Results for ENGLISH

For undergraduates in English, the DLCL, and East Asian literatures interested in the novel and the events sponsored by the Center for the Study of the Novel (CSN) and to prepare them to attend CSN events with some understanding of the material presented. Each CSN event¿the New Book Events, the Ian Watt Lecture on the History and/or Theory of the Novel, and the Center's annual conference¿will either be preceded or followed by a colloquium, led by a member of the graduate student staff. In these colloquia, students will engage with the material under discussion, usually written by the speaker(s) on whose work the events are based. Participation at 75% of events and colloquia is mandatory for course credit. Precirculated readings will be made available for all colloquia preceding an event, and often for those held after the event, to enable students to develop a familiarity with issues pertaining to the theoretical and historical study of the novel.

Primary focus on giving students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests.nn

(English majors and others taking 5 units, register for ENGLISH 123 or AMSTUD 150). A survey of early American writings, including sermons, poetry, captivity and slave narratives, essays, autobiography, and fiction, from the colonial era to the eve of the Civil War.

(English majors and others taking 5 units should register for 144B). How do contemporary British novelists represent the dramatic changes in culture, class, landscape, economy, gender, race, and national identity that followed the allied victory in the Second World War (1939-1945) when Britain is said to have `won the war but lost the empire'? Focusing on writers born in the aftermath of the war, and the successive generation, this course asks what political, cultural, and literary concerns shape historical consciousness in novels by Zadie Smith, Ian McEwan, Kazuo Ishiguro, Jeanette Winterson, Hanif Kureishi, Julian Barnes Flaubert's, and Ali Smith.

Poetry and painting have often been called the "sister arts". Why? Sometimes a poem or a painting stands out to us, asking that we stay with it, that we remember it, although we cannot exactly say why. Poems have a way of making pictures in the mind, and paintings turn "rhymes" amid the people, places, and things they portray. Each is a concentrated world, inviting an exhilarating closeness of response: why does this line come first? Why does the artist include that detail? Who knows but that as we write and talk about these poems and pictures we will be doing what John Keats said a painter does: that is, arriving at a "trembling delicate and snail-horn perception of Beauty." Each week explore the kinship between a different pair of painter and poet and also focuses on a particular problem or method of interpretation. Some of the artist/poet combinations we will consider: Shakespeare and Caravaggio; Jorie Graham and (the photographer) Henri Cartier-Bresson; Alexander Pope and Thomas Gainsborough; William Wordsworth and Caspar David Friedrich; Christina Rossetti and Mary Cassatt; Walt Whitman and Thomas Eakins; Thomas Hardy and Edward Hopper.

Preference to freshmen. To what extent is it possible to describe an "American" experience? How are different people included in or excluded from the imagined community that is America? How do a person's race, class, gender and sexuality affect his or her experience of belonging to this country? These are just some of the questions we will consider as we familiarize ourselves with the great diversity of childhood and young adult experiences of people who have grown up in America. We will read and discuss narratives written by men and women, by urban, suburban, and rural Americans, and by Asian Americans, African Americans, Native Americans, Latina/os, and European Americans.

Required gateway course for Philosophical and Literary Thought; crosslisted in departments sponsoring the Philosophy and Literature track: majors should register in their home department; non-majors may register in any sponsoring department. Introduction to major problems at the intersection of philosophy and literature. Issues may include authorship, selfhood, truth and fiction, the importance of literary form to philosophical works, and the ethical significance of literary works. Texts include philosophical analyses of literature, works of imaginative literature, and works of both philosophical and literary significance. Authors may include Plato, Montaigne, Nietzsche, Borges, Beckett, Barthes, Foucault, Nussbaum, Walton, Nehamas, Pavel, and Pippin. Taught in English.

Though genre fiction has occasionally been castigated as a lowbrow form only pandering to the uneducated masses, this course reveals how Asian American writers transform the genre to speak to issues of racial difference and social inequality.

The elements of fiction writing: narration, description, and dialogue. Students write complete stories and participate in story workshops. May be repeated for credit. Prerequisite: PWR 1 (waived in summer quarter).

(Formerly 94A.) Historical and contemporary as a broad genre including travel and nature writing, memoir, biography, journalism, and the personal essay. Students use creative means to express factual content.

Prerequisite: PWR 1. Issues of poetic craft. How elements of form, music, structure, and content work together to create meaning and experience in a poem. May be repeated for credit.

For minors in creative writing. The forms and conventions of the contemporary short story and poem. How form, technique, and content combine to make stories and poems organic. Prerequisite: 90, 91, or 92.

Second in a three quarter sequence. Team-taught, and ranging in subject matter across almost a millennium from the age of parchment to the age of Facebook, this required sequence of classes is the department's account of the major historical arc traced so far by literature in English. It maps changes and innovations as well as continuities, ideas as well as aesthetic forms, providing a grid of knowledge and contexts for other, more specialized classes.

Shakespearean scholarship regularly observes a marked shift of interest in Shakespeare's late plays. Can we speak of "late Shakespeare," and how might that be useful in our understanding of plays such as The WInter's Tale or The Tempest? Can Coriolanus be considered a "late" play, and what do we make of Shakespeare's collaboration with John Fletcher on Henry VIII, The Two Noble Kinsmen, and possibly Cardenio? Our study of Shakespeare"s late plays will be guided by considerations of changing tastes, theatrical conditions, and authorial sensibility.

(English majors and others taking 5 units, register for ENGLISH 123 or AMSTUD 150). A survey of early American writings, including sermons, poetry, captivity and slave narratives, essays, autobiography, and fiction, from the colonial era to the eve of the Civil War.

introduction to literature of the 19th century with emphasis on the portrayals of love that pervade it. How 19th century poets and novelists imagined love and how it was shaped for them by genre, geography and gender. Does love redeem? What are the barriers to love? Readings include fiction by Bronte, Dickens, Eliot, Wilde, James and Hardy, and poetry by Keats, Browning, Rosetti, Tennyson, and others.

(English majors and others taking 5 units should register for 144B). How do contemporary British novelists represent the dramatic changes in culture, class, landscape, economy, gender, race, and national identity that followed the allied victory in the Second World War (1939-1945) when Britain is said to have `won the war but lost the empire'? Focusing on writers born in the aftermath of the war, and the successive generation, this course asks what political, cultural, and literary concerns shape historical consciousness in novels by Zadie Smith, Ian McEwan, Kazuo Ishiguro, Jeanette Winterson, Hanif Kureishi, Julian Barnes Flaubert's, and Ali Smith.

The course will focus on expatriate women writers - American and British - who lived and wrote in Paris between the wars. Among them: Edith Wharton, Gertrude Stein and Alice B. Toklas, H.D., Djuna Barnes, Margaret Anderson, Janet Flanner, Natalie Barney, Kay Boyle, Mina Loy, Romaine Brooks, Mary Butts, Radclyffe Hall, Colette, and Jean Rhys. A central theme will be Paris as a lure and inspiration for bohemian female modernists, and the various alternative and emancipatory literary communities they created.

Reading of central writers of the Beat movement (Ginsberg, Kerouac, di Prima, Snyder, Whalen) as well as some related writers (Creeley, Gunn, Levertov). Issues explored include NY and SF, Buddhism and leftist politics, poetry and jazz. Some exposure to reading poems to jazz accompaniment. Examination of some of the writers and performers growing out of the Beats: Bob Dylan, rock music, especially from San Francisco, and jazz.

Beginning with a sustained examination of T.S. Eliot's "The Waste Land," this class will explore the trope of ecological and/or spiritual devastation as it enters into other modernist (Hemingway, Cather, Faulkner, O'Neill) and postmodernist (Ballard, Atwood, McCarthy) projects, tracing this theme to its culmination in the contemporary zombie apocalypse.

What is African American literature? This course is both an introduction to some of the great works of black literary expression and an examination of this category. We will examine the formal and rhetorical strategies that figure most prominently in this literary tradition and investigate the historical circumstances (including slavery, Reconstruction, the Great Migration, and Jim Crow) that have shaped¿and been shaped by¿this body of literature. Topics to be addressed include canon formation, negotiations between fiction and history, sectional tensions (between North and South), gender politics, and folk culture.

Introduction to the reading of poetry, with emphasis on how the sense of poems is shaped through diction, imagery, and technical elements of verse.

An introduction to narrative and narrative theory challenging students through the larger thematic of power and subjection, whether routed through class and gender dynamics as portrayed in the work of Jane Austen and Virgina Woolf, or the elements of race and oppression as depicted in the representational terrains offered by Fae Myenne Ng and Adrian Tomine.

Kinships and friendships, publics and counterpublics, scenes and networks; feminist, gay/lesbian and queer theorists have long been preoccupied with the forms of social association. Some of these forms are relatively codified or institutionalized, while others are not. The text will help us think about how specific forms of association depend on but also potentially destabilize existing concepts of gender and sex; abouthow social forms are shot through with political as well as erotic desire; how they contribute to the making of specific subjects and narratives; how they make certain modes of collective life possible while also impeding others. We will do this not just by reading key essays in feminist and queer theory but literary works by Tennessee Williams, Henry James, Juliana Spahr, and Octavia Butler.

Small-class format focused on the close reading of literary texts and analysis of literary criticism. This class answers the questions: How do literary critics do what they do? What styles and gambits make criticism vibrant and powerful? Goal is to examine how one goes about writing a lucid, intelligent, and convincing piece of literary criticism based on original research.

An examination of theories as well as representations and enactments of three genres of feeling¿passions, emotions, and moods¿in western literature, philosophy, and social theory. Reading across five centuries and also across diverse literary genres, we will track changes and continuities in the cultural understanding of one particular cluster of feelings¿envy, jealousy, and competitiveness¿which has played an especially central role in the social life of subjects organized by the institution of the family and also by the economic system of capitalism.

Literary inventiveness and social significance of novelistic forms from the Hellenistic age to the present.

How urban form and experience shape literary texts and how literary texts participate in the creation of place, through the literature of three American cities as they ascended to cultural and iconographical prominence: New York in the early to mid 19th century; Chicago in the late 19th and early 20th centuries; and Los Angeles in the mid to late 20th century.

May be taken twice for credit. Lottery. Priority to last quarter/year in school, majors in English with Creative Writing emphasis, and Creative Writing minors. Prerequisite: 90 or 91.

Workshop. For screenwriting students. Story craft, structure, and dialogue. Assignments include short scene creation, character development, and a long story. How fictional works are adapted to screenplays, and how each form uses elements of conflict, time, summary, and scene. Priority to seniors and Film Studies majors. Prerequisite: 90.

Continuation of English 190G. Interdisciplinary. Evolution, subject matter, form, conventions, possibilities, and future of the graphic novel genre. Guest lectures. Collaborative creation of a graphic novel by a team of writers, illustrators, and designers. Prerequisite: consent of instructor.

Taught by the Stein Visiting Fiction Writer. Prerequisite: 90.

Continuation of 91. Workshop. The application of advanced storytelling techniques to fact-based personal narratives, emphasizing organic writing, discovering audience, and publication. Guest lecturers, collaborative writing, and publication of the final project in print, audio, or web formats. Prerequisite: 91 or 90.

Taught by the Mohr Visiting Poet. Prerequisite: 92.

See section above on Undergraduate Programs, Opportunities for Advanced Work, Individual Research.

In two quarters.

Undergraduates who wish to study a subject or area not covered by regular courses may, with consent, enroll for individual work under the supervision of a member of the department. 198 may not be used to fulfill departmental area or elective requirements without consent. Group seminars are not appropriate for 198.

Undergraduate writers work individually with visiting Stegner Fellows in poetry, fiction, and if available, nonfiction. Students design their own curriculum; Stegner Fellows act as writing mentors and advisers. Prerequisites: 90, 91, or 92; submitted manuscript.

Open, with department approval, to seniors majoring in non-Honors English who wish to work throughout the year on a 10,000 word critical or scholarly essay. Applicants submit a sample of their expository prose, proposed topic, and bibliography to the Director of Undergraduate Studies before preregistration in May of the junior year. Each student accepted is responsible for finding a department faculty adviser. May be repeated for credit.

Explore how to use the methodologies of the Digital Humanities to augment critical literary studies. Drawing upon digital texts from the eighteenth, nineteenth and twentieth centuries, we will combine digital and critical methodologies to explore a project whose specifics will be determined by the interests of the participants. Together, we will learn how to apply digital methods to questions of literary significance and run a wide range of analyses including exploratory clustering, word frequency analysis, classification, stylometry and topic modeling. We will also examine how to interpret the results for both statistical and literary significance.

"Beowulf" is the first great English epic--a tale of heroes, monsters, and the futility of conflict. It influenced the "Lord of the Rings", but was described as a 'featureless heap of gangrened elephant's sputum' by novelist Kingsley Amis. It exists in one early eleventh-century manuscript plus countless editions, translations, films, comic books and, now, a fully digitized e-manuscript. We shall experience manifold instances of "Beowulf" and ask what, then, is the 'text' of "Beowulf"? What constitutes the 'real' poem? Can we reclaim an 'original' work of art and should that even be part of the scholarly endeavor?

Fiction Workshop for Graduate Students. No prerequisites or previous workshop experience required. For graduate students from all fields, this workshop encourages exploration of diverse experiences through fiction.

An overview of translation theories and practices over time. The aesthetic, ethical, and political questions raised by the act and art of translation and how these pertain to the translator's tasks. Discussion of particular translation challenges and the decision processes taken to address these issues. Coursework includes assigned theoretical readings, comparative translations, and the undertaking of an individual translation project.

An introduction to the essential tool-kit for medievalists, this course will give all medievalists a great head start in knowing how to access and interpret major works and topics in the field. Stanford's medieval faculty will explain the key sources and methods in the major disciplines from History to Religion, French to Arabic, English to Chinese, and Art History to German and Music. In so doing, students will be introduced to the breadth and interdisciplinary potential of Medieval Studies. A workshop devoted to Digital Technologies and Codicology/Palaeography will offer elementary training in these fundamental skills.

The forward thrust of modernity in Romantic-period Britain bred a fetishization of the past. Ballads on mermen translated from the Danish, the historical landscapes of Sir Walter Scott, epic inspired by the Elgin marbles, the minstrelsy of the Scottish border and ¿reliques¿ of early English poetry, irreverent treatises on old books, gastronomical writing on ancient food theory, and conversational essays on the genealogy of all things, were all aspects of the phenomenon of antiquarianism to be explored in this course.

How does writing help healing? What is the connection between the 'feel of a sentence' and the 'feel of a body'? Why do we love Oliver Sacks' work and why are doctors asked to read novels?

A survey of 20th-century theory with focus on the concept of culture and methods of studying it from diverse disciplines including, anthropology, historical sociology, literary and cultural studies. Discussions will emphasize modernization, transmodernization and globalization processes in their relations to culture broadly understood, cultures in their regional, national and diasporic manifestations, and cultures as internally differentiated (high and low culture, subcultures, media cultures).

This course examines the Gothic as a both a narrative subgenre and an aesthetic mode, since its 18th century invention. Starting with different narrative genres of Gothic expression such as the Gothic novel, the ghost tale, and the fantastic tale by writers such as Walpole, Radcliffe, Sade, Poe, and E.T.A. Hoffmann, the course goes on to ask how the Gothic sensibility permeates a wide range of 19th century cultural phenomena that explore the dark side of Enlightenment, from Romantic poetry and art to melodrama, feuilleton novels, popular spectacles like the wax museum and the morgue. If time permits, we will also ask how the Gothic is updated into our present in popular novels and cinema. Critical readings will examine both the psychology of the Gothic sensibility and its social context, and might be drawn from theorists such as Benjamin, Freud, Lacan, Kristeva, and Zizek.

The purpose of this course is to trace the articulation of a new symbolic order in political-theoretical and literary texts written in the Anglo-American 1790s. Course content will be framed by the creation of the Bill of Rights (ratified in 1791) and the evisceration of the First Amendment in the Alien and Sedition Acts of 1798, the first instance of what historian Richard J. Hofstader famously called "the paranoid style in American politics." We will explore the 1790s through 1) an examination of the Federalist/Anti-Federalist debates concerning the pros and cons of establishing a national government rather than a confederation of states; 2) the range of American and British responses to the French Revolution; 3) the growth of democratic radicalism in Anglo-America; 4) the fear of radical-democratic infiltration of the United States from the European Continent, Ireland, and Haiti; and 5) the American literary expression of these questions written in the late 1790s, on the cusp of the post-revolutionary and "early national" eras. Our overall goal is to gain a historical understanding of the overlapping cultural contexts for American ¿republicanism,¿ ¿democracy,¿ and ¿liberalism,¿ and the evolution of their meanings. We will focus particularly on the co-production of democratic and novelistic subjectivity in relation to natural right theory, the evolution of "conscience," voice, the body, individuation, sovereignty, representation, equality, and freedom.

A major critical and theoretical legacy, the New Historicism continues to inform, in both positive and negative ways, the recent scholarly work devoted to the relationship between literature and history in the early modern period. While focusing on issues of political meaning and political thought that both inform literary production and are partly shaped by it, the seminar will ask what it means to have a dominant critical paradigm for the understanding of fundamental relations between literary and non-literary (or at least less literary) discourses. Even though we will be studying major Renaissance authors such as Sidney, Spenser, and Shakespeare, the theoretical and methodological issues the course is designed to raise transcend period boundaries. We will look at recent scholarly production in the field of early modern studies to see how scholars go about defining and positioning their critical agendas in their attempts to offer new or modified conceptions of the relationship between Renaissance literature, and literature more generally, and politics.

For Stegner fellows in the writing program. May be repeated for credit. Prerequisite: consent of instructor.

For Stegner fellows in the writing program. May be repeated for credit. Prerequisite: consent of instructor.

Three or more graduate students who wish in the following quarter to study a subject or an area not covered by regular courses and seminars may plan an informal seminar and approach a member of the department to supervise it.

A practical and theoretical study of the genre of the journal article, with critical reflection on its status as a gateway to academic professionalization and as a highly specialized form of public address. We will be reading articles published over the last decade across a diverse range of journals, focusing on issues surrounding methodology, style, tone, and audience. Participants will also work on developing an already polished piece of writing into the form of an article potentially publishable by a peer-reviewed publication. Admission by application in Fall quarter .

This course, designed for graduate students in the humanities and education, will explore approaches to teaching the humanities at both the secondary and collegiate levels. Our focus will be primarily on the teaching of text, and how the humanities can help students develop their ability to read critically. The course will explore the purposes and pedagogical approaches for teaching humanities. We will explore these topics through a variety of texts and perspectives. The course is also designed as an opportunity for doctoral students in the Humanities both to enrich their own teaching and to broaden their understanding of professional teaching opportunities (to include community college and secondary school teaching).

A special subject of investigation under supervision of a member of the department. Thesis work is not registered under this number.

Gathering and analyzing data, constructing hypotheses and designing experiments to test them, writing programs [if needed], preparing visuals and texts for articles or conferences. Requires a year-long participation in the activities of the Lab.

Students revise and develop a paper under the supervision of a faculty member with a view to possible publication.

For third- and fourth-year graduate students in English. Strategies for studying for and passing the oral examination, publishing articles, and for writing and researching dissertations and dissertation proposals. May be repeated for credit.

For M.A. students only. Regular meetings with thesis advisers required.