Announcement of Classes: Fall 2011

The Announcement of Classes is available one week before Tele-Bears begins every semester. Creative Writing and (for fall) Honors Course applications are available at the same time in the racks outside of 322 Wheeler Hall.


Reading and Composition: Writing about Literary Experience

English R1A

Section: 1
Instructor: Jordan, Joseph P
Jordan, Joe
Time: MWF 9-10
Location: 222 Wheeler


Other Readings and Media

Chekhov, A.:  The Essential Tales of Chekhov; Dickens, C.:  Great Expectations; Gibaldi, J.:  MLA Handbook;  Williams, J.:  Style: Toward Clarity . . .

Description

In this course we will read and write about markedly different kinds of literature—one novel, a good deal of verse, some short stories, maybe one play—with the aim of coming to some conclusions about what makes great literature great and why we should care about it.

I’ve chosen not to organize this class around a single theme, first, because the course is by definition a writing course and I don’t want to pretend otherwise. I also want us to resist the urge to compartmentalize experience. It is common for people to like different sorts of literature, but uncommon for students and teachers to think about what, for example, the experience of little poems and big novels have in common. In this class we will try to make connections between seemingly unlike things—not only between the works on the reading list, but between those works and examples of contemporary popular art forms like country music song lyrics, television sitcoms, movies (and so on). The class will push the notion that the history of English literature is in large part the history of popular English literature—a fact that justifies our giving serious consideration to some things that academic-types usually don’t take seriously.


Reading and Composition: Writing about Literary Experience

English R1A

Section: 4
Instructor: Jordan, Joseph P
Jordan, Joe
Time: MWF 11-12
Location: 222 Wheeler


Other Readings and Media

Chekhov, A.:  The Essential Tales of Chekhov; Dickens, C.:  Great Expectations; Gibaldi, J.:  MLA Handbook;  Williams, J.:  Style: Toward Clarity . . .

Description

In this course we will read and write about markedly different kinds of literature—one novel, a good deal of verse, some short stories, maybe one play—with the aim of coming to some conclusions about what makes great literature great and why we should care about it.

I’ve chosen not to organize this class around a single theme, first, because the course is by definition a writing course and I don’t want to pretend otherwise. I also want us to resist the urge to compartmentalize experience. It is common for people to like different sorts of literature, but uncommon for students and teachers to think about what, for example, the experience of little poems and big novels have in common. In this class we will try to make connections between seemingly unlike things—not only between the works on the reading list, but between those works and examples of contemporary popular art forms like country music song lyrics, television sitcoms, movies (and so on). The class will push the notion that the history of English literature is in large part the history of popular English literature—a fact that justifies our giving serious consideration to some things that academic-types usually don’t take seriously.


Reading and Composition: Kitsch and "Bad Taste" in 20th Century America

English R1A

Section: 5
Instructor: Gaydos, Rebecca
Gaydos, Rebecca
Time: MWF 12-1
Location: 222 Wheeler


Other Readings and Media

Nathanael West, The Day of the Locust; Vladimir Nabokov, Lolita; Frank O’Hara, Meditations in a State of Emergency; Zadie Smith, On Beauty; John Waters, Polyester (film); a course reader including selections from Susan Sontag, Clement Greenberg, Immanuel Kant, and Pierre Bourdieu.

Description

Is there such a thing as a universal standard of good taste? When we judge a work of art, can our judgment hold true for everyone? Or does our cultural and social context determine our taste in art? In this class we will consider how what counts as good or bad taste has changed throughout the 20th century. More generally, we will think about different attempts by writers, visual artists, literary critics, and philosophers to define both the art object and its viewer. Some things we will look at include: the separation between “high” and “low” art, the emergence of camp and pop-art, as well as more recent reflections on the intersection of race and taste.
    
The primary goal of this course is to improve your academic writing skills. Students will produce 32 pages of writing (including drafts and revisions) over the course of the semester.


Reading and Composition: California Stories

English R1A

Section: 6
Instructor: Hausman, Blake M.
Hausman, Blake
Time: MWF 12-1
Location: 106 Wheeler


Other Readings and Media

•    John Rollin Ridge, The Life and Adventures of Joaquin Murieta
•    John Steinbeck, Of Mice and Men
•    Allen Ginsberg, Howl
•    Thomas Pynchon, The Crying of Lot 49
•    Amy Tan, The Joy Luck Club
•    Additional essays, stories, and poems by California writers

Description

This course will examine literature produced in and about California.  After grounding our inquiries with Indigenous origin stories, we will then explore the convergences of narrative, geography, identity, and economics as portrayed by several California writers from the Gold Rush to the present.  This course will enable students to delve into a vast range of narrative styles, cultural conflicts and fusions, and degrees of sur/realism emblematic of California literature.  Our inquiries will offer students a framework for understanding the relationship of California literature to both the United States and the Pacific Rim at large, as well as on its own idiomatically Californian terms.

English R1A develops students’ practical fluency in constructing sentences, building paragraphs, and developing a thesis throughout the course of an essay.  Students will compose a range of essays that involve increasingly complex applications of these skills.  The emphasis of these assignments will be expository and argumentative writing.  The university requires students in English R1A to compose 32 pages of graded writing.  The first assignment is a short (1-2 page) “diagnostic” essay.  The following assignments will be three relatively short (3-5 page) essays on various topics that stem from our readings.  Students will also compose journals on the assigned texts.  At the end of the semester, students will submit a portfolio that includes two revised essays and a reflective introduction.   The portfolio, in particular the quality of one’s revisions, will determine the bulk of one’s final grade.


Reading and Composition: City and Country

English R1A

Section: 8
Instructor: Bauer, Mark
Bauer, Mark
Time: MWF 2-3
Location: 222 Wheeler


Other Readings and Media

Annie Dillard, Pilgrim at Tinker Creek
F. Scott Fitzgerald, The Great Gatsby
Thomas Hardy, Tess of the D’Urbervilles
Thomas Pynchon, The Crying of Lot 49
A reader including poems by Horace, Hart Crane, Jean Toomer, Frank O’Hara, and essays by Wallace Stegner, Raymond Williams, and Jane Jacobs. 

Description

The opposition between city life and country life goes back at least as far as ancient Rome, but today it takes on a new significance as urbanites are asked to respond to a problem that is often felt more sharply in rural areas – global climate change.  Investigating the city/country divide will provide insight into the cultural significance and constructedness of each sphere, and also the degree to which they depend on each other, both for their identities and for mutual survival.  In addition to these primary spheres, we’ll also explore the less clearly defined spaces at their margins – suburbs, and, at the other extreme, wilderness – asking both what constitutes them and what they mean to us.  The course’s chief aim will be the cultivation of students’ writing skills, especially their argumentative and analytical abilities, which they will use to draft, edit, and revise several short papers over the course of the semester. 


Reading and Composition: California Stories

English R1A

Section: 9
Instructor: Hausman, Blake M.
Hausman, Blake
Time: MWF 2-3
Location: 225 Wheeler


Other Readings and Media

•    John Rollin Ridge, The Life and Adventures of Joaquin Murieta
•    John Steinbeck, Of Mice and Men
•    Allen Ginsberg, Howl
•    Thomas Pynchon, The Crying of Lot 49
•    Amy Tan, The Joy Luck Club
•    Additional essays, stories, and poems by California writers

Description

This course will examine literature produced in and about California.  After grounding our inquiries with Indigenous origin stories, we will then explore the convergences of narrative, geography, identity, and economics as portrayed by several California writers from the Gold Rush to the present.  This course will enable students to delve into a vast range of narrative styles, cultural conflicts and fusions, and degrees of sur/realism emblematic of California literature.  Our inquiries will offer students a framework for understanding the relationship of California literature to both the United States and the Pacific Rim at large, as well as on its own idiomatically Californian terms.

English R1A develops students’ practical fluency in constructing sentences, building paragraphs, and developing a thesis throughout the course of an essay.  Students will compose a range of essays that involve increasingly complex applications of these skills.  The emphasis of these assignments will be expository and argumentative writing.  The university requires students in English R1A to compose 32 pages of graded writing.  The first assignment is a short (1-2 page) “diagnostic” essay.  The following assignments will be three relatively short (3-5 page) essays on various topics that stem from our readings.  Students will also compose journals on the assigned texts.  At the end of the semester, students will submit a portfolio that includes two revised essays and a reflective introduction.   The portfolio, in particular the quality of one’s revisions, will determine the bulk of one’s final grade.


Reading and Composition: On the Road from the Closed to the New Frontier

English R1A

Section: 19
Instructor: Yoon, Irene
Yoon, Irene
Time: TTh 3:30-5
Location: 222 Wheeler


Other Readings and Media

Potential reading list might include: Vladimir Nabokov’s Lolita, Jack Kerouac’s On the Road, John Steinbeck’s The Grapes of Wrath and Travels with Charley, along with other shorter prose works available in a Course Reader.

Description

The six decades between Frederick Jackson Turner’s 1893 declaration of the end of the American Frontier and John F. Kennedy’s inaugural commitment to a “New Frontier” of outer space mark a unique period of American mobility and exploration. Without a western frontier to conquer or space exploration fully conceivable, what indeed would a nation Turner characterizes by its continual demand for a wilder field of exercise do? If the dominant fact of American history is movement, where would one go? The development of an interstate highway system, the increasing popularity of automobile ownership, and the growth of a roadside culture over the first decades of the twentieth century suggest one answer: on the road.

In the decades leading up to the rhetoric of a “New Frontier,” many Americans, drawn by its growing accessibility and rapid development, embarked upon the largely recreational exploration of the old one. In this course, we will consider the aftermath of the so-called “first age of American history” through the cultural and historical development of road tripping in the first half of the twentieth century. How did these decades between the closed frontier and the new one change or inform our understanding of American movement and place? How does the experience of cross-country travel inform our understanding of national or regional identities? How did this period of frontierless movement transition into the Cold War space race of the latter half of the twentieth century? And what are its present-day legacies? (The advent of the fast-food chain, roadside billboard advertising, and many of this course’s primary texts are just a few that come to mind!)

But, of course, the central aim of this course is to develop and refine writing skills. We will concentrate on mechanics and style, learning how to read closely, gather evidence, organize claims, and formulate compelling arguments for persuasive essays. A brief diagnostic essay due the first week of class will be followed by regular weekly writing assignments (including reading responses, paper drafts and revisions), culminating in two shorter papers, and one medium-length essay by the end of the semester.


Reading and Composition: Modern African American Poetry, 1940-1960

English R1A

Section: 21
Instructor: Gardezi, Nilofar
Gardezi, Nilofar
Time: MWF 2-3
Location: 109 Wheeler


Other Readings and Media

Gwendolyn Brooks, Blacks; Robert Hayden, Collected Poems, edited by Frederick Glaysher; Melvin Tolson, “Harlem Gallery” and Other Poems of Melvin B. Tolson, edited by Raymond Nelson; a course reader with additional poetry as well as historical selections; Ann Raimes, Keys for Writers

Description

In this course, we will examine the “lost years” of the 1940s-1960s in African American literature and culture by critically reading and writing about the poetry and history of this period. Traditional surveys of 20th-century African American poetry focus on two key literary and cultural movements: the New Negro or Harlem Renaissance of the 1920s and the Black Arts Movement of the 1960s. While these movements were indeed important, I encourage us to investigate and see as equally important what was happening during the “gap years,” particularly the 1940s-1960s. This course will consider what is lost here as well as how and why it matters. 

During and after World War II, African Americans migrated in great numbers from the rural South to the urban North in search of better jobs and opportunities, becoming a new and burgeoning urban population. The recently arrived migrants imagined new black urban selves and created communities in neighborhoods like Chicago’s Bronzeville, Detroit’s Paradise Valley and New York’s Harlem. What were the stories of their lives in the transformed and transforming postwar cities of the North and how were they represented? African American poets Gwendolyn Brooks, Frank Marshall Davis, Robert Hayden, Langston Hughes, Melvin Tolson, Margaret Walker and others wrote about these figures and communities in their innovative postwar poetry. How did they necessarily experiment with the forms of their poetry in order to tell new black urban stories? The years of the 1940s-1960s were also crucial because they witnessed the birth of the Civil Rights Movement. How were the black poets of this period keenly engaging with and responding to the eddying spirit and rising discourse of civil rights and social change in their creative work? These starting questions and others that we discover together will motivate us as we work on critical reading and writing this term.

The primary goal of this class is to improve your writing. We will focus, then, on strengthening close-reading skills as well as the different parts of the writing process (e.g., constructing sentences, developing paragraphs, formulating claims, gathering evidence, honing theses, peer-editing and revising drafts) as you work on creating lucid arguments and persuasive essays from your critical examination of readings. Over the course of the semester, you will produce 32 pages of writing, which will be divided over a number of short essays and their revisions.


Reading and Composition

English R1A

Section: 24
Instructor: Speirs, Kenneth
Speirs, Kenneth
Time: TTh 9:30-11
Location: 300 Wheeler


Other Readings and Media

T. B. A.

Description

T. B. A.


Reading and Composition: City Spaces

English R1B

Section: 3
Instructor: Knox, Marisa Palacios
Knox, Marisa
Time: MWF 1-2
Location: 106 Wheeler


Other Readings and Media

Elizabeth Gaskell, North and South; Nella Larsen, Passing; Robert Louis Stevenson, Dr. Jekyll and Mr. Hyde; Joseph Gibaldi, MLA Handbook for Writers of Research Papers; and a course reader

Description

In this course, we will explore the representation of urban space in novels, poems, and nonfictional texts. The class examines the literary and historical depiction of actual cities such as Manchester, London, Chicago, and New York, and how the experience of cities is refracted through various lenses of gender, race, and class. In addition to the urban phenomena of industry, cosmopolitanism, and crime, we will also analyze the city as an imaginative space, or metaphor, and its inflections upon the characterization, plot, structure, and style of various texts.

The course aims to reinforce and develop students’ writing skills, building toward clear exposition and argumentation. In order to expand and integrate these arguments within a larger intellectual context, students will begin to learn and deploy methods of research through periodic assignments. The class will ultimately apply these practices in writing three papers of increasing length, two of which will require extensive drafting and revision processes.


Reading and Composition: Performing Revenge

English R1B

Section: 8
Instructor: Bahr, Stephanie M
Bahr, Stephanie
Time: TTh 2-3:30
Location: 225 Wheeler


Other Readings and Media

The Oresteia; The Spanish Tragedy; Titus Andronicus; The Duchess of Malfi; MedeaArden of Faversham; The Crow; Sweeney Todd; Kill Bill; and The Crying of Lot 49

Description

Murder, mutilation, madness, imprisonment, adultery, cannibalism, torture and rape: this gruesome list forms not only revengers’ prime motives, but also the tools of their vengeance.  Is this only fitting or a perverse paradox?  What is the morality of vengeance-taking and what are the consequences for the individual and society?  Revenge narratives have long raised these troubling questions, yet their horror has continued to draw audiences to be terrified and titillated, entertained and, even at times, amused.  In this course, we will focus on three cultures particularly fascinated by the spectacle of revenge: ancient Greece, Renaissance England and contemporary Hollywood.  Over the course of a dark, bloody semester, we shall grapple with some of the difficult questions these texts raise and explore how we might relate the revenge-ethos of these disparate periods.  What is revenge’s relationship to the public and the private?  How might revenge as performance blur these boundaries?  Is the audience called upon to condone or condemn revenge?  We shall engage these revenge texts through both vigorous (but never vengeful) class discussion and keen argumentative writing.  You will workshop two essays, no doubt butchering and gutting them mercilessly on their way to polished final drafts.  Though this course may disturb and dismay you, hopefully it will inspire you as well.


Reading and Composition: Writing from Life

English R1B

Section: 9
Instructor: Weiner, Joshua J
Weiner, Joshua
Time: TTh 3:30-5
Location: 225 Wheeler


Other Readings and Media

Sterne, Tristram Shandy; Nietzsche, Ecce Homo; Fanon, Black Skins, White Masks; Burroughs, Cities of the Red Night.

Description

This course seeks to approach, in a loosely historical fashion, some of the problems associated with the literary recording of lives. During the first segment of the class, we will develop a broad perspective on the emergence of autobiography as a practice and genre from late-17th-century poems on the poet’s calling and spiritual autobiography, through a selection from Rousseau’s Confessions, to the Romantic crisis of this mode in Wordsworth’s Prelude, complemented by a brief theoretical reading by Foucault. For the middle portion of the class, we will move away from autobiography as a genre to consider the problems of narrating a life explored in the great experimental novel of the 18th century, Sterne’s Tristram Shandy. The final portion of the class, opening with Nietzsche’s Ecce Homo, will look at 20th-century texts concerned with how life-writing can operate as the narration of lives  in the plural, specifically collectivities formed around different modes of alienation. Our touchstones here will be selections from Fanon’s Black Skins, White Masks, and Burroughs’ Cities of the Red Night. We will also consider two films. Our writing assignments will seek to include a significant focus on interacting with secondary criticism and using theoretical materials in shaping your argument. 


Freshman Seminar: Reading Walden Carefully

English 24

Section: 1
Instructor: Breitwieser, Mitchell
Breitwieser, Mitchell
Time: Tues. 2-3
Location: 205 Wheeler


Other Readings and Media

Thoreau, H. D.: Walden

Description

We will read Thoreau's Walden in small chunks, probably about thirty pages per week. This will allow us time to dwell upon the complexities of a book that is much more mysterious than those who have read the book casually, or those who have only heard about it, realize. We will also try to work some with online versions of the book, using the wordsearch command to identify words such as "woodchuck" or "dimple" that reappear frequently, in order to speculate on patterns Thoreau is trying to establish. Regular attendance and participation, along with a loose five-page essay at the end, are required.

This 1-unit course may not be counted as one of the twelve courses required to complete the English major.


Freshman Seminar: Procrastination: Theory and Practice

English 24

Section: 2
Instructor: Schweik, Susan
Schweik, Susan
Time: Tues. 10-11
Location: 201 Wheeler


Other Readings and Media

Andreou and White, Chrisoula and Mark: The Thief of Time: Philosophical Essays on Procrastination; Fiore, Neil: The Now Habit: A Strategic Program for Overcoming Procrastination and Enjoying Guilt-Free Play

Description

Why do we procrastinate? What can we do to stop it? This course explores procrastination both as a practical problem and as a springboard for theoretical inquiry into questions of choice, will, agency, rationality and morality. We'll read (slowly and thoughtfully) some serious philosophical work on the subject, and we'll explore some literary, artistic and filmic representations that shed light on the processes of procrastinating. Not least, we'll critically examine, and then try out, various strategies for coping with procrastination. I can be talked into admitting you into this course if you don't procrastinate. Actually, if that's the case I'd very much like to meet you. If you do procrastinate, hey, why not take this course NOW?

Susan Schweik is a Professor of English and Associate Dean of Arts and Humanities. Does she procrastinate? What do you think?

This 1-unit course may not be counted as one of the twelve courses required to complete the English major.


Freshman Seminar: Two Novels by Jane Austen: Sense and Sensibility and Emma

English 24

Section: 3
Instructor: Paley, Morton D.
Paley, Morton
Time: Tues. 2-4 (9/6 - 10/25 only)
Location: L-45 Unit III (on Durant)


Other Readings and Media

Austen, J.: Sense and Sensibility, ed. James Kinsley; Austen, J.: Emma, ed. James Kingsley, Introduction and Notes by Adela Pinch

Description

This seminar is meant to be an interesting and pleasant introduction to the study of a great novelist: Jane Austen. We'll read and discuss two novels: Sense and Sensibility and Emma. We'll approach the novels from a number of different perspectives, including (but not limited to): the roles of class and gender, Austen's language, plot structure, "point of view," the thematization of moral concerns, and the interplay of her fiction and the history of her time. We’ll spend at least one meeting (or two if there is sufficient interest) on film versions of the two novels. We'll also discuss various critical approaches to the two works.

Your responsibilities will be 1) to attend regularly, bringing with you the assigned texts (see Note on the Texts below); 2) to participate in discussion; 3) to make a 15-minute (not longer) presentation, and 4) to write a short essay (about 1500 words, 7-8 double-spaced pages) on a subject of your own choice, due at the last seminar meeting. I’ll be glad to read rough drafts of your essays in advance.

At the first meeting we'll consider a number of possible presentation subjects for you to choose from, and of course you may also suggest your own. Each of you will have a meeting with me during my office hours to help prepare for this. Some of you may wish to collaborate on presentations. In the latter part of the term, conferences on choosing an essay topic will be encouraged.

Please note that our first meeting will be on the Tuesday after Labor Day.

Regarding the book list: Because we'll be examining a number of passages closely each time, going quickly from passage to passage, we'll need to locate these quickly by page number. For that reason it’s important that everyone have the same text of the two novels.

This course will meet September 6 through October 25 only.

This 1-unit course may not be counted as one of the twelve courses required to complete the English major.


Freshman Seminar: David Copperfield

English 24

Section: 4
Instructor: Tracy, Robert
Tracy, Robert
Time: M 3-5 (9/12 - 10/31 only)
Location: Room L20 of Unit II (2650 Haste St.)


Description

In David Copperfield (1849-50), Charles Dickens writes a novel about a novelist named David Copperfield who writes a novel about Charles Dickens--for many of David's adventures and ordeals mirror Dickens's own experiences that prepared him to be a novelist. In the novel he called "his favorite child" Dickens examines his own right--and David's--to be considered "the hero of his own life." The novel explores the role of emotional pain in the development of a novelist, while at the same time surrounding David with some of the comically grotesque characters that peopled Dickens's imagination. We will be examining David Copperfield as a confessional novel, as a success story, as a major English novel, and as popular entertainment.

David Copperfield was originally published as a twenty-part serial and we will read it serially, adjusting the text to fit our eight-week schedule. I ask you to read chapters 1-9 for our first meeting. Please try not to read ahead of assignment for subsequent meetings.

This class will start on September 12 and end on October 31.

This 1-unit course may not be counted as one of the twelve courses required to complete the English major.


Freshman Seminar

English 24

Section: 5
Instructor: Padilla, Genaro M.
Padilla, Genaro
Time: W 3-4
Location: 223 Wheeler


Description

T. B. A.


Literature of American Cultures: Race and Ethnicity in Hollywood Cinema

English 31AC

Section: 1
Instructor: Wagner, Bryan
Wagner, Bryan
Time: MW 4-5:30 + film screenings Thurs. 7-10 P.M.
Location: 213 Wheeler (lectures); films in 170 Barrows


Other Readings and Media

T. B. A.

Films: Birth of a Nation (D. W. Griffith, 1915); The Shiek (George Melford, 1921); The Jazz Singer (Alan Crosland, 1927); The Bitter Tea of General Yen (Frank Capra, 1933); Bordertown (Archie Mayo, 1935); Bad Day at Black Rock (John Sturges, 1955); The Searchers (John Ford, 1956); Touch of Evil (Orson Welles, 1958); Imitation of Life (Douglas Sirk, 1959); West Side Story (Robert Wise, 1961); In the Heat of the Night (Norman Jewison, 1967); The Godfather (Francis Ford Coppola, 1972)

Description

An introduction to critical thinking about race and ethnicity, focused on a select group of films produced in the United States between the 1910s and 1970s. Major themes include law and violence, kinship and miscegenation, passing and racial impersonation. Each film is paired with a related reading in theory or applied criticism. There will be weekly writing assignments, two essays, a midterm and a final examination.

The weekly films will also be available (on reserve) in the library.

There will be no film screening on Thursday, August 25, inasmuch as the first meeting of the course will take place on Monday, August 29.

This course satisfies UC Berkeley's American Cultures requirement.


Literature in English: Through Milton

English 45A

Section: 1
Instructor: O'Brien O'Keeffe, Katherine
O'Brien O'Keeffe, Katherine
Time: MW 10-11 + discussion sections F 10-11
Location: 2 LeConte


Other Readings and Media

Liuzza, R. M. (trans): Beowulf; Dickson, D., (ed.): Poetry of John Donne; Mann, J., (ed.): Chaucer's Canterbury Tales; Marlowe, C.:  Dr. Faustus; Milton, J.:  Paradise Lost

Description

This course will introduce you to some central works from the earlier centuries of English literary history in order to help you develop strategies within which to read early literatures. Its particular focus on Beowulf, The Canterbury Tales, Dr. Faustus, the poetry of John Donne, and Paradise Lost will allow us to engage the early literature of England from a variety of perspectives. We will explore various genres (among them, epic, romance, lyric, drama) and the expectations created by these forms. Throughout, we will be thinking about contemporary literary conventions and the cultural contexts of the works on which we focus. And we will attend closely to matters of language, observing how English changes over the centuries.

Please note that this class will first meet on Monday, August 29; discussion sections will not start being held until Friday, September 2.


Literature in English: Through Milton

English 45A

Section: 2
Instructor: Nolan, Maura
Nolan, Maura
Time: MW 3-4 + discussion sections F 3-4
Location: 2 LeConte


Other Readings and Media

Howe, N.: Beowulf: A Prose Translation; Niles, J.: Beowulf: An Illustrated Edition; Mann, J.: Chaucer: The Canterbury Tales, an original spelling edition; Dickson, D.: The Poetry of John Donne; Milton, J.: Paradise Lost; Marlowe, C.: Dr. Faustus

Description

This course will focus on the central works of the early English literary tradition, beginning with Beowulf and ending with Paradise Lost. We will examine the texts in light of the cultures in which they were produced, asking ourselves why these works were written when they were written, and what the unfamiliar cultures of the Middle Ages and Renaissance have to say to us now. We will also focus on developing reading skills and on understanding the literary tradition as a set of interrelated texts and problems that recur over the course of centuries. We will examine these works as formal artifacts as well as historical documents. Students will work on close readings, on literary language, and on understanding generic distinctions as they functioned in the past and function now. Expect to write three papers and to take a final exam.

Please note that this class will first meet on Monday, August 29; discussion sections will not start being held until Friday, September 2.


Literature in English: Late 17th- Through Mid-19th Centuries

English 45B

Section: 1
Instructor: Langan, Celeste
Langan, Celeste
Time: MW 12-1 + discussion sections F 12-1
Location: 2 LeConte


Other Readings and Media

Defoe, D.: Robinson Crusoe; Richardson, S.: Pamela, or Virtue Rewarded; The Norton Anthology of American Literature, volumes A and B; The Norton Anthology of English Literature, volume C; Wordsworth and Coleridge: Lyrical Ballads; Shelley, M.: Frankenstein; Dickens, C.: Bleak House

Description

On the face of it, English 45B seems like a “neither/nor” course; neither a course in the great English "originals" (Chaucer, Spenser, Shakespeare, Milton) nor a course in “modern(ist)” literature. It represents neither the supposed “origin” nor the putative “end” of literature in English; it’s only the middle, and a peculiarly defined middle at that: from the “Glorious Revolution” that legitimated an extra-national monarch for Great Britain to the end of a Civil War in that former British colony, “America.” But students electing to take this course will discover that the writers in this period defined or redefined—in their practices as well as in their prefaces—virtually every idea that governs our attitudes toward “literature” and literacy. We’ll examine how Alexander Pope makes English into an artificial language that “belongs” to no particular class; we’ll see how letters are the means by which former “nobodies”—women and slaves—exercise a measure of freedom and autonomy. But we’ll also see the supposedly liberatory, democratizing power of letters and of literature challenged—by Dickens, in Bleak House, and Melville, in “Bartleby the Scrivener.” As we consider Wordsworth's and Coleridge’s attempt to redefine poetry and Emerson’s and Thoreau’s attempt to write new kinds of prose, we’ll also ask more general questions: what constitutes the “novelty” of literature; if novelty or “originality” is a value, what is the point of reading literature of the past?

Please note that this class will first meet on Monday, August 29; discussion sections will not start being held until Friday, September 2.


Literature in English: Late 17th- Through Mid-19th Centuries

English 45B

Section: 2
Instructor: Goldsmith, Steven
Goldsmith, Steven
Time: MW 2-3 + discussion sections F 2-3
Location: 159 Mulford


Other Readings and Media

Norton Anthology of English Literature, Vol C, Restoration and Eighteenth Century; Norton Anthology of English Literature, Vol D, Romantic Period; Austen, Jane: Pride and Prejudice; Brown, Charles B: Wieland; Franklin, Benjamin: Autobiography; Melville, Herman: Billy Budd and Other Stories; Shelley, Mary: Frankenstein

Description

Our course begins at sea, with the “violent storm” and shipwreck of Gulliver’s Travels, and ends at sea in Benito Cereno, with a tragic convergence of Europe, America, and Africa, just off “a small, desert, uninhabited island toward the southern extremity of the long coast of Chili.” These scenes of dislocation correspond to the rise of modernity that forms our topic. Eighteenth- and nineteenth-century modernity involves a variety of new or accelerating instabilities: epistemological uncertainty; cultural relativism in newly imagined global contexts; the transformation of economic value from land to (liquid) capital; linguistic self-consciousness in a rapidly expanding print culture; and altered forms of subjectivity navigating the new political rhetoric of republicanism, freedom, and individualism. The subtitle of Wieland sums up our course in a word: “The Transformation.” Throughout, we will ask what literary anxieties and opportunities such “transformation” entails, at a time when everything solid—self, world, and society—turns fluid, as if at sea.

Please note that this class will first meet on Monday, August 29; discussion sections will not start being held until Friday, September 2.


Literature in English: Mid-19th Through the 20th Century

English 45C

Section: 1
Instructor: Premnath, Gautam
Premnath, Gautam
Time: MW 11-12 + discussion sections F 11-12
Location: 2 LeConte


Other Readings and Media

Douglass, F.: The Narrative of Frederick Douglass; Stevenson, R.L.: The Strange Case of Dr. Jekyll and Mr. Hyde; Conrad, J.: Heart of Darkness; Forster, E. M.: Howards End; West, N.: Miss Lonelyhearts & The Day of the Locust; Achebe, C.: Things Fall Apart; Ng, F.: Bone

Description

This semester we will cut a selective path through a vast swathe of literature in English, tracing patterns of continuity and change from the mid-nineteenth century to the present. In the process we will encounter some of the key works of the past two centuries, while witnessing the emergence of English as a world-spanning literary language.

Please note that this class will first meet on Monday, August 29; discussion sections will not start being held until Friday, September 2.


Literature in English: Mid-19th Through the 20th Century

English 45C

Section: 2
Instructor: Goble, Mark
Goble, Mark
Time: MW 1-2 + discussion sections F 1-2
Location: 390 Hearst Mining


Other Readings and Media

James, H.: The Turn of the Screw and In the Cage; Stoker, B.: Dracula; Woolf, V.: Mrs. Dalloway; Faulkner, W.: The Sound and the Fury; Ellison, R.: Invisible Man; Pynchon, T.: Crying of Lot 49;

Description

This course examines a range of British and American texts from the period with an emphasis on literary history and its social and political contexts.  We will focus on the emergence, development, and legacy of modernism as a set of formal innovations that can help us see how literature works as a style of cultural response over a series of transformative decades whose effects still resonate today.  We will also consider modernism alongside other literary modes (realism, naturalism, postmodernism) that imagine different ways of representing the experience of the modern world—and of finding a place for literature within it.  Particular attention will be paid to close reading and questions of literary form, even as we think about larger issues such as the relationship between reading and entertainment, the changing status of art in respect to new technologies of information and representation, and challenges to traditional conceptions of the self that are posed by new languages of psychological, national, and racial identity.

Please note that this class will first meet on Monday, August 29; discussion sections will not start being held until Friday, September 2.


Introduction to Environmental Studies

English C77

Section: 1
Instructor: Hass, Robert L.
Hass, Robert & Sposito, Gary
Time: TTh 12:30-2 + 1-1/2 hours of discussion section per week
Location: 100 GPB


Other Readings and Media

The required books for the course will be available exclusively at Analog Books, located just one block up Euclid Avenue from the North Gate entrance to the Berkeley campus. The Course Reader, Introduction to Environmental Studies, will be available exclusively from Copy Central, 2483 Hearst Avenue, right across the street from the North Gate entrance. There will also be a required environmental science textbook (possibly provided as an eBook).

Description

This is a team-taught introduction to environmental studies. The team consists of a professor of environmental science, a professor of English, and three graduate student instructors working in the field. The aim of the course is to give students the basic science of the environment, an introduction to environmental literature, philosophy, and policy issues, and analytic tools to evaluate a range of environmental problems. The course requires some time spent outdoors in observation as well as a lot of reading and writing.

This course is cross-listed with E.S.P.M. C12.


Sophomore Seminar: High Culture, Low Culture: Postmodernism and the Films of the Coen Brothers

English 84

Section: 1
Instructor: Bader, Julia
Bader, Julia
Time: Thurs. 2-5
Location: 300 Wheeler


Other Readings and Media

Books to be determined

Description

We will concentrate on the high and low cultural elements in the noir comedies of the Coen brothers, discussing their use of Hollywood genres, parodies of classic conventions, and representation of arbitrariness. We will also read some fiction and attend events at the Pacific Film Archive and Cal Performances. This seminar may be used to satisfy the Arts and Literature breadth requirement in Letters and Science.

This 2-unit course may not be counted as one of the twelve courses required to complete the English major.


Sophomore Seminar: Know Thyself

English 84

Section: 2
Instructor: Coolidge, John S.
Coolidge, John
Time: M 2-4
Location: 108 Wheeler


Other Readings and Media

On-line reader

Description

This simple, two-word admonition carved over the entrance to the ancient temple at Delphi might be called the founding oracle of western humanism. The phrase itself is alive and well today, as a Google search will amply confirm, but what does it mean? We will read and discuss texts illustrating the remarkable variety of ways in which the oracle has been interpreted in the past, beginning with Socrates’ equally bemusing declaration that “The unexamined life is not livable for a human being,” or words to that effect. I envision a kind of ongoing “focus group” in which we try to ascertain which “takes” on the oracle resonate with us today and why.

This 2-unit course may not be counted as one of the twelve courses required to complete the English major.


Medieval Literature

English 110

Section: 1
Instructor: Miller, Jennifer
Time: TTh 3:30-5
Location: 166 Barrows


Other Readings and Media

A course reader

Description

For more information on this course, please contact Professor Miller at j_miller@berkeley.edu.

This course satisfies the pre-1800 requirement for the English major.


Shakespeare

English 117A

Section: 1
Instructor: Marno, David
Marno, David
Time: TTh 2-3:30
Location: 2 le Conte


Other Readings and Media

The Norton Shakespeare (ed. S. Greenblatt)

Description

This class focuses on Shakespeare's early career and works, that is, on the "Elizabethan" Shakespeare. We'll be reading a very limited number of plays and some poetry. One of the main issues I'd like to focus on is the oscillation between "regular" and "irregular." What is the rule, and what is the exception in Shakespeare's works? How is a comedy supposed to end? How does it end? What makes a tragic hero? Is Hamlet a tragic hero? What are the rules of theater? What are the rules of literature? Who creates them and why? When do they get transgressed, and why? A tentative list of the plays includes Titus Andronicus, Hamlet, Richard III, 1 Henry IV, Midsummer Night's Dream, and The Merchant of Venice. We'll also read some of the sonnets and a longer poem, Venus and Adonis. There will be a midterm and a final paper; no exam but we'll conclude one class every week with a brief response paper to the lectures.


Shakespeare

English 117S

Section: 1
Instructor: Arnold, Oliver
Arnold, Oliver
Time: TTh 9:30-11
Location: 120 Latimer


Other Readings and Media

Shakespeare, W.: The Norton Shakespeare (2nd Edition)

Description

Shakespeare’s poems and plays are relentlessly unsettling, crazy beautiful, deeply moving, rigorously brilliant, and compulsively meaningful: they complicate everything, they simplify nothing, and for 400 years, they have been a touchstone—indeed, something like an obsession—for literary artists from Milton to Goethe to George Eliot to Joyce to Brecht to Zukofsky to Sarah Kane and for philosophers and theorists from Hegel to Marx to Freud to Derrida to Lacan to Zizeck. We will be especially concerned with five large issues: compassion; political representation and its discontents; the nature of identity and subjectivity; colonialism; and the relation between the ways Shakespeare’s plays make meaning and the ways they produce emotional experience. We will read Titus Andronicus, A Midsummer Night’s Dream, The Merchant of Venice, As You Like It, Julius Caesar, Henry V, Hamlet, Measure for Measure, Macbeth, King Lear, The Winter’s Tale, Coriolanus, and The Tempest. If you already own a good single-volume edition of the plays (for example, The Riverside Shakespeare or The Arden Shakespeare), don’t feel at all obliged to buy The Norton Shakespeare.


Literature of the Later 18th Century

English 120

Section: 1
Instructor: Sorensen, Janet
Time: TTh 12:30-2
Location: note new room: 126 Barrows


Other Readings and Media

Titles are subject to change, but will likely include works by Samuel Richardson, Henry Fielding, Horace Walpole, Ann Radcliffe, Mary Leapor, Samuel Johnson, Thomas Gray, William Collins, William Cowper, James Macpherson, Thomas Chatterton, Lawrence Sterne, Oliver Goldsmith, George Crabbe, Robert Burns, and Janet Little. The required books for the course will be available exclusively at Analog Books, located just one block up Euclid Avenue from the North Gate entrance to the Berkeley campus.

Description

Unfamiliar to many undergraduates, eighteenth-century writing shaped many of the forms of writing and institutions of literature we now take for granted. Fiction writers worked to establish the form—and—legitimate as worthy reading—what we now call novels, while others experimented with the first gothic horror stories. Poets reckoned with a literary market and tidal wave of printed works that threatened to render all writing mere commodities. They thematized their position as misunderstood guardians of creative spirit, sometimes of a national past, negotiating a complex commercial world. Women writers cannily intervened in the republic of letters, even as their public writing was seen as semi-scandalous. All helped develop a new sense of Literature with a capital “L”—not just writing but imaginative writing that might play a special role in society, from protecting classical values in a modernizing world, to promoting a standard national language, to cultivating sentimental feelings for others in an increasingly anonymous society.

This course satisfies the pre-1800 requirement for the English major.


The 20th-Century Novel

English 125D

Section: 1
Instructor: Jones, Donna V.
Jones, Donna
Time: TTh 3:30-5
Location: 110 Barrows


Other Readings and Media

Zola, Émile: La Bête Humaine; Dreiser, Theodor: Sister Carrie; Woolf, Virginia: Mrs. Dalloway; Mann, Thomas: Doctor Faustus; Achebe, Chinua: Things Fall Apart; Gibson, William: Neuromancer

Description

This course is a general survey of the 20th-century novel. The novel is the quintessential form of expression of modernity and modern subjectivity. In this survey of key works of the century, we will explore the novel form as it is framed by these three thematics-- history, modernism and empire. These are some questions we will address: how have the vicissitudes of modernity led to a re-direction of historical narration within the novel; how has modernist aesthetic experimentation re-shaped the very form of the novel; and lastly how has the phenomenon of imperialism, the asymmetrical relations of power between center and periphery, widened the scope of fictive milieu?


British Literature: 1900-1945

English 126

Section: 1
Instructor: Blanton, C. D.
Blanton, Dan
Time: Note new format: Lectures MW 2-3 + discussion sections F 2-3
Location: Note new MW lecture room: 50 Birge


Other Readings and Media

Auden, W. H.: Selected Poems; Beckett, Samuel: Murphy; Conrad, Joseph: Lord Jim: A Tale; Eliot, T. S.: Selected Poems; Ford, Ford Madox: The Good Soldier; Forster, E. M.: Howards End; Joyce, James: A Portrait of the Artist as a Young Man; Joyce, James: Ulysses; Woolf, Virginia: To the Lighthouse; Woolf, Virginia: The Waves; Yeats, W. B.: Collected Poems

Description

A survey of the modernist period in British and Irish writing, with special attention given to some of the period’s central figures and works. Students should be prepared to read adventurously and to read a lot. We will attempt about a work (novel or volume of poems) per week, making a central exception for Joyce’s Ulysses, which will slow us to about a chapter per day.

Please note that this class will first meet on Monday, August 29; discussion sections will not start being held until Friday, September 2. 


American Literature: Before 1800

English 130A

Section: 1
Instructor: Tamarkin, Elisa
Tamarkin, Elisa
Time: TTh 11-12:30
Location: 155 Kroeber


Other Readings and Media

Baym, Nina, ed.: Norton Anthology of American Literature. Volume A: American Literature to 1820.; Brown, William Hill: The Power of Sympathy; Foster, Hannah: The Coquette; Brown, Charles B.: Wieland, ed. Jay Fliegelman

Description

This course provides a survey of English-language American literature to 1800. We will explore a wide range of texts from narratives of discovery and exploration through the literature of the American Revolution and the formations of an early national culture. Topics to be discussed include: the role of Puritanism in American society, ethnic difference and the experience of the frontier, evangelism and secularism, the social makings of the new republic, the rise of the novel in America, and the literary place of women and slaves. Readings will also look closely at the language of rights and representation within a revolutionary culture that staged encounters between neoclassical models and romantic sensibilities and between a will to independence and a respect for history. Authors will include William Bradford, John Winthop, Anne Bradstreet, Mary Rowlandson, Cotton Mather, Samuel Sewell, Jonathan Edwards, Benjamin Franklin, Phillis Wheatley, Thomas Jefferson, Thomas Paine, Olaudah Equiano, Royall Tyler, Susanna Rowson, Hannah Foster, and Charles Brockden Brown.

This course satisfies the pre-1800 requirement for the English major.


American Poetry

English 131

Section: 1
Instructor: O'Brien, Geoffrey G.
O'Brien, Geoffrey
Time: MW 4-5:30
Location: note new room: 101 Moffitt


Other Readings and Media

Lerner, B.: Mean Free Path; Rankine, C.: Don

Description

This survey of U.S. poetries will begin with Whitman and Dickinson and then move through both expatriate and stateside modernisms, the Harlem Renaissance, the Objectivists, the New York School, and Language Poetry, on our way to the contemporary. Poets considered may include Dunbar, Eliot, Pound, Stein, Toomer, Williams, McKay, Stevens, Hughes, Olson, Oppen, Niedecker, Moore, Bishop, O’Hara, Ashbery, Guest, Duncan, Ginsberg, Baraka, Spicer, Palmer, Hejinian, and several younger contemporaries. Along that route we’ll consider renovations and dissipations of conventional form and meter, who and what counts as a poetic subject, strategies of fragmentation and citationality, and the task and materials of the long poem. Primary and secondary readings will be drawn from a large Course Reader. There will be a take-home midterm, a final essay, and a final exam.


American Novel

English 132

Section: 1
Instructor: Lee, Steven S.
Lee, Steven
Time: TTh 9:30-11
Location: 102 Wurster


Other Readings and Media

Hawthorne, N.: The Scarlet Letter; Twain, M.: The Adventures of Huckleberry Finn; James, H.: Daisy Miller; Cahan, A.: Yekl: A Tale of the New York Ghetto; Dreiser, T.: Sister Carrie; DuBois, W. E. B.: Dark Princess; West, N.: The Day of the Locust; Nabokov, V.: Pnin; Kingston, M.: China Men; Morrison, T.: A Mercy

Description

Rather than define a canon, this survey will trace how the novel has contributed to nation-formation in the U.S. How has the novel helped to define what it means to be American, starting from the country’s fledgling days as an outpost of Europe? To what extent has the novel form been able to incorporate the diversity of American experiences—and to what extent has it promoted exclusions of race, gender, and class? What are the limitations of both novel and nation—and how has the American novel expressed these limitations?


African American Literature and Culture Before 1917

English 133A

Section: 1
Instructor: Best, Stephen M.
Best, Stephen
Time: TTh 11-12:30
Location: 121 Wheeler


Other Readings and Media

Gates, H.: The Classic Slave Narratives; Franklin, J.: Three Negro Classics; Chesnutt, C.: The Conjure Woman; Walker, D.: Appeal to the Coloured Citizens

Description

African American expressive culture has been driven by an affinity for the oral; and yet the claim for black humanity has often rested upon an embrace of literacy. In this survey we will attempt to bridge these oral and literary impulses in an exploration of selected works from the canon of African American literature. We will concern ourselves not only with the conceptual distinctions between orality and literacy, but also with how those distinctions gather force within debates over the power of language in politics and history: Rather than a teleological progression from orality to literacy, why does one find in much African American literature a promiscuous coupling of the two? What particular role does speech (e.g., confession, testimony) play in the formation of the subject? What are the politics of speaking, reading, and writing in early America? How might slaves have apprehended the power of orality – rhetoric, eloquence, performative speech – at a time when magnificent effects seemed to follow from the act of “declaring” independence?


Topics in American Studies: Black Reconstruction

English C136

Section: 1
Instructor: Wagner, Bryan
Wagner, Bryan
Time: MWF 2-3
Location: 220 Wheeler


Other Readings and Media

Khalil Gibran Muhammad, The Condemnation of Blackness: Race, Crime, and the Making of Modern Urban America; Frances Harper, Iola Leroy; Langston Hughes, Selected Poems; Charles Chesnutt, Portable Charles W. Chesnutt; Jacob Lawrence, The Great Migration; W. E. B. Du Bois, Souls of Black Folk; Bryan Wagner, Disturbing the Peace; Isabel Wilkerson, The Warmth of Other Suns

Description

“Among the revolutionary processes that transformed the nineteenth-century world, none was so dramatic in its human consequences or far-reaching in its social implications as the abolition of chattel slavery,” the historian Eric Foner has written. And nowhere was this revolutionary process more dramatic, more all-encompassing, than in the United States -- the only society in the history of the world where ex-slaves were granted citizenship rights and meaningful political representation directly on the heels of emancipation. Reconstruction was an exceptional event in world history, to be sure, but one that swelled with the main currents of its time. It was an experiment in statecraft that tried to remake society all at once, turning a traditional situation where individuals were restricted by inherited relations of dependency into a modern scene based upon the liberty to contract. This course aims to grasp Reconstruction, in all its complexity, as a narrative problem. We will be thinking in the abstract about the nature of historical transition, and in particular about the role of violence in times of transition, while we look to some of the major literary and historical works from the late-nineteenth and early-twentieth centuries that turned Reconstruction into a story to be passed down. We will observe how these works sustain their most parochial commitments -- blood, family, race, nation -- by adapting the moral vocabulary of the market, and we will try to understand how those commitments became variously inflected as romance, tragedy, and farce. We will pay close attention to the formal strategies (marriage plots, framing devices, and analepses) that propel these narratives from slavery to freedom as well as to the developing conditions (the stratification of the book trade, the professionalization of historical research, the emergence of the cinema) that determined how those strategies could be employed.

The readings for this course have not yet been finalized but will include works by Albion Tourgée, Frances Harper, George Washington Cable, Charles Chesnutt, Sutton Griggs, William Dunning, Woodrow Wilson, Ida B. Wells-Barnett, Carter Woodson, and W. E. B. Du Bois.


Chicana/o Literature and Culture Since 1910: Chicana and Chicano Novels

English 137B

Section: 1
Instructor: Gonzalez, Marcial
Gonzalez, Marcial
Time: TTh 12:30-2
Location: 109 Dwinelle


Other Readings and Media

Acosta, O.: The Autobiography of a Brown Buffalo; Acosta,  O.: The Revolt of the Cockroach People; Castillo,  A.: Sapogonia; Cisneros,  S.: Caramelo; Gaspar de Alba,  A.: Desert Blood, The Juarez Murders; Plascencia,  S.: The People of Paper; Ruiz,  R.: Happy Birthday Jesus; Santiago,  D.: Famous All Over Town; Villanueva,  A.: Naked Ladies

Description

The purpose of this course is to provide students with a general knowledge of post-1970 Chicano/a novels. Our study will focus on both the form and content of each novel. As we shall see, the formal features and thematic representations of Chicano/a novels have been influenced to a large degree by a broad range of social experiences: living in the borderlands of language, culture, geography, and nationality; growing up female in a male-centered environment; fighting racism; engaging in class struggle; encountering various forms of organized state repression; migrating and immigrating; getting involved in political movements; and becoming expressive in art and literature. Because this is a reading intensive course, we will spend considerable time in class discussing the novels and conducting collective close readings of selected passages. We'll be attentive to the manner in which the act of storytelling in Chicano/a novels contributes to the formation of complex and sometimes contradictory cultural identities. We'll also read and discuss essays on narrative theory and history to facilitate our analysis of the aesthetic and social issues that inform the writing of these novels and to understand how they expand and enrich twentieth-century American literature.


Studies in World Literature in English: Postcolonial Classics

English 138

Section: 1
Instructor: Premnath, Gautam
Premnath, Gautam
Time: MW 4-5:30
Location: 30 Wheeler


Other Readings and Media

Achebe, C.: Things Fall Apart; Naipaul, V.S.: A House for Mr. Biswas; Salih, T.: Season of Migration to the North; Ba, M.: So Long a Letter; Rushdie, S.: Midnight's Children; Desani, G.V.: All About H. Hatterr; Tutuola, A.: The Palm-Wine Drinkard and My Life in the Bush of Ghosts; Roy, A.: The God of Small Things; Coetzee, J. M.: Disgrace

Description

What is a classic? A perennial preoccupation for critics and lay readers, this question takes on a specific urgency in the context of postcolonial literature. This course will consider a series of postcolonial literary works now viewed as classic, while inquiring into the processes by which they have been assigned that status. We'll address questions of aesthetic and political value, trace the formation of a postcolonial canon, and consider the relationship of these works to both European and "native" classical traditions. Note: The final booklist may diverge somewhat from the one currently listed, but is sure to include Naipaul's A House for Mr. Biswas and Achebe's Things Fall Apart (the latter should be read in the Norton Critical Edition).


Modes of Writing

English 141

Section: 1
Instructor: Chandra, Melanie Abrams
Chandra, Melanie Abrams
Time: TTh 2-3:30
Location: 210 Wheeler


Other Readings and Media

Reader available at Zee Zee Copy

Description

This course will introduce students to the study of creative writing – fiction, poetry, and drama. Students will learn to talk critically about these genres and begin to feel comfortable and confident with their own writing of them. Students will write in each of these genres and will partake in class workshops where their work will be edited and critiqued by other students in the class.

This course is open to English majors only.


Short Fiction

English 143A

Section: 1
Instructor: Chandra, Vikram
Chandra, Vikram
Time: MW 12-1:30
Location: 301 Wheeler


Other Readings and Media

Furman, L.: PEN/O. Henry Prize Stories 2011: The Best Stories of the Year

Description

A short fiction workshop. Over the course of the semester, each student will write and revise two stories. Each participant in the workshop will edit student-written stories, and will write a formal critique of each manuscript. Students are required to attend two literary readings over the course of the semester, and write a short report about each reading they attend. Students will also take part in online discussions about fiction. Attendance is mandatory.

Throughout the semester, we will read published stories from various sources, and also essays by working writers about fiction and the writing life. The intent of the course is to have the students engage with the problems faced by writers of fiction, and discover the techniques that enable writers to construct a convincing representation of reality on the page.

To be considered for admission to this course, please submit 10 photocopied pages of your original fiction writing, along with an application form, to Professor Chandra's mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 19th, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 1 of this Announcement of Classes for further information regarding enrollment in such courses!


Short Fiction

English 143A

Section: 2
Instructor: Mukherjee, Bharati
Mukherjee, Bharati
Time: Tues. 3:30-6:30
Location: note new room: 300 Wheeler


Other Readings and Media

Cassil and Oates, R. V., and Joyce Carol, eds.: The Norton Anthology of Contemporary Fiction

Recommended: Mukherjee, B.: The Middleman & Other Stories

Description

This workshop course concentrates on the form, theory and practice of the short story. Students admitted to the course will be required to write a minimum of 45 pages of original fiction, complete assignments on specific aspects of narrative strategy, and participate in workshop discussions.

To be considered for admission to this course, please submit 15 photocopied pages of your original fiction writing, along with an application form, to Professor Mukherjee's mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 19th, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 1 of this Announcement of Classes for further information regarding enrollment in such courses!


Verse

English 143B

Section: 1
Instructor: Shoptaw, John
Shoptaw, John
Time: TTh 9:30-11
Location: 186 Barrows


Other Readings and Media

See below

Description

In this course you will conduct a progressive series of experiments in which you will explore some of the fundamental options for writing poetry today—aperture, partition, closure; rhythmic sound patterning; sentence & line; stanza; short & long-lined poems; image & figure; poetic forms (haibun, villanelle, sestina, pantoum, ghazal, etc.); the first, second, third, and no person (persona, address, drama, narrative, description); prose poetry, and revision. Our emphasis will be placed on recent possibilities, but with an eye & ear always to renovating traditions. I have no “house style” and only one precept: you can do anything, if you can do it. You will write a poem a week, and we’ll discuss five or so in rotation (I’ll respond to every poem you write). On alternate days, we’ll discuss recent illustrative poems drawn from our course reader (no other books will be assigned). If the past is any guarantee, this course will be delightful.

To be considered for admission to this course, please submit 5 photocopied pages of your poetry, along with an application form, to Professor Shoptaw's mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 19th, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 1 of this Announcement of Classes for further information regarding enrollment in such courses!


Verse

English 143B

Section: 2
Instructor: Giscombe, Cecil S.
Giscombe, Cecil
Time: TTh 12:30-2
Location: 263 Dwinelle


Other Readings and Media

Texts by contemporary poets, T. B. A.

Description

I’ll ask students to be interested in form as a site, as a point of disembarkation for talking about that other stuff, for the ongoing work of investigation and experiment. Poems can be formally navigated but the point, in all my classes, is not to get it right but to see how it feels to get involved in it, that and to look at what the poem (or the essay or joke or speech) does and at the ways the world presses on it, and at how it presses back on the world. What’s the relationship of poetry to cultural iconography, to issues of representation of race and class and gender?

The other thing I’ll ask is that students be interested in poetry as a series of local public events, as a thing that takes shape awkwardly (and beautifully for that) in unlikely venues. We’ll work, in part, on that “local” and that “public” with poets from Mills College; with them, we’ll figure out how to stage some performances.

Workshop. Discussions. Reading (and student-led discussions of readings). Weekly writing assignments. Field trips. Performances.

To be considered for admission to this course, please submit 5 photocopied pages of your poetry, along with an application form, to Professor Giscombe's mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 19th, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 1 of this Announcement of Classes for further information regarding enrollment in such courses!


Verse: Poetry and the Poetics of Sound, Voice, & Performance

English 143B

Section: 3
Instructor: Goldman, Judith
Goldman, Judith
Time: Tues. 3:30-6:30
Location: 103 Wheeler


Other Readings and Media

Scott, Jordan: Blert; Bergvall, Caroline: Meddle English; Toscano, Rodrigo: Collapsible Poetics Theater; Mullen, Harryette: Recyclopeida; there will also be a course reader and/or texts posted electronically.

Description

In this course, we’ll work towards new understandings of sound, of the human voice and voicing, of language’s relationship to the voice and to its own sonic dimensions, and of the ways in which visual and musical and other sonic media exploit and implicate the voice and language. This intensive exploration of sound, voice, and language will in turn enable students to create sonically sensitive writing and performance.

Topics/modes on the way to creating this work include: theorizing the ontology of sound and the conditions of hearing and listening; defining and critiquing distinctions among noise, sound, music, and voice (understanding relations between sonic orders and social-political-psychic orders); studying and troubling the metaphysical and phenomenological foundations of voice, in part in relation to theories of lyric poetry; studying the sonic materiality of language through phonetics, prosody, and rhyme, by working intensively on selected poems and songs; considering the sonic effects of repetition and refrain and the capacity of the verbal to represent sounds outside of language; thinking through accent, polymorphous Englishes, multi-lingual works, and creative translation; exploring the relationship between the textual page/visual score and oral performance; examining film sound and acoustic aspects of visual art; learning about historical and contemporary performance poetries and related forms (like poet’s theater and film narration).

Course requirements: For workshop, students will write creative (and sometimes brief critical) responses to a wide variety of creative and critical texts and will perform and (learn how to) record their work. While we will engage with assigned prompts related to the course materials, students will also workshop their own independently conceived work. Everyone will write for every class, before and during class, individually and/or collaboratively. Students will have reading and listening homework for every session and should have access to the internet for retrieving texts, streaming audio files, and posting their work before class so that other students can read/listen to and comment on it.

To be considered for admission to this course, please submit 5 photocopied pages of your poetry, along with an application form, to Professor Goldman's mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 19th, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 1 of this Announcement of Classes for further information regarding enrollment in such courses!


Prose Nonfiction

English 143N

Section: 1
Instructor: Mukherjee, Bharati
Mukherjee, Bharati
Time: W 3-6
Location: 301 Wheeler


Other Readings and Media

Atwan, R., ed.: The Best American Essays, 6th College Edition

Description

This workshop course concentrates on the form, theory and practice of creative nonfiction, particularly on the personal essay. Students admitted to the course will be required to write a minimum of 45 pages, complete assignments, and participate in workshop discussions.

To be considered for admission to this course, please submit 10-12 photocopied pages of your original nonfiction, along with an application form, to Professor Mukherjee's mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 19th, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 1 of this Announcement of Classes for further information regarding enrollment in such courses!


Special Topics: (note new topic) Religion and Poetry in the Renaissance

English 165

Section: 1
Instructor: Marno, David
Marno, David
Time: TTh 11-12:30
Location: 300 Wheeler


Other Readings and Media

George Herbert and the Seventeenth-Century Religious Poets (ed. di Cesare); Milton, Complete Poetry (ed. Kerrigan); OR The Major Works (eds. Orgel and Goldberg) (or any scholarly edition that includes Paradise Lost and the shorter poems). Additional texts will be distributed electronically.

Description

What does it mean to speak to God through a sonnet? Why would someone retell the story of the Biblical Fall in verse? Why rewrite the Psalms in rhyme royal? In this course, we’ll do a case study of sixteenth and seventeenth century religious poetry to answer these questions. We’ll keep a dual focus throughout: what makes religious poetry a fascinating object for study is precisely that it is both poetry and religion, and it reflects the irreverent creativity of poetry as well as the reverence that religion seems to demand from its practitioners. In the odd cooperation of poetry and religion, both are often forced to show their unknown faces and hidden tendencies; our main goal in the course is to notice the moments when religious poetry tells us something new and exciting about poetic invention or religious belief.

In theory, there are three types of religious poetry in the early modern period: devotional poetry, prophetic poetry, and mystical poetry. Devotional poetry can be loosely defined as poetry that enacts or resembles religious practices such as prayer or liturgical acts. Prophetic poetry corresponds to the Scriptures in that it reports of a story and its report is ostensibly based on revelation. Finally, mystical poetry tends to focus on some sort of experience of the divine. We will approach the religious poetry of the sixteenth and seventeenth centuries with these three categories in hand, but also with an open mind to any alternatives, variations, or departures. Although the course focuses on religious poetry, we’ll also look at secular poetry because, as we’ll see, religious and secular are not entirely separable categories in the period.

Authors include Philip and Mary Sidney, John Donne, George Herbert, Aemilia Lanyer, Richard Crashaw, Henry Vaughan, Andrew Marvell, Thomas Traherne, and John Milton.

This course satisfies the pre-1800 requirement for the English major.

This class is open to third- and fourth-year English majors only.


Special Topics: Engaging the Play: Being the Player

English 166

Section: 1
Instructor: Gotanda, Philip Kan
Gotanda, Philip
Time: TTh 2-3:30
Location: Note new room: 100 Wheeler


Other Readings and Media

Cruz, N.: Anna In The Tropics; Wilson, A.: Joe Turners Come And Gone; Ruhl, S.: Dead Man's Cell Phone; Gotanda, P.: No More Cherry Blossoms; Vogel, P.: How I Learned To Drive; Hwang, D.: Yellow Face; Lori-Parks, S.: TopDog/UnderDog; Wallace, N.: One Flea Spare; Gotanda, P.: Yankee Dawg You Die; Letts, T.: Osage County; Baker, A.: Circle Mirror Transformation

Description

The course will explore inventive ways of engaging the theater text.

Students will read from a selection of plays and be expected to give presentations analyzing theme, story, as well as point of view of the playwright. This will be followed with students participating in the actual rehearsing and in-class performing of the discussed plays. This experiencing of the theater process will give insight as to how theater text spoken aloud, put on its feet, performed, can afford another kind of "reading" of what is written on page. The material to be covered will be drawn from contemporary American plays with an emphasis on Asian American themes and Professor Gotanda’s works. It is preferred that students not have a performance background. Grading will be determined by commitment to participation, not “expertise” of performance. Classes will be conducted to allow for a friendly, comfortable performing environment. Study will be supplemented by guest lecturers – live and by skype. The vantage point of Professor Gotanda as a playwright working in contemporary American theater will lend a living, in the field, dynamic to the class.


Special Topics: Race and Cultures of Mobility in American Literature

English 166

Section: 2
Instructor: Carmody, Todd
Carmody, Todd
Time: MWF 1-2
Location: 160 Kroeber


Other Readings and Media

Twain, Mark: Adventures of Huckleberry Finn; Du Bois, W.E.B., The Souls of Black Folk; Keller, Helen: The Story of My Life; Johnson, James: Autobiography of an Ex-Colored Man; McKay, Claude: Home to Harlem; Heyward, DuBose: Porgy; Rankine, Claudia: Don't Let Me Be Lonely; Toomer, Jean: Cane; McCullers, Carson: The Member of the Wedding; Du Bois, W.E.B.: Dark Princess

Description

This course examines how nineteenth- and twentieth-century U.S. writers imagined the connections between race, mobility, and national identity. Movement in American literature is often understood to betoken freedom, exploration, and escape--whether on the open river or the open road, the western frontier or the New England retreat. Interrogating these romantic tropes and utopian mythologies, we will ask how representations of mobility (broadly understood) in fact map out the contested terrain of racial difference. How do narratives of travel and spectacles of the body in motion redraw the boundaries of national belonging? How does race organize space on the urban grid and in the poetic line? How does literary form mediate and meditate on the unequal distribution of mobility as a social resource? And how are notions of national progress and racial uplift inflected through discourses of ability and disability? Our readings will address these and other questions against an historical backdrop of regionalism, migration, territorial expansion, segregation, "slumming," and internationalism. Of particular concern will be the choreography of difference in popular culture and the uneven relationship between cultural visibility and social mobility.


Special Topics in American Cultures: Race and Revision in Early America

English 166AC

Section: 1
Instructor: Donegan, Kathleen
Donegan, Kathleen
Time: TTh 9:30-11
Location: 101 LSA


Other Readings and Media

Morrison, T.: A Mercy; Shakespeare, W: The Tempest: A Case Study; Cesaire, A.: A Tempest; Jefferson, T.: Notes on the State of Virginia; Brown, W.: Clotel, or the President

Description

In this course, we will read both historical and literary texts to explore how racial categories came into being in New World cultures and how these categories were tested, inhabited, and re-imagined by the human actors they sought to define. Our study will be organized around four early American sites: Landfall in the North Atlantic, Jamestown fort, Witchcraft at Salem, and Jefferson’s Virginia. These sites will function as interpretive nodes; in each place, African, Native, and European ways of making meaning collided and concepts of racial difference were created. The effect, of course, was never total, and we will study how racial constructions forged at each site have been re-imagined and revised throughout American cultural history to the present day.

This course satisfies UC Berkeley's American Cultures requirement.

It also satisfies the pre-1800 requirement for the English major.


Literature and Disability: Representations of Disability in Literature

English 175

Section: 1
Instructor: Kleege, Georgina
Kleege, Georgina
Time: MWF 3-4
Location: 122 Wheeler


Other Readings and Media

Barker, P.: Regeneration; Dunn, K.: Geek Love; Finger, A.: Call Me Ahab; Lewis, V. A.: Beyond Victims and Villains; McCullers, C.: The Heart is a Lonely Hunter; Medoff, M.: Children of a Lesser God; Shakespeare, W.: King Lear; Shakespeare, W.: Richard III

Description

We will examine the ways disability is represented in a variety of works of fiction and drama. Writing assignments will include two short (5-8 page) critical essays and a take-home final examination. (This is a core course for the Disability Studies Minor.)


Literature and Linguistics

English 179

Section: 1
Instructor: Hanson, Kristin
Hanson, Kristin
Time: TTh 11-12:30
Location: 186 Barrows


Other Readings and Media

Heaney, S.: Beowulf: A New Verse Translation (bilingual edition); Woolf, V.: Mrs. Dalloway

Description

The medium of literature is language. This course will explore this relationship through a survey of literary forms defined by linguistic forms, and through consideration of how these literary forms are both like and unlike forms of non-literary language. These literary forms include meter; rhyme and alliteration; syntactic parallelism and other syntactic structures special to poetry; formulas of oral composition; and special narrative uses of pronouns, tenses and other subjective features of language to express point of view and render 'represented speech and thought'. The emphasis will be on literature in English, but comparisons with literature in other languages will also be drawn. No knowledge of linguistics will be presupposed, but linguistic concepts will be introduced, explained and used.


Short Story

English 180H

Section: 1
Instructor: Chandra, Vikram
Chandra, Vikram
Time: MW 4-5:30
Location: 166 Barrows


Other Readings and Media

A course reader

Description

“The lyf so short, the crafte so longe to lerne…”

-- Chaucer

This course will investigate how authors craft stories, so that both non-writers and writers may gain a new perspective on reading stories. In thinking of short stories as artifacts produced by humans, we will consider – without any assertions of certainty – how those people may have experienced themselves and their world, and how history and culture may have participated in the making of these stories. So, in this course we will explore the making, purposes, and pleasures of the short story form. We will read – widely, actively and carefully – many published stories from various countries in order to begin to understand the conventions of the form, and how this form may function in diverse cultures. Students will write a short story and revise it; engaging with a short story as a writer will aid them in their investigations as readers and critics. Students will also write two analytical papers about stories we read in class. Attendance is mandatory.


Research Seminar: The Rejection of Closure: Slow Readings

English 190

Section: 1
Instructor: Hejinian, Lyn
Hejinian, Lyn
Time: MW 1:30-3
Location: 301 Wheeler


Other Readings and Media

Armantrout, R.: Versed; Clark, T. J.: The Sight of Death; Mackey, N.: Splay Anthem; Middleton, P.: Distant Reading: Performance, Readership, and Consumption in Contemporary Poetry; Mullen, H.: Sleeping with the Dictionary; Spahr, J.: Well Then There Now; Spicer, J.: My Vocabulary Did This to Me; Watten, B.: The Constructivist Moment

Description

This is a seminar in the poetics of reading. Over the course of the semester, students will undertake prolonged, exploratory, multi-contextual readings of a selection of recent and contemporary “difficult” poems. Works by Larry Eigner, Rae Armantrout, Jack Spicer, Harryette Mullen, Robert Grenier, Barrett Watten, Juliana Spahr, and Nathaniel Mackey are among those that will be considered. Such works will be read against the backdrop of their historical moment and contextual purport and in conjunction with assigned critical texts, but students will be expected to conduct their own research using primary and secondary sources in the process of coming to relevant, meaningful readings of the poems. Students will be asked to maintain a reading journal and to write several critical papers—some written individually, others written collaboratively.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Another Nature

English 190

Section: 2
Instructor: Legere, Charles
Legere, Charles
Time: MW 1:30-3
Location: 305 Wheeler


Other Readings and Media

Whitman, W: Song of Myself and Other Poems, (ed. by Hass and Ebenkamp); Spicer, J: My Vocabulary Did This to Me: The Collected Poems of Jack Spicer, (ed. by Killian and Gizzi); Stevens, W: Wallace Stevens: Collected Poetry and Prose, (Library of America edition, ed. by Kermode and Richardson); The Norton Anthology of Theory and Criticism 2nd edition, (ed. by Leitch, V, et al)

Description

The poet... doth grow in effect another nature, in making things either better than nature brings forth, or quite anew. —Sidney

In 1770, English painter George Stubbs painted a painting of a moose standing in front of a rocky crag. All wrong—moose live in the swamp. But since the only moose that Stubbs had ever seen had been shipped from North America, he had falsely imagined the sublimity of its habitat. The twentieth-century American poet Robert Duncan brings up Stubbs’ moose in “Poetry, A Natural Thing” to rehearse a longstanding opposition between poetry and nature, and undercut that opposition a little bit. He suggests that the out-of-place moose—a “picture apt for the mind,” he calls it—is not only a perfect figure for the pure and delightful inventiveness of poetry, but also for its weird pathos. In this course, we’ll set poems and theories of poetry alongside ideas of nature to enrich our understanding of both. Are nature and/or poetry wild, real, objective, social, inner, autonomous, and/or other? To formulate your own opinion, you’ll write a series of close readings leading up to a long research paper built around a poem of your choice.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: The Writings of Daniel Defoe

English 190

Section: 3
Instructor: Starr, George A.
Starr, George
Time: MW 4-5:30
Location: 109 Wheeler


Other Readings and Media

Defoe, Daniel: Robinson Crusoe, ed. Richetti; Defoe, Daniel: Journal of the Plague Year, ed. Wall; Defoe, Daniel: Moll Flanders, ed. Blewett; Defoe, Daniel: Roxana, ed. Blewett

Description

Reading and discussion of representative works in various genres, treating Defoe’s career and writings as of interest in themselves, and as offering direct (if slanted) access to all the major cultural issues of his day, political, economic, and religious as well as literary. Writings with less obvious claims on our attention than the prose fiction will figure prominently, although proportions can be adjusted as the course unfolds.

This section of English 190 satisfies the pre-1800 requirement for the English major.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Literature of California and the West pre-1920

English 190

Section: 4
Instructor: Starr, George A.
Starr, George
Time: MW 5:30-7
Location: 109 Wheeler


Other Readings and Media

Clemens, Samuel L.: Roughing It; Norris, Frank: McTeague; Austin, Mary: The Land of Little Rain; London, Jack: The Valley of the Moon

Description

Besides reading and discussing fiction and poetry with Western settings, and essays attempting to identify or explain distinctive regional characteristics, this course will include consideration of some movies shaped by and shaping conceptions of California. Writing will consist of a term paper of 16-20 pages. Depending on enrollment, each student will be responsible for organizing and leading class discussion (probably teamed with another student) once during the semester. There will be no quizzes or exams, but seminar attendance and participation will be expected, and will affect grades.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: The New Journalism and the Nonfiction Novel

English 190

Section: 5
Instructor: Gordon, Zachary
Gordon, Zach
Time: TTh 9:30-11
Location: 221 Wheeler


Other Readings and Media

Hersey, J.: Hiroshima; Mailer, N.: The Armies of the Night: History as a Novel, the Novel as History; Capote, T.: In Cold Blood; Didion, J.: Slouching Towards Bethlehem; Herr, M.: Dispatches; Wolfe, T.: The New Journalism

Description

This course focuses on the intersection of literature and journalism, with particular attention to the emergence of the New Journalism. The genre, defined in terms of its application of literary techniques to news reporting, often constructs stories around scenes, employs extended dialogue, or portrays another’s thoughts, all the while remaining confined to verifiable facts. Over the course of the semester we’ll both examine the way our different authors deploy such techniques and place their works and the genre as a whole in historical context. We will also examine the category in more theoretical terms, interrogating its stability and self-proclaimed novelty.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: In Defense of Literature

English 190

Section: 6
Instructor: Tanemura, Janice
Tanemura, Janice
Time: TTh 9:30-11
Location: 109 Wheeler


Other Readings and Media

Babbitt, Irving: Literature and the American College: Essays in Defense of the Humanities; Du Bois, W .E. B.: The Souls of Black Folk; Stephenson, Neal: Snow Crash; Mullen, Haryette: Sleeping with the Dictionary; Ohmann, Richard: The Politics of Knowledge: The Commercialization of the University, the Professions, and Print Culture; Sontag, Susan: Against Interpretation; Joyce, James: A Portrait of the Artist as a Young Man; Sapphire: Push; Berry, Wendell: A Continuous Harmony: Essays Cultural and Agricultural; Hamid, Mohsin: The Reluctant Fundamentalist

Description

This course addresses the so-called “crisis in the humanities” by examining the history of this perceived crisis and its relationship to the formation of the field of literary studies. Can we still find solutions to our problems in literature or is literature made obsolete by the popularization of alternative methods of communication: Facebook, Twitter, blogs, etc.? We will examine the arguments within literary humanism, the novel’s relationship to self-formation and the notion of art as redemptive, alongside an examination of the institutionalization of literary studies. In the face of institutional and cultural crisis where literature is no longer viewed as capable of helping us deal with the contemporary problems of life, and is sometimes imagined as the cause of its problems (English teachers breeding anti-American ideas), how do we, as Gregory Jusdanis argues, fashion a new “defense of literature”?

Reader will include pieces by John Leo, John Dewey, Amy Tan, Michael Berubé, Carey Nelson, John Guillory, Marjorie Perloff, and Stanley Fish.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Walter Scott and Jane Austen

English 190

Section: 7
Instructor: Duncan, Ian
Duncan, Ian
Time: TTh 11-12:30
Location: 301 Wheeler


Other Readings and Media

Austen, J.: Northanger Abbey; Austen, J.: Persuasion; Austen, J.: Mansfield Park; Austen, J.: Emma; Scott, W.: Waverley; Scott, W.: Redgauntlet; Scott, W.: The Antiquary; Scott, W.: Guy Mannering

Description

The two major British novelists of the Romantic period were reading each other: warily, in Austen’s case—“Walter Scott has no business to write novels, especially good ones. I do not like him, and do not mean to like Waverley if I can help it – but fear I must”—and with a franker enthusiasm, in Scott’s: “Also read again, and for the third time at least, Miss Austen's very finely written novel of Pride and Prejudice. That young lady had a talent for describing the involvement and feelings and characters of ordinary life which is to me the most wonderful I ever met with.” In her lifetime Austen’s novels met with a modest commercial success, and were praised by a discerning few; Scott, who wrote the only substantial contemporary review of Austen’s work, was the most famous and influential author of the first half of the nineteenth century. By the end of the Victorian era, their achievements were viewed as equal and opposite: “between them they cover almost the entire possible ground of prose fiction,” wrote George Saintsbury in 1913. By the mid-twentieth century the drastic decline of Scott’s reputation measured Austen’s seemingly unstoppable rise to mass cult status and critical adulation. We will read four major novels by each author, and consider representative criticism of their work, the influential theories of the novel that have grown up around them, and the curious trajectory of their reputations.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Asian American Fiction

English 190

Section: 9
Instructor: Lye, Colleen
Lye, Colleen
Time: TTh 11-12:30
Location: 223 Wheeler


Other Readings and Media

Choi, S.: American Woman; Ghosh, A.: Sea of Poppies; Hamid, M.: The Reluctant Fundamentalist; Kingston, M. H.: The Woman Warrior; Lee, C. R.: Native Speaker; Ong, H.: Fixer Chao; Truong, M.: The Book of Salt; Yamashita, K.: Tropic of Orange

Description

If we accept that “Asian American” names a fictive ethnicity, what has been the power of Asian American literature’s social imagination? How has Asian American literature not only reflected the constructedness of Asian American identity but also contributed to the building of Asian American racial formation? In the putative context of globalization, what kind of psychic identification, political affiliation, or social experience does “Asian American” name? This seminar will introduce students to Asian American literature and history, with particular attention to their interaction and mutual influence since the invention of the identity in the 1960s. Besides the influential fictional texts listed here, we will also read selected critical works in Asian American Studies. Active in-class participation and the production of a research paper are required. This course is appropriate for students engaged in activist Asian American projects (and seeking to reflect further on these) as well as those without prior background in Asian American Studies (and seeking initial orientation).

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Contemporary Ethnic Surrealist Poetry and Poetics

English 190

Section: 10
Instructor: Chen, Christopher
Chen, Christopher
Time: TTh 12:30-2
Location: 203 Wheeler


Other Readings and Media

Cha, T: Dictee; Dinh, L: All Around What Empties Out; Foster, S: Atomik Aztex; Kaufman, B: The Ancient Rain: 1956-1978; Kelley (ed.), R: Black, Brown, & Beige: Surrealist Writings from Africa and the Diaspora (The Surrealist Revolution); Mullen, H: Recyclopedia; Mullen, H: Sleeping With The Dictionary; Richardson (trans.), M: Refusal of the Shadow

Description

Inspired by an eclectic mixture of influences ranging from Negritude to Sun-Ra, and from Yellow Peril pulp novels and films to counterfactual histories, a number of contemporary African American and Asian American poets have attempted to articulate what could be called a raced or ethnicized surrealist poetic practice in the United States. This seminar will focus on a number of important historical precursors to this poetic tradition, namely translations of the work of Aimé Césaire and other Negritude poets like Leopold Senghor. We will also conduct a broad survey of a range of highly influential poets like Robert Hayden, Gwendolyn Brooks, Amiri Baraka, Lawson Fusao Inada, Janice Mirikitani, and Theresa Hak Kyung Cha—all authors who have been central to the construction and revision of contemporary ethnic literary canons which have historically privileged realist, autobiographical narratives or the first person, confessional lyric voice. Throughout this seminar, we will investigate how margins and mainstreams are created and revised within ethnic literary traditions.

We will then focus upon a group of contemporary poets who have historically been marginalized within these emergent canons—poets like Elouise Loftin, Bob Kaufman, Jayne Cortez, Sonia Sanchez, Li-Young Lee, Linh Dinh, John Yau, Will Alexander, Harryette Mullen, Koon Woon, and Sesshu Foster. Considered together, these poets explore a satirical mode often obsessively focused on the structure and character of racial stereotypes and plumb the depths of what could be called postmodern popular culture’s vast racial unconscious—circulating through films, music, and advertising. Finally, we will attempt to identify shared thematic and formal features of contemporary ethnic surrealist writing and read this body of work against an older tradition of European surrealist literature and art committed to an anticolonial politics yet whose vision of non-Western art remained primitivizing.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Paradise Lost, Found, Lost Again

English 190

Section: 12
Instructor: Turner, James Grantham
Turner, James
Time: TTh 12:30-2
Location: 301 Wheeler


Other Readings and Media

Milton, John: Paradise Lost; Shelley, Mary: Frankenstein or The Modern Prometheus: The 1818 Text; Pullman, Philip: His Dark Materials: The Golden Compass / The Subtle Knife / The Amber Spyglass

Description

An intensive reading of John Milton’s great epic Paradise Lost and two works that adapt it in imaginative ways, Mary Shelley’s Frankenstein and Philip Pullman’s His Dark Materials trilogy. The modern and Romantic texts will throw light back on Milton’s classic and – I hope – generate new insights. Students’ individual research interests will influence the discussion and the term paper.

This section of English 190 satisfies the pre-1800 requirement for the English major.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Words and Bodies in Space: Poems for the Stage

English 190

Section: 14
Instructor: Bednarska, Dominika
Bednarska, Dominica
Time: TTh 2-3:30
Location: 122 Wheeler


Other Readings and Media

A course reader

Description

This course focuses on bringing canonical modern and contemporary poetry on the page, in conversation with slam poetry, performance poetry and finally performance theory. Whether we are talking about Homer or the Beat poets, how a poem is spoken has always been perceived as part of its meaning. But how do the performed elements of the poem influence its meaning? What is the difference between reading a poem and performing a poem? How do poems change when they are performed on stage? Does hip-hop or the poetry slam transform the category of poetry? How do we combine poetry with other media such as dance, visual art, and music? In what ways is the text of the poem extended by the stage and embodiment? In what ways do these constrain poetry written for the page? How can we think more critically as writers about what it means for our work and ourselves to take the stage? We will begin the semester by examining modernist and contemporary writers such as William Carlos Williams, Gertrude Stein, Gwendolyn Brooks, Jack Kerouac, Allen Ginsberg, Frank O’Hara, John Ashbury, Bernadette Mayer, Mark Doty, and others. We will then examine poetry written specifically for performance by looking at writers such as Miguel Pinero, Patricia Smith, Alix Olson, Edwin Torres, Hal Sirowitz, and Maggie Estap and others. Finally we will turn to writings about performance. Using work by Richard Schechner, Shannon Jackson, Erving Goffman, Marco de Marinis, Eve Sedgwick and others, we will utilize theory to examine our analysis of how these poems can change and emerge in space when performed on stage. In addition to academic papers and presentations, students may also have the option of performing their own work.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: American Captivities

English 190

Section: 15
Instructor: Donegan, Kathleen
Donegan, Kathleen
Time: TTh 2-3:30
Location: 305 Wheeler


Other Readings and Media

Derounian-Stodala (ed.), K.: Women’s Indian Captivity Narratives; Baepler, P.: White Slaves, African Masters; Tyler, R.: The Algerine Captive; Rowson, S.: Slaves in Algiers; Gates (ed.), H. L.: The Classic Slave Narratives; Prince, M.: History of Mary Prince

Description

The captivity narrative is the first literary genre that might be called uniquely “American.” Although its standard protagonist was a white woman kidnapped by Indians, the captivity narrative genre extended to the capture of sailors and pirates at sea, Christians and Muslims on the Barbary Coast, and Africans enslaved and transported throughout the Atlantic world. In this course, we will study a range of Indian, pirate, and slave captivities, from the colonial period through the early nineteenth century. We will also pursue research in secondary sources, tracing traditions of literary criticism around the issue of captivity and the captive’s position. Students will learn hands-on research methodology, complete an annotated bibliography, and complete the course by writing a substantial research paper.

This section of English 190 satisfies the pre-1800 requirement for the English major.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Chaucer and His Contexts

English 190

Section: 16
Instructor: Lankin, Andrea
Time: TTh 2-3:30
Location: 109 Wheeler


Other Readings and Media

Chaucer, G.: The Canterbury Tales, ed. J. Mann

Description

The works of Geoffrey Chaucer (c. 1343-1400) have been canonized as the most important and best-known materials in Middle English literature. But Chaucer did not appear in a vacuum. On the contrary, Chaucer participated in several rich literary communities, responding to existing writings and becoming a figure to whom other writers responded. This class will read the Canterbury Tales and The House of Fame alongside some of the works’ sources, analogues and responses, therefore contextualizing Chaucer in a broad literary climate. It will also introduce students to issues of manuscript history and textual transmission, opening questions about how the texts we encounter have been produced.

We will read most texts in the original Middle English, but French, Latin and Italian materials will be available in translation. Students who have previously enrolled in English 111 (Chaucer) are encouraged to take this class, as it will explore Chaucer’s works from a different angle than most sections of English 111. Previous enrollment in English 45A or in another Middle English literature class is welcome, but not required; no prior knowledge of Middle English is necessary for this class.

This section of English 190 satisfies the pre-1800 requirement for the English major.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: History of the Book, 597-2011

English 190

Section: 17
Instructor: Thornbury, Emily V.
Thornbury, Emily
Time: TTh 2-3:30
Location: 301 Wheeler (see course description)


Other Readings and Media

Roberts, J.: A Guide to Scripts Used in English Writings up to 1500; Eliot, S.: A Companion to the History of the Book

Description

In this research seminar, we will study the development of one of the most influential technologies ever created: the book. Beginning with the introduction of the manuscript codex into England, we will trace the book through many transformations: the print revolution during the Renaissance; the effect of mechanization in the 19th century; and peer into the future with a look at today’s array of electronic “print” media. Along the way, we will think about what this technology does for and to literature, and will try to understand how texts interact with their physical embodiments.

On Tuesdays, the class will meet in the Bancroft Library, where we will work with primary material and learn about the proper handling of rare books and manuscripts. Thursdays will be spent (in 301 Wheeler) in discussions of a wide range of historical, theoretical, and practical issues: there will be a course reader in addition to the required textbooks. Your research for this course will help you develop skills for describing and understanding the lives of books and of the texts in them. You will learn to transcribe manuscripts, create editions, and accurately describe many kinds of books. You will also study the way in which format and content interact in books and in other media containing written words. Fifteen hundred years of book history will be open to you in your choice of a final research project.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Research Seminar: Alfred Hitchcock

English 190

Section: 18
Instructor: Bader, Julia
Bader, Julia
Time: TTh 5:30-7 P.M. + film screenings Thurs. 7-10 P.M.
Location: 206 Wheeler


Other Readings and Media

Modleski, T.: The Women Who Knew Too Much; A Hitchcock Reader, Deutelbaum, M. and Pogue, L., eds.

Description

The course will focus on the Hitchcock oeuvre from the early British through the American period, with emphasis on analysis of cinematic representation of crime, victimhood and the investigation of guilt. Our discussions and critical readings will consider socio-cultural backgrounds, gender problems, and psychological and Marxist readings as well as star studies.

Please read the paragraph on page 2 of this Announcement of Classes for more details about enrolling in, or wait-listing for, this course.

Please click here for more information about enrollment in English 190.


Honors Course

English H195A

Section: 1
Instructor: Miller, D.A.
Miller, D.A.
Time: MW 4-5:30
Location: 305 Wheeler


Other Readings and Media

Austen, J: Pride and Prejudice; Barthes, R: Camera Lucida; Barthes, R: Mythologies; Barthes, R: S/Z; Flaubert, G: Three Tales; Miller, D.A.: Jane Austen, or the Secret of Style; Rochefoucauld, F: Collected Maxims

Description

This course is intended to help students as they set off on the peculiar adventure known as the Honors Thesis. Help will take two forms. (1) We will study some critical texts that propose useful ideas for thinking about such topics as mass culture, narrative and the novel, style, sexuality and gender, the literary, the photographic and the filmic. But (2) we won’t read these texts just for their ideas; we will also read them as writing, writing that is always saying something more, or something other, than the arguments being explicitly advanced in it. Not only do the chosen texts invite this double consideration; they encourage a critical writing practice whose texture would be rich enough to invite it, too By virtue of refusing the usual indifference of criticism to its own writing, they embody a value—let us call it “the Intrepid”—essential to anyone beginning an adventure.

We will also read, to keep us honest, some literature.

Students who satisfactorily complete H195A-B (the Honors Course) may choose to waive the seminar requirement.

Enrollment is limited and a written application, a copy of your college transcript(s), a list of your current courses, and a photocopy of a critical paper that you wrote for another class are due BY 4:00 P.M., Tuesday, April 19; be sure to read the paragraph on page 2 of this Announcement of Classes regarding enrollment in the Honors Course!


Honors Course

English H195A

Section: 2
Instructor: Picciotto, Joanna M
Picciotto, Joanna
Time: TTh 12:30-2
Location: 305 Wheeler


Other Readings and Media

A course reader

Description

This course is designed to facilitate the writing of a senior honors thesis. We will begin by reading across a broad range of criticism and theory. Students will refine their research interests into a workable thesis topic, complete an annotated bibliography, and begin the process of writing, revising, and presenting their work (to be completed in the spring semester).

Students who satisfactorily complete H195A-B (the Honors Course) may choose to waive the seminar requirement.

Enrollment is limited and a written application, a copy of your college transcript(s), a list of your current courses, and a photocopy of a critical paper that you wrote for another class are due BY 4:00 P.M., Tuesday, April 19; be sure to read the paragraph on page 2 of this Announcement of Classes regarding enrollment in the Honors Course!


Graduate Courses

Graduate students from other departments and exceptionally well-prepared undergraduates are welcome in English graduate courses (except for English 200 and 375) 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; fortunately, this situation does not arise very often.


Problems in the Study of Literature

English 200

Section: 1
Instructor: Blanton, C. D.
Blanton, Dan
Time: MW 10:30-12
Location: 301 Wheeler


Other Readings and Media

T. B. A.

Description

An approach to problems of literary study, designed to concentrate on questions of scholarly method, from traditional modes of textual analysis to more recent styles of critical theory.


Problems in the Study of Literature

English 200

Section: 2
Instructor: Goldsmith, Steven
Goldsmith, Steven
Time: MW 10:30-12
Location: 305 Wheeler


Other Readings and Media

Leitch (ed.), Vincent: Norton Anthology of Theory and Criticism

Description

Approaches to literary study, including textual analysis, scholarly methodology and bibliography, critical theory and practice.


Graduate Readings: State of the Art Film: 1963

English 203

Section: 1
Instructor: Miller, D.A.
Miller, D.A.
Time: note new time: W 12-3
Location: 300 Wheeler


Other Readings and Media

David Bordwell, On the History of Film Style; Andras Balint Kovacs, Screening Modernism; there will also be a course reader on b-space.

Description

The course centers on the conception and practice of the so-called international art film around 1963. Without making a fetish of the date, it may be agreed that 1963 was a remarkable year: for quality of product, for the upsurge in points of distribution, and for the diversity of cinematic modernisms on offer. To stay within this moment's own canon (which has not entirely remained in our own), our primary object of study will be the films on Cahiers du cinema's top-ten list for 1963, reproduced below:

1. Contempt (Jean-Luc Godard)
2. The Birds (Alfred Hitchcock)
3. The Exterminating Angel (Luis Bunuel)
4. Adieu Philippine (Jacques Rozier)
5. The Trial Of Joan Of Arc (Robert Bresson)
6. Muriel (Alain Resnais)
7. The Nutty Professor (Jerry Lewis)
8. Les Carabiniers (Jean-Luc Godard)
9. Salvatore Giuliano (Francesco Rosi)
10. (Federico Fellini)

To these we will add, also from 1963, The Leopard (Luchino Visconti), The Silence (Ingmar Bergman), and High and Low (Akira Kurosawa).

This course will fulfill the department's nonhistorical requirement.

This class is cross-listed with Film 240 section 3.


Graduate Readings: The Novel in Theory

English 203

Section: 3
Instructor: Hale, Dorothy J.
Hale, Dorothy
Time: TTh 12:30-2
Location: 101 Wheeler


Other Readings and Media

 Hale,  D:  The Novel: An Anthology of Crit and Theory;  Barthes,  R:  S/Z, translated by Richard Miller;  Genette,  G:  Narrative Discourse;  James,  H:  What Maisie Knew;  Hurston,  Z:  Their Eyes Were Watching God;  Eagleton,  T:  Literary Theory: An Introduction; a course reader

Description

This course traces the development of novel theory in the twentieth century. Designed as an introduction to major arguments that have been--and still are--influential to literary studies generally, the course asks why so many different theoretical schools have made novels the privileged object of critical attention. Topics of discussion include the difference between narrative and the novel; the location of novelistic difference in the representation of time and space; the definition of subjectivity in terms of vision and voice; the valorization of grammatical structures; the search for a masterplot; the historicization of genre; the confusion of realism and reality; and the belief in a politics of form. Readings will be drawn from, but not limited to, works by H. James, Shklovsky, Lukács, Jameson, Barthes, Girard, Genette, Booth, Bakhtin, Bhabha and Spivak. James's What Maisie Knew and Hurston's Their Eyes Were Watching God will serve as test cases. Two short papers will facilitate the work of theoretical analysis and discussion.

This course fulfills the Ph.D. program's nonhistorical requirement.


Graduate Readings: On Life

English 203

Section: 4
Instructor: Jones, Donna V.
Jones, Donna
Time: TTh 12:30-2
Location: 121 Wheeler


Other Readings and Media

See below

Description

This course will explore the literary and cultural significance of philosophies of life. To set the course in motion, we shall begin with two provocative works: Terry Eagleton’s The Meaning of Life and Elizabeth Grosz’s The Nick of Time. In exploring the meaning of life, Eagleton takes us on a tour of the many meanings of life. In readings of Darwin, Nietzsche, Bergson and Deleuze, Grosz identifies life with temporality or a way of holding the past, present and future together.

The course will then be divided into four major sections, combining literary and philosophical works: Romanticism, Nietzscheanism, Bergsonism, and Bio-power.

In our discussion of Romanticism we shall focus on what M. H. Abrams long ago determined to be its core concept—life. We shall explore the significance of the Romantics’ interest in the scientific attempts to understand life, monstrous life forms and life’s interconnectedness.

Our study of Nietzscheanism will culminate in a reading of Mann’s Dr. Faustus whose protagonist embodies the temptations and dangers of Nietzschean Lebensphilosophie, but we shall begin with Nietzsche’s own affirmation of life against asceticism. We shall also study the interpretation of his philosophy developed by Georg Simmel whose influence on cultural studies and philosophy is still underestimated. Anticipating Martin Heidegger, and in response to The Great War, Simmel registers the cultural shift from the affirmation of life to the authentic facing of death.

We shall then move to the study of Bergsonism. We shall read Bergson’s most culturally influential work, not his more strictly philosophical works. We shall investigate the fear of mechanical inelasticity and becoming automaton, his critiques of limits of mechanistic thinking about life, and his valorization of intuition and process as the epistemology and ontology suited to life, respectively. We shall then discuss how these ideas are thematized in works by D.H. Lawrence, Aimé Césaire and Leopold Senghor. But we will also attend to the visual arts to explore how vitalist themes were played out. On the one hand, Bergsonism provided a language with which to appreciate African art; on the other hand, the vitalist themes of Bergson and Georges Sorel were appropriated by the European fascist avant-garde.

The course will conclude with the recent discussion of the nature of life in the theorization of biopower, biopolitics and the homo sacer.

Required readings (the reading will be composed of both selections and whole texts from the following books):

Introduction
Terry Eagleton The Meaning of Life: A Very Short Introduction
Elizabeth Grosz The Nick of Time: Politics, Evolution and the Untimely

The Romantics
Mary Shelley Frankenstein or The Modern Prometheus
M. H. Abrams “The World’s Song of Life and Joy”
Denise Gigante Life: Organic Form and Romanticism
Timothy Morton Ecology Without Nature

Nietzscheanism
Friedrich Nietzsche On The Genealogy of Morals
Georg Simmel The View of Life: Four Metaphysical Essays with Journal Applications
Thomas Mann Dr. Faustus: The Life of the Composer Adrian Leverkühn as Told by a Friend

Bergsonism
Henri Bergson Creative Evolution
Henri Bergson Comedy
D.H. Lawrence Women in Love
Aimé Césaire Cahier d’un Retour Au Pays Natal (English and French edition), ed. Abiola Irele
Souleymane Bachir Diagne African Art as Philosophy: Senghor, Bergson and the Idea of Négritude
Mark Antliff Avant-garde Fascism: The Mobilization of Myth, Art and Culture in France, 1909-1939

Biopower and Biopolitics
Michel Foucault Society Must Be Defended
Thomas Lemke Biopolitics: An Advanced Introduction
Kazuo Ishiguro Never Let Me Go


Graduate Readings: Prospectus Workshop

English 203

Section: 5
Instructor: Hanson, Kristin
Hanson, Kristin
Time: TTh 3:30-5
Location: 305 Wheeler


Other Readings and Media

No texts

Description

This is a practical writing workshop intended to facilitate and accelerate the transitions from qualifying exams to prospectus conference, from prospectus conference to first dissertation chapter, and from the status of student to that of scholar. It provides a collaborative critical community in which participants can try out successive versions of their dissertation projects and learn how others are constructing theirs. It will begin with a review of a range of prospectuses from the past to help demystify the genre and enhance understanding of its form and function. And if all goes according to plan, it will end with every member of the workshop having submitted a prospectus to his or her committee.


Graduate Readings: Anglophone Poetry

English 203

Section: 6
Instructor: Falci, Eric
Falci, Eric
Time: Thurs. 3:30-6:30
Location: 301 Wheeler


Other Readings and Media

Larkin, P.: Collected Poems; Heaney, S.: Poems 1965-1975; Heaney, S.: Field Work; Hughes, T.: Crow

Description

This class will broadly survey British, Irish, and postcolonial poetry after 1945. It is a large and multifaceted body of work, and much of it remains under-read, especially in the American academy. We will think through the development of a late modern and postmodern aesthetic among contemporary British poets, the ways in which this wonderfully various canon (or set of overlapping canons) registers and reinflects the double crucible of decolonization and globalization, and the disparate pressures (historical, cultural, literary-historical, formal) at work within the formation of this field of British and Anglophone poetry.

We will look closely at poems by, among a few others, W.H. Auden, Louis MacNeice, Stevie Smith, Dylan Thomas, Philip Larkin, Thom Gunn, Elizabeth Jennings, W.S. Graham, Roy Fisher, Roger McGough, Derek Walcott, Kamau Brathwaite, Christopher Okigbo, Wole Soyinka, Hugh MacDiarmid, Ted Hughes, David Jones, Basil Bunting, Geoffrey Hill, J.H. Prynne, Peter Riley, Tom Raworth, Ian Hamilton Finlay, W.S. Graham, Thomas Kinsella, John Montague, Seamus Heaney, Derek Mahon, Michael Longley, Medbh McGuckian, Eavan Boland, Eileán Ní Chuilleanáin, Paul Muldoon, Ciaran Carson, Craig Raine, Linton Kwesi Johnson, Geraldine Monk, David Dabydeen, Tony Harrison, Denise Riley, Carol Ann Duffy, Jackie Kay, Lorna Goodison, Grace Nichols, Maggie O’Sullivan, Caroline Bergvall, Catherine Walsh, and Keston Sutherland. Most poems, along with a number of critical essays, will be contained in a course reader and/or online.

This course fulfills the 20th-century literature requirement for degree distribution requirements.


Graduate Readings: What was Asian American Literature?

English 203

Section: 7
Instructor: Lye, Colleen
Lye, Colleen
Time: Tues. 3:30-6:30
Location: 186 Barrows


Other Readings and Media

Choi, S.: American Woman; Ghosh, A.: Sea of Poppies; Jin, H.: War Trash; Kingston, M. H.: The Woman Warrior; Lee, C. R.: Native Speaker; Ong, H.: Fixer Chao; Ozeki, R.: My Year of Meats; Truong, M.: The Book of Salt; Yamashita, K.: I-Hotel

Description

Adapting the title of Kenneth Warren’s recent intervention in African American Studies, this course explores the history of Asian American literary formation, and the making of Asian American racial formation through literary agencies (specifically the novel’s) since the 1960s. The title is meant to evoke the historicizing perspective with which we will be regarding literary form, with an openness to the theoretical recasting of “Asian American history” that experiments—and utterly conventional iterations—of form may be capable of generating. The title is not meant to render apriori judgment on the terminal point of Asian American literature’s historical life. Nevertheless, we will no doubt be concerned with the extent to which the transnationalization of the values of Asian American Studies since the 1990s has simultaneously suggested the demise of Asian American pan-ethnicity as either an epistemologically valid or politically viable concept. Amidst this uncertainty, literary publishing by U.S.-based authors of Asian descent has proceeded apace, gaining increasing national and worldwide recognition. How is this work to be read? This course should be useful to those interested in pursuing future Asian American projects, as well as those more generally interested in questions of the relationships between the minor and the transnational, between racialization and globalization, and between what is ethnic literature and what is world literature. In addition to the fictional texts indicated in the book list, we will also read recent scholarly works in transnational Asian American and American Studies.

This course fulfils the requirement for a course organized in terms other than chronological coverage.


Old English

English 205A

Section: 1
Instructor: Thornbury, Emily V.
Thornbury, Emily
Time: TTh 11-12:30
Location: 202 Wheeler


Other Readings and Media

Baker, P.: Introduction to Old English (2nd ed.); Liuzza, R.: Old English Literature: Critical Essays

Description

This class introduces students to the language, literature, and modern critical study of the written vernacular culture of England before the Norman Conquest—an era whose language and aesthetics now seem radically foreign. By the end of the semester, however, students should be capable of reading and translating a variety of Old English prose and verse texts, analyzing these works’ style, and situating them in the context of early medieval culture. Linguistic mastery is emphasized, and much of the in-class work for the course will consist of translation and close reading. However, coursework will also address a range of interpretative and literary-historical issues, as well as the tools and methods essential to scholars in the field of Anglo-Saxon literature. Depending on student interests, we may also consider topics such as palaeography; manuscript context; the interaction of Latin and Old English; and/or modern translations from Old English. 205A is normally a prerequisite for more advanced courses in Old English. No prior knowledge of Old English is assumed, and undergraduates may be admitted with the permission of the instructor.

This course satisfies the pre-1700 historical requirement OR one half of the language requirement (not both).


Poetry Writing Workshop

English 243B

Section: 1
Instructor: Hejinian, Lyn
Hejinian, Lyn
Time: MW 4-5:30
Location: 223 Wheeler


Other Readings and Media

To be determined

Description

This workshop is for poets who already have a body of work (however large or small) and who are currently working on a project or collection. It presupposes two things: that poetry as a project is as rigorous an undertaking as more typically scholarly undertakings; and that participants have an interest in theoretical concerns and see certain philosophical and/or social issues as relevant to poetry and to the particular technical problems (praxis or craft) that any work entails.

To be considered for admission to this course, please submit 5 photocopied pages of your poetry, along with an application form, to Professor Hejinian's mailbox in 322 Wheeler BY 4:00 P.M., TUESDAY, APRIL 19th, AT THE LATEST.

Be sure to read the paragraph concerning creative writing courses on page 1 of this Announcement of Classes for further information regarding enrollment in such courses!


Graduate Proseminar: 18th Century

English 246F

Section: 1
Instructor: Sorensen, Janet
Sorensen, Janet
Time: F 12-3
Location: 305 Wheeler


Other Readings and Media

See below.

Description

Many eighteenth-century British writers imagined their world as one of increasing complexity. Technologies of print, ever more specialized divisions of labor, an expanding empire, major shifts in credit and commerce—the growth of a speculative market as we know it—, the boom in the literary market, and revolutionary movements all contributed to a mixed sense of triumph and dissolution. As we read a selection of British writing from the latter half of the eighteenth century, we shall consider the rhetorics and genres, such as the periodical essay, the novel, and the georgic poem, even the dictionary and the anthology of “great Literature” that attempted to render visible some sense of social organization and cohesion. These examinations might allow us to think about any or all of such critical questions as: how did writers attempt to establish new terms of literary value?—be they poets suffering a crisis of faith in the social value of poetic practice, fiction writers eager to legitimate the form of writing we have come to call the novel, or women or laboring class writers negotiating the scandal of public authorship; what new epistemological challenges did writers face, and how did the discourses of empiricism and moral philosophy contribute to or attempt to resolve them?; how did notions of sentiment and sympathy propose to overcome the social atomization threatened by capital relations; how did historicism, especially a new interest in literary history, offer another means of social consolidation? This course will include both primary texts and important secondary scholarship to help introduce ongoing critical conversations in eighteenth-century studies. Titles are subject to change, but will likely include works by Samuel Johnson, David Hume, Samuel Richardson, Henry Fielding, Horace Walpole, Mary Leapor, Thomas Gray, William Collins, James Macpherson, Thomas Chatterton, Lawrence Sterne, Ann Radcliffe, Oliver Goldsmith, George Crabbe, Robert Burns, Janet Little. The required books for the course will be available exclusively at Analog Books, located just one block up Euclid Avenue from the North Gate entrance to the Berkeley campus.
            
Course Requirements:
The emphasis of this course is on reading, and the primary requirement is close and careful reading of the texts. Also required are one class presentation and two 8-10-page papers.


Graduate Proseminar: American Literature to 1855

English 246I

Section: 1
Instructor: Tamarkin, Elisa
Tamarkin, Elisa
Time: TTh 2-3:30
Location: 186 Barrows


Other Readings and Media

T. B. A.

Description

For more information on this course, please contact Professor Tamarkin at tamarkin@berkeley.edu.


Research Seminar: Marxist Literary Theory

English 250

Section: 1
Instructor: Gonzalez, Marcial
Gonzalez, Marcial
Time: Tues. 9:30-11:30
Location: 305 Wheeler


Other Readings and Media

Jameson,  F.: Marxism and Form: Twentieth-century Dialectical Theories of Literature;  Adorno, et. al., T. : Aesthetics and Politics;  Sartre,  J-P.: Search for a Method; Vološinov,  V. N.: Marxism and the Philosophy of Language; Williams,  R.: Marxism and Literature; Derrida,  J.: Specters of Marx: The State of the Debt, the Work of Mourning, and the New International; Althusser,  L.: For Marx; a course reader

Recommended: Lukács, G.: Realism in Our Time (out of print)

Description

In the early 1990s, literary theorist Fredric Jameson responded to journalists who were at once proclaiming the emergence of a rejuvenated capitalist "new world order" and asserting the death of Marxism. "It does not seem to make much sense," he wrote, "to talk about the bankruptcy of Marxism, when Marxism is very precisely the science and the study of just that capitalism whose global triumph is affirmed in talk of Marxism's demise." What we can infer from Jameson's comments is the idea that historically Marxism has been useful not only for the critique of social systems, but for the study of literature and culture, as well. Two decades later—and with the political, economic and environmental contradictions of the "new world order" now in plain sight—critics might benefit once again from reassessing the appropriateness of Marxism for the study of literature and culture. This course will provide the opportunity for such a reassessment by focusing on the ways that Marxist social thought in the past ninety years has contributed to theories of literature and culture. We will attempt to understand and theorize the relation between the material conditions of social life and aesthetic forms. The goal of the course is to provide a broad introduction to the range of Marxist analysis and critique in contemporary literary and cultural studies. In the first part of the course, we will read several classic works of Marxist theory to ground our study historically. In the second part of the course, driven partly by student concerns and interests, we will analyze the compatibility of Marxist literary theory with feminism, critical race studies, and postcolonial studies.


Research Seminar: Victorian Poetry

English 250

Section: 2
Instructor: Puckett, Kent
Puckett, Kent
Time: W 3-6
Location: 104 Dwinelle


Other Readings and Media

A course reader

Description

In this course we will approach the literature and culture of the Victorian period through its poetry and poetics. We'll read a lot of both in order to do three related things. First, we'll consider in what terms the idea of the literary as it was embodied in the figure of the poem was understood in nineteenth-century British culture and society. What, we'll ask alongside the Victorian poet, is poetry? Who and what is it for? Why bother writing it instead of something else (a novel, a speech, literary criticism)? Second, we'll work to understand the ways in which an extreme self-consciousness about history, subjectivity, and the relation between the two that characterizes much of this poetry finds various forms in lyrics, ballads, dramatic monologues, verse novels, etc. Third, we'll take our reading of specifically Victorian poetry and poetics as an opportunity to think about more recent trends in poetics; what ways of thinking about poetry have since appeared because of, in spite of, or very decidedly against the Victorians and their poetry? To what degree has an idea (whether true or false) about the Victorians shaped how we read and value poetry today?


Research Seminar: The Recovery Imperative

English 250

Section: 3
Instructor: Best, Stephen M.
Best, Stephen
Time: Thurs. 3:30-6:30
Location: 102 Latimer


Other Readings and Media

Baucom, I: Specters of the Atlantic; Dayan, C: The Law Is a White Dog; Derrida, J: Archive Fever; Hartman, S: Lose Your Mother; Love, H: Feeling Backward; Latour, B; Reassembling the Social; Palmie, S: Wizards and Scientists; Warren, K: What Was African American Literature?

A reader may include works by Theodor Adorno, Anjali Arondekar, Walter Benjamin, Vincent Brown, Dipesh Chakrabarty, Rita Felski, Jennifer Fleissner, Ranajit Guha, Saidiya Hartman, Jared Hickman, Steven Knapp, Bruno Latour, Friedrich Nietzsche, Paul Ricoeur, David Scott, Michael Taussig, Ludwig Wittgenstein, and Slavoj Zizek.

Description

Men fight and lose the battle, and the thing that they fought for comes about in spite of defeat, and when it comes it turns out not to be what they meant, and other men have to fight for what they meant under another name.

-- William Morris (1886)

History moves as the shadow to Morris's prose, and that movement conspires with problems of interpretation and naming not only to produce the hidden history of the defeated, but to moderate the scholar's ambition to know the past. It is just this inertia that leads to the "promise" of continuous history, as Michel Foucault would mark it, the guarantee "that one day the subject, in the form of historical consciousness, will once again be able to appropriate, to bring back under his sway, all those things that are kept at a distance by difference, and find in them what might be called his abode." We have come to accept the redemption of the dead as a kind of critical second nature and to take as fundamental ambitions of all historical work the drive: [a] to restore agency, voice, and interiority to those to whom such qualities have been denied; [b] to continue, reanimate, or complete the political projects of those who were defeated by history; and [c] to make a part of the social order "all that which did not fit properly into the laws of historical movement" (Adorno). The "recovery imperative" thus names both a retrieval of the past and a repair of the subject. It seeks to undo Hegelian condemnations of those perceived to be "without a past" as unfit for it.

Despite these laudable ambitions, the recovery imperative has been the object of serious questioning of late, by scholars who wonder if redemptive or redressive history is the only kind we can either have or perform. This is work that has been written from a wide range of perspectives: the politics of refusal (Love), the critique of the social (Latour), the embrace of pessimism and failure (Scott), and the antisocial thesis (Edelman), to name a few. It is work, generally, that reflects the attempt to write from the perspective of that which avails against recovery, and to hold the negativity of the unfit in the space of critical writing (i.e., the disruptions that thwart efforts to determine political goals according to a model of representation). It is work that calls for, in the words of Mick Taussig, "muted and defective storytelling as a form of analysis."

As epithet, vociferation, and declamation often both render the defeated undeserving of history and make available to us the very existences we want to encounter, is there something productive about being "unfit for history"? What can the framing of redemptive historiography not countenance? Is the project of continuing or completing the political projects of the past foreclosed by our own present conjuncture? Is there something essentially redemptive in the critique of redemption?

We will begin by reading key texts in the tradition of the recovery imperative, along with recent work that sustains the claim to genealogical continuity between the past and the present (Dayan). We will then seeks to study the philosophical, critical, and ethical background of four moments in the critique of the recovery imperative: [1] critiques of symptomatic reading (Fleissner, Felski, Ricoeur, Marcus and Best); [2] interrogations of the archive as anamenesis, or a force that countervails memory (Arondekar, Baucom, Derrida, Hartman, Palmie); [3] the problem of looking "behind" or outside the object of representation (Love, Latour); and [4] explorations of the limits and paradoxes of Western conceptions of historical time (Chakrabarty, Hickman, Taussig).

Though my own expertise is in Atlantic slavery, the accent on philosophical and critical contexts means that no single literary period or canon will figure as primary in our conversations. I invite lively and passionate critique of the scholarly works we'll be reading, but my ultimate goal will be to weave that critique into a positive set of arguments about method: what is the methodology of the text in question?; is there a shared methodology across these texts?; how does one use the work of another scholar to assemble the fundaments of one's own?


Research Seminar: Eros and Expression

English 250

Section: 4
Instructor: Turner, James Grantham
Turner, James
Time: Thurs. 3:30-6:30
Location: 108 Wheeler


Other Readings and Media

Plato: The Symposium; Ovid: Metamorphoses; Shakespeare: Antony and Cleopatra; Cleland: Fanny Hill: Or, Memoirs of a Woman of Pleasure

Description

At the core, highly selective readings from the most influential explorations of Eros, desire, and sexuality: Plato’s Symposium and passages from Phaedrus, episodes from Lucretius’ De Rerum Natura and Ovid’s Metamorphosis A (including Narcissus and Pygmalion), Lucian’s Erotes (sometimes attributed to an imitator), Montaigne’s essay “On Some Verses of Virgil,” Shakespeare’s Antony and Cleopatra, Cleland’s Memoirs of a Woman of Pleasure (“Fanny Hill”), Mozart and Da Ponte’s Don Giovanni (in live performance), Kierkegaard’s “The Immediate Erotic Stages or the Musical Erotic” (in Either/Or), and the Schumann/Heine Dichterliebe. An even more selective list of twentieth-century essays may include Freud, Derrida, Foucault, and Kristeva. Texts will be read in translation with the original on hand for comparison. Participants will pursue and present their own research projects in the light of issues that arise in these texts – for example, you might be working on Petrarchism and its expropriation by women poets, or Enlightenment libertinism, or Keats, or Lacan’s “sublime.” I could circulate drafts of my own current projects, on the “erotic Renaissance” and responses to the art object, or the persistence of the physical in neo-Platonism, or evolving conceptions of “Romance” including Eric Rohmer’s last film, Les Amours d’Astrée et de Céladon.

Don Giovanni will be seen live at San Francisco Opera (subsidized by the James D. Hart Chair); other texts and sound recordings available via bSpace.

The requirement fulfilled by this course will be determined by the instructor based on the student's work.


The Teaching of Composition and Literature

English 302

Section: 1
Instructor: Schweik, Susan
Schweik, Susan
Time: Thurs. 9-11
Location: 301 Wheeler


Other Readings and Media

Showalter, E.: Teaching Literature; Villanueva: Cross-Talk in Comp Theory: A reader; Davis, B. D.: Tools for Teaching (available online as part of netLibrary, accessible only through computers connected to the U. C. Berkeley campus network); a course reader

Description

This course will explore the theory and practice of teaching literature and writing. Designed as a both a critical seminar and a hands-on practicum for new college teachers, the class will cover topics such as course design; leading discussion; teaching close reading; running a section of a lecture course; responding to student papers; teaching writing (argumentation, organization, grammar, style) in the classroom; time management; grading; labor politics and the work of teaching. We’ll use the course as a place to invent, to debrief, and to collectively support development of each teacher’s own effective, distinctive pedagogical approach. You’ll have opportunities to practice teaching skills in experimental “microteaching” sessions, to get advice on everyday teaching problems as they come up, and to observe classes taught by and talk shop with more experienced English department teacher/mentors.


Field Studies in Tutoring Writing

English 310

Section: 1
Instructor: Staff
Time: T.B.A.
Location: T.B.A.


Other Readings and Media

Meyer, E. and L. Smith: The Practical Tutor

Recommended Text: Leki, I.: Understanding ESL Writers

Description

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 4. No one will be admitted after the first week of fall classes.