Graduate Schedules & Description Archive: Fall '03
ENG 500 - Textual Practices I
Monday 7:15-10:05 PM HU 112
Required of all Master Degree students
This course will introduce students to a range of theoretical and critical approaches as they currently shape and are practiced in the field. We will attempt to strike a balance between reading important primary texts that have defined and established particular critical approaches (Louis Althusser's famous essay on ideological state apparatuses, for instance, or Lacan's on the Mirror Phase), and bringing different and competing theories into dialogue with each other on the site of particular problems to exemplify how they operate (Judith Butler versus Slavoj Zizek on the question of gender, say, or Jacques Derrida versus Lacan on the question of the animal). Assignments will likely be built around short writing assignments in either essay examination or short paper formats.
ENG 515 - Workshop in Poetry
TH 4:15-7:05 PM HU 125
Permission of instructor is required for enrollment
S/U grading only
Intensive practice in writing poetry. Emphasis on development of poetic technique and individual styles. Students' work is discussed and criticized by all participants in the workshop. Instructor may bring to bear on the criticism of student work a discussion of writings by pertinent authors.
ENG 516 - Workshop in Fiction
2607 TH 4:15-7:05 p.m. HU 137
Permission of instructor is required for enrollment. Writing sample with cover letter should be submitted via the English Department
S/U grading only
This workshop will concentrate on focussed discussions of student writing. Students will be expected to write two to four short stories over the course of the semester, or the equivalent in short-short stories or sections of a novel. Discussions will cover such topics as plot, characterization, pace, setting, and the handling of language, with
regular close examinations of style. Each student will also select one author to read during the semester and will give a brief, informal presentation of that author to the group.
ENG 521 - Composition Theory
8357 Tues 4:15-7:05 PM HU 111
This course is, in significant part, an introduction to the field of Composition and Rhetoric. Because--as writiers, as teachers, and as scholars--we have been (and likely will continue to be) impacted by technology in all three areas of our work, we will pay particular attention to the ways in which emerging technologies have impacted, and continue to impact the field, to impact us, to impact our students. Ultimately, our focus will be the question of how best to teach writing: how this question has been asked and how (or even if) it's been answered, over time.
ENG 542 - Literary Criticism and Theory Since 1950
8031 T 7:15-10:05 p.m. HU 111 B. Arsic
Two texts that fundamentally affected the history of literary theory since 1950 will serve as the basis for this course: What is called Thinking? (Heidegger) and The Transcendence of the Ego (Sartre). By introducing and examining the radical possibility of impersonal thinking and the neutral body those two texts announced the reformulations of the concepts of identity, subjectivity, activity, passivity, inside, outside, author, text, voice that have become the focus of much "post-structuralist" theory. These concepts will be examined via Merleau-Ponty, Barthes, Foucault, Lacan, Deleuze, Nancy,Lacoue-Labarthe, de Man, Derrida and Butler.
ENG 581 - Seminar - Studies in a Literary Period
8362 Mon 4:15-7:05 PM HU 137
ENG 582 - Studies in an Author: Fitzgerald and Hemingway
6900 T 7:15-10:05 p.m. HU 108 J. Berman
The course will focus on the art and life of F. Scott Fitzgerald and Ernest Hemingway, emphasizing psychoanalytic and feminist approaches. We will read Fitzgerald's This Side of Paradise, The Great Gatsby, Tender is the Night, Zelda Fitzgerald's Save Me the Waltz, Hemingway's Collected Short Stories, The Sun Also Rises, A Farewell to Arms, and For Whom the Bell Tolls. There will be two fifteen-page essays, a class presentation, and reader-response diaries.
ENG 616 - Revisionary Poetics and Literary Practice: Material Texts, Magical Acts, A Poetics of Transformation
8033 W 4:15-7:05 p.m. LEG20 J. Johnson
Rimbaud said that the poet must be a visionary, or seer, and that the means to this end was the systematic disordering of the senses. This view, although radically revisionist within the poetics of his time, was actually a return to an originary magical and transformational poetics of agency. From the origins of language art in prehistoric magic and ritual, through the contemporary poetics of feminism, Marxism, and movements of cultural and ethnic empowerment, to the postmodern poetics of dislocation and the technopoetics of cybertext, we may follow two issues of central importance. One focuses on the materiality of the text as an object of varying degrees of opacity, vs. its supposed transparency as a signifier of ideas external to itself, and therefore concerns itself with the uses of difficulty. The second focuses on the text not as object but as act, event, or ritual, and therefore concerns itself with the machineries of transformation, whether emotional, spiritual, ideological, or social. Taking these two issues not as polar opposites, but as continua upon intersecting axes, this course will be conducted as a seminar in practical poetics, whether prose or verse, with poetics defined in the broadest sense, as the body of theory describing what writers do in the discourses of their choice, and by what means and techniques. Our purpose is to develop theoretical vocabularies useful in articulating and enriching our own practice as writers and as readers. The group will be encouraged, although not compelled, to experiment in a variety of forms and discourses, both traditional and experimental, including multimedia performance, videotape, and cybertext, to locate ourselves in a range of positions, and to test in our own writing the practical results of the theoretical formulations we examine. Throughout, one major focus of the course will be the uses and effects both of the materiality of text and of activist constructions of the writer at work, as they reconfigure our understanding of both past and cotemporary poetics, including our own work. Requirements: weekly response or exercise, (wo)manifesto or poetics statement, two short works, and one final project in your chosen discourse(s).
ENG 642 - SEMINAR - Current Trends in Critical Theory
8035 TH 7:15-10:05 p.m. HU 128 J. Fetterley
This course seeks to provide students with a sense of the history, diversity and range of feminist theory across academic disciplines and from a variety of locations. In keeping with the department's emphasis on activism, particular attention will be given to the complex interrelation of theory and practice. Possible texts for the course include: Friedan, The Feminine Mystique; Gilligan, In a Different Voice; Woolf, A Room of One's Own; Bronte, Jane Eyre; Sanday, Fraternity Gang Rape; Bordo, Unbearable Weight; Harding, Whose Science? Whose Knowledge?; Collins, Black Feminist Thought; Flinders, At the Root of this Longing; Felman, Never a Dull Moment; MacKinnon; Feminism Unmodified.
ENG 651 - Theories of Language: Post-Colonial Literature - Issues of Language and Culture
8030 M 4:15-7:05 p.m. HU 112 G. Griffiths
This course will examine the ways in which literary texts from a variety of post-colonial cultures employ language. We will consider the role of "colonial" languages such as English in the representation of these cultures and in their local and global contexts. The relationship of these languages to vernacular may be considered where relevant. Stress will be placed on the appropriation of languages such as English to represent other cultures and the forms of englishes which have emerged in different post-colonial societies including colonized societies by conquest and "invader settler"societies.
ENG 685 - Special Topics: Contemporary Women Playwrights (SEMINAR)
2609 T 4:15-7:05 p.m. HU 108 J. Barlow
Permission of Instructor is Required
The focus of this course will be dramatic works by women written during the past twenty-five years. About half the classes will be devoted to such U.S writers as Suzan-Lori Parks, Paula Vogel, Tina Howe, Wendy Wasserstein and Maria Irene Fornes, while the remainder will survey the dramas of the most important female playwrights of Britain, Canada, New Zealand and Australia, including Caryl Churchill, Sharon Pollock, and Alma de Groen. Starting from the assumption that drama reflects the culture that produces it (in all senses of the word "produce"), we will explore the relationship between the plays and the historical moments from which they spring. Among the issues to be examined are the historical marginalization of women's dramatic writings; the question of a female dramatic aesthetic; the role of race, class, ethnicity and sexual orientation in the creation and reception of women's plays; and the current debate over theatrical realism. Drawing on the writings of Sue-Ellen Case, Jill Dolan and others, we will also explore feminist dramatic theories and their influence on the writing, performance and interpretation of contemporary plays by women.
REQUIREMENTS: Attendance and class participation, oral presentations, a critical essay and a term project
ENG 700 - The History of English Studies, 1880 to the Present
2615 M 12:30 - 3:30 p.m. R. Bosco
Restricted to English Ph.D. Students
This course explores the history of English as a subject of study in universities and colleges, its relation to other disciplines, its evolution in the 20th century, and its place in the current relationship between the humanities and sciences. Particular attention is given to the connections between graduate school education and public school policies and practices, to the history of writing instruction within the discipline, and to the role played by social and political issues in the evolution of the discipline.
ENG 705 - Special Topics - American Writers and Hollywood in the 1930s and 1940s
8034 W 4:15-7:05 p.m. HU 22 E. Schwarzschild
In 1929, movies learned to talk, silent films giving way to sound, and Hollywood suddenly needed people to write screenplays. In the 30s and 40s, Hollywood attracted such figures as F. Scott Fitzgerald, William Faulkner,
Lillian Hellman, Dashiell Hammett, Raymond Chandler, Olive Higgins Prouty, John Dos Passos, Nathanael West, Oscar Micheaux, and Budd Schulberg. It was an impressive group of literary stars, all excited and fascinated by the new art of motion pictures. Yet one prominent critic, describing the fates that befell some of these writers, ondemned Hollywood's "appalling record of talent deprived and wasted." This course will explore what these writers found destructive and what they found inspiring in Hollywood. Several films --including The Maltese Falcon, The Big Sleep, Now, Voyager, and On the Waterfront-- will supplement the readings. Recent critical studies of American film and American culture will provide the course with its theoretical grounding. We will attend carefully to the historical context of the 30s and 40s, and as we move from the Depression, through World War II,
to the rise of anti-Communism we will focus on these questions: How did our chosen writers shape Americans' understanding of Hollywood? To what extent did these writers transform Hollywood and to what extent did Hollywood transform them?
ENG 771 - Practicum in English Studies
2616 M 2:30-3:50 p.m. SS 138C S. North
Prerequisite: ENG 770 - Teaching Writing and Literature
In this course, we will gather as teachers to first assess and then to develop our abilities as performers in various kinds of classrooms, and in teaching/learning relationships in general. This process will include examining the terms by which we characterize the act of teaching--terms like "perform," say, or "develop"--but it will also put considerable pressure on teaching-as-lived, if you will: on our physical presence in the lives of our students, our speaking presence, our textual presence. In addition to appropriate readings, course activities will include such things as teaching logs, classroom experiments, observation of classes, and the offering of workshops for other teachers in the program.
Note: This course is required of all PhD students in the first semester of their second year.