| Course | Title | Instructor | Description |
|---|---|---|---|
| ENGLISH 9 | SHAKESPEARE | HENDERSON, A | Love and friendship, separation and reunion, rivalry and jealousy, buffoonery and bullying, and race and gender: these are among the themes addressed in this designed-online Shakespeare course. Explore Shakespeare’s poetic gifts, theatrical imagination, and global references and concerns alongside his inquiry into human relationships and the human condition. You will be guided by an experienced team of faculty from UCI’s English department. Professionally-recorded online lectures are illustrated with clips from the plays and voice overs by UCI actors. Texts include A Midsummer Night's Dream, Twelfth Night, and Othello. Students will complete three multi-modal projects as well as lecture and reading quizzes and peer evaluation of creative assignments. |
| ENGLISH 10 | WORLD SHORT STORIES | LEE, J.W. | Edgar Allan Poe claimed that short stories were a superior literary form to novels because, unlike novels, short stories can be read in one sitting. Since a novel cannot (usually, unless of course it were particularly riveting) be read in one sitting, Poe argued, it was inevitable that “external or extrinsic influences,” or “[w]orldly interests intervening during the pauses of perusal” would shape or disrupt the reader’s experience with the text. In the experience of reading a short story, on the other hand, “the soul of the reader is at the writer’s control” because there are no distractions from the real world, so to speak. In this class, we will read and closely study “world” short stories, written by authors from the US (of course a handful by Poe) and around the world. In so doing, we will examine what it means to read or try to read in a way that is not interrupted by “worldly interests.” In short, we will approach the act of reading and studying literature not only with the goal of becoming immersed in the text in order to forget about the “world” (we all need a break from reality here and there) but as a way of helping us make sense of the “world.” |
| ENGLISH 11 | SOCIETY, LAW, & LIT | QUEEN, B. | English 11: Society, Law, & Literature Title: The 1st, 2nd, and 14th Amendments in a Time of Political Polarization This class finds its starting point in the aftermath of the Civil War in the United States. With the ratification of the 13th, 14th, and 15th amendments to the U.S Constitution, the legal foundations and constitutional architecture for the rights and liberties that define American democracy today emerge. This moment of constitutional originalism—this second moment of constitutional transformation—recasts the majestic guarantees of the Bill of Rights and its original ten amendments, which includes the 1st and 2nd amendments, major focal points for this course. The framers of these Reconstruction Amendments reimagined liberty and equality and the American constitutional subject, with the 14th Amendment, another focal point of study, weaving into the Constitution broad protections against race and sex discrimination. Over the next 150 years, the nature and meaning of the rights enshrined in the 1st (religion, speech, press, assembly), 2nd (bear arms), and 14th (life, liberty, due process) amendments are intensely debated in public venues, among the intelligentsia, and within the judiciary in response to salient questions and circumstantial tensions that have reframed them. From our current moment of political upheaval in which the very foundations of American democracy have been challenged, and roundly shaken, this class explores several topical areas through the study of law and literature together that are germane to understanding American constitutional democracy today: among them, public discourse in a time of misinformation; religious liberties; lying; violent rhetoric and violent acts; and reproductive rights and justice. In our explorations this quarter, we will read and write about Supreme Court cases, legal and philosophical thought, and works of fiction, both novels and short stories. |
| ENGLISH 15 | MODERN COMEDY | HARRIES, M. | What is comedy? What is modern? Does comedy change as history changes? To think about these large questions, we will focus closely on selected plays by three playwrights: William Shakespeare (1564-1616), Oscar Wilde (1854-1900), and Young Jean Lee (1974 -). Texts will include Shakespeare’s A Midsummer Night’s Dream and The Winter’s Tale; Wilde’s A Woman of No Importance and The Importance of Being Earnest (as well as selected essays by Wilde); and Lee’s Songs of the Dragons Flying to Heaven and The Shipment. The wide historical range will allow us at once to think about comedy as a genre with a long history, and about disruptions inside the genre and inside plays. We will also read selected criticism on comedy. Requirements will include three papers of varying lengths, regular Canvas posts, and ongoing participation. |
| ENGLISH 15 | GOTHIC ROMANTICISM | ROBERTS, H. | This course will explore the “gothic” (think dark, stormy nights; creepy castles; dastardly villains; distressed damsels; possibly the odd ghost or vampire) during the Romantic period (late C18th, early C19th). We will read such novels as Ann Radcliffe’s The Romance of the Forest, Jane Austen’s Northanger Abbey and Mary Shelley’s Frankenstein as well as a variety of short stories and narrative poems such as S. T. Coleridge’s “Christabel,” Lord Byron’s “Manfred,” and Percy Shelley’s “Julian and Maddalo.” Required Texts: Ann Radcliffe. The Romance of the Forest. Oxford World's Classics. Jane Austen. Northanger Abbey. Norton Critical Edition. Mary Shelley. Frankenstein. Norton Critical Edition John Polidori. The Vampyre and Other Tales of the Macabre. Oxford World's Classics |
| ENGLISH 16 | CRAFT OF POETRY | SCHULTZ, R | Most English classes ask what poems mean; this class asks how poems are made. Poetry is a form that we're meant to experience through our senses: a poem does something almost hallucinatory, in that it takes the reader under and happens to us. In the first half of the quarter, we'll read poetry in a range of forms and traditions in order to learn, first, to experience this magic, and, second, to parse how poets pull it off: how does an image, or a line break, or a comma, contribute to an effect on a reader, and help us feel our way to whatever the poem has been "about"? In the second half of the quarter, we'll narrow in on a couple of writers while broadening the scope of our inquiry, tracing lines of influence from Etheridge Knight to Terrance Hayes and from Emily Dickinson to Susan Howe, in order to ask not just how poems but how poets get made. Projects will include both creative and expository writing. |
| ENGLISH 17 | CRAFT OF FICTION | HYATT, J. | Have you ever been enchanted by the magic of storytelling? Have you ever encountered a piece of fiction and wondered: just how was this thing made? In E17: The Craft of Fiction, we’ll be looking at the process of fiction-writing, working together to answer such questions as: How do fiction-writers choose and construct their characters? How do fiction-writers control the flow of time? How do fiction-writers make meaning out of trickery, truth out of lies? How do fiction-writers, in essence, do what they do? We’ll find the answers to these questions by looking at short stories by acclaimed writers such as Alice Munro and UCI alum Helena Maria Viramontes; masterfully written craft readings on the art of fiction-writing; and one of the greatest novels of the twentieth century, Toni Morrison’s Song of Solomon. Along the way, you’ll sharpen your analytical skills by writing two argumentative papers—and you’ll even get a chance to try your hand at fiction-writing! If you want to explore the mysteries and magic of fiction in a supportive and engaging environment, then this is the experience for you. |
| ENGLISH 100 | INTRO TO LIT THEORY | JACKSON, V. | Why should we bother to think about the way we read? If you are taking this class, you already know the answer to that question. For one thing, you can’t read without thinking. The goal of this class is to encourage you to stop taking how you think about reading for granted. As it turns out, people have been thinking about how to bring our reading habits into focus for a long time. We can’t cover the entire history of theories of reading in one course, so we will focus on some twentieth- and twenty-first theories that have been especially influential for the way that literary reading is practiced and taught today. We will consider arguments for critical reading, for uncritical reading, for the dangers of reading, for the difference between reading people’s minds and reading poems, for queer reading, for straight reading, for raced reading, for universal reading, for materialist reading, for idealist reading, for formalist reading, for generic reading, for historicist reading, for close reading, for distant reading, for surface reading, for deep reading, and for not reading at all. |
| ENGLISH 101W | WOMEN ALONE IN LIT | SPEER, M. | In "Women Alone in Literature," we will examine the early 20th-century moment when women were fighting for legal rights and economic independence alongside increasing lesbian visibility, and reciprocal queer panic. We’ll consider these questions through two major British modernists, reading Virginia Woolf's speech/ essay "A Room of One's Own," and E. M. Forster's novel Howards End, both of which meditate on women's property ownership. In addition to historical context for these two texts, as well as movement categorizations like "Modernism," we will discuss relevant interpersonal drama between the two queer Bloomsbury Group members. We'll dwell with only these two texts so that we can focus intensively on close-reading and writing about literature. Students will often write in class, and will draft, revise, and finalize two essays. |
| ENGLISH 101W | INTERPRET DREAMS | LEWIS, J. | What is a dream? Why do we dream? Where do dreams come from? How do they change over time and across cultures? How do they remain the same? Can they be trusted? And what, oh what, do they mean? Nothing whatsoever, insisted Aristotle, but many others have begged to differ, especially writers of imaginative literature, who often find their deepest sources of inspiration in dreams, and who since writing began have embedded dreams and the many questions they raise in poems, stories, and plays. This rich history links the experience of literature to that of dreaming, and the interpretation of literature to the interpretation of dreams. Taking our cue from Sigmund Freud’s famous—if controversial—1899 study The Interpretation of Dreams, we will build critical interpretive skills by exploring some of the crossroads between dream interpretation and textual interpretation, bearing in mind a major historical divide created by Freud’s discovery of the unconscious and his declaration that dreams are the “royal road” to it. What happens to dreams when everyone gets to use this road—when, that is, we become conscious of the unconscious? Where was the unconscious before? And what happens when, as seems to be the case with modern science, we seem to have stopped believing in it again, and instead think of dreams as biochemical functions that serve other functions, such as memory? Assuming that literary artists have special insight into these mysteries, we’ll look at various kinds and manifestations of dream as they recur in literature over time: prophetic dreams; mystic visions; ‘female’ dreams (a major theme!); shared dreams; ‘bad’ dreams and nightmares; lucid dreams; daydreams; dreams as and of immigration; the dream as imagined future; the dream as an ideal; the dream as repressed or forbidden material; the dream as brain activity; the dream as compensation for an inadequate reality; the dream as reality itself. Texts (all short) include the Book of Daniel; brief excerpts from the ancient Taoist Book of Lieh Tzu, the medieval dream vision The Dream of the Rood, Bunyan’s Protestant allegory The Pilgrim’s Progress, Milton’s Paradise Lost, and Machado’s queer trauma memoir In the Dream House; stories by Poe, Porter, Borges, Jackson, and Hopkinson; Ursula LeGuin's sci fi classic The Lathe of Heaven; lyric poems by Rossetti, Williams, Blake, Coleridge, and Hughes; Martin Luther King’s "I Have a Dream" speech and Ocean Vuong’s response to it. We’ll end with some contemporary scientific takes on dreaming and Karen Thompson Walker’s uncannily prescient pandemic novel The Dreamers. Select short writings from Freud, Jung, Hobson, and Hillman will provide our critical models. Course requirements: two 5- to 7-page critical essays (both revised); one 3-paragraph assessment of a work of criticism; several 1-paragraph creative assignments; one presentation; consistent participation in class discussion. You will also be keeping your own dream journal throughout the quarter. |
| ENGLISH 101W | THE OFFICE NOVEL | BAUMGARTNER, J. | |
| ENGLISH 102A | HUNT FOR THE GRAIL | MATTHEWS, R. | |
| ENGLISH 102B | 18TH C CAPITALISM | MCCLANAHAN, A. | This class will begin from the claim that the emergence of capitalism in the 18th century necessitated the reinvention of two key categories: personhood and property. The rise of the middle class and a market economy required new understandings of the individual person in society, while changing views of marriage put pressure on the exclusion of women from legal personhood. The brutal reality of slavery, in turn, revealed the horror of turning humans into property while the violence of primitive accumulation and colonial dispossession made property more important—and more contested—than ever before. These changes, we’ll discover, also bear on the 18th century invention of the realist novel. Written by professional authors for a newly literate non-elite reading public, the novel produced new ideas of intellectual property and professional authorship even as it also invented a new way of understanding fictional persons as both psychologically rich and socially embedded. In this class, we’ll look at both 18th century theories of personhood and property, reading short excerpts from political, economic, and legal texts written during this period by writers like John Locke, Adam Smith, William Blackstone, Mary Wollestonecraft, and William Wilberforce. And we’ll read a number of 18th century novels too: Daniel Defoe's Robinson Crusoe, Samuel Richardson’s Pamela, Olaudah Equiano’s Interesting Narrative, Jane Austen’s Northanger Abbey, and even a contemporary novel, Jordy Rosenberg's queer historical novel Confessions of the Fox, which considers the relationship between 18th century ideas of property and personhood and our own capitalist present. |
| ENGLISH 102C | 19-C AMERICAN LIT | JACKSON, V. | A lot happened in this country in the nineteenth century. Slavery was expanded and then eventually abolished. Women fought for equal rights and didn't get them. Indigenous people were attacked and displaced. Waves of immigrants arrived and dispersed. There was a civil war. Meanwhile, the novel became a mass-market media sensation. Poetry was a set of popular genres that everyone read (and wrote). Melodramas attracted large crowds. New versions of American political and moral philosophy rose and fell. In this course we will read some of those novels, poems, plays, and philosophical essays against the backdrop of war, immigration, forced removal, misogyny, and racisim. Authors will include Wheatley Peters, Horton, Boucicault, Apess, Stowe, Emerson, Whitman, Dickinson, Whitfield, Watkins Harper, Longfellow, Jane Schoolcraft, Melville, Sedgwick, Thoreau, Harriet Jacobs, Frederick Douglass, and others. |
| ENGLISH 102D | IRISH MODERNISM | O'CONNOR, L. | This course introduces students to some classics of twentieth-century drama, fiction, and poetry by Irish writers. We’ll read works by Yeats, Joyce, and others in an Irish context, with special attention to questions of language and identity, in their efforts to create an other-than-English literature in English. Midterm, paper, final. |
| ENGLISH 103 | AFRICAN AMERICN LIT | CHANDLER, N. | |
| ENGLISH 105 | AMERINDIAN AUTOBIOG | CARROLL, A. | English 105: American Indian Autobiographies Professor Alicia Carroll Spring 2023. T/Th 2:00-3:20 PM Course code: 23483 In “Theses on the Philosophy of History,” Walter Benjamin famously “asks with whom the adherents of historicism actually empathize” and argues that, historically, the “answer is inevitable: with the victor.” Certainly, popular histories of the United States marginalize the experiences and viewpoints of Indigenous Peoples and portray the structure of settler colonialism and Indigenous land theft/genocide as inevitable or justified. This course explores how American Indian writers have authored autobiographies as a way of telling the histories of their individual lives and communities from their own perspectives. In the process, American Indian autobiographers have established a formal pattern of blending personal experience with their Peoples’ mythography, cosmology, and oral traditions. Students will consider historical and political contexts including US attempts to abolish Indigenous Peoples’ sovereignty and treaty rights, the enactment of Indian Removal and westward migration of settlers across North America, the forced relocation of Indigenous Peoples onto reservations and assimilation into Euro-American cultural institutions, and Indigenous Peoples’ continuing presence and resistance to ongoing US settler colonialism. Students will gain a trans-Indigenous perspective as course texts include autobiographies by Pequot, Eastern Dakota, Kumeyaay, Laguna Pueblo, Lenape, Kiowa, and Osage authors. Harry Fonseca. Portrait of the Artist as a Young Coyote. 1994. Acrylic on canvas; height 40 in. |
| ENGLISH 105 | MEDICAL/HEALTH LITJ | HAYASAKI, E. | |
| ENGLISH 105 | AFRICAN-AMERICAN DRAMA | HARRIES, M. | This course will focus on Black drama performed in United States in the 1960s, with special attention to the work of Lorraine Hansberry and LeRoi Jones/Amiri Baraka. Beginning with Hansberry’s Broadway success with A Raisin in the Sun (1959), the course will trace developments in Black drama and movements away from the Broadway stage across that revolutionary, conflicted, and tempestuous decade. Topics will include the relationship between realist and experimental forms; intersections between jazz and theater; the representation of the Civil Rights movement on stage; the place of drama in the Black Arts Movement; and the commitment to revolutionary drama. We will pay attention not only to texts for performance but also to the historical circumstances of production. Other authors will include Adrienne Kennedy, James Baldwin, Ed Bullins, Lonne Elder III, Jack Gelber, and Jean Genet. Classes will include a mixture of lecture and discussion. |
| ENGLISH 106 | VICTORIAN POETRY | ROBERTS, H. | This course will explore some of the major figures in British poetry of the later 19th century, including Elizabeth Barrett Browning, Robert Browning, Alfred Tennyson, Matthew Arnold, Christina Rossetti and Gerard Manley Hopkins. Required Text: Stephen Greenblatt (ed). The Norton Anthology of English Literature: Volume E, The Victorian Age. Tenth Edition ISBN-13 : 978-0393603064 |
| ENGLISH 106 | READING ROMANTICS | WARMINSKI, A. | Close reading of Wordsworth’s autobiographical Prelude and some other major romantic poems (Coleridge, Keats), as well as an excerpt from Hegel. The course will focus on the self- consciousness and self-reflexivity proper to the romantics and the vision of history that this self-reflection engenders. Two papers. |
| ENGLISH 106 | ASIAN AMER LIT&CRIT | FAN, C. | This course will introduce students to some key topics, theories, and texts in Asian American literary and cultural criticism, as well as research methodologies. We will begin with institutional history, taking a look at the origins of the Asian American movement in Bay Area radical politics and, later, its developments through New Communist Movement circuits and institutionalization in Asian American studies programs and departments (including the protests that led to UCI’s department). We will then track key cultural documents and statements from this inaugural insurgent period that continue to shape how Asian American literary and cultural studies are practiced, as well as how Asian American cultural politics beyond the academy have unfolded. The back half of the course will jump forward in time to look at two ways in which Asian American politics, geography, and cultural production have transformed since the 1990s: the emergence of Asian America in “mainstream” discourses and social formations, the difference Asia’s geopolitical “rise” has made. We will approach this conjuncture, which we might call the “Asian American contemporary,” through the lens of genre: science fiction in particular. To help ease and focus the research process out of which our final papers will emerge, we will collectively assemble a document and media library and map it out together. |
| ENGLISH 205 | TRAVEL AS NARRATION | VAN DEN ABBEEL, G. | ENROLLMENT IS RESTRICTED, FOR MASTER OF ENGLISH STUDENTS ONLY COURSE CODE: 23800, Tuesdays 6:00pm-8:50pm at HIB 341 Study of travel narrative with attention to questions of form and genre as well as to how differences of place, race, gender, and culture are negotiated, expressed, or suppressed. We will analyze works from the time of the early modern grand tour up through recent postmodernist personal odysseys. Readings to include such writer/travelers as Mary Montagu, Tobias Smollett, Laurence Sterne, Goethe, Olaudah Equiano, Mark Twain, Henry James, Jack Kerouac, Andrew Pham, Cheryl Strayed, among others. |
| ENGLISH 206 | RESEARCH & WRITING | IZENBERG, O. | ENROLLMENT IS RESTRICTED, FOR MASTER OF ENGLISH STUDENTS ONLY COURSE CODE: 23810 TIME & PLACE: TBA |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | ENROLLMENT IS RESTRICTED, FOR MASTER OF ENGLISH STUDENTS ONLY COURSE CODE: 23820 TIME & PLACE: TBA |
| ENGLISH 208 | THESIS WORKSHOP | IZENBERG, O. | ENROLLMENT IS RESTRICTED, FOR MASTER OF ENGLISH STUDENTS ONLY COURSE CODE: 23835, MONDAYS 6:00pm-8:00pm at HIB 341 |
| ENGLISH 210 | MILTON | SILVER, V. | COURSE CODE: 23840, FRIDAYS 9:00am-11:50am at HIB 341 The seminar addresses the problem arguably posed by Milton, namely, how can an iconoclast be a poet. To that extent, it is a course in how best to read Paradise Lost without succumbing to the undeniable allure of the Icthyian fallacy (Stanley Fish’s How Milton Works). In order to tackle this question, the seminar supplies an interpretive framework, beginning with the fifteenth-century bestseller, the Malleus Maleficarum (“The Hammer of Witches”), which serves as an introduction to what is currently called “magical thinking” but Milton terms “idolatry.” The antidote to a magical or idolatrous hermeneutics comes first, in the form of Martin Luther’s theology--especially the work arguably most read in England, his 1535 Commentary on Galatians, but also The Bondage of the Will, his reply to Erasmus on that subject. The second antidote is Milton’s own theology, as argued in his polemical prose and Christian Doctrine, and of course his poetry from the time of his earliest sonnet, “How soon hath time” through Paradise Lost. Wittgenstein’s later philosophy will make an appearance, as will Adorno’s concept of dialectic, the better to dispel some misconceptions about how meaning works in Milton’s “great argument.” |
| ENGLISH 210 | GLOBAL ASIAS | LEE, J.W. | COURSE CODE: 23842, MONDAYS 9:00am-11:50am at HIB 341 Global Asias is an intellectual and political paradigm invested in understanding, in Tina Chen and Eric Hayot’s terms, “the intersection between Asia and the globe” (p. xi). This course thus aims to study the contemporary and historical cultural ecologies of Asia not only within a predefined geographic space, but instead examines the various issues related to “Asia” as a global phenomenon. Global Asias works beyond the onto- and geopolitical mappings of the nation-state paradigm through emergent analytical and epistemic paradigms. Reflective of a broader interest in “global studies” across the humanities and social sciences, Global Asias reflects in particular a concerted effort to bridge the historical divide between area studies (e.g., Asian studies) and ethnic studies (e.g., Asian American studies). As such, students will be invited to consider the extent to which an epistemological vantage point of Global Asias can facilitate the desedimentation of extant logics guiding the politics of knowledge production from within their own disciplinary orientations. |
| ENGLISH 210 | PIERS PLOWMAN | DAVIS, R. | COURSE CODE: 23844, THURSDAYS 11:00am-1:50pm at HIB 341 One of the great poems of the Middle Ages, William Langland’s Piers Plowman bears passionate witness to the political, religious, social, and ecological cataclysms of the late-fourteenth century, an era visited by successive outbreaks of the plague. As such, it also speaks to other times and other catastrophes, including our own. This seminar examines Piers Plowman as an example of the literature of catastrophe. We’ll read the poem in its original Middle English, framing our discussions with contemporary theories of catastrophe and recent climate fiction to consider how these texts attempt to represent disaster across time. |
| ENGLISH 210 | WHATS SINGLE AUTHOR | IZENBERG, O. | COURSE CODE: 23846, TUESDAYS 2:00pm-4:50pm at HIB 411 Single/Author/Theory: John Ashbery “Then we all realized what should have been obvious from the start: that the setting would go on evolving eternally, rolling its waves across our vision like an ocean each one new yet recognizably a part of the same series, which was creation itself. Scenes from movies, plays, operas, television; decisive or little-known episodes from history; prenatal and other early memories from our own solitary, separate pasts; events yet to come to life or art; calamities or moments of relaxation; universal or personal tragedies; or little vignettes from daily life that you just had to stop and laugh at, they were so funny, like the dog chasing its tail on the living room rug.” –John Ashbery, “Description of a Masque” “What is A (Single) Author” has two goals. First, we will attempt something like a survey of the singular career of one of the most influential poets of the late 20th century, John Ashbery. This alone would be a daunting task: Ashbery published more than 30 books of poetry over his 90 years. He occupies a position at once central (his first major collection, Some Trees, was awarded the Yale Younger Poets Prize by WH Auden in 1955; Self Portrait in a Convex Mirror is the only book ever to win the Pulitzer Prize, the National Book Award and the National Book Critics Circle Award in the same year [1975]; he was the first living poet to have his work collected by the Library of America) and marginal (whether being celebrated as “experimental” avant-gardist or denigrated as “impenetrable” aesthete). We will read many of his poems, and try together to understand them. Second, we will consider a number of possible theoretical justifications for taking an interest in an author—in any author. From Sartre’s conception of the “singular universal” (which led him to undertake a five-volume biography of Gustave Flaubert as the culmination of his work); to Jeremy Prynne’s concept of “mental ears” (a theory of composition which underwrites a 134 page exegesis of a single 32 line Wordsworth poem), the idea that an artist’s life, sensibilities, and actions are, in some singular and illuminating way, in touch with history has persistently seemed necessary to motivate an interest in art. We will think about how this might be true—if it is true. These two goals will not always square easily with one another; but taken together, they will allow us to pose a crucial question for our own critical work: how do we justify the time and energy expended on reading and writing about verbal artifacts assembled by “solitary, separate” individuals, immersed in “vignettes from daily life” and adrift in “decisive or little-known episodes from history”? Why should we care about the funny little thing one person has made? |
| ENGLISH 299 | DISSERTATN RESEARCH | ALLEN, E. | COURSE CODE: 23970 TIME & PLACE: TBA |
| ENGLISH 398 | RHET/TCHNG OF COMP | QUEEN, B. | Course Code: 23975, MONDAYS 2:00pm- 4:50pm at ALP 2100 |
| ENGLISH 399 | UNIVERSITY TEACHING | ALLEN, E. | |
| ENGLISH 399 | UNIVERSITY TEACHING | LATIOLAIS, P. | |
| ENGLISH 399 | UNIVERSITY TEACHING | LEE, J.W. |