Next Year Seminars and Workshops
English 306: Seminar in Sixteenth-Century Literature
Epic Discontent: on the Critical Potential of Passionate Character in Tudor England
(Monday 3:30-6 pm)
Beginning with the two most important epics for Tudor translation and imitation -- Virgil’s Aeneid and Ovid’s Metamorphosis -- we will consider the intersections among classicism, educational institutions, gender, affect, and sexuality in 16th-century London. Epic discourse played a crucial role in Tudor debates about social, geographic, and national distinction; it was also fundamental to a literary phenomenon for which the period is often celebrated: the invention of dramatic character. Reading in light of institutional rhetorical practices – those imbibed in humanist grammar schools as well as at the Inns of Court – we will discuss a series of so-called minor epics alongside dramatic texts that bring “the matter of Troy” onstage. Most important for our purposes, a short-lived but intense vogue for “minor epics” began when Thomas Lodge, a law student at Lincoln’s Inn, published Scillaes Metamorphosis (1589). It sparked a rapid series of sexually explicit poems by lawyers and dramatists alike in which highly emotional speeches about love sometimes sound like dramatic soliloquies, sometimes like legal arguments, and sometimes both. At the same time, writers of epyllia launched a vigorous critique of epic teleology with important consequences for how we understand both subjectivity and sexuality in the period. All show a recognizably Tudor form of “discontent”: skeptical imitations of passionate ancient characters that undercut normative, end-driven representations of nationhood and useful masculinity from within the genre thought to consolidate these identities and from within the institutions that most benefited from upholding them. Adopting a comparative, trans-institutional perspective, the course examines what the so-called “minor epic” reveals about the classicizing terms that shaped debates about what counted as “male,” “female,” “English,” and “barbarian” discourse and feeling. Texts may include: the Aeneid, the Metamorphoses; Thomas Lodge, Scillaes Metamorphosis; John Marston, The Metamorphosis of Pigmalions Image; Thomas Heywood, Paris and Oenone; George Chapman, Ovid’s Banquet of Sense; Francis Beaumont, Salmacis and Hermaphroditus; James Shirley, Narcissus or, The Self-Lover; Marlowe, Hero and Leander and Dido, Queen of Carthage; Shakespeare, The Rape of Lucrece, Venus and Adonis, Othello, Hamlet, Antony and Cleopatra.
English 318: Seminar in Victorian Prose and Poetry
Visuality, Visual Culture, & the Victorian Imagination
(Tuesday 12:30-3 pm)
This course will approach Victorian literary and cultural history from the angle of visuality. Historians often refer to a “pictorial turn” to describe the flourishing of visual culture in the nineteenth century, in objects that ranged from hand-held stereoscopes to panoramas to world exhibitions. We will consider the multifaceted aspects of Victorian visuality, from the science of optics to the politics of empire. Our objects of study will include literary works remarkable for their visual play, such as Dickens’s Bleak House andBrontë’s Villette, as well as the aesthetic (and political) philosophies of art critics John Ruskin and Walter Pater. We will explore some key archives of Victorian visual culture, including illustrated books, advertising posters, and representations of the Great Exhibition of 1851, usually considered the first World’s Fair. Class meetings will also consider Victorian photography, illustration, ekphrasis, criminality, empire, and decadence. For theories and histories of vision, we will look to W.J.T. Mitchell, Walter Benjamin, Jonathan Crary, Michel Foucault, Sharon Marcus, and Martin Jay, among others. The course, aimed at both specialists and non-specialists, will consider some basic questions: How to analyze an image? What is visual culture, and how is it related to the fine arts? What is the relation between politics and visuality in the nineteenth century?
The Long Poem
(Tuesday 3:30-6 pm)
This seminar focuses on the once de rigueur task of close reading. Reading will be intensive rather than extensive, and time spent writing will probably equal that spent reading. The seminar will veer toward a “workshop” approach, in which a few students (depending on class size) each week will make available their interventions. These writings will be the basis of our discussion. If you choose to take this class, you must know that participation is absolutely essential. (Let me add: we will also have a great deal of fun.)
The long poem—or what some call “the poetic sequence”—is a hybrid or heterogeneous genre, described by some as a loose and baggy mixture of poetry and prose or a compound of lyric “immediacy” and epic “inclusiveness.” We will discuss the odd genre-marriage of the form, as well as seek to understand what happens when history becomes part of poetry, a division that was not always as stark as we would like to think. Ezra Pound recognized this when he thought of the epic as a long poem that “contained history.” Another major consideration is the nature of the poetic “I” when a poet tackles this discontinuous or fragmented form. Edgar Allan Poe once declared: “A long poem is a contradiction in terms,” and then he went on to write Eureka, with two titles added: “A Prose Poem” and “An Essay on the Material and Spiritual Universe.”
The formal and stylistic range of the poems read in the seminar asks that we confront the interplay between politics and poetry, racial or racially inflected poetic practice and cultural production.We will be concentrating on T.S. Eliot, Ezra Pound, William Carlos Williams, Adrienne Rich, Derek Walcott, Thylias Morse and N. NourbeSe Philip, after our Whitman introduction (followed by our discussion of the “unreadable,” with Melville’s Clarel at the helm).
I encourage participants to consider – if time permits – the poetry of Hart Crane (The Bridge), Wallace Stevens (Auroras of Autumn), Charles Olson (Maximus), Harryette Mullen (Drudge), Jorie Graham (Materialism and Place: New Poems), and Anne Carson (Autobiography of Red). I will be available to talk with you about any other poets that you would like to study and write about.
: Special Topics in English and American Literature
Proseminar: The Conflict of the Faculties 2.0
(Monday 12:30-3 pm)
Among the final publications of Immanuel Kant’s lifetime was a curious little assemblage of essays called The Conflict of the Faculties (1798). Ostensibly aimed at protecting what we would now call the ‘academic freedom’ of the philosophy faculty from incursions by the Prussian state, the treatise proceeds to veer into discussions of the history of human progress, mysticism in religion, sleep disorders, and how best to refrain from “morbid feelings.” In other words, it captures the outsized ambitions and unsettling affects of life in the academy today. This proseminar derives its energies from Kant’s peculiar treatise in order to consider the state of our discipline in 2014. As the gateway course into the Ph.D. program, it is designed to reflect on a range of questions that tacitly give contour to nearly everything we do in this profession: What is the status of criticism/critique within the contemporary university? How best to think freely within an increasingly corporatized institution? What are the genres of scholarly expression and professional comportment necessary for success? How does the study of what we still call “English” bear the traces of its institutional history? What does the future hold for some of the structuring keywords of our discipline—periodization, national literature, field, the humanities, the archive, the book? How do we read and write and teach despite it all? How do we avoid morbid thoughts?
The proseminar is limited to first-year graduate students only.
English 355: Special Topics in English and American Literature
Caribbean Fiction and Poetry
This course is a comparative survey of twentieth-century Caribbean literatures written in English, French, and Spanish (we will read the latter two in their English translations). Rather than assuming that ACaribbean@ refers to some sort of a priori cultural coherence, be it essentialist or geographical, we will explore the often very different ways in which writers steeped in the cultural traditions of Western Europe, West Africa, and the Americas have approached the idea of “Caribbeanness.” Our task will be to identify representational patterns and analyze the logic of convergences and divergences in both literary and scholarly texts. Three figures, or conceptual clusters, will help focus our conversations: (1) passages and other translations; (2) islands and/as nations; and (3) carnivals. Each figure opens up questions: How do we think and write about multidirectional movements (including linguistic translations) across the Atlantic and among island spaces? What sort of space is an island, and what does it mean for an island to repeat itself? Does carnival signify resistance to culturally dominant practices or accommodation to those practices? Does it signify differently to people of different genders and sexualities?
Readings will include (most) of the following: Robert Antoni, Carnival; Wilson Harris, Carnival; Miguel Barnet, Autobiography of a Runaway Slave; Dany Bébel-Gisler, Léonora; Kamau Brathwaite, The Arrivants; Tobias Buckell, Crystal Rain; Alejo Carpentier, The Kingdom of This World; Aimé Césaire, Cahier d = un retour au pays natal (Return to my Native Land); Michelle Cliff, Abeng; Maryse Condé, I, Tituba, Black Witch of Salem; David Dabydeen, Turner; Fred D’Aguiar, Feeding the Ghosts; Junot Diaz, The Brief Wondrous Life of Oscar Wao; Rosario Ferré, The House on the Lagoon; Nicolás Guillén, selected poems; Nalo Hopkinson, Midnight Robber; Earl Lovelace, The Dragon Can’t Dance; Patrick Chamoiseau, Texaco; Daniel Maximin et al, AEloge de la créolité@ (In Praise of Creoleness); Derek Walcott, Collected Poems, 1948-1984.
Requirements: weekly short papers (750 words), brief presentations (mainly on anthologies of Caribbean literatures), and a final project, which may be a research paper or an annotated syllabus.
Fall Courses of Interest in Other Departments
French 362: Émile Zola and Charles Dickens: Naturalism, Realism, and Social Engagement
This course will introduce students to a group of seminal novels from Charles Dickens and Émile Zola, supplemented by essays and letters that discuss their respective approaches to social justice and the role that their literary work plays, or can play, to advance particular causes. Different facets of their writings will be discussed, including their respective methods of researching their subject matter, the style of their writing, as well as their concerns relating to contemporary oppression, violence, prostitution, alcoholism and social inequality. Students will also be introduced to the relationship between realism and naturalism, and will have occasion to explore the idea of the “public intellectual”, with particular reference to Zola’s “J’Accuse,” an open letter to the president denouncing the wrongful conviction of a Jewish officer of the French army for treason.
FREN 380. French Literary Theory.
Paul B. Miller
In the seminar, instead of attempting an sweeping overview of the history of literary theory, we will read a selection of theoretical masterworks and attempt to define the uses and limits of theory in literary analysis. While an exhaustive review of theory is impossible, we will certainly touch upon an array of theoretical approaches to literary criticism with an emphasis on those with particular relevance to French and Francophone literature. In addition to some of the major theoretical texts of Marxism, Structuralism, Post-structuralism, Psychoanalysis, Feminism, the critique of colonial and post-colonial discourses, etc., we will focus on some of the great debates of intellectual history. Students will be required to write a series of short papers, give two presentations, and write a final research essay.
PSCI 308: Individual and Society in Modern Political Thought.
This course will explore one important theme in modern political thought—the relationship between the individual and society. To what extent is the individual shaped by his or her social and cultural interactions? How have political theorists historically addressed a critical tension between individuality and sociability? Modern political thinkers approach these questions by examining the impact of a range of collective practices on the identity and behavior of individuals—education, religious communities, cultural and social customs and manners, commerce, and democratic political institutions, among others. With this in mind, we will read widely in modern political thought, including groundbreaking works in moral and social psychology, educational treatises, and democratic theory. Potential authors include Rousseau, Smith, Marx, Mill, Thoreau, Nietszche, James, and Freud.
WGS-301-01: Gender and Sexuality: Feminist Approaches
Interdisciplinary introduction to the major debates, theoretical terms, and research methods in feminist, gender, sexuality, and queer studies.
English 314: Seminar, 1660-1800
Performing on Stage and Page, 1660-1830
(Wednesday 12:30 - 3 pm)
For almost three centuries, the big story of eighteenth-century literary history has been the decline of the drama and the rise of the novel, with attention also directed at Restoration drama and Scribblerian satire. In the past few decades, scholars have explained the process as a shift from an early modern theater that played out social and political tensions with unprecedented virtuosity to a performative culture in which identity itself was understood as actorly but theatre itself was degraded. Often the development of print culture is invoked to suggest that new forms of literature such as novels generated new kinds of subjectivity, in a mutually-reinforcing circuit to which the more public modes of drama were irrelevant. In this course, however, we shall be reading against the grain of these received ideas in the light of recent scholarship to explore the mutuality, as much as the competition, between novels and plays or fiction and theater. Apart from the fact that many writers (both canonical and marginal, male and female) wrote in both modes, both dramaturgy and fiction can be understood as performative. Both modes participate in print culture, both can be understood as machines for pleasure, and both are imbricated in the development of dominant literary discourses such as romance, the heroic and the sentimental.
English 320: Studies in American Literature
The Idea of Black Culture
(Thursday 3:30 - 6 pm)
The idea of black culture provides a reading of conceptualizations of the subject across a historical timeline that begins with W.E.B. DuBois's Souls of Black Folk (1903) and proceeds through successive periods of black cultural apprenticeship: The Pan-African idea, pursued as a practice after the end of World War I; the era of African decolonization and the mounting of the Civil and human rights campaigns in the United States, which both share the global context of the “Cold War” (from the Marshall Plan to the collapse of the Berlin Wall, 1989, and the dismantling of the Soviet Union, 1991), the “birth” of Black Studies and the development of the new epistemologies of the post-sixties and beyond, and the emergence of Diaspora and the post-race/post-colonial subject of the latter twentieth century—the implications of the Obama Presidency. Each of these eras of human and social engagement has engendered its own distinctive work on the meaning(s) of black culture. This seminar will examine such readings in a selective manner by analyzing texts by, among others, C.L.R. James, Frantz Fanon, Aime Cesaire, as well as contemporary scholars, including Saidiya Hartman, Fred Moten, Nahum Chandler, Ken Warren, and Brent Edwards.
English 326: Introduction to Literary Modernism
(Thursday 12:30 - 3 pm)
English 355: Special Topics in English and American LiteratureReality Check: Modes of Reality and Representation in the Age of Cyberculture
(Tuesday 3:30-6 pm)
“Reality is that which, when you stop believing in it, doesn’t go away.” - Philip K. Dick
In an age when phantasmal projections on the computer and smart phone screens rule our daily lives and disembodied fragments of our audio-visual/textual representations fly around the globe, the long-standing philosophical question of “what is real and how one is to know what is real” weighs us down with an ever-pressing urgency. This course will explore different modes of reality and their literary representations that make inquiries into the concept and nature of the “real.” The class will see how works of fiction, as that which is inherently “fictive” and therefore “unreal,” provide us with an insight into the intricate mechanisms that underlie the construct of reality not only by representing (whether they claim to mirror material reality or project abstract ideas of a subjective mind), but also by creating, and reflecting on reality. Texts for the course will include novels and short stories by Stanislaw Lem, Philip K. Dick, Bruce Sterling, Richard K. Morgan, Ted Chiang, William Gibson, Neil Stephenson, Vernor Vinge, and Greg Egan; film and animation (Tron and Ghost in the Shell 2: Innocence); and theoretical/critical readings from authors including Jean Baudrillard, Scott Bukatman, Katherine Hayles, Donna Haraway, Ray Kurzweil, Jeffrey Sconce, Clifford Nass, Lydia H. Liu, and Jessica Pressman among others.
Stanislaw Lem’s Solaris
Philip K. Dick’s Ubik
Richard K. Morgan’s Altered Carbon
Murakami Haruki’s 1Q84
Neil Stephenson’s Snow Crash
Greg Egan’s Permutation City
(Short stories and excerpts from critical materials will be posted on OAK)