| Course | Title | Instructor | Description |
|---|---|---|---|
| ENGLISH 8 | MULTICULT AMER LIT | O'CONNOR, L. | |
| ENGLISH 10 | FORGTFULNESS IN LIT | BARTLETT, J. | In a recent memoir, a Hollywood star recounts his stint in rehab: “Please note: for the next few paragraphs, this book will be a biography rather than a memoir because I was no longer there.” This course will ask what we owe to and for our ability to forget, via an analysis of works that thrive on experiences, sensations, and figures that, like our own selves, are often no longer there. We will engage with cultural forms that explore the concept of truth, its discovery, and its description, that interrogate who adjudicates it, that take its punches, heal its wounds, and carry its weight. The relation between forgetting and narrative is both subtle and everywhere, and so we will read widely, pitching into writers and filmmakers who make extensive literal and metaphorical use of the power of amnesia in order to talk about sociability, ethics, and politics, economists who compare their work on sour grapes to strategic resentments in novels, cognitive theorists who plot the circuitous route we take when we stake ourselves on invention, and readings from psychoanalysis and the philosophy of action and mind that try to describe just what it is that we are doing when we lay claim to a memory. All the while, we’ll consider such questions as: How does forgetfulness manage or mismanage time? How can we understand forgetfulness as a kind of reading, and a kind of writing? Does forgetfulness have a style? Is forgetfulness a gift, or a curse? Students will be expected to attend and participate in class meetings, to take one midterm and one final, and to complete two reading quizzes. |
| ENGLISH 15 | SHAKESPEARE IN MIND | HELFER, R. | This course will explore some of Shakespeare’s most deeply psychological plays: Hamlet, Macbeth, Othello, A Winter’s Tale, and A Midsummer Night’s Dream. 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’. Course requirements will include reading quizzes, two essays, and a final exam. |
| ENGLISH 16 | CRAFT OF POETRY | HANSON, D. | Reading of selected texts to explore the ways in which these modes formulate experience. Students write several short analytic papers. Requires creative writing. |
| ENGLISH 17 | CRAFT OF FICTION | DIAZ, J. | |
| ENGLISH 100 | INTRO TO LIT THEORY | VAN DEN ABBEEL, G. | What is “literature” and what do we mean by “theory” with regards to the literary? Does literature even need a theory or theories? And isn’t theory inherently a work of fiction or “literature” to the extent that it involves constructing an abstraction to explain (or even explain away?) something as singular as a work of art? One might then ask to what extent literature evades or resists such theorization? This course is not simply an overview of major attempts to define or theorize literature from ancient Greece to our postmodern, postcolonial currency. Rather, this is an opportunity for us to think collectively about whatever we think we mean by literature, the ostensible subject matter of our common field of study. We will thus engage with various theories to evaluate how they help or hinder our understanding of literature, including classical poetics, rhetoric, and aesthetics; formalism and structuralism; psychoanalysis; Marxism; deconstruction; postcolonialism; feminism; queer theory; critical race theory; and intersectionality. |
| ENGLISH 101W | LOVE AND CHIVALRY | DIAZ, J. | The medieval romance has always been defined by both love and arms. In this class, 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 tale of Lancelot and Beroul’s romance 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. Then we’ll jump to the fourteenth century and look at a selection of Middle English romances. The class will include two short papers and one revision. |
| ENGLISH 101W | RACE & THE INTERNET | CRANO, R. | This course explores the construction of race through new media culture and technology and the ways in which racial identity formation takes shape through digital access and affordance, online platform use, corporate and state surveillance strategies, and both active and passive enrollments in a myriad of data ecosystems. Thematic units will address race and racialization through (1) materiality and infrastructure, (2) representation and commercialization, and (3) policing and policy—closely tracking intersections with gender, sexuality, ethnicity, class, and caste compositions. The overarching objective of the course is to develop writing skills and research strategies. To this end, each student will conduct original, independent research into a relevant topic of their choice, compose a rigorously peer-reviewed paper based on that research, and present a summary of their findings to the class. |
| ENGLISH 101W | WRTGABOUT SHORTFICN | BASU, S. | The modern short story emerged in the long nineteenth century as a popular literary form geared toward mass consumption. In this course we will address questions of form, genre, and production in American short stories from the eighteenth and nineteenth centuries. Edgar Allan Poe astutely, if not ominously, points out that “In the brief tale…. the soul of the reader is at the writer's control.” Taking cue from this we will ask how the brevity and narrative density of the American short story mediate its portrayals of race, gender, and the early nation. We will compare the modern short story to its predecessors, the parable and the anecdote, and contemporary literary forms such as the novella and the vignette and learn about the tools needed to understand the short story’s narrative structure. |
| ENGLISH 102A | PAGE AND STAGE | HELFER, R. | In this survey of 16th and 17th-century literature, we’ll read some of Shakespeare’s greatest plays in conjunction with important works of fiction and non-fiction of the period, and in the process we’ll explore the relationship between early modern art and culture, power and performance. This course will pair Montaigne’s “Of Cannibals” with Shakespeare’s The Tempest; Castiglione’s The Courtier with Shakespeare’s Hamlet; Erasmus’ Praise of Folly with Shakespeare’s Twelfth Night; and Sidney’s Arcadia with Shakespeare’s As You Like It. Course requirements will include reading quizzes, a midterm and a final exam, both in-class and take-home. |
| ENGLISH 102A | MEDIEVAL VISIONS | DAVIS, R. | “Some say there is nothing in dreams but lies and fables; however, one may have dreams which are not in the least deceitful, but which later become clear.” The Romance of the Rose This course explores the medieval tradition of visionary literature, traces the developing relationship between text and image in medieval manuscripts and other visual arts, and delves into the controversy over the use of images in religious literature. Readings encompass both secular and sacred visions including Chaucer’s dream poems, Boethius’s influential Consolation of Philosophy, the alliterative poem Pearl, and excerpts from Langland's Piers Plowman, the Romance of the Rose, Dante’s Divine Comedy, holy visions by female mystics, a medieval play, and, finally, the anti-visual argument of The Cloud of Unknowing. Assignments include weekly in-class quizzes, a midterm with take-home essay, and a final. |
| ENGLISH 102B | EARLY AMERICAN LIT | LAZO, R. | Studies of works representative of Restoration and 18th-century literature in English, with attention to literary history, treating at a minimum more than one author and more than one genre. |
| ENGLISH 102C | ROMANTICISM&SLAVERY | BASU, S. | This course will centralize the history, literature, and culture of slavery and abolition in transatlantic Romantic literature. We will think of how racial slavery informed the ways in which British and American Romantic writers conceptualized revolution, consciousness, alterity, and selfness. Relatedly, we will explore how the early literatures of the Black Atlantic challenge the way in which we historicize and understand this literary period and its zeitgeist. Our endeavor would be to probe whether the Romantic emphases on artistic inspiration and subjectivity are inherently racialized, or whether Romanticism was indeed decolonized from within by Black Atlantic literatures. |
| ENGLISH 102D | AF AM LIT 1950-2000 | MORGAN, C. | This course surveys African American literature published in the latter half of the twentieth century. Students will study works produced during the civil rights movement, international independence struggles, the Black Arts Movement, the rise of Black Feminist literary theory, the institutionalization of Black Studies programs, and other paradigmatic shifts in American social life. Readings will include both canonical and less familiar texts in order to comprehensively map the major literary movements of the period. |
| ENGLISH 105 | ASAM AUTOBIOGRAPHIE | LEE, J. | |
| ENGLISH 105 | WRIGHT,HRSTON,BLDWN | MORGAN, C. | |
| ENGLISH 105 | KRN-AMR FEM POETICS | YOUN, M. | Korean-American Feminist Poetics: This course will be taught in English and will not require any prior knowledge of Korean language or history, and is geared toward any student interested in poetics. We will look at books by five contemporary poets in two poetic generations – Korean poets Kim Hyesoon (translated by Don Mee Choi) and Choi Seungja (translated by Cathy Park Hong) and Korean-American poets Theresa Hak Kyung Cha, Cathy Park Hong and Don Mee Choi. All of these poets have works that confront the same nexus of events – the U.S. backed military dictatorships in South Korea, the civilian uprising against these regimes, and the resulting atrocities. The two younger Korean-American poets have translated and written about the other three poets. What happens when we view historical events reflected and refracted through multiple lenses, across linguistic, national, and generational divides? Assignments will include in-class presentations and a final creative project. |
| ENGLISH 105 | EARLY AFAM LIT | CHANDLER, N. | |
| ENGLISH 106 | DRAMA&PSYCHANALYSIS | HARRIES, M. | This course will focus on one psychoanalytic category: identification. In psychoanalysis, identification is crucial to subjectivity: our selves are made up of other selves. Theater, in which actors take on other selves, is an especially intriguing place to consider this dynamic. We will read and discuss psychoanalytic texts on identification and plays that address the making and unmaking of selves in especially intriguing ways. Texts will include Sigmund Freud’s Group Psychology and the Analysis of the Ego and Adrienne Kennedy’s A Movie Star Has to Star in Black and White and People Who Led to My Plays. |
| ENGLISH 106 | EDWARD SAID | RADHAKRISHNAN, R. | In this course we will try all we can to do justice to the brilliant and multifaceted complexity of Edward Said: literary and cultural critic, non humanist humanist, secular-oppositional-critical theorist, political commentator, activist and agitator, public intellectual, comparatist, music critic, memoirist, and much more. With the publication in 1978 of his magisterial work ORIENTALISM, Said was acknowledged as the originator of the domain of study known as postcoloniality. But Said’s program of thinking had started well before that. We will carefully trace the trajectory of Said’s evolution of a thinker even as we keep in mind Said’s insistence that his work not be compartmentalized into discrete silos. Said was a firm believer in what he called the irreducible “worldliness” of the critic. The WORLD, THE TEXT and THE CRITIC are mutually implicated and constitutive, just as Culture and Imperialism are flip sides of each other, and scholarship and political engagement partners in a shared enterprise. He was as much a man of letters, literature, ideas as he was a free and wide ranging being of the World and its political clamor. A symptomatic thinker, Said dealt with the ongoing crises of the world he lived in with passionate sincerity till the very end and made choices that made him controversial. His commitment to work and think “between Culture and System” rather than belong totally to any one identity, system of thought, or ideology, and his resolve to speak Truth to Power won him both enemies and allies, recognition and mis-recognition. Rather than evade or transcend contradictions and dilemmas in the name of a grand and totalizing theory, Said thinks theory without the baggage of theory. Exilic at heart and yet committed to the politics of place and location, identity and representation, Said forever keeps recasting the relationship between World and Home. This course is an attempt to critically parse the legacy of a major thinker of our times. TEXTS: Selections from BEGINNINGS, ORIENTALISM, THE WORLD THE TEXT AND THE CRITIC, CULTURE AND IMPERIALISM, HUMANISM AND DEMOCRATIC CRITICISM, REFLECTIONS ON EXILE, FREUD AND THE NON EUROPEAN, THE QUESTION OF PALESTINE, COVERING ISLAM THEMES: Humanism, Nationalism, Cosmopolitanism, Orientalism,Secularism, Postcoloniality, Poststructuralism, Palestine, Zionism, Narrative, Modernism, Contrapuntal Criticism, Self and Other, Identity Politics and the Politics of Representation, Worldliness and Speaking Truth to Power, The Problem of the Intellectual, Culture and System. Requirements: Most likely, 2 short essays and 1 Long Essay |
| ENGLISH 106 | WALT WHITMAN | JACKSON, V. | In this class we will read a lot of Walt Whitman, but that is not all we will read. Walt Whitman wrote the same book seven times between the 1850s and the 1880s--or, he wrote seven different books of poetry that all have the same title. We will read each edition of Leaves of Grass in succession, and we will also read much of Whitman's prose, a few volumes of poetry not included in Leaves, and we will read some of the things people have said about Whitman's very strange project. We will also read the poets who surrounded Whitman, especially Black poets and women poets we no longer remember so well but who influenced Whitman’s writing. In this class, you will learn a lot about Whitman--and you will also learn a lot about American poetry. There will be three short papers required for this class. The first two papers may be revised as many times as you wish. There will be no exams. Class attendance and participation are required. |
| ENGLISH 106 | QUEER INDIGNOUS LIT | CARROLL, A. | This capstone course examines conceptual (which is to say embodied) issues raised by works of Two-Spirit/Queer Native American and Indigenous literatures. Students will consider thematic and transnational contexts to explore multiple intersections of gender, race, class, sexuality, Indigeneity, and settler colonialism. Some questions we will explore in the seminar include: How did colonial European explorers and settlers from heteronormative patriarchal societies view Indigenous communities in the Americas whose social systems included multiple and fluid "genders"? How have the US and Canada, as settler colonial nation-states, imposed alien European social systems, including a binary sex/gender system, onto Indigenous peoples, and what are the effects of this intrusion? How do the issues facing Two-Spirit/queer Native American and Indigenous peoples differ from those of the mainstream LGBTQ movement, which emphasizes identity politics and civil rights by appealing to and reinforcing the power of settler colonial governments? How have historical and contemporary Two-Spirit/LGBTIQ-identified Native American and Indigenous artists and scholars worked to represent settler colonial violence and remember, imagine, or (re)create what Qwo-Li Driskill calls a sovereign erotic? Course texts focus on creative and critical works by Indigenous people, including documentary and dramatic films; essays by Indigenous feminist theorists; critical and theoretical works in the field of queer Indigenous studies; poetry; novels; autobiographies; and multi-genre works. Assignments will include a presentation, annotated bibliography, and substantive final research paper. |
| ENGLISH 205 | SHAKESPEARE | LUPTON, J. | ENROLLMENT IS RESTRICTED, FOR MASTER OF ENGLISH STUDENTS ONLY Tuesdays 6:00-8:50pm, HIB 341 This seminar will focus on three plays by Shakespeare: Romeo and Juliet, Macbeth, and As You Like It. We will approach the plays as works of literature that lend themselves to thematic, poetic, narrative, and historical analysis. We will also approach them as texts for performance that come alive through the arts of acting and design. Together we will fashion a Shakespearean pedagogy, equally at home in high school, college, and community settings, that embraces the plays as multimedia artworks and as renewable sources of insight, wisdom, and joy. Guest speakers from UCI Drama and from other institutions will share specific skills and teaching philosophies. Assignments include a creative project (Romeo and Juliet), a lesson plan or community education proposal (Macbeth), and a 10-12 pp. research paper (student choice). Students are encouraged to attend a production of Much Ado About Nothing at A Noise Within, Pasadena, Feb. 5-March 12, 2023. Books: please purchase individual copies of the plays in a scholarly edition, such as Oxford, Cambridge, or Arden. |
| ENGLISH 205 | IRISH DRAMA | O'CONNOR, L. | ENROLLMENT IS RESTRICTED, FOR MASTER OF ENGLISH STUDENTS ONLY Wednesdays 6:00-8:50pm, HIB 341 Staging Identity: Oscar Wilde, the Abbey playwrights, and Samuel Beckett This course introduces seminar participants to several classic plays by Irish playwrights, including Oscar Wilde’s The Importance of Being Earnest (1985); Lady Gregory’s The Rising of the Moon (1907); John Millington Synge’s The Playboy of the Western World (1907); and Samuel Beckett’s Waiting for Godot (1952). Reading these plays chronologically is revealing about the manifold significance of the playwrights’ common “Irish” identity. We begin with a staple of the London stage and “British” literature, Oscar Wilde’s The Importance of Being Earnest. We then turn to the founding of a ‘national theater’ in Dublin which participated in the cultural nationalist movement that brought about Irish independence. Abbey playwrights W. B. Yeats, Lady Gregory and John Millington Synge strove to decolonize the national psyche by drawing on Irish history and legend in a bid replace the stereotypical “stage Irishman” with representations of ‘true’ Irishness. Finally we turn to Samuel Beckett. Variously claimed as an Irish, French, and/or European avant-garde writer, Beckett seems to belong nowhere in particular, like the stateless characters we now call “Beckettian.” Because audiences recognize that actors perform by ‘playing’ a character understood not to be their actual selves, theater supplies abundant metatheatrical opportunities for exploring suppositions about stable identity. Earnest satirizes the consequentiality of a good name for Victorian match-making through elaborate metatheatrical role-playing. Playboy dramatizes the transformative effects of “the power of a lie” on the lovers’ self-images. The Rising of the Moon is likewise informed by the slippage between social and performed identity. A midterm assignment, which is intended to jump-start the term paper, invites you to examine how one of these first three plays “stage” identity or identity roles. Later we examine how Waiting for Godot plumbs existential questions about personal identity. By design, our four core plays are eminently teachable. Our final class will be devoted to pooling ideas about teaching / performing scenes from them. |
| ENGLISH 206 | RESEARCH & WRITING | IZENBERG, O. | ENROLLMENT IS RESTRICTED, FOR MASTER OF ENGLISH STUDENTS ONLY TBA |
| ENGLISH 210 | AUTOTHEORY | ALEXANDER, J. | Tuesdays 2:00 - 4:50pm, HIB 341 This seminar will explore the emergence and circulation in academic, intellectual, and creative writing circles of AUTOTHEORY, a genre blending personal narration, memoir, rant, and theoretical musing in ways that both do violence to and invigorate more traditional forms of memoir and theoretical inquiry. With that said, autotheory hasn’t just emerged fully formed out of the head of Maggie Nelson (one of the popularizers of the term). We will trace its roots in the work of mid- to late-20th-century Black thinkers, feminists, and poststructuralists, amongst others, whose varied commitments to the quotidian and its forms as potentially emblematic, allegorical, or indicative of “structure” and “system” are an important source of the autotheoretical. That last sentence aside, we will also pay particular attention to the autotheoretical text as a shaped and crafted text, one that draws attention to forms of annunciation and articulation that are variously dialectical, dialogic, polyvalent, and incommensurable. Likely suspects: Aurde Lorde, Gloria Anzaldúa, Roland Barthes, Hervé Guibert, Moyra Davey, Claudia Rankine, John Keene, Maggie Nelson, Lauren Berlant, Kathleen Stewart, Saidiya Hartman, Paul Preciado, Alison Bechdel, Frank Wilderson. |
| ENGLISH 210 | THEATER/THEORY | HARRIES, M. | Thursdays 11am - 1:50pm, HIB 341 Theater has long been a problem for philosophy. From Plato’s Republic to Austin’s How to Do Things with Words, theater emerges as a problem for philosophy to solve. Jonas Barish surveyed this terrain in The Antitheatrical Prejudice (1981), and his title now often serves as shorthand to describe, but also to dismiss, this tradition. This course will ask not only how theater has posed a problem for philosophy, but also how philosophical texts identify dynamics at work in specific theatrical practices. Questions we will pursue include: What genres of theater inform particular philosophical approaches? What happens when theater as a mode comes to stand for the aesthetic as such? Does “theatricality” have a history? A full account of philosophy’s engagement with theater could provide an alternative history of philosophy, and of theater: this course represents one way into this history. While this course will focus on texts since 1900, the first third of the term or so will focus on selected earlier texts to establish the contours of our conversation. Texts will include: Plato, The Republic (ca. 375 BCE) Jean-Jacques Rousseau, Letter to M. D'Alembert on Spectacles (1758) Friedrich Nietzsche, The Birth of Tragedy (1872) Antonin Artaud, The Theater and Its Double (1938) J. L. Austin, How to Do Things with Words (1962) Jacques Derrida, “The Theater of Cruelty and the Closure of Representation” (1966) Jacques Rancière, “The Emancipated Spectator” (2007) Alain Badiou, Rhapsody for the Theatre (2013) |
| ENGLISH 210 | 19TH-C AMER POETICS | JACKSON, V. | Thursdays 2:00 - 4:50pm, HIB 411 Why has everyone agreed that nineteenth-century American poetry is boring? "Conventional," "popular," "generic," "sentimental," "political"--the adjectives used in the twentieth and twenty-first centuries to dismiss most nineteenth-century American verse tell the story of what modernist literary criticism has valued. Were Whtiman and Dickinson really proto-modern exceptions to "conventional" nineteenth-century rules, or were they instead representatives of their time? In this seminar, we will reconsider the bad reputation of nineteenth-century American poetry. Our working thesis will be that American literary criticism was made out of the materials of nineteenth-century American poetics, but in order to disguise that debt, that poetics has been left behind. Why? By marginalizing nineteenth-century American poetry, modern critics could also marginalize the racism, settler colonialism, and misogyny that formed that poetry's (and that criticism's) core. We will try to restore that core by reading the poets that modern criticism has forgotten: the Black Romantics Phillis Wheatley Peters, Frances Ellen Watkins Harper, George Moses Horton, James Monroe Whitfield, Alberry Allston Whitman, and Paul Laurence Dunbar; the Poetesses Lydia Hunttley Sigourney, Elizabeth Oakes Smith, Helen Hunt Jackson, Pauline Johnson, and Alice Dunbar Nelson; the White "Fireside" and "Schoolroom" poets William Cullen Bryant, Henry Wadsworth Longfellow, John Greenleaf Whittier, James Russell Lowell, and others. And yes, we will read the queer exceptions to every rule, Walt Whitman and Emily Dickinson. We will also read several key examples of American literary criticism that rely on the false but foundational tale of the racist history of American poetry that now informs our discipline: Cleanth Brooks, F. O. Matthiessen, Roy Harvey Pearce, Harold Bloom, and others. Because understanding nineteenth-century American poetics means understanding historical prosody, there will be a fair amount of prosodic work with the poems we study, and because understanding the negative dialectics of nineteenth-century American poetics requires some theoretical framing, we will also read Adorno, Rancière, Moten, Mufti, Rankine, Terada, Ngai, and Berlant. |
| ENGLISH 210 | POSTCOLONIALITY | RADHAKRISHNAN, R. | Tuesdays 11:00am - 1:50pm, HIB 341 To be cross-listed with Comparative Literature, Culture and Theory and Critical Theory Emphasis This seminar will trace the overlaps as well as the discrepancies between Postcolonial Theory and Pan Africanism and their respective geopolitics of global decolonization. Here are some of the questions that will constitute our syllabus. What is the longue duree of Colonialism, and who or which political agency will succeed in terminating it? How has Colonialism affected Asia and Africa differentially? What are the possibilities, for Africa and Asia and India in particular, of a “return” to “one’s own” identity post Colonialism? How do postcolonial theories and PanAfricanism envision the relationship among Will, Reason, and Desire in the name of a total emancipation from every form of hegemony, dominance, and representation? How do postcolonial and PanAfrican modes of thinking position themselves epistemologically, politically, ethically, and ontologically with respect to the brute facticity of colonial history? What role should the nation state and nationalism play in the project of the decolonization of the mind? How do Violence and Non-Violence figure in the project of postcolonial and PanAfrican affirmation? What is the nature of the equilibrium between negation and affirmation in postcolonial theories and articulations of PanAfricanism? What are the onto-political coordinates of postcolonial and PanAfrican subject formation? Where is Home and where is World in postcolonial and PanAfrican thinking? Where are these two ideologies headed: a new humanism, a non-human humanism, critical humanism, planetary humanism, environmental humanism, post-humanism? Colonialism-Racism-Anti-Black humanism-Gender and Sexuality based oppressions: how do postcolonial and PanAfrican theories parse these conjunctures/intersectionalities? Freedom via politics, and Freedom from Politics: how are these two themes woven together in the fabric of postcolonial and PanAfrican thought processes? Does and should the West have a role to play in the future of the Global South? The dramatis personae in this drama: Frantz Fanon, Chinua Achebe, Ngugi wa Thiong’o, Aime Cesaire, Wole Soyinka, Leopold Senghor, CLR James, W.E.B. Du Bois, Marcus Garvey, Harlem Renaissance, Edward Said, Rabindranath Tagore, Mohandas Gandhi, Dipesh Chakrabarty, Partha Chatterjee, Ranajit Guha, Gayatri Chakravorty Spivak, Homi Bhabha, Achille Mbembe, David Marriott, among others. Expectations and Requirements to be negotiated with the class: most likely 1 short essay and 1 long essay. |
| ENGLISH 210 | IRREALISM | FAN, C. | Wednedays 9:00 - 11:50am, HIB 341 In this class, we will evaluate recent reframings of literature under the rubric of “critical irrealism.” We will discuss relevant precursors such as magical/marvelous realism, the realism vs. modernism/Expressionism debate, theories of science/speculative fiction, and debates over “slow cinema”; putative antagonists to irrealism like capitalist realism and postmodernism; and two frameworks through which irrealism has been evoked that have been recently introduced to Anglophone literary studies: uneven and combined development, and peripheral realism. We will do our best to resist allowing “irrealism” to dissolve into a theory of everything and nothing by grounding it in two historical conjunctures: transimperial Northeast Asia, and deindustrial Southern California. Our literary and cinematic objects might include work from Ryka Aoki, Octavia Butler, Jia Zhangke, Cynthia Kadohata, Han Kang, Eugene Lim, the Locust Review, Ling Ma, China Mieville, Kim Stanley Robinson, Neal Stephenson, Tsai Ming-liang, Jeff Vandermeer, Wu Ming-yi, and Karen Tei Yamashita. |
| ENGLISH 255 | WRKSHOP IN ACAD PUB | FAN, C. | Thursdays 11:00am -1:50pm, HIB 411 Reading and critique of student-authored essays with the goal of producing a publishable essay. Instructor leads discussion, meets with students individually, and provides an introduction to appropriate venues for publication and the process of submission, peer review, and revision. (You must be in your third year or above to enroll. Does not require a seminar request from. Please contact Kassandra Ceja cejak@uci.edu if you are interested in enrolling) |
| ENGLISH 299 | DISSERTATN RESEARCH | ALLEN, E. |