The DePaul Course Catalog is now open for viewing courses for the Autumn 2013 Quarter. The Underground will continue to post more course descriptions, please return to this page in the following week(s) for additional information on future courses! Thank you for your patience.
NOTE: AUTUMN COURSES ARE SUBJECT TO CHANGE.
Department of English
2013 Undergraduate Autumn Course Schedule and Course Descriptions
ENG 201: Creative Writing
MW 9:40-11:10; Turcotte, Mark
MW 11:20-12:50; Ewell, W. Andrew
TTH 4:20-5:50; Rooney, Kathleen
T 6:00-9:15; TBA
ENG 211: English Studies: Language and Style
TTH 1:00-2:30; Sirles, Craig
This course is a comprehensive examination of structural elements and stylistic devices that experienced writers use across a number of creative and professional genres. The course begins with the structure of standard American English grammar, including parts of speech, sentence constituents, phrases and phrase functions. Attention then turns to definitions and components of style, including ways of enhancing emphasis and focus, cohesion and coherence, and effective diction. Throughout the course students will do a number of written assignments (e.g., problem sets, short response papers); there will also be a midterm and a comprehensive final examination. This course should be of benefit to students planning careers as writers, editors, and teachers of English.
The class course will be taught in a HYBRID format with face-to-face meetings in class on all Tuesdays during the quarter and online instruction on most Thursdays.
N.B. This course is not a class in remedial grammar; students entering the class should be fully competent in the conventions of standard edited English.
ENG 218: Reading and Writing Fiction
MW 2:40-4:10; Pittard, Hannah
In this class we will read essays about fiction (by critics such as Charles Baxter, James Wood, John Gardner), as well as the majority of the stories collected in The Vintage Book of Contemporary American Short Stories (edited by Tobias Wolff). Students will also have a chance to try their hands at writing their own short fiction. But do please note that this is not a class in which student stories will be workshopped.
ENG 220: Reading Poetry
MW 1:00-2:30; Squibbs, Richard
TTH 8:00-9:30; Arendt, Mark
TTH 11:20-12:50; Green, Chris
ENG 221: Reading Prose
MW 11:20-12:50; Bartlett, Anne
TTH 8:00-9:30; Sirles, Craig
TTH 1:00-2:30; Fahrenbach, Bill
ENG 228: Introducing Shakespeare (LOOP)
MW 1:30-3:00; Williams, Michael
We study five major plays covering three genres; History, Tragedy, Comedy. The five will be selected from the following list: Richard II, Richard III, Henry IV Part 1, Julius Caesar, Hamlet, Othello, Macbeth, King Lear, Much Ado About Nothing, As You Like It, Twelfth Night.
We generally study the plays in the order they were believed to have been be written. The first half of the course emphasizes Shakespeare’s growing ability to create complex characters, and the second half focuses on the great tragic heroes.
A 1000 word paper is due midway in the course and a second at the end. We have a take-home mid-term, which is all essay questions, and an in-class open-book final. We have a short objective quiz on every play.
ENG 231: The Gothic
MW 2:40-4:10; Conary, Jennifer
This course will serve as an introduction to Gothic narratives. We will begin our exploration of the Gothic in the 18th-century with Matthew Lewis’s scandalous and thoroughly bizarre novel, The Monk. We will then move on to such Gothic classics as Mary Shelley’s Frankenstein, Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde, and Bram Stoker’s Dracula. Throughout the course, we will look at each text in its historical context, but we will also learn about popular methods for interpreting Gothic narratives. We will conclude the course by practicing our interpretive skills on one of the most popular incarnations of contemporary Gothic: Buffy the Vampire Slayer.
ENG 254: The British Novel
TTH 4:20-5:50; Gardiner, David
The early novel was primarily “the product of the middle class, appealing to middle-class ideals and sensibilities…set against clearly realized social background” (A Critical History of English Literature). It was also one of the genres through which “Englishness” and “English Literature” has been defined. In English 254, we will read a selection of significant novels from the birth of the genre in the 18th century to the present. As we do so, we’ll analyze the form and function of the novel. Among the questions that we’ll discuss are: what makes a novel? how does it define/resist definitions of Englishness, and what makes them appeal to us. We will read texts that represent the major types of novel, including the bildungsroman, epistolary novel, gothic novel, novel of sensibility as well as modernist and contemporary texts. Writers will include Daniel DeFoe, Jane Austen, Virginia Woolf, James Joyce and Patrick McCabe. Course requirements will include in-class writings, two shorter papers and an option of either a take-home final exam or final paper.
ENG 265: The American Novel
TTH 11:20-12:50, Leahy, Nathan
What exactly is an “American Novel?” A book written by an author residing in the United States? A book that is set in the United States? Or the Americas? What about a book about Americans outside America? Who decides all this? As a way of addressing these deceptively simply questions this course surveys several American novels from the 19th through the 21st centuries. Our focus will be on how these stories grapple with evolving ideas of “Americaness” with respect to race, gender, and class. Another concern of ours we will be the many reasons why critics cite these writers and their works as distinctly representative of American culture. Do such claims hold up over time? What are the limitations of such claims? Along with a selection of short critical writings we will read: Edgar Allan Poe, The Narrative of Arthur Gordon Pym of Nantucket; Herman Melville, Moby-Dick; Edith Wharton, The House of Mirth; Ralph Ellison, Invisible Man; Carson McCullers, Clock Without Hands; Junot Diaz, The Brief Wondrous Life of Oscar Wao.
ENG 272: Women Writers of Color
TTH 1:00-2:30; Royster, Francesca
Diverse Traditions: This course fulfills the Diverse Traditions requirement for English majors.This class is not repeatable.
ENG 275: Latinos/as & Film
MW 1:00-2:30; Johnson Gonzalez, Bill
Diverse Traditions: This course fulfills the Diverse Traditions requirement for English majors. This class is not repeatable.
ENG 284: The Bible as Literature
MW 11:20-12:50; Jones, Richard
ENG 286: Grit-Morality-Detective Stories (LOOP)
MW 10:10-11:40; Niro, Brian
ENG 291: Intermediate Fiction Writing
TTH 11:20-12:50; Johns-Trissler, Rebecca
In this fiction-writing course, we will delve deeper into the intricacies and pleasures of fiction, reading various published short stories and essays to understand how fictional elements work together to create an organic whole and discovering how accomplished writers shape their stories using point of view, form, tone, characterization, plot, narrative time, sentence rhythm, significant detail, theme, metaphor, and precise language. These craft elements we will use as guides, not limitations, in the creation of our own fiction, focusing on the short story form. We will discuss student manuscripts in an environment that encourages honest criticism, always balanced by respect for the writer. In class and during individual conferences, we will explore strategies for revision of each student’s work.
ENG 292: Intermediate Poetry Writing
TTH 2:40-4:10; Rooney, Kathleen
Contemporary poet Marvin Bell has remarked that “The plain truth is that, except for mistakes that can be checked in the dictionary, almost nothing is right or wrong. Writing poems out of the desire to find a way to be right or wrong is the garden path to dullness.” This class will do its best to keep your poems from ever being dull by means of an obstructionist approach, predicated on the idea that a poet can often find the greatest freedom of expression within the strictest of restraints. If you enter this class with an open mind and strive to cultivate an attitude of flexibility and fun, your willingness to embrace these obstructions and interferences will lead you to discoveries—about structure, about content, and about your processes and preoccupations as a reader and writer of poetry.
ENG 300: Composition and Style
TTH 9:40-11:10; Hickey, Janet
English 300 is an advanced writing course designed to introduce you to the elements of nonfiction prose style. This will involve the thoughtful reading and careful analysis of short nonfiction prose pieces, such as personal essays, memoirs, interviews/profiles, food writing and arts criticism, from both the current and previous century. These essays will not only vary in topic, but in purpose and audience as well. We will examine the stylistic choices made by the authors to accomplish their purpose and to meet the expectations of their audiences with the hope that you will be able to model these strategies in your own writing. The assignments will offer instruction in invention, arrangement, language play, imitation, and experimentation at the word, sentence, and paragraph level. Another component of the course involves critiquing the work of your peers. The workshop format will emphasize revision and the examination of multiple points of view about each essay.
ENG 307: Advanced Fiction Writing
MW 1:00-2:30, Pittard, Hannah
Faulkner famously declared that the only thing worth writing about – worth the agony and sweat – was the human heart in conflict with itself. Whether you’re writing about cats & dogs, aliens & dinosaurs, mothers & fathers, your fiction should aim high. (Though, speaking of cats & dogs, this is not a course in genre writing, i.e., sci-fi, fan fic, chick lit, YA, etc. It is, instead, a course rooted in realism.) In this class you will be encouraged to be funny, be sad, be whatever you want to be, so long as you are also honest in your assessment of the human heart. Because this is an advanced workshop in fiction writing, we will move at a fast and sometimes furious pace. Workshop of full-length stories will begin during the first week of class. Previous experience with the workshop environment is assumed, and students will be expected to hand in new material only.
ENG 308: Advanced Poetry Writing
TTH 9:40-11:10; Green, Chris
ENG 309: Topics in Writing- Magazine Writing
M 6:00-9:15; Isackson, Noah
This is a course in the tradition of magazine writing as well the art of writing for publication in a magazine — on the web or in print. At the beginning of the course, we’ll focus on the fundamentals of journalism. Then we’ll move toward the art of magazine writing, always keeping in mind the fact that we all have the same goal: to write and sell to magazines. Toward that end, we will focus on generating marketable ideas, selling them through pitches (or query) letters, and researching, composing, revising and submitting articles to editors. We will also cover the business aspects of freelance writing. The majority of this class will be conducted as a workshop, combining close reading of many forms of magazine writing with sharp, constructive, and sympathetic reading of students’ work. We will focus on magazine storytelling as a literary art, learning how to think, sell, report and communicate ideas in a competitive world. The course is taught by Noah Isackson, a contributing writer at Chicago magazine, whose magazine work has also appeared in Men’s Health, People, Time, and Time Out Chicago.
Isackson and co-author David Bernstein were recently named finalists for a 2013 National Magazine Award, the industry’s highest honor, for “Lawbreakers and Lawmakers” a Chicago magazine story exploring the relationship between Chicago gangs and politicians.
ENG 309: Topics in Writing- Writing the Second Person Narrative
MW 2:40-4:10; Ramirez, Steven
“You are here.”
And thus begins our exploration into the second-person narrative—narratives that are quite literally all about you. But what is it about “you” that attracts writers to this peculiar form? What is it about “you” that invites readers in, while alienating them from, the world of a story? And why do “you” make us all so delightfully uncomfortable? In this course, we will analyze fiction through the deceptively narrow lens of this second-person point of view. We will discuss the freedoms it presents, as well as its inherent limitations. We will begin to differentiate one author’s “you” from another. From the plague-ridden landscape of Stuart O’Nan to dating advice from Junot Diaz, this course includes much reading from today’s explorers of the form. This course is also a writing workshop; students will submit their own second-person narratives for class discussion. To borrow from the words of Jay McIrnerney, no matter how you arrived at this course, “here you are, and you cannot say the terrain is entirely unfamiliar.
ENG 309: Topics in Writing- Rethinking the “Real” in Realistic Fiction
MW 9:40-11:10; Ewell, William
Conventional wisdom tells us realism presents the world as it is, romance as we’d have it be. But whose version of the world are we talking about? And what aspect are we dealing with? Is realism a matter of conventional codes, so reducible, as Roland Barthes would have it, that there’s finally no realistic way to narrate the world? Or are there other aspects of human experience—psychological, metaphysical, experiential—that realistic fiction can call upon to reach beyond the normative material of petit bourgeois life? In this course, we’ll read some seminal essays on realistic fiction (from Barthes, Ian Watt, Wayne Booth, James Wood, and others), discuss stories that appear to conform to conventional standards (Raymond Carver, John Cheever), and read others that don’t (Steven Millhauser, Shirley Jackson, Bernard Malamud). Assignments will be primarily creative, and presume prior workshop experience.
EN 309: Topics in Writing- The Urban Essay
MW 4:20-5:50; Turcotte, Mark
EN 309: Topics in Writing- Speculative Fiction
TTH 9:40-11:10; Johns-Trissler, Rebecca
Some writers see the world as it is and try to replicate it. Others look at the world and ask, “What if…?” In this course, we will read and write works of speculative fiction, fiction that asks what the world would be, could be, under different circumstances. We will study the narrative design of successful works of speculative fiction (including the sub-genres of magic realism, alternative history, post-apocalyptic, horror, dystopia, science fiction, and heroic fantasy), dissecting it in an attempt to understand what defines the genre. Is the hallmark of good science fiction an emphasis on setting, technology, or the future, or is it on the human relationship with all three? Does fantasy rely exclusively on elves and wizards, or can it have something to say about the world we live in? Keeping in mind the demands of speculative fiction in terms of setting and characterization, we will explore the elements that define strong fiction writing across genres (point of view, plot, theme, and metaphor, to name a few) and learn how to incorporate them into our own writing as we create a new, original speculative fiction story. We will take risks in the writing of our stories, and move past pre-conceived notions of speculative fiction as a limited genre.
EN 309: Topics in Writing- Writing the Body
TTH 11:20-12:50; Rooney, Kathleen
A common intellectual fantasy is to be able to encounter pure ideas in a featureless imaginary space. But tough luck: ideas come from people, and people come with bodies. In this class, we will consider the implications of our embodiment on writing, and look at how the body informs the mind and the art it creates. Sports, sickness, dieting, beauty, pregnancy, disability, sex—when we write on these topics, what forms are best suited to say what we want to say? This cross-/mixed-genre class is designed to familiarize you the techniques of reading like a writer, as well as to furnish you with the vocabulary and practices of the creative writing workshop.
EN 309: Topics in Writing- Writing the Memoir
TTH 2:40-4:10; Borich, Barrie Jean
In this creative nonfiction writing course we class read, write, and workshop literary memoir— first-person narratives illuminating memory, personal history, and other accounts of actual lived experience through the use of evocative description, engaging reflection, and all kinds of prose structures. We explore craft and process issues central to the memoir writer’s work, such as: the line between memory and invention; writing about friends and family; and working with difficult personal material. We also discuss the technical elements of artful memoirs, such as character, setting, narrative focus and time management. Students read example texts, write and revise essay-length memoir drafts, and participate in creative writing peer workshops.
ENG 309/484: Topics in Writing-The Art of Revision
TTH 6:00-9:15; Stolar, Dan
This course is ideal for students who have taken at least two MAWP workshops in prose (fiction and nonfiction) and amassed material they would like to work on further. Students will come into the class with previously workshopped short stories and/or essays and will practice developing the material more fully, on both the global level (rethinking form and content) and the local level (crafting graceful sentences and paragraphs). We will work toward submission of materials to literary journals and small magazines.
ENG 310: English Literature to 1500
TTH 1:00-2:30; Fahrenbach, William
ENG 319: Topics in Medieval Literature- Arthurian Romances
TTH 9:40-11:10; Kordecki, Lesley
ENG 320: English Renaissance Literature
MW 11:20-12:50; Heffernan, Megan
ENG 328: Shakespeare
MW 2:40-4:10; Heffernan, Megan
ENG 330: Restoration and Eighteenth Century Literature
MW 9:40-11:10; Squibbs, Richard
EN 340: Nineteenth Century English Literature
M 6:00-9:15; Conary, Jennifer
This course offers a brief introduction to the major literary and historical developments of 19th-century Britain. Particular emphasis is given to English Romanticism; industrialization and Victorian reform; changing views on class and gender, especially in regards to women’s rights; and the role of serialization and periodical publication on the form and content of 19th-century British literature. Authors covered will likely include Wordsworth, Coleridge, P. B. Shelley, Keats, Byron, Austen, Dickens, Tennyson, R. Browning, Hardy, and Wilde; novels covered will likely be Emma, Great Expectations, and Tess of the d’Urbervilles.
ENG 349: Topics in 19th Century Literature- Romantic Marginalia
TTH 2:40-4:10; Gross, Jonathan
ENG 350: Modern British Literature
TTH 2:40-4:10; Cameron, Rebecca
This course examines a range of literary responses to the rapid, sometimes violent changes taking place in a century often characterized as an age of anxiety, doubt, and conflict. The readings include stories by Joseph Conrad and Salmon Rushdie; poems by Wilfred Owen, T. S. Eliot, and Stevie Smith; plays by Bernard Shaw and John Osborne; and novels by Virginia Woolf, Jean Rhys, and Pat Barker. As we proceed in roughly chronological order, we will consider these works in the context of some of the major events of the twentieth century, including the rise of socialist and feminist movements, the two World Wars, and the disintegration of the British Empire. We will also explore some of the major concerns of modern British writers: aesthetic and social reform; the effects of war and violence; cultural dislocation; and spiritual doubt and transcendence.
ENG 355: Modern Irish Literature
TTH 2:40-4:10; Fairhall, James
ENG 355, Modern Irish Literature, provides an introduction to modern Irish literature written in English from the Literary Revival of the late 19th and early 20th centuries to the present. Besides Joyce and Yeats, three dramatists—Synge, O’Casey and Ireland’s most distinguished living playwright, Brian Friel—will be covered. Additional authors include Ireland’s best-known contemporary novelist, Roddy Doyle, as well as Edna O’Brien, Seamus Heaney and Eavan Boland.
ENG 360: American Literature to 1830
MW 11:20-12:50; Rinehart, Lucy
ENG 361: American Literature 1830 to 1865
2:40-4:10; Dinius, Marcy
This survey of antebellum American literature begins with two stories that transition us from the Revolutionary period and the Founding into the so-called “American Renaissance.” While many have argued that this period saw the flourishing of a uniquely American literature, our readings will point up continuities between the old world and the new, and between the mid-nineteenth century and our own time. Our lectures, discussion, writing assignments, and exams will take up this literature in relation to several paired themes, including nature/culture, self/society, freedom/slavery, submission/resistance, and inside/outside.
ENG 362: American Literature from 1865 to 1920
MW 1:00-2:30; Ingrasci, Hugh
The post-Civil War period, dubbed the Robber Baron Era, saw vast fortunes (= trillionaires) spawned from the sweat-shop labor of immigrants. The woes of urban laborers spurred journalists-turned-fiction-writers to expose their cities’ squalor resulting from industrialists putting profit above people’s lives, thereby creating our slums. Our course will study these social ills, chronicled in the literature of this “Gilded Age” ─ this age of immense U.S. wealth veneered over the massive suffering, toil, and tenement slum life of millions ─ via works which attempted to expose untenable life-conditions that needed reform. We’ll study Twain’s Huck Finn and Chopin’s The Awakening re the racial and gender milieus which they indicted. We’ll study the anti-war stories of Bierce, Howells, and Crane, and we’ll examine closely Dickinson’s poems on the “second-sex” situation of women in a traditional patriarchal society.
ENG 363: American Literature Since 1920
W 6:00-9:15; Mikos, Keith
This course will offer students a wide range of works produced by American authors and artists over the last one hundred years. We will examine how structure, style, subject, and themes have changed throughout a number of important movements (Modernism, Postmodernism, the Harlem Renaissance, the Beat Generation, etc.), as we consider a variety of literary and visual art forms, including, but not limited to: poetry, short and novelistic fiction, film, architecture, painting, and sculpture. The course will also be mindful of the significant intellectual and cultural inter-texts/events, (i.e. World Wars, Existentialism, Structuralism, Civil Rights, etc.). Authors and artists may include: William Faulkner, Earnest Hemingway, Ezra Pound, Mina Loy, Gertrude Stein, Maya Deren, Georgia O’Keefe, and Henry James, as well as those comprising both the Harlem Renaissance and the Beat Generation.
ENG 364: American Genre Studies- Literary Journalism
TTH 2:40-4:10; Anton, Ted
ENG 365: Modern American Fiction
TTH 9:40-11:10; Leahy, Nathan
This course surveys major works of American fiction from the 1920s and 1930s, a period of unusually high political, economic, and cultural volatility. Our reading will be guided by questions relating to how the work addresses ever-shifting ideas of “modernity” and “America” during this period, with special emphasis on how these stories challenge and\or uphold prevailing notions of race, class, and gender. In addition, we will take a close look at the many innovative experiments with narrative form in these works and consider their relationship to the theme of the story. Our focus will be on novels and short stories, though shorter, non-fiction, documentary, and critical texts will likely be included to round out our discussions. Novel and novellas include: Ernest Hemingway, The Sun Also Rises; John Dos Passos, Manhattan Transfer; William Faulkner, Light in August; Nella Larsen, Passing; John O’Hara, Appointment in Samarra; Nathanael West, Miss Lonelyhearts; Katherine Anne Porter, Noon Wine. We also will read short fiction by Dorothy Parker, F. Scott Fitzgerald, Langston Hughes, William Saroyan, Zora Neale Hurston, and Gertrude Stein.
ENG 367: Topics in American Studies- Border Writing
MW 9:40-11:10; Johnson Gonzalez, Billy
EN 372: African-American Poetry and Drama
TTH 1:00-2:30; Smith, Gary
This survey course will involve an appraisal of African American poetry and drama in the twentieth century, with a brief initial consideration of earlier periods. Our attention will focus upon a) the Pre-Renaissance period of Paul L. Dunbar; b) Harlem Renaissance, 1920s; c) Post-Renaissance, 1950s; d) Black Arts Movement, 1960s; and d) if time allows, the Post-Black Arts Movement, 1980s. Select African American poets and dramatists will be examined in terms of their specific contributions to their respective crafts and literary periods.
EN 376: Creative Writing and Social Engagement
MW 1:00-2:30; Harvey, Miles (One Book, One Chicago)
F 9:00-12:15; Morano, Michele
This Junior Year Experiential Learning course pairs extensive practice in creative nonfiction writing with inspiring community service work. In class, students will study the art of writing from personal experience; in their service placements, they will assist urban youths with storytelling and with a variety of academic projects. All JYEL courses carry a requirement of 25 hours of community service.
This hybrid course includes a required weekly meeting on campus as well as a substantial online component. Students must have regular access to the internet to participate in this course.
ENG 381: Literary Theory
TTH 1:00-2:30; Gardiner, David
Literary Theory is a survey of the main trends in literary criticism, thought and practice over the past century. Loosely defined, “theory” may be referred to as the application of generalized observations and theses to a known body of knowledge. In this context, we might think of various existing theories (e.g. statistical, political, medical, etc). But, as dedicated and intelligent readers, we seem to be engaged quite often and enjoyably with the unexpected or unclassifiable. This survey will address how “literary theory” developed and where it fits within larger theoretical movements. We will interrogate our own critical reading tendencies to ask questions such as: what is literature? how is it produced? how can it be understood? what is its purpose? and what is its purpose “for me”? The course will examine late modern and contemporary trends in literary theory and criticism, such as Marxism, Formalism, Post-Structuralism, Psychoanalysis, Deconstruction, Feminism, Postcolonialism, and Postmodernism. As much as possible, we will conduct our meetings as seminars in which we collectively attempt to better understand both how literature “works” and the theoretical discourse that has grown to accompany it. Course readings will include Rivkin anthology selections, hand-outs and our “ur-text,” James Joyce’s Dubliners. Written work for the course will include three very short (600-word) essays as well as a longer, revised essay of 12-16 pages.
ENG 382: Major Authors: Virginia Woolf
TTH 11:20-12:50; Cameron, Rebecca
“I will not be ‘famous,’ ‘great.’ I will go on adventuring, changing, opening my mind and my eyes, refusing to be stamped and stereotyped. The thing is to free one’s self: to let it find its dimensions, not be impeded.”—Virginia Woolf, A Writer’s Diary
Virginia Woolf was a consciously experimental writer who found remarkable ways of capturing the flux of thought, the passage of time, and movement through space in her writing. She also discovered imaginative means of critiquing certain aspects of early-twentieth-century British society, including militarism, imperialism, and patriarchy. Readings will include her experimental novels Jacob’s Room, Mrs Dalloway, To the Lighthouse, and The Waves as well as her essays, A Room of One’s Own and Three Guineas. We will also use Woolf’s letters, diaries, and early drafts to gain insight into her writing process.
This course fulfills the research-intensive requirement for students who declared their English major in 2013, but other students are also welcome. The course will incorporate some instruction on conducting research and on incorporating sources in a 10-12-page essay. This course also meets the Diverse Traditions requirements for all English majors.
ENG 386: Popular Literature: Hard Boiled Fiction / Film Noir
MW 4:20-5:50; Ingrasci, Hugh
The hard-boiled fiction of Black mask magazine and the detective fiction of the 1930s and 1940s became the genre-basis and script-basis for the film NOIR surge of 1940s-50s movies. German expatriate Jewish directors brought a dark vision of urban reality (via expressionism and existentialism) to Hollywood’s post-WW II cinema that portrayed cities as a labyrinth, a socially inescapable trap dooming its lower-class inhabitants to become Darwinian victims. Our course will explore classic works from this period, as well as neo-NOIR works by Tarantino, the Coen Brothers, and Ridley Scott from 1960 to the present, films which evoke a morally corrupt culture’s violently dysfunctional denizens as predators and preyed-upon. Works will include novels: Double Indemnity, Red Harvest, Farewell, My Lovely,, The Black Dahlia and The Road. Films will include Detour, Body Heat, Chinatown, Pulp Fiction, Blue Velvet, The Professional, L.A. Confidential, and A History of Violence. Plot quizzes on each novel will assure that all students join in for our small-group discussions.
ENG 389: Topics in Comparative Literature- Masterpieces/Russian Literature
T 6-9:15; Ginzburg, Elizabeth
EN 389: Topics in Comparative Literature- Film & Literature of Vietnam War
TH 6:00-9:15; Fairhall, James
ENG 389, Colonialism and Its Legacy, examines colonialism in its late phase, during the 19th and 20th centuries, and the period of post-colonialism in which we now live. We will look at these two historical phenomena world through the lens of 20th century British literature: novels, two plays, a movie, and four poems. “British” here is broadly defined. Thus we will read works by two Caribbean novelists and a poet/playwright (Rhys, Kincaid, and Walcott), a South African playwright (Fugard), and a Nigerian novelist (Achebe), as well as works by English writers (Kipling, Conrad, Forster). We will also view and discuss Kureishi’s postcolonial Pakistani-English film, My Beautiful Launderette.
Though the course focuses on British colonialism and post-colonialism, it includes one novel associated with the Vietnam War. Graham Greene’s The Quiet American deals with French colonialism during the 1950s when the U.S. was taking over in parts of Southeast Asia as a postcolonial power and was about to get involved in what the Vietnamese soon would call “the American war.”
EN 390: Senior Capstone Seminar
MW 11:20-12:50; Shanahan, John
Is it true that over the last two decades all literature has come to bear the “mark of the digital”? As a class we will try to map out the present and possible futures of literature in the age of new media. We will read examples of contemporary experimental fiction (both print and electronic) as well as critical analyses of interactivity, originality, transmediality, and ‘gamespace’ approaches to hypertext and print fiction. Authors will include Kathy Acker, Margaret Atwood, Steve Tomasula, Richard Powers, Caroline Bergvall, David Mitchell, and William Gibson.
EN 392: Internship
TBA; Green, Chris
*Registration is by permission of C. Green, email@example.com