<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><DIV class="MsoNormal"><FONT class="Apple-style-span" color="#000000">Hi everyone - i pasted the listings into the email to make it easier.. some of these classes look AMAZING!</FONT></DIV><DIV class="MsoNormal"><FONT class="Apple-style-span" color="#000000">-Carly Kimmel</FONT></DIV><DIV class="MsoNormal"><B><BR class="khtml-block-placeholder"></B></DIV><DIV class="MsoNormal"><B>ENGLISH DEPARTMENT GRADUATE SEMINARS FOR WINTER 2008</B><O:P></O:P></DIV><DIV class="MsoNormal"><SPAN style="mso-spacerun: yes"><B> </B></SPAN><SPAN style="mso-spacerun: yes"><B> </B></SPAN><B>SCHEDULE/COURSE DESCRIPTIONS</B><O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B>SCHEDULE</B></SPAN><B>:</B><O:P></O:P></DIV><DIV class="MsoNormal"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B style="text-decoration: underline;"><SPAN class="Apple-style-span" style="text-decoration: underline;"> </SPAN></B></SPAN><O:P></O:P></DIV><DIV class="MsoNormal">English 262, Sem. in Ren. Lit. with Professor Stewart: Wed. 2:10-5:00 pm in HMNSS 1407<BR><BR> English 267, Sem. in Victorian Lit. with Professor Zieger: Mon. 10:10 am - 1:00 pm in HMNSS 1407<BR><BR> English 268, Sem. in 20th C. British Lit. with Professor Devlin: Fri. 2:10-5:00 pm in HMNSS 1407<BR><BR> English 270, Sem. in Amer. Lit. Since 1900 with Professor Yamamoto: Tues. 2:10-5:00 pm in Watkins 1117<BR><BR> English 272, Sem. in Critical Theory with Professor Tobias: Thursday 2:10-5:00 pm in Watkins 1117<BR><BR> English 275, Sem. in Film & Visual Culture with Professor Harris: Wed. 5:10-8:00 pm in HMNSS 1502<BR><BR> English 278, Sem. in MInority Discourse with Professor Edwards: Wed. 10:10 am - 1:00 pm in HMNSS 1407<BR><BR><B> English 289, Sem. in Genres with Professor Kinney: Thursday 5:10-8:00 pm in HMNSS 1502</B><O:P></O:P></DIV><DIV class="MsoNormal"><B> </B><O:P></O:P></DIV><DIV class="MsoNormal"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B>COURSE DESCRIPTIONS</B></SPAN><B>:</B><O:P></O:P></DIV><DIV class="MsoNormal"><B> </B><O:P></O:P></DIV><DIV class="MsoNormal"><B>English 262:</B><SPAN style="mso-spacerun: yes"><B> </B></SPAN><B>Seminar in Renaissance Literature with Professor Stanley Stewart</B><O:P></O:P></DIV><DIV class="MsoNormal"><B>Unnecessary Shakespeare: Constructing the Canon</B><O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"><SPAN style="mso-tab-count:1"> </SPAN>David Bevington, an eminent Shakespearean, recently published an edition entitled <I>The Necessary Shakespeare</I><SPAN style="font-style:normal">.<SPAN style="mso-spacerun: yes"> </SPAN>Given the price of books, and the lengthening years of undergraduate careers, it is helpful to have a volume of select plays and poems from the Shakespeare canon.<SPAN style="mso-spacerun: yes"> </SPAN>But even so-called “Complete Works of Shakespeare” dubiously include or exclude plays or poems.<SPAN style="mso-spacerun: yes"> </SPAN>The second edition of </SPAN><I>The Riverside Shakespeare</I><SPAN style="font-style:normal"> (19970includes John Ford’s “A Funeral Elegy: To Master John Peter,” and excludes </SPAN><I>Shakespeare’s Edward III</I><SPAN style="font-style:normal">, which Yale University Press editor Eric Sams presents, along with </SPAN><I>Edmund Ironside</I><SPAN style="font-style:normal">, as “early play[s] restored to the [Shakespeare] canon,” a view which he claims is “generally accepted by literary Academia.”<SPAN style="mso-spacerun: yes"> </SPAN>Even so, in his new book, </SPAN><I>Shakespeare the Thinker</I><SPAN style="font-style:normal"> (2007), A. D. Nuttall makes </SPAN><I>Love’s Labor’s Lost </I><SPAN style="font-style:normal">central to the Shakespeare canon, and so, one might think, “necessary” to the</SPAN><I> </I><SPAN style="font-style: normal">Shakespeare student</SPAN><I>. </I><SPAN style="font-style:normal"><SPAN style="mso-spacerun: yes"> </SPAN>Then too, given the dominant critical focus in criticism on political themes, it might be thought strange that</SPAN><I> </I><SPAN style="font-style:normal">Shakespeare’s two most political plays, </SPAN><I>Timon of Athens</I><SPAN style="font-style:normal"> and </SPAN><I>Coriolanus</I><SPAN style="font-style:normal"> are missing from </SPAN><I>The Necessary Shakespeare</I><SPAN style="font-style:normal">, as are </SPAN><I>The Comedy of Errors, The Two Gentlemen of Verona, The Merry Wives of Windsor, All’s Well that Ends Well, Troilus and Cressida, Pericles, Cymbeline, Two Noble Kinsmen</I><SPAN style="font-style:normal">, “Venus and Adonis,” “The Rape of Lucrece,” “The Passionate Pilgrim,” and “The Phoenix and Turtle.”<SPAN style="mso-spacerun: yes"> </SPAN>The Bevington edition also excludes </SPAN><I>King John</I><SPAN style="font-style:normal">, most of the first and half of the second Henriad, as well as </SPAN><I>Henry VIII</I><SPAN style="font-style:normal">. <SPAN style="mso-spacerun: yes"> </SPAN>Again, the point is not to deny the usefulness of selected editions for classroom assignments.<SPAN style="mso-spacerun: yes"> </SPAN>So the aim of this seminar is not to construct alternative anthologies of Shakespeare’s “necessary” works, but rather to find a critical purchase on one or more of the works excluded from the Bevington edition.<SPAN style="mso-spacerun: yes"> </SPAN>Students will be asked to find one or more critical texts which affirm or deny the authenticity or importance of one or more of the works not in the Bevington anthology.<SPAN style="mso-spacerun: yes"> </SPAN>Or one might argue that, even if </SPAN><I>Edward III </I><SPAN style="font-style:normal">belongs in the Shakespeare canon, editors and critics are right to ignore it, because of such and such historical, political, or aesthetic reasons.<SPAN style="mso-spacerun: yes"> </SPAN>Or one might claim that Nuttall overstates the linguistic features of </SPAN><I>Love’s Labor’s Lost, </I><SPAN style="font-style:normal">and therefore mistakes the importance of that work in the development of Shakespeare’s “thinking</SPAN><I>.</I><SPAN style="font-style:normal">”</SPAN><I> </I><SPAN style="font-style:normal"><SPAN style="mso-spacerun: yes"> </SPAN>Regardless of whether Shakespeare or Ford wrote “A Funeral Elegy,” is the poem worth reading today, and if so, why?<SPAN style="mso-spacerun: yes"> </SPAN>What about “The Phoenix and Turtle”?<SPAN style="mso-spacerun: yes"> </SPAN>Some critics argue that the poem is essential to a proper understanding of Shakespeare’s Roman Catholic predilections.<SPAN style="mso-spacerun: yes"> </SPAN>What is the difference between a “major” and a “minor” work, or between a “major” and a “minor” author?<SPAN style="mso-spacerun: yes"> </SPAN></SPAN></DIV><P class="MsoNormal" style="text-indent: 48px;">Students will ask a question concerning the kinds of choices that editors and critics make when they establish texts or say why certain texts or certain authors are, to the exclusion of others, worthy of attention.<SPAN style="mso-spacerun: yes"> </SPAN>Then they will examine assertions on the subject that seem to them important, and prepare remarks (first in oral, later in draft form) for the seminar.<SPAN style="mso-spacerun: yes"> </SPAN>Finally, the seminar will consider the ways in which construction of a syllabus is like that of editing a literary anthology (that is, of constructing a “canon”), and the ways in which critical conversation about such works proceeds in according to stated or assumed criteria meant to justify attention to certain works and certain authors rather than to others.</P><DIV class="MsoNormal" style="text-indent: 0px;"> <O:P></O:P></DIV><DIV class="MsoNormal"><SPAN style="mso-tab-count:1"> </SPAN>TEXT: <I>The Riverside Shakespeare </I><SPAN style="font-style:normal">or any comparable, well-annotated edition of Shakespeare.<SPAN style="mso-spacerun: yes"> </SPAN></SPAN></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><P class="MsoNormal" style="text-align: justify;"><B>English 267:</B><SPAN style="mso-spacerun: yes"><B> </B></SPAN><B>Seminar in Victorian Literature with Professor Susan Zieger</B><O:P></O:P></P><P class="MsoNormal" style="text-align: justify;"><B>The Victorian Novel: Adaptation and Mutation</B><SPAN style="mso-tab-count:1"><B> </B></SPAN><SPAN style="mso-tab-count:1"> </SPAN><SPAN style="mso-tab-count:1"> </SPAN><SPAN style="mso-spacerun: yes"><B> </B></SPAN><O:P></O:P></P><P class="MsoNormal" style="text-align: justify;"> <O:P></O:P></P><P class="MsoNormal" style="text-align: justify;">This course serves as an introduction to the Victorian novel through the critical lens of adaptation and mutation. Using contemporary theories of adaptation, and studying four Victorian novels (<SPAN class="Apple-style-span" style="text-decoration: underline;">Great Expectations</SPAN>, <SPAN class="Apple-style-span" style="text-decoration: underline;">Jane Eyre</SPAN>, <SPAN class="Apple-style-span" style="text-decoration: underline;">Middlemarch</SPAN>, and <SPAN class="Apple-style-span" style="text-decoration: underline;">The Invisible Man</SPAN>) and their literary and/or cinematic adaptations, we will learn how adaptations critique aspects of the original, the period, and of novel form. We will also consider adaptation and mutation as themselves Victorian concepts, since they were central to Charles Darwin’s theory of evolution by natural selection. Although the course’s primary focus is the Victorian novel (rather than the vast and increasing universe of adaptation), students primarily intrigued by the relationships between literature and film should also find much of interest. Requirements include copious reading, a facilitation of class discussion, general participation in discussion, one annotated bibliography, and one 20-page research paper. Students are asked to perform some reading and viewing for the first class, on January 7 (see below), and are encouraged to make a start on <SPAN class="Apple-style-span" style="text-decoration: underline;">Great Expectations</SPAN> and/or <SPAN class="Apple-style-span" style="text-decoration: underline;">Jane Eyre</SPAN><SPAN class="Apple-style-span" style="text-decoration: underline;"> over the winter break. Please also note that there will be eight class sessions, due to the observance of Martin Luther King Jr. Day and President’s Day. </SPAN><O:P></O:P></P><P class="MsoNormal" style="text-align: justify;"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B style="text-decoration: underline;"><SPAN class="Apple-style-span" style="text-decoration: underline;"> </SPAN></B></SPAN><O:P></O:P></P><P class="MsoNormal" style="text-align: justify;"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B>Required Novels and Course-Standard Editions</B></SPAN><SPAN style="font-weight:normal">:<O:P></O:P></SPAN></P><P class="MsoNormal" style="text-align: justify;"><SPAN style="color:black">Charlotte Brontë, <SPAN class="Apple-style-span" style="text-decoration: underline;">Jane Eyre</SPAN> (Penguin) ISBN-13: 978-0141441146<O:P></O:P></SPAN></P><P class="MsoNormal" style="text-align: justify;"><SPAN style="color:black">Charles Dickens, <SPAN class="Apple-style-span" style="text-decoration: underline;">Great Expectations</SPAN><SPAN class="Apple-style-span" style="text-decoration: underline;"> (Penguin) ISBN-13: 978-0141439563</SPAN></SPAN><O:P></O:P></P><P class="MsoNormal" style="text-align: justify;"><SPAN style="color:black">George Eliot, <SPAN class="Apple-style-span" style="text-decoration: underline;">Middlemarch</SPAN> (broadview) ISBN-13: 978-1551112336<O:P></O:P></SPAN></P><P class="MsoNormal" style="text-align: justify;"><SPAN style="color:black">Jean Rhys, <SPAN class="Apple-style-span" style="text-decoration: underline;">Wide Sargasso Sea</SPAN> (Norton) ISBN-13: 978-0393308808<O:P></O:P></SPAN></P><P class="MsoNormal" style="text-align: justify;"><SPAN style="color:black">H.G. Wells, <SPAN class="Apple-style-span" style="text-decoration: underline;">The Invisible Man</SPAN> (Penguin) ISBN-13: 978-0141439983<O:P></O:P></SPAN></P><P class="MsoNormal" style="text-align: justify;"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B style="text-decoration: underline;"><SPAN class="Apple-style-span" style="text-decoration: underline;"> </SPAN></B></SPAN><O:P></O:P></P><P class="MsoNormal" style="text-align: justify;"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B>Required Films</B></SPAN><SPAN style="font-weight:normal"><SPAN class="Apple-style-span" style="text-decoration: underline;"><SPAN class="Apple-style-span" style="text-decoration: underline;">:</SPAN></SPAN><O:P></O:P></SPAN></P><P class="MsoNormal" style="text-align: justify;">Jonze, <SPAN class="Apple-style-span" style="text-decoration: underline;">Adaptation</SPAN> (2002)<O:P></O:P></P><P class="MsoNormal" style="text-align: justify;">Lean, <SPAN class="Apple-style-span" style="text-decoration: underline;">Great Expectations</SPAN> (1946)<O:P></O:P></P><P class="MsoNormal" style="text-align: justify;">Tourneur, <SPAN class="Apple-style-span" style="text-decoration: underline;">I Walked with a Zombie</SPAN> (1943)<O:P></O:P></P><P class="MsoNormal" style="text-align: justify;">Whale, <SPAN class="Apple-style-span" style="text-decoration: underline;">The Invisible Man</SPAN> (1933)</P><P class="MsoNormal" style="text-align: justify;"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B style="text-decoration: underline;"><SPAN class="Apple-style-span" style="text-decoration: underline;"> </SPAN></B></SPAN><O:P></O:P></P><P class="MsoNormal" style="text-align: justify;"><SPAN class="Apple-style-span" style="text-decoration: underline;"><B>For Monday, January 7</B></SPAN><B>: </B></P><P class="MsoNormal" style="text-align: justify;">Kamilla Elliott, <SPAN class="Apple-style-span" style="text-decoration: underline;">Rethinking the Novel/Film Debate</SPAN> (Introduction, chapters 1, 4, 5)</P><P class="MsoNormal" style="text-align: justify;">Linda Hutcheon, <SPAN class="Apple-style-span" style="text-decoration: underline;">A Theory of Adaptation</SPAN> (chapters 2, 5)</P><P class="MsoNormal" style="text-align: justify;">Spike Jonze, <SPAN class="Apple-style-span" style="text-decoration: underline;">Adaptation</SPAN> (2002)</P><P class="MsoNormal" style="text-align: justify;">Susan Orlean, “The Orchid Thief” (“prologue” and “A Mortal Occupation”)<O:P></O:P></P><DIV class="MsoNormal" style="text-align: auto;"> <O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"><B>English 268:</B><SPAN style="mso-spacerun: yes"><B> </B></SPAN><B>20</B><FONT class="Apple-style-span" size="2"><SPAN class="Apple-style-span" style="font-size: 10px;"><B>th</B></SPAN></FONT><B> C. British Literature with Professor Kim Devlin</B><O:P></O:P></DIV><DIV class="MsoNormal"><B> </B><O:P></O:P></DIV><DIV class="MsoNormal">One of the legacies of the Jamesian articulation of “point of view” is a discernible preoccupation, in several modernist novels, with visuality and positionality.<SPAN style="mso-spacerun: yes"> </SPAN>This preoccupation takes many forms: an interest in spectatorship, sightseeing, and visual explorations of “otherness”; the emergence of the genre of “portraiture” novels; representations of voyeurism and exhibitionism; explorations of visual intersubjectivity; curiosity about visual curiosity; depictions of visual phobias, visual fixations, and the gaze.<SPAN style="mso-spacerun: yes"> </SPAN>In this seminar, we will be reading seven modernist texts that provide particularly good examples of these visual and positional concerns:<SPAN style="mso-spacerun: yes"> </SPAN>James’s <I>The Portrait of a Lady</I><SPAN style="font-style:normal">, Conrad’s </SPAN><I>Heart of Darkness</I><SPAN style="font-style:normal">, Joyce’s </SPAN><I>A Portrait of the Artist as a Young Man</I><SPAN style="font-style:normal"> and its remnant early draft, </SPAN><I>Stephen Hero</I><SPAN style="font-style:normal">, Joyce’s “Nausicaa,” Lawrence’s </SPAN><I>St. Mawr</I><SPAN style="font-style:normal">, and Woolf’s </SPAN><I>To the Lighthouse</I><SPAN style="font-style:normal">.<SPAN style="mso-spacerun: yes"> </SPAN>We will try to examine some of the following questions:<SPAN style="mso-spacerun: yes"> </SPAN>What are the implications of “taking up’ a particular position?<SPAN style="mso-spacerun: yes"> </SPAN>Why is positionality sometimes psychically unstable?<SPAN style="mso-spacerun: yes"> </SPAN>Why do some subjectivities find point of view difficult to establish?<SPAN style="mso-spacerun: yes"> </SPAN>What makes some visual positions politically problematic, dishonest, or imperiling? <SPAN style="mso-spacerun: yes"> </SPAN>To help us explore these questions, we will be reading simultaneously a survey of interrelated theoretical texts that make various claims about visuality and/or positionality (texts by Freud, Caillois, Lacan, Silverman, Mulvey, Neale, Alloula, Doane, Newman, and Bhabha).<SPAN style="mso-spacerun: yes"> </SPAN>One of the aims of the course is to demonstrate how theoretical arguments can open up one’s understanding of novelistic discourse; another is to explore the ways novelistic discourse can strengthen and/or call into question various theoretical claims.</SPAN></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal">Course Requirements:</DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal">Oral presentations, class participation, and a final essay (12-15 pages for students without MA degree; BA; 20-25 pages for students with MA degree).<O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"><B>English 270:</B><SPAN style="mso-spacerun: yes"><B> </B></SPAN><B>Seminar in American Literature since 1900 with Professor Traise Yamamoto</B><O:P></O:P></DIV><DIV class="MsoNormal"><B>Shoring the Fragments:</B><SPAN style="mso-spacerun: yes"><B> </B></SPAN><O:P></O:P></DIV><DIV class="MsoNormal"><B>Racialization and Whiteness in 20</B><FONT class="Apple-style-span" size="2"><SPAN class="Apple-style-span" style="font-size: 10px;"><B>th</B></SPAN></FONT><B> Century American Literature</B><O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"><SPAN style="mso-tab-count:1"> </SPAN>This seminar will be shaped around the role of national identity and race in American literature, particularly as both underpin constructions of heterosexuality and notions of home.<SPAN style="mso-spacerun: yes"> </SPAN>Of key importance will be formulations of both modernism and postmodernism that focus on aesthetic formalism and linguistic transparency at the exclusion of racialized/gendered constructions of the subject, both authorial and textual.<SPAN style="mso-spacerun: yes"> </SPAN>Much of the conversation about the shifts and differences between Modernism and Postmodernism has focused around the difference between modernist alienation and postmodern fragmentation, as well as the different relationship of each to the aesthetic.<SPAN style="mso-spacerun: yes"> </SPAN>In this course, we are going to read this “split” through the notion that the 20<FONT class="Apple-style-span" size="2"><SPAN class="Apple-style-span" style="font-size: 10px;">th</SPAN></FONT> century has been one deeply concerned with and anxious about race and that this concern has crucially shaped notions of space, form and the aesthetic.<SPAN style="mso-spacerun: yes"> </SPAN>More particularly, the century is one in which whiteness is both secured and troubled, anxiously constructed and deeply problematized.<SPAN style="mso-spacerun: yes"> </SPAN>We will be thinking about the problematics of whiteness in three periods over the century: the early years, marked aesthetically by high Modernism; the 1950’s, particularly as they give rise to the Beats and the so-called Confessional poets; and the latter decades that comprise the contemporary period, in which notions of race are self-consciously both queried and queered.<SPAN style="mso-spacerun: yes"> </SPAN>Most of the conversation about race in the U.S. has been overtly shaped by the black-white dyad, but we will be paying particular attention to the “invisible third” – Asian Americans – and how that term destabilizes notions of whiteness, citizenship, masculinity and heterosexuality.</DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal">Texts listed below are provisional, though very likely.<SPAN style="mso-spacerun: yes"> </SPAN>I will send a finalized list before the end of fall quarter.</DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal">Robyn Wiegman, <I>American Anatomies: Theorizing Race and Gender</I></DIV><DIV class="MsoNormal">Michael North,<I>The Dialect of Modernism: Race, Language & Twentieth Century Literature</I></DIV><DIV class="MsoNormal">F. Scott Fitzgerald, <I>The Great Gatsby</I></DIV><DIV class="MsoNormal">Gertrude Stein, <I>Three Lives & Tender Buttons</I></DIV><DIV class="MsoNormal">John Okada, <I>No-No Boy</I><O:P></O:P></DIV><DIV class="MsoNormal">Carson McCullers, <I>The Member of the Wedding</I><O:P></O:P></DIV><DIV class="MsoNormal">Sylvia Plath, <I>The Bell Jar</I></DIV><DIV class="MsoNormal">Jack Kerouac, <I>On the Road</I><O:P></O:P></DIV><DIV class="MsoNormal">Norman Mailer, <I>The White Negro</I><SPAN style="font-style: normal"><O:P></O:P></SPAN></DIV><DIV class="MsoNormal">James Baldwin, <I>Giovanni’s Room</I><SPAN style="font-style: normal"><O:P></O:P></SPAN></DIV><DIV class="MsoNormal">Dorothy Allison, <I>Bastard Out of Carolina</I></DIV><DIV class="MsoNormal">Monique Truong, <I>The Book of Salt</I></DIV><DIV class="MsoNormal">Nina Revoyr, <I>Southland</I></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal">We will also mostly likely be reading selections from the short stories of Sui Sin Far (Edith Eaton), Hemingway’s <I>The Nick Adams Stories</I><SPAN style="font-style:normal">, Anne Cheng’s </SPAN><I>The Melancholy of Race</I><SPAN style="font-style:normal">, Richard Dyer’s </SPAN><I>White</I><SPAN style="font-style:normal">, and Gwendolyn Brooks’ </SPAN><I>Selected Poems</I><SPAN style="font-style:normal">.<SPAN style="mso-spacerun: yes"> </SPAN>Most of these will be available as PDFs on Blackboard.<O:P></O:P></SPAN></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"><B>English 272:</B><SPAN style="mso-spacerun: yes"><B> </B></SPAN><B>Seminar in Critical Theory with Professor Jim Tobias</B><O:P></O:P></DIV><DIV class="MsoNormal"><SPAN style="font-family:Times"><FONT class="Apple-style-span" face="Times"><B>Technoculture After Deleuze: Post-Deleuzian Critical and Cultural Theory</B></FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><P class="MsoBodyText" style="text-indent: 48px;"><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman">Since Gilles Deleuze’ death in 1995, a resurgence of interest in the philosopher’s analytics of art, culture, media, technology, and expression have resulted in a contemporary outpouring of extensions, revisions, and challenges to the philosopher’s work. Treatments and responses of Deleuzian analysis have appeared in a variety of forms, ranging beyond rigorous scholarly treatments to include graphic novels, works of popular culture, or works of interactive digital media; the 2007 appearance of the initial volume of the English-language journal <I>Deleuze Studies</I></FONT></SPAN><SPAN style="font-family: "Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> confirms the contemporary interest in Deleuzian thought for Anglophone critical and cultural theories.</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><O:P></O:P></SPAN></P><P class="MsoBodyText" style="text-indent: 48px;"><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman">This seminar will survey the important precursors, concepts, and contexts for Deleuzian analysis, and focus critical attention on the most significant contemporary responses to Deleuzian analytics of technoculture in Anglophone contexts.</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><FONT class="Apple-style-span" face="Times New Roman">Working through Deleuzian and post-Deleuzian approaches to affective labor, bio-ethics, globalizing media technics, the virtual, corporeality, violence, and aesthetic, philosophical, and technoscientific expression, this seminar asks the following questions:</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><FONT class="Apple-style-span" face="Times New Roman">What form would a Deleuzian materialism take today?</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><FONT class="Apple-style-span" face="Times New Roman">How, and how well, are Deleuzian understandings of media and technology applied within contemporary digital media studies? How does Deleuzian virtuality account for transitions in technoscientific expression, and how do alternative accounts of the virtual differ from that of Deleuze?</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><FONT class="Apple-style-span" face="Times New Roman">What value might a Deleuzian understanding of affect have for contemporary work on “post-genomic” bodies?</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><FONT class="Apple-style-span" face="Times New Roman">How do contemporary narratives of sexuality or gender take up or depart from Deleuzian understandings of corporeality and difference?</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><FONT class="Apple-style-span" face="Times New Roman">In what ways is the conduct of everyday industrial-informatic life within neoliberal processes of globalization indicative of a Deleuzian ethics, and to what degree might Deleuzian ethics have been historically superceded?</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><O:P></O:P></SPAN></P><P class="MsoBodyText" style="text-indent: 48px;"><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman">By contextualizing Deleuzian thought with reference to post-war studies of language, technics, and expression (by Leroi-Gourhan, Hjelmslev, Bateson, or others), reading major texts by Deleuze in conversation with contemporary work (by Hardt, Negri, Glissant, Rodowick, Braidotti, Agamben, Ansell-Pearson, Massumi, or others), and by weighing the insights gained against late 20<FONT class="Apple-style-span" size="2"><SPAN class="Apple-style-span" style="font-size: 10px;">th</SPAN></FONT> and early 21<FONT class="Apple-style-span" size="2"><SPAN class="Apple-style-span" style="font-size: 10px;">st</SPAN></FONT> century aesthetic and narrative texts or cultural developments, this seminar will provide an overview of post-Deleuzian approaches to technoculture. </FONT><O:P></O:P></SPAN></P><P class="MsoBodyText" style="text-indent: 48px;"><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman">Readings from the following texts by Deleuze will be complemented by additional critical and narrative material on the relevant topic (indicated in parentheses): 1. <I>Spinoza: Practical Philosophy</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> (affect); 2. <I>Bergsonism</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> (virtuality); 3. <I>The Logic of Sense</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> (seriality and simulacrum); 4. <I>Masochism: Coldness and Cruelty and Venus in Furs</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> (clinical and critical interpretation after psychoanalysis); 5. <I>Thousand Plateaus</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> (with Guattari; stylistics as pragmatics) 6. <I>Francis Bacon: The Logic of Sensation</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> (diagrammatic expression); 7. <I>Foucault</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> (diagram, ethics, and subjectification); 8. <I>Cinema I: The Movement-Image</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman"> (sign, temporality, and historical style in audiovisual media); 9. <I>What is Philosophy? </I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman">(with Guattari: the ethics of art, science, or philosophy); 10. <I>The Fold: Leibniz and the Baroque</I></FONT></SPAN><SPAN style="font-family:"Times New Roman""><FONT class="Apple-style-span" face="Times New Roman">: summary.</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" face="Times New Roman"> </FONT></SPAN><FONT class="Apple-style-span" face="Times New Roman">(Note: this reading list is indicative but may not be final.)</FONT><O:P></O:P></SPAN></P><DIV class="MsoNormal"><B> </B><O:P></O:P></DIV><DIV class="MsoNormal"><B> </B><O:P></O:P></DIV><DIV class="MsoNormal"><B>English 275: Film and Visual Culture with Professor Keith M. Harris</B><O:P></O:P></DIV><DIV class="MsoNormal"><B> </B><O:P></O:P></DIV><DIV class="MsoNormal">The subject of this seminar is racial peformativity. The goal of the seminar is to develop further the notion of peformativity beyond that of gender performativity, and develop ways of discussing race within its proper contexts of culture and ideology. In an effort to exptrapolate a theory of racial performativity from theories of gender peformativity, we will, therefore, explore theories and histories of race alongside contemporary Cultural Studies and Performance Studies theories of performance and performativity. We will seek our objectives through the use of visual and written texts in various racial and ethnic cultural traditions. There will be five screenings on Tuesdays from 5:00-8:00. Date and location of the screenings: TBA.<O:P></O:P></DIV><DIV class="MsoNormal"><SPAN style="font-size:10.0pt"><FONT class="Apple-style-span" size="4"><SPAN class="Apple-style-span" style="font-size: 13.3333px;"> </SPAN></FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN style="font-size:10.0pt"><FONT class="Apple-style-span" size="4"><SPAN class="Apple-style-span" style="font-size: 13.3333px;"> </SPAN></FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN class="apple-style-span"><B>English 278, Sem. in Minority Discourse with Professor Erica Edwards</B><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN class="apple-style-span"><B>African American Literary Theory: Death, Desire, and the Subject</B></SPAN><O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal">This course approaches African American literary theory through the lens of the dead, considering various treatments of death and subject(ion) to investigate how the category of death has animated black cultural production and literary theory throughout the twentieth century.<SPAN style="mso-spacerun: yes"> </SPAN>The course begins with a meditation on Spike Lee’s recent televisual requiem, <I>When the Levees Broke</I><SPAN style="font-style:normal">, and goes on to juxtapose several readings in death and subjectivity that attempt to work through, or </SPAN><I>mourn</I><SPAN style="font-style:normal">, the complex and often violent relationships between black identity, capital, desire, and the state, such as: Orlando Patterson’s </SPAN><I>Slavery and Social Death</I><SPAN style="font-style:normal">; Saidiya Hartman’s </SPAN><I>Lose Your Mother: A Journey Along the Atlantic Slave Route</I><SPAN style="font-style:normal">; various works in psychoanalysis by Freud, Lacan, Zizek, and Deleuze; Sharon Holland’s </SPAN><I>Raising the Dead</I><SPAN style="font-style:normal">; Karla Holloway’s </SPAN><I>Passed On; </I><SPAN style="font-style:normal">and Abdul JanMohamed’s </SPAN><I>The Death-Bound Subject</I><SPAN style="font-style:normal">.<SPAN style="mso-spacerun: yes"> </SPAN><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal">Requirements: Readings will be demanding and interdisciplinary in nature, and students’ familiarity with Morrison’s <I>Beloved </I><SPAN style="font-style:normal">and Wright’s </SPAN><I>Native Son </I><SPAN style="font-style:normal">will be assumed.<SPAN style="mso-spacerun: yes"> </SPAN>The course will require a conference-paper length research project and proposal, an annotated bibliography, and a book review.<SPAN style="mso-spacerun: yes"> </SPAN>Students interested in reading ahead should begin with Orlando Patterson’s </SPAN><I>Slavery and Social Death: A Comparative Study</I><SPAN style="font-style:normal"> (Harvard UP, 1982).<O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN style="font-size:10.0pt"><FONT class="Apple-style-span" size="4"><SPAN class="Apple-style-span" style="font-size: 13.3333px;"> </SPAN></FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN style="font-size:10.0pt"><FONT class="Apple-style-span" size="4"><SPAN class="Apple-style-span" style="font-size: 13.3333px;"> </SPAN></FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333"><B>English 289: </B></FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" color="#333333"><B> </B></FONT></SPAN><FONT class="Apple-style-span" color="#333333"><B>Seminar in Genres with Professor Katherine Kinney</B></FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333"><B>War Literature</B></FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333"><BR> War has tested the power of literature throughout the twentieth century, challenging with an ethical immediacy the efficacy of realism, modernism, and postmodernism. In this seminar we will examine this challenge through an in depth examination of three topics: the “good-bye to all that” narrative of disillusionment which emerged so powerfully from the trenches of WWI; the meaning of embodiment, for, as Elaine Scarry argues, “War is relentless in taking for its own interior content the interior content of the wounded and open human body”; and the narrative and symbolic implications of the transformative development of air war from Guernica to </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333">Hiroshima</FONT></SPAN><FONT class="Apple-style-span" color="#333333"> to smart bombs. We will end by reading <I>Jarhead</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">, </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333">Anthony Swofford</FONT></SPAN><FONT class="Apple-style-span" color="#333333">’s highly literary memoir of the </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333">First Gulf War</FONT></SPAN><FONT class="Apple-style-span" color="#333333"> and consider the significance of 20<FONT class="Apple-style-span" size="2"><SPAN class="Apple-style-span" style="font-size: 10px;">th</SPAN></FONT> c. war literature to an understanding of “limited” wars.<BR> <BR> Readings may include: Paul Fussell, <I>The Great War and Modern Memory</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">; </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333">Robert Graves</FONT></SPAN><FONT class="Apple-style-span" color="#333333">, <I>Goodbye to all That</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">; </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333">Pat Barker</FONT></SPAN><FONT class="Apple-style-span" color="#333333">, <I>Regeneration</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">; Elaine Scarry, <I>The Body in Pain;</I></FONT></SPAN><SPAN style="color:#333333"><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" color="#333333"> </FONT></SPAN><FONT class="Apple-style-span" color="#333333">Ernest Hemingway, <I>A Farewell to Arms</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">; James Jones, </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333"><I>The Thin Red Line</I></FONT></SPAN><FONT class="Apple-style-span" color="#333333">; </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333">Joseph Heller</FONT></SPAN><FONT class="Apple-style-span" color="#333333">, </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333"><I>Catch-22</I></FONT></SPAN><FONT class="Apple-style-span" color="#333333">; </FONT><SPAN class="yshortcuts"><FONT class="Apple-style-span" color="#333333">Kurt Vonnegut</FONT></SPAN><FONT class="Apple-style-span" color="#333333">, <I>Slaughterhouse-Five</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">; Ralph Ellison, “Flying Home”; Michael Herr, <I>Dispatches</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">; Joan Didion, <I>Democracy</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">; Anthony Swofford, <I>Jarhead</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">.</FONT><SPAN style="mso-spacerun: yes"><FONT class="Apple-style-span" color="#333333"> </FONT></SPAN><FONT class="Apple-style-span" color="#333333">We will also read a selection of poems by Rupert Brooke, Siegfried Sassoon, Wilfred Owen, Langston Hughes, and others. </FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333"> </FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">In addition to the readings, there will be a weekly film screening, including films such as: <I>All Quiet on the Western Front</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">, <I>The Sands of Iwo Jima</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">; <I>Saving Private Ryan</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">, <I>The Thin Red Line</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">, <I>Dr. Strangelove</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">, <I>Notre Musique</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">, <I>Black Hawk Down, Three Kings</I></FONT></SPAN><SPAN style="color:#333333"><FONT class="Apple-style-span" color="#333333">.</FONT><O:P></O:P></SPAN></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><DIV class="MsoNormal"> <O:P></O:P></DIV><BR><DIV><DIV>On Oct 26, 2007, at 6:43 PM, Brenda Varda wrote:</DIV><BR class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Could you resend the English seminars list?<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; ">The link opened as unreadable - at least on my computer...</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; ">Thanks</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">BV</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; ">Cwgrad-announcements mailing list</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><A href="mailto:Cwgrad-announcements@lists.ucr.edu">Cwgrad-announcements@lists.ucr.edu</A></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><A href="http://lists.ucr.edu/mailman/listinfo/cwgrad-announcements">http://lists.ucr.edu/mailman/listinfo/cwgrad-announcements</A></DIV> </BLOCKQUOTE></DIV><BR></BODY></HTML>