English

Professor Rosen, Chair; Charles A. Dana Professor of English Benedict, Professor Fisher, Allan K. Smith Professor of English Language and Literature Goldman, James J. Goodwin Professor of English Riggio∙∙; Professor Emerita Wall; Associate Professors Berry, Bilston, Hager, Paulin, Wheatley, and Younger; Assistant Professors Bergren and Rutherford; Writer-in-Residence Ferriss; Artist-in-Residence Rossini∙∙; Allan K. Smith Lecturer in English Composition and Director of the Allan K. Smith Center for Writing and Rhetoric O’Donnell; Visiting Assistant Professors Davis and Henton; Visiting Lecturer Mrozowski; Visiting Writer Libbey

The English major—By majoring in English, students set out to refine their ability to comprehend works of literature, to understand how literature and culture affect one another, and to express their interpretations in speech and in writing. In order to declare a major in English, students must meet with the department chair. While students may choose to concentrate in literature, in creative writing, or in literature and film, all three concentrations are designed to equip students to achieve these goals by requiring a minimum of 12 courses divided into the categories below. A course will count toward the major if the grade earned is a C- or higher.

Requirements for the concentration in literature

The selection of courses must also take into account the following distribution requirements:

Requirements for the concentration in creative writing

The selection of courses must also take into account the following distribution requirements:

Requirements for the concentration in literature and film

The selection of courses must also take into account the following distribution requirements:

The English minor—The student electing a minor in English will choose a concentration in either literature or creative writing. In order to declare a minor in English, the student must meet with the department chair. Only courses in which the student has received a grade of at least C- can count toward the minor in English.

Literature concentration

Six courses in literature:

The selection of courses must also take into account the following distribution requirements:

Creative writing concentration

Six courses—three in literature and three in creative writing:

Honors—In order to earn honors in the major, all students must attain a minimum of an A- GPA in all English courses taken with Trinity English Department faculty counting toward major requirements. In addition, all students must successfully complete an honors senior project, of which both semester credits will count toward the major GPA. The honors senior project consists of either:

Students who plan to continue the study of English in graduate school should see Professor David Rosen about special preparation, preferably in their sophomore year or early in their junior year.

Study away—The English Department encourages its students to take the opportunity to study abroad, both in countries in which English is the primary language and elsewhere. Students interested in studying abroad or elsewhere in the United States should discuss questions of transferring credits, fulfilling requirements, and other related matters with the department’s study-abroad adviser, Professor Milla Riggio. The English Department accepts two courses for a semester away, and three courses for a year away toward the major, with the possibility of petitioning the chair to count additional courses under exceptional circumstances.

Fall Term

Creative Writing Courses

270. Introduction to Creative Writing— An introduction to imaginative writing, concentrating on the mastery of language and creative expression in more than one genre. Discussion of work by students and established writers. This is a required course for creative writing concentrators. Beginning in the spring 2014 semester, ENGL 270 must be taken before senior year with enrollment of juniors restricted to five students per section. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. This course is not open to seniors. (ART) (Enrollment limited) –Libbey, Rossini, Rutherford

334. Advanced Creative Writing: Fiction— Students will write and rewrite fiction. The class is run as a workshop, and discussions are devoted to analysis of student work and that of professional writers. For English creative writing concentrators, this course satisfies the requirement of a 300-level workshop. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. Prerequisite: C- or better in ENGL 270 or permission of instructor. (ART) (Enrollment limited) –Rutherford

441. Writing for Film— This is a hybrid graduate/advanced undergraduate course. Coursework involves reading relevant dramatic and cinematic theory, studying three produced screenplays and one unproduced script by a major writer, and completing weekly writing assignments. While studying screenplay format, three-act story structure, character development, dialogue, action, and style, students will develop a writing process grounded in the oral tradition. Reading and listening to work aloud in class will develop a supportive “writers room.” Readings will range from John Howard Lawson’s theory of screenwriting to Ed Spiegel’s The Innocence of the Eye. Writing exercises will consist of short film scripts. Students will have a choice of final projects: either a feature film treatment or a fully realized screenplay for a short film. For undergraduate students, the course may be counted as an advanced Creative Writing workshop or an elective for the English major. For graduate students, this course counts as a core course in the Writing, Rhetoric, and Media Arts track and an elective in the Literary Studies track. (ART) (Enrollment limited) –Brink

492. Fiction Workshop— Advanced seminar in the writing of fiction. Class discussions devoted primarily to the analysis of student fiction, with some attention to examples of contemporary short stories. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers, and an advanced creative writing workshop. This course satisfies the requirement of a 400-level workshop for creative writing concentrators. Prerequisite: C- or better in English 270 and one of the following English 333, 334, 335, 336, 337, 441, Film Studies 337, Theater and Dance 345, or Theater and Dance 393. (ART) (Enrollment limited) –Ferriss

494. Poetry Workshop— Advanced seminar in the writing of poetry. Class discussions devoted primarily to the analysis of student work, with some attention to examples of contemporary poetry. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers, and an advanced creative writing workshop. This course satisfies the requirement of a 400-level workshop for creative writing concentrators, and a senior project. Prerequisite: C- or better in English 270 and one of the following English 333, 334, 335, 336, 337, 441, Film Studies 337, Theater and Dance 345, or Theater and Dance 393. (ART) (Enrollment limited) –Berry

Introductory Literature Courses

105. Introduction to American Literature II— This course surveys major works of American literature after 1865, from literary reckonings with the Civil War and its tragic residues, to works of “realism” and “naturalism” that contended with the late 19th century’s rapid pace of social change, to the innovative works of the modern and postmodern eras. As we read works by authors such as Mark Twain, Kate Chopin, William Faulkner, and Toni Morrison, we will inquire: how have literary texts defined and redefined “America” and Americans? What are the means by which some groups have been excluded from the American community, and what are their experiences of that exclusion? And how do these texts shape our understanding of the unresolved problems of post-Civil War American democracy? For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited) –Mrozowski

110. Survey of English Literature I: Anglo-Saxon Period to 1700— Through selected readings in works from the Anglo-Saxon period to the late 17th century, this course will study the development of English literature in the context of stylistic, cultural, and historical changes and influences. For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited) –Wheatley

[205. Introduction to American Literature II]— This course surveys major works of American literature after 1865, from literary reckonings with the Civil War and its tragic residues, to works of “realism” and “naturalism” that contended with the late 19th century’s rapid pace of social change, to the innovative works of the modern and postmodern eras. As we read works by authors such as Mark Twain, Kate Chopin, William Faulkner, and Toni Morrison, we will inquire: how have literary texts defined and redefined “America” and Americans? What are the means by which some groups have been excluded from the American community, and what are their experiences of that exclusion? And how do these texts shape our understanding of the unresolved problems of post-Civil War American democracy? For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited)

[210. Survey of English Literature I: Anglo-Saxon Period to 1700]— Through selected readings in works from the Anglo-Saxon period to the late 17th century, this course will study the development of English literature in the context of stylistic, cultural, and historical changes and influences. For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited)

[220. Crime and Passion: Studies in Victorian Literature]— This course introduces students to major writers and issues from the British Victorian period (1837-1901). It will focus on texts-fiction, non-fictional prose, and poetry-in which notions of propriety and morality are in productive dialogue with crimes, threatening secrets, and subversive passions. Texts to be studied include Charlotte Brontë’s Jane Eyre, Charles Dickens’ Bleak House, D.G. Rossetti’s Jenny, and M.E. Braddon’s Lady Audley’s Secret. (Please note: this course requires substantial amounts of reading; Victorian novels are long!) For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited)

222. Victorian Short Fiction— The Victorian period is known for its three-decker novels, but the later 19th century was a golden age for short fiction. We will examine the evolution of the short story and the novella, assessing the impact of technological advances in the printing industry, the rise of the cheap periodical, and burgeoning literacy levels. We will also look at the rapid growth of new popular genres, such as science fiction, detective fiction, adventure stories, ghost & horror stories, and feminist “New Woman” fiction. Writers to be studied include Elizabeth Gaskell, Charles Dickens, Eliza Riddell, Sheridan Le Fanu, Thomas Hardy, Mona Caird, “George Egerton,” and H.G. Wells. For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited) –Bilston

248. The World of Old English: Heroes, Monsters, Exiles, and More— The earliest English literature might not even be considered English at all since it was composed in a Germanic language by Viking invaders. But this language, the ancestor of modern English, produced some extraordinary literature, from deeply psychological exile poems to obscene riddles, from sublime meditations on the new religion of Christianity to poems that play on the borders of polytheism. And, of course, the Anglo-Saxon period gave us the magnificent epic, Beowulf, in which heroes and monsters end up defining each other. This course will examine the spectrum of Old English literature (in translation) within the social, cultural, and artistic context of the Anglo-Saxon world. For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited) –Fisher

[250. Forms of Poetry: An Introduction]— This hybrid course will focus on the study of poetry as form. We’ll begin by investigating the workings of meter and rhyme before reading, and attempting to write in, a series of established poetic forms. Some of these forms, like the sonnet, will be well known; others, like the pantoum, a little less so. Some of the forms will be structural, like the villanelle; others thematic, like the epithalamium. In all cases, we’ll mix deep reading from across the ages with invigorated writing. When we come to consider the sonnet, for example, we’ll move from the classic (Shakespeare, Keats) to the contemporary (Muldoon, Heaney). This course is open to everyone and is strongly recommended for English majors looking to develop their grasp of poetic structure. For English majors, this course satisfies the requirement of a 200-level elective. (ART) (Enrollment limited)

260. Introduction to Literary Studies— This course introduces students to the fundamental techniques of close reading. The course will show students how to apply this critical vocabulary to a wide range of literary genres from different historical periods, and to develop the writing and research skills necessary for composing clear and compelling arguments in the interpretation of a text. Note: This course is required of all English majors. This course can be counted toward fulfillment of requirements for the literature and psychology minor. (HUM) (Enrollment limited) –Benedict, Bergren, Henton, Wheatley

265. Introduction to Film Studies— This course provides a general introduction to the study of film and focuses on the key terms and concepts used to describe and analyze the film experience. As we put this set of tools and methods in place, we will also explore different modes of film production (fictional narrative, documentary, experimental) and some of the critical issues and debates that have shaped the discipline of film studies (genre, auteurism, film aesthetics, ideology). Note: Film screening only on Monday evenings. For English majors, this course satisfies the requirement of a 200-level elective. It is also the gateway course for the literature and film concentration. This course can be counted toward fulfillment of requirements for the film studies minor. (HUM) (Enrollment limited) –Younger

[288. World Cinema]— This course provides an introduction to the study of world cinema, with a focus on cinematic cultures other than those of the USA or Europe. We will begin by considering some of the theoretical questions involved in intercultural spectatorship and introducing/reviewing critical categories we can use to discuss the films. We will then proceed through a series of units based around specific cinematic cultures, focusing on movement, genres and auteurs and on the historical, cultural, and geopolitical issues that the films illuminate. For English majors, this course satisfies the requirement of a 200-level elective. This course can be counted toward fulfillment of requirements for the film studies minor. (GLB2) (Enrollment limited)

Literature Courses

310. Postcolonial Literature and Theory— This course provides an introduction to Anglophone literatures produced after decolonization. We will read postcolonial theory alongside novels, short stories, poetry, graphic novels, film, and drama in order to consider how these literatures represent issues of identity, nationalism, globalization, and race. The seminar will address the effects of literary form on these fraught representations, as well as the implications of approaching literature through the lens of “postcolonialism,” as opposed to globalization studies, World Literature, transnationalism, or the study of the Global South. Readings may include theory by Homi Bhabha, Franz Fanon, Edward Said, Gayatri Spivak; and literature from Anglophone Africa, South Asia, Pacific Oceania, the Caribbean and the British Isles. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1900, or a course emphasizing critical reflection. (HUM) (Enrollment limited) –Bergren

[321. Curiosity and Literature]— This course will examine the way curiosity transformed literature and culture in the age of inquiry, when Peeping Tom was invented, modern science was institutionalized, and the detective novel was born. We will read texts that explore both approved and unapproved kinds, such as witchcraft, voyeurism, and the exhibition of monsters. Texts will include drama, journalism, poetry, satire, and novels by Aphra Behn, Defoe, Johnson, and others. For English majors, this course satisfies the requirement of a course emphasizing literature written from 1700-1900. It is a “research-intensive seminar.” Not open to first-year students. (HUM) (Enrollment limited)

[323. (Early) Modern Literature: Crossing the “Color-Line”]— This course aims to cross literary boundaries, considering the ways we can productively discuss English Renaissance and modern African-American literary texts simultaneously. Historical distance did not prevent black authors like Adrienne Kennedy or W.E.B. Du Bois from acknowledging (or, perhaps, responding to) Shakespeare and his contemporaries. Thus, we will read specific Renaissance and modern works alongside one another, examining how authors handled similar issues in disparate historical contexts. Among other topics, we will discuss: miscegenation, sexuality, parentage, death, passing, homosexual/homosocial bonds, and race. Possible author pairings may include: Shakespeare’s Hamlet with Kennedy’s Funnyhouse of a Negro; Marlowe’s Edward II with Baldwin’s Giovanni’s Room; The Tempest with Suzan-Lori Parks’ Venus; and Webster’s The Duchess of Malfi with Jacobs’ Incidents in the Life of a Slave Girl. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1800, or a course emphasizing cultural context. (HUM) (Enrollment limited)

345. Chaucer— A study of The Canterbury Tales and related writings in the context of late medieval conceptions of society, God, love, and marriage. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. This course is research intensive. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited) –Fisher

[347. Writing Women of the Renaissance]— Anne Boleyn. Queen Elizabeth. Mary Queen of Scots. Mary Sidney, Countess of Pembroke. Penelope Rich. Lucy Russell, Countess of Bedford. These Renaissance women were important leaders, writers, patrons of the arts. There also exists a rich and long tradition of representing them in history, literature, and film. What does this sustained fascination reveal about the continual process of historical revision, and ultimately about our own cultural preoccupations? This course will examine a range of texts: biographies, early modern texts by and about these figures, and more contemporary representations (in popular histories, plays, and films) of their lives and times. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. It is a research-intensive seminar. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited)

351. Shakespeare— In this course we will study selected Shakespeare plays, with an emphasis on understanding cultural contexts and on plays in performance. We focus on Shakespeare’s language and the language of the theater and the drama of his age, with an eye also to helping you understand why these plays and this dramatist have earned such an extraordinary place in the cultural history of so many people and places, from Russia to Africa. Plays to be studied may include: King Lear, The Merchant of Venice, Othello, Titus Andronicus, A Midsummer Night’s Dream, and The Tempest. These choices are subject to change. For English majors this course satisfies the requirement of a course emphasizing literature written before 1700. This course is not open to first-year students. (HUM) (Enrollment limited) –Riggio

[354. Cloud Atlas: A Journey through Genre]— This course uses David Mitchell’s magisterial novel Cloud Atlas as a touchstone for the exploration of genre, literary appropriation, and the postmodern revaluation of fictional form. In addtion to interleaving sections of the novel with its genre sources in both classical and contemporary genre texts (Melville, Huxley, Waugh, Amis, Cornwell, Hoban, and others), we will also explore theories of imitation and remix. The course culminates in viewing and discussion of the 2012 film adaptation. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1900. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited)

[355. Narratives of Disability in U.S. Literature and Culture]— This course introduces students to the ways in which disability has been used to represent both “normalcy” and extraordinariness in literature. We will consider how “tales told by idiots,” as framed in Shakespeare’s Hamlet, often supply the unique and insightful perspective that mainstream characters cannot see, hear, or experience because of their own limitations. We will look at how the notion of disability has been aligned with other aspects of identity, such as Charles Chesnutt’s representation of race as a disability in his turn of the century literature or of slaves using performances of disability to escape from the horrid institution during the 19th-century. We will read a variety of genres, fiction, memoir, and some literary criticism to come to a clearer understanding of the ways in which the meaning of disability and its representation in a variety of texts echoes a broader set of beliefs and practices in the U.S. For English majors this course satisfies the requirement of a course emphasizing literature written after 1900. This course is research-intensive. (Enrollment limited)

359. Victorian London: Literature of a Changing City— London grew from a city of one million in 1800 to over four million inhabitants by the year of Queen Victoria’s death. We will investigate literary responses to the rapid transformation of the city, focusing on how different urban spaces and occupations were represented. Questions to be addressed include: what were the hopes of urbanization, and what were its problems? How was the relationship between the center, the suburbs, and the slums conceptualized? How was the urban interior represented, and what about the urban garden? Writers to be studied include Charles Dickens, Wilkie Collins, Mary Elizabeth Braddon, and Jane Ellen Panton; students will complete a research paper on Victorial London at the end of the course. This is a research-intensive seminar. For English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. (HUM) (Enrollment limited) –Bilston

364. Literary Transformations in the 18th Century— How do writers transform traditional literary forms to express new perceptions of identity, sexuality, society, and nature? In this course, we will examine the way the poets, playwrights, journalists, and fiction writers of Restoration and 18th-century England imitated, reworked, and finally rejected old genres to forge new kinds of literary expression. Readings include works by Aphra Behn, Dryden, Swift, Pope, Johnson, and Goldsmith. For English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. It is a research-intensive seminar. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited) –Benedict

383. Modern British Fiction— This is a course in British fiction between 1890 and 1945. The prose (novels and stories) of this period is characterized by tremendous ambition, radical experimentation, the questioning of old conventions and the creation of new ones. Authors will include Wilde, Conrad, Ford, Forster, Joyce, Woolf, and Beckett. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1900. It is research intensive. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited) –Rosen

399. Independent Study— A limited number of individual tutorials in topics not currently offered by the department. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and chairperson are required for enrollment. (0.5 - 1 course credit) –Staff

401. Theories and Methods of Literary Studies— This seminar is designed to introduce students to the field of literary studies at the graduate level, to provide a perspective on varied critical vocabularies, and to explore the development of literary theories and methods from classical to contemporary times. Emphasis will be placed on a broad examination of the history and traditions of literary theory, the ongoing questions and conflicts among theorists, and practical applications to the study of works in literature. Students will write weekly, have opportunities to lead class discussion, and work in stages to compose a substantial critical essay based on research and the development of their own perspective on understanding and evaluating a literary text. (Note: English 401 and English 801 are the same course.) For undergraduate English majors, this course satisfies the requirement of a course emphasizing critical reflection. For the English graduate program, this course is required of all students and we recommend that entering students enroll in this course during their first year of graduate study. (HUM) (Enrollment limited) –Mrozowski

[412. Modern Poetry]— “It appears that poets in our civilization, as it exists at present, must be difficult.” When T. S. Eliot wrote these lines in 1921, “difficulty” was self-evidently a term of praise: it signaled a willingness to grapple with the intellectual, esthetic, moral, and erotic complexities of modernity. Today, however, that same difficulty gives poetry of the early 20th century its somewhat scary reputation. Why read tough texts when so much else goes down easily? A premise of this course is that the excitement, the beauty, and the sheer greatness of modern poetry are inseparable from the challenges it poses to the reader. Between 1885 and World War II, Eliot, Yeats, Pound, Crane, Moore, Bishop, Williams, Stevens, Frost, and Auden made poetry possible for modern life. We read their work. (Note: English 412 and English 812 are the same course.) For English majors, this course satisfies the requirement of an advanced class in literature written after 1900. It also satisfies the requirement of a poetry course. For the English graduate program, this course counts as a course in American literature or British literature for the literary studies track; it counts as an elective for the writing, rhetoric, or media arts track. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited)

[414. Remixing Literature, Part II]— Has “the remix” always been an essential art form in literature? This course will research new examples of classic literary works and their cultural adaptations and appropriations across multiple media arts, ranging from redactions of oral folktales to cinema blockbusters, digital mashups, and transmedia storytelling. Source texts will include Malory’s Le Morte d’Arthur, Shakespeare’s Hamlet, Austen’s Sense and Sensibility, Bronte’s Wuthering Heights, and Stoker’s Dracula. We will study these texts and linked remixes, explore the reasons for their continued popularity, and address topics in creativity, originality, and remix theory. Students will help choose contemporary remixes and have opportunities to experiment individually and in small groups with crafting their own literary remixes and mashups. English 414 and English 814 are the same course. For undergraduate English majors, this course counts as an elective or fulfills the requirement of an advanced course for literature and film concentrators. For the English graduate program, this course counts as a core course for the writing, rhetoric, and media arts track or as an elective for the literary studies track. (HUM) (Enrollment limited)

418. 17th-Century Poetry— The poets of the early modern period made their contribution to an English literary tradition against a dynamic context of religious, political, and social change. Poets studied in this course will include Lanyer, Jonson, Donne, Herbert, Crashaw, Marvell, Philips, Bradstreet, and Milton. English 418 and English 818 are the same course. For undergraduate English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. This is a research-intensive seminar. For the English graduate program, this course fulfills the requirement of a course emphasizing English literature or a cultural context for the literary studies track. It counts as an elective for the writing, rhetoric, and media arts track. Prerequisite: C- or better in English 260 or permission of instructor. (Enrollment limited) –Wheatley

[429. History of the Graphic Novel]— This course is an introduction to the history and aesthetics of the graphic novel. The course concentrates on the period between 1978, when graphic novel was coined by Will Eisner for A Contract with God, and the present, with examination of antecedents to graphic novels in the popular and high arts. The first half includes Surrealist and wordless graphic novels, European albums from Tintin to Tardi, and the growth of autobiographical works in the U.S.A.’s Underground movement culminating in Art Spiegelman’s Maus. The second half focuses on the reinvention of mainstream superheroes under the influence of the graphic novel form, historical and fantastic graphic novels from Japan, and the increasing prominence and growing diversity of graphic novels in the past decade. For undergraduate English majors, this course satisfies the requirements of an elective, or a course in literature written after 1900. (Enrollment limited)

[439. Special Topics in Film: The Documentary]— Documentary films chronicle varied cultural, social, and political realities, from coal miners’ strikes and social revolutions to the development of musical genres. Documentary styles range from fictionalized recreations (docudramas) to narrative reenactments to non-narrative commentaries. This course will examine key documentary strategies through representative films, which may include Harlan County USA (Barbara Kopple, 1976) and Shut Up and Sing (Kopple and Cecilia Peck, 2006), Journalist and the Jihadi: The Murder of Daniel Pearl (Ahmad Jamal and Ramesh Sharma, 2006): segments of The Battle of Algiers, Poto Mitan: Haitian Women, Pillars of the Global Economy (Renee Bergan and Mark Schuller), Jazz (selected episodes) (Ken Burns, 2001), Say Amen, Somebody (George Nierenberg, 1982), An Inconvenient Truth (Davis Guggenheim, 2008), and Fair Game (Doug Liman, 2010). Note: English 439-16 and English 839-12 are the same course. For the English graduate program, this course counts as a core course for the writing, rhetoric, and media arts track; it counts as an elective for the literary studies track. For undergraduate English majors, this course satisfies a post-1900 distribution requirement, or a core course for the literature and film concentration. (HUM) (Enrollment limited)

456. The Puritan Supernatural— The Puritans believed in a complex relationship between the visible and the “invisible” worlds. Quasi-natural phenomena like earthquakes and eclipses, and dramatic perversions of natural law (e.g. witchcraft and demonic possession) all indicated the presence of invisible influences on everyday life. In this course we will read a variety of “wonderful” texts, beginning with Puritan chronicles, sermons, spiritual histories, demonic possession narratives, and trial transcripts. Then we will consider the many ways that the “invisible world” persisted as a major theme of American fiction long after the Puritans themselves had gone. Looking at a broad sweep of eighteenth and nineteenth-century writing, we will examine genres ranging from gothic novels and short stories, to national romances, to antebellum satires. This is a research-intensive seminar. For undergraduate English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. For the English graduate program, this course fulfills the requirement of a course emphasizing English literature. (HUM) (Enrollment limited) –Henton

466. Teaching Assistantship— Students may assist professors as teaching assistants, performing a variety of duties usually involving assisting students in conceiving or revising papers; reading and helping to evaluate papers, quizzes, and exams; and other duties as determined by the student and instructor. See instructor of specific course for more information. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and chairperson are required for enrollment. (0.5 - 1 course credit) –Staff

[468. Walt Whitman and Emily Dickinson]— Nothing that precedes them in the American literary tradition quite prepares us for the poems of Walt Whitman and Emily Dickinson. We will steep ourselves in the verse of these two literary iconoclasts. At the same time, we will trace the critical history of both, reading essays from the 19th century to the present which have made the complex works and lives of Whitman and Dickinson more legible. The final class period will be reserved for reading selections from 20th-century poets – not all of them American – who have openly professed a debt to Whitman’s and Dickinson’s experimental and often exhilarating poems. Note: English 468-06 and English 868-16 are the same course. For undergraduate English majors, this course satisfies the requirement of course emphasizing literature written between 1700-1900. (HUM) (Enrollment limited)

473. Dickens/Chaplin— This course treats the work of Charles Dickens and Charles Chaplin from a critical perspective that recognizes their striking similarities. Charles Dickens was the most popular artist of the 19th century; the fictional world and characters he created made sense of modern life for millions around the world, and the adjective “Dickensian” testifies to how familiar his blend of comedy and melodrama has become. Charles Chaplin is remarkably analogous to Dickens; as the 20th century’s most popular artist, his work addressed fundamental issues of contemporary social life, and also employed a blend of comedy and melodrama that merited its own adjective: “Chaplinesque”. The course examines the evolution of these two major figures over the course of their careers. This is a research-intensive seminar. For English majors, this course satisfies the requirement of a 300/400 elective. For literature and film concentrators, this course counts as a course in literature and film. For the English graduate program, this course fulfills the requirement of an elective. (HUM) (Enrollment limited) –Younger

[477. The Sixties in Film, Fiction and Poetry]— “The Sixties” have taken on iconic status as a representation of progressive social change. In fact, quite varied images of The Sixties have been constructed in poetry, fiction, film, and other creative forms, a good deal of it composed during the years 1958-1974 or so. In this course we will read such works, examining the roles of creative texts in defining and carrying out the social and political conflicts of the eraand in shaping our own time. Authors to be read will likely include Martin Luther King, Jr., Alice Walker, Robert Bly, Denise Levertov, Allen Ginsberg. (Note: English 477 and English 877 are the same course.) For undergraduate English majors, this course satisfies the requirement of a course emphasizing cultural context. For literature and film concentrators, this course fulfills the requirement of an advanced course toward the major, and counts as a course in literature and film. For the English graduate program, this course satisfies the requirement of a course in American literature or a course emphasizing cultural context for the literary studies track; it counts as an elective for the writing, rhetoric, and media arts track. Prerequisite: C- or better in English 260 and junior or senior status. (Enrollment limited)

495. Senior Seminar: Meanings in Literature and History: The Phenomenon of Literary Popularity— Why is Shakespeare considered great? Why is Jane Austen so popular? Or Romantic Poetry? Or Stephen King? In this course students will explore the way theorists and critics from Aristotle to Edward Said have understood literary value and meaning, while they also read key texts in British literature. Students will have the chance to develop their own literary theories and apply them to their favorite texts.For English majors, this course satisfies the requirement of a senior seminar. (HUM) (Enrollment limited) –Benedict

[495. Senior Seminar: Making of Anthologies]— How are literary canons established—or changed? What roles are played by textbooks in general and by anthologies in particular? To what extent and in what ways do course syllabi function to shape literary canons? These and related questions will be the subject matter of this seminar. Because I am the general editor of the Heath Anthology of American Literature and am currently engaged in revising the anthology for its 7th edition, we will be able to use that material as the core of our study, and will also be able to consider the roles of publishing as an industry in the shaping of anthologies and the determination of what students and critics learn to value and read. This course satisfies the requirement of a senior project. (HUM) (Enrollment limited)

[495. Senior Seminar: Indian Film and Literature]— This course offers an introduction to the rich culture and society of the Indian subcontinent through some of its most celebrated films and works of literature, with a special thematic focus on the history of post-Independence India (1947-present). We will explore work in different genres (Bollywood films, Bengali art cinema, documentaries, short stories, novels, poetry and non-fiction writing) and several distinctive linguistic cultures (English and Hindi, Urdu, Bengali and other regional languages in translation) as a means to feel at home within the oceanic complexity, the sublime diversity, “the Wonder that is India”. For English majors, this course satisfies the requirement of a senior project. (HUM) (Enrollment limited)

497. One-Semester Senior Thesis— Individual tutorial in writing of a one-semester senior thesis on a special topic in literature or criticism. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and the chairperson are required. –Staff

498. Senior Thesis Part 1/Senior Colloquium— This course is designed to teach senior English majors the techniques of research and analysis needed for writing a year-long essay on a subject of their choice. It is intended to help the students to write such year-long theses, and to encourage them to do so. It will deal with problems such as designing longer papers, focusing topics, developing and limiting bibliographies, working with manuscripts, using both library and Internet resources, and understanding the uses of theoretical paradigms. This course is required of all senior English majors who are planning to write two-semester, year-long theses. Please refer to the department’s website for more information. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and the chairperson are required. (2 course credits are considered pending in the first semester; 2 course credits will be awarded for completion in the second semester.) (2 course credits) (Enrollment limited) –Bilston

Graduate Courses

801. Theories and Methods of Literary Studies— This seminar is designed to introduce students to the field of literary studies at the graduate level, to provide a perspective on varied critical vocabularies, and to explore the development of literary theories and methods from classical to contemporary times. Emphasis will be placed on a broad examination of the history and traditions of literary theory, the ongoing questions and conflicts among theorists, and practical applications to the study of works in literature. Students will write weekly, have opportunities to lead class discussion, and work in stages to compose a substantial critical essay based on research and the development of their own perspective on understanding and evaluating a literary text. (Note: English 401 and English 801 are the same course.) For undergraduate English majors, this course satisfies the requirement of a course emphasizing critical reflection. For the English graduate program, this course is required of all students and we recommend that entering students enroll in this course during their first year of graduate study. (HUM) –Mrozowski

[812. Modern Poetry]— “It appears that poets in our civilization, as it exists at present, must be difficult.” When T. S. Eliot wrote these lines in 1921, “difficulty” was self-evidently a term of praise: it signaled a willingness to grapple with the intellectual, esthetic, moral, and erotic complexities of modernity. Today, however, that same difficulty gives poetry of the early 20th century its somewhat scary reputation. Why read tough texts when so much else goes down easily? A premise of this course is that the excitement, the beauty, and the sheer greatness of modern poetry are inseparable from the challenges it poses to the reader. Between 1885 and World War II, Eliot, Yeats, Pound, Crane, Moore, Bishop, Williams, Stevens, Frost, and Auden made poetry possible for modern life. We read their work. (Note: English 412 and English 812 are the same course.) For English majors, this course satisfies the requirement of an advanced class in literature written after 1900. It also satisfies the requirement of a poetry course. For the English graduate program, this course counts as a course in American literature or British literature for the literary studies track; it counts as an elective for the writing, rhetoric, or media arts track. (HUM)

[814. Remixing Literature, Part II]— Has “the remix” always been an essential art form in literature? This course will research new examples of classic literary works and their cultural adaptations and appropriations across multiple media arts, ranging from redactions of oral folktales to cinema blockbusters, digital mashups, and transmedia storytelling. Source texts will include Malory’s Le Morte d’Arthur, Shakespeare’s Hamlet, Austen’s Sense and Sensibility, Bronte’s Wuthering Heights, and Stoker’s Dracula. We will study these texts and linked remixes, explore the reasons for their continued popularity, and address topics in creativity, originality, and remix theory. Students will help choose contemporary remixes and have opportunities to experiment individually and in small groups with crafting their own literary remixes and mashups. English 414 and English 814 are the same course. For undergraduate English majors, this course counts as an elective or fulfills the requirement of an advanced course for literature and film concentrators. For the English graduate program, this course counts as a core course for the writing, rhetoric, and media arts track or as an elective for the literary studies track. (HUM)

818. 17th-Century Poetry— The poets of the early modern period made their contribution to an English literary tradition against a dynamic context of religious, political, and social change. Poets studied in this course will include Lanyer, Jonson, Donne, Herbert, Crashaw, Marvell, Philips, Bradstreet, and Milton. English 418 and English 818 are the same course. For undergraduate English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. This is a research-intensive seminar. For the English graduate program, this course fulfills the requirement of a course emphasizing English literature or a cultural context for the literary studies track. It counts as an elective for the writing, rhetoric, and media arts track. –Wheatley

[829. History of the Graphic Novel]— This course is an introduction to the history and aesthetics of the graphic novel. The course concentrates on the period between 1978, when graphic novel was coined by Will Eisner for A Contract with God, and the present, with examination of antecedents to graphic novels in the popular and high arts. The first half includes Surrealist and wordless graphic novels, European albums from Tintin to Tardi, and the growth of autobiographical works in the U.S.A.’s Underground movement culminating in Art Spiegelman’s Maus. The second half focuses on the reinvention of mainstream superheroes under the influence of the graphic novel form, historical and fantastic graphic novels from Japan, and the increasing prominence and growing diversity of graphic novels in the past decade. For undergraduate English majors, this course satisfies the requirements of an elective, or a course in literature written after 1900.

[839. Special Topics in Film: The Documentary]— Documentary films chronicle varied cultural, social, and political realities, from coal miners’ strikes and social revolutions to the development of musical genres. Documentary styles range from fictionalized recreations (docudramas) to narrative reenactments to non-narrative commentaries. This course will examine key documentary strategies through representative films, which may include Harlan County USA (Barbara Kopple, 1976) and Shut Up and Sing (Kopple and Cecilia Peck, 2006), Journalist and the Jihadi: The Murder of Daniel Pearl (Ahmad Jamal and Ramesh Sharma, 2006): segments of The Battle of Algiers, Poto Mitan: Haitian Women, Pillars of the Global Economy (Renee Bergan and Mark Schuller), Jazz (selected episodes) (Ken Burns, 2001), Say Amen, Somebody (George Nierenberg, 1982), An Inconvenient Truth (Davis Guggenheim, 2008), and Fair Game (Doug Liman, 2010). Note: English 839-12 and English 439-16 are the same course. For the English graduate program, this course counts as a core course for the writing, rhetoric and media arts track; it counts as an elective for the literary studies track. For undergraduate English majors, this course satisfies a post-1900 distribution requirement, or a core course for the literature and film concentration.

841. Writing for Film— This is a hybrid graduate/advanced undergraduate course. Coursework involves reading relevant dramatic and cinematic theory, studying three produced screenplays and one unproduced script by a major writer, and completing weekly writing assignments. While studying screenplay format, three-act story structure, character development, dialogue, action, and style, students will develop a writing process grounded in the oral tradition. Reading and listening to work aloud in class will develop a supportive “writers room.” Readings will range from John Howard Lawson’s theory of screenwriting to Ed Spiegel’s The Innocence of the Eye. Writing exercises will consist of short film scripts. Students will have a choice of final projects: either a feature film treatment or a fully realized screenplay for a short film. For undergraduate students, the course may be counted as an advanced Creative Writing workshop or an elective for the English major. For graduate students, this course counts as a core course in the Writing, Rhetoric, and Media Arts track and an elective in the Literary Studies track. (ART) –Brink

856. The Puritan Supernatural— The Puritans believed in a complex relationship between the visible and the “invisible” worlds. Quasi-natural phenomena like earthquakes and eclipses, and dramatic perversions of natural law (e.g. witchcraft and demonic possession) all indicated the presence of invisible influences on everyday life. In this course we will read a variety of “wonderful” texts, beginning with Puritan chronicles, sermons, spiritual histories, demonic possession narratives, and trial transcripts. Then we will consider the many ways that the “invisible world” persisted as a major theme of American fiction long after the Puritans themselves had gone. Looking at a broad sweep of eighteenth and nineteenth-century writing, we will examine genres ranging from gothic novels and short stories, to national romances, to antebellum satires. This is a research-intensive seminar. For undergraduate English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. For the English graduate program, this course fulfills the requirement of a course emphasizing English literature. (HUM) –Henton

[868. Walt Whitman & Emily Dickinson]— Nothing that precedes them in the American literary tradition quite prepares us for the poems of Walt Whitman and Emily Dickinson. We will steep ourselves in the verse of these two literary iconoclasts. At the same time, we will trace the critical history of both, reading essays from the 19th century to the present which have made the complex works and lives of Whitman and Dickinson more legible. The final class period will be reserved for reading selections from 20th-century poets–not all of them American–who have openly professed a debt to Whitman’s and Dickinson’s experimental and often exhilarating poems. Note: English 868-16 and English 468-06 are the same course. For the English graduate program, this course satisfies the requirements of a course in American literature, or a course emphasizing cultural contexts for the literary studies track; it counts as an elective for the writing, rhetoric, and media arts track. For undergraduate English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900.

873. Dickens/Chaplin— This course treats the work of Charles Dickens and Charles Chaplin from a critical perspective that recognizes their striking similarities. Charles Dickens was the most popular artist of the 19th century; the fictional world and characters he created made sense of modern life for millions around the world, and the adjective “Dickensian” testifies to how familiar his blend of comedy and melodrama has become. Charles Chaplin is remarkably analogous to Dickens; as the 20th century’s most popular artist, his work addressed fundamental issues of contemporary social life, and also employed a blend of comedy and melodrama that merited its own adjective: “Chaplinesque”. The course examines the evolution of these two major figures over the course of their careers. This is a research-intensive seminar. For English majors, this course satisfies the requirement of a 300/400 elective. For literature and film concentrators, this course counts as a course in literature and film. For the English graduate program, this course fulfills the requirement of an elective. (HUM) –Younger

[877. The Sixties in Film, Fiction and Poetry]— “The Sixties” have taken on iconic status as a representation of progressive social change. In fact, quite varied images of The Sixties have been constructed in poetry, fiction, film, and other creative forms, a good deal of it composed during the years 1958-1974 or so. In this course we will read such works, examining the roles of creative texts in defining and carrying out the social and political conflicts of the eraand in shaping our own time. Authors to be read will likely include Martin Luther King, Jr., Alice Walker, Robert Bly, Denise Levertov, Allen Ginsberg. (Note: English 477 and English 877 are the same course.) For undergraduate English majors, this course satisfies the requirement of a course emphasizing cultural context. For literature and film concentrators, this course fulfills the requirement of an advanced course toward the major, and counts as a course in literature and film. For the English graduate program, this course satisfies the requirement of a course in American literature or a course emphasizing cultural context for the literary studies track; it counts as an elective for the writing, rhetoric, and media arts track.

940. Independent Study— A limited number of tutorials are available for students wishing to pursue special topics not offered in the regular graduate program. Applications should be submitted to the department chairperson prior to registration. Written approval of the graduate adviser and department chairperson is required. Contact the Office of Graduate Studies for the special approval form. –Staff

953. Research Project— The graduate director, the supervisor of the project, and the department chairperson must approve special research project topics. Conference hours are available by appointment. Contact the Office of Graduate Studies for the special approval form. One course credit. –Staff

954. Thesis Part I— –Staff

955. Thesis Part II— Continuation of English 954 (described in prior section). –Staff

956. Thesis— (2 course credits) –Staff

958. Graduate Research Colloquium— This capstone colloquium provides instruction and guidance in producing a scholarly article in the academic field of English. Starting with written work already completed for a course or unfinished thesis project, students will learn how to identify an appropriate professional journal for their topic, test their ideas and refine their argument, conduct further research as needed, and expand their draft to a rhetorically polished and professional piece of writing of approximately 30 to 40 pages. Activities will include topic-focused library exercises, writing workshops with multiple drafts and revisions, and peer review exchanges. Faculty readers from the English Department will be chosen to evaluate the final work and assign the course grade. –Wall

Courses Originating in Other Departments

Guided Studies 219. The Classical Tradition— View course description in department listing on p. 518. Only students in the Guided Studies programare allowed to enroll in this course. –Safran

Theater & Dance 393. Playwrights Workshop— View course description in department listing on p. 844. Prerequisite: At least one theater and dance course or permission of instructor. –Karger, Preston

[Women, Gender, and Sexuality 318. Hollywood Stars]— View course description in department listing on p. ??. Prerequisite: C- or better in one film studies course, or permission of instructor.

Women, Gender, and Sexuality 319. The Woman’s Film— View course description in department listing on p. 861. –Corber

[Women, Gender, and Sexuality 335. Mapping American Masculinities]— View course description in department listing on p. 861.

[Women, Gender, and Sexuality 345. Film Noir]— View course description in department listing on p. 862.

Spring Term

Creative Writing Courses

270. Introduction to Creative Writing— An introduction to imaginative writing, concentrating on the mastery of language and creative expression in more than one genre. Discussion of work by students and established writers. This is a required course for creative writing concentrators. Beginning in the spring 2014 semester, ENGL 270 must be taken before senior year with enrollment of juniors restricted to five students per section. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. This course is not open to seniors. (ART) (Enrollment limited) –Berry, Davis, Ferriss

300. Shaping the World: Considering the Writer’s Craft— How do you get from that first scribbled note to the final draft of a story or poem? How do you use the work of other writers as a source of inspiration, a jumping off point? In this course we’ll analyze the craft of fiction, non-fiction, and poetry. We’ll read and discuss important recent works in all three genres as well as a mixture of essays, interviews, and articles on craft issues and the writing life. Each week we’ll turn over a different topic, looking at how one aspect of craft operates across these genres. Students will respond to the readings and discussions via papers, creative work, and group work. We’ll also engage established writers in our conversations through class visits and Skype sessions. For English majors, this course is open to students wishing to fulfill their 200-level elective requirements under petition. Prerequisite: C- or better in English 270. (ART) (Enrollment limited) –Berry, Rutherford

333. Creative Nonfiction— In this writing workshop, we explore the genre of creative nonfiction. The term “nonfiction” implies that the writer is telling the truth–that the reader can assume and trust that the writer is describing people who are real and events that have happened. The writer strives for accuracy, even if the nature of that accuracy remains within the bounds of human limitations. The adjective “creative” refers to the fact that in creative nonfiction there is an important transformation of life into art, through the use of poetic and fictional techniques. Our readings will enhance our understanding of how creative nonfiction essays are constructed; they will also serve as springboards for writing exercises. In writing workshops, the main focus of the course, we will produce various types of creative nonfiction. For English literature concentrators, this course satisfies the requirement of an elective. For English creative writing concentrators, this course satisfies the requirement of a 300-level workshop. For writing, rhetoric,and media arts minors, it counts as a core course. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. Prerequisite: C- or better in ENGL 270 or permission of instructor. (ART) (Enrollment limited) –Rutherford

334. Advanced Creative Writing: Fiction— Students will write and rewrite fiction. The class is run as a workshop, and discussions are devoted to analysis of student work and that of professional writers. For English creative writing concentrators, this course satisfies the requirement of a 300-level workshop. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. Prerequisite: C- or better in ENGL 270 or permission of instructor. (ART) (Enrollment limited) –Goldman

[335. Literary Nonfiction Narrative]— This workshop explores the form of writing that combines the craft of fiction writing with the skills and practices of the journalist. We will read some of the foremost 20th-century and contemporary practitioners of this form of writing (V.S. Naipaul, Joseph Mitchell, Joan Didion, Gabriel Garcia Marquez, Ryszard Kapuscinski, Rory Stewart, Alma Guillermoprieto, Susan Orlean, Jon Lee Anderson, etc., and selections from some of their important precursors: Stephen Crane, Jose Marti) and discuss, often, the form’s complex relation to literary fiction, the tensions and difference between journalism and imaginative works, and so on. The workshop will begin with practical writing assignments: first paragraphs, setting, character, how to develop meaning, short pieces, etc., with the final goal being to produce a New Yorker magazine-like (in length and craft) piece using some aspect of the city of Hartford. NOTE: For English majors, this course satisfies the requirement of an elective. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. Prerequisite: C- or better in ENGL 270 or permission of instructor. (ART) (Enrollment limited)

336. Advanced Creative Writing: Poetry— Students will do in-class exercises, and write and revise their own poems. The class is run as a workshop, and discussions are devoted to analysis of student work and that of professional writers. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. This course satisfies the requirement of a 300-level workshop for creative writing concentrators. Prerequisite: C- or better in ENGL 270 or permission of instructor. (ART) (Enrollment limited) –Libbey

[337. Literary Journalism]— In this writing workshop, we will deeply explore one form of creative nonfiction: literary journalism. Our readings, springboards for initial writing exercises, will enhance our understanding of the scope and meaning of the term. In workshops, the main focus of the course, each student will produce three essays in draft form on subjects of his or her choice. We might write about travel/study abroad experiences or human rights; we might try our hands at investigative reporting or ethnography. These are only some examples. Whatever we write, our subject matter will be sculpted and transformed through our great attention to language into pieces of art. Passion is a prerequisite! Significant revision and the submission of polished final products are essential to success in this class. For English literature concentrators, this course satisfies the requirement of an elective. For English creative writing concentrators, this course satisfies the requirement of a 300-level workshop. One requirement of this class is attendance at a minimum of two readings offered on campus by visiting writers. Prerequisite: C- or better in ENGL 270 or permission of instructor. (ART) (Enrollment limited)

Introductory Literature Courses

104. Introduction to American Literature I— A survey of literature, written and oral, produced in what is now the United States from the earliest times to around the Civil War. We will examine relationships among cultural and intellectual developments and the politics, economics, and societies of North America. Authors to be read include some that are well known—such as Emerson, Melville, Dickinson—and some who are less familiar—such as Cabeza de Vaca, John Rollin Ridge, and Harriet Jacobs. For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited) –Henton

111. Survey of English Literature II: 1700 to the Present— Through readings in novels, drama, poetry, and prose from the Restoration to the 20th century, this course will examine shifts in the forms, functions, and meanings of English literature in the context of cultural and historical changes. For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited) –Bergren

[117. Introduction to African American Literature Part II]— This course surveys African American literature in multiple genres from the 20th-century to the present. We will examine texts by both canonical and emergent writers, such as James Weldon Johnson, Angelina Weld Grimke, Jean Toomer, Nella Larsen, Langston Hughes, Zora Hurston, Ralph Ellison, Ann Petry, James Baldwin, Lorraine Hansberry, Amiri Baraka, Octavia Butler, Rita Dove, August Wilson, Alice Walker, Audre Lorde, Toni Morrison, and others. Our discussions/strategies for reading will be informed by relevant social, historical, and political contexts. In addition to discussing issues of race, nation formation, diasporic identities, class, gender, and sexuality, we will identify/trace recurring ideas/themes, as well as develop a theoretical language to facilitate thoughtful engagement with these works. For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited)

[204. Introduction to American Literature I]— A survey of literature, written and oral, produced in what is now the United States from the earliest times to around the Civil War. We will examine relationships among cultural and intellectual developments and the politics, economics, and societies of North America. Authors to be read include some that are well known—such as Emerson, Melville, Dickinson—and some who are less familiar—such as Cabeza de Vaca, John Rollin Ridge, and Harriet Jacobs. For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited)

[211. Survey of English Literature II: 1700 to the Present]— Through readings in novels, drama, poetry, and prose from the Restoration to the 20th century, this course will examine shifts in the forms, functions, and meanings of English literature in the context of cultural and historical changes. For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited)

[215. Literature and Environment]— In this course, we will examine the philosophies that underpin ideas of nature, culture, and the wilderness by reading a survey of poetry, fiction, drama, and nonfiction across centuries and cultures. We will consider why and how literary art seeks to represent nature, and think about the role of creative literature in the larger cultural conversation about environmental issues. Together we will discuss: How do we approach the relationship between nature and culture? What preconceptions are embedded in our use of quotidian terms like environment,’ wilderness,’ and even nature’ itself? What are the practical environmental consequences of our views on language and literature? For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited)

[216. Introduction to African American Literature, Part I]— This course surveys African American literature in a variety of genres from the 18th to the early 20th centuries. Through the study of texts by Phillis Wheatley, Frederick Douglass, Harriet Wilson, Harriet Jacobs, William Wells Brown, Julia Collins, William and Ellen Craft, Charles Chesnutt, Paul Dunbar, Ida Wells, W.E.B. Du Bois, and others, we will explore how these writers represented and influenced the history of people of African descent in the U.S., from slavery and abolition to early struggles for civil rights; how their work has intervened in racial formation and imagined the black diaspora; how literary innovations have engaged with continuing political questions of nation, gender, sexuality, and class. For English majors, this course satisfies the requirement of a survey. (HUM) (Enrollment limited)

[218. Romantic Friendship]— Romantic-era writers like Percy Bysshe Shelley and William Wordsworth were deeply invested in the question of genius,’ of how artistic inspiration chooses and works upon an individual. This investment has affected our conception of Romanticism, most obviously in our continued focus on the “big six” male poets as defining the era’s literary production. This course pivots away from Romantic individuality to approach the era through friendship, collaboration, rivalry, and networks. Emphasizing the social nature of Romanticism, this course asks: How do relationships revise our ideas of Romantic authorship and authority? Is Romanticism still Romantic’ when we emphasize connections over the myth of the individual genius? Readings may include works by Pope and Montagu, Smith and Haley, Wordsworth and Wordsworth, Coleridge and Lamb, Polidori and Byron. For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited)

[225. Jane Austen and the Romantic Period]— Is Jane Austen a Romantic or a rationalist? Students in this course will analyze Jane Austen’s novels. Readings will also include some Romantic poetry and supplementary materials. For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited)

[233. Evolution of the Western Film]— The course examines how the Western genre emerged from global popular culture at the end of the 19th century to become one of the most powerful and complex forms for expressing the experience of Modernity. After careful consideration of the political and philosophical implications of the Western, we will track the development of the genre as it responds to the ideological contradictions and cultural tensions of 20th-century American history, focusing on broad trends within the mainstream, the contributions of individual directors, and the global dissemination of generic elements. For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited)

[238. The Latin American Novel in English and Spanish]— “Latin America is like Europe’s insane asylum,” Roberto Bolao told a French interviewer in 2002. “A savage insane asylum, impoverished, violent, in which, despite its chaos and corruption, it’s possible to see the shadow of the Louvre.” This course looks at contemporary Latin American novels written in Spanish and English. Novels of politics, violence, love, gender confusion and other desperate circumstances. We examine the ways that writers subvert and expand our pre-conceived ideas about Latin America, and how the literary traditions of both western hemispheres – north and south – influence and dialogue with each other in fictional works. We discuss the fraught tension between so called national literatures, and those which aspire to, and even come to be regarded as, examples of “world literature.” For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited)

260. Introduction to Literary Studies— This course introduces students to the fundamental techniques of close reading. The course will show students how to apply this critical vocabulary to a wide range of literary genres from different historical periods, and to develop the writing and research skills necessary for composing clear and compelling arguments in the interpretation of a text. Note: This course is required of all English majors. This course can be counted toward fulfillment of requirements for the literature and psychology minor. (HUM) (Enrollment limited) –Bergren, Bilston, Mrozowski

[276. How Stories Get Told]— This course examines theories and techniques of the art of narrative and its adaptations across media. Where do stories come from? How and why do they get told? What happens, for example, when Francis Ford Coppola transforms Joseph Conrad’s Heart of Darkness into Apocalypse Now, or graphic novelist Alan Moore merges words and images to create Watchmen? What do we make of traditional literary theories of narratology when a contemporary Macbeth struts and frets upon a digital stage? We will look at a wide variety of narrative theories, stories, and storytellers as we test our own perceptions against the claim by Roland Barthes that “narrative is international, transhistorical, transcultural: it is simply there, like life itself.” For English majors, this course satisfies the requirement of a literary theory course. (HUM) (Enrollment limited)

277. The Strange Meaning of Things— How important is your “stuff” to you? What does it mean? When is a thing just a thing, and when does it represent something else? In this course, students will examine the literary representations of material culture, including clothes, tools, collections of things, paintings, jewelry and books, in a range of works from the Renaissance to the present. We will analyze what different kinds of things mean at different periods of history, and how writers invest them with magical, religious, satirical and sentimental significance. Readings will include drama, novels, poetry, poltergeist tales, and journalism, as well as some history, and anthropological and literary theory. For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited) –Benedict

288. World Cinema— This course provides an introduction to the study of world cinema, with a focus on cinematic cultures other than those of the USA or Europe. We will begin by considering some of the theoretical questions involved in intercultural spectatorship and introducing/reviewing critical categories we can use to discuss the films. We will then proceed through a series of units based around specific cinematic cultures, focusing on movement, genres and auteurs and on the historical, cultural, and geopolitical issues that the films illuminate. For English majors, this course satisfies the requirement of a 200-level elective. This course can be counted toward fulfillment of requirements for the film studies minor. (GLB2) (Enrollment limited) –Younger

292. Tolkien and His Times— J.R.R. Tolkien is rarely considered in the same breath as the great modernist writers with whom he shared the middle decades of the twentieth-century. And yet, with its explorations of war, totalitarian politics, ecology, religion, and other big issues, his work holds a fascinating mirror to its times. In this course, we will take Tolkien seriously both as a literary author and as an interpreter of twentieth-century Britain. Readings will include most of Tolkien’s published output, a handful of modernist texts, and selected readings in contemporary culture and politics. For English majors, this course satisfies the requirement of a 200-level elective. (HUM) (Enrollment limited) –Rosen

Literature Courses

301. Literature and Meaning: from Aristotle to Queer Theory— This course explores the different ways in which literature has been—and can be—interpreted and justified. Students will read critical theories from Platonism to feminism and queer theory, and will apply these theories to selected texts by Shakespeare, Keats, Austen, Conrad, and others in order to define their own literary theory. For English majors, this course satisfies the requirement of a course emphasizing critical reflection. (HUM) (Enrollment limited) –Benedict

[304. Cinephilia and Philosophy]— This course offers a systematic introduction to some of the most prominent approaches to treating film as philosophy (Cavell, Deleuze, cognitivism, and others)as preparation for a free-ranging exploration through a series of philosophical texts and films designed to challenge us and provoke creative thought, open-ended discussion, and elegant, poetic critical writing. The course will be conducted as an advanced seminar; some prior background in either philosophy or film studies is recommended, and a serious commitment to the common cinephilosophical endeavor is required. For English majors, this course satisfies the requirement of a course emphasizing critical reflection. (HUM) (Enrollment limited)

[318. Literacy and Literature]— Literature is produced and consumed by literate people. Nothing could be more obvious. But how do the different ways writers and readers become literate influence the ways they write and read? How have writers depicted the process of acquiring literacy and imagined its importance? In this course, we will examine the nature of literacy and the roles texts play in the development of literacy. With a focus on the United States from the 18th century to the 20th, we will study schoolbooks, texts for young readers, and representations of literacy in literary works ranging from slave narratives to novels to films. We also will study theories of literacy from philosophical, cognitive, and educational perspectives. For English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. This course is research intensive. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited)

[320. Contemporary Americans]— This course will focus on important individual collections of contemporary or near-contemporary American poetry. Rather than scanning a selected or collected volume for highlights, we’ll look at poems in their original context, considering the single volume as a unified project (a concept increasingly important to contemporary poets) rather than simply a gathering of miscellaneous pieces. Working at a rate of roughly one poet/collection per week, we’ll consider classics such as Louise Glck’s The Wild Iris, C.K. Williams’s Tar, Philip Levine’s What Work Is, Yusef Komunyakaa’s Magic City, and Jorie Graham’s Erosion. We will also consider at least one very recently published collection and one first or near-to-first book. These readings will be supplemented by some theory on the state of contemporary poetry from both poets and critics. For English majors, this course would fulfill the requirement of a course emphasizing poetry and/or a course emphasizing literature written after 1900. (HUM) (Enrollment limited)

322. Social Networks of the Romantic Era— Romantic-era writers like Percy Bysshe Shelley and William Wordsworth were deeply invested in the question of genius,’ of how artistic inspiration chooses and works upon an individual. This investment has affected our conception of Romanticism, most obviously in our continued focus on the “big six” male poets as defining the era’s literary production. This course pivots away from Romantic individuality to approach the era through networks: friendship, collaboration, rivalry. Emphasizing the social nature of Romanticism, this course asks: How do relationships revise our ideas of Romantic authorship and authority? Is Romanticism still Romantic’ when we emphasize connections over the myth of the individual genius? Readings will include works by the Wordsworths, Coleridge, Lamb, Wollstonecraft, Burke, Paine, Austen, the Shelleys, Polidori and Byron. This is a research-intensive seminar. For English majors, this course satisfies the requirement o f a course emphasizing literature written between 1700-1900. (HUM) (Enrollment limited) –Bergren

325. Spaghetti Westerns— This course interweaves a comparative exploration of the global range of the genre, Westerns made in Germany, India, Thailand, China, and Brazil, with a comprehensive examination of the remarkable series of Italian Westerns that were made during the 1960s and 1970s. Working as a team, the class will develop original insights by employing the methods of experimental cinephilia, paying close attention to the aesthetics at work in individual films, while at the same time considering the films’ relation to their social, cultural and political contexts; though we will begin with the guilty pleasures the Spaghetti films are known for, these pleasures shall lead us to a deeper understanding of how they function as art. This seminar is research-intensive. For English majors, this course satisfies the requirement o f a 300-level elective. (HUM) (Enrollment limited) –Younger

330. Sex, Violence and Substance Abuse: Mexico by Non-Mexicans— Some of the greatest and most lasting depictions of México in fiction, non-fiction, cinema and photography have been produced by non-Mexicans. Rather than exposing any lack of significant Mexican creators in all these genres, such works reflect the strong pull, the attraction and at times repulsion, exerted by this complicated country and culture on outsiders. We will choose readings from such twentieth and twenty-first century works such as John Reed’s Insurgent México, Malcolm Lowry’s Under the Volcano, DH Lawrence’s The Plumed Serpent, Graham Greene’s The Power and the Glory, the short-stories of Katherine Anne Porter and Paul Bowles, the novels of B. Traven, Cormac McCarthy’s Blood Meridian, the poetic meditations on Pre-Colombian México by recent French Nobel Prize winner Le Clézio, the contemporary México novels of the Chilean Roberto Bolao, and, in Ana Castillo’s fiction, a U.S. Chicana’s return to México, as well as other contemporary writings. Movies will be chosen from among A Touch of Evil, The Treasure of Sierra Madre, The Wild Bunch, Bring me the Head of Alfredo Garcia, The Night of the Iguana, The Three Burials of Melquiades Estrada, and Sn Nombre. The emphasis will be on the prose, novels especially, with three or four movies, and a class devoted to photography. We study the works themselves, their relation to their own literary-cultural traditions, their depiction of México, and the multiple issues raised by their status as works created by “foreigners.” Supplemental readings, some by Mexicans. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1900. (Enrollment limited) –Goldman

341. American Literary Modernism and the Great War— This course will consider the impact of the Great War on American literary modernism. Grappling with apocalyptic devastation in Europe, massive shifts in global politics, and dramatic changes in technology, the Lost Generation responded with enduring and enigmatic works, haunted by wounds both psychic and spiritual. We will consider canonical writings by Ernest Hemingway and e.e. cummings, lesser-known works by Jessie Redmon Fauset and Edith Wharton, and first person accounts by combatants such as Thomas Boyd. As our focus will be on introducing the aesthetics of modernism through the context of the war itself, we will study maps, songs, photographs, newspapers, and other historical materials alongside traditional literary objects. Assignments will include a creative research project, weekly responses, and short essays. For English majors, this course satisfies the requirement of a course emphasizing literature written after 1900. It is research intensive. (HUM) (Enrollment limited) –Mrozowski

[346. Dream Vision and Romance]— A study of two major medieval genres as they are developed in the works of Chaucer, Langland, the Gawain-poet, and Malory. The course will explore the structural and stylistic as well as the political, social, and psychological issues raised by these genres and the individual authors’ treatments of them. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. This course is research intensive. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited)

348. Women Writers of the Middle Ages— This course will study works in a variety of genres, from the lyric and the romance to the autobiography and the moral treatise, written by medieval women in England, Europe, and Asia. In addition to analyzing the texts themselves, we will be examining them within their social, historical, and political contexts as we discuss such issues as medieval women’s literacy, education, and relationships to the male-authored literary traditions of their cultures. Through the term, we will be trying to determine the degree to which we can construct a recognizable woman’s literary tradition for this period. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. This course is research intensive. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited) –Fisher

353. Challenging Authority: Literature of the 17th Century— The early 17th century was one of the most important and contentious periods in English history, and literature was a formative part of its rich culture of debate and innovation. The Stuart monarchy was trying to establish an absolutist culture, and the resistance to it led to the first political revolution in modern Europe. The 17th century also witnessed the movement of women into public life and print as highly vocal poets, preachers, prophetesses, and political theorists. Advances in scientific inquiry reshaped how writers thought about the cosmos and their place in it. Readings will include works by Donne, Jonson, Marvell, the women poets Lanyer and Bradstreet, the quasi-scientific writings of Bacon and Burton, and samplings from the period’s rich popular literature and pamphlet wars. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. It is research intensive. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited) –Wheatley

[356. Milton]— In this course, we will consider the works of John Milton, with attention to how his prose and poetry synthesizes long-standing intellectual and literary traditions and grapples with issues that still engage us today: the relation of men and women, the realities of loss and mortality, the concept of significant individual choice, and the power and limitations of language as the tool with which we forge an understanding of the world. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. This course is also research intensive. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited)

[360. Shakespeare on Film]— In this course, we will study selected films based on Shakespeare plays. Though we will read the Shakespeare plays as prelude to film analysis, the films will be studied as independent texts. The film script (adapted from or based on a Shakespeare play) will be treated as one aspect of the text. Students will concentrate on analyzing camera angles, mise-en-scne, lighting, sound, editing, and script as aspects of a composite text. We will also discuss film genres and look at the signature work of specific directors, such as Laurence Olivier and Kenneth Branagh. Plays may be selected from Titus Andronicus, Hamlet, Much Ado About Nothing, Richard III, Romeo and Juliet, The Taming of the Shrew, and King Lear. For English majors, this course satisfies the requirement of a course emphasizing literature written before 1700. For literature and film concentrators, this course fulfills the requirement of an advanced course toward the major, and counts as a course in literature and film. This course is not open to first-year students. (HUM) (Enrollment limited)

[373. Irish Poetry Since Yeats]— We’ll consider the blossoming of Irish poetry in English since the foundation of the Irish Free State. Given his centrality to both the state and the art form, we’ll begin by considering the work of W.B. Yeats. From Yeats, we’ll move up through the 20th century, looking at work by Patrick Kavanagh, Louis MacNeice, John Montague, Seamus Heaney, Michael Longley, Paul Durcan, Eamon Grennan, Eavan Boland, Paul Muldoon, Ciaran Carson, Vona Groarke, and Sinéad Morrissey. We’ll consider the poems through the lens of Irish independence and cultural identity, the Troubles, tensions over religion and class, the urban/rural divide, and the place of women within the tradition. We will also consider the poems as aesthetic objects, governed by different schools and traditions within the art form, Irish or otherwise. For English majors, this course satisfies the requirement of a course emphasizing literature after 1900 and a class that emphasizes poetry. (Enrollment limited)

[377. The Revolutionary Generations: American Literature from 1740 to 1820]— Hannah Arendt suggested that the United States failed to remember its revolutionary tradition because it failed to talk about it. This course will recover those memories by reading the texts that founded the American rebellion, the writings produced in the aftermath of independence, and the creative works crafted in the wake of revolution. Our focus will be on the literature from 1740 until 1820 that struggled to define ways of being in the world that seemed specifically American; therefore, we will look beyond the context of New England to consider the roles played by Africa and the Caribbean in the cultural imagination, and we will trace how social class, race, and gender inflected the output of American writers in a post-1776 world. For English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. (HUM) (Enrollment limited)

[379. Melville]— Though a superstar during his early career, Herman Melville watched his reputation decline as his literary ambitions escalated. One review of his seventh novel bore the headline, “Herman Melville Crazy.” Not until the 20th century did even his best-known work, Moby Dick, attract considerable attention, but it now stands at the center of the American literary pantheon. Melville’s work merits intensive, semester-long study not only because he is a canonical author of diverse narratives—from maritime adventures to tortured romances to philosophical allegories—but also because his career and legacy themselves constitute a narrative of central concern to literary studies and American culture. Through reading and discussion of several of his major works, we will explore Melville’s imagination, discover his work’s historical context, and think critically about literary form. For English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. This course is also research-intensive. (Enrollment limited)

[387. Ben Jonson and His World]— This course will focus on the life and works of Ben Jonson (1572-1637). Rivaling his fellow-playwright William Shakespeare in his comic artistry (and far surpassing Shakespeare in his explicit representation of life in early modern London), Jonson worked in court, playhouse, and printing house to make a name for himself as England’s first poet laureate. The study of his plays, poems, and masques provides insight into the dynamics of social and political change that were shaping early modern English society; study of Jonson’s critical reception in turn illuminates key facets of an English literary tradition. We will be reading a range of works by Jonson, poems by the self-identified “Sons of Ben,” and contemporary critical commentaries by scholars, poets, and directors. For English majors, this course fulfills the requirement for a pre-1700 course. (HUM) (Enrollment limited)

399. Independent Study— A limited number of individual tutorials in topics not currently offered by the department. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and chairperson are required for enrollment. (0.5 - 1 course credit) –Staff

[402. Theories & Methods of Rhetoric & Media Arts]— Aristotle defined Rhetoric over 2,000 years ago as “the art of discovering, in any given case, the available means of persuasion.” This seminar is designed to introduce the theoretical traditions of this art of persuasion and its development across the media arts from classical to contemporary times. Students will examine representative examples of literary texts, political discourse, contemporary films, and digital modes of communication in popular culture and the public sphere. Emphasis will be placed on exploring media semiotics and the dynamics of evolving cultural concepts of page, voice, and screen—ranging from classical orations to televised speeches and hypertext webs. Students will write weekly, have opportunities to lead class discussion, and develop a substantial project on a rhetorical topic of interest to them. English 402 and English 802 are the same course. For English majors, this course satisfies the requirement of a 300/400-level elective. For the English graduate program, this course is required for the writing, rhetoric, and media arts track; it counts as an elective for the literary studies track. (Enrollment limited)

[404. Women and Empire]— This course examines women’s involvement in and relationship to British imperialism in the 19th and 20th centuries. What part did ideologies of femininity play in pro-imperialist discourse? In what ways did women writers attempt to “feminize” the imperialist project? What was the relationship between the emerging feminist movement and imperialism at the turn of the 20th century? How have women writers resisted and complicated imperialist axiomatics? How and in what language do women authors from once-colonized countries write about the history and experiences of imperialism? Authors to be studied include Charlotte Brontë, Flora Annie Steel, Rudyard Kipling, Jean Rhys, Jamaica Kincaid, Louise Bennett, Nuala Ni Dhomhnail and Jhumpa Lahiri. English 404 and English 804 are the same course. For English majors, this course satisfies a post-1900 distribution requirement. This course is also research intensive. For the English graduate program, this course satisfies the requirement of a course in British literature, or a course emphasizing cultural contexts for the literary studies track; it counts as an elective for the writing, rhetoric, and media arts track. (GLB2) (Enrollment limited)

412. Modern Poetry— “It appears that poets in our civilization, as it exists at present, must be difficult.” When T. S. Eliot wrote these lines in 1921, “difficulty” was self-evidently a term of praise: it signaled a willingness to grapple with the intellectual, esthetic, moral, and erotic complexities of modernity. Today, however, that same difficulty gives poetry of the early 20th century its somewhat scary reputation. Why read tough texts when so much else goes down easily? A premise of this course is that the excitement, the beauty, and the sheer greatness of modern poetry are inseparable from the challenges it poses to the reader. Between 1885 and World War II, Eliot, Yeats, Pound, Crane, Moore, Bishop, Williams, Stevens, Frost, and Auden made poetry possible for modern life. We read their work. (Note: English 412 and English 812 are the same course.) For English majors, this course satisfies the requirement of an advanced class in literature written after 1900. It also satisfies the requirement of a poetry course. For the English graduate program, this course counts as a course in American literature or British literature for the literary studies track; it counts as an elective for the writing, rhetoric, or media arts track. Prerequisite: C- or better in English 260 or permission of instructor. (HUM) (Enrollment limited) –Rosen

423. Southern Gothic Literature and Film: Case Study in Genre Theory— Southern Gothic literature and film provide an excellent case study for exploring theories of genre. With the tools of modern genre criticism, this course will seek to define and map a controversial and disputed literary and cinematic territory, one that focuses on a culture of terror and horror as it spins tales of murder, madness, freaks, and monsters. It is a narrative mode that pushes what Flannery O’Connor called “the limits of mystery” in attempts to deal with tragic extremes of human behavior and comic twists of the grotesque. Readings include works by Edgar Allan Poe, William Faulkner, Eudora Welty, Flannery O’Connor, Tennessee Williams, and Cormac McCarthy, along with contemporary Southern “pop-gothic” movies such as Deliverance, Midnight in the Garden of Good and Evil, and Beasts of the Southern Wild. English 423 and English 823 are the same course. For undergraduate English majors, this course satisfies the post-1900 distribution requirement. For literature and film concentrators, this course fulfills the requirement of an advanced course toward the major, and counts as a course in literature and film. For English graduate students, this course counts as a core course in the writing, rhetoric, and media arts track; it counts as an elective in the literary studies track. (HUM) (Enrollment limited) –Wall

[425. Postmodernism in Film and Literature]— “Postmodern” is the term used most often to describe the unique features of global culture (art, architecture, philosophy, cinema, literature) since the 1970s. And yet there is practically no agreement about what those features might be: is postmodernism ironic or serious, flat or deep, real or hyper-real, alive or defunct? In this course we will examine competing and often contradictory views of postmodernism, with the goal of developing a historical perspective on the contemporary world we live in now. Texts will be divided evenly between philosophy/theory (Lyotard, Baudrillard, Jameson, Fukuyama, Hutcheon), cinema (possible films: Bladerunner, Blue Velvet, Pulp Fiction) and literature (possible authors: Borges, Pynchon, Barthelme, Murakami, Foster Wallace).English 425 and English 825 are the same course. For undergraduate English majors, this course satisfies the post-1900 distribution requirement. For literature and film concentrators, this course fulfills the requirement of an advanced course toward the major, and counts as a course in literature and film. This course fulfills the requirements toward the film studies major. For Film Studies majors this course will count as a senior seminar. NOTE: Monday evenings screenings only. For the English graduate program, this course counts as an elective in the literary studies track; it counts as an elective in the writing, rhetoric, and media arts track. (HUM) (Enrollment limited)

[435. Reading Films: Style, Genre, and Historical Context]— This course will concentrate on developing the reading skills basic to film studies — focusing on understanding the language of film within the context of various styles, genres, and historical periods and developments. The course will concentrate primarily on American films, but will introduce selected foreign films, genres, and styles for comparative purposes. We will look at Film Noir, gangster films, social problem films, Italian Neorealism, and the French New Wave, among others. Directors whose films will be introduced include Fritz Lang, John Ford, Orson Welles, Alfred Hitchcock, Howard Hawks, Francis Ford Coppola, Roberto Rossellini, Vittorio De Sica, Jean-Luc Godard, Stephen Spielberg, and Ridley Scott. English 435 and English 835 are the same course. For English majors, this course satisfies the post-1900 distribution requirement. For the graduate program, this course counts as a basic course for the writing, rhetoric, and media arts track; it counts as an elective for the literary studies track. (HUM) (Enrollment limited)

[440. Localism Unrooted]— Immanent in the expansion of the British empire during the 18th and 19th centuries was an increased movement of plants, soil, and seeds—the essential elements of a garden—throughout the colonies of the British empire. In this course we will examine this convergence of colonial and ecological history through examples of what we might call nature writing from Great Britain and its former colonies, from the 18th century to the present. We will analyze the changing representations of what one scholar has termed “ecological imperialism”—the physical impacts of colonial expansion on the ecology of Britain and its colonies, as well as the subtle effects of imperialism on ecological thinking. Readings may include works by Pope, Blake, Keats, Dutt, Rhys, Césaire, Coetzee, and Kincaid. English 440 and English 840 are the same course. For undergraduate English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. For the English graduate program, this course counts as a course in British literature or a course emphasizing cultural context in the literary studies track, it counts as an elective for the writing, rhetoric, and media arts track. (HUM) (Enrollment limited)

[448. Plant Lives in Literature and Film]— This course engages with the plant world through novels, poetry, philosophy, film, and painting. We will track major trends in the human understanding of plants, allowing us to analyze how plants are represented in art and popular culture. In rethinking the being and meaning of plants we will necessarily revisit the idea of the human’ and the animal,’ employing these categories while attending to borderline cases where their utility falters. Readings may include well-known Romantic texts like Wordsworth’s “The Thorn,” Shelley’s “The Sensitive Plant,” and Austen’s Mansfield Park, as well as Erasmus Darwin’s epic “The Loves of the Plants”; essays by John Wilkins, Michael Pollan, and Michael Marder; and horror films like “The Happening” and “The Ruins.” English 448 and English 848 are the same course. For English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. This course is research-intensive. For the English graduate program this course satisfies the requirement of a course in British literature, or a course emphasizing cultural contexts for the literary studies track; it counts as an elective for the writing, rhetoric, and media arts track. (HUM) (Enrollment limited)

463. Feminist Approaches to Literature— This course will examine the sexual politics of literature, criticism, and literary history, focusing in particular on how feminist writers have negotiated the relationship between politics, the body, and eroticism. Topics to be studied include the absence of women from conventional literary histories, the theories (and influence) of Sigmund Freud, daughterhood, adolescence, and identity, the pleasures and dangers of romance plots, and feminist explorations of sexual power dynamics. Writers to be studied include Harriet Jacobs, Charlotte Bronte, Sarah Grand, Jeanette Winterson, Helen Cixous, Monique Wittig, Andrea Dworkin, and Maxine Hong Kingston. For English majors, this course satisfies the requirement of a course emphasizing critical reflection. (HUM) (Enrollment limited) –Bilston

466. Teaching Assistantship— Students may assist professors as teaching assistants, performing a variety of duties usually involving assisting students in conceiving or revising papers; reading and helping to evaluate papers, quizzes, and exams; and other duties as determined by the student and instructor. See instructor of specific course for more information. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and chairperson are required for enrollment. (0.5 - 1 course credit) –Staff

470. Film Theory: An Introduction— This course introduces the most important theoretical models which have been used to explain how films function as art, ideology, language, history, politics and philosophy. Some theorists are mainly concerned with the aesthetic potentials of the cinema: How do categories such as realism, authorship and genre explain and enhance our experience of films? Other theorists are focused on the relations between films and the societies that produce them, or on general processes of spectatorship: How do Hollywood films address their audiences? How do narrative structures shape our responses to fictional characters? As the variety of these questions suggests, film theory opens onto a wide set of practices and possibilities; though it always begins with what we experience at the movies, it is ultimately concerned with the wider world that we experience through the movies. Theorists to be examined include Munsterberg, Eisenstein, Burch, Kracauer, Balazs, Bazin, Altman, Gunning, Mulvey, Metz, Wollen, Havel, Benjamin, Pasolini, Deleuze and Jameson. For English majors, this course satisfies the requirement of a 300/400-level elective, or a course emphasizing critical reflection. This course fulfills requirements toward the film studies minor. Film screenings to be discussed at the first class meeting. (HUM) (Enrollment limited) –Younger

[496. Senior Seminar: American Auteurs]— This course explores and celebrates the work of classic American film directors and constitutes an introduction to the critical methodology of the auteur theory. The directors to be examined in Spring 2014 are Samuel Fuller, Howard Hawks, and Alfred Hitchcock. After an introduction to various approaches to the auteur, we will use the work of Fuller, Hawks and Hitchcock to explore the history and creative potential of these approaches. Emphasis will be given to contemporary developments that integrate a focus on auteurs with the practices of experimental cinephilia and philosophy. For English majors, this course satisfies the requirement of a senior project. For literature and film concentrators, this course fulfills the requirement of an advanced course toward the major, and counts as a course in literature and film. (HUM) (Enrollment limited)

496. Senior Seminar: What You Should Have Read— This is your final semester as an English major, and this senior seminar will provide you with an opportunity to reflect back on the intellectual paths you have and have not taken. What texts do you consider true classics, but have not yet read? This course will give you a chance to address those perceived gaps in your literary education, as students in the course will generate the primary reading list. What has led you to think of these specific works as central to the study of English literature? In addition to our list of selected classics, we will read critical essays that discuss issues of canonicity, the history of the English major, and the fate of literature (and literary study) in this latest “information age.” Writing requirements will include weekly responses to assigned reading, class presentations, and a longer seminar paper. For English majors, this course satisfies the requirement of a senior seminar. This course is open to senior English majors only. (HUM) (Enrollment limited) –Fisher

497. One-Semester Senior Thesis— Individual tutorial in writing of a one-semester senior thesis on a special topic in literature or criticism. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and the chairperson are required. –Staff

499. Senior Thesis Part 2— Individual tutorial in the writing of a year-long thesis on a special topic in literature or criticism. Seniors writing year-long, two-credit theses are required to register for the second half of their thesis for the spring of their senior year. Submission of the special registration form, available in the Registrar’s Office and the approval of the instructor and chairperson are required for each semester of this year-long thesis. (2 course credits are considered pending in the first semester; 2 course credits will be awarded for completion in the second semester.) (2 course credits) –Staff

Graduate Courses

[802. Theories & Methods of Rhetoric & Media Arts]— Aristotle defined Rhetoric over 2,000 years ago as “the art of discovering, in any given case, the available means of persuasion.” This seminar is designed to introduce the theoretical traditions of this art of persuasion and its development across the media arts from classical to contemporary times. Students will examine representative examples of literary texts, political discourse, contemporary films, and digital modes of communication in popular culture and the public sphere. Emphasis will be placed on exploring media semiotics and the dynamics of evolving cultural concepts of page, voice, and screen—ranging from classical orations to televised speeches and hypertext webs. Students will write weekly, have opportunities to lead class discussion, and develop a substantial project on a rhetorical topic of interest to them. English 402 and English 802 are the same course. For English majors, this course satisfies the requirement of a 300/400-level elective. For the English graduate program, this course is required for the writing, rhetoric, and media arts track; it counts as an elective for the literary studies track.

[804. Women and Empire]— This course examines women’s involvement in and relationship to British imperialism in the 19th and 20th centuries. What part did ideologies of femininity play in pro-imperialist discourse? In what ways did women writers attempt to “feminize” the imperialist project? What was the relationship between the emerging feminist movement and imperialism at the turn of the 20th century? How have women writers resisted and complicated imperialist axiomatics? How and in what language do women authors from once-colonized countries write about the history and experiences of imperialism? Authors to be studied include Charlotte Brontë, Flora Annie Steel, Rudyard Kipling, Jean Rhys, Jamaica Kincaid, Louise Bennett, Nuala Ni Dhomhnail and Jhumpa Lahiri. English 404 and English 804 are the same course. For English majors, this course satisfies a post-1900 distribution requirement. This course is also research intensive. For the English graduate program, this course satisfies the requirement of a course in British literature, or a course emphasizing cultural contexts for the literary studies track; it counts as an elective for the writing, rhetoric, and media arts track. (GLB2)

[809. Non-Fiction Screenwriting]— Analyzing contemporary nonfiction audiovisual scripts through the prism of classical persuasive rhetoric and modern visual communication theory, students will build both an intellectual framework and the practical skills that are in high demand in business, education, marketing, documentary and news writing. Specifically, students will develop pitching and writing skills, learn formatting conventions and sources for professional advancement while developing a written portfolio of four nonfiction pieces for audiovisual media. Reading assignments include selections ranging from Aristotle to Vorkapich. Guest presenters will include writer/producers from news, documentary, marketing, advertising, and educational video fields. For undergraduate English majors, this course satisfies the requirement of a 300/400-level elective. This course counts as an advanced film course for literature and film majors.

812. Modern Poetry— “It appears that poets in our civilization, as it exists at present, must be difficult.” When T. S. Eliot wrote these lines in 1921, “difficulty” was self-evidently a term of praise: it signaled a willingness to grapple with the intellectual, esthetic, moral, and erotic complexities of modernity. Today, however, that same difficulty gives poetry of the early 20th century its somewhat scary reputation. Why read tough texts when so much else goes down easily? A premise of this course is that the excitement, the beauty, and the sheer greatness of modern poetry are inseparable from the challenges it poses to the reader. Between 1885 and World War II, Eliot, Yeats, Pound, Crane, Moore, Bishop, Williams, Stevens, Frost, and Auden made poetry possible for modern life. We read their work. (Note: English 412 and English 812 are the same course.) For English majors, this course satisfies the requirement of an advanced class in literature written after 1900. It also satisfies the requirement of a poetry course. For the English graduate program, this course counts as a course in American literature or British literature for the literary studies track; it counts as an elective for the writing, rhetoric, or media arts track. (HUM) –Rosen

823. Southern Gothic Literature and Film: Case Study in Genre Theory— Southern Gothic literature and film provide an excellent case study for exploring theories of genre. With the tools of modern genre criticism, this course will seek to define and map a controversial and disputed literary and cinematic territory, one that focuses on a culture of terror and horror as it spins tales of murder, madness, freaks, and monsters. It is a narrative mode that pushes what Flannery O’Connor called “the limits of mystery” in attempts to deal with tragic extremes of human behavior and comic twists of the grotesque. Readings include works by Edgar Allan Poe, William Faulkner, Eudora Welty, Flannery O’Connor, Tennessee Williams, and Cormac McCarthy, along with contemporary Southern “pop-gothic” movies such as Deliverance, Midnight in the Garden of Good and Evil, and Beasts of the Southern Wild. English 423 and English 823 are the same course. For undergraduate English majors, this course satisfies the post-1900 distribution requirement. For literature and film concentrators, this course fulfills the requirement of an advanced course toward the major, and counts as a course in literature and film. For English graduate students, this course counts as a core course in the writing, rhetoric, and media arts track; it counts as an elective in the literary studies track. (HUM) –Wall

[825. Postmodernism in Film and Literature]— “Postmodern” is the term used most often to describe the unique features of global culture (art, architecture, philosophy, cinema, literature) since the 1970s. And yet there is practically no agreement about what those features might be: is postmodernism ironic or serious, flat or deep, real or hyper-real, alive or defunct? In this course we will examine competing and often contradictory views of postmodernism, with the goal of developing a historical perspective on the contemporary world we live in now. Texts will be divided evenly between philosophy/theory (Lyotard, Baudrillard, Jameson, Fukuyama, Hutcheon), cinema (possible films: Bladerunner, Blue Velvet, Pulp Fiction) and literature (possible authors: Borges, Pynchon, Barthelme, Murakami, Foster Wallace).English 425 and English 825 are the same course. For undergraduate English majors, this course satisfies the post-1900 distribution requirement. For literature and film concentrators, this course fulfills the requirement of an advanced course toward the major, and counts as a course in literature and film. This course fulfills the requirements toward the film studies major. For Film Studies majors this course will count as a senior seminar. NOTE: Monday evenings screenings only. For the English graduate program, this course counts as an elective in the literary studies track; it counts as an elective in the writing, rhetoric, and media arts track. (HUM)

[835. Reading Films: Style, Genre, and Historical Context]— This course will concentrate on developing the reading skills basic to film studies — focusing on understanding the language of film within the context of various styles, genres, and historical periods and developments. The course will concentrate primarily on American films, but will introduce selected foreign films, genres, and styles for comparative purposes. We will look at Film Noir, gangster films, social problem films, Italian Neorealism, and the French New Wave, among others. Directors whose films will be introduced include Fritz Lang, John Ford, Orson Welles, Alfred Hitchcock, Howard Hawks, Francis Ford Coppola, Roberto Rossellini, Vittorio De Sica, Jean-Luc Godard, Stephen Spielberg, and Ridley Scott. English 435 and English 835 are the same course. For English majors, this course satisfies the post-1900 distribution requirement. For the graduate program, this course counts as a basic course for the writing, rhetoric, and media arts track; it counts as an elective for the literary studies track. (HUM)

[840. Localism Unrooted]— Immanent in the expansion of the British empire during the 18th and 19th centuries was an increased movement of plants, soil, and seeds—the essential elements of a garden—throughout the colonies of the British empire. In this course we will examine this convergence of colonial and ecological history through examples of what we might call nature writing from Great Britain and its former colonies, from the 18th century to the present. We will analyze the changing representations of what one scholar has termed “ecological imperialism”—the physical impacts of colonial expansion on the ecology of Britain and its colonies, as well as the subtle effects of imperialism on ecological thinking. Readings may include works by Pope, Blake, Keats, Dutt, Rhys, Césaire, Coetzee, and Kincaid. English 440 and English 840 are the same course. For undergraduate English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. For the English graduate program, this course counts as a course in British literature or a course emphasizing cultural context in the literary studies track, it counts as an elective for the writing, rhetoric, and media arts track. (HUM)

[848. Plant Lives in Literature and Film]— This course engages with the plant world through novels, poetry, philosophy, film, and painting. We will track major trends in the human understanding of plants, allowing us to analyze how plants are represented in art and popular culture. In rethinking the being and meaning of plants we will necessarily revisit the idea of the human’ and the animal,’ employing these categories while attending to borderline cases where their utility falters. Readings may include well-known Romantic texts like Wordsworth’s “The Thorn,” Shelley’s “The Sensitive Plant,” and Austen’s Mansfield Park, as well as Erasmus Darwin’s epic “The Loves of the Plants”; essays by John Wilkins, Michael Pollan, and Michael Marder; and horror films like “The Happening” and “The Ruins.” English 448 and English 848 are the same course. For English majors, this course satisfies the requirement of a course emphasizing literature written between 1700-1900. This course is research-intensive. For the English graduate program this course satisfies the requirement of a course in British literature, or a course emphasizing cultural contexts for the literary studies track; it counts as an elective for the writing, rhetoric, and media arts track. (HUM)

863. Feminist Approaches to Literature— This course will examine the sexual politics of literature, criticism, and literary history, focusing in particular on how feminist writers have negotiated the relationship between politics, the body, and eroticism. Topics to be studied include the absence of women from conventional literary histories, the theories (and influence) of Sigmund Freud, daughterhood, adolescence, and identity, the pleasures and dangers of romance plots, and feminist explorations of sexual power dynamics. Writers to be studied include Harriet Jacobs, Charlotte Bronte, Sarah Grand, Jeanette Winterson, Helen Cixous, Monique Wittig, Andrea Dworkin, and Maxine Hong Kingston. For English majors, this course satisfies the requirement of a course emphasizing critical reflection. (HUM) –Bilston

870. Film Theory: An Introduction— This course introduces the most important theoretical models which have been used to explain how films function as art, ideology, language, history, politics and philosophy. Some theorists are mainly concerned with the aesthetic potentials of the cinema: How do categories such as realism, authorship and genre explain and enhance our experience of films? Other theorists are focused on the relations between films and the societies that produce them, or on general processes of spectatorship: How do Hollywood films address their audiences? How do narrative structures shape our responses to fictional characters? As the variety of these questions suggests, film theory opens onto a wide set of practices and possibilities; though it always begins with what we experience at the movies, it is ultimately concerned with the wider world that we experience through the movies. Theorists to be examined include Munsterberg, Eisenstein, Burch, Kracauer, Balazs, Bazin, Altman, Gunning, Mulvey, Metz, Wollen, Havel, Benjamin, Pasolini, Deleuze and Jameson. (Note: English 470 and English 870 are the same course.) For undergraduate English majors, this course satisfies the requirement of a 300/400-level elective, or a course emphasizing critical reflection. For the English graduate program, this course can count as an elective for the literary studies track, or a core course for the writing, rhetoric, and media arts track. This course fulfills requirements toward the film studies minor. –Younger

940. Independent Study— A limited number of tutorials are available for students wishing to pursue special topics not offered in the regular graduate program. Applications should be submitted to the department chairperson prior to registration. Written approval of the graduate adviser and department chairperson is required. Contact the Office of Graduate Studies for the special approval form. –Staff

953. Research Project— The graduate director, the supervisor of the project, and the department chairperson must approve special research project topics. Conference hours are available by appointment. Contact the Office of Graduate Studies for the special approval form. One course credit. –Staff

954. Thesis Part I— –Staff

955. Thesis Part II— Continuation of English 954 (described in prior section). –Staff

Courses Originating in Other Departments

American Studies 340. The Body in 19th Century American Culture— View course description in department listing on p. 262. –Gieseking

[American Studies 346. Sexuality, Nation, Race, and Gender]— View course description in department listing on p. 263.

[History 206. Bible and History of the Book]— View course description in department listing on p. 535.

[Jewish Studies 223. American Jewish Literature Since 1865]— View course description in department listing on p. 610.

Writing and Rhetoric 406. Composition Pedagogy— View course description in department listing on p. 873. –O’Donnell

[Women, Gender, and Sexuality 245. The Hollywood Musical]— View course description in department listing on p. 864.

[Women, Gender, and Sexuality 319. The Woman’s Film]— View course description in department listing on p. 864.

Women, Gender, and Sexuality 345. Film Noir— View course description in department listing on p. 864. –Corber