[Cwgrad-announcements] Fwd: Here's the all-inclusive list of all
W'07 course descriptions & pre-reg. instructions
Robin Russin
robin.russin at ucr.edu
Tue Oct 24 10:27:00 PDT 2006
Begin forwarded message:
> From: Tina Feldmann <tina.feldmann at ucr.edu>
> Date: October 24, 2006 10:22:06 AM PDT
> To: raymond.williams at ucr.edu;, andrew.winer at ucr.edu;,
> steven.ostrow at ucr.edu;, robin.russin at ucr.edu;,
> nicole.vines at ucr.edu;, susan.komura at ucr.edu, yang.ye at ucr.edu,
> derek.burrill at ucr.edu, jkbuscher at gmail.com, mike.atienza at ucr.edu,
> dancegradslist at lists.ucr.edu, andrew.jacobs at ucr.edu,
> diana.marroquin at ucr.edu
> Cc: steven.axelrod at ucr.edu
> Subject: Here's the all-inclusive list of all W'07 course
> descriptions & pre-reg. instructions
>
> 10/24/06
>
> TO: Faculty graduate advisors, staff graduate advisors
>
> Please forward this all-inclusive list of W'07 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, November 6.
>
> 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).
>
> 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. If you would like
> anyone added to or deleted from this quarterly email, please email
> me directly at tina.feldmann at ucr.edu.
>
> Thank you.
>
> Tina Feldman
>
> NOTE: This email has 3 parts:
>
> Part I -- The seminar preference form that should be sent to
> Professor Axelrod
> Part II -- The seminar listing.
> Part III -- The seminar course descriptions to assist students in
> completing Part II.
> ------------------------------------------
>
> Part I (the seminar preference sheet):
> Please return this form, alone, to Professor Axelrod (without the
> course descriptions and in the text of the email and not by
> attachment)
>
> Seminar Preference Form for Winter Quarter 2007
>
> 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. 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.
> I will email seminar rosters to everyone by Saturday, November 4.
> Pre-registration begins on Monday, November 6. 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. Course descriptions are
> added to the bottom of this email.
>
> Best wishes,
>
> Steve Axelrod
>
> Director of Graduate Studies
>
> Your department is: _________________________
> This quarter you are (place X after year): MA1 MA2 MFA
> PhD1 PhD2 PhD3
>
> Your areas of specialization are (name 2 or 3):
>
>
> Number of English Department seminars you want (1 or 2?):
> ________________
>
> 1st Choice: English______ with Professor _____________.
>
> 2nd Choice: English______ with Professor _____________.
>
> 3rd Choice: English______ with Professor _____________.
>
> 4th Choice: English______ with Professor _____________.
>
> 5th Choice: English______ with Professor _____________.
>
> ________________________ ____________________
> ________________________
>
> Your Name
> Date Email Address
>
> ---------------------------------------
>
> Part II (course listing):
>
> WINTER 2007 ENGLISH DEPARTMENT SEMINARS
> as of 10/24/06
>
>
> MONDAY
>
> English 270 – American Literature since 1900 (S. Axelrod)
> 5:10-8:00 pm in HMNSS 2212
>
>
> TUESDAY
>
> English 262 – Renaissance Literature (S. Stewart)
> 2:10-5:00 pm in Watkins 1111
>
> English 273 – Cultural Studies (K. Harris)
> 2:10-5:00 pm, Room: TBA
>
> English 279 – Rhetorical Studies (R. Axelrod)
> 5:10-8:00 pm in HMNSS 1502
>
>
> WEDNESDAY
>
> English 275 – Film and Visual Cultures (V. Nunley)
> 2:10-5:00 pm in HMNSS 1407 + 5:10-8:00 screening in Sproul 2212
>
> English 264 – Restoration and 18th C. Literature (C. Fabricant)
> 5:10-8:00 pm in Watkins 1117
>
>
> THURSDAY
>
> English 289 – Seminar: Genres (J. Doyle)
> 2:10-5:00 pm in Watkins 1404
>
> English 274 – Feminist Discourses (C. A. Tyler)
> 5:10-8:00 pm in HMNSS 1407
>
>
> FRIDAY
>
> English 268 – British Literature since 1900 (K. Devlin)
> 2:10-5:00 pm in HMNSS 1407
>
> -------------------------------------------------
>
> Part III (course description):
>
>
> English 270 (American Lit. since 1900)
> Professor Steven Axelrod
>
> 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.
>
> “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
>
> Pity the planet, all joy gone
> from this sweet volcanic cone;
> peace to our children when they fall
> in small war on the heels of small
> war until the end of time… Robert Lowell, “Waking Early Sunday
> Morning”
>
>
> English 262 (Turks, Moors, Jews, Catholics, and Sexual Deviates on
> the Renaissance London Stage)
> Professor Stanley Stewart
>
> During the Renaissance, as commerce expanded, bringing
> new wealth to the London Pool, the English theatre flourished.
> There was a constant demand for new scripts, with new plots.
> Sometimes these included exotic characters, such as one might find
> in foreign lands, but not usually in London. 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. This seminar will focus on types of social
> difference, and how they might be understood in Early Modern
> England. Seminar participants will select a play or a type of
> social or religious difference that might interest theatre
> audiences. 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). During the
> first three weeks, members of the seminar will read and discuss
> these plays. Then each participant will select a topic, perhaps an
> author, a theme, or a single play, or even a single scene from a
> play. 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.
> The two texts will be:
> 1) any well annotated edition of Shakespeare
> 2) English Renaissance Drama: A Norton Anthology.
> Ed. David Bevington et
> al. New York: W. W. Norton, 2002. ISBN
> 0-393-97655-6
>
>
> English 273 (Cultural Studies)
> Professor Keith M. Harris
>
> 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.
>
>
> English 279 (Rhetorical Studies)
> Professor Rise Axelrod
>
> This course is designed as a comprehensive introduction to the
> thriving, 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).
>
>
> English 275 (Rhetoric Excess: Visual Tropes of Masculinity,
> Femininity, and Race in the Construction and Consumption of the
> American Imaginary)
> Professor Vorris Nunley
>
> 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. Class will
> wrestle with such provocative questions such as: Do masculinity/
> femininity function best as categories of identity or as categories
> of politics? Is neo-liberalism the new secular-religion? 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? Is rhetoric more useful than philosophy as an epistemic
> (knowledge) resource? Why is Blackness a feminine trope?
>
>
> English 264. The ‘Progressive’ Eighteenth Century
> Professor Carole Fabricant
>
> 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: 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. 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. 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). 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). 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. (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.)
>
> 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. Time
> permitting, we’ll also briefly consider ‘right-wing’ radical
> movements and ideologies of the period, especially Jacobitism:
> What are we to make of the recent spate of ‘Jacobite’ historians
> and literary critics of the 18th century? 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’?
>
> 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.
> 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. 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.
>
>
> English 289 (Genres: Impulse to Realism)
> Professor Jennifer Doyle
>
> A graduate seminar tracking realism and naturalism as aesthetic
> impulses (rather than well-defined movements) that shape a range of
> literary and artistic practices. Reading critical theory, literary
> and art historical criticism in addition to fiction, we will ask how
> the signature gestures of nineteenth-century realism re-emerge in
> 20th & 21st century art and literature. Special attention is given
> in this course to the association of realism with a poetics of the
> body - with representations of sex, desire, and difference. This
> course should appeal to students interested in interdisciplinary
> study, visual culture, feminist criticism, and critical theory. The
> reading for this course is very heavy. Please read ahead over the
> winter break.
>
> Required Texts (should be purchased on-line/where there are multiple
> editions, I've indicated which publisher to use - please use most
> recent edition from that publisher/all assigned books will also be on
> reserve at Rivera)
>
> Rebecca Harding Davis, “Life In the Iron Mills” (any edition is o.k.
> - this also is a widely anthologized short story)
> Honoré de Balzac, Eugenie Grandet (penguin)
> Frank Norris, McTeague (penguin)
> Emile Zola, L’Assommoir (penguin)
> Michelle Houellbecq, Elementary Particles
> David Wojnarowicz, Close to the Knives
> Upton Sinclair, The Jungle
> Hal Foster, Return of the Real
>
> Criticism/Theory will include:
>
> Michael Fried, excerpts from Realism, Writing, and Disfiguration &
> Menzel’s Realism
> Nancy Glazener, excerpt from Reading for Realism
> Eric Sundquist, “The Country of the Blue” from American Realism: New
> Essays
> Susan Stewart, excerpts from Crimes of Writing
> Fredric Jameson, chapters 1 & 3 from The Political Unconscious;
> “Cognitive Mapping”
> Emile Zola’s “The Experimental Novel”
> Leo Bersani, “Realism and the Fear of Desire” from A Future for
> Astyanax (excerpted in Marxism and the Interpretation of Culture)
> Mark Seltzer, “Statistical Persons” from Bodies and Machines
> Amelia Jones, “The Body In Action: Vito Acconci and the ‘Coherent
> Male Artist Subject” in Body Art: Performing the Subject
> Coco Fusco, “The Unbearable Weightiness of Beings: Art in Mexico
> After NAFTA” from The Bodies That Were Not Ours
>
> Visual Art:
> Franko B.
> Nan Goldin
> Teresa Margolles/SEMEFO Collective
> Santiago Sierra
> Allen Sekula
> Carrie Mae Weems
> David Wojnarowicz
>
> Requirements: Presentation (must relate directly to the course
> topic, sign-up in second week) & 20 page final paper (revised
> version of presentation with bibliography)
>
>
> English 274 (Feminist Discourses)
> Professor Carole-Anne Tyler
>
> I will teach English 274 as Contemporary Feminist
> Theory. We will read and discuss key texts, figures, and
> issues in contemporary feminist theory, focussing on the
> social construction and deconstruction of sex, gender, and
> transgender identities; the body, embodiment, experience,
> and "the signature"; equal rights vs. differences feminisms
> and the problem of the "universal"; representation and
> feminist demands for "recognition"; and feminisms and
> sexuality. The (tentative) reading list includes work by
> Beauvoir, Butler, Garber, Halberstam, Irigaray, Freud,
> Lacan, Miller, Kamuf, Derrida, Bartky, Foucault, Spivak,
> Fraser, Martinez Alcoff, hooks, Smith, and Grosz. We will
> read 4-5 essays for each three hour seminar, depending on
> the length and difficulty of the texts.
>
>
> English 268 (British Literature)
> Professor Kimberly Devlin
>
> 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." 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). 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." M.A
> students will be required to write a 12-15 page paper, Ph.D.
> students a 18-25 page one.
>
>
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