Why does language change? How did English get where it is today? To find out, we will begin around 5,000 years ago, studying the common ancestor of languages as different as English, Hindi, and Russian: Proto-Indo-European. We will learn about the Proto-Germanic roots of English, then turn to the earliest written evidence of it: “Anglo-Saxon” or “Old English,” ca. 600-1100. The language was transformed in the wake of the Norman Invasion of 1066, as English became the third of three languages in England: lowlier than both Anglo-Norman French and Latin. Next, we will learn about the re-emergence of English as a literary language in the age of Chaucer (Middle English) and Shakespeare (Early Modern English), as well as the role of the printing press in shaping the language. Finally, we will explore processes of standardization, hybridization, and diffusion as we track some of the complex linguistic and cultural effects of English’s spread across the globe over the course of the past 450 years.

BUILDING: | ROOM:

What did drama look and feel like in the Middle Ages? How much can we know about performances that took place well over 600 years ago? We have two main goals ahead of us in this course: to read the major extant works of drama in Middle English, and to stage a medieval play. Along the way, we will discuss the texts themselves, the manuscript history of the surviving plays, their performance history, their relation to drama on the Continent, the religious opposition to them, sixteenth-century attempts to de-Catholicize them, their ultimate suppression after the Reformation, and their revival in twentieth-century England and North America.

BUILDING: | ROOM:

This course will examine the literary career of John Milton, paying special attention to Paradise Lost, his epic poem depicting Satan's temptation of Adam and Eve. Milton thrived as a poet and polemicist during a time (not unlike our own) of political upheaval, religious controversy, and scientific discovery, and we will consider how his writings both reflect and redirect these larger cultural currents. Students will read Milton’s major lyric, epic, and dramatic poetry and a selection of his prose, including his influential attack on state censorship (Areopagitica) and his still-radical defenses of revolutionary action. This course fulfills the Pre-1800 requirement for English majors.

BUILDING: LCHAS | ROOM: 148

This class will delve into the work of the so-called “metaphysical poets,” a group of English poets writing in the early and mid-seventeenth century, including John Donne, George Herbert, Henry Vaughan, Thomas Traherne, and Andew Marvell. These poets are noted for their intense, passionate style of intellectual play, wildness of metaphor, density of argument, and dramatic force of language. Their poems range from the secular to the sacred, from bluntly erotic poems to poems of spiritual struggle and cosmological fantasy. We will also be looking at sonnets by William Shakespeare, and read prose works by Donne and Sir Thomas Browne. The metaphysicals have been a continual provocation to modern poets, from T. S. Eliot to Elizabeth Bishop and John Ashbery, and we’ll be looking at some of these responses as well. Relevant cluster: Poems, Poetry, and Poetics (H1ENG012). Counts for pre-1800 requirement in the English major.

BUILDING: | ROOM:

The Victorian period was a time of great scientific discovery: new medical theories of the body and human consciousness, radical experiments in mesmerism and telepathy, changing ecological ideas of energy, as well as the rise of evolutionary biology, anthropology, and economics. In this course we will examine a wide range of writers from the Victorian period who responded to the emerging scientific theories of their day through their literary works (e.g., Thomas Hardy, Alfred Lord Tennyson, John Ruskin, Wilkie Collins, George Eliot, and others). We will discuss the many ways that these literary figures participated in the scientific debates of their time and investigate the relationship between literary experiment and scientific experiment. Fulfills the post-1800 requirement. No prerequisites.

BUILDING: MOREY | ROOM: 303

The nineteenth-century novel is usually associated with Victorian values: happy marriage; wholesome homes; moral propriety; properly channeled emotions and ambitions. Many of the most popular novels, however, paint a very different picture: with madwomen locked in attics and asylums; monsters, real and imagined, lurking behind the facade of propriety; genteel homes harboring opium addicts; fallen women walking the streets; and sexual transgression and degeneracy popping up everywhere. Indeed, for novels centrally structured around marriage and society, madness and monstrosity appear with alarming regularity. The intertwining of these tropes suggests some of the cultural anxieties unleashed by the new body of women writers and women readers. We will begin with Frankenstein and end with Dracula, two novels from opposite ends of the century. We will also consider such classic marriage plot novels as Pride and Prejudice and Jane Eyre and some popular sensation fiction of the 1860s.

BUILDING: MOREY | ROOM: 502

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.

BUILDING: | ROOM:

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.

BUILDING: | ROOM:

Shakespeare tells us that "All the world's a stage, and all the men and women merely players." But what kind of stage is our world? And what sort of players are we? This class will take up such questions through the interdisciplinary field of performance studies. We will examine topics ranging from self expression and gender performance to forms of ritual and collective action. This course will be taught in English.

BUILDING: | ROOM:

ENG 440M is 1-credit course restricted to students enrolled in the 4-credit ENG 440. Please consult with your ENG 440 instructor to determine the work required for ENG 440M.

BUILDING: | ROOM:

George Eliot (aka Mary Ann Evans) is considered one of the great novelists of the English language, influencing writers from Henry James and Virginia Woolf to contemporary writers like A.S. Byatt and Zadie Smith. As Smith writes, what contemporary novelists inherit from Eliot is a “radical freedom to push the novel’s form to its limits.” But Eliot was not only a great novelist but also a formidable intellectual, one who translated German philosophy and wrote essays on art, literature, and religion. In this class we will read a range of Eliot's writings in order to consider fully her contributions as a novelist and thinker. Students will gain a firm grasp of Eliot’s major novels and be able to situate her fiction and essays in relation to nineteenth-century aesthetics, philosophy, and science

BUILDING: LATT | ROOM: 431

This course uses literature to analyze social behavior, specifically processes of inclusion and exclusion. How communities are constructed, around what signs and sets of practices, and the role that exclusion plays in defining a community are topics we will explore. What does it mean to belong? To be excluded? And just how stable are these categories? Literature from a variety of traditions, historical periods, and genres will provide examples, case histories, and a vocabulary with which such social phenomena can be discussed. Texts include Beowulf, John Gardner’s Grendel, Nathaniel Hawthorne’s The Scarlet Letter, Seamus Heaney’s The Cure at Troy, Amin Maalouf’s In the Name of Identity, Toni Morrison’s The Bluest Eye, Peter Shaffer’s Equus, Virginia Woolf’s A Room of One’s Own, Richard Wright’s Black Boy, and more. Course requirements include two essays, bi-weekly response papers, and class participation.

BUILDING: LCHAS | ROOM: 103

More broadly, a study of the gray zone between short story and novel, containing many ambiguous labels (long short story, novella, short novel). The course will interrogate various boundaries -- When does a short story become a novella? When does a novella become a novel? -- and locate answers not merely in word count, but in reader experience and expectation. Because of the (relative) brevity of these in-between texts, the course will cover much stylistic and geographic ground. Author list may include: Franz Kafka, Philip Roth, Don DeLillo, Carson McCullers, Nathanael West, Gabriel García Márquez, Henry James, George Saunders, Ethan Canin, Aleksandar Hemon, William Gass, Flannery O'Connor, Cynthia Ozick, and Joseph Conrad.

BUILDING: MEL | ROOM: 206

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.

BUILDING: | ROOM:

This 4-credit intersession course will be conducted in London, UK, from December 26, 2018–January 6, 2019. 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. The fee total is $2850

BUILDING: | ROOM:

PREREQUISITES: Instructor's permission is required. The fee for the course is $2550.

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.

BUILDING: | ROOM:

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

BUILDING: GEM | ROOM: CURT

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.

BUILDING: | ROOM:

This course provides a transnational survey of film history, examining the technical and formal aspects of the medium in its production and exhibition. As we explore the development of cinema during this period, we will address a number of aesthetic and technological issues. For example, how did the development of sound technology affect film form? How did it affect cross-cultural cinematic exchange? What is the significance of genre across various film traditions? What did the studio system contribute to Hollywood's success in the international market? How did immigrant and exiled film personnel shape the industries they joined? Weekly screenings and film journals required.

BUILDING: MOREY | ROOM: 504

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.

BUILDING: | ROOM:

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.

BUILDING: | ROOM:

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.

BUILDING: | ROOM:

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.

BUILDING: | ROOM:

This class explores global trends in film history from 1989 to the present. In considering the contemporary period of cinema, we will look at the technical, social, and formal aspects of the medium. Of particular interest will be new digital technologies for production, post-production, and exhibition in both commercial and independent filmmaking (e.g., CGI, HD, Motion Capture, High Frame Rate), all of which are linked to a network culture that emerges after 1989. We will also focus on geopolitical developments and social upheavals such as the end of the Cold War, the events of September 11, 2001, economic and cultural globalization, and the post-2008 financial crisis as all of these altered various national/regional cinemas and genres (e.g., the spy film, the horror movie, the comedy-drama, and action movies). We will screen the works of major figures in late twentieth century and early twenty-first century world cinema from the United States, China, and Hong Kong to Palestine, Iran, India, and Senegal.

BUILDING: MOREY | ROOM: 504

ENG 461M is 1-credit course restricted to students enrolled in the 4-credit GER 461. Please consult with your GER 461 instructor to determine the work required for ENG 461M.

BUILDING: | ROOM:

ENG 461M is 1-credit course restricted to students enrolled in the 4-credit GER 461. Please consult with your GER 461 instructor to determine the work required for ENG 461M.

BUILDING: | ROOM:

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.

BUILDING: | ROOM:

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.

BUILDING: | ROOM:

Understanding social psychology of modern & contemporary Western/American family experience, & especially its means of abetting the concealment, repression, & suppression of people's emotional lives. Study of the films combines with the readings seek to develop critical understanding of the nuclear family & the conditions it may create for child-rape, racism, homophobia, murder & self-destructive behavior such as substance abuse, self- mutilation, & suicide. Sometimes the violence is arbitrary, sometimes inevitable, sometimes incomprehensible. Each case the course's attention is on the personal & collective machineries of repression, resulting rage in many individuals & frequent (now often familiar) violent results. Readings incl; Nancy Chodorow, Alice Miller, Kristin Kelly, & Stephanie Coontz. Films are taken from: A Price Above Rubies, A Thousand Acres, All My Sons, American Beauty, American History X, Bastard out of Carolina, Crimes & Misdemeanors, Dolores Claiborne, and others.

BUILDING: MOREY | ROOM: 501

This course explores Hollywood's current fascination with race and gender as social issues and spectacles. In particular, we will focus on the ways that social difference have become the sites of increasingly conflicted narrative and visual interactions in our films. To examine competing representations of racial difference and sexual difference in contemporary US culture, we analyze popular films of the 1980s and 1990s, from thrillers to action films to comedies.

BUILDING: MOREY | ROOM: 504

Restricted to Selznick Students

BUILDING: GEH | ROOM:

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.

BUILDING: | ROOM:

Restricted to Selznick Students

BUILDING: GEH | ROOM:

Restricted to Selznick Students

BUILDING: GEH | ROOM:

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.

BUILDING: RRLIB | ROOM: PLUTZ

Poems, as William Carlos Williams once said, are machines made out of words, and in this advanced poetry workshop we will work on making the most gorgeous, gripping, and efficient machines possible. To that end, we will read both one another's poems and poems by established authors, in either case paying attention to the ways in which the authors harness aspects of their medium, the English language: syntax, diction, rhythm. The poems we write may take any shape, any form, but we will work towards understanding why a particular poem must take the shape it has; we will pay attention not so much to what the poems say as to how they say it. Requirements: weekly writing and reading assignments, revisions of assignments, devoted participation in class discussions, a final project.

BUILDING: LCHAS | ROOM: 181

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.

BUILDING: RRLIB | ROOM: PLUTZ

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.

BUILDING: | ROOM:

Credit to be arranged.

BUILDING: | ROOM:

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

BUILDING: | ROOM:

See English Department website for description

BUILDING: MOREY | ROOM: 403

See English Department website for description

BUILDING: MOREY | ROOM: 403

No description

BUILDING: MOREY | ROOM: 403

Toril Moi, in her book, Revolution of the Ordinary (2017) has urged ordinary language as a framework for the study of literature. This sense of language highlights speakers and uses in all contexts. Moi and Rita Felski also consider how this view of language overrides the traditional “hermeneutics of suspicion”--a way of reading that separates “meaning” from observable language, that meaning is occult, or that it needs to be recovered from texts and speech. Both critics urge a renewed respect for the experience and contexts of reading, for how different constituencies read and talk about literature through tropes of common sense, local interest, and collective purpose. We consider, in the light of 20th century criticism and theory, how this perspective on literary study has come about. We review New Criticism and early statements by feminist and critics of color that led to Moi’s and Felski’s proposals. Students are invited to propose texts to be read as “ordinary literature.”

BUILDING: MOREY | ROOM: 403

No description

BUILDING: | ROOM:

TEACHING EXPERIENCE BEYOND 2ND YEAR PEDAGOGY TRAINING

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

Credit to be arranged.

BUILDING: | ROOM:

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

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM:

No description

BUILDING: | ROOM: