[Cwgrad-announcements] Fw: Here's the all-inclusive list of all
W'07 course descriptions & pre-reg. instructions
Carly Kimmel
chirs001 at ucr.edu
Wed Oct 25 14:09:31 PDT 2006
Dear Creative Writing Department,
This is a great resource for us - is it not possible to have the same
sort of email sent out to the grad students that lists what classes
will be offered in creative writing as well? Most of us can't decide
which of the classes below we want to take without knowing when the
rest of the classes we will need to enroll in are being offered. I
have been running around asking any professors I can find what they
are teaching, but there are many I just don't have access to. What
would it take to give us a little heads up before registration
starts, just like the list we got from the comp lit department? I
know that at Irvine the program distributes a flyer to all the
student boxes with information listed (exactly like what is in this
email) prior to the release of the schedule of classes. Is it not
possible to do something similar at Riverside? At the very least it
would be helpful to be notified as soon as you know, when the major
workshops will be scheduled and who will be teaching them.
I realize that we may be short of the funds needed to hire someone to
help get things organized, but if that is the case then I would be
more then happy to help in any way I can. Please let me know.
Thanks,
Carly Kimmel
On Oct 24, 2006, at 10:37 AM, Andrew Winer wrote:
> Dear MFAs,
>
> Below are the English Dept's offerings next quarter, plus
> procedures for enrolling. Notice that time is of the essence.
>
> Best,
> Andrew
>
>
> 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.
>
>
>
>
> _______________________________________________
> Cwgrad-announcements mailing list
> Cwgrad-announcements at lists.ucr.edu
> http://lists.ucr.edu/mailman/listinfo/cwgrad-announcements
More information about the Cwgrad-announcements
mailing list