REGISTRATION BEGINS NOVEMBER 12, 1999
Students must register for all English graduate courses
through the English Graduate Office.
8:00a.m. in person (A105 Padelford Hall)
1:00p.m. by telephone (206/543-6077)
Email requests will not be accepted.
English Literary Culture 1800-1900
At the turn of the
last century a well known journal changed its name
from The Nineteenth Century to The
Nineteenth Century -- And After thus dividing
all time between that magnificent epoch and
everything that would follow it. In the course we
will focus on five texts central to 19th century
self-definition -- central, that is, to the
definition of the self and its conjunction with
a particular period. In principle, these five
texts also serve as an introduction of the field
to people whose previous work has primarily been
before "-- And After."
Wordsworth, The Prelude; Alfred, Lord
Tennyson, In Memoriam; Charles Dickens,
Barnaby Rudge; George Eliot,
Middlemarch; John Stuart Mill, On
Liberty, The Subjection Of Women.
American Ethnic Literary Theory & the Postcolonial
This course explores
the relationship between contemporary U.S. American
ethnic literature and theory and postcolonial
theory. Central questions are: What is the
relationship of the legacies of the U.S. colonial
past to the shaping of African American, Asian American,
Chicano,a/Latino,a and American Indian writing and
theory? How is postcolonial theorizing and
postmodern theorizing related or unrelated to U.S.
American, racialized ethnic literature? How
does U.S. Euro-American ethnic literature/immigrant
literature relate to U.S. American racialized ethnic
literatures? And the umbrella question to
these is how does American ethnic literature and
theory define citizenship, nation, and "America,"
in the context of the postmodern fascination with
appearance and non-essentialist represention on the
one hand, and on the other, the American ethnic moves
of becoming American and validating the reality of
The course focuses on
the intersections of theory and texts; therefore,
each student will select two novels from differing
traditions (I will give the parameters for selection
the first day of the course). Theoretical texts
from each U.S. tradition will be on reserve as well
as key theoretical postcolonial texts.
Required texts are: Elizabeth Cook-Lynn's Why I
Can't Read Wallace Stegner, and Other Essays: A Tribal
Voice, Ania Loomba's Colonial, Postcolonial,
and a course reader of American ethnic literary
theory that will include excerpts from Satya
Mohanty's Literary Theory and the Claims of
History and selections from Lewis Gordon's
work on Fanon. Please read Black Skin,
White Masks, and The Wretched of the Earth
before the quarter begins.
Old English Literature
This is the second
part of the two-part sequence in Old English Language
and Literature, completion of which may serve to
fulfill a graduate language requirement. In
this seminar we will undertake a close reading of
Beowulf, the most substantial surviving
Old English poem, in the original language.
Considerable attention will be paid to the most
recent work in Beowulf studies, notably Kevin S.
Kiernan's revised edition (1996) of his controversial
study of the original manuscript; feminist criticism
on Wealtheow and other women figures in the poem;
ideological background studies of the Germanic
migrations; and archeological and more broadly
cultural approaches to the contextualization of
this enigmatic poem.
Course Texts: Klaeber,
Beowulf (3rd ed.); Alexander, Beowulf.
Historical Fictions: the Classical Past in Medieval Literature
Examining a range of medieval literature with classical themes or
sources, this class addresses medieval ideas of history and the relation of the
medieval present to the classical past, as it addresses current debates
concerning historicist methodologies in reading medieval literature. Are
medievalists 'marching under the banner of the historical imperative', as
Lee Patterson claims? Should they be? What do poems with classical
sources or themes tell us about medieval ideas of the value of history? of
its accessibility through textual tradition? What does the medieval
perspective on classical traditions teach us about our own interest in the
past? Course readings are organized by genre or agenda: we will consider
the surfacing of classical themes in medieval romances like the Roman de
Thèbes (in translation) and Troilus and Criseyde; moralized versions of
classical story, including the Confessio Amantis and Henryson's "Orpheus
and Eurydice"; and texts that use the authority of classical literature to
revise the representation of women, namely Christine de Pizan's City of
Ladies. We will conclude with excerpts from Douglas's translation of the
Aeneid and his reflections on medieval (specifically Chaucerian) rewriting
of the Latin epic.
Classical Imitations (C Lit 546)
As a logical phrase “Classical Imitation” has the same status as “bovine
cow”: a tautology, one word implying the other. A “classic,” by
definition, is something imitated; classical art depends for its effect
upon the beholder’s memory of the thing to which it refers. To imitate is
not copy, of course, but to allude: keeping the original in mind, one
notes the changes that make its avatar significant.
In the context of English studies, “classical” has picked up its
familiar restrictions: not any models but Greek and Roman ones. This
comes about because the poets of the 16th, 17th, and 18th centuries were
so often trying to bring the achievements of the Greek and Roman poets
into English. They did this sometimes by direct translation, sometimes by
allusive recall; we shall study attempts of both sorts in this class.
Examples will come from all three centuries, including Wyatt doing
Petrarch, Chapman doing Homer, Jonson dramatizing Tacitus and Sallust,
Dryden doing Plautus and translating Vergil, a variety of poets being
Horace, and Pope translating Homer. The grandest imitation of the whole
long period of grand imitations, the one which declared itself to be
soaring above its originals and which to some extent silenced them all,
was Paradise Lost. That poem is far too big for a course like this to
handle, but we’ll get a glimpse of it when Pope does Milton.
The Human Image in English Art and Literature, 1500-1700
van den Berg
This seminar offers an opportunity to consider the way the visual and verbal representations of the human
body chart the development of new ideas of the human self in English culture. We'll survey portraiture
in England from Holbein through the painters of the Elizabethan era (including miniaturists Hilliard and
Oliver), the establishment of Netherland painters in Jacobean London, the revolutionary works of Van
Dyck in the Stuart court, and the Restoration works of Sir Peter Lely and his followers. We'll consider the
survival and development of a "native tradition" (Dobson, Reilly). We'll set the portraits of men and women
(aristocrats, writers, nameless ladies, Oliver Cromwell, Henrietta Maria's dwarf, the housekeeper of
Windsor Castle, and many more) alongside literary works. Sonnets will be juxtaposed to miniatures;
Jonson's poetic celebration of Venetia Digby will be set next to Van Dyck's portraits of her. We'll pay
attention also to portraits of Donne, Jonson, and finally Pope and early 18th century ladies (this will be
"the long 17th century") and to the way these poets thematize pictures in their poems. Lots of paintings; lots
of poetry. A few of the issues: the body as sign - of?; the mythic body vs. the historical body as
"monumental"; the "classical" body vs. the "grotesque" body; the construction of identity and the emergence
of "interiority" in portraiture; the "two bodies" of the monarch; "ancillary" figures (servants, often minority; horses and dogs; friends and
family); gender and portraiture (including women painters); conventional poses and the relationship
between painter and subject; narrative and metaphorical portraiture; words/texts in portraits; self-
portraiture (Van Dyck; Artemisia Gentileschi; even Rembrandt). We'll range a bit into some later uses of Renaissance portraits,
too: Robert Browning's dramatic monologues; Cindy Sherman's self-portraits. Readings: Brilliant,
Portraiture; Wendorf, The Elements of Life. Writers studied will include Donne, Jonson, the Cavaliers,
Restoration women poets, Pope. Students will be asked to work in the Art Library as well as Suzzallo.
Requirements: class discussion; class presentation; final paper. In addition to required texts, there will be a
packet of required secondary readings.
Comparative Orientalisms (C Lit 596A)
In this course we
will study eighteenth-century literary orientalism.
While orientalism has - deservedly - received much
bad press as an unreliable discourse of representation
since Edward Said's Orientalism (1978), the last two
decades of ideology critique have perhaps flattened
appreciations of the discourse's versatility.
The publication of Antoine Galland's translation of
The One Thousand and One Nights (1704-17)
marks an important eighteenth-century departure for
what Tzvetan Todorov has called "apsychological
literature." The bulk of the course will
focus on some of the brilliant applications of
orientalism to political satire (Montesquieu's
Lettres persanes and Hawkesworth's
Almoran and Hamet); to alternative imaginations
of sexuality (Crébillon's Le Sopha, Diderot's
Les bijoux indiscrets, and Beckford's
Vathek); to moral thought (Voltaire's
Zadig, Johnson's Rasselas, and
Sheridan's History of Nourjahad); to anthropology
(Selections from Lafitau's Moeurs des sauvages américains);
and to representations of women (Montagu's
Turkish Letters, Haywood's Adventures
of Eovaai and Graffigny's Lettres d'une Peruvienne). To accommodate a variety of
students all French texts will be read in English
William Blake and the English Bible (Relig 570)
Since the Bible (in the King James Version) is clearly the most important
influence on Blake's works and is also, in his words, the "Great Code of
Art," it makes sense to read Blake and the Bible together. The primary
focus of the course will be on learning to read Blake as a poet; a
secondary purpose will be to read portions of the Bible and to understand
them both in traditional and in Blakean terms. More specifically, we will
try to understand the relation between the Bible and Blake's biblical
project, which he called the "Bible of Hell." This project includes at
least the Books of Urizen, Ahania, and Los, and we might also include, in
a broader version of the project, The Marriage of Heaven and Hell, Visions
of the Daughters of Albion, The Everlasting Gospel, and The Ghost of Abel.
We will also be reading one of Blake's three major prophetic works and his
Book of Job. From the Bible, we will read Genesis and Exodus, some of the
Prophets, Job, the Gospel of John, and Revelation. And we will consider
some Songs of Innocence and of Experience, letters, and illustrations of
the Bible. I do NOT assume that you already have some expertise on Blake
or on the Bible. There will be a term paper and a shorter paper connected
with an oral presentation.
No prerequisites. Enrollment limit - 13. Two more places available if not taken
as Relig 570.
Exoticism and the Uncanny in American Literature, 1833-1907
We will begin by addressing American exoticism - an aesthetic extension of nineteenth-century Western imperialism -- as a mode of travel narrative that ostensibly explores and makes contact with foreign peoples and alternative societies, but that in works such as Melville's Typee at best reaches an equivocal horizon where a sense of otherness, in becoming largely assimilated to known cultural models, at best only dimly shows through. The second portion of the seminar will then address what Stanley Cavell terms the "uncanniness of the ordinary" as an inversion of the American exotic. Here in a stay-at-home literature, it is the "'fantastic in what human beings will accustom themselves to" once the "everyday world" is sufficiently defamiliarized that surfaces in writing by Emily Dickinson, Rebecca Harding Davis, the mature Herman Melville, and other authors. How the latent "oddness of the everyday world" is thrown into relief by American writers as a deliberate antidote to the great public appetite for spurious forms of exotica and as a window into the unsuspected interior of America will become the main focus of the second half of the course.
Readings in wide variety of nineteenth-century American authors, including Melville, Poe, Margaret Fuller, Henry Thoreau, Nathaniel Hawthorne, Emily Dickinson, Rebecca Harding Davis, Stephen Crane, and Henry James. Theoretical readings such as Edward Said on "Orientalism," W.J.T. Mitchell on the "landscape of imperialism," and Stanley Cavell on the "uncanniness of the ordinary" will provide a vocabulary and a context for exploring selected
Paradigm Shifts in Asian American Lit
The main "shift" in the title of this course is from an Asian American "literature of immigration" to a "literature of diaspora." Historically, a pronounced shift occurred in 1965 when the immigration laws of the United States changed - from a program of exclusion of Asians and a prior history denying Asians citizenship, to the elimination of national quotas restricting immigration. Engaged with the earlier history, Asian American literature of immigration and the discourses it has engendered tend to call for the inclusion of Asian American subjects into the nation, the United States. One of its tropes is a cultural break between Asian immigrants and their homelands, a break usually concerning the "Americanization" (sometimes assumed, sometimes questioned) of the individual and the family. Asian American literature of diaspora implies the scattering of peoples from Asian points of origin, and a question underlying much of this literature is one of the subject's relationship with "Asia" and one's continuing participation in a specific, current Asian culture. This is an Asian American literature where it is possible for characters to be in touch with people and pop culture in both Asia and America and in real time. We shall also be asking questions about an Asian American "literature of exile," diversity within the category called "Asian American literature," relations among ethnic literary categories, and the interpreting of literary forms and aesthetics in relation with themes and contexts. Readings will be highly selective. But in much larger measure than the required texts can possibly represent, the studies and discussions in the course will include "classics" as well as current works. Among the works and authors to be studied are, for example, stories by Sui Sin Far, Toshio Mori, and Hisaye Yamamoto; Carlos Bulosan's America Is in the Heart; Jade Snow Wong's Fifth Chinese Daughter; Monica Sone's Nisei Daughter and John Okada's No-No Boy; stories by N. V. M. Gonzalez; Louis Chu's Eat a Bowl of Tea; Bienvenido Santos his "Immigration Blues" as well as stories of the Filipino as "exile"; Maxine Hong Kingston's The Woman Warrior; Joy Kogawa's Obasan; Jessica Hagedorn's Dogeaters; Frank Chin's Donald Duk; Chang-Rae Lee's Native Speaker; Shawn Wong's Homebase and American Knees; Meena Alexander's Fault Lines; and Lois-Ann Yamanaka's Wild Meat and the Bully Burgers. Our studies will also include articles of criticism, theory, and resources in such collections as Reading the Literatures of Asian America (Lim and Ling, eds.), An Interethnic Companion to Asian American Literature (Cheung, ed.), A Resource Guide to Asian American Literature (Wong and Sumida, eds.), and others.
||Civilization and Its Discontents: British Writing in the 1920s
This quarter we will investigate the prevalent belief during the years
following the Great War that civilization was in a state of crisis. Using
Freud's Civilization and Its Discontents as our starting point, we will
consider modernist texts such as Eliot's The Waste Land, Woolf's Mrs.
Dalloway, Lawrence's Lady Chatterley's Lover, and Huxley's Point Counter
Point, as well as some examples of popular culture, journalism, and
historical documents in order to explore the concept of modernism within
its larger cultural framework.
Teaching Modern Poetry
In this course we'll be exploring
questions connected with teaching close reading to undergraduates.
Some of these questions will be at least mundane (What
kind of book is best for a class like this?) and will have more or less
satisfying answers. Some other questions (just what do you think
you're doing, anyway?) will not be answered so easily. But all
of the questions, hard or easy, will be concerned with both teaching
Expect to write every week and to teach poems
to the rest of the class at least once every two weeks. You
will also be expected to act as intelligent critics about your classmates'
readings and teaching, and we will give particular attention to
Frost's dictum that "the ear is the true reader."
Books: Helen Ventler, Poems, Poets, Poetry;
Donald Hall, To Read a Poem.
Feminist Theories: Recent Feminist Writing on Race (C Lit 535B)
One of the greatest
challenges feminist theory currently confronts is
that of elaborating anti-racist politics and
critical practices. In this course we will
examine recent feminist writing that treats questions
of race, racism, and anti-racism. We will
discuss the historical legacy of racism within the
feminist movement, an array of analytic methods
capable of addressing the interarticulation of racism
and sexism, and the pitfalls and possibilities of
creating feminist hermeneutics capable of keeping
pace with processes of uneven development and
globalization. The course is thoroughly
interdisciplinary; we will read creative texts
alongside more recognizably theoretical works by
feminists situated across the disciplines.
Readings will include: Lisa Lowe, Patricia Williams,
Louise Newman, Robyn Weigman, Ruth Frankenburg,
Aihwa Ong, Gayatri Spivak, Donna Haraway, Octavia
Butler, and Samuel Delany.
This course surveys systematic approaches to the analysis of
texts. We will examine a wide variety of approaches including
linguistics, conversation analysis, ethnography, critical language
study. We will explore means for describing the discourse we find
around us from literary texts to popular culture to classroom
interactions and examine how these display and (re)produce the cultures
from which they spring.
Current Rhetorical Theory
In this course, we will approach contemporary rhetorical theory by way of
genre theory, which will enable us to problematize popular notions of
rhetoric as a type of discourse or a skill. We will examine rhetoric not
only as a dimension of all discourse, but also as "the condition of our
existence"--a way of being, knowing, and acting in the world (what David
Fleming calls "anthropological rhetoric"). As such, we will be studying
rhetoric as both an action and an occasion--a habit as well as a habitat
for acting in language. We will begin the course with an introduction to
genre theory and explore its claims that genres are not just ways we
define and organize kinds of texts, but also ways we rhetorically define and organize
kinds of social actions. From there, we will grapple with such questions
as: What is rhetoric? What is a rhetorical situation (and can there be
such a thing as a non-rhetorical situation)? What is the relationship
between social and rhetorical action, and to what extent does genre shape
both? Where do genres exist? How and why do genres change? Along the way,
we will speculate on the "nature" and role of the writer, reader, text,
and context in non-literary and literary genres, as well as the relationship between power and rhetoric, in
particular, the kinds of social actions, identities, and relations that
genres rhetorically make possible. In addition to leading class
discussions, seminar participants will: 1) present a conference-style
paper which invites them to (re)consider, through the lens of genre
theory, a primary text of their choosing (for example, a work by Halliday;
Saussure; Foucault; Derrida; Irigaray; Cixous; Kuhn; Geertz; Anzaldua;
Giddens; LeFevre; Freud; Austin; Villanueva; Kent; Bolter; and yes, even
Einstein), and 2) write a final research paper or its equivalent.
Practicum in TESL
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.
Methods of TESOL
This course provides an overview of approaches, materials and techniques
for teaching English to non-native speakers. Each of these aspects of
teaching is looked at from the basis of a few well-established principles of
second language acquisition pedagogy. The course is divided into three
main parts: (1) Principles, History and Contexts; (2) Teaching Techniques; (3)
Pragmatics. Students will be expected to participate in in-class discussions
and demonstrations, work on a group project and write at least two papers
during the course. Prerequisites: Linguistics 445 or ENGL 571.
Advanced Fiction Workshop
Concentrating on your
writing and on your concerns as writers. Forty
pages of fiction and one brief paper required as is
a committed presence in the workshop. Expect to
read your classmates' work thoroughly and respond to
it with written comments. I am especially interested
in working on ways to heighten connections between
the form and content of your work. To that end, we'll
make a visit to the library's Book Arts Collection
early in the quarter. For first year MFA fiction
writers. Others with instructor's permission.
Advanced Poetry Workshop
A close examination of the
students' work with an emphasis on the enhancement of
connections among sound, rhythm, and meaning and on
useful organization and revision.
English Graduate Studies
The class will be a seminar for MFA students who hold teaching assistantships. The students will meet occasionally with the instructor to discuss their teaching. Time and place TBA. No texts.
Library Research Methods (C Lit 599A)
This two-credit course is an introduction to research methods in the
humanities, specifically literature, using a combination of traditional
(e.g. print) and electronic resources. Students will become familiar with
the scholarly and professional literature of their field, locating,
evaluating, and using it effectively in their research. The course will
be process-based to provide students with the broadest set of information
literacy skills which can be used in other courses both within and outside
of the humanities. There will be brief weekly assignments and a final
annotated bibliography. Students will also have the option of producing
their final projects as Web pages; this training will be available as an
adjunct to the course. If you have any questions or would
like further information, please contact me via e-mail at
Textual Theory (C Lit 596B/Hum 522A)
This course is one of the four core courses developed by the campus-wide Textual Studies Initiative.
Course credit will count toward the Textual Studies track in all participating departments and may
count toward the Critical Theory concentration in Comparative Literature. The course is open to
all graduate students and advanced undergraduates. Students completing this course will develop basic
skills of textual scholarship which will be of help for other courses.
The goal of this course is to challenge the assumption that textual theory and practice occupy a domain
separate from literary theory and criticism. Confronting this territorial fallacy, the course will show that
developments in contemporary theory have influenced, and at times radically altered, the direction of
textual studies; and conversely, that textual scholars have often anticipated and conceptualized the
speculations of theorists in intellectually provocative ways. The course will offer an introduction to the
forms and some of the specialized skills of literary scholarship: the use of literary archives; aspects of
physical bibliography and the printing and production of books; scholarly editing; manuscript-based
textual criticism; and the history and sociology of the book. It will familiarize students with major
theories of textual criticism that address the concepts of authorship, authority, and authenticity; text,
"work" and the physical book; the relationship of biographical and sociological contexts to text, and of
creators to producers of literature; and the functions of readerships. These concepts will be used to
analyze the forgery of paintings and texts from the past, and the philosophies of curation of historic
ASSIGNMENTS include a review of a critical edition and a paper which, among other choices can be:
1) a critical edition reading text (with editorial rationale) of a poem or short story, 2) an essay based on
textual criticism tracing the development of a work; 3) an essay on a topic in editorial theory (choices
include orality and literacy; authorship, copyright, ghost writing; documentary versus idealist editing and
the anti-editing school; historic house and art restoration as a form of editing; musicological editing); and
4) an essay on a topic in the History of the Book (e.g. the Bible as book; circulating libraries; print
culture versus electronic culture; creating readerships in the age of the novel).
Professor Eggert is Visiting Professor of English from the Australian Defence Force Academy in
Canberra, Australia. He is the author of numerous influential essays on editorial theory, history of the
book and the interdisciplinarity of texts, and editor of several works by D. H. Lawrence, Henry
Kingsley and Joseph Conrad. Professor Eggert is director (since 1993) of the Australian Scholarly
Editions Center at the University of South Wales, founder of the Colonial Texts Series published by the
New South Wales University Press, and General Editor of the Academy Editions of Australian