91少女集中营

 

ENG 627 
Intro to Publishing 
Mondays 6:00 PM 鈥� 9:00 PM 
Dr. Rachael Fowler 
 
*Fulfills CW elective 
 
Would you like to one day be an editor? Want to see your name listed in an esteemed literary journal? ENG 627 welcomes all creative writers who鈥檇 like to learn more about the world of literary publishing. In this class, we鈥檒l work to produce an issue of Mississippi Review and Product Magazine, giving you the chance to have a reading/editorial position in both. We鈥檒l also talk with professionals currently working in various areas of publishing so that we can ask career questions and learn about the evolving literary landscape. Finally, we鈥檒l explore how to write and submit book reviews for publication, and you鈥檒l complete an in-depth research project on a specific aspect of publishing that is interesting to you. At the end of this class, you鈥檒l have experience as an editor and literary citizen as well as contacts within and growing knowledge of the professional literary world. 
 

 
ENG 641 
Advanced Methods and Research 
Wednesdays 2:30 PM - 5:15 PM 
Dr. Monika Gehlawat 
 
*Required for 2nd year literature students 
 
This course is required for all second-year students in literature. MA students will prepare and workshop their final theses and PhD students will begin to work on their dissertation prospectus. Given its focus on research, writing, and revision, this course is also open to creative writing students who want to workshop critical writing with an eye toward conference presentations and/or peer-reviewed publications. In addition to workshopping student writing, we will also read books and articles about scholarly writing and research methodology. 
 
 

ENG 644 
Theory of Poetry
Mondays 2:30 PM - 5:15 PM 
Dr. Christopher Spaide 
 
*Fulfills theory requirement 
 

A poem, etymologically speaking, is 鈥渟omething made.鈥� So what鈥檚 a poem made of? What does the making entail? Why are some made things 鈥減oems鈥� when other made things aren鈥檛? Who makes the call that a poem鈥檚 a poem鈥攑oets, critics, readers, editors? This course looks deeply into three centuries of articulations of and answers to those questions. Starting with canonical European and American understandings of poetry, we will move swiftly to ongoing theoretical debates about what we now call lyric theory, the work often called historical poetics (and sometimes called the New Lyric Studies), and recent defenses of lyric as a transhistorical genre. In between, we will explore the significance (or even the centrality) of poetry and lyric to the New Criticism, the Frankfurt School, genre theory, structuralism, feminism, media studies, ecocriticism, and the intersection of law and literature; we鈥檒l also consider why poetry studies can look so far behind in thinking about race, sexuality, the postcolonial, and the global. Each week, alongside readings in theory and criticism, we will discuss a handful of poems, not only as tests of theoretical models but as self-theorizing objects in their own right. 

 
 
ENG 670 
Style & Genre in Early American Literature 
Tuesdays 2:30 鈥� 5:15 PM 
Dr. Luis Iglesias 
 
*Fulfills Pre-1865 American requirement 
 
Style & Genre in Early American Literature, which traces the development of American literature from the Colonial and Revolutionary era through the early National period to the flowering of the 鈥淎merican Novel,鈥� will focus on issues of literary form and content, reading across several genres. The course will press against the prevailing sense that Anglo-American writers of the period were mainly concerned with 鈥減ractical,鈥� political matters and in the absence of a traditional cultural community and heritage have led to viewing literary considerations as a secondary concern. In response, the course will survey a range of narrative and poetic forms including essay, epic poetry, personal narrative, captivity narrative, nature writing, political track, prose sketches and the novel as used by our early writers within a dynamic matrix of both national and transatlantic influences and concerns. Close attention to historical context and meaning will feature importantly in the discussion as they are imaginatively represented and recast by the writers of the period as they simultaneously imagine (often before the fact) a national style and expressive identity. 
 
Among the Assigned Texts: 
Charles Brockden Brown, Edgar Huntly; or, the Memoirs of a Sleep-Walker 
James Fenimore Cooper, The Spy: A Tale of the Neutral Ground 
Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa 
Washington Irving, The Sketch-book of Geoffrey Crayon 
Benjamin Franklin, Autobiography, Parts I & II 
Mary Rowlandson, The Sovereignty and Goodness of God: 鈥� the Captivity & Restoration of Mrs. Mary Rowlandson 
Susanna Rowson, Charlotte Temple: A Tale of Truth 
Royall Tyler, The Contrast 
 

 
ENG 671 
American Literature II 
Wednesdays 6:00 PM 鈥� 9:00 PM 
Dr. Ery Shin 
 
*Fulfills Post-1865 American and Non-traditional requirements 

 

With an emphasis on the legacy of the American Indian Wars and slavery in the New World, this course explores contemporary American narratives of nationhood and belonging. While Americanness and the ethnic have often invited synonymous readings given the nation鈥檚 diverse constituencies, these two terms nevertheless generate friction when the latter is required to qualify the former鈥攐r when the former precludes the latter. The pair circulate as interchangeable and yet also antithetical ideas at times, attesting to the slipperiness of authentic Americana and its pursuit.

SAMPLE READING LIST:
John Rechy, City of Night
R. O. Kwon, Exhibit
Jessica Johns, Bad Cree
Nana Kwame Adjei-Brenyah, Chain-Gang All-Stars
Ruth Ozeki, The Book of Form and Emptiness
Nicola Yoon, One of Our Kind
Morgan Talty, Night of the Living Rez
Jesmyn Ward, Let Us Descend
Cebo Campbell, Sky Full of Elephants

 
 
ENG 721 
Graduate Seminar in Fiction Writing 
Dr. Olivia Clare Friedman 
Tuesdays 2:30 PM 鈥� 5:15 PM 
 
How can workshop be the most beneficial for your current writing? What kinds of classroom conversation can help you bring your current draft to the next level? To help you address these questions, we鈥檒l experiment with the form of workshop. You鈥檒l always have an option to have a traditional workshop, but you鈥檒l have other options too. These will include: 
 
-- workshop conversation between writer and readers 
-- workshop that begins with a series of set questions 
-- workshop that begins with questions composed by the writer 
-- workshopping alternate beginnings, middles, and ends 
 
You will have two main submissions, and you may submit either short stories or novel excerpts. You will also submit a piece of flash fiction at the end of the semester. We鈥檒l devote some time to craft topics, as well as informal writing, with in-class writing exercises, both solo and collaborative. At the end of the term, you鈥檒l complete a revision of one of your workshop pieces. 
 
Text: TBA 
 
Other outside readings will be distributed in class. 
 
 
 
ENG 722 
Seminar in Poetry Writing 
Dr. Michael Aderibigbe 
Tuesdays 2:30 PM - 5:15 PM 
 
In ENG 722, students will write and workshop new poems. The class will be sorted into groups alphabetically, with one group submitting poems at a time.   
 
Craft is also an essential part of this course. To this end, in the first quarter of every class, we will engage a section of a prescribed text. In addition, each student will also turn in one short paper and a handful of very brief responses over the semester.  
 
Reading List: 
Okot p'Bitek, Song of Lawino & Song of Ocol 
Aracelis Girmay, Teeth 
Anne Sexton, To Bedlam and Part Way Back 
Agha Shahid Ali, The Country Without a Post Office 
 

 
ENG 723 
Nonfiction Writing 
Dr. Joshua Bernstein 
Wednesdays 2:30 PM - 5:15 PM 
 
*Fulfills CW elective 
 
The word essay, deriving from the French essayer, meaning 鈥渢o attempt鈥� or 鈥渢o try,鈥� was originally conceived as a kind of experiment, or planned inquiry on a topic. Montaigne famously applied the term to his writings around 1580. Four-and-a-half centuries later, we鈥檒l ask to what extent essays can still be thought of as experiments, or loose attempts at understanding, as opposed to preconceived answers, and try our hands at writing them. We鈥檒l also look at the variety of forms the essay can take, from the narrative, reflective, hybrid, and lyric to the spiritual, experimental, sporting, and comic. Think: Joyce Carol Oates on boxing; Nora Ephron on puberty. Finally, and per Montaigne鈥檚 intent, we鈥檒l treat the writing as a kind of process, one in which the writer is led through writing to discovery and, hopefully, surprise. 
 
Although ours is firstly a workshop, we鈥檒l also trace the history of the essay, its evolution as a form, and its current status and outlook as a genre. Outside works will likely include Lily Hoang鈥檚 A Bestiary, George Orwell鈥檚 Homage to Catalonia, and shorter works by Oates, Ephron, Joan Didion, Maggie Nelson, Kiese Laymon, David Foster Wallace, Zadie Smith, Christopher Hitchens, Randall Kenan, Ben Lerner, Lia Purpura, and others. Please keep in mind that all work submitted for the class must be factual and, if applicable, documented, though we will also work on traditional techniques, including (faithfully) reinvented dialogue, narrative arc, and the building of dramatic tension and conflict. Finally, if the weather allows, we may venture outside for excursions and on-site writing activities in nature. 
 
 
 
ENG 750 
Old English Language and Literature 
Dr. Leah Parker 
Tu/Th 9:30 AM - 10:45 AM 
 
*Fulfills Pre-1800 British requirement 
 
In this seminar, graduate students will learn to read, pronounce, and translate the Old English language, which was spoken in the area now known as England from the sixth through the eleventh centuries. By reading widely in Old English literature, both in the original language and鈥攖o expand our scope during the limited time of the semester鈥攊n translation, students will become familiar with popular genres of the earliest period of English literature: heroic poetry, riddles, elegies, vernacular adaptations of Biblical texts, and saints鈥� lives. For students specializing in medieval or early modern literature, this is a crucial course to prepare for research in earlier forms of English and for teaching history of the English language. For all students, however, the payoff is a richer understanding of the English language, both our object of study and the medium in which we pursue our writing craft. 
 
 
 
ENG 763 
Seminar in Romanticism: Crip Temporalities / Crip Geographies
M/W 9:30 AM 鈥� 10:15 AM 
Dr. Emily Stanback 
 
*Fulfills Post-1800 British requirement 

 

According to Samuel Taylor Coleridge鈥檚 introduction to 鈥淜ubla Khan鈥� (1816), the poem first appeared in print nearly twenty years after it was written in part because the author had not sensed its 鈥減oetic merits鈥濃�攕eeing it 鈥渞ather as a psychological curiosity.鈥� He explained that it was created out of an experience of 鈥渋ll health鈥� and medication, and was inspired by an early 17th-century travel narrative. The poem came into being only as a 鈥渇ragment,鈥� one Coleridge 鈥渇requently purposed to finish for himself,鈥� though that 鈥渢o-morrow is yet to come.鈥� 鈥淜ubla Khan鈥� is now one of the most famous lyric poems in the English language鈥攃reated out of disability experience, deferred according to crip time, taking on a crip form (the fragment), and offering a visionary a world that is far from the poet鈥檚 own place and time. 

This is just one example of many in which distinctive temporalities and geographies emerge in Romantic-era writing in response or relation to disability experience. This course will look at several other examples by authors including Mary Prince, Charlotte Smith, and Lord Byron. A key concern will be how disability shapes the form of the texts under consideration; poetry will be a special focus, but we will consider a variety of other genres, including letters and journals. Looking to contemporary disability theorists, we will examine the general tendency of crip experience to deviate from normative temporality and spatiality. We also will look at historical contexts including empire, slavery, and medicine in examining Romanticism鈥檚 crip temporalities and crip geographies.