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Department of English Language and Literature


  • Deborah Nelson


  • Lauren G. Berlant
  • Bill Brown
  • James K. Chandler
  • Maud Ellmann
  • Frances Ferguson
  • Elaine Hadley
  • Loren A. Kruger
  • Josephine McDonagh
  • William J. T. Mitchell
  • Sianne Ngai
  • Joshua Keith Scodel
  • Kenneth W. Warren
  • John Wilkinson

Associate Professors

  • Patrick Jagoda
  • Heather Keenleyside
  • Janice Knight
  • Ellen MacKay
  • John Mark Miller
  • Benjamin Morgan
  • Deborah Lynn Nelson
  • Srikanth Reddy
  • Lawrence Rothfield
  • Lisa C. Ruddick
  • Jennifer Scappettone
  • Eric Slauter

Assistant Professors

  • Adrienne Brown
  • Timothy Campbell
  • Rachel Galvin
  • Edgar Garcia
  • Timothy Harrison
  • John Muse
  • Julie Orlemanski
  • Benjamin Saltzman
  • Zachary Samalin
  • David C. Simon
  • Christopher Taylor
  • Sonali Thakkar

Emeritus Faculty

  • David Bevington
  • Elizabeth Helsinger
  • Richard Allen Strier
  • William Veeder
  • Christina von Nolcken

Postdoctoral Fellows

  • Lucy Alford

Graduate students in English work with a distinguished faculty of critics and scholars to develop their own interests over a broad range of traditional and innovative fields of research. The program aims to attain a wide substantive command of British, American, and other English language literatures. In addition to specializations in the full range of chronologically defined fields, the program includes generous offerings in African American Studies, gender studies, the graphic novel, and cinema and other media studies. Students are also trained in textual studies, editing, literary and cultural history, and a variety of critical theories and methodologies. The interests of both faculty and students often carry through to neighboring disciplines like anthropology, sociology, history, art history, linguistics, and philosophy. The University provides a supportive environment for advanced studies of this kind.

The Degree of Doctor of Philosophy

The program leading to the Ph.D. degree aims primarily to prepare students for independent work as teachers, scholars, and critics by developing their abilities to pose and investigate problems in the advanced study of literatures in English and in film. Departmental requirements are designed to lead to the doctorate in five to six years. Course work, the preparation of oral fields examinations, workshops, teaching, and the dissertation introduce students to a variety of textual modes, critical methodologies, and historical/cultural problems; provide extensive practice in research, discussion, argument, and writing; and develop pedagogical skills through supervised teaching. While a student’s progress will be carefully monitored and periodically evaluated by individual advisors and the department, all students will be accepted into the program on the assumption that they will proceed to the Ph.D.

In the first two years of the Ph.D. program, students are required to enroll in six graduate courses each year. All first-year students also participate in a one-quarter colloquium designed to introduce theoretical and practical questions posed by the study of literature (through readings in a range of theoretical and literary texts). In their third year, students will also take a one quarter course in various approaches to the teaching of literature and composition and a one quarter Advanced Writing Workshop.

Note: Students entering with an M.A. degree in English will be asked to complete at least one year of coursework (six courses) plus two additional courses in their second year, participate in the Autumn Quarter colloquium, and take the one quarter course on teaching in either their second or third years.

Students in their third and fourth years will normally teach at least one quarter-long course each year, initially as course assistants in departmental courses for undergraduates, then as instructors in courses of their own design. Students may also be employed as writing tutors, assistants in introductory humanities and social sciences core courses, instructors in the College Writing Program course in expository writing (which provides its own training in the teaching of composition), or as teachers at other area colleges and universities. The department believes that both training and experience in teaching is an important part of the graduate program.

The Degree of Master of Arts

Students seeking a master’s degree should apply to the Master of Arts Program in the Humanities (MAPH), a three-quarter program of interdisciplinary study in a number of areas of interest to students, including literature and film. MAPH permits students to take almost all of their courses in the English Department, sharing classes with students in the Ph.D. program. The resulting degree is equivalent to a master’s in English.  Further details about the MAPH program are available at


For more information on the department’s programs and requirements, please see the Department of English website at or contact the departmental staff at

Information on how to apply

The application process for admission and financial aid for all graduate programs in the Humanities is administered through the divisional Office of the Dean of Students. The Application for Admission and Financial Aid, with instructions, deadlines and department specific information is available online at:

Questions pertaining to admissions and aid should be directed to or (773) 702-1552.

International students must provide evidence of English proficiency by submitting scores from either the Test of English as a Foreign Language (TOEFL) or the International English Language Testing System (IELTS). (Current minimum scores, etc., are provided with the application.) For more information, please see the Office of International Affairs website at, or call them at (773) 702-7752.

English Language and Literature Courses

ENGL 30100. Introduction to Religion and Literature. 100 Units.

Instructor(s): R. Rosengarten, S. Hammerschlag     Terms Offered: Winter
Equivalent Course(s): RLST 28210, RLIT 30000

ENGL 30201. Advanced Theories of Gender and Sexuality. 100 Units.

Zerilli: This course examines contemporary theories of sexuality, culture, and society. We then situate these theories in global and historical perspectives. Topics and issues are explored through theoretical, ethnographic, and popular film and video texts. Simon: Our itinerary in this coursewill be interdisciplinary, ranging from political theory to science studies. Topics for discussion will likely include: the gendering of reason and passion in the history of philosophy; the power, persistence, and flexibility of norms; the relationship between eros and other forms of desire; the division of labor and other economic tributaries to gendered experience; openings for and challenges to the political aspirations of sexual (and other) minorities; and the pressures exerted by technology on erotic life. Students will engage key concepts in the field, and will be encouraged to experiment with new ones.

Instructor(s): L. Zerilli     Terms Offered: Autumn
Prerequisite(s): Completion of GNSE 10100-10200 and GNSE 28505 or 28605 or permission of instructor.
Equivalent Course(s): GNSE 21400, MAPH 36500, GNSE 31400, PLSC 21410, PLSC 31410, ENGL 21401

ENGL 30610. Adaptation & Translation in Theater-Making. 100 Units.

This course combines seminar and studio practices to investigate the ways in which theater and performance-makers create work in relation to shifting contexts. How are theatre adaptations and translations shaped by aesthetics, geography, socio-economic conditions, cultural transition, shifting formulations of race, ethnicity, and gender? How do theatre-makers conceive and realize the resonance of their work within local and across transnational spaces? This course explores these and other questions through practical experiments in adaptation and translation, case studies of artists, attending performances, critical readings on adaptation and translation theory, and discussions of the relationship between art and national and transnational political imaginaries. At the center of the course is a visit from the artistic directors of two theater companies working with translations and adaptations of "World Literature" for a (post)Soviet context, one based in Uzbekistan and the other in Kazakhstan. We hope the exposure to their working processes will animate the questions of the course in exciting and unpredictable ways. For their final project, students will have the option of writing a critical paper, writing a proposal for a speculative work, or creating an artistic work.

Instructor(s): L. Danzig, L. Feldman     Terms Offered: Autumn
Note(s): Attendance at first class session is mandatory.
Equivalent Course(s): ENGL 20610, CMLT 30611, TAPS 20610, TAPS 30610, HMRT 20610, HMRT 30610, CMLT 20610

ENGL 31001. Advanced Writing Workshop. 100 Units.

The Advanced Writing Workshop consists of several workshops led by an English faculty member. Students will take a paper from a previous class and revise it; the revisions will be read by other students in the workshop, along with at least two faculty.

Instructor(s): H. Keenleyside     Terms Offered: Winter
Note(s): This course is restricted to second- and third-year English Ph.D. students only; other students need consent of instructor.

ENGL 31006. Joseph Conrad's Secret Agent: (In)action, Surveillance, Terrorism. 100 Units.

Course centers on Joseph Conrad's The Secret Agent: A Simple Tale. Contemporary critics often consider this novel the archetypal fictional work about terrorism, as it is based on the bomb attack that occurred in Greenwich in 1888. The Secret Agent demonstrates, however, much more than its prophetic significance rediscovered after 9/11. Therefore, the course seeks how the novel's relevance stems in equal measure from Conrad's interest in a wider political process and his distrust of state power; in particular, the course explores how these forces determine the individual caught in a confining situation. We read The Secret Agent as a political novel, that struggle for solutions defies chaos as well as an imposition of a single ideology or one authorial point of view. Its ambiguities and political antinomies allow for interdisciplinary readings that also present an opportunity to critically overview the established approaches to main Conradian themes. In analyzing the formation of the narrative's ideology we discuss Conrad's historical pessimism that demonstrates with sustained irony how capitalism breeds social injustice that, in turn, breeds anarchism. The class also focuses on how the novel exposes duplicity in staging surveillance, terrorism, as well as adjacent forms of violence or sacrifice. Critical texts include several older but still influential readings (Jameson, Eagleton) and the most recent.

Equivalent Course(s): ENGL 21006, REES 31006, FNDL 21006, REES 21006

ENGL 32300. Marxism and Modern Culture. 100 Units.

Designed for graduate students in the humanities, this course begins with fundamental texts on ideology and the critique of capitalist culture by Marx, Engels, Lenin, Gramsci, Althusser, Wilhelm Reich and Raymond Williams, before moving to Marxist aesthetics, from the orthodox Lukács to the Frankfurt School (Adorno, Benjamin) to the heterodox (Brecht), and concludes with contemporary debates around Marxism and imperialism (Lenin, Fanon, and others), and Marxism and media, including the internet. This course will have a particular focus on guiding students through the conventions of academic writing in the Humanities.

Instructor(s): Loren Kruger     Terms Offered: Winter
Prerequisite(s): Humanities graduate students and equivalent (eg DIV school; not suitable for MAPSS or Social Science PhDs
Equivalent Course(s): CMLT 31600, MAPH 31600

ENGL 32311. Transmedia Game. 100 Units.

This experimental course explores the emerging game genre of "transmedia" or "alternate reality" gaming. Transmedia games use the real world as their platform while incorporating text, video, audio, social media, websites, and other forms. We will approach new media theory through the history, aesthetics, and design of transmedia games. Course requirements include weekly blog entry responses to theoretical readings; an analytical midterm paper; and collaborative participation in a single narrative-based transmedia game project. No preexisting technical expertise is required but a background in any of the following areas will help: creative writing, literary or media theory, web design, visual art, computer programming, performance, and game design.

Instructor(s): P. Jagoda     Terms Offered: Autumn
Equivalent Course(s): CMST 35953, CRWR 46003, ARTV 25401, CRWR 26003, TAPS 28457, ENGL 25953, CMST 25953, ARTV 35401

ENGL 32312. Virtual Theaters. 100 Units.

This course probes the nature and limits of theater by exploring a range of theatrical texts whose relation to performance is either partially or fully virtual. Like the works we will read, the course transgresses disciplinary, generic, and temporal boundaries, bringing together from various centuries philosophical dialogues (Plato), closet dramas, novel chapters in dramatic form (Melville's Moby-Dick, Joyce's Ulysses), radio drama, impossible drama, and new media forms that test conventional definitions of theatrical performance: social media theater, digital theater, algorithmic theater, and trans-media games.

Instructor(s): John Muse     Terms Offered: Autumn
Equivalent Course(s): TAPS 32312

ENGL 32313. Digital Media Theory. 100 Units.

This course introduces students to the critical study of digital media and participatory cultures, focusing on the late twentieth and early twenty-first centuries. Sub-fields and topics may include history of technology, software studies, platform studies, video-game studies, electronic literature, social media, mobile media, network aesthetics, hacktivism, and digital public. We will also discuss ways that digital media theory intersects with and complicates work coming from critical theory, especially feminist, Marxist, queer, and transnational theories. Readings may include work by theorists such as Ian Bogost, Wendy Chun, Mary Flanagan, Alexander Galloway, Mark Hansen, Katherine Hayles, Friedrich Kittler, Alan Liu, Lev Manovich, Franco Moretti, Lisa Nakamura, Rita Raley, and McKenzie Wark. Through a study of contemporary media theory, we will also think carefully about emerging methods of inquiry that accompany this area of study, including multimodal and practice-based research. Students need not be technologically gifted or savvy, but a wide-ranging imagination and interest in new media culture will make for a more exciting quarter.

Instructor(s): Patrick Jagoda     Terms Offered: Autumn
Equivalent Course(s): CMST 37803

ENGL 32314. Alternate Reality Games: Theory and Production. 100 Units.

Games are one of the most prominent and influential media of our time. This experimental course explores the emerging genre of "alternate reality" or "transmedia" gaming. Throughout the quarter, we will approach new media theory through the history, aesthetics, and design of transmedia games. These games build on the narrative strategies of novels, the performative role-playing of theater, the branching techniques of electronic literature, the procedural qualities of video games, and the team dynamics of sports. Beyond the subject matter, students will design modules of an Alternate Reality Game in small groups. Students need not have a background in media or technology, but a wide-ranging imagination, interest in new media culture, or arts practice will make for a more exciting quarter.

Instructor(s): Patrick Jagoda, Heidi Coleman     Terms Offered: Winter
Prerequisite(s): Third- or fourth-year standing. Instructor consent required. To apply, submit writing through online form at; see course description. Once given consent, attendance on the first day is mandatory.
Note(s): Note(s): English majors: this course fulfills the Theory (H) distribution requirement.
Equivalent Course(s): BPRO 28700, MAAD 25954, ENGL 25970, CMST 35954, ARTV 20700, TAPS 28466, CMST 25954, ARTV 30700

ENGL 32514. Moby Dick, or The Whale. 100 Units.

This course will focus on Moby Dick. Monomania--in its psychological, sexual, aesthetic, religious, epistemological, and political manifestations--will focus much of our inquiry into our texts and into the body of critical discourse surrounding them. (Fiction, 1830-1940)

Instructor(s): Janice Knight     Terms Offered: Autumn
Equivalent Course(s): ENGL 22514, FNDL 22514

ENGL 32800. Theories of Media. 100 Units.

This course will explore the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media, but at the very idea of a medium as a means of communication, a set of institutional practices, and a habitat in which images proliferate and take on a "life of their own." The course will deal as much with ancient as with modern media, with writing, sculpture, and painting as well as television and virtual reality. Readings will include classic texts such as Plato's Allegory of the Cave and Cratylus, Aristotle's Poetics, and modern texts such as Marshall McLuhan's Understanding Media, Regis Debray's Mediology, and Friedrich Kittler's Gramophone, Film, Typewriter. We will explore questions such as the following: What is a medium? What is the relation of technology to media? How do media affect, simulate, and stimulate sensory experiences? What sense can we make of concepts such as the "unmediated" or "immediate"? How do media become intelligible and concrete in the form of "metapictures" or exemplary instances, as when a medium reflects on itself (films about films, paintings about painting)? Is there a system of media? How do we tell one medium from another, and how do they become "mixed" in hybrid, intermedial formations? We will also look at recent films such as The Matrix and Existenz that project fantasies of a world of total mediation and hyperreality.

Instructor(s): W. J. T. Mitchell     Terms Offered: Winter
Prerequisite(s): Any 100-level ARTH or COVA course, or consent of instructor.
Equivalent Course(s): AMER 30800, ARTV 20400, CMST 37800, CMST 27800, ENGL 12800, ARTH 35900, ARTH 25900

ENGL 32821. Art and Public Life. 100 Units.

The aim of this seminar-colloquium will be to work through some of the most advanced thinking on ideas about publics and their relation to questions of community, politics, society, culture, and the arts. From John Dewey through Hannah Arendt and Jurgen Habermas, the notion of the public has remained central to a wide variety of debates in the humanities and social sciences. What is a public? How are publics constituted? What is the role of real and virtual space, architectural design, urban planning, and technical media, in the formation of publics? And, most centrally for our purposes, what role can and do the arts play in the emergence of various kinds of publics? The colloquium aspect of the course will involve visiting speakers from a variety of disciplines, both from the University of Chicago faculty, and from elsewhere.

Instructor(s): W.J.T. Mitchell, T. Gates     Terms Offered: Autumn
Equivalent Course(s): ARTV 37911, MUSI 35014, ARTH 47911, CMST 37802

ENGL 33000. Academic and Professional Writing (The Little Red Schoolhouse) 100 Units.

Academic and Professional Writing, a.k.a. "The Little Red Schoolhouse"or "LRS" (English 13000/33000) is an advanced writing course for third- and fourth-year undergraduates who are taking courses in their majors or concentrations, as well as graduate students in all of the divisions and university professional programs. LRS helps writers communicate complex and difficult material clearly to a wide variety of expert and non-expert readers. It is designed to prepare students for the demands of academic writing at various levels, from the B.A. thesis to the academic article or book--and for the tasks of writing in professional contexts.

Instructor(s): L. McEnerney, K. Cochran, T. Weiner     Terms Offered: Spring Winter
Prerequisite(s): Third- or fourth-year standing
Note(s): This course does not count towards the ISHU program requirements. May be taken for P/F grading by students who are not majoring in English. Materials fee $20.
Equivalent Course(s): ENGL 13000

ENGL 33508. Cinemania: Movies and Madness. 100 Units.

This course will consider the representation of mental illness in a wide range of films, beginning with silent classics like The Cabinet of Dr. Caligari and A Page of Madness. The course will ask the question, what does madness bring to cinema, and vice versa? in the three main genres that have dealt with this subject, documentary, narrative, and experimental film. The emphasis will be on films that consider both the mad individual, and the doctor or institution that claims to understand and cure mental disorders. The engagement of film theory with the nature of dreams, hallucinations, and delusions will be examined alongside experiments with psychological manipulation aided by the cinematic apparatus (e.g., Parallax View; A Clockwork Orange). Films to be studied include One Flew Over the Cuckoo's Nest, Shock Corridor, The Snake Pit, Spellbound, Now Voyager, The Devils, Persona, The Manchurian Candidate, Marat/Sade, Titicut Follies, Asylum, David and Lisa, A Beautiful Mind, and Shutter Island.

Instructor(s): W.J.T. Mitchell     Terms Offered: Spring
Equivalent Course(s): ENGL 13508

ENGL 34100. Foundations of Interpretive Theory. 100 Units.

The MAPH Core Course, Foundations of Interpretive Theory, begins two weeks before regular University classes and covers seminal works by thinkers such as Freud, Lacan, and Marx. It is taught by the MAPH Director and Deputy Director and may include guest lectures by distinguished faculty members from different disciplines. The course is designed to give MAPH students a shared base for their further study.

Equivalent Course(s): MAPH 30100

ENGL 34407. Critique of Humanism. 100 Units.

This course will provide a rapid-fire survey of the philosophical sources of contemporary literary and critical theory. We will begin with a brief discussion of the sort of humanism at issue in the critique-accounts of human life and thought that treat the individual human being as the primary unit for work in the humanities and the humanistic social sciences. This kind of humanism is at the core of contemporary common sense. It is, to that extent, indispensable in our understanding of how to move around in the world and get along with one another. That is why we will conduct critique, rather than plain criticism, in this course: in critique, one remains indebted to the system under critical scrutiny, even while working to understand its failings and limitations. Our tour of thought produced in the service of critique will involve work by Hegel, Marx, Gramsci, Freud, Fanon, Lacan, and Althusser. We will conclude with a couple of pieces of recent work that draws from these sources. The aim of the course is to provide students with an opportunity to engage with some extraordinarily influential work that continues to inform humanistic inquiry.

Instructor(s): C. Vogler     Terms Offered: Spring
Equivalent Course(s): PHIL 21225, PHIL 31225, ENGL 12002

ENGL 34422. The Science of Literature. 100 Units.

This course examines the modern history of literature as an object of scientific study. In particular, it introduces key moments in the conversation between quantitative methods and literary intepretation from the late-19th century to today. These include physiological theories of the novel; stylistics; book history; sociologies of reading; distant reading; and cultural analytics. At each moment we consider the intellectual contexts that encouraged dialogue between the sciences and literature; probe the theories and models by which this dialogue was framed; and consider its relevance to the practice of literary criticism today.

Instructor(s): H. Long     Terms Offered: Spring
Equivalent Course(s): ENGL 24422, EALC 24411, EALC 34411

ENGL 34800. Poetics. 100 Units.

In this course, we will study poetry in the abstract and in particular. In addition to reading individual poems (and books of poetry), we will study various efforts on the part of philosophers, literary critics, and poets themselves to formulate theories of poetic discourse. We will examine a range of historical attempts to conceptualize poetry as a particular kind of linguistic and historical practice, from Plato to Poststructuralism and beyond. But we will also question the very enterprise of thinking about "poetics" as opposed to "poetry" or "poems." Is it possible to theorize the art form without doing violence to the particularity-and peculiarity-of literary works themselves? Are all attempts to construct a poetics necessarily polemical? Or does every poem arise from an implicit poetics, even when its author would disavow such theoretical ambitions? Contemporary debates between historical and philosophical poetics will be used as an entryway to our seminar debates, together with a small archive of poems.

Instructor(s): John Wilkinson     Terms Offered: Autumn
Equivalent Course(s): MAPH 34800

ENGL 34850. T.S. Eliot. 100 Units.

With the major new edition of Eliot's poems by Jim McCue and Christopher Ricks, the new volumes of Eliot's letters, and two separate new editions of Eliot's complete prose, we are in a position to rethink the meanings and force of Eliot's life work. The class will be devoted to careful reading of his poems, essays, plays, and correspondence, with attention to his literary, cultural, and political contexts.

Equivalent Course(s): SCTH 36014, ENGL 26614, FNDL 26614

ENGL 35509. Psychoanalytic Theory: Freud and Lacan. 100 Units.

For this course, we will read major texts by Freud and Lacan. Freud readings will include "Beyond the Pleasure Principle," "Note on a Mystic Writing Pad," "The Uncanny," "Jensen's Gradiva," the Dora case, and a selection of texts from other works. Lacan readings: "Seminar on the Purloined Letter," Poe's "The Purloined Letter," "God and the Jouissance of the Woman: A love letter," and parts of the Ecrits. We will also read excerpts from a variety of texts that use the writings of Freud and Lacan for theoretical purposes: Derrida, Sarah Kristeva, Irigaray, Zizek, and others.

Instructor(s): Françoise Meltzer     Terms Offered: Winter
Equivalent Course(s): CMLT 25551, ENGL 25509, CMLT 35551, FREN 35551, FREN 25551

ENGL 35700. Sex, Gender, and Sexuality in the Middle Ages. 100 Units.

The field of gender and sexuality in medieval Western Europe is both familiar and exotic. Medieval poetry is fascinated by the paradoxical inner workings of desire, and poetic, theological, and philosophical texts develop sophisticated terms for analyzing it. Feminine agency is at once essential to figurations of sexual difference and a scandal to them. Ethical self-realization gets associated both with abstinence and with orgasmic rapture. This course will examine these and other topics in medieval gender and sexuality through reading a range of materials including poetry, theology, gynecological treatises, hagiography, and mystical writing.

Instructor(s): M. Miller     Terms Offered: Autumn

ENGL 35800. Medieval Epic. 100 Units.

We will study a variety of heroic literature, including Beowulf, The Volsunga Saga, The Song of Roland, The Purgatorio, and the Alliterative Morte D'Arthur. A paper will be required, and there may be an oral examination.

Instructor(s): M. Murrin     Terms Offered: Spring
Equivalent Course(s): RLIT 31600, CMLT 25900, CMLT 35900, ENGL 15800

ENGL 35902. Virgil, The Aeneid. 100 Units.

A close literary analysis of one of the most celebrated works of European literature. While the text, in its many dimensions, will offer more than adequate material for classroom analysis and discussion, attention will also be directed to the extraordinary reception of this epic, from Virgil's times to ours.

Instructor(s): G. Most     Terms Offered: Winter 2013
Prerequisite(s): Latin helpful
Equivalent Course(s): CMLT 35902, CLAS 44512, SCTH 35902

ENGL 36013. Contemporary Poems in English. 100 Units.

Equivalent Course(s): SCTH 36013

ENGL 36222. Elizabeth Bishop and Robert Lowell. 100 Units.

An intensive study of these two poets, whose work differs radically, but whose friendship nourished some of the most enduring and original poetry of the American 20th century. Close attention to the poems, in the light of recent biographical work and new editions.

Equivalent Course(s): SCTH 36002

ENGL 36407. Comedy Central 2: The Body's Genres. 100 Units.

The story of comedy from the classics on focuses on the comedic as a weapon, as play that disrupts communication, and as a scene of moral revelation. This course will take up those relations, but begins with the body. We will focus on the plastic, corporeal, affective, and psychodramatic dynamics of the comedic. So much so, in fact, that we're calling it a studio seminar: it will involve actively participating in exercises adapted from the somatic arts, contemporary dance, music, theatre and contemporary comedy and developing new ones. Recognizing that bodies are as much created by movement as engendering it, and recognizing that the comedic is a register for translating the impact of other bodies including the world's body, the course will partition "the body" into focal themes such as: scale/gesture, the vocal grotesque/irony, movement/interruption, trauma/repair, slapstick/satire, ritual/convention, spontaneity/improvisation; cognitive laughter/belly laughter. Readings will include texts by Linda Williams, Erving Goffman, J.L. Moreno, Elias Canetti, Moshe Feldenkrais, Steve Paxton, Mikhail Bakhtin, Mae West, Jerry Lewis and Fred Moten. Students will contribute their own choices to an exploration of individual performances by Buster Keaton, Louise Lasser, Eleo Pomare, Phyllis Diller, Jackie "Moms" Mabley, and Jerrod Carmichael.

Instructor(s): L. Berlant, C. Sullivan     Terms Offered: Autumn
Equivalent Course(s): ARTV 36215, TAPS 36215

ENGL 36660. The Rise of the Global New Right. 100 Units.

This course traces the intellectual genealogies of the rise of a Global New Right in relation to the contexts of late capitalist neoliberalism, the fall of the Soviet Union, as well as the rise of social media. The course will explore the intertwining political and intellectual histories of the Russian Eurasianist movement, Hungarian Jobbik, the American Traditional Workers Party, the French GRECE, Greek Golden Dawn, and others through their published essays, blogs, vlogs and social media. Perhaps most importantly, the course asks: can we use f-word (fascism) to describe this problem? In order to pose this question we will explore the aesthetic concerns of the New Right in relation to postmodern theory, and the affective politics of nationalism. This course thus frames the rise of a global new right interdisciplinary and comparatively as a historical, geopolitical and aesthetic problem.

Equivalent Course(s): ENGL 26660, SIGN 26050, CMLT 26660, REES 36660, REES 26660, CMLT 36660

ENGL 36710. Eccentric Moderns. 100 Units.

An examination of six idiosyncratic poets who invented new forms of language on the peripheries of High Modernism: David Jones, Laura Riding, Hart Crane, W.H. Auden, Geoffrey Hill, and Anne Carson. Close formal analysis of the poems in the wider social and political contexts of the 20th and early 21st centuries.

Instructor(s): Rosanna Warren     Terms Offered: Autumn. course is offered Autumn 2018
Prerequisite(s): Open to advanced undergraduates
Equivalent Course(s): SCTH 36710

ENGL 36810. Intellectuals and Power. 100 Units.

Intellectuals may be defined as those who speak truth to power, but how they speak, with what conception of truth, and in relation to what kind of power? In this course, we will try to begin to answer these questions by looking at the works and lives of some exemplary intellectuals, including Machiavelli, Carlyle, Benda, Nietzsche, Sartre, Ellison, Foucault, Sontag, and Said.

Instructor(s): Larry Rothfield     Terms Offered: Winter
Equivalent Course(s): CMLT 26810, CMLT 36810

ENGL 37451. Stateless Imaginations: Global Anarchist Literature. 100 Units.

This course will examine concepts of migration, transnationalism, and anti-nationalism in Jewish literature, including Mizrahi, Sephardi, and Ashkenazi traditions, in conversation with contemporary global scholarship on diaspora theory. Theorists include Sarah Abrevaya Stein, Ella Shohat, Amnon Raz-Krokotzkin, Allison Schachter, Alexis Pauline Gumbs, David Eng, and M. Jacqui Alexander.

Instructor(s): Anna Elena Torres     Terms Offered: Spring
Equivalent Course(s): ENGL 27451, CMLT 37450, CMLT 27450

ENGL 37803. The Body of Cinema: Hypnoses, Emotions, Animalities. 100 Units.

Equivalent Course(s): CMST 47803, CMST 27803

ENGL 38404. Introduction to Old English. 100 Units.

Moððe word fræt." These are the first words of a riddle that students will learn how to read in this course. As the first part of the Medieval Research Series, this course introduces students to the Old English language, the literary history of early medieval England, and current research tools and scholarship in the field of Old English. In studying the language, we will explore its diverse and exciting body of literature, including poems of heroic violence and lament, laws, medical recipes, and humorously obscene riddles. Successful completion of the course will give students a rich sense not only of the earliest period of English literary culture, but also of the structure of the English language as it is written and spoken today. (Pre-1650) This course is the first in a two quarter Medieval Research sequence. No prior experience with Old or Middle English is required. The second course in the Medieval Research sequence (Beowulf) will be offered in the Spring Quarter.

Instructor(s): Benjamin Saltzman     Terms Offered: Winter
Equivalent Course(s): ENGL 28404

ENGL 38505. Beowulf. 100 Units.

In this course, we will read and translate Beowulf from Old English, attending closely to language, paleography, and textual cruxes. We also will examine the history of scholarship on the poem and a variety of approaches to its interpretation, guided by student interest. Over the course of the term, each student will produce a piece original scholarly research that engages with the poem and its critical tradition. (Pre-1650, Poetry) This course is the second in a two quarter Medieval Research sequence.

Instructor(s): Benjamin Saltzman     Terms Offered: Spring
Prerequisite(s): Introduction to Old English (or the equivalent).
Equivalent Course(s): ENGL 28505

ENGL 38710. On Fear and Loathing: Negative Affect and the American Novel. 100 Units.

Equivalent Course(s): MAPH 40120, ENGL 28710

ENGL 39413. Language is Migrant: Yiddish Poetics of the Border. 100 Units.

This course examines Ashkenazi Jewish literary narratives about geopolitical borders and border-crossing though travel and migration, engaged with questions about the linguistic borders of Yiddish itself. As a diasporic language, Yiddish has long been constructed as subversively internationalist or cosmopolitan, raising questions about the relationships between language and nation, vernacularity and statelessness. This course explores the questions: How do the diasporic elements of the language produce literary possibilities? How do the "borders" of Yiddish shape its poetics? How do Yiddish poets and novelists thematize their historical experiences of immigration and deportation? And how has Yiddish literature informed the development of other world literatures through contact and translation? Literary and primary texts will include the work of Anna Margolin, Alexander Harkavy, Peretz Markish, Dovid Bergelson, Yankev Glatshteyn, Yosef Luden, S. An-sky, and others. Theoretical texts will include writing by Wendy Brown, Dilar Dirik, Gloria Anzaldúa, Wendy Trevino, Agamben, Arendt, Weinreich, and others. The course will incorporate Yiddish journalism and essays, in addition to poetry and prose. All material will be in English translation, and there are no prerequisites.

Instructor(s): Anna Elena Torres     Terms Offered: Spring
Equivalent Course(s): JWSC 29402, CMLT 39402, ENGL 29413, CMLT 29402

ENGL 40088. Who Speaks? Experiments in Narration, 1815 and 1438. 100 Units.

This class focuses on the remarkable affordance of writing known as free indirect style, which occurs when deixis comes unstuck from enunciation and narration shifts its referential center from the situation of utterance (the norm for spoken language) to the coordinates of a focalized entity. We will become expert in the analysis of free indirect style by investigating two of its important and sustained deployments in English prose. One is paradigmatic: Jane Austen's Emma, published in 1815. The second, rather less so: the Book of Margery Kempe, completed in 1438. The aims of the course are twofold. First, we will learn to describe, analyze, and interpret free indirect style by reading scholarship by linguists, philosophers, narratologists, and literary critics and by testing these ideas with analyses of our own. Readings include Benveniste, Jakobson, Fillmore, Goffman, Bakhtin, Hamburger, Genette, Banfield, Bal, Fludernik, Margolin, Cohn, Ferguson, and numerous scholars of Austen. Second, we will experiment with how to interpret the historicity of free indirect style by considering a much earlier example of what is debatably the same technique, in the Book of Margery Kempe. We will continue our close textual analyses, while turning our attention squarely to questions of historicization. Theoretical queries into authorship, gender, other minds, the interface of orality and writing, and the periodization of literary history run throughout the course.

Instructor(s): Julie Orlemanski     Terms Offered: Spring

ENGL 40110. Literature and Citizenship. 100 Units.

What we think of as modernity can be said to begin with the birth (or rebirth) of the citizen. During the 17thand 18th centuries, revolutions in Britain, France, and North America sought to recast political society as a structure built upon social contracts and natural rights of the people rather than the divine right of kings. Yet the category of citizen was (and remains) exclusionary as well as inclusive, frequently deployed to mark those outside its boundaries and protections. During the 19th and 20th centuries, the constructions of race, gender, and nation continued to shift into new forms, and many literature of these centuries focus on how "the citizen" is conceived and reinvented into the present. This interdisciplinary, trans-historical, and transatlantic course will discuss how these tensions and debates influence literature and political discourse over four centuries, a breadth that will allow us to trace the concepts and critiques of citizenship as they have come to shape our contemporary world. Primary readings will include William Shakespeare, Tobias Smollett, Olaudah Equiano, Anna Laetitia Barbauld, Herman Melville, Frederick Douglass, Richard Wright, Miné Okubo, and Claudia Rankine. Secondary and theoretical readings will include Michel Foucault, Raymond Williams, Benedict Anderson, Ian Baucom, Lord Mansfield, C. L. R. James, Paul Gilroy, John Locke, Thomas Jefferson, Achille Mbembe, Emma Goldman, and Harry Harootunian.

Equivalent Course(s): ENGL 24119, MAPH 40110

ENGL 41202. The Brontes and the 'Psychological Novel' 100 Units.

This course takes the novels of Emily and Charlotte Bronte as a case study for novel theory and criticism. In particular we will consider what it has meant to claim that the Brontes' novels have a special relationship to or claim on the psychological. What is at stake in the critical interest in subjectivity, interiority and depth in these novels? What might it mean to read these (or any) novels without or against a privileging of the psychological? We will look at significant critical movements in Victorian novel studies (ideology critique; gender theory; historicism; etc.) that have taken the Brontes' novels as their objects while we read Wuthering Heights, Jane Eyre, Shirley, Villette and other nineteenth century texts.

Instructor(s): Strang, Hilary     Terms Offered: Not offered in 2014-15
Note(s): Current MAPH students and 3rd and 4th years in the College. All others by instructor consent only.
Equivalent Course(s): MAPH 41200, ENGL 21202, GNSE 21210, GNSE 41200

ENGL 41219. Interpretation: Theory and Practice. 100 Units.

his seminar will be conducted on two tracks. On the one hand, we will study major contributions to hermeneutic theory (including positions that understand themselves as anti-hermeneutic). Contributions to be considered include works by Friedrich Schleiermacher, Wilhelm Dilthey, Martin Heidegger, Hans-Georg Gadamer, Paul Ricoeur, E.D. Hirsch, Manfred Frank, Roland Barthes, Stanley Cavell, and Jacques Derrida. At the same time, the seminar will include a practical component in which we will collectively develop interpretations of works by Heinrich von Kleist, Johann Peter Hebel, Franz Kafka, Friedrich Nietzsche, Charles Baudelaire, Guillaume Apollinaire, Emily Dickinson, and Herman Melville. English translations of the assigned readings will be provided. (This course is restricted to students in Ph.D. programs.)

Instructor(s): David Wellbery     Terms Offered: Autumn
Equivalent Course(s): GRMN 41219, FREN 41219, CMLT 41219, SCTH 41219

ENGL 41310. Our biopolitics, ourselves: feminist science fiction. 100 Units.

1970s feminist theory made a significant conceptual move in provisionally bracketing off biological sex from the historical/cultural work of gender. Feminist science fiction (in contrast), in its brief flourishing in the 70s and early 80s, finds its utopian moments in the biological, in genetic manipulation, reproductive technology, ecological forms of being and new bodies of a variety of kinds. This class will read science fiction, feminist theory and current critical work that concerns itself with biopolitics in order to ask questions about the divide between nature and culture, what's entailed in imagining the future, what gender and genre might have to do with each other, and just what science fiction is and does anyway. Authors include: Le Guin, Russ, Butler, Piercy, Haraway, Rubin, Firestone.

Instructor(s): Hilary Strang     Terms Offered: Spring
Equivalent Course(s): GNSE 21310, GNSE 41300, ENGL 21310, MAPH 41300

ENGL 41420. Futures Other Than Ours: Science Fiction and Utopia. 100 Units.

Science fiction is often mistaken for a variety of futurism, extrapolating what lies ahead. This class will consider what kind of relationship science fiction might have to the future other than prediction, anticipation, optimism or pessimism. How might science fiction enable thinking or imaging futures in modes other than those available to liberalism (progress, reproduction, generation) or neoliberalism (speculation, anticipation, investment)? This class asks how science fiction constitutes its horizons, where and how difference emerges in utopias, and what it might be to live in a future that isn't ours. Readings may include SF works by Delany, Le Guin, Russ, Butler, Robinson, Banks, Ryman, Jones; theoretical and critical readings by Bloch, Jameson, Suvin, Munoz, Murphy, and others.

Instructor(s): Hilary Strang     Terms Offered: Winter
Note(s): Email the instructor directly for consent.
Equivalent Course(s): MAPH 41400

ENGL 41500. Bodies of Transformation. 100 Units.

Drawing on trans studies, disability studies, histories of science, queer and postcolonial theory, this class contends with how bodies and bodies of knowledge change over time. Bodies of Transformation takes a historiographic approach to the social, political, and cultural underpinnings of corporeal meaning, practice and performance in the 19th and 20th centuries. Animating questions include: what is the corporeal real? how is race un/like gender? how does bodily transformation map the complex relationships between coercion and choice?

Instructor(s): Staff     Terms Offered: Winter
Equivalent Course(s): GNSE 41500, CRES 41500

ENGL 41562. The Afro-Arab World. 100 Units.

Where does the "Middle East" end and Africa begin? This course will explore how Arabic-speaking and African-descended peoples have engaged one another and the overlapping configurations of Blackness and Arabness that circulate in the African Diaspora. Against the backdrop of anti-colonialism and Civil Rights, many Africans and African Americans were inspired by Arab anti-colonial political innovations. As Arabs sought to define their independence struggles they looked to the transnational, emancipatory philosophies and movements that African Americans and other African diasporic figures pioneered. These exchanges result in surprising histories of solidarity and collaboration, like the Black Panther Party's international chapter in Algiers, and the poet Claudia Rankine's staging of French-Algerian footballer Zinedine Zidane's coup de boule as a moving poem in Citizen. Through a historical and cultural survey of Black and Arab thought - a field of inquiry we will call "Afro-Arab Studies" - this class will examine the parallel and intersecting narratives of a range of notable Afro-Arab confluences, including but not limited to: négritude and pan-Arabism, the Non-Aligned and Pan-Africanist movements, and recent Black/ Palestinian solidarity organizing. In addition to Afro-Arab literature and poetry, readings will include narrative essays, biography, and cultural theory by such writers and scholars as James Baldwin, Frantz Fanon, Shirley Graham Du Bois, and Radwa Ashour.

Instructor(s): Staff     Terms Offered: Winter

ENGL 41750. Poetry and the Other Arts: Pre-Raphaelitism and Aestheticism. 100 Units.

Focusing on Britain in the second half of the nineteenth century, we will examine the intersections between poetry and visual arts (particularly painting and design) and between poetry and song. We'll investigate movements in where these intersections are particularly prominent - Pre-Raphaelitism and Aestheticism - and trace the practices, concepts, and attitudes associated with them from their origins in the eighteenth and early nineteenth centuries, attending also to critical and philosophical writing about sensation and aesthetics and to the often highly critical reception of these movements in later years.

Instructor(s): E. Helsinger     Terms Offered: Winter

ENGL 42119. Milton's Italian Music. 100 Units.

This seminar examines John Milton's encounter with Roman culture, first and foremost music, around 1640. It is built around the April 2019 performance in Logan Center of this music by the English early music group Atalanta, for which students will prepare notes and preconcert activities. Reading Milton's youthful texts, as well as literature and poesia per musica from Rome, while studying the musical genres and personalities that we know he encountered there, gives insight into this encounter between Puritan and Barbarini sensibilities, seemingly so distant, but mediated via music. In addition to preparing for the concert activities (including interacting with the singers in a workshop), students will write a research paper. Prerequisites: no music reading needed, but experience with 17th-century English or Continental literature will aid in that case.

Instructor(s): Robert L. Kendrick     Terms Offered: Winter
Prerequisite(s): Prerequisites: no music reading needed, but experience with 17th-century English or Continental literature will aid in that case.
Equivalent Course(s): ITAL 42119, MUSI 42119

ENGL 42410. The Age of Obscenity: Sex, Speech and Censorship in the Long 19th Century. 100 Units.

Straddling the line between art and non‐art, protected speech and prohibited conduct, moral pollution and expressive liberty, the obscene is notoriously difficult to define coherently. Yet at the present moment, when the concept of free expression and the critique of censorship have largely been coopted by reactionary politics and deployed as ideological bludgeons, it has become more urgent than ever to confront that definitional difficulty, and to reexamine the modern formation of the obscenity concept in the context of the 19th and early 20th century literary works which first put it to the test as a legal, moral, sexual, and aesthetic category, among them: Thomas Hardy's Jude the Obscure; Gustave Flaubert's Madame Bovary; Henry Vizetelly's English translation of Zola's La Terre; D.H. Lawrence's Lady Chatterley's Lover; Charles Baudelaire's Les Fleurs de Mal; Algernon Charles Swinburne's Poems and Ballades; and Richard Burton's translation of the Arabian Nights. Additionally, we will read in legal history as well as the archive of parliamentary and court transcripts, in order to become conversant with the development of modern obscenity law. At the same time, our investigation will engage with more recent accounts of the obscene within cultural, legal and especially feminist theory, such as Catharine MacKinnon's polemical anti‐pornographic writings, Bruno Latour's writings on iconoclasm, and Foucault's work in the history of sexuality. (18th/19th)

Instructor(s): Zachary Samalin      Terms Offered: Spring
Prerequisite(s): This course will have a particular focus on guiding students through the conventions of academic writing in the Humanities.

ENGL 42412. Perspective as a Challenge to Art History. 100 Units.

Equivalent Course(s): SCTH 32402, ENGL 22402, ARTH 32402, ARTH 22402

ENGL 42418. Theory of the Novel. 100 Units.

This course introduces undergraduates to some of the fundamental conceptual issues raised by novels: how are novels formally unified (if they are)? What are the ideological presuppositions inherent in a novelistic view? What ethical practices do novels encourage? What makes a character in a novel distinct from character in other fictive systems? Readings include Austen, Pride and Prejudice; Dickens, Great Expectations; Woolf, Mrs. Dalloway. Critics covered include Lukacs, Bakhtin, Watt, Jameson, McKeon, D.A. Miller, Woloch, Moretti, and others.

Instructor(s): Lawrence Rothfield     Terms Offered: Winter 2013

ENGL 42800. Chicago. 100 Units.

In this course we will sample some of Chicago's wonders, exploring aspects of its history, literature, architecture, neighborhoods, and peoples. We begin with study of the 1893 World's Columbian Exposition and the early history of Chicago as a mecca for domestic and international immigrants. In subsequent weeks we will examine the structure of neighborhood communities, local debates about cultural diversity and group assimilation, and the ideology and artifacts of art movements centered in Chicago. This is an interdisciplinary course focusing not only on literary and historical texts, but also analyzing Chicago's architecture, visual artifacts and public art forms, local cultural styles, museum collections and curatorial practices. We will first explore Chicago sites textually, then virtually via the web, and finally in "real time": Students will be required to visit various Chicago neighborhoods and cultural institutions.

Instructor(s): J. Knight     Terms Offered: Winter
Note(s): Cross listed courses are designed for advanced undergraduate and graduate students.
Equivalent Course(s): ENGL 22800, MAPH 42800, AMER 40800

ENGL 43204. Coll: Capitalism & Climate Change-History, Society, Literature. 100 Units.

The concept of the Anthropocene introduces the idea of the human species as a geological agent, capable of altering the life supporting system of the whole planet through anthropogenic climate change. Paradoxically, the bad news of the Anthropocene is also a moment of intellectual exhilaration for the social sciences and humanities. The Anthropocene forces us to rethink some of the most fundamental concepts in scholarship, such as modernity, growth, justice, and scale in light of new pressing problems of carbon emissions, mitigation, and adaptation. We will approach these questions from a variety of perspectives, including ethics, history, science, and literature.

Equivalent Course(s): HIST 43203

ENGL 43250. The New Criticism. 100 Units.

n examination of primary works of The New Criticism, British and American. We will consider the theoretical variety and different critical practices of these loosely allied critics, who were often not allies at all. Authors to be studied: I.A. Richards, T.S. Eliot, F.R. Leavis, Kenneth Burke, John Crowe Ransom, Cleanth Brooks, Robert Penn Warren, W.K. Wimsatt, Yvor Winters, R. P. Blackmur, William Empson.

Equivalent Course(s): SCTH 36015, CMLT 36015

ENGL 44202. Psychoanalysis, Literature, Film. 100 Units.

We will read major works by Freud, Melanie Klein, D.W. Winnicott, and Slavoj Žižek, among other psychoanalytic theorists, in conjunction with literary works such as Sophocles's Oedipus Rex, Shakespeare's Hamlet, Edgar Allan Poe's "The Purloined Letter," Joseph Conrad's Heart of Darkness, Henry James's The Turn of the Screw, and Rudyard Kipling's "Mary Postgate." The course will conclude with one or more of Alfred Hitchcock's films. Topics include the unconscious, dreams, childhood, the uncanny, desire, subjects and objects, mourning, and the death drive. Requirements: one paper 10-12 pages, joint presentations in class, and regular postings to the online discussion board.

Instructor(s): Maud Ellmann     Terms Offered: Autumn
Equivalent Course(s): GNSE 44202

ENGL 44606. Race and Literature. 100 Units.

Although in the mid 1920s the poet Countee Cullen deemed it a puzzle why God would "make a poet black, and bid him sing," it is arguable that from the rise of modernism, through what Mark McGurl calls The Program Era (designating the rise of creative writing programs as the dominant force shaping American literature), and into the present, it has become almost impossible to think of literature and race or identity as being at odds. To make poets and writers is to make them black, Asian, Latinx, etc. By reading a series of literary works and literary histories, we will seek to understand why making race and making identity have become co-implicated on the American scene. Texts: Walter Benn Michaels, Our America, Mark McGurl, The Program Era, William Faulkner, Absalom, Absalom!, Langston Hughes, The Big Sea, Claude McKay, Home to Harlem, Maxine Hong Kingston, The Woman Warrior, Sandra Cisneros, The House on Mango Street, and Toni Morrison, A Mercy.

Instructor(s): Kenneth Warren     Terms Offered: Winter

ENGL 46408. Freud and Lacan. 100 Units.

This course focuses on a set of closely related texts by Freud and Lacan, as a path into some topics in psychoanalytic theory that have been important to recent work in literary and cultural studies, gender and sexuality studies, and philosophy. Among these topics will be the nature of the psychoanalytic symptom, and its relation to the unconscious and representation; the enigma of sexuality, and the development of a radical account of desire and the drive; the critique of ego psychology; and Freud and Lacan's revisionary accounts of practical normativity. We will be reading these texts less for a set of positions or theories than for their engagement with a set of interlocking problems and the direction or drive of the thinking. Our focus will be on reading closely and making out arguments both explicit and implicit. (20th/21st)

Instructor(s): Mark Miller     Terms Offered: Spring

ENGL 46901. Narratives Suspense in European/Russian Lit/Film. 100 Units.

This course examines the nature and creation of suspense in literature and film as an introduction to narrative theory. We will question how and why stories are created, as well as what motivates us to continue reading, watching, and listening to stories. We will explore how particular genres (such as detective stories and thrillers) and the mediums of literature and film influence our understanding of suspense and narrative more broadly. Close readings of primary sources will be supplemented with critical and theoretical readings. Literary readings will include work by John Buchan, Arthur Conan Doyle, Feodor Dostoevsky, Graham Greene, Bohumil Hrabal, and J.M. Coetzee. We will also explore Alfred Hitchcock's take on 39 Steps and the Czech New Wave manifesto film, Pearls of the Deep. With theoretical readings by: Roland Barthes, Viktor Shklovsky, Erich Auerbach, Paul Ricoeur, and others.

Equivalent Course(s): REES 23137, CMLT 22100, ENGL 26901, CMST 35102, HUMA 26901, CMST 25102, REES 33137

ENGL 47102. Dissident Lit. 100 Units.

This seminar will explore the literature and history of "the dissident," a central figure of late 20th-century and 21st-century human rights politics. Through our readings of novels, essays, and criticism drawn from a range of traditions (from the US and Latin America to Russia and East-Central Europe) we will consider both the possibilities and dilemmas of literary dissidence.

Equivalent Course(s): HMRT 37102, HMRT 27102, ENGL 27102

ENGL 47501. Milton. 100 Units.

A study of Milton's major writings in lyric, epic, tragedy, and political prose, with emphasis upon his evolving sense of his poetic vocation and career in relation to his vision of literary, political, and cosmic history. Graduate students will be expected to do additional secondary reading. (Pre-1650, 1650-1830, Poetry), (Med/Ren)

Instructor(s): Joshua Scodel     Terms Offered: Spring
Equivalent Course(s): RLST 25405, ENGL 17501, FNDL 21201

ENGL 48000. Methods and Issues in Cinema Studies. 100 Units.

This course offers an introduction to ways of reading, writing on, and teaching film. The focus of discussion will range from methods of close analysis and basic concepts of film form, technique and style; through industrial/critical categories of genre and authorship (studios, stars, directors); through aspects of the cinema as a social institution, psycho-sexual apparatus and cultural practice; to the relationship between filmic texts and the historical horizon of production and reception. Films discussed will include works by Griffith, Lang, Hitchcock, Deren, Godard.

Equivalent Course(s): CMST 40000, MAPH 33000, ARTH 39900

ENGL 48502. Henry James and the Question of Evil: The Portrait of a Lady and the Turn of the Screw. 100 Units.

Equivalent Course(s): SCTH 38502

ENGL 48601. Cinema in Africa. 100 Units.

This course examines Africa in film as well as films produced in Africa. It places cinema in Sub Saharan Africa in its social, cultural, and aesthetic contexts ranging from neocolonial to postcolonial, Western to Southern Africa, documentary to fiction, art cinema to TV. We will begin with La Noire de... (1966), ground-breaking film by the "father" of African cinema, Ousmane Sembene, contrasted w/ a South African film, African Jim (1959) that more closely resembles African American musical film, and anti-colonial and anti apartheid films from Lionel Rogosin's Come Back Africa (1959) to Sarah Maldoror's Sambizanga, Ousmane Sembenes Camp de Thiaroye (1984), and Jean Marie Teno'ss Afrique, Je te Plumerai (1995). The rest of the course will examine cinematic representations of tensions between urban and rural, traditional and modern life, and the different implications of these tensions for men and women, Western and Southern Africa, in fiction, documentary and ethnographic film, including 21st century work where available.

Instructor(s): Loren Kruger
Prerequisite(s): Second-year standing or above in the College; recommended for advanced undergrads and grad students in CMST, CRES, African studies, English and/or Comparative Lit with interests in race and representation, Africa and the world
Equivalent Course(s): CMLT 22900, CMLT 42900, CRES 24201, ENGL 27600, CMST 34201, CRES 34201, CMST 24201

ENGL 48700-48900. History of International Cinema I-II.

This sequence is required of students majoring in Cinema and Media Studies. Taking these courses in sequence is strongly recommended but not required.

ENGL 48700. History of International Cinema I: Silent Era. 100 Units.

This course provides a survey of the history of cinema from its emergence in the mid-1890s to the transition to sound in the late 1920s. We will examine the cinema as a set of aesthetic, social, technological, national, cultural, and industrial practices as they were exercised and developed during this 30-year span. Especially important for our examination will be the exchange of film techniques, practices, and cultures in an international context. We will also pursue questions related to the historiography of the cinema, and examine early attempts to theorize and account for the cinema as an artistic and social phenomenon.

Instructor(s): A.Field     Terms Offered: Autumn
Prerequisite(s): Prior or concurrent registration in CMST 10100 required. Required of students majoring or minoring in Cinema and Media Studies.
Note(s): This is the first part of a two-quarter course.
Equivalent Course(s): ENGL 29300, ARTH 28500, CMST 48500, MAPH 33600, ARTH 38500, CMST 28500, ARTV 20002, CMLT 32400, CMLT 22400

ENGL 48900. History of International Cinema II: Sound Era to 1960. 100 Units.

The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

Instructor(s): R.Bird     Terms Offered: Winter
Prerequisite(s): Prior or concurrent registration in CMST 10100 required. Required of students majoring or minoring in Cinema and Media Studies.
Note(s): CMST 28500/48500 strongly recommended
Equivalent Course(s): ARTV 20003, REES 25005, CMLT 32500, CMST 28600, CMST 48600, REES 45005, ARTH 28600, CMLT 22500, ARTH 38600, ENGL 29600, MAPH 33700

ENGL 50000. Pedagogies of Writing. 100 Units.

Pedagogies of Writing is a training course and practicum for graduate students hired to teach for the Writing Program. The course combines instruction in principles for effective academic writing and workshops focused on written commentary, instruction techniques, and small-group seminar design.

ENGL 50300. Principles of Teaching Writing. 100 Units.

Principles of Teaching Writing (offered in Autumn only) is for graduate students who have been hired to teach Academic and Professional Writing (The Little Red Schoolhouse).

ENGL 50400. Teaching Undergraduate English (Pedagogy) 100 Units.

This course seeks to provide a setting in which graduate students, prior to their first formal teaching assignment at this institution, can explore some of the elements of classroom teaching of English. The course, for purposes of focus and with the recognition that not all our students will teach at the graduate level, is intended primarily as an introduction to teaching undergraduate English. While emphasizing the practical issues of classroom instruction, the class includes theoretical readings on pedagogy, which help the students to reflect on and speak to their practice. The course will provide significant opportunities in conceptualizing, designing, and running a college-level course in English e.g., the opportunity to lead a mock-classroom discussion, to construct a sample syllabus, to grade a common paper.

Instructor(s): Benjamin Morgan      Terms Offered: Autumn
Note(s): This course is restricted to second- and third-year English Ph.D. students only; other students need consent of instructor.

ENGL 50962. Forms for Ideas. 100 Units.

In "The Modern Essay," Virginia Woolf defines "the art of writing" this way: "the art of writing has for backbone some fierce attachment to an idea. . . . something believed in with conviction or seen with precision and thus compelling words to its shape." Prompted in part by Woolf's formulation, this course will consider the relationship between ideas and shape or form-asking how ideas compel words into shape, or how words give form to ideas. We will focus this question largely on eighteenth-century literature, paying particular attention to the poetry of the period (the philosophical poem, the verse essay, the personified abstraction) and the novel (in relation to the notion of the "novel of ideas"), as well as to the distinction that eighteenth-century writers draw-or do not draw- between poetry and prose. Alongside primary texts by writers like Pope, Akenside, Thomson, Gray, Collins, Johnson, Defoe, Sterne, Hays, Wollstonecraft, and others, we will read widely in literary criticism from the Romantic period (Wordsworth, Coleridge), the mid-twentieth century (the New Criticism, the Chicago School, Spitzerian stylistics), and today (a variety of new formalisms and responses to them).We'll be interested especially in critics who suggest that attention to the specificity of the literary object-to form-may also call for new modes of attention to its content-to its subject matter or ideas. (18th/19th)

Instructor(s): Heather Keenleyside      Terms Offered: Spring

ENGL 51000. PhD Colloquium. 100 Units.

This course provides a theoretical and practical introduction to advanced literary studies. Readings are drawn from four modes of inquiry that helped to produce our discipline and that continue to animate scholarship in the present - namely, philology, criticism, aesthetics, and genealogy. In addition, participants will complete several short assignments meant to familiarize them with common skills and practices of literary studies.

Instructor(s): Deborah Nelson      Terms Offered: Autumn
Note(s): This course is intended for first-year English PhD students only; other interested students need consent of instructor.

ENGL 51225. Sources of Critical Theory. 100 Units.

This course is designed to give students a broad and rapid introduction to the philosophical and other sources that inform contemporary literary and critical theory. We will cover a lot of ground very quickly. The variety of humanism at issue in our work will be the sort that informs common sense or, as one of our authors might put it, ordinary understanding of the things that strike many of us as obvious about ourselves and other people. The critique will not make anything stop seeming obvious. But it will provide some tools for thinking differently about contemporary commonsense understandings of human life. We will conclude by seeing the way this material shapes work by two prominent recent critics, Slavoj Žižek and Lauren Berlant.

Instructor(s): C. Vogler     Terms Offered: Autumn
Equivalent Course(s): PHIL 51225

ENGL 52000. Research Paper Proseminar. 100 Units.

Required for students in their 2nd year of the English Ph.D. program. In this class, we will perform substantial revisions of a previous seminar paper.

Instructor(s): Timothy Harrison      Terms Offered: Spring

ENGL 52502. Literary Theory: Auerbach's Mimesis. 100 Units.

This seminar will explore Western literary criticism from Plato to the late eighteenth-century conceived of as a prehistory of comparative literature as a discipline. The course will take as its particular lens the critical treatment of epic in some of the following authors: Plato, Aristotle, Longinus, Horace, Montaigne, Tasso, Giraldi, Sidney, Boileau, Le Bossu, St. Evremond, Dryden, Addison, Voltaire, Fielding, and Burke. The course will also examine both twentieth-century comparative approaches to epic (e.g., Auerbach, Curtius, Frye) and more recent debates within comparative literature with an eye to continuities and discontinuities in critical method and goals.

Instructor(s): David Wray     Terms Offered: Autumn
Equivalent Course(s): CMLT 50105

ENGL 53000. Dissertation Proposal Proseminar. 100 Units.

Required for students in their 4th year of the English Ph.D. program and all English Ph.D. students who have not yet entered candidacy.

Instructor(s): Josephine McDonagh     Terms Offered: Autumn Winter

ENGL 55000. Advanced Writing for Publication Proseminar. 100 Units.

Required for students in their 3rd year of the English Ph.D. program, this course will be a venue for revising a significant seminar paper to make it suitable for publication.

Instructor(s): Frances Ferguson     Terms Offered: Winter

ENGL 55405. Multidisciplinary Study of American Culture. 100 Units.

This proseminar surveys the advanced study of American culture as it is currently practiced at the University of Chicago. Seminar members read and discuss recent work by and then meet with faculty specialists from departments and programs in the Humanities and Social Sciences as well as from the the Divinity School, the Law School, and the Booth School of Business. Though interested in how different disciplines frame questions and problems, we will be attuned to convergences in themes, approaches, and methods. During the last half of our seminar meetings our authors will join us for a focused discussion of their work. Many of our guests will also deliver public lectures the day before visiting the seminar.

Instructor(s): Eric Slauter     Terms Offered: Autumn
Prerequisite(s): This is a Scherer Center Seminar. MAPH students can take this course. Consent required for MA and JD students.
Equivalent Course(s): RLIT 48801, HCHR 48801, RAME 48801, AMER 50001, HIST 62304

ENGL 55602. Irish Modernism. 100 Units.

This course focuses on the major works of W.B. Yeats, James Joyce, Samuel Beckett, and Elizabeth Bowen, along with supplementary historical, theoretical, and critical material. Requirements include joint class presentations, regular postings to the online discussion board, and either a research paper of 25 pages or a conference paper of 10-15 pages. (20th/21st)

Instructor(s): Maud Ellmann     Terms Offered: Winter

ENGL 55603. The Global Plantation. 100 Units.

From its emergence in the late-medieval Mediterranean, to the slave societies of the New World, through its late colonial heritage in Africa, Asia, and the Pacific, the plantation has been a paradigmatic institution of racial-capitalist modernity. Through a range of texts that includes slave narratives, novels, political economy, sociological studies and recent histories of capitalism, this course explores how the plantation opened a vexed problem-space in which concepts central to the modern world (such as sovereignty, freedom, and labor) emerged, were debated, and continuously refigured. While the plantation is frequently figured as an institution of the past, this transnationally and transhistorically oriented course will examine a set of thinkers who argue for the aliveness of the plantation's present in the shaping of political, economic, and social trajectories in the postcolonial world.

Instructor(s): Christopher Taylor & Adam Getachew     Terms Offered: Spring
Equivalent Course(s): CDIN 56300, PLSC 56300, ANTH 50405

ENGL 55801. The Pivotal Decade:1970s American Literature and the Rise of Inequality. 100 Units.

Historian Judith Stein argues that in the late 1970s (with Jimmy Carter in the White House and the Democratic Party holding majorities in both houses of Congress) "assumptions that capital and labor should prosper together" were replaced by "an ethic claiming that the promotion of capital will eventually benefit labor-trading factories for finance." It was this turn, Stein argues, that ushered in the "Age of Inequality" that still defines our present moment. In this course we will explore the relation of postmodernism and works by major American fiction writers, including Toni Morrison, Maxine Hong Kingston, Tom Wolfe, William Gaddis, to the rise of economic equality in the US. (20th/21st)

Instructor(s): Kenneth Warren     Terms Offered: Autumn

ENGL 56000. Job Market Proseminar. 100 Units.

Required for students in their 6th year of the program and open to all English Ph.D. students on or preparing for the academic job market.

Instructor(s): Heather Keenleyside      Terms Offered: Autumn Winter

ENGL 59305. Tedium, Catharsis and other Aesthetic Responses. 000 Units.

Equivalent Course(s): CMLT 50301

ENGL 59900. Reading and Research: English. 100 Units.

This course is intended for graduate students in the English doctoral program who can best meet program requirements by study under a faculty member's individual supervision. The subject, course of study, and requirements are arranged with the instructor.

ENGL 60013. Pushy Authorship: The Case of Ben Jonson. 100 Units.

Jonson's star has been on the wane since the Eighteenth Century, when Hogarth depicted him as the representative ghost of the Renaissance dramatists, saddled with the task of inveighing against the crassness and inanity of the revived stage. Nothing could have suited him better. Self-styled as an academiste without an Academy, a Horace in an age of hacks, Jonson could be counted on to rail against perceived infelicities of dramatic style, form, and substance, holding his motley cohort of poets to blame for rules known only to himself. As a self-appointed decider of what counted as good theatre, Jonson gave over much of his plays' dramatic space (in inductions, interludes and intermeans) to set out his principles. He also fought hard to carry his every point. This aggression, and the many registers of its expression (affective, figurative, allusive, didactic, defensive, material, etc.), is the subject of this course. We will consider Jonson's unprecedented assembly and publication of his dramatic folio as an especially telling case of how a book inserts itself into the world of literary matter, making possible a new kind of authorship (and directly influencing Heminges' and Condell's decision to bring out Mr. William Shakespeare's Comedies Histories and Tragedies in the same format). Special attention will therefore be paid to the works that comprise that 1616 publication and the many properties of its material production that bring across Jonson's authorial disposition.

Instructor(s): Ellen MacKay     Terms Offered: Autumn

ENGL 60025. Poetic Realism. 100 Units.

The course will track the increasingly pronounced turn to the first person in a broad selection of poetry from the eighteenth century to the present and the claim that such poetry makes to be 1)original and 2)realistic for anyone other than the first-personal speaker. Over the term we'll look at critical work that highlights the inadequacy of the lyric model as John Stuart Mill elaborated it. Primary terms and forms will be conversation (afforded by epistles like Pope's); observation (particularly natural observation for William Cowper, John Aikin, and Anna Letitia Barbauld); congregational hymns (such as "Amazing Grace" and other examples from the Olney Hymns which put first-person singular words into the mouths of many people simultaneously); songs and ballads (including Wordsworth's and Coleridge's Lyrical Ballads). We'll conclude by jumping ahead from the early nineteenth century to very recent poetry aligned with memoir (Louise Gluck's Meadowlands and Mary Karr's poetry Sinners Welcome), and end with Karr's memoir Lit. We won't be taking up explicit poetic rejections of first-personal poetry of the kind that LANGUAGE poetry represents, but we'll track some of the critical literature that explicitly announces that rejection. (18th/19th)

Instructor(s): Frances Ferguson     Terms Offered: Winter

ENGL 65802. Postcolonial Constellations. 100 Units.

This course takes up two broad issues. First, it examines the historical afterlives of 20th century anticolonial politics by tracing their formative influence on and representation in the body of literature and theory held together, often in some tension, under the heading of "postcolonial studies." We will discuss key texts and contexts, including transnational political and cultural movements such as Pan-Africanism, négritude and Bandung, as well as revolutionary flashpoints such as Algeria in the 1950-60s and the memory of the Haitian Revolution. And we will ask how literary and cultural critics of the 1970s-2010s have drawn on these histories of the present to theorize a postcolonial approach to the archive and a postcolonial poetics of literary creation and interpretation. Second, we will ask about the status of these political histories and literary-critical debates in light of the supposed recent disintegration of postcolonial studies as a recognizable field of scholarly inquiry. Is the current crisis or so-called death of postcolonial studies different from the many previous internal disagreements and external attacks that have beset the field? To answer this question, we will look at some of the fault lines of contemporary literary studies: why is postcolonial studies conspicuously ignored in arguments about modes of reading (surface, depth, symptomatic, descriptive) and their political coefficients? Do emergent field formations, such as world literature, indigenous studies, the Anthropocene, and global Anglophone literature shore up or further disorganize the category of the postcolonial? Our readings will include Ama Ata Aidoo, Aimé Césaire, W.E.B. DuBois, Bessie Head, Frantz Fanon, C.L.R. James, Albert Memmi, Jean-Paul Sartre, and Richard Wright, as well as Emily Apter, Erich Auerbach Homi Bhabha, Dipesh Chakrabarty, Leela Gandhi, Isabel Hofmeyr, Achille Mbembe, Edward Said, David Scott, Gayatri Chakravorty Spivak, among many others. (20th/21st)

Instructor(s): Sonali Thakkar     Terms Offered: Spring

ENGL 67802. Ordinariness: An Introduction. 100 Units.

To encounter the ordinary is to encounter the saturation of predictable life by details vibrating with history while calmed by processes of ongoingness, even when conditions are extreme. Sometimes those processes are normatively ideological. But the literature suggests that all sorts of explanations are necessary to locate people at the juncture of being historical and feeling simple, ahistorical, transhistorical, beside the point, private, detached, and/or contingent, not held well by any temporality in particular. We will amass and read in a bibliography, beginning with: Hannah Arendt, Walter Benjamin, Stanley Cavell, Michel DeCerteau, Tom Dumm, David Harvey, Henri Lefevbre, Michel Foucault, John Ricco, Kristin Ross, Nadia Serematakis, Georg Simmel, Katie Stewart, Carolyn Steedman, Melodrama, (Hansen/Dyer/Gledhill), Realism (Fisher/Lutz/Howard/Warren). The main aim of this course is to encounter how a stream of thinkers conceives the mediations, affects, built environments, and ideologies of the ordinary, the everyday, the banal, and the taken for granted; we will also inhabit these scenes in aesthetic material derived from recent and contemporary US minimalist fiction (Lydia Davis, Junot Diaz, Charles Johnson, Ben Marcus), but after a few weeks this material will be reshaped by student scholarly interests. Seminar paper and presentation required.

Instructor(s): Lauren Berlant      Terms Offered: Winter
Note(s): Open to MA students.

ENGL 70000. Advanced Study: English Language & Literature. 300.00 Units.

Advanced Study: English Language & Literature