernism” and the conventional U.S. modernist period. And then our attention shifts to a series of texts emerging during and after the social and cultural movements of the 1960s/1970s, as Chicano/a and Boricua (Puerto Rican) activism and oppositional culture increasingly encounter the market and mainstream politics.

3940.10 Topics in African American Literature – CANCELLED

16523 3970.10 Jewish American Literature Moskowitz

TR 12:45PM – 02:00PM

OLD Course Number: 188

Thanks to donor David Bruce Smith, here’s an opportunity to speak directly to the cutting edge authors whose books you will read in this once-in-a-lifetime college course. We will read six or seven works of Jewish American literature, talk about them, write about them, formulate questions about them, and after each book the author will come to campus for a conversation with the class and a presentation in the evening. Authors expected this semester include, Gary Shteyngart, Steve Stern, Allegra Goodman, Sana Krasikov, Nicole Krauss and E. L. Doctorow.

Requirements: Response papers, written questions, attendance at evening readings, final exam or presentation.

13380 4250W.10 Honors Thesis Alcorn This course will satisfy a WID requirement.

OLD Course Number: 198W

10246 4360.10 Independent Study Wald

Departmental approval required to register.

OLD Course Number: 197

10711 4470.10 Internship Seavey

Departmental approval required to register.

OLD Course Number: 199

GRADUATE SEMINARS:

17044 6130.10 Selected Topics in Criticism : Virginia Woolf Green-Lewis

and the Victorians: Modernist Aesthetics

and Nineteenth-century views

R 03:30PM – 06:00PM

OLD Course Number: 261

This course will take the rather unusual path of exploring not just the influence of Bloomsbury aesthetics on the experimental fiction of Virginia Woolf, but also that of the previous generation: namely, the Victorians.

We will focus on three areas:

1) the shaping force of contemporary art theories developed by Clive Bell and Roger Fry and embodied in the work of Duncan Grant and Vanessa Bell;

2) the influence of the past, both in the form of Victorian aesthetics, as represented by Ruskin, Pater, and Wilde, and also in the long emotional reach of the Stephen family; and

3) Woolf’s theories of the self in relation to others, as explored in four of her novels, a selection of her essays, and her diaries

NB: There will be an amazing amount of (wonderfully interesting) reading for this course. Passion and commitment are prerequisites. If you’re lukewarm on Woolf, this course is not for you! Please read Hermione Lee’s biography of Woolf over the vacation (this will be the basis of our first discussion) and bring your copy of Shone’s Art of Bloomsbury to class.

Required texts ordered at the bookstore (nb edition dates; all paper; all required):

Virginia Woolf, Jacob’s Room (Harvest) 0-15-654742-3; Mrs. Dalloway (Harvest) 0-15-662870-8, To the Lighthouse (Harvest) 0-15-690739-9 The Waves (Harvest) 0-15-694960-1; A Writer’s Diary (Harvest) 015-602791-7; Selected Essays (Oxford World’s Classics) 978-0-19-92181-1; Ruskin, Selected Writings (Oxford World’s Classics) 0-19-280262-3;

Pater, Studies in the History of the Renaissance (Oxford World’s Classics) 0199535078;

Wilde, The Major Works (Oxford World’s Classics) 0199540764; Clive Bell, Art (out of print; used copies can be found on the internet); A Roger Fry Reader (ed. Christopher Reed, U of Chicago P) 0226266427; Richard Shone, The Art of Bloomsbury (Princeton UP); 0691095140. Also required, but not on order at bookstore: Hermione Lee, Virginia Woolf

15368 6220.10 Renaissance Drama and Schwalkwyk

Performance

T 3 :30PM – 06:00PM

Love’s Transgression” in Shakespeare and his Contemporaries

This course will examine the concept of erotic love in Shakespeare. It will bring historical, philosophical, and literary lenses to bear on the concept by tracing writings on love historically, from Plato through the Renaissance in Leone Ebreo, Tullia d’Aragona, Ficino, and Michel de Montaigne, as well as the Galenic psychologists, Thomas Wright, Nicolas Coefetteau and Edward Reynolds. We will subject the tendency, from Plato onwards, to reduce love to desire to scrutiny, and try to forge a concept of romantic love differentiated from desire via a selection of modern philosophies of love, including those of Irving Singer, Tzevan Todorov and Jacques Lacan. Our theoretical preparation will be completed by looking at ways in which certain modern theories of language (Ludwig Wittgenstein, J.L. Austin, Stanley Cavell, and William Reddy) show, counter-intuitively, that if love is not reducible to desire, it is not an emotion either. Armed with a new shiny concept to crack the rib of reality, we will then look at the representations of “love’s transgression” in Shakespeare’s plays, poems, and sonnets to see how they differ from the mainstream philosophical and literary views of romantic love and its relation to desire.

Texts

Classical and Renaissance Philosophy

Tullia d’Aragona, Dialogue on the Infinity of Love (University Of Chicago Press, 1997).

Leone Ebreo, Dialogues of Love (University of Toronto Press, 2009).

Marsilio Ficino, Commentary on Plato’s Symposium on Love (Spring Publications, 2000).

Michel de Montaigne, Montaigne: Essays (Penguin, 1993).

Mary Martin McLaughlin, The Letters of Heloise and Abelard: A Translation of their Complete Correspondence (Palgrave Macmillan, 2009).

Plato, The Lysis (any edition)

Plato, The Phaedras (any edition)

Plato, The Symposium (any edition)

Renaissance humoral theory

Nicolas Coeffeteau, A Table of Humane Passions, trans. Edward Grimeston (London, 1621).

Edward Reynolds, A Treatise of the Passions and Faculties of the Soule of Man (London, 1640).

Thomas Wright, The Passions of the Minde in Generall (London, 1604).

Recent theories

Jacques Lacan, Seminar VII: Transference

William M. Reddy, The Navigation of Feeling: A Framework for the History of Emotions (Cambridge University Press, 2001).

Stanley Cavell, “Performative and Passionate Utterances”, in Philosophy the Day after Tomorrow (Belknap Press of Harvard University Press, 2006), pp. 155-92.

Shakespeare

Any good scholarly edition of the Complete Works.

Spring 2011 English Department Course Descriptions

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