ENGL 10200. Problems in the Study of Gender. 100 Units.

This course will explore interdisciplinary debates in the analysis of gender and feminism in a transnational perspective. Course readings will primarily traverse the twentieth century encompassing Africa, Europe, and the Americas. We will consider how understandings of gender intersect with categories of ethnicity, race, class, and sexuality. Topics to be covered include gendered experiences of: colonial encounters; migration and urbanization; transformations in marriage and family life; medicine, the body, and sexual health; and decolonization and nation-building, religion, and masculinity. Materials will include theoretical and empirical texts, fiction, memoirs, and films.

Instructor(s): L. Auslander     Terms Offered: Autumn
Note(s): May be taken in sequence or individually.
Equivalent Course(s): GNSE 10100,CRES 10101,HIST 29306,SOSC 28200

ENGL 10300. Problems in the Study of Sexuality. 100 Units.

This course addresses the production of particularly gendered norms and practices. Using a variety of historical and theoretical materials and practices, it addresses how sexual difference operates in the contexts of nation, race, and class formation, for example, and/or work, the family, migration, imperialism and postcolonial relations.

Instructor(s): L. Berlant     Terms Offered: Autumn
Note(s): May be taken in sequence or individually
Equivalent Course(s): GNSE 10200,SOSC 28300

ENGL 10400. Introduction to Poetry. 100 Units.

This course involves intensive readings in both contemporary and traditional poetry. Early on, the course emphasizes various aspects of poetic craft and technique, setting, and terminology, as well as provides extensive experience in verbal analysis. Later, emphasis is on contextual issues: referentially, philosophical and ideological assumptions, as well as historical considerations.

Instructor(s): L. Ruddick     Terms Offered: Winter

ENGL 10700. Introduction to Fiction: The Short Story. 100 Units.

In the first half of this course, we focus on the principal elements that contribute to effect in fiction (i.e., setting, characterization, style, imagery, structure) to understand the variety of effects possible with each element. We read several different writers in each of the first five weeks. In the second half of the course, we bring the elements together and study how they work in concert. This detailed study concentrates on one or, at most, two texts a week.

Instructor(s): W. Veeder     Terms Offered: Autumn

ENGL 10800. Introduction to Film Analysis. 100 Units.

This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

Terms Offered: Autumn, Spring
Note(s): Required of students majoring in Cinema and Media Studies
Equivalent Course(s): CMST 10100,ARTH 20000,ARTV 25300

ENGL 11100. Critical Perspectives. 100 Units.

Terms Offered: Not offered 2012-13

ENGL 11903. Affect Theory: An Introduction. 100 Units.

This course will address the recent “turn” to affect across the disciplines. Rather than presenting a survey of studies influenced by affect theory, however, this class will approach foundational theoretical texts and short literary works to engage with three basic but very difficult questions: What is affect? What does it do? What is it good for?

Instructor(s): A. Prigozhin     Terms Offered: Autumn

ENGL 12700. Writing Biography. 100 Units.

Prerequisite(s): Consent of instructor via submission of writing sample.
Note(s): Attendance on the first day is mandatory.
Equivalent Course(s): CRWR 26001,CRWR 46001,ENGL 32700

ENGL 12800. Theories of Media. 100 Units.

For course description contact English.

Equivalent Course(s): AMER 30800,ARTH 25900,ARTH 35900,ARTV 25400,CMST 27800,CMST 37800,ENGL 32800

ENGL 13000. Academic and Professional Writing (The Little Red Schoolhouse) 100 Units.

Instructor(s): L. McEnerney, K. Cochran, T. Weiner     Terms Offered: Winter, Spring
Prerequisite(s): Third- or fourth-year standing
Note(s): This course does not count towards the ISHU program requirements. May be taken for P/F grading by students who are not majoring in English. Materials fee $20.
Equivalent Course(s): ISHU 23000,ENGL 33000

ENGL 13800. History and Theory of Drama I. 100 Units.

The course is a survey of major trends and theatrical accomplishments in drama from the ancient Greeks through the Renaissance: Aeschylus, Sophocles, Euripides, Aristophanes, classical Sanskrit theater, medieval religious drama, Japanese Noh drama, Kyd, Marlowe, Shakespeare, and Molière, along with some consideration of dramatic theory by Aristotle, Sir Philip Sidney, Corneille, and others. Students have the option of writing essays or putting on short scenes in cooperation with other members of the course. The goal of these scenes is not to develop acting skill but, rather, to discover what is at work in the scene and to write up that process in a somewhat informal report. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

Instructor(s): D. Bevington, J. Muse     Terms Offered: Autumn
Prerequisite(s): Preference given to students with third- or fourth-year standing.
Note(s): May be taken in sequence with ENGL 13900/31100 or individually. This course meets the general education requirement in the dramatic, musical, and visual arts.
Equivalent Course(s): CLAS 31200,CLCV 21200,CMLT 20500,CMLT 30500,ENGL 31000,TAPS 28400

ENGL 13900. History and Theory of Drama II. 100 Units.

This course is a survey of major trends and theatrical accomplishments in Western drama from the eighteenth century into the twentieth (i.e., Sheridan, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, Pinter, Stoppard, Churchill, Kushner). Attention is also paid to theorists of the drama (e.g., Stanislavsky, Artaud, Grotowski). Students have the option of writing essays or putting on short scenes in cooperation with other members of the course. The goal of these scenes is not to develop acting skill but, rather, to discover what is at work in the scene and to write up that process in a somewhat informal report. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

Instructor(s): D. Bevington, H. Coleman     Terms Offered: Winter
Prerequisite(s): Third- or fourth-year standing
Note(s): May be taken in sequence with ENGL 13800/31000 or individually. This course meets the general education requirement in the dramatic, musical, and visual arts.
Equivalent Course(s): CMLT 20600,CMLT 30600,ENGL 31100,TAPS 28401

ENGL 15500. Chaucer: The Canterbury Tales. 100 Units.

This course is an examination of Chaucer's art as revealed in selections from The Canterbury Tales. Our primary emphasis is on a close reading of individual tales, but we also pay attention to Chaucer's sources and to other medieval works that provide relevant background.

Instructor(s): J. Schleusener     Terms Offered: Winter
Equivalent Course(s): FNDL 25700

ENGL 15600. Medieval English Literature. 100 Units.

This course examines the relations among psychology, ethics, and social theory in fourteenth-century English literature. We pay particular attention to three central preoccupations of the period: sex, the human body, and the ambition of ethical perfection. Readings are drawn from Chaucer, Langland, the Gawain-poet, Gower, penitential literature, and saints' lives. There are also  some supplementary readings in the social history of late medieval England.

Instructor(s): M. Miller     Terms Offered: Winter
Equivalent Course(s): GNSE 15600

ENGL 15805. Medieval Vernacular Literature in the British Isles. 100 Units.

This course will cover the Celtic tradition, Old an Middle English, Anglo-Norman French, and a late text from Scotland. Texts will include: from Old English, Beowulf; from Irish, The Battle of Moytura (a battle between gods and giants), the Tain, and two of the immrana or voyages, those concerning Bran Son of Ferbal and Mael Duin (the latter being the likely source for the Voyage of St. Brendan, which had such an effect on old speculations about the Atlantic); from Anglo-Norman French, the Lays of Marie de France; from Welsh, the Four Branches from the Mabinogion; from Middle English, selections from The Canterbury Tales and Sir Gawain and the Green Knight; and from Scotland, Dunbar, who fittingly closes the course, since he wrote in English at a time when the Tudors tried to suppress Celtic writing in Wales. A paper will be required and perhaps an oral examination.

Instructor(s): M. Murrin     Terms Offered: Autumn
Equivalent Course(s): CMLT 26000

ENGL 16300. Renaissance Epic. 100 Units.

A study of classical epic in the Renaissance or Early Modern period. Emphasis will be both on texts and on classical epic theory. We will read Tasso's Jerusalem Delivered, Camões' Lusiads, and Milton's Paradise Lost. A paper will be required and perhaps an examination.

Instructor(s): M. Murrin     Terms Offered: Winter

ENGL 16302. Renaissance Romance. 100 Units.

Selections from a trio of texts will be studied: Ovid's Metamorphoses (as the recognized classical model), Boiardo's Orlando innamorato (which set the norms for Renaissance romance), and Spenser's Faerie Queene. A paper will be required and perhaps an oral examination.

Instructor(s): M. Murrin     Terms Offered: Autumn
Equivalent Course(s): CMLT 26500,CMLT 36500,ENGL 36302,RLIT 51200

ENGL 16500. Shakespeare I: Histories and Comedies. 100 Units.

We will consider several of Shakespeare's major histories and comedies from the 1590s, roughly the first half of his professional career. These will include, among others, Richard II, Henry IV Parts 1 and 2, A Midsummer Night's Dream, As You Like It, and Twelfth Night.

Instructor(s): B. Cormack     Terms Offered: Winter
Equivalent Course(s): FNDL 21403,TAPS 28405

ENGL 16600. Shakespeare II: Tragedies and Romances. 100 Units.

This course studies the second half of Shakespeare's career, from 1600 to 1611, when the major genres that he worked in were tragedy and "romance" or tragicomedy. Plays read include Hamlet, Measure for Measure, Othello, King Lear (quarto and folio versions), Macbeth, Coriolanus, Antony and Cleopatra, Pericles, The Winter's Tale, and The Tempest.

Instructor(s): R. Strier     Terms Offered: Spring
Note(s): ENGL 16500 recommended but not required.
Equivalent Course(s): FNDL 21404,TAPS 28406

ENGL 16711. Hamlet and Critical Methods. 100 Units.

Shakespeare's Hamlet has probably inspired the most criticism of any play in world literature, and it has certainly inspired some of the greatest criticism. This course explores the goals, presuppositions, strengths, and limitations of different kinds of scholarship and criticism by focusing upon the variety of approaches that have been (or in some cases, could be) applied to Shakespeare's play. The course will focus on modern editorial theory and practice; classical and neoclassical discussions of mimesis, plot, and theatrical affect; Romantic, psychoanalytic, and postmodern discussions of Hamlet as character; recent literary historical discussions of sources and genre; new critical, new historicist, and feminist analyses of the play's imagined world; as well as performances and literary adaptations of Hamlet conceived of as interpretations of the play.

Instructor(s): J. Scodel     Terms Offered: Spring

ENGL 16715. Shakespeare: The Roman and Greek Plays. 100 Units.

Shakespeare’s best-known tragedies tend to be based on stories located in the legendary past of Great Britain and Scandinavia (Hamlet, King Lear, Macbeth) or in more or less contemporary Italy (Romeo and Juliet, Othello). Throughout his writing career, on the other hand, Shakespeare continued to be fascinated by the strikingly different world of ancient Greece and Rome: Titus Andronicus, Troilus and Cressida, Julius Caesar, Timon of Athens, Antony and Cleopatra, and Coriolanus. Here he could anatomize political and human crises in a world that owed nothing, overtly at least, to Christian ideologies or the political orthodoxies of the monarchical state. The plays are often dispiriting, restless, skeptical, pessimistic, misogynistic. Yet they also search for humane values of which the ancient world was, in Shakespeare’s view, abundantly capable: justice, compassion, sympathy, stoical resolve, courage, and greatness of spirit. This is the world we will explore.

Instructor(s): D. Bevington     Terms Offered: Winter

ENGL 16719. Renaissance Distortions: Literature and Science at the Dawn of Modernity. 100 Units.

Instructor(s): D. Simon     Terms Offered: Autumn

ENGL 17501. Milton. 100 Units.

This course will follow Milton's career as a poet and, to some extent, as a writer of polemical prose. It will concentrate on his sense of his own vocation as a poet and as an active and committed Protestant citizen in times of revolution and reaction. Works to be read include the Nativity Ode, selected sonnets, A Mask, Lycidas, The Reason of Church Government, selections from the divorce tracts, Areopagitica, Paradise Lost, Samson Agonistes, and Paradise Regained. There will be a mid-term exercise and a final paper.

Instructor(s): J. Scodel     Terms Offered: Winter
Equivalent Course(s): FNDL 21201

ENGL 17511. Lyric Poetry from Donne to Marvell. 100 Units.

This course will study a selection of poets from one of the greatest periods for lyric poetry in English (or any language). Starting with the giant figures of John Donne, Ben Jonson, and George Herbert, we will trace the development of lyric poetry—mostly under the influence of one or more of these—in later poets, including some significant women poets, in the seventeenth century. A short and a longer paper will be required.

Instructor(s): R. Strier     Terms Offered: Winter

ENGL 17808. Libertines, Fops, Men of Feeling: Masculinity in the Long 18th Century. 100 Units.

The libertine rake was the hero of Restoration comedy, drinking, gambling, and carousing his way across the English stage, and in so doing, reflecting the understanding of aristocratic masculinity during the late Stuart court. By the middle of the 18th century, this paradigm of masculinity had been largely rejected from poetry and prose. This class will discuss the evolution of gender spheres throughout the period as well as those spheres’ lasting resonances in the contemporary world. Reading widely from a range of fiction from the Restoration to the Regency, contemporary political and philosophical discourse, and modern criticism and historical studies, we will seek to situate and understand the literary representations in focus through the lens of the changing times. And we will look at a large variety of masculine types in the era’s literature—idealized hero figures and patriarchs in addition to alternate or peripheral masculine countertypes—to nuance our understanding of gender constructions and the broader implications of those constructions in popular culture.

Instructor(s): T. Schweiger     Terms Offered: Autumn

ENGL 17809. Writing Lives: The Spirit of Biography in 18th Century Britain. 100 Units.

Explores representations of private life in eighteenth-century British literature, focusing primarily on poetry and non-novelistic prose (such as diaries, private and public letters, and biographical sketches). We will investigate the emergence—and the convergence—of two categories very much up for grabs during this period: the person and the author.

Instructor(s): D. Diamond     Terms Offered: Spring

ENGL 17810. Sex, Cash, Power: Restoration, 18th C Comedy, 21st C Audience. 100 Units.

This course seeks to bring English and TAPS students together to discuss problems of reading and staging Restoration and eighteenth-century comedy. Why have these racy and very funny comedies been forgotten? How can we reimagine and appreciate them today? (No prior knowledge of the plays is required.)

Instructor(s): L. Caldwell     Terms Offered: Spring

ENGL 18910. British Women Writers, 1660-1800. 100 Units.

In this course, we will survey some of the daring and diverse productions of British women writers in the late seventeenth and eighteenth centuries, all of which defy easy categorization. Over the course of the quarter, we will encounter works about desire, sexual failure, and female libertines, about revolutionary politics and the private scandals of public figures, about traveling in Turkey and the slavery of marriage, about utopian female communities and the possibility of self-moving matter. We will ask when and how gender matters in these works, and we will also be interested in other topics of concern for these writers—the production and distribution of knowledge, the emergence of the novel and of fiction, the figure of the author and her relationship to readers, an increasing awareness of one’s historical (and modern) moment, among others. Primary readings will range widely across different genres (poetry, fiction, prose, drama, letters), and will likely include works by Aphra Behn, Margaret Cavendish, Mary Astell, Eliza Haywood, Delarivier Manley, Lady Mary Wortley Montagu, Ann Finch, Sarah Scott, Charlotte Lennox, Frances Burney, Anna Seward, Charlotte Smith, Anna Barbauld, Helena Maria Williams, and Mary Wollstonecraft.

Instructor(s): H. Keenleyside     Terms Offered: Autumn

ENGL 20218. British Romantic Poetry: Situating Consciousness. 100 Units.

The Romantic period (1789-1832) saw major upheavals--revolutions and war--and ongoing reconsideration of the relationship between church and state, writers and reading public. We'll read poetry by William Wordsworth, Anna Laetitia Barbauld, Amelia Opie, and John Keats to look at the ways these poets situated themselves.

Instructor(s): F. Ferguson     Terms Offered: Winter

ENGL 20219. Reading William Blake. 100 Units.

This course explores the visual and verbal aspects of William Blake’s major works and responds to the difficulty of reading Blake by developing a set of self-reflexive theoretical methods.  The experience of reading is central to this course: close reading, slow reading, reading attuned to the ‘minute particular’.

Instructor(s): S. Pannuto     Terms Offered: Autumn

ENGL 20706. George Bernard Shaw. 100 Units.

As the most prominent British dramatist of the early 20th century, Shaw transformed the Victorian stage with witty, unsentimental, politically-engaged plays addressing major social issues. We will explore his works through texts, films, and in performance; supplementary readings from contemporary writers (Wilde, Ibsen) and Shaw’s essays will help contextualize his “drama of ideas” and its unique blend of comedy and manifesto.

Instructor(s): E. Ponder     Terms Offered: Spring

ENGL 20904. Sci-Fi Queered. 100 Units.

Our selected texts each have their own way of embedding gender construction in new and/or futuristic technologies, and we will be scrutinizing the imbrication of utopian possibilities for queered gender with the products of corporate control and asking where threads of dystopia and utopia may actually align. Coinciding with a wave of feminism in America, our texts have each taken as their building blocks for new possibilities of gender the very stereotypes, caricatures, and dehumanizing and mechanizing structures of subjectivity forced on them by dominant cultures. Ultimately this class will survey queer and feminist science fiction and ask why these texts are so often left out of surveys or descriptions of the sci-fi genre.

Instructor(s): A. Davis     Terms Offered: Spring

ENGL 21401. Advanced Theories of Sex/Gender: Ideology, Culture, and Sexuality. 100 Units.

Beginning with the extension of the democratic revolution in the breakup of the New Left, this seminar will expore the key debates (foundations, psychoanalysis, sexual difference, universalism, multiculturalism) around which gender and sexuality came to be articulated as politically significant categories in the late 1980s and the 1990s. (A)

Instructor(s): L. Zerilli     Terms Offered: Autumn
Prerequisite(s): Completion of GNSE 10100-10200 and GNSE 28505 or 28605 or permission of instructor.
Equivalent Course(s): PLSC 21410,ARTH 21400,ARTH 31400,ENGL 30201,GNSE 31400,MAPH 36500,PLSC 31410

ENGL 21903. The Victorian Novel. 100 Units.

This is a course that considers the Victorian novel within the broader history and theory of the novel form, its function within Victorian society, and its dialogue with other forms of cultural representation during the period. We will read novels or novellas by Dickens, Gaskell, Bronte, Eliot, Trollope, and Hardy, and, at the end of the quarter, consider the continuing impact of the Victorian multiplot novel on contemporary writing. Along with the novels, we will be reading secondary scholarship on the novel, and contemporary primary materials that join the discussions expressed in the novels themselves.

Instructor(s): E. Hadley     Terms Offered: Winter

ENGL 21918. How to Read a Victorian Novel. 100 Units.

This course is an introduction to novels of the Victorian period and to theories about how to read them. Victorian novels have the reputation of being long but easy: unlike formally challenging modernist and postmodernist novels, one simply needs to turn all the  pages and keep track of all the characters. Recently, however, the act of reading has come under renewed scrutiny. Taking three major novels of the period as case studies — Charles Dickens’s Bleak House, Anthony Trollope’s Barchester Towers, and George Eliot’s Daniel Deronda — we will explore some of the basic challenges involved in deciding how to read a novel. We will focus on three important theories of reading: cognitive (what goes on in the mind of a reader, and how can cognitive science or cognitive linguistics address this question?); historicist (how did Dickens’s readers read differently than we read now, and how have historically different reading practices conditioned meaning?); and quantitative (if we treat the millions of pages of Victorian novels as a data set, can we use computers to mediate the practice of reading?).

Instructor(s): B. Morgan     Terms Offered: Autumn

ENGL 21919. Oscar Wilde and His Contexts. 100 Units.

In this course we read the work of Oscar Wilde in its historical, intellectual, and cultural contexts. Perhaps more than any other author of the period, Wilde speaks to the issues that mattered to late Victorians: gender relations, women’s rights, class, fears of decadence and degeneration, socialism versus individualism, the rise of celebrity culture, sexual identity, and the social value of the arts. Our intensive reading of one author’s work will therefore also be an introduction to the transition from Victorian to modernist culture and aesthetics. In addition to contextualizing Wilde, we will study how and why he has been decontextualized and recontextualized: if Wilde’s writing is so attuned to a national and historical context, then why has he remained internationally popular for well over a century? The self-image that Wilde constructed has outlived him with remarkable longevity: “Wilde” is a persona as well as a person, an idea as well as an author. We will examine how Wilde’s image has been appropriated in various historical moments and national contexts through adaptation, translation, and homage. Readings will include Wilde’s poetry, plays, novel, journalism, and lectures as well as related works by Walter Pater, Gilbert and Sullivan, Arthur Symons, Aubrey Beardsley, and Richard Strauss.

Instructor(s): B. Morgan     Terms Offered: Autumn
Note(s): Cross listed courses are designed for advanced undergraduate and graduate students.

ENGL 22202. Reading Freud. 100 Units.

The fate of Freud’s writings in the late 20th and early 21st century has been a peculiar one. On the one hand, his work had been declared by many to be unscientific, intellectually bankrupt, and morally suspicious. On the other, his writings continue to be a source of inspiration and provocation, both directly and indirectly, not only to psychoanalytic theory, but to feminism, queer theory, film theory, literary and cultural studies, and throughout the arts and popular culture. This is clearly a situation that calls for some rethinking of what Freud’s work amounts to. The purpose of this course will be to take some initial steps towards such a rethinking, by returning to a careful consideration of Freud’s texts. We will mainly be concerned with Freud not as the source of a theory of the psyche, much less a theory capable of yielding a therapeutic practice, but with Freud as a speculative thinker concerned with the ontology of desire, a thinker nagged by questions with respect to which he remained restless and uncertain. As such, we will to a large extent set to the side some topics that many have taken to be the central ones for understanding psychoanalysis, including Freud’s various psychic topographies, the Oedipus complex, traumatic and developmental narratives generally, and the therapeutic situation; and when these do concern us, they will be as sites of disturbance rather than the production of perspicuous theory. The exact reading list is yet to be determined, but it will most likely include Three Essays on the Theory of Sexuality, Civilization and its Discontents, Beyond the Pleasure Principle, a case study or two such as Dora or the Wolf Man, selections from The Interpretation of Dreams, “Mourning and Melancholia,” “The Economic Problem of Masochism,” and “A Child is Being Beaten.”

Instructor(s): M. Miller     Terms Offered: Autumn
Equivalent Course(s): GNSE 24401

ENGL 22301. Henry James and the Sense of the Past. 100 Units.

This course will examine time-travel as it is effected, as well as staged, by the fiction of Henry James, culminating in a study of his final, unfinished novel. Rather than merely attempting to historicize his oeuvre, we will focus on the peculiar conception of history the author’s notion of a “visitable past” (always conversant with the “accent of the…future”) affords. We will study the reciprocal interference between sensory and historical experience in James’s prose, which hankers after, yet never quite achieves a “consanguineousness” with history, in tandem with the commodification of past forms it dramatizes contemporaneously. How does James’s fiction reconjure and further mediate the inassimilable “aesthetic presence of the past” he detects in Europe? How does it revise historical fiction, or anticipate later 20th-century conceptions of historical experience? Relevant criticism and primary readings in realism, aestheticism, and historiography will supplement our readings of the bodies and prefaces of selected tales, essays, and travel writings, and novels such as The American; The Princess Casamassima; The Wings of the Dove; The Golden Bowl; and The Sense of the Past.

Instructor(s): J. Scappettone     Terms Offered: Spring

ENGL 22402. "Writing" Modern Life: Lit and the Etching Revival, 1850-1940. 100 Units.

This course begins from the parallels between writing and etching (as varieties of both hand-writing and authorship) noted by contemporaries as disparate as Charles Baudelaire and Samuel Palmer (a visionary disciple of William Blake). The course will explore different approaches to writing modernity in the two media, from Poe-Dickens-Baudelaire-Meryon (and other French artists)-Whistler in the middle of the nineteenth century through Virginia Woolf, T. S. Eliot, and British and American urban etchers of World War I and the 1920s and early 30s, comparing visual and verbal representations in several genres (poetry, fiction, and journalism as well as artists' etchings and etched illustration) with particular attention to representations of urbanization and its impact on more traditional forms of narrative, lyric, and landscape. Attention will be paid to the uneven development of non-narrative and increasingly abstract languages and modes of notation. We will also study the rhetorics of value (economic and aesthetic) surrounding the etching and the book. In addition to readings (literary and critical) and close study of prints in the Smart Museum or the Art Institute collections, the course may include a demonstration/workshop with printmakers. Response papers, final paper.

Instructor(s): E. Helsinger     Terms Offered: Winter
Note(s): Cross listed courses are designed for advanced undergraduate and graduate students.
Equivalent Course(s): ARTH 22402

ENGL 22800. Chicago. 100 Units.

In this course we will sample some of Chicago's wonders, exploring aspects of its history, literature, architecture, neighborhoods, and peoples. We begin with study of the 1893 World's Columbian Exposition and the early history of Chicago as a mecca for domestic and international immigrants. In subsequent weeks we will examine the structure of neighborhood communities, local debates about cultural diversity and group assimilation, and the ideology and artifacts of art movements centered in Chicago. This is an interdisciplinary course focusing not only on literary and historical texts, but also analyzing Chicago's architecture, visual artifacts and public art forms, local cultural styles, museum collections and curatorial practices. We will first explore Chicago sites textually, then virtually via the web, and finally in "real time”: Students will be required to visit various Chicago neighborhoods and cultural institutions.

Instructor(s): J. Knight     Terms Offered: Winter
Note(s): Cross listed courses are designed for advanced undergraduate and graduate students.
Equivalent Course(s): AMER 40800,ENGL 42800,MAPH 42800

ENGL 22816. Queer Latino Studies. 100 Units.

Instructor(s): R. Coronado     Terms Offered: Autumn
Equivalent Course(s): GNSE 22902,SPAN 28816,LACS 26303

ENGL 23410. What is Literary History? 100 Units.

This course involves first and foremost a sustained look at literary history—an aspect of our field that we often take for granted, deem to be narrow and outmoded as a way of thinking about literature, or displace in favor of theorizing about or historicizing texts. But what is literary history a history of? Master works? The development of national literatures? The coming to voice of subordinated groups? The evolution, emergence, and obsolescence of genres? Or perhaps an account of the effect of broader socioeconomic forces on literary production? Does literary history have a theory? And what is the relation of literary history to practical criticism? As we consider these questions we will pay particular attention to 20th-century African American literature. Students will be expected to give an in-class presentation and to write two 10-page essays or one 20-page essay.

Instructor(s): K. Warren     Terms Offered: Winter
Equivalent Course(s): CRES 23410

ENGL 23412. Skeptical, Natural, Supernatural: Intro to Literary Theory. 100 Units.

The goal of this course is straightforward: to expose you to some—but by no means all—of the main currents in literary theory. We will pursue that aim through the rubric of skeptical, natural, and supernatural, three concepts that facilitate the systematic organization of the deepest (and, for that reason, not always articulated) epistemological intuitions of the critical movements we will be analyzing. To get at those intuitions, as well as the surface details of the given argument, we will begin each of the three units by discussing what, for example, a skeptical epistemology in literary theory might look like; then—sometimes literally—graphing imaginable and actual varieties; and finally, suggesting how we might subsume a given theorist under the heading we’re exploring.

Instructor(s): J. Bartulis     Terms Offered: Spring

ENGL 24102. The Idiot as Hero. 100 Units.

What strains are put on the apparatus of representation and storytelling when the protagonist is cognitively challenged, foolish, stupid, or even idiotic? How do we interpret, evaluate, and make sense of the actions and judgments of such characters? What other codes—ethical, political, ideological, sexual, etc.—come into play when we respond aesthetically to a story about an idiot? How, and to what degree, is it possible for us to identify with the experience of being stupid? We will be looking at an array of texts (Cervantes, Don Quixote; Wordsworth, “The Idiot Boy”; Flaubert, Bouvard and Pecuchet; Haddon, The Curious Incident of the Dog in the Night-Time), images (from Caravaggio, Velasquez, and Goya), and films (The Hudsucker Proxy; Nights of Cabiria; Forrest Gump; My Idiot Brother).

Instructor(s): L. Rothfield     Terms Offered: Winter

ENGL 24105. Antiheroes and the Novel. 100 Units.

This course will examine the figure of the antihero in novels by Defoe, Gogol, Dostoevsky, Faulkner, O’Connor, Highsmith, and Tournier. Students will track the tension between antiheroic modes of action and institutional structures, and seek to understand the novel as a genre through the emergence of this particular character-type.  

Instructor(s): M. Rayburn     Terms Offered: Autumn

ENGL 24202. Romantic Fiction and the Historical Novel. 100 Units.

Literary history has come to recognize Walter Scott’s Waverley Novels, which establish the historical novel’s “classical form,” as the embodiment of a distinctively Romantic historical impulse. But Scott’s influential practice of history is only one of many models available in its moment, and we will follow the lead of recent critics who have generated considerably more complex accounts of historical fiction by taking issue with presumptions about Scott’s priority—both in his own day and in our own. We will draw upon a mix of foundational and recent criticism to consider a series of sites where Romantic fiction conceptualizes history with special energy: the subject, the imperial Celtic periphery, the romance, commercial modernity, and the everyday.

Instructor(s): T. Campbell     Terms Offered: Winter

ENGL 24204. British Literary Traditions: Romanticism to Modernism. 100 Units.

This writing intensive course has two objectives: 1) to teach students how to write argumentative papers that use close readings of literary texts to make and support arguments; 2) to provide a chronological survey of important, representative, and (hopefully) enjoyable British works from Romanticism to the modern period. 

Instructor(s): J. Proniewski     Terms Offered: Autumn

ENGL 24304. India in English. 100 Units.

This course examines the emergence of India as a theme in twentieth-century English fiction. We will consider a representative sample of texts, both fictional and non fictional, written about India by Indian and non-Indian writers. The subject will examine the historical contexts for the India-England connection, especially the impact of British imperialism. Elements of postcolonial theory will be brought to bear upon specific textual study.

Instructor(s): L. Gandhi     Terms Offered: Spring

ENGL 24305. Cosmopolitanisms. 100 Units.

This course explores notions of cosmopolitanism in philosophy, historiography, and literature. Topics to be addressed include world literature, hospitality, hybridity, Silk Road history. Readings will draw from Hellenistic philosophy, the Alexander Romance, Kant, Yasushi, Arendt, Bhabha, Cheah.

Instructor(s): Tamara Chin     Terms Offered: Winter
Equivalent Course(s): CMLT 24901,ENGL 34901

ENGL 24310. "Tiger Mother" Fictions. 100 Units.

With her controversial parental manifesto Battle Cry of the Tiger Mother—described by the author herself as autobiography, by admirers as an essential child-rearing manual, and by critics as an inadvertently cautionary tale infused with geopolitical fearmongering—Amy Chua gave a fresh name to a familiar phantom: the strict parent who venerates education while prohibiting sleepovers and other distractions. Chua follows in the wake of those who promoted the “model minority” stereotype. Students will examine literary treatments of this stereotype as it evolves, through surveying the work of Susan Choi, Gish Jen, Chang-Rae Lee, Maxine Hong Kingston, Ruth Ozeki, and Amy Tan. Topics covered include: the racialization of the Horatio Alger myth of upward mobility explored in work by earlier Anglo-American authors such as F. Scott Fitzgerald and Theodore Dreiser; commonalities in depiction of family structure and the gendering of academic encouragement (consider, for instance, the suffocatingly omnipresent “tiger mothers” vs. the absent “goose father”—a popular term describing Korean fathers who work overseas to earn a living, and tuition, for their families who have emigrated to the U.S.); the blurring of specific ethnic markers in favor of emphasis on a generalized “Asian” identity; strategies for incorporation of native language and homeland literatures; choice of target audience (why are these immigrant narratives so popular with mainstream audiences?); treatment of intergenerational tension (e.g., first-generation/second-generation, Nisei/Sensei/Yonsei); and more. Although Chua’s work fixates on the “Chinese mother,” writers from other ethnicities describe similar parental relationships. For comparison, we will read and discuss novels and essays by Julia Alvarez, Jhumpa Lahiri, and Richard Rodriguez, among others.

Instructor(s): N. Wright     Terms Offered: Spring

ENGL 24311. Sea Fictions: Reading Transnationally. 100 Units.

This course will examine texts like Shakespeare’s The Tempest, Defoe’s Robinson Crusoe, and Melville’s Typee alongside Reinaldo Arenas’s Farewell to the Sea (Cuba), Agualusa’s Creole (Angola), and Amitav Ghosh’s Sea of Poppies amongst others as transnational representations of the sea and human relationships to it. We will ask how these stories of oceanic journeys and the transnational affinities they produce generate accounts of language and history, and we will think comparatively about how the dangers these texts associate with the sea –such as shipwreck, cannibalism, death and loss –figure alongside its potentials –as a means of mobility and freedom, as a site of friendship and understanding. Discussing these fictional texts alongside theoretical works by writers such as Paul Gilroy, Mikhail Bakhtin, Isabel Hofmeyr, Emily Apter, and Michel Foucault, we will try to determine what new theoretical concepts and affiliations emerge when we untether these fictions from their national literary traditions. Students will have the opportunity to read originals in French, Spanish and Portuguese.

Instructor(s): Chandani Patel     Terms Offered: Autumn 2012
Equivalent Course(s): CMLT 25004

ENGL 24402. Decolonizing Drama and Performance in Africa. 100 Units.

This course will examine the connections among dramatic writing, theatrical practice and theoretical reflection on decolonization, primarily in Africa and the Caribbean in the 20th Century. Authors (many of whom write theory and theatre) may include the following writers in English, French and/or Spanish: Aima Aidoo, Fatima Dike, Aime Cesaire, Franz Fanon, Fernandez Retamar, Athol Fugard, Biodun Jeyifo, Were were Liking, Mustafa Matura, Jose Marti, Ngugi wa Thiong’o, Kwame Nkrumah, Wole Soyinka, Derek Walcott.

Instructor(s): Kruger     Terms Offered: Spring
Prerequisite(s): Third- and fourth-year undergraduate students with at least one previous course in theatre and/or African studies.
Note(s): Working knowledge of French and/or Spanish is required for Comparative Literature status and recommended but not required for everyone else.
Equivalent Course(s): TAPS 28418

ENGL 24403. Beckett: Page, Stage, Screen. 100 Units.

Though best known for a single play, Waiting for Godot, Samuel Beckett was a poet, novelist, short-story writer, playwright, translator, and critic with a voluminous output. This course introduces students to the staggering variety and influence of one of the central figures in twentieth-century literature and theatre by reading Beckett’s better-known plays alongside his work in other media. Among the questions we will ask are: Why did Beckett either abandon or make unrecognizable almost every medium in which he worked? What happens when a medium becomes the means of its own undoing? What can Beckett’s experiments teach us about the presumed and actual limits of form? What can we learn from Beckett’s career about the cardinal developments in twentieth-century drama, literature, film and television? The course places primary emphasis on Beckett’s plays (both on paper and in recorded performances), but we also spend some time on his novels, prose pieces, criticism, film, and television pieces.

Instructor(s): J. Muse     Terms Offered: Autumn
Equivalent Course(s): TAPS 28433

ENGL 24407. Contemporary African Fictions. 100 Units.

The rise of globalization has brought about significant shifts in the texture of African cultural production, perhaps no more visibly than in the short story and the novel. Once a body of writing that was chiefly interested the politics of nationalism and the relationship between African realities and European forms, much contemporary African fiction has instead begun to explore the changing contours of Africa’s global political modernity. This course seeks to explore this new literary terrain, with a particular eye to the ways in which these writers engage or otherwise contest the ways in which “Africa” has often been read and understood by the world at large. We will examine, for instance, the importance of globalization in the work of Chimamanda Ngozi Adichie and Chris Abani, the politics of urbanization in Phaswane Mpa and Helon Habila, and the centrality of the environment to Africa’s place in the global economy in the work of Nadine Gordimer and Zakes Mda. But we will also ask about the past and present of African migrations in Jose Eduardo Agualusa and M.G. Vassanji and the varied forms of violence at work in the Johannesburg anthology Bad Company and Uzodinma Iweala’s Beasts of No Nation.

Instructor(s): B. Smith     Terms Offered: Autumn

ENGL 24408. Before and After Beckett: Theater and Theory. 100 Units.

Beckett is conventionally typed as the playwright of minimalist scenes of unremitting bleakness but his experiments with theatre and film echo the irreverent play of popular culture (vaudeville on stage and screen eg Chaplin and Keaton) as well as the artistic avant garde (Jarry). This course with juxtapose these early 20th century models with Beckett’s plays on stage and screen and those of his contemporaries (Ionesco, Genet, Duras). Contemporary texts include Vinaver, Minyana, in French, Pinter, Churchill, Kane in English. Theorists include Barthes, Badiou, Bert States, and others. ComLit students will have the opportunity to read French originals.

Instructor(s): L. Kruger     Terms Offered: Winter
Prerequisite(s): PQ: HUM and TAPS course; this course is for juniors and seniors only; not open to first-year College students
Equivalent Course(s): CMLT 24408,TAPS 28438

ENGL 25411. Melville. 100 Units.

Of Melville, Hawthorne famously wrote, “He can neither believe, nor be comfortable in his unbelief; and he is too honest and courageous not to try to do one or the other.” In this course we will focus on the problem of meaning in the works of Herman Melville. Beginning with the sanguine assumptions of the Transcendentalists that human meaning was secured by a system of correspondences between nature and super-nature, we will trace how this confidence is ruptured for Melville by the political upheavals of the l850s and by his own growing commitment to skepticism. We will briefly explore Melville's early seafaring adventures (Typee) before concentrating our attention on Moby Dick. We will read this text carefully, devoting 5-6 weeks to discussion. In the remaining weeks of the quarter we will turn to the novellas, Benito Cereno and Billy Budd. If time permits we may sample from The Confidence Man and Melville's poetry.

Instructor(s): J. Knight     Terms Offered: Spring

ENGL 25412. The American Novel and the Photographic Impulse: 1895-1940. 100 Units.

This course will consider canonical American novels in concert with the photographic images that influenced their writers and their eras. We will study, for example, how Matthew Brady’s Civil War images helped to produce the realist style of Stephen Crane, as well as how modernist image production and novelistic production might be seen to contradict or reinforce each other.

Instructor(s): M. Tusler     Terms Offered: Autumn

ENGL 25414. Slumming. 100 Units.

This course incorporates a variety of discourses, genres, and media (the novel, poetry, sociology, history, film and photography) to examine the representations of slumming in society. Special attention will be given to the ways in which slumming is both racialized and sexualized. Among those studied will be Baudelaire, Cormac McCarthy, David Simon and Ed Burns, the Coen Brothers, Whitman, Sudhir Ventakesh, Claude McKay, and Kathleen Stewart.

Instructor(s): J. Bassett     Terms Offered: Spring

ENGL 25415. Viral Aesthetics. 100 Units.

This course will engage with various aspects of virile structures, conceiving of viruses in the broad sense of anything that continually attempts to transmit itself to new hosts. Under this rubric we will consider a wide array of “pathogens,” from the early settlers of the American frontier to vampires, computer viruses, the printed page, Sumerian religion, and communism. Along the way, we will read novels by Bram Stoker, William Burroughs, Thomas Pynchon, Greg Bear, and Neal Stephenson.

Instructor(s): M. Sims     Terms Offered: Spring

ENGL 25417. 19th Century U.S. West. 100 Units.

"Go west, young man, go west!" newspaper editor Horace Greeley loved to say, although he only visited the region and did not coin the phrase. It referred to the host of opportunities thought to be lying in wait among the uncharted territories out yonder. The West has embodied the American dream; it has also represented an American nightmare. This course will examine the changing definitions, demographics, conceptualizations, and significance of the nineteenth-century North American West. We will cover an exceptionally dynamic period between the Northwest Ordinance and the Spanish-American War—an endpoint that inherently calls into question the very concept of the West itself.

Instructor(s): A. Lippert     Terms Offered: Spring
Equivalent Course(s): HIST 28905,GNSE 28905,HIST 38905,LLSO 21103

ENGL 25951. American Television: From Broadcast Networks to the Internet. 100 Units.

The idea of electromechanically transmitted moving images dates back to the nineteenth century and the first technological demonstration of televised moving images took place in the 1920s. While this course touches upon the early history of television, we will focus our attention on the era between the commercialization of television in the United States (in the early 1950s) and the rise of internet-based television via services such as Hulu (in the 2000s). As we will see, the history of television in these years, intersects with numerous other media, such as radio, film, video, digital games, and the novel. Alongside a study of the medium of television and its role in American culture, we will attend carefully to the form of TV narrative as it changes from an early episodic format to the complex long-form serial narratives that attained maturity in the 1990s. Through historical, formal, and cultural analyses, we will attempt to make sense of the recent renaissance of television narrative characterized by such serial programs as The Sopranos, The Wire, Breaking Bad, and Mad Men. The course combines theoretical texts with close readings of particular television shows. Requirements include engaged participation in class discussion, weekly blog entries, a mid-term paper, and a substantive final research paper. There will be no exams.

Instructor(s): P. Jagoda     Terms Offered: Autumn

ENGL 25952. Reading the Suburbs. 100 Units.

From midcentury writers like John Cheever, John Updike, and Richard Yates to the more contemporary work of Richard Ford, Tom Perrotta and the film, American Beauty, the suburbs have largely been thought of as a place of homogenous unhappiness. In this class, we will look at how this narrative has been constructed and contested over the last sixty years with help from authors Anne Petry, Chang Rae Lee, Vladimir Nabokov, and Alice Childress. Alongside fiction, we will look at history, advertising, and film contextualizing the rise of the suburbs, helping us understand the key role this space played in the accumulation of wealth, racial mobility, second wave feminism, and the rise of the modern Republican party.

Instructor(s): A. Brown     Terms Offered: Autumn

ENGL 25953. Transmedia Game. 100 Units.

This experimental course explores the emerging game genre of “transmedia” or “alternate reality” gaming. Transmedia games use the real world as their platform while incorporating text, video, audio, social media, websites, and other forms. We will approach new media theory through the history, aesthetics, and design of transmedia games. Course requirements include weekly blog entry responses to theoretical readings; an analytical midterm paper; and collaborative participation in a single narrative-based transmedia game project. No preexisting technical expertise is required but a background in any of the following areas will help: creative writing, literary or media theory, web design, visual art, computer programming, performance, and game design.

Instructor(s): P. Jagoda     Terms Offered: Autumn
Equivalent Course(s): ARTV 25401,CMST 25953,CMST 35953,CRWR 26003,CRWR 46003,ENGL 32311,TAPS 28455

ENGL 26000. Anglo-American Gothic Fiction in the Nineteenth Century. 100 Units.

In the nineteenth century, gothic fiction in English is an Anglo-American phenomenon. America’s first internationally recognized literary masterpiece, Rip Van Winkle, is written in England and appears the same year as Frankenstein. Our course will study the transatlantic aspect of the gothic tradition, while we also give full attention to the particular qualities of individual texts. Close reading will be central to our project.  Attention to textual intricacies will lead to questions about gender and psychology, as well as culture. Our authors will include Washington Irving, Mary Shelley, James Hogg, Poe, Hawthorne, Emily Bronte, Harriet Prescott Spofford, Joseph Sheridan LeFanu, Henry James, Charlotte Perkins Gilman, and Thomas Hardy.

Instructor(s): W. Veeder     Terms Offered: Autumn

ENGL 26205. American Literary Naturalism and Modernity. 100 Units.

Naturalism is commonly understood as a genre that depicts human behavior as determined or influenced by environment and instinct. In this course we will ask what this genre might teach us about subjects embedded in the modern environments of industrial capital and urban centers. We will read from authors who are usually categorized as naturalists, such as Emile Zola, Stephen Crane, Frank Norris, Theodor Dreiser, and Edith Wharton; and from authors not usually considered to be naturalist like Don DeLillo. 

Instructor(s): S. Hutchison     Terms Offered: Autumn

ENGL 26907. American Culture During World War II. 100 Units.

With the mass mobilization of the US following the bombing of Pearl Harbor, artists of all kinds served in the armed forces or in the war bureaucracy. That doesn’t mean that cultural production stopped. It did, however, mean drastic changes the kind of art that was produced and the ways in which it was disseminated. In short, World War II instigated a dramatic change in the relationship of art to the state. For example, the Library of Congress was established; American publishing was completely overhauled (the first volume of the redoubtable Viking Portable, for instance, was an anthology issued to soldiers); Japanese internment camps had as one of their unintended consequences the opportunity for a new generation of Nisei writers to share and publish their work; American theater saw its boundaries stretched to embrace a wider cross section of the US public; Hollywood and the war department enjoyed a collaboration on mass market as well as training films; refugee intellectuals from Europe congregated in New York and had a remarkable reshaping effect on American culture. The course will follow various streams—mass culture and high culture, film and literature, drama and the visual arts—to explore how new institutions, new cultural producers, and new audiences transformed US culture during the war years.

Instructor(s): D. Nelson     Terms Offered: Spring

ENGL 27310. Southern Routes to Freedom. 100 Units.

Instructor(s): C. Taylor     Terms Offered: Winter

ENGL 27401. Late Nineteenth Century American Literary Realism. 100 Units.

This course takes up major 19th-century American novelists in conjunction with philosophical and scientific essays that reflect on the project of representing "the real".

Instructor(s): K. Warren     Terms Offered: Autumn

ENGL 28610. From Postcolonial to Global. 100 Units.

 This course has two aims: first, it introduces students to some of the seminal works of postcolonial literature in the context of the key debates that shaped the field of postcolonial studies. As such, it functions as an introduction to this subfield of literary studies. Authors may include, among others, Chinua Achebe, J.M. Coetzee, Tsitsi Dangarembga, Bessie Head, C.L.R. James, V.S. Naipaul, and Derek Walcott, and we will consider topics such as writing and resistance, postcolonial revisions, mimicry and hybridity, the figure of the “third-world woman,” and nationalism and literature. However, the second aim of this course is to consider whether the category of postcolonial literature has a future in the discipline of English literary studies, particularly in light of the broad shift away from the term “postcolonial,” in favor of new designations such as “global Anglophone literature” or “world literature.” What is the status of the global in the postcolonial, and vice-versa? What is gained or lost when we revise or abandon the term postcolonial? What conceptual significance does the nation-state retain when we talk about global literature?

Instructor(s): S. Thakkar     Terms Offered: Autumn

ENGL 28702. American Cinema Since 1961. 100 Units.

The year 1960 is commonly understood as a watershed in U.S. film history, marking the end of the so-called "classical" Hollywood cinema. We discuss this assumption in terms of the break-up of the studio system; the erosion of the Production Code; the crisis of audience precipitated by television's mass spread; and the changing modes of film reception, production, and style under the impact of video, cable, and other electronic communication technologies. We also relate cinema to social and political issues of the post-1960s period and ask how films reflected upon and intervened in contested areas of public and private experience. With the help of the concept of "genre" (and the changed "genericity" of 1980s and 1990s films) and of the notion of "national cinema" (usually applied to film traditions other than the United States), we attempt a dialogue between industrial/stylistic and cultural-studies approaches to film history.

Instructor(s): J. Hoffman
Prerequisite(s): Background in cinema studies or prior film course(s)
Equivalent Course(s): CMST 21900

ENGL 28814. American Projects: Twentieth Century Poems. 100 Units.

What makes an entire book “of a piece”? Thinking through a series of projects regarding place, event, biography, and objectivity, we will decide what unifies—or fragments—a work, and what the stakes of coherence and incoherence are for the works in question and the 20^th century cultural and political landscape that surrounds them.

Instructor(s): C. Wilding     Terms Offered: Spring

ENGL 28912. War and Peace. 100 Units.

Instructor(s): W. Nickell     Terms Offered: Autumn
Equivalent Course(s): RUSS 22302,CMLT 22301,CMLT 32301,ENGL 32302,FNDL 27103,HIST 23704,RUSS 32302

ENGL 29300-29600. History of International Cinema I-II.

This sequence is required of students majoring in Cinema and Media Studies. Taking these courses in sequence is strongly recommended but not required.

ENGL 29700. Reading Course. 100 Units.

An instructor within ENGL agrees to supervise the course and then determines the kind and amount of work to be done.

Terms Offered: Autumn, Winter, Spring
Prerequisite(s): Petition to Associate Chair for Undergraduate Studies and consent of instructor
Note(s): These reading courses must include a final paper assignment to meet requirements for the ENGL major and students must receive a quality grade. Students may not petition to receive credit for more than two ENGL 29700 courses. Students are required to submit the College Reading and Research Course Form.

ENGL 29900. Independent BA Paper Preparation. 100 Units.

Terms Offered: Autumn, Winter, Spring
Prerequisite(s): Consent of instructor and Associate Chair for Undergraduate Studies
Note(s): Students are required to submit the College Reading and Research Course Form. For more information and an electronic version of the petition form, visit english.uchicago.edu/undergraduate/courses. This course may not be counted toward the distribution requirements for the major, but it may be counted as a departmental elective.

ENGL 30201. Advanced Theories of Sex/Gender: Ideology, Culture, and Sexuality. 100 Units.

Beginning with the extension of the democratic revolution in the breakup of the New Left, this seminar will expore the key debates (foundations, psychoanalysis, sexual difference, universalism, multiculturalism) around which gender and sexuality came to be articulated as politically significant categories in the late 1980s and the 1990s. (A)

Instructor(s): L. Zerilli     Terms Offered: Autumn
Prerequisite(s): Completion of GNSE 10100-10200 and GNSE 28505 or 28605 or permission of instructor.
Equivalent Course(s): PLSC 21410,ARTH 21400,ARTH 31400,ENGL 21401,GNSE 31400,MAPH 36500,PLSC 31410

ENGL 31000. History and Theory of Drama I. 100 Units.

The course is a survey of major trends and theatrical accomplishments in drama from the ancient Greeks through the Renaissance: Aeschylus, Sophocles, Euripides, Aristophanes, classical Sanskrit theater, medieval religious drama, Japanese Noh drama, Kyd, Marlowe, Shakespeare, and Molière, along with some consideration of dramatic theory by Aristotle, Sir Philip Sidney, Corneille, and others. Students have the option of writing essays or putting on short scenes in cooperation with other members of the course. The goal of these scenes is not to develop acting skill but, rather, to discover what is at work in the scene and to write up that process in a somewhat informal report. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

Instructor(s): D. Bevington, J. Muse     Terms Offered: Autumn
Prerequisite(s): Preference given to students with third- or fourth-year standing.
Note(s): May be taken in sequence with ENGL 13900/31100 or individually. This course meets the general education requirement in the dramatic, musical, and visual arts.
Equivalent Course(s): ENGL 13800,CLAS 31200,CLCV 21200,CMLT 20500,CMLT 30500,TAPS 28400

ENGL 31100. History and Theory of Drama II. 100 Units.

This course is a survey of major trends and theatrical accomplishments in Western drama from the eighteenth century into the twentieth (i.e., Sheridan, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, Pinter, Stoppard, Churchill, Kushner). Attention is also paid to theorists of the drama (e.g., Stanislavsky, Artaud, Grotowski). Students have the option of writing essays or putting on short scenes in cooperation with other members of the course. The goal of these scenes is not to develop acting skill but, rather, to discover what is at work in the scene and to write up that process in a somewhat informal report. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended.

Instructor(s): D. Bevington, H. Coleman     Terms Offered: Winter
Prerequisite(s): Third- or fourth-year standing
Note(s): May be taken in sequence with ENGL 13800/31000 or individually. This course meets the general education requirement in the dramatic, musical, and visual arts.
Equivalent Course(s): ENGL 13900,CMLT 20600,CMLT 30600,TAPS 28401

ENGL 32302. War and Peace. 100 Units.

Instructor(s): W. Nickell     Terms Offered: Autumn
Equivalent Course(s): RUSS 22302,CMLT 22301,CMLT 32301,ENGL 28912,FNDL 27103,HIST 23704,RUSS 32302

ENGL 32311. Transmedia Game. 100 Units.

This experimental course explores the emerging game genre of “transmedia” or “alternate reality” gaming. Transmedia games use the real world as their platform while incorporating text, video, audio, social media, websites, and other forms. We will approach new media theory through the history, aesthetics, and design of transmedia games. Course requirements include weekly blog entry responses to theoretical readings; an analytical midterm paper; and collaborative participation in a single narrative-based transmedia game project. No preexisting technical expertise is required but a background in any of the following areas will help: creative writing, literary or media theory, web design, visual art, computer programming, performance, and game design.

Instructor(s): P. Jagoda     Terms Offered: Autumn
Equivalent Course(s): ENGL 25953,ARTV 25401,CMST 25953,CMST 35953,CRWR 26003,CRWR 46003,TAPS 28455

ENGL 32700. Writing Biography. 100 Units.

Prerequisite(s): Consent of instructor via submission of writing sample.
Note(s): Attendance on the first day is mandatory.
Equivalent Course(s): CRWR 26001,CRWR 46001,ENGL 12700

ENGL 32800. Theories of Media. 100 Units.

For course description contact English.

Equivalent Course(s): ENGL 12800,AMER 30800,ARTH 25900,ARTH 35900,ARTV 25400,CMST 27800,CMST 37800

ENGL 33000. Academic and Professional Writing (The Little Red Schoolhouse) 100 Units.

Instructor(s): L. McEnerney, K. Cochran, T. Weiner     Terms Offered: Winter, Spring
Prerequisite(s): Third- or fourth-year standing
Note(s): This course does not count towards the ISHU program requirements. May be taken for P/F grading by students who are not majoring in English. Materials fee $20.
Equivalent Course(s): ISHU 23000,ENGL 13000

ENGL 34901. Cosmopolitanisms. 100 Units.

This course explores notions of cosmopolitanism in philosophy, historiography, and literature. Topics to be addressed include world literature, hospitality, hybridity, Silk Road history. Readings will draw from Hellenistic philosophy, the Alexander Romance, Kant, Yasushi, Arendt, Bhabha, Cheah.

Instructor(s): Tamara Chin     Terms Offered: Winter
Equivalent Course(s): CMLT 24901,ENGL 24305

ENGL 35902. Virgil, The Aeneid. 100 Units.

A close literary analysis of one of the most celebrated works of European literature. While the text, in its many dimensions, will offer more than adequate material for classroom analysis and discussion, attention will also be directed to the extraordinary reception of this epic, from Virgil's times to ours.

Instructor(s): Glenn Most     Terms Offered: Winter 2013
Prerequisite(s): Latin helpful
Equivalent Course(s): CLAS 44512,CMLT 35902,SCTH 35902

ENGL 36302. Renaissance Romance. 100 Units.

Selections from a trio of texts will be studied: Ovid's Metamorphoses (as the recognized classical model), Boiardo's Orlando innamorato (which set the norms for Renaissance romance), and Spenser's Faerie Queene. A paper will be required and perhaps an oral examination.

Instructor(s): M. Murrin     Terms Offered: Autumn
Equivalent Course(s): ENGL 16302,CMLT 26500,CMLT 36500,RLIT 51200

ENGL 42418. Theory of the Novel. 100 Units.

 This course introduces undergraduates to some of the fundamental conceptual issues raised by novels: how are novels formally unified (if they are)? What are the ideological presuppositions inherent in a novelistic view? What ethical practices do novels encourage? What makes a character in a novel distinct from character in other fictive systems? Readings include Austen, Pride and Prejudice; Dickens, Great Expectations; Woolf, Mrs. Dalloway. Critics covered include Lukacs, Bakhtin,  Watt, Jameson, McKeon, D.A. Miller, Woloch, Moretti, and others.�

Instructor(s): Lawrence Rothfield     Terms Offered: Winter 2013
Equivalent Course(s): CMLT 42418

ENGL 42800. Chicago. 100 Units.

In this course we will sample some of Chicago's wonders, exploring aspects of its history, literature, architecture, neighborhoods, and peoples. We begin with study of the 1893 World's Columbian Exposition and the early history of Chicago as a mecca for domestic and international immigrants. In subsequent weeks we will examine the structure of neighborhood communities, local debates about cultural diversity and group assimilation, and the ideology and artifacts of art movements centered in Chicago. This is an interdisciplinary course focusing not only on literary and historical texts, but also analyzing Chicago's architecture, visual artifacts and public art forms, local cultural styles, museum collections and curatorial practices. We will first explore Chicago sites textually, then virtually via the web, and finally in "real time”: Students will be required to visit various Chicago neighborhoods and cultural institutions.

Instructor(s): J. Knight     Terms Offered: Winter
Note(s): Cross listed courses are designed for advanced undergraduate and graduate students.
Equivalent Course(s): ENGL 22800,AMER 40800,MAPH 42800

ENGL 44600. Introduction to Cultural Policy Studies. 100 Units.

The course is designed to move beyond the values debate of the culture wars in order to focus on how culturehere defined as the arts and humanitiescan be evaluated analytically as a sector, an object of policy research. In what sense can it be said that there is a national interest or public interest in culture? What is the rationale for government intervention in or provision for the arts and humanities? Is it possible to define the workings of culture in a way that would permit one to recommend one form of support rather than another, one mode of collaboration or regulation over another? Is it possible to measure the benefits (or costs)economic, social, and politicalof culture? We will begin by reading some classic definitions of culture and more recent general policy statements, then address a series of problematic issues that require a combination of theoretical reflection and empirical research.

Equivalent Course(s): PPHA 39600

ENGL 48000. Methods and Issues in Cinema Studies. 100 Units.

This course offers an introduction to ways of reading, writing on, and teaching film. The focus of discussion will range from methods of close analysis and basic concepts of film form, technique and style; through industrial/critical categories of genre and authorship (studios, stars, directors); through aspects of the cinema as a social institution, psycho-sexual apparatus and cultural practice; to the relationship between filmic texts and the historical horizon of production and reception. Films discussed will include works by Griffith, Lang, Hitchcock, Deren, Godard.

Instructor(s): Staff     Terms Offered: Autumn
Equivalent Course(s): MAPH 33000,CMST 40000

ENGL 48700. History of International Cinema I: Silent Era. 100 Units.

This course introduces what was singular about the art and craft of silent film. Its general outline is chronological. We also discuss main national schools and international trends of filmmaking.

Instructor(s): J. Lastra     Terms Offered: Autumn
Prerequisite(s): Prior or concurrent enrollment in CMST 10100. Required of students majoring in Cinema and Media Studies.
Note(s): This is the first part of a two-quarter course.
Equivalent Course(s): CMST 28500,ARTH 28500,ARTH 38500,ARTV 26500,ARTV 36500,CMLT 22400,CMLT 32400,CMST 48500,ENGL 29300,MAPH 36000

ENGL 48900. History of International Cinema II: Sound Era to 1960. 100 Units.

The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

Instructor(s): Y. Tsivian     Terms Offered: Winter
Prerequisite(s): Prior or concurrent registration in CMST 10100 required. Required of students majoring in Cinema and Media Studies.
Note(s): CMST 28500/48500 strongly recommended
Equivalent Course(s): CMST 28600,ARTH 28600,ARTH 38600,ARTV 26600,CMLT 22500,CMLT 32500,CMST 48600,ENGL 29600,MAPH 33700

ENGL 51300. Race, Media and Visual Culture. 100 Units.

For course description contact CDIN Center for Disciplinary Innovation.

Equivalent Course(s): CDIN 51300,ARTH 49309,ARTV 55500,CMLT 51500,CMST 51300

ENGL 52401. The Policing of Culture. 100 Units.

We will discuss a) the historical rationales for governmental intervention in culture; b) the objects of policing action (producers, distributors, consumers, products, practices. etc.); c) the objectives of policing; d) the tools of governmental policing (negative tools such as regulation, prohibition/censorship, etc., but also positive tools such as incentives, allocation of property rights; information); and d) the political economy of cultural policy (how does one measure the impact of a governmental action on institutions, artists, audiences, or art works?). We will focus on three very different efforts at policing: the National Endowment for the Humanities' programs; attempts to develop cultural districts; and initiatives to stem the looting of archaeological sites.

Equivalent Course(s): PPHA 43300

ENGL 53530. The Literature of Empire, 1750-1900. 100 Units.

This course considers the place of literature, broadly construed, in the imperial imagination of the British and French empires. Our range of interests will be broad enough to include, for example: historical narratives of imperial expansion and national consolidation; representations of race and slavery; the relationship of literary representations to political debates over conquest, slavery, imperial trading companies, and global commerce; and attempts in poetry and prose to represent personal experiences, or the "inner life," of empires. We will be reading works by British, Irish, French, and Indian writers such as Laurence Sterne, Samuel Foote, Adam Smith, Edmund Burke, Denis Diderot, Maria Edgeworth, Lady Morgan, Sir Walter Scott, George Sand, T.B. Macaulay, Robert Louis Stevenson, Rudyard Kipling, Rabindranath Tagore, and Joseph Conrad. We will also be looking at recent scholarly debates from various disciplinary angles in literary studies, political theory, history, and postcolonial studies. (A)

Instructor(s): J.Pitts, J. Chandler     Terms Offered: Spring
Equivalent Course(s): CDIN 53530,PLSC 53530

ENGL 68600. Classical Film Theory. 100 Units.

This course examines major texts in film theory from Vachel Lindsay and Hugo Münsterberg in the 1910s through André Bazin's writings in the 1940s and 1950s. We will devote special attention to the emergence of issues that continue to be of major importance, such as the film/language analogy, film semiotics, spectatorship, realism, montage, the modernism/mass culture debate, and the relationship between film history and film style. We will concentrate on the major theoretical writings of Münsterberg, Rudolf Arnheim, Jean Epstein, Sergei Eisenstein, Siegfried Kracauer, Bela Balazs, Bazin, as well as writings by Walter Benjamin, Germaine Dulac, Maya Deren, Jean Mitry, Vsevolod Pudovkin, and others.�

Instructor(s): Jim Lastra     Terms Offered: Winter
Equivalent Course(s): CMST 67200