“Race and Media: Image, Text, Sound” explores the ways in which “race” is defined in diverse textual forms and media. The course will investigate race in 20th and 21st century print, visual, and sound cultures. We will examine how meanings of race in each course text-- and knowledge about race in general-- are shaped by the forms, genres, and media of expression. The primary texts of the course may include Langston Hughes short stories, Ralph Ellison Invisible Man, Octavia Butler Fledgling, Sayeeda Clarke White, Karen Shephard The Celestials, Kendrick Lamar To Pimp a Butterfly, Claudia Rankine Citizen: An American Lyric, and the “Kehinde Wiley: A New Republic” exhibition at the Seattle Asian Art Museum. Secondary texts include criticism on the primary texts as well as theories of race and media in general, including essays by Cornel West, bell hooks, Kobena Mercer, Shawn Michelle Smith, and Jacqueline Goldsby. Broadly, this course will help us understand how the literary and visual arts provide special insights into the relationships among media, history, and race.

Drugs on Demand: The Fiction, Film and Television of narcotráfico

At the heart of this course is the assertion that narco-cultura, the literature, music, fashion and film of narcos (drug traffickers), is not exclusively Mexican but is actually trans-American. Due in no small part to the increasing celebrity of narco-cultura as well as the intensification of nationalist rhetoric that collapses anti-Mexican and anti-narco to mean the same thing the U.S.-México border is both textually imagined and materially organized as a crucial threshold. This course compares narrativas del norte, texts produced in or thematically concerned with Northern México, with 21st century narco-themed U.S. film and television in order to conceptualize the border outside of binary North-South models. Reading across literary bestsellers, box-office leaders and hit series allows us to see how new articulations of la frontera emerge from sophisticated readerships and their shared interpretive vocabularies.

Texts include Elmer Mendoza’s Silver Bullets (Balas de plata); Yuri Herrera’s Signs Preceding the End of the World (Señales que precederán al fin del mundo); Paul Flores’s Along the Border Lies; the films Sicario by Denis Villeneuve as well as Gerardo Naranjo’s Miss Bala; select episodes from Breaking Bad and The Bridge; and also a selection of critical works by authors such as Diana Palaversich; Rosa Linda Fregoso; Hermann Herlinghaus and Óscar Martínez. All texts are in English but students have the option of reading material in the original Spanish versions. The consistent focus on reading and writing in this course satisfies the University of Washington’s writing requirement (W).

English 200D: Reading Literary Forms /Animals and the Politics of Representation

Instructor: Annie Dwyer

As the title suggests, this course interrogates how various cultural forms and representational modes shape human-animal relations, and vice versa. Guiding questions of this course include the following: how do various literary forms shape human understandings (including scientific understandings) of non-human animal lives? How is the figure of the animal deployed in the representation of human (racial, gender, sexual, class) difference and in the justification of human violence within literary and other cultural texts? And what forms of imaginative representation might facilitate a more just configuration of human-animal relations as well as human social formations? 

The central learning objectives of the course are as follows: 1) to develop students’ capacity to interpret the cultural work of multiple textual forms and to think critically about the politics of representation; 2) to develop students’ capacity to think intersectionally about the operations of power across species lines and along multiple axes of human (racial, gender, sexual, class) difference; 3) to develop students’ capacity to think critically about non-human animal life, human-animal relationships, and interspecies ethics;  4) to develop writing, conversational, and presentation skills through individual and group work, in addition to developing critical thinking skills.

Course texts will encompass a range of literary forms, and may include short stories by Edgar Allen Poe, Franz Kafka, and others; poems by Marianne Moore, Claude McKay, and others; Frank Norris’s Vandover and the Brute; Anna Sewell’s Black Beauty; Edgar Rice Burroughs’s Tarzan of the Apes; Djuna Barnes’s Nightwood; J.R. Ackerley’sMy Dog Tulip; Art Spiegelman’s Maus; Ernest Hemingway’s The Sun Also Rises; and J.M. Coetzee’s Elisabeth Costello.In addition to memoirs, novels, animal auto/biographies, and graphic novels, the class may feature films such as Werner Herzog’s Grizzly Man and Lars von Trier’s Dogville. Readings will finally include essays and chapters by scholars such as Susan McHugh, Cary Wolfe, Donna Haraway, John Berger, Stephen Baker, Michael Lundblad, Timothy Pachirat, Maria Elena Garcia, Neel Ahuja, and others. All texts that are not available for purchase at the UW bookstore will be made available electronically through the course canvas site.

Instructor: Irena Percinkova-Patton

Spring 2016, ENGL 200 E

“The Foreigner IS Home: Narratives of Home and Displacement”

This course focuses on Anglophone literature that is being created by a growing transcultural group of writers who explore the intersections of migration and mobility with identity formation.   In the light of such cultural trends, this course proposes a flexible interpretative framework for examining the treatment of home and the quest for cultural/national belonging by several contemporary writers. We will use as a starting point Toni Morrison’s ideas from her 2006 Louvre lecture, where as a curator of the multidisciplinary program "The Foreigner's Home"—an artistic exploration of the pain as well as the rewards of displacement, immigration and exile-- Morrison examines Géricault's painting "The Raft of the Medusa” as a fitting metaphor for the millions of displaced and exiled people in the world today. Through our discussions we will also take on the question of the immigrant experience as a “condition of terminal loss” (as Said defines it) and consider the possibilities of geographical/transnational mobility as a culturally productive state.

Coursework will involve writing two papers, a midterm and a final exam, along with shorter writing assignments, quizzes and significant class discussion and participation. Required texts: Home (Toni Morrison), Americanah (Chimamanda Ngozi Adichie), Lost in Translation (Eva Hoffman), The Book of My Lives (selections, Aleksandar Hemon), Interpreter of Maladies (selected short stories, Jhumpa Lahiri),as well as a course packet with theoretical essays.  This course statisfies the UW "W" requirement.

English 200 F: The Uncanny, the Wild, and the Macabre in 19th-C American Literature

This course explores representations of times and places that lurk outside of nationally and culturally ‘settled’ space, whether geographically, socially or psychologically. We will cover a lot of ground, beginning with supernatural tales like “The Legend of Sleepy Hollow,” moving into the Gothic short stories of Edgar Allan Poe and ultimately winding our way into the trenches of Civil War fiction and into the psychological architecture of feminist studies like “The Yellow Wall-paper” at the turn of the century. We moreover cover a variety of forms and media, including short fiction, novels, poetry and visual art. Emerging from a historical period marked by sustained efforts to consolidate national identity and map the nation’s “manifest” destiny onto the American landscape, these works expose the people, places, and experiences that threaten national notions of civilization.

Please note that this is a “W” (“writing-intensive”) course. In addition to the assigned reading, there will be short, informal writing assignments which build toward two formal (4-6-page) essays. 

Tentative works include: Irving’s “The Legend of Sleepy Hollow” and “Rip Van Winkle,” Poe’s “The Fall of the House of Usher” and “A Descent into the Maelström,” selections from Thoreau’s _Walden_, selections from Melville’s _Moby-Dick_, selections from Whitman’s _Leaves of Grass_, Emily Dickinson’s poetry, selections from Frederick Douglass’s _My Bondage and My Freedom_, Bierce’s “An Occurrence at Owl Creek Bridge” and “Chickamauga,” Gilman’s “The Yellow Wallpaper,” and Chopin’s ­_The Awakening_

Catalog Description: Gateway course designed for English pre-majors and majors. Introduces critical, historical, and theoretical frameworks important to studying the literature, language, and cultures of English.

Catalog Description: Gateway course designed for English pre-majors and majors. Introduces critical, historical, and theoretical frameworks important to studying the literature, language, and cultures of English.

Catalog Description: Gateway course designed for English pre-majors and majors. Introduces critical, historical, and theoretical frameworks important to studying the literature, language, and cultures of English.

Catalog Description: Gateway course designed for English pre-majors and majors. Introduces critical, historical, and theoretical frameworks important to studying the literature, language, and cultures of English.

Catalog Description: Gateway course designed for English pre-majors and majors. Introduces critical, historical, and theoretical frameworks important to studying the literature, language, and cultures of English.

English 213A, Spring Quarter 2016

The British novelist, Virginia Woolf, once commented that “On or about December 1910 human nature changed.” We will begin this course with Howards End, a novel published that same year, and investigate what Woolf meant by such a declaration, and why it is relevant to the development of literary modernism and postmodernism during the twentieth century.    We will read novels and short stories by British authors and consider them in relation to the major social, technological, and cultural changes in Britain during this period.   The reading list for this course includes texts that are well known for their complexity, daring and innovation. You may find that you need to read some of them more than once in order to grasp their multi-layered structures of meaning. 

Texts: E. M. Forster, Howards End; Katherine Mansfield, Selected Short Stories; Virginia Woolf, Mrs. Dalloway; Ian McEwan; Saturday; Zadie Smith, On Beauty.

The Ties that Bind: Family in Shakespeare's Plays

In this course we will dive into five plays by Shakespeare centered on contentious family relationships. Sibling rivalry, childish adults, defiant children, jealous husbands, absent mothers, generation gaps—we will see, Shakespeare has got it all covered. In the comedies/romances, family disputes and estrangement are eventually resolved but in the tragedies messed up family relationships lead to dire consequences such as murder, suicide and death. We will explore the ways in which familial conflicts in the plays intersect with larger social and political issues of governance, loyalty, race and gender. Plays to be studied: Comedy of Errors, Titus Andronicus, Hamlet, King Lear and Winter’s Tale. Written assignments include two 5-7 pages critical essays.

Spring Quarter 2015

Course: English 242 A: Modern Time: Twentieth- and Twenty-first-century British Fiction

Instructor: Heather Arvidson

This class pauses over one of the extraordinary transformations of the twentieth century: time became relative. Whereas in the nineteenth century Greenwich Mean Time synchronized trains across the nation and clocks across the globe, the twentieth century introduced theories of relativity that grappled with the elastic, fragmented, and idiosyncratic nature of temporal experience. If the pace of urban life compelled time to speed up, mental life--contemplation, memory, aesthetic perception--often served to slow time down--and trauma to bring it to a halt. The disjunction between public, clock time and private, psychological time was one of the defining fascinations of British modernism, yet arguably it is no less a preoccupation of our own moment. Reading British fiction from 1907 to 2012, this class will focus on narrative and thematic time in order to trace shifting relationships to history and mental life.

Novels will include Joseph Conrad's The Secret Agent (1907), Virginia Woolf's Mrs. Dalloway (1925), Martin Amis'sTime's Arrow (1991), and Zadie Smith's NW (2012). These books stretch narrative's capacity to convey relative time, and so challenge us as readers to adapt to their sometimes eccentric time zones. Alert and flexible reading habits will thus be crucial to success in this class.

Assessment will be based on participation, short assignments, and formal papers: two 5-7 page essays, the first of which you will revise. You can expect to be reading and writing in preparation for every class meeting. Class time will be divided between large- and small-group discussions and short lectures. 

Joseph Conrad, The Secret Agent ISBN: 9780199536351

Virginia Woolf, Mrs. Dalloway ISBN: 9780156030359

Martin Amis, Time's Arrow ISBN: 9780679735724

Zadie Smith’s NW, ISBN: 9780143123934

Course Homepage: https://canvas.uw.edu/courses/1040212

Punks and Rebels: Violence as an Aesthetic of Resistance in Twentieth-Century England

Is there such a thing as productive violence? Can violence be artistic? How does violence influence group identity? This course will look at violence in the second half of the twentieth century, particularly as it functions in British cultural movements—from mods to punk rock to fashion—to investigate these questions.

The course will begin with some short pieces of cultural and historical criticism to build a framework for reading violence in the course’s three novels: Anthony Burgess’ A Clockwork Orange, Irvine Welsh’s Trainspotting, and Diran Adebayo’s Some Kind of Black. As a W-credit course, students will be expected to engage with these texts in class discussions, shorter writing assignments, and two major papers. Students will use these papers to perform their own close readings of the ways in which real world violence is taken up in art.

Hybrid Forms

This class will involve reading and discussion of short works of literature that do not easily fit into only one genre “box.” We will discuss such forms as novella, essay, prose poetry, miscellany, graphic novel/comic book, and list. As a W credit course, this course will include two 5-7 page papers as well as revision.

Texts will include, among others: Maggie Nelson’s Bluets; Kate T. Williamson’s A Year in Japan; Shane Jones’ Light Boxes; Italo Calvino’s Invisible Cities; Patrick Ness’s A Monster Calls, Dinty W. Moore’s Son of Mr. Green Jeans; Richard Sala’s Delphine; selections from Joe Wenderoth’s Letters to Wendy’s, Anne Carson’s Plainwater, Gertrude Stein’s Tender Buttons, and Rilke’s Letters to a Young Poet; and texts by Jorge Luis Borges and Vladimir Nabakov. We will likely encounter a film as well.

Spring Quarter 2016

Course: English 242

Instructor: Tesla Schaeffer

Course Specific Subtitle: Exploring Grief in 20th C North American Literature

Course Description

In this course, we will explore questions of grief and grievability through the lens of 20th Century writing on suffering and trauma.

In the current social landscape, many questions are emerging not only about which bodies are grievable or visible within the landscape of human suffering, but also about to whom a tragic story actually belongs – and, moreover, about the process whereby a subject’s suffering may become legible in legal discourse as worthy of reparation or political change. Who gets to remember, construct, narrate or testify to trauma? What are the parameters by which he or she is constrained? How are such stories disseminated and consumed, and by whom? What does grief actually feel like, when experienced directly?                                                                                                

We will approach the topic from a variety of different angles, using grief as an entry point into a variety of topics related to contemporary identity formation. We will ground our discussions in a selection of literary works, including novels, works of poetry and memoir by Sherman Alexie, Helene Cooper, Kazuo Ishiguro and Cormac McCarthy.

Please note that since this course fulfills the W requirement, you should expect to do lots of writing (in the form of in-class exercises and formal, graded papers). Class time will be student-centered and discussion-based, so it is very important that you come to class prepared to engage with challenging texts and topics.

Reading Fiction of the Pacific Northwest

Frances McCue

frances@francesmccue.com

Office: MGH 297 

Set in the mythic landscape of deep forests, twisting waterways and the open plains, fiction from this region is, by turns, stark and lush, urban and wild. In this course, we’ll read short stories and novels set in Washington and Idaho and along the way, we’ll visit the Hoh Rainforest on the Olympic Peninsula, mountain towns inland, and the city of Seattle. 

We’ll approach reading as writers do, asking “How might this have been made?” Our time in class will simulate a lively artists’ studio where we will test out fiction writing strategies to illuminate our reading and we’ll work in groups to convene deep reading methods and discussions. Together, we’ll celebrate some of the great stories about this place. In the end, students will write a culminating essay as part of a group project, a mini-conference on Pacific Northwest Fiction. 

Our texts will include: Cathedral, by Raymond Carver,  Housekeeping by Marilynne Robinson, Ten Little Indians by Sherman Alexie and The Other by David Guterson.

Examines the works of Vladimir Nabokov, from his early novels written in Europe to his later masterpieces, including Lolita, Pnin, Pale Fire, and Ada.

Nabokov's American Years: Speak, Memory, Pnin, Lolita, and Pale Fire plus short stories

Engl243_sp2016

Reading Poetry

This course is for students interested in cultivating a richer understanding of poetry and its unique pleasures and challenges. It provides an introduction to some of the most beloved poems in the British tradition, from the Renaissance to the twentieth century, and it emphasizes language in poetry. There are no prerequisites but I’ll expect you to have a non-trivial grasp of English grammar. We’ll review the basics of craft (fundamental conventions such as lineation, meter, and rhyme; basic traditional forms such as couplet, quatrain, stanza, sonnet, song, narrative poem; diction, tone, and sound patterns; imagery; figurative language; irony and ambiguity). We’ll also touch on larger issues such as period styles and aesthetics; voice, persona, and the cultural authority of the poet. In-class close readings will center on representative poems by Shakespeare, Donne, Pope, Coleridge, Yeats, T. S. Eliot, and others. Texts: I have ordered the following inexpensive editions at the UBookstore: Shakespeare, The Sonnets (Folger Shakespeare Mass Market ppb); John Donne, Selected Poems (Dover). Alexander Pope, The Rape of the Lock (Dover); S. T. Coleridge, The Rime of the Ancient Mariner (Dover). T. S. Eliot, The Waste Land, Prufrock and other Poems (Dover). If you already own a Collected/Selected Poems by any of the authors on the above list you can use it. Many of the poems we’ll read are contained in major anthologies like the Norton Anthology of Poetry, and many can be read online. Requirements and grading: (1) attendance, participation, quizzes: 25% of your course grade; (2) midterm: memorize and recite 2-3 poems with a total of at least 50 lines, and answer brief questions on the poems you’ve chosen (there will be a list of poems to choose from): 25% of your course grade; (3) final (oral): discuss two poems on the reading list (excluding the midterm poems): 50% of your course grade.

English 244

Reading Drama: Theatres of Violence

This course will explore how the advantages and limits of reading drama are illuminated through the problem of staging violence. Reading drama demands a complexity unique to the genre, since a play must be read not only as literature, but as a performable work and as a representation of the culture which produced it, and the series of cultures (including our own) which has allowed it to endure. This course will attempt to approach the study of the dramatic text accordingly, from a variety of angles including selections from theoretical texts and in-class reading and performance, and through different types of assignments. Focusing on violence in dramatic texts and what it means to read and see violence, we will explore how the reading of violence drastically changes in its visualization, what purpose the depiction of the gruesome or brutal serves, and how the norms of acceptable violence shift from within the cultures that plays are produced. With this in mind, we will periodically reflect on the nature, purpose, and value-sets of violence and brutality within literature and popular culture today.

This course will not pull any punches (what a metaphor), and as such students should CAREFULLY consider whether they are prepared for a 10-week course that critically focuses on the horrifying, gruesome, and grotesque nature of staging scenes of violence.

In sum, this class will emphasize the close reading of, and critical thinking about, dramatic literature, as well as the development of complex and well-supported written arguments. This course satisfies the “W” requirement, which means that students can expect to produce 10-15 pages of writing on the above texts over the course of the quarter.

We will read and discuss an assortment of novels and short stories written by American authors in the nineteenth and twentieth centuries. Students will be expected to attend class and take part in open discussions of the readings. Written work will consist of a series of between five and ten short in-class essays written in response to study questions handed out in advance. Half the final grade will be based on these papers; half will be based on contributions to class discussion.

Texts: Milton Crane, ed., FIFTY GREAT AMERICAN SHORT STORIES; Wallace Stegner, ed., GREAT AMERICAN SHORT STORIES; Nathaniel Hawthorne, THE HOUSE OF THE SEVEN GABLES; John Steinbeck, EAST OF EDEN; James Baldwin, GO TELL IT ON THE MOUNTAIN; and Anne Tyler, A PATCHWORK PLANET

Asian American populations have been deeply impacted by restrictive immigration legislation and American foreign policy, putting its peoples in a unique position for defining Americanness. How do artists with an Asian ancestry challenge a country that ostensibly celebrates diversity yet looks with suspicion on the foreign? We’ll look at the creation of “Asian American literature” as a category to examine this question. Why was Asian American literature created? Who is Asian American literature for?

We will be engaging with the short stories of Jhumpa Lahiri; the essays of Carlos Bulosan and Alex Tizon, the comedy of Eddie Huang and Margaret Cho; and novels by Annie Choi and Chang-rae Lee.

English 266—Intro to Textual and Digital Studies

The Book: Life and Death of a Literary Technology

iPad and Kindle, e-publishing and print-on-demand, Amazon and the fate of the American bookstore. Since the turn of the 21st century, our relationship with the book – and with it, literature itself – has been transformed. What is this device that gave shape to writing and storytelling for over 1500 years? Where is it going in the new digital era?

This course offers an introduction to the book as a literary technology from ancient wax tablets to today’s tablet PCs. Instead of following the usual arc of literary history in a succession of authors and periods, we will explore the work of writers and readers – primarily in English – as imaginative responses to a variety of book-media: the animal-skin manuscripts of Geoffrey Chaucer’s Wife of Bath; the printed codex of Shakespeare and Milton; the industrial-age periodicals of Charles W. Chesnutt and Charles Dickens; the “little magazines” of modernist poets Marianne Moore and Ezra Pound; the “Twitter fiction” of contemporary novelist Jennifer Egan. In the final weeks of the term, we will consider the uncertain future of books using J.J. Abrams and Doug Dorst’s S. (2013), an experimental novel whose action takes place entirely in the margins of a library book. Evaluation will be based on one exam, two short papers, and regular in-class exercises. Students will leave the course with survey knowledge of English and American literature along with a working knowledge of the fundamentals of media history.

This course serves as an introduction to academic discourse and the language of the university. In exploring academic discourse and language, we will first look closely at how language policy and ideology in the United States has impacted common conceptions about standard academic English. We will then focus on how beliefs about standard academic writing practices have shaped writing in the university, before lastly taking a close look at how language diversity has influenced current policies and statements on the use of the English language in college writing. Readings will be available in the form of a course pack. This is also a "W" course.

Catalog Description: Writing papers communicating information and opinion to develop accurate, competent, and effective expression.

Prerequisites:

While 281 has no formal prerequisite, this is an intermediate writing course, and instructors expect entering students to know how to formulate claims, integrate evidence, demonstrate awareness of audience, and structure coherent sentences, paragraphs and essays. Thus we strongly encourage students to complete an introductory (100 level) writing course before enrolling in English 281.

281 is an intermediate composition course designed to help students develop essential writing skills such as analysis, intertextual awareness, genre awareness, and revision. This section of 281 focuses on science fiction texts. You will read science fiction novels, watch a sci-fi movie, and read literary criticism of sci-fi texts while honing your own writing skills with both short and longer assignments.While 281 has no formal prerequisite, this is an intermediate writing course, and instructors expect entering students to know how to formulate claims, integrate evidence, demonstrate awareness of audience, and structure coherent sentences, paragraphs and essays. Thus we strongly encourage

students to complete an introductory (100 level) writing course before enrolling in English 281.

Texts will include:
Margaret Atwood, Oryx and Crake
Philip K. Dick, Do Androids Dream of Electric Sheep?
Paolo Bacigalupi, The Windup Girl
Saga Volume 1

Prerequisites:

While 281 has no formal prerequisite, this is an intermediate writing course, and instructors expect entering students to know how to formulate claims, integrate evidence, demonstrate awareness of audience, and structure coherent sentences, paragraphs and essays. Thus we strongly encourage students to complete an introductory (100 level) writing course before enrolling in English 281.

Catalog Description: Writing papers communicating information and opinion to develop accurate, competent, and effective expression.

Prerequisites:

While 281 has no formal prerequisite, this is an intermediate writing course, and instructors expect entering students to know how to formulate claims, integrate evidence, demonstrate awareness of audience, and structure coherent sentences, paragraphs and essays. Thus we strongly encourage students to complete an introductory (100 level) writing course before enrolling in English 281.

Catalog Description: Writing papers communicating information and opinion to develop accurate, competent, and effective expression.

Prerequisites:

While 281 has no formal prerequisite, this is an intermediate writing course, and instructors expect entering students to know how to formulate claims, integrate evidence, demonstrate awareness of audience, and structure coherent sentences, paragraphs and essays. Thus we strongly encourage students to complete an introductory (100 level) writing course before enrolling in English 281.

English 282: Composing Digital Cultures

This course satisfies the “W” university requirement and introduces multi-modal composition by focusing on writing in the digital culture. Working from Vincent Miller’s book, Understanding Digital Cultures, and a selection of critical readings, we will learn to both produce and analyze “writing” in a world with a growing intersection between material and digital spaces. In practice, our writing will give us an opportunity to experiment with different platforms, technologies, modes, and genres that digital spaces provide. For instance, how might we use platforms like Twitter or WIX or Facebook to achieve our rhetorical ends? What happens when these processes are automated? Who is the writer? Our analysis will also allow us to experiment with various approaches to analyzing “writing” within digital culture. For instance, how might we do genre or discourse analysis of a website or a blog or other multi-modal, digital "writing?" How might a plugin guide us to less biased web-browsing? What can a million Tweets tell us about Grammar Policing? By the end of the quarter, you will be in a better position to navigate and compose in a society increasingly defined by an interaction between the digital and the analog. 

Catalog Description: Intensive study of the ways and means of making a poem.

Catalog Description: Intensive study of the ways and means of making a poem.

Catalog Description: Introduction to the theory and practice of writing the short story.

Catalog Description: Introduction to the theory and practice of writing the short story.

Catalog Description: Expository writing based on materials presented in a specified humanities course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified humanities course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified humanities course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified humanities course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified humanities course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified humanities course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified social science course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified social science course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified social science course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified natural science course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified natural science course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified natural science course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Catalog Description: Expository writing based on materials presented in a specified natural science course. Assignments include drafts of papers to be submitted in the specified course, and other pieces of analytical prose. Concurrent registration in the specified course required.

Course: English 302 A  / MW  1:30-3:20

Instructor: Gillian Harkins

COURSE TITLE: Cultural Studies of the Novel: Historicism and Formalism

COURSE DESCRIPTION:

The only guarantee any theory can give about itself is to expose itself as a passionate fiction.

-- Theresa de Lauretis, The Practice of Love

 Cultural Studies of the Novel: Historicism and FormalismThis course provides a follow up to English 202, the Introduction to the English major. It is a practicum of critical methods. This particular 302 will provide in-depth practice in cultural studies of the novel. Our focus on cultural studies will include attention to the following methodological questions: what is the “form” in formalist approaches to the novel? What is the ”history" in historicist approaches to the novel? What kinds of critical practices – close reading, archive development, historical research – are important to cultural studies methodologies? Does narratology (the study of narrative form) have a role? What about ethnography or other research methods from anthropology, sociology, or the empirical human sciences?   By the end of the course, students should have a grasp of various approaches to the study of culture and narrative forms.   Students will also have been exposed to a range of social and political questions related to cultural studies methodologies, including theories of race, gender, sexuality, and class.

COURSE READINGS:

Henry James, Daisy Miller

Virginia Woolf, To the Lighthouse

Caryl Philips, Crossing the River

Course Reader: Critical readings will be available on the CANVASS Website. They will likely include works by Michael McKeon, D.A. Miller, Gérard Genette, Gertrude Stein, Georg Lukacs, Mikhail M. Bakhtin, Roland Barthes, Nancy Armstrong, Barbara Christian, Eve Kosofsky Sedgwick, Lisa Lowe, Sianne Ngai, Henry Louis Gates, Catherine Gallagher, Paul Gilroy.

Course Homepage: There will be a course webpage available on Canvas before the start of the quarter.

English 302 B / TTH 10:30-12:20

Course Description: (Re)Making History

The critical practices that we’ll examine over the course of this quarter are counterhistories in two senses of the word. First and fundamentally, they debunk common (i.e. positivist) conceptions of history as a disinterested record of “the past as it really was;” they define history as a narrative that imposes a particular meaning on the messiness of events and the complexities of human existence; they affiliate history with literature; and they affirm that historical narratives are inevitably political. Second, these counterhistories render visible the violence that such ostensible goods as the rule of law, freedom, family, and community conceal. Critical examinations of history, trauma, racism, and neoliberalism supplement late 20th and early 21st century American fiction, memoire and film. Required texts will include a course packet and the following texts: Dorothy Allison, Bastard Out of Carolina; Diem’s The Gangster We Are All Looking For, Wideman’s Two Cities; Chua’s Gold by the Inch; and Yamashita’s Tropic of Orange.

Marxist Literary Theory

            This course will introduce you to several key works by Marx and his collaborator, Engels, and to the debates that have grown up around them.  At the center of the course is the question of how a body of 19th century writings principally about political economy (a.k.a economics), history, and philosophy got taken up by 20th century literary scholars, and how a distinct tradition of interpreting literary culture from a Marxist perspective, using Marxist tools, has developed over time. By contrast to other models of literary criticism which often seek to find in literary texts transcendent messages and universal meanings, Marxist literary theory has sought to situate literary and cultural texts within their historical contexts of production and reception; to understand the power dynamics--including dynamics informed by gender, race, and class conflict--that shape textual meaning; and, to understand how such conflicts impact the literary work’s political message, genre, style and form. 

            Our study of Marxist theory will involve us in close, intensive reading of dense philosophical arguments.  We will also seek to understand how a materialist method indebted to Marxism has emerged as a dominant method within contemporary literary scholarship, and thus how diverse literary critical practices (often given such labels as “critical theory,” “feminist theory,” and “critical race theory”) are, in fact, within the Marxist analytical tradition.   Over the course of the quarter we will also read two fictional texts.  We will consider how our understanding of each might be shaped by the Marxist frameworks that the course explores, and how such texts, in turn, can be used to reveal the (in)adequacy of Marxist methodologies.

Course organization

            This course is organized into three units that treat several of the issues and concepts repeatedly returned to by Marx and his readers and interpreters: I) History and Class; II) Capitalism and Ideology; and III) Ideology, Literature and Culture.   In Unit I, we will focus on the idea of class, paying special attention to how social and economic classes function as motors for historical transformation (historical materialism), and how class has been articulated with race and gender in the United States and globally.  In Unit II, we will explore the concept of ideology as it was first developed by Marx to describe the operations and distortions of capitalism, and then by later theorists to describe the violence of “idea systems” that obscure human exploitation.  In Unit III, we will examine how the ideas of historical materialism and ideology can be used to study literature and culture more broadly.

Course: English 309, Theories of Reading

Instructor:  Jessica Campbell

There are as many different ways to read as there are people who read. Throughout the course, we will read theoretical essays that interrogate what some of those approaches are and how they have evolved over time. Our first activity, though, will be to read a novel – Virginia Woolf’s Mrs. Dalloway (1925) – and pay attention to the various reading strategies and reactions among our group. We will then read several essays about Mrs. Dalloway. Next, we’ll read Michael Cunningham’s novel The Hours (1998), whose three interlocking storylines feature three ways of “reading” Mrs. Dalloway. Finally, we will read E. M. Forster’s A Passage to India (1924), a novel that has provoked a wide variety of critical interpretations, and see what happens when we apply to it some of the theories we have considered over the course of the term. The course grade will be based on in-class participation and on a series of formal and informal writing assignments.

Texts: Virginia Woolf, The Mrs. Dalloway Reader

          Karin Littau, Theories of Reading

          Michael Cunningham, The Hours

          E. M. Forster, A Passage to India

Catalog Description: Considers how generic forms and conventions have been discussed and distributed in the larger context of African American, or other African diasporic literary studies. Links the relationship between generic forms to questions of power within social, cultural, and historical contexts. Offered: jointly with AFRAM 318; AWSp.

This course introduces African literature, one of the most dynamic and fertile literatures of the 20th and 21st centuries. It features a variety of novels that draw upon traditional cultures as well as European forms, and deploy satiric, realist, and experimental styles to represent African experiences. It may also include poetry and short stories. The course engages with a historical range of literature and considers the political experiences of colonialism, anti-colonial resistance, nationalism, and decolonization as contexts for textual production. We will also explore such issues as language choice, racial identity, gender construction, and the impact of capitalist globalization, which are central to many African writers and critical commentators.

Students should come away from the course with an understanding of how ideological struggles about national and postcolonial identities continue to inform global literature, and have insight into the shifting dynamics of colonialism and its aftermath. Students are expected to keep up with an intensive reading schedule.

Catalog Description: Traces the development of a major and popular modern literary genre - the novel. Readings survey forms of fiction including the picaresque, the gothic, the epistolary novel, and the romance. Authors range from Daniel Defoe to Jane Austen and beyond.

English 336A, Spring Quarter 2016

This class will focus on the relationship between literature and social change in England during the first three decades of the twentieth-century, which included the struggle for women's suffrage, the First World War, and the Depression. The poems, short stories, and novels that we will be studying this quarter reflect-- both in style and content--the conflicts, discoveries, and social/psychological theories that were current during this period. We will consider the relationship between "modernism" and modernity, the implications of Freudianism for literature, the impact of war and its aftermath, and other topics relevant to our reading.  

The class texts include fiction by E.M. Forster, D. H. Lawrence, Katherine Mansfield, and Virginia Woolf; and poetry by T.S. Eliot and poets of the First World War, such as Wilfred Owen, Siegfied Sassoon, Isaac Rosenberg and others.

English 345: US Independent Film

What constitutes “independent film” in an era where both filmmakers who distribute their work online and boutique divisions within Hollywood studios lay claim to the term? English 345 addresses this question by examining the narrative, stylistic, industrial and cultural aspects of contemporary U.S. independent film. We will begin by examining the early work of John Cassavetes, the “father” of American independent film before turning to the burgeoning of independent cinema that began in the late 1980s. In addition to viewing films in class, students will attend selected screenings at the Seattle International Film Festival.

Students in the course work toward several goals: learning how to read film formally, contextually and ideologically and developing as critical thinkers and writers. By the end of the course, students should be able to:

To identify narrative and formal techniques that define U.S. independent film.

To analyze how filmmakers use artistic strategies to achieve a range of effects.

To compose written arguments focused on the artistic, industrial, or ideological significance of selected films and support those arguments with sufficient and appropriate evidence.

To engage the work of film scholars, critically responding to their ideas in discussion and writing.

Course activities promote active learning, with most class sessions including a mix of mini-lectures, discussion, and group work. My role is to provide the tools and resources; you will need to advance your own thinking and writing. I will pose questions, design activities to help you think through these questions, and respond to your ideas. Your role is to do the hard work—the critical reading, discussion, and writing. You will analyze films, generate ideas in electronic and face-to-face discussions, verbally analyze film clips, and construct written arguments.

English 352 A

EARLY AMER LIT (American Literature: The Early Nation)

Instructor: Robert E. Abrams

M,W: 1:30-3:20

An introduction to American literature and culture during the decades leading up to the Civil War. This is a period that: 1) struggled with numerous issues of race, slavery, gender, and class; 2) strove to develop a national mythology and identity against the backdrop of shifting national boundaries, increasing immigration, worldwide empire and trade, and a heterogeneous population; 3) tried to salvage religious faith in the wake of modern science and the Enlightenment; 4) and took democracy seriously enough to trace through its implications even to the point where, as in the case of Walt Whitman’s Leaves of Grass, such implications start to become startling and strange. The period is much too complex to be organized into a dominant, easily defined thesis or polemic, and in fact the aesthetic strategy of choice for many of the writers whom we’ll be exploring is the ambiguous interchange of perspectives and voices without closure or synthesis. The “question,” as Melville at one point writes of his own literary method, tends to remain “more final than any answer.” Nature itself, as Thoreau emphasizes, becomes a site where perspectives so alter and shift and we can never get any closer than “nearer and nearer to here.” Pre-Civil War literary language in the U.S., I should caution, is dense, complicated, and often difficult to read—although enormously rewarding and eloquent—and students enrolling in this course should be prepared for encountering difficult language, and for reading it closely and carefully, as they explore authors such as Emerson and Melville.

Texts

Emerson. The Portable Emerson.

Thoreau. The Portable Thoreau.

Hawthorne. The Portable Hawthorne.

Whitman. Leaves of Grass (selections available online).

Margaret Fuller. Summer on the Lakes.

Frederick Douglass. Narrative of the Life of Frederick Douglass, an American Slave.

Herman Melville. Moby-Dick

English 353: An American Education, 1860-1911. This course will look at a range of literary texts produced in the United States between the Civil War and the First World War. In addition to producing an astonishing range of novels and other texts, this period also saw the rise of the modern university. In fact, the first course on American literature was actually taught during this period. I want to combine these two facts in order to explore the various kinds of education that we see in this period—from the informal “school of hard knocks” on the city streets, to the forms of literacy practiced by freed slaves, to the first novels about formal college education for both men and women. As we study these different kinds of classrooms, we will consider how they resemble and give rise to our own kinds of educational structures and principles. Requirements will include a midterm, final, and critical essays.

Creative writings (novels, short stories, poems) of contemporary Indian authors; the traditions out of which these works evolved. Differences between Indian writers and writers of the dominant European/American mainstream.

English 361

Course Description: “The Evidence of Things Not Seen”

I borrow this title from James Baldwin’s investigation of the “unsolved” murders of black children in Atlanta in order to flag the ongoing tensions and marked disconnections between mass-mediated national narratives and the historical realities they repress. Among other things, these cultural narratives represent America as: “the land of equal opportunity,” the champion of “liberty,” “democracy,” and “civil rights”; a “color blind society,” and “multicultural mosaic”; a nation united in its respect for the “sanctity of all human life”; and an international force for “peace, justice, human freedom, and prosperity.” Virtually all of them exemplify historically specific expressions of U.S. liberalism, ranging from the “cold war liberal consensus” to contemporary “neoliberalism.” As a group, they tend to exalt the “self-made individual” and they routinely celebrate the “free market” as the engine of human prosperity. We will track articulations of these ideological narratives and pointed challenges to them from the cold war to the present war on terror; in the process we will pay particular attention to experimental texts whose formal strategies are a significant component of the challenges they pose to hegemonic narratives of American exceptionalism, multiculturalism, the “new world order,” and the (global) market place. A course packet of short fiction and social critiques is required, as are the following texts: Octavia Butler, Dawn; Ta-Nehisi Coates, Between The World And Me; Barbara Ehrenreich, Nickle and Dimed; R. Zamora Linmark, Rolling the R’s; Karen Tei Yamashita; and Sunal Yapa, Your Heart Is A Muscle.

Our focus for this course will be upon how literature deals with the environment, i.e., how literary texts represent environmental issues and why it matters that they be represented in this form.  How, that is, do literary sorts of texts help shape the social framework within which environmental issues get discussed and environmental decisions made?  How do we come to value nature, and nature in relation to (or in competition with) human society?  We will be considering a range of prose texts, including fictional narratives, non-fictional essays and journalism, primarily texts written or set in the Americas.  Course goals include: 1) developing the analytical reading skills appropriate to different kinds of literary texts, 2) working on how to formulate and sustain critical arguments in writing, 3) learning how to uncover the supporting logic and stakes of specific attitudes toward the natural world, 4) understanding how environmental issues are linked to other social and cultural concerns, 5) seeing how those linkages are affected by particular historical and political conditions.  The course will contain a significant writing component, both regular informal writing assignments and several medium-length analytical papers; it can count for W-credit.

Texts include Defoe, Robinson Crusoe; Faulkner, Go Down, Moses;McPhee, Encounters with the Archdruid; Abbey, Desert Solitaire; Appleman, Darwin; Butler, Wild Seed; Barry Lopez Arctic Dreams; and a reading packet.

This course uses the figure of the auteur as an access point into the examination, and rigorous development, of writerly style. Great films no doubt bear the signature of their director but as narrative works of composition are impossible without cinematographers, set designers, and of course, screenwriters. Consequently, when directors construct a visual language to re-imagine and possibly change the culture, they are working with both an individual vision and a collective design. Similarly, our own writing in this course emerges from deeply felt and imagined experience, audience awareness, and our ability to trust our peer editors. Among the films viewed are Guillermo del Toro’s Crimson Peak, Wong Kar Wai’s In the Mood for Love and Sophia Coppola’s Lost in Translation. The course is organized in a workshop format, which means frequent writing and revision, in preparation for film reviews, critiques, and comparative essays.

Because this course fulfills the “C” (composition) requirement, you will produce 25-30 pages of writing, some of which will undergo a revision process. The course grade will be based on writing assignments and in-class participation.

This course offers students in a variety of disciplines—humanities, business, art, sciences, engineering, etc.—an opportunity to learn and practice writing skills. Students are encouraged to work on projects connected to their interests as we examine and practice writing as a form ofmaking, as well as writing in support ofother kinds of making. The goal of this course will be to make rhetorical in(ter)ventions that matter, working in traditional and new media writing, as well as 2D and 3D forms. We will explore and practice strategies for getting ideas, designing, improvising, prototyping, testing, failing (yes, failing!), refining, and implementing. Please note that prerequisites have been waived and prior experience with web writing is not necessary. Contact the instructor or English advising for an add code. This course satisfies the UW “Composition” credit.

Prerequisites:

ENGL 282

Catalog Description: Intensive study of various aspects of the craft verse. Readings in contemporary verse and writing using emulation and imitation.

Prerequisites:

ENGL 283 & ENGL 284

Catalog Description: Intensive study of various aspects of the craft of fiction or creative nonfiction. Readings in contemporary prose and writing using emulation and imitation.

Prerequisites:

ENGL 283 & ENGL 284

Engl430_sp2016

This seminar is a comprehensive introduction to the work of James Joyce. We’ll start with a quick survey of Joyce’s early prose fiction and poetry (Dubliners, A Portrait of the Artist, and Chamber Music), and spend most of the quarter exploring Ulysses, the summit of literary modernism. To dispel fear of Ulysses, we’ll read the book one episode at a time, tracking the progressive weaving and unweaving of sense. Discussions will address the book’s Irish and European contexts and influences, and Joyce's exuberant transvaluations of all novelistic values (narrative devices, generic conventions, topics, perspectives, styles and humors). A portion of each meeting will be devoted to music in Ulysses, from Palestrina, Mozart, Verdi, and Wagner to Irish street ballads and turn-of-the-century music-hall favorites. We’ll end with a reading of selected passages from Finnegans Wake. Desiderata: familiarity with Homer’s Odyssey and interest in sly uses of language. Text: Ulysses: The Corrected Text, ed. by Hans Walter Gabler, (available at UW Bookstore and elsewhere). Requirements: weekly assignments, participation in one team-presentation, and a course project involving independent research and resulting in a final paper (9-10 pages). Please note: Ulysses is a delightful but very demanding book. To succeed in this class (and benefit from it) you’d need to commit an unusual amount of time and energy.

Modernism in the Magazines

That modernism was made in the magazines is one of the pivotal insights to take hold in recent modernist scholarship. Not only did works like James Joyce's Ulysses, T. S. Eliot's The Waste Land, Anita Loos's Gentlemen Prefer Blondes, and the poetry of Marianne Moore first see print in the pages of small- and large-circulation periodicals, but the culture of aesthetic innovation and social debate vital to modernism was sustained by networks of editors, artists, writers, and publishers who produced modernist magazines. By focusing on transatlantic periodical culture of the early twentieth century, this class will investigate modernist literature in conversation with its original publication contexts--often a heady mix of literary and non-literary genres, art, graphic design, and advertising. Authors we may encounter include Katherine Mansfield, F. Scott Fitzgerald, Langston Hughes, Jean Toomer, Marita Bonner, Rebecca West, Wyndham Lewis, and Ford Madox Ford.

With the help of digitized magazines collected by the Modernist Journals Project (MJP; http://modjourn.org), this class will give you the opportunity to do primary archival research in an area of interest to you. More specifically, you will write a capstone research essay of 10-15 pages in which you will have the option to either focus on one magazine and a modernist poem or short story that it published, or to connect the construction of a social or aesthetic issue in the MJP archive to a major modernist text. In addition to the final research project, you will also complete smaller writing assignments and give two presentations (and perhaps lead discussion).

Some knowledge of literary modernism (or the period 1890-1945) would be helpful but is not required.

English 471: The Theory and Practice of Teaching Writing - Bawarshi

This course, through reading and fieldwork, introduces students to the various approaches that guide the study and teaching of writing. In it, we will explore the different methods of teaching writing that have emerged in the last fifty years, ranging from methods for teaching students how to produce texts to methods for assessing these texts. We will also examine the research and theories that underscore these methods, starting with the emergence of the process movement in the 1960s and then inquiring into its various manifestations (and critiques of these manifestations) in the years since, including the impact of new media. Along the way, I hope we can begin to think critically about the various approaches that inform the teaching of writing, in particular, what values and assumptions guide these approaches and whose interests they serve, so that we all can become more self-reflective readers, writers, and teachers. Most of all, though, I would like this course to give us all a chance to think about what it means to teach writing, to develop and share our own goals for teaching writing, and to generate and articulate practices that will help us achieve these goals.

Coursework will include keeping a reading journal, conducting a brief teaching ethnography, preparing a bibliography and curriculum design presentation, and creating a teaching portfolio.

This course has an optional service-learning component which will bring students into local K-12 classrooms to practice work (three to four hours each week) as tutors, mentors, and writing coaches. Placement sites include Shorecrest and Franklin High Schools as well as other local Pipeline schools. Those who opt to do service learning will have the option to register for additional credit hours of English 491, if they choose. For those who participate, the service learning in this course will fulfill 30-40 of the observation hours that students are required to complete prior to applying to the UW Masters in Teaching program.

Course Text: Susan Miller. The Norton Book of Composition Studies

This course is an introduction to linguistic and rhetorical study of the law. Rather than taking literature as our object of study, we will take the documents created and used in the legal world. Our focus will be on written texts, and on learning to analyze some of those texts. We’ll begin by becoming familiar with appellate decisions, a prototypical legal text, and one that travels beyond the legal world into other settings. We’ll also learn something about precedent and why it’s important in law and legal interpretation. Then we’ll learn something about how to use legal resources. These tools will be necessary for all of your assignments in this course.

We’ll examine both civil and criminal law. We will study how language figures into both criminal prosecutions and civil trial. We will then spend some time learning how lawyers learn the language of the law in law school. No prior legal knowledge is expected.

Examines diverse phenomena related to the language known as Serbo-Croatian, and to the Bosnian, Croatian, Montenegrin, and Serbian languages. Explores concepts such as language death, birth, politics, standardization, and codification. The relation between dialect and language is observed in an ecology exhibiting ethnic and religious diversity.

Catalog Description: Intensive verse workshop. Emphasis on the production and discussion of student poetry.

Prerequisites:

ENGL 383, 384

Catalog Description: Intensive prose workshop. Emphasis on the production and discussion of student fiction and/or creative nonfiction.

Prerequisites:

ENGL 383, 384

Catalog Description: Individual study (reading, papers) by arrangement with the instructor. Required of, and limited to, honors seniors in English.

Catalog Description: Individual study (reading, papers) by arrangement with the instructor. Required of, and limited to, honors seniors in English.

American Studies and Black Feminist Thought Monday and Wednesday, 11:30am -1:20pm Music Building, room 212

Professor Habiba Ibrahim
Department of English
hibrahim@uw.edu

This course takes up a significant area of concern in American Studies, which are the contradictions embedded within liberal notions of the subject, along with the seemingly neutral conditions and domains through which freedom, equality, and property are conferred to "him." While some feminist theorists have pointed out how the social category “gender” reveals the contradictions of liberal humanism, this course will consider how women of color and black feminist thought has critiqued the orthodoxy of liberalism by addressing multiple categories of social dispossession. Such a critique considers alternative subjectivities—often expressed through the key analytical term “intersectionality”—and deconstructs the ideologically gendered separation of the “public” (economy, the state) and the “private” (family, the home). We will consider how the rise of “neoliberalism”—which produced an intensified interest in autonomous individuality, personal responsibility, and the neutrality of the law, free markets, and contractual agreements—has prompted black feminist analyses of the governance and cultural politics that rise in the second half of the twentieth century. For subjects who have been deemed to be objects, what are the imagined alternatives to liberalism’s contradictory notions of freedom? We are likely to consider the works of Angela Davis, Kimberle Crenshaw, Grace Hong, Hortense Spillers, Alexander Weheliye, and Sylvia Wynter.

The focus of this seminar will be an major 19th Century novels, in light of 'World Systems Theory,' as reflected in the work of Fernand Braudel, Giovanni Arrighi, Immanuel Wallerstein, and others.  The particular issues of most immediate relevance pertain to the increasingly familiar concept of the Long Durée, or the Long Century, but with quite specific focus on the historiographical underpinnings and theoretical implications of work particularly by Braudel and Arrighi, to bring longer historical durations, integrating (among other things) economic history, and a broad consideration of social sciences in intellectual formulations concerning historical processes and cultural practices. It should be noted that we will refer only briefly to preliminary work by Franco Maretti, to examine more particular historiographical questions that pertain specifically to 19th century novels.

Main texts:
NOVELS:
Jean-Jacques Rousseau: Emile, or Education
Goethe: Wilhelm Meister's Apprenticeship
Charlotte Bronte: Shirley
Flaubert: Sentimental Education
George Eliot: Middlemarch
Henry James: The Ambassadors

WORLD SYSTEMS THEORY
Fernand Braudel: An Introduction to Civilizations
Immanuel Wallerstein: Introduction to World Systems Theory
Giovanni Arrighi: The Long Twentieth Century
Arrighi, Terrence Hopkins, Immanuel Wallterstein, Anti-Systemic Movements