Graduate Courses

21041 1:00p-2:15p W
23191 1:00p-2:15p R

This course has two main purposes: 1) to provide Associate Instructors teaching W131 for the first time with various strategies for connecting reading and writing, preparing assignments, and evaluating student writing; 2) to engage new instructors in reflective practice through readings, speakers, and discussion of a variety of approaches and materials.

Requirements include regular attendance of proseminar and consultant meetings; observations of other W131 teachers, and a portfolio of teaching materials and a reflective essay.

Texts: Photocopy collection of materials will be available.

This proseminar, required of all AI's teaching W131 at IU for the first time, is offered for three credits on a Satisfactory/Non-satisfactory basis; the three credits for the course may be applied for the doctoral degree, but not for the M. A.

TIME & DAY: TBA

This course is intended to assay a number of solutions to the problem, how does criticism think with, respond to, document, engage and otherwise develop from performance? Though the divide between theory and practice has long troubled the study of theatre and performance, we will survey the history of the attempts made to bridge it, and we will try on various methods of writing across it, including ethnography, the review, and the casebook. In order to work out best practices in the documentation of performance we will attempt to reconstruct productions from available archives, and we will produce archives of the performances we attend, both here in Bloomington and (we hope) further afield.

Students should expect to do a fair amount of reflective and descriptive writing, and to attend several live performances.

This course will be co-taught with Amy Cook of Theatre and Drama.

17574 3:35p-5:35p M

PLEASE CONTACT HEATHER STEELE (hemsteel@indiana.edu OR 855-9539) FOR PERMISSION.

W554 is a practicum course in teaching creative writing at the undergraduate level. Through reading and experience we will explore the creative process as well as the assumptions and practices unique—and not so unique—to creative writing classes. We will consider invention, revision, and assessment; craft and content; various approaches to workshop; the role of reading in a writing life; authority; and writer-teacher / student-writer dynamics. We will reflect on the changing concerns of the maturing writer, exploring how teaching and writing lives coexist at the graduate level and beyond as well as explore current takes on the writer in the academy. Work for the course includes several brief response papers to course texts; a written review and presentation of a writing text of your choosing; developing several annotated lesson plans and writing exercises for W103 sections; making observation visits to two creative writing classes; and developing a syllabus and supporting materials for a 200-level undergraduate creative writing course.

28476 4:00p-5:15p TR

This course is designed to provide all the language background necessary for the professional study of Old English texts, including the essentials of Old English phonology, morphology, syntax, semantics, and dialect variation. But it also demands some attention to the history and prehistory of the language, particularly its phonology. And so the normal business of the course will be the day-to-day translation of texts in class, supplemented by lectures on the structure and history of the language. We will be reading texts in prose and verse and studying such aspects of Anglo-Saxon culture as runic inscriptions, the making of manuscripts, survivals of pagan and folkloristic belief, and the history of the period, especially the devastating Viking invasions. But this is primarily a language course, so most of our time will be devoted to studying the structure of the Old English language. There will be two examinations, along with some shorter assignments, and a final project that will involve a paper of no more than ten pages. The textbooks will be John C. Pope's Eight Old English Poems and John R. Clark Hall's Concise Dictionary of Anglo-Saxon, supplemented by an Old English grammar and some reading available through Oncourse.

29902 1:00p-2:15p TR

This course will examine the dynamics of power in Shakespeare's plays, paying attention to how the playwright anatomizes charisma, coalition-building, the performativity of power, and the modes — direct and covert — of getting, keeping, and losing social control. Throughout the plays there are many different strategies by which agency and effectivity are achieved. We'll look at how Shakespeare's figures manipulate and establish conditions of influence, and the extent to which such manipulations often create unintended consequences. How much control do figures have over how their "wills" operate, and how much is constituted by conditions of performance and reception? Does the doctrine of Divine Right guarantee authority? How are conditions of belief and investment produced? What happens when they fail? We will read Richard II, Henry IV pts 1 and 2, Henry V, Othello, Merchant of Venice, Coriolanus, and Antony and Cleopatra. Critical readings will include selections by Jon Elster, Slavoj Zizek, Elias Canetti, J.L. Austin, Erving Goffman, Michel de Certeau, Bill Brown, Judith Butler, and other interdisciplinary scholars, as well as relevant criticism in the field of Shakespeare Studies, political science, and affect-theory.

Requirements: students will write weekly informal response notes, and two 10-15 pp. papers, one of which will be crafted as a possible conference paper.

Attendance and participation will count for a significant portion of your course grade.

30271 2:30p-3:45p TR

Readings in this course will pursue the topics of intelligence and stupidity, broadly construed, but limited by time frame (roughly 1770-1890) and geography (with readings drawn from mostly British and Continental sources). Darwin thought worms and snails capable of intelligence, and extended that possibility to plants; yet Enlightenment and post-Enlightenment writers wrangled over the question of intelligence and whether or not it offered a testable distinction between "higher" and "lower" forms of life. Questions we will be pursuing: what constitutes the difference between "intelligence, " "understanding, " and "knowledge"? How might knowing be distinct from intelligence, intelligence from instinct? What counts as understanding? Is stupidity good? Contemporary research in several fields (biology, cognitive science, animal studies, ethics) continues to study the difference between intelligence and, say, self-consciousness (between a dog knowing where its bone is buried and knowing that it knows it). Some of that material will appear in the curriculum. For the most part, though, readings will be drawn from the eighteenth and nineteenth centuries, particularly from scientific, philosophical, and literary discourses. Non-literary materials will concern questions of epistemological limits (Humboldt, Cuvier), human/animal difference (Erasmus Darwin to Charles), and eighteenth- and nineteenth-century political theory (Mill) and theories of mind (Bain).

Primary literary texts may include (though this list is not finalized): Bage, Hermsprong; or, Man as he is Not; Scott, Guy Mannering; Thackeray, Barry Lyndon; Eliot, Adam Bede; Dickens, Bleak House or Our Mutual Friend; and selections and short fiction by Carlyle, Eliot, Stevenson, and Conrad.

29912 5:45p-8:30p R

This course is designed to provide a broad overview of English prose since the mid-twentieth century. The second half of the twentieth century was a tumultuous period for England, both materially and symbolically. The era began with the nation emerging from war at once victorious and devastated, and still ruling an enormous but increasingly rebellious empire. Then followed in rapid succession an ambitious experiment with socialism, the development and eventual fragmentation of the welfare state, decolonization, increased migration, membership in the European Union, and globalization. Registering in the class structure, gender relations, and racial affiliations of the population, these seismic changes have altered the structure of feeling and the meaning of membership within the nation.

The form of the literary survey will allow us to address the historical shifts, philosophical questions and aesthetic movements that characterize this period. Because the aesthetics of prose in this period owe considerably to dramatic works, we will include some plays in our readings. Moving chronologically, we will work our way from the new realism of the immediate post-war era to the postmodernist experimentation associated with the new social movements; from the Black Arts Movement to the arrival of the postcolonial British novel; and from the ironic realism of historical metafiction to the potential supercession of national history under pressures of globalization. We will attend to major authors and to texts that were influential in their time, both for their aesthetic innovations and because they prompted reflection upon the relation between literature and its political, social and philosophical context. By addressing aesthetics, political history and intellectual history simultaneously we will develop an intellectual map of the latter half of the twentieth century.

We will emphasize covering a large swathe of primary reading, rather than conducting the kind of focused outside research that leads to long seminar papers. Students will bring in secondary materials as part of in-class presentations and include some research in their writing. The writing assignments for the class—a review essay and a conference presentation—are designed to provide rehearsals for the writing expectations of the profession.

Primary texts will be drawn from the following list:

John Osborne, Look Back in Anger
Shelagh Delaney, A Taste of Honey
Sam Selvon, The Lonely Londoners
Harold Pinter, The Caretaker
Tom Stoppard, Rosencrantz and Guildenstern are Dead and Arcadia
Caryl Churchill, Cloud 9 and Top Girls
John Fowles, The French Lieutenant's Woman
Angela Carter, Nights at the Circus
Kazuo Ishiguro, The Remains of the Day
Pat Barker, Regeneration
Salman Rushdie, Midnight's Children or Satanic Verses
Julian Barnes, England, England
Caryl Phillips, The Atlantic Sound or Crosssing the River
Roy Williams, Sing Yer Heart out For the Lads
Richard Bean, England People Very Nice
Bernadine Evaristo, The Emperor's Babe
Andrea Levy, A Small Island
David Mitchell, Black Swan Green

Students who wish to influence my choice of texts or to add to this list should contact me. I welcome attempts at influence, persuasion and especially bribery, though I offer no assurance of success. If there is much interest in the class in the fabulous cinema of the period, we will try to make time to include some films as well.

5:45p-8:30p R

Cross-listed in the English Department and the Cultural Studies Program, this course meets the core requirement for the Cultural Studies Ph. D. minor, but it is also open to any interested students. This version of the course will trace the historical trajectory of Cultural Studies from its founding in 1963 by Richard Hoggart, the first director of the Birmingham Centre for Cultural Studies, to its contemporary manifestations. Hoggart initially conceptualized Cultural Studies as a response to the conservatism of British literary studies. Cultural Studies was to be an interdisciplinary venture, combining sociology, anthropology, history, and, crucially, literary analysis. Over the course of the next several decades, the discipline became more theoretical and overtly political, concerned with the role of the state in policing communities, the relationship between hegemony and mass media, and on aspects of working class and other resistant subcultures.

As an interdisciplinary venture, Cultural Studies necessarily has many associations. For some, it immediately conjures the Birmingham School, which revitalized British Marxism through its pioneering studies of everyday life, cultural criticism, and post-industrial Britain. For anthropologists, Cultural Studies is associated with ethnographies, fieldwork, and the study of collective life. For those in Fine Arts, Cultural Studies has articulated visual culture with postmodern and historicist readings. In History, Cultural Studies has shaped the ways in which scholars study ideological changes in race, gender, and ethnicity over time. For media critics and sociologists, Cultural Studies has resulted in sustained attention to mass culture. These intellectual developments suggest that an account of the field should consider Cultural Studies, in the words of Stuart Hall, as "a set of unstable formations" and methodologies rather than as a unified theoretical approach.

Taking Hall's formulation as a guide, we will explore what the term "culture" has meant for scholars, asking what it means to say that we study a particular text or object (a work of literature, a political speech, a visual icon, a legal code, etc.) as an artifact of culture and as a key to understanding a social formation. Our course readings will be eclectic, drawing upon cultural criticism, literary history, Marxist theory, studies of popular culture and political insurgency, and even contemporary journalism. All of these works broach issues common to contemporary cultural studies in their concern with the forces behind the production and circulation of cultural artifacts and commodities (films, television programs, romance novels, advertising) and their meanings; the creation or maintenance of cultural hierarchy; the cultural construction of race, ethnicity, and gender; the visual and spatial dimensions of everyday experience; and the relationship between private and public spheres.

Course requirements will include electronic journal submissions, a 12-15 page paper, and leading discussion during one class session.

Readings will include: Carol Adams, The Sexual Politics of Meat; Dick Hebdige: Subcultures: The Meaning of Style; David Morley and Kuan-Hsing Chen, Stuart Hall: Critical Dialogues in Cultural Studies; Ruth Ozeki, My Year of Meats; Robert C. Tucker, The Marx-Engels Reader; Raymond Williams, Marxism and Literature. We will supplement these books with articles by Theodor Adorno, Louis Althusser, Walter Benjamin, David Harvey, Douglas Kellner, Laura Kipnis, Herbert Marcuse, Janice Radway, and Norma Schulman, among others.

29917/29769 6:00p-9:00p W

This course aims to give students a broad introduction to interdisciplinary work in the eighteenth century. The course will be divided into units that investigate some of the major narratives that have governed study of the period (e. g. secularization and the place of God; commercialization; the so-called rise of the novel, the fate of absolutism). It will ask students to compare the methodological approaches and disciplinary assumptions that underwrite these narratives. In most cases, the sections will pair primary texts or objects with secondary texts from a range of disciplines. A subsequent unit of the course will raise the question of the Euro-centrism of most constructions of the eighteenth-century.

Students will be asked to undertake a serious course of reading, participate actively in discussion, and write weekly response papers, as well as a final paper for the course.

N. B. This course will be taught in 8-weeks, and therefore with an accelerated timetable.

24277 2:30p-5:30 p T

PLEASE CONTACT HEATHER STEELE (hemsteel@indiana.edu OR 855-9539) FOR PERMISSION.

The underlying idea behind this fiction workshop is that students learn best about writing by writing, by discussing their work with the instructor in conference, by listening to others constructively discuss their work in class, and then by rewriting and revising. A minimum of 50-65 pages of work, which may include significant revisions of previously written work, will be required of each student over the semester. Students will also be required to read and to respond sensitively to the other fiction submitted to the workshop. Students may submit short stories, novellas, or novel excerpts. Copies of each manuscript will be returned to the writer, fully critiqued by the other students and the instructor. Students will also read, discuss, and write responses to the required course text as well as to issues pertaining to the creative writing process.

Required reading prior to the semester: The Art of Fiction, by John Gardner; and Writing in General and the Short Story in Particular, by Rust Hills.

Required course text: Mystery and Manners: Occasional Prose, by Flannery O'Connor.

All first- and second-year fiction writers enrolled in the graduate creative writing program are automatically admitted to the workshop.

23111 2:30p-5:30p T

PLEASE CONTACT HEATHER STEELE (hemsteel@indiana.edu OR 855-9539) FOR PERMISSION.

This graduate course in poetry writing is limited to students in the MFA Program in Creative Writing. In this workshop, we will stress the craft and creation of poetry with an emphasis on poetic voice. We will read collections of contemporary poetry that explore some of the different concepts of voice including Gabrielle Calvocoressi's Apocalyptic Swing, Terrance Hayes's Wind in a Box, and Patricia Smith's Blood Dazzler. Students will write and revise at least 10 poems over the course of the semester.

11:15a-12:30p TR

PLEASE CONTACT HEATHER STEELE (hemsteel@indiana.edu OR 855-9539) FOR PERMISSION.

Creative nonfiction is the label "du jour" for a loosely defined and highly inventive genre that engages a long tradition extending back to the earliest of writings: meditations, contemplations, confessions, letters, autobiographical anecdotes, philosophical musings, observations on nature and science, etc., memoirs, travelogues, polemics, diatribes, the role of the flaneur, you name it. It's a wonderful, flexible form with no real limits and which offers an opportunity for you to render your own experience through all the elements available to you in prose. Nota bene: It's an equal playing field for poets and fiction writers. While this is a workshop-seminar in which you will write and present your own work for discussion and critique by class members and instructor, please do expect to read engage meaningfully with outside readings as well, which will help to flesh out both the historical and cultural traditions of this form (sometimes also referred to as "essay" or "personal essay"), as well as a range of contemporary work. We'll start off with a little Plutarch, Seneca, Montaigne, Lamb, Sei Shonagon, etc., just to set the stage, and then focus mostly on a range of contemporary writers who work in this amazing form, and who represent a broad range of themes, subjects, aesthetics, styles, and world views. Expect to be startled and surprised.

Pre-requisites: There are no official pre-req's, except a commitment to close reading and developing your writing. Please note this is a graduate level course, and so is not aimed at "beginners." Interested writers from outside our MFA program are not only welcome, but encouraged, to enroll. It's expected that enrollees have already done a fair amount of previous writing (poetry, fiction, journalism, etc.), and are both familiar with and comfortable in contributing to the writing workshop format in which constructive criticism is given and received. Each student will also receive significant feedback from the instructor, both in workshop discussions and in writing.

Assignments: In addition to readings and discussions, students should also expect to write a good deal of new work (probably the equivalent of two longer essays and several shorter ones), including thoughtful, written critiques for peer reviews. As the course is self-generating and intimate, regular attendance is essential. And enthusiastic and thoughtful participation in seminar discussions of all the writings and readings is equally important. Please understand you are making a commitment to a community. There may also be a short critical assignment or project along the lines of a presentation or book review. Grades will be based on both the quality and quantity of work turned in, as well as participation and preparation.

Students in the MFA program may enroll without my permission, but I will be admitting students on a first-come, first-served basis, regardless of program status. Those who are not in the MFA program should contact me by email before enrolling at almiller@indiana.edu. In your email, tell me a little about yourself and your writing interests and background. I can then advise you as to the appropriateness of this course for you to ensure you have a great experience.

NOTE: No auditors, sorry.

25097 9:00a-12:00p TR

PLEASE CONTACT HEATHER STEELE (hemsteel@indiana.edu OR 855-9539) FOR PERMISSION.

In this course we will contemplate and explore and make (!) the intersections between working in and with the land and writing about that work. As such, we'll read, among other things, Virgil's Georgics, selections by Wendell Berry, Michael Pollan, Rachel Pedin, Joan Dye Gussow, Rebecca Solnit, Maurice Manning, Gary Snyder, Lucille Clifton, and others. This class will require, in addition to substantial reading and writing, every person to plant a tree, to grow something from seed to food, and to work in a garden or orchard project in Bloomington.

29922 11:15a-2:15p T

You may have heard of the fifteenth-century Scottish poets William Dunbar and Robert Henryson, but even if you have, you probably haven't read much of their poetry, nor have you spent much time worrying about what makes good flyting, though you have spent some time thinking about what makes a good sonnet. Until very recently not only Dunbar's work but that of his near contemporaries (Henryson, Gavin Douglas, David Lindsay) has been read and valued against an English norm and has never found its way into the canonical core of English literature. To put it another way, Scotland and England were then (some would say "still are") separated by a common language. This seminar will explore the problem of why some poetry in English is not English poetry, the problem (taken narrowly from one historical perspective) of how a literary canon is formed.

One project of the seminar will be to identify the salient contrasting features of Scottish and English poetry recognized as such in the late fifteenth and early sixteenth centuries, so we will look not only at work by the Scottish poets, but also at some of that by Chaucer, Lydgate, Hawes, Skelton, Wyatt, and Surrey, in order to see how English and Scottish aesthetic ideas and poetic practices were competitive, or, at least, came to be framed as such.

Another, equally central, project will be to consider how the writing (and, one might say, the social activity) of literary history from the late Middle English period forward (especially in the nineteenth and twentieth centuries) constructed canonically meaningful relationships among works by the late Middle English poets that excluded works by their Scottish contemporaries from the English literary canon. Then how, from the Romantic period forward, some Scottish writers (from Scott to McDiarmid) invented a Scottish literary identity in response to that exclusion, an identity very often founded on the work of Dunbar, Henryson, and their contemporaries.

Of course, while dealing with these heady issues, members of the seminar will also be immersed in (and in most cases introduced to) some of the greatest poets who wrote in English. I assert this without reservation, but I'm not the only person to do so: C. S. Lewis attempted to rehabilitate Dunbar in English Literature in the Sixteenth Century (1954), and his failure to do so, in spite of considerable insight and eloquence, perhaps demonstrates how powerful the English canon's centripetal force can be. James Kinsley's superb edition of Dunbar's works (1979), Ian Simpson Ross' William Dunbar (1981), and Priscilla Bawcutt's Dunbar the Makar (1992) and her subsequent edition of his works (1998) have argued more successfully for Dunbar's importance, yet his work (not to mention that of his contemporaries) remains overlooked and underrated by most scholars of Middle English and Early Modern [English] literature. And, for those interested in the history of English, reading Scots will expand the repertoire of Middle English dialects — the seminar will also require immersion in the Northern idiom — yet even in the North, Middle English is on the cusp of Early Modern English from 1480-1560, and we will take some time to consider the transformation and its cultural implications, not least of which is the comparatively early entry of Scots poetry into early print culture.

While the material of the seminar is perhaps most obviously of interest to those working in Middle [English] and early Early Modern [English] literature, the seminar's overarching motive is to test the intersections of identity, ideology, language, literary form, and aesthetics in the construction of literary history, and such testing may well be of interest to those working in later periods. There are, for instance, some very interesting resemblances between Dunbar and later Scottish authors: Muriel Spark has a similar "eldritch" quality, and Eric Linklater has a similar formal versatility, the versatility of the Scots "makar." Neither is considered canonical or [English]. Where does Burns fit into the argument? And what does it mean for the development of an [English] canon that many Scottish writers are appropriated into it beyond all recognition as Scots of that ilk?

The work of the seminar will be in lively, wide-ranging discussions; focused presentations; and one ambitious paper per member. I am open to discussions, presentations, and papers about literature beyond the period centrally important to the seminar, as long as Middle Scots poetry figures significantly in them, and as long as they fit the seminar's developing argument.

27612 2:30p-5:30p R

"Aesthetics has a bad reputation," writes Jacques Ranciere in the introduction to Aesthetics and Its Discontents. In this seminar, we'll consider aesthetic theory, its history, and its shifting reputation since Schiller wrote his Letters On the Aesthetic Education of Man. Our readings will begin with Kant and Schiller and lead up to contemporary debates on the relationship between politics and aesthetics. We'll read twentieth century works by Adorno, Benjamin, Barthes, Bordieu, Ranciere and Spivak, alongside works by Virginia Woolf, T.S. Eliot, E.M. Forster, James Joyce, and Mulk Raj Anand. Does aesthetic discourse offer any democratic or radical potential? Why have so many critics been resistant to this idea? We'll consider the concepts of indifference and shame, form and autonomy, inaesthetics and anti-aesthetics, and sensory or perceptual experience as we negotiate the complexities of aesthetic form. Students should expect to give one or two presentations (depending on the size of the class), develop a working bibliography, and write a final seminar paper.

29907 4:00p-5:15p TR

In reading a range of texts we will try to catch early modern writers at their games of worldmaking, be they utopian or dystopian, domestic or colonial, female- or male-authored, allegories, histories, or gallimaufries, and so on. These readings will allow us to examine such topics as: the developments in narrative forms and worldviews; reading practices and the rise of popular print; and the texts' relation to contemporary discourses on science, travel, domesticity and childhood, nature, religious politics, etc. There will be several critical forums during which we will unpack critical turns in criticism: ethical, economic, religious, and ecological, etc. This will, in turn, enable us to define a critical-historical perspective from which to address the recent turns to narrative across a number of disciplines.

Primary texts may include some of the following: Francis Bacon's The New Atlantis; Aphra Behn's Oroonoko; Margaret Cavendish's The Blazing World; Thomas Deloney's Jack of Newberry; John Lyly's Euphues, the Anatomy of Wit; Thomas Lodge, A Margarite of America; Thomas More's Utopia; Thomas Nashe's The Unfortunate Traveller; Shakespeare's Henry V and The Winter's Tale; Spenser's The Faerie Queene; as well as selections from Hobbes' Leviathan, Milton's Paradise Lost, Sidney's Arcadia, Mary Wroth's Urania, as well as selected country house poems, rogue pamphlets, romances addressed to gentlewomen, colonial and travel narratives. There will also be readings in criticism and theory.

In addition taking an active role in class discussion, participants will be responsible for an individual report on a text or author (with handout); a group presentation on a critical forum topic (with handout and discussion questions); a 3-5 page exploratory essay on a research topic; and a journal length research paper (about 25 pages, with notes and list of works cited).

29932 12:00p-3:00p W

This class focuses on the turn toward the everyday in various genres of American writing from the mid-nineteenth through the early twentieth century, alongside the work of theorists and critics for whom the quotidian is also a central category. We'll consider historical accounts of the rise of the everyday as a category produced by bourgeois modernity; the relation of it to "realism" as both a literary mode and a critical stance; the politicization and aestheticization of the everyday in recent critical formations such as affect theory and, before it, cultural studies; its significance to late nineteenth- and early twentieth-century philosophy (pragmatism, phenomenology, Wittgenstein, Heidegger) and to the beginnings of psychoanalysis; domesticity, detail, and the gender of the everyday; theorizations of repetition, habit, work, and boredom. In order to bring forward the stakes of these questions, we'll also look at some theoretical models and literary forms that are pointedly pitched against the notion of the everyday, including deep time and the longue durée; messianic time; and some forms of Romanticism. At the same time, however, we will also assume that "the everyday" is far from a unified category, and will pay close attention to distinctions among the ways it is conceived and mapped by different authors and movements, both literary and theoretical.

uthors read will likely be drawn from: on the literary side, Thoreau, Douglass, Dunbar, Freeman, Jewett, Crane, James, Wharton, Adams, Williams, and Stein; on the critical and theoretical side, William James, Freud, Benjamin, Heidegger, Trilling, Raymond Williams, Henri Lefebvre, Stanley Cavell, Rita Felski, Naomi Schor, Wai Chee Dimock, Lauren Berlant, Liesl Olson, and Lloyd Pratt.

PLEASE NOTE: this class is restricted to K-12 teachers.

3.0 hours of graduate credit. On-line coursework beginning Monday, June 18, and ending Saturday, June 30, 2012, with two face-to-face meetings (6/18 & 6/30) on the Bloomington campus.

*****

"The stories belonged together," wrote Sherwood Anderson of his book, Winesburg, Ohio. "I have sometimes thought that the novel form does not fit an American writer.... What's wanted is a new looseness; and in Winesburg I had made my own form.... I submit that the form of my Winesburg tales... may offer a suggestion to other writers."

COLL 555 will examine the fictional form that Winesburg, Ohio inaugurated: the interconnected story collection, or the novel in stories. Beginning with selected poems from Edgar Lee Masters' Spoon River Anthology (a likely influence for Anderson), we will study Winesburg in detail as well as Gloria Naylor's The Women of Brewster Place, (the first book to use the term "novel in stories" in its subtitle). We'll then turn to a variety of other contemporary texts, with students choosing texts from the following list: How the Garcia Girls Lost Their Accents, Julia Alvarez; Bad Haircut: Stories of the Seventies, Tom Perotta; Jesus' Son, Denis Johnson; The Dew Breaker, Edwidge Danticat; Olive Kitteridge, Elizabeth Strout; The Imperfectionists, Tom Rachman; among others.

Some of the questions we'll consider are the following: Why does this form seem particularly conducive to books focused on communities (regional, ethnic and racial)? Why do so many regional and ethnic writers, as well as writers of color, find the form – the "new looseness" – particularly suited to their needs? What constitutes a well-made short story, and how might a series of well-made stories achieve an overall dramatic effect similar to that of a well-made novel?

To stimulate discussion and to aid teachers wanting to use these texts in their classrooms, the instructor will provide a summary of the critical response each book received upon its publication, a technical outline of its contents, and a list of discussion questions and related concerns.

We will meet together for a few hours at the beginning and end of this course. But for the intervening two weeks, much of this course will take place on-line, through IUB's Oncourse system. In addition to daily readings, students will be required to write response papers to each text, and a final course essay on a topic of their choice.

29529 1:00p-2:15p TR

Following Sharon Marcus, this workshop maintains that a published article "is the most important thing a graduate student can do to prepare for the job market." Over several months we'll heed her advice and cover a series of topics:

• The ins-and-outs of journal publication
• The proverbial writing desk
• How to combat perfectionism and unnecessary procrastination
• How to avoid Bad Academic Writing
• How to transform a chapter or a seminar paper into an article submission
• Writing strong conclusions, introductions, footnotes, and titles
• Revision and layering
• Composing submission cover letters
• Analyzing a reader's report and responding to editor's comments

By the end of the semester you will have a revised draft of an article that you may choose to send out to a journal following further revision. Register for this course only if you have a 20-30 page seminar paper or a dissertation chapter with a "new-enough" idea that you are willing to substantially revise and share with other workshop members. Also please have read The Craft of Research by Booth, Colomb, and Williams (3rd edition) for discussion during our first meeting.

22621

AUTHORIZATION OF DIRECTOR OF GRADUATE STUDIES REQUIRED.

Primarily for Special Field M. A. candidates. Students will define a project and secure both a faculty and external sponsor. Likely external sponsors will include the IU Foundation, the IU Press, advertising agencies, charities, legal or political offices, health agencies, and writing centers. Number of credit hours depends on length of commitment.

29562 11:15a - 12:30p TR

AUTHORIZATION OF INSTRUCTOR REQUIRED.

This is a course for graduate students interested in the teaching of writing poetry and fiction in the schools, community and in public organizations. The course is both a practicum and an exploration of various community-based alternative pedagogies, the culture of community literacy and arts collaborations, and an examination of the difficulties and the potential that arise out of such collaborations.

Students will work with community-partners on a poetry and/or fiction writing project that meets the specific needs of the host organization. There will be attention to curricular design and techniques unique to community creative writing. As part of the coursework, students discuss, theorize and offer written reflections on their own experiences of creative writing's value and function in the various communities they inhabit. Additionally, they will be responding to various readings in pedagogical theory, especially as it pertains to teaching in community/service settings, and all students will design a community teaching project. The first half of the semester will be devoted to seminar discussion and developing teaching projects for the specific sites.

During the second half of the semester the instructors will work with students and host organizations modeling the teaching practices discussed during the first half of the semester. The students will then practice these techniques with participants. The semester will end with a printed anthology and reading by the host organizations. Students will write several short responses and give presentations, design teaching projects, travel to various local organizations for on-site experience, keep a detailed journal of teaching experiences, assemble a final anthology and organize a presentation by the community participants.

29534 11:15a - 12:30p TR

Modern theories of cosmopolitanism over the past 20 years have explored the idea of "world citizenship" from postcolonial and historical perspectives, but for the most part, these theories have implicitly confined their discussions to post-eighteenth-century texts (beginning with Emmanuel Kant). This course will consider the possibility of premodern cosmopolitanisms, using contemporary and medieval theories and medieval texts, as well as medieval scholarship. Among the contemporary theorists we will read are Martha Nussbaum, Ulrich Beck, Emmanuel Levinas, Jacques Derrida. Medieval (and classical) theorists will include Cicero's De officiis, Dante's De monarchia, William of Ockham's Dialogus, and Marsilius of Padua's Defensor Pacis (in English translation). Literary texts will range from travel narratives (including Marco Polo and John Mandeville), crusade narratives, selected Canterbury tales, and part of Piers Plowman. In addition, we will be exploring medieval geographical ideas, cartographies, and premodern considerations of race and ethnicity. Some of the abiding questions of the course will include: what is the evidence for a horizontal (rather than vertical) orientation towards the world from the twelfth century on, and how did medieval texts negotiate this new orientation? What theories of geographical and cosmopolitan space informed premodern cosmopolitanism? What philosophical challenges emerge in literary and travel texts in response to this cosmopolitanism? Throughout the course, we will attend to the historical specific forms that cosmopolitanism takes, as well as its potential for intervening in modern cosmopolitanisms.

Requirements for the course will include three short working papers, regular blogs on weekly readings, one presentation, and a conference paper at the end of the semester.

26497 9:30a - 10:45a TR

This course will look at well-known (and some little-known) nineteenth-century pieces of literature and attempt to situate them in their historical moments. The reading, by necessity, will be heavy. We will do extensive primary source work in a number of genres including drama, poetry, fiction, and non-fiction writing. At the same time, we will study these primary sources in conjunction with literary critical material to familiarize ourselves with the current and past debates rooted in many of these primary works. Our goal will be to familiarize ourselves with some of the grand literary themes and movements of the nineteenth century. Aside from helping to lead class discussions, students will be expected to complete a few shorter writing assignments, as well as a longer paper due at the end of the semester.

Authors which might be studied include: Mason Locke Weems, James Fenimore Cooper, Timothy Shay Arthur, George Lippard, Frederick Douglass, Edgar Allan Poe, Herman Melville, Harriet Beecher Stowe, Henry Longfellow, Henry David Thoreau, Walt Whitman, Elizabeth Stuart Phelps, Mark Twain, and Kate Chopin.

Students can also do themselves a favor by giving themselves a bit of breathing space during the semester by reading Moby-Dick and Uncle Tom's Cabin during the semester break.

29539 5:45p - 8:30p W

In this class we will cover a range of texts pertaining to contemporary theories of the novel and narrative theory (including but not limited to narratology). By "contemporary" I mean that while our earliest novel theorists will likely include Henry James and E.M. Forster, much of our reading will be drawn from twentieth and twentieth-first century materials, from Erich Auerbach, Mikhail Bakhtin, and Northrup Frye to Lionel Trilling, Gerard Genette, Wayne Booth, and (later) novel theories by the likes of Wolfgang Iser, D.A. Miller, Catherine Gallagher, Franco Moretti, and so on. Expect a more or less 20th century focus, covering a range of methods, with an emphasis on the formal (New Critical, structuralist, narratological, and post-structuralist) as well as novel history (again, usually with a more formalist bent).

REQUIRED TEXTS
This class will involve more partial than full reading of literary critical and narratological texts, with a few exceptions involving shorter works (Genette's Narrative Discourse is one). Much of the reading will be excerpted and available on Oncourse, though I will order copies of some of the most pertinent texts and make those available for purchase. I plan to assign only 1-2 novels (very likely Austen's Emma and something by Henry James), but will require each student to choose and read a novel or collection of stories, together with 3-4 other people in small groups.

DESCRIPTION OF MAJOR ASSIGNMENTS
Reading log and group presentation. Once the groups have decided on a novel/collection to read together, you will keep "reading logs" in which you consider the relevance of the critical readings to the text in question, and, at the end of the term, use the reading log as the basis for your formal presentations to the class.

Bi-weekly Writing Assignments. Every two weeks (or so), you will be responsible for condensing one of our critical readings into annotated form. (roughly 6 total). You will post these to the Oncourse site so that everyone has the collective benefit of the group's thinking.

Final Project. The final project can take one of two forms. One: a formal paper dealing with a narrative text of your own choosing and informed by one or more of the narratological or theoretical approaches covered in our readings or in your own outside research. Issues of narrative and/or novel theory should be explicitly addressed. Two: write a short history of a particular narratological concern, or an account of a concern that has been central to novel theory. You might, for instance, provide an account of debates over "realism" and/or one of its signature techniques (like FID); or, you might consider a specific concept (mimetic desire; non-narratability; narrative closure) in a handful of texts dealing with that concept's relation to narrative form and representation.

29544 1:00p - 2:15p TR

In No Future (2004), Lee Edelman calls for radical queer politics to reject the imperative of futurity embodied in and articulated as the child. In Against Reproduction (2009), Stephen Guy-Bray takes up this idea in order to counter feminist treatments of Renaissance metaphors of the writer giving birth to the text; he argues that certain modes of feminist criticism allow the teleology of reproduction, in which sex leads to children within marriage, to proceed unchecked as a mechanism of state power. In this course, we will investigate this nexus of issues - gender, queerness, and time - in order to map the histories of feminist and queer theories and their interrelations and antagonisms in the present day: Why restage the struggle between feminism and queer theory now? Why launch a critique of state power that relies upon the marginalization of female labor already implicit in many accounts of state formation?

Alongside major theoretical texts of feminist and queer theory, we will read two sonnet sequences: William Shakespeare's Sonnets (1609) and Marilyn Hacker's Love, Death, and the Changing of the Seasons (1986). The tension between the lyric moment and the poetic sequence, along with the historical distance between each sequence's moment of composition, will help us explore an interrelated set of questions about temporality and theory: What kinds of literary critical work counts as theory (and is thus read by scholars working in other fields)? What vantage do literary works written at varied historical moments give us on our current theoretical debates?

This course will emphasize wide reading rather than extensive research; accordingly, work for the course will include regular participation, a presentation on a critical text, a short exploratory paper, and a final paper of conference length.

29882 2:30p - 3:45p TR

This course will acquaint students with the history and development of the interdisciplinary project of Victorian Studies. We will use canonical Victorian fiction and prose as portals into an examination of literary and historical scholarship that engages the period. Moving chronologically through the era (c. 1837-1901), we will read texts by authors to include many of the following: Dickens, Carlyle, Mill, Mayhew, C. Brontë, Collins, M. Arnold, Gissing, and Conrad. These texts will illuminate the period, its social concerns, and its stylistic predilections. They will also offer points of departure for our larger project - that of understanding the development of Victorian Studies as a discipline since its institution over fifty years ago. Engagement with landmark texts from the Victorian age will allow for a tangible consideration of the literary criticism and historical scholarship that has endeavored to illuminate the epoch. We will chart the emergence of the field; examine its heady days under the influence of social history, gender studies, Foucaldian paradigms, the new historicism, and imperial studies; and address turns towards the material, ethical, environmental, spatial, and digital which have sought to reinvigorate Victorian Studies in recent years. Our course thus moves across time in two registers: the first considers the textual unfolding of the Victorian era itself; the second traces the intellectual development of literary and historical scholarship over the past half century. While proceeding in these two registers, we will keep the matters of periodization, geography, and interdisciplinarity that at one time offered the irrefutable foundations and guiding logics of the field at the forefront of our consideration. How useful is the notion of Victorian Studies today? Is there any hope for the erstwhile happy union of literary and historical studies that this rubric once provided? What, in future, will be included in its ambit?

From its inception to the present, this important interdisciplinary field of scholarship and teaching has enjoyed an especially welcoming and nourishing home at Indiana University. We will, therefore, rely on the resources of the University, including the journal Victorian Studies, the Kinsey Institute, the Lilly Library, and the Wells Library, in this class.

Writing assignments will have two purposes. First, they will help students become acquainted with the field for the purposes of oral examination, teaching, and research. To this end, students will construct annotated bibliographies, syllabi, and, perhaps, historical and scholarly timelines. Second, writing assignments will allow students to become familiar with genres of academic writing. For this purpose, students will draft a conference paper proposal, a brief position paper, and a book review.

This course is required for the Victorian Studies minor, but it will also be of use to students of British, European, and U. S. history wishing to develop a grasp of themes and methodologies in nineteenth-century studies more generally.

319822:30p - 5:30p M

In his preface to The Writing of History, Michel de Certeau posits history writing as a praxis involving much more than the simple witnessing or recording of events into words. It involves, rather, manufacturing "a field of operations within which theory itself is produced" (4). This course offers an overview of what it means (or has meant) to write history in rhetoric and composition, focusing on the chronological space between Quintilian's Institutio Oratoria (96 CE) and Gertrude Buck's A Course in Argumentative Writing (1899), with some earlier and later movement towards the goal of understanding coherent competing traditions rather than formulating a singularly historical tradition. Along the way, we will consider how post-Enlightenment and belletristic developments in eighteenth-century civic rhetoric contributed to a uniquely North-American spread of universal literacy. We will also consider how the problems and limitations of extant histories of rhetoric and composition equip us to ask new questions and pose alternative lines of inquiry. Finally, we will consider how all of this bears on the formation of College English as a discipline.

We cannot cover everything in this chronological space; however, we can consider some select challenges that have emerged for historiographers of ancient and contemporary traditions, balancing their goals of historical recovery and canon expansion with other goals of attending to the voices in the margins. We can also consider how various methods and methodologies do or do not translate to the historical study of non-western traditions. And we can consider archival challenges that arise when settling any of the above. You need not be a rhetoric scholar to benefit from this class. In fact, my primary goal is that you would find a salient point of intersection between our course methodologies and your own course work.

Texts will likely include the following:

• Berlin, Writing Instruction in Nineteenth-Century American Colleges (SIUP)
• Bizzell and Herzberg, The Rhetorical Tradition: Reading From Classical Times to the Present, Second Edition (Bedford/St. Martins)
• Miller, The Formation of College English (U Pittsburgh)

as well as a series of articles and book chapters on e-Reserve to help complicate the master narratives that the above texts will invariably construct.

To accommodate our once-weekly format, a reading assignment will be posted in advance of the first class meeting. Our class time will be spent in collaborative presentation of our primary texts, discussion of our secondary sources, and exploration of digital research methodologies. Coursework will likely include the regular preparation of traces, a discussion blog, an article assessment, and a final critical paper, presented to the class in a simulated graduate research network forum.

16585 2:30p - 5:30p T

DEPARTMENT AUTHORIZATION REQUIRED

PLEASE NOTE: We will meet for a full class on the first day, and there will be both a reading and a writing assignment posted for you on Oncourse by the middle of December. Please be sure to arrive fully prepared and ready to go!

Prerequisite: Enrollment is restricted to graduate fiction students enrolled in our MFA program.

You will be encouraged to avoid the real or imagined constraints of workshop (and workshop jargon) and take chances, and write the fiction you really want to. If you find yourself typically more comfortable writing in third person, maybe this is the semester to try first person (we will talk a lot about point of view). If your fiction usually winds up at a certain page length, you may want to experiment with "length" and "space," going either shorter or longer to play with expansion and compression. We will also focus on revision, and what it means to "see again."

Expect to draft and revise around 60 pages this semester (no work from previous workshops), the bulk of which is seen in workshop. Reasonably self-contained novel chapters that don't require "epic setup" are always welcome. The short story is not privileged.

Course Philosophy: Craft is inextricably connected to world view, which is directly connected to point of view, so we will consider not only how stories are made through a writer's choices, but "how and what" stories "mean."

Course Expectations(probably just what you already expect): regular and active attendance, good preparation for substantive participation, properly formatted and carefully proofread manuscripts, meaningful investment in the writing of your peers as evidenced in thoughtfully written critiques of peer work.

PLEASE NOTE: We will have a full class session, with assignments, for our first meeting. Course reading and writing assignment will be posted on Oncourse by mid-December. Please arrive fully prepared and ready to go for our first class meeting.

I look forward to working with all of you.

21875 2:30p - 5:30p T

DEPARTMENT AUTHORIZATION REQUIRED

W614 is a graduate course in the writing of poetry, its enrollment limited to students in the MFA program in poetry. Students will be required to write several poems, read a number of volumes of poetry and several essays, and give at least one major presentation.

29564 2:30p - 5:30p R

DEPARTMENT AUTHORIZATION REQUIRED

"The stories belonged together," wrote Sherwood Anderson of his book, Winesburg, Ohio. "I have sometimes thought that the novel form does not fit an American writer.... What's wanted is a new looseness; and in Winesburg I had made my own form.... I submit that the form of my Winesburg tales... may offer a suggestion to other writers."/p>

This course will examine the fictional form that Winesburg, Ohio ultimately led to: the interconnected story collection, or novel in stories. We'll begin by reading selected poems from Edgar Lee Masters' Spoon River Anthology, which likely influenced Anderson's later book, then study Winesburg, Ohio in detail as well as Gloria Naylor's The Women of Brewster Place, which (at least according to my research) was the first book by a North American writer to use the term "novel in stories" in its subtitle. We'll then turn to a variety of contemporary texts, several of which are listed below. While our readings will focus mainly on fiction, the course and its concerns are certainly open to poets and to poetry.

A related concern we'll no doubt discuss is why this form seems particularly conducive to books focused on communities (regional, ethnic and racial), and why so many regional and ethnic writers, as well as writers of color, find the form - the "new looseness" - particularly suited to their needs.

Students will be required to write response papers to each text, present an in-class report and coordinate discussion of at least one of the assigned texts, and as a final course project write a 12-15 page essay on a topic of their own choosing.

W664 is a literature course designed primarily for students in the MFA Program, but it is also open to graduate students in literature.

Tentative Book List:

Spoon River Anthology, Edgar Lee Masters
Winesburg, Ohio, Sherwood Anderson
The Women of Brewster Place, Gloria Naylor
Monkeys, Susan Minot
How the Garcia Girls Lost Their Accents, Julia Alvarez
Bad Haircut: Stories of the Seventies, Tom Perotta
The Dew Breaker, Edwidge Danticat
Olive Kitteridge, Elizabeth Strout
Kissing in Manhattan, David Schickler
In Other Rooms, Other Wonders, Daniyal Mueenuddin
The Imperfectionists, Tom Rachman
The Civilized World, Susi Wyss

TBA/24311 5:00p - 7:30p M

This class offers an opportunity to develop an extensive literary translation project in a workshop setting. Throughout the course the emphasis will be on a collaborative, exploratory approach to literary translation, and one which is grounded in the practical craft of translation, yet makes use of literary theory and translation theory where these are useful and appropriate.

Classes will consist primarily of in-depth workshops focusing on ongoing drafts of short extracts from your projects. Other activities and materials will be used as and when they are needed. Many students use this class as an opportunity to develop a project for the Certificate in Literary Translation. [This course was added as a joint-listing. The English W680 section number was not available at time of printing. ]

31980 11:15a - 2:15p T

DEPARTMENT AUTHORIZATION REQUIRED

"O for a life of sensation rather than of thoughts!" While John Keats' exclamation in a letter of 1817 might be taken as a sign of the adolescent sensibility which is often attributed to him, it more broadly signals his participation in a revaluation of sensation crucial to the modern definition of the literary. The strands of that revaluation include empiricist philosophy's grounding of knowledge in sense perception, as well as the 18th-century emergence of a discourse of aesthetics (from the Greek aisthetikos, "pertaining to sensory things") proposing both a rigorous treatment of perceptual data and a new vocation for art. Physiology of the period also sees dramatic developments in accounts of bodily experience, from John Brown's theory of irritability to Erasmus Darwin's description of physical economies which begin in a primal "animal motion. "

Against this backdrop, the seminar will consider the implications for the literary text of a new attention to sensation, and an emergent notion of literature which sees it as, in Wordsworth's phrase, "the language of the senses. " For many of the authors we'll be discussing—William Wordsworth, Dorothy Wordsworth, Charlotte Smith, William Blake, Samuel Taylor Coleridge, Keats, Thomas de Quincey—changes in thought turn on changes in sensation, and the perceptual apparatus, rather than being a neutral window on the world, is a field for experimentation and an index of social change. Literature undergoes, in this period, what might be called a "phenomenologization," in its self-consciousness regarding embodied experience and in its authors' willingness to consider altered perceptual states (as with Coleridge's accounts of what he called "spectra," sensory anomalies such as double vision, afterimages and synesthesia). As such, I intend the class not only as a historicized approach to a transition in literary sensibilities, but also as an introduction to phenomenological understandings of literature, and I encourage participation from students not doing research in the period. Maurice Merleau-Ponty's Phenomenology of Perception will help us think about what is involved in this shift of focus (if students want to get a head start, dipping into this volume would serve very well).

We'll read liberally in the authors mentioned above, including physiological texts, and probably including a Gothic novel (Charlotte Dacre's Zofloya) to suggest differences of sensory palette in different genres, with an emphasis on poetry but attention also to the journals of Coleridge and Dorothy Wordsworth, and de Quincey's hallucinatory essays. We'll also look at Edmund Burke's delightful little book on the Sublime and the Beautiful for its contribution to English aesthetics, perhaps in conjunction with his peculiarly sensory critique of the French Revolution. A substantial body of critical work concerned with the senses, embodied poetics and phenomenological approaches has sprung up in recent years and we'll turn to Noel Jackson (whose Science and Sensation in Romantic Poetry is a touchstone for much of what we'll consider), Rei Terada (Looking Away: Phenomenality and Dissatisfaction, Kant to Adorno), Paul Youngquist (Monstrosities: Bodies and British Romanticism), Alan Richardson (The Neural Sublime: Cognitive Theories and Romantic Texts), Christopher Miller (The Invention of Evening: Perception and Time in Romantic Poetry), as well as (less directly Romantic texts) Brian Massumi (Parables for the Virtual: Movement, Affect, Sensation), Susan Stewart (Poetry and the Fate of the Senses), Mark Johnson (The Meaning of the Body: Aesthetics of Human Understanding) and others.

The main product of the course will be a 20-25 pp. seminar paper and I'm open to students taking the phenomenological methods of the class to texts from their own main fields of study. Along the way, I'll also ask for one or two class presentations and regular postings of questions for discussion by the class (number to be determined). The latter weeks of the semester will be devoted to work on the seminar paper, including the chance to share one's work with the other members of the class.

29549 9:05a - 12:05p W

DEPARTMENT AUTHORIZATION REQUIRED

" The promiscuous traffic between different ways of knowing carries the most radical promise of performance studies research. "

The late Dwight Conquergood had it right: performance study is synonymous with " different ways of knowing" that range from the close reading skills of literary critics to the archival exactitude of theatre historians, from the methods of ethnographers to the calculations of statisticians or even accountants. It is quite possible, however, that given an opportunity Conquergood and many scholars of performance would not want to enroll in this seminar, as they are convinced that the dominance of critical analysis—of reason itself--squeezes out " complex, finely nuanced meaning that is embodied, tacit, intoned, gestured, improvised, coexperienced. " This leads us to the domain of affect where, as Brian Massumi has cleverly observed, " the skin is faster than the word. " Intensity of feeling, not meaning, is the object of their critical attention. We will, of course, attend to such matters as the intensity of response to performance, but finally we will be engaged with words and written texts—and with their performance on stage and, occasionally, on the screen and street.

The first half of this seminar will attempt to delineate different ways of knowing about performance study, theatre historiography, affect, and drama study with the aim of our (yours and mine) development of more refined methods of researching the theatre or other performed events. We will read all or much of:

• Clifford Geertz, The Interpretation of Cultures (1977)
• Mark Fortier, Theory/Theatre, 2nd. ed (2002)
• Thomas Postelwait, The Cambridge Introduction to Theatre Historiography (2009)
• Diana Taylor, The Archive and the Repertoire (2003)
• Janelle G. Reinelt and Joseph Roach, eds. Critical Theory and Performance (2007)
• Marvin Carlson, The Haunted Stage (2002)

The second half of the seminar will focus on varieties of nineteenth-century drama—British and American—with special attention to melodrama, heroic drama/tragedy, domestic comedy, and productions of Shakespeare on the Victorian stage. Individual plays can be recommended by the seminarians but possibilities include:

• Don B. Wilmeth, ed., Staging the Nation: Plays from the American Theatre, 1787-1909
• Dion Boucicault, Arrah-na-Pogue, intro. by Scott Boltwood
• Judith L. Fisher and Stephen Watt, eds., When They Weren't Doing Shakespeare: Essays on Nineteenth Century British and American Drama (the dirt cheap, used edition on Amazon) N. B. This is a book of critical essays, not plays.

The seminar will include an 8-10 page essay at mid-term, a conference of papers prepared by seminarians near the end of the seminar, which will then be expanded to a 15-18 page essay due at the end of the semester.

Interested students should feel free to discuss this seminar with the instructor, whose e-mail is watt@indiana.edu. Suggestions welcome.

30276 12:20p - 3:20p W

DEPARTMENT AUTHORIZATION REQUIRED

By the twentieth century, over eighty per cent of the earth's land surface had been colonized. For the British, imperial expansion was accompanied and consolidated by the spread of the English language and the inculcation of British cultural values through education. Colonial educational policies, however, became both politically and culturally double-edged. At the political level, they would result in the cultivation of a native clerical class to serve the Empire, and, simultaneously, the dissemination of bourgeois democratic ideals among the native, educated elite. Inspired by these ideals, this elite would emerge as the leadership of anti-colonial movements. At the cultural level, colonialism would have a profound impact on English literature, introducing semantic systems and epistemologies that have radically reshaped the novel.
This course will investigate the emergence and use of post-colonial theory as a primary intellectual framework through which to analyze colonial relationships and their political and cultural legacies. We will begin by reading foundational texts in the field including Benedict Anderson's Imagined Communities, Aime Cesaire's A Discourse on Colonialism, Frantz Fanon's The Wretched of the Earth and A Dying Colonialism, and Edward Said's Culture and Imperialism. We will be concerned with how these texts disclose the ideological and discursive operations of Empire and anti-colonial nationalism. In particular, we will ask what kind of relationship these works posit between institutions and the intellectual.
Throughout the course, we will consider some of the seminal issues which define the history of post-colonial studies, such as the role of women in national liberation struggles and the post-colonial state, the ways that prison serves as an alternative site of learning, the utility of dependency theory for understanding global disparities of wealth, the status of the subaltern and the challenges of archiving subaltern consciousness, and the relationship between formal colonialism and newer forms of imperialism.
The final section of the course will focus on how to translate the concepts of post-colonial theory to an engagement with specific literary works. In this unit, we will also consider how literature offers an alternative form of knowledge to theory. Our literary readings will represent a small sample of post-colonial fiction, but will be drawn from a number of different contexts (Central America, Africa, the Middle East, South Asia).

Students should expect to write weekly electronic journals for the first half of the semester, take an active role in classroom discussion, and write a twenty-page seminar paper. In addition, students will be required to attend one or two lectures by visiting speakers outside of class.

Readings:
Etel Adnan, Sitt Marie Rose (Lebanon)
Eqbal Ahmed, Confronting Empire
Ama Ata Aidoo, Our Sister Killjoy (Ghana)
Benedict Anderson, Imagined Communities: Reflections on the Origins and Spread of
Nationalism
Manlio Argueta, One Day of Life (El Salvador)
Aime Cesaire, A Discourse on Colonialism
Latifa, My Forbidden Face (Afghanistan)
Frantz Fanon, The Wretched of the Earth (Richard Philcox's translation) and A Dying
Colonialism
Anne McClintock, Aamir Mufti, Ella Shohat editors, Dangerous Liaisons, Gender,
Nation, and Postcolonial Perspectives
Salman Rushdie, Midnight's Children (India)
Edward Said, Culture and Imperialism
Gillian Whitlock, Soft Weapons: Autobiography in Transit
Robert Young, Post-Colonialism: A Historical Introduction

Films:
Edward Said on Orientalism
Maria's Story
Beneath the Veil
Frantz Fanon: Black Skin, White Mask

29552 2:30p - 5:30p R

DEPARTMENT AUTHORIZATION REQUIRED

This seminar will raise the question of whether or not "Posthumanist" approaches are a viable critical and interpretive tool in the study of early modern and eighteenth-century texts. If Humanism is a philosophical paradigm that emerges in the sixteenth century, then what can "posthumanism" offer in the study of Shakespeare, Milton, and other authors who are supposedly representative of their own historical moment, in ways that will lead to new directions in the future? What does the concept of posthumanism mean, if we are still arguing the terms of humanism? And how do the uses of such terms in other disciplines, for instance history, political science, cognitive science, anthropology and even psychoanalysis, complicate or compromise our practices as literary scholars? Our literary reading will concentrate on selections from the early seventeenth century through the eighteenth century, and the "Enlightenment" and its suppositions will form a fulcrum for thinking about humanist and posthumanist scholarship and writing. Participants will be asked to write a 25-30pp research paper on a literary text or texts of their own choosing, that brings fresh materials and perspectives on how to build useful models of "posthumanist" practice. Although we will center our class meetings on shared texts, students will be encouraged to do their research papers on other texts, if desired.

29554 9:30a - 12:30p R

DEPARTMENT AUTHORIZATION REQUIRED

Course Description: During the 1740's Britain witnessed a remarkable literary rivalry between Samuel Richardson and Henry Fielding. It is a rivalry that has been described, staged, and even caricatured in numerous ways: the printer Richardson vs. the magistrate Fielding, the master of interiority vs. the master of exteriority, character vs. plot, tragedy vs. comedy, virtue vs. vice, the introvert vs. the extrovert, forward-looking vs. backward-looking, and so forth. Whether or not these binaries hold, it must be admitted that both writers developed and promoted serious moral visions throughout their careers, that such visions are totally incompatible with one another, and that they culminate late in the decade with two extraordinary achievements, Clarissa (1748) and Tom Jones (1749).

This seminar offers a relatively unhurried reading of these two landmark works, which, more than any other, plotted two alternative courses for the novel as a literary form. The focus will fall both on the novels themselves and on their reception—within the eighteenth century and, especially, within the modern academy. Each novel will therefore be viewed alongside its most influential critics, so that the course will also offer a brief survey of theoretical criticism over the last three decades. Approaches discussed will likely include deconstruction, psychoanalysis, Marxism, new historicism, book history, cognitive theory, new formalism, and philosophy and literature, among others.

Required texts:
Samuel Richardson, Clarissa, eds. Toni Bowers and John Richetti (Broadview). ISBN 1551114755. (To my great regret, there is no unabridged version of Clarissa currently in print. The Bowers/Richetti abridgement, though, has been very well received. If you can find a copy of Angus Ross's unabridged Penguin edition, you are welcome to read that instead.) Henry Fielding, Tom Jones, eds. John Bender and Simon Stern (Oxford). ISBN 0199536996

Required assignments will include regular class attendance and participation, a short in-class presentation, and a long research paper.

21821 DEPARTMENT AUTHORIZATION REQUIRED

This class is designed to serve as a workshop for students in their exam year, in which they can get regular guidance from faculty (the DGS), and feedback from peers, on the shaping of the dissertation prospectus. The course aims toward the successful defense of the prospectus in late spring. Two meetings in the fall will set up some guidelines for advance preparation, disseminate models of the prospectus document, and discuss the intellectual challenges involved in constructing a large project. Students will be grouped according to their own sense of their pace and preparedness in the spring semester, so that we all learn from each other, but do not slow anyone down. Students will be asked to have regular check-ins with the DGS, as well as attend several (probably three) small-group work-shopping meetings, at which the DGS will also be present. We will also discuss and plan for the defense itself. All meetings will be completed by the end of the first 8 weeks of spring semester.