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Current Courses

COURSES: Fall 2012

For all registration dates and deadlines, see the GC academic calendar.

To view detailed course descriptions click here or click on the faculty name in the grid below.

For Dissertation Supervision click here

Course listings and room numbers subject to change

 
Monday
Tuesday
Wednesday
Thursday
Friday
11:45- 1:45

Chuh
Materializing "The Good Life"
Room 4422

 

Dolan
Serial Narrative
Room 4422

Reid-Pharr
Theory Colloquium
Room 4433

Ahmed
Crit Meth & Colonial Law
Room 3305

Greetham
Incompletes
Room 3308

Chuh
Dissertation Workshop
Room 4422

 

Whatley
Lit & Iden in Med Britain
Room 3305


2:00-4:00

McBeth
Discovering your Inner Intell Bureaucrat
Room 3307




Greetham
Intro to Doc Studies in Engl (formerly Thry & Prac Lit Stud)
Room 4422

Reid-Pharr
Readings in Af-Am Lit & Cult Thry
Room 7395

Koestenbaum
Experiments in Art Writing
Room 3309

Fisher
After New Historicism
Room 3307

 


4:15-6:15

Gold
Debates in Digital Humanities
Room 4419

 

 

Dickstein
Origins of Mod Poetry
Room 4422

Vardy
Stud in Rom: Land, Aest, Rom Writers
Room 3308

Hitchcock
Space of Time
Room 8203

Reynolds
Col & Erly Fed Am Lit
Room 4422

Miller
Postwar Women Writ & Intellectuals
Room 4422

Pollard & Sogno
Ren Resp to Class Genre Thry
Room 3307

 

6:30-8:30

Elsky
Erly Mod Disseminations
Room 3207

Watts
Du Bois
Room 7395

Agathocleous
Victorian Cosmopol
Room 6493


Alcalay
Old Wrlds/New Wrlds
Room 3307

Kaye
Lit Great War
Room 6494

Shor
Mic Check
Room 8203

 
 

Courses listed alphabetically by instructor

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ENGL 74300. “Victorian Cosmopolitanisms”. Tanya Agathocleous. 2/4 credits. Tuesdays 6:30PM-8:30PM. [CRN 18765].
Cosmopolitanism—a term and set of ideas that we generally associate with worldly knowledge and the embrace of global ideals—has become the focus of intense critical interest across a range of academic fields, including literary studies, philosophy, sociology and geography. Yet what scholars mean by cosmopolitanism remains highly contested and contradictory. Is it a stance of neoliberalism or a challenge to it? Is it extricable from privilege and mobility? Is it ever possible to reconcile local needs with global ones? This course situates the origins of these contemporary questions in Victorian Britain, exploring the different valences of the concept in the period and showing how it can be used to describe both the formal and thematic concerns of Victorian writers.
We will begin the course with current theories of cosmopolitanism before turning to Kantian conceptions of the ideal and its rearticulations in the Victorian period, particularly in the discourse surrounding the Great Exhibition of 1851. We will then examine how literature grappled with ideas of global belonging by attempting to give shape to the world as a whole. London, often figured as a microcosm of the world, played a crucial role in these imaginings. Our exploration of the ways in which city and world were mapped onto each other in the period will open up onto questions of imperialist identity, urban dystopias and utopias, and the limits of liberal citizenship. We will end by considering how modernist writing and early film both built upon and departed from the totalizing forms of Victorian realism.
Course material will draw upon a wide variety of Victorian genres, including philosophy, poetry, novels, essays, periodicals and painting. Primary texts may include Matthew Arnold’s Culture and Anarchy, Charlotte Brontë’s Villette, William Wells Brown’s Sketches of People and Places Abroad, Joseph Conrad’s The Secret Agent, Charles Dickens’ Little Dorritt, George Eliot’s Daniel Deronda, Frederick Engels and Karl Marx’s The Communist Manifesto, Gilbert and Sullivan’s The Mikado, Rudyard Kipling’s Kim, Behramji Malabari’s An Indian Eye on English Life, Henry Mayhew’s London Labour and the London Poor, Sarojini Naidu’s The Golden Threshold and Arthur Symons’ London Nights. Secondary reading will include criticism focused on the Victorian period as well as contemporary theories of cosmopolitanism and globalization.
Course requirements will be one short paper and abstract (designed for conference presentation), an oral report, an annotated bibliography, and a final research paper.

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ENGL 83500.  “Critical Method and Colonial Law”. Siraj Ahmed. 2/4 credits. Wednesdays 11:45AM-1:45PM. [CRN 18764].
This class is designed to interest students of eighteenth-century studies, postcolonial studies, critical theory, comparative literature, and/or law and literature. We’ll explore the colonial origins of modern literary study, in order to reframe debates about its future. In the process, our reading will span Enlightenment figures such as Addison, Steele, Voltaire, Hume, Rousseau, Diderot, and Adam Smith and twentieth-century theorists such as Heidegger, Benjamin, Derrida, and Badiou. We’ll hone in on four interrelated topics:
1. Historical Method. The postcolonial scholar Edward Said considered historical method the necessary basis of socially engaged scholarship. Starting from Said’s work, we’ll reconsider the politics of historicism (readings from Erich Auerbach, Said, and Gayatri Spivak, among others).
2. Colonial law. Ironically, it was colonialism that first instituted a historical approach to language and literature on a global scale. Colonial legal systems reduced native literary and legal traditions to historically reconstructed texts. As a consequence, they produced a fundamental rupture in how societies around the world understand their traditions (readings from the historians and anthropologists of colonial law such as Talal Asad and Michael Taussig).
3. Precolonial Language and Literature. Precolonial traditions were based not on texts, but instead on language that was inseparable from physical experience. This sacred language was thought to be a material substance and an active force: its simple articulation was believed to alter the unfolding of time (readings will include precolonial Arabic, Persian, and Indian literary works, as well as eighteenth- and twentieth-century theories of language).
4. Archaeological Method. We’ll study Nietzsche and Foucault’s archaeological method as a counter-historical practice. In fact, our course will perform an archaeology of historical method: it will trace both the epistemic transformation that colonial law produced in the eighteenth century and the language practices that were exiled at this time (readings on archaeological method from Foucault, de Certeau, and Agamben).
Students will be asked to post one question each week and to write a final paper.

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ENGL 86200. “Old Worlds/New Worlds: Transmission, Trajectories & Breaks”. Ammiel Alcalay. 2/4 credits. Wednesdays 6:30PM-8:30PM. [CRN 18766].
Our reading and investigative research this semester will both connect and differentiate Old World/New World legacies as they make themselves known in 20th c. North American writers associated with the New American poetry. We will do this through, on one hand, looking at prosody, rhythm, and form over time and in relation to social and class affiliation; and, on the other, through contemporary interpretations and reappearances of New World legacies, whether Native, African, Colonial or Immigrant.
We will explore aspects of the English language through George Saintsbury’s History of English Prosody, and History of English Prose Rhythm. These will be supplemented with selections from The Continuity of Poetry by Josephine Miles, and various American prosodic sources (Edgar Allan Poe, Paul Lawrence Dunbar, Laura Riding, Ezra Pound, William Carlos Williams, Charles Olson, Jack Kerouac, Susan Howe, Miguel Algarin, Lorenzo Thomas et al), as we look at contemporaneous examples of prose and poetry from both Britain and the Americas, from the 16th to the 20th centuries.
The myriad inheritances, presences and absences of this continent will be explored through a variety of readings that may include: Book of the Fourth World (Gordon Brotherston); Africans and Native Americans (Jack Forbes); Flash of the Spirit (Robert Farris Thompson); Changes in the Land (William Cronon); Women’s Indian Captivity Narratives; Native People of Southern New England 1500-1650 (Kathleen Bragdon); The Letters of Sacco and Vanzetti; Blues People (Amiri Baraka); Understanding the New Black Poetry: Speech and Black Music as Poetic References (Stephen Henderson); Fire This Time: The Watts Uprising of the 1960s (Gerald Horne).
Primary texts will range far and wide and may include: Doctor Sax & other selections (Jack Kerouac); Revolutionary Letters, & Recollections of My Life As A Woman (Diane di Prima); The System of Dante’s Hell & selections (Amiri Baraka); In the Mecca (Gwendolyn Brooks). Each student (or group of students) will find a way through the range of writers considered.
In thinking of both trajectories and breaks (BeBop, Spontaneous Prose, Black Arts Movement, Free Jazz), we will consider prose rhythm and prosody’s relationship to music and social movements, and work through selected readings/soundings by musicians.
Questions regarding methodology, textual scholarship, and modes of presentation will course throughout our work. Student projects will center on digging more deeply into a writer’s sources and lines of transmission, through content and into form, prosody, and rhythm, as we explore the “poetics of influence.” The first three sets of Lost & Found will be a constant resource and reference point as students either continue working on projects in progress or begin to explore archival materials for the first time. In addition, as a new initiative, we may also assign ourselves longer-term projects. This is work that cannot be done in a semester; the goal will be for students to familiarize themselves with a range of sources and begin creating or continuing their own trajectories of study.
Because of the range of reading, I highly suggest students interested in the course (including entering 1st year students), get in touch with me so they can begin reading before the semester. For this and any other inquiries, please contact me at: aaka@earthlink.net

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ENGL 80600. “Materializing ‘The Good Life’”. Kandice Chuh. 2/4 credits. Mondays 11:45AM-1:45PM. (cross-listed with ASCP 81500 and WSCP 81000). [CRN 18767].
What does it mean to live ‘the good life’?  What does it mean now, when normative definitions – of the good life as equivalent to economy stability, educational access, freedom from state intrusion – seem ever less available to ever greater numbers of people?  What has it meant historically, and how have these meanings been conditioned and even compelled by the political, cultural, economic, and affective structures that have characterized different times?  Who is successful in achieving the good life, who fails, and in both cases, with what effects?  This course will undertake to address such questions by working with and through a set of key concepts including liberalism, neoliberalism, humanism, secularism, and cosmopolitanism.  We will work by assessing the theoretical and philosophical grounds and aesthetic modalities through which ‘the good life’ has been stabilized conceptually and materially, by and for whom, and to theorize ways of living and knowing alternative to dominant definitions through our engagements with the literary-cultural and theoretical texts anchoring the course.  Students enrolled in this course are asked to read J. Jack Halberstam’s, The Queer Art of Failure, prior to the first day of class.  We will also read work as wide-ranging as that by Lauren Berlant, Wendy Brown, Immanuel Kant, Janet Jakobsen, Chandan Reddy, Sianne Ngai, Cedric Robinson, Jean Luc Nancy, Lisa Duggan, Jodi Melamed, Achille Mbembe, Friedrich Schiller, and Eve Segwick, as well as literary/cultural works that we collectively identify in the first days of the course.  Students taking the class for 4 credits should expect to produce two short papers and a longer seminar project.  Students taking the class for 2 credits will be asked to write and present a conference-length paper (10 pages) to complete the requirements of the course.

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ENGL 91000. “Dissertation Workshop”.  Kandice Chuh. 0 credits. Thursdays 11:45AM-1:45PM. Open to Level 2 & 3 Ph.D. Program in English students only. [CRN 18768].
This seminar covers techniques of dissertation writing, research, analysis, and documentation.  Students at the prospectus stage or the chapter stage will work on their own projects and read each other’s work under the professor’s guidance.  In addition, the course explores avenues toward publishing students’ work in scholarly journals or as book-length monographs.

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ENGL 87200. “Wordsworth, Keats, and the Origins of Modern Poetry”. Morris Dickstein. 2/4 credits. Tuesdays 4:15PM-6:15PM. [CRN 18769]. 
Modern poets sometimes launched their careers with polemics against their 19th-century predecessors, and many early critics took up their sense of a cataclysmic rupture between the supposed old guard and the avant-garde. In recent decades scholars have recognized the significant continuities between many modern poets and the leading Romantic and Victorian poets. This course will pursue some of those relationships and explore the critical narratives surrounding the evolution modern poetry. We will begin with a close study of the work of Wordsworth and Keats, especially the kinds of personal poems and odes that M. H. Abrams described as the Greater Romantic Lyric, but also their prose statements about poetry itself. This will be followed by an examination of individual poems by some of their most notable successors, including Tennyson, Browning, Arnold, Whitman, Dickinson, Hopkins, Yeats, Eliot, Lawrence, Stevens, and Frost, emphasizing both the debts and the defining differences, their reactions to the template of lyric and meditative poetry set in place by the Romantics. Themes will include their use of memory and autobiography, their portrayal of nature, their relation to their audience, their choice of diction and handling of metaphor, their sense of personal or cultural decline, their treatment of sex and love, and their encounters with mortality.
The basic course requirements will include a term paper and an oral report.

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ENGL 76300. “Serial Narrative”. Marc Dolan. 2/4 credits. Tuesdays 11:45AM-1:45PM. (cross-listed with ASCP 81500). [CRN 18770].
This course will consider the popularity and peculiar aesthetics of longform, open narratives over the last two hundred years, from the romans-feuilleton of Eugene Sue’s day down to the web serials of our own.  The specific balance of classes will be determined by student interest but the course will be purposely multimedia, probably including classes on the following topics: Victorian magazine serials; the silent film-and-newspaper serials of the Progressive/Edwardian era; Irna Philips’ creation of the soap opera in Chicago radio (and its continuation into the television era); the shift from yellowback and pulp novels into comic books during the 1940s; and the continued popularity and reinvention of Coronation Street and Doctor Who.  Some attention will also be paid to the effect serialization has on conceptually closed narratives (e.g., Dickens and James’ encounters with serialization; telenovelas).  Secondary readings will be drawn from structuralist narratology and media studies.  Students from all area groups are welcome, and they will be encouraged to choose topics for their final projects that tie the course’s more general themes and technologies into their specific area of focus.

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ENGL 81100. “Early Modern Disseminations: Transatlantic Cultural Encounters”. Martin Elsky. 2/4 credits. Mondays 6:30PM-8:30PM. (cross-listed with RSCP 82100 and ART 85000). [CRN 18771].
This course will focus on scholarship that explores the consequences of contact between European and New World cultures in the Renaissance and Early Modern period, an age of exploration and expansion. It will concentrate on the transformations that occur when cultural forms originally associated with the Italian city state move across borders via national states and empires to the New World.  Readings will be drawn from political and social historians, art historians, and literary historians who deal with Italian English, French, and Spanish dimensions of this process. We will begin by considering cartography as an intercultural discipline used for the mapping of Europe’s own internally dynamic geographical space and its relation to geographies beyond its borders in some major cartographic projects of the period.  We will then consider political and intellectual theorization of contact with non-Europeans, as well as reciprocal effects of encounters between European and non-European cultures, including mixed identities and mixed literary and visual representation expressing resistance, absorption, and synthesis. Themes will include culture as forms in geographic motion, as well as issues of authenticity, imitation, appropriation, and mimicry. Examples will be drawn from the historical, literary and visual traditions, including case histories and the theory of the state and empire; lyric, epic, travel narrative, and ethnographic description; painting, prints, drawing, architecture, and cartography. Particular attention will be devoted to the relation of the formal qualities of works to their geographical setting, especially where competing geographies and identity groups intersect. Because this is an interdisciplinary course, students are encouraged to bring material to the course from their home discipline.

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ENGL 82100. “After New Historicism: Recent Approaches to the Study of Early Modern English Literature and Culture”. William Fisher. 2/4 credits. Thursdays 2:00PM-4:00PM. [CRN 18772].
This course will provide students with a survey of seventeenth-century poetry, including the work of authors like John Donne, Ben Jonson, Andrew Marvell, Aemilia Lanyer and Katherine Phillips, while also providing an introduction to some of the new methodologies in early modern studies. Whereas many methods classes end with New Historicism, this class will begin with it, considering how recent scholarship builds on this earlier research and attempts to move beyond it. Much of the secondary work that we will be studying could ultimately be labeled "early modern cultural studies."
We will begin by reading some of the most influential examples of new historicist literary criticism – including works by Stephen Greenblatt and Louis Montrose – in an effort to understand the particular intervention that these writers were making. We will then move on to study some of the new critical concerns that have emerged in the wake of new historicism: these will include research on the history of the book and the history of science, as well as things like animal studies, food studies, environmental studies, and work on globalization and early modern material culture.
In each case, we will read important articles from these new subfields alongside appropriate primary materials. So, for instance, we’ll read Randy McCleod and Roger Chartier’s work on the history of the book in relation to the religious poetry in George Herbert’s The Temple (1633). Likewise, we’ll explore the ecocritical take on pastoral poetry offered by critics like Simon Estok and Gabriel Egan.
The requirements for the course are two short assignments and a seminar paper at the end of the semester (15-pages).

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ENGL 89020. “Debates in the Digital Humanities: Towards a Networked Academy”. Matthew Gold. 2/4 credits. Mondays 4:15PM-6:15PM. (cross-listed with MALS 75400 and ASCP 81500). [CRN 18789].
The growth and popularization of the digital humanities (DH) in recent years has highlighted the many ways in which computational tools are being brought to bear upon humanities scholarship and teaching. Recent methodological experiments in the digital humanities – quantitative approaches to literary history, algorithmic methods of text analysis and visualization, public forms of peer-to-peer review, and interactive pedagogies for the open web – have helped scholars re-imagine the basic nature and forms of academic research and teaching across a range of disciplines.
But what is the digital humanities, and why should we care about it? What kinds of questions can DH make legible that other modes of academic inquiry conceal? Is the digital humanities a field unto itself, or is it simply a set of methodologies that can be applied in multiple fields? Will there be a point at which digital tools will be so pervasive that the field we now call “digital humanities” will simply be known as the “humanities”?
This course will explore these and other questions through a set of historical, theoretical, and methodological readings that trace the rise and popularization of the digital humanities over the past two decades.  Students will be introduced to emerging debates in the digital humanities and will become familiar with some of the fundamental skills necessary to develop and analyze digital humanities projects. We will examine and critique a range of such projects and begin to sketch out possible undertakings of our own.
A central aim of this course is to involve students in the rich and evolving constellation of spaces in which networked conversations are reshaping the norms of scholarly communication. These spaces include blogs and Twitter, which, as MLA Director of Scholarly Communication Kathleen Fitzpatrick has pointed out in “Networking the Field,” scholars are using “as a means of getting feedback on work in progress or as an alternative channel through which an author can reach an audience more quickly and directly.” We will analyze the benefits and drawbacks of this new conversational ecosystem that surrounds digital humanities work.
Readings will include texts and projects by Ian Bogost, Wendy Hui Kyong Chun, Dan Cohen, Cathy Davidson, Johanna Drucker, Jason Farman, Kathleen Fitzpatrick, Matthew Kirschenbaum, Peter Krapp, Alan Liu, Tara McPherson, Franco Moretti, Bethany Nowviskie, Stephen Ramsay, Geoffrey Rockwell, Tom Scheinfeldt, Michael Witmore, and Jonathan Zittrain, among others.
No technical skills are required, though a willingness to experiment (and even fail) with DH tools is crucial. Class assignments will include weekly engagements with and participation on our class blog and Twitter feed; contributions to a collaborative Zotero bibliography; an oral presentation on a DH project; and a final project in one of the following forms: a seminar paper (~20 pages), a detailed DH project proposal, or a substantive contribution to a new or existing DH project.

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ENGL 79500. “Introduction to Doctoral Studies in English” (formerly known as “Theory and Practice of Literary Scholarship”).  David Greetham. 4 credits. Tuesdays 2:00PM-4:00PM. Open to Ph.D. Program in English students only. [CRN 18774].
(Generic description) This course takes up questions both practical and theoretical about what it means to do scholarship in the discipline of English. The course follows four main lines of inquiry, examining 1) the historical, institutional context of the discipline, 2) archival and bibliographical work, 3) concepts of textuality, and 4) theoretical approaches.

(Fuller description of Fall 12 version) To cover the four main areas, we will begin with an examination of “English” not only as it is currently construed in, for example, course listings under that title, at our own and other institutions, but also how these current examples play into or against concepts of (inter)disciplinarity. We will look at the academic history of how the discipline was established as a vernacular response to “classical” studies and how it was initially designed to be “difficult” to justify its being included in a university curriculum. We will then deal with the increasingly favored term “archive” in both print and electronic contexts, and build this discussion on the critical positions of, for example, Derrida, Foucault, Benjamin, and McGann. Various types of “archive” will be studied, and students will be encouraged to create their own blogs and web sites. The taxonomy and inclusivity of archives will be examined, with particular attention to access and various forms of censorship and cultural repression. The third section, on textuality, will move out from the dual (and contradictory) senses of the term text (as the authority regarded as the text on the one hand and as a textile or network  of competing strands on the other) and will address such basic issues as authoriality, intention, composition, form, variance, reception, and socio-cultural dissemination. The final section will question whether we can still define “theory” and yet respond critically to the various forms that theory has taken, in literature and in such related disciplines as music, art and architecture, history, philosophy, and linguistics. We will address claims of “essentialism” in these areas, and how such essences are now placed in the ongoing culture wars over modernism, postmodernism, and critical theory.

A major topic/area of investigation will be discussed each week, and students will be asked to present a specific response to these topics (reflecting, as they wish, their own period/author/genre interests). A final project deriving from at least one of the four areas of study is required, but this can be in any of several media, even including print.

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ENGL 80200. “Incompletes: What to Do with Unfinished Works”. David Greetham. 2/4 credits. Wednesdays 11:45AM-1:45PM. [CRN 18773].
This course will attempt a “grammar” of the unfinished work--a series of procedures for recognizing states of incompletion, authorial and post-authorial responses to the challenge incompletion represents, and the social negotiation of apparently unfinished works. Working out of such pronouncements as the symbolist mantra that a poem is never “finished,” only “abandoned,” or Jack Stillinger’s division of poets into Coleridge types (those who could never stop revising a poem) and the Keats (those who rarely returned to a poem once published), the grammar will examine, for example, the various completions of Mozart’s Requiem by other hands as opposed to the several aborted attempts to complete Bach’s “Contrapunctus XIV” in the Art of Fugue. Some authors (e.g., Chaucer) seem almost to have preferred incompletion (Hous of Fame, Anelida, Canterbury Tales, Legend of Good Women); Schubert (who, in addition to the famous “unfinished” symphony, left seven of his eighteen piano sonatas “unvollendete”); whereas some genres (notably opera, e.g., Puccini’s Turandot, Berg’s Lulu) have almost demanded completion by hands other than the composer, to much critical dissension. The grammar will examine a number of critical response to the unfinished, such as:
-Dmitri Nabokov’s widely criticized 2009 presentation of his father’s The Original of Laura as a series of perforated note cards that can be removed from their pages and reshuffled by the reader;
-Burton Pike’s publication of Musil’s Man without Qualities including thousands of pages of unfinished drafts;
- the 1986 Scribner publication of barely one third of Hemingway’s The Garden of Eden;
- Luciano Berio’s 2001 completion of Turandot as if Puccini had not died in 1924 but had been subject to the musical developments of the later twentieth century;
-the ironic soubriquet (a gesture of resigned despair?) given to the cathedral of St. John the Divine in New York City as “St. John the Unfinished,” unlike the continued (though very posthumous) efforts to complete the Sagrada Familia in Barcelona with at least some reference to the (mostly lost) Gaudí design.
Every creative genre has its unfinished cabinet of curiosities: film---Dark Blood (abandoned in 1993 on the death of River Phoenix, and announced for “completion” in 2012 by George Sluizer); several movies by/involving Orson Welles; painting--Giulio Romano’s “finishing touches” to Raphael’s Transfiguration; sculpture--Donatello’s technique of “non finito” partially realized blocks; musicals--the enactment of one of a series of possible conclusions to Dickens’s Edwin Drood decided by the popular vote of each night’s audience. And some of the motives for artistic completion by a later hand may be suspect at best, or downright absurd: Colin Matthew’s addition of “Pluto” to Holst’s Planets because that planet, later demoted to a “dwarf planet,” had not yet been discovered when Holst wrote his composition.
Clearly, there will be no definitive answers to this range of issues in a single course, but the range and diversity of problems and possible resolutions should illuminate the vexed issue of the “incomplete” in an interdisciplinary context. The items mentioned above are only suggestions and I would be pleased to receive other ideas from students. That the first major study of literary form---Aristotle’s Poetics---should lack the section on comedy is perhaps emblematic of the critical history of the “unfinished” work.
There have been many studies of endings/incompletion, and we will build on such forerunners as Frank Kermode’s eschatological The Sense of an Ending, D. A. Miller’s Narrative and Its Discontents: Problems of Closure in the Traditional Novel, Barbara H. Smith’s Poetic Closure: A Study of How Poems End, and David Richter’s Fable’s End, together with more specialized critiques as Rosemary McGerr’s Chaucer’s Open Books: Resistance to Closure in Medieval Discourse.

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ENGL 86600. “The Space of Time: Cultural Theories of Spatiality, Temporality, and Crisis”. Peter Hitchcock. 2/4 credits. Wednesdays 4:15PM-6:15PM. [CRN 18775].
Raymond Williams begins Culture and Society by suggesting that the idea of culture in its modern use emerges in the texts and texture of the Industrial Revolution.  One wonders whether concepts of time and space might be thought more productively through such materiality?  One of the keys ways to understand the complex relations of culture and society is to explore theories of time and space within and between them.  Rather than simply itemize such theories it is more useful, especially in literary theory and history, to read them as both products of and contributions to specific problems of time and space, set against broader conceptions of social crisis and change.  One could, for instance, read Hegel and Kant not only as artful metaphysicians, but also as theorists who broach the time of nation in the space of its [German] possibility.  Or Marx, to use another popular example, sees the time of revolution driven by the specific spatial contradictions of capitalism.  The course will suggest concrete theoretical trajectories in this regard, explorations that permit the practical articulation of philosophical and social ideas with situated paradigms of literary critique.  These might be considered as specific to literature, in the way that Bakhtin theorized chronotope, or time/space as the manner in which “knots of narrative” are tied and untied.  Or they might be thought dialectically in another key; that is, as so bound to social crisis that they are thought of as immanent to it.  Valences of postcolonialism, for instance, extend only insofar as problems of time and space persist in decolonization, a process that is a good deal more open-ended than transnational institutions might wish it to be.  Basically, what can be read as internal to an individual work of literature can simultaneously speak to a larger critical context in which a theoretical structure of time and space is at stake.  The course will proceed through a series of case studies, each one a “space of time,” where culture and society can be thought of as particular articulations of temporo-spatial crisis.  Thus we will consider cultural theories of spatiality and temporality through: the Industrial Revolution; what Hobsbawm calls the Age of Revolutions, but particularly those of the mid-Nineteenth century; anti-colonial struggle within the rubric of postcolonialism; and post-Cold War rearticulations in which society itself, if not culture, appears to dissolve.  In each example the point will be not only to familiarize us with pivotal theorizations of space and time in their space and time, but to provide an expanded lexicon of spatiality and temporality, “keywords” in Williams’s parlance, the better to understand why the literary is not an adjunct to crisis in contemporary critique.
Readings will be drawn from Kant, Hegel, Marx, Gramsci, Heidegger, Bergson, Benjamin, Fanon, Deleuze, Lefebvre, Ricoeur, Agamben, Badiou and Harvey on space/time theory.  Literary articulations will emerge both in critical texts, including examples from Bakhtin, Williams, Spivak, Chow, Zizek, Ranciere, and Jameson, and in the literature of Shelley, Gaskell, Ngugi, and DeLillo.

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ENGL 76000. “Literature of the Great War: Modernism, Memory, and the Poetics of History”. Richard Kaye. 2/4 credits. Wednesdays 6:30PM-8:30PM. (cross-listed with WSCP 81000). [CRN 18776].
From recent conferences of the Modernist Studies Association and numerous museum exhibitions to the BBC’s current “Downton Abbey” and Tom Stoppard’s forthcoming HBO adaptation of Ford Madox Ford’s monumental “Parade’s End,” World War I is back. As in earlier decades, today literary critics and cultural historians comprehend the war as crucially determining twentieth-century and modernist literature as well as “modernity.” This course explores creative and intellectual responses to the Great War (1914-1918) by focusing on the changes that wartime experience fostered in national identity, gender relations, sexual attitudes, psychoanalysis, prevailing conceptions of historical progress, and the aesthetic strategies of writers. In an exploration of fiction, poetry, memoir, film, and criticism, we consider the close relation between personal trauma and historical catastrophe. Readings will begin with Thomas Hardy’s elegiac, ironic poems in “Satires of Circumstance” (1914) and “Moments of Vision” (1917), works that reflect a shift from Victorian to modernist poetics. In addition to the writings of soldier-combatants such as Robert Graves, Siegfried Sassoon, Wilfred Owen, Isaac Rosenberg, Edmund Blunden, and David Jones, we will consider the different—and often differently ambivalent—responses of women writers and artists such as Radclyffe Hall, Käthe Kollwitz, Virginia Woolf, Vera Brittain, and Rebecca West, whose novel “The Return of the Soldier” (1918) was the first fictional treatment of “male hysteria” (shell shock”). In a consideration of several pivotal works of modernist fiction—Woolf’s “Jacob’s Room,” Ford’s “Parade’s End,” and D.H. Lawrence’s “Women in Love”—we will consider how the new techniques of modernism, once critiqued by literary critics as requiring the occlusion of historical actualities, obliquely register wartime realities.  The class also will read less canonical texts such as Richard Aldington’s “Death of a Hero” (1923), heavily censored on publication, and H.G. Wells’ “Mr Britling Sees It Through,” a best-seller on both sides of the Atlantic, with its early critique of Edwardianism through a dissection of the Edwardian country-house idyll.  Just as Primitivist, Futurist, and Dadaist art movements took their inspiration from widespread militarism and battlefield disasters across Europe, psychoanalysis shapes its new “talking cure” along with a critique of “civilization” and theories of the "death drive." At the same time, several modernist writers come to eschew the anti-war postures and documentary realism of World War I writers. If Henry James read the poetry of Rupert Brooke in 1915 with what he called “an emotion that somehow precludes the critical measure,” William Butler Yeats excluded nearly all Great War poets from his 1936 “Oxford Book of Modern Verse” (because, he wrote in his introduction, “In all the great tragedies, tragedy is a joy to the man who dies…”) We will view influential filmic works such as the 1916 documentary “The Battle of the Somme,” Abel Gance’s “J’Accuse” (1919), and Stanley Kubrick’s “Paths of Glory” (1957). Because of the Trans-Atlantic and international literary scope of  First World War, the course will take up Anglo-American (often short fictional) texts by Lawrence. Rudyard Kipling, Conrad, T.S. Eliot, Woolf, Gertrude Stein, Hemingway, and Faulkner as well as works by non-English writers such as Ernst Junger and Georg Trakl, all writers who construed the events of World War I as requiring radical innovations in literary form. A number of recent cultural historians, meanwhile, have questioned the degree to which the First World War generated “modernity” (noting, for example, the post-war popularity of séances and spiritualism.) Finally we will take up the more recent fascination with World War I in the contemporary writings of Pat Barker, Geoff Dyer, and Julian Barnes, along with the controversies animating historians, scholars, and critics such as Paul Fussell, Jay Winter, Niall Ferguson, Samuel Hynes, Ana Carden-Coyne, Elaine Showalter, Joanna Bourke, Sandra Gilbert and Susan Gubar. Requirements: A final paper.

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ENGL 80200. “Experiments in Art Writing”. Wayne Koestenbaum. 2/4 credits. Wednesdays 2:00PM-4:00PM. (cross-listed with WSCP 81000). [CRN 18777].
In this seminar, we will investigate and experience the pleasurable complexities of writing imaginatively about visual art, mostly contemporary.  How might art provide impetus and excuse for experiments in critical prose?  Seeking inspiration, we will read many of the following:  Johann Wolfgang von Goethe, Charles Baudelaire, John Ruskin, Walter Pater, Rainer Maria Rilke, Ludwig Wittgenstein, Gertrude Stein, Clement Greenberg, James Schuyler, Rosalind E. Krauss, T. J. Clark, Susan Sontag, David Antin, Dave Hickey, David Batchelor, James Lord, Eileen Myles, Glenn Ligon, Maggie Nelson, and Bruce Hainley.  In lieu of a final paper, students will write, each week, a two-page composition that responds to a visual occasion or a work of art.  (I don’t mean to imply that art is always exclusively optical.)  No auditors.

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ENGL 89000. "Resisting Bartleby the Administrator:  Discovering Your Inner Intellectual Bureaucrat". Mark McBeth. 2/4 credits. Mondays 2:00PM-4:00PM. [CRN 18779].
In the field of Composition & Rhetoric, scholars often find themselves in multiple positions: classroom instructor, curricular designer, program director, assessment guru, literacy advocate, and/or community activist (to name only a few in a non-exhaustive list). As a new member of an English department faculty, your department chair or academic dean may ask you to revamp a course (or entire writing curriculum), spearhead an assessment project, oversee contingent faculty, bolster tutoring/support services, or develop a campus literacy initiative. While these leadership roles demand specialized knowledge and specific know-how, graduate programs rarely offer a professionalizing course that investigates the theoretical underpinnings of administrative work nor do they provide rehearsing scenarios for a better comprehension of the praxis of such vital academically sustaining work. In their Introduction to The Writing Program Administrator as Theorist, Shirley Rose and Irwin Weiser remark:
As the body of scholarship—research and theory—in writing program administration has grown, and awareness of this scholarship has developed as well, more and more graduate students are seeking to do formal study of that scholarship in preparation for the work as writing program administrators they can realistically expect to do sometime during their careers . . . [emphasis added] (5)
Rather than an exercise in perfunctory paper-pushing and form-signing, this course investigates this type of professional work as an intellectual process and research strategy.
The course begins by surveying the evolving questions of the composition/rhetoric field, evoking the expert voices who have posed the discipline's central questions. These foundational ideas shape administrative decisions, yet always in the context of local institutional situations and student need. While introducing students to some of the most crucial questions of composition and rhetoric, this course will also prepare participants to assume the important leadership roles they will face as contributing faculty members. As Richard Miller advises us in As If Learning Mattered:
Those truly committed to increasing access to all the academy has to offer must assume a more central role in the bureaucratic management of the academy . . . [I]t is at the microbureacratic level of local praxis that one can begin to exercise a material influence not only on how students are represented or on which books will be a part of the required reading lists but also, and much more important, on which individuals are given a chance to become students and on whether the academy can be made to function as a responsive, hospitable environment for all who work within its confines. (46)
In other words to promote effective teaching and learning , the intellectual bureaucrat must resist the inner voice that says "I'd prefer not to" and, instead, pro-actively engage with the problems posed by writing program administration. Students of Composition & Rhetoric, Urban Education, as well as future WAC Writing Fellows would benefit from this line of study.
Abridged Reading List:
Adler-Kassner, Linda. The Activist WPA: Changing Stories about Writing and Writers. Logan: Utah State UP, 2008.
Winner, Council of Writing Program Administrators 2008-2010 Best Book Award
Bousquet, Marc, Tony Scott, and Leo Parascondola. Tenured Bosses and Disposable
Teachers: Writing Instruction in the Managed University . Carbondale: Southern
Illinois University Press, 2004.
Miller, Richard E. As if Learning Mattered: Reforming Higher Education . Ithaca,
NY: Cornell University Press, 1998.
Shaughnessy, Mina. Errors and Expectations: A Guide for the Teacher of Basic Writing . New York:
Oxford University Press, 1977/1997.
Weiser, Irwin and Rose, Shirley. The Writing Program Administrator as Researcher: Inquiry in Action & Reflection. New York: Boynton/Cook, 1999.
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ENGL 78000. “Postwar Women Writers and Intellectuals”. Nancy K. Miller. 2/4 credits. Thursdays 4:15PM-6:15PM. (cross-listed with WSCP 81000).  [CRN 18780].
Virginia Woolf’s Between the Acts was published posthumously in 1941. Beginning here, with the death of this author, we will proceed to examine the work of women writers who produced essays, novels, and poetry from the war years through the advent of second-wave feminism. Hannah Arendt, Simone de Beauvoir, Carolyn Heilbrun, Julia Kristeva, Audre Lorde, Mary McCarthy, Adrienne Rich, Susan Sontag, Simone Weil, Virginia Woolf. These prolific and brilliant women are not only major writers. As cultural figures and icons, they also have played an important role in public debate. Of special interest to the seminar will be the relations among these women, who sometimes admired, sometimes detested one another. 
Work for the course: one oral presentation, one short paper, and one term paper, due at the end of the semester.

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ENGL 71600. “Renaissance Responses to Classical Genre Theory”. Tanya Pollard & Cristiana Sogno. 2/4 credits. Thursdays 4:15PM-6:15PM. (cross-listed with RSCP 72100, CLAS 82500, and MALS 70500). [CRN 18787].
This course explores Renaissance responses to Classical and Late Antique literary criticism, with an emphasis on their consequences for both theory and practice of literary genres.  We will pay particular attention to discussions of tragedy, comedy, tragicomedy, satire, and fiction, with attention both to theoretical treatises and to examples of these genres in both periods.  Readings will include selections from Plato, Aristotle, Euripides, Heliodorus, Longinus, Horace, Cicero, Plautus, Cinthio, Guarini, Scaliger, Sidney, Jonson, and Shakespeare.  All the texts for the course will be available in English translation, but PhD students in Classics will read classical and neo-Latin texts in the original languages, and others with the requisite languages are welcome to do so as well.  Requirements will include presentations and either a research paper or an English translation of, and commentary on, a relevant Latin text not available in translation.

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ENGL 80100. “Theory Colloquium”. Robert Reid-Pharr. 2/4 credits. Tuesdays 11:45AM-1:45PM. (cross-listed with ASCP 81500). [CRN 18782].
In this seminar we will place the concept of the “Black Atlantic” into both its historical and theoretical contexts.  Beginning with C.L.R. James’s The Black Jacobins and ending with Paul Gilroy’s The Black Atlantic we will trace the development of Atlantic Studies, paying particular attention to slavery, travel, cultural contact and transformation.  Other texts that we will examine include: Cedric Robinson, Black Marxism: The Making of a Black Radical Tradition, Michael A. Gomez, Exchanging Our Country Marks: The Transformation of African Identities in the Colonial and Antebellum South; Eric Williams, Capitalism and Slavery; Michel-Rolph Trouillot, Silencing the Past: Power and the Production of History; Susan Buck-Morss, Hegel, Haiti, and Universal History; Paul Gilroy, There Ain’t No Black in the Union Jack: The Cultural Politics of Race and Nation; Saidiya Hartman, Lose Your Mother: A Journey Along the Atlantic Slave Route; Lewis Gordon, Fanon and the Crisis of European Man: An Essay on Philosophy and the Human Sciences; Peter Linebaugh, The Many Headed Hydra: Sailors, Slaves, Commoners and the Hidden History of the Revolutionary Atlantic; Laura Doyle, Freedom’s Empire: Race and the Rise of the novel in Atlantic Modernity, 1640 – 1940.

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ENGL 85500. “Readings in African American Literary and Cultural Theory”. Robert Reid-Pharr. 2/4 credits. Tuesdays 2:00PM-4:00PM. (cross-listed with ASCP 82000 and WSCP 81000). [CRN 18781].
Focusing primarily on travel and space, this seminar will introduce students to some of the more significant recent critical and theoretical trends within the study of Black American literature and culture. Participants will be asked both if it is possible to produce a specifically black literary criticism and whether Black American identity is effected, manipulated, challenged or perhaps even erased within “peculiar” performative or spatial contexts.  At the same time, the course will examine how African American Studies intersects with and challenges Feminist Studies, Gay and Lesbian Studies, Ethnic Studies, and American Studies. Students will be asked to write several short papers during the course of the semester. They will also do at least one in class presentation.

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ENGL 75000. “Colonial and Early Federal American Literature”. David Reynolds. 2/4 credits. Wednesdays 4:15PM-6:15PM. (cross-listed with ASCP 82000). [CRN 18783].
American literature cannot be fully understood without a familiarity with its rich, varied early phase, which extends from the narratives of European explorers of the New World through seventeenth-century Puritan poetry and prose to the eighteenth-century literature of enlightenment, revolution, national founding, and early romanticism.  This course examines this formative period of American literature.  Besides covering the full range of colonial and early federal writings, we probe various critical and theoretical approaches to American literature. In particular, transnational, circumatlantic, and cultural-studies approaches, which have been prominent in recent Americanist criticism, are drawn upon for insights into this literature, much of which is preoccupied with questions of transatlantic exchange, colonialism, and diaspora.   Among the topics considered are encounters between European settlers and ethnic others; ongoing efforts to define America and Americanness in transatlantic contexts;  the culture and aesthetics of New England Puritanism (crucial for understanding later writers such as Emerson, Hawthorne, and Melville); the innovative poetry of Anne Bradstreet and Edward Taylor; the seminal contributions to philosophy and homiletics by Jonathan Edwards; African Americans and slavery, including the earliest known examples of slave narratives; Native American writing, such as the Winnebago trickster cycle; the Indian captivity narrative; women’s writings, such as Judith Sargent Murrary’s feminist prose and Susanna Rowson’s popular novel Charlotte Temple; public and autobiographical writings by Jefferson, Franklin, Adams, Paine, and Hamilton; and the American Gothic fiction of Philadelphia’s Charles Brockden Brown.  Course requirements include a term paper and an oral report on a work of criticism.

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ENGL 79010. “Mic Check: Rhetorics of Power and Resistance in the Aftermath of Occupy”. Ira Shor. 2/4 credits. Thursdays 6:30PM-8:30PM. (cross-listed with ASCP 81500). [CRN 18784].
In the late 20th century, Vaclav Havel exhorted idealists to “speak truth to power.”  Playwright and politician, Havel proposed that democratic discourse could undermine undemocratic oligarchies. Such dreams and discourses moved millions to bury the crony regimes of Eastern Europe. Thus continued a remarkable history of non-violent transformation which can trace its roots to the Ghandian campaigns before 1948 in India and to the great American Civil Rights Movement in the U.S in the 1950s-1970s. Confronting entrenched and armed oligarchies is formidable anywhere, yet the weapons of rhetoric have been strangely enabling in democratic struggles. Opposition movements have undermined the “regimes of truth” and the “legitimate language” which Foucault and Bourdieu separately named as discursive tools for domination. A bevy of police states from the Baltic to the Adriatic fell by 1991. More recently, an Arab Spring spread across borders with some spectacular successes and some major setbacks, with the Egyptian story heavily-marked by communications strategies. Then, in September, 2011, a handful of creative activists physically occupied Zuccotti Park near Wall Street, encamping in a tent village, launching an “Occupy Movement” in the Capitol of Capital. For two months, the village morphed into new expressive shapes, attracting tens of thousands to witness if indeed “another world is possible,” one that challenges the vast economic inequality damaging American life.  By the time the Occupy camp was destroyed by a violent police assault in November, it had become an intolerable built challenge to the legitimate authority of Wall Street and the oligarchy represented by billionaire Mayor Michael Bloomberg. The camp embodied, uttered and projected alternative ways of being and seeing, and was an incubator of alternative rhetoric. Among the alternatives practiced in this transformative space were “horizontal” social relations.  A horizontal rather than a vertical rhetoric structured its meetings. Open general assemblies operated horizontally with rotating chairpeople and with “stacks” to determine speaking order based on social power of speakers, that is, who speaks most and least in such public spheres, which individuals and groups were socially ascribed lesser or greater authority to speak in public(challenging what Paulo Freire called “the culture of silence”). Occupy also generated autonomous working-groups which copied the horizontal structure of the general assemblies.  Most notable, perhaps, Occupy also installed “the human microphone” as a public-address system. Denied legal use of sound-amplification at Zuccotti by the police, general assemblies and other large meetings practiced group repetition of a speaker’s remarks in a now-famous choral method.  The human microphone also emerged as a tool for assertion of utterances at public protests where an individual’s call of “mic check!” assembled the human micropohone for amplification as well as for relaying instructions. With Occupy camps now driven out public spaces, this seminar will study horizontal discourse and rhetorical resistance emerging from the protests. For background on the conflict of hegemonic and counter-hegemonic discourses, we will study the relevant work of Foucault, Bourdieu, Chomsky, James Scott, David Graeber, Paulo Freire, Ngugi Wa Thiongo, and Goran Therborn, among others. Lots of discussion during seminar meetings, weekly journals on the readings, final project.    

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ENGL 84200. “Studies in Romanticism: Landscape, Aesthetics, and Romantic Writers”. Alan Vardy. 2/4 credits. Tuesdays 4:15PM-6:15PM. [CRN 18785].
This course will offer a detailed tour of the relationships between art and nature as they developed from the latter half of the 18th through the first third of the 19th centuries, concluding with the poetry and natural history prose journal of John Clare.  I use the term “tour” intentionally to highlight the centrality of walking in the development of these aesthetic experiences.  As part of the seminar we will enjoy a short tour of the ‘Ramble,’ Olmstead’s picturesque masterpiece in Central Park.  The course will study theories of the pastoral, landscape gardens, guidebooks, the picturesque, the beautiful, the sublime, Edmund Burke, William and Dorothy Wordsworth, Samuel Taylor Coleridge, and Clare.  We will begin with Burke’s Philosophical Inquiry into Our Ideas of the Sublime and the Beautiful in order to develop a basic understanding of those aesthetic categories, before we turn our attention to the uniquely British category, the picturesque.  Students should read Burke prior to the beginning of the semester; there is a good inexpensive OUP paperback available.
Course Requirements:
3 short papers (2-3 pages)
A conference abstract (250-500 words)
A conference paper (15-20 minutes)
A research paper (15-20 pages)
The short papers are intended to give you a chance to start using the seminar focus to read various materials on the reading list.
The format for the rest of the course is structured like professional academic work: an abstract for a conference (real or imaginary); the talk developed from the abstract (to be delivered in a seminar conference after the Thanksgiving break); a research paper based the conference talk geared toward submission for publication.  While this structure is primarily an exercise, in the past, many students have given conference presentations as a result, and a significant number have published articles.

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ENGL 85500. “W.E. B. Du Bois: Scholar, Essayist, Activist”. Jerry Watts. 2/4 credits. Tuesdays 6:30PM-8:30PM. (cross-listed with ASCP 82000). [CRN 18788].
This seminar offers an intensive investigation of the life and writings of W.E.B. DuBois.  Through discussions of his major and minor writings, we will be able to chart dominant as well as oppositional currents in American/Afro-American thought.  DuBois emerged as a distinct intellectual presence during the last decade of the 19th century and would continue to publish until his death in 1963. Moreover, throughout his entire adult life, DuBois was a political activist in behalf of the freedom struggle of Afro-Americans; obtaining self-determination for colonized peoples throughout the world; and in his later life, the Soviet Union led world communist struggle against capitalism.  His political activism informed his intellectual output and vice versa.  As a writer, DuBois wore many intellectual hats during his lifetime: historian The Suppression of the African Slave Trade to the United States of America (1896) and Black Reconstruction in America; sociologist, The Philadelphia Negro (1899); essayist, The Souls of Black Folks (1903) and Darkwater: Voices From Within the Veil (1920); autobiographer, Dusk of Dawn: An Essay towards an Autobiography of a Race Concept (1940); political polemicist and agitator through his editorial writings in The Crisis, the journal of the National Association for the Advancement of Colored People;  and finally, novelist (I count his novels among his minor works).   The DuBois corpus is far too large to discuss in any single semester, consequently, we will read selectively from his works.  Nevertheless, the course is reading intensive and will require participation in class discussions, several short papers and one longer research paper.

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ENGL 70700. “Literature and Identity in Medieval Britain”. E. Gordon Whatley. 2/4 credits. Friday 11:45AM-1:45PM. [CRN 19243].
The course selects works both “canonical” (the kind often required in undergraduate surveys) and non-canonical, from the broad range of vernacular medieval British literature (not all of which is “English”), and will focus on the literary construction of idealized secular and religious identities (with some attention to beasts and birds). Works from the Old English period will include three “heroic” verse narratives: Beowulf (with two recent film versions), Genesis B (an idiosyncratic account of the fall of Lucifer, Adam & Eve), and Judith (the biblical-apocryphal Hebrew heroine who decapitates an Assyrian warlord).  From the late 12th-early 13th century, when England’s reading public was bi-lingual in French and English, we will encounter a group of texts written by/about/for women:- Old French lais by the mysterious Marie de France (Guigemar, Equitan, Bisclavret, Yonec), Clemence of Barking’s Anglo-Norman Life of St Lawrence, and two early Middle English works: Holy Maidenhood (“Letter on Virginity”), and the legend of the virgin martyr, Seinte Margarete. Two groups of texts from the later Middle Ages mainly emphasize male, if not always traditionally “masculine,” identities. First, Chaucer’s learnedly innovative, late 14th c. chivalric romance, The Knight’s Tale, will be read against earlier “popular” romances such as Sir Orfeo (the Orpheus myth) and Amis and Amiloun (a romance of male friendship), and these secular productions will be juxtaposed with vernacular vrsions of Christian saints’ legends (Saint George, England’s patron saint, and Saint Francis of Assisi, “the last Christian”) from the highly successful South English Legendary (late 13th c.). Finally, Chaucer’s beautiful but enigmatic dream-vision of St Valentine’s Day, The Parlement of Fowles, will be bracketed with the visionary subjectivities of William Langland’s Piers Plowman (selections!) and Juliana of Norwich’s Showings. Most of the course readings will be available in translations and/or modernized versions, but afficionados may work also with the originals; everyone will be expected to handle Chaucer’s English (for which there are numerous online aids). Students will report regularly on recent critical scholarship, and for a term project will research issues of textuality, intertextuality, and historicism, and/or explore and test theoretical models for further understanding of the course readings.

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Dissertation Supervision

CRN Instructor    
00401 Alcalay Ammiel  
00719 Alexander Meena  
00078 Bonaparte Felicia  
00299 Bowen Barbara  
00243 Brenkman John  
00148 Brownstein Rachel  
00402 Burger Glenn  
00137 Caws Mary Ann  
13028 Chuh Kandice  
00282 Coleman William Emmet  
00077 Cullen Patrick  
00255 Danziger Marlies  
01030 Dawson Ashley  
00246 De Jongh James  
00264 Di Salvo Jacqueline  
00080 Dickstein Morris  
00571 DiGangi Mario  
00758 Dolan Marc  
00403 Elsky Martin  
00202 Epstein Edmund  
01032 Faherty Duncan  
00064 Fletcher Angus  
00565 Greetham David  
00404 Hall N. John  
00405 Hayes Thomas  
00890 Hintz Carrie  
00581 Hitchcock Peter  
01031 Hoeller Hildegard  
00298 Humpherys Anne  
01088 Israel Nico  
00618 Joseph Gerhard  
00118 Kaplan Fred  
00893 Kaye Richard  
00147 Kelly William  
00760 Kelvin Norman  
00378 Koestenbaum Wayne  
00287 Kruger Steven  
00182 Marcus Jane Connor  
00167 McCoy Richard  
00245 McKenna Catherine  
00823 Milhous Judith  
00063 Miller Nancy  
00983 Mlynarczyk Rebecca  
00330 Otte George  
00583 Parker Blanford  
00591 Perl Sondra  
00577 Reid-Pharr Robert  
00221 Reynolds David  
00146 Richardson Joan  
00388 Richter David  
00406 Sargent Michael  
00407 Savran David  
00408 Schaffer Talia  
00274 Shor Ira  
00570 Stone Donald  
00782 Suggs Jon-Christian  
00076 Timko Michael  
00135 Tolchin Neal  
00889 Vardy Alan  
00751 Wallace Michele  
00409 Watts Jerry  
00325 Webb Barbara  
00308 Westrem Scott  
00203 Whatley E. Gordon  
00688 Wilner Joshua  
00075 Wittreich Joseph  
19628 Yood Jessica  
00891 Yousef Nancy  

 

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