<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">April 26, 2007 5:49:25 PM 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: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: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>, <A href="mailto:marguerite.waller@ucr.edu">marguerite.waller@ucr.edu</A>, <A href="mailto:bonnie.anketell@ucr.edu">bonnie.anketell@ucr.edu</A>, <A href="mailto:kristy.salazar@ucr.edu">kristy.salazar@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>Fwd: Information for fall 2007 pre-registration</B></FONT></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: 14px; "><BR></DIV> 4/26/07<BR><BR> TO: Faculty graduate advisors, staff graduate advisors<BR><BR> Please forward this all-inclusive list of fall 2007 seminar course descriptions to all graduate students in your department(s). 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). Once permission is granted by Professor Axelrod, your students may sign up through GROWL during the pre-registration period beginning Monday, May 7, 2007.<BR><BR> 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. 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). <BR><BR> 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>.<BR><BR> Thank you.<BR><BR> Tina Feldmann<BR><BR> <BR> <BLOCKQUOTE type="cite" class="cite" cite=""><BLOCKQUOTE type="cite" class="cite" cite=""><BLOCKQUOTE type="cite" class="cite" cite="">NOTE: This email has 3 parts:<BR><BR> Part I -- The seminar preference form that should be sent to Professor Axelrod <BR> Part II -- The seminar listing <BR> Part III -- The seminar course descriptions to assist students in completing Part II <BR> ------------------------------------------<BR><BR> Part I (the seminar preference sheet):<BR><BR> Please return only this form to Professor Axelrod (without the course descriptions and in the text of the email and not by attachment)<BR><BR> <DIV align="center"><B>Seminar Preference Form for Fall Quarter 2007<BR><BR> </B></DIV> This form is only for students wishing to take English Department graduate seminars in fall 2007. Please indicate the courses that you would prefer to take, and email this form back to me by<B> 5:00 p.m. on Thursday, May 3, 2007. </B>Please put it in the body of your email rather than in an attachment. Forms received by the deadline will receive first priority. Forms received after that time will get second priority. <BR><BR> I will email seminar rosters to everyone by Sunday, May 6. Pre-registration begins on Monday, May 7, 2007. </BLOCKQUOTE><BR> <BLOCKQUOTE type="cite" class="cite" cite="">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. <BR><BR> Best wishes,<BR><BR> Steve Axelrod<BR> Director of Graduate Studies<BR><BR> Your department is: _________________________<BR><BR> This quarter you are (place X after year): MA1 MA2 MFA PhD1 PhD2 PhD3<BR><BR> Your areas of specialization are (name 2 or 3):<BR><BR> <BR> Number of English Department seminars you want (1 or 2?): ________________<BR><BR> 1<SUP>st</SUP> Choice: English______ with Professor _____________.<BR><BR> 2<SUP>nd</SUP> Choice: English______ with Professor _____________.<BR><BR> 3<SUP>rd</SUP> Choice: English______ with Professor _____________.<BR><BR> 4<SUP>th</SUP> Choice: English______ with Professor _____________.<BR><BR> 5<SUP>th</SUP> Choice: English______ with Professor _____________.<BR><BR> ________________________ ____________________ ________________________<BR><BR> Your Name Date Email Address<BR> <BR> ---------------------------------------<BR><BR> Part II (course listing):</BLOCKQUOTE><DIV align="center"><BR> FALL 2007 ENGLISH DEPARTMENT SEMINARS <BR> as of 4/26/07<BR> </DIV> <B><U> <BR> MONDAY <BR> <BR> </U></B>English 260-001 – Seminar in Medieval Literature<BR> Andrea Denny-Brown<BR> 10:10 am – 1:00 pm in SPR 2344<BR> <B><U> <BR> </U></B>English 273-002 – Seminar in Cultural Studies<BR> Deborah Willis<BR> 5:40 – 8:30 pm in HMNSS 1502<BR> <B><U> <BR> TUESDAY<BR> <BR> </U></B>English 200-001 – Seminar: Introduction to Graduate Studies <BR> Joseph Childers<BR> <B>(TBA)<BR> </B> <BR> English 279-001 – Seminar in Rhetorical Studies<BR> Vorris Nunley<BR> 2:10 – 5:00 pm in HMNSS 1407 <B><BR> </B> <BR> English 272-001 – Seminar in Critical Theory<BR> Carole Fabricant<BR> 5:10 – 8:00 pm in HMNSS 1407<BR> <BR> <B><U>WEDNESDAY<BR> <BR> </U></B>English 273-001 – Seminar in Cultural Studies<BR> Tiffany Lopez<BR> 2:10 – 5:00 pm in HMNSS 1407<BR> <BR> <B><U>THURSDAY<BR> <BR> </U></B>English 269-001 – Seminar in American Literature to 1900<BR> Michelle Raheja<BR> 2:10-5:00 pm in HMNSS 1407<BR> <BR> English 277-001 – Seminar in Lesbian and Gay Studies<BR> Carole-Anne Tyler<BR> 5:10-8:00 pm in HMNSS 1407<BR> <B><U> <BR> FRIDAY<BR> </U></B>English 289-001 – Seminar Genres<BR> George Haggerty<BR> 2:10 – 5:00 pm in HMNSS 1407<BR> <BR><BR> part III (course description):<BR> <BR> <BR> <B>English 200-001<BR> Professor Childers<BR> </B> <BR> Introduction to Graduate Study<BR> <DIV align="center"> <BR> </DIV> This seminar will serve to introduce you to the culture of graduate study at UC, Riverside. In many ways it is a kind of catch-all course, but you will certainly have academic responsibilities in it. You will be introduced to several members of the faculty, who will discuss their own methodological and theoretical approaches to the study of literature. We will also spend a good deal of time working on reading and writing critical and theoretical material, including how to recognize and analyze arguments in scholarly works, how to structure the arguments in your own writing, and how to analyze and respond to other’s (peer’s) work in a constructive way. Finally, there will also be a number of bibliographic/research problems that I will be asking you to participate in.<BR> <BR> Texts: “Classic” theoretical and scholarly essays from a variety of the fields represented in the department. These will be made available to you.<BR> <BR> <BR> <BR> <B>English 260-001<BR> Professor Denny-Brown<BR> </B> <BR> Conduct and Consumption: Eating, Dressing, & Dying <BR> in the Middle Ages<BR> <DIV align="center"> <BR> </DIV> This seminar examines modes of consumption, display, and commodification of the body in the Middle Ages. Through contemporary theories of consumption, we will interrogate the relation between the body and the world of goods in medieval Europe, considering questions of consumer regulation and discipline, food and morality, fashion and mortality, and the gendered marketing of the self. This course will also challenge misleading notions of medieval identity as uncomplicated by consumer culture, and as lacking “modern” processes of self-fashioning and aesthetic individualism. To this end, we will follow the emergence of social practices of consumption and self-representation from the writings of the Church fathers to Caxton’s age of printing. Students will leave this seminar with a working knowledge of theories of consumption and commodification as well as a fine-tuned understanding of the medieval strategies and tactics of consumption and self-presentation. <BR> <BR> Readings include: selected works from Tertullian, Cyprian, Ovid, Capellanus, Chrétien de Troyes, Marie de France, Chaucer, Langland, Lydgate, Caxton; Braudel, Bourdieu, Mukerji, de Certeau, McCracken. No prior knowledge of Middle English necessary. <BR> <BR> <BR> <B>English 269-001<BR> Professor Raheja<BR> </B> <BR> Surviving Columbus: Transnational Representations of the Other<BR> <BR> This seminar will examine the various transnational responses to and representations of the ‘Other’ from indigenous oral narrative through the early 17th century in what is now known as Canada, the United States, Latin America, and the Caribbean. We will be reading literature within Native American, French, Spanish, Portuguese, English and German contexts with special attention to captivity narratives, administrative documents, oral narratives, autobiography, visual artifacts, and texts that address issues of anthropophagy. We will also be thinking critically about how and why English Puritan literature of the 17<SUP>th</SUP> century has been positioned historically and strategically as the origin of “American” literature and offering a political reading of the ideologies informing the relative (in)visibility of Native Americans in early American literary scholarship. Texts will include <I>The Heirs of Columbus</I>, <I>The Literatures of Colonial America: An Anthology</I>, and <I>History of a Voyage to the Land of Brazil</I> in addition to critical and theoretical secondary readings.<BR> <BR> <BR> <B>English 272-001<BR> Professor C. Fabricant<BR> <BR> Marxist Theory<BR> </B> <BR> The first part of the seminar will be devoted to a close reading and discussion of <U>Capital</U> (vol. 1) along with <U>The Communist Manifesto</U> and excerpts from several other texts by Marx, with a view toward gaining a firm grasp of key concepts such as historical materialism, class struggle, means of production, commodity fetishism, alienation, exchange and surplus value, etc. During the second part of the course, we’ll look at a few important 20<SUP>th</SUP>-century theorists (e.g., Gramsci, Althusser, Sartre, Lukás, etc.) who continued the Marxist tradition by variously appropriating and/or revising central Marxian ideas, at times by bringing them into a new and fruitful engagement with other philosophical movements such as existentialism and structuralism. Along with considering the general distinction between ‘classical’ and ‘Western’ Marxism (as per Perry Anderson), we’ll examine certain fundamental differences between Continental and British schools of Marxism, and reflect on how each influenced critical trends in the U.S. academy, especially in the areas of Cultural Criticism (the Frankfurt School, Raymond Williams, Stuart Hall, etc.) and Postcolonial Studies (Gyatri Spivak, Aijaz Ahmad, etc.). <BR> <BR> Students will be assigned a particular literary text to read (preferably before classes begin in the fall but in any case no later than the second week of the quarter), which will function throughout our class discussions as a common reference point and a touchstone for weighing the relevance of certain Marxian theories to the field of aesthetic interpretation. An example of such a text might be Defoe’s <U>Moll Flanders</U> or <U>Robinson Crusoe</U>the latter of which is specifically referred to by Marx in his analysis of the commodity in <U>Capital</U>. <BR> <BR> Along with addressing major political and philosophical issues raised by Marxist theory, we will of course pay particular attention to issues of special relevance to our own discipline, including the (potentially) revolutionary role of writers; the question of political commitment in literature; the artistic avant garde vs. socialist realism; the role of the intellectual in mass movements; elitist vs. popular culture; class consciousness and the creative imagination; the author as producer; the extent to which Marxism is a humanistic (as opposed to a scientific) mode of enquiry; and the function of specific literary styles and genres within the broader arenas of class struggle and socio-political transformation (i.e., are certain genres or styles more likely to be ‘revolutionary’ or ‘reactionary’ than others?) . There will also be sustained consideration of the relationship between theory and practice: What exactly does this relationship meanand what <U>might</U> it meanfor academic critics rather than for revolutionary thinkers? <BR> <BR> <BR> <BR> <B>English 273-001 (Minority Discourse)<BR> Professor Lopez<BR> <BR> Discourses of Trauma and Violence in Latina/o Literature and Cultural Studies<BR> </B><U> <BR> </U>Readings for this seminar focus on creating a dialogue between trauma theory and Latina/o literature and cultural studies. Notably, work in trauma theory rarely includes discussion of Latina/o identity or incorporates Latina/o literature as an illustrative text; and while violence and trauma are at the heart of critical discussions of Latina/o identity and culture (i.e. from the colonization of lands to the subjugation of bodies), readings in trauma theory are rarely employed within these fields. This seminar is thus interested in how trauma theory enriches and complicates thinking about identity issues represented within Latina/o literature and visual culture and the ways that explorations of violence in Latina/o literature speak to discursive treatments within trauma theory. <BR> <BR> Selected readings include: Judith Herman, <U>Trauma and Recovery</U>; Cathy Caruth, <U>Trauma: Explorations in Memory</U>; Kali Tal, <U>Worlds of Hurt: Reading the Literatures of Trauma</U>; Laurie Vickeroy, <U>Trauma and Survival in Contemporary Fiction</U>; Laura Tanner, <U>Intimate Violence</U> and <U>Lost Bodies</U>; Annie Rogers, <U>The Unsayable</U>; Judith Butler, <U>Precarious Life</U>; Leigh Gilmore, <U>The Limits of Autobiography</U>; Eden Torries, <U>Chicana Without Apology</U>; Rosa Linda Fregoso, <U>meXicana encounters</U>; Mary Pat Brady, <U>Extinct Lands, Temporal Geographies</U>; Diana Taylor, <U>The Archive and the Repertoire</U>; Cherrie Moraga, <U>Loving in the War Years</U>; Gloria Anzaldua, <U>Borderlands/La Frontera</U>; Carla Trujillo, <U>What Night Brings</U>; Josie Mendez-Negrete, <U>Las hijas de Juan: Daughters Betrayed</U>.<BR> <BR><BR> <B>English 273-002<BR> Professor Willis<BR> <BR> Bodies and Desires in Early Modern England<BR> </B> <BR> This seminar will explore constructions of the body and its desires in early modern English culture, especially the drama. How do yearnings, compulsions, excesses, fevers, intoxications, appetites, and addictions help to establish and/or to unsettle -- notions of identity, sexuality, and self-fashioning in this period? Can early modern narratives of desire and identity help us productively interrogate present-day notions? We will especially focus on the types of desire that "o'erflow the measure" -- i.e. that seem to be excessive, unregulated, or over-reaching. Readings will (tentatively) include some of the following: Shakespeare's <I>Romeo and Juliet, Henry IV, Part II,</I> and <I>Antony and Cleopatra</I>; Marlowe's <I>Edward II; </I>Middleton's <I>The Roaring Girl </I>and <I>The Changeling; </I>Cary's <I>The Tragedy of Miriam</I>; Webster's <I>Duchess of Malfi</I>; Ford's '<I>Tis Pity She's a Whore</I>; Jonson's <I>Pleasure Reconciled to Virtue</I>; Milton's <I>Comus. </I>We may also look at some non-dramatic literary works, such as Book II of Spenser's <I>Fairie Queene</I> (on temperance) and poetry about obsessive love, such as a few of Shakespeare's sonnets. A short selection of legal, religious, and medical documents will help to establish the broader context. Theoretical and historical grounding will come from such works as Judith Butler, <I>Bodies that Matter;</I> Gail Paster, <I>The Body Embarrassed </I>and <I>Reading the Early Modern Passions; </I>Michael Schoenfeldt, <I>Bodies and Selves in Early Modern England</I>; Jonathan Goldberg, <I>Queering the Renaissance;</I> Valerie Traub, <I>The Renaissance of Lesbianism in Early Modern England;</I> and<I> </I>Susan Zimmermann, <I>Erotic Politics: The Dynamics of Desire on the Renaissance Stage. <BR> </I> <BR> <BR> <B>English 277-001<BR> Professor Tyler<BR> </B> <BR> <B> Seminar in Lesbian and Gay Studies: “Posthuman” Genders and Sexualities<BR> <BR> </B>Monstrous eclecticism characterizes the form and content of this seminar, which will explore the social construction and deconstruction or “queering” of gender and sexual identities in a range of genres and media. Topics to be addressed include “passing” and impersonation; cross-dressing, drag, camp, minstrelsy, and transvestism; transgender and transsexualism; castration, amputation, and “body integrity disorder”; androgyny and intersex; cyborgs, prostheses, piercings, and human-machine hybridity; feral or “wild” children, and tattooing, silicon implantation, tongue splitting, and other practices arguably associated with “becoming animal.” <BR> <BR> Primary texts (film, television, literature, and art) that might be addressed include episodes of <I>House </I>and <I>Nip/Tuck</I>; television specials on tattooing, piercing, plastic surgery, and other body modifications; talk shows featuring transsexuals and drag kings and queens; films about wild children, cyborgs, drag, transsexualism, transgender, and castrati (<I>The Wild Child; Blade Runner; Victor/Victoria, Boys Don’t Cry, Max, Second Serve; Paris Is Burning); </I>photography by Del LaGrace Volcano, Loren Cameron, Pierre and Gilles, and Cindy Sherman; pin ups by Hajime Sorayama; installations by the Chapman brothers, performance art by Oleg Kulik, Orlan, and Stelarc; two or three novels (Burroughs’ <I>Tarzan, </I>Woolf’s <I>Orlando, </I>Eugenides’ <I>Middlesex, </I>Winterson’s <I>The Passion, </I>Butler’s <I>Dawn</I>). Possible “secondary texts”--theory and criticism that will be treated as “primary” tooinclude Bornstein, <I>Gender Outlaw</I>; Butler, <I>Undoing Gender</I>; Garber, <I>Vested Interests</I>; Millot, <I>Horsexe</I>; Barbin and Foucault, <I>Herculine Barbin</I>; Volcano and Halberstam, <I>The Drag King Book</I>; Halberstam, <I>Female Masculinity</I>; and essays by Kuhn, Garfinkel, Bray, Freud, Fenichel, Lacan, Sontag, Flinn, Haraway, Silverman, Barthes, Dean, Pacteau, McClintock, Bhabha, Stone, Stryker, Califia, Raymond, Pitts, Scarry, Gilman, Phelan, Rogin, Braidotti, Probyn, Salecl, Deleuze, Derrida, and Agamben, most of whom are at least loosely associated with “queer theory.” Weekly readings include 2-5 print texts, depending on the length and difficulty of that material and any visual media assigned; required writing includes a short close-reading (5 pages), a conference length research paper (10-12 pages), and 1 to 2 sets of reading questions. <BR><BR> <B> <BR> English 279-001<BR> Professor Nunley<BR> <BR> Rhetorical Studies<BR> </B> <BR> <B>Visual Literacy: Visualizing Rhetoric, Rhetoricizing Visuality<BR> </B>In an neo-liberal epoch where the boundaries between the surface and the substantial, the simularcra and the real, and the political and self-absorbed i collapse, visualitytropes of images, representations, pictures, and ?increase in its importance in manufacturing and being manufactured by knowledges nd subjectivities. Class will explore visuality as a kind of literacy necessary to the productive navigating of social, poltical, and economic domains. Seminar articipants will explore public and quasi-public sphere discourses of media, film, art, music, news (corporate and individual) and the academy to increase visual compentency.<BR> <BR><BR> <B>English 289-001<BR> Professor G. Haggerty<BR> <BR> Gothic Fiction 1764-1824 <BR> </B> <BR> It is no mere coincidence that the cult of Gothic fiction reached its apex at the very moment when gender and sexuality were beginning to be codified for modern culture. In fact, Gothic fiction offered a testing ground for many unauthorized genders and sexualities, including sodomy, tribadism, romantic friendship (male and female), incest, paedohilia, sadism, masochism, necrophilia, masculinized females, feminized males, miscegenation, and so on. In this course, we examine the first phase of Gothic fiction with the hope of relating it to the history of sexuality, as articulated by Michel Foucault and others, in specific mutually informing ways. At the same time, we will consider recent works of Queer Theory and explore the ways in which they might enhance this historical project.<BR> <BR> Readings include:<BR> <BR> <B><U>Novels<BR> </U></B> <BR> Beckford, William. <I>Vathek </I>and <I>the Episodes of Vathek<BR> </I>Dacre, Charlotte. <I>Zofloya</I>;<I> or The Moor<BR> </I>Hogg, James.<I> Memoirs and Confessions of a Justified Sinner<BR> </I>Lee, Sophia, <I>The Recess<BR> </I>Lewis, Matthew G. <I>The Monk<BR> </I>Maturin, Charles Robert, <I>Melmoth the Wanderer<BR> </I>Radcliffe, Ann. <I>The Italian<BR> </I>Roche, Regina Maria, <I>The Children of the Abbey<BR> </I>Shelley, Mary. <I>Frankenstein<BR> </I>Walpole, Horace. <I>The Castle of Otranto<BR> </I><B><U> <BR> Critical and Theoretical Reading<BR> </U></B> <BR> Bersani, Leo. <I>The Freudian Body<BR> </I>Butler, Judith. <I>The Psychic Life of Power<BR> </I>Castle, Terry. <I>The Female Thermometer<BR> </I>Craft, Christopher. <I>Another Kind of Love<BR> </I>Deleuze, Gilles. <I>Coldness and Cruelty<BR> </I>Foucault, Michel. <I>The History of Sexuality</I>, vol. 1<BR> Freud, Sigmund. <I>Three Case Studies<BR> </I>-----. <I>Three Essays on the Theory of Sexuality<BR> </I>Haggerty, George. <I>Unnatural Affections<BR> </I>Halberstam, Judith. <I>Skin Shows<BR> </I>Halperin, David, <I>Saint Foucault<BR> </I>Sedgwick, Eve Kosofsky. <I>Between Men<BR> </I>Zizek, Slavoj. <I>The Sublime Object of Ideology<BR> </I> </BLOCKQUOTE><BR> <FONT face="Monotype Corsiva, Zapf Chancery" size="5" color="#000080">Tina Feldmann<BR> </FONT>Administrative Assistant -- Graduate Studies<BR> Department of English<BR> University of California, Riverside<BR> Riverside, CA 92521-0323<BR> office: (951) 827-1454<BR> FAX: (951) 827-3967<BR><BR> <BR><BR> <FONT face="Monotype Corsiva, Zapf Chancery" size="5" color="#000080">Tina Feldmann<BR> </FONT>Administrative Assistant -- Graduate Studies<BR> Department of English<BR> University of California, Riverside<BR> Riverside, CA 92521-0323<BR> office: (951) 827-1454<BR> FAX: (951) 827-3967</BLOCKQUOTE> <X-SIGSEP><P> <FONT face="Monotype Corsiva, Zapf Chancery" size="5" color="#000080">Tina Feldmann<BR> </FONT>Administrative Assistant -- Graduate Studies<BR> Department of English<BR> University of California, Riverside<BR> Riverside, CA 92521-0323<BR> office: (951) 827-1454<BR> FAX: (951) 827-3967<BR> </P></X-SIGSEP></BLOCKQUOTE></DIV><BR><DIV> <SPAN class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><SPAN class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><DIV style="font-size: 11px; "><SPAN class="Apple-style-span" style="font-size: 11px; ">Robin Russin</SPAN></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 11px; "><SPAN class="Apple-style-span" style="font-size: 11px; ">Assistant Professor</SPAN></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 11px; "><SPAN class="Apple-style-span" style="font-size: 11px; ">Department of Theatre</SPAN></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 11px; "><SPAN class="Apple-style-span" style="font-size: 11px; ">University of California, Riverside</SPAN></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 11px; "><SPAN class="Apple-style-span" style="font-size: 11px; ">Riverside, CA 92521</SPAN></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 11px; "><SPAN class="Apple-style-span" style="font-size: 11px; ">(951) 827-2707</SPAN></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: 11px; "><SPAN class="Apple-style-span" style="font-size: 11px; ">(213) 949-1061 cel</SPAN></DIV><DIV style="font-size: 11px; "><SPAN class="Apple-style-span" style="font-size: 11px; "><A href="mailto:robin.russin@ucr.edu">robin.russin@ucr.edu</A></SPAN></DIV><DIV><BR class="khtml-block-placeholder"></DIV><BR class="Apple-interchange-newline"></SPAN></SPAN> </DIV><BR></BODY></HTML>