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Armitage Hall, Fourth Floor
311 N. Fifth St.
Camden NJ 08102
Phone: (856) 225-6121
Fax: (856) 225-2873
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Fall 2016 | Spring 2016Fall 2015Spring 2015 
Fall 2014Spring 2014 | Fall 2013 | Summer 2013 

Fall 2016

Introduction to Graduate Literary Study

T 6:00-8:40


This course serves as an introduction to the academic and professional skills required for successful study of English at the post-graduate level. Topics will include the explication of literary texts; writing of bibliographical and critical essays; locating and documenting primary and secondary sources; understanding and skillfully deploying critical theory in literary analysis; and refining writing and critical thinking skills. Students will also be introduced to resources geared toward exploring professions related to English study, including scholarly editing, writing for publication, and teaching at different types of institutions. This course is required for the Master of Arts degree.

Special Topics: Women and Literature
T 6:00-8:40

Cross-listed with 56:606:662:01

Notable literature by and about women from the 17th century to the present. We pay attention historical developments, critical theories, and formal as well as thematic qualities that define a female literary tradition. Many of our texts are from the MA Candidacy Exam reading list. Oral presentations, short writings, and a final paper or project.

English Renaissance
Th 6:00-8:40

Cross-listed with 56:606:511:01

Condemned in permanence to overwork, malnutrition, illiteracy, and the contempt of social ‘superiors’, the poor of England lost even such relief as monasteries had offered when Henry VIII suppressed these in the 1530s. Yet if the establishment regarded the poor as little more than animals, its religion officially exalted poverty as the condition of Christ and his apostles, and Christianity proclaimed all humanity to be created in the image of God. Such contradictions exploded into rebellions and war in sixteenth century Europe, often driving increasingly frightened literary men into demonization of the underclasses. How do such great figures as Thomas More, Edmund Spenser and William Shakespeare fit into these circumstances? Are there analogies in today’s USA to this pattern of ‘blaming the victim’? We will read, among others, More’s Utopia, Shakespeare’s Lear and Measure for Measure, and excerpts from Crowley, Rastell, Latimer, Spenser, and Winstanley. Grading will be by one in-class presentation, and a 15-20 page term paper. This course will satisfy the pre-1800 requirement.

Literature of Adolescence
Th 6:00-8:40


We begin by giving up the notion that adolescence is a biological condition. We will interrogate the construction of twentieth-century adolescence that accompanied sociological changes in the family and nation, particularly child labor laws, and the growth of the modernist character. Stanley Hall popularized the term adolescence with his 1904 textbook, but J. S. Clouson pioneered the psychological term in a discussion of insanity and risk in 1880! As Roberta Trites points out in her analysis of adolescent fiction, the tragic character of The Chocolate War keeps a meaningful poster in his locker; it features the lines of T.S. Eliot’s Prufrock, “Dare I disturb the universe?” The male adolescent figure initiated by Huckleberry Finn and crystallized by Holden Caulfield would become the spokesperson for modernist angst and alienation, while the social pressures of adolescence would become the site of critique in postmodern adolescent fiction. We will pay particular attention to how social categories such as gender, race, class, sexual orientation, age, social clique, and adult institutions/treatments/geographies shape the adolescent character. Our reading list candidates are (I will cut this down—and email me your preferences or additions!): Adventures of Huckleberry Finn, Little Women; Summer; The Catcher in the Rye; Native Son, The Member of the Wedding; The Pigman; Go Ask Alice; The Chocolate War; Annie John; The Giver; Prom or My Cup Runneth Over: The Life of Angelica Cookson Potts (to lighten the mood); From the Mixed-Up Files of Mrs. Basil E. Frankweiler ; Brown Girl, Brownstone; Annie John, Looking for Alaska, Monster; and High Fidelity (also to lighten the mood). Warning: the literature of the second portion of the course can be quite dark. Adolescent literature is not for children. Requirements include a presentation, a close-reading exam, a research paper, and continual participation in class and on sakai. This course will satisfy the American Literature requirement, and count towards the Childhood, Literature/Culture track.

Special Topics: African American Novel Since WWII
T 6:00-8:40

Cross-listed with 56:606:541:01 and 50:014:400:01

This course explores African-American novels published since World War II. It begins with Ralph Ellison’s indispensable meditation on blackness in the first half of the twentieth century, Invisible Man, and moves towards more recent texts such as Toni Morrison’s haunting rumination on family and slavery, Beloved. Course participants will become familiar with the considerable body of criticism related to this literature as well as understand the social and historical conditions that inform its production. Course requirements include regular class participation, an annotated bibliography, an oral presentation, and a substantial research paper. This course will satisfy the American Literature requirement.

History of the English Language
W 6:00-8:40

Cross-listed with 56:606:671:01

This course will address the growth and structure of the English language from its origins to the present, with attention to methods of linguistic description. In addition to more traditional historical linguistics (i.e. the effect of language change on the phonology, morphology, semantics and syntax of the language), we will devote considerable attention to socio-historical influences on the development of English, addressing, in particular, questions relating to authority in language: Standard vs. non-standard dialects of English, the rise of dictionary making, spelling reform movements, etc. Course requirements: Midterm exam and course paper. This course counts toward the Philology requirement.

Special Topics: Writing Machines
W 6:00-8:40

Cross-listed with 56:606:608:01

What does it mean to write with machines? We have long used machines to write, and those machines have always actively shaped how writing happens. Today, this question is extended even further, since we are writing alongside computational machines. From algorithms that generate news stories to bots that edit Wikipedia to the various “autocomplete” functions on our devices, computational machines are doing a great deal of writing. This course will ask how such machines force us to reconsider what we mean when we say we write “with” machines. More than mere tools, machines are collaborating with us and, in some cases, writing with very little human intervention. Students will both read about and experiment with various computational technologies. No technological expertise is required. This course counts toward the Writing Studies Track.
Possible texts in this course include:

Speaking Code, by Geoff Cox
Rhetoric and the Digital Humanities, edited by Jim Ridolfo and Bill Hart-Davidson
Grammophone, Film, Typewriter, by Friedrich Kittler
Comparative Textual Media, edited by Katherine Hayles and Jessica Pressman
Reading Writing Interfaces, Lori Emerson
Track Changes: A Literary History of Word Processing, by Matthew Kirschenbaum
Remixing Composition, by Jason Palmeri

Practicum in the Teaching of Writing
T 3:00-5:40


This seminar on composition theory and practice serves as the primary support for graduate teaching assistants in our first year writing program. Grounded in approaches to effective instruction and classroom management, the course introduces current and prospective teachers to the major topics and concerns of composition pedagogy today. These include issues of writing development and cognition, the particular features of academic writing, the changing nature of composing in a digital age, and the demands posed by the diverse backgrounds and cultures of students in the contemporary college classroom. Students in the practicum have opportunities to hone their teaching skills along the way to becoming reflective practitioners. Course texts include The Saint Martin’s Guide to Teaching Writing, 7th Ed. (Bedford/St. Martins) and A Guide to Composition Pedagogies, 2nd Ed. (Oxford). This course is required for all first year teaching assistants in English and open by permission to other graduate students seeking preparation for teaching writing at the post-secondary level. This course counts toward the Writing Studies Track.

Spring 2016

Special Topics: The Archive

This course provides students with the opportunity to do relatively independent hands-on work creating a digital archive of the celebrated Camden haiku poet Nick Virgilio’s body of work, which is entrusted to the Rutgers-Camden English department and housed in the Rare Books Room of the Robeson Library. In order to do this work, you will learn early on in the semester how to encode text and, along the way, learn what an archive is and its range of functionalities.

Medieval Literature

M 6:00-8:40
This M. A. course is designed to act as a stream in which the innocent lamb may wet its ankles yet in which an elephant may swim. Our goal will be to introduce the student to the realm of medieval literature using the startlingly sophisticated poetry of the Anglo-Saxon era (ca. 660-1066 CE), texts originally written in a version of our language that’s more than one thousand years old, one of the earliest vernacular literatures in Western Europe. We will be engaging these poems closely, using the freshest and more contemporary translations possible, studying the not only as artifacts of historical interest, but also as agents of poetic power, which negotiate literary and political problems that continue to vex us today. How does poetic form express content? How are features such as alliteration manipulated to deepen the experience of a poem? Why did poets such as Hopkins, Pound, Auden, and Geoffrey Hill go back to Anglo-Saxon verse to mold their own poetry? What did the Anglo-Saxons have to say about exile, war, justice, law, conquest, torture, and gender and ethnic relations that can be instructive to us today? How are these ancient verses still relevant to our modern concerns? This course will satisfy the pre-1800 requirement.

Special Topics: Writing for Publication

T 6:00-8:40
“Writing for Publication” will be structured as a practical, hands-on workshop geared toward turning a promising seminar paper into a scholarly journal article or book review of publishable quality. Please note: it is very important that you have a draft of a promising essay with which to begin. Due to the tight schedule, it will be very hard to keep pace if you are starting from “scratch.” Topics will cover the entire writing and submission process, including choosing a journal, writing an abstract, situating your argument within a scholarly discourse, contacting an editor, responding to feedback, and requesting permissions. We will also examine qualitative aspects of writing, such as overcoming writing inertia, time management, working with others, dealing with rejection, and persevering with your intellectual convictions. Please note: this seminar is geared toward academic publishing and will not address issues related to publishing creative work. MFA students interested in writing book reviews or literary essays are, of course, most welcome!
You might be asking “what constitutes a ‘promising’ essay?” There is, of course, no cut-and-dry answer, but here are some items to consider: 1. Has your professor read it and suggested it could be revised for publication? 2. While researching the topic, did you feel you had an original argument that would contribute to scholarship on your topic? 3. Did you do some type of archival research or write up a “state of the field” analysis that would benefit other scholars who read it? 4. Are you writing in a relatively emerging field, such as digital humanities, media studies or a relatively emerging topic, such as video games or social media? 5. For book reviewers, do you feel you have a very strong grasp of the literary or critical context in which the book situates itself? If you answered yes to any of these questions, chances are you have a “promising” text. Those with individual questions should feel free to email me at This course will count toward the Writing Studies track.

Special Topics: Greek Tragedy and its Legacy

Th 6:00-8:40
Cross-listed with 56:606:501:01
In this course we will read a number of works by Aeschylus, Sophocles, and Euripides, studying them within their own historical contexts as well as exploring their relevance to later literary / historical periods. In addition to Greek tragedies like Medea, Trojan Women, the Theban trilogy, and the Oresteian trilogy, we will examine modern adaptations / interpretations of these classical works such as Christa Wolf’s feminist play Medea: A Modern Retelling; Julia Alvarez’s In the Time of the Butterflies (as a modern Antigone); and Freud’s appropriations of the Oedipus and Electra stories. Along with primary texts, we will read critical works by Simon Goldhill, Jean-Pierre Vernant, David Grene, E.R. Dodds, and other major voices in the field that amplify and theorize ongoing conversations between the ancients and the moderns. Course requirements include active class participation, an oral presentation, a mid-term paper, and a longer final paper. This course will satisfy the pre-1800 requirement.

Special Topics: Swift and Defoe

Th 6:00-8:40
Jonathan Swift and Daniel Defoe were probably the two greatest writers of their age, but they had little use for each other. Swift’s attachment was to mankind’s glorious past, while Defoe was the prophet and engineer of a new, imperial British nation. Together, they took stock of the best and the worst of the early modern world. We will read Swift’s political, satirical, and ironical essays (including “A Modest Proposal”), selections from his poems, and Gulliver’s Travels. We will read several of Defoe’s novels, including Robinson Crusoe, Moll Flanders, Roxana, and a selection of his many works of journalism, non-fiction, and poetry. Several short papers and a final exam will be required. This course will satisfy the pre-1800 requirement.

Special Topics: From Jacobs to Django
Remembering Slavery in American Literature and Culture

W 6:00-8:40
Cross-listed with 50:014:400:01 and 56:606:609:01
This course will satisfy the American Literature requirement.
In 2016, A&E, Lifetime, and History will be broadcasting a remake of Roots, the pioneering miniseries (based on Alex Haley’s book of the same name) that drew approximately 100 million viewers in 1977. The revamping of Roots in a so-called post-racial age demands a renewed conversation about the continuing relevance of slavery in American cultural production. 150 years after the end of chattel slavery, why are people still drawn to representations of chattel slavery? What functions do these reenactments and remembrances of black bondage serve? Who benefits from them? Who is interested in them? What patterns, if any, emerge in their retellings? What experiences or moments have been privileged in these recollections? How do the dynamics of memory (personal and collective) shape what slavery means or has meant? What is the relationship of rehearsing slavery to contemporary conversations about police accountability, intersectionality, or the legacy of the Civil Rights movement?
With an eye towards confronting and complicating these questions, this class seeks to explore rememberings of American chattel slavery from the eighteenth century to the present. It will pay special attention to first-person slave narratives, but will also consider visual, filmic, aural, and material incarnations of the desire to document and remember African American unfreedom. Representative selections and sites include Briton Hammon’s Surprising Deliverance, Harriet Jacobs’s Incidents, Toni Morrison’s Beloved, Richard Pryor’s Bicentennial Nigger, Haile Gerima’s Sankofa, Steve McQueen’s Twelve Years a Slave, Quentin Tarantino’s Django, Kara Walker’s My Complement, My Enemy, My Oppressor, My Love, David Eltis’s Voyages website, and Camden’s Pomona Hall. A seminar paper, presentation, and annotated bibliography are required. This course will satisfy the American Literature requirement.

Special Topics: Vanishing Americans: Representing Native America in Early American Literature

M 6:00-8:40
Cross-listed with 56:606:612:01
In this seminar, we will study the Native turn in early national American literature, the dominant and seemingly contradictory assertions of a “vanishing” Native American population and an emerging nativism among the creole (American of European descent) population that identified with those disappearing (or disappeared) subjects. Our focus will be on the Indian, or Indianist, Romance of the early republic, thinking about how this growing body of texts becomes both a way of affirming a national culture distinct from that European heritage ostensibly ruptured by the events of Revolution and a means of papering over the ongoing violence of removal. We will explore this vision in the works of Lydia Maria Child, James Fenimore Cooper, William Cullen Bryant, Henry Wadsworth Longfellow, and Catharine Maria Sedgwick. We will also think about how contemporaneous Native American writers like William Apess, Elias Boudinot, and Jane Johnston Schoolcraft resisted that dominant trope, asserting their presence against the idea of their absence, their endurance against the trope of their disappearance. This course will satisfy the American Literature requirement.


Fall 2015

Introduction to Graduate Literary Study
56:350:503:01 M 6:00-8:40
An introduction to the professional skills required for successful study of English at the post-graduate level. Topics will include the explication and criticism of literary texts; the writing of bibliographical and critical essays; locating and documenting primary and secondary sources; teaching at the secondary, two-year college, and four-year college levels; appreciating the utility of critical theory in literary analysis; and refining writing and critical thinking skills.
Students will complete projects in the editing of literary texts and the composition of articles for publication. This course is required for the Master of Arts degree.

Special Topics: The Animation Mystique
56:350:593:01 Th 6:00-8:40
L. Frank Baum’s first publication was actually on “the art of window-dressing.” In it, he explained that the store window was the place where art and commerce meet. The display must convey the sense of desire that is the human condition, but never the full satisfaction of that desire: the fragmented body, the vanishing manikin lady—these were his preferred devices. They became the desiring subjects of Oz, at once freakish and frail, reflecting a queer sense of changing American multiculturalism. In her study of sentient toys, Lois Kuznets finds that toys express the existential dilemmas in us all: struggle and anxiety with temptations of power, agency, and independence; rivalry with our divine creators; struggles with sexuality and what I call “the conditions of creation”—limits on self-actualization defined by our bodies and purposes of our creation. If the toy is a wooden puppet or machine, it explores the ramifications of this construction much as we explore our gender, race, class, etc. This course covers the various automata of E. T. Hoffmann and how they crept into the work of Hawthorne and Alcott; Collodi’s famous puppet Pinocchio and his progeny in early cinema and animated film; a few of the Oz books (Wizard, Patchwork Girl, Tin Woodman); the animation of Vladislav Starewicz, who animated insects and who created the first film of a toy coming to life (The Mascot), influencing Tim Burton; The Velveteen Rabbit, The Brave Little Steam Shovel, and other dolls, machines, and cyborgs in various media (Octavia Butler’s “Bloodchild,” Philip Kirk’s Do Androids Dream of Electric Sheep?, and Blade Runner); and the most interesting animation of Disney, Pixar, and others who focus on animation as theme and form, and the dilemmas of nonhuman creatures (Jiří Trnka’s The Hand and Henson’s Muppets; Disney’s Pinocchio, Snow White, and Roger Rabbit; Lasseter’s early Brave Little Toaster and later Toy Story; Burton’s Edward Scissorhands; Kidōtai’s Ghost in the Shell). Since the syllabus is still under construction, I can take requests from enrolled students; if you’re a Trekkie and you wish to study Data, say the word. Requirements include various essays and in-class participation, a presentation, and a final project in which you have free range to work on any nonhuman or machinelike being you wish.

Special Topics: Literature of Childhood
56:350:594:01 T 6:00-8:40
Literary, cultural, and theoretical perspectives on literature written for and about children–from classic to contemporary, from picture book to young adult. Special attention to gender; to changing definitions of childhood, to the child in relation to self, family, and nation; and to the unstable category of children’s literature itself. A short paper, oral presentations, and a final paper or project. 

Special Topics: Kingship and Tyranny in the English Renaissance
56:350:595:01 T 6:00-8:40
Cross-listed with 56:606:511:01
Do Christians believe in kings? Should Queen Elizabeth have been deposed? Is national governance by hereditary monarchy a constitutional madness, or the wisdom of Tradition? Pursuing these questions, we shall see that sixteenth century England experienced an unprecedented expansion of royal power and prerogative, nonetheless dwarfed by the Absolutism emerging in France and Spain. Accordingly, European writers and intellectuals were engrossed by meditation on the rights and limitations of the Crown, on the differentiation of untrammelled power from tyranny, on the potential prerogative of subjects’ resistance, and on Christian teachings on the nature of kingship. We will discover contrasting positions in More’s Utopia, Erasmus’ Education of a Christian Prince, Machiavelli’s Prince, along with such resistance theory as John Ponet’s Treatise of Politike Power. We will then turn to examine the politics of contemporary drama written by Shakespeare, Ben Jonson, Samuel Daniel, and others. A 15-20 page term paper will allow you to puzzle out for yourself the politics of monarchical representation in any contemporary play that you choose. This course satisfies the pre-1800 requirement.

Twentieth-Century American Fiction
56:352:522:01 M 6:00-8:40
Cross-listed with 56:606:531:01
Novels and short fiction from a range of authors, beginning with James and including Wharton, Hemingway, Fitzgerald, Nabokov, Mailer, O’Connor, Capote, Pynchon, Barthelme, Roth, Morrison, Cheever, DeLillo and McCarthy. The course will investigate the paths American fiction, from Modernism through Post-Modernism, has pursued since Daisy Miller, in particular the American emphasis on the novel as historiography. Two to three short papers and a seminar report.

Structure of the English Language
56:615:520:01 W 6:00-8:40
Cross-listed with 56:606:631:01
Just the mention of grammar makes most people nervous, and it makes English majors very nervous. Most English majors harbor that darkest of secrets: they don’t know grammar. Worse, English majors know that they are expected to be expert grammarians, ready and able to diagram a sentence or name the parts of speech of a sentence at the drop of someone else’s hat. If you suffer from grammar guilt (or even if you don’t), this course is for you. You will not be expected to pretend to know what you don’t, nor will you be humiliated or embarrassed by any lack of knowledge. Instead, we will see how intricate and interesting the grammar of English really is, and that learning grammar needn’t be a frightening experience. We will take a linguistic approach to grammar– we will systematically examine how language works, how to take it apart and how to put it back together. In particular, we will focus on the structure of the sounds (phonology), the words (morphology) and the sentences (syntax) of American English, as well as the meaning of it all (semantics). We will also see how the application of grammatical concepts can help us better understand both ordinary speech and the language of literary texts. Course requirements: The final grade will be based on quizzes and a final paper. This course will satisfy the Philology requirement.

Practicum in the Teaching of Writing
56:842:569:01 W 3:00-5:40
This seminar on composition theory and practice serves as the primary support for graduate teaching assistants in our first year writing program. Grounded in approaches to effective instruction and classroom management, the course introduces current and prospective teachers to the major topics and concerns of composition pedagogy today. These include issues of writing development and cognition, the particular features of academic writing, the changing nature of composing in a digital age, and the demands posed by the diverse backgrounds and cultures of students in the contemporary college classroom. Students in the practicum have opportunities to hone their teaching skills along the way to becoming reflective practitioners. Course texts include The Saint Martin’s Guide to Teaching Writing, 7th Ed. (Bedford/St. Martins) and A Guide to Composition Pedagogies, 2nd Ed. (Oxford). This course is required for all first year teaching assistants in English and open by permission to other graduate students seeking preparation for teaching writing at the post-secondary level.

Spring 2015

Learning Abroad: Reporting on South Africa: An Emerging International Powerhouse with required trip to South Africa, March 12-23, 2015
56:350:505:I1  W 6:00-8:40 
Class will meet 1/28, 2/11, 2/25, 3/4., 4/1 and 4/29
By arrangement: Capuzzo
This course meets 6:00-8:40 p.m. 1/28, 2/11, 2/25, 3/4, 4/1, and 4/29. This learning abroad course will explore the world of international reporting and the job of being a foreign reporter, with South Africa as our country of focus. The course, which is being offered to both undergraduates and graduate students, will place particular emphasis on reporting in developing nations with rich histories, as is the case in South Africa, which we will visit for 12 days during spring recess. Classes will meet on a bi-weekly basis both before and after the trip to South Africa, during which we will discuss the history, media and culture of South Africa, and issues pertaining to the role and function of journalism there. While in South Africa, we will visit news outlets and be reporting at various newsworthy sites, which will serve as the basis for on-site journaling and to provide material for a magazine-style piece students will produce by the end of the semester.

Learning Abroad: The Duende in America, With required trip to Spain, Spring Break 2015
56:350:506:I1 2:50-5:30
Class meets 1/26, 2/2, 2/9, 2/23, 3/9 with trip to Spain during Spring Break 2015
By arrangement: Rosal 
This course will meet from 2:50-5:30 on the following dates: January 26, February 2, February 9, February 23, and March 9. This Program will examine the Spanish poet Federíco Garcîa Lorca’s celebrated notion of “duende”–
the confrontation with death–and how it has influenced contemporary American poetry, including the revived poetics of oral traditions, call and response, and performance in general.

World Literature: The Production and Reception of Text Between East and West
56:350:529:01 T 6:00-8:40
Cross-listed with 56:608:01
What does the Qur’an say about women? What do Islamic feminists say about the Qur’an? Why did Azar Nafisi’s novel Reading Lolita in Tehran engender such bitter controversy? How do texts change in translation? What
determines how they are received in various cultures? Is modernism the same everywhere? What was the role of digital media in the recent Arab revolutions? Do the voices of Palestinian, Iranian, and Israeli poets echo or subvert
the asseverations of their politicians? These are some of the questions we will address as we study twentieth-century literatures from various parts the world, focusing on the Middle East, Iran, and the Indian subcontinent. These texts will be examined in their historical contexts, with due emphasis upon their interrelations and their status as “world literature.” What furnishes the unity of this course is a sustained focus on an internal dynamic — the interplay between Western and Eastern visions as shaped by imperial and post-colonial history – which is refracted through diverging and layered narratives of empire, gender, religion, literature, aesthetics, and media.

Special Topics: Rise of the Novel
56:350:593:01 W 6:00-8:40
This course will re-consider the theory behind Ian Watt’s classic study, The Rise of the Novel (1957), examining new theories and new readings of standard texts that have developed in the past half-century. The texts we will read will include Aphra Behn’s Oroonoko, Daniel Defoe’s Roxana, Samuel Richardson’s Pamela, Henry Fielding’s Tom Jones, and Frances Burney’s Evelina, most of which are on the M.A. Examination reading list. A short seminar paper and a longer research paper will be required. This course will satisfy the pre-1800 requirement.

Special Topics: American Children’s Literature
56:352:541:01 Th 6:00-8:40
What is distinctly American about American children’s literature? Is the American child allowed to indulge in fantasy worlds and myth, or does he/she need to develop a disciplined character and hurry up to participate in democracy and the American dream? How is a democratic sensibility rendered in American children’s literature, and what sorts of men and women does the genre hope to engender? Where are the ghosts of the past—the ghosts of slavery and Native Americans, the tensions of consumerism and delinquency, the distaste for being too European yet fear of being too independent? We begin with a nod to the earliest literature. Primers, conversion narratives, and deathbed tales demonstrate the instrumentality of children as citizens in Puritan culture; excerpts from Peter Parlay’s tales give us a political vista. We then touch base with Goody Two-Shoes, Charlotte Temple, Washington Irving’s sketches, and Hawthorne’s retellings of Greek myth. We then study the trials and tribulations of Huck Finn and Jo March, Brer Rabbit and the Golliwog, the Tin Woodsman and Patchwork Girl of Oz, Rebecca of Sunnybrook Farm, Ragged Dick, Mary Lennox and her secret garden, Laura Ingalls and her prairie, Caddie Woodlawn, Holden Caulfield, contemporary accounts of race in Monster and Indian in the Cupboard, historical fiction on witchcraft, Judy Bloom’s
pioneering frankness on sexuality, and The Hunger Games. Requirements include a research paper (12-15 pages), a close-reading exam analyzing passages, a presentation, discussion questions for each class, and in-class participation.

Special Topics: Significant Otherness: Literature, the Nonhuman, and Companionality
56:352:593:01 M 6:00-8:40
Can literature, long understood as humanist both in its production and social contribution, help us think beyond the human? This course engages with contemporary theoretical considerations of posthumanism as well as the emerging conversations surrounding the study of objects and animals that often gather under the banner of new materialism. Moving from the posthuman to the nonhuman, we will study the ways that contemporary theorists challenge notions of an essential or integral human subject, or resist the anthropocentrism of humanist inquiry. While building our critical vocabulary through a reading of Donna Haraway, Katherine Hayles, Jane Bennett, Jacques Derrida, and Cary Wolfe among others, we will also consider the ways in which these concerns also inform our understanding of contemporary literature by pairing these critical texts with literary works by Karen Joy Fowler, Katherine Dunn, and Matt Fraction.

Special Topics: Black Science Fiction
56:352:594:01 W 6:00-8:40
According to the most famous first-person account of slavery in the eighteenth century, The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself (1789), many Africans’
first encounter with Europeans may have went something like this: “The first object which saluted my eyes when I arrived on the coast was the sea, and a slave ship. . . . I was now persuaded that I gotten into a world of bad spirits, and that they were going to kill me. Their complexions too differing so much from ours, their long hair, and the language they spoke, which was very different from any I had ever heard, united to confirm me in this belief” (55). As suggested by Equiano, alien environments, technology, language, and body forms are nothing new to black experience and writing. Far from the exception to the rule, an encounter with the fantastic might be one of the
foundational tropes of black expression in the New World. 

Mindful of such important historical precedents, this course is an exploration of science fiction (broadly conceived) produced by people of African descent in the twentieth and twenty first centuries. Organized around units that derive from fairly established sci-fi concerns – time travel, dystopia, and space adventure, for example – it surveys how a speculative aesthetic has animated black cultural production. Though the course’s main archive will be written texts, it will also gesture towards the wider impact of the fanciful in such mediums as film, music, and clothing. Representative authors include Samuel Delany, Octavia Butler, Nalo Hopkinson, and Tananarive Due.

Special Topics in Rhetoric: Style and Argument in Composition
56:842:555:01 T 6:00-8:40
This course explores two major threads that contribute to the teaching of composition: style and argument. We will trace stylistic and argument-based approaches to writing pedagogy from their origins in classical rhetoric to
their various forms and shifting fortunes within the last 50 years. In particular, we consider why style fell “out of style” in process-oriented approaches to writing and how style might be re-infused into the contemporary classroom.
The impulse for this inquiry is a belief that style, if once over-emphasized, is now a missed opportunity for developing a writer’s fluency and agency. 

Similarly, in the second half of the course, we examine multiple models and motives for teaching writing as argument, including contributions from Aristotle, Hermagoras, Stephen Toulmin and Carl Rogers to contemporary pedagogy and, equally, to debates about the role of writing in fostering academic and civic literacy. Implicitly, the course argues for a strong focus on argumentation as the foundation of a writing course. Explicitly, it invites participants to imagine how argumentation is (and can be) incorporated into composition assignments and curricula. Indeed, the course is emphatically turned toward practice. We will research concrete instances and potential applications of stylistic and argument-based pedagogies. 

The major project for the course will be the development of teaching materials (syllabi, assignments, etc.) applicable in one or more sites of composing. The course, then, is especially useful to current and prospective teachers looking to articulate and implement their own considered perspectives on composition pedagogy in secondary school or in higher education.

Summer Writers’ Conference 2015

The Rutgers-Camden Summer Writers’ Conference will have its 30th anniversary in 2015. Over a dozen visiting writers will include poets Eduardo C. Corrall and Gregory Pardlo, novelists Matthew Thomas and Rafael Yglesias, and essayists Meghan Daum and Daniel Bergner. The Conference will be held from June 22 through July 1, and can be taken for graduate and undergraduate credit, as well as on a certificate basis. For further information contact Professor Lisa Zeidner, conference director,

Fall 2014

Introduction to Graduate Literary Study
56:350:503:01 Th 6:00-8:40
Required of all students in the program, this course prepares students for graduate study through practice in current methods of research, interpretation, and criticism.

Studies in Fiction: James Joyce
56:350:507:01 T 6:00-8:40
Cross-listed with 56:606:608:01
This seminar will be devoted to Joyce’s 1922 epic Ulysses, arguably the most influential and celebrated novel of the twentieth century, even though many of its most ardent admirers may not made it to the end. Many critics have emphasized a dual thrust in the novel: toward the mythic and monumental on the one hand and toward the minute and everyday on the other. Joyce is supposed to have said that he wanted to present the Dublin of June 16, 1904, so accurately that if the city were destroyed it could be rebuilt brick by brick on the basis of his novel. In our reading we’ll try to maintain a constant awareness of these two levels–the bricks and the edifice, the trees and the forest–as we study what may be at once the greatest naturalist and the greatest symbolist novel.

Most people who approach Ulysses on their own fall by the wayside, often by the third episode (“Proteus”), where pencil markings by initially conscientious readers disappear. We’ll avoid this problem by taking the book’s eighteen episodes one at a time, with plenty of supplementary reading, guidance by an experienced reader, and pauses
for clarification and re-grouping. The book is full of style, Irish politics, laughs, and challenges. When you get to the end, and even if you don’t, you’ll have a different idea of fiction and of what it means to read. Texts will include Hans Gabler’s critical edition of the novel, Gifford and Seidman’s Ulysses Annotated, Harry Blamires’ New Bloomsday Book, and an anthology of critical essays.

Eighteenth-Century Literature: Frances Burney and her Circle
56:350:559:01 W 6:00-8:40
This course will examine eighteenth-century English literature from the perspective of the writings of Frances Burney, one of the most popular authors of her time. We will read excerpts from her journals and letters; at least two of her novels, Evelina and Cecilia; two of her unpublished plays; and works by members of her circle. Students will
be encouraged to engage in research on one of the members of that circle, including Hester Thrale, Samuel Johnson, Richard Sheridan, David Garrick, and others.

Romantic Period
56:350:569:01 M 6:00-8:40
Cross-listed with 56:606:522:01
This course will cover writing of the British Romantic period, roughly defined as beginning with the French Revolution (1789) and ending with the crowning of Queen Victoria (1837). The French Revolution, in many ways, sets the tone for this period characterized by political upheaval and a radical questioning of societal structures. We will begin our study by looking at how authors like Edmund Burke, William Godwin, and Hannah More responded to this revolutionary spirit by exploring, adapting, or rejecting its influence on a variety of issues such as slavery, gender and sexuality, class inequality, and religion. Our investigation will also focus on the aesthetic and spiritual dimensions of the period, looking in-depth at the impetus behind William Blake’s visionary poetry and art, Wordsworth’s and Coleridge’s Lyrical Ballads, and the development of the “Cockney School” of second-generation poets. Throughout our work, special attention will be paid to critical writing about the texts we encounter and the social conditions that contributed to the development of Romanticism.

Special Topics: History of the Film
56:350:593:01 T 6:00-8:40
H 6:00-7:20
The development of major film movements, with particular attention to the technical and stylistic contributions of major directors. Please note special schedule.

Special Topics in American Literature: Poetic Form
56:352:540:01 MW 2:50-4:10
In this class we will examine largely contemporary poetic models of poetic forms. We will look at traditional and received forms like the sonnet, villanelle, and ghazal as well as open and organic forms. Our examination will consider the ways in which a poem’s form interacts and is a manifestation of its meaning.

Linguistics and Literature
56:615:550:01 W 6:00-8:40
Cross-listed with 56:606:609:01 Epstein
In this course, we will take some of the classic tools of linguistics, sociolinguistics and the philosophy of language and use them in the analysis of passages from literary texts. The bulk of the course will be an introduction to the discipline of stylistics, the linguistic study of literature. We will cover topics such as: the foreground/background distinction, conversational structure, speech acts, politeness, inference, point of view and speech/thought presentation. We will also devote a significant amount of time to the study of metaphor and metonymy. In addition to studying the basic concepts, strong emphasis will be placed on learning how to apply each of these notions to the analysis of sample texts. Course requirements: Three short (2 page) papers and one longer paper (7-10 pages).

Special Topics in Rhetoric: Feature and Opinion Writing
56:842:554:01 T 6:00-8:40
This course is designed to enhance a student’s ability to think and write critically, concisely and credibly on any issue. Our concentration will be on clear thinking and on tightly focused and powerful writing, in the context of an editorial board.Ideas will be scrutinized and challenged for how well and thoroughly they are presented, not on what their
bottom line is. Our disagreements will be collegial and aimed at persuasive clarity.

Practicum in the Teaching of Writing
56:842:569:01 W 2:50-5:30
This course is designed to assist composition instructors in acclimating to the teaching of college-level writing. Integrating readings and discussions of pedagogy into a workshop environment, the class will allow instructors-intraining to engage with ideas and practical applications of composition discourse; discuss problems in the classroom as they occur on a week-to-week basis; share exercises and experiences with other instructors; and examine strategies for teaching each stage of the writing process. Particular areas of focus include: learning effective sequencing of writing assignments; coaching critical thinking and invention; teaching argumentation and revision; evaluating student writing; and handling conflicts in the classroom. Requirements include a weekly teaching journal, a workshop demonstration, and a final portfolio. This course is mandatory for first-time teaching-assistants.

Spring 2014

Introduction to Graduate Literary Study
56:350:503:01 W 6:00-8:40
This course is required of all graduate students, and should be taken as early as possible in the M.A. program. The course will provide you with the foundation that you will need to complete your M.A. degree. You will renew your skills in the formal explication of poetry, drama, and fiction; learn how to make seminar presentations; deepen your knowledge of research sources at Rutgers and on the internet; acquire a passing familiarity with current trends in literary theory; and write a formal critical analysis of a major literary work from the M.A. Comprehensive Reading List.

Learning Abroad: Travel Writing With required trip to Amsterdam May 23-June 1
56:350:505:I1 By arrangement
This course will take you to the historically-rich city of Amsterdam-birthplace of the stock market, home of canals, tulips, clogs, Rembrandt, Ann Frank, and the world’s oldest (legal) red-light district. As well as allowing you to enjoy the coffee houses and the expected tourist sites, this course, designed for advanced writers, will help you to prepare a publishable travel piece or personal essay. Before we go, we’ll focus on research and on plotting out original angles for your writing, using The Irreverent Guide to Amsterdam and Rolf Potts’ Marco Polo Didn’t Go There. Students will be responsible for leading an expedition based on the subject on which they’ve become expert-ideas as diverse as biking etiquette in a bike-congested city, the flower market (most flowers in the world come from Amsterdam), or the Netherlands’ current contested immigration policies. We’ll see some Dutch movies, and read some excerpts from Dutch novels, to whet our appetites and get a sense of the zeitgeist. Please note: This course is for graduate students and advanced undergraduate writers. Undergraduates must have taken their writing-intensive course already; a writing sample, and permission of instructor, is required. This course satisfies the College “Global” requirement.

Learning Abroad: The British Influence on American Mass Media
56:350:506:I1 W 6:00-8:40
The course will investigate the close cultural ties between America and Britain through the lenses of traditional and mass media in an attempt to unravel the multiple layers of influence between these two closely linked societies. We will scrutinize America’s fascination with all things British, our historic ties to the motherland, similarities and differences in press coverage, how British music set the agenda in the past and British television is shaping American programming today, how British media magnates have assumed key roles in the current US media landscape and more. Our survey will examine such connections in the areas of print and broadcast news, books, movies, television, music and social media. The course will meet on an alternate weekly basis for 2.5 hours, with classes consisting of lectures, discussions, film viewing and participation in interactive media. Students will keep a weekly blog and will have a term paper due at the end of the semester.
Travel Program Information: The travel portion of the course will take us on a 9-day trip that will begin in London with a daytrip to the Oxford countryside, then move onto Liverpool and end up in Glasgow, Scotland. On each leg, we will visit sites associated with various media subjects we are studying. This course satisfies the College “Global” requirement.

56:350:532:01 W 6:00-8:40
Cross-listed with 56:606:501:01 Hostetter
We will explore the extant oeuvre of the “Father of English Poetry” through all three periods of his work: the early dream-visions, such as the Book of the Duchess; the verse proto-novel Troilus & Criseyde; and the incomplete but glorious Canterbury Tales. All poems will be read in Middle English, but have no fear—his dialect is pretty easy to pick up in a few weeks.

56:350:545:01 Th 6:00-8:40
Cross-listed with 56:606: 511:01 Fitter
Historians are coming to recognize that the 1590s, with its disastrous wars, catastrophic harvests, spiraling inflation, and economic dislocation, was one of the harshest decades in English history; and the first decade under the new Scots king was but slightly improved. In these conditions, Shakespeare rejected the possibility of life as a poet under aristocratic patronage to write for the popular theater, which paradoxically was thriving in the margins of a nervously authoritarian society. Defining his dramatic meanings in terms of stage, not page, this course will seek to discover how Shakespeare outwitted the censor through the potentialities of a distinctively late Elizabethan stagecraft. Each student will be asked to choose one play and think it through in historicized terms. Grades will be determined on the basis of an in-class presentation, and one fifteen-to-twenty page term paper.

Introduction to Literary Theory
56:350:573:01 M 6:00-8:40
Cross-listed with 56:606: 611:01 Habib
Is there a correct way of interpreting a piece of literature? Should we just read the “words on the page” as suggested by some critics in the early twentieth century or should we take into account the author’s biography, social class, psychology and audience? What is the purpose of literature? Moral? Political? Simply pleasure? How should women read
works written by men? What ideological assumptions do we bring to the study of literature? In what degree are philosophical strategies and literary-critical techniques operative in the exegesis of scripture, as in the interpretation of the Qur=an and the Bible? These are some of the questions posed by the greatest thinkers from Plato and Aristotle through al-
Farabi, Aquinas, Ibn Rushd, al-Ghazzali, Hegel and Marx; they have been raised in somewhat different and more modern contexts by critics adopting the perspectives of Psychoanalysis, Feminism, Reception Theory, “New” Historicism, Deconstruction, Gender theory and Postcolonialism. This class will cover selectively the history of Western literary
criticism from Plato to the present day. Two papers and one examination. In preparation, students may read Book X of Plato’s Republic and Aristotle’s Poetics.

Special Topics: Harlem Renaissance
56:352:540:01 M 6:00-8:40
Cross-listed with 56:606:541:01 Green
This course offers an extended investigation of the prolific writing and cultural forms produced by blacks in America from the 1820’s through the 1830’s, better known as the Harlem Renaissance. Often considered the first selfconscious flowering of African American belles-lettres, the Renaissance remains a touchstone for contemporary African American cultural production. The course will explore the social and historical conditions that made this era possible as well as the modes of expression and thematic concerns that animated its literature. Representative authors include Zora Neale Hurston, Langston Hughes, Nella Larsen, Countee Cullen, Alain Locke, and Jessie Redmond Fauset. A long research paper, shorter papers, and oral presentation are required.

Special Topics: Poetry in Media and Performance
56:352:541:01 T 6:00-8:40
Cross-listed with 56:606:611:02 Rosal
In this course, we will consider the making and reading of poetry in both conventional print and innovative multimedia/performance forms. We will spend much of our time examining varieties of remixed poetry and sound. We’ll consider the ways in which racial and postcolonial identities engage in public discourse through the art of monstrosity, hybridity, and collage.

Special Topics in Rhetoric: Research Methods in Composition and Literacy
56:842:565:01 T 6:00-8:40
Cross-listed with 56:606:611:03 FitzGerald
This practical course serves as an orientation to diverse motives and methods for researching literate activity in the classroom and other social spheres. It will prepare you to conduct valuable research in composition and literacy studies by introducing you to methods for analyzing texts and contexts in the teaching and practice of writing. Specifically, we will explore methods and methodologies for archival research, qualitative and quantitative analysis, ethnography and case studies. You will learn to locate and interpret historical material; to identify and collect qualitative data through interview and observation; to code qualitative data using grounded-theory methods; to support textual analysis through historical and empirical data. Above all, you will learn how to develop a meaningful research question and consider the means to approach it. In addition to several short exercises that allow you to practice discrete research methods, you will, as a final project, produce a rationale for a larger study related to your research interests, one that might serve as a starting point for a thesis or future dissertation or a scholarly contribution to writing studies. Current and future teachers of writing and literature will find this course especially useful as an opportunity to “think like a researcher” in analyzing and composing texts.

Fall 2013

Introduction to Graduate Literary Study
56:350:503:01 Th 6:00-8:40
This course introduces you to current issues in the fields of literary theory and criticism and to the aims and methods of literary analysis. The course serves several purposes. First, it provides a foundation that will help you in future graduate courses by reinforcing the important skills of close reading, literary interpretation, and research. You will become familiar with past and present developments in literary studies, learn how to identify and assess critical and theoretical approaches, and select approaches that best match your interests and the texts studied. Second, because the literary material in the course is drawn from the Master’s Comprehensive Reading List, the course will give you a head start on preparation for the examination. And third, the course will introduce you to literary studies as a possible profession.

If you plan to teach English at the college or university level, the course will expose you to a range of intellectual activities that characterize academic careers in English. If you plan to teach at the secondary level, the course will give you understanding of the role that theory and criticism play in literary interpretation and will suggest ways to extend your knowledge of literature and prepare materials for your students. And finally, if you are pursuing a master’s degree for personal enrichment or if your career goals are uncertain at this time, this course will acquaint you with activities at the heart of literary studies. Whatever your specific goal, the course will improve your ability to read, criticize, and evaluate literature.

Assignments include an explication, a bibliographic essay, and a researched critical analysis.

17th Century British Literature
56:350:549:01 Th 6:00-8:40
Cross-listed with 56:606:511:01
This course will be devoted to the study of a wide range of writing in English across the 17th century, in poetry, drama and prose. In the first part of the course (weeks 1-8) we will read broadly in four general areas: Political Thought, Devotional Writing, Emergent Science, and Autography. In addition, for five of these eight sessions, we will take up the reading and study of a number of lyric poets. The second part of the course (weeks 9-14) will be dedicated to the rigorous reading and study of two major seventeenth-century writers: Sir Thomas Browne and Margaret Cavendish.

In addition to intensive reading, students will be asked to write a series of response papers, one shorter essay, and a longer essay at semester’s end.

Special Topics: Fairy Tales and Children’s Literature
56:350:593:01 T 6:00-8:40
Cross-listed with 56:606:611:01
This course begins with Perrault’s tales, collected to entertain a fashionable courtly audience, and the Grimms’ tales, collected for a scholarly and national purpose. After following the course of literary fairy tales in Germany, America, France, Denmark, Italy, and England (de Beaumont, Fouqué, Hoffmann, Andersen, Hawthorne, Alcott, Collodi, Wilde, Carter, Sexton), we will pursue Victorian England’s fashionable interest in fairy stories, its new fetish for childhood, and its imaginative impulse to transform the industrial landscape. The Golden Age of Children’s Literature (1862-WWI) saw the flowering of fantasy worlds written (ostensibly) for children. Both carnal and spiritual, these worlds play with religious ideals, Darwin’s visions of human development, politics and social satire, and the relationship between language and reality. They anticipate—then shift to accommodate—Freud.

Together we will journey through the seminal work of Charles Kingsley’s The Water-Babies, which baptizes a chimney sweep clean when he throws his blackened self into the river. We will, with the Cheshire Cat, loom over the poor, victimized Alice as she tries to reach the last square in Wonderland and Looking-Glass. We will be rejuvenated with the ex-miner Diamond as the North Wind, with her fairy magic, marks the cultural shift to “the child’s work is to play” (At the Back of the North Wind). We will touch base in Italy with a very famous puppet and turn-of-the-century America with Oz, a parable of capitalism. We will challenge Mr. McGregor with Peter Rabbit, careful not to be made into a pie like his father before him, and we will spend a little time with Peter Pan, the animals of Grahame’s River-Bank (The Wind in the Willows) and Milne’s Hundred-Aker Wood. Not to leave girls behind, we will visit Mary Lennox in her secret garden, Laura Ingalls in her wild woods, and Anne in and “of” Green Gables. We voyage with Frodo and Sam as they, mere Hobbits, try to save the Shire and all it represents from the Hitler-like Sauron. The search for a lost Arcadia would never be the same, nor would ideals of childhood. But perhaps, somewhere in the enchanted wood, a bear and a boy will always be playing. In fact, “the boy who lived” anchors our final two novels from the Harry Potter series. Critical readings (in moderation) will underscore our reading selections.

Coursework includes participation on sakai and in class (including a short presentation to trigger discussion), a final research paper (15 pp), and a final exam. Each comprise 1/3rd of your grade.

Special Topics: Women and Work in the Revolutionary Era
56:350:594:01 M 6:00-8:40
Cross-listed with 56:606:661:02
This course, covering the period from the American Revolution through the Napoleonic Wars, will examine women’s complex and growing relationship to paid labor as represented in multiple literary genres (plays, ballads, novels, etc.). In our investigation, we will examine women as authors, actresses, soldiers and sailors, prostitutes and missionaries as they make their way throughout the Atlantic world.

Special Topics: Translation
56:350:595:01 T 6:00-8:40
Cross-listed with 56:200:562:01
Translation and revision appear vastly different activities. Are they? During the twentieth century poets often explored the act of translation as a means of “revising” the original in order to master it and own it, the result being an entirely new thing—a super-original, But what is translation—paraphrase, metaphrase, simple imitation—or revision as creative trespassing ? Is translation a public service, satisfaction of personal need, mere play—or all three? The course explores translation in its conventional sense and as the “creative adaptations” of original works by looking closely at the work of Pound, Zukofsky, Lowell, Bly, and others. Along with a look at translation theory (and a guest lecturer on the subject), the readings will include poems by Yeats, Pound’s Cathay and Homage to Sextus Propertius, Zukofsky’s “homophonic” translations of Catullus, In addition each weekly session include a look at famous revisions of canonical work by poets and fiction writers who have attempted to “translate” their own work, through revision, into something better and often vastly different—and sometimes worse. How do we revise? When is the revision inferior to the original? When stop revising? The course is designed for any student of literature with an interest either in creative writing or scholarship (or both) and in the pedagogy of the writing workshop. During the course of the semester members of the class will perform their work to the class, produce translations from an original language or complied through the translations of others, and present examples of how an original work evolved through the stages of revision.

Special Topics: Three Centuries of American Poetry
56:352:540:01 W 6:00-8:40
Cross-listed with 56:606:611:03

History of the English Language
56:615:530:01 W 6:00-8:40
Cross-listed with 56:606:611:04
This course will address the growth and structure of the English language from its origins to the present, with attention to methods of linguistic description. In addition to more traditional historical linguistics (i.e. the effect of language change on the phonology, morphology, semantics and syntax of the language), we will devote considerable attention to socio-historical influences on the development of English, addressing, in particular, questions relating to authority in language: Standard vs. non-standard dialects of English, the rise of dictionary making, spelling reform movements, etc. Course requirements: Midterm exam and course paper.

Practicum in the Teaching of Writing
56:842:569:01 W 2:50-5:00
This course is designed to assist composition instructors in acclimating to the teaching of college-level writing. Integrating readings and discussions of pedagogy into a workshop environment, the class will allow instructors-intraining to engage with ideas and practical applications of composition discourse; discuss problems in the classroom as they occur on a week-to-week basis; share exercises and experiences with other instructors; and examine strategies for teaching each stage of the writing process. Particular areas of focus include: learning effective sequencing of writing assignments; coaching critical thinking and invention; teaching argumentation and revision; evaluating student writing; and handling conflicts in the classroom. Requirements include a weekly teaching journal, a workshop demonstration, and a final portfolio. This course is mandatory for first-time teaching-assistants.

Summer 2013

Special Topics in British Literature: Romanticism and The Invention of Childhood (Cr.3)
Cross-listed with 56:606:612:B6
5/29-7/3 Tu & Th 6:00pm-9:40pm
Barbarese, Joseph
When Children’s Literature emerges as a literary genre in the 19th century, it does so as a sub-genre of English and American Romanticism. The course sets out to demonstrate how the combined and sustaining influence on the genre, particularly its shared belief in childhood as a source of visionary strength and in the individual child’s essential originality, is still in force. Particular areas of interest to be explored are the versions of female and feminine archetypes and how the divine is represented in CL. Readings span the full CL canon and include works in English and American as well as works in translation (The Little Prince), beginning with Wordsworth and Coleridge and moving from Goody Two Shoes through Harry Potter and the Sorcerer’s Stone, tracing the elaboration of these influences in the children’s books that begin to appear in the late 18th century, through the 19th, and into the late 20th.

American Literature to 1900 (Cr.3)
Cross listed with 50:352:337:D6; 56:606:611 D6
06/24-07/18 M,Tu,Th 6:00pm-9:40pm
Singley, Carol
Major American authors from the colonial period through nineteenth-century romanticism and realism, including John Winthrop, Anne Bradstreet, Ralph Waldo Emerson, Frederick Douglass, Harriet Jacobs, Harriet Beecher Stowe, Kate Chopin, Zitkala-Ša, Walt Whitman, and Emily Dickinson. We pay special attention to titles on the M.A. Candidacy Exam reading list.