"To men I shall speak wisdom where none speak a word on earth; though sons of land-dwellers now eagerly seek after my tracks, I sometimes hide my path from everyone." Riddle 94 of the Exeter Book. In following the dark tracks of the Old English writers who left their almost unrecognizable English words on tenth-century vellum, we will have to acquire skills and tools. This course will ask you to learn the Old English language, but translations will also be provided for most of the texts as a guide only. With these in hand, we will explore the dark world of Anglo-Saxon writing for its illuminations, but our emphasis will be on loss, love, hardship, riddle, wisdom, and the spiritual and magical powers of writing in a culture that stood on the cusp of orality and literacy. Texts: King Alfred, The Chronicles, Aelfric's "Preface to Genesis," "The Wanderer," The Seafarer," "The Wife's Lament," "Wulf and Eadwacer," "Gnomes," "Enigmas," "The Battle of Maldon."

BUILDING: LATT | ROOM: 431

ENG 401M is 1-credit course restricted to students enrolled in the 4-credit ENG 401. Please consult with your ENG 401 instructor to determine the work required for ENG 401M.

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Eve let the Devil through the door, and her punishment was terrible pain in childbirth: for the vagina is a crossroad between the external and the internal. Todd Akin’s now infamous remark about female physiology reveals a misconception about conception that goes back to the Middle Ages exposing the patristic need to control female reproduction. This course examines medieval and later texts where the feminine and the monstrous intersect: the female body is porous, secretive, associated with the abject, the messy, and all the more horrifying when it’s not constrained socially and politically. We'll look at the “monstrous feminine” in the evil mother, the temptress, the hag, the witch, the fairy and the shapeshifter in Eve, Medea and Melusine; the vetula, the “loathly lady”; Sheela na Gig, Malleus Maleficarum, De Secretis mulierum, “Duessa” and “Error” in Spenser’s Faerie Queene, “Sin” in Milton’s Paradise Lost, films about monstrous mothers, and articles from Cohen, Kristeva, Miller, Urban and Creed.

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An intellectual history and critical investigation of the books of god and nature.

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ENG 406M is 1-credit course restricted to students enrolled in the 4-credit ENG 406. Please consult with your ENG 406 instructor to determine the work required for ENG 406M.

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ENG 406M is 1-credit course restricted to students enrolled in the 4-credit ENG 406. Please consult with your ENG 406 instructor to determine the work required for ENG 406M.

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The class will explore the full range of Shakespeare's theater, including examples of history plays, comedy, tragedy, and romance. We’ll be approaching the plays from many angles, looking at their stark and extravagant language, their invention of complex, conflicted human characters, their analyses of the worlds of politics and war, their self-conscious theatricality, as well as their ways that they join together play and seriousness, the tragic and the comic. We’ll discuss the plays’ fascination with madness and delusion, the work of dreams, as well as their interest in ghosts, witchcraft, and magic. We will look at Shakespeare in both his own time and ours, to help think about why the work still speaks to us so powerfully. Plays to be read include A Midsummer Night’s Dream, Henry IV, Twelfth Night, Macbeth, King Lear, Coriolanus, The Winter's Tale, and The Tempest. Fulfills pre-1800 requirement for the English major. Applicable clusters: Great Books, Great Authors, and Plays, Playwrights, and Theater.

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ENG 410M is 1-credit course restricted to students enrolled in the 4-credit ENG 410. Please consult with your ENG 410 instructor to determine the work required for ENG 410M.

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This course examines the literature and culture of the Victorian period. The Victorian period was not only an era of rapid modernization, imperialist expansion, and scientific advance, it also bore witness to class tensions, urban poverty, religious doubt, and political upheaval. This turbulent era also saw the rise of numerous great literary figures (e.g. Charles Dickens, George Eliot, Alfred Lord Tennyson, Robert Browning, Oscar Wilde, and Walter Pater). In this course we will explore many of these well-known Victorian poets, novelists, and essayists, examining how the intellectual preoccupations and aesthetic strategies of these writers responded to their historical and cultural moment. Fulfills the post-1800 requirement. No prerequisites.

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ENG 421M is 1-credit course restricted to students enrolled in the 4-credit ENG 421. Please consult with your ENG 421 instructor to determine the work required for ENG 421M.

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Opium-induced fantasies. Detectives investigating violent crimes. Prostitutes lurking city streets. These are not the things that immediately come to mind when one thinks of nineteenth-century British literature—a literature more typically associated with poets writing meditative poems about nature or marriage-plot novels expressing conservative attitudes toward gender and sexuality. But nineteenth-century British literature was also deeply interested in representing various types of behavior that British society deemed to be dangerous and transgressive: prostitution, homosexuality, drug addiction, and urban crime. In this course we will read a number of major nineteenth-century authors (e.g. Thomas DeQuincey, Samuel Taylor Coleridge, Sir Arthur Conan Doyle, Christina Rossetti, Oscar Wilde) and examine a variety of genres, from poems and essays to detective novels as they explored the underbelly of British society. Fulfills the post-1800 requirement. No prerequisites.

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ENG 423M is 1-credit course restricted to students enrolled in the 4-credit ENG 423. Please consult with your ENG 423 instructor to determine the work required for ENG 423M.

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We will investigate the peculiar quality of romanticism and the particular achievement of writers during the American Renaissance, which occurred in the United States in the decades before the Civil War. Three capacious topics will organize discussions: nature and art, society and history, and individuals and communities. We will read works by Emerson, Thoreau, Fuller, Melville, Poe, Douglass, Hawthorne, Jacobs, Stowe, Whitman, and Dickinson. Of particular interest throughout the term will be the hopes that American romantic artists invested in literature as a crucial part of the nation's life and as an indispensable resource for America's people. We will also consider the ways in which literature reflected upon and responded to the social and political crises that threatened the nation’s existence and changed its character.

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ENG 425M is 1-credit course restricted to students enrolled in the 4-credit ENG 425. Please consult with your ENG 425 instructor to determine the work required for ENG 425M.

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When the now-classic novels of writers like James Joyce, Virginia Woolf, and D. H. Lawrence were published in the first part of the 20th century, readers were shocked by both their style and content. In the face of revolutionary upheavals in social and political life and in the understanding of human psychology and personal relationships, these writers proclaimed the end of fiction as we know it. Exploring the limits and possibilities of language and form, they called into question the very idea of “the novel” and its appropriate subject matter. Looking back from our vantage in the 21st century, we will reassess what made these novels appear so shocking. Pairing earlier twentieth-century works with novels from the second half of the century, we will also look at the way later writers revised the idea of modern consciousness and the fiction appropriate to it and at the ways they responded to the post WWII remapping of the British Empire and to the construction of postmodern and postcolonial identities.

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ENG 431M is 1-credit course restricted to students enrolled in the 4-credit ENG 431. Please consult with your ENG 431 instructor to determine the work required for ENG 431M.

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The first half of the twentieth century witnessed a rejuvenation of poetic language so startling and so lasting that we still, a hundred years later, refer to those poets as the Moderns. This course will concentrate on the most provocative of those poets (Eliot, Frost, H.D., Moore, Pound, Stevens, Williams), reading their often wildly experimental work within the context of the literary and cultural history of the period.

BUILDING: LCHAS | ROOM: 104

ENG 433M is 1-credit course restricted to students enrolled in the 4-credit ENG 433. Please consult with your ENG 433 instructor to determine the work required for ENG 433M.

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As the most famous artist of the second half of the twenthieth century, Warhol has been the subject of a growing literature that expands upon art history and criticism to encompass queer theory and cultural studies. But the most important shift in Warhols reception has been brought about by the restoration and return to circulation of his prolific film output from the years 1963-69. The films will be the main focus of this course, but we will also consider Warhols early work as a fashion illustrator, his entrepreneurship at the Factory, his voracious collecting, and, of course, his paintings. We will read Warhols writings, including A a Novel. The Philosophy of Andy Warhol, and Popism; and we will examine new approaches to Warhol and ask how they illuminate not only the art but also such issues as consumption, publicity, visibility, celebrity, sexuality, identity, and selfhood.

BUILDING: MOREY | ROOM: 524

Blending satire with happy endings, crossing irony with romance, Jane Austen's novels subsist on contradiction and enjoy more popularity than ever. This course will read Austen's work closely, while also considering it against the backdrop of other literature of the time. Readings include Austen's juvenilia, Pride and Prejudice, Mansfield Park, Emma, and Persuasion, as well as works by such authors as Alexander Pope, Samuel Johnson, Frances Burney, Maria Edgeworth, and Mary Shelley. This course can fulfill the pre-1800 requirement for the English major.

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An isolated country parsonage. A half mad father. A profligate brother addicted to drugs. Three uniquely gifted sisters who burned their hearts and brains out on the moors, but not before leaving us some of the most passionate and revolutionary literature of the 19th c. This is the stuff of the Brontë legend. This course will explore the continuing appeal of the Brontës and the peculiar fascination that they have exercised on the literary imagination. Looking intensively at some of the best-loved novels of all time, we will explore the roots and reaches of the Brontë myth. We will also consider the Brontës’ legacy in in some of the many adaptations (and continuations) of their work in print and on the screen. And we will look at our seemingly insatiable appetite for new tellings of the Brontës’ life stories. The course, then, will consider not the only the Brontës’ literary productions, but also our culture’s production and reproduction of “the Brontës” over the years.

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ENG 443M is 1-credit course restricted to students enrolled in the 4-credit ENG 443. Please consult with your ENG 443 instructor to determine the work required for ENG 443M.

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ENG 443M is 1-credit course restricted to students enrolled in the 4-credit ENG 443. Please consult with your ENG 443 instructor to determine the work required for ENG 443M.

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Despite being misunderstood as the most infantile of genres, comic books have recently proven themselves capable of astonishing artistic achievements and of infiltrating both Hollywood and academia. This course has three parts: 1) a formal analysis of the art of comics, a combination of text and image used to tell a story; 2) a cultural history of comic books, from their modern origins during the Great Depression to the 21st Century; and 3) close readings of important primary works in the field, including Howard Cruse’s Stuck Rubber Baby, Neil Gaiman’s The Sandman, Alan Moore & David Gibbons’ Watchmen, Marjane Satrapi’s Persepolis, Sonny Liew’s The Art of Charlie Chan Hock Chye, and more. Course requirements include class participation, bi-weekly 1-page reading responses, a mid-term examination, and a final paper.

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This course offers an overview of satire from Ancient Greece to the present, focusing on the “Golden Age” satirists of 17th and 18th century Britain (Dryden, Swift, Pope, Austen, and others). We will read and closely analyze some of the most lasting (and funniest) satires ever written. From these sources, our conversations will open onto big questions. What is satire? Is it a genre? A form? A mode? An attitude? What are satire’s historical and psychological roots, and what might these reveal about its past and present functions? How can we account for the close relationship of satire to rhetorical power? To social psychology? To the news? And what is the nature and role of satire in today’s political climate?

BUILDING: HYLAN | ROOM: 203

ENG 445M is 1-credit course restricted to students enrolled in the 4-credit ENG 445. Please consult with your ENG 445 instructor to determine the work required for ENG 445M.

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ENG 445M is 1-credit course restricted to students enrolled in the 4-credit ENG 445. Please consult with your ENG 445 instructor to determine the work required for ENG 445M.

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In the 1970's the matter of whether gendered discourse exists, and if so what it is, was posed by several researchers. Each of these researchers described how language uses are political, and they insisted that the discussions of gender and language acknowledge the political values that affect the uses of language. Although there is no established "theory" of language and gender, several sources in modern and contemporary literature and popular culture have portrayed situations in which it is possible to relate language uses to political manifestations of gender. A most effective recent text in this regard is the current Showtime series, "Masters of Sex." The reading list has three kinds of texts: (1) The early language studies by Lakoff, Spender, and Tannen; the discussion of the Thomas hearing by Lakoff and by Morrison; the language of law, using essays by Susan Estrich and Patricia Williams; (2) novels that highlight the political valences of language use; and (3) contemporary TV series and films.

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ENG 449M is 1-credit course restricted to students enrolled in the 4-credit ENG 449. Please consult with your ENG 449 instructor to determine the work required for ENG 449M.

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Our readings and exchanges will address the appeal and impact of outlaws who transgress the ideals and normative standards of a society, and yet reign as celebrities and super-heroes within mainstream media. We will pursue Robin Hood as a media creature, alive first in ballads and songs, throwaway broadsides and chapbooks, woodcuts and tabloid memoirs. We will end with film and video, from silent movies, blockbusters, and animation through network and cable TV, YouTube, and digital formats. We will try to unravel such issues as what drives or even justifies acting against or outside the law? In what ways does official culture generate resistance, and bring the (noble) outlaw into being? Why and how do mainline popular culture and commercial entertainment celebrate defiance of the law? Each student will work with original materials from 18th-20th century popular culture, producing written analyses as well as digital images, reconstructions, and projects for the course website.

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ENG 451M is 1-credit course restricted to students enrolled in the 4-credit ENG 451. Please consult with your ENG 451 instructor to determine the work required for ENG 451M.

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This 4-credit intersession course will be conducted in London, UK, from December 26, 2017–January 7, 2018. Attending two plays per day with a seminar discussion each morning, students in this course are exposed to a full range of theatre experiences, from intimate theatre-in-the-round to monumental productions at the National Theatre, and from West End spectaculars to cutting-edge works mounted in post-industrial spaces. See the link on the English Department homepage to find the course's website, which describes the program in greater detail and contains syllabi from the past 25+ years. Need-based financial aid is available.

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PREREQUISITES: Instructor's permission is required. The fee for the course is $2850.

ENG 452M is 1-credit course restricted to students enrolled in the 4-credit ENG 452. Please consult with your ENG 452 instructor to determine the work required for ENG 452M.

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Intro to history, technology, cultural significance of motion pictures of the "pre-sound" era, screenings of 35mm prints accompanied by live music in the Dryden Theatre. Special attention to major pioneers, Dickson, Porter, Lumière, Méliès, and Griffith, including a variety of internationally produced films selected from the world-famous archival film collection of the George Eastman House. Same as FMS 247

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ENG 455M is 1-credit course restricted to students enrolled in the 4-credit ENG 455. Please consult with your ENG 455 instructor to determine the work required for ENG 455M.

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This course will explore developments in world cinema—industrial, social, and political—from 1959 to 1989. It will explore film aesthetics, technologies, and circulation questions, considering questions like the following: What’s new about the French New Wave? What do we mean by Third Cinema? How do different national cinemas influence each other? In what ways have various national cinemas responded critically to Hollywood’s commercial dominance and to its conventions? How do popular and “art” cinemas speak to each other. How does cinema respond to the pressures and provocations of other media at the inception of the digital age? Weekly screenings and film journals required.

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ENG 457M is 1-credit course restricted to students enrolled in the 4-credit ENG 457. Please consult with your ENG 457 instructor to determine the work required for ENG 457M.

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This course offers 1) a comprehensive “grass roots” study of anime as film form and cultural phenomenon; and 2) a more specific and guided investigation of the work of Hayao Miyazaki and the world view and visual sensibilities of his creation, Studio Ghibli. We begin by investigating where anime comes from: historical precedence, significant sources, defining influences and routes of cultural exchange. We then focus on Miyazaki’s work and the Ghibli corpus in order to examine the specifics of animated cinematic construction that distinguish his work (e.g., iconography, visual landscape, character design, narrative tropes, music); methods of adaptation, influence, and genre variation; reception and fan culture; and anime’s potential for providing unique perspectives on race, gender, landscape, identity, and Japan's historical and mythological past. NO AUDITS.

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ENG 458M is 1-credit course restricted to students enrolled in the 4-credit ENG 458. Please consult with your ENG 458 instructor to determine the work required for ENG 458M.

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A focused study of Godzilla on film, beginning with the 1954 film that inspired and helped define the Japanese kaiju eiga genre. The larger context of the course is a critical investigation of genre film, specifically the science-fiction/horror/creature-feature film, and a careful consideration of the “culture of war” (World War II through 21st century). We begin with a sampling of seminal non-Japanese titles that provided the foundation for the Godzilla film paradigm, then focus on a close textual study of select “Godzilla films” that help us understand the historical and social contexts for Godzilla’s erratic trajectory since 1954. Recent DVD releases with both dubbed and original Japanese language versions enable us to dissect the culturally generated permutations of kaiju eiga.

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This course examines the philosophical, aesthetic, and social issues that are central to classical film theory. It traces the historical development of film theory from 1900 to the 1950s. We will begin with on thinkers in the period of early cinema, including Germaine Dulac, Jean and Marie Epstein, and then we will examine the development of film theory in the work of later theorists, such as Jean Mitry, Sergei Eisenstein, Dziga Vertov, Siegfried Kracauer, Walter Benjamin, Andre Bazin and Christian Metz. Weekly screenings of historically contemporary films will allow us to examine the ongoing dialogue between the evolving medium and the developing theoretical discussion.

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PREREQUISITES: FMS 132 - Intro to Art of Film OR FMS 131 - Intro to Media Studies

Taking the inspiration from Martin Scorsese’s anthological film My Voyage to Italy, the course focuses on a few momentous episodes and phenomena of Italian political, social, and cultural history as portrayed and interpreted in film. We will discuss aspects of Risorgimento, Fascism, the World Wars and their aftermath, the culture of individual cities, the contrast between North and South, the condition of women, emigration and immigration, power and repression, spirituality, and secularism. Among the major film directors, we will include Rossellini, Visconti, Fellini, Olmi, and Bertolucci. The analysis of the movies will be integrated with readings from the fields of history, literature, criticism, and theater. A glance at Verdi’s operas in the Nineteenth Century and at the tradition of social song as it develops in the post war period will complement the course. This course is complementary to HIS 228 offered in Arezzo.

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ENG 462M is 1-credit course restricted to students enrolled in the 4-credit ENG 462. Please consult with your ENG 462 instructor to determine the work required for ENG 462M.

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This course examines major historical movements and styles in the documentary film tradition, and explores the migration of documentary across a range of (multi-)media platforms. We will study the expository documentary, ethnographic film, the direct cinema and cinéma vérité movements, documentary’s intersections with avant-garde film, mock documentary and hoax films, personal and autobiographical film and video, animated documentary, and digital interactive documentary media. We will engage with these film and media forms through a variety of approaches: critical and theoretical readings and class discussion, written responses and longer analytical and research-based papers, and hands-on media work including video essays and found-footage editing projects. No previous experience with nonlinear editing systems such as Final Cut Pro is required, but students must be willing to critically and creatively explore nonfiction media as both scholars and makers.

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ENG 465M is 1-credit course restricted to students enrolled in the 4-credit ENG 465. Please consult with your ENG 465 instructor to determine the work required for ENG 465M.

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Restricted to Selznick Students

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ENG 469M is 1-credit course restricted to students enrolled in the 4-credit ENG 469. Please consult with your ENG 469 instructor to determine the work required for ENG 469M.

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Restricted to Selznick Students

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Restricted to Selznick Students

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This workshop is for advanced fiction writers who have completed ENG 121 or have permission from the instructor. The course emphasizes the development of each student's individual style and imagination, as well as the practical and technical concerns of a fiction writer's craft. Readings will be drawn from a wide variety of modern and contemporary writers. Students will be expected to write three original short stories as well as to revise extensively in order to explore the full range of the story's potential. Applicable English Cluster: Creative Writing.

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ENG 475M is 1-credit course restricted to students enrolled in the 4-credit ENG 475. Please consult with your ENG 475 instructor to determine the work required for ENG 475M.

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We consider issues raised in Walter Ong's '82 study, "Orality & Literacy: The Technologizing of the Word." His account related the growth of writing & print to the development of science & modern rational thought, exploring possible changes in collective consciousness as a result of the shift of media emphasis. We'll examine classical sources, incl Plato's suspicion of the power of oral poetry, & consider levels of literacy achieved in ancient society; we'll look at European medieval traditions. Discussions on the roles language & literature played in the lives of non-literate people as contrasted with literate. Study of the modern & contemporary periods focuses on practices as conversation, becoming literate, collection of oral accounts & their uses, uses of ethnographic writing, & different approaches to speech, writing, & language in African American & white communities. Key aim of the course is to show the politics, mutual dependency, & reciprocity of oral/literate uses of language in literary/nonliterary

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ENG 484M is 1-credit course restricted to students enrolled in the 4-credit ENG 484. Please consult with your ENG 484 instructor to determine the work required for ENG 484M.

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This course will introduce students to the theoretical backgrounds, practical challenges,and creative activity of literary translation. We will survey appropriate theories of language and communication including semiotics, post-structuralism, pragmatics, discourse analysis, and cognitive linguistics. We will consider varied and conflicting descriptions by translators of what it is they believe they are doing and what they hope to accomplish by doing it; and we will study specific translations into English from a variety of sources in order to investigate the strategies and choices translators make and the implication of those choices for our developing sense of what kinds of texts translations actually are. Finally, students will, in consultation with the instructor or with another qualified faculty member, undertake exercises in translation of their own. By the end of this class each student should have a working knowledge of both the critical backgrounds and the artistic potentials of translation.

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ENG 487M is 1-credit course restricted to students enrolled in the 4-credit ENG 487. Please consult with your ENG 487 instructor to determine the work required for ENG 487M.

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Introduction to Graduate Studies in English is a semester-long introduction to doctoral study in English.

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At the center of this seminar will be a long, detailed reading of James Joyce's Ulysses, the most difficult and beautiful work of what we've come to call literary modernism. Leading up to our experience of Ulysses, we will read Joyce's A Portrait of the Artist as a Young Man (to introduce ourselves to the world of Joyce) and a selection of Yeats's poems (to introduce us to the world of Anglo-Irish culture); following our experience of Ulysses, we will read two works marked deeply by Joyce's influence: Woolf's Mrs. Dalloway and Eliot's The Waste Land.

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This seminar considers the nature of literature and its place in modern Western society. In particular, we will investigate the long evolution, since the Renaissance, of the discursive category we have come to know as literary and some of the major theoretical statements that have helped define its character. We will trace the shifting relationships of the literary to the real, of creation to representation, of art to politics and ethics, and to belief and skepticism. Texts may include: Montaigne, Sydney, Cervantes, Shakespeare, Machiavelli, Kant, the Schlegels, Hegel, Marx, Flaubert, Poe, Emerson, Whitman, Dickinson, Arnold, James, Bakhtin, Ransom, Adorno, Sartre, Levinas, Derrida, Sedgwick, Butler, Rancière, and Agamben. We will not arrive at a conclusive answer to the familiar question, what is literature? However, students will learn to ask that question with an increased sense of its historical development and with greater scholarly force and theoretical awareness.

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In recent decades, many scholars of literature and other humanists have refocused their attention on a set of connections once consigned to the past: the historical and theoretical links between religion, science, and literary representation. This course introduces several important contexts and critical conversations stemming from these intersections. Areas of focus will include affect theory, post-colonial theory, secularity, and political theology. We will read a number of primary sources, including key texts by Bacon, Hobbes, Leibniz, Locke, Spinoza, and Vico, as well as important critical work by Talal Asad, Saba Mahmood, Charles Taylor, Simone Weil, and others.

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What is contemporary cinema? This seminar will answer this question in two ways. First, we will consider a group of films that embodies some of the technological and aesthetic tendencies of film history from the 1970s to the present. Second, we will consider how cinema functions as a form of contemporary history, with a great deal of emphasis falling precisely on the issue of form. We will therefore delve into how films historicize the present not only through the representation of events central to the contemporary period, but also through narrative structure, visual style, performative qualities, generic choices, and media aesthetics. Focused heavily on the close reading of films, the seminar will also engage with salient scholarship in film and media studies; critical work in time studies, especially its attempt to understand contemporaneity; and relevant historiography regarding the contemporary period.

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Credit to be arranged The following courses may be taken for four hours of graduate credit.

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