Graduate students from other departments and exceptionally well-prepared undergraduates are welcome in English graduate courses (except for English 200) insofar as limitations of class size allow. Graduate courses are usually limited to 15 students; courses numbered 250 are usually limited to 10.
When demand for a graduate course exceeds the maximum enrollment limit, the instructor will determine priorities for enrollment and inform students of his/her decisions at the second class meeting. Prior enrollment does not guarantee a place in a graduate course that turns out to be oversubscribed on the first day of class; in fact, a few students could be required to drop the course, starting with people who are not English Department graduate students -- though, fortunately, this situation does not arise very often.
Please refer to page 2 of the English Department's Graduate Handbook for the "Group" descriptions referred to at the end of each graduate course offering.
Approaches to literary study, including textual analysis, scholarly methodology and bibliography, critical theory and practice.
Enrollment is limited to entering doctoral students in the English program.
This course satisfies the Group 1 requirement (problems in the study of literature).
Brand, Dionne: No Language is Neutral; Brathwaite, Kamau: The Arrivants; Breeze, Jean Binta: Riddym Ravings; Brodber, Erna: Louisiana; Carpentier, Alejo: The Kingdom of This World; Chamiseau, Patrick: Texaco; Condé, Maryse: I, Tituba; Danticat, Edwidge: The Dew Breakers; Díaz, Junot: Drown; James, CLR: Minty Alley; James, Marlon: The Book of Nightwomen; Lovelace, Earl: The Wine of Astonishment; McKay, Claude: Banana Bottom; Rhys, Jean: Wide Sargasso Sea; Salkey, Andrew: Escape to an Autumn Pavement; Selvon, Sam: The Lonely Londoners
Course Reader with criticism, essays, and other short pieces will be available for purchase at Copy Central, Bancroft Avenue.
**Please consult the bCourses website before purchasing books.
“and either I’m nobody, or I’m a nation.” -Derek Walcott
Walcott’s mongrel regionalism is an apt invitation to consider a field of cultures whose richness comes, at least in part, from its provoking tendency toward paradox. Caribbean literature poses enormous challenges to the discipline--challenges of form (traditions are inherited, then broken); of literary history (memory, tradition, and rumor face off against historiography); of genre (artists extravagantly ignore boundaries between literature, music, performance, and theory); and of language (at least four European languages are spoken, and there are several more Creole languages). This course will evidence all these challenges, moving through a wide array of literature and cultural critique in order to establish the grounds of advanced research into Caribbean literary studies. We’ll specify and explore major themes and debates in the field and think through the often baffling dialectic between hegemony and counter-hegemony in national cultures, whereby popular forms at once displace and secure regressive versions of subjecthood. We’ll think, then, alongside extraordinary artists and critics, about the Caribbean tradition’s quicksilver threat and promise; its development on a knife’s edge “either…or” (which is, as Walcott shows, also always “and”).
The course is designed to provide a range of readings in English across the region; to establish the contours and discourse of a field; and to stage the possibilities for asking new questions. Instead of a single final research paper there will be shorter pieces due throughout the semester.
The texts for this course will be available at University Press Books, on Bancroft Way.
This course satisfies the Group 5 (20th Century) requirement.
Derrida, Jacques: Spectres of Marx; Dolphijn, Rick: New Materialism: Interviews & Cartographies; Freud, Sigmund: Civilization and Its Discontents; Lucretius: The Nature of Things; Marx, Karl: Capital; Meillasoux, Quentin: After Finitude; Merleau-Ponty, Maurice: The Visible and the Invisible
In recent years, new theories of materiality have emerged to account for physical processes and eventualities outside of human volition and identificatory categories. In this course, we will examine these theories in relation to the older paradigms—philosophical, psychoanalytic, Marxist, phenomenological and anthropological—on which they build and from which they depart. Exploring materiality in the opposing but interrelated senses of the physical world and of social, productive forces, we will read a set of foundational thinkers, such as Lucretius, Aristotle, Marx, and Freud, along with a series of theorists who respond to them in divergent ways. Two key contemporary directions under consideration will be speculative realism’s shift away from socio-linguistic and anthropocentric modes of thought and, contrastingly, the exploration of consciously queer subjectivities in feminist and other phenomenologies. Readings will be arranged in strands that develop, diverge or reflect critically: for example, Husserl, Merleau-Ponty and Sara Ahmed; Descartes, Judith Butler and Diana Coole; Marx, Derrida, and Fredric Jameson; and Hume, Quentin Meillasoux, and Martin Hägglund.
This course satisfies the Group 6 (Non-historical) requirement.
Chaucer, Geoffrey: Dream Visions and other Poems; Chaucer, Geoffrey: Troilus and Criseyde
This course studies all Chaucer's majors works before the Canterbury Tales. About the first third of the semester will use the earlier works--the Book of the Duchess and the Parliament of Fowls especially--to introduce Middle English "philology," in the old, broad sense of that word: the texture and logic of the language and its textual settings, the literary possibilities available within those, the available channels of convention and innovation, and the tools for studying all these things. It will also, inevitably, spend some time thinking about literary history. The remaining weeks will give detailed study to the Troilus and Criseyde, Chaucer's greatest and most important work, and to the stages by which he developed the idea for the Canterbury Tales.
This course satisfies the Group 2 (Medieval through 16th Century) requirement.
Manuscripts in progress by course participants will provide students with ample reading materials.
This workshop/seminar is for poets who already have a body of work (however large or small) and who are currently working on a project or collection. Participants should be working toward furthering development of the project and toward the formulation of a theoretical understanding of its purport and the technical elements that are contributing to its success. Poetry is a capacious genre; for the purposes of this course, any corpus of writing that its author wishes to label “poetry” is poetry.
Only continuing UC Berkeley students are eligible to apply for this course. To be considered for admission, please electronically submit 5 of your poems, by clicking on the link below; fill out the application you'll find there and attach the writing sample as a Word document or .rtf file. The deadline for completing this application process is 11 PM, THURSDAY, APRIL 27.
Also be sure to read the paragraph concerning creative writing courses on page 1 of the instructions area of this Announcement of Classes for further information regarding enrollment in such courses.
My intention is to scan all assigned texts for downloading, from the best available scholarly editions
A sampling of literature in English from 1600 to 1660, a turbulent period of intellectual innovation and political revolution. Key bodies of work will be studied complete – Donne’s Songs and Sonnets and Holy Sonnets, Herbert’s The Temple, Marvell’s poetry before the Restoration satires – while many other authors in prose and verse will be anthologized. Since Shakespeare and Milton get their own courses they will be cited as recommended comparands rather than required reading. The syllabus is necessarily selective, but will include multiple genres – court masque, philosophical treatise, spiritual autobiography as well as standard literary forms such as drama, lyrical and topographical poems – plus works from cultural minorities (women, lower-class radicals, colonial Americans). The focus will be on primary texts, with an austere selection of “classic” criticism from T.S. Eliot to New Historicism. I will ask you for two papers on self-chosen topics, giving you the option of exploring more recent secondary literature if this matches your research interests; this course is designed to be accessible to specialists in all periods, however, so close-reading essays without full bibliography are perfectly fine.
This course satisfies the Group 3 (17th through 18th Century) requirement.
Book List: Austen, J., Lady Susan; Blake, W. Complete Poetry and Prose; Burke, Reflections on the Revolution in France; Byron, Lord Byron: The Major Works; Coleridge, S.T., Major Works; Godwin, Caleb Williams; Hazlitt, W., The Fight and Other Writings; Keats, J. Major Works; Scott, W., Waverley; Shelley, M., History of a Six Weeks' Tour; Shelley, P.B., Shelley's Poetry and Prose; WIlliams, H.M., Letters from France; Wordsworth, D., Grasmere and Alfoxden Journals; Wordsworth, W., Major Works.
Other Readings and Media: A course reader with critical texts from T. Adorno, H. Arendt, W. Benjamin, M. Dolar, P. de Man, J. Fabian, G.W.F. Hegel, F. Kittler, R. Koselleck, J. Lacan, F. Nietzsche, C. Schmitt, and others.
This course on the Romantic “period” will consider concepts of time as they are imagined, experienced, represented in some characteristic genres: song, prophecy, lyrical ballad, romance, fragment, travel narrative, essay, letter, autobiography, historical novel, periodical review. How do Romantic writers understand time’s periodicity—crisis, presence, afterwardsness, ephemerality, wartime, deep time? What relation might such categories have to an emergent concept of “voice” as something distinct from what is said, written, prescribed-- from “law”?
Students will be responsible for two short essays (2-4 pages) to be circuluated for discussion and a final paper (15-17 pages).
This course satisfies the Group 4 (19th Century) requirement.
Berger, J.: Ways of Seeing; Coleridge, S.T.: Biographia Literaria ; Eliot, G.: Middlemarch; Eliot, T.S.: The Sacred Wood; Empson, W.: Some Versions of Pastoral; Hoggart, R.: The Uses of Literacy; James, C.L.R.: Beyond a Boundary; Mill, J.S.: On Liberty; Newman, J.H.: The Idea of a University; Richards, I.A.: Practical Criticism; Williams, R.: The Long Revolution; Woolf, V.: To the Lighthouse
A course reader with selections from Carlyle, Ruskin, Arnold, Morris, Wilde, Tylor, Hulme, Frazer, Malinowski, Leavis, Orwell, E.P. Thompson, Nairn, Hall, Hebdidge, Gilroy, and others.
This course will follow the long history of the culture concept in Britain. We will begin by working through Raymond Williams’ account in Culture & Society in order to see how several senses of the word “culture”—culture as “the idea of human perfection,” as “society as a whole,” as “the general body of the arts,” or as “a whole way of life”—appear and reappear in Coleridge, Mill, Carlyle, Arnold, Eliot, Newman, Ruskin, and Morris. We’ll supplement these readings with selections from the emerging fields of nineteenth-century anthropology, ethnography, and sociology. In the course’s second half, we’ll follow the culture concept as it makes its way through twentieth-century Britain: before, between, and after the wars (T. S. Eliot, Virginia Woolf, I. A. Richards, Q. D., and F. R. Leavis); in the long, fraught wake of British socialism (Richard Hoggart, Raymond Williams, C. L. R. James, and E. P. Thompson); and in the “New Times” of British cultural studies under and after Thatcher (Stuart Hall, Paul Gilroy, and Dick Hebdige). In the process of reading through these works, we’ll consider the strange tenacity of an especially Victorian idea, a particularly British effort to mark out practical relations between the social and the aesthetic, and the institutional and literary roles that education and, in particular, adult education have played in the post-Romantic imagination.
This course may be used to satisfy the Group 4 (19th Century),Group 5 (20th Century), or the Group 6 (Non-historical) requirement.
The reading materials for this class will be in the form of on-line PDFs.
Did you ever wonder how other people get their work done? Or what great ideas look like and where they come from? Are you curious about the best strategies and habits for clear, forceful, and engaging writing? This seminar about writing and publishing is for you. You must have a seminar paper that you wish to revise in the course of the semester. You must also commit to sending your revised essay out for review by a journal at the end of the fall. The vast majority of our time will be spent discussing the written work of the seminar members. We will also read and discuss some important articles in the fields of English and Comparative Literature and analyze how and why they work. There will be a number of guest visits by Berkeley faculty who will discuss their writing habits and their own work in progress. Enrollment is limited to six English Dept. graduate students; six Comparative Literature graduate students will be able to enroll in the cross-listed component of this course, Comparative Literature 256.
Readings and films may include: Foucault, Discipline and Punish; Fanon, The Wretched of the Earth; LeFebvre, The Production of Space; Hardt & Negri, Empire; Orwell, 1984; Pontecorvo, Battle of Algiers; Scott, Seeing Like a State; McCoy, Policing America's Empire; Hathaway, The Real Glory
This course examines the long, intimate relationship between technologies of surveillance and the making of British and American empires. While digital technology and state surveillance has been significant in the post-9/11 world, identifying, monitoring, and tracking populations and individuals has been central to the consolidation of state power for much longer. We will consider the development of technologies such as photography, fingerprinting, biometrics, and aerial drones in the context of their imbrication with imperial governance. Beginning in the late 19th century to the contemporary moment, this course will track the shifting forms that surveillance and the state take from the decline of British colonialism to the rise of American empire. It will look to South Asia, the Phillippines, North America, and the Middle East to ask how discourses of security, risk, and vulnerability have rationalized state policies of containment and scrutiny on the one hand, and justified and catalyzed the expansion of imperial power on the other.
This course satisfies the Group 6 (Non-historical) requirement.
Baldwin, James: Giovanni's Room; Barnes, Djuna: Nightwood; Bechdel, Alison: Fun Home; James, Henry: The Turn of the Screw and Other Short Fiction; Larsen, Nella: Passing; Nelson, Maggie: The Argonauts; Stein, Gertrude: Tender Buttons; Toibin, Colm: The Master; Truong, Monique: The Book of Salt; Wilde, Oscar: The Picture of Dorian Gray; Woolf, Virginia: Mrs. Dalloway; Woolf, Virginia: Orlando;
Recommended: Butler, Judith: Gender Trouble; Foucault, Michel: The History of Sexuality (Volume 1); Nutt, Amy Ellis: Becoming Nicole; Sedgwick, Eve Kosofsky: Epistemology of the Closet
Critical essays, short fiction, plays and poetry will be available on our b-Courses.
“Is queer modernism simply another name for modernism?” The question Heather Love poses in her special issue of PMLA will also guide this seminar on the crossovers between formal and sexual “deviance” in modernist literature. We will read back and forth across a century (Henry James to Colm Toibin, James Joyce to Alison Bechdel, Oscar Wilde to Yinka Shonibare, Virginia Woolf to Caryl Churchill, Gertrude Stein to Monique Truong) to stage a series of encounters between the aesthetic practices and discourses of modernism and those of contemporary queer theory and cultural production. As we map the shifting contours of some key forms and terms, we will pause to consider (among other things) the mobile dimensions of queer time and space; the historical migration of concepts such as perversion, inversion, masquerade, transvestism, abjection, and shame; the mutual implication of race, gender, and sexuality; the formal attributes of the closet; the legibility of transgender bodies; and the composition of affective histories. To complement (and complicate) the chronological axis of this inquiry, we will also attend to the metropolitan spaces in which sexual boundaries blurred and subcultures thrived, especially the three urban sites central to modernist experimentation: London, New York, and Paris.
This course satisfies the Group 5 (20th Century) requirement.
Through seminars, discussions, and reading assignments, students are introduced to the language/writing/literacy needs of diverse college-age writers such as the developing, bi-dialectal, and non-native English-speaking (NNS) writer. The course will provide a theoretical and practical framework for tutoring and composition instruction.
The seminar will focus on various tutoring methodologies and the theories which underlie them. Students will become familiar with relevant terminology, approaches, and strategies in the fields of composition teaching and learning. New tutors will learn how to respond constructively to student writing, as well as develop and hone effective tutoring skills. By guiding others towards clarity and precision in prose, tutors will sharpen their own writing abilities. New tutors will tutor fellow Cal students in writing and/or literature courses. Tutoring occurs in the Cesar E. Chavez Student Center under the supervision of experienced writing program staff.
In order to enroll for the seminar, students must have at least sophomore standing and have completed their Reading and Composition R1A and R1B requirements.
Some requirements include: participating in a weekly training seminar and occasional workshops; reading assigned articles, videotaping a tutoring session, and becoming familiar with the resources available at the Student Learning Center; tutoring 4-6 hours per week; keeping a tutoring journal and writing a final paper; meeting periodically with both the tutor supervisor(s) and tutees' instructors.
This course meets the field study requirements for the Education minor, but it cannot be used toward fulfillment of the requirements for the English major. It must be taken P/NP.
Pick up an application for a pre-enrollment interview at the Student Learning Center, Atrium, Cesar Chavez Student Center (Lower Sproul Plaza), beginning April 3. No one will be admitted after the first week of fall classes.
This course may not be counted as one of the twelve courses required to complete the undergraduate English major nor may it be counted to satisfy a graduate-level requirement.
Recommended: Graff, G.: They Say/I Say; Rosenwasser, D.: Writing Analytically
All required readings will be posted on bCourses and available in a Course Reader.
Co-taught by a faculty member and a graduate student instructor (the department's R & C Assistant Coordinator), this course introduces new English GSIs to the practice and theory of teaching literature and writing at UC Berkeley in sections linked to English 45 and select upper-division courses, as well in R1A and R1B, and beyond. At once a seminar and a hands-on practicum, the class will cover topics such as strategies for leading discussion, teaching critical reading skills and the elements of composition, responding to and evaluating student writing, developing paper topics and other exercises, and approaching the other responsibilities that make up the work of teaching here and elsewhere. The course will offer a space for mutual support, individual experimentation, and the discovery of each member's pedagogical style. We will pair each class participant with an experienced GSI teaching in R1A or R1B, so that new teachers can observe different kinds of teaching situations and classes besides their own. There will also be opportunities to be observed teaching and to receive feedback during the term.
This course satisfies the Pedagogy Requirement.