Traditions and Lineages Reading May 11th 6-8 PM

Come join us for a night of poetry and fun on May 11th 6-8 PM


The Living Room Lounge
245 23rd Street
Between 5th and 6th
Brooklyn, NY

Readers include:

Michael Desario
Margo Nasti
Sara Kolbasowki
Mark Perkins
and Lewis Warsh

John High's Fall 2007 Poetry Workshop: A Poetics Of Voice & Time- A Contemplation Practice Towards The Book

Hi All,

A quick note here to any of you who are planning to take the poetry workshop in the fall. After much thought I have decided to request that each of you choose a poetics essay, along with a few poems/texts, by an author who for some reason or another has been/is important to your own writing. Please send it to me with a brief paragraph as to why you chose it, so I can include it in the Reader I'm compiling for the fall. (See course description below.)

The trick here is that I need to get these (either hard copies or Word documents sent as attachment) as soon as possible, but no later than the end of May. I hope to be out of the country and doing some of my own writing after that, and need to get the Reader to the LIU printing center by then.

Please let me know if you have any questions, and if you could, please pass the word. Of course, you can choose anyone you want, and she/he needn't be American, or anything else. The key is here what really matters to you and your own work. I'll be including other authors & texts as well, but want at least one from each of you, so that the reader represents texts that interest you in relationship to your own writing.

Good luck finishing up for the semester.

Thanks!Onward,

Graduate Poetry Workshop
A Poetics Of Voice & Time-
A Contemplative Practice Toward the Book
John High


What if as poets we were allowed to do whatever we wanted? What would we do? How long would our own experience & voice sustain us in writing? Every innovation in poetry has grown out of tradition, and in this course we will attempt to discover and connect with our own tradition(s) and poetic. Wallace Stevens wrote that all poetry is experimental. So what is the relationship between tradition, innovation, and a writer's unique poetic? In the book you are writing,what underlies the voice, time, being and place of the poetic?If our own voices grow out of the past and from traditions firmly rooted in the power of language and contemplation, our goal is to discover-to see what's out there, both as writers and readers-as we examine the literary traditions and lineages from which we have grown. We'll do this by writing our own poems and by exploring various forms and schools of poetry and by paying close attention to the way that poetry changes through us and through time, how ourown books change us. We'll also discuss the act of writing poetry as one of risk-taking and investigation, of destroying and reinventing traditions in our own discoveries, of seeing how nothing ever changes unless we explore and try to let our poems become truly our own, and something new in this act. We'll discuss, at length, what experiment means in relation to tradition and poetic.Among the poets we'll look at closely are Whitman, H.D., Williams, Pound, Stein, Bishop, Hughes, Cullen, Breton, Mandelstam, Cane, Spicer, Levertov, Brooks, Mayakovsky, Mallarme, Khlebnikov,Creeley, Lorca, Baraka, Whalen, O'Hara, Zukofsky, Oppen, Ginsberg, Mayer, Berrigan, Howe, Palmer, Hejinian, and Jabes.

A final portfolio, or chapbook, consisting of all our written poems, as well as a 'manifesto' of your own emerging poetic, is due at theend of the semester. We will also schedule a party and reading of ourwork at the LIU Reading Series in The Skylight Room.

The Esther Hyneman Graduate Awards In Poetry and Fiction

The graduate creative writing faculty of the English Department gives two annual awards ($250 for poetry and $250 for fiction) to graduate students in the creative writing program.
The awards are named for Professor Esther Hyneman, in recognition of her creative energy and her many years of dedicated service to the English Department.

Submission Guidelines:

Submit 8-10 pages of poetry and/or 10-15 pages of fiction. For each piece, include two cover pages, one with title, name of writer, address, email address, and telephone number. The other cover page should list only the title of the work.
Place submissions in the English Department mailbox labeled "Hyneman Award."
Annual Submission Deadline: End of the Third Week in April

LIU Poetry Reading / March 23rd/ See Sun, Think Shadow

This Friday at Night and Day/ Biscuit BBQ 230 5th Ave/ Park Slope, Brooklyn

6 TO 8 PM Sharp

Poetry reading including:

Charles Thorne
Joe Wolff
Joe Garnevicus
Charulata L. Dyal
Jaline Mojica
Sri Raman
Margot M. Nasti
Gary Parrish
Jessica Rogers

Flyer (click pic to enlarge):

Undergraduate Courses, Spring 2007

English 101:001 Introduction to English Studies
Professor Sealy Gilles
Thursdays 6:00-8:30 pm

This course introduces students to the field of English studies both theoretically and practically. It takes for its focus the craft of the rhetorician and the literary artist. We will therefore explore the overlapping territories of the literary scholar, the essayist, the story-teller, the poet, the dramatist, and the professional writer. Three units of genre study - on lyric, prose and tragedy - are accompanied by excursions into the profession, as the course introduces students to issues in the critical tradition, the history of the discipline, and contemporary opportunities for English majors. Students will have opportunities to create texts, even as they acquire the tools to critique them. They will also receive intensive training in the research essay and the use of library resources.

English 104:001 Introduction to Creative Writing-Finding Our Voices
Professor John High
Tuesdays 12:00-2:30 pm

This class is designed for anyone who has ever wanted to write creatively yet who is not sure how to begin or how to move beyond where they are presently in their own writing. Topics include: getting started, establishing a passionate discipline, making time, focusing on ideas and feelings and giving them shape through the language of fiction, poetry and drama. The course will also zero-in on back bone issues of style and technique, ranging from those of characterization and plot, continuity and vividness of imagery, clarity of diction and the use of phrasing and structure in the writing of our worlds-the various ways that elements of craft inherently dovetail with content. There will be weekly creative writing exercises, workshops and group discussions, as well as commentary on the writing process and how to make it work. What do we mean when we talk about issues of style, form and voice(s)? What is a fiction, a poem-what is a metaphor, what is the magic of language, the ghost of echoes, which reflect your own vision of the world, your experience or past, your dreams or visions? What do we mean when we talk about taking chances in writing? We'll look at the work of Modern and contemporary writers ranging from James Baldwin to Anna Akhmatova to Jorge Luis Borges to that of younger writers publishing today. Critiques will focus on motivating the student to tap the undefined territory of his or her own imagination in order to more fully cultivate and mature her or his own voice/s and styles. The goal of the course includes completing a portfolio and/or anthology of our work.

English 104:002 Introduction to Creative Writing
Professor Lewis Warsh
Wednesdays 6-8:30 pm

THIS SECTION WAS CANCELLED.

The goal of the workshop is to expand our ideas of "what is a poem?" and "what is a work of fiction?" Are poetry and fiction exclusive or related genres? Weekly assignments will question preconceived notions of form, content and gender, with emphasis on the best ways of transcribing thought processes and experiences into writing. We will also attempt to engage the present moment-the issues of our time, if any, that influence our writing. is it possible to write in a vacuum while ignoring the rest of the world? What is the writer's responsibility? Can writing change the world? We will read as models the work of Marguerite Duras, Lydia Davis, William Carlos Williams, Amiri Baraka, Frank O'Hara, Andre Breton, Victor Hernandez Cruz, Elizabeth Bishop, John Ashbery and Ernest Hemingway, among others.

Much of the workshop time will be spent reading and discussing each other's writing.

English 129:001 British Literature II: Faces of Modern Britain
Professor Patrick Horrigan
Tuesdays 6:00-8:30 pm

The course will examine the changing face of modern Britain from its explosive industrialization in the late-eighteenth century, through the cresting and fall of its world empire during the nineteenth- and early-twentieth centuries, to its current, uneasy position as the primary ally of the United States in the global "war on terror." Using images from London's National Portrait Gallery as our guide, we will approach the literature of this 200-year period as a series of "close-ups" in which questions of national and personal identity will be especially important. The major texts under discussion, many of which deal quite literally with the enigma of portraiture, will include William Wordsworth's The Prelude, Jane Austen's Emma, Oscar Wilde's The Picture of Dorian Gray along with transcripts from the Wilde trials, Virginia Woolf's To the Lighthouse, Alan Bennett's Talking Heads, Mike Leigh's film Secrets and Lies, and the still-on-going documentary film project known as The Up Series. Throughout the semester, students will compose critical as well as creative texts in response to the material. They will also give in-class presentations.

English 150:001 Contemporary African-American Writers
Professor Carol Allen
Tuesdays & Thursdays 3:00-4:15 pm

THIS COURSE WAS CANCELLED.

This course focuses exclusively on African American writing from 1970 to the present. It will be divided into units based on genre: poetry, drama, the essay, autobiography, short story, the novel, and testimonial (lyrics, oratory). Expect to encounter such artists as June Jordan, Michael Harper, Quincy Troupe, Adrienne Kennedy, August Wilson, Anna Devere Smith, Toni Morrison, Charles Johnson, Alice Walker, James Baldwin, Itaberi Njeri, and John Wideman. Critical pieces will be studied as well from the likes of Houston Baker, Henry Louis Gates, Ntozake Shange, and Larry Neale.

English 159:001 Literature of the U.S. II: Faces of Modern America
Professor Patrick Horrigan
Mondays & Wednesdays 4:30-5:45 pm

Between the end of the Civil War and the beginning of the first World War, the United States transformed itself from an isolated, primarily agrarian nation into an industrialized, increasingly influential world power. Today it is the embattled, self-proclaimed leader in the global "war on terror." Using images from the recently re-opened American Art Museum and National Portrait Gallery in Washington, DC, the course will chart these historical developments by looking closely at some important, modern American novels, stories, poems, films, and works of nonfiction, many of which deal with the question of portraiture (how do you represent an individual human being?) and the related enigma of American identity (what does it mean to be an "American"?). Major texts will include Henry James' "The Real Thing," Gertrude Stein's word portraits, Alain Locke's anthology The New Negro, Orson Welles' film Citizen Kane, James Baldwin's Giovanni's Room, Truman Capote's In Cold Blood, and Vikram Seth's The Golden Gate. Throughout the semester, students will compose critical as well as creative texts in response to the material. They will also give in-class presentations.

English 166:001 Fiction Writing Workshop—The Short Story
Professor John High
Thursdays 6:00-8:30 pm

This workshop will focus on the way autobiography and dreams overlap with story writing and how the past is fictionalized as a way of giving it a voice. The premise is that the source of much fiction is based on memories and dreams. We'll look at writers of the last century as well as contemporary writers of today: Jean Toomer, Marguerite Duras, Jorge Luis Borges, Michael Ondaatje. Lydia Davis, John Berger, Rosemary Waldrop, Ernest Hemingway, Zora Neale Hurston, Virginia Woolf, James Baldwin, Jamacia Kincaid, and Sherman Alexie (among others) who often blur the borders between fiction, dream and life story. We'll concentrate on the various traditions of narrative, including plot, character, and conflict-with an eye towards expanding on what's already been done. There will be weekly creative writing exercises, workshops and group discussions, as well as commentary on the writing process and how to make it come alive for you. The course offers relaxed, though thorough and individualized investigation of the participants' work in relation to craft, theme and content of writing. Our writing project will include working with dreams, secrets, memories, observations, opinions, overheard conversations and random fragments of language. The goal of the course includes completing a portfolio and/or anthology of our work.

English 168:001 Creative Non-Fiction Workshop
Professor Mary Hallet
Mondays & Wednesdays 3:00-4:15 pm

THIS COURSE WAS CANCELLED.

This course will give students the opportunity both to read and write creative nonfiction. Creative nonfiction means "factual" writing that uses fictional strategies in order to convey to readers the complexities and nuances of "real life" situations and topics. Because fiction and nonfiction, as well as memory and fact, intersect and sometimes collide in creative nonfiction, we will explore the complicated notion of "truth" in such writing. While much creative nonfiction incorporates autobiographical elements, it is not restricted about simply writing about "the self." While it often (but not always) incorporates the personal, it is also reflective and analytical. Students in the course will have an opportunity to examine and write a variety of diverse creative nonfictional pieces—from texts that report on and analyze current events to those that explore in depth events in their own personal lives. Readings may include texts by Annie Dillard, Oliver Sacks, Joan Didion, Maya Angelou, David Sedaris, and Lee Gutkind.

English 169:001 Non-Western & Post-Colonial Literature
Professor Maria McGarrity
Mondays & Wednesdays 4:30-5:45 pm

This class will offer a basic grounding in the literatures and cultures of the Caribbean, including a focus on such nations as Haiti, St. Lucia, Montserrat, and the Dominican Republic. We will study the work of Nobel Prize-winning St. Lucian, Derek Walcott as well as such writers as Jamaica Kincaid, Edwidge Danticat, Caryl Phillips, Jean Rhys, and EA Markham. Our reading of short stories, poetry, longer fiction, and film will take us through the 20th century struggle for decolonization as we examine issues of gender, class, race, and colonialism.

English 171:001 Introduction to Classical Rhetoric
Professor Mary Hallet
Mondays & Wednesdays 12:00-1:15 pm

In current contexts, the term "rhetoric" often has a negative meaning. For example, we often hear this term tossed about in relation to politicians who are bombastic, people who "twist" their words to suit their own ambitions and goals, regardless of "the truth." But in the times of Classical Rhetoric, the ancient Greeks and Romans—Aristotle, Quintilian, and Cicero, to name a few—often saw rhetoric as way of discovering and conveying "truth." Rhetoric in this sense was a means of persuasion, and the study of rhetoric was particularly important in a world where oral traditions—the art of delivering speeches and tributes—held precedence over the written word. Significantly, the rhetorical strategies employed by the great orators of the past remain pertinent today and can be applied to both written and spoken forms of argument and persuasion. From the age of the ancient Greeks and Romans until the present time, theorists and scholars continue to study the effects of Classical Rhetoric on current forms of, and ideas about, communication. In this course, we will focus both on the original texts of the classical rhetoricians and the theories that have evolved from the on-going studies of these texts over several centuries. We will place these readings and theories within the contexts of the times from which they evolved, and trace their influence on our study of a variety of current texts, both print and visual.

English 184:001 Henrick Ibsen & Modern Drama
Professor Howard Silverstein
Tuesdays & Thursdays 1:30-2:45 pm

THIS COURSE WAS CANCELLED.

In 2006 we are celebrating the centennial of the death of the playwright referred to as "the father of modern drama." The plays of Ibsen are constantly revived in cities across the nation, on college campuses, and on Broadway and off Broadway. Hardly a season goes by that critics don't acclaim a new Nora in A Doll House or rave about an actress's portrayal of Hedda in Hedda Gabler. Theatergoers are struck with the freshness of Ibsen's dramas, with their close examination of the social and psychological conflicts of the characters. It was this nineteenth century Norwegian who transformed the theater of his time and most of the drama that followed. Ibsen brought realism to the stage: he eliminated the clumsy five-act structure of dramas and the painted scenery of his era. If a play were set in a living room, it looked like a real living room with sofas placed strategically for actors to sit on. The dialogue was believable, and the themes of his plays mirrored the issues of his own time as well as significant problems of our own.

The course will therefore start out with a close analysis and discussion of four plays by Ibsen: The Wild Duck, A Doll House, Hedda Gabler, and Rosmersholm. All of the authors studied in the course are indebted to Ibsen, from the European writers Chekhov, Strindberg, Shaw and Brecht, to American authors Eugene O'Neill, Tennessee Williams, and August Wilson.

Course requirements include two critical papers, a midterm and final exam. Depending on theatrical productions being offered, the class will attend an off-Broadway or Broadway play.

English 190:001 Senior Seminar (Literature Concentration)
Professor Leah Dilworth
Thursdays 12:00-2:30 pm

This course will guide students through the process of writing a long research paper (20-25 pages) on a topic of their own choosing. Students will use a range of research resources and write an informal proposal, a formal proposal, a first draft, and a final draft of the paper. You will also read and critique each other's work. Required reading will include essays on research methods and writing as well as a literary text and selected critical essays.

This course should be taken during your final year of study.

English 191:001 Senior Seminar (Creative Writing Concentration)
Professor Lewis Warsh
Mondays & Wednesdays 1:30-2:45 pm

We will investigate the lives and writings of innovative 20th century authors--Gertrude Stein, Robert Creeley, Zora Neale Hurston and Frank O'Hara, among others; attend and report on poetry readings--and give readings ourselves; go to museums; listen to music; pay close attention to our surroundings, what we do every day, and the way we think; keep intensive reading journals. Our final project will be putting together a manuscript of our best writing.

This course should be taken during your final year of study.

English 192: Senior Seminar (Writing & Rhetoric Concentration)
Instructor & times to be arranged.

Consult the Chair of the English Department (Professor Sealy Gilles) or the Undergraduate Advisment Coordinator (Professor Wayne Berninger) if you think you need to take this course now.

This course should be taken during your final year of study.

Graduate Courses, Spring 2007

English 520: Non-Fiction Writing Workshop
Professor Deborah Mutnick
Wednesdays 4:10 - 6:00 pm

The nonfiction writing workshop is designed to give you the opportunity to develop your writing in a community of writers. The focus this semester will be on the personal essay in relation to nonfiction writing in general. The course explores various approaches to nonfiction writing, such as the use of autobiography to anchor criticism and of fictional techniques like dialogue and point of view to write about real places, people, and events. It also raises theoretical questions such as what distinguishes nonfiction from fiction. What constitutes "creative" writing? What does the personal essay tell us about larger social and historical issues? And what role does the "I" play in different types of nonfiction writing? You will benefit from a group of readers with different perspectives whose job it will be to provide close readings and constructive criticism of your work.

Those interested in oral history and ethnography will have the opportunity to participate in one of two ongoing documentary projects. "Making a Legacy: The Story of an Urban Public School" is a seven-year project tracking the progress of the pioneering sixth grade class at the Urban Assembly Academy of Arts & Letters, a new secondary school that started in fall 2006 and is located at 225 Adelphi Street, a few blocks from LIU. "Homegrown Stories" is an intergenerational storytelling project sponsored by the Prospect Lefferts Gardens (PLG) neighborhood association. PLG is an area in Brooklyn bordered by Prospect Park, Crown Heights, Flatbush, and Parkside Avenue.

Throughout the semester, we will read published essays as models, identifying and experimenting with different techniques, styles, and approaches to nonfiction writing. 

Among the writers we will read are Virginia Woolf, James Baldwin, Vivian Gornick, Susan Griffin, Alice Walker, Richard Rodriquez, Edward Hoagland, Harvey Wang, Jane Lazarre, and Warren Lehrer and Judith Sloan. The emphasis of the class, however, will be on your own writing, which will be discussed at least twice in workshop during the semester. You will be required to complete two short (4-6 page) essays, and one longer (15-20 page) essay or the equivalent, as well as keep a writer's notebook.

English 524: See Sun, Think Shadow—Poetry Writing Workshop
Professor Lewis Warsh
Mondays 6:10 - 8:30 pm

"See sun, think shadow" is a quote by Louis Zukofsky, a great poet of New York City, whose poetry attempted to capture the light and darkness of his immediate surroundings. "Sun" and "shadow" are states of mind and also emotional states-the external world of the sun (what we see) and the interior world lost in shadow (what we're feeling). One goal of poetry is to transcribe the shifts from one state to another and also recreate the experience of what it feels like to be in the sun and in the shadow simultaneously.

We will use this workshop to expand the range of what's possible as poets and will begin by exploring the traditions and the various forms of poetry (among them the sonnet, the sestina, the villanelle). One primary concern is the way that poetry changes through time (in the same way that painting and music changes) and how poetry reflects the time in which it is written. We will also discuss the notion of experimentation, and how writing is an act of risk-taking, i.e. without taking risks nothing ever changes. Is all great writing, for instance, experimental writing? In what ways is writing poetry similar to scientific discovery of invention? We will discuss, at length, what "experiment" means in relation to poetry. Among the poets we will look at closely are Louis Zukofsky, Charles Reznikoff, Ted Berrigan, Elizabeth Bishop, Gertrude Stein, William Carlos Williams, Robert Creeley, Bernadette Mayer, Amiri Baraka, Alice Notley, Jack Spicer, Frank O'Hara, and Allen Ginsberg. We will also explore the ways in which poetry connects to theory, touching on essays by Maurice Blanchot and Lyn Hejinian.

English 525: Playwriting Workshop
Professor Katt Lissard
Wednesdays 6:10 - 8:30 pm

This course will be divided into three parts. We'll begin with a brief introduction to the history and basics of dramatic writing, using Aristotle's Poetics, David Ball's Backwards and Forwards and Shakespeare'sHamlet. The second phase will focus on scene and character development, through a series of written exercises and assignments, as each student begins drafting a one-act play. The final section of the course will be devoted to workshopping each student's play-in-progress. Ongoing discussion of playwriting craft, theory, and form will be directly related to the individual needs of participating student playwrights and the work each student is developing. Along with the texts mentioned above, we'll be reading relevant plays and using Keith Johnstone's Impro: Improvisation and the Theatre as an ongoing resource. The workshop will culminate in an evening of public readings of student work.

Katt Lissard, a writer and director, spent most of 2005 in Lesotho, Africa on a Fulbright Award - teaching in the Theatre Unit at the National University of Lesotho, producing and directing plays, and researching the dramatic response to the HIV/AIDS pandemic. Her most recent play, The Law of Falling Bodies, was part of the Third Millennium Festival. Her work has been seen at a variety of NYC venues, including: Dixon Place, HERE, NYU's Experimental Theatre Wing, the ArcLight, St. Mark's in the Bowery, and the former Circle Rep Lab. She is a Mabou Mines Resident Artist alum, an Affiliate Artist of New Georges Theatre Company and a MacDowell Colony Fellow. Lissard also teaches in the Goddard College Interdisciplinary Masters Program and at the State University of New York, Empire State College.

English 527: Web Authoring
Professor John Killoran
Tuesdays 6:10 -8:00 pm

According to a 2004 study by the Pew Internet and American Life Project, 44% of American Internet users have contributed some of their own work to the online world. Projecting from current economic and cultural trends, we can reasonably assume that almost 100% of writers and professional communicators will be expected to author some part of the online world.

To increase their understanding of, participation in, and marketability for such online authorship, students of this course will learn the principles, research, and practices of creating and publishing work on the Web.

Classes will be devoted to such topics as…

•Web rhetoric practices by commercial and non-profit organizations, throughout civic society, and in        personal, professional, and communal publishing;
• information architecture and hypertext navigation;
• information design principles and Web layout practices;
• writing for and reading from the computer screen, screen typography;
• rhetoric of integrating text with photographs, graphics, and color;
• user analysis and usability testing.

As a major part of their course work, students will write, design, and publish a Web site on a topic of their specialty.

Web Knowledge, Skills, and Prerequisites

As this is a graduate-level course, much class time will be devoted to developing students' conceptual knowledge: the principles of and research on Web rhetoric. Students will also develop their Web authoring skills:

• hand coding XHTML and CSS,
•using a Web editor,
•creating basic graphics and modifying photographs in Photoshop,
•publishing and maintaining their sites.

The course is designed to accommodate students with little or no Web-authoring experience, though such students should…

• have regular computer and Internet access,
•be very familiar with the Internet,
•be willing to learn quickly.

Students who have already developed these Web-authoring skills will focus their learning on Web research and Web rhetoric and, in consultation with the professor, will be permitted to complete and submit certain basic in-class course work from home.

English 625: 19th Century American Literature
Professor Michael Bennett
Mondays 4:10 - 6:00 pm

In this course, we will be studying literature written in the United States between 1840 and 1900 and the body of critical work that responds to this literature. The first part of this course will be devoted to the antebellum period. We will consider why this period has been called "the American Renaissance" and explore what, if anything, that label adds to our understanding of American culture before the Civil War. The last part of this course will examine American culture in the postbellum period. We will explore the adequacy of the term Realism for describing American literature written during the period of rising industrialism after the Civil War. In both parts of the course, we will interrogate what is meant by some of our key terms: American, literature, author, culture. We will keep in view how issues of gender and race shape (or misshape) our understanding of these terms.

Readings from: Frederick Douglass, Harriet Jacobs, Henry Thoreau, Ralph Waldo Emerson, Harriet Beecher Stowe, Walt Whitman, Emily Dickinson, Frances Ellen Watkins Harper, Nathaniel Hawthorne, Herman Melville, Fanny Fern, Rebecca Harding Davis, Mark Twain, Henry James, Kate Chopin, Charles Chesnutt.

English 641: Literacy/ Basic Writing
Professor Xiao-Ming Li
Thursdays 4:10 - 6:00 pm

THIS COURSE WAS CANCELLED.

In this course we will examine whom we teach and what we teach in basic writing courses, i.e. who are basic writers? And what is literacy? Based on the understanding of those two issues, we will discuss how to teach basic writers what we claim to teach. To answer the question of whom, we will read Shirley Brice Heath and Shondel Nero, whose studies of basic writers, the latter of students at LIU in particular, provide useful templates for our own ethnographic or case studies. For the question on literacy, we will read such influential educators as E.D. Hirsch, Paulo Freire, and Patricia Bizzell. To ponder the last question of how, we will examine models such as the Pittsburg model (Batholomae and Petrosky) and the Amherst model (Robin Varnum), and those described by Mina Shaughnessay and Geneva Smitherman in their well celebrated books. A Sourcebook for Basic Writing Teachers edited by Theresa Enos will be used as a companion book for all discussions.

All participants will keep a reading journal to "think aloud" all reading assignments. Each will also engage in a semester-long project to study one of the three key issues proposed above. The project will culminate in a paper of 10-15 pages, which should 1) synthesize and evaluate the readings pertinent to the issue; 2) analyze one basic writer's written texts throughout the semester in the context of the writer's life experience; and 3) propose concrete methodology tailored to this particular basic writer.

English 651: 16th & 17th Century English Literature
Professor Seymour Kleinberg
Tuesdays 6:10 - 8:00 pm

THIS COURSE WAS CANCELLED.

In this course we will explore the sonnets of Shakespeare, and the lyrics of John Donne, George Herbert, and Andrew Marvel (these last 3 known as the Metaphysical Poets). A term paper and a final essay in lieu of an exam are required. In addition, students will lead discussions each week. The course is a close reading of 4 major lyric poets to see how their ideas are expressed in their language and forms.

English 700: Practicum in Teaching Composition
Professor Donald McCrary
Tuesdays 4:10 - 6:00 pm

This course prepares graduate English students to teach in the LIU/Brooklyn Writing Program by examining the theories and practices that guide the program, including social constructionism, process writing, portfolio assessment, and thematic course design and applying those theories and practices to the creation of a viable English 16 syllabus. In addition, the course will explore managing the classroom, creating/integrating reading and writing assignments, responding to student texts, teaching grammar, organizing/facilitating teacher-student conferences, and addressing the linguistic issues of a multicultural student population.

Possible texts for the course might include Facts, Artifacts, and Counterfacts by Anthony Petrosky and David Bartholomae, The St. Martin's Guide to Teaching Writing by Cheryl Glenn et al, and Portfolio Assessment in the Reading Writing Classroom by Robert J. Tierney, Mark A. Carter, and Laura E. Desai.

English 707: Methods in Research & Criticism
Professor Bernard Schweizer
Thursdays 6:10 - 8:00 pm

This course will expose students to major schools of 20th-century critical theory, including New Criticism, Marxism, Feminism, Historicism, and Postcolonialism, and it will familiarize them with fundamental aspects of methodology and research. We will approach the critical heritage from three perspectives: first, we will engage in a discourse about the why and wherefore of theory in general, using Jonathan Culler's meta-theoretical Literary Theory: A Very Short Introduction; next, we will encounter various schools of criticism" in action;" that is, we will see how specific critical tools are used in interpretations of our core text,Jane Eyre; third, we will compare two different critical editions of Jane Eyre, assessing the theoretical premises underpinning each edition and identifying the editorial assumptions that went into the making of these textbooks. Finally, we will put what we learned in the first half of the course into practice. The class will be divided into groups, each of which will put together a "critical edition" of their own. That is, each group will act as an editorial committee working with either Rebecca West's The Return of the Soldier or Evelyn Waugh's Brideshead Revisited. The group is to collect a number of relevant critical treatments of these novels, write introductions, and collate the material to resemble an editorial apparatus. The groups are to give a progress report on their evolving critical editions week by week.

Assigned Texts: Jane Eyre, Bedford St. Martin's Critical Edition; Jane Eyre, Norton Critical Edition;Literary Theory: A Very Short Introduction, Jonathan Culler; The Return of the Soldier by Rebecca West; and Brideshead Revisited by Evelyn Waugh.

Undergraduate Courses, Summer & Fall 2006

Summer Session One 2006 

(May 15 - June 26)

(There are no upper division courses in Summer Session Two this year.)

English 180: Genre Studies / The Novella
Professor Harriet Malinowitz
Summer Session One 2006: Tue/Thu 1-4:40 pm

In this course, we will read novellas--works of fiction characterized by the fact that they are longer than short stories, but briefer than novels--and consider how and why the novella works as a prose form. Works by a range of authors will be covered, and will be selected from among those by Leo Tolstoy, Hermann Melville, Franz Kafka, Thomas Mann, Gustave Flaubert, Nella Larsen, Joseph Conrad, Gabriel Garcia Marquez, Abraham Cahan, Doris Lessing, James Joyce, Willa Cather, Richard Wright, and Tillie Olsen.

English 256: African American Women Poets
Professor Louis Parascandola
Summer Session One 2006: Mon/Tue/Wed/Thu 11:00 am-12:50 pm

This course will study the development of African American women's poetry over the past fifty years, particularly focusing on the Black Arts Movement in the 1960s and its aftermath. Authors to be discussed include Gwendolyn Brooks, Ntozake Shange, Audre Lorde, Nikki Giovanni, Sonia Sanchez, Jayne Cortez, Cheryl Clarke, Lucille Clifton, and some younger writers as well as some Caribbean poets. We will examine the ways in which the Black Arts Movement intertwined a radical new theory of black aesthetics with the community's political struggle for Black rights, women's rights, and lesbian rights. Several guest poets will visit the class, including Sapphire, Tish Benson, and Cheryl Boyce Taylor, to read from their work and discuss their writing techniques. Grades will be based on participation, short journal assignments, a midterm, and a final exam. Students will be able to substitute a short portfolio of their own poetry instead of the final exam if they wish.

FALL 2006

English 101: Introduction to English Studies
Professor Bernard Schweizer
Fall 2006: Tue/Thu 12-1:15 pm

This introductory course is designed to give an overview of the English major and to provide a foundation for the more advanced study of literature, rhetoric, and writing. During the course of the semester, we will systematize the various kinds of literary writing (genres), we will discuss the nature and scope of the literary canon, we will familiarize ourselves with highlights of the critical tradition, and we will talk about the history of English studies at large. Most importantly, we will perform close readings of literary texts to see what makes them "work," both thematically and aesthetically, and we will practice our own creative and analytical writing faculties. Finally, we will learn about career prospects and professional opportunities for English majors. A course pack with primary and secondary texts will be provided. The literary selections will be mostly drawn from British literature.

English 103: Workshop in the Essay
Professor Donald McCrary
Fall 2006: Thu 6 8:30 pm

THIS COURSE WAS CANCELLED.

This course will examine the rhetorical strategies and ideological content within critical texts that represent provocative and insightful meditations on various social, political, scientific, and philosophical ideas, theories and arguments. For example, students will explore the rhetorical and ideological context of critical texts about issues such as environmental protectionism, racial identity and conflict, heterosexism/homophobia, and evolution/creationism, and femisim/womanism. By reading and analyzing challenging and thoughtful texts, students will explore not only how rhetoric is undergirded by specific ideologies but also how writers construct and present rhetoric in ways that will influence and persuade their readers. Some of the writers students will read include Alice Walker, Barbara Smith, F. Scott Fitzgerald, Delores Williams, Gloria Anzaldua, Richard Wright, Jane Tompkins, Gary Soto, Stephen Jay Gould, and Michiko Kakutani. Students will write several formal essays that ask them to reflect critically about not only non-fiction texts but also their own experience.

English 104 (section 1): Introduction to Creative Writing
Finding Our Voices
Professor John High
Fall 2006: Mon/Wed 1:30-2:45 pm

This class is designed for anyone who has ever wanted to write creatively yet who is not sure how to begin or how to move beyond where they are presently in their own writing. Topics include: getting started, establishing a passionate discipline, making time, focusing on ideas and feelings and giving them shape through the language of fiction, poetry and drama. The course will also zero-in on back bone issues of style and technique, ranging from those of characterization and plot, continuity and vividness of imagery, clarity of diction and the use of phrasing and structure in the writing of our worlds-the various ways that elements of craft inherently dovetail with content. There will be weekly creative writing exercises and group discussions, as well as commentary on the writing process and how to make it come alive for you. What do we mean when we talk about issues of style, form and voice(s)? What is a fiction, a poem-what is a metaphor, what is the magic of language, the ghost of echoes, which reflect your own vision of the world, your experience or past, your dreams or visions? What do we mean when we talk about taking chances in writing? We'll look at the work of modern and contemporary writers ranging from James Baldwin to Anna Akhmatova to Jorge Luis Borges to that of younger writers publishing today. Critiques will focus on motivating the student to tap the undefined territory of his or her own imagination in order to more fully cultivate and mature her or his own voice/s and styles. The goal of the course includes completing a portfolio and/or anthology of our work.

English 104 (section 2): Introduction to Creative Writing
Professor Rosamond King
Fall 2006: Tue 6-8:30 pm

For those who want to be serious writers--or serious dilettantes--this course will provide an introduction to creative writing, including the genres of fiction, poetry, and drama. Rigorous course assignments will focus on exploration of a variety of voices, styles, and approaches. Reading is an important component of writing, so students will be required to read and present on other authors. Because much of the course material will be students' own writing, expect to complete reading and writing exercises each week.

English 128 Early British Literatures
Developing "Englishness" through Early Literature
Professor Srividhya Swaminathan
Fall 2006: Mon/Wed 4:30-5:45 pm

How did the English define their culture across turbulent historical times? This class will survey English texts from Beowulf to Aphra Behn's Oroonoko. Students will discuss the emerging idea of an "English" nation through an understanding of both text and context. What did Beowulf's heroic struggles against the monster Grendel reveal about English culture in the eighth century AD? How did Chaucer's pilgrims set up the class structure of medieval English society? Students will read a range of literary texts spanning the genres of poetry, drama, and prose. Each text will be examined for evidence of the formation of a cultural, ethnic, and/or national identity. Common themes of class hierarchies, religious struggles, and court culture will also be analyzed.

English 158: Early Literature of the United States / Captivity Narratives
Professor Carol Allen
Fall 2006: Thu 6-8:30 pm

This course explores early American writing before the Civil War. Using the general rubric that most American literature during this era is either an instantiation of economic, social, and/or spiritual containment or a response to being trapped in some manner, we will collectively delve into questions concerning the nature of literary constructs and their permeability. So, as we discover how writing shapes the world by limiting perception, we will focus on its ability to subvert expectations and norms, to infuse political and social spheres with revolutionary spirits, and to redraw forms and terrain. Expect to read political documents, slave narratives, religious texts, myths, poetry, essays, autobiography, fictional narratives and applicable criticism. A partial list of authors includes John Winthrop, Anne Bradstreet, Benjamin Franklin, James Fenimore Cooper, Harriet Jacobs, Frederick Douglass, Harriet Beecher Stowe and Edgar Allan Poe.

English 165: Poetry Workshop
The Poetics Of Voice & Time
Professor John High
Fall 2006: Mon/Wed 3-4:15 pm

What if as poets we were allowed to do whatever we wanted? What would we do? How long would our own experience & voice sustain us in writing? Every innovation in poetry has grown out of tradition, and in this course we will attempt to discover and connect with our own tradition(s) and poetic. Wallace Stevens wrote that all poetry is experimental. So what is the relationship between tradition, innovation, and a writer's unique poetic? If our own voices grow out of the past and from traditions firmly rooted in the power of language, our goal is to discover--to see what's out there, both as writers and readers--as we examine the literary traditions and lineages from which we have grown. We'll do this by writing our own poems and by exploring various forms and schools of poetry and by paying close attention to the way that poetry changes through us and through time. We'll also discuss the act of writing poetry as one of risk-taking and investigation, of destroying and reinventing traditions in our own tongue, of seeing how nothing ever changes unless you experiment or try something new. We'll discuss, at length, what "experiment" means in relation to "tradition" and "poetic." Among the poets we'll look at closely are Whitman, H.D., Williams, Pound, Stein, Bishop, Hughes, Cullen, Cane, Spicer, Levertov, Brooks, Creeley, Baraka, Whalen, Snyder, O'Hara, Zukofsky, Mayer, Howe, and Ginsberg.

A final portfolio, consisting of all your written work, is due at the end of the semester.

English 173: Writing in the Community
Professor Deborah Mutnick
Fall 2006: Mon 6-8:30 pm

Are you pursuing a career in media arts, journalism, law, education, nursing, or another field that involves writing and community service? Have you ever wondered how to make your voice heard in public? Do you care about issues of peace? The environment? Urban development? Are you curious about neighborhoods-why one thrives while another decays, and how you can use writing to learn about them? Is there a very old and/or interesting person whose stories you'd like to record? Are you looking for an elective that's fun and challenging? Would you like to improve your research and writing skills?

If you answered yes to some or all of these questions, consider registering for English 173: Writing in the Community. Offered in the new Writing and Rhetoric concentration, English 173 is an elective for students across the disciplines as well as in English who are interested in public and professional writing. Explore public spaces in the classroom, political forums, and local communities. Experience field work as well as a workshop format for getting constructive feedback on your writing. Projects range from oral history to neighborhood studies, tutoring in the community, and public writing on key social issues of our times. Readings will include (1) Perks and Thomson's The Oral History Reader; (2) Lehrer and Sloane's Crossing the BLVD: Strangers, Neighbors, Aliens in a New America; and (3) Harvey Wang's New York.

English 237: Utopia in Literature
Professor Charles Matz
Fall 2006: Mon/Wed 12-1:15 pm

Utopia, the ideal society, lasts longest in literary form. This course offers a sort of cruise to the exotic best of creative and imaginative writing right across the centuries to the present day's science fiction. Long stops are made only at the best, the most entertainingly though-provocative. Among the pleasures anticipated: Utopia, News from Nowhere, Brave New World, and Animal Farm. Discussion and analysis included.

English 241: African Literature and Film
Professor Jonathan Haynes
Fall 2006: Tue 1:30-4:30 pm

This course will approach the African experience through literature and films by Africans. We will consider the historical conditions in which both of these modern art forms have evolved and explore some of their major themes and objectives, notably their attempts to create a usable past for contemporary Africans, to serve as witnesses to the social upheavals of the colonial and postcolonial epochs, to foster a debate on the role of women in African societies, and to keep their audiences entertained.

Readings: Chinua Achebe's Arrow of God and A Man of the People; Wole Soyinka's Kongi's Harvest; and Mariama Ba's So Long a Letter.

Films: Mandabi (dir. Ousmane Sembene), Ceddo (dir. Ousmane Sembene), Yeelen (dir. Souleymane Cissé), Guimba: The Tyrant (dir. Cheick Oumar Sissoko), Faces of Women (dir. Désiré Écaré), and Quartier Mozart (dir. Jean-Pierre Bekolo).

Graduate Courses, Summer & Fall 2006

Summer Session One 2006

(May 15 - June 26)

(There are no graduate courses in Summer Two this year.)

English 569: Jane Austen in Fiction and Film
Professor Howard Silverstein
Summer Session One 2006: Tue/Thu 3:00--5:15 pm

The novels of Jane Austen, with their themes of love and marriage, the roles of men and women, and the challenges of forging ones identity in a hierarchical society, have become classics in the history of British literature.

A recent advertisement of Pride and Prejudice claims that the novel has sold more than twenty million copies since its publication in l813 and that it has never been out of print. Hollywood discovered the novel in l940 with a critically acclaimed film that boasted a screenplay by the British novelist Aldous Huxley. With the advent of television, the novel was reincarnated in many productions, the best of which was the magnificent six-part BBC version in the early l990s.

It was Ang Lee's production of Sense and Sensibility in l995 that caused movie makers to have another look at Jane Austen. Writers and directors suddenly realized that it was not only Pride and Prejudice that was a marketable commodity, but that the quintessential Austen plots of love and marriage in all her novels resonated with significance for our own times. Within a few years, Austen became a top box office celebrity: Emma, Mansfield Park, and Persuasion all made their film debuts. In 2005, Elizabeth and Darcy were once more on the screen in a British revival ofPride and Prejudice, while an Indian company produced a spin-off called Bride and Prejudice.

The required readings for the course are Sense and Sensibility, Pride and Prejudice, Emma, and Persuasion. Each of the novels will be discussed from a literary point of view as well as through a cinematic exploration. The initial discussion of the novels will concentrate on Austen's themes, narrative techniques, characters, and humor. The second part of the discussion will extend to the film. The critical question here will be how does each film interpret the novel? What cinematic innovations are there, and do they add to the success or failure of the movies?

Two critical papers are required as well as an oral presentation on one of the films. Each student will be assigned a film for his/her presentation.

ATTENTION: Sense and Sensibility must be read in its entirety for the second class meeting
on May 18th.

FALL 2006

English 508: General Linguistics
The Making of a Sentence--Grammar for Basic Writers
Professor Xiao-Ming Li
Fall 2006: Wed 6:00--8:00 pm

Grammar is seen by many as passé and boring, if not downright retro. However, students in our writing classes continue to struggle with forming sentences, and many instructors have had little training in formal grammar and wrestle with sentence-level errors mightily, often to little effect. More seriously, grammatical correctness, despite our claims to the contrary, continues to be the single most important determinant of a student's advancement in most writing programs.

This course is designed for those who think grammar still has a place in the teaching of writing and would like to understand the constituents and structure of English sentences. We will start from the parts of speech and move up the hierarchy to the phrase, clause, and sentence, and then to the types of sentences: simple, compound, and complex. Other related topics to be discussed and examined in class are the syntactical and stylistic differences between oral and written English, the controversy between descriptive and prescriptive grammar, the rhetorical use of grammar, and the advantages and limitations of teaching grammar.

Each participant will do weekly grammar assignments and write journal entries on grammar-related topics; most importantly, he or she will work with a student or a tutee throughout the semester and apply grammar to the analysis of the student/tutee papers. The final project will be a comprehensive analysis of the grammatical strengths and weaknesses of the student/tutee writing and its possible progress during the semester to assess the usefulness of grammar instruction.

Tentative texts:

DeCarrico, J. The Structure of English: Studies in Form and Function for Language Teaching. Ann Arbor: University of Michigan Press, 2000.

DeCarrico, J. & Franks. Workbook to accompany The Structure of English. Ann Arbor: University of Michigan Press, 2000.

Shaughnessy, Mina. Errors and Expectations.

English 522: Academic Writing Workshop
Professor Mary Hallet
Fall 2006: Mon 4:10--6:00 pm

This course offers graduate students from all disciplines hands-on practice in the writing of academic essays, even as it explores the shifting nature of the academic essay as a genre across different disciplines and for different writing purposes. Examining diverse models of academic writing, we will work together to determine its common conventions, as well as the conventions that are particular to specific disciplines and fields. The workshop portion of the course asks students to bring their work to the table--that is, to share their own academic writing with their classmates and teacher in order to receive productive feedback, and to be willing to give productive feedback in return. By the end of the semester, students should understand and practice academic writing as an active engagement and conversation with scholars and ideas in their own fields; they should see themselves as active participants in these scholarly conversations, and as scholars themselves who can advance the knowledge of their fields. They should understand that academic writing is both a reflection of what they learn and a mode of learning itself. Readings in the class will be largely determined by students' interests and the particular disciplines to which they belong. Writing assignments will include essays based on the readings we do, as well as readings students do in their individual disciplines.

English 523: Fiction Writing Workshop
Spirit & Dream Autobiography
Professor John High
Fall 2006: Wed 6:10--8:30 pm

In this course we will begin to sculpt our writings into the language of spiritual and dream autobiographies. Humanity's attempt to understand itself throughout the ages has often resulted in a fringe of wr iting engaged in poetry of spirit and a prose of quest, of prophecy, vision, verbal experimentation and meditative stories that function as expressions of the changing self. In your own writing quest, your discoveries may tread between the realms of journey, dream, fiction, and poetry, while leading you to a deeper sense of awareness and awe of the secret depths of human character and verbal expression. Autobiographies may include stories, dreams, poetry and poetic prose; indeed, language itself can only gauge a spiritual journey, but through language we discover and represent the shifting and mysterious points of our identities and the world around us.

In this workshop we will have a chance to glimpse one another's strengths and weaknesses in writing and to offer suggestions as to how to improve and build on the texts. The course will operate on a workshop basis and students will be responsible for providing verbal and written responses to one another's work. We'll set out to understand the "strivings" of each piece of writing in order to determine the ways in which it can be structured and developed into a whole and, afterwards, offer constructive criticism and helpful suggestions to the author. There will be class discussions on what we mean when we talk about the autobiography as a gathering ground for material evolving out of the imagination's eye and the world it inhabits in dream as well as reality; concurrently, there will be readings and class discussions on the nature of memory, improvisation, dream and persona. We will scrutinize the craft of the pieces and explore how we might more effectively implement, extend, and develop the techniques and forms of these texts in our own evolving work. The goal of the course includes completion of a portfolio of work and revised editions of texts for a class anthology designed and edited by the class, culminating in a group reading and party.

We'll be reading from Pilgrim Souls, a collection of spiritual autobiographies, which includes authors ranging from King David, St. Augustine, Tolstoy, Emily Dickinson, Thomas Merton, Eldridge Cleaver, Kathleen Norris, C.S. Lewis, Annie Dillard, Flannery O'Connor, and Simon Weil.

English 526: Writing for Media I--The Story
Professor Peg Gormley (from the Media Arts Department)
Fall 2006: Thu 6:00--8:50 pm

This cross-listed course is an introduction to the methods and principles of great STORYTELLING in the media. It is the cornerstone course for all forms of story: commercials, sitcoms, movies, experimental shorts, even documentaries and photographic essays. In the first half of the semester, by means of screenings and discussion, students will learn to recognize and analyze basic story elements such as narrative structure, character, setting, plot, design, irony, and comedy. In the second half, in workshop-style classes, students will work on creating their own stories using these elements. Each student will develop his/her own movie-short screenplay and treatment as a final project. A professional screenwriter will be a guest speaker at one of the classes. Requirements: access to a computer, purchase of Final Draft writing software, permission of instructor to take the course.

English 527: Professional Writing Workshop
Writing Throughout Your Career
Professor John Killoran
Fall 2006: Tue 6:10--8:00 pm

Most careers now involve some writing, and some careers involve mostly writing; however such writing can be quite diverse, not just from career to career but even within one career, especially as our writing changes in conjunction with situational, cultural, and technological changes. To master such diversity and change, students of this course will learn common principles for the diverse kinds of writing they might practice throughout their evolving careers:

--writing for businesses and non-profit organizations;
--writing in various professions (health, legal, financial, educational);
--writing about new technology and science;
--writing in traditional media and new media.

The course draws on rhetorical perspectives, notably those inspired by genre scholarship and professional writing practices, to provide students with a core of common principles for analyzing and practicing diverse kinds of professional writing. As part of their course work, students will analyze professional writing and writing practices in a career area of their choice. Students will also create and/or revise their resume and -drawing on their writing in this course and their other professional (or academic, or creative) writing-begin a print portfolio or e-portfolio, and receive individual guidance and feedback in consultation with the professor, who researches resume writing and Web portfolios.

English 624: American Autobiography
Professor Patrick Horrigan
Fall 2006: Thu 6:10--8:00 pm

Forget "the great American novel": autobiography is arguably the quintessential American genre. The course will examine over three hundred years of Americans' use of the first person in memoir, letter, diary, film, and comix. More basically, we will attempt to define the genre, distinguishing it from the novel and biography, and we will consider the place of "the personal" in all manner of intellectual and artistic production. Authors and texts may include Mary Rowlandson's The Sovereignty & Goodness of God; Benjamin Franklin's Autobiography; Frederick Douglass'sNarrative; Henry Adams's The Education of Henry Adams; Mary Antin's The Promised Land; Gertrude Stein's The Autobiography of Alice B. Toklas; Richard Wright's Black Boy; Thomas Merton's The Seven Story Mountain; Tom Joslin's video diary Silverlake Life; Richard Rodriquez's Brown; Harvey Pekar, Joyce Brabner, and Frank Stack's graphic memoir Our Cancer Year; and Joan Didion's The Year of Magically Thinking. Major texts will be supplemented by readings in the theoretical literature, and students will have the opportunity to write critically as well as creatively--that is, to draft autobiographical essays or stories of their own.

English 636: Postcolonial Literature and the Atlantic World
Professor Maria McGarrity
Fall 2006: Mon 6:10--8:00 pm

Postcolonialism as a critical impulse has had a profound impact on literary and cultural studies in recent years. This course will examine the narratives that characterize Postcolonialism by focusing on the encounter between the centralized colonial metropolis and the Caribbean archipelago in the twentieth century. The creative works in this course represent the colonial and postcolonial imagination from both the centers and the margins of empire. We will read urban novelists who imagine the empire in their works as well as writrs from the Caribbean who write back to the center. We will examine what impact the Atlantic World and Transatlantic movement has had on these narratives, paying special attention to the Atlantic world impact on the Haitian Revolution. We will explore foundational texts in the field and complicate the following topics: globalism and local culture; the psychology of colonialism; landscape and empire; sexual transgression and the constructions of the Other; and imagining nationalisms. Requirements are a class presentation on an historical/colonial subject, a short paper based on the presentation, and a final research seminar paper.

English 646: Individual and Small Group Writing Instruction
Professor Mary Hallet
Fall 2006: Tue 4:10--6:00 pm

Research in the teaching of writing has repeatedly revealed the benefits for student learning of one-to-one instruction and small group collaborative work. Such research has helped shift the focus of writing instruction away from classroom drills in, and lectures about, grammar and the rules of composition to a more dialectical approach to learning, one that encourages active student participation. Concurrent with this move away from the "lecture hall" mode of teaching has been the proliferation of university writing centers staffed with specially trained tutors, as well as an emphasis among writing teachers upon one-on-one writing conferences and small collaborative learning groups in the classroom. This course will contextualize these changes in writing instruction within the larger framework of composition theory and history. More specifically, the course will focus on the theories, policies, dynamics and practices of individual and small group writing instruction. We will not only read about and discuss theories and issues relating to these topics, but we will also observe and practice individual/small group writing instruction within the contexts of tutoring and classroom environments. Writing assignments will include short journal responses to the readings and discussions, as well as reflections upon your own experiences with individual and/or small group instruction; an analysis of such instruction within the Writing Center or a composition classroom; and a final project that focuses in depth on one of the issues we have read about and discussed in class.

English 650: Gender and Sexuality in Medieval Literature
Professor Sealy Gilles
Fall 2006: Tue 6:10--8:00 pm

This seminar explores the formation of masculine and feminine identities in the literature of the Middle Ages. The focus is on western Europe and England, with brief forays into the Arabic tradition. All texts will be read in modern translations, and the course is designed for the non-specialist. Medieval romances, folk tales, and love lyrics have shaped our ideas of what it is to be a man or a woman, and our attitudes towards sexuality. The course examines those notions about who we are and how we relate to others as they are embodied in texts from the twelfth through the fifteenth centuries. We shall look closely at bonds between men (brotherhood, king and vassal, father and son) and between women (sisterhood, mother and daughter, the hag and the young woman). The nature of male heroism and of the lady will be particular topics of concern, but we will also be reading texts in which men are the objects of desire and women the aggressors, as well as poems that express same-sex desire. In addition, the class will explore anxieties about gender and sexual control, in particular through examining the connection between leprosy and promiscuity in the later Middle Ages.

Texts include Tristan and Isolde, Abelard and Heloise, the lais of Marie de France, Dante's Vita Nuova, Chaucer's Canterbury Tales, Robert Henryson's Testament of Cresseid, and a wide selection of lyric poetry. Requirements include a brief, close-reading essay; an oral presentation; and a researched, documented essay.

English 708: Thesis
Time to be arranged individually--Contact Professor Marilyn Boutwell