| Course | Title | Instructor | Description |
|---|
| ENGLISH E210 | WOMEN, AUTHTY&EQUIT | VAN SANT, A | [Course Code: 24308] Thursday, 2-4:50pm, HIB 411
Enrollment via [SEMINAR REQUEST FORM]
With both constitutional questions and women’s cultural positioning in the family in view, this course will examine the idea of the “ancient constitution” (often set against contractual thinking and “rights” talk), the force of prescriptive authority more generally, and the extent to which equity sets up a contentious relation with time-out-of-mind authority. At the center of our concern will be the contemporary commitment to continuity, the deep suspicion of innovation, and the tension between restoration and progress as models of change. Most of the texts for the course cluster around two revolutionary periods, 1688 and 1789: For the first period, we will read John Locke’s Two Treatises, Mary Astell’s Reflections upon Marriage (and other selections from Astell’s work), the Marquis of Halifax’s, A Birthday Gift, and selected satires against women; for the second, we will read short selections from William Blackstone’s Commentaries on the Laws of England, Edmund Burke’s Reflections on the Revolution in France, and Frances Burney’s Cecilia. In addition we will read parts of J.G.A. Pocock’s The Ancient Constitution and the Feudal Law (as well as articles on Pocock’s thesis), selections from J.H. Baker’s An Introduction to English Legal History, excerpts from early legal writings, and relevant articles on individual writers.
Both Seminar and Pro-seminar students will prepare an annotated bibliography. Pro-Seminar students will write a take-home exam. Seminar students will write a paper. Everyone will prepare regular reports for class (posted afterwards to the message board). If anyone would like to get started, I would recommend beginning with Burney’s Cecilia, although the course will end with that work (Oxford World’s Classics, ed. Doody & Sabor).
|
| ENGLISH E299 | DISSERTATN RESEARCH | STEINTRAGER, J | Course Code 24400 |
| ENGLISH E399 | UNIVERSITY TEACHING | STEINTRAGER, J | Course Code 24514
For Composition TAs ONLY |
| ENGLISH E399 | UNIVERSITY TEACHING | STEINTRAGER, J | Course Code 24512
For English TAs ONLY |
| ENGLISH E399 | UNIVERSITY TEACHING | LEWIS, J | Course Code 24510
For E28 TAs ONLY |
| ENGLISH E399 | UNIVERSITY TEACHING | STEINTRAGER, J | Course Code 24516
For Composition TAs ONLY |
| ENGLISH 28A | POETIC IMAGINATION | STAFF | Reading of selected texts to explore the ways in which this mode formulates experience. Students write several short analytic papers. Prerequisite: satisfaction of the lower-division writing requirement. |
| ENGLISH 28C | REALISM & ROMANCE | STAFF | Reading of selected texts to explore the ways in which this mode formulates experience. Students write several short analytic papers. Prerequisite: satisfaction of the lower-division writing requirement. |
| ENGLISH 28D | CRAFT OF POETRY | DAVIS, S. | Craft of Poetry closely examines mechanical aspects of a variety of poems by a wide range of poets. The focus will be on poetry "by the line and sentence" with the idea that such attention will improve the quality of the lines and sentences in students' poems. Poems will not be workshopped. Weekly submissions will take up: the substance of subject matter; clarity, concision and grammar in sentences; unity; cohesiveness; and language use and quality of thought that is representative of the sensibility of the writer. Students master at least one poem by presenting it to the class with peer(s). Course strategies are designed to develop an independent writing discipline. The course is one of four classes required for the Creative Writing Emphasis in Poetry. |
| ENGLISH 100 | HIST THEORY & CRIT | SILVER, V. | The course will address the development of the 'literary,' both as a practice and a category of discourse, beginning with the Greeks and ending with a few contemporary theorists. In between, we will consider the religious, moral, political, philosophical and artistic uses of what we now call 'literature,' and the reasons why that category has come (at least popularly) to describe so-called 'fictional' writings exclusively. In doing so, we will be bound to contemplate what it means to be a student of literature, that is, an English major. Attendance is mandatory; there will be two take-home exams; and quizzes could happen if attendance lags, or class discussion ceases to have its Fall quarter vigor. |
| ENGLISH 101W | MACHIAVELLI&REN LIT | KIENE, J. | This course will study the responses to Niccolo Machiavelli’s political thought in English literature from the sixteenth and seventeenth-centuries. In addition to Machiavelli’s The Prince and The Discourses on Livy, possible texts include Shakespeare’s Richard III, Macbeth, and Coriolanus, Marlowe’s Jew of Malta, Spenser’s The Faerie Queene and A View of the Present State of Ireland, and Webster’s Duchess of Malfi.
Course requirements will include short written responses and three 5-7 page essays for which you will hand in preliminary drafts |
| ENGLISH 101W | PASTORAL&POETICS | HELFER, R. | This course will explore the transformation of pastoral fictions from antiquity through the Renaissance, examining how country and city, poetry and politics dovetail in this unique and pervasive genre. We will read pastoral poetry, prose, and drama in works by Theocritus, Virgil, Boccaccio, Petrarch, Sidney, and Shakespeare. Course requirements will include two essays, drafts, and short writing assignments. |
| ENGLISH 101W | RDG RENAISS UTOPIAS | KIENE, J. | This course will study utopian fiction, a highly elastic genre for which Thomas More coined a durable name (utopia is Greek for “no place”), as it develops across the 16th and 17th centuries in England. We’ll focus particularly on the cross-fertilization between literature that describes idealized, perfect, imaginary worlds, and non-fiction accounts of the discoveries of real uncharted lands and encounters with non-European peoples of the “New World.”
We will define the genre broadly, ranging from Francis Bacon’s New Atlantis, which constructs an imaginary locale with an eye toward offering political commentary closer to home, to Spenser’s Faerie Queene and Shakespeare’s The Tempest, both set in magical realms that blend elements of the “Old” and “New” worlds. Each of these texts juxtaposes “real” and explicitly imaginary or artificial worlds in order to think through problems of religion, politics, national consciousness, sexuality, race, and language. Each transports its readers to an imagined world in which the impossible becomes possible, in which the boundaries between self and other are magically redrawn or dissolved, and in which cultural attitudes and assumptions are expressed, challenged, and changed.
Course requirements will include short written responses and three 5-7 page essays for which you will hand in preliminary drafts. |
| ENGLISH 101W | MELODRAMA | BARTLETT, J. | Writing in 1814, the editor of The New English Theatre (“Original Dramas, Not Yet Acted”) levels this critique at The Prophetess: A Tragedy, an extravagant verse drama about the sack of Troy: “It is properly a Melo-drama, and ought not to have been called a Tragedy. In tragedy and comedy the final event is the effect of the moral operations of different characters, but in the melo-drama the catastrophe is the physical result of mechanical strategem.” In this course, we will work from this definition of melodrama as a big con, a clockwork trick unconcerned with the passions of its characters (who are ineffectual) or the catastrophes of its plots (which are providentially fixed). For us, the “physical result” of melodrama’s representational excess is a sleight of hand, which is to say, it is explicitly nonlinguistic: it is sustained by exaggerated gestures, bodily attitudes, and facial expressions; visual cues like costumes, sets, and props; actions that are recognizably motivated, even if imaginary or historical; and, of course, musical accompaniment that sets the mood, and tracks characters with leitmotifs that cue them on- and offstage. The network of nonlinguistic representations that are said to make melodrama go have not before been isolated as a “mechanical strategem,” a focus that would present us with opportunities for examining structural relationships between facial expressions and objects, between musical repetition and habitual bodily attitudes, and examine the ways we interpret gestures and signal motives. Since the nineteenth century, criticism of melodrama has threaded its aesthetic objectives, like the production of somatic sensation, the enforcement of rigid moral distinctions, and the subordination of character development to plot, into a study of melodrama’s contribution to the escapism, philistinism, and political sympathies of the lower middle class. My hope is that our return to a nonlinguistic understanding of melodramatic excess will allow us some distance from this instrumentalization of melodrama as an expression of social and cultural movements, and will reveal its moving parts instead. Students will be expected to write a few brief responses to course readings, to give one presentation followed by some discussion facilitation, and to write and revise three short papers of 5-7 pages.
Note: You will not receive credit for this course if you have previously taken E102C "19C Melodrama" with Professor Bartlett in Winter 2010 quarter. |
| ENGLISH 101W | WRITING MUSIC | SZALAY, M | This course will read twentieth-century novels and short stories about jazz, R &B, and rock and roll. In addition to learning something about the evolution of rock from jazz and R & B, we will study how and in what manner fiction captures the unique properties of music. In what way, we will also ask, do different kinds of music offer writers different kinds of challenges and inspirations? This will be a writing intensive course, and students should be prepared to share their writing with the class: each week, different students will circulate drafts of their material that the rest of the class will help them analyze and improve. |
| ENGLISH 102A | THE NOVEL RENAISS | HELFER, R. | "The Novel Renaissance" will explore the rise of novel fictions in Europe and Britain, considering the development of prose as well as its relation to verse. Starting with the Italian novella, we will read a variety of authors including Boccaccio, Chaucer, Cervantes, Sidney, Rabelais, and Nashe, among other English writers. Course requirements will include a take-home midterm, take-home final, and reading quizzes. |
| ENGLISH 102B | SATIRE & ENLIGHTENMENT | STEINTRAGER, J. | In this class we will analyze the resurgence and reworking of ancient satirical forms in Restoration England through to the end of the eighteenth century. Along with some preliminary work on the seminal Roman satirists Horace and Juvenal, we will consider the verse satires of John Dryden, John Wilmot, Alexander Pope, and Jonathan Swift. We will also look at how satire as a genre entered into other forms and other media: from the prose fiction of Gulliver's Travels to Hogarth's engravings and William Blake's mixture of visual and verse artistry. Be prepared for bawdiness and scatology--always with a point--as well as gentle correctives and sympathetic laughter. Coursework will include occasional quizzes, midterm and final examinations, and three short papers. |
| ENGLISH 102B | RESTORAT&REVOLUTION | VAN SANT, A. | This course is framed in part by political events. We begin in 1660--with the restoration of the monarchy after civil war, the beheading of a king (Charles I), and several years of Puritan dominance--and end just after 1700, approximately a decade after what became known as the "Glorious Revolution." We will read drama--both aggressive wit comedy and heroic tragedy-- satiric poetry, fiction, and feminist and political essays. Lectures will also provide material from scientific reports and from contemporary philosophy. This material invites us to ask questions about literary form, political principles and structures, marriage, property, and the status of omen. And it invites us to consider fundamental contrasts in a period marked both by restoration and by revolution. Students will be required to attend class, write one paper (with draft and revision), take two exams (midterm and final), and participate in message board and class discussion. |
| ENGLISH 102C | 19C CHARACTERS MAJOR&MINOR | BARTLETT, J. | This course will introduce you to the complexity of the idea and implementation of character in the nineteenth-century realist novel through the analysis of an irregular figure, the stock character. Neither minor nor major, neither flat nor round, too familiar to require much in the way of a personal history and yet unique in their reactions to immediate events, stock characters wander at a rich intersection between character and plot. If, as Forster has it, the difference between flat and round characters is that the round ones are capable of surprising us, we could say that stock characters often surprise us, but rarely themselves. Mr. Brownlow, the grand benefactor of Oliver Twist, is both reliably and literally deep—“his kindness and solicitude knew no bounds”—but at key moments, the novel makes a point of withholding the very details that we would anticipate (and probably skim over): Brownlow “forced a supply of tears into his eyes, by some hydraulic process which we are not sufficiently philosophical to be in a condition to explain.” By reverting to an unfathomable type in such moments, stock characters like Brownlow both reveal and aggravate a fundamental contradiction in the relationship between form and character in the novel, pushing the details that are said to conjure “realism” into uneasy abstractions. My vision for this course will be similarly, blurrily bifocal: we will use the characters of three realist novels as a point of entry into the form of the realist novel itself, and we will situate that form in a genealogy of the archetype by reading a smattering of secondary material from the fields of anthropology, drama, psychoanalysis, literary criticism, and sociology.Requirements include a midterm, a paper of 5-7 pages and a final exam.
Note: You will not receive credit for this course if you have previously taken E101W "Character Types" with Professor Bartlett in Fall 2009 quarter. |
| ENGLISH 102C | ROMANTICS&VICTORNS | HENDERSON, A. | This course will provide a survey of British literature of the nineteenth century. We will devote roughly half the term to a study of the principles of Romanticism, focusing especially on the work of Wordsworth, Coleridge, Keats, and Mary Shelley. In the second half of the course we will trace the fate of Romantic aesthetics in Victorian writing, reading work by Tennyson, Bronte, Dickens, Pater, and Rossetti. Throughout, we will pay particular attention to the status of visual representation, looking at Romantic-era painting and Victorian photography alongside our literary works. Course requirements will include short assignments, a midterm, and a final exam. |
| ENGLISH 102D | 20C BRIT PARTITION | O'CONNOR, L. | Partition along sectarian lines was a feature of British withdrawal from several colonies during the twentieth century, including the partition of Ireland into North and South (1922) and of the Indian sub-continent into India and Pakistan (1947). The partition of countries ramifies into other “partitions”--of the psyche, of families and ethnic groups, of communities and once undivided locales. Because the cherished independence of the new nation-states was predicated upon the violence of partition, their dominant cultural narratives tend to variously demonize, misrepresent, disavow or shun the “others” on the far side of the divide. Our writers call attention to the difficulties of writing partition, difficulties that arise from the complex relationship between memory (collective and personal), trauma, and narrative. We’ll read across a wide range of genres, including drama (Sean O’Casey); short stories (Saadat Hasan Manto); literary journalism and oral testimony (Urvashi Butalia); novels (Seamus Deane and Bapsi Sidhwa); and contemporary poetry and murals from Northern Ireland. Requirements include an essay, midterm and final. Students are expected to post reading responses on the class message board four times over the quarter, and class preparation will also be monitored by unannounced quizzes.
Note: You will not receive credit for this course if you have previously taken E102D "Lit of Partition" with Professor O'Connor in Fall 2009 quarter. |
| ENGLISH 103 | THE MUCKRAKERS | STAFF | Cross-listed with Lit Jrn 103
This course explores the early twentieth century literary genre of muckraking journalism. From Ida Tarbell's exposé on the Standard Oil Company to Lincoln Steffens work on municipal corruption, journalists of this era had a major role in bringing about political reform. Since a number of the most influential muckraking works employed the genre of the novel--Upton Sinclair's/The Jungle/ being the most well-known today--our readings will interweave fiction and reportage. The course readings, consisting entirely of primary source materials from the historical period in question, can be downloaded from our course website. Students should expect to write a five-page midterm paper as well as a ten-page research paper due at the end of the semester. |
| ENGLISH 103 | COMPUTER GAMES | KRAPP, P. | Cross-listed with Flm&Mda 185
An advanced discussion of issues pertaining to the culture and study of computer games. The course looks at games as art objects, cultural artifacts, and gateways to alternate realities, in the context of film & media studies and media history. Students will acquire a critical and historical vocabulary in game studies and new media. Contact Prof. Krapp at krapp@uci.edu for an authorization code for this course. |
| ENGLISH 103 | COVERING REVOLUTION | WILENTZ, A | Cross-listed with Lit Jrn 103
An in-depth course on how a big foreign story is covered by literary journalists, focusing primarily on Haiti, and on how the story of the end of the Duvalier dictatorship in Haiti and the rise of the charismatic leader Jean-Bertrand Aristide, as well as the devastating January, 2010 earthquake, has been turned into books and long articles. Where do journalists begin in their coverage of such important historic material? How is the narrative arc shaped, established, and followed? We will look also at the story in the Middle East today, and at how that is being covered as it unfolds as well as ways to approach it that might not be standard. We'll look at coverage of political upheaval in other places as well. Does the literary shaping of such a story reside in the characters, the history, the narrative of the everyday, the writer's first-person experience in the place and of events -- or where, exactly? Be prepared to learn a lot about Haitian history and literature; but also to be able to extrapolate from how this story was covered to how others are and will be covered in the future. |
| ENGLISH 105 | POSTCOLONIAL FICTION | RADHAKRISHNAN, R. | In this course, we will be taking a selective but deep look into some of the powerful and often revolutionary fiction produced in the formerly colonized areas of Asia and Africa. Here is a tentative list of works and authors to be studied: Things Fall Apart (Achebe, Nigeria), A Grain of Wheat (our own wonderful Ngugi wa Thiong’ O, Kenya), Shadow Lines (Amitav Ghosh, India), Burger’s Daughter (Nadine Gordimer, South Africa), Nervous Conditions (Tsi-tsi Dangarembga, Zimbabwe), The Thing Around Your Neck (Chimamanda Ngozi Adichie, Nigeria), Waiting for the Barbarians or Elizabeth Costello (J.M. Coetzee, South Africa), God’s Bits of Wood (Ousmane Sembene, Senegal). We will be analyzing and interpreting the fiction within the larger macro- political context of Colonialism and its aftermath. The themes that will animate and inform the course are: Tradition and modernity; Eurocentrism and Afrocentrism; the politics of Gender and Sexuality between the West and the non-West; Nationalism and Feminism; Nationalism in the post-colonial context; Enlightenment Reason and the politics of decolonization; Postcolonial double-consciousness; Secularism and the Nation state; Nationalism, Populism, and the politics of representation; Race, Sovereignty, and the Nation State; Self and Other and the Colonial Divide; Subjectivity and Collectivity in the postcolonial condition; People and the Intellectual in the post-colony; and the Cultural politics of the “post-“ after Colonialism. Even as we pursue these themes by way of a careful close reading of the texts, we will also be looking at a few influential theoretical essays on the same themes to frame and contextualize our discussion.
Format: Lecture and discussion.
Requirements and Expectations: Regular attendance and participation. Possibly 1 short paper (5 pages) and 1Long Paper (7 to 10 pages). |
| ENGLISH 105 | AFRICAN LIT | NGUGI, W. | The course examines the relationship between aesthetics, ethics, and power in literature and society by examining central themes in African writing in English or in English translation via drama, poetry and fiction. It is both introductory and an in-depth look at the issues animating the African imagination such as colonialism, language, orality, race, class, gender and ideology. |
| ENGLISH 106 | PIERS PLOWMAN | DAVIS, R. | William Langland’s epic dream vision offers a meditation on the social and religious upheavals of its era, from the Black Death and its aftermath, to the rise of the vernacular language and the Lollard heresy. Delving into the poem and its contexts offers a point of entry into the central issues of fourteenth-century England. But Piers Plowman is also an imaginatively daring poem that rewards close reading with the aesthetic pleasures of its inventive poetics. In this course, we’ll work our way through the entire poem in the original Middle English language (no prior experience required), taking time to consider how Langland’s historical and literary contexts enrich our understanding of the poem’s concerns and techniques.
Throughout the quarter, we’ll engage with secondary criticism and each student will develop an individual research topic that culminates in the major requirement for the course: a 15-page seminar paper supported by a proposal and annotated bibliography. |
| ENGLISH 106 | WHAT IS AN AUTHOR? | CHRISTENSEN, J. | We will survey the changing conceptions of authorship from the Romantic period to the present—both as those conceptions have been theorized by Sanuel Taylor Coleridge, W. K. Wimsatt, Peter Wollen, Michel Foucault et. al., and as they are manifest in selected works of literature and cinema from the 19th century to the present. Considerable attention will be given to the theory of corporate authorship as a mediatory approach between individual and collective theories of authorship, which is especially helpful when attempting to understand the strategic significance of Hollywood motion pictures both in the studio era and in the contemporary post-classical environment of mega-mergers and multi-platformed entertainment conglomerates. Film texts will likely include: ,i>Grand Hotel (MGM, 1932), Gold Diggers of 1933 (Warners, 1933), Boys Town (MGM, 1938), Singin’ in the Rain (MGM, 1952), The Glenn Miller Story,/i> (Universal, 1954), Bonnie and Clyde (Warners, 1967), Invasion of the Body Snatchers (United Artists, 1978), Batman (Warners., 1989), You’ve Got Mail (Warners., 1998), Pinocchio (Disney, 1940), and Toy Story 2 (Pixar, 1999). |
| ENGLISH 106 | US SCIENCE FICTION | SZALAY, M. | This course will read a selection of American science fiction, including vintage and pulp work from the Cold War by Isaac Asimov and Malcolm Bradbury, feminist speculative fiction from the sixties and early seventies by Ursula K. Le Guin and Marge Piercy, and cyberpunk from the nineties by William Gibson, Bruce Sterling, and Neal Stephenson. Students will take a short exam and write two papers, one of 5-7 pages and one of 7-9 pages. |
| ENGLISH 210 | LIT OF RECONSTRUCTN | THOMAS, B. | [Course Code: 24300] Tuesdays 09:00am - 11:50am HIB 411
Enrollment via [SEMINAR REQUEST FORM].
Reconstruction, as the historian Eric Foner reminds us, is an “unfinished” revolution. It is unfinished in part because its promise of full civil and political citizenship expressed in legal changes to the Constitution at the end of the Civil War has, even today, not been fully realized. It is also unfinished because it continues to be subject to historical revision. Some of the earliest revisions took place in the law as the Supreme Court, in a series of decisions culminating in Plessy v. Ferguson (1896) and Hodges v. U.S. (1905), limited the scope of the 13th and 14th Amendments. Other important revisions came in literary and historical representations of the period. In this course we will look, on the one hand, at the legal history of the period, and, on the other, at literary and historical representations of the period from 1879 to 1905. If the course is successful, these different perspectives will illuminate one another.
The focus of our legal attention will be on the Civil War Amendments, U.S. v. Cruickshank, the Civil Rights Cases, Plessy, and Hodges. We will also read short historical accounts of the period, including its laws, by Charles Sumner, John Burgess, William A. Dunning, Booker T. Washington, and W.E.B. Du Bois. Sumner was a leading architect of Radical Reconstruction. Burgess has been called the “father of American political science.” Long before Schmitt and Agamben defined the sovereign as determining the “state of exception,” Burgess defined the “sovereign” in terms of setting the “limit.” Dunning, much maligned as the founder of a pro-white Southern school of historians, is, when actually read, more complicated than usually acknowledged. Washington was, with the death of Frederick Douglass in 1895, the leading African American spokesperson of his day. Du Bois is the most cited today. We will read all of his mixed genre The Souls of Black Folk.
The bulk of our reading will be works of imaginative literature. Other than a couple of poems, those works will be novels. They are Albion W. Tourgée, A Fool’s Errand, Maria Ruiz de Burton, The Squatter and the Don, Francis Harper, Iola Leroy, George Washington Cable, John March, Southerner, Thomas Nelson Page, Red Rock, Thomas Dixon, The Clansman, and Charles W. Chesnutt, The Colonel’s Dream. Tourgée, Page, Dixon, and Chesnutt were all trained in the law. Tourgée was Homer Plessy’s lead attorney.
In addition to learning about this period of US history that still affects society today, students should come away with a sense of how to do interdisciplinary work in the fields of law and literature. We will be especially intent on challenging a reflection model of both literature and the law. Literature no more simply reflects the historical conditions in which it was produced than law simply reflects the social attitudes or power relations of its time.
All students will be responsible for leading a 20-minute section of class discussion and taking a 20-minute oral final examination. The former is designed to develop pedagogical skills; the latter to help prepare for oral examinations in the future. Pro-seminar students will write a 10- to 15-page rhetorical analysis of a passage in one of the works we have read. Seminar students will write a 25-page research paper. For students in the English Ph.D. program the course satisfies the 19th-century coverage requirement. |
| ENGLISH 210 | CORPORATE ART | CHRISTENSEN, J. | [Course Code: 24304] Thursdays 10:00-12:50pm HIB 411
Enrollment via [SEMINAR REQUEST FORM]
HOLLYWOOD’S CORPORATE ART:
Research Seminar Only
We will study selected Hollywood motion pictures in the context of the conceptualization of corporate art as originally formulated in the context of the studio system in the 1930’s and 1940’s as revised to spectacular effect during the Cold War and the slow disintegration of the studios in the 1950’s and 1960’s, and as rejuvenated as a marketing tool in the 1990’s by conglomerated, multi-platformed entertainment companies. The seminar will attend to the theorization of studio authorship and the aspirations of filmmakers and commentators to legitimate the benefits of the mass production of culture and to project a future in which the productionist model of filmmaking yields to a distributionist, marketing model in which not the individual person but the “neural” network is rendered as the mythic origin for American culture.
Students will be expected to watch several movies each week along with readings in film history and theory, marketing theory, and legal discourse. The motion pictures will run the gamut (the list is tentative) from Grand Hotel (MGM, 1932), Hard to Handle (Warners, 1933), Top Hat (RKO, 1935), Pinocchio (Disney, 1940) Grapes of Wrath (Fox, 1940), The Philadelphia Story (1940), The Ten Commandments (Paramount, 1923 and 1956), Silk Stockings (1957), Psycho (Shamley/Paramount, 1960), Camelot (Warners, 1967), Bonnie and Clyde (Warners-Seven Arts/Tatira Hiller, 1967), Casino (Universal/Syalis DA/Legende Enterprises/Da Fina-Capps, 1995), Toy Story 1 and 2 (Disney/Pixar, 1995, 1999), The Matrix (Warners/Silver Pictures, 1999), Antz (Dreamworks, 1998), and A Bug’s Life (Pixar/Disney, 1998). |
| ENGLISH 210 | 40 STORIES & ONE POEM | CARLSON, RON | [Course Code: 24310] Fridays 2:00-4:50pm HIB 341
Enrollment via [SEMINAR REQUEST FORM]
We will read a handful of stories each week looking at narrative
strategies, reading as writers. In the weekly writings we will focus on
the point of view, inventory, time, character, structure of dialogue, and
other elements of craft. It is an eclectic grouping of stories, featuring
Poe, Cheever, Beattie, Stone, Joy Williams, and others. I see it is
mostly American and mostly twentieth century.
|
| ENGLISH 210 | PIERS PLOWMAN | DAVIS, R. | [Course Code: 24306] Tuesdays 02:00pm - 04:50pm HIB 411
Enrollment via [SEMINAR REQUEST FORM].
William Langland’s epic dream vision offers a meditation on the social and religious upheavals of its era, from the Black Death and its aftermath, to the rise of the vernacular language and the Lollard heresy. Delving into the poem and its contexts offers a point of entry into the central issues of fourteenth-century England. But Piers Plowman is also an imaginatively daring poem that rewards close reading with the aesthetic pleasures of its inventive poetics. In this course, we’ll work our way through the entire poem in the original Middle English language (no prior experience required), taking time to consider how Langland’s historical and literary contexts enrich our understanding of the poem’s concerns and techniques.
Throughout the quarter, we’ll engage with secondary criticism and each student will develop an individual research topic that culminates in the major requirement for the course: a 15-page seminar paper supported by a proposal and annotated bibliography. |
| ENGLISH 225 | WRKSHOP IN ACAD PUB | HENDERSON, A | [Course Code: 24340] Fridays 9:00-11:50am HIB 411
Enrollment via [SEMINAR REQUEST FORM] |
| ENGLISH 290 | READING&CONFERENCE | STAFF | English 290 enrollment requires submission of an approved Independent Study proposal form available [HERE] by the end of the second week of classes. Students may add or drop the course by obtaining a code from the administrator. |
| ENGLISH 398 | RHET/TCHNG OF COMP | GROSS, D. | Course Code 24500 |
| ENGLISH 398 | RHET/TCHNG OF COMP | HAAS, L. | Course Code 24502 |