Spring Quarter 2001
 English Graduate Studies  | University of Washington Graduate School English Department 

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18th Century Poetry


MW 11:30-1:20

The course will be designed primarily as an introduction to the range of English verse from 1660-1798, though it can also be taken by students with experience in the area. Beginning with the techniques and ideology of the heroic couplet, it will encompass love poems, libertine lyrics, drinking songs, satire, ode, didactic verse, nature poetry, the graveyard tradition. We will read a substantial selection from the poetry included in Geoffrey Tillotson's Eighteenth-Century English Literature, together with some verse he considered not printable or not worth printing. This will be your only opportunity to study John Armstrong's "Economy of Love" in a university setting. Some influential critical essays will also be assigned, and students will write and revise a book review of a new or classic work of criticism. Those taking the course as an introduction will finish with a final exam (Take-home final is possible); those who have studied 18th-century poetry before can write a critical essay instead.
Author: Tillotson, Geoffrey, 1905-1969
Title: Eighteenth-Century English Literature. Edited by Geoffrey Tillotson, Paul Fussell, Jr. and Marshall Waingrow, with the assistance of Brewster Rogerson.
Pub info: New York, Harcourt, Brace & World, 1969, ISBN: 0155209574


Literary Criticism: Early Modern (w/ CLit509)


TTh 11:30-1:20

This is the third in a four part sequence of courses on the history of criticism and theory. For this course, the main focus will be upon the development and professionalization of academic criticism, from Kant to the New Critics, with attention to central issues of theory in the 19th century, as background for the emergence of Formalism (both Russian and Anglo-American New Criticism) and Structuralism. There will be, late in the quarter, an in-class symposium, with formal presentations of papers by students in the class, which will then be revisied for the final seminar paper. In addition to the texts below, there will also be a course reader of shorter peices in many disciplines, addressing issues of intellectual history bearing upon Formalism.
Hazard Adams: Critical Theory since Plato (rev edition. Harcourt)
Immanuel Kant: The Critique of Judgment, trans. J. H. Barnard (Hafner Press)
I.A. Richards: Poetries and Sciences (Norton)
Cleanth Brooks: The Well Wrought Urn (Harcourt)
Lee Lemon: Russian Formalist Criticism: Four Essays(Nebraska)


Hagiography: Medieval to Early Modern


TTh 3:30-5:20

Ranging from early Middle English legends to the seventeenth-century recusant Lives of Women Saints of Our Country of England, this course surveys the genre of hagiography, the most broadly available narrative tradition of the Middle Ages and thus a crucial part of the textual environment of medieval literature. Questions of audience and social use will focus our approach: we will consider how this fund of narrative, which remained remarkably static over centuries of historical change, intersected with institutional, devotional, and civic priorities. A central concern will be how the genre, and the ethical hermeneutic which defined it, changed in the late Middle Ages as saints^ Lives moved from monastic and liturgical contexts to both private and civic ones, as devotional reading and as community drama. We will also address the representation and re-surfacing of hagiography after the Reformation, esp. the relation between its political uses and its reading of the medieval tradition.




MW 11:30-1:20

This course explores Shakepearean plays on page and stage, movie and video, using electronic resources as much as possible. The plays will include Shakespeare's major tragedies (Hamlet, Othello, Lear, Macbeth) and two comedies (Midsummer Night's Dream and The Tempest), and students will be expected to pair one of these plays with one not on the list for presentation purposes. The goals of the course include achieving some fluency in negotiating Shakepeare's plays, getting a line on some Shakespearean web sites, gaining a facility with some web-based class management tools, and working with an electronic performance program.


Victorian Character


TTh 1:30-3:20

Course description not available.


The Harlem Renaissance, the Black Aesthetic, and the Literature of Wholeness


TTh 3:30-5:20

At some level, most of African American literature is concerned with representation of self as whole, that is as culturally, socially, politically, economically contextualized, and with identity and its individual and group manifestations in relation to power. The power of naming self becomes central and here we might argue is a direct tie to colonial and postcolonial literatures and theory.
Both the Harlem Renaissance and the Black Aesthetic Movement sought in various ways the right to self representation, which involves the reciprocal ability of the larger culture to engage that representation on its own terms. Literature of the 70s, 80s and 90s often explores both the right and the reciprocal ability through rememory, which demands not only learning about the past, but engaging it affectively and cognitively in relation to self and the present. This course examines this continuum, especially focusing on identity and experience, the abandoned children of the postmodern attempt to reckon with fragmentation and multiplicity. Seminar paper assignments will be tailored as much as possible to each student's interests and projected or current work.
Required texts:
Cane, Jean Toomer; Quicksand, Nella Larsen; The Man Who Cried I Am, John A. Williams; The Third Life of Grange Copeland, Alice Walker; Mumbo Jumbo, Ishmael Reed; Beloved, Toni Morrison; The Fisher King, Paule Marshall; Reclaiming Identity, Moya and Hames-Garcia (ed); African American Literary Theory: A Reader, Winston Napier, ed.


Reading Race and Desire


W 10:30-1:20

We will focus on theoretical readings on sex, violence and race in order to develop analyses of the under-discussed intersections between literary and cinematographic representations of blackness, sexuality and violence. After reading relevant theories by Gilles Deleuze, Julia Kristeva, bell hooks, Hortense Spillers, Claudia Tate and others, we will examine novels such as James Baldwin's Another Country, Chester Himes's The End of the Primitive and Gayle Jones's Eva's Man. Some film screenings include Spike Lee's She's Gotta Have It and Jack Hill's Foxy Brown.


Public Sexual Cultures


MW 1:30-3:20

Much of the most interesting recent critical debate in the fields of American and Queer Studies has focused on two topics: the impact that structural transformations of the public sphere have had on the politics of cultural production and distribution; the construction and deployment of "sexuality" (and "sexual identities") in relation to post-revolutionary strategies of social discipline and political reform. This course will think through the largely under-theorized intersection of these two topics in the context of nineteenth-century American culture. We will explore the ways in which the discourse of "sexuality" emerged through the first half of the nineteenth century as a figure that organized relations between public and private lives. Because the latter terms (public and private) are always mutually constitutive, we will be particularly interested in those nineteenth-century reform movements which mobilized "sexuality" in order to revise and reimagine relations between and within competing notions of publicity and privacy. The seminar will begin with readings from Jurgen Habermas and Michel Foucault, then move chronologically through the first half of the century, concluding with Walt Whitman's Leaves of Grass. Among the texts that I am considering as part of the reading list are: Hannah Foster's The Coquette, Thomas Malthus's An Essay on the Principle of Population, Ralph Waldo Emerson's Essays, Lydia Maria Child's Hobomok, Harriet Jacobs's Incidents in the Life of a Slave Girl, Walt Whitman's Franklin Evans, Nathaniel Hawthorne's The Blithedale Romance, George Foster's New York by Gaslight. Requirements for the course will include 1-2 oral presentations (done in groups), an abstract of the final essay for the course (in the form of a conference proposal), and the essay itself (in the form of a conference talk). While the course will focus largely on texts produced in antebellum US, I will welcome research projects that extend into the twentieth-century and/or to "American" topics "outside" of the borders of the US.


Justice & Mutability in American Literature


TTh 11:30-1:20

Clearly many conceptions of justice have nothing to do with flux or change but assume finality of result and absolute fixity of ethical determinants. The terms "poetic justice" and "divine justice" would seem to conjure justice as certain and stable. Yet, much of American literature would seem to feature different types of transformation as crucial to the achievement of justice. A banal yet revealing example might be found in the Horatio Alger "rags to riches" story. In this course, we will examine the extent to which we can find a connection between conceptions of mutability and justice in American literature and by extension in American culture more generally. We will begin this project by examining the inclination of the prag-matist tradition to value change and flux, reading essays by Emerson, William James, John Dewey, Oliver Wendell Holmes, Jr. Having begun to acquire a common philosophical vocabulary, we will turn from abstraction to literary examples in the work of Douglas, Melville, Child, Chopin, Twain, Henry James, Johnson, and Ellison. The writing component will consist of brief response papers to each of the authors we read and a final critical essay (10-12 pp).


Reading Fictions


MW 1:30-3:20

In this course we'll situate our readings of some twentieth-century fictions in the context of theories of reading--including identification and dis-identification, the politics of interpretation, reading and popular culture, affective response, and hermeneutics. We'll ask questions that are both cultural and individual: What fictions of reading are current in literary study? How does recent attention to book clubs in popular culture establish reading preferences? What factors influence how we make meaning of texts? What is the relation between interpretation and psychic and social scripts? Why have so many "memoirs of reading," and "meditations on reading," and "my life in books" accounts been published in the last several years? How do fictions "instruct" their audiences? Novelists will probably include among others, Woolf, Winterson, Calvino, Schlink, Ishiguro, Morrison. The course is open to both beginning and advanced students who are curious about reading as an interpretive art and a political act.


Postmodern Poetry in the Digital Age


TTh 9:30-11:20

Poetry and Poetics in a Digital Age. Poets have been exploring the possibilities and the limitations of digital technologies since the days of ENIAC, although this topic has only taken on great urgency in the last decade or so. This class will wrestle with a range of very contemporary issues: the significant shifts in the distribution and reception of poetry occasioned by the Internet and other means of electronic reproduction; the degree to which hypertext, CD-ROMs, digital audio, streaming video, and other new publication possibilities are challenging cherished notions about the nature and function of lyric poetry; and the strange and uneasy blend of technoromantic enthusiasm and neo-Luddite technophobia that characterizes present-day verse. We will begin by surveying a few pioneering figures indispensable for understanding the current situation--among them Laurie Anderson, John Cage, Jackson Mac Low, Steve McCaffery, and Ezra Pound--and will then move on (and online) to investigate more recent phenomena, including e-poetry by Kenneth Goldsmith, Jennifer Ley, and Darren Wershler-Henry.


Cultural Studies: Techno-Bodies (w/ CLit 535)


MW 3:30-5:20

The socio-historical setting for what I have called "Techno-Bodies" is late twentieth-century America. Some attention will also be paid to influential body technologies from earlier time periods. The course title is intended to signal bodily typologies (e.g., scientific classifications of persons according to race and sex) as well as bodily decorations, modifications, and techniques whose particular expressions include: biomedical detection and treatment of "disease," body-building, dieting and exercise regimes, cybernetics or interfaces between human and machine, "technologies" of sex (normative and queer) and reproduction technologies. Reproduction, informatics and sex are the technologies we'll examine at length.
Texts: Mary Shelley, Frankenstein; Blues; Octavia Butler, Dawn; Freud, Three Essays on...Sexuality; Michel Foucault, History of Sexuality, vol 1; and a substantial course packet representing such theorists as: Haraway, Halberstam, Spivak, De Leuze and Guattari, Marx, Butler, Ross, and Baudrillard.


Film Theory (w/CLit 502)


TTh 3:30-5:20

While film-makers and critics have long made sporadic attempts to theorize the cinema--one thinks of the work of Eisensein, Kracauer, Bazin -- it has only been in recent decades that film semiotics emerged as a powerful and comprehensive movement. This course will survey the concerns of "modern" film theory, beginning with its inception in the late 1960s in structural linguistics, Marxism, psychoanalysis and feminism and quickly assessing the resulting model of spectatorship (often called "gaze theory") that emerged and flourished in the 1970s. Gaze theory taught us much about the workings of power and pleasure in images, but the hegemony of that model has since been challenged by a range of diverse positions, not only of gender but also of class, race, sexual orientation, ethnicity and historicity. The majority of our time will be spent reading debates of the past ten years that question the orthodoxies of a classical spectatorship without abandoning the fundamental insight that there is something to be gained by theorizing the relationship between moving picture viewers and the textual field of vision.
Gerald Mast, Leo Braudy, ed. Film Theory and Criticism (5th edition)


Discourse Analysis


TTh 1:30-3:20

This course surveys major approaches to the analysis of oral and written texts. We will examine work from various analytic perspectives including conversation analysis, critical discourse analysis, pragmatics/speech act theory, interactional sociolinguistics. We will apply these approaches to a variety of texts including the mass media, "naturally occurring" conversation, narratives, and other texts of special interest to seminar members.


Practicum In TESL


W 10:30-12:20

English 570 is a credit/no credit course in which students sharpen their understanding of the technical, interpersonal, and practical elements involved in effective ESL teaching through regular observations of ESL classes, daily ESL teaching or assistance and observation in an ESL classroom, and seminar discussion of issues and problems related to ESL teaching. No required texts. Only open to MAT(ESL) students.


Research Methods in Second Language Acquisition


MW 1:30-3:20

This course is intended to improve your understanding of the research process, to familiarize you with recent research in second language acquisition, and to provide basic, practical skills in designing, carrying out, and reporting on a research project. The course will focus on a variety of research models, including survey research, interaction analysis, case study, experimental research, and ethnography. The main work of the quarter involves conducting an original research project. In addition, you will read and critique selected research in second language acquisition.


Testing & Evaluation in TESL


TTh 10:30-12:20

This course provides an overview of language testing with an emphasis on teacher-developed assessment tools. The major goals of the course are to provide practice in developing and critiquing tests; to introduce major concepts and issues in language testing; to provide experience with major standardized tests; and to familiarize students with very basic quantitative concepts.


Creative Writer as Critical Reader


MW 9:30-11:20

Self-reflexive nonfiction. Works in which the author's struggle to understand the subject, or even stay on the subject, is meant as metaphor for limits of human knowledge, communication, understanding. Books, films, author-visits. Student-led discussions; term papers.


Advanced Fiction Workshop


W 3:30-7:10

Course description not available at this time.


Advanced Poetry Workshop


TTh 11:30-1:20

Course description not available at this time.

English Graduate Studies

Graduate Study in English at the University of Washington