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Fall 2020

Fall 2020 English Program Course Offerings
 
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 the Practicum for English Program students teaching for CUNY click here.
 
Course listings and room numbers subject to change.
 

  Monday Tuesday Wednesday Thursday Friday
11:45-1:45 Vardy
Villages
Gray
Comics/Film
Reynolds
Archive
Kruger
Queerness
Agathocleous
Empire
2:00-4:00 Chuh
Orientalism
Perera
Fem/Glob
Lott
Intro Doc Stu
   
4:15-6:15 Hintz
Intro Doc Stu
Israel
Modernism
Miller
Diss Wkshp
 
Koestenbaum
Poetry
Dolan
Narratives

 
 
6:30-8:30   Kaye
Aestheticism
Hitchcock
Political Econ
   



ENGL 86700. Tanya Agathocleous. Race, Caste and Empire.  Fridays 11:45AM – 1:45PM.  2/4 Credits. 
While today’s conversations about intersectionality are (usually) careful not to conflate race, class, and caste as they study their interactions, in the nineteenth and early twentieth centuries, these words were often used interchangeably in Anglophone writing, particularly that which sought to create anti-racist and anti-colonial alliances across imperial space. This course will analyze this phenomenon and its implications, focusing in particular on the ways these categories were used as comparative and strategically conflated terms in explicit and implicit exchanges between South Asian, African, and African American writers via the circulation of letters, periodicals, pamphlets, conference proceedings, and literary texts such as novels and poems. Students will analyze these literary and paraliterary texts in a transnational comparative context in order to think about the history and problems of comparative racialization, as well as comparison itself, and their consequences for our understanding of the conjunction of political and literary discourses.  Reading such texts as Jane Eyre, The Half-Caste, The Curse of Caste, Dark Princess, Jyotirao Phule’s “Slavery” and Ambedkar’s The Annihilation of Caste, the Proceedings of the Universal Races Congress, and essays and poems from The Crisis, Anti-Caste, Indian Opinion, and The African Times and Orient Review, as well as contemporary theorists of race and caste, we will trace a prehistory of the assumptions about identity and difference that still challenge our attempts to think intersectionally.


ENGL 80600. Kandice Chuh. Orientalism and the Project of Decolonization. Mondays 2:00PM – 4:00PM. 2/4 Credits.
Since the publication of Edward Said’s Orientalism in 1978, orientalism has served as a key concept across a wide variety of fields and discourses.  Afro-Orientalism, Techno-orientalism, Cold War orientalism, American orientalism, and even Asian orientalism are formulations peppering the contemporary critical landscape.  In this class, we’ll survey this range of formulations and the formations out of which they emerge, with an eye toward apprehending the heterogeneity of critical, political, and aesthetic valences of these various invocations of orientalism.  How do these formulations of orientalism engage the broad project of the address of coloniality, or in other words, the project of decolonization?  In what ways are de-orientalization and decolonization aligned and not?  What kinds of geographies and temporalities are implied or produced by both orientalist discourses and efforts to defunction them?  These are some of the key questions motivating and organizing this course.
Those enrolling in this course will please read Edward Said’s Orientalism in preparation for the first class meeting.  Students should expect substantial reading loads in this discussion driven course.  Those enrolled for 2 credits will be asked to write short essays or the equivalent to fulfill the writing requirements of the course.  Students registered for 4 credits will be asked to produce a seminar project in addition to these short essays.  No auditors, please.

ENGL 87000. Marc Dolan. Serial Narratives. Thursdays 4:15PM – 6:15PM. 2/4 Credits. 
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 streaming video obsessions of our own.
The specific balance of classes will be determined by student interest but the course will be purposely multimedia, and will probably include 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 forms and topics for their final projects that tie the course’s more general themes into their specific needs and areas of focus.

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ENGL 87400. Johnathan Gray. Representing the Other: Race and Ethnicity in Comics and Film. Tuesdays 11:45AM – 1:45PM. 2/4 Credits. 
Representing the Other examines comics and graphic novels—and the 21st century films influenced by them—in part by departing from Scott McLoud’s claim that when a reader sees an illustration “he sees himself.” This class instead builds on the idea that, as Michael Gillespie claims about film, comics “operat[e] as a visual negotiation, if not tension, between [the text] as art and race as a constitutive, cultural fiction” in part by exploring the ways that the right to look always involves a mediation on the cultural narratives that circulate around race. Creative texts will include Ron Wimberly’s Prince of Cats, Kyle Baker’s Nat Turner, Ezra Daniels and Ben Passmore’s BTTM FDRS, Marguerite Abouet and Clement Oubrerie’s, Aya: Love in Yop City, Jaime Hernandez’s Angels and Magpies: A Love and Rockets Book, Jennifer Crute’s Jennifer’s Journal, Gene Luen Yang’s Boxers and Saints, Brian K. Vaughan and Fiona Staples Saga and others. Films and television shows will include HBO’s Watchmen, Blade, Spider-Man: Into the Spider-verse and others. Critical texts will include Nicholas Mirzoeff’s The Right to Look, Tina Campt’s Listening to Images, Michael Gillespie’s Film Blackness and others.

ENGL 70000. Carrie Hintz. Introduction to Doctoral Studies in English. Mondays 4:15PM – 6:15PM. 4 Credits.  Restricted to first-year Ph.D. Program in English students.
This course will seek to address four aspects of graduate studies in English: 1) English studies as a field and discipline; 2) research questions and practices; 3) connections to intellectual communities and networks (i.e. professionalization); and 4) the function of the university. Theoretically, we will examine the boundaries and objects of interest for the field, discussing how they intersect with but also remain distinct from other areas and approaches, and how various theories and methods (formalist, historicist, activist, etc.) define, in sometimes contradictory ways, English studies. Practically, we will discuss how to define objects of inquiry (“texts” and “contexts”) within the field, how to research such objects, how to identify the main debates currently circulating around them, and how to develop new knowledge and innovative ideas and approaches.

ENGL 76200. Peter Hitchcock. The Political Economy of Decolonial Forms. Wednesdays 6:30PM – 8:30PM. 2/4 Credits. 

The disarticulation of colonialism and coloniality takes many forms across the social, the political, the economic, etc. but how might one specify decolonizing the mind in terms of cultural expression and, particularly, literary form?  Is the latter merely an effect of, for instance, political/economic demands or does it have a more active presence in transforming the foundations of a colonizing world system as such?  This course will examine the antinomies and entanglements of literariness and literary form with economic and political structures.  One aim throughout will be to understand what is being decolonized and how an articulation of form might contribute to decolonial processes (of modernity, of the state, of thinking).  Avowedly interdisciplinary, we will explore the interanimation of the aesthetic and the economic, the idea and the ideological.  Moving among and within fiction, drama, poetry, and non-fiction we will consider several major examples of anti-, de-, and post-colonial writing as both forms of dissent and as dissent in form.  Such counter-critique will also introduce us to key examples of theory in this regard.  Together the literature and theory are not offered as a formalism but as a way to decolonize political economy itself.  This may prove useful for research in other directions. Readings will be drawn from Quijano, Onwueme, Glissant, Ngugi, Spivak, Fanon, Mignolo, Braschi, Mbembe, Cesaire, Roy, Marx, Arrighi, Wynter, Farah, Hamid, Bulawayo, Adichie, Piketty, and Vuong.  The basis of our discussions will be critical curiosity not estimable fluency.  A class presentation and/or term essay will be required in consultation with the instructor.

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ENGL 76000. Nico Israel. Modernism Once and For All?. Tuesdays 4:15PM – 6:15PM. 2/4 Credits. 
This seminar will focus on the writings of Franz Kafka, Marcel Proust, Gertrude Stein and James Joyce, writers to earn the distinction of having the suffixes “-ian” or “esque” appended to their names to indicate a certain style of writing. Reading these writers closely means being invited to think otherwise about animality, coloniality, habit, disappointment, memory, objects, and the status of knowledge and the limits of the sentence. 
These writers’ texts will be approached as a way to think through interlinked questions of singularity and universality. In literary studies, the idea of “universality” has for decades been suspect for its presumptiveness and its exclusions—its subsumption of genders, social classes, races, body types and geographical regions--to say nothing of its human-centric approach to animals and the environment. This turn away from universalism in aesthetics and aesthetic theory coincides with and responds to an increasing suspicion of universalism in politics, a suspicion shared, but expressed in decidedly different ways, by the political left (where diversity tends to be extolled and encouraged) and right (where ideas of nationality, race and territoriality are defended).  And yet, the major transnational political challenges of the twenty-first-century—climate change, immigration, human rights abuses, pandemics—not to mention national calls for universal health care or universal basic income--all clearly demand some account of the universal, the general, or the human, even if merely an expanded or contested one. 
At no time were the ambitions and contradictions of universalism more clearly raised, set forth and heatedly debated than in the first half of the twentieth century, when universalism was called upon to substantiate radically different ideas of art and politics. In this seminar, we will pursue the idea that the temporalities inherent to the idea of singularity provide a way to open up and challenge abstract universality, not to defend or overturn universality but to reveal its residual potentialities. Singularity, a term which must be distinguished from both particularity and originality, is a temporal inclination that bears within itself repetition and discontinuity but moves outside of the logic of the individual author or work of art to reveal a prism onto a collective. It is in this contradictory and multiplicitous way that modernism might be approached as “once and for all.”
Other writers to be encountered in the seminar include Kant, Benjamin, Arendt, Derrida, Badiou, Latour, and Sekyi-Oto.

ENGL 76000. Richard Kaye. Aestheticism, Decadence, Modernism, 1880-1930. Tuesdays 6:30-8:30.​ 2/4 Credits. 
This class explores the relation between the aestheticist and decadent movements as well as their determination of modernist aesthetics. We will begin with late-nineteenth-century British, American, and French works by Hardy, Wilde, James, and Huysmans. The fin de siècle was a time of pervasive fears and fantasies dominated by such figures as the New Woman, the urban detective, the homosexual bachelor, the Anarchist, the Oriental, the overreaching colonialist, the self-preening aesthete, the vampire, and the femme fatale, the latter reaching an apotheosis in Wilde’s Salome. In the diverse writings of Pater, Olive Schreiner, Vernon Lee, and Wilde, aestheticism emerged as a theoretically coherent and varied movement absorbed in exquisite surfaces, tantalizing ambiguities, and useless artifice. For decadent writers and artists, scientific theories of “degeneration” could be recalibrated as erotically charged, non-teleological experiments, while Freud drew on “decadent” scenarios for his proto-modernist narratives dealing with hysteria and sexual disorder, preeminently in Dora: Fragment of a Case of Hysteria, Women writers, meanwhile, struggled to find a place within the male-defined coteries of aestheticism and decadence, a theme dramatized in Henry James’ tale “The Author of Beltraffio,,” narrated by a decadent acolyte, in which the aestheticist project must be sequestered from female readers, who can only misconstrue its aims as immoral. Yet there were also alliances between male decadents and feminist writers (Wilde promoted Schreiner’s novel The Story of an African Farm because of its bold challenge to realist conventions and depiction of colonialist malaise.)  In France, the woman writer Rachilde publishes Monsieur Venus (1884), a symbolist/decadent novella concerning a dominatrix noblewoman, Raoule, who gradually transforms her working-class lover Jacques into hermistress by emptying him of all his “masculine” traits.
In the class’s section part we will explore how the fin outlasted the siècle, maintaining an intense afterlife in the Anglo-American modernist writing of Yeats, James, Eliot, Conrad, Joyce, Lawrence, and Djuna Barnes.  The morbidity, subjectivism, sexual experimentalism, and excesses of literary technique characteristic of 1890s sensibility foment modernist revisions that seek to repress their origins in decadent poetics. Wilde'sPicture of Dorian Gray, with its hero who cannot "develop," inspires modernist counter-bildungsromanae. We consider Joyce’s Stephen Hero, an early version of Portrait of the Artist as Young Man, arguably a satire of aestheticism as well as a novel with an explicitly Paterian protagonist. The keenly observing, detached bachelor familiar from James also narrates Rilke’s lyrical The Notebooks of Malte Laurids Brigge (arguably the first modernist novel) and that helps to form the paralyzed solitary consciousness of Eliot’s “Prufrock.” Arguably the narrator of Conrad’s Heart of Darkness adopts decadent techniques for his coiled narrative of colonial tragedy.  We will consider, too, Eliot’s absorption in the figure of the Jew as an emblem of a malevolent decadent cosmopolitanism versus Djuna Barnes’ depiction of the decadent Jew in her novelNightwood as a more positively transformative cultural agent. Our class concludes with James’ The Golden Bowl, a novel of twinned adulteries that is one of James’ most topical, aesthetically difficult, and decadent works of fiction. Among the works we will read: Hardy, Jude the Obscure, Huysmans, Against Nature; Wilde,The Picture of Dorian Gray, Salome; Schreiner, Story of an African Farm; Freud, Dora: Analysis of a Fragment of a Case of Hysteria; Conrad, Heart of Darkness, Joyce, Stephen Hero, Yeats, Selected Poems; Lawrence, Selected Short Fiction; Eliot, Selected Poetry; James, The Golden Bowl; Barnes, Nightwood; Showalter, Elaine, ed., Daughters of Decadence.  We will read relevant critical and theoretical texts, including Walter Pater, “Conclusion” to The Renaissance; Arthur Symons, “The Decadent Movement in Literature”; Mario Praz, fromThe Romantic Agony; George Bataille, from Literature and Evil; Richard Ellmann, “The Uses of Decadence”; Richard Gilman, from Decadence: The Strange Life of an Epithet; Linda Dowling, “The Decadent and The New Woman”; Michael Riffaterre, “Decadent Paradoxes,” Leo Bersani, from The Culture of Redemption; Regenia Gagnier, “Individualism, Decadence, and Globalization,” Vincent Sherrry, from Decadence and the Reinvention of Modernism”; Matthew Potolsky, from The Decadent Republic of Letters.  A mid-term paper as well as a final paper that may be drawn from the mid-term essay. This class can be adapted to parts of the New Portfolio Examination.

ENGL 87200. Wayne Koestenbaum. Poetry After All: Contemporary Possibilities. Wednesdays 4:15PM – 6:15PM. 2/4 Credits. 
Ignore the fact that every word in this course title demands interrogating.  I’m not always sure what poetry is.  I’m not sure what after or before means:  isn’t chronology contestable?  All implies a totality or absoluteness we must shirk.  Who qualifies as contemporary?  Do we necessarily coincide, temporally, with everything else on earth and in galaxy?  Perhaps possibilities is the only word I’ll let stand, if only because it suggests meagerness as well as amplitude. 
Moving on, past the demolition job, into the practical:
At many moments in history, genres and media question their viability, currency, efficacy, ethics, necessity.  Maybe poetry makes nothing happen, or makes the wrong things happen.  Maybe poetry is broken.  Maybe poetry is not indubitably “poetry,” but simply a series of linguistic events that we can choose to embrace or ignore.  Atrocity shadows poetic possibility, but apparently doesn't foreclose it, not yet. 
No Adorno in this seminar, but at least one poem by Paul Celan.
I'll speak for myself:  poetry keeps me listening to the blur and emergency of the moment, keeps me suspicious of poses and nostrums, keeps me hopeful about the pliancy and plasticity of mortal materials, their sometime ability to make meaning and unmake destructive fixities.  Not every poem, or poetic movement, or moment in a poem, can manage to make or unmake in the proper proportion;  but poetry, still, might offer a zone of attempting, strategizing, practicing, sounding out, rubbing, conjuring, unraveling, and trying on.  Refuge?  Refusal?  Rebuttal?  Redirection? 
Because “contemporary" is an elastic and unstable term, we’ll read poems from not now as well as from now.  We might read thirteen individual volumes of poetry by thirteen different poets, or we might read two hundred poems by two hundred different poets.  If you plan to take this course, tell me some of the poets who matter most to you.
In lieu of a final project, each week you will write a two-page exercise, in response to specific assignments.  These compositions will allow you to experiment with an assortment of structures, modes, and styles, including manifesto, poem, critical essay, close reading, list, questionnaire, play, story, screenplay, recipe, description, itinerary, dream-vision, collage, letter, syllabus, test, and transcription. 
I considered calling this class "Damaged Goods," but changed my mind.  The notion that poetry contains damage, however, hovers near.

ENGL 80700. Steven Kruger. Racial, Religious, and Sexual Queerness in Medieval Literature. Thursdays 11:45AM – 1:45PM. 2/4 Credits. 
Medieval religious difference often involves constructions that, in modernity, might be thought of as more strictly racial. When the Muslim Sultan in the Middle English King of Tars converts to Christianity, his black skin becomes white. And boundaries between religious-racial communities are often policed through the categories of gender and sexuality. Canon law prohibits intermarriage, and it insists that Christian families not employ Jewish or Muslim nursemaids. From at least the thirteenth century on, Jewish and Christian masculinities are sharply differentiated from each other, with (for instance) a myth of Jewish male menstruation and/or anal bleeding being one strong way in which Christian and Jewish bodies are kept ideologically separate. “Sodomy,” too, is often strongly associated with racial-religious others—Mongols, Jews, Muslims, heretics.
In this course, our readings will focus on how racial, religious, gender, and sexual differences—and their intersections—are represented in (mostly) English texts of the Middle Ages. Readings will be drawn from a wide range of writers and works—for example, Marie de France, Chaucer, Gower, Lydgate, Henryson, Christine de Pisan, Malory, The King of Tars, The Croxton Play of the Sacrament, Mandeville’s Travels. Alongside such primary texts, we will read queer, postcolonial, and critical race theory, and recent medievalist work that explicitly takes up such theory in its analysis of medieval culture. And we will read at least one post-medieval text (Shakespeare’s Troilus and Cressida? Octavia Butler’s science fiction? Ishiguro’s the Buried Giant?), to consider how the medieval constructions we have been analyzing are taken up and modified in later literature.
Students will present orally as part of the seminar structure. Those taking the course for 4 credits will pursue a semester-long writing project. First-year students in the English program will have the opportunity to use the writing project to work on one element of their first-examination portfolios.

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ENGL 70000. Eric Lott. Introduction to Doctoral Studies in English. Wednesdays 2:00PM – 4:00PM. 4 Credits.  Restricted to first-year Ph.D. Program in English students.
This course will seek to address four aspects of graduate studies in English: 1) English studies as a field and discipline; 2) research questions and practices; 3) connections to intellectual communities and networks (i.e. professionalization); and 4) the function of the university. Theoretically, we will examine the boundaries and objects of interest for the field, discussing how they intersect with but also remain distinct from other areas and approaches, and how various theories and methods (formalist, historicist, activist, etc.) define, in sometimes contradictory ways, English studies. Practically, we will discuss how to define objects of inquiry (“texts” and “contexts”) within the field, how to research such objects, how to identify the main debates currently circulating around them, and how to develop new knowledge and innovative ideas and approaches.

ENGL 90000. Nancy Miller. Dissertation Workshop. Wednesdays 4:15PM – 6:15PM. 0 Credits. 
This seminar will give participants the opportunity to develop and complete their dissertation prospectus and/or draft dissertation chapters.  It will be conducted as a workshop with members reading and commenting on one another’s work under the professor’s guidance.  We will discuss the dissertation as an always-evolving genre as well as practical issues of writing and revision, research and research methods, documentation, presentation, and more.  We will also talk about professionalizing matters including engagement with current scholarly conversations and theoretical discourses, creating conference presentations and scholarly articles as part of the dissertation writing process, and thinking about the dissertation as a draft of a first monograph.

ENGL 86700. Sonali Perera. Feminism and Globalization. Tuesdays 2:00PM – 4:00PM. 2/4 Credits.  
A significant document in the official annals of globalization and development, the 1980 Brandt Report titled North-South: A Program for Survival maps the world in the simplest, starkest terms—divided between the rich nations (the North) and the poor (the South). In his concluding reflections to Culture and Imperialism, Edward Said, among other critics, finds such “global thinking” to be reductionist—if well intentioned—unwittingly reifying the very terms it proposes, in the name of poverty alleviation, to erase. And yet, beyond the Brandt Report, “the global South” retains value as an interpretative framework—as a metaphor or strategy, rather than precisely demarcated territory—for Marxist, and especially Marxist-feminist writers and theorists across the international division of labor. Antonio Gramsci called our attention to the “Southern Question.” How is the (global) “Southern question” negotiated in our age of globalization and food insecurity? What is at stake in making claims for feminism predicated not on comfortable solidarities, but based on an avowal of difference?

In this class we will enter into the debates on gender and globalization by focusing on the texts of feminist, counter-globalist, and anti-colonial writers and theorists of the Global South. We will also read a range of interdisciplinary material drawing from examples of working-class literature, subaltern studies, Marxist theory, feminist theory, activist journalism as well as selected UN and World Bank documents. While texts from the global South provide us with our departure point, we will constantly place these writings in conversation with a range of theorists of neoliberalism and globalization. How do feminist cartographies of labor complicate the North-South divide? What might feminism as both a social movement and as knowledge-politics have to teach us about institutionalized concepts of “comparative racialization” and “critical regionalism”? What ethical models of socialized labor—of “an impossible un-divided world,” of “fractured togetherness”—are represented in the literature of labor and of radical ecology? What does it mean to invoke “working-class literature” in an age of outsourcing and neoliberal scarcity? These are some of the questions that I hope will direct our inquiries over the course of the semester. Literary texts may include works by Bessie Head, Tayeb Salih, Tillie Olsen, Diamela Eltit, Mahasweta Devi, Toni Morrison, Gloria Anzaldua, Valeria Luiselli, Lynn Nottage, Saidiya Hartman, Nuruddin Farah, and Arundhati Roy. Theory texts may include writings by Karl Marx, Antonio Gramsci, Gayatri Chakravorty Spivak, Angela Davis, Hortense Spillers, David Harvey, Michael Hardt, Antonio Negri, Silvia Federici, Kathi Weeks, Arturo Escobar, Maria Josefina Saldaña-Portillo, Lila Abu-Lughod, Chandra Mohanty, Chela Sandoval, Sara Ahmed, Sarah Brouillette, Aren Aizura, Lisa Lowe, Ruth Wilson Gilmore, and Sylvia Wynter. (Where time permits, we may also consider shifts in framework and nomenclature put forward in the recent Progress of the World’s Women UN Report: Transforming Economies, Realizing Rights.)

Course Requirements: 

1.) A 10 minute oral presentation on one or two of the weekly readings.*
2.)  A 2 page prospectus for the final paper.
3.) A 15-20 page final paper.
4.) Engaged class participation. 

*Serving as a respondent to a presenter: In addition to signing up for your own presentation, you must also select a date where you will serve as respondent to a presenter. 


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ENGL 89000. David Reynolds. Mining the Archives, Reinterpreting the Past. Wednesdays 11:45AM – 1:45PM. 2/4 Credits. 
During the past two decades, a revolution has occurred in scholarship: troves of archival materials that were once very hard to access and search have been digitized and put online. Rare books; entire runs of newspapers; obscure pamphlets; letters; manuscripts; images—these are some of the rich resources that are now universally available and instantly searchable. The implications for the study of literature, popular culture, history, and biography are immense. With the help of now-available archives, previously unnoticed dimensions of past cultures can be explored. Famous figures or writings of the past can be placed in fresh contexts, and new ones can be unearthed. And it’s not only primary research that has profited from digitalization: so has secondary research. An ever-increasing number of scholarly journals and books are online. This surfeit of online material, however, brings new challenges. How does one sort through the apparently endless digitized archives? How do we take notes without accumulating masses of mere trivia? Most importantly, what are the most effective strategies for using archival research as the basis for writing original essays or book-length monographs? How do we move from the raw material of the archive to the publishable article or book? This course addresses such issues. Students from any field or period concentration will have the opportunity to explore online archives that are especially interesting to them and relevant to their work. Each student will also visit at least one physical archive in order get hands-on exposure to works of interest and to seek out material that has not been digitized. Class readings include articles or book chapters about archival research. Students will periodically report to the class about their progress in the archives and will write a term paper based on their research.

ENGL 84200. Alan Vardy. Deserted Villages: Enclosure, Dispossession, and “Slow Violence.” Mondays 11:45AM – 1:45PM. 2/4 Credits.  
“Deserted Villages”: Enclosure, Nostalgia, and ‘Slow Violence’ will look at the complete upheaval of the British countryside from ca. 1770 to 1835 via  Goldsmith’s “The Deserted Village,” Cowper’s The Task and “The Yardley Oak,” Wordsworth’s “Simon Lee,” “The Ruined Cottage,” “Michael,” “Home at Grasmere” and “The Solitary Reaper,” Dorothy Wordsworth’s “Tour of Scotland, 1802,” Robert Bloomfield’s “The Farmer’s Boy,” Cobbett’s “Cottage Economy” and a few of his “Rural Rides,” and Clare’s “Helpstone,” “The Village Minstrel” and other poems.  We will employ a variety of critical approaches including Raymond Williams’ classic The Country and the City, the last 20 years of ecocriticism, Rob Nixon’s Slow Violence, other theories of social trauma, the problems of witness and memory, class difference, dispossession, etc.  One goal of the course will be a reevaluation of the political valences of Romantic nostalgia.
Please buy the Oxford edition of Clare.  There has been much debate about editing Clare, and it’s important that we work from the same texts.  Any editions of the other authors will do.  Goldsmith, Cowper, and Dorothy Wordsworth will be available on Blackboard, as will other materials to be announced (two chapters from Ann Bermingham’s Landscape and Ideology are currently available).  Nixon’s influential book is available in the system as an e-book, and I’d encourage students to read the Introduction to become familiar with his working hypothesis.

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’s 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.

ENGL 79000. Teaching College English: Practicum. 4 credits
John Jay, Tuesdays, 12:30PM-2:30PM
Brooklyn, Tuesdays, 4:30PM-6:10PM
City, Wednesdays 4:45PM-6:35PM
Queens, Thursdays 10:05AM-11:55AM
Lehman, Thursdays 2:00PM-4:00PM

 
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