printer friendly pageENGLISH 197: Seniors Honors Essay
In two quarters.
Terms: Win, Spr
| Units: 1-10
| Repeatable
for credit
Instructors:
Staveley, A. (PI)
ENGLISH 198: Individual Work
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.
Terms: Aut, Win, Spr, Sum
| Units: 1-5
| Repeatable
for credit
Instructors:
Algee-Hewitt, M. (PI)
;
Beaty, G. (PI)
;
Brewer, W. (PI)
...
more instructors for ENGLISH 198 »
Instructors:
Algee-Hewitt, M. (PI)
;
Beaty, G. (PI)
;
Brewer, W. (PI)
;
Bronstein, M. (PI)
;
Carlson-Wee, K. (PI)
;
Castle, T. (PI)
;
Cohen, M. (PI)
;
Cravens, M. (PI)
;
Ekiss, K. (PI)
;
Elam, M. (PI)
;
Evans, J. (PI)
;
Fishkin, S. (PI)
;
Frisch, S. (PI)
;
Gigante, D. (PI)
;
Greene, R. (PI)
;
Greif, M. (PI)
;
Holbert, J. (PI)
;
HolyWhiteMountain, S. (PI)
;
Hoxby, B. (PI)
;
Hutchins, S. (PI)
;
Jenkins, N. (PI)
;
Johnson, A. (PI)
;
Jones, G. (PI)
;
Jordan, A. (PI)
;
Kantor, R. (PI)
;
Kealey, T. (PI)
;
Labowskie, M. (PI)
;
Lee, C. (PI)
;
McGurl, M. (PI)
;
Michas-Martin, S. (PI)
;
Moya, P. (PI)
;
Nguyen, H. (PI)
;
Palumbo-Liu, D. (PI)
;
Parker, P. (PI)
;
Perham, B. (PI)
;
Phelan, P. (PI)
;
Phillips, P. (PI)
;
Porter, E. (PI)
;
Pufahl, S. (PI)
;
Quayson, A. (PI)
;
Richardson, J. (PI)
;
Ruttenburg, N. (PI)
;
Saldivar, R. (PI)
;
Schloesser Tarano, N. (PI)
;
Shewmaker, M. (PI)
;
Smith, A. (PI)
;
Staveley, A. (PI)
;
Tallent, E. (PI)
;
Tanaka, S. (PI)
;
Tomar, R. (PI)
;
Trahan, J. (PI)
;
Treharne, E. (PI)
;
Vermeule, B. (PI)
;
Williams, Z. (PI)
;
Woloch, A. (PI)
;
Yu, E. (PI)
ENGLISH 218: Literature and the Brain (COMPLIT 138, COMPLIT 238, ENGLISH 118, FRENCH 118, FRENCH 218, PSYC 126, PSYCH 118F)
How does fiction make us better at reading minds? Why do some TV shows get us to believe two contradictory things at once? And can cognitive biases be a writer's best friend? We'll think about these and other questions in the light of contemporary neuroscience and experimental psychology, with the help of Song of Solomon (Toni Morrison), Madame Bovary (Gustave Flaubert), season 1 of Westworld (Lisa Joy / Jonathan Nolan), and short readings from writers like Louise Glück, Jorge Luis Borges, Virginia Woolf, and Marcel Proust. We'll also ask what we see when we read; whether the language we speak affects the way we think; and why different people react differently to the same book. Plus: is free will a fiction, or were you just forced to say that?
Terms: Win
| Units: 3
Instructors:
Eagleman, D. (PI)
;
Landy, J. (PI)
;
Carter, H. (TA)
...
more instructors for ENGLISH 218 »
Instructors:
Eagleman, D. (PI)
;
Landy, J. (PI)
;
Carter, H. (TA)
;
Cashe, I. (TA)
;
Ding, G. (TA)
;
Heyward-Rotimi, K. (TA)
;
Horowitz, A. (TA)
;
Martinez, N. (TA)
ENGLISH 250A: Character: Studies in Fictional Being
Of all the components of prose fiction and the novel in particular, the most slippery is character. What kind of personhood is fictional personhood? What is a textual human? Do characters possess individuality or do they form networks or zones? Do these networks and zones extend beyond the boundary between fiction and reality to take in author and readers? If so, how? Are the categories by which we classify character - narrator, protagonist, antagonist, hero/heroine, etc. - adequate as descriptors of their function in a literary text? In this course, we will examine subgenres of the novel that focus on these questions, particularly the bildungsroman, autofiction, and novels in which a central character lacks interiority or self-awareness, and is therefore almost incapable of self-expression. How minimal can a character be? What happens when a first-person narrator, who is also a character, represents his or her altered consciousness? In such cases, who narrates? What resources does the
more »
Of all the components of prose fiction and the novel in particular, the most slippery is character. What kind of personhood is fictional personhood? What is a textual human? Do characters possess individuality or do they form networks or zones? Do these networks and zones extend beyond the boundary between fiction and reality to take in author and readers? If so, how? Are the categories by which we classify character - narrator, protagonist, antagonist, hero/heroine, etc. - adequate as descriptors of their function in a literary text? In this course, we will examine subgenres of the novel that focus on these questions, particularly the bildungsroman, autofiction, and novels in which a central character lacks interiority or self-awareness, and is therefore almost incapable of self-expression. How minimal can a character be? What happens when a first-person narrator, who is also a character, represents his or her altered consciousness? In such cases, who narrates? What resources does the novelist have to negotiate such formal contradictions? And what do we make of doubles, dybbucks, secret sharers, and other uncanny selves? Is character an infinite regression - fictions of fictions of persons? Authors may include Herman Melville, Gustave Flaubert, Fyodor Dostoevsky, Joseph Conrad, Jane Bowles, Cormac McCarthy, J. M. Coetzee, Don DeLillo, Philip Roth, Patrick Modiano, Sheila Heti, Rachel Cusk. Theorists may include M. M. Bakhtin, Ian Watt, Erich Auerbach, Dorrit Cohn, Maurice Blanchot, Franco Moretti, Catherine Gallagher, Alex Woloch.
Terms: Win
| Units: 5
Instructors:
Ruttenburg, N. (PI)
ENGLISH 290: Advanced Fiction Writing
Workshop critique of original short stories or novel. Prerequisite: Intermediate prose workshop.
Terms: Win, Spr
| Units: 5
| UG Reqs: WAY-CE
| Repeatable
2 times
(up to 10 units total)
Instructors:
Johnson, A. (PI)
;
Quade, K. (PI)
ENGLISH 313: Performance and Performativity (FEMGEN 313, TAPS 313)
Performance theory through topics including: affect/trauma, embodiment, empathy, theatricality/performativity, specularity/visibility, liveness/disappearance, belonging/abjection, and utopias and dystopias. Readings from Schechner, Phelan, Austin, Butler, Conquergood, Roach, Schneider, Silverman, Caruth, Fanon, Moten, Anzaldúa, Agamben, Freud, and Lacan. May be repeated for credit.
Terms: Win
| Units: 3-5
| Repeatable
for credit
Instructors:
Phelan, P. (PI)
ENGLISH 318: Pitching and Publishing in Popular Media (DLCL 312, FEMGEN 312F)
FOR GRADUATE STUDENTS (undergraduates enroll in 119) Most of the time, writing a pitch for a popular outlet just means writing an email. So why be intimidated? This course will outline the procedure for pitching essays and articles to popular media: how to convince an editor, agent, or anyone else that your idea is compelling, relevant, and deliverable. We'll take a holistic approach to self-presentation that includes presenting yourself with confidence, optimizing your social media and web platform, networking effectively, writing excellent queries and pitches, avoiding the slush pile, and perhaps most importantly, persevering through the inevitable self-doubt and rejection.We will focus on distinguishing the language, topics and hooks of popular media writing from those of academic writing, learn how to target and query editors on shortform pieces (personal essays, news stories, etc.), and explore how humanists can effectively self-advocate and get paid for their work.
Terms: Win
| Units: 1
Instructors:
Goode, L. (PI)
ENGLISH 319C: Utopian Realism and the Global South
What is Utopia and why does it generate so many different versions of itself, including, most powerfully, negations of itself as dystopia? As a vision of human perfectibility, Utopian literature has from its inception in Thomas More's Utopia (1517) been concerned with the social nature of humanity. It is always therefore political in nature. Almost exactly contemporaneous with the defining moments of the modern era (the conquest of the Americas, Machiavelli and modern politics, the emergence of modern literature in Cervantes, Luther and modern consciousness, printing and the beginning of the modern public sphere), Utopia is also unavoidably a product of the literary and imaginary worlds. Concerned with the development of Utopian and anti-Utopian thinking in the modern world, we will see how issues of science and technology, race and sexuality, freedom and determination, and salvation and apocalypse are embedded in the history of utopian literature and contemporary science fiction. Why
more »
What is Utopia and why does it generate so many different versions of itself, including, most powerfully, negations of itself as dystopia? As a vision of human perfectibility, Utopian literature has from its inception in Thomas More's Utopia (1517) been concerned with the social nature of humanity. It is always therefore political in nature. Almost exactly contemporaneous with the defining moments of the modern era (the conquest of the Americas, Machiavelli and modern politics, the emergence of modern literature in Cervantes, Luther and modern consciousness, printing and the beginning of the modern public sphere), Utopia is also unavoidably a product of the literary and imaginary worlds. Concerned with the development of Utopian and anti-Utopian thinking in the modern world, we will see how issues of science and technology, race and sexuality, freedom and determination, and salvation and apocalypse are embedded in the history of utopian literature and contemporary science fiction. Why did the modern world develop as it did? Can we imagine alternative worlds and histories? As future-oriented thinking, how does utopian literature offer possibilities for a better life? As a forum for future thinking Utopia also offers a platform for thinking anew the working of race and racial formations as well as constructions of gender in the contexts of what has been called "the Subject of Utopia." This course addresses the poetics and generative power of classic Utopian forms to examine how differing aesthetics as well as differing conceptions of history are linked fundamentally to the possibility of reshaping conceptions of race and gender in sustainable future orientations. Concerned with understanding how the traditional forms of the novel are altered in the context of the contemporary drive to represent a new stage in global and hemispheric race relations as well as by the forces of global climate change and the imperatives of decolonization, our readings will investigate how contemporary versions of literary realism change to represent the experiences of the crises of our time and the need to imagine alternative futures.
Terms: Win
| Units: 5
Instructors:
Saldivar, R. (PI)
ENGLISH 322: Enlightenment and its Shadows: British Literature of the long Eighteenth Century
British literature of the long 18th century
Terms: Win
| Units: 5
Instructors:
Vermeule, B. (PI)
ENGLISH 323A: Baroque Tragedy
A study of major theories of the baroque by theorists such as Wolfflin, Croce, and Benjamin together with a close reading of baroque tragedies by Tasso, Milton, Shakespeare, Calderon, Racine, Joseph Simon, and others.
Terms: Win
| Units: 3-5
Instructors:
Hoxby, B. (PI)
Filter Results: