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Fall 2018

Lower Division Courses

ETS 105 M001: Introduction to Creative Writing
TuTh 12:30-1:50pm
Instructor: Nana Adjei-Brenyah

This course is designed to introduce the student to three types of creative writing: poetry, fiction and nonfiction (including mixed genres). Our objective is to discover the inaugural steps to writing effectively in each category. The course will focus on inspiration (why write a poem or a story or an essay?) as well as the techniques of evocative, compelling writing across all literary genres (e.g. point of view, concrete detail, lyricism, image, metaphor, simile, voice, tone, structure, dialogue, and characterization). Students will read and analyze work by authors from various traditions, and produce creative work in each genre. ETS 105 prepares students for upper-level creative writing courses in fiction and poetry.

ETS 107-1 Living Writers
W 3:45-6:30 PM
ETS 107-2 through 10
W 3:45-6:30 PM
Instructor: Staff
This class gives students the rare opportunity to hear visiting writers read and discuss their work. The class is centered on six readings and question-and-answer sessions. Students will be responsible for careful readings of the writers’ work. Critical writing and detailed class discussions are required to prepare for the question-and-answer sessions with the visiting writers. The first class meets in Gifford Auditorium.

ETS 114 M001: Survey of British Literature, 1789-present
TuTh 2:00-3:20pm
Instructor: Mike Goode

Few nations in the world have changed more dramatically over the past 250 years than Great Britain, and these changes are evident throughout its literature. This course moves briskly through just over two centuries of Britain’s literary history, covering the art and culture of four distinct periods: Romantic, Victorian, Modern, and Post-War/Postmodern/Postcolonial. Historical topics will include: slavery; political revolution; the industrial revolution; the Enlightenment; urbanization; evolution; religion; social reform movements; the politics of race, class, gender, and sexuality; nationalism; imperialism; colonialism and its aftermath; the World Wars; postmodernism; the politics of choosing to write in English; and the history of literary forms. Readings will include novels, poems, plays, and song lyrics by writers such as William Blake, William Wordsworth, Samuel Taylor Coleridge, Olaudah Equiano, Charlotte Smith, Jane Austen, Robert Browning, Tennyson, Charles Dickens, Bram Stoker, Oscar Wilde, W. B. Yeats, Wilfred Owen, James Joyce, Virginia Woolf, George Orwell, Graham Greene, Sam Selvon, Linton Kwesi Johnson, Johnny Rotten, Bob Marley, Ian McEwan, and Zadie Smith. Assignments will include three five-page papers and a final examination.

ETS 119 M002: Topics In US Literature and History: Experimental & Emerging Genres 1980-Present
MW 12:45-2:05pm
Instructor: John Colasacco

Because all writing is experimental, and no work considered valuable and excellent fails to test, reconfigure, or broaden the language, a course devoted to the recent history of experimental and emerging genres will need to examine & seek new patterns of expression in a range of exemplary texts and cultural artifacts, with emphasis on close reading practices, attention to rhetorical/historical contexts, and strategies for effective response/critique. In particular, the past forty years will frame our study of the rapidly expanding diversity of voices and forms that lead to our current understandings of literary art. Historically, experimentalism sharpens under regressive regimes; in this class, student writers committed to the idea that the stories that need to be written are the ones that can’t be told will find a through-line to their ambitious forbears, and will better understand how to read and create the texts that define literary/American history.

ETS 121 M001: Introduction to Shakespeare
Lecture: MW 11:40-12:35pm
Discussion: F 10:35-11:30am or 11:40am-12:35pm
Instructor: Dympna Callaghan

Do you love Shakespeare, or do you hate him, or have you never read him at all? No matter which of these is true for you, this course will help you understand his writings. We will read some of his most famous works, such as Macbeth and Richard III and watch performances of them, but we will also cover some of his lesser-known writings, such as The Comedy of Errors and the Sonnets. We will also learn about his life and the society in which he lived. Loving the bard is not a course requirement, but reading him with care and attention is.

ETS 122 M001: Introduction to the Novel
TuTh 2:00-3:20pm
Instructor: Haejoo Kim

This class explores the novel and its form by looking at some of the representative novels in the English and American traditions. What are the narrative conventions of the novel? How do they affect the ways in which we perceive and imagine the world? How do the authors engage with these conventions, playing with them and also challenging them? Practicing close reading and critical analysis, students will develop skills to examine formal elements of the novel in relation to the conceptual frames of race, gender, and class. We will also engage with critical readings of the texts. Readings may include: Charlotte Bronte’s Jane Eyre, Jamaica Kincaid’s Lucy, Bram Stoker’s Dracula, and Toni Morrison’s Beloved.

ETS 145 M004: Reading Popular Culture
MW 9:30-10:25am
Discussions: Th 3:30-4:25pm and 5:00-5:55pm; F 9:30-10:25am and 10:35-11:30am
Instructor: Steven Doles

What place and value do mass forms of entertainment, literature, and art hold for our lives? How are our communities and identities shaped by those same mediated works? Why do fans of Harry Potter or Star Trek place so much importance on these imaginary stories? Do the music subcultures young people are so often invested in have lasting import, or are they merely a means to kill time? Throughout this course we will be exploring these and other questions. To focus our attention on these questions, we will read a number of works of fiction and nonfiction throughout the semester, including John Scalzi's Redshirts, J. K. Rowling's Harry Potter and the Prisoner of Azkaban, Simon Reynold's Generation Ecstasy, and William Gaddis's Agapē Agape. Readings will sometimes be supplemented with episodes of TV shows or movies, or with examples of popular and classical music, either to be examined on your own, or with examples provided in lecture. Our two major areas of focus for the semester will be popular media franchises and their fans, and music subcultures and their participants. Students will also become familiar with major approaches in the field of cultural studies, and develop a critical vocabulary to talk about the media that is interwoven with their everyday lives. If we are lucky, we may have some special guests stop by to demonstrate and discuss their own participation in the culture that surrounds us.

ETS 151 M001: Interpretation of Poetry
MW 2:15-3:35pm
Instructor: Bruce Smith

The course will consist of discussions of poems from the various traditions of poetry: from anonymous ballads to spoken word poetry. I’m interested in what makes the poem memorable and moving, how it is a vehicle for the intellect and the emotions. I’m interested too in what ways the poem provokes and challenges us, what gives the poem its power to seduce and trouble and soothe, what gives it its music and voice as distinct from speech. Students will be asked to write 6 two-page papers in which they examine closely a single poem by a poet from the text. Students may opt to write more papers (up to 8) and receive extra consideration for them. In addition, students will be asked to choose a poet and present the work of the poet in a 4 to 5 page paper. Emphasis in discussions is on style and substance, music and image. Multiple ways of reading poems will help the students expand the range of poetic possibilities.

ETS 153 M001: Interpretation of Fiction
MW 2:15-3:10pm
Discussion F 10:35-11:30am or 11:40am-12:35pm
Instructor: Erin Mackie

Cultures tell many of their most profound truths in their fictions. We will look at the truths of fictions across a range of narrative forms, from the faery tale to the novel. As we read we will develop an awareness of the elements of fiction: plot, setting, character, point-of-view, style, and theme. We will pay attention not only to the story told but also to who is telling it and to whom, its narrator and its audience. And always, we will think about the values, or truths, promoted by the fiction and the ends it seeks to achieve in its telling.

ETS 154 M002: Interpretation of Film
TuTh 5:00-6:20pm
Instructor: Rhyse Curtis

From its humble origins as a sideshow spectacle, film quickly matured into the dominant medium of the 20th century, and remains a towering cultural and artistic form to this day. However, while we are immersed in film culture, how many of us have the interpretative tools necessary to decode cinema, to “read” them as unique and meaningful visual texts? This course aims to foster those skills. Through the course of our discussions, students will become familiar with the terminology, techniques, and historical context necessary for analyzing and writing about film from a textual studies perspective. Along the way, students will be exposed to multiple primarily English language films from across the history of cinema in order to apply and practice their analytical skills, from the early days of proto-cinematic technologies to the post-celluloid films of the digital era. This course will touch on topics such as: formalist concepts of film; narrative traditions in Hollywood cinema; counter traditions in avant-garde works; discussions of genre; and the influence of marginalized voices in cinema.

ETS 155 M002: Interpretation of Nonfiction
MW 3:45-5:05pm
Instructor: Elizabeth Gleesing

This writing-intensive course introduces students to methods of interpreting nonfiction. While we often believe that nonfiction conveys truth and reality, in this course we will focus on how different texts construct their claims to truth and arguments about reality. To do so, we will study and interrogate the rhetorical strategies authors employ, the relationship between form and content, the generic conventions of different nonfiction forms, and how texts construct both a speaking position and an audience. In addition to introducing ways to interpret nonfiction, this course aims to introduce students to a wide variety of nonfiction media forms such as the essay, the graphic novel, autobiography, memoir, poetry, documentary video and digital documentary, reality television, photography, digital games, and digital nonfiction forms like the listicle. We will not just work through these different forms and how they make meaning in a vacuum, instead we will focus on a variety of themes, topics, and issues throughout the course, including food politics, feminism, sexuality, race, photography, disaster narratives, and screen representations of the environment.

ETS 171 M001: World Cinema
Lecture: MW 5:15-6:10pm; Screening: M 7:00-9:45pm
Discussion: F 9:30-10:25am or 10:35-11:30am
Instructor: Roger Hallas

Cinema has often been called a universal language and it is certainly made all over the globe. But world cinema has a richness and complexity that defies a single model, despite the cultural dominance and economic power of Hollywood cinema. This course examines how the international history of film has been shaped by the larger historical processes of modernity, colonialism, postmodernism and globalization. We will explore the diverse pleasures, politics and aesthetics of cinema from around the world, including German Expressionism, post-revolutionary Soviet cinema, French New Wave, Bollywood, postcolonial African cinema, Hong Kong action films, Hollywood blockbusters, Iranian neorealism and contemporary indigenous cinema. We will trace how aesthetics, technologies and economies of cinema have mutually influenced filmmaking traditions in diverse regions of the world. Moreover, we will investigate how cinema contributes to our understandings of the world, our places within it, and our relations to other parts of it. In sum, we will discover how world cinema is always both local and global. The weekly screenings scheduled for this course are required. Film and Screen Studies Course.

ETS 181 M001: Class and Literary Texts
MW 2:15-3:35pm
Instructor: Sean M. Conrey

From William Blake’s descriptions of living conditions in early industrialized England, James Agee’s stories of tenant farmers during the Depression, to Ursula LeGuin’s’s speculative fiction focused on labor exploitation, questions of social class have long been a focus of novelists’, poets’ and essayists’ work. Parallel to the ways that writers affect and engage social class, critical readers can engage with the concepts of social class as they read. Concerned with the social divisions of privilege, wealth, power and status, class, like race and gender, is a social construction that is imposed on, and performed by, all of us as a way of stratifying and defining who we are. Though the restraints of social class readily subject us to the power of others, these restraints may also, when well understood, provide a springboard for advocacy and direct social action. This course provides an introduction to these concepts and exposes students to key texts in literature, film and other media as a way of fostering critical engagement and developing richer social responsibility through textual interpretation.

ETS 181 M002: Class & Literary Texts
TuTh 2:00-3:20pm
Instructor: Evan Hixon

This course will examine the complicated relationship that exists between literary production and concerns of social, economic and cultural class. Looking at a large cross section of Anglophonic literature, we will examine the historical, theoretical and lived experiences of class both as it exists apart from and within a complicated web of intersecting social forces. We will be examining texts which cover a wide range of periods and forms, from medieval poetry to contemporary novels with an eye tuned towards the ways in which these texts serve as mediating objects that help us better understand the construction of classed identity throughout history. The course will focus on the social construction of class and the ways in which class serves to organize and define social commonwealths and communities. Treating literary texts as important objects in the construction and interrogation of classed identities, students will be asked to read several literary texts and produce written work analyzing those works through the lens of class. Possible texts will range from the epic poems of Geoffrey Chaucer’s The Canterbury Tales to modernist novels such as Nella Larsen’s Passing and E.M. Forster’s Howard’s End. This course satisfies the writing-intensive requirements of the Liberal Arts Core. The purpose of a writing intensive course is to familiarize students with the thought processes, structures, and styles associated with writing in the liberal arts.

ETS 182 M001: Race and Literary Texts
TuTh 5:00-6:20pm
Instructor: John Sanders

As multiple theorists on race have noted, although the concept of race is a historically contingent social construct with no basis in biological fact, it is a construction that shapes our daily lived experience and our relationship to society at large. The influence of race can be felt not just in the world we live in, but in the worlds we explore through art, music, literature, and visual culture – worlds which may mirror, mediate, or resist this influence in equal measure. The aim of this course is to explore some of these textual representations of race in/as fiction, as well as the social and cultural implications contained within such representations. To do so, we will be drawing works from a variety of primarily English language sources across genre and historical contexts, from early explorations of the racial imaginations to 20th century realist novels to contemporary sci-fi and fantasy. Through classroom participation activities, close-reading exercises, and formal essays, students will learn how to utilize close-reading skills to interpret and analyze texts that encourage us to engage with race as an identity and cultural category.

ETS 182 M002: Race & Literary Texts
TuTh 11:00-12:20pm
Instructor: Chris Barnes

Michael Omi and Howard Winant define race as “a concept which signifies and symbolizes social conflicts and interests by referring to different types of human bodies.” Even though race has been shown to have no biological basis, it nonetheless, as Omi and Winant indicate, is a construction that shapes our daily, lived experience, as well as our relationship to society at large. By taking students through a progression of section topics that together build a coherent understanding of race, the state, history, and cross-racial solidarity, this course will help illuminate the ways in which past issues and concerns surrounding race resonate with contemporary concerns. We will use literary and other cultural texts to interrogate issues of race in America in the twentieth and twenty-first century; to explore how racial categories have been (re)created; and to investigate how categories like gender, class, and sexuality intersect with race. Authors may include Jean Toomer, Nella Larson, Claudia Rankine, and Junot Diaz. Through classroom participation, close reading exercises, and three extended essay assignments, students will learn how to use the practice of close reading to interpret and analyze the ways texts encourage us to engage with race as an identity and cultural category.

ETS 182 M003: Race & Literary Texts
MW 3:45-5:05pm
Instructor: Chris Eng

Envisioning American Dreams and Realities

Whither the American Dream? Exacerbating skepticism around the honored ideal, recent occurrences—from the housing market crash and economic repression in 2007 to the rising xenophobia after the 2016 election—have prompted some to question whether we should more accurately speak of the ‘American Nightmare.’ Most urgently, race highlights the contradictions embedded within the American Dream: the perils that accompany its promises and the realities that undermine its ideals. For instance, how do we grapple with the fact that the nation’s celebration of ideals such as freedom and equality have historically coincided with harsh realities of slavery, exclusion laws, disenfranchisement, and segregation? This course examines literary works by writers such as Lorraine Hansberry, Toni Morrison, and Bich Nguyen, who explore how race, class, and sociopolitical contexts unevenly determine who has the opportunities and resources for realizing this dream and why it remains an illusion for so many. Elucidating the stark realities for minoritized communities, these writers leverage the American Dream as a platform for social justice to demand changes to the disconnect between ideal and reality. Accordingly, their imaginative works grapple with the possibilities for realizing a more perfect union while radically expanding our vision of what such dreams entail.

ETS 184 M002: Ethnicity & Literary Texts: Great Jewish Writers
TuTh 11:00am-12:20pm (meets with REL/JSP/LIT 131)
Instructor: Ken Frieden

A wide-angle panorama of great stories written by Jewish authors, including S. Y. Abramovitsh, Sholem Aleichem, I. L. Peretz, Franz Kafka, S. Y. Agnon, Elie Wiesel, and Yiddish women writers. Topics include shtetl life, superstition, modernization, alienation, rebellion against authority, radical textualism, love, marriage, and the Nazi genocide. Our literary approach to works in the Jewish literary tradition emphasizes interconnections between theme and rhetoric. Immersion in texts, a particular tendency in traditional Jewish circles, sometimes appears as an escape from Jews’ powerlessness in the outside world. The strategy has limitations.

Texts

Classic Yiddish Stories of S. Y. Abramovitsh, Sholem Aleichem, and I. L. Peretz. Ed. Ken Frieden. Trans. Ken Frieden, Ted Gorelick, and Michael Wex. Syracuse: Syracuse University Press, 2004.

Kafka, Franz. The Complete Stories. Ed. Nahum N. Glatzer. New York: Schocken, 1983 [or subsequent Schocken editions of The Complete Stories].

Agnon, S. Y. A Book that Was Lost: Thirty-Five Stories [this edition preferred]. Ed. Alan Mintz, Anne Golomb Hoffman, and Nahum N. Glatzer. New Milford, CT: The Toby Press, 2008.

Wiesel, Elie. Night. Trans. Marion Wiesel. New York: Hill and Wang, 2006.

Appelfeld, Aharon. Badenheim 1939. Syracuse: Syracuse University Press, 2001.

Keret, Etgar. Four Stories. Syracuse: Syracuse University Press, 2010.

Found Treasures. Ed Frieda Forman et al. Toronto: Second Story Press, 1994.

ETS 184 M003: Ethnicity & Literary Texts
TuTh 3:30-4:50pm
Instructor: Deya Dasgupta

What is ethnicity? Is it just a blanket term for constructing boundaries between “Us” and “Them”, or does it trace itself to certain cultural, social, linguistic and/or political paradigms? In this class, drawing on texts about ethnic as well as cross-cultural diversity, we will consider these very questions, not only to understand the identities that we construct for ourselves but also those that are imposed upon us by others. Consequently, we will reflect on the ways in which literature helps construct and maintain those identities, and how different spaces are created around different ethnic identifications. While we will use some theoretical texts to foreground our discussions, much of our focus in this class will be on the reading and interpretation of literary texts themselves. In this, we will be looking at popular TV shows, graphic novels, science fiction, children’s literature, short stories, and novels, even as we think through the concepts of ethnicity, gender, sexuality, transnationality, intersectionality, race/racialization, etc. Thus, some of the works or authors we may explore in this class include Maus, Persepolis, The Office, Jhumpa Lahiri, Anna Deavere-Smith, Shyam Selvadurai, Cherrie Moraga, Alice Walker, Zadie Smith, Saidiya Hartman and/or Sherman Alexia.

ETS 192 M001: Gender & Literary Texts
TuTh 9:30-10:50am
Instructor: Vicky Cheng

In this course, students will read and analyze the portrayal and role of gender in a collection of literary texts, focusing on the ethnic, cultural, racial, sexual, historical, and creative implications of gender in relation to the texts' writers and characters. The selected literature includes novels, poetry, essays, short stories, and a graphic novel by Toni Morrison, Alison Bechdel, Randa Jarrar, and David Henry Hwang. This course is reading intensive, so students should be ready to handle rigorous reading assignments, accompanied by writing analytical papers that would reflect the students’ understanding of the issues raised in these texts. The main objective of this course is to develop students’ critical thinking capabilities as well as their analytical readings skills. Cross listed with WGS 192.

ETS 192 M003: Gender and Literary Texts
MW 5:15-6:35pm
Instructor: Melissa Welshans

This course takes as its central premise the idea that gender is a useful category for literary analysis. To that end, this class will use gender as the central lens through which to explore literature from a variety of genres and time periods. But what is "gender" and how has it been defined variously across space and time? This class will answer these questions and more. Texts under consideration may include Shakespeare's Twelfth Night, Virginia Woolf's Orlando, James Baldwin's Giovanni's Room, and poetry by Sylvia Plath, Anne Sexton, and others. Assignments will include formal essays and at least one in-class presentation. Cross listed with WGS 192.

In this class we will read and discuss American literature that takes up environmental values and makes an inquiry into the relationship between humans and non-human ecological communities. From frontier wilderness narratives and Puritan representations of the wild, to Native American reclamations and revisions of those depictions; from transcendentalist visions of nature as the source of spiritual and intellectual life, to modern-day “cli-fi” that that offers a frightening dystopian look at the impact of human activity on the planet, we’ll read novels, works of nonfiction, and poems that confront us with the uneasy terrain of personal vs. planetary ethics, and compel us to deepen our understanding of our various constructs of — and responsibility to – the natural world. Authors will include a selection from the following: Henry David Thoreau, Mary Hunter Austin, Walt Whitman, Emily Dickinson, John Muir, Rachel Carson, Annie Dillard, Wendell Berry, Leslie Marmon Silko, Louise Erdrich, James Welch, Joy Williams, Cormac McCarthy, and Paolo Bacigalupi.

ETS 215 M001: Introductory Poetry Workshop
M 12:45-3:35pm
Instructor: Brooks Haxton

Weekly meetings of this workshop will focus on careful, constructive analysis of student poems, and on supplementary readings of other poetry. Besides writing a new original poem every week, everyone will revise at least four poems on the basis of the workshop response. Reading and writing assignments will be handed out as we go. No prerequisites.

ETS 217 M001: Introductory Fiction Workshop
M 12:45-3:35pm
Instructor: Arthur Flowers

Sophomore Fiction. Workshop format critiquing two student stories a week plus chosen readings. Craft. Production. Vision.

ETS 217 M003: Introductory Fiction Workshop
Tu 3:30-6:20pm
Instructor: Nana Adjei-Brenyah

This course will acquaint students with the fundamentals of writing fiction. Each week students will read and critique fiction written by their peers, as well as published work by modern writers. Students must come to class prepared and willing to discuss these stories. There will be in-class writing exercises and prompts which will lead students to create stories of their own. Class attendance and participation are mandatory.

ETS 242 M001 and M003: Reading & Interpretation
TuTh 12:30-1:50PM (M001)
MW 12:45-2:05PM (M003)
Instructors: Chris Forster (M001)/Silvio Torres-Saillant (M003)

ETS 242 introduces students to the discipline of English and Textual Studies, stressing not what we read but how we read it. We will learn how meanings are created through acts of critical reading as well as demonstrate the consequences of pursuing one way of reading over another. This course is designed to enhance your ability to read and interpret contextually as well as closely, to help you to articulate your understanding effectively and to draw connections through reading and writing. Through close, deep and thoughtful reading of literary and non-literary texts as well as essays by critics and theorists, we will explore the ways readers produce meaning. These meanings are produced both from the perspective of each reader’s unique experiences, and through various critical and theoretical approaches. Each section of ETS 242 takes up issues of central concern within contemporary literary and cultural studies. These include representation, language, reading, authorship, subjectivity, ideology, culture, history and difference.

Upper Division Courses

ETS 301 M001: Reading & Writing Prose
MW 2:15-3:35pm
Instructor: Jules Gibbs

Students will discuss, analyze and eventually reproduce the various techniques of published prose writers in various nonfiction genres, including the personal essay, the polemical essay, literary journalism, and the lyric essay. Authors to be studied as models could include: John McPhee, Cheryl Strayed, Joy Williams, Terry Tempest Williams, Martin Espada, Annie Dillard, Barry Lopez, Jamaica Kincaid, James Baldwin, and Mary Gaitskill. Students will be required to produce both creative and analytical responses to the texts studied.

ETS 303 M002: Reading & Writing Fiction
TuTh 9:30-10:50am
Instructor: Sarah Harwell

All creative disciplines depend on the study and imitation of the particular art form for mastery of their elements. In this course you will read and analyze a number of short stories in order to deepen your understanding of a variety of concerns in storytelling, including voice, style, description, story, and character. We will attempt to answer the question: how have authors generated emotions, interest, and power in creative texts? You will be required to display an understanding of these issues by producing creative and analytical responses to the texts studied. Possible authors include Flannery O'Connor, Alice Munro, James Joyce, Edward P. Jones, Anton Chekhov, Donald Barthelme, ZZ Packer, Grace Paley and Raymond Carver.

ETS 305 M001: Critical Analysis: Introduction to Cultural Studies
TuTh 9:30-10:50am
Instructor: Crystal Bartolovich

What does it mean to be a “cultural critic”? This course will provide you with basic concepts and strategies to be able to answer this question and begin to call yourself a cultural critic. By comparing and contrasting the strategies of literary texts with other cultural forms and practices in specific situations we can consider what makes literature particular as a mode of signification (meaning-making). We will also learn the importance of situating everything we study—and ourselves-- historically. Hence, we will study literature alongside mass cultural forms such as advertising, television shows, or digital culture as well as everyday practices, such as shopping, reading the newspaper, or going to the movies, to try to understand how we learn to make sense of a globalizing world and live a particular culture—or cultures—in the U.S. today. As the course progresses, you should become a more sophisticated, creative and critical reader of the world in which we live as you learn to see how literature works in, with, and against that world.

ETS 310 M001: Literary Periods: U.S. Modernism
TuTh 12:30-1:50pm
Instructor: Susan Edmunds

This course focuses on U.S. modernist fiction. Modernism was a late-nineteenth and early-twentieth- century international movement that rejected earlier norms of literary and aesthetic representation, and instead created narratives that resemble dream, cut up and rearranged linear narrative time-lines, and/or rejected the rules of ordinary syntax. In the course, we will focus on how U.S. modernist writers responded to changing models of individual and collective consciousness, and sought to use their writing as a space in which to promote human consciousness as both an index and agent of social change. We will read texts associated with High modernism, the Harlem Renaissance, the proletarian literature movement, and mass cultural modernism. Likely texts include: Stein, Tender Buttons; Hemingway, The Sun Also Rises; Toomer, Cane; Faulkner, The Sound and the Fury; Hammett, Red Harvest; Larsen, Quicksand; Fitzgerald, Tender is the Night; and Hughes, The Ways of White Folks.

ETS 311 M001: Literary Periods Before 1900: Romanticism & the Environment
TuTh 11:00am-12:20pm
Instructor: Mike Goode

The modern environmental movement found early expression in British poetry, novels, and painting between 1770-1845. This course examines how British artists in this period responded to a variety of dramatic developments: the Industrial Revolution and the privatization of public lands creating radical changes to the landscape, ecologies, and rural communities; natural scientists challenging religious beliefs about the Earth and its organisms by introducing the notions of “geologic time” and “extinction”; new religious movements fueling conservation efforts by promoting the idea of nature’s divinity; new aesthetic tastes for landscape contributing to nature tourism and to new media (panoramas, photographs, stereographs, picturesque gardens); and politicians turning “nature” into a political football through debates over “natural rights” and “natural law.” Writers, artists, and landscape designers covered will include: William Blake, Charlotte Smith, William Wordsworth, Samuel Taylor Coleridge, Byron, John Keats, Percy Shelley, John Clare, Jane Austen, Walter Scott, Mary Shelley, Thomas Gainsborough, Robert Barker, John Constable, J.M.W. Turner, George Washington Wilson, Lancelot “Capability” Brown, Richard Payne Knight, and Humphrey Repton. Assignments will include three five-page papers. Pre-1900 Course.

ETS 315 M001: Ethnic Literatures & Cultures: Literature of the Caribbean Diaspora
MW 3:45-5:05pm
Instructor: Silvio Torres-Saillant

This course explores the rapport between Here and Elsewhere in the works of North American and European writers who trace their ancestry to the Caribbean region. The course looks at their accomplishments as literary artists, the place of ancestral heritage in their systems of significance, and the ideological negotiation of their diasporic location. Considering the tension stemming from their speaking as American, Canadian or European writers while upholding the banner of their Caribbean ancestral origins, we examine their tendency to fuel their literary imagination by drawing from the cultural, existential, and political tension emanating from the counterpoint of home and location, origin and destination, as well as from their problematic citizenship. The readings will cover texts by Cristina Garcia, Junot Díaz, Rhina P. Espaillat, Rosa Guy, Merle Collins, Judith Ortiz Cofer, Jamaica Kincaid, Edwidge Danticat, and Paule Marshall, M. Nourbese Philip, Denis Henriquez, Ellen Ombre, Astrid Roemer, Gisèle Pineau, Caryl Phillips, Andrea Levy, Pauline Melville, and Zadie Smith. We will cover issues of language, transnationalism, exile, ethnic identity, and literariness while engaging contemporary criticism and theory pertinent to the study of diasporas. Cross listed with LAS 300.

ETS 321 M001: Authors Before 1900: Chaucer and Contemporaries
TuTh 2:00-3:20pm
Instructor: Patricia Moody

This course will provide a substantial background for understanding the literature of the late middle ages. The fourteenth century is a vital period, marked by significant changes in major institutions of the time: the court, the church, and the very social structure of late-medieval England. This setting of stress was also the environment in which three remarkable writers, in whose works one can see attempts at creating order in literary, moral, and social senses. Examining the ways in which Chaucer, Gower, and Langland focus their attention on order and decay in the England of their day, the course includes readings representing a wide range of genres from all three writers, as well as from that most prolific of all writers, Anonymous. Pre-1900 Course.

ETS 325 M001: The History and Varieties of English
TuTh 11:00am-12:20pm
Instructor: Patricia Moody

Want to understand IPA? Study runes? Be able to read literature written in Anglo-Saxon? Middle English? Understand Shakespeare? Learn why and how English speakers across the US and globe sound so different from “us”? This course aims to provide students with as much knowledge as possible, as interactively as possible, of fundamental linguistic concepts, the basic structures of the English language and representations of its history. Equally important, the course aims to develop critical awareness of contemporary language issues and the complex ways in which language embeds attitudes.

ETS 360 M001 Gender & Sexuality: Queer Youth – LGBTQ Narratives of Coming-of-Age and Coming Out
MW 2:15-3:35pm (meets with WGS 360 M001 and QSX 300 M001)
Instructor: Chris Eng

Does it get better? Confronting unprecedented rates of suicide and depression among queer and trans youth, the “It Gets Better” campaign promised a brighter future, urging these youth to endure. Yet, the encouragement to wait does not adequately address and challenge the conditions that make the world inhospitable for those of non-normative gender and sexual identities. Indeed, dominant “coming-of-age” narratives inhibit the flourishing of queer youth insofar as they prioritize heteronormative milestones that discipline children into sanctioned gender roles. Meanwhile, common understandings about ‘coming out’ and LGBTQ identity also fail to fully account for the needs and experiences of these youth. Looking at works by writers such as Alison Bechdel, Audre Lorde, and Rakesh Satyal, this course examines how queer and trans youth navigate their social worlds and the precarious uncertainties of growing up. These texts underscore how the dangers they face—of bullying, homelessness, homophobia, and heterosexist violence—are intimately shaped by race, class, and other sociopolitical contexts. Yet, far from suggesting a life defined exclusively by sorrow and threat, these writers illuminate the imaginative practices by which queer and trans youth craft possibilities for beauty, pleasure, joy, friendship, and fabulosity, compelling us to envision alternative, better worlds. 

ETS 361 M002: Gender & Sexuality Before 1900: What Was Sex? Nineteenth-Century American Literature and the History of Sexuality
TuTh 12:30-1:50pm
Instructor: Dorri Beam

This class explores the possibility that sex and sexuality have histories and may mean differently across time. Before the relatively recent invention of heterosexuality and homosexuality in the late nineteenth-century, what was sex? What did it include and exclude? How did people understand their intimate relations? Into what categories did people fit their self-stylizations of gender, affect, and pleasure? Did they have an idea of sexuality as an identity? As something stable and belonging to them? How did social structures--for instance, marriage and the family or the nineteenth-century color line and legal segregation--organize sex, feeling, affiliations, and identities? The nineteenth-century is arguably the period of the emergence of “sexuality,” and we will examine the use of literature itself for thinking about the history of sexuality while also dipping into other areas such as health reform, marriage advice, utopian manifestos, and sex radicalism; practices of polygamy and celibacy; and African American and Native American resistant formations of marriage or family. Texts may include Queer Nineteenth-Century Short Stories, ed. Christopher Looby; Julia Ward Howe, The Hermaphrodite; Walt Whitman, Leaves of Grass; Charles Chesnutt, Stories of the Color Line; Kate Chopin, A Vocation and A Voice. Pre-1900 Course; Crosslisted with WGS 360 and QSX 300.

ETS 401-2: Advanced Writing Workshop: Poetry
Tu 5:15pm-8:00pm
Instructor: Sarah Harwell

This course is devoted to the poem and seeks to answer the question that all artists face: how does one transform feeling and experience into something more than the original impulse, how does one create art? You will develop your poetic skills by reading the work of published poets, writing a poem every other week, and critiquing one another’s poems. You will be expected to extensively revise four of the poems you write. The course is open to anyone who has taken the introductory poetry workshop (ETS 215). Juniors and seniors who have not had a workshop may submit a portfolio of seven pages of original poetry to be considered for admission.  

ETS 403 M001: Advanced Writing Workshop: Fiction
Tu 12:30-3:20pm
Instructor: Jonathan Dee

This fiction workshop will develop and expand upon the skills introduced in ETS 217. The primary focus will be on how to write better, more effective, more technically sophisticated short stories and/or novel excerpts; the secondary focus will be on how to critique constructively others’ work in these same forms. Most of the class will center on the writing and subsequent discussion of original work created by you; there will be some for-credit in-class writing exercises and previously published work to critique as well.

ETS 406 M001: Advanced Critical Writing in ETS: History of the Book
MW 2:15-3:35pm
Instructor: Patricia Roylance

This course is designed as an introduction to the field known most commonly as “the history of the book.” We will investigate what difference it makes to consider the materiality of a text when interpreting it. How do a text’s material form (its actual paper, ink, binding, etc.) and the modes of its production, circulation and reception affect our sense of its content? We will cover a wide range of texts and topics, from medieval manuscripts and Shakespeare to romance novels and e-readers. We will sometimes meet at Bird Library, to examine archival materials in Special Collections related to our course topics. A research project will require you to work with Special Collections archival material, on an aspect of book history of particular interest to you. This Advanced Critical Writing course will help you to hone your research and writing skills and engage in deep and sustained critical inquiry. This course can be used in place of ETS 305.

ETS 410 M001: Forms & Genres: Cinema and the Documentary Idea
MW 3:45-5:05pm with Screening on W 7:00-9:45pm
Instructor: Roger Hallas

From 13th to Amy, from Exit Through the Gift Shop to The Jinx, documentary is enjoying a boom time right now, but its longer history reveals even richer and more diverse means to engage the world. Invented in the late nineteenth century, cinema was inevitably shaped by the modern demand for evidence. But the medium has also long been a tool for personal self-exploration. These widely differing aspects of the documentary idea have shaped film’s rhetorical capacity to construct sophisticated arguments about the real world using sound and image. We will examine not only classic and contemporary documentary films, but also fake documentaries, wildlife films, docudramas, experimental film and reality television. Moving from the euphoria and anxiety around the first public film screenings by the Lumière Brothers in 1895 through the radical decoding of the world in early Soviet cinema and 1960s political film to the subversive playfulness of the contemporary mockumentary, the course explores the power, appeal and impact of the documentary idea within different national, historical and political contexts. The weekly screenings scheduled for this course are required. Film and Screen Studies Course.

ETS 410 M004: Forms and Genres: Modern American Fiction
TuTh 9:30-10:50am
Instructor: Susan Edmunds

In this course, we will examine a range of fiction written between 1880 and 1945. Discussion will place the three major literary modes of the period--Realism, Naturalism and Modernism---in a sociohistorical context. We will try to understand how the larger social conflicts and social upheavals of the period prompted writers to become dissatisfied with inherited forms of literary representation and to devise new modes of representation which they claimed were more suited to bringing about–or protesting--social change. Throughout the semester, we will return to texts that focus on acting, masking, posing, and “passing”--as well as social climbing, falling, and drifting--in order to explore how changing codes of social performativity challenge and transform existing categories of race, class and gender. Likely texts include: Dreiser, Sister Carrie; Wharton, House of Mirth; Larsen, Passing; Faulkner, As I Lay Dying; Fitzgerald, Tender is the Night; West, The Day of the Locust.

ETS 411 M001: Forms & Genres before 1900: Realism’s Others
MW 3:45-5:05pm
Instructor: Coran Klaver

The Victorian novel is often associated with realism, the idea that fiction strives to provide an accurate representation of reality. For many nineteenth-century novelists, however, the literary conventions of realism were too limiting—they chafed against or outright rejected elements of realist literary form, as well as with the values, priorities, and definitions of what counted as “real” that inhered in realist conventions. Instead of the “reality” of social norms and hegemonies, many Victorian novelists’ turns to the realities embedded in more marginal or contested literary forms such as melodrama, Gothic, ghost stories, sensation fiction, imperial romance, science fiction, and detective fiction. This course will use these “other” genres as lenses into the issues and experiences of Victorian life that this not fit into the heterosexual, middle-class norm of domestic realism. In addition to reading novels by Charles Dickens, Mary Elizabeth Braddon, Wilkie Collins, Robert Louis Stevenson, and Sir Arthur Conan Doyle, students will write three papers, keep an in-class journal, and have either a final examination or regular reading quizzes. Pre-1900 Course.

ETS 420 M001: Cultural Production and Reception: Experiencing Film
TuTh 5:00-6:20pm; Screening Th 6:30-9:15pm
Instructor: Steven Doles

How can we best describe what we are doing when we watch a film? How do the spaces and contexts in which we watch shape our response to the film? Are we all having the same experience when we watch, or do different audiences respond in their own ways? This course is designed to explore questions like these in two ways. On the one hand, we will discuss various topics in film studies connected to these concerns, including audience reception, exhibition, theories of spectatorship, cinephilia, and cult movies. We will also develop a set of practices of attentive and imaginative viewing through a series of exercises, drawing upon perspectives that are sometimes called “contemplation” or “mindfulness.” These might include exercises such as journaling or free-writing, repeated rewatching of scenes or extended looking at frame captures, silent reflection, and trip reports of spaces of exhibition outside the university. Our first-hand experiences will thus become evidence for thinking about and exploring the approaches that film scholars have developed to these topics. In addition to our viewing of narrative fiction films ranging from the accessible to the challenging, selected nonfiction and experimental films will allow us to explore how our experience changes when viewing these other film modes. Film & Screen Studies Course.

ETS 421 M002: Production & Reception before 1900: Shakespeare and the Natural World
MW 12:45-2:05pm
Instructor: Stephanie Shirilan

Global virus epidemics, drought, flood, deforestation, toxic water and air, food-insecurity: these are but a few of the effects of climate-change brought on or accelerated by human agents, and Shakespeare has much to say about them. His plays witness and reflect on a period of radical transformation of deep-set ideas and the social and cultural institutions (gender, church, city, state, family, market, etc.) that housed them. Reading a selection of Shakespeare’s plays and poetry, we will explore ways that meditations on the natural world shape his reflections on these social and political transformations, and vice versa. Our investigations will be guided by attention to the relationship between form and matter in Shakespeare’s work and in the early modern period. To that end, our reading of the plays will emphasize dramatic technique and foreground aspects of theatrical performance, which we will consider through experiments in staging and performance wherever possible. Together, we will learn to read, observe, and listen for the ways that live, embodied, multisensory theatrical experience shapes our capacity to observe and imagine the dynamism of Shakespeare’s natural worlds. This course will address the interests of students in the sciences and theater/literary studies alike. No prior Shakespeare experience required. Pre-1900 Class.

 

ETS 444 M002: Theoretical Modes of Inquiry: Game Studies in Practice
TuTh 3:30-4:50pm
Instructor: Chris Hanson

What are the roles of games and play in contemporary culture and how are these roles shifting? How do we “read” and interpret a game such as Grand Theft Auto or Super Mario Bros. or virtual reality (VR) experiences via the Oculus Rift or HTC Vive? Just as digital games have grown profoundly more complex in the last fifty years, theoretical and critical approaches to games have proliferated and diversified, moving well past early debates between those studying games as narratives and those who examine games as systems of play. Of course, the study of games predates the digital age, and we will engage with the foundational texts which serve as precursors to the contemporary critical approaches which we will also explore. We will trace the historical development of game studies as a discipline, while also examining both non-digital and digital games as case studies for our critical consideration. We will explore core game studies concepts through writing analytically and creating games that illustrate or challenge these theories. In addition to a variety of games, our study will include screen-based media texts which explicitly or implicitly engage with the concepts of game studies. Film and Screen Studies Course.

ETS 494 M001: Research Practicum
Th 3:30-6:15pm
Instructor: Crystal Bartolovich

This one-credit course introduces students to the scope and demands of an honors/distinction project in ETS. Enrollment is by invitation to participate in the distinction program, and/or honors program, only. In five formal meetings, we will cover choosing an adviser, developing a suitable topic with engaging research questions, compiling a bibliography, reading critically, taking notes effectively, and writing a thesis proposal. Our work should prepare you to write your thesis in the spring semester. The texts covered in class will be your own writing and research for the most part, but some supplemental readings will be posted on Blackboard, so you should budget funds to print these out as well as to make copies of your completed assignments for me, your classmates and your adviser, as directed. The exercises and workshops are designed to prepare you for ETS 495: Thesis Writing Workshop in the spring.

 

Spring 2018

ETS 107-1 Living Writers
W 3:45-6:30 PM
ETS 107-2 through 10
W 3:45-6:30 PM
Instructor: Staff

This class gives students the rare opportunity to hear visiting writers read and discuss their work. The class is centered on six readings and question-and-answer sessions. Students will be responsible for careful readings of the writers’ work. Critical writing and detailed class discussions are required to prepare for the question-and-answer sessions with the visiting writers. The first class meets in Gifford Auditorium.

ETS 113-1 British Literature, Beginnings to 1789
TuTh 3:30-4:40pm
Instructor: Adam Kozaczka

This writing-intensive course offers a survey of British literature from its beginnings until 1789. We will read texts written during the Middle Ages, the Renaissance, the Civil War and Restoration, and the Eighteenth Century. Beginning with a study of Arthurian legend and the Saxon and Norman literary origins of Englishness, the course will move on to study the poetry and drama of Shakespeare, Spenser, and their contemporaries. We will examine the literary efforts of England’s monarchs, with readings by Elizabeth I and James I, along with samples from an increasingly scandalous, ‘libertine’ tradition. Other highlights will include Aphra Behn’s play, The Rover, and some Irish and Scottish texts. The course will close with a look at the rise of the novel in the eighteenth century, and will consider the role of sympathy and sensibility in Swift, Sterne, and others. We will discuss literature and culture: heritage, identity, language, gender, sexuality, literacy, class, religion, and even witchcraft will all be political topics addressed at various points in discussion. We will learn about specific forms of literature including the lais, the sonnet, the mock heroic, the Restoration comedy, and the sentimental novel, and will write academic essays about them.

ETS 118-1 American Literature Since 1865
MW 12:45-2:05pm
Instructor: Hillarie Curtis

This course will explore major authors and literary movements in American Literature from 1865 to the present. Course readings will include fiction, essays, and poetry from both mainstream and marginalized authors. These readings will provide examples of U.S. writers engaging with the global literary aesthetic movements of Realism, Naturalism, Modernism, and Postmodernism while also exploring voices and modes of storytelling and narrative unique to U.S. Culture, such as Native American literature, the Southern Gothic, the Harlem renaissance, and the Black Arts Movement. During this course students will read literature emerging during moments of historical and aesthetic transition in American history, and interrogate connections between American literature, culture, politics, and history. This course will attempt to answer these questions (and others): What does it mean to be “American” in the twentieth and twenty-first centuries? What is the story of the twentieth-century U.S. and why is it important that these authors tell it in the way they do? Authors may include: Mark Twain, Edith Wharton, Jack London, W.E.B. Du Bois, Zitcala Ša, Nella Larsen, William Faulkner, Kurt Vonnegut, Toni Morrison, Audre Lorde, Sherman Alexie, Ron Rash, and others.

ETS 119-2 Topics in U.S. Literary History: We Protest—The Art of Dissent
MW 2:15-3:35pm
Instructor: Chris Eng

Dissent has always been central to the project of American democracy. From fights for emancipation in the nineteenth century to Black Power and Occupy Wall Street, protest movements elucidate and challenge the inequalities innate to the nation, demanding a more perfect union. Practitioners of dissent underscore that how we narrate our demands impacts the possibilities for political efficacy in achieving these goals. They thus compel us to consider the art of dissent. Accordingly, this course examines how distinct genres of vocalizing dissent (i.e. manifestos, pamphlets, petitions, protest novels) work in tandem with modes of radical collective action (i.e. strikes, movements, rallies, sit-ins). Contemplating the longer political and literary history of protest in the United States, we will read writings by dissenters that might include Frederick Douglass, Sutton Griggs, Audre Lorde, Claudia Rankine, Karen Tei Yamashita, and Sunil Yapa. Focusing in on the freedom dreams of the 1960s-70s radical social movements and contemporary movements such as Black Lives Matter that organize against police brutality and the rampant xenophobia following the 2016 election, we will contemplate the possibilities for art to mobilize a collective “we” that not only protests uneven power structures, but also crafts imaginative visions for a socially just world.

ETS 121-1 Introduction to Shakespeare
TuTh 11:00am-12:20pm
Instructor: Evan Hixon

In her preface to the Bedford edition of Romeo and Juliet, Dympna Callaghan writes that, “[c]ontrary to popular opinion, Shakespeare’s plays bear no resemblance either to mathematical problems requiring a solution (the meaning of the play) or to Sphinx-like riddles whose enigmas must eternally haunt us (the mystery of the play)”. Taking this suggestion seriously, this course will serve as an introduction to the writing and life of William Shakespeare, the most famous and well-read playwright of early modern England. Through reading a selection of his plays, this course intends to give students an overview of Shakespeare’s works, his language and the world in which he lived. Beyond simply rehearsing plot lines and famous quotations, this course will emphasize the social, historical and theatrical conditions which impacted the production and consumption of Shakespeare’s plays during the late 16th and early 17th century. The primary goal of this course is to teach students the skills necessary to perform sustained critical analysis of Shakespeare’s text as well as provide students with a better understanding of Shakespeare’s world and his place within the literary canon. No previous knowledge of Shakespeare is required for this course, but this is a reading and writing intensive course.

ETS 122-1 Introduction to the Novel
TuTh 5:00-6:20pm
Instructor: Maxwell Cassity

Where did the novel come from? What is the first novel? How did the novel come to evolve in an American context? How have literary aesthetics and movements such as realism, naturalism, modernism, and postmodernism influenced the development of the novel as a genre? This course will examine the origins and rise of the genre and explore how the novel has come to play a major role in the literary history of America. Students will explore critical writings on genre, aesthetics, and form alongside excerpts and full novels from a range of authors including Miguel Cervantes, Aphra Benn, Daniel Defoe, Herman Melville, William Faulkner, Toni Morrison, and others.

ETs 145-1 and 145-3 Reading Popular Culture
M001: MW 12:45-2:05pm with Screening on W 7:00-9:45pm
M003: MW 3:45-5:05pm with Screening on W 7:00-9:45pm
Instructor: Steven Doles

The vast majority of the texts and objects we experience in our everyday lives, from TV shows to toothbrushes, are mass produced within a commercial context. Scholars and critics have frequently been highly skeptical of these texts, seeing them as overly commodified and inferior to high art. However, within the past several decades a model of popular culture has become more prominent within the academy which examines the ways people make use of cultural products rather than how these products use and exploit their consumers. In this course, we will examine both sides of this debate, gaining an understanding of important concepts in the study of popular culture, and applying them to a wide variety of examples. The course will take us from discussions about how to define popular culture and how to recognize the elements that can make a text meaningful to a popular audience, to examinations of actual instances of fandom, including fan fiction and videos. Specific case studies will include phenomena such as comic book fandom and Star Trek conventions, but students are also encouraged to bring their own experiences and knowledge into discussion and assignments, which might include two papers, a midterm and final, and short writings throughout the semester. Attendance at weekly screenings is required.

ETS 146-1 Interpretation of New Media
TuTh 2:00-2:55pm
Screening Th 7:00-9:45pm
Discussion Sections: F 11:40-12:35pm; 12:45-1:40pm
Instructor: Chris Hanson

While print, films, interactive texts, and other modes of expression have traditionally been construed as separate entities, now we may also read and experience these diverse forms through a screen-based device such as a computer or mobile device. This course studies the growing number of forms in which a given cultural text is expressed and how our understanding of that text is shaped by its medium. We will examine the means by which “new” screen media are defined as well as the textual, cultural, and social implications of their deployment. While the boundaries between “old” media were clearly demarcated, digital media merge forms and practices with new technologies of production, delivery, and display. We will explore the commonalities across a range of screen-based forms, while also assessing the unique aspects that truly differentiate a given medium from another. This course will examine the function of medium specificity and its application to both “old” and “new” textual forms to map the ways in which our modes of reading shift from text to text and from screen to screen.

ETS 151-1 Interpretation of Poetry
MW 2:15-3:35pm
Instructor: Bruce Smith

The course will consist of discussions of poems from the various traditions of poetry: from anonymous ballads to spoken word poetry. I’m interested in what makes the poem memorable and moving, how it is a vehicle for the intellect and the emotions, how it’s “the act of establishing communication between the mind and the heart”. I’m interested too in what ways the poem provokes and challenges us, what gives the poem its power to seduce and trouble and soothe, what gives it its music and voice as distinct from speech.

Students will be asked to write 6 two-page papers in which they examine closely a single poem by a poet from the text. Students may opt to write more papers (up to 8) and receive extra consideration for them. In addition, students will be asked to choose a poet and present the work of the poet in a 4 to 5-page paper. Emphasis in discussions is on style and substance, music and image. Multiple ways of reading poems will help the students expand the range of poetic possibilities.

ETS 153-1 Interpretation of Fiction
Lecture: MW 11:40am-12:35pm
Discussion Sections: F 10:35-11:30am; 11:40am-12:35pm
Instructor: Kevin Morrison

Fictional texts, including short stories, novellas, and novels, invite us as readers to enter worlds very different from, or quite similar to, our own. These worlds may be long gone, as in the case of historical fiction, or, as with science fiction, not yet come. They may be ideal (utopian fiction), nightmarish (dystopian fiction), or downright terrifying (post-apocalyptic fiction). Or they may closely approximate the world you already inhabit (realist fiction). This is a course for anyone who loves fiction and is curious about how its formal elements—point of view, plot, character, description, narrative, dialogue—contribute to our understanding of a given work. By reading a variety of texts culled from different historical periods, national literatures, and genres, and through a mixture of lecture and discussion, you will come to more fully appreciate how fiction works, what it contains, and why it continues to matter.

ETS154-1 Interpretation of Film
MW 12:45-1:40pm
Screening M 7:00-9:45pm
Discussion Sections: Th 3:30-4:25pm; Th 5:00-5:55pm; F 9:30-10:25am; F 10:35-11:30am
Instructor: Roger Hallas

This course provides a comprehensive introduction to the interpretation of film. Regarded as the quintessential medium of the last century, cinema has profoundly shaped the ways in which we see the world and understand our place within it. Focusing principally on classical and contemporary English-language cinema, we will investigate precisely how meaning is produced in cinema. The course integrates a close attention to the specific aesthetic and rhetorical aspects of film with a wide-ranging exploration of the social and cultural contexts that shape how we make sense of and take pleasure in films. We shall also devote attention to the question of history: How may one interpret a film in relation to its historical context? Film history incorporates not only the films that have been produced over the past one hundred years, but also an understanding of how the practice of movie-going has transformed over time. No prior film experience is required.

ETS 155-2 Interpretation of Nonfiction
TuTh 11:00am-12:20pm
Instructor: Rachel Snyder-Lockman

This writing-intensive course offers an introduction to literary nonfiction. We will read nonfiction from the American social protest literary tradition in a variety of forms including essays, history, journalism, letters, memoir, pamphlets, and speeches. As we read, we will learn about literary elements including voice, style, structure, plot, point of view, setting, characterization, and theme. We will also consider each text’s purpose and audience. Possible assignments include but are not limited to three five-page papers, weekly written reflections, and a final exam.

ETS 155-3 Interpretation of Non-Fiction
MW 3:45-5:05pm
Instructor: Johnathan Sanders

Contrary to popular belief, we rarely (if ever) have access to “pure knowledge” of the world; facts are always shaped by the way in which they are communicated. This course seeks to examine the intersection of two of these mediating forces – medium and genre – by examining works of non-fiction invested in issues surrounding technology. By paying close attention to aspects of these texts’ construction such as tone, point of view, and narrativization, we can better understand how and why people attempt to represent “reality” in various contexts. The course will begin by examining some fears and fantasies about technology both past and present, exploring manifestos, essays, and reportage from the turn of the century onwards. We will move on to non-literary forms of non-fiction – audio, photography, and documentary film – in order to investigate questions of truth and identity in a technologically mediated world. Towards the end of the course, our focus will shift towards new media forms of non-fiction (such as hypertexts, video essays, and docu-games) and how they complicate our understandings of knowledge production and representation in the digital age.

ETS 175-1 World Literature from 1000 C.E. to the Present
TuTh 9:30-10:50am
Instructor: Harvey Teres

This course will introduce you to some of the most valued and enduring examples of world literature since 1000 C.E. Texts will likely include Dante’s Inferno; the African epic Sundiata; Cervantes’ Don Quixote; Shakespeare’s Othello; Voltaire’s Candide; Wu Cheng’en’s Journey to the West; Basho’s haiku poetry; Goethe’s Faust; Ghalib’s and Tagore’s poetry; fiction by Chekhov, Lu Xun, Woolf, and Borges; T. S. Eliot’s The Waste Land; Anna Akhmatova’s poetry; and Soyinka’s Death and the King’s Horseman. The objective of the course is to enhance your global cultural literacy by familiarizing you with some of the most influential books and cultures from around the world. This will prepare you to become an informed global citizen and at the same time provide essential background for understanding English and American literature and culture. Classes will alternate between lectures and discussions. You will have the option of either producing shorter response papers or traditional midterm and final interpretive essays.

ETS 181-2 Class and Literary Texts
MW 2:15-3:35pm
Instructor: Sean M. Conrey

From Dickens’ descriptions of living conditions in Victorian England, James Agee’s stories of tenant farmers during the Depression, to Ursula LeGuin’s’s speculative fiction focused on labor exploitation, questions of social class have long been a focus of novelists’, poets’ and essayists’ work. Parallel to the ways that writers affect and engage social class, critical readers can engage with the concepts of social class as they read. Concerned with the social divisions of privilege, wealth, power and status, class, like race and gender, is a social construction that is imposed on, and performed by, all of us as a way of stratifying and defining who we are. Though the restraints of social class readily subject us to the power of others, these restraints may also, when well understood, provide a springboard for advocacy and direct social action. This course provides an introduction to these concepts and exposes students to key texts in literature, film and other media as a way of fostering critical engagement and developing richer social responsibility through textual interpretation.

ETS 182-1 Race & Literary Texts
TuTh 2:00-3:20pm
Instructor: Chris Barnes

Michael Omi and Howard Winant define race as “a concept which signifies and symbolizes social conflicts and interests by referring to different types of human bodies.” Even though race has been shown to have no biological basis, it nonetheless, as Omi and Winant indicate, is a construction that shapes our daily, lived experience, as well as our relationship to society at large. By taking students through a progression of section topics that together build a coherent understanding of race, the state, history, and cross-racial solidarity, this course will help illuminate the ways in which past issues and concerns surrounding race resonate with contemporary concerns. We will use literary and other cultural texts to interrogate issues of race in America in the twentieth and twenty-first century; to explore how racial categories have been (re)created; and to investigate how categories like gender, class, and sexuality intersect with race. Authors may include Jean Toomer, Nella Larson, Claudia Rankine, and Junot Diaz. Through classroom participation, close reading exercises, and three extended essay assignments, students will learn how to use the practice of close reading to interpret and analyze the ways texts encourage us to engage with race as an identity and cultural category.

ETS 182-2 Race and Literary Texts
TuTh 5:00-6:20pm
Instructor: Haejoo Kim

The aim of this course is to explore the textual representation of race and their cultural and social implications. By looking at a variety of materials including novels, novellas, essays, and short stories, we will examine how race as a social category has been and continues to be historically constructed, reproduced, and interrogated. Some of the major questions with which we will engage are: How was the category of human historically constructed in Western tradition, and what was its relationship with race? How has been “blackness” represented in American context? How do race interact and intersect with other social formations, such as gender, class, and nationality? What is the history of colonialism and what is its effect? To address these questions, we will be covering a range of writers such as Alice Walker, Jamaica Kincaid, Toni Morrison, Nella Larson, Mary Shelley, Nam Le, and Helen Oyeyemi.

ETS 184-2 Ethnicity and Literary Texts
TuTh 3:30-4:50pm
Instructor: Elizabeth Gleesing

The United States is commonly referred to as a multicultural society, a melting pot, and a nation of immigrants. With these designations in mind, this class seeks to question the relationship between identity and ethnicity in contemporary U.S. literary texts. In taking ethnicity as a lens, we can ask questions about what it means to be included in or excluded from American identity and what relationship there is between who we are and the places from which we and our ancestors have come. Along with these central questions, we will analyze themes of intra- and intergenerational conflict, in-between identities that seem to straddle national borders, and experiences of being a refugee or being a stateless person, effectively estranged from one’s home country. Potential authors we will study include: Sherman Alexie, Helena María Viramontes, Jhumpa Lahiri, Gene Luen Yang and Gloria Anzaldúa. In addition to written texts, we might also look at how short films like Beyoncé’s Lemonade and Rea Tajiri’s History and Memory visually communicate ideas of generation change and historical memory. Assignments are likely to include turning in weekly informal responses, generating questions for discussion, and writing three analysis papers.

ETS 192-1 Gender & Literary Texts
TuTh 12:30-1:50pm
Instructor: Carol Fadda

In this course, students will read and analyze the portrayal and role of gender in a collection of literary texts, focusing on the ethnic, cultural, racial, sexual, historical, and creative implications of gender in relation to the texts' writers and characters. The selected literature includes novels, poetry, essays, short stories, and a graphic novel by Toni Morrison, Alison Bechdel, Randa Jarrar, and David Henry Hwang. This course is reading intensive, so students should be ready to handle rigorous reading assignments, accompanied by writing analytical papers that would reflect the students’ understanding of the issues raised in these texts. The main objective of this course is to develop students’ critical thinking capabilities as well as their analytical readings skills.

ETS 192-3 Gender and Literary Texts
MW 5:15-6:35pm
Instructor: Ashley O’Mara

When people say that gender is a social construct, what do they mean? This writing-intensive course will explore how authors and creators have written, unwritten, and rewritten gender in response to how ideological and social systems define it at notable moments in history — from asexuality to ze pronouns, and from creation narratives to current events. We will pay special attention to how these systems manifest in marriage and celibacy, family and friendship, heteronormativity and homosociality, and feminism and patriarchy, as we consider how race, class, sexual orientation, and disability impact gender identity and expression in different sociohistorical contexts. The class will look at a range of media and genres, including fiction, nonfiction, poetry, theater, film, the graphic novel, fanfic, games, and music. Readings may include works by authors such as Kempe, Shakespeare, Woolf, Hughes, and Kingston, as well as both popular and documentary visual media. Critical readings may include theory from Anzaldúa, Butler, Foucault, and hooks. Students will develop literacy and analytic skills through close-readings, critical essays, and creative projects based on the course texts.

ETS 215-4 Introductory Poetry Workshop
M 3:45-6:30pm
Instructor: Jules Gibbs

Writers, said Saul Bellow, are readers moved to emulation. In this course, students will closely study poems in our various traditions so that they may develop a more sophisticated understanding of what makes a poem work, and thereby emulate those strategies in their own writing. Through reading assignments, writing exercises, peer critiques, lively and engaged in-class discussions, and attendance at various author readings, students will develop a critical acumen, hone verbal and written critiquing skills, and draft and revise original pieces of poetry with an eye towards craft and invention.

ETS 217-3 Introductory Fiction Workshop
Th 12:30-3:15pm
Instructor: Jonathan Dee

This course will acquaint students with some of the fundamental rules, tricks, pleasures, etc. of storytelling in prose. Each week students will read and critique fiction written by their peers, as well as published work by modern writers. Students must come to class prepared and willing to discuss these stories. There will be in-class writing exercises and prompts. Class attendance and participation are mandatory.

ETS 230-1 Ethnic Literary Traditions: Travel Narratives and Pilgrimages
TuTh 12:30-1:50pm
Instructor: Ken Frieden

When does a trip become a pilgrimage? The more we invest a destination with meaning, the more appropriate it is to call a visit a pilgrimage. Sea voyages influenced the rise of the European novel, and travel has been a prominent motif in religious literature and popular culture. We will look at pilgrimage narratives and accounts of secular travel, primarily by Jewish travelers.
In this writing intensive course, students will be asked to write very short analyses—just a few sentences—for almost every class session. You will also write your own travel narratives.
Sample Texts:

Jewish Travelers in the Middle Ages: 19 Firsthand Accounts. Ed. Elkan Nathan Adler. New York: Dover, 1987.

Romanelli, Samuel. Travail in an Arab Land. Trans. Yedida K. Stillman and Norman A. Stillman. Tuscaloosa: University of Alabama Press, 1989.

Nahman of Bratslav and Nathan Sternharz [1806-1810/1815]. The Tales. Trans. Arnold J. Band. New York: Paulist Press, 1978.

ETS 242-4 Reading and Interpretation
TuTh 2:00-3:20pm
Instructor: Meina Yates-Richard

ETS 242-5 Reading and Interpretation
MW 12:45-2:05pm
Instructor: Patricia Roylance

ETS 242 introduces students to the discipline of English and Textual Studies, stressing not what we read but how we read it. We will learn how meanings are created through acts of critical reading as well as demonstrate the consequences of pursuing one way of reading over another. This course is designed to enhance your ability to read and interpret contextually as well as closely, to help you to articulate your understanding effectively and to draw connections through reading and writing. Through close, deep and thoughtful reading of literary and non-literary texts as well as essays by critics and theorists, we will explore the ways readers produce meaning. These meanings are produced both from the perspective of each reader’s unique experiences, and through various critical and theoretical approaches. Each section of ETS 242 takes up issues of central concern within contemporary literary and cultural studies. These include representation, language, reading, authorship, subjectivity, ideology, culture, history and difference.

ETS 304-1 Reading and Writing Poetry
TuTh 9:30-10:50am
Instructor: Sarah Harwell

T. S. Eliot said that minor poets borrow while great poets steal. From classical antiquity to the present, poets have always learned their trade by imitating other poets. They have pursued their individual talent by absorbing, assimilating, and in some cases subverting the lessons of the traditions they inherit. In this class, we will read and imitate poems from canonical poets. We’ll examine each poet closely, sympathetically, and predatorily. That is, we will read like aspiring writers, looking for what we can steal. We will deepen our understanding of a variety of poetic devices, such as diction, image, music, and metaphor. We will attend to each poet’s stylistic and formal idiosyncrasies, as well as his or her techniques and habits. You will be required to display an understanding of these issues by producing creative and analytical responses to the poets studied.

ETS 305-1 Critical Analysis: The Racial Imagination
MW 12:45-2:05pm
Instructor: Silvio Torres-Saillant

This course will look at theories of race with a focus on the intellectual history of responses to the advent of blackness, the rise of whiteness, and the partition of humanity into phenotypically differentiated branches as captured by literature and thought across several centuries. The class will survey William Shakespeare’s “dark lady” and the Bard’s relationship with Lucy Negro, Ben Jonson’s The Masque of Blackness, Thomas Jefferson’s reading of Phillis Wheatly, William Taylor Coleridge’s difficulty with the “race” of Othello, Wallace Stevens’ stigmatization of Gwendolyn Brooks, and the critical discussion about the all-black production of “white” plays on the contemporary American stage, among other “racial moments” in literature and thought. The class will consider these vis-à-vis the representation of phenotypical difference in texts written in European countries from Homer through the 1400s prior to the rise of the Christian West and the advent of the racial other as a factor of social relations and geopolitical exchange.


ETS 305-2 Critical Analysis: Literature and its Media
TuTh 12:30-1:50pm
Instructor: Chris Forster

We usually talk about “novels,” “poems,” or “films” (and texts of various other kinds). But what about the paper and ink (or parchment or wax or celluloid or LCD screens or tablets) that carry those texts? Does the history of these materials affect literary forms? Do they change how, or what, we read? This class pursues these questions by turning to the field of media studies, to see what implications it may have students of literature and culture. This class will cover a diverse and historically broad set of materials and concerns, looking at the history of texts from the ancient world (and oral poetry) through to contemporary developments in digital culture (poetry written on, and with, the Web; novels written on Twitter). We’ll read key thinkers and theorists of media studies (and related fields, like book history) as well as literary texts which foreground their own medium in provocative ways (like Tristram Shandy). Likely critics include Plato, Walter Ong, Marshall McLuhan, Friedrich Kittler, and Walter Benjamin, alongside works by major poets, novelists, and writers (including Laurence Sterne, E. E. Cummings, and Teju Cole). Course work will include a final essay, regular short responses, and a presentation to the class, as well as some experiments with media and its history.

ETS 310-1 Literary Periods: U.S. Southern Literature in the 20th Century
MW 12:45-2:05pm
Instructor: Susan Edmunds

In this course, we will read novels and short stories about the U.S. South. After a brief look at nineteenth-century literary antecedents in works by Edgar Allan Poe and Charles Chesnutt, we will focus on fiction written in the twentieth century. We will examine aesthetic modes and categories that have been strongly associated with the South, such as the gothic, the grotesque, the folk, and the vernacular. And we will explore the literary evolution of Southern character types ranging from white trash and the black folk to the doomed aristocrat, the conjure woman, the sexual queer and the freak. Throughout the course, we will examine how writers have used these literary genres and character types to talk about race in (and beyond) the South -- particularly as race relates to questions of gender and sexuality, wealth and poverty, violence and the law, and regional and global power relations. Texts include: Erskine Caldwell, Tobacco Road; William Faulkner, As I lay Dying; Richard Wright, Black Boy; Truman Capote, Other Voices, Other Rooms; Cormac McCarthy, Child of God; Toni Morrison, Tar Baby; and Susan Choi, The Foreign Student.

ETS 311-1 Literary Periods Before 1900: Romance in the Middle Ages – “What’s Love Got to Do with it?”
TuTh 2:00-3:20pm
Instructor: Patricia Moody

Before the twelfth century, western vernacular writings dealt almost exclusively with religious, historical, and factual themes, all of which were held to convey the truth. During the second half of the twelfth century, however, a new genre emerged: the romance, which was consciously conceived as fictional and therefore allowed largely to break free from traditional presuppositions. Medieval romances astound the modern reader—first, by their broad circulation throughout Europe; second, by the multitude and variety of stories, characters, themes, and motifs they reveal; and finally, by the sheer diversity of their forms and subject-matter, complexity of narrative strategies and perspectives, and the critical responses they invite. This course offers an examination of medieval fictionality. Beginning with the origins, forms, and contexts of medieval romances, we examine the emergence of romance in its first formative period in the twelfth century, the role of magic and fantasy, and transformations of stories from ancient to modern times. Throughout we will consider the difficulties of the genre and the kinds of sociological and cultural issues romance interrogates.
Pre-1900 course.

ETS 311-2 Literary Periods Before 1900: Love and Marriage in Shakespeare’s England
MW 5:15-6:35pm
Instructor: Melissa Welshans

The Beatles once famously sang, "All you need is love." This course will take this phrase as a starting point for exploring "love" and its iterations in early modern England, especially as it relates to the institution of marriage. What was the status of "love" in the time of Shakespeare--a time when romantic ideals often conflicted with the realities of match-making? How was it defined, expressed, cultivated, destroyed? How did it manifest in marriage, and what were other acceptable social sites of love? Texts under consideration will include a number of Shakespeare's works, including Twelfth Night, Romeo and Juliet, and Antony and Cleopatra, as well as works by his contemporaries: Thomas Middleton and Thomas Dekker's The Roaring Girl, Elizabeth Cary's Tragedy of Mariam, and assorted poetical works by the likes of Edmund Spenser and John Donne. Assignments will include at least one short paper, an oral presentation, and one longer research paper. Pre-1900 course. This course will meet the Shakespeare requirement for English Education Majors.

ETS 311-3 Literary Periods Before 1900: Eighteenth-Century Worlds
TuTh 5:00-6:20pm
Instructor: Erin Mackie

This course explores some important topographical, social, and cultural sites of the British eighteenth century. We look at how people oriented themselves to the new urban physical and media landscapes; how they negotiated relations between the metropolis and its New World colonies; how they navigated an ever more demanding world of fashion and consumption; and how they developed new interior landscapes of the imagination, aesthetic taste, and emotional response. Paying attention to formulations of class and status, taste and decorum, gender, nationality, and ethnicity, we will look at how modern notions of difference, cohesion, legitimacy, and cultural aesthetic value were formed. We will end the course looking at the contemporary reconstruction of an eighteenth-century world in Williamsburg, Virginia. Authors we will read include: John Dryden, John Wilmot, Earl of Rochester, Aphra Behn, Jonathan Swift, Alexander Pope, Joseph Addison, Richard Steele, Frances Burney, Samuel Johnson, Thomas Gray, and Oliver Goldsmith. Pre-1900 course.

ETS 315-1 Ethnic Literatures & Cultures: U.S. Immigrant Fiction in the 20th and 21st Centuries
MW 2:15-3:35pm
Instructor: Susan Edmunds

Celebrations of the immigrant past are common in the U.S., where we like to associate immigrant stories with the American Dream and the idea of the American Melting Pot. But the fiction of our immigrant writers reveals a much more complex picture. In this course, we will read fiction that portrays immigrant experiences marked by ethnic and racial conflict, shifting gender and family norms, debates about the value of assimilation, and the traumatic effects of war, dislocation and uncertain legal status. We will also examine literary tropes developed across immigrant traditions during a century in which the United States’ rise to global dominance has not only changed who immigrates to the U.S. and why, but also the stories immigrants tell. Texts include: Abraham Cahan, Yekl; Louis Chu, Eat a Bowl of Tea; Jamaica Kincaid, Lucy; Helena Maria Viramontes, Under the Feet of Jesus; Lê Thị Diễm Thúy, The Gangster We Are All Looking For; Junot Diaz, The Brief, Wondrous Life of Oscar Wao; and Imbolo Mbue, Behold the Dreamers, as well as short stories by Sui Sin Far, James Farrell, Hisaye Yamamoto, Nam Le, and Jhumpa Lahiri.


ETS 315-2 Ethnic Literatures & Cultures: Reading Lives
MW 3:45-5:05pm
Instructor: Silvio Torres-Saillant

This course introduces students to autobiography--broadly conceived to include memoirs, testimonial texts, and other forms of life-writing—with a focus on works published by US authors of various ancestries, including Amerindian, Asian, African, and Hispanic descent as well as writers of Jewish, Irish, and Italian ancestry prior to their entering the sphere of US whiteness. We study life-writing as a literary genre and as a means for individuals to enter the realm of history. We consider autobiography in terms of its similarity to and difference from fiction while exploring the notion of ethnicity, race, and ancestry as these appear represented in written lives. We will read “ethnic” American texts that set out to narrate the self, taking on the difficulty inherent to the problem self-representation and the equally complex challenge of performing a social identity in a text. We consider the fortunes of live-writing when practiced by writers whose community of shared heritage resides in marginal sectors of the social system, asking how they interact with the way mainstream authors write themselves into history. Authors studied include Benjamin Franklin, Frederick Douglass, Carlos Bulosan, Jovita Gonzalez, John Okada, Luther Standing Bear, Mario Puzo, Anzia Yezierska, William Alfred, Claude Brown, Piri Thomas, Sui Sin Far, Maya Angelou, Julia Alvarez, Norma E. Cantu, Alice Walker, Jack Agueros, Esmeralda Santiago, and Essie Mae Washington-Williams.

ETS 320-1 Authors: Hollywood Directors of the 1950s (meets with HOA-300)
TuTh 3:30-4:50pm
Screening W 7:00-10:00pm
Instructor: Will Scheibel

The 1950s was a decade of socio-cultural change in the U.S. after World War II and industrial reorganization in Hollywood after the Paramount Case of 1948, an event that signaled the decline of the old studio system. While surveying the major Hollywood directors of the era, this course will introduce you to the critical, theoretical, and historical methods of studying film authorship. Beginning with “the auteur theory” in its French and Anglophone conceptions, we will move from aesthetics of signature style and personal vision to the politics of authorship and identity. We will then build from these issues to look at directors in the contexts of postwar U.S. ideology and culture more broadly, from mid-century modernity to consumerism and popular art, from social problem discourses to the anti-Communist “Red Scare” of the HUAC investigations. Finally, we will consider the historical-material conditions of working in the U.S. motion picture industry, as directors adapted to changes in Hollywood filmmaking practice: a new, horizontally integrated mode of production, distribution, and exhibition; economic constraints; weakening censorship regulations from the Production Code Administration; and competition with television through color and widescreen technologies. Cinema studies has long been invested in the Hollywood directors of this profoundly transformative decade. This course seeks to understand why, and also what their legendary films, careers, and reputations still have to teach us about the history of U.S. cinema. Film and Screen Studies course.

ETS 320-3 Authors: J.R.R. Tolkien
TuTh 11:00-12:20pm
Instructor: Pat Moody

J.R.R. Tolkien was a university professor, philologist, poet, and writer—hardly the credentials that would cause him to be called “the writer of the century.” His writings, however, particularly The Lord of the Rings and The Hobbit, have propelled his name to such fame as he never dreamt of. This course will trace Tolkien’s career as academic AND writer: we’ll read his translation of Beowulf (paying close attention to his copious notes), his scholarly articles, and his edition of Sir Gawain and the Green Knight. We’ll learn about his friends at Oxford, known as The Inklings, and then turn to the works that have made him so famous, concentrating on how Tolkien’s vast learning and curiosity about myth and oral literature inform his fiction. We may even learn to write in runes and speak Elvish!

ETS 321-1 Authors Before 1900: Brontes
MW 2:15-3:35pm
Instructor: Claudia Klaver

The Byronic Hero, the madwoman in the attic, the Gothic romance, and the feminist heroine: these are a few of the legacies left by the writing of the Bronte sisters, their biographers, and their twentieth-century critics. This course will examine at once the writings of Ann, Emily, and Charlotte Bronte and the “myth of the Brontes” as constructed by Charlotte Bronte herself, her first biographer, Elizabeth Gaskell, and by critics and fans through to the present day. We will read selections from the Bronte juvenilia; Elizabeth Gaskell’s influential Life of Charlotte Bronte; and the novels, Ann Bronte’s Tenant of Wildfell Hall, Emily Bronte’s Wuthering Heights, and Charlotte Bronte’s Jane Eyre and Villette. We will end the class by reading two very different “rewritings” of Jane Eyre, Jean Rhys’s postcolonial novel, The Wide Sargasso Sea, and Daphne Du Maurier’s mid-20th–century Gothic romance, Rebecca. Our secondary readings will focus on historical contexts of the Brontes and the emotional worlds of their novels. These emotional worlds are key to understanding the imaginative power of these novels for romance reader and feminists alike. Students will work facilitate class discussion, conduct and present independent research, and write three 5-7 page essays. Pre-1900 course.


ETS 360-1 Reading Gender & Sexualities: Gender and Sexualities in the Arab World and its Diaspora
TuTh 9:30-10:50am
Instructor: Carol Fadda

This course explores the ways in which gender and sexualities are represented in an array of visual, historical, and literary texts from the Arab world and its diaspora. Some of the main issues that will be addressed include the historical development of feminism in the Arab world, the construction of gender roles in the context of war and conflict, as well as the outspokenness of many of the region's writers on topics such as love, sex, and homosexuality. In studying these issues, we will also be focusing on texts by writers of Arab descent living in the US who respond to and engage with their counterparts in the Arab world on some of the same topics but from a diasporic perspective, thus emphasizing a transnational and transcultural approach to our study of gender and sexuality. The main aim of the course is to familiarize students with some of the main issues surrounding the topics of gender and sexualities in the Arab world, encouraging them to sharpen their critical and analytical skills in their engagement with this material.

ETS 360-2 Reading Gender & Sexualities: Queer (Be)Longings of Asian American Literatures
MW 5:15-6:35pm
Instructor: Chris Eng

There’s something queer about the relationship between Asian/Americans and U.S. national identity. From the bachelor sojourner to the forever foreigner, representations of Asian bodies as alien illuminate how citizenship extends beyond legal status to encompass cultural notions of national belonging. As ideals surrounding heteronormative domesticity consolidated criteria for who counts as American, Asian bodies were constructed as a threatening other, exhibiting modes of gender and sexuality deemed improper, perverse, and deviant. Since these depictions were used to rationalize exclusionary policies, dominant efforts have responded by refuting these representations and thus further marginalizing gay and lesbian struggles. Instead, this course centers LGBTQ Asian/American experiences that proliferate queer (be) longings to critique the inequities of citizenship and imagine alternative social visions. It explores a range of cultural texts including novels, plays, experimental film, and performance art—by artists including David Henry Hwang, Maxine Kingston, and Chay Yew—that proffers forms of belonging and longing that exceed the conventional parameters of American identity. “(Be) longing” thus serves as our guiding framework for grappling with the historical configuration of Asian/Americans as perverse subjects of U.S. citizenship and war as well as the creative modes of queer world making enacted through activism and art that desire otherwise.

ETS 361-1 Gender & Sexuality Before 1900: Sex and the City in English Renaissance Drama
MW 12:45-2:05pm
Instructor: Melissa Welshans

Before Carrie Bradshaw was writing about the struggles of dating in The Big Apple, writers in Renaissance England were exploring the nature of romance in the bustling metropolis of London. This course will attend specifically to the plays known as “city comedies” that proliferated at the turn of the seventeenth century and consider the ways in which they articulate the unique challenges urban living presented to matters of gender, sex, sexuality, courtship, and romance in renaissance London. Specific texts under consideration will likely include Thomas Dekker’s The Shoemaker’s Holiday, Ben Jonson’s Bartholomew Fair, Thomas Dekker and Thomas Middleton’s The Roaring Girl, John Marsten’s The Dutch Courtesan, and Thomas Middleton’s Chaste Maid in Cheapside. Assignments will include at least two short papers and an oral presentation. Pre-1900 course.

ETS 401-3 Advanced Poetry Workshop
Tu 3:30-6:20pm
Instructor: Brooks Haxton

The purpose of this course is to develop the writer’s skill to make an experience vivid and accessible for readers. In discussion and written comments on each other’s work students use imagination and intelligence to help each other accomplish this difficult task. Everyone writes one new poem each week, some in response to assignments, and then revises four of these into carefully considered form. Requirements include reading, written analysis of poems, and memorization. The course is open to anyone who has taken the introductory workshop. Juniors and seniors who have not had a workshop may submit a portfolio of ten pages of original poetry to be considered for admission. 

ETS 403-1 Advanced Fiction Workshop
Tu 3:30-6:20pm
Instructor: Arthur Flowers

This class is for fiction writers with workshop experience. We will work on writing and reading stories. In class we will discuss student work as well as work by contemporary writers. We will focus on useful critique, significant revision, and close reading

ETS 406-1 Advanced Critical Writing in ETS: Utopia and Dystopia
TuTh 12:30-1:50pm
Instructor: Crystal Bartolovich

The novelist Junot Diaz has recently called dystopia the “default narrative of our time,” given that apocalyptic images of civilizational collapse abound globally in many forms, from fiction, film, and games to political discourse and advertising. This course will consider how and why a preoccupation with society as a “bad place” (what dystopia means etymologically) has emerged as a cultural dominant by contrasting dystopia with “utopia” (“good/no place”)—a narrative form invented by the English Humanist Thomas More in early sixteenth England. We will read several utopias in their historical contexts as well as examine the emergence of dystopia when the historical conditions that encouraged utopianism changed. Possible texts include: Shakespeare’s Tempest, Bellamy’s Looking Backward, Huxley’s Brave New World, Butler’s Parable of the Sower and Bong Joon-ho’s Snowpiercer. In addition, this class will help you hone your research writing skills since you will be exploring a utopian/dystopian topic of your choice individually. Over the course of the semester, through a series of scaffolded assignments, you will research, draft and finalize a paper of 10-12 pages, demonstrating a sustained argument supported with appropriate evidence. Pre-requisites: A&S writing sequence, ETS 242 and two upper division ETS classes. Enrollment limited to 17.

ETS 410-1 Forms & Genres: Practices of Games
TuTh 11:00-12:20pm
Instructor: Chris Hanson

This course will explore the evolving form of digital games, tracing their historical roots in analog board games and other associated cultural modes of play to current and possible future iterations of video games. We will employ a range of critical approaches to gaming; digital games will be “read” and critically interrogated as texts, and the relationships between game, player, design, software, interface, and structures of play will be discussed. As we examine the development of games and their associated genres, we will investigate the historical, social, political, cultural, and economic contexts of individual games, and consider the relationship of games to other media forms and texts. Film and Screen Studies course.

ETS 410-2 Forms & Genres: Socially Engaged Hollywood
MW 5:15-6:35pm with Screening M 7:00-9:45pm
Instructor: Steven Doles

"If you want to send a message, use Western Union," a powerful studio executive says in an apocryphal, but oft-repeated, Hollywood legend. The line distills the common assumption that popular movies are intended to entertain, and that they are incapable of serious engagement with social causes. Throughout its history, however, Hollywood has released a large number of topical, engaged films commenting on contemporary issues, often to both critical and financial success. Our goal in this course is to return these films to their historical contexts, examining the purposes and meanings they served both for those who made them and those who watched them. We will develop a number of approaches to these films, thinking about topics such as how the studio system and censorship shape films as texts, to how different audiences engage with and interpret them, to how Hollywood narratives fit into a larger media environment. The weekly screenings scheduled for this course are required. Film and Screen Studies Course.

ETS 420-4 Cultural Production & Reception: Obscenity and Censorship
TuTh 3:30-4:50pm
Instructor: Chris Forster

At the start of the twentieth century, literature was often the object of government censorship. Indeed, obscenity trials play a key role in the literary history of the twentieth century. Yet, by the end of the century the lawyer Charles Rembar could declare “the end of obscenity” for works of literature. What happened?

This class offers an opportunity to consider this question by examining key novels that have been censored, declared obscene, or otherwise suppressed. How does the value of “art” contrast with that of obscenity or pornography? How do questions of gender and sexuality influence which works are suppressed? We will read key works (mostly from the 20th century) alongside court decisions and other accounts of the trials of key works of literature. Assignments include short essays and a longer writing assignment. Course texts will likely include a brief selection from James Joyce’s Ulysses, D. H. Lawrence’s Lady Chatterley’s Lover, Vladimir Nabokov’s Lolita, Radclyffe Hall’s The Well of Loneliness, and Salman Rushdie’s The Satanic Verses, among others.

ETS 421-1 Cultural Production & Reception Before 1900: Victorian Domesticity
MW 3:45-5:05pm
Instructor: Kevin Morrison

The Victorians are known for their intense affections. Lyric poetry—ranging from mawkish verse to philosophically complex ruminations on the epistemology of love (how does one know love? how does one know the other through love?) as well as the phenomenology of love (how do we experience it?)—celebrated the couple. Domestic idylls of the 1830s through the 1850s venerated the familial hearth and sang the praises of wife and mother. Marriage plot novels elevated love over the many other feelings (duty, obligation) and pragmatic motivations (joint labor, property consolidation) on which unions might be based. Yet if Victorian literature often sought to ennoble, refine, and provide an idiom for expressing the affections, it just as frequently explored the spectacular collapse of affective ties, the failures of intimacy, and the estrangement among families, spouses, and lovers. This course attends to the period’s complex renderings of Victorian domestic life. Pre-1900 course.

ETS 450-1 Reading Race & Ethnicity: Latinos in Cinema (meets with LAS-400 and HOA-400)
TuTh 9:30-10:50am
Screening Tu 7:00-10:00pm
Instructor: Will Scheibel

One of the fundamental qualities of cinema is its ability to mediate particular bodies in particular spaces, but what happens when those bodies and spaces construct racial or ethnic identity and difference for a mass viewing public? Cinema has the power to give visibility to minority groups on a global stage, just as it has the power to render those groups invisible or distort understandings of their lived experiences. This course focuses on the diverse Latino representations in U.S. narrative fiction film. We will look at the questions, problems, and meanings that arise from onscreen images of the Latinos, as well as how the creative labor and self-representation of Latinos have served as artistic expression and social protest from the margins of the film industry. As you learn the styles, themes, politics, and contexts important to this history, you will also learn the cultural competencies to read film texts from a critical ethnic studies perspective. Emphasizing particular contributions of Latino stars and filmmakers, course topics will include: the roles of national borders; relationships of ethnicity, gender, and sexuality; the Good Neighbor Policy; the Chicano Movement; migration narratives; transnational genre filmmaking; autobiography; and the global auteurism of New Mexican Cinema. Film and Screen Studies course.

ETS 495-1 Thesis Writing Workshop
Th 3:30-6:15pm
Instructor: Crystal Bartolovich

This course is a continuation of ETS 494. It provides a forum for small-group mentoring and directed research toward producing an ETS Distinction Essay/Honors Thesis. The workshop will largely involve presenting drafts of your thesis and engaging in collegial peer critique. Participation is by invitation only.