<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><BR><DIV><BR><DIV>Begin forwarded message:</DIV><BR class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT face="Helvetica" size="3" color="#000000" style="font: 12.0px Helvetica; color: #000000"><B>From: </B></FONT><FONT face="Helvetica" size="3" style="font: 12.0px Helvetica">Tina Feldmann <<A href="mailto:tina.feldmann@ucr.edu">tina.feldmann@ucr.edu</A>></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT face="Helvetica" size="3" color="#000000" style="font: 12.0px Helvetica; color: #000000"><B>Date: </B></FONT><FONT face="Helvetica" size="3" style="font: 12.0px Helvetica">October 24, 2006 10:22:06 AM PDT</FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT face="Helvetica" size="3" color="#000000" style="font: 12.0px Helvetica; color: #000000"><B>To: </B></FONT><FONT face="Helvetica" size="3" style="font: 12.0px Helvetica"><A href="mailto:raymond.williams@ucr.edu">raymond.williams@ucr.edu</A>;, <A href="mailto:andrew.winer@ucr.edu">andrew.winer@ucr.edu</A>;, <A href="mailto:steven.ostrow@ucr.edu">steven.ostrow@ucr.edu</A>;, <A href="mailto:robin.russin@ucr.edu">robin.russin@ucr.edu</A>;, <A href="mailto:nicole.vines@ucr.edu">nicole.vines@ucr.edu</A>;, <A href="mailto:susan.komura@ucr.edu">susan.komura@ucr.edu</A>, <A href="mailto:yang.ye@ucr.edu">yang.ye@ucr.edu</A>, <A href="mailto:derek.burrill@ucr.edu">derek.burrill@ucr.edu</A>, <A href="mailto:jkbuscher@gmail.com">jkbuscher@gmail.com</A>, <A href="mailto:mike.atienza@ucr.edu">mike.atienza@ucr.edu</A>, <A href="mailto:dancegradslist@lists.ucr.edu">dancegradslist@lists.ucr.edu</A>, <A href="mailto:andrew.jacobs@ucr.edu">andrew.jacobs@ucr.edu</A>, <A href="mailto:diana.marroquin@ucr.edu">diana.marroquin@ucr.edu</A></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT face="Helvetica" size="3" color="#000000" style="font: 12.0px Helvetica; color: #000000"><B>Cc: </B></FONT><FONT face="Helvetica" size="3" style="font: 12.0px Helvetica"><A href="mailto:steven.axelrod@ucr.edu">steven.axelrod@ucr.edu</A></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT face="Helvetica" size="3" color="#000000" style="font: 12.0px Helvetica; color: #000000"><B>Subject: </B></FONT><FONT face="Helvetica" size="3" style="font: 12.0px Helvetica"><B>Here's the all-inclusive list of all W'07 course descriptions & pre-reg. instructions</B></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV> <DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">10/24/06</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">TO: <SPAN class="Apple-converted-space"> </SPAN>Faculty graduate advisors, staff graduate advisors</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Please forward this all-inclusive list of W'07 seminar course descriptions to all graduate students in your department(s). <SPAN class="Apple-converted-space"> </SPAN>Please also be sure that every graduate student in your department is made aware of our department's policy that all seminar enrollments must first be approved by the English department's faculty graduate advisor, Professor Steven Axelrod (see further information and form below).<SPAN class="Apple-converted-space"> </SPAN>Once permission is granted by Professor Axelrod, your students may sign up through GROWL during the pre-registration period beginning Monday, November 6.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">When a student is given permission to enroll in a seminar, their place is reserved, therefore, we ask that any student who changes their mind and no longer wishes to enroll in the seminar or if they drop it, to please notify Professor Axelrod by email so that he can then make that slot available to another student. <SPAN class="Apple-converted-space"> </SPAN>While first priority must be given to English graduate students, we recognize the need and interest of graduate students outside our department, and in that spirit, we are happy to notify interested graduate students of the remaining seminar spaces if they will send their seminar preference email to Professor Axelrod in part II, listed below).</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">When a student is given permission to enroll in the seminar, their place is reserved, therefore, we ask that any student that changes their mind and no longer wishes to enroll in the class, to please notify Professor Axelrod, by email, so that he can then make that enrollment slot available to another student. <SPAN class="Apple-converted-space"> </SPAN>If you would like anyone added to or deleted from this quarterly email, please email me directly at <A href="mailto:tina.feldmann@ucr.edu">tina.feldmann@ucr.edu</A>.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Thank you.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Tina Feldman</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">NOTE: <SPAN class="Apple-converted-space"> </SPAN>This email has 3 parts:</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Part I <SPAN class="Apple-converted-space"> </SPAN>-- The seminar preference form that should be sent to Professor Axelrod</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Part II --<SPAN class="Apple-converted-space"> </SPAN>The seminar listing.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Part III -- The seminar course descriptions to assist students in completing Part II.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">------------------------------------------</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Part I<SPAN class="Apple-converted-space"> </SPAN>(the seminar preference sheet):</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Please return this form, alone, to Professor Axelrod (without the course descriptions and in the text of the email and not by attachment)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Seminar Preference Form for Winter Quarter 2007</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This form is only for students wishing to take English Department graduate seminars in winter 2007. Please indicate the courses that you would prefer to take, and email this form back to me by 12:00 noon on Wednesday, November 1, 2006.<SPAN class="Apple-converted-space"> </SPAN>Please put it in the body of your email rather than in an attachment. <SPAN class="Apple-converted-space"> </SPAN>Forms received by the deadline will receive first priority. Forms received after that time will get second priority.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">I will email seminar rosters to everyone by Saturday, November 4. <SPAN class="Apple-converted-space"> </SPAN>Pre-registration begins on Monday, November 6. <SPAN class="Apple-converted-space"> </SPAN>If you wish to take two English Department seminars, fill out at least four choices. If you wish to take only one English Department seminar, you should fill out at least two choices. <SPAN class="Apple-converted-space"> </SPAN>Course descriptions are added to the bottom of this email.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Best wishes,</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Steve Axelrod</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Director of Graduate Studies</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Your department is: <SPAN class="Apple-converted-space"> </SPAN>_________________________</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This quarter you are (place X after year): MA1<SPAN class="Apple-converted-space"> </SPAN>MA2 <SPAN class="Apple-converted-space"> </SPAN>MFA<SPAN class="Apple-converted-space"> </SPAN>PhD1<SPAN class="Apple-converted-space"> </SPAN>PhD2<SPAN class="Apple-converted-space"> </SPAN>PhD3</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Your areas of specialization are (name 2 or 3):</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Number of English Department seminars you want (1 or 2?):<SPAN class="Apple-converted-space"> </SPAN>________________</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">1st Choice: <SPAN class="Apple-converted-space"> </SPAN>English______ with Professor _____________.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">2nd Choice: <SPAN class="Apple-converted-space"> </SPAN>English______ with Professor _____________.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">3rd Choice: <SPAN class="Apple-converted-space"> </SPAN>English______ with Professor _____________.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">4th Choice: <SPAN class="Apple-converted-space"> </SPAN>English______ with Professor _____________.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">5th Choice: <SPAN class="Apple-converted-space"> </SPAN>English______ with Professor _____________.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">________________________<SPAN class="Apple-converted-space"> </SPAN>____________________<SPAN class="Apple-converted-space"> </SPAN>________________________</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><SPAN class="Apple-converted-space"> </SPAN>Your Name <SPAN class="Apple-converted-space"> </SPAN>Date<SPAN class="Apple-converted-space"> </SPAN>Email Address</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">---------------------------------------</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Part II (course listing):</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">WINTER 2007 ENGLISH DEPARTMENT SEMINARS</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">as of 10/24/06</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">MONDAY</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 270 – American Literature since 1900<SPAN class="Apple-converted-space"> </SPAN>(S. Axelrod)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">5:10-8:00 pm in HMNSS 2212</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">TUESDAY</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 262 – Renaissance Literature (S. Stewart)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">2:10-5:00 pm in Watkins 1111</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 273 – Cultural Studies (K. Harris)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">2:10-5:00 pm, Room: <SPAN class="Apple-converted-space"> </SPAN>TBA</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 279 – Rhetorical Studies (R. Axelrod)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">5:10-8:00 pm in HMNSS 1502</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">WEDNESDAY</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 275 – Film and Visual Cultures (V. Nunley)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">2:10-5:00 pm in HMNSS 1407 + 5:10-8:00 screening in Sproul 2212</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 264 – Restoration and 18th C. Literature (C. Fabricant)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">5:10-8:00 pm in Watkins 1117</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">THURSDAY</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 289 – Seminar: Genres (J. Doyle)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">2:10-5:00 pm in Watkins 1404</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 274 – Feminist Discourses (C. A. Tyler)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">5:10-8:00 pm in HMNSS 1407</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">FRIDAY</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 268 – British Literature since 1900<SPAN class="Apple-converted-space"> </SPAN>(K. Devlin)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">2:10-5:00 pm in HMNSS 1407</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">-------------------------------------------------</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Part III (course description):</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 270<SPAN class="Apple-converted-space"> </SPAN>(American Lit. since 1900)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Steven Axelrod</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This seminar will focus on the poetry of sadness in the Cold War era. We will meditate on the psychoanalytical aspects of depression, loss, grief, and anger as well as the historical specificity of the period 1945-89. We will consider the etiology of the new poetics of sadness and the different and innovative forms this poetics took. Texts will include Elizabeth Bishop’s Complete Poems and Collected Prose; Robert Lowell’s Collected Poems; Allen Ginsberg’s Collected Poems 1947-1997; Bob Kaufman’s Solitudes Crowded with Loneliness; Sylvia Plath’s Collected Poems and The Bell Jar; and Mitsuye Yamada’s Camp Notes and Other Writings. We will also study The Freud Reader (ed. Peter Gay); John Bowlby’s Loss: Sadness and Depression; and Howard Kushner’s American Suicide. Class responsibilities will include engaged participation, two oral reports, and a term paper.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">“It was a queer, sultry summer, the summer they electrocuted the Rosenbergs. . . . It had nothing to do with me, but I couldn’t help wondering what it would be like, being burned alive all along your nerves.” Sylvia Plath, The Bell Jar</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Pity the planet, all joy gone</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">from this sweet volcanic cone;</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">peace to our children when they fall</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">in small war on the heels of small</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">waruntil the end of time… Robert Lowell, “Waking Early Sunday Morning”</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 262 (Turks, Moors, Jews, Catholics, and Sexual Deviates on the Renaissance London Stage)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Stanley Stewart</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><SPAN class="Apple-converted-space"> </SPAN>During the Renaissance, as commerce expanded, bringing new wealth to the London Pool, the English theatre flourished.<SPAN class="Apple-converted-space"> </SPAN>There was a constant demand for new scripts, with new plots.<SPAN class="Apple-converted-space"> </SPAN>Sometimes these included exotic characters, such as one might find in foreign lands, but not usually in London.<SPAN class="Apple-converted-space"> </SPAN>Plays might be set in the legendary Venice, the most cosmopolitan of European cities, with the most outrageously liberal laws governing racial and religious groups.<SPAN class="Apple-converted-space"> </SPAN>This seminar will focus on types of social difference, and how they might be understood in Early Modern England.<SPAN class="Apple-converted-space"> </SPAN>Seminar participants will select a play or a type of social or religious difference that might interest theatre audiences.<SPAN class="Apple-converted-space"> </SPAN>Examples might be The Jew of Malta, Titus Andronicus, The Merchant of Venice, Othello, Volpone, Epicene, The Roaring Girl, The Changeling, The Duchess of Malfi, ‘Tis Pity She’s a Whore, or The Cardinal (not in the Bevington text).<SPAN class="Apple-converted-space"> </SPAN>During the first three weeks, members of the seminar will read and discuss these plays.<SPAN class="Apple-converted-space"> </SPAN>Then each participant will select a topic, perhaps an author, a theme, or a single play, or even a single scene from a play.<SPAN class="Apple-converted-space"> </SPAN>The participant will prepare a report, showing how the social distance between the individual and the societal norm works to inform, amuse, exhort, or terrify the audience, and, perhaps, suggest how an understanding of the rhetorical dynamics of the work might aid one’s understanding of the period.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><SPAN class="Apple-converted-space"> </SPAN>The two texts will be:</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><SPAN class="Apple-converted-space"> </SPAN>1) any well annotated edition of Shakespeare</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><SPAN class="Apple-converted-space"> </SPAN>2) English Renaissance Drama: A Norton Anthology.<SPAN class="Apple-converted-space"> </SPAN>Ed. David Bevington et</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><SPAN class="Apple-converted-space"> </SPAN>al. <SPAN class="Apple-converted-space"> </SPAN>New York: W. W.<SPAN class="Apple-converted-space"> </SPAN>Norton, 2002.<SPAN class="Apple-converted-space"> </SPAN>ISBN 0-393-97655-6</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 273 (Cultural Studies)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Keith M. Harris</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This seminar is a detailed study of the contemporary male nude in film and photography. The goal of the seminar is to examine the shifts in meanings of the male nude as a sign. We, therefore, discuss the nude, male and female, in the visual arts, including sculpture, painting, drawing and etching; the discursive significations of the nude as a form; and the divergence of these significations along the lines of male and female. Topics include gender construction and performance, race and semiotics, sexuality and visible difference. Students are required to do extensive readings and research leading to a final research paper.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 279 (Rhetorical Studies)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Rise Axelrod</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This course is designed as a comprehensive introduction to the thriving,<SPAN class="Apple-converted-space"> </SPAN>eclectic field of rhetoric and composition, a field that is very much in demand in today’s academic job market. We will engage the current theories and debates that will make you competitive in a way that teaching experience alone will not. We will begin by surveying the foundational texts in the twentieth-century rebirth of rhet/comp and then read more recent works on topics such as literacy and multi-literacy studies, genre theory, process and post-process theory, and critical pedagogy. We will also spend some time on writing across the curriculum theory in light of UCR’s new initiative in this area. We will read such texts as Susan Jarratt and Lynn Worsham, Feminism and Composition Studies (1998); Janice Wolff, Professing in the Contact Zone (2002); Bruce McComiskey and Cynthia Ryan, City Comp: Identity, Spaces, Practices (2003); and James Paul Gee, What Video Games Have to Teach Us About Learning and Literacy (2003).The requirements for the course include a seminar paper on a topic of your choice plus one or two oral reports (depending on the number of students).</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 275<SPAN class="Apple-converted-space"> </SPAN>(Rhetoric Excess: Visual Tropes of Masculinity, Femininity, and Race in the Construction and Consumption of the American Imaginary)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Vorris Nunley</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Borrowing from sociologist Zygmunt Bauman’s notion that the idea of the “norm” would never occur and have no content if it were not for the experience and the rhetorical construction of excess, this class will explore the construction of “America” as masculine trope and as nation-state. Specifically, class will examine how hegemonic, American masculinity has been normed through tropes of masculinity, femininity, and race through the visual rhetorics and public pedagogies of film, popular culture, public policy, war, documentaries, and neo-liberalism. These public pedagogies function to camouflage the productive “lack” often haunting masculinities performed by males and females. The goal of the class is to provide students with a critical lens grounded enough in rhetorical and critical theory, visual rhetoric, cultural studies, and neo-liberalism understood as public pedagogies to facilitate its use in a variety of academic and non-academic contexts.<SPAN class="Apple-converted-space"> </SPAN>Class will wrestle with such provocative questions such as: Do masculinity/femininity function best as categories of identity or as categories of politics?<SPAN class="Apple-converted-space"> </SPAN>Is neo-liberalism the new secular-religion?<SPAN class="Apple-converted-space"> </SPAN>How are females complicit in the propping up of hegemonic masculinity in the context of romantic love? Is Condoleeza Rice too masculine and too manly?<SPAN class="Apple-converted-space"> </SPAN>Is rhetoric more useful than philosophy as an epistemic (knowledge) resource? Why is Blackness a feminine trope?</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 264.<SPAN class="Apple-converted-space"> </SPAN>The ‘Progressive’ Eighteenth Century</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Carole Fabricant</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">In this seminar I want to explore certain ‘progressive’ (some might justifiably be termed ‘radical’, others not) political and ideological strains running throughout a century usually thought of in very different terms:<SPAN class="Apple-converted-space"> </SPAN>strains that helped to shape social and cultural institutions in Britain and that inform – sometimes by overtly contributing to, sometimes by lurking silently at the margins and threatening to destabilize – the writings of the period.<SPAN class="Apple-converted-space"> </SPAN>A few of these strains rose to the level of organized social or political movements; most remained intellectual threads that functioned in less systematic, more subtle and/or unconscious ways, influencing even the most putatively ‘conservative’ outlooks and literary texts of the period.<SPAN class="Apple-converted-space"> </SPAN>Examples include republicanism, anti-colonialism; feminism; abolitionism; religious dissent; deism; antinomianism (along with its political companion, anarchism); communalism; utopianism; anti-militarism; and of course at the end of the century Jacobinism (along with related forms of pro-French Revolution fervor).<SPAN class="Apple-converted-space"> </SPAN>Anti-capitalist sentiment falls into these categories although its reactionary as well as progressive aspects need to be considered (for which some understanding of historical materialism and dialectical history will be necessary).<SPAN class="Apple-converted-space"> </SPAN>Of particular interest and relevance for today (!) are Swift’s writings against the War of the Spanish Succession and Samuel Johnson’s writing against the Falkland’s Islands War, where we find perhaps the earliest articulations of the grounds upon which a government can be indicted for war crimes.<SPAN class="Apple-converted-space"> </SPAN>(The verdict of the International Commission of Inquiry on War Crimes and Crimes vs. Humanity Committed by the Bush Administration was delivered on Sept. 13, GUILTY on all counts, for those of you folks who haven’t been keeping up.)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Our discussions will require some theoretical understanding of what ideology is and how it works (especially in terms of its contradictions), as well as some reflection about why it was often precisely the ‘Tory’ writers of the period who embraced certain of the most progressive, even radical ideas then current.<SPAN class="Apple-converted-space"> </SPAN>Time permitting, we’ll also briefly consider ‘right-wing’ radical movements and ideologies of the period, especially Jacobitism:<SPAN class="Apple-converted-space"> </SPAN>What are we to make of the recent spate of ‘Jacobite’ historians and literary critics of the 18th century?<SPAN class="Apple-converted-space"> </SPAN>What are the cultural and ideological stakes (for the 21st as well as for the 18th-century) in labeling major writers like Pope, Swift, and Johnson ‘Jacobite’ and in trying to package the entire century as a ‘Jacobite era’?</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">References to Marxist (or at least socialist) theory and history (Antonio Gramsci, Frederic Jameson, Raymond Williams, E.P. Thompson, etc.) will inevitably be included in some of our discussions but this is not conceived of as a theory course.<SPAN class="Apple-converted-space"> </SPAN>Students should be prepared to undertake close-up, intensive analysis of both canonical and non-canonical texts in order to try to grasp the complex interrelationship of literary form (style, language, genre, etc.) and ideology.<SPAN class="Apple-converted-space"> </SPAN>Requirements for the seminar include 1 or 2 short oral presentations and a 20-page research paper (with annotated bibliography attached), due the last class period of the quarter.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 289 (Genres:<SPAN class="Apple-converted-space"> </SPAN>Impulse to Realism)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Jennifer Doyle</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">A graduate seminar tracking realism and naturalism as aesthetic</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">impulses (rather than well-defined movements) that shape a range of</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">literary and artistic practices.<SPAN class="Apple-converted-space"> </SPAN>Reading critical theory, literary</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">and art historical criticism in addition to fiction, we will ask how</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">the signature gestures of nineteenth-century realism re-emerge in</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">20th & 21st century art and literature.<SPAN class="Apple-converted-space"> </SPAN>Special attention is given</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">in this course to the association of realism with a poetics of the</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">body - with representations of sex, desire, and difference.<SPAN class="Apple-converted-space"> </SPAN>This</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">course should appeal to students interested in interdisciplinary</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">study, visual culture, feminist criticism, and critical theory. The</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">reading for this course is very heavy.<SPAN class="Apple-converted-space"> </SPAN>Please read ahead over the</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">winter break.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Required Texts (should be purchased on-line/where there are multiple</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">editions, I've indicated which publisher to use - please use most</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">recent edition from that publisher/all assigned books will also be on</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">reserve at Rivera)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Rebecca Harding Davis, “Life In the Iron Mills” (any edition is o.k.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">- this also is a widely anthologized short story)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Honoré de Balzac, Eugenie Grandet (penguin)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Frank Norris, McTeague (penguin)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Emile Zola, L’Assommoir (penguin)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Michelle Houellbecq, Elementary Particles</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">David Wojnarowicz, Close to the Knives</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Upton Sinclair, The Jungle</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Hal Foster, Return of the Real</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Criticism/Theory will include:</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Michael Fried, excerpts from Realism, Writing, and Disfiguration &</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Menzel’s Realism</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Nancy Glazener, excerpt from Reading for Realism</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Eric Sundquist, “The Country of the Blue” from American Realism: New</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Essays</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Susan Stewart, excerpts from Crimes of Writing</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Fredric Jameson, chapters 1 & 3 from The Political Unconscious;</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">“Cognitive Mapping”</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Emile Zola’s “The Experimental Novel”</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Leo Bersani, “Realism and the Fear of Desire” from A Future for</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Astyanax (excerpted in Marxism and the Interpretation of Culture)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Mark Seltzer, “Statistical Persons” from Bodies and Machines</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Amelia Jones, “The Body In Action: Vito Acconci and the ‘Coherent</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Male Artist Subject” in Body Art: Performing the Subject</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Coco Fusco, “The Unbearable Weightiness of Beings: Art in Mexico</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">After NAFTA” from The Bodies That Were Not Ours</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Visual Art:</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Franko B.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Nan Goldin</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Teresa Margolles/SEMEFO Collective</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Santiago Sierra</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Allen Sekula</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Carrie Mae Weems</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">David Wojnarowicz</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Requirements:<SPAN class="Apple-converted-space"> </SPAN>Presentation (must relate directly to the course</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">topic, sign-up in second week)<SPAN class="Apple-converted-space"> </SPAN>& 20 page final paper (revised</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">version of presentation with bibliography)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 274<SPAN class="Apple-converted-space"> </SPAN>(Feminist Discourses)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Carole-Anne Tyler</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">I will teach English 274 as Contemporary Feminist</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Theory.<SPAN class="Apple-converted-space"> </SPAN>We will read and discuss key texts, figures, and</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">issues in contemporary feminist theory, focussing on the</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">social construction and deconstruction of sex, gender, and</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">transgender identities; the body, embodiment, experience,</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">and "the signature"; equal rights vs. differences feminisms</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">and the problem of the "universal"; representation and</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">feminist demands for "recognition"; and feminisms and</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">sexuality.<SPAN class="Apple-converted-space"> </SPAN>The (tentative) reading list includes work by</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Beauvoir, Butler, Garber, Halberstam, Irigaray, Freud,</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Lacan, Miller, Kamuf, Derrida, Bartky, Foucault, Spivak,</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Fraser, Martinez Alcoff, hooks, Smith, and Grosz.<SPAN class="Apple-converted-space"> </SPAN>We will</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">read 4-5 essays for each three hour seminar, depending on</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">the length and difficulty of the texts.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">English 268 (British Literature)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Professor Kimberly Devlin</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">A survey of 20th Century British fiction, inaugurated by an influential late 19th century "pretext"--Ibsen's A Doll House (Signet, 0-451-51939-6)--widely translated and almost immediately infamous for its "door slam heard round the world."<SPAN class="Apple-converted-space"> </SPAN>We will then read Joyce's Dubliners (Norton Critical Edition, due out in November 2005), Conrad's Heart of Darkness (the new 4th Norton Critical Edition), his later--and more bizarre--novel The Secret Agent (Penguin, 0-14-018096-6), Forster's Howards End (Bedford, 030-312-11182-7), Woolf's The Waves (Harcourt Brace Jonanovich, 0-15-694960-1), Waugh's A Handful of Dust (Little, Brown, 0-316-92605-1), and Fowles' The French Lieutenant's Woman (Signet, 0-451-11095-1).<SPAN class="Apple-converted-space"> </SPAN>Topics for discussion are open, but will (in general) include the representations of women and their various "roles" (in both senses of the word); of imperialism and colonized regions; of shifting class structures; of the influence of childhood on "mature" selfhood; and, in many texts, modernism's obsession with the past--its recurrent "backward glance."<SPAN class="Apple-converted-space"> </SPAN>M.A students will be required to write a 12-15 page paper, Ph.D. students a 18-25 page one.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV> </BLOCKQUOTE></DIV><BR></BODY></HTML>