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English Graduate Courses Fall 2011

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ENGL 4003 History of Literary Theory

(A-F)

34098 -001 LEC , 09:45 A.M. - 11:00 A.M. , Tu,Th (09/06/2011 - 12/14/2011) , Lind Hall 216, TCEASTBANK , Farber,Lianna , 3 credits

This course explores some of the major questions about literary theory that preoccupied important thinkers from antiquity through modernism by looking at how they posed and answered questions about language (how words mean), audience (to whom they mean) and the literary (how literary writing differs from other forms of writing). We will begin by examining how theorists thought that words bear meaning: when, for example, can words carry more than their literal meaning? Must they always carry more than their literal meaning? If and when they do carry "extra" meaning, how do we know what to understand? Next, we will look to questions of audience: who is the implied audience for literature? Is the implied audience necessarily male? Is the audience's understanding of a work of literature the same as the author's? how can the author manipulate understanding? What is the relationship between literature and rhetoric? Finally, we will explore these theorists' understanding of what literature is and how it differs from other kinds of writing. Readings will include works by Plato, Aristotle, Augustine, Christine de Pizan, Dante, Sidney, Behn, Wordsworth, Coleridge, Shelley, and Woolf.

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ENGL 4090 General Topics

(max crs 12; 3 completions allowed)

35424 -001 LEC , 11:15 A.M. - 12:30 P.M. , Tu,Th (09/06/2011 - 12/14/2011) , LindH 315 , TCEASTBANK , Clayton,Tom , Wit & Humor in a Jugular Vein: Bierce, Crane, Wilde , 3 credits
Meets with: ENGL 3070 section 001

These three fin-de-siecle wits and satirists were all gifted writers, natural ironists, and perceptive critics of literature, culture, society, and more: Americans Ambrose "Bitter" Bierce (1842-1914?) and Stephen Crane (1871-1900), and the Irishman translated from Dublin to London, Oscar Wilde (1854-1900). As writers persistently neglected in the U.S., Bierce and Crane will receive more attention, but Wilde has an important complementary place in the company and the course. All three had extensive transatlantic experience, and ironically or not all three died in foreign lands: Bierce in Mexico (?), Crane in Germany, and Wilde in France. Most of the readings are in short forms in which irony and wit are at their most concentrated and trenchant, notably Bierce's Unabridged Devil's Dictionary, 'An Occurrence at Owl Creek Bridge,' and selected other works; Crane's poems in The Black Riders and War Is Kind, and others; and extracts and selections from the wit and humor of Wilde. Bierce defines cynic as 'a blackguard whose faulty vision sees things as they are, not as they ought to be.' The three range characteristically from the keenly wry to the darkly sardonic in expression. Their concern with the human condition is broad and searching, and they write satire partly in the spirit of Byron's Don Juan's 'If I laugh at any mortal thing, `Tis that I may not weep.'

35425 -002 LEC , 02:30 P.M. - 03:45 P.M. , Tu,Th (09/06/2011 - 12/14/2011) , LindH 315 , TCEASTBANK , Scandura,Jani , North American Imperialisms & Colonialisms , 3 credits

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ENGL 4152 Nineteenth Century British Novel

(A-F )

23637 -001 LEC , 12:45 P.M. - 02:00 P.M. , Tu,Th (09/06/2011 - 12/14/2011) , LindH 320 , TCEASTBANK , Hirsch,Gordon D, 3 credits

A survey of some representative 19th-century British novels. Likely readings are Pride and Prejudice, Jane Eyre, Hard Times, Cranford, The Moonstone, Middlemarch, Tess of the d’Urbervilles, and two South Sea novellas by Robert Louis Stevenson (The Ebb-Tide and The Beach of Falesà). We will discuss the writers’ responses to such topics as “the condition of England,” genre, gender, the exotic, and the functions of literature and culture in the context of 19th-century Britain. Course requirements include brief oral reports, participation in discussion, and four short papers.

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ENGL 4311: Asian American Literature and Drama

23638 -001 LEC , 02:30 P.M. - 03:45 P.M. , Tu,Th (09/06/2011 - 12/14/2011) , LindH 303 , TCEASTBANK , Lee,Josephine D , 3 credits

This course focuses on the literary and theatrical contributions of American artists of Asian descent. Through these novels, memoirs, poetry, stories, and plays, we can understand the particular connections between literary form, expression, and production and the social formations of race, ethnicity, nationalism, class, gender, and sexuality.

Asian Americans come from a diverse range of national and cultural backgrounds; likewise their literature and drama presents many different perspectives and experiences. This course will not attempt a survey of these works; rather our readings and discussions will reflect particular preoccupations that regularly surface in these works. These include migration (and its accompanying states of disorientation and acts of reinvention), racism and stereotypes, the “road trip,” and redefining home. We’ll pay special attention to Asian American experiences in Minnesota and other parts of the Midwest.
Meets with: AAS 4311 section 001

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ENGL 4605 Social Variation in American English

( credit will not be granted if credit received for: EngL 3605W, 4605W, and 5605)

35331 -001 WKS , 06:00 P.M. - 09:20 P.M. , M (09/06/2011 - 12/14/2011) , FordH 170 , TCEASTBANK , Escure,Genevieve J , 4 credits

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ENGL 4612 Old English I

(Credit will not be granted if credit has been received for: ENGL 3612, ENGL 5612; credit will not be granted if credit already received for: EngL 3612)

23639 -001 LEC , 10:10 A.M. - 11:00 A.M. , M,W,F (09/06/2011 - 12/14/2011) , AmundH 156 , TCEASTBANK , Scheil,Andrew , 3 credits

“I am learning Anglo-Saxon and it is a vastly superior thing to what we have now” (Gerard Manley Hopkins, letter to fellow poet Robert Bridges, 1882). This course is an introduction to the rich language and literature of Anglo-Saxon England (circa. 500-1100). “Old English,” or as it is sometimes known, “Anglo-Saxon,” is the earliest form of the English language; therefore, the primary course goal will be to acquire the ability to read Old English texts in the original. No previous experience with Old English or any other language is necessary or expected; undergraduates and graduate students are welcome. This course fulfills the literary theory/linguistic requirement for the undergraduate English major. A knowledge of Old English will allow you to touch the most ancient literary sensibilities in the English tradition; these sensibilities are familiar and strange at the same time, as we sense our deep cultural connection to these texts across the centuries, yet at the same time feel that the past is a strange place indeed. The power of Old English literature has profoundly influenced authors such as Tennyson, Pound, Graves, Wilbur, Hopkins, Gunn, Auden, Seamus Heaney, C.S. Lewis, and of course, J.R.R. Tolkien.

The first half of the course will be spent on the basics of Old English morphology and syntax, with brief readings and exercises drawn from a variety of Anglo-Saxon sources—magic charms, the bible, riddles, monster tales, medical texts, homilies. In the second half of the course we will translate more extensive selections from religious and historical prose, as well as religious, elegiac, and heroic battle poetry. We will conclude the semester by reading short excerpts from Beowulf. We will also pay some attention to important aspects of Anglo-Saxon culture including manuscript production, runes, the interface of Christianity and Germanic paganism, art and archaeology, Viking invasions and more. The course will be satisfying as a stand-alone experience, but it can also be profitably paired with its second half, ENGL 4613, which is devoted to a full translation and study of Beowulf (and other works) in the original.

Graduate students will meet occasionally outside the scheduled class time and will be given additional reading and research assignments.

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ENGL 4722 Alphabet to Internet: History of Writing Technologies

( credit will not be granted if credit received for: EngL 3633)

25908 -001 DIS , 12:20 P.M. - 02:15 P.M. , M,W (09/06/2011 - 12/14/2011) , LindH 203 , TCEASTBANK , Hancher,Michael , 4 credits

Technologies of writing -- the alphabet, handwriting, printing, and electronic text -- and their cognitive and social consequences. Topics include writing and memory; literacy, power, and control; printing, language, and national identity; alphabetization and other ways of ordering the world; secrecy, privacy, and publicity; typography, legibility, and design; theories of technological determinism; the future of reading after the internet. Readings will range from Homer and Plato to Wikipedia and Facebook.

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ENGL 5001 Introduction to Literary Theory and Literary Studies in the Modern Universitiy

(prereq grad or instr consent)

25909 -001 SEM , 06:20 P.M. - 08:30 P.M. , W (09/06/2011 - 12/14/2011) , LindH 202 , TCEASTBANK , Messer-Davidow,Ellen , 3 credits

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ENGL 5090 Readings in Special Subjects

(Max crs 9; 3 repeats allowed; Credit will not be granted if credit has been received for: ENGL 5100; prereq grad student or instr consent )

31925 -001 LEC , 03:35 P.M. - 06:05 P.M. , W (09/06/2011 - 12/14/2011) , LindH 207A , TCEASTBANK , Damon,Maria , Creative Writing and Cultural Studies 3 credits

The course attempts to introduce you to several new ways of thinking about bridging the practice of creative writing and that of cultural studies, which are often figured, especially in disciplinary units called programs and departments, as separate modalities that attempt to solve different kinds of questions. These separations have persisted in spite of historical openings of possibility embedded in phrases like “the linguistic turn,” or more recently, “hybrid genres.” There are, however, works and practices that challenge this division, that write critique in an engaged, "creative" way or that emphasize social history and/or collective experience in so-called "creative" works. We will be exploring some of these texts and writing our own.

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ENGL 5150: Readings in 19th-Century Literature

(max crs 9; 3 completions allowed; prereq Grad student or instr consent ; credit will not be granted if credit received for: EngL 5250)

32247 -001 LEC , 05:30 P.M. - 08:00 P.M. , M (09/06/2011 - 12/14/2011) , LindH 202 , , TCEASTBANK , Elfenbein,Andrew , Jane Austen & Her Contemporaries, 3 credits

This course will examine the novels and juvenilia of Jane Austen in the context of the eighteenth- and early nineteenth-century novel. The course will be structured contrapuntally, so that we will pair each of Austen's novels with the work of other writers who engage similar issues. We will also cover relevant issues in eighteenth-century history, philosophy, aesthetics, and culture as they are relevant. Please note that eighteenth-century novels are not short: this course will have a substantial reading load.

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ENGL 5711 Introduction to Editing

(credit will not be granted if credit received for: 5401)

17854 -001 WKS , 05:30 P.M. - 07:10 P.M. , Tu,Th (09/06/2011 - 12/14/2011) , RapsonH 13 , TCEASTBANK , Tortorello,Michael , 4 credits

If the media doomsayers are right, editing is a dying craft. Right now, polytechnic institutes are training the next generation of copyeditors in Bangalore. Newspapers are shedding weight like dueling celebs in an US photospread. Bloggers are proving that no one need come between a rant and a reader. (Granted, they're doing it one typo at a time.) But someone, somewhere, has to generate that alumni magazine, the St. Paul Saints season guide, and the co-op newsletter. In other words, a demand persists in the American marketplace for someone who knows how to turn slop into steak. In this class, we'll study editing as a process, a protocol, and a philosophy. To elaborate, we'll study the conventions of editing (grammar, story, and style) and we'll meet professionals who do it well. (Fall '08 guests included the editor in chief of the Minnesota Historical Society Press, the art director of City Pages, the media analyst at MinnPost, and an executive employment lawyer at U.S. Bancorp.) We'll analyze why creative collaboration can feel like a playground brawl. Mostly, using real, raw manuscripts from newspapers, magazines, and books, we'll practice how to screw up the written word--with the ultimate goal of screwing up a little less.

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ENGL 5800 Practicum in the Teaching of English

(prereq Grad student or instr consent )

14225 -001 SEM , 01:00 P.M. - 03:00 P.M. , F (09/06/2011 - 12/14/2011) , . TBA , TCEASTBANK , Daigre,Eric Stephen , 2 - 3 credits

This course is an introduction to the theory and practice of teaching literature and creative writing at the college level. We will reflect on our teaching in light of our experiences, our readings, and our class discussions. We will model, practice, and report back on various teaching methods and activities, both in our discussions and interactive learning activities, and--beginning at mid-semester--through more structured "teaching dialogues." We will apply the very skills we aim to impart to our undergraduate students--critical reading, writing, and thinking--to ourselves as we analyze our teaching through regular journal writings and final projects. This course is required for (and limited to) new graduate students in the English MA, MFA, and PhD programs.

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ENGL 5992 Directed Readings, Study, or Research

(Max crs 15; 15 repeats allowed; prereq instr consent , college consent )

Each insturctor has a section. See class schedule.

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ENGL 8090 Seminar in Special Subjects

(Max crs 12; 4 repeats allowed; prereq Engl grad student or instr consent )

25929 -001 SEM , 04:00 P.M. - 06:30 P.M. , Tu (09/06/2011 - 12/14/2011) , LindH 302 , TCEASTBANK , Brennan,Timothy Andres , Social Realism and Peripheral Modernism: Literature and Imperial Form, 3 credits

"What is Realism?" Is realism a literary style or an outlook on the world? Literary histories present it as the opposite of modernism -- deadpan, earnest, "political." At the same time, modernism is said to be experimental and formally innovative. But the sheer variety of realism over the last century and a half -- Italian neo-realism, magical realism, socialist realism, naturalism, the new objectivity, painterly super-realism, critical realism ? seems to fly in the face of that accepted view, and point to something much richer and more flexible. Realism has been associated with muck-raking novels of social protest, expeditions into society's lower depths, and with the historical novel as such. Its range of expressive modes rises as novels from Africa, Latin America, and Asia force their way onto the Western bookshelf, for many of them register as realist. So what is the quality in literature we call "realism," and what is it capable of producing? What is its future in the new world republic of letters? The course is constructed to give us ample time to dwell on specific problems in fiction, and to follow our observations through with a set of critical theories that form the second dimension of the course readings. Our primary look at narrative, representation, genre, and figural language will give way to questioning of another sort ? one that places realist form itself in a comparative frame. We will read three to four novels (depending on length), and two to three short stories.. Our reading schedule will allow us to examine, at a leisurely pace, the intricacies of these works' forms, pausing to comment on the ideology of form itself, and the way that form is conditioned by place, culture, and situation. Our primary task will be to develop a vocabulary and a set of critical options for the close reading of imaginative texts, and we will mostly be involved in basic literary interpretation. Although the final book list is not settled, we are likely to read novels and stories taken from the following list: Honore de Balzac, Lost Illusions; Machado di Asis, The Posthumous Memoirs of Bras Cubas; Gustave Flaubert, Sentimental Education; Richard Wright, Native Son; Thomas Mann, Tonio Kroger; Theodor Dreiser, An American Tragedy; I. Gladkov, Cement; Christa Wolf, The Quest for Christa T. ; Abdelrahman Munif, Cities of Salt ; Roberto Bola?o, The Savage Detectives; and selected shortstories by Jorge Luis Borges, Leo Tolstoy, or Anton Chekhov. We may look at "realism" in related genres as well: for example, the paintings of Geli Korzhev. Some of the relevant theory and criticism includes essays by Brecht, Lukacs, Bloch, Candido, Schwarz, Williams, Carpentier, Calvino, Chamoiseau, and Bourdieu. Requirements: One or two smaller essays (3-pages), and one final essay.
Meets with: CL 8910 section 005

34096 -002 SEM , 06:45 P.M. - 09:15 P.M. , Tu (09/06/2011 - 12/14/2011) , LindH 216 , TCEASTBANK , Rabinowitz,Paula , The Materials of Visual Culture, 3 credits

This course will consider how the still and moving image serves both as a repository of cultural memory and as a critique of history. It will think about how cinema itself participates in exchanges of desire and destruction, not merely thematically, but technologically and theoretically, as well. Readings come from a wide range of theoretical perspectives—feminist, psychoanalytic, deconstructive, materialist—and films will present a broad approach to the medium—narrative, documentary, avant-garde. The broadest interrogation will discuss what is now called visual culture—the immersive space of images suffusing contemporary landscapes. As the very medium of film disappears, the basic question is how to rethink the photographic and cinematic work of art in the age of digital reproduction continues as images and their archives proliferate. The body, especially the female body, its disintegration and destruction, and our endless desire to see: this is the subject of feminist film theory that haunts the questions this course will explore.
Meets with: CL 8910 section 004, CSDS 8910 section 004

34097 -003 SEM , 01:25 P.M. - 03:20 P.M. , Th (09/06/2011 - 12/14/2011) , LindH 202 , TCEASTBANK , Farber,Lianna , Poetry and Pedagogy, 3 credits

Today, almost three decades after Paul de Man detailed a “resistance to theory,” we might speak of a resistance to poetry. Even those students most eager to discuss the anguish of Hamlet and the rage of Lear often turn silent when faced with the line breaks of a sonnet, while their more forthright peers declare simply that they “do not like poems.” In the face of this resistance those of us who teach poetry, whether from love, responsibility, or the rule of the survey, too often treat paraphrase as a goal. Sometimes paraphrase is treated as an end in itself, sometimes it is provided for students so that we can move on to the historical / cultural / political / psychological significance of “what the poem says.” In this seminar we will discuss scores of strategies to allow us to teach poetic language as a creator of significance rather than an unfortunate obfuscator of meaning that requires translation. In the process we will also read some theories of poetics and the difference between poetry and prose. Students will be encouraged to bring in texts from courses they are teaching or plan to teach. Final coursework may be practical, theoretical, or some combination thereof.

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ENGL 8120 Seminar in Early Modern Literature and Culture

(Max crs 12; 4 repeats allowed)

31926 -001 SEM , 01:25 P.M. - 03:20 P.M. , Tu (09/06/2011 - 12/14/2011) , . TBA , TCEASTBANK , Watkins,John & Karras, Ruth, Gender in Medieval and Early Modern Europe, 3 credits

This team-taught, cross-listed course explores gender as an aspect of literary and historical experience within several domains of human interaction: sexuality, marriage and family life, education, work, religion, and government. We will devote the opening week to essential theoretical texts and foundational works from the ancient world. Over the course of the term, we will read a variety of literary works either in excerpt or in their entirety, including the Aeneid, the Laxdœla Saga, Eric and Enide, Piers Plowman, The Tunning of Eleanor Rummyng, The Examinatinos of Anne Askew, The Taming of the Shrew, The Faerie Queene, Paradise Lost, and the letters and speeches of Elizabeth I. The final assignment will be a 15-16 pp. “Handbook Chapter” on a chosen topic.

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ENGL 8150 Seminar in Shakespeare

(max crs 9; 3 completions allowed)

31927 -001 SEM , 04:00 P.M. - 06:30 P.M. , Th (09/06/2011 - 12/14/2011) , LindH 216 , TCEASTBANK , Scheil,Katherine West , Shakespeare and Adaptation, 3 credits

What do singer/songwriter Rufus Wainwright, South African playwright Welcome Msomi, filmmaker Julie Taymor, and contemporary novelist Margaret Atwood all have in common? They all have adapted the works of Shakespeare. This interdisciplinary seminar explores the rich wealth of material connected with the various versions and reactions to the works of Shakespeare for over four hundred years, from 1611 to 2011. The course will center on the various receptions, adaptations, and distributions of Shakespeare over the last four centuries, in a variety of media, including film, theatre, poetry, prose, art, music, and the Internet. We will also focus on recent theories of adaptation and their relationship to the notions of originality and authenticity. This seminar should attract students interested in Shakespeare; in the various international authors, artists, and filmmakers who have engaged with his work; in interdisciplinary work; and in broader historical and ideological issues related to adaptation, canonicity, authenticity, and forms of political, cultural, and artistic expression.

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ENGL 8444 FTE: Doctoral

(No Grade Associated, unless otherwise noted; prereq Doctoral student, adviser and DGS consent)

20481 -001 THE , TCEASTBANK , 1 credit

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ENGL 8666 Doctoral Pre-Thesis Credits

(max crs 12; 2 completions allowed; No Grade Associated; prereq Doctoral student who has not passed prelim oral; no required consent for 1st/2nd registrations, up to 12 combined cr; dept consent for 3rd/4th registrations, up to 24 combined cr; doctoral student admitted before summer 2007 may register up to four times, up to 60 combined cr)

20755 -001 THE , TCEASTBANK , 1 - 6 credits

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ENGL 8888 Thesis Credit: Doctoral

(Max crs 100; 10 repeats allowed; No Grade Associated, unless otherwise noted; prereq Max 18 cr per semester or summer; 24 cr required).

25041 -001 THE , TCEASTBANK , 1 - 24 credits

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ENGL 8992 Directed Reading in Language, Literature, Culture, Rhetoric, Composition, or Creative Writing

(Max crs 15; 15 repeats allowed; prereq instr consent, dept consent).

Each insturctor has a section. See class schedule.

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EngW

ENGW 5102 Advanced Fiction Writing

(max crs 8; 2 repeats allowed; prereq dept consent).

11528 -001 WKS , 03:35 P.M. - 06:05 P.M. , W (09/06/2011 - 12/14/2011) , LindH 202 , TCEASTBANK , Pate,Alexs D. , 4 credits

We will read and critique student fiction. Each student is expected to have two new short stories at the beginning of the term that they will present and that will be critiqued by their fellow students. Additionally, we will read and analyze published work with an eye toward structure and style. Students are expected to practice editorial skills, apply criticism, and re-draft at least one of the stories they have presented in class. Students will be graded on improved writing proficiency, editorial contributions, and class participation.

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ENGW 5104 Advanced Poetry Writing

(max crs 8; 2 repeats allowed; prereq dept consent).

11529 -001 WKS , 03:35 P.M. - 06:05 P.M. , W (09/06/2011 - 12/14/2011) , LindH 302 , TCEASTBANK , 4 credits

Students will write and workshop original poetry. Readings from classic and contemporary poetry collections and anthologies. Students will be expected to write short critiques; short analytical reports on reading assignments; final portfolio of revised poetry.

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ENGW 5106 Advanced Literary Nonfiction Writing

(max crs 8; 2 repeats allowed; prereq dept consent).

17098 -001 WKS , 03:35 P.M. - 06:05 P.M. , Th (09/06/2011 - 12/14/2011) , LindH 207A , TCEASTBANK , 4 credits

Students will write and critique original works of creative nonfiction. Students will be expected to write short critiques; short reports on assigned reading material; final portfolio fo revise creative nonfiction.

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ENGW 5310 Reading as Writers

(max crs 8; 2 completions allowed; prereq grad student, dept consent )

23941 -001 WKS , 03:35 P.M. - 06:05 P.M. , M (09/06/2011 - 12/14/2011) , LindH 216 , TCEASTBANK , Farah,Nuruddin , First Novels, 4 credits

Somali novelist Nuruddin Farah, winner of the Neustadt International Prize for Literature and holder of the university’s Winton visiting chair, will address the issues of writing and publishing a first novel by structuring this course around a series of excellent first novels. Texts will include classics such as Emily Bronte’s Wuthering Heights and James Joyce’s A Portrait of the Artist as a Young Man, as well as more recent first novels such as Toni Morrison’s The Bluest Eye, Angela Carter’s The Magic Toyshop, and Kushwant Singh’s The Train to Pakistan.

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ENGW 8101 Reading Across Genres

(S-N only, unless otherwise noted; prereq creative writing MFA student, dept consent).

11530 -001 SEM , 03:35 P.M. - 06:05 P.M. , Tu (09/06/2011 - 12/14/2011) , LindH 202 , TCEASTBANK , Fitzgerald,M. J , 4 credits

This class is designed for students beginning the MFA program. Students will be introduced to the program, how it functions, and how to make the best use of the three years. Students will read and discuss short works of fiction, poetry, and nonfiction, with a number of the books focusing on the writing life and the craft of working in various genres. There will be visits by members of the Creative Writing faculty throughout the semester. Packets containing samples of writing from the faculty will be discussed during each visit. Class time will consist of discussion of the required texts, writing assignments, and several workshop sessions. The main focus will be studying the three major genres taught in the program (poetry, fiction, and non-fiction) with an emphasis on writing and developing skills in more than one genre.

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EngW 8180 Thesis Seminar: Multi-Genre.

(max crs 8; 2 repeats allowed; prereq creative writing MFA student, instr consent ).

details forthcoming

This course is designed for students who are constructing or completing their MFA theses.. Required for students in the second and third years.

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ENGW 8333 FTE: Master's

(No Grade Associated, unless otherwise noted; prereq Master's student, adviser and DGS consent).

Click to register for this class 14833 -001 THE , TCEASTBANK , 1 credit

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ENGW 8990 MFA Creative Thesis

(max crs 48; 24 repeats allowed; prereq 8140, 8150, 8160, creative writing MFA student, instr consent).

13376 -001 THE (09/06/2011 - 12/14/2011) , TCEASTBANK , 2 - 8 credits
14472 -002 THE (09/06/2011 - 12/14/2011) , TCEASTBANK , 2 - 8 credits

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