6000 Level

ENG 6800 - Advanced Creative Writing
Donovan Hohn
This is an advanced, multi-genre creative writing course open to graduate students, and, with permission of the instructor, to qualified undergraduates. Writers of fiction and creative nonfiction will be required to write and revise between twenty-five and fifty pages of prose. Poets will write and revise a sequence or chapbook comprising at least ten poems. Students may, with the instructor’s permission, write in more than one genre. Playwrights are also welcome, despite the absence of plays on our reading list, which will comprise selections of poetry, fiction, and creative nonfiction to be chosen by students from one of our three anthologies. Most of our time will be devoted to workshop. Every week we will read a few student manuscripts and respond to them with detailed critiques.

ENG 6800 - Advanced Creative Writing
Natalie Bakopoulos
Welcome to English 6800, an advanced creative writing craft and workshop course in which we’ll closely examine the art and craft of creative writing in various genres, as well as where the boundaries of those genres blur. Whether you’re writing poetry or prose, by now you should all be familiar with the various choices in perspective and persona and point of view. To do well in this class, a strong grasp of craft elements and an astute attention to language is required. The focus of this class will be on the assigned readings and student work, and we will emphasize strategies for producing successful, fully realized revisions—work that seeks to truly
re-vision a project in new, rigorous, and artful ways. Students will be required to thoughtfully offer constructive, written and oral feedback on the work of their peers, as well as to provide concise analyses of the assigned texts. The commentary you produce on your peers’ work will be as important, if not more important, than both the commentary you yourself receive and the work you yourself produce. Please take it seriously. Far too often, students who do not like to read show up in writing classes. If you do not like to read, and if you do not see literary works of fiction, poetry, and essay to be instrumental to your own work as writers, this may not be the course for you. Language, imagery, character development, and the experience of the story on the page will be key. Fiction writers: This is not the class to try out commercial genre work (epic fantasy, zombies, vampires, etc.) that relies too heavily on already-established tropes, situations, and events rather than on the lives and struggles of the characters. Though commercial genre work certainly has a market and for many of you will be worth pursuing, it’s generally outside the bounds of what we discuss and wrestle with in a writing class. This is not to say that you must write realistic fiction---some of the most wonderful works of literature are not set in the ‘real’ world—but your stories must have high emotional and dramatic stakes, in-depth character development, as well as create an experience with language that could not be matched, say, with television or film. That is, your story must amount to more than an entertaining sequence of events. No fan fiction, please; it relies on a world already established and built by another writer, and if your readers are not familiar with that world, your workshop experience will not go well; there’s a vibrant, welcoming community of fan fiction writers and readers online for this purpose.

7000 Level

ENG 7033 - Postmodernism and Postmodernity
renee c. hoogland
Even if one of the major theorists of the phenomenon, Linda Hutcheon, suggests that postmodernism is “a thing of the past,” (debates on) postmodernism appear(s) to be alive and kicking. Indeed, judging by the still growing flow of anthologies, primers, readers, dictionaries, and histories, rolling off both academic and commercial presses, interest in the postmodern moment, and the literatures and arts associated with it, has by no means diminished since its purported demise (which, incidentally, has been repeatedly announced almost from the emergence of postmodernism on the literary critical scene). In this course, we will explore the postmodern phenomenon as a notoriously diffuse cultural movement spreading across a variety of theoretical and artistic domains. We will try to understand what postmodernism is (not), when and how it has evolved, and to what effect, esp. with regard to current theory, literature, and culture. We will look at key concepts and theorists (Lyotard, Baudrillard, Eagleton, Habermas, Hutcheon, Jameson), authors (Kathy Acker, Carol Maso, Tim O'Brien, Thomas Pynchon, Salman Rushdie, Kurt Vonnegut), several films (Tarantino, Ford Coppola), and additionally address postmodernism in the visual arts, architecture, and popular culture. This is an intensive reading and writing course, which will require you to work both independently and collaboratively, inside and outside the classroom.

ENG 7044 - African-American Literatures and Cultures
Lisa Ze Winters
This course serves as a graduate-level introduction to African American literary studies. Rather than a broad survey of a literary tradition that is as prolific as it is complex, we will center our attention on a set of interlocking themes: protest, prayer, and prophecy. And rather than read the primary works as mere representation, or our secondary sources as mere application tools, we will attend to how these multiple genres and diverse writings might work together to theorize the peril of Black life and to imagine possibilities for Black futurity.

ENG 7061 - Rhetorical Theory
Jeff Pruchnic
Participants in this seminar will engage contemporary rhetorical theory as it its own distinct are of inquiry as well as in relation to such topics as contemporary political discourse, posthumanist thought, metaphysics, psychoanalysis, gender, disability, and racial violence. Our class will be fully online and asynchronous (graded deliverables will be due at three separate points in the semester). While we will attend to the history or rhetorical theory and how it has changes over time, our major texts will be book-length studies in rhetorical theory published in the last five year: Ira Allen’s *The Ethical Fantasy of Rhetorical Theory* (U of Pittsburgh P, 2018); Casey Boyle’s *Rhetoric as a Posthuman Practice* (Ohio State UP, 2018); Kenneth Burke’s *War of Words* (U of California P, 2018); M. Lane Bruner’s *Rhetorical Unconsciousness and Political
Psychoanalysis* (U of South Carolina P, 2019); Dana L. Cloud’s *Reality Bites: Rhetoric and the Circulation of Truth Claims in U.S. Political Culture* (Ohio State UP, 2018); Cheryl Glenn’s *Rhetorical Feminism and This Thing Called Hope* (Southern Illinois UP, 2018); Debra Hawhee’s *Rhetoric in Tooth and Claw: Animals, Language, Sensation* (U of Chicago P, 2016); Jenell Johnson’s *American Lobotomy: A Rhetorical History (U of Michigan Press, 2016); Ersula J. Ore’s *Lynching: Violence, Rhetoric, and American Identity* (UP of Mississippi, 2019); Robin Reames’ *Seeing and Being in Plato's Rhetorical Theory* (U of Chicago P, 2018); Scott Stroud’s *Kant and the Promise of Rhetoric* (Penn State UP, 2016); the edited collection *Precarious Rhetorics* (Ohio State UP, 2018); Shannon Walters’ *Rhetorical Touch: Disability, Identification, Haptics* (U of South Carolina P, 2014).

ENG 7062 - Designing Research in Composition and Rhetoric
Ellen Barton
This seminar is intended to introduce Rhetoric/Composition PhD students to the research methods in the field.

ENG 7720 - Advanced Studies in Language Use (LIN 7720)
Language acquisition
Natalia Rakhlin
Language acquisition is one of the most important domains of cognitive science. It holds a key to understanding what makes human cognition unique and allows for an exploration of broader issues regarding the nature of language. The course is an advanced introduction to the theory and empirical research in the field of child language acquisition. It will consist of lectures and discussions on the fundamentals of first language acquisition over a variety of topics, especially in relation to linguistic theory. The topics covered will include the acquisition of word meaning, syntactic structure, morphological rules, semantics and pragmatics. The course and the reading list will critically survey the field and prepare the students to design experiments in language acquisition, as well as to critically evaluate research articles presenting experimental findings in this field.

8000 Level

ENG 8002 - Seminar in Literary and Cultural Studies Before 1700
Gender, Ballads, and Warrior Women
Simone Chess
This early modern Digital Humanities course will be a collaboration between our class and the University of California, Santa Barbara Early English Broadside Ballad Archive (EBBA, http://ebba.english.ucsb.edu) . Over the course of the semester, we will learn about the histories and technologies of “cheap print” in the early modern period, with a special emphasis on broadside ballads of the 16th, 17th, and 18th centuries. The class will be hand-on and experimental, and will include archival visits, and workshops with both old and new technologies: woodcutting, using a printing press, learning OCR and TEI digitization and indexing, and, of course, reading and discussing ballads across many thematic genres (especially race, class, ability, gender). In place of traditional final essays, this course will work together with EBBA to begin to create the first open-access archive of “Warrior Women” ballads. These ballads, which feature crossdressing and swashbuckling “women” soldiers, were first discussed at length in Dianne
Dugaw’s Warrior Women and Popular Balladry, 1650-1850 (U Chicago Press, 1996). For the first time ever, Professor Dugaw (U Oregon) will be sharing her index of extant warrior women ballads, and we will be digitizing and updating that index, encoding it using TEI. Our work will include both traditional academic research and writing and technical work for EBBA, bringing together site design and interface, while supplementing this digitized index with our own research, theorizing, and writing about the ballads, in the form of short essays to be digitally published on our site. No prior technical experience is required for this course!

ENG 8006 - Seminar in Film and Media Studies
Textual Transcendence
Chera Kee
Description: Borrowing the term “textual transcendence” from French Literary theorist Gérard Genette, this course explores the ways that texts talk to and about each other, analyzing how texts become connected to one another and the roles that readers and audiences play in piecing texts together. Starting the semester by focusing on theories of narrative and then considering the role that medium plays in structuring storytelling, we will next examine concepts such as intertextuality, paratextuality, and seriality, as well as popular storytelling modes, including adaptation, transmedia storytelling, and fanfiction. Our goal is to think about the myriad contexts that shape the reading and interpreting of texts and how these contexts might shape our own academic work. During the semester we will screen/read/play films, television shows, comic books, and video games, including Spider-Man: Into the Spider-Verse (2018), The Simpsons (1989-present), Goat Simulator (2014), and Icon (issues #1 & 2, 1993). For their final projects in the class, students will have the option to produce either a traditional research paper or a creative project based on our discussions during the semester.

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