Spring 2013 Graduate Seminars

Eng 599R: Masters Thesis
Otis, TBA, TBA

 (Written permission of DGS required prior to enrollment)

Eng 704R: Chaucer: Chaucer and His Contemporaries
Morey, M 10:00-1:00, Max: 12

Content: This course covers Geoffrey Chaucer's Troilus and Criseyde, most of the Canterbury Tales, and his three dream visions, with supplementary readings of literary analogues and criticism. We will read one cycle of mystery plays, and other medieval texts based on student interests. Chaucer synthesizes classical (e.g. Ovid), vernacular (e.g. Dante) and biblical models and thus redefines the medieval traditions of epic, romance, fabliau, Breton lay, saint's life, and exemplum. Edmund Spenser called Chaucer the "well of English undefiled," and John Dryden called him the "father of English poetry." As we examine these claims, we shall attempt to fathom at least three of the great mysteries of Chaucer's life and work: how such a prolific poet could also find time to be a prominent diplomat and court official, how his poetic persona consistently veils and deprecates his genius, and how his complicated relationships with women find poetic expression.

Particulars: Short papers, class presentations, and term paper.

(Written permission of DGS required prior to enrollment) 

Eng 751R: Studies in Nineteenth-Century American Literature: Aesthetics and Politics, 1830-1900
Reiss, TU 10:00-1:00, Max: 12

Content: The concept of a "movement" in art and literature is obviously different from a political movement, but the two concepts bear a relationship to each other that is more than an accident of language.  In this course, we'll become acquainted with major clusters of like-minded writers (transcendentalists, philosophical romancers, sentimentalists, realists, regionalists, naturalists) - and explore how their collective commitment to aesthetic and philosophical ideals related to some of the major political movements and upheavals of the day: abolition, suffrage and women's rights, socialism/utopianism, reconstruction.   To this end, we will read works by writers including Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, Nathaniel Hawthorne,  Harriet Beecher Stowe, Harriet Jacobs, Walt Whitman, Herman Melville, William Dean Howells, Charles Chesnutt,  Henry James, Charlotte Perkins Gilman, Albion Tourgée, and Frances E.W. Harper,  along with criticism and historiography.

(Written permission of DGS required prior to enrollment) 

Eng 789R: Special Topics in Literature: Thick Love: Birthing the Death-Bound-Subject
JanMohamed, TH 4:00-7:00, Max: 12

Content: Building on Orlando Patterson's notion of "social death" and my own definition of the "death-bound-subject," this course will examine (mostly) black feminist neo-slave and Jim Crow narratives that are concerned with the "birthing" of the death-bound-subject. We will focus on the aporetic predicament of the black (slave) mother whose "gift of life" can be and often was immediately appropriated via the "threat of death." Premised on the notion that the threat of death is the most fundamental mode of coercion, the course will examine how that threat is deployed for the purposes of coercion and how it is deployed as a mode of resistance. We will explore the "impossible" imbrication of life and death that lies at the heart of slavery as well as the transformation, via the agency of death, of subjects into subject-commodities. Methodologically, we will approach these issues from Marxian, psychoanalytic, phenomenological, and feminist viewpoints. Theoretically, I am particularly interested in interrogating how death is deployed in the "reproduction of the relations of production," in the process of "primitive accumulation," and in the implications of these for the maternal site. However, the novels to be studied are extremely rich and their articulation of the coercion and resistance that attend the slave maternal subject-position can be read from many different vantage points.

Primary Texts: will include Octavia Butler's Kindred and "Bloodchild," Gayl Jones' Corregidora, Toni Morrison's Beloved, Alice Walker's Third Life of Grange Copeland, Sherley Ann Williams' Dessa Rose, and Richard Wright's The Long Dream.

Secondary Texts will include substantive portions of Lisa Guenther's The Gift of the Other: Levinas and the Politics of Reproduction and Abdul JanMohamed's The Death-Bound-Subject. These will be posted on the blackboard along with a host of articles and book chapters on life, death, mourning & melancholia, motherhood, the politics of reproduction (biological, cultural, and material), gift theory, slavery as a source of primitive accumulation, ideology and hegemony, etc., etc.,

Particulars: Each student will be asked to present two oral reports and write one or more papers totaling between 20 and 30 pages.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: Theorizing Activism
Womack, W 4:00-7:00, Max: 12

Content: English 789, Theorizing Activism, Activising Theory, will concentrate on three books--one the history of an activist movement, another on theory, and a third, a novel. The attempt is not to be representative of an entire field of texts relevant to activism but to use two examples, the history of animal rights activism and fiction about Asian American activism in the Bay Area in the 1970s, as case studies.

Texts: For the Prevention of Cruelty: The History and Legacy of Animal Rights Activism in the United States by Diane L. Beers; Thinking Animals: Why Animal Studies Now by Kari Weil; I Hotel by Karen Tei Yamahita.

Particulars: There will be two projects in the course. The first will involve looking at the pamphlets, website, promotional materials, press releases, and so on, of an activist movement and writing a summary about how the ways the movement presents itself reveal its underlying theoretical assumptions.

The second has to do with the text Thinking Animals, which covers the work of fiction writers who have depicted animals in their novels and stories in relation to salient issues in animal studies. I'll ask you to pick one of these works of fiction and assess it in a class presentation in relation to its relevance to activism.

(Written permission of DGS required prior to enrollment) 

Eng 789R: Special Topics in Literature: Modernism and the Harlem Renaissance
Sanders, M 10:00-1:00, Max: 12

This course will examine the relationship between mainstream American modernism and New Negro artists (or the Harlem Renaissance). What are the ideas, organizations, and institutions that define American modernism? How and why are they attractive to Harlem Renaissance artists? How do New Negroes appropriate and adapt modernist concepts for their own purposes? And finally, how is our understanding of modernism transformed by taking into account the presence and influence of black artists?

Writers and critics for this course will include Zora Neale Hurston, Langston Hughes, James Weldon Johnson, Nella Larsen, Sterling Brown, Anne Spencer, George Hutchinson, Nathan Huggins, Ann Douglas, James Smethurst, and Debra McDowell.

(Written permission of DGS required prior to enrollment) 

Eng 789R: Special Topics in Literature: Caribbean Southern
Loichot, W 1:00-4:00, Max: 6    (ENG 789/FREN 785/CPLT 751)

Content: This course will read texts from the U.S. South through the lens of Caribbean theoretical, poetic, and fictional productions. Conversely, U.S. writing will illuminate Caribbean literature. The course will also highlight terms that resist translation and do not travel well between the two regions (e.g. "métissage" and "miscegenation"). Lectures and discussions will be organized around the following keywords: plantation and marooning; water and ecologies; genealogies and sexualities; the discourse of disaster; creolization and neo-creolization.

Particulars: Sustained participation, short response papers, presentation, research paper with annotated bibliography.

Readings: In addition to the list of books to be purchased, readings will include texts by Kamau Brathwaite, Wilson Harris, Sylvia Wynter, George Washington Cable, Lafcadio Hearn, Junot Díaz and Edwidge Danticat. We will also discuss Benh Zeitlin's film Beasts of the Southern Wild.

Required Books:: Maryse Condé. Windward Heights. Soho Press, 2003; William Faulkner. Absalom, Absalom! The Corrected Text, Vintage, 1990; Edouard Glissant. Faulkner, Mississippi. U of Chicago P, 2000; Edouard Glissant. Poetics of Relation. U of Michigan Press, 1997; Pauline Melville. The Ventriloquist's Tale. Bloomsbury, 1997; Toni Morrison. A Mercy. Vintage 2009; Derek Walcott. Collected Poems (1948-1984). Farrar, Straus, and Giroux, 1987

Optional Books: (French originals) Edouard Glissant. Faulkner, Mississippi. Folio, Gallimard, 1998; Edouard Glissant. Poétique de la Relation. Gallimard, 1990; Maryse Condé. La Migration des cœurs. Pocket, 1998.

 (Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: Making History in Irish Literature
Higgins, TH 1:00-4:00, Max: 12

Content: Making History examines the representation of history in Irish literature and culture - the real, the invented, the imagined - all key terms in recent Irish Studies. Irish literature is profoundly concerned with historical events and frequently reflects upon its own role as the interventionist interrogator of History. This course examines ideas of history and historicity in contemporary Irish literature and film in order to investigate the relationship between art and the historical event. From Yeats's question, "Did that play of mine send out/Certain men the English shot?" to Brian Friel's assertion, "You don't go to Macbeth for history," Irish writers have negotiated between the verifiable and the useable past. Historian Roy Foster, in his 2004 book, The Irish Story: Telling Tales and Making it Up in Ireland, calls attention to the Irish tendency to narrate history, to tell the `Story of Ireland' from various (biased) points of view. How do alternative histories contribute to the formation of new, often disruptive cultural memories that reshape our collective understanding of the past? Reading a wide range of Irish writers and genres - from plays to historical fiction to poetry and political polemic - we will consider how the "historical turn" in Irish writing raises questions about representation, truth-value, narrative and memory.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special topics in Literature: Globalization, Theory, Empire
Bahri, TU 1:00-4:00, Max: 9    (ENG 789R/CPLT 751)

Content: Empire: <Lat. Imperium <imperare, to command> (OED, Hypermedia.com)

  • [n]  an eating apple that somewhat resembles a McIntosh; used as both as an eating and a cooking apple
  • [n]  a group of countries under a single authority; "the British empire"
  • [n]  a group of diverse companies run as a single organization
  • [n]  a monarchy with an emperor as head of state
  • [n]  the domain ruled by an emperor or empress

Postcolonial. Empire. Globalization. Quodlibet [Whatever]. These are theoretical attempts to capture and name elusive historical forces. Hardt and Negri's Empire and subsequent discussions furnish the occasion to examine the grand narratives of modernity: empire, nation, progress, capitalism, democracy, narratives that unspool like so many plots once they have become the chosen stories of the time. And then there is that other narrative, Literature, which is the world of fiction, of small things and small worlds caught in the throes of historical plots: the woman, the untouchable, the hero, the loser, the villain, the winner, the survivor.

To study the two plots together is the objective of "Empire.Globalization: Fiction and Theory."

This course considers the following questions: How does the work of empire begin? What are its tools, its theories, its fictions, its nervous conditions? When the empire writes back, what are its major concerns, its favored genres, its aesthetic forms, its evasions, and its con-texts?

Texts: Marx, Adorno, Benjamin, Fanon, Hardt/Negri, Fukuyama, Spivak, Bhabha, Z. Smith, Anyango, Naipaul, Roy.

(Written permission of DGS required prior to enrollment) 

Eng 789R: Special Topics in Literature: The Discourse of Passions in Literature and Art
Judovitz, TU 1:00-4:00, Max: 3    (ENG 789R/FREN 540)

Content: Michel Merleau-Ponty commented that "Feelings and passionate conduct are invented like words." This is to suggest that the signs associated with emotion and its expression through behavior will vary both historically and culturally. In this course, we will examine the discourse of the passions in 17-th Century French literature and art in order analyze the specific patterning of the body and world in emotion. The body's capacity to gesture by producing material effects in excess of the order of representation will be at issue. Based on Pascal's observation that "The heart has reasons, that reason does not know," we will inquire into the paradoxes that subtend the representation of passions in a culture that privileges the mastery of reason and the regulatory force of social norms. We will consider how passions manifest themselves at the juncture of signs and body testing the distinctions between the semiotic and somatic, meaning and materiality. Do passions be they erotic or spiritual entail gestures whose resonances, echoes and inarticulate nuances escape the formalizing grasp of semiology? Can the expression of passions be simulated or even counterfeit? The guiding question is how the representation of the passions challenges the limits of not just classical discourse but discursivity in general.

Required Texts: d'Urfe, L'Astree; Guilleragues, Lettres portugaises; Racine, Phedre; Mme de Lafayette, "La Princesse de Montpensier"; Moliere, Tartuffe and theoretical texts by Sartre, Foucault, Merleau-Ponty, Barthes, Bryson, Lyotard, Kamuf, Jean-Jacques Courtine etc., available on on-line reserves.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: Drama, Justice and Theatrical Performance: Between Theater and Trials
Felman, M 4:00-7:00, Max: 2     (ENG 789R/CPLT 751/PSP 789/ILA 790/FREN 780/LAW 634)

Content: This course will study literary (and sometimes historical, and cinematic) courtroom dramas, in reflecting on the relationship between the legal stage, the theatrical stage, the political (historical) stage, and the stage of the unconscious (the "other scene", in Freud's term).

Legal trials share with theatrical plays (whether historical, political, or fictional, literary) the fact that they are social spectacles of living confrontations, embodying conflicts and disputes that are enacted on a stage, address an audience, follow ceremonial practices and rituals, and use dialogue and actors (or performers) who play designated roles. This course will ask: What is the reason for modern theater's increasing emphasis on trials? What can trials teach us about theater? And conversely, what can the theater teach us about trials? What is the role of trials - as spectacular crises of truth - in the theater of history and of cultural memory?

Observing how courtroom dramas (in culture, and in literature) take place as exchanges between events, acts, bodies, words, ritual, ceremony, and testimony, we will ask: What does it mean to be a player (in life, and in the world)? We will view the stage as a space of intersection between the private and the public, between the individual and the collective, between the sacred and the secular, as well as a space of exchange between illusion and reality, reason and madness, consciousness and the unconscious.

Literary courtroom dramas (plays, scenes from novels, evoking at times historical trials) selected among: Aeschylus, Sophocles, Shakespeare, Molière, Bertolt Brecht, Bernard Shaw, Oscar Wilde, Moises Kaufman, Peter Weiss, Emile Zola, Herman Melville, E.M. Forster, Virginia Woolf.

Critical and theoretical texts selected among: Aristotle, Hegel, Nietzsche, Marx, Freud, Jean-Paul Sartre, Antonin Artaud, Bertolt Brecht, Walter Benjamin, Hannah Arendt, Barbara Johnson.

Particulars: Emphasis on close reading. Required: Regular attendance and ongoing participation; two short papers; brief oral presentations.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: (Re) Defining Mimesis
Branham/Johnston, FR 12:00-3:00, Max: 6    (ENG 789R/CPLT 751/ILA 790/PHIL 751)

Content: This course will investigate the many shifts in meaning and function comprehended by the term mimesis from the ancient to the contemporary world. As formulated by Aristotle in opposition to Plato, mimesis functioned as a way of defining the relationship of art to the world (e.g., representation, expression, simulation) that is at the same time a way of defining the human, as when Aristotle calls "man" the "most mimetic animal." In the 20th century, with the advent of such technical media as film, gramophone, and typewriter and new ways of modeling the mind, mimesis can only assume a partial function within a larger assemblage, network, or psychic system of words, images and part-objects, as for example in Joyce's Ulysses and other modernist experiments. In the course of the century mimesis is repeatedly re-conceived as "the mimetic faculty" (Benjamin), "mimetic desire" and the violence of the sacred (Girard), forms of "economimesis" (Derrida), "memetics" (Dawkins) and the effect of "mirror neurons" (cognitive science), but in each manifestation assumes a different form of transmission and dynamic mode. More recently, in the large media assemblages that characterize the late 20th century, mimesis functions or is understood to operate in imaging, modeling, mimicry and certainly developmental learning, but always and alongside viral replications and strange becomings particularly evident in modern and contemporary art as well as in explosive political events.

In this seminar we will attempt to map or chart these and other shifts across a range of literary, philosophical and scientific discourses, ancient and modern, oral and written. The central question we will explore is how "the mimetic function" operates in significantly different terms, not only in modern and contemporary literature, but also in current models of the aesthetic, in anthropology, evolutionary theory, and cognitive science, and thus remains an inevitably fundamental concept.

Course Requirements: Two class presentations and two short papers.

Required Readings: Selected readings by authors that will include: Homer, Plato, Aristotle, Petronius, Nietzsche, Bakhtin, W. J. Ong, S. Weil, E. Auerbach, James Joyce, F. Kittler, Freud, Lacan, W. Benjamin, Adorno, Girard, Derrida, Dawkins, Taussig, Deleuze, Baudrillard, Bolter and Grusin, and M.Arbib.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: Critical Disabilities Studies
Garland-Thompson, TU 2:00-5:00, Max: 3    (ENG 789R/WGS 589/ILA 790)

Content: This graduate seminar will focus on the emerging body of critical and primary work in critical disability studies. Our purpose is to engage this body of work thoughtfully and critically, both as individual critics and as an intellectual community. We will engage intersectional workings and multiple subject positions such as gender, race, sexuality, ethnicity, and class along with disability. Disability studies is an interdisciplinary academic field of inquiry that expands health science perspectives by examining understandings of disability from cultural perspectives such as:

  • civil and human rights issues
  • minority identity group
  • social justice issue
  • sociological formation
  • historic community
  • diversity category
  • category of critical analysis
  • subject of the arts

Text book: Davis, Lennard (2010). Disability Studies Reader, 3rd ed., Routledge.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: Sex and Sentiment
Kelleher, TU 4:00-7:00, Max: 12

Content: This seminar will explore the various ways in which sexuality and moral feeling are conceptually intertwined in the literature and philosophy of eighteenth- and nineteenth-century Britain. We will be especially concerned to examine two key aspects of eighteenth-century culture and to track their persistence into the nineteenth century: first, the rise and consolidation of what historians have termed "companionate marriage" (that is, marriage understood as the affectively saturated ideal of conjugal intimacy, reciprocity, and companionship); and second, the rise of literary and philosophical sentimentalism, which privileged the notions of sympathetic and benevolent feeling, and articulated the belief that "good nature" predisposes humankind to live together peacefully and justly. Some of the central questions for our discussions will be: to what extent, and in what ways, do the eighteenth and nineteenth centuries imagine conjugal heterosexual desire as the very precondition of morality and ethics? How are extraconjugal and non-normative forms of sexual desire figured as a refusal of ethical responsibility, and perhaps even sociability itself? And finally, by reading them against the grain, can we find in these texts intimations of a moral life that is not exclusively grounded in the conjugal domestic sphere?

Texts: Authors to be discussed include Samuel Richardson, Adam Smith, John Cleland, Laurence Sterne, Edmund Burke, Mary Wollstonecraft, Mary Shelley, and Jane Austen. We will also consider a wide range of theoretical and critical texts, including the work of Michel Foucault, Jürgen Habermas, Eve Kosofsky Sedgwick, Nancy Armstrong, and Terry Eagleton.

Particulars:A presentation and a final seminar paper will be required.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: The Early Modern Black Atlantic & Its Strange Fruit: Blackness and the (Dis)contents of a Transatlantic Early Modernity
Jones, TU 4:00-7:00, Max: 5    (ENG 789R/SPAN 530/CPLT 551)

Content: What makes Africa, after all, so "strange" and "fruitful" to early modern European senses and sensibilities? How do black Africans and their descendants view themselves vis-à-vis the early modern world in which they inhabit? Designed for comparatists and students of varied fields with interdisciplinary and historical knowledge of texts, this course will take a hemispheric approach to the early modern Atlantic world by examining fictional and non-fictional works that will help us reach a better sense of how Anglophone, Hispanophone, and Lusophone chroniclers and writers constituted their black subjects' Blackness through, for example, constructions of the body, language, religion, and (anti)slavery. Additional topics that will guide our readings and class discussions will include: critical race theory and racial difference; animals and animal imageries; geography and maps; gender and sexuality; material culture (i.e., clothing; cosmetics; food and monetary/economic currencies); African-derived religions and the Inquisition; and, visual culture (i.e., blackface; royal portraiture and paintings; jewelry and other luxurious objects). Although this seminar will focus on written documents dating from the fifteenth and seventeenth centuries, we will also frame our critical approaches to a so-called "early modern" Blackness and Black experience through closely interrogating literary and historical works from the Enlightenment period as well as the nineteenth and twentieth centuries. Accordingly, we shall see how Blackness conceptually and experientially is subversively fluid and performative, yet deceptive and paradoxical.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: Literature, Democracy, Critique
Bhaumik, TH 4:00-7:00, Max: 6    (ENG 789R/CPLT 751)

Content: This graduate seminar undertakes the dual task of interpreting at the crossroads of literary and political theory. By tracing various reflections on democracy across genres (often understood as either literary, philosophical, or political), we will situate texts beyond historical periods, forms, disciplines, or area studies. Instead, the challenge of the class will be to inquire into how disparate references to democracy relate to the enduring practice of "critique." Does the notion of critique from Immanual Kant, Hannah Arendt, Walter Benjamin to contemporary theory invigorate a democratic ethos, thinking, and exegesis? How does "critique" animate and unravel normative, colonial, and even totalitarian definitions of democracy? What is the place of the literary in theories of radical democracy?

The readings in the seminar will begin with writings on democracy marked by the Enlightenment (including the American, French, and Haitian Revolutions) as a set of foundational fictions. However, additional readings hope to consider the limits of Enlightenment notions of democracy as well as its influence on post-colonial thought and literature. Key examples will include debates on republicanism and democracy in the ninetheenth-century Americas (including Latin American and U.S. texts) as well as critiques of violence in treatises of national "independence" and "liberation" after 1947.

Discussions will seek to uncouple the rhetoric of sovereignty and legalism from democracy. Moreover, the course will conclude by considering the relevance of critique to literary studies as well as philosophies of anarchism, civli disobedience, feminism, queer theory, and decolonialization.

Texts and topics include: Democracy and the Long Nineteenth Century; Alexis de Toqueville, Democracy in America; Thomas Jefferson, Notes on the State of Virginia; Herman Melville, Billy Budd and Benito Cereno; Hannah Arendt, "The Social Question" and "Origins of Totalitarianism"; Ralph Waldo Emerson, "The American Scholar" and selected essays on anarchy; Percy Shelley, The Mask of Anarchy; W.E.B. DuBois, Souls of Black Folks and Black Reconstruction; Democracy and the Post-Colony; Gilberto Freyre, On Racial Democracy in Casa Grande y Senalaza; C.L.R. James, The Black Jacobins; Mahatma Gandhi, Satyagraha.

Selections from: Achille Membembe, On the Postcolony; Donna Jones, Racial Discourses of Life Philosophy.

Readings on Critique: Immanuel Kant, Critique of Pure Reason and Critique of Judgement; Walter Benjamin, "Critique of Violence"; selections from Gayatri Spivak's Critique of Postcolonial Reason; selections from Is Critique Secular?; Michel Foucault, "What Is Enlightenment?"; Aamir Mufti, The Enlightenment in the Colony; Edward Said, Humanism and Democratic Criticism; David Scott, Tragedy and the Colonial Enlightenment.

(Written permission of DGS required prior to enrollment)

Eng 789R: Special Topics in Literature: Experiments in Scholar Form
Bammer/Grimshaw, M 1:00-4:00, Max: 3 (ILA 790/ENG 789/WGS 588/CPLT 789)

Course Description: Recent developments in American higher education-the increasing emphasis on inter-disciplinarity, the so-called "crisis" of academic publishing, the call for more attention to public scholarship, and the emergence of new fields of scholarly inquiry-have put pressure on the forms in which scholarship is presented. While such pressure is sometimes experienced negatively, as a problem, it also presents a productive occasion for innovation and creativity. New forms emerge from within given fields themselves as well as from encounters across fields. In this spirit of discovery and experimentation, we will explore challenges to established forms of academic representation. Drawing on a series of case studies, we will examine ways of pursuing intellectual inquiry that extend beyond the conventional academic text.

The goal of this course is twofold: (1) Students will learn to critically assess the possibilities and limitations of conventional forms of scholarly presentation in their own fields; (2) They will learn to explore new forms of scholarly presentation relevant to their work.

Course requirements: Assessment will be based on class presentations, critical writing and an assignment that demonstrates the student's own experimentation with a non-conventional academic form.

Eng 791R: Issues in Composition Pedagogy
Bousquet, M 4:00-7:00, Max: 12

Content:A practicum in composition theory and pedagogy required for graduate students teaching English 101 and 181 next year. Readings address core issues of contemporary writing studies. We'll meet in a computer lab, build personal & class websites, and plan assignments incorporating digital literacy. Brief presentations and informal writing; no paper.


  • Debt: The First 5000 years, David Graeber
  • How Computer Games Help Children Learn, David Williamson Shaffer
  • Toward a Composition Made Whole, Jody Shipka
  • Reality is Broken, Jane McGonigal
  • The Managerial Unconscious in the History of Composition Studies, Donna Strickland
  • Redesigning Composition for Multilingual Realities, Jay Jordan
  • Living Room: Teaching Public Writing in a Privatized World, Nancy Welch
  • Beyond Postprocess, ed Sidney Dobrin et al
  • Teaching Composition as a Social Process, Bruce McComiskey
  • A Counter-History of Composition, Byron Hawk

Other texts we'll use:
Free online:

  • Free Culture, Lawrence Lessig
  • Little Brother, Cory Doctorow

Recommended for purchase:

  • Writing Centers and the New Racism, ed Laura Greenfield and Karen Rowan
  • Second-Language Writing in the Composition Classroom, ed Paul Kei Matsuda et al
  • Going Public: What Writing Programs Learn From Engagement, ed Shirley Rose et al
  • Teaching the New Writing, ed Anne Herrington et al
  • Because Digital Writing Matters, National Writing Project

Partial Reading Schedule:

  • Monday January 14: Why Teach? Debt: The First 5000 Years.
  • Monday January 21 MLK holiday, no class
  • Monday January 28 Reality is Broken. McGonigal, parts 1 and 3 (pp1-117 & 219-354) plus Confronting the Challenges of Participatory Culture:Media Education for the 21st Century, Henry Jenkins et al, pp1-61 (free pdf online; just use a search engine)
  • Tuesday Jan 29: 830-1pm [REQUIRED] Emory Writing Program Symposium on Digital Publication, Undergraduate Research, and Writing. (If you have a conflict--eg enrolled in Ben Reiss's Tues 10 am class--you can view the missed portion on video) Lunch will be provided.
  • Monday February 4 So You're Planning on Teaching Argument? Why? Shaffer: Intro, Ch 1, 2 & 5; McComiskey, Introduction to English Studies (pdf)

(Written permission of DGS required prior to enrollment)

Eng 797R: Directed Study
Otis, TBA, TBA, Max: 999

(Written permission of DGS required prior to enrollment)

Eng 799R: Doctoral Dissertation
Otis, TBA, TBA, Max: 999

(Written permission of DGS required prior to enrollment)