EH 502.501 - Graduate Writing for English | Cesarini
EH 502 prepares students for research and academic writing at the graduate level in English studies. Graduate-level study of English means a direct engagement with the institutions (especially the academic institutions) in which literature in English takes its place. Improving your ability to enter into the academic conversations and discourses around literature will therefore be a very important part of our work. The course will be writing intensive, and you will become better acquainted with and more fluent in several genres of academic writing in English.
EH 505.101 - Teaching College Writing | Shaw
This course examines the issues in composition history, theory, and pedagogy in the context of teaching first-year composition. Students will use this knowledge to develop course material appropriate to teaching first-year composition. Topics include syllabus and assignment design, lesson planning, course management, teaching in the linguistically and culturally diverse classroom, and assessment. Pre-requisite/Co-requisite: EH 502.
EH 520.501 - Studies in Shakespeare | Hillyer
We will be studying a selection of Shakespeare plays drawn from all of the kinds he wrote (comedies, histories, romances, and tragedies), with a particular emphasis on their political resonance both in their own time and since. We will be considering the plays as plays, meaning that we will focus on such drama-specific features as the use of soliloquies and asides. At the same time, we will target portions of the plays for close-reading analyses of the kind best suited to enhancing an understanding of any kind of literature. Given that the main assignment will be a research paper produced in stages, we will in addition address repeatedly the issue of how the content we are examining might suggest topics for further exploration, both within and across individual plays.
EH 572.501 - Modern American Fiction | Raczkowski
The broader goal of the course is to provide you with an introduction to the different and sometimes competing forms the modernist narrative fiction took in America in the first half of the 20th century. In short, while the term "modernism" captured a fundamental desire for change and a rejection of the past, different "modernisms" in America had very different ideas about what kind of aesthetic, cultural and political change were desirable. Over the course of the semester, we will have an opportunity to consider how so-called high modernism, black modernism, left (or proletarian) modernism, queer modernism and popular modernism both overlapped with each other in important ways and yet were still engaged in critical debates with each other over the meaning of American culture and history.
EH 583.501 - Grad Fiction Writing Workshop I | Johnson
This workshop-style course is devoted to the writing and discussion of literary fiction — and what exactly that term means today. The fiction you write throughout the semester can be set anywhere, during any time period imaginable, but it should demonstrate a deep engagement with and respect for elements of craft and technique. In doing so our hope is that by the end of the semester you will have a piece of fiction that's close, if not ready, to submit for publication. To steer this endeavor, we'll read Station Eleven by Emily St. John Mandel; Meander, Spiral, Explode by Jane Alison; and various short stories and essays. In my experience writing fiction is often a dirty and difficult process, especially in revision. Our task in this course will involve figuring out how to best make that process work for you in getting your singular visions onto the page.
EH 590.701 - Special Topics: The Long Form | Pence
A book-length writing project differs from a short writing project in multiple ways, including scope, research methodology, and the writing process itself from start to finish. This course is designed for graduate students in at least their second-year who are engaged in a book-length project. The class will focus on outlining, structure, research techniques, and revision strategies when undergoing a long project. Craft essays will be studied as will books with innovative structures in three major genres: poetry, memoir, and fiction. Books include Nox by Anne Carson, In the Dream House by Carmen Maria Machado, and an interrelated collection of short stories.
EH 591.501 - Topics in Creative Writing: Writing The Self | Pence
The relationship between the writer and the first-person speaker in creative writing is not a simple one. It is continually mediated through figurative language, omissions, dramatic irony, subject layering, and the creation of reliability (or the intentional lack of it). As Emily Dickinson wrote in a letter to Higginson: "When I state myself, as the Representative of the Verse — it does not mean — me — but a supposed person." In this creative writing workshop, we will look at how each genre crafts and subverts the use of first-person narration in poetry, creative nonfiction, and fiction. In fact, one could argue that what divides these genres is the construction of first-person and its relationship to the writer’s personal and imagined experience. As a way to aid our own understanding of the first-person narrator, we will read texts that offer differing strategies including work by Dean Radar, Alexander Chee, and Maggie Nelson. A final portfolio of original work in poetry, creative nonfiction, and fiction with a critical introduction; a craft presentation; and attendance at two readings will constitute the course's major requirements.
EH 599 - Thesis Hours
Please see Dr. Halbrooks if you would like to register for thesis hours and have not already discussed your committee, graduation requirements, etc.