| Course | Title | Instructor | Description |
|---|---|---|---|
| ENGLISH 8 | INTRODUCTION TO NATIVE AMERICAN LITERATURES | CARROLL, A. | This multicultural American literature course explores works of literature by Indigenous authors from multiple sovereign Native American nations and therefore challenges the definition of the designation “American” in the American literature canon. Course materials may include autobiographies, memoirs, short stories, poems, essays, and/or historical non-fiction by Cherokee, Dakota, Kiowa, Laguna Pueblo, Lakota, Lenape, Menominee, Ohlone, and Pequot 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 languages using the Latin alphabet, and others have authored works in their Indigenous language’s unique writing systems, such as the Cherokee syllabary. This course attends to the historical and present conditions of American Indian literary production by examining texts within the social, political, and cultural contexts of settler colonialism and the historical frame of four periods of US-Native relations: massacres and removals, allotment and assimilation, termination and relocation, and the current tribal sovereignty and self-determination era. Students will be required to attend lectures, participate in discussion sections, and complete a take-home midterm exam and a take-home final exam. |
| ENGLISH 10 | BOREDOM IN LITERATU | BARTLETT, J. | |
| ENGLISH 11 | SOCIETY, LAW, & LIT | QUEEN, B. | English 11, Law & Literature: 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 become seemingly unsteady, 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; 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 ideas, 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 American constitutional law and cases, legal and philosophical thought, literary and cultural criticism, and works of fiction. |
| ENGLISH 15 | TWICE UPON A TIME | LEWIS, J. | Twice upon a Time: Fairy Tales in Transition Once upon a time there was a literary subgenre, rooted in the non-literary world of oral folklore, that was almost always first encountered in childhood. In European culture, this subgenre got its name—the fairy tale—in 1697, and by the middle of the 19th century it had stabilized into a stock repertoire of narratives, almost always involving some form of transformation, often supernatural but just as often ‘natural.’ In this class we’ll ask why these stock tales of transformation remain so important long after child readers have turned into grownups, even as the fairy tale’s basic structures and motifs remain the same. What anxieties about change on various levels (bodily, social, environmental) do fairy tales express, work throuogh, and potentially soothe? How, when, and where has the fairy tale itself been transformed, especially by members of powerless, disregarded or oppressed social groups that are often undergoing transition? How despite its preoccupation with fantasy and magic, has the fairy tale provided psychological equipment to confront, critique, cope with, and combat harsh ‘reality’—social norms, political injustice, economic necessity, illness, loss, vulnerability, and death—even as it provides an escape from it? What can we learn—about literary form, about the psychological and literary process of adaptation, about the power of fantasy and desire, above all about the human experience of transition and transformation—by tracking select fairy tales as they change through time? This class will pair several familiar European fairy tales first printed in the ‘long 19th century’ with short contemporary retellings by such poets and fiction writers as Michael Cunningham, Anne Sexton, Neil Gaiman, Margaret Atwood, Angela Carter, Nalo Hopkinson, Peter Cashorali, Ha Seong-Nan, and Helen Oyeyemi. We’ll also flirt with some classic critical approaches to the fairy tale by Bruno Bettelheim, Vladimir Propp, Francesca Arnavas, Marina Warner, and Jack Zipes. Tasks: 4 short, fun writing exercises; 2 4-page interpretive essays; a number of in-class activities, including a Week Ten share of your own fairy tale, perhaps an example from a non-literary medium or from a non-anglophone culture. Turn this class into a chance to grow as a writer and reader and you, English major, will live happily ever after. |
| ENGLISH 15 | WEIRD TALES | STEINTRAGER, J. | An overview of the genre of “weird tales,” that is, short stories that focus on the macabre, otherworldly, diabolical, and inexplicable. We will start with the roots of the genre in American and British writers such as Ambrose Bierce, Algernon Blackwood, and Arthur Machen, before moving on to concentrate on H.P. Lovecraft and the circle of like-minded writers for the pulp magazine Weird Tales in the 1920s and 30s. We will finish by examining the long and ongoing influence of the Lovecraft circle through stories Ramsey Campbell, Thomas Ligotti, Caitlín R. Kiernan, and others. Related topics to be covered on the way will include: developments in science and technology; historical theories of racial difference; masculinity and the pulp format; and much more. |
| ENGLISH 16 | CRAFT OF POETRY | SHAPERO, N. | This course will focus on the fundamentals of how to read and write poetry, looking at how poets transform kernels of observations and analyses into fully-realized works of literature, with an emphasis on sound structures, visual organization, and argument. Each week, we will investigate a different facet of how a poem is made – that is, how do poets negotiate sonic architecture, visual composition, intellectual through line, and imaginative locus at the level of the line? At the level of the stanza? The poem? The sequence? Assignments may include both critical and creative writing. |
| ENGLISH 17 | CRAFT OF FICTION | SCHULTZ, R. | Most English classes ask what works of fiction "mean"; this class asks how works of fiction are made. The best stories do something borderline miraculous: they help us experience lives different from our own; they make us care what happens to people who don't exist; through the valence of fiction, they tell truths unspeakable in real life; mostly, they take us on a ride. In the first half of the quarter, we'll read short stories in a range of forms and traditions alongside texts about craft in order to learn, first, to experience this magic, and, second, to parse how writers pull it off. In the second half of the quarter, we'll embark on stories of our own. Projects will include both creative and expository writing, as well as a presentation. |
| ENGLISH 100 | INTRO TO LIT THEORY | BARTLETT, J. | |
| ENGLISH 101W | SHAKESPEARE IN MIND | HELFER, R. | This course will explore some of Shakespeare’s most deeply psychological plays across different genres: tragedy, comedy, and romance. We’ll be focusing on the complexities of the human psyche and the social, emotional, and political forces which shape it, paying particular attention to the relationship between the individual mind-body and, by analogy, that of the ‘body politic’ and the ‘head of state’. Texts include Hamlet, Othello, The Winter’s Tale, and A Midsummer Night’s Dream. Course requirements include in-class writing, a midterm and a final, and two essays. |
| ENGLISH 101W | W.B. YEATS | OCONNOR, L. | This course offers immersion in the work of William Butler Yeats, regarded by many as the outstanding poet of the twentieth century, and the opportunities to improve the skills in close reading and critical writing expected from E101W courses. A key player in the cultural nationalist movement that shaped modern Ireland, his fifty-year career as a poet and dramatist tracks how revolution transformed the former colony into an independent state. Weekly writing assignments and two papers. |
| ENGLISH 101W | GENDER, SEX,& SCIFI | KING, B. | Science fiction, as a genre, allows authors to explore the limits of the possible: to imagine other worlds, advanced technologies, alien entities, and distant futures. Yet for all of their fantastical qualities, these narratives are always grounded in the time and place of their creation. Sci fi narratives project—into the future, into the past, into outer space or parallel universes—contemporary hopes and fears about technology, science, and the systems we use to classify the world. In this course, we’ll be examining how science fiction literature from the 20th and 21st century United States has engaged with three such systems of classification: gender, sex, and sexuality. Over the past century, a series of scientific developments, technological advances, and paradigm-shifting social movements have expanded the horizon of possibilities for how we think about these topics. Throughout this course, we’ll be tracing how science fiction authors have used their work to explore these changing horizons. Along the way, we’ll be engaging with a variety of topics: how scientific themes have been used to codify or challenge norms around gender and sexuality; how writers use figures such as aliens and robots to imagine different forms of embodiment; and how the possibilities of cybernetic enhancements and virtual realities speak to contemporary issues of identity. Focusing primarily on short stories, the syllabus will include work by Ursula K. Le Guin, Octavia Butler, S.B. Divya, and a number of other authors. |
| ENGLISH 102A | MEDIEVAL SONG AND FICTION | MATTHEWS, R. | One controversial fan fiction genre is “song fic,” a genre that incorporates song lyrics into the body of a story. But when it was invented in the Middle Ages, writers from across the period, from Boethius to Chaucer, reveled in the potentials of this new hybrid genre. For this class, we’re going to look at the best of this mixing of narrative and song, including Boethius’ famous self-help book where Lady Philosophy helps a condemned prisoner in both prose and verse, Machaut’s passionate epistolary romance about a fangirl and an older poet exchanging letters and songs as they try to set a meeting, Chaucer’s dream visions including birds squawking and singing, and Charles of Orleans’ melancholic book about a prisoner sorting out his missteps in one love affair before finding another. This popular mixed form will also raise questions about how writers can use other genres in the pursuit of a good story. |
| ENGLISH 102B | REST. & 18C. SATIRE | STEINTRAGER, J. | |
| ENGLISH 102C | 19TH CENTURY LIT | HENDERSON, A. | This course will provide a survey of British literature of the nineteenth century. We will begin with a few key readings in Romanticism, looking particularly at Wordsworth and Keats. We will then 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 | US LIT BTWN WRLDWAR | STREITFELD, S. | U.S. Fiction Between The World Wars Situated between and across major international and domestic crises, the interwar period in the U.S., spanning approximately two decades (1919-1942), is an anxious era. This course situates the literature of this period, which broadly falls under the umbrella of literary modernism, in the context of the interwar as both a period designation and a framework for thinking about normativity. We’ll approach these frictions and juxtapositions by examining novels, short fiction, poems, photography, and one film. By the latter years of the Great Depression, as the U.S. teetered on the cusp of involvement in a second international conflict, new (and renewed) styles and forms emerged for documenting, describing, and challenging identities rooted in the idea of the average and the normal. |
| ENGLISH 103 | PERFORMINGREBELLION | GIANNOPOULOU, Z. | |
| ENGLISH 103 | SEIZE THE CROWN | MATTHEWS, R. | We live in political times, and Shakespeare has much to say about politics and the performance of power. His plays are filled with powerful figures wielding and losing their power. For this class, we’re going to look at Shakespeare’s most popular “miniseries,” the Henriad. Famous for one of Shakespeare’s most popular characters, the drunken bum Falstaff, it opens with usurpation and murder in Richard II, then rebellion and anarchy in Henry IV, Parts 1-2 before finally encountering an example of just rule in Henry V. But it also includes a comedy “spin-off” in The Merry Wives of Windsor when Queen Elizabeth asked for more Falstaff. The course will reveal Shakespeare as a professional, using all sorts of material to find box office success. |
| ENGLISH 105 | LATINX FEMINISM LIT | MONTERO ROMAN, V. | In this course we will trace the development of a United States Latinx feminist tradition in literature, film, and television from the early twentieth century to today. Our course, for example, might analyze the performance of early Hollywood starlet Lupe Vélez in Mexican Spitfire alongside the 2017 documentary about activist Dolores Huerta or episodes from shows like Gentefied or Pose. We will read early twentieth century authors like María Cristina Mena, seminal Chicana theorists like Gloria Anzaldúa, and contemporary writers like Carmen Maria Machado, Natalie Diaz, and Ariana Brown. Here are some guiding questions for this course: • What are the stakes of representation? How does equitable representation make us feel and does it actually create or reflect sociopolitical change? What does Latinx feminist history teach us about Afro-Latinidad, LGBTQIA Latinx communities, and economic justice for Latinx people? • What are some of the central debates that have shaped current understandings of the Latinx community? What are the differences between the terms Latinx, Latine Chicana/o, Hispanic, or Latina/o? • What kinds of histories do stories provide? What do we learn by retracing the stories and (her)stories of the Latinx feministas who have come before us and who write for us now? |
| ENGLISH 105 | MIXED RACE AFAM LIT | GRADY, K. | This course will explore how mixed race identity is represented in literature, politics, and popular culture in the context of the United States. It will focus in particular on mixedness as it relates to African American identity. We will examine a range of texts and historical periods, from the 16th century into the contemporary moment. Throughout, we will try to reconcile popular fantasies about racial mixing with its diurnal and historical realities. Coursework includes reading responses, a group project, and a final paper. |
| ENGLISH 106 | MILTON | SILVER, V. | This course addresses the peculiar problem Milton poses himself: how can an iconoclast of a kind write poetry, whose medium is imagery? In pursuing an answer to that question, we will let Milton be Milton, using Milton’s tracts and treatises to help us read his poetry and vice versa, assisted by that repellant fifteenth-century bestseller, the Malleus Malificarum (“Hammer of Witches”), as our source of magical or idolatrous thinking, and by its antidote, the revolutionary theology of Martin Luther. For in that theopathic age, theology was “grand theory,” considered the ultimate human discipline or knowledge by Milton: how one conceived the nature of God and revelation determined in many respects how one conceived the ultimate nature of meaning and truth. The course will accordingly address what Milton conceives to be this fundamental order of things, created by what Luther calls a Deus absconditus, a “hidden God,” whose impossible “similitude” or image is also a Deus absconditus but sub contrario: that is, a deity concealed beneath its contrary. There will be a short paper, out of which a seminar paper will be constructed. |
| ENGLISH 106 | IRISH DRAMA | OCONNOR, L. | E106: Staging Identity: Classic Irish Plays This course introduces students to several classic plays by Irish playwrights and provides a collaborative framework for writing a capstone research paper on a related topic of your choice. Whereas W. B. Yeats, Lady Gregory, and John Millington Synge participated in the cultural- nationalist project of creating overtly “Irish” plays, Oscar Wilde and Samuel Beckett’s concern with exploring the performative and existential nature of identity as such means they are often not seen as “Irish” at all. The assigned plays, like all drama, stage how the formation and transformation of identity unfolds through the “web of interlocution” surrounding us. The quarter’s project of writing a long research paper will be aided by a bibliographical research assignment and a midterm essay. |
| ENGLISH 106 | ERLYMODENGLND&WORLD | GRADY, K. | Before early modern England was a colonial power, it engaged in a period of broad exploration that brought it into contact with places as geographically distant as Southeast Asia. This course will examine this moment in England’s relationship with the world by reading travel narratives from the period. It will consider how these early encounters informed English colonial ambitions and constructions of race. We will contextualize these narratives by engaging key works from writers like Shakespeare, which will give us a sense of both how English ideas about different peoples and places were reflected in early modern culture, as well as how such ideas continue to circulate in our own moment. |
| ENGLISH 160 | WHAT WAS CYBERPUNK? | SZALAY, M. | Szalay / What Was Cyberpunk? "Murderous cyborgs! All powerful AI! Clandestine megacorporations! Cyberpunk had it all. This class will study the 1980s roots of this popular science fiction drama, in both the US and Japan. We'll watch both live action films and anime and read novels, short stories, and manga." |
| ENGLISH 205 | POETIC OCCASIONS | IZENBERG, O. | Mondays, 6:00-8:50 PM Enrollment Restriction: Master of English students only. An “occasional poem” is written as a public response to or commentary on a particular event: battle or inauguration; birth or death. Historically, critics have condescended to occasional art, discounting its value as art precisely because of its historical particularity (as though a poem was bound to its occasion, and could live only as long as that moment lived). Recent criticism has reversed this judgment, valuing even the most “timeless” art precisely (and even only) to the degree that it can be show to belong to some occasion—to be fundamentally responsive to the pressures of history, responsible to the world even in its most imaginative flights. The “Poetic Occasion,” then, names a problem: how should we think about the relation between the transformative powers of art and the insistent determinations of fact? On what grounds should a poem that is made for a day endure? How can a poem that aims for eternity satisfactorily address any particular present? We will read a series of major poems (by Homer, Edmund Spenser, John Milton, William Wordsworth, Emily Dickinson, William Butler Yeats, Marianne Moore, Claude McKay, Amiri Baraka, Allen Ginsberg and others) and reconstruct for each an archive, thinking practically about the multiple histories out of which art emerges (the individual life of the poet; the history of a genre; the upheavals of war and nation formation; the traditions of a people or race) and theoretically about the multiple values to which art is answerable. |
| ENGLISH 210 | FEM NARRTIVE THEORY | MONTERO ROMAN, V. | COURSE CODE: 23844, Mondays 9:00-11:50am at HIB 411 Feminist Narrative Theory and Multi-Ethnic Modernism Course Description This course offers an introduction to approaching literary analysis through feminist and cognitive narratology. Feminist narratology, as Robyn Warhol describes it, is a theoretical approach that contends that “texts are always linked to the material circumstances of the history that produces and receives them,” and because of that, “the more we can understand about narrative’s role in the constitution of gender (race, ability, and sexuality), the better positioned we are to change the oppressive ways that [those] norms work in the world.” The overarching goal for this course is to explore narratology as a method for engaging the formal aspects of narrative structures. We will read seminal work in feminist and cognitive narratology, but we will also consider how feminist, queer, and critical race theory outside of narratology might create new horizons for the field. As Susan Lanser says, “narratology may be too important to leave to narratologists.” This class is organized predominantly around thinking about method – about how and why we approach texts in particular ways – but we will read early 20th century fiction written by multi-ethnic women to ground these methodological questions. |
| ENGLISH 210 | SECULARISM | TUCKER, I. | COURSE CODE: 23846, Tuesdays 2:00-4:50pm at HIB 341 In its most skeletal and generic form, we might understand the concept of secularism to be animated by a paradox, at once acknowledging some kind of absolute and historically transcendent form of authority and seeking to theorize the logic by which that absolute authority might be circumscribed, made something less than absolute or universal. The most familiar way of making sense of this paradox has been to understand the secularizing impulse as essentially a narrative of modernization: people continued – and continue -- to make a place for a god-ordered realm of the world even as they came to acknowledge the possibility of other frameworks of meaning and authority like science or democratic forms of state authority because they were in the habit of believing and were not quite ready to embrace their disenchantment. In tracing the history of secularism from its 17th-origins through to the recent emergence of a discourse of “post-secularism,” this course seeks both to complicate this modernization story. We will try to understand the secularism’s authority not simply in relation to the emergence of the state as a political entity, but also in relation to the state’s operation as a structure of economic organization and as a site of affective investment. We will also investigate the ways in which the notion of the secular can be seen to emerge from Western Christianity’s sustained engagement with the organizational logics of other religions, both its effort to distinguish itself from Judaism as its law-centered predecessor and its various colonial encounters with Islam and Hinduism. Readings will include work by Locke, Mendelssohn, Kant, J.S. Mill, and Kierkegaard as well as historians and theorists of secularism including Charles Taylor, Talal Asad, Akhil Bilgrami, and Saba Mahmood. We will also engage with some literary grapplings with the question of secularism and narrative form as it emerges in Maria Edgeworth’s novel Harrington (1817) and Graham Greene’s The End of the Affair (1951). |
| ENGLISH 210 | ROMANCE AND LAW | ALLEN, E. | COURSE CODE: 23840, Thursdays 11:00-1:50pm at HIB 411 Romance and Law: This is a course in medieval law and literature. The legal systems of medieval England were multiple and overlapping and, like most legal systems, subject to continual change based on circumstances. English criminal law underwent a major shift in 1215, when the Fourth Lateran Council condemned trial by ordeal; trial by battle remained salient, alongside the development of what would become the modern jury. Although thieves and murderers were subject to death, criminal trial and execution for felony remained less common than we might expect, given modern assumptions about the brutality of the “dark ages”: only twenty percent of felons were convicted at trial. This is not a function of medieval disorder that preceded the early modern order of the state. Rather, recent work on felony and punishment in medieval England has charted the development of legal mitigations – sanctuary, pardon, benefit of clergy, pleading the belly (pregnancy) – that served to delay, redirect, and soften the strictest forms of justice in favor of penitence and mercy. How does the literature of the medieval period – especially the period’s signal literary genre, romance – reflect upon the law? How does romance register changing historical developments, ongoing legal tensions between justice and mercy, and the shifting ground of legal situations? How does it link penitence and the law? These questions are a particular subset of the larger problems of how to historicize – how, that is, scholars are to understand literary texts as part of a larger, extra-literary world inhabited by institutions (the Church, the monarchy, medicine, the early university, the law, the guilds) and individuals (laborers, the poor, women, foreigners, non-Christians) who are not necessarily represented directly in the pages of the literature that survives. To be sure, romance does often represent legal scenes. Our course will engage with trials scenes in the Tristan tradition; in the French romances of Chrétien de Troyes; and in anonymous Middle English romances. We will explore problems of land claims and debt, thematically crucial to the later Middle English Gawain tales and the Spendthrift Knight romances. We will examine staged acts of penance in selected works of Chaucer, Gower, and other writers. As we will see, these legal scenes and references rarely “match up” to the historical reality from which we can imagine our romances arising; instead, romances present – as if conventional – scenes of quite ancient, fictive, or idealized provenance, designed to reflect on legal problems, or to imagine legal mitigations, more than assert pre-ordained constraints. In addition, law can enter the literary landscape without such obvious staging. How should we understand the legal -- and / versus literary -- operations of romance? When does literature seem to embrace legal limits? When does it seem to resist the law? When might we say that romance theorizes the law, and for what purposes? The course requires close, serious reading of both documentary and literary texts, including some in translation and a significant number in Middle English. No prior knowledge of Middle English is expected or required, but a willingness to grapple with the language is necessary. No prior knowledge of the medieval legal system or literary tradition is expected or required, but you will benefit from reading some basic legal / social history. Assignments: regular short writing, final paper (proseminar 10 pp, seminar 20 pp). |
| ENGLISH 210 | EARLY MODERN MEMORY | HELFER, R. | COURSE CODE: 23842, Tuesdays 11:00-1:50pm at HIB 411 This course explores the centrally important role that memory plays in the poetics and praxis of early modern English writing, partly understood through classical and continental models and traditions. We’ll study key texts of the sixteenth and seventeenth century, reading them in terms of representations of memory from a range of perspectives: historical, psychological, pedagogical, and political, as well as aesthetic and performative. Our focus will be on these early modern works as ‘memory studies’ in themselves – works which reflect broadly upon memory as cognition and embodiment, as individual and collective trauma, as personal and political performance, as narrative and temporal construct, as location or site for memorialization and erasure, and so on – while also considering them in the context of the criticism and concerns of early modern memory studies. Selected texts may include Sidney’s Apology for Poetry, Spenser’s Faerie Queene, Shakespeare’s Hamlet and Henry VIII, Nashe’s Unfortunate Traveller, Cavendish’s Blazing World, Bacon’s Essays, and Burton’s Anatomy of Melancholy, in addition to selections of late medieval and early modern sonnets. |
| ENGLISH 255 | WRKSHOP IN ACAD PUB | IZENBERG, O. | In this workshop, we will practice the professional genres that you will use throughout your career as an academic. Our ultimate goal is to move toward a finished piece of writing: a dissertation chapter or publishable essay. A portion of any meeting will be spent thinking concretely about particular features and challenges of academic prose: how an essay begins or ends; how to write about texts that your reader may not know; how to navigate between moments of textual attention and historical and theoretical generalization. In doing so we will no doubt spend some time contemplating published work as models, whether positive or negative. But the central requirements for this seminar are your own materials, and the majority of our time together will be spent discussing your work and that of your colleagues, helping each other to understand and develop the stakes of our own projects. Think of it as an unusually sympathetic and rigorous writing group— in which you do what you would already be doing, only more deliberately and with more help—rather than a class that comes with additional obligation. As time and interest permit, we may also have the opportunity think about and practice other genres: applications for grants and fellowships; conference papers (both written and delivered); even the academic cv. And as we approach the end of the quarter, our focus may expand to include to the preparation of materials for the job market: the dissertation abstract, job letter, and teaching statement. Students not yet contemplating the job market may function here as audience and sounding board—there is much to be learned in this role as well. Finally, this is a class that aims to function as a community of collaboration and support as we pursue the often solitary work of research and writing. |
| ENGLISH 398 | RHET/TCHNG OF COMP | QUEEN, B. |