Graduate Seminar Descriptions: Fall 2018
ENG 516 THE UTOPIAN IN ENGLISH RENAISSANCE WRITING
Instructor: R. Kegl
This course is organized around the interpretive power of the utopian. First we consider how the utopian figures in a selection of prose fiction, verse, and plays from the sixteenth and seventeenth centuries.
We focus on the literary and social impulses that animate writing typically categorized as utopian like More’s Utopia and Bacon’s New Atlantis. And we also focus on the utopian tendencies within English Renaissance writing, more generally. Our
authors include Bacon, Brome, Cavendish, Godwin, Jonson, Lanyer, Marvel, Milton, More, and Shakespeare. Second, we consider the interpretive power of the utopian in English Renaissance studies and in the theories of literary and social analysis to which English
Renaissance scholars are indebted. We sort through the applied criticism and theoretical arguments of writers like Bartolovich, Bloch, Empson, Frye, Grady, Halpern, Jameson, Kendrick, Lukacs, Marin, Marx, Moretti, and Williams.
Our focus on the utopian allows us to discuss a number of interpretive issues not restricted to English Renaissance studies, including how we assess the persuasiveness of literary analysis; how we move between
theoretical arguments and applied criticism; how scholars have argued for the relationships among literature, other forms of culture, politics, and economics; and how literary critics have incorporated historical scholarship into their analyses.
ENG 551 ORDINARY LITERATURE
Instructor: D. Bleich
Toril Moi, in her book, Revolution of the Ordinary (2017) has recently emphasized ordinary language in the study of literature and the humanities. This sense of language focuses on use, actual function for every speaker, common sense, and everything people ordinarily say and write. In addition, she and Rita Felski have suggested how this view of language overrides the traditional “hermeneutics of suspicion” a way of reading that views “meaning” as separate from observable language, that meaning is occult, or that it needs to be recovered from texts and speech. Both critics urge for the study of literature and the humanities 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.
In this seminar, we consider, in the light of 20th century criticism and theory, how this perspective on literary study has come about. We practitioners of criticism have moved from a respect for its aesthetic and formal features in the mid 20th century to a study of its political valences, uses, and effects in the present century. We review principles of New Criticism, its sacralization of texts, its emphasis on “greatness” of both works and writers, toward its gradual replacement by reading practices emphasizing language and politics of literary texts, and the desacralization of texts. The use of the religious term “canon” has diminished as a much broader, popular, and ordinary sense of language and literature has come to the fore in teaching and scholarship. We consider how Toni Morrison’s criticism (including the recent The Origin of Others ) teaches how to view the political reference (not ideology) of any work of literature; we consider Judith Fetterley’s concept of “immasculation” (becoming immersed in male supremacist thinking about language and literature); and the gradual increase in the diversity of those teaching literature who have brought new genres to public attention. The broad generic variation of texts now commonly considered in the study of literature and the humanities corresponds with the sense of “ordinary language” discussed by Moi and with the recession of the hermeneutics of suspicion.
Having considered the work of Moi and Felski, having reviewed some of the features of 20th century critical practice, we will read works by, for example, Harold Pinter and Toni Morrison to try to get a feel for the changes proposed by the foregoing critics. Some of these changes have resulted in the blurring of received genres such as autobiography and memoir, challenging the clear definitions of terms like “fiction.” Inclusion of visuals and other graphics also have created new genres to be recognized. Students are invited to propose authors to be read as ordinary.