Texas Tech University

Seminars Spring 2014

All courses are section 001 unless otherwise noted.

ENGL 5303: Studies in Medieval British Literature
Parchment Fiction: The Corpus of Middle English Romance

Dr. Julie Couch
Tuesday 9:30 AM – 12:30 PM
CRN 49653

This course will introduce students to a significant number of Middle English romances as well as other Middle English texts, including saints' lives and advice poetry, that are found in the same manuscripts as the romances. As we read these poems and attend to their manuscript context, we will investigate these texts' particular aesthetic values, and we will consider how these narratives relate in oblique rather than in imitative ways to the aristocratic basis of the medieval romance genre. We will also venture beyond the Middle Ages to examine modern adaptations of medieval romance. In addition to writing a conference-length paper on a romance, each student will produce a comprehensive guide to a chosen Middle English romance. It offers an in-depth study of a Middle English corpus for the student who has acquired a working knowledge of Middle English in "Translating Middle English Literature" (ENGL 5380, fall).

Requirements fulfilled: Early British area; Poetry genre

ENGL 5305: Studies in Shakespeare
Shakespeare in Context: The Dramatists of Renaissance England

Dr. Marliss Desens
Friday 9:00 AM - Noon
CRN 49654

Most people who read or watch Shakespeare's plays often have no idea that he was a member of a vibrant theatrical community, someone who was influenced by the plays of his predecessors, who was keenly interested in the experiments of his contemporaries, and who inspired the dramatists who came after him. In this seminar, we will examine some of Shakespeare's plays in conjunction with those of such dramatists as John Lyly, Robert Greene, Christopher Marlowe, George Peele, Thomas Kyd, Ben Jonson, John Marston, George Chapman, and Thomas Heywood, Francis Beaumont and John Fletcher, and the ever popular Anonymous.

Texts: I will order the two anthologies listed below, as well as one collection of critical essays. If you already own a complete Shakespeare or wish to use individual editions of the plays, I will allow you to do so, in order to keep costs down. I will also allow you to use other editions of the contemporary Renaissance plays. Be aware, however, that it needs to be a scholarly edition. Please consult with me on whether your editions will work. Some plays are not readily available in print or are not available in an affordable printed edition, so we will read those via digital library access:

1. Go to: library.ttu.edu
2. Click on Electronic Resources,
3. Click on find Data Base, and
4. Click on English Drama

The best individual Shakespeare texts are the Arden third editions (or second, if third is not yet published). For the contemporary drama, the best texts are the Revels editions, although Arden has recently moved into non-Shakespearean drama as well. New Mermaids editions are usually acceptable.

The Norton Shakespeare, 2nd ed. [Note: If you own The Riverside Shakespeare, ed. G. Blakemore Evans and J. J. M. Tobin, it is acceptable, as are Arden editions.]
English Renaissance Drama, ed. David Bevington, et. al.
Shakespeare and Contemporary Dramatists, ed. Ton Hoenselaars (Cambridge University Press, 2012).

Initial Assignment: Sometime in December, I will e-mail the syllabus to students who have signed up for the class. There will be a reading assignment that must be completed by the first seminar meeting. I will send a reminder in January to enrolled students.

• Active participation in class discussion
• E-mail submission of five substantial discussion points to professor and all seminar members by 5 p.m. the day before the seminar meets; students are expected to read each other's points and come prepared to discuss them
• 7-8 page critical research paper due mid-semester (length of a typical conference paper)
• 15-20 page critical research paper due at the end of the semester (length of a typical article) Students may choose to expand the shorter paper into the final paper.
• Possible oral presentation of research during final exam period (depends on enrollment).

Requirements fulfilled: Early British area; Drama genre

ENGL 5307: Studies in Restoration and 18th Century Literature
Making the Novel in the Long Eighteenth Century

Dr. Marta Kvande
Tuesday 2:00 PM – 5:00 PM
CRN 49656

Many of us talk about "the novel" as if the term were both self-evident and immutably fixed. But eighteenth-century writers had no such misconceptions; in fact, early novelists often strenuously denied that their works were novels. After all, novels were trash—potentially dangerous, salacious trash, fit only for fools and whores and certainly not worthy of any literary consideration. It was not until late in the century that the term "novel" arrived at some critical acceptance. Modern critics, too, have struggled to define the novel, and especially the eighteenth-century novel, just as they have struggled to explain its apparent "rise." This course will study the British novel in the eighteenth century, focusing particularly on how novels defined and presented themselves—both textually and materially—and how the idea of the "novel" gradually coalesced into something we now understand as a coherent genre. The course will combine both literary-critical and book-historical methods; students will be required to use ECCO and the library's Special Collections. Assignments will include a shorter paper, a presentation, and a seminar paper.

Requirements fulfilled: Later British; Fiction genre

ENGL 5315: Studies in British Fiction
School Stories

Dr. Jen Shelton
Monday 9:00 AM - Noon
CRN 49657

This course will examine the generic conventions of fiction through a sub-genre developed in the mid-Victorian age and aimed at young readers, the school story. Best known to modern readers through the Harry Potter books, school stories have a long tradition in England reaching back to the 1850s -- even earlier if you include certain predecessor texts in the genre. Initially, these stories were considered appropriate for young people, and thus had to be acceptable to their elders. Later, after the genre had established itself as popular among young readers, it began to appear in cheap forms that could be purchased from a student's pocket money, and thus had to appeal to the young buyers rather than their parents. We'll think about some of the implications of that as we read school story precursors in conduct books for girls, Tom Brown's Schooldays, Kipling's Stalky and Co. stories, Eric, or Little by Little, stories from schoolboy paper The Magnet, modernist masterpiece and school story A Portrait of the Artist as a Young Man, and, of course, Harry Potter and the Philosopher's Stone. Graded work will include presentations, a book review, and a seminar paper.

Requirements fulfilled: Later British; Fiction genre

ENGL 5317: Studies in Postcolonial Literature
Human Rights, Globalization, and Literature

Online section: 5317-D21Dr. Kanika Batra
Wednesday 6:00 PM – 9:00 PM ONLINE-Hybrid
CRN 50196

The 1948 Universal Declaration of Human Rights by the General Assembly of the United Nations affirms "faith in fundamental human rights, in the dignity and worth of the human person and in the equal rights of men and women" to promote "social progress and better standards of life in larger freedom." The inception of a discourse on Human Rights with moral, political, social and literary ramifications has been mired in debates: does the concept universalize 'human' in Eurocentric terms; do nation-states grossly violate their citizens' and non-citizens' human rights under the pretext of national security imperatives; and, are "dignity and worth" categorical rather than relative and contextualized imperatives. In this course we will read a selection of literature and theoretical analysis that illuminates some of these issues. We will look on human rights in Africa as a way of focusing our discussion: specifically the struggles of the Ogoni people in Nigeria for rights to their land and resources; the violations of human dignity under the apartheid regime in South Africa and reconciliation in the post-apartheid era; and internecine violence and repatriation in Rwanda. These late twentieth century contexts provide the basis for a renewed understanding of the political economy of globalization in the twenty first century. The history, fiction, journalistic reportage, poetry, and philosophical accounts that are the required texts represent various literary responses to the globalized vocabulary of human rights. To this end, documents available electronically will also be crucial resources in this course.

Select Required Texts:
1. United Nations. "Universal Declaration of Human Rights." 1948. http://www.un.org/en/documents/udhr/
2. Judith Butler. Frames of War: When is Life Grievable? London: Verso, 2009.
3. Lynn Hunt. Inventing Human Rights: A History. New York: Norton, 2008.
4. J.M. Coetzee. The Lives of Animals. New Jersey: Princeton UP, 2001.
5. Antije Krog. Country of My Skull: Guilt, Sorrow, and the Limits of Forgiveness in the New South Africa. Broadway Books, 2000.
6. Ken Saro Wiwa. A Month and a Day: A Detention Diary. New York: Penguin, 1995.
7. Joseph Slaughter. Human Rights, Inc: The World Novel, Narrative Form, and International Law. Fordham: Fordham UP, 2007.
8. Veronique Tadjo. The Shadow of Imana: Travels in the Heart of Rwanda. Heinemann, 2002.

Requirements: CLGT area; Critical Theory elective

ENGL 5324: Studies in 20th Century American Literature
Postmodern American Fiction

Dr. Yuan Shu
Friday 9:00 AM - Noon
CRN 49658

This course investigates contemporary American fiction in terms of literary responses to the social, political, cultural, and technological changes in the United States and the globe since the 1960s. We begin by considering how the meta-fiction of Thomas Pynchon, William Burroughs, and Donald Barthelme breaks the narrative frame and creates new senses of reality in relation to realist and modernist fiction. Moreover, we also examine how the work of Gloria Anzaldua, Jessica Hagedorn, Ishmael Reed, Gerald Vizenor, and Karen Tei Yamashita reconfigures time and space from the critical perspectives of women and racial minorities in a transnational and global context. Finally, we read the cyberpunk fiction of William Gibson and Neal Stephenson, the works of Don DeLillo, Cormac McCarthy, and David Foster Wallace in the changing dynamics of the local and the global. During our discussion of the primary texts, we engage the notion of postmodernism in critical dialogues with postcolonial and globalization theories as articulated by Jean-Francois Lyotard, Fredric Jameson, David Harvey, Jean Baudrillard, Donna Haraway, Katherine Hayles, bell hooks, Gayatri Spivak, Arif Dirlik, Paul Jay, and Ursula Heise.

Primary Literary Texts:
Paula Geyh, et al., Postmodern American Fiction: a Norton Anthology
Gloria Anzaldua, Borderlands/La Frontera
Don DeLillo, Mao II
William Gibson, Neuromancer
Jessica Hagedorn, The Dog-eaters
Cormac McCarthy, Blood Meridian
Thomas Pynchon, The Crying of Lot 49
Ishmael Reed, Flight to Canada
Neal Stephenson, Snow Crash
Gerald Vizenor, The Heirs of Columbus
Karen Tei Yamashita, Through the Arch of the Rain Forest
David Foster Wallace, Infinite Jest

Primary Visual Texts:
Videodrome, dir. David Cronenberg
No Country for Old Men, dir. Coen brothers

Secondary Critical Texts:
Paul Jay, Global Matters: The Transnational Turn in Literary Studies
A collection of essays will be available in PDF on Moodle.

Secondary Critical Texts:
Wei Chee Dimock and Lawrence Buell, Shades of the Planet: American Literature as World
Arif Dirlik, Global Modernity: Modernity in the Age of Global Capitalism
Linda Hutcheon, The Politics of Postmodernism
Brian McHale, Postmodernist Fiction

You are expected to lead one class discussion, write five short response papers (4-5 pages), present at a mini conference, and finish one final research paper (15-17 pages).

Requirements fulfilled: Post-1900 American; CLGT area; Fiction genre

ENGL 5325: Studies in American Fiction
Magical Realism

Dr. Cordelia Barrera
Thursday 2:00 PM – 5:00 PM
CRN 32370

This course will focus on novels and stories that have been described by the term "magical realism." Magical realism engages the usual devises of narrative realism, but with a difference: the supernatural is a routine matter, an everyday occurrence both accepted and integrated into the rationality and materiality of literary realism. We will examine ideas of reality and its artistic representation in order to question the role of the apparently magical within our apprehensions of literary (and cinematic) realities. Although many of the texts we read will come from the Latin American tradition with which magical realism is most often associated, we will also explore other examples, such as fantastical fiction and surrealism so as to develop a broader sense of the philosophical, political, ideological, and literary uses of these texts. Students will gain an appreciation of the roots and influences of magical realism, as well as the idioms and strains of magical realist modes of writing that include literary realism, naturalism, surrealism, fantasy, and the gothic. Authors include: F. Kafka, K. Abe, S. Rushdie, S. Alexie, T. Morrison, A. Castillo, G.G. Marquez, C. Fuentes, A. Carter, J. Diaz, and others. Assignments include: Leading formal discussions; conference-length paper; article-length paper; book review; oral presentation of conference-length paper.

Requirements fulfilled: Post-1900 American; LSJE; CLGT; Fiction genre

ENGL 5334: History of the English Language
Who Owns English? Authority in a Worldwide Language

Dr. Brian McFadden
Wednesday 6:00 PM – 9:00 PM
CRN 49659

We will be examining the history and development of the English language from its origins in Anglo-Saxon England through the high Middle Ages and the Early Modern period to Modern English and issues and controversies of the present day; this entails studying the internal history, external history, and the development of its morphology, phonology, semantics, and syntax, in addition to an examination of orality and literacy and the effects of developing methods of textual production on the language. We will also be reading short pieces written at different times through English history (e.g. Ælfric, Alfred the Great, Chaucer, Milton, Sidney, Johnson, Swift, Jefferson, Orwell) to gain a historical perspective on how authors perceived the language in which they were writing and how they claim authority to define and use the English language for their social and political ends. The earlier parts of the course will be highly technical and mechanical; as the course progresses, there will be more opportunity for discussion and development of current topics of interest to the student. The requirements will be a seminar paper on a topic of interest to the study of English as a language, a prospectus at midterm in order to give me an idea of what you wish to discuss in the essay, and an oral presentation on one of the texts to be discussed in class. Primary texts: Baugh and Cable, A History of the English Language; Knowles, A Cultural History of the English Language; Orwell, 1984; Gilliver, Marshall, and Weiner, The Ring of Words: Tolkien and the Oxford English Dictionary; McCrum, Globish; George Bernard Shaw, Pygmalion; Wilton, Word Myths; plus various PDF's on E-reserve for shorter works.

Requirements fulfilled: Linguistics British Literature option; foreign language high-proficiency option

ENGL 5337: Studies in Linguistics
Semantics and Pragmatics

Dr. Min-Joo Kim
Monday 9:00 AM - Noon
CRN 49660

We use words, phrases, and sentences to convey information about ourselves, about the things we like or dislike, or about the states of affairs in the world. This course is concerned with how meaning is encoded and expressed in natural human language.

Three main sets of topics to be covered are:
(i) basic concepts of and theoretical approaches to truth-conditional meaning (semantics),
(ii) ways in which language is used to convey the speaker's intentions and to update the hearer's knowledge of the world (pragmatics)
(iii) ways in which these two aspects of meaning interact with each other.

There will be a textbook and supplementary readings, which will be provided by the instructor. And the course will be organized around lectures and discussions which are centered around weekly homework assignments.

Requirements fulfilled: Linguistics area; language requirement option

ENGL 5339: Phonology

Dr. Aaron Braver
Monday and Wednesday 6:00 PM – 7:30 PM
CRN 49661

Previous background in linguistics or phonology is not a prerequisite for enrollment in this course.

Why is "blik" a possible word of English, but not "bnik"? Why can we have [tl] in the middle of a word (e.g., "butler"), but not at the start or the end? (And how come some languages, like Nahuatl, are perfectly content with [tl]-final words?)

This course will provide an overview of the field of phonology—how languages organize, represent, and manipulate their sounds. We will begin by examining the sounds of the world's languages and theories of their representation and internal structure. We will also discuss the sorts of generalizations phonologists try to capture, including phonotactic restrictions (what sounds can go where) and phonological alternations (how sounds change based on their surroundings).

Both linguists and non-linguists are encouraged to join this course. Knowledge of sound patterns has applications across disciplines, including literature, creative writing and poetry (e.g., Linguistics and Poetics, Jakobson 1968), and technical communication (e.g., Connatser 1997 in J. Technical Writing and Communication).

We will capture phonological generalizations first in the classic Sound Pattern of English (Chomsky and Halle 1968) style phonological rules, and then shift our focus to Optimality Theory ("OT"; McCarthy and Prince 1993)—the predominant phonological theory in use today. We will discuss the architecture and mechanics of OT, explore how it has been used to analyze phonological data, and discuss modifications and extensions of the theory.

Requirements fulfilled: Linguistics area; language requirement option

ENGL 5341: Histories and Theories of the Book

Dr. Ann Hawkins
Tuesday 6:00 PM – 9:00 PM
CRN 49662

This course is part of Texas Tech's online Graduate Certificate in Book History and Digital Humanities; for more information about the certificate program, see the certificate website:

A survey of the history of written communication across world cultures from the earliest writing systems to the rise of digital technologies. This course focuses on the relationships between texts and their material embodiments, from stone to screen, papyrus to paper, codex to Kindle, taking as its guiding principle that understanding the social and material construction of texts, and the circumstances of their physical dissemination, is crucial to understanding literary works and their reception. The scope of the course is broad, beginning with an overview of material text production across history and cultures, examining early writing and publishing technologies. We'll move through the transition from scribal to print cultures and the hand press period, through the nineteenth-century industrialization of print, and end with digital texts and the medium of screen and internet. Along the way we will consider how a series of contemporary theoretical issues inform or are informed by our examination of material texts. Authorship and ownership (copyright); the role of the book in the state; the role of editors, publishers, and readers in the creation of textual meaning; the ways in which ideas are translated into things. As we explore these issues, we'll get hands-on experience with the material formats of the texts we study through a series of practical exercises and written reflections. This course satisfies 1 of the two core required courses for the certificate.

Requirements fulfilled: Book History area; Book History certificate

ENGL 5343: Studies in Critical Theory
Posthumanism, Biopolitics, and Globalization

Dr. Bruce Clarke
Wednesday 9:00 AM - Noon
CRN 32441

In its most vigorous modes, critical and cultural theories today are turning the page on poststructuralism. Attention is focused now on a range of issues driven by planetary concerns:

• the status of the human in relation to technology and to non-human life (posthumanism)
• the status of human and non-human life in relation to changing global and political climates and technoscientific possibilities (biopolitics)
• the status of the world system operating and evolving in the midst of these philosophical, environmental, and social currents (globalization)

These developments raise the stakes for contemporary critical contemplations of literary works of all periods and genres. Intellectual currency at the moment calls for working familiarity with the issues explored by the thinkers gathered and discussed in this seminar's readings.

Course Work: Our aim is to foster scholarly knowledge and critical habits conducive to publishable research. The writing assignments should produce a dossier from which intellectually sophisticated graduate theses, conference papers, and journal articles may be developed. These assignments are open-ended so that their precise details can be worked out individually. Formal course work will consist of several class presentations and writing assignments culminating in a midterm essay and a final essay.

Timothy Campbell, Improper Life: Technology and Biopolitics from Heidegger to Agamben (Minnesota)
Bruce Clarke, Neocybernetics and Narrative (Minnesota, forthcoming), selections
Donna Haraway, "The Biopolitics of Postmodern Bodies"
Graham Harman, The Quadruple Object (Zero Books)
Martin Heidegger, "Letter on Humanism," "The Question Concerning Technology"
Stefan Herbrechter, Posthumanism: A Critical Analysis (Bloomsbury)
Niklas Luhmann, Theory of Society, Volume 1 (Stanford), selections
Peter Sloterdijk, "Rules for the Human Zoo"
Peter Sloterdijk, In the World Interior of Capital: Towards a Philosophical Theory of Globalization (Polity)
Cary Wolfe, What is Posthumanism? (Minnesota), selections
Cary Wolfe, Before the Law: Humans and Other Animals in a Biopolitical Frame (Chicago)

Requirements fulfilled: CLGT; LSJE

ENGL 5349: Religion and Material Texts
The Post-Reformation Bible in English

Dr. Jennifer Snead
Monday 6:00 PM – 9:00 PM ONLINE
CRN 50248

This course is part of Texas Tech's online Graduate Certificate in Book History and Digital Humanities; for more information about the certificate program, see the certificate website:

From Tyndale's translations of the Pentateuch to the dueling Douay-Rheims and King James Version; from the Revised Standard to the Good News, New Revised Standard, and New International, the history of the Post-Reformation Bible in English has been intertwined with the history of print technology and reading audiences. This course explores the ways in which early modern and modern Bible translations, Christian belief, and the material-historical circumstances of book production, marketing, and reading practices have shaped and continue to shape one another. We'll trace issues of and controversies over material formats, translation, circulation and readership of Bibles, from the mid-sixteenth to the twenty-first centuries in Britain and America. How have changing conceptions of readership, of nation, and of empire had an impact on the form and style of the Bible? Conversely, how have different Biblical translations and formats shaped individual readers' and communities' sense of self and identity? What implications do print and digital technologies have for the Bible and the ways it transmits Christian belief systems, from Gutenberg's wooden handpress to the new Glo Bible for iPad? Students will be encouraged to develop final projects that engage the course concept with their individual research interests in religion and book history/digital humanities. This course satisfies three credits of the fifteen-credit certificate elective requirement.

Requirements fulfilled: Book History area; Book History certificate

ENGL 5351-001: Studies in Film
Theory to Criticism

ONLINE-HybridDr. Scott Baugh
Tuesday 6:00 PM – 9:00 PM 
CRN 32443

This class offers an introduction to critical cinema studies for graduate students. In some detail, however, the course surveys international cinema aesthetics, paying special attention to the significance of visual and aural conventions predominant in fictive narrative features. Surveying a relatively broad range of theoretical-methodological models provides a basis to consider how viewers "read" films critically. Put another way, there will be an explicit drive in this course to move from a discussion of theories to praxes of criticism. Examples of these models include conceptualizations of "style"; semiotic-syntagmatic approaches to "film language"; spectatorship issues like gendered and racialized "gazes"; phenomenological "addresses"; "voice"/focalization; intertextuality/self-reflexivity; cinematic "polyphony"; among others. So, the main objective of this course is to establish and practice close-reading strategies for interpreting cinematic texts and doing so with our theoretical paradigms in mind.

Two textbooks: Robert Stam's Film Theory (Blackwell); and Margo Kasdan, Christine Saxton, and Susan Tavernetti's The Critical Eye (Kendall-Hunt). Shorter, theoretical readings include pieces by Metz, Mulvey, Mellencamp, Fischer, Small, Burton Carvajal, Manovich, among others. Film screenings might range from Hollywood classics including Griffith's The Birth of a Nation, Welles' Citizen Kane, and Hitchcock's Rear Window to contemporary films such as Haggis' Crash and Gondry's Eternal Sunshine; from international landmarks including Eisenstein's Strike and Battleship Potemkin, Godard's Breathless, and Kurosawa's Rashomon to Tykwer's Run Lola Run and Almodóvar's Talk to Her. A final portion of the course will extend our "film" study to the emergence of digital cinema, applying theories to criticism of some of the most provocative moving-image work being produced today.

Course requirements: assigned readings and screenings; one short (5-7 pp.) critical essay; one class presentation; a "greenlight" term project; and one article-length research essay.

Requirements fulfilled: Film and Media area; Film/Drama genre

ENGL 5351-002: Studies in Film
Film Noir

Dr. Allison Whitney
Monday 2:00 PM – 5:00 PM
CRN 50201

This course will approach the complex cinematic category of film noir from multiple perspectives, encompassing historical, ideological, aesthetic, technological, and feminist approaches to studies of film. In contemplating the aesthetics of film noir, we will address the influences of both German Expressionist and Italian Neorealist film practices on post-war Hollywood, while also studying particular qualities of film technology to better understand the look and sound of noir, both in the formative period of the 1940s and also in subsequent decades, up to and including contemporary digital forms. We will also consider noir as part of a cinematic dialogue among cultures – first as a category based in perceptions of American cinema made by French critics, later as a set of conventions incorporated by other film cultures, particularly in Europe and Asia, and as a current phenomenon in "neo-noir" texts. Further, we will consider film noir's interfaces with other genres and modes of filmmaking such as science fiction, both in the 1950s and in later "tech noir" films, and non-fiction film practices, such as docudrama and the use of found footage. In addition, we will address film noir's relationship to other media, including television and literature. Texts may include The Maltese Falcon, Double Indemnity, Asphalt, Mildred Pierce, The House on 92nd Street, Sin City, Twin Peaks, Klute, Invasion of the Body Snatchers and Drive, among others, and the course readings will include James Naremore's Something More Than Night, E. Ann Kaplan's Women in Film Noir, and Alain Silver's Film Noir Reader.

Requirements fulfilled: Film and Media area; Film/Drama genre

ENGL 5355: Studies in Comparative Literature
Gender, Fame, and Glory

Dr. Ann Daghistany Ransdell
Wednesday 2:00 PM – 5:00 PM
CRN 50202

We will study the impact of fame and glory upon the reputation of writers and their works. Discussions will focus upon how the life of an author becomes embedded in the fiction about him/her, the emphasis upon different historical values in our cultural memories of celebrated authors and characters, and the effect of gender in this process, especially the reputation of virtue or scandal. The course will compare and contrast the original work of authors to the revisions created by more contemporary writers. We will utilize different theoretical methods, including the historical contexts of comparative literature, transatlantic adaptation, myth criticism, and other methods of the student's choice, to uncover the ingredients of literary auras. Readings will begin with the character of Guenevere, a 4th century priestess to her people, transformed by the medieval romancer Chretien de Troyes in Arthurian Romances to become the instigator of the love triangle, with Lancelot and King Arthur, that brought down the Round Table in Sir Thomas Malory's Le Morte d'Artur. We will then move to the nineteenth-century American scene In the following readings. The notoriety of Edgar Allen Poe will be studied by comparing his Fall of the House of Usher and Other Tales with the portrait of Poe's mysterious death in Matthew Pearl's The Poe Shadow. The unforgettable Captain Ahab in Melville's Moby Dick will be rediscovered in Sena Jeter Naslund's Ahab's Wife, while Bronson Alcott, the father of Louisa May Alcott, aka the patriarch March, will be read in Alcott's Little Women and also in Geraldine Brook's Pulitzer Prize-winning novel, March, that covers his service in the Civil War. We will also study the restrictions upon female employment in Alcott's novel Work, in which the main character refuses marriage based upon fame and glory, and instead accepts the worthy proposal of a poor suitor. More sensational War history and scenes will follow in author Ambrose Bierce's The Civil War Stories of Ambrose Bierce, as well as the novel written about him by the celebrated Mexican author, Carlos Fuentes, entitled The Old Gringo. The course will satisfy degree requirements for American 19th Century.

Course requirements include a long, 15 page written paper, delivered orally to the class, three short film/fiction contrast papers based upon the student's subject of choice, response papers on the readings, and a take-home final exam that will tie together the course materials.

Requirements fulfilled: Pre-1900 American; CLGT area; Fiction genre

ENGL 5370-001: Creative Writing Workshop
Poetry Writing

Dr. William Wenthe
Wednesday 2:00 PM – 5:00 PM
CRN 32540

Mainly a writing workshop, this seminar will also incorporate something of the "form and theory" class; in other words, we'll be writing poetry, and reading and thinking about issues in contemporary poetry (which, to my mind, includes all poetry ever written). Students are encouraged to bring their own interests and concerns to the table—offering poems or articles, etc., for us to read; there will be room in the agenda for that. I will also, of course, bring my own interests and provocations as well. We will range from the smallest inner workings of syllables and phrases, to the question of the place of the human in the universe, in the belief the two focuses are connected. We will pit fun against mortality, on the field of the page. (You will also complete a final portfolio of poems revised and "finished" to the best of your ability, and an eight-to-ten-page introductory prose statement.)

Enrollment is open to those in the creative writing program; those in other areas who are interested in taking the class should submit a group of poems to Dr. William Wenthe's mailbox (or submit by email to william.wenthe@ttu.edu ), along with your contact information, for permission to enroll.

We will workshop poems on a "rolling" basis, meaning that each student will be free to submit poems whenever she or he has a poem ready to be workshopped, instead of adhering to a preset schedule. This generally takes care of itself, but if I feel you need pushing, I'll push. Nor do I base this class on assigned writings or exercises, though these, too, may come up on occasion. Rather, I expect each student to explore his or her own concerns and aesthetic practice (while recognizing that these concerns and aesthetic are always under development).

Requirements fulfilled: Creative Writing workshop

ENGL 5370-002: Creative Writing Workshop
Fiction Writing

Dr. Katie Cortese
Tuesday 6:00 PM – 9:00 PM
CRN 32541

This course will primarily center on reading and critiquing students' short stories with a special focus on the possibilities, requirements, challenges, and benefits involved in crafting a linked collection. With that in mind, students will write at least two stories that share some thread of connection, either subtle or strong (potential links include setting, subject, characters, events, timeline, inventory, stylistic markers, etc.). The secondary focus of the course involves the close reading, practical analysis, and discussion of published stories and essays on craft by established, contemporary writers.

A very tentative reading list includes Susan Minot's novel-in-stories, Monkeys, and Junot Diaz's linked collection, This is How You Lose Her, along with The Half-Known World: Essays on Writing Fiction by Robert Boswell and assigned craft articles by writers such as Charles Baxter, Francine Prose, Jane Smiley, and others. Assignments will include two or three workshop stories, the review of a recent short story collection (linked or otherwise), and a final portfolio including two revisions and an original essay on an aspect of craft. Additionally, students will be responsible for reading, analyzing, and leading a discussion on the story of their choice from Best American Short Stories 2013, edited by Elizabeth Strout.

Requirements fulfilled: Creative Writing workshop

ENGL 5370-003: Creative Writing Workshop
Nonfiction Writing

Dr. Jill Patterson
Monday 6:00 PM – 9:00 PM
CRN 32542

In this writing workshop, we will study the various forms of creative nonfiction and all of the ethical concerns that lie behind writing nonfiction. For books, we will read Dave Cullen's Columbine (literary journalism); David Dow's Things I've Learned from Dying (a multi-thread memoir); Jesmyn Ward's Men We Reaped (personal memoir); Lia Purpura's On Looking (essay collection); and Robin Hemley's Do-Over! In Which a Forty-Eight-Year-Old Father of Three Returns to Kindergarten, Summer Camp, the Prom, and Other Embarrassments (the concept memoir). We will also take a look at individual essays: lyric, metanarrative, flash, experimental, and the short documentary films that are becoming wildly popular at Atavist.com. Finally, we will study the video essay, the newest experimental form of nonfiction narrative, which relies upon a first-person narrator and metaphor as opposed to traditional documentaries. Each student will write four essays and create one video essay. Revision and submission to literary journals will comprise a large portion of the final course grade.

Requirements fulfilled: Creative Writing workshop

ENGL 5392: Teaching College Literature

Dr. John Samson
Thursday 9:30 AM – 12:30 PM
CRN 32586

This course is for doctoral students who wish to teach college literature. We begin with an overview of theoretical issues (theories and problems of teaching college literature), but move quickly to actual praxis. Students in this course make teaching a conscious practice by reflecting, in discussion and writing, on what we do in the literature-based classroom. Students will construct lesson plans, make assignments, grade essays, and visit classrooms of other college literature instructors. Finally, students will practice-teach texts selected for sophomore classes at TTU, discuss the strengths of our pedagogical strategies, listen to commentary from our fellow teachers, and prepare syllabi for future classroom use. Ultimately, the course should prepare students to search for faculty positions as highly-trained teachers of English.

Requirements fulfilled: PhD pedagogy; prerequisite for students to teach literature at the 2000 level