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Course Criteria
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3.00 Credits
Review and analysis of feminist literary theory.
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3.00 Credits
Anyone who looks beyond best-seller lists quickly sees that there's a wild west of writing out there where anything goes. In fact, judging by the variety of contemporary writing practices and materials, the use of language as an art medium seems to parallel visual art where the mainstream is conceptual and can just as easily be video as it can be made of tennis shoes or DNA. In this class we will be reading works that tend to expand the definition of literature rather than close it down to accepted conventions: fiction, poems, electronic and other hybrids whose authors have adopted much of the idioms, rhetorical strategies, or styles of earlier conceptual, modern and postmodern work, either self-consciously or not, as they engage with contemporary thought, and social formations, even as they move further from ideas of originality, the oppositional stance of the avant-garde, and other assumptions that informed earlier writing. Variously called experimental, conceptual, avant-garde, hybrid, postmodern, innovative, extreme, alternative, e-, anti-, or new literature, our readings will include works from the collaborative flash poems of Heavy Industry, to the visual-text hybrids of Johanna Drucker, to the reworking of pulp "Nurse Betty" novels by Stacey Levine. Tentative reading list: The People of Paper (by Salvador Plascencia); Electronic Literature Collection (Katherine Hayles, et al eds.); Love in a Dead Language (Lee Siegel); Frances Johnson (Stacey Levine); Wittgenstein's Mistress (David Markson); City of Glass (Paul Auster); Notable American Women (Ben Marcus); Altmann's Tongue (Brian Evenson); The Jirà Chronicles (Debra Di Blasi); Europeana: A Brief History Of The Twentieth Century (Patrik Ourednik); The Blue Guide to Indiana (Michael Martone). Course pack of short fiction and poetry. Course requirements: 2 short papers, 1 long. Short quizzes. Midterm, final.
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3.00 Credits
Literary Modernism and its implications on and for critical theory.
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3.00 Credits
Ever since realism became the dominant mode of the nineteenth-century stage, most avant-garde movements in Western drama have defined themselves against it. But what exactly is realism? Where did it come from, and how does it change? How are spectators persuaded to "recognize" certain conventions, strategies, or content as "realistic"and then to reject those conventions and accept new ones? Is realism inherently conservative as many of its critics argue or does it contain the revolutionary potential that realist playwrights so often claim for it? Now that once-radical antirealist techniques have been adopted by commercial theaters, does realism still exist? And how is the practice of realism on the modern or contemporary stage related to changing conceptions of human nature, human behavior, human society, or the "real world"? This course will investigate the practice and the theory of realism in English-language theater from the late ninteenth to the early twenty-first century. Alongside the plays and criticism of the leading British, Irish, and American realists, we will read the critiques of realism that have emerged in contemporary critical theory. We will situate our study of realism in its historical, political, and economic contexts, and we will also look at the acting and production techniques that made realism possible. Playwrights may include but are not necessarily limited to: George Bernard Shaw, T. C. Murray, J. M. Synge, Sean O'Casey, Teresa Deevy, John Osborne, Arnold Wesker, Edward Bond, Brian Friel, Lillian Helmann, Clifford Odets, Eugene O'Neill, Arthur Miller, Sam Shepard, August Wilson, David Mamet, Conor Macpherson, Tony Kushner. Students will produce one conference-length (10-page) paper and one seminar-length (20-25 page) paper and will be responsible for at least one in-class presentation.
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0.00 Credits
This course will explore a range of materials--films, novels, theoretical texts architectural plans, histories, philosophical texts--to survey the various gendered meanings attached to space in the 20th century. We will examine spaces both public and private (the department store, the cinema, the street, the apartment, the country home, etc.) as traversed and nhabited by a variety of 20th century figures (the flaneur, the New Woman, th shop girl, the sapphist, the suffragist, the single girl, etc.) - Lab accompanying.
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1.00 Credits
The aim of English 92001 is to prepare you to teach First-Year Composition (FYC) in the University Writing Program at Notre Dame. The course does this in two ways: first, by introducing you to readings in rhetoric and composition that provide a basis for making informed choices in the classroom. Second, by providing you with opportunities to practice skills such as lesson planning, designing writing assignments, responding to student papers, managing writing groups, and planning a syllabus. To these ends, you will read selectively in rhetoric and composition theory, observe faculty currently teaching in the University Writing Program, and complete a series of short assignments. By the end of the course, you will be prepared to teach First-Year Composition at the college level.
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1.50 Credits
This is a workshop open to any student whose dissertation prospectus has been approved. Topics covered will be: Abstract and Conference Papers, Articles, Book Proposals, Dissertations, Dissertation to Book, Grant Applications, Job materials (letters, abstracts, teaching philosophy, writing sample). In consultation with the directors of their dissertations, participants must set and meet writing goals for the semester--usually but not exclusively the preparation of an article for publication.
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1.50 Credits
A workshop on professional publication, conference activity, and job search procedures.
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1.50 Credits
A workshop on professional publication, conference activity, and job search procedures.
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1.50 Credits
A review of the current state of literary publishing in the U.S. and abroad.
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