Texas Tech University

Graduate Seminars - Fall 2008

5060.001 History and Theory of College Composition

Ken Baake
TR 12:30-1:50

English 5060 provides an introduction to the history and contemporary theories of composition and rhetoric studies. The course begins from the premise that good teachers are reflective teachers, and good teachers of writing are reflective teachers of writing. Students examine and reflect on the development of the field of composition over the last 40 years, focusing on seminal articles that represent the discipline. Students study readings about integrating basic writing, service-learning, online writing, revision, research writing, proofreading and editing, portfolios, and assessment rubrics within the context of composition in general and TTU's composition program specifically. And just as the field of composition integrates new media tools in its construction, presentation, and assessment, so too will students in this course.
*This course satisfies the requirement in Foundations.

5060.002 History and Theory of College Composition

Rebecca Rickly
TR 12:30-1:50

English 5060 provides an introduction to the history and contemporary theories of composition and rhetoric studies. The course begins from the premise that good teachers are reflective teachers, and good teachers of writing are reflective teachers of writing. Students examine and reflect on the development of the field of composition over the last 40 years, focusing on seminal articles that represent the discipline. Students study readings about integrating basic writing, service-learning, online writing, revision, research writing, proofreading and editing, portfolios, and assessment rubrics within the context of composition in general and TTU's composition program specifically. And just as the field of composition integrates new media tools in its construction, presentation, and assessment, so too will students in this course.
*This course satisfies the requirement in Foundations.

5305.001 Studies in Shakespeare

Marliss Desens
M 9:00-11:50

Shakespearean Comedy and Romance
In this seminar, we will read Shakespeare's ten love comedies, his three “problem” plays, and the four romances of which he is sole author. We will be examining the ways in which Shakespeare, a highly experimental dramatist, while exploring similar themes in his comedies, never did so in the same way. We will also explore the increasing complexity of his comedies--in part influenced by the satiric comedy, being produced from the late 1590s on, by his contemporaries--that lead to the so-called problem plays or dark comedies: All's Well That Ends Well, Measure for Measure, and Troilus and Cressida. The kind of comedy that Shakespeare was writing toward the end of his career, while influenced by the rise of tragicomedy on the Jacobean stage, can also be seen as rooted in the ten earlier love comedies as well as the dark comedies. Shakespeare's use of the form departs from that of his contemporaries in that where they show “the danger not the death,” Shakespeare's romances consistently require audiences to deal with difficult issues even as the plays move toward traditional comic resolutions.
Note: The seminar meets for three hours one day a week, so we need to hit the ground running. For the first meeting, please read The Comedy of Errors and The Two Gentlemen of Verona. Please send your e-mail comments to me by noon of the day prior to the first seminar meeting (see Requirements, below).
Required Texts: The Riverside Shakespeare.2nd. ed. Ed. G. Blakemore Evans and J.J. M. Tobin [Note: Arden 3rd editions are also welcomed]; and Alexander Leggatt, The Cambridge Companion to Shakespearean Comedy, Cambridge: Cambridge University Press, 2002. There may be one or two other texts of secondary criticism. I will know once I've checked on availability. Recommended Text: Reading Shakespeare's Dramatic Language. This book is helpful in learning to understand the conventions of language and drama that Shakespeare and his contemporaries used. I particularly recommend it if you are new to Shakespeare, but even more advanced students will find it enlightening.
Requirements: Active participation in class discussion and E-mail submission of 5 substantial discussion points by noon of the day before class. For each class meeting, students will be expected to lead short discussions on at least one of the points they submit. 7-8 page critical research paper and oral presentation of it. Presentation of Final Paper's Work in Progress. 15-20 page critical research paper. Feel free to make the final, long paper an expansion of your earlier shorter paper. That earlier paper is the length of a typical conference paper. Scholars generally try out ideas at conferences, get feedback, and then expand those shorter papers into longer, publishable essays.
*This course satisfies the requirement in pre-1700 British literature and Genre: Drama.

5315.001 Studies in British Fiction

Sean Grass
F 9:00-11:50

From Orphans to Ideology: Charles Dickens and the Meanings of Trauma
For three decades of the nineteenth century, Charles Dickens was England's preeminent novelist. No Victorian author had more readers; none sold more books, commanded more money, or became a brighter literary star. But the writer who boldly called himself “the Inimitable” and made his earliest reputation as a great comic novelist was an irrevocably wounded man: scarred by childhood neglect, shamed by his father's imprisonment, disappointed in love, and obsessed with achieving a degree of literary success that would erase his secret pain. His writing is a window onto the private identity of a man whose life was essentially tragic, defined by early traumas reworked and rewritten through thirty years and thousands of pages of letters, journalism, and fiction.
For this reason, at least, Dickens's works are crucial for students of the English novel. They are in many ways an index to not only pre-Freudian psychology but also the evolution of the narrative techniques by which subjectivity may be written—especially when that subjectivity is consumed by grief, ruptured by violence, or marked indelibly by long suffering and persistent emotional pain. The course's aim is not to read Dickens's writing biographically. On the contrary, it is to treat the “great” novels, the unknown specimens of short fiction, the personal letters, and the snippets of autobiography and biography as a vast deposit that we might mine for its extraordinary narrative innovations in representing subjectivity ripped and remade by trauma.
Our semester's readings will include several novels by Dickens: The Pickwick Papers, David Copperfield, Bleak House, A Tale of Two Cities, Great Expectations, Our Mutual Friend, and The Mystery of Edwin Drood. We will also read selections from his letters, journalism, travel writing, short fiction, and the autobiographical fragment he prepared and then attempted to destroy. Theoretical and other secondary readings will also be part of the course, as will occasional work with film adaptations. Requirements for the course will include response essays, a long presentation that includes leading class discussion, a conference-style abstract, and an article-length (ca. 6000-word) seminar paper.
*This course satisfies the requirement in post-1700 British literature and Genre: Fiction.

5323.001 Studies in 19th-Century American Literature

John Samson
T 2:00-4:50

The Invention of Modernism
We will read and discuss the major works (from 1876 to 1918) of Mark Twain, Jack London, and Willa Cather, focusing on how the ideology and aesthetics of realism develops into the modernism that will dominate the early 20th century. Students will write and present a short (5 pp.) interpretive paper on each of the three authors, and write a longer (15 pp.) paper incorporating primary and secondary research. Texts: Twain, The Adventures of Tom Sawyer, Adventures of Huckleberry Finn, A Connecticut Yankee in King Arthur's Court, No. 44, The Mysterious Stranger; London, The Call of the Wild, The Sea-Wolf, Martin Eden, The Mutiny of the Elsinore; Cather, Alexander's Bridge, O Pioneers!, The Song of the Lark, My Antonia.
*This course satisfies the requirement in pre-1900 American Literature and Genre: Fiction.

5324.001 Studies in 20th-Century American Literature

Yuan Shu
W 6:00-8:50

Globalization and the Re-invention of Asia and Asian America
As globalization continues to describe the flows of information, capital, and labor forces across national boundaries that are facilitated by transnational capitalism, critics have increasingly turned their attention to the question of human agency manifested in the historical process. How do we theorize ethnic identities and local communities at the moment of what David Harvey calls “time-space compression”? How do we engage, resist, and negotiate the forces of globalization in our daily life and cultural practice? This course seeks to investigate dialectically how Asian American literature has been informed and reshaped by globalization as well as how Asian American authors have actively intervened in the process.
We will begin by examining globalization as a historical process that reproduces Asia and Asia America as new geopolitical spaces. In reading the work of Maxine Hong Kingston, David Henry Hwang, and Le Ly Hayslip, we reconsider the Western encounter with Asia since the mid-19th century and reinterpret the configuration of Asia and Asian America as sites of labor and consumer markets. We then interrogate how Western and Japanese imperialisms and transnational capitalism have impacted third world cultures and societies. As we focus on Nora Okja Keller's Comfort Woman, Jessica Hagedorn's Dogeaters, and Karen Yamashita's Through the Arch of the Rain Forest, we discuss how the colonial wars have traumatized people in the third world and how Hollywood and transnational corporations have redefined third world desires and anxieties. We conclude our course by revisiting the binary of the local and global and invoking what Aihwa Ong calls “flexible citizenship” in theorizing transnational identities and communities in both mainland America and the unique space of Hawaii.
We will read Ha Jin's A Free Life, Chang-Rae Lee's Native Speaker, Bharati Mukherjee's Jasmine, Lois-Ann Yamanaka's Blu's Hanging, Jessica Hagedorn's The Dogeaters; Le Ly Hayslip's When Heaven and Earth Changed Places; David Henry Hwang's M. Butterfly, Ha Jin's A Free Life, Nora Okja Keller's Comfort Woman; Maxine Hong Kingston's China Men, Chang-Rae Lee's Native Speaker, Bharati Mukherjee's Jasmine, and Karen Yamashita's Through the Arch of the Rain Forest. Students are expected to write five short response papers (2-3 pages) to the required literary and critical texts, lead a class discussion on one of the primary literary texts, give a presentation on the prospectus for the final project after the midterm, and finish the research paper in the final exam week.
*This course satisfies the requirement in post-1900 American literature and Genre: Fiction.

5327.001 Studies in Multicultural American Literature

Priscilla Ybarra
T 9:30-12:20

Chicana Feminisms
This course will focus on prose, poetry, theory, and activism as ways to encounter Chicana feminisms. Aída Hurtado writes that, “Chicana feminisms were born out of acts of disruption.” We will take this standpoint of oppositionality and “misbehaving” as a way to experience the texts in this course, especially emphasizing disruptions of gender, sexuality, feminist activism and theory, ethnic/national identity, globalization issues, class, and environmental imagination. We will engage with definitions of Chicana feminisms, encounter the particular disruptions the work(s) enact, and formulate our own working characterization of this dynamic field of inquiry. Students will be required to write weekly responses to the readings, make one presentation, write one research paper, and (possibly) produce individually or with a group one creative project.
Texts may include selections from the following theory/fiction/activism (selections will be collected in a “reader” to help defray student expense):


Garcia, Alma M.ed. Chicana Feminist Thought: The Basic Historical Writings, 1997.
Brady, Mary Pat. Extinct Lands, Temporal Geographies: Chicana Literature and the Urgency of Space, 2002.
Saldivar-Hull, Sonia. Feminism on the Border: Chicana Gender Politics and Literature, 2000.
Sandoval, Chela. Methodology of the Oppressed, 2000.
Castillo, Ana. Massacre of the Dreamers : Essays on Xicanisma. Albuquerque: University of New Mexico Press, 1994.
Trujillo, Carla, ed. Living Chicana Theory, 1998.
Pérez, Emma. The Decolonial Imaginary: Writing Chicanas Into History, 1999.
Arredondo, Gabriela F., et al., eds. Chicana Feminisms, 2003.
Torres, Edén. Chicana Without Apology: Chicana sin Verguenza, 2003.
Rebolledo, Tey Diana. Women Singing in the Snow: A Cultural Anlaysis of Chicana Literature, 1995.


Moraga, Cherríe. Loving in the War Years: lo que nunca pasó por sus labios. 1983. and The Hungry Woman: A Mexican Medea, 2001.
Anzaldúa, Gloria. Borderlands/La Frontera. 1987.
Gaspar de Alba, Alicia. Sor Juana's Second Dream. 1999.
González, Jovita. Caballero. 1930s, 1996. and Life on the Border. 1930, 2006.
Rebolledo, Tey Diana and Elizna S. Rivero, eds. Infinite Divisions: An Anthology of Chicana Literature, 1993.
Cisneros, Sandra. Woman Hollering Creek and Other Stories. 1991.

Activism (these will be included in the reader as well)

Readings on Emma Tenayuca, 1930s labor rights activist
Readings on Dolores Huerta, 1960s-present farmworker organizer
Readings about various environmental justice actions, such as:
Pardo, "Mexican American Women Grassroots Community Activists: Mothers of East Los Angeles." Frontiers: A Journal of Women's Studies 11 (1): 1.
*This course satisfies the requirement in post-1900 American literature.

5335.001 Principles of Language

Min-Joo Kim
M 2:00-4:50

This course provides an introduction to the study of language at the graduate level. We will learn about the set of underlying principles of human language by analyzing data from various languages. Our approach will be descriptive rather than prescriptive, which means that we will analyze what is actually spoken by people, rather than what they are supposed to speak. Class meetings will be organized around a lecture-discussion format but students will be expected to participate actively in class discussion. The course will progress covering major topics in theoretical linguistics, namely, morphology, phonology, phonetics, syntax, semantics, and pragmatics. But we will also touch on socio-linguistic issues such as language variation (e.g., African American English or “Ebonics”, Texas English, Spanish English) and bilingualism. There will be several homework assignments, one mid-term, one final, and one long final paper, plus in-class presentation of the term-paper project.

5339.001 Phonology

Colleen Fitzgerald
TR 3:30-4:50

Phonology is the study of sound patterns. We will look at how sounds are organized, at high levels of prosody like feet (as in poetry) and syllables, and at more abstract lower levels like segment and feature. We will also cover poetic meter in one of our class units, so that students can see how the study of language and literature intersect. The class will explore issues of phonological description and analysis relevant to English and to other languages of the world, giving students a strong sense of what is cognitively possible and impossible in sound systems. Students will do frequent homework assignments and complete a final project, with the latter presented to the class. No linguistics background is necessary.

5340.001 Research Methods

Ann Hawkins
T 6:00-8:50

This course prepares students to undertake research on the graduate level. Students will gain a thorough grounding in using library resources and in applying bibliographic theory. Students will undertake intensive literary research, creating enumerative and annotative bibliographies, and writing a textual history and/or research guide for their topic. Students will consider the technological aspect of books by analyzing their physical characteristics (binding, cover, printing, font, impression, etc) as well as their nature as socially constructed material objects. Students should expect to complete a variety of practical skills-building exercises in analytical and descriptive bibliography and in textual editing (including a project in TEI-coding for electronic editions). Note: This is not a course in literary analysis or literary criticism, but in the historical, cultural and technological contexts of books, contexts which are essential to any understanding of a literary work.
*This course satisfies the requirement in Foundations.

5342.001 Critical Methods

Bruce Clarke
T 6:00-8:50

Literary Theory
“Theory” is the name under which the study of literature connects to other departments of knowledge: philosophy, history, sociology, psychology, economics, science, technology, what have you. When stipulated as “literary,” theory is the discourse through which one generalizes about the forms and effects, the internal and external relations of literary artifacts per se, as distinct from the study and interpretation of particular literary periods, authors, and works in their own right. Literature approached through and after theory echoes more profoundly. After the baptism of theory, one will have more interesting and more important things to say about literary texts.
We will consult Key Concepts in Literary Theory for broad bearings on thinkers and schools, and we will read most of Jonathan Culler's The Literary in Theory to get familiar with current issues and debates in the field. We will approach a number of master theorists in their own seminal volumes. Readings will include large portions of Roland Barthes, Image-Music-Text (1977); Paul de Man, Allegories of Reading: Figural Language in Rousseau, Nietzsche, Rilke, and Proust (1979); Jacques Derrida, Dissemination (1981); J. Hillis Miller, Fiction and Repetition: Seven English Novels (1982); Homi Bhabha, “DissemiNation” in Nation and Narration (1990); Slavoj Zizek, Looking Awry: An Introduction to Jacques Lacan through Popular Culture (1992); Judith Butler, selections from Bodies that Matter: On the Discursive Limits of “Sex” (1993) and The Psychic Life of Power (1997); and Cary Wolfe, Animal Rites: American Culture, the Discourse of Species, and Posthumanist Theory (2003). Classes will be in seminar discussion format. Students will give several formal class reports and write two critical essays.
*This course satisfies the requirement in Foundations.

5351.001 Studies in Film

Scott Baugh
W 2:00-4:50

What does the “i” stand for? Some insist that the “i” in iMac, iMovie, iTunes, iPod, iPhone, etc., stands for the all-in-one integration of these technological devices; some say it's their internet orientation; some suggest that there's a user interactivity that transcends them all; still others propose that it's the individualistic or even isolating qualities that mark the “i” phenomena. Pointedly, the “i” is clearly iconic and perhaps combines all of these ideas to some extent. How has film & media studies as an academic discipline been influenced by these phenomena?
This course offers an introduction to film & media critical studies for graduate students. In some detail, however, this course uses “i” phenomena as an organizing principle to survey contemporary topics in film and media studies—particularly television-age to digital and computerized cinema; web-based and internet influenced movies; media convergences and emergences; interactive aesthetics, spectatorships, and address; and recent trends in critical media studies, narratology, discourse studies, etc. In covering these topics, we will pay special attention to the significance of visual and aural conventions predominant in fictive narrative features as well as emergent textual features and genres. Considering iCinema topics provides a basis to consider how viewers today “read” movies critically, and so the main objective of this course is to establish and practice strategies for interpreting sound and silent moving-image texts.
We will use one textbook “primer”: The Critical Eye (3rd rev. ed, 2002, isbn 0787290769) by Kasdan, Saxton, and Tavernetti. We will also take advantage of a course reader that ranges widely across books and articles from traditional film studies anthologies and academic journals to popular and industry magazines like Premiere, Wired, and Variety and sundry online sources. The movies we will screen, our primary texts, may include some mainstream and quasi-independent features like Dial M for Murder, sex, lies, and videotape, The Argentine, Guerrilla, Vidocq, The Matrix, Star Wars: Episode II—Attack of the Clones, Timecode, Memento, and Sin City; innovative 3-D samples from Journey and U2 3D; experimental shorts like “Semiotics of the Kitchen,” “The Meatrix,” “How Do We Know What Home Looks Like?,” “Chile on the Road to NAFTA,” “Animaquiladora,” “This Burning World,” “The Falling Man,” and “Fall.” We may enjoy a healthy touring of online media du jour from sources including YouTube.com, atomfilms.com, video.yahoo.com, and, of course, iFilm and iTunes U; we may also consider the blurring lines between news reports and entertainment and between news reporters and viewers in Comedy Central's “The Daily Show,” The Weather Channel's “user videos,” and CNN's “iReport” series.
As a group, we will negotiate the “iCinema” phenomena, and participants will be encouraged to determine research projects that facilitate individual research agenda and professional interests. Formal requirements: assigned readings and screenings; one short (5-7 pp.) critical essay; one class presentation; a term project; and one article-length (15+ pp.) research essay. It's also likely we will take advantage of some online discussions and a designated CMS and/or wiki.
*This course satisfies the requirement in post-1900 American literature and Genre: Drama.

5355.001 Studies in Comparative Literature

Ann Daghistany Ransdell
W 9:00-11:50

Gender, Fame and Glory
How does fiction about an author affect and distort his/her life and reputation? How does the life of an author become embedded in the fiction about him/her? What does posterity, in the values of different historical epochs, emphasize in its cultural memory of celebrated writers? What role does gender play in this process? this course will explore the impact oof gender on the fame and glory that surround well-known writers. It will compare and contrast the original work of authors to the revisions created by more contemporary novelists.
We will compare the milieu and character of Ahab in Melville's Moby Dick, on issues of fame and glory, with Sena Jeter Naslund's acclaimed Ahab's Wife. The class will study the factors that contribute to the accretion of legends surrounding a writer such as Edgar Allen Poe through his gothic and detective stories and through Matthew Pearl's novel The Poe Shadow. Louisa May Alcott's Little Women, a cultural icon, generated Geraldine Brooks' prizewinnning novel March. It presents the fictionalized life of Mr. March, himself a fictionalized version of Alcott's father, Bronson Alcott, away from his family--and relatively absent from the original novel--during his service in the Civil War. These works will each be studied in their historical and cultural context, with readings such as Alcott's Work, wherein she investigates the only respectable ways for women to earn money in her era. We will read the Civil War stories of Ambrose Bierce, and read his life as fictionalized by Carlos Fuentes in the novel about his disappearance into Mexico in The Old Gringo. We will begin our class with a notorious rewrite of a life, that of Queen Guenevere in the medieval romance "Lancelot" by Chretien de Troyes, as well as selections from Malory's Le Morte d'Artur. Attention will be paid to the questions raised by the metaphor of the Book of Life: where does reality lie? Is the ending already written?
Class requirements include three short film/fiction papers, one long paper that will be given in class as an oral presentation, and a final.
*This course satisfies the requirement for pre-1900 American literature, Comparative literature, and Genre: Fiction.

5370.001 Creative Writing Workshop

Jacqueline Kolosov
M 2:00-4:50

This will be an intensive workshop in poetry writing. We will take as our starting point Gregory Orr's Four Temperaments of Poetry: Story, Structure, Music, and Imagination (see Poets Teaching Poets, Eds. Orr & Voigt). The temperaments provide a very concrete way of getting at how a poem works. Poets will be encouraged to identify their own strengths and to challenge themselves by exploring aspects of the craft at which they do not excel (music, for example, or structure). Finding the form the poem wants to take will be a semester-long (if not lifelong) undertaking. Throughout the semester, each poet's aesthetic and individual goals will be honored with a few formal assignments that supplement individual work. In addition to a rigorous and spirited workshop, the course will also engage craft essays by practicing poets and poet critics such as Jane Hirshfield, Stanley Plumly, Ellen Bryant Voigt, and others.

5370.002 Creative Writing Workshop

Jill Patterson
M 6:00-8:50

In this course, students will study contemporary literary fiction. We'll take a look at different methods of narration: short-shorts, traditional, lyric or montage, meta-narratives, humor, and the odd. We'll be reading several collections of short fiction, including perhaps Amy Hempel's The Dog of the Marriage: Stories, Charles Baxter's Through the Safety Net, Ron Carlson's A Kind of Flying, Reginald McKnight's The Kind of Light that Shines on Texas, Lorrie Moore's Self-Help, as well as the fiction being published in numerous literary journals, including Tin House, Sentence, One Story, Missouri Review, The Southern Review, Sycamore Review, Texas Review,SubTropics, Indiana Review, Carolina Quarterly, South Dakota Review, Rio Grande Review, Descant, and New Texas (and maybe others). Students will be expected to write four to five stories, depending upon enrollment: students will write first drafts as well as polished revisions), and they will submit the polished revisions for publication in literary journals. This class will not study and students will not write any genre fiction: no science fiction, no fantasy, no horror, no romance, no mystery, no erotica or pornography, etc. Manuscripts will be graded according to their literary merit and their understanding of literary conventions. Submission of manuscripts for publication will comprise a substantial portion of the student's grade. This is a writing intensive course. Instructor's permission is required; all potential students must send a sample of their literary fiction to jill.patterson@ttu.edu. NOTE: Some classes may be taught online, in a MOO classroom.

5380.001 Advanced Problems in Literary Studies

Wendell Aycock
TR 9:30-10:50

The Art and Theory of Translation
This seminar will be all about translation. The course will give students experiences in studying the art of translation and in examining some theories of translation. Although the course will focus primarily upon literature and how it is translated, we will also give some consideration to other types of translation. We will review the history of translation and see how translations have been done in various historical periods. We will look at translations of some famous works of literature (Don Quixote, in particular) to see how they have been have changed according to the eras and cultures in which they appear. We will consider how various genres fare when they are translated, and which authors are most easily translated (e.g., Walt Whitman was very popular in Latin America, whereas Emily Dickinson was hardly known at all). A general purpose of this class is to foster new and different appreciations for both literature and language.
It is recommended but not required that students bring some knowledge of a second language to the course. Assignments will include (a) an oral report, (b) a term paper, (c) a translation of a work of literature—it may be short, (d) a final examination.
*This course satisfies the requirement for Comparative Literature.

5380.002 Advanced Problems in Literary Studies

Julie Nelson Couch
W 2:00-4:50

Many Tongues: Translating Middle English Literature
This course will introduce students to the grammar, syntax, vocabulary, phonology, and prosody of Middle English. The term Middle English encompasses an array of regional dialects that coexisted in England after the Norman Conquest in 1066 and before the standardization of English in 1430. Students will acquire proficiency in distinguishing between and reading the different regional dialects that comprise Middle English. As a result, students will be able to comprehend and read aloud Middle English prose and poetry, from the prose of a twelfth-century chronicle to late fourteenth-century romance poetry. This course will prepare students to study Chaucer's major corpus, The Canterbury Tales, in the Middle English Literature course (English 5303) to be offered in the spring. This course will not only be of interest to literature students but also to linguistics and creative writing students interested in the theory and praxis of translation. Class time will be spent hearing, translating, and pronouncing the language. Students' work with Middle English will culminate in a translation project and in a dramatic reading of a tale by Chaucer. Course requirements also include a mid-term and a final exam.
*This course satisfies one part of the requirement for English philology.

5390.001 Writing for Publication

Sara Spurgeon
M 6:00-8:50

This course will help graduate students in literature and linguistics prepare a manuscript for submission to a journal in their field. Students must have a suitable article-length paper (5,000 – 7,000 words) by the beginning of the course, usually one prepared in a previous graduate course. To complete the course successfully, students must: (1) find and assess journals in a particular field for their suitability for publishing the student's own work; (2) analyze articles in a journal to find out what strategies, approaches, and conventions work best for submitting to a target journal; (3) revise and edit discipline-appropriate prose in the student's own writing; (4) practice thoughtful and sensitive peer review of other writers' work; and (5) prepare a scholarly article and book review for submission to a peer-reviewed journal.
*This course satisfies the requirement in Professional Development.

5390.002 Writing for Publication

Scott Baugh
W 6:00-8:50

The self-evident goal of this seminar is to provide structure and support for writer-scholars to prepare their writing for publication. Practical activities—writing workshops, conference-style presentations, guideline and procedural overviews, etc.—aim at this primary goal of preparing an article-length manuscript for submission. Further, a range of writing exercises, time-management tools, and resources will aid writer-scholars to maintain writing-for-publication habits and scholarly development. A greater aim of this seminar, however, focuses on examining the current role of publishing in our discipline and a range of styles of scholarship available to graduate students in the humanities. With these contexts in mind, each seminar participant will customize a research agenda, contemplate the role of publishing in her or his own course of professional development, and strive toward refining and projecting a professional profile.
The Chicago Manual of Style (15th ed.), Publication Manual of the APA (5th ed.), and the MLA Style Manual and Guide to Scholarly Publishing (2nd ed.) will function as both invaluable references for matters of style and convention as well as essential guides for scholarly activity. A course reader will cover a range of supplementary topics, most likely including Ernest Boyer and Lee Shulman on scholarship of teaching; James Hoge and Robert Patten on scholarly reviews; MLA reports and Profession articles on evaluation of scholarship within the academy; Richard Abel on press infrastructures; William Strong, Peter Givler, and Susan Hockey on new media and rights; etc.
Assignments will include a publishable article (12+ pages); a conference-style presentation (12 minutes); a publishable book review or review essay (2-5 pages); a survey-of-scholarship report (7+ pages); and a resources report (open format). In addition to traditional seminar activities and discussions, some required participation will take advantage of a designated CMS and/or wiki.
*This course satisfies the requirement in Professional Development.

5390.003 Writing for Publication

Jen Shelton
R 9:30-12:20

This course will focus on the pragmatics of getting a critical article accepted for publication by a peer-reviewed academic journal. Students will learn how to evaluate journals as they consider placing an article, what to expect from the submission and publication process, and how to get the “easy” publication opportunities such as book reviews. The bulk of the semester will be spent workshopping and revising your writing. Each student will start with the best paper she or he has ever written. At the end of the semester, each student should have an essay that he or she can submit to a journal. Written work in the class, other than the essay you'll be working on, will include reports on journals, conferences, and so on, as part of your getting to know potential places to shop your work. The class will be utterly practical and hands-on.
*This course satisfies the requirement in Professional Development.