| Course | Title | Instructor | Description |
|---|---|---|---|
| ENGLISH 8 | MULTICULT AMER LIT | CARROLL, A. | Introduction to Native American Literatures This course explores literatures from Native nations within the United States, including works by Pequot, Dakota, Lakota, Menominee, Kiowa, Ohlone, Laguna Pueblo, and Cherokee authors. Since the eighteenth century, American Indian authors have produced an important body of literature in the English language. Additionally, some have transliterated works in their Indigenous language using the Latin alphabet, and others have authored works in their Indigenous language’s unique writing system, such as the Cherokee syllabary. Students will attend to historical conditions of literary production as they examine works within contexts framed by four periods of US-Native relations: massacres and removals, allotment and assimilation, termination and relocation, and the current tribal self-determination era. |
| ENGLISH 11 | SOCIETY, LAW, & LIT | QUEEN, B. | Title: American Democracy in Turmoil This class finds its historical starting point in the aftermath of the Civil War in the United States. With the ratification of the Thirteenth, Fourteenth, and Fifteenth Amendments to the U.S Constitution, the legal foundations and constitutional architecture for the rights and liberties that define American democracy today come into formation. This originalist moment of constitutional transformation recasts the majestic guarantees of the Bill of Rights and its original ten amendments, which includes the First and Second Amendments. The framers of these Reconstruction Amendments reimagined liberty and equality and the American constitutional subject, with the Fourteenth Amendment transforming the Constitution and American political culture with progressive ideas reaching toward broad federal protections against race and sex discrimination. Across the ensuing decades and to our present moment, the nature and meaning of the constitutional rights and liberties that conceive of the essence of our democracy, among them First Amendment rights to religion, speech, press, and assembly, the Second Amendment right to bear arms, and Fourteenth Amendment rights to life, liberty, due process, and equal protections, are intensely debated in public venues, among the intelligentsia, and within the judiciary in response to salient questions and circumstantial tensions that reframe them. From our current moment of political upheaval in which the foundations of American democracy have been 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. By successfully completing English 11, students can earn one of two general education requirements offered by the course—GEIII (Social and Behavioral Sciences) or GEIV (Arts and Humanities). We will apply legal questions and knowledge to literary questions and themes, and we will apply critical cultural questions and literary interpretations to legal questions and issues so that we might reach a deeply informed law and literature synthesis through the study of Supreme Court cases, legal and philosophical thought, literary and cultural criticism, and works of fiction, both novels and short stories. |
| ENGLISH 15 | SHAKESPEARE & TRAG | SILVER, V. | We all have a notion in our heads of how a given Shakespeare play means; and if we don’t, there is always the First Folio’s classification of the plays according to genre--comedy, history, tragedy, romance--which are there to tell us what sort of dramatic action to expect. Comedy will end with a marriage; tragedy will trace an arc from fortune to misfortune, ending with suffering and death. If only it were so simple. For Shakespeare is a master of mixed dramatic modes, a technique peculiar to the early modern stage and an inheritance from the medieval one. In a satirical moment, he has Polonius in Hamlet list all the various combinations of dramatic modes notionally popular in the day, which does nothing so much as suggest that early modern drama was a mongrel phenomenon by generic standards. So this is not your usual Shakespeare class: it is experimental, since we will try Shakespeare’s tragedies (Hamlet and King Lear) by history and satire (Richard III) and by comedy and romance (Much Ado About Nothing), the better to understand his dramatic arguments and emphases. You may be surprised at what you find. |
| ENGLISH 15 | ALL ABOUT EVE | LEWIS, J. | The biblical Eve was the first rebel, the first penitent, the first mother, the first genetic experiment, the first person to ask a question, the first scientist, and the first woman to go off her diet. No wonder she has always been an object of literary fascination, a mythic figure endlessly reimagined in response to changing ideas about female desire, curiosity, subjection, and potentiality. In this class, we’ll explore some of the ways that Eve’s multivalent story has been told and retold over time. That means embarking on the genre-sensitive journey through literary history that every English major should take. It also means thinking about what it means to read Eve from a literary perspective, as opposed to a religious or historical one, and about how different kinds of readers have interpreted her in different ways at different historical moments. As we journey from Genesis to today’s fembot EveR and…wait for it…Greta Gerwig’s Barbie, we’ll pay special attention to the ways that women or female-identified writers have imagined themselves as Eve’s daughters, while also examining Eve’s ever-complicated role in the gender ideologies of every cultural moment. Over the reading quarter, expect to meet the self-seeking bride of Milton’s Paradise Lost, the curious ingenue of Frances Burney’s Enlightenment comedy of manners Evelina, the fallen woman demonized in Victorian gothic literature and pre-Raphaelite art, the ambitious competitor and fragmented housewife of modern times, the African demi-goddess collaboratively imagined by Toni Morrison and Kara Walker, and Angela Carter’s gender-role-bending, fairy tale-inspired new Eve. If you’re a fan of Eve’s ‘other woman,’ Lilith, fear not: She’ll be making more than a guest appearance, since one book on our syllabus is George MacDonald’s Victorian fantasy novel Lilith. PLEASE BE AWARE THAT SOME OF THE READING FOR THIS CLASS IS CHALLENGING!!!!! Course requirements: midterm essay (4 pages), final 6-page ‘biography’ or ‘autobiography’ of Eve; a series of super-short creative exercises/response paragraphs; active participation and periodic leadership in class conversations. |
| 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 Gwedolyn Brooks to Terrance Hayes and to other poets inspired by Brooks, in order to ask not just how poems but how poets get made. Projects will include both creative and expository writing. |
| 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 Gwedolyn Brooks to Terrance Hayes and to other poets inspired by Brooks, 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 | GRIMES, L. | How do writers create characters who are at once larger than life and yet, so human? How does a well-written character, and better yet, a whole cast of them, guide the plot and drama of a narrative into unexpected and moving territory? And how might we learn to harness our own powers of observation and attune our own sensitivities to the same, ineffable qualities of life that writers depict so skillfully on the page, in order to try our own hand at creative writing? We all experience the aspects of life, feeling, and embodiment that one might call “beyond language”—so how does fiction, through dramatization and careful deployment of various elements of craft, depict and invoke what is beyond discourse? How does fiction use its tools of craft to set the embodied against the abstract and conceptual? These are just some of the questions we’ll be considering while reading Charles Baxter’s Art of Subtext (writing beyond plot), Stacey D’Erasmo’s Art of Intimacy (writing nuanced relationships), and some works of remarkably accomplished fiction: Ivan Turgenev’s First Love, Alice Munro’s The Moons of Jupiter, and Claire Keegan’s Small Things Like These. As readers of literature and thinkers on the mechanical aspects of craft, we will come together to investigate how writers write, while exploring the ways in which the writer’s tools are also the tools of a highly present and mindful way of life (even for the non-writer!), and enjoying thoughtful and creative discussion and the low-stakes production of both analytical and creative work. Graded course work over the course of the quarter will include active and meaningful participation in class, short creative exercises, reading responses, pop quizzes, a group presentation, and a final analytical paper. |
| ENGLISH 100 | INTRO TO LIT THEORY | RADHAKRISHNAN, R. | Using Plato and Aristotle as points of departure, addresses a range of perspectives and problems in literary theory. To be taken by English majors in the junior year. |
| ENGLISH 101W | AMERIC. HISTOR. NOV | MCCALL, S. | Each instructor identifies a topic within literary history; special attention is given to mastering the conventions of academic argument and expression. To be taken as early as possible in the junior year. |
| ENGLISH 101W | LOVE AND CHIVALRY | MATTHEWS, R. | The medieval romance has always been defined by both love and arms. In this writing course, we’re going to explore the origins of these chivalric romances by reading some exciting and innovative romances of the twelfth century, like Marie de France’s famous collection of Lais, Chretien de Troye’s Arthurian tales of Lancelot and the grail, and fragments of Tristan and Iseut. These are wild works, with knights embarking on obscure quests, solving seemingly intractable problems, testing their prowess and acting on forbidden love. They also tell us a lot about the writing process. The class will include two papers (one a creative option), group power point and portfolio. |
| ENGLISH 101W | GOTHIC SHORT STORY | MCCLANAHAN, A. | This class will begin with two classic work of gothic short fiction: Henry James’ “The Turn of the Screw” and Charlotte Perkins Gillman’s “The Yellow Wallpaper.” We’ll use these pieces to think about the history of gothic, focusing particularly on uncertainty and the unknown as distinctly literary problems. We’ll then move to read contemporary gothic short fiction by authors like Carmen Maria Machado, Helen Oyeyemi, Julio Cortazar, Angela Carter, Liliana Colanzi, Sofia Samatar, Charles Johnson, Stephen Graham Jones, Charlie Jane Anders, and P. Djèlí Clark to explore the way gothic uncertainty has been used by feminist, queer, and non-white writers to explore trauma, alienation, and historical violence. This class will involve some introductory lectures but will be primarily dedicated to collective dialog and discussion. It will require diligent attendance and participation. Since this a W course, there will be a quite a bit of emphasis on writing, including scaffolded writing assignments and a lot of in-class writing and revision work. You must purchase two texts in hardcopy: Henry James’ “Turn of the Screw” (Norton Critical Edition, available at the bookstore) and a course reader which will be available for purchase on the first day of class. |
| ENGLISH 102A | RENAISS RHETO&POET | GROSS, D. | Dismissed as a passive behavior that comes naturally, listening is in fact a complex and learned activity that can be perfected. But while speaking has grounded courses in higher education since classical antiquity, rarely does a course in the literary humanities focused on the rhetoric and poetics of listening. That's what we will do in this course, with the goal of practicing what Michel Foucault called a "genealogy" of contemporary problems. By foregrounding the ear in Renaissance rhetoric and poetics, our sensibilities will be newly tuned to canonic authors including Shakespeare, each time foregrounding how the work was entangled globally. Meanwhile this Renaissance sensibility for the ear will help us reconsider some late-modern problems including the rhetoric of race, our restricted notion of political activism (that ignores the virtues of passivity), and our odd commonplace that women are better listeners than men. The format for the class includes lecture, collaborative work, peer review, and discussion. There are 6 brief writing assignments, and one longer project that goes through a careful drafting and revision process. All materials will be collected via midterm and final Canvas LMS portfolio, which are worth 30% and 60% of your final grade, respectively. The other 10% is participation. |
| ENGLISH 102B | WORK & POET 18TH C | MCCLANAHAN, A. | This class will explore the invention, over the course of the 18th century, of the genre we now call the novel. How, we will ask, did readers come to expect that the stories be “realistic”? How did they come to be willing to imagine themselves in the minds (and in the houses, workplaces, streets, and even beds) of fictional characters? We'll also consider the historical transformations those novels describe, from the rise of the middle class, to the changing role of women, to the abolition of the slave trade. To understand the rise of capitalism in this epoch, we’ll read short excerpts from political, economic, and legal texts written during the 18th century—John Locke, Adam Smith, Mary Wollestonecraft and others. We’ll explore treatments of land and settlement in Robinson Crusoe; servants, poverty, and sexuality in Pamela; commerce, mercantilism, and the slave trade in The Interesting Narrative; and domestic property and land enclosure in Northanger Abbey. We’ll end by thinking about the relationship between the eighteenth century and the present by reading Jordy Rosenberg’s marvelous queer updating of the eighteenth-century novel, Confessions of the Fox. |
| ENGLISH 102C | ROMANTIC REVOLUTION | ROBERTS, H. | Studies of works representative of Romantic and 19th-century literature in English, with attention to literary history, treating at a minimum more than one author and more than one genre. |
| ENGLISH 102D | 20TH CENT LIT | MORGAN, C. | Alienation: Wow! How profoundly rich, allegorically vital and sovereign, literarily rejuvenating and affirmative it is to be alienated, whereas literal and empirical alienation is nothing short of devastation, disempowerment, marginalization, and annihilation. There you have it: the double template of alienation, and our collective endeavor this quarter is to plumb the abject depths of alienation, as existential symptom and aesthetic performance. The fact of the matter is that “alienation” has been, in the West, from the late 19th century onwards, a powerful and abiding theme and motor of so much literary and cultural creativity: alienation of the individual from herself, from society, the alienation of the I from the We, from the nation, from God, from Nature. The alienation of Labor by Capital (Marxism), existential and metaphysical alienation (Fyodor Dostoevsky, Jean-Paul Sartre, Albert Camus), alienation by way of War (Virginia Woolf), death of God and religion and cultural alienation (T.S. Eliot), psychological alienation and the alienation of Self from Other (psychoanalysis), alienation by Racism and Slavery (Du Bois, Ralph Ellison, James Baldwin), alienation by Colonialism (Fanon, Tsitsi Dangarembga), alienation via Patriarchy and Sexism (Virginia Woolf, Adrienne Rich, and bell hooks). As we make our way through a range of poignant and powerful texts (poems, fiction, theory), we will seek to identify and recognize the many faces and profiles of alienation. How does alienation, as a context of crisis, become the basis for a deep, systemic and “critical’ understanding of what ails the human condition? How does literary/aesthetic form cope with the shattering negativity of alienation, and give it meaningful shape? What does “meaning” mean during times of crisis? Is language alienated from meaning, and if yes, how does literature deal with the “waste land” of Existence? What are the geopolitical parameters of alienation and how is one form of alienation to be parsed relationally with reference to another and different form of alienation? Is alienation Eurocentric, colonial, global, universal? How does alienation bridge or aggravate the gaps between Ethics, Politics, Economics, Ontology, and Philosophy? Is alienation primarily economic, political, or philosophical? Commodification/reification/objectification/alienation: what are the connections, the interlinks? Are there two kinds of alienation: one with a lower case “a,” that has a political cure and an economic answer, and the other, with a capital A that is inevitably and necessarily chronic? Just a few straightforward questions, that is all. And we will be raising these not alone, but in solidarity. |
| ENGLISH 103 | DECOLONIZING T.GOTH | SPEER, M. | A series of lectures on and discussions of announced topics in literary criticism, theory, history, genres, modes, major authors. |
| ENGLISH 105 | W.E.B. DU BOIS | CHANDLER, N. | Focuses on ethnic or minority literatures, or treats issues related to race and cultural identity. |
| ENGLISH 105 | TRAVEL LIT J | WILENTZ, A. | A series of lectures on, and discussions of, announced topics in literary journalism and the literature of fact. |
| ENGLISH 106 | DEFENDING POETRY | IZENBERG, O. | Capstone course. Provides intensive work on a topic within the area of literatures in English with particular attention to the theoretical, critical, or conceptual issues it raises, with the goal of producing a substantive research paper. |
| ENGLISH 106 | QUEER COMING OF AGE | ALEXANDER, J. | Stories of queer people coming of age abound right now in genre fictions (such as YA fiction) and on television. But narratives about how queers "come of age" – that is, reach adulthood while navigating the complexities of heteronormative cultures – have a rich history and are beautifully and innovatively explored in literary fiction. This course will focus on contemporary literary queer coming-of-age narratives while situating such in a longer history of queer narration and storytelling. Our particular focus will be on studying the use of experimental forms to explore what "queerness" means in different familial, social, and political contexts. Authors to be studied include Jeanette Winterson, Alison Bechdel, Justin Torres, Tommy Pico, and Ocean Vuong, amongst others. Theoretical insights for studying literary works will be gleaned from Audre Lorde, José Esteban Muñoz, Saidiya Hartman, Robert McRuer, amongst others. |
| ENGLISH 106 | ULYSSES | OCONNOR, L. | James Joyce’s Ulysses (1922), lauded by many as the finest and most influential twentieth-century novel, is a perfect “capstone” text for reading and writing about in the E106 capstone seminar. The novel takes place over the course of a single day, June 16, 1904 (now celebrated as “Bloomsday”) during which we follow the thoughts of Leopold Bloom and Joyce’s avatar, Stephen Dedalus, as they traverse Dublin city before returning ‘home,’ where the soliloquizing Molly Bloom has the final say. We’ll explore Joyce’s innovative techniques for representing consciousness and situate the novel in relation to its structural Homeric parallel and its Irish and European contexts. A sociable novel, Ulysses is best read in collaboration with peers in the convivial context of a seminar devoted to it. To keep us “on the same page,” the 1986 Hans Gabler edition of Ulysses (ISBN 0394743121) is a required text, even if you already have another edition of Ulysses. |
| ENGLISH 106 | TOPICS IN FILM&TV | STAFF | Focuses on the analysis of film and/or television traditions in the English-speaking world, from a historical, theoretical, or comparative perspective. |
| ENGLISH 205 | POETIC RHYTHM | ROBERTS, H. | This course is designed to give students an introduction to practical prosodic analysis and an outline of the history of English prosody from the Renaissance to the present day. It assumes, at best, a very rudimentary knowledge of prosody on the student's part. If you consider yourself already adept at scanning lines of English verse and have no difficulty in distinguishing, say, catalectic trochaic tetrameter from acephalic iambic tetrameter, then this course is not for you. If, on the other hand, you're only "pretty sure" that something is in iambic pentameter if most of the lines seem to have ten syllables and you'd draw a blank if someone asked you to describe the difference between Pope's use of the heroic couplet and Shelley's, or Shakespeare's early and late blank verse, then I hope this course will open up whole new dimensions to you even in works that seem very familiar. Coursework: Students will perform innumerable prosodic exercises; write short essays in prosodic analysis and sit an exam. Required texts: Derek Attridge, Poetic Rhythm: An Introduction. Cambridge Ferguson et al, Norton Anthology of Poetry: Shorter Fifth Edition. Norton. |
| ENGLISH 206 | RESEARCH & WRITING | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 207 | THESIS PRACTICUM | STAFF | |
| ENGLISH 208 | THESIS WORKSHOP | IZENBERG, O. | |
| ENGLISH 210 | AFRIC AMER THOUGHT | RADHAKRISHNAN, R. | This seminar, chronologically structured, will be a strategically selective exploration of the evolution, the being and becoming of African American Thought all the way from Frederick Douglass to the history of the present: Afropessimism, Black Lives Matter, Black Marxist and psychoanalytic theories, Critical Race Theory and African American feminism. Our exploration, while insisting on the irreducible non-fungibility of the African American experience, will also endeavor to make intersectional and conjunctural connections with other formations such as the postcolonial subject in all its African and Asian manifestations, PanAfricanism and the Palestinian subject. The readings, necessarily interdisciplinary, will dive deep into the ontological and the onto-political constitution of the African American Subject. Of particular salience would be the African American critique of Humanism and its difference from poststructalist deconstructions of humanism. We will be examining the hy-phen that both conjoins and disjuncts the Africa from America to determine the reach and scale of African America: nation centric, diasporic, trans regional, post and transnational. The onto-epistemological- political register both in general and with specific reference to the African American experience will be our ongoing concern all through the seminar. Important themes and authors: Du Bois and double consciousness, Booker T Washington and separate but equal, Marcus Garvey-Back to Africa and Black Nationalism, the Harlem Renaissance and the New Negro, Ralph Ellison- Richard Wright-James Baldwin, Frantz Fanon, Toni Morrison, June Jordan, Audre Lorde, Barbara Christian, Hortense Spillers, Saidiya Hartman, David Marriott, Christina Sharpe, Fred Moten, Orlando Patterson, Lindon Barrett, and Frank Wilderson. If the listing of these readings is causing you vertigo, please don’t worry. I am delirious and hallucinating as I attempt to conclude this description. With your rigorous and loving help, we will sculpt a coherent and viable itinerary. |
| ENGLISH 210 | ULYSSES | OCONNOR, L. | In this seminar we will read and discuss one work—James Joyce’s Ulysses (1922)—a compendious and sociable novel that is ideal for interpretation in colloquy with other readers. Readers of the episodes serialized in The Little Review hailed the novel as a masterpiece even before Joyce had completed it, and the banned book became celebrated contraband. We’ll keep the diverse perspectives of PhD critic-readers and MFA writer-readers in play as we engage with its near cult-like status in literary criticism and its reputation among writers as a game-changer. To keep us “on the same page,” the 1986 Hans Gabler edition of Ulysses (ISBN 0394743121) is a required text, even if you already have another edition of Ulysses. Our ten-week itinerary will cover about 2 episodes each week and situate Ulysses in relation to its Odyssean intertext; its Irish cultural and political context; and modernist and avant-garde aesthetics. Discussion will be stimulated by participants’ weekly response papers on the upcoming assigned episodes. Seminar students are expected to write a 15-page research paper on a topic cleared in advance with the instructor, to meet the mid-quarter deadline for submitting a prospectus and annotated bibliography, and to present their research topic to the seminar near the quarter’s end. Pro-seminar students can opt for a take-home essay in week eight, or negotiate an equivalent exercise with the instructor. MFA students may propose a creative writing project to fulfil the pro-seminar requirement; the appended critical reflection on how reading Ulysses stimulated or influenced the project will be graded, not the project itself. |
| ENGLISH 210 | CRIME&PUNISH 19TH C | MCCALL, S. | In this seminar we shall explore the social and literary histories of crime in Long Eighteenth-Century British and American literatures. Encompassing narratives of pirates, transported convicts, fugitive slaves, and incarcerated workers, our readings shall map the rise and fall of the rogue hero, attending to crime fiction’s interconnected roles in race making (and unmaking) and the conceptualization of modern disciplinary systems. Alongside works of fiction we shall read substantial portions of E.P. Thompson’s monumental Whigs and Hunters, John Bender’s Imagining the Penitentiary and Jeannine DeLombard’s In the Shadow of the Gallows. |
| ENGLISH 210 | FORMS OF FORGIVENES | DAVIS, R. | This course explores forgiveness in medieval and early modern English literature through the central concept of form. We’ll consider the specific social, cultural, legal, and religious instruments and practices that allowed individuals and collectives to seek forgiveness. Focusing on the realm of literature, we’ll ask: what are the affordances of particular genres that facilitate forgiveness? How do literary forms of forgiveness—that is, fictions—intersect with the customs of penance, reform, retribution, pardon, and grace that were actually practiced during these periods? Framing our inquiries with theories of forgiveness (e.g. Arendt, Beckwith, Derrida, Kristeva), we will examine literary texts from a range of genres including medieval confessional guides, Chaucer’s Pardoner’s Prologue and Tale, a selection of medieval romances, a morality play, and Shakespeare’s dramas. |
| ENGLISH 255 | WRKSHOP IN ACAD PUB | TUCKER, I. | This course will be structured primarily as a series of workshops designed both to familiarize yourself with the range of professional writing genres essential to an academic career and also to enable you to function as critical readers of your colleagues’ work. We will begin by collectively workshopping essays that you’ve written as part of your coursework with the goal of readying them for submission to professional academic journals and/or public-facing venues like LARB or Public Books. The most effective way of discovering what works and doesn’t work in your own writing practices is to figure out what works for you as a reader. In addition to honing your essays through a series of drafts, we will discuss the process of submitting those essays itself. We will also discuss how to conceive, write and deliver conference papers and apply for grants. The second half of the quarter will be devoted to preparing materials for the job market, including dissertation abstracts, job letters, cvs and teaching materials. While this section of the course is obviously most salient for people about to go on the job market, I want to encourage students who are in earlier stages of the PhD program to consider taking the course as well: being aware and developing professional skills earlier in the process can – perhaps paradoxically – relieve some of the anxieties associated with entering the job market. |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 290 | READING&CONFERENCE | STAFF | |
| ENGLISH 291 | GUIDED READING | STAFF | |
| ENGLISH 291 | GUIDED READING | STAFF | |
| ENGLISH 291 | GUIDED READING | STAFF | |
| ENGLISH 291 | GUIDED READING | STAFF | |
| ENGLISH 291 | GUIDED READING | STAFF | |
| ENGLISH 299 | DISSERTATN RESEARCH | ALLEN, E. | |
| ENGLISH 398 | RHET/TCHNG OF COMP | QUEEN, B. | |
| ENGLISH 399 | UNIVERSITY TEACHING | LEE, J.W. | |
| ENGLISH 399 | UNIVERSITY TEACHING | LATIOLAIS, P. | |
| ENGLISH 399 | UNIVERSITY TEACHING | ALLEN, E. |