ENGL G5001x. Masters Seminar. 3 pts. Prerequisites: permission of the department.

Section 1: Approaches to Literary Theory and Practice (Maura Spiegel) We will read a range of foundational and influential current works of literary and social theory, with emphasis on theories of affect and emotion. In works by Bakhtin, Barthes, Butler, Cavarero, Freud, Girard, Goffman, Huizinga, Ngai, Ricoeur, Sedgwick, Tomkins, White, Winnicott, Wittgenstein, as well as selected works of fiction and film, we will examine theories of shame (stigma) disgust, envy, paranoia, grief, complacency, compassion, excitement, etc., as they operate on the individual and national stage. Ideas about authenticity, memory, subjecthood and relationality, will also come under scrutiny, as they pertain to narrative representation and literary practice.

Section 2: Introduction to Literary Scholarship (Ezra Tawil) A deliberately broad approach to the field of literary studies, introducing works of literary scholarship across periods, genres, and theoretical approaches. Along the way, we'll read some classics of criticism from the past fifty years or so, some important recent critical works, and a few theoretical works that have proven especially fruitful to literary scholars.

Section 3: Evolution of the Literary Field (Gauri Viswanathan) This course offers an introduction to ways of thinking about the discipline of English in particular and disciplinary formations more broadly. We will focus on both the historical developments in the field, including the role of colonialism in the rise of English studies, and theoretical issues of canon formation, representations of gender, class, and race, religion and secularism, popular literature and heterodoxy, literary subjectivity, the problem of humanism, to name a few. This course does not aim to be comprehensive but rather seeks to introduce you to key arguments in the field, represented by several exemplary critical texts as well as selected articles.

ENGL G5005x and y. M.A. Thesis Tutorial. 3 pts.

(Tutorial)

CLEN W4015y. Textual Analysis: Vernacular Paleography. 3 pts. Prerequisites: Permission of the instructor

ENGL W4091x. Introduction to Old English Language and Literature. 3 pts. Prerequisites: Permission of the instructor.

(Lecture). An introduction to the language and literature of England from the 8th to the 11th centuries. This class provides a general historical and literary introduction to the period as you learn the language of Anglo-Saxon England. Because this is predominantly a language class, we will spend much of our class time studying grammar as we learn to translate literary and non-literary texts. While this course provides a general historical framework for the period as it introduces you to the culture of Anglo-Saxon England, it will also take a close look at Anglo-Saxon folk psychologies of mind and embodiment as they are revealed in the language. We will look at how each work contextualizes (or recontextualizes) relationships between the body and soul, the soul and the mind, and the individual and society. Students will be expected to do assignments for each meeting. Requirements: The course will involve periodic quizzes, a mid-term paper, a final exam, and an oral presentation (to be turned in).

ENGL G4092y. Beowulf. 3 pts. Prerequisites: Permission of the instructor.

(Lecture). Prerequisite: One semester of Old English required, as this course demands a solid knowledge of Old English; also, computer skills required as assignments will be required on class Wiki site. This course will involve close reading in the original language of this very well known Anglo-Saxon epic. Each student will work through his or her own individual translations from Old English to Modern English over the course of the semester and will post them collectively on a site we will use for our collective revisions, comments, and questions. Preference given to those who already have a working knowledge of the language. Our primary text is Klaeber's edition of Beowulf. We will also compare various translations (Liuzza, Heany, Donaldson) with our own. Secondary materials will include The Postmodern Beowulf as well as other materials to familiarize us with historical context, contemporary scholarship, and literary sources. Requirements involve a steady dose of translation each week, two presentations, as well as a final paper.

Application instructions: E-mail Professor Dailey ( pd2132@columbia.edu ) by Friday, November 13,with the subject heading "Beowulf." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course. Note that a prior language course in Old English is a prerequisite for this class; please indicate such coursework in your application.

ENGL G6002x. Middle English Texts: England's Antiquities. 3 pts.

(Seminar). This course will explore medieval English versions of the antique past, as well as their broader setting in ancient and continental medieval stories of disaster and refoundation. While the bulk of texts we read will be in Middle English, at each stage students can explore instead (or in addition) relevant works in the other languages of medieval Britain: Latin, French, or the Celtic tongues.

CLEN G6028y. Topics in medieval literature: Medieval Animals. 3 pts. Prerequisites: Permission of the instructor

(Seminar). This course organizes some points of contact between literary and theoretical readings on animals. Medieval literary texts may include beast fables, bestiaries, lives of St. Cuthbert and St. Francis, and romances of the Knight of the Lion and Knight of the Swan. Theoretical readings may include works of Augustine, Aquinas, Foucault, Levinas, Deleuze and Guattari, Derrida, Haraway, Singer, and Eco.

CLEN G6537y. Embodiment: Ancient, Medieval, Postmodern. 3 pts. Prerequisites: Permission of the instructor.

(Seminar). This course explores how the body, the senses, interiority, and materiality are constructed in ancient and medieval literary, philosophical, and religious texts and how they are connected with hermeneutic and cognitive practices. Texts from antiquity include Aristotle, Paul, Origen, Augustine, Gregory the Great, and Theodore of Mopsuestia; texts from the Middle Ages include the Old English Body and Soul and The Ruin, Old English riddles, William of St. Thierry, Rudolf von Biberach, Guigo II, Marguerite d'Oingt, Hadewijch, Ida of Louvain, Bernard of Clairvaux, Hugh of St. Victor, Richard of St. Victor, and Bonaventure. The course will also look at how medieval readings of embodiment dialogue with, are commesurate to, or differ from readings of materiality and embodiment in Hegel, Marx, Merleau-Ponty, Lévinas Derrida, Nancy, Lyotard, Negri, Agamben, and Butler. What kind of "radical" materialities do we find in the post-Marxist thinkers like Negri, or of Agamben? Given the tendency in the wave of phenomenology (Merleau-Ponty) to think of embodiment as a kind of radical interpentetration of world and body, what differences do we find in the revision to phenomenology evidenced by thinkers such as Lyotard, Derrida, and Nancy? How do the "materialities" in medieval mystical texts and their theological counterparts compare?

ENGL W4612x. Jazz and American Culture: Gender, Race and Jazz. 3 pts.

(Lecture). An introduction to theories of gender and race (in conjunction with other social categories such as class, nation, and sexuality) as lenses for studying how people have used jazz to struggle over ideas that mattered to them.

CLEN W4200x. Caribbean Diaspora Literature. 3 pts.

(Lecture). Texts by writers from Cuba, Puerto Rico, Dominican Republic, Haiti, Trinidad, Dominica, and Jamaica. The impact of migration and transculturation on the texts, the articulation of new cultural subjects, the fostering of dialogue largely suppressed in the writers' home countries. Possible authors: Derek Walcott, Michelle Cliff, Paule Marshall, V.S. Naipaul, Julia Alvarez, Junot Diaz, Edward Rivera, Edwidge Danticat, Oscar Hijuelos.

Although a geographically small area, the Caribbean has produced major social and revolutionary movements, and two globally influential revolutions: the Haitian Revolution (1791) and the Cuban Revolution (1959). It has also produced literature and poetic discourse that has sought to revolutionize through analysis and language. In this course, we will examine texts that reflect on revolution and/or attempt to revolutionize by writers and musicians such as Aimé Césaire, CLR James, Alejo Carpentier, Frantz Fanon, Michelle Cliff, V.S. Naipaul, Bob Marley, Carlos Varela, and Calle 13, among others. Syllabus.

ENGL W4502x. British Literature 1950 to the present. 3 pts.

(Lecture). This course will trace English fiction (and a few films) from the post-WWII era, with emphasis on close reading, exploring formal innovation as ethical strategy, the status of liberal humanism, epistemology and historical representation, the evolution of the Upstairs/Downstairs story, UK-US relations, and generational takes on bad boys and prigs. Writers will include: Graham Greene, John Osborne, Martin Amis, John Banville, Pat Barker, Kazuo Ishiguro, Ian McEwan, V.S. Naipaul, W.G. Sebald, and films by Carol Reed, Michael Apted, Joseph Losey, Tony Richardson, Mike Leigh, Stanley Kubrick, Stephen Frears, and Powell and Pressburger. ENGL W4502_001_2009_3">Syllabus.

ENTA W4724y. Modern Drama: Theatricality on the God-forsaken Stage. 3 pts.

(Lecture). This course explores melodrama, metadrama, epic, and lyric drama as theatrical forms designed to fill the void of meaning created by a suddenly godless universe in the nineteenth century. Readings embrace a wide variety of theatrical styles, predominantly from the twentieth century, and include works from diverse playwrights such as Oscar Wilde, Shaw, Pirandello, Susan Glaspell, Sam Shepard, Brecht, Genet, Mamet, Beckett, Maria Irene Fornes, Suzan-Lori Parks, Tony Kushner, and Caryl Churchill. Assignments include two short papers (5-7 pages), question sets on individual plays, regular attendance and classroom participation, and a comprehensive final exam.

ENGL G6506y. Modernism and Imperial Imagination. 3 pts. Prerequisites: Permission of the instructor.

(Seminar). What was the relationship between British modernist literature and the British Empire? Modernism has been construed in nearly oppositional terms-as deeply collusive with imperial thinking, or, alternatively, as viscerally hostile to empire. In this course, we will attempt to theorize this relationship in our own terms, reading a variety of writers and texts from the first half of the twentieth century. The bulk of our readings will be English, but we will also read material from Ireland, India and Africa.

CLEN G6531x. Issues in Contemporary Criticism: Intellectuals. 3 pts. Prerequisites: Permission of the instructor.

(Seminar). The category of "the intellectual," traditionally dated back to Emile Zola's "J'accuse!" in the midst of the Dreyfus Affair, has inspired some of the past century's most innovative forms of writing, action, and writing that makes a stronger than usual claim to be action. This course will examine theorists of the intellectual- Benda, Mannheim, Gramsci, Foucault, Bourdieu- as well as notable intellectuals, the social landscapes against which they emerged, and the shaping of their careers. Writers to be discussed will include Orwell, Sartre, Sontag, Chomsky, and Naomi Klein, among others. Recommended introductory reading: Stefan Collini, Absent Minds and/or Marcie Frank, How To Be an Intellectual in the Age of Television. Requirements: short (1 to 2 page) weekly journal entries, oral presentations, and one medium-sized (12-15 page) final paper. CLEN G6531_001_2009_3">Syllabus.

ENGL G6613y. American Studies: American Intellectuals. 3 pts. Prerequisites: Permission of the instructor.

ENGL G6622x. Contemporary American Fiction. 3 pts. Prerequisites: Permission of the instructor.

(Seminar). Beyond historical coincidence, is there a set of broad thematic or formal concerns shared by contemporary fiction? How are we to think and write about body of literature that belongs to an as-yet undefined cultural moment? This course will consider the problems and potential of studying �the contemporary,� as well as covering a diverse range of prose fiction by North American authors from the early 1990s to the present. For our purposes, the contemporary period extends from the end of the Cold War through the first decade of the twenty-first century. Some authors, such as Philip Roth, Charles Johnson, and Toni Morrison are already subjects of extensive critical debate; others, such as Allison Bechdel, Junot Diaz, and Colson Whitehead have not yet received much scholarly attention. In addition to discussing the work of some of these authors, we will ask about the consequences of such critical excess or oversight on the experience of reading and interpretation. Weekly reading assignments will pair a work of fiction with one or more articles intended to locate each work in the context of critical debates. Application instructions: E-mail Prof. Rachel Adams (rea15@columbia.edu) by Wednesday, April 15th with the subject CONTEMPORAY AMERICAN FICTION. In the message, include basic information: name, school, major, year of study, relevant courses taken, along with a brief statement about why you are interested in taking the course.

ENGL G6632y. American Film Theory. 3 pts.

(Seminar).

ENGL G6740y. Early 20th Century British Drama. 3 pts.

(Seminar). Modern British drama was the focus of every contentious literary and cultural question in the early twentieth century: coterie audience versus mass audience, visionary versus realist theory and practice, cultural and linguistic versus political and economic nationalism, eternal archetypal sexual roles versus evolving constructed gender identity, cyclical versus linear ideas of history and time, epic theater versus dramatic theater, among many other issues. Because the dramatists all knew and responded to each other, the issues and arguments tend to be more starkly and clearly defined than in other periods. This seminar will pursue these questions through plays by Wilde, Yeats, O'Casey, Shaw, Granville-Barker, Woolf, Eliot, Auden, Priestley, Beckett, Wesker.

ENGL G6851y. Modernism and the Imperial Imagination. 3 pts. Prerequisites: Permission of the instructor.

(Seminar) What was the relationship between British modernist literature and the British Empire? Modernism has been construed in nearly oppositional terms-as deeply collusive with imperial thinking, or, alternatively, as hostile to empire. In this course, we will attempt to theorize this relationship in our own terms, reading a variety of writers and texts from the first half of the twentieth century. The bulk of our readings will be English, but we will also read material from Ireland, India and Africa.

CLEN G6920y. Perspectives on the Modern: Modernity, Terminable and Interminable. 3 pts. Prerequisites: Permission of the instructor

(Seminar).

CLEN G6566y. Theory, Religion and Culture. 3 pts.

(Seminar). This course will explore various theoretical approaches to religion in modernity and include readings on topics such as: religious subjectivity and the politics of belief; the place of imagination in the evolution of religions; theories of secularism; religion, postcolonialism, and postmodernism; world religions, heterodoxy, and alternative spiritual movements.

ENGL W4810x. Aspects of the Novel: On Style. 3 pts.

(Lecture) Our topic for the semester will be the inner workings of sentences and paragraphs as they function in the novel. We will probably read only four novels in their entirety (most likely Austen's Emma, Flaubert's Madame Bovary, Henry James' The Golden Bowl and Alan Hollinghurst's The Line of Beauty); we will also read a handful of essays and short stories, but the rest of the texts we'll work with will for the most part be brief extracts that we read closely together in class as we pursue a series of questions about voice, person, etc. with the help of theorists including Georges Perec, Roland Barthes, Wayne Koestenbaum and D. A. Miller. Short assignments will include creative as well as critical options.

ENGL W4901x. History of the English Language. 3 pts.

(Lecture). Lecture, but with lots of class discussion. This course applies knowledge of the English language and its history to issues of both law and literature. There are two required books, both paperbacks: (1) Language Myths, edited by Laurie Bauer and Peter Trudgill (Penguin), and (2) The Language Instinct, by Steven Pinker (Harper). There will be about half a dozen short written assignments: hands-on research efforts.

CLEN G4995x. Special Topics in Modern Literature: Reading Lacan. 4 pts.

(Seminar). Reading selections from Lacan's Seminar X: Anxiety; Seminar IX: Identification; Seminar XVII: The Other Side of Psychoanalysis, & Seminar XX: Encore: On Feminine Sexuality together with selected novels and short stories. Emphasis on Lacan's elaboration of the four discourses, jouissance, the formulas of sexuation, and the ethics of the real. Consideration of the relevance of his thought to literature and culture, to capitalism, politics, neuroscience, and the idea of humanity. Undergraduates are welcome to enroll in the course. Application instructions: E-mail Professor M. Jaanus(mj35@columbia.edu) with the subject heading "Reading Lacan." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.

ENGL G6499x. Poetics. 3 pts.

(Seminar). This course will examine both contemporary theories of poetic form (primarily scansion) and the history of poetic theory, concentrating on classical (Aristotle, Horace, Longinus), Renaissance (Sidney, Boileau), and Romantic (Wordsworth, Shelley, Mill) treatises. It is intended both for those who seek an introduction to the theory and practice of poetic analysis and for those with a more specialized interest.

CLEN G6550y. Trauma, Terror, and Performance. 3 pts. Prerequisites: Permission of the instructors.

(Seminar). This course explores the interconnections between trauma, terror, memory, and performance through three major 20th and 21st c. events - the Holocaust, Argentina's 'Dirty War,' and the United States's post 9/11 "war on terror " - and the theoretical questions they raise. Do they each have their own unique structure and idiom, or can we think about individual and collective trauma through a trans-local, cosmopolitan lens? Topics include: the performance of state power and state sponsored terror; the individual and collective nature of trauma; the effects of gender, race and power on trauma and memory; embodied practices such as testimony and witnessing, their use in literature, museums, pedagogy, and performance, and their archivization; the relation of torture and truth; the social role of sites of memory and memorialization (Auschwitz, Club Atlético, Ground Zero, Guantanamo, etc.); theaters of justice such as trials, tribunals and truth commissions; performances of protest and resistance.

Please note that this is a consortium course which will alternate meetings at Columbia and NYU. Students need to figure travel time into their plans. We plan to meet on Wednesdays from 4 -6:30. During the semester, several evening talks and seminars will be organized in conjunction with the course, both at Columbia and NYU.

Application instructions: E-mail Professor M. Hirsch (mh2349@columbia.edu) by May 2009, with the subject heading "Trauma, Terror, Performance." In your message, include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking the course.

ENGL G6631y. American Higher Education: History and Prospects. Prerequisites: permission of the instructors.

(Colloquium). This is a course in American intellectual and cultural history focused on issues in higher education. The aim of the course is to deepen historical understanding of theinstitutions to which today's graduate students plan to devote their professional lives as faculty members and academic citizens. Topics include the origins of the American college and university in the colonial period, the rise of the research university in the 19th century, the invention and evolution of the "Humanities," the principles and practice of admissions and financial aid since World War II, the risks and opportunities of today's "on-line" entrepreneurial university, the "pre-history" of the so-called culture wars, and the effects of the current financial crisis on higher education. From time to time, visiting speakers will join us for discussion of these and other issues. Interested students should email Professor Delbanco at ad19@columbia.edu for more information.

CLEN G6706y. Media Studies. 3 pts.

(Seminar). Can theater be described as a medium? What is the relationship between theater and mechanically reproducible media? What is, or should be, the role of theater in an age of mass culture? European and American plays and films from the twentieth century, including works by Antonin Artaud, Samuel Beckett, Bertolt Brecht, Caryl Churchill, Susan Glaspell, Jerzy Grotowski, D.W. Griffith, Clifford Odets, and The Wooster Group. Theoretical readings by Walter Benjamin, Peter Brooks, Jürgen Habermas, Siefried Kracauer, Richard Sennett, and Samuel Weber. Article-length seminar paper and presentation required. Students will also be required to submit drafts of their final papers to workshop with the group during the final weeks of class.

ENTA G6725y. Performance Theory. 3 pts.

(Seminar). "Performance" is a term widely--and surprisingly--invoked in the humanities today, especially considering how recently "performance" was derogated as a kind of unconstrained, wild semiology in many traditional humanities fields. In many ways, of course, conventional approaches to dramatic literature and theatre history have long considered performance--the dialectical relationship between dramatic texts and stage production, the history of theatre institutions and performance practices, theoretical accounts of the form and purpose of drama as a genre of writing. Yet such approaches to performance were circumscribed by their view of the priority of literary meanings, the sense that the authority of performance is fundamentally citational, sustained by its evocation of "the text." Performance theory since the 1950s has attempted to resituate the cultural work of performance, away from a sense that performance replays a script to a sense of performance--nontheatrical as well as theatrical performance--as a distinct, constitutive form of cultural production. This course will survey a range of approaches to the problematic of performance, as they are practiced now in the overlapping disciplines of theatre, literary, and performance studies. The course will both introduce major theoretical models--performative discourse, restored behavior, liminoid genres, surrogation, textuality--of performance, and provide the opportunity to engage with the analysis of performances. It will also pay some attention to the development of disciplinary critique in the period, and its consequences for the contemporary mapping of "the field(s)." Requirements: Each student will write one article-length paper, and lead one discussion of a written theoretical text or of a performance piece.

ENGL G8490x. Advanced Research Seminar: Publishing a Scholarly Article. 3 pts.

(Seminar). What is the most important thing a graduate student can do to prepare for the job market in the years before applying for jobs? Publish an article. Other things matter, of course, such as writing an excellent dissertation and producing great job materials, but we already have many ways to help you do that. This seminar will be in workshop format and will guide you through the process of article-writing. We will discuss how to turn a seminar paper (or idea) into an article, how to determine where to send the article, and demystify the process of submitting work and responding to editorial comments. Participants commit to submitting an article to a scholarly journal by the end of the semester. The seminar is open to all graduate students in the English Ph.D. program, but priority will be given to students who have passed their qualifying exams and turned in a dissertation prospectus.

ENGL G8491y. Advanced Research seminar. 3 pts.

(Seminar).

ENGL G4307x. Richardson's Clarissa. 4 pts.

(Seminar). Almost a million words long, Samuel Richardson's Clarissa took eighteenth-century readers by storm, and has a strong claim to be considered the single most important novel of the century. We'll begin with some brief excerpts from Richardson's first novel Pamela and a few of the more virulent contemporary attacks on this new mode of popular fiction, then proceed through Clarissa in regular chunks, interspersed with bits and pieces of other relevant epistolary fictions, critical discussions and historical accounts. This seminar has no prerequisites other than your own eagerness to embark on a demented and potentially transformative program of extreme reading;topics for discussion will include the novel in letters, the first-person voice, the psychology of families and the sociology of inheritance in eighteenth-century England, the languages of sexuality, eighteenth-century burial customs, madness in literature, providential narratives and life after death, suffering, rewritings of Job, the rise of the novel, etc. etc. Note: This seminar is a joint undergraduate-graduate class. This spring, I will admit 8 undergraduates and a waiting list of 4 (if needed), reserving 6-8 spots for graduate students who may be interested; we will work out the final details of enrollment at the first seminar meeting in the fall semester. Application instructions: Email Professor Jenny Davidson (jmd204@columbia.edu) by noon on Wednesday, April 15, with the subject heading "Clarissa." In your message. include basic information: your name, school, major, year of study, and relevant courses taken, along with a brief statement about why you are interested in taking this course.

ENGL W4402x. Romantic Poetry. 3 pts.

(Lecture). An introduction to the works of the great poets of the Romantic period (1789-1824), especially William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Shelley, and John Keats. In addition to closely considering their poems, we will also read prose works that complement and illuminate the poetry, including essays by Wordsworth, Shelley, and William Hazlitt, and letters by Keats. Syllabus.

ENGL W4404y. Victorian Poetry. 3 pts.

(Lecture). This course examines the works of the major English poets of the period 1830-1900. We will pay special attention to Alfred Tennyson and Robert Browning, and their great poetic innovation, the dramatic monologue. We will also be concentrating on poems by Elizabeth Barrett Browning, Gerard Manley Hopkins, Christina Rossetti, Matthew Arnold, A. E. Housman, and Thomas Hardy.

ENGL W4405y. The Fin de Siècle: Sensation and Degeneration, 1880-1900. 3 pts.

(Lecture). This course will survey the tumultuous scene of England - chiefly London -- in the 1890s, focusing on the most significant cultural, political, and social debates of the period. We will be concerned in particular with the fin-de-siècle rhetorics of degeneration and the concomitant fascination with sensation and sensory experience. Topics to include: sexology and the criminalization of sex; monstrosity, racial science, and physiogamy; feminism and the New Woman; urban poverty, crime, and policing; spiritualism and psychic research; new technologies of visuality and communication; and the new imperialism. We will also study the significant aesthetic movements of the period, including Decadence, Aestheticism, and Pre-Raphaelitism. Writers will include: Grant Allen, Sarah Grand, Thomas Hardy, Max Nordau, Walter Pater, Robert Louis Stevenson, Bram Stoker, Oscar Wilde, and W.B. Yeats.

ENGL W4632y. Introduction to Asian American Literature and Culture. 3 pts.

(Lecture). This course surveys important prose narratives, poetry, and plays written by Asians in America, with a focus on works produced since 1970, in light of the history of U.S. racial formation, transpacific migration, and U.S.-Asian relations since the mid-nineteenth century.

ENTA W4723x. Ibsen, Chekhov, Strindberg. 3 pts.

ENGL W4801x. History of the English Novel I. 3 pts.

(Lecture). At the end of the eighteenth century, Clara Reeve argued, in her literary-critical dialogue, The Progress of Romance(1785), that the "English" novel had a diverse and polyglot history, one that extended, geographically, as far as the East, and, temporally, to the ancient Heliodoran romance. Inspired by Reeve, as well as more recent scholars of the form, this course will explore the relationship between gender and genre by considering one major strand of the novel's complex lineage, the "romance," a "feminine" genre much-maligned by eighteenth-century critics who were eager to legitimate their own authorship, and anxious to shape the cultural discourse surrounding literary production. As we explore the novel's debt to romance, including the immense popularity of the Gothic leading into the nineteenth century, we will consider contemporary criticism (Samuel Johnson, Henry Fielding, Reeve), modern theories of the novel (Ian Watt, Michael McKeon, Nancy Armstrong, Margaret Doody). Readings may include Haywood's Love in Excess, Richardson's Pamela, Fielding's Joseph Andrews, and Matthew Lewis' The Monk. Undergraduates: There will be a take-home midterm, in-class final exam, and two papers (1 three-page assignment explicating a specific passage and a longer 6- to 7-page final paper) as well as sporadic quizzes.SYLLABUS.

CLEN W4822y. The 19th-Century Novel In Europe: Country and City in the Nineteenth-Century European Novel. 3 pts.

(Lecture). A survey of touchstone nineteenth-century European novels, this class will explore the relationship of the realist novel to urban experience and rural identity. If most novels are, in Raymond Williams's phrase "knowable communities," how do fictions of the city and fictions of the country represent youth and experience, time and space, work and leisure, men and women, landscape and portraiture, privacy and public life, national culture and cosmopolitanism? Readings include Balzac's Père Goriot, Hugo's Notre Dame de Paris, Flaubert's Madame Bovary, Austen's Persuasion, Dickens' Oliver Twist, Eliot's Middlemarch, Tolstoy's Anna Karenina.

Requirements: two writing assignments and two-in-class written exams; thorough and attentive reading and participation are also mandatory.

ENGL G6402y. Eliot and Trollope. 3 pts. Prerequisites: Permission of the instructor.

(Seminar). Two major practitioners of the novel in the mid-to-late nineteenth century, presented with an eye to undoing, or rethinking, their presumed differences. The great novelist of the moral imagination versus the novelist of moral compromise and accommodation; the cosmopolitan novelist of ideas versus the nativist, even xenophobic English gentleman; the all-knowing, all-forgiving Mother versus the distant, genial Father; profundity versus prolixity: by thinking these myths relationally, even dialectically, we might achieve a better understanding of the horizon of the Novel in its most culturally dominant period in Britain. We will attend most strenuously to challenges of form faced by both writers, such as: beginnings and endings (or origins and purposes), sequentiality (and thus causality and consequence), scales of space and time, the balancing of dialogue and description, the evocation of consciousness in narrative, and generating ethical lessons out of contingent events. Selected major novels of both, read in alternation, along with important non-fiction (Trollope's Autobiography, numerous essays of Eliot's), pivotal critical pieces of recent years, and samples of Victorian and modern moral philosophy from J. S. Mill to Bernard Williams.

ENGL G6835x. The Industrial Novel. 3 pts. Prerequisites: the instructor's permission.

(Seminar). This course offers intensive study of "the industrial novel," a body of mid-Victorian fiction responding to the economic volatility and class conflict that accompanied the rise of industrial production. In little more than a decade, treatments of this broad concern by a number of major novelists converged in a set of distinctive formal strategies, yet the relatively brief prominence of the form underscores an unusually direct connection with contemporary political anxieties. As the industrial novel presses against the increasingly domestic preoccupations of mid-Victorian fiction, it throws those preoccupations into sharp relief, and more broadly illuminates the construction of Victorian domesticity itself. We'll be especially interested in the intersections of gender and class, the interplay of socio-economic history and narrative form, and the political dimensions of the mid-Victorian novel. Finally, the topic poses large questions about genre and literary history: does "the industrial novel" denote a genre, and why apply that tag to works that rarely depict industrial labor? Why not the "social problem" novel, the "domestic novel in Northern dress," or even "the novel of insurrection"? Major authors include Disraeli, Gaskell, Charlotte Bronte, Kingsley, Dickens, and George Eliot; we'll also gather in some of the political economy of John Stuart Mill and Marx, we well as the social reporting of Engels and others.

ENGL G8401x. Doctoral Seminar In 19th-Century Literature. 3 pts.

ENGL W4101y. English Literature of the 1590s. 3 pts.

(Lecture). This course examines the literature of the turbulent final years of the sixteenth century in England from the defeat of the Spanish Armada in 1588 to the death of Elizabeth I in 1603. The course draws on drama, verse and prose, often in the context of other historical documents. Topics will include debates about the succession; the perceived threats from Spain and Catholicism; economic hardships of the 1590s; England and immigration; the challenge posed by the earl of Essex; and concerns about Ireland and the Irish. Texts include plays by William Shakespeare, Christopher Marlowe, and Thomas Dekker; pamphlet literature by Thomas Nashe and Robert Greene; and poetry and prose by Edmund Spenser.

CLEN G4121x. The Renaissance in Europe: Sonnet Sequences. 3 pts. Prerequisites: Undergraduates should obtain the instructor's permission to register for this lecture.

(Lecture). An exploration of religious and erotic lyric sequences in England. After a look at their precedents in Ovid's Amores, Petrarch, Renaissance readings of the psalms, and samples (in English) of such French poets as DuBellay, Ronsard, and Labé, and the Italian Stampa, we will focus on the Sidneys (Philip, Mary, and Robert), Daniel, Drayton, Spenser, Lodge, and Shakespeare with a glance at Anne Lok and a quick move forward to Mary Wroth. Matters to be considered include gender and the Petrarchan tradition, number symbolism, the translation of empire, imitatio, the relation of Eros to politics and subjectivity, crossovers between religious and amatory discourse, and the very concept of poetic sequence. CLEN G4121_001_2009_3">Tentative syllabus.

ENGL G6128y. Textual Scholarship for Early Modern Literary Studies. 3 pts.

(Seminar). This course is designed to introduce students to the important current critical debates involved in studying the early modern period through the history of the book, manuscript studies, textual bibliography, paleography, and textual editing. Students will be expected to undertake a good amount of reading in the theoretical literature on these subjects. Seminars will combine discussion of this critical literature with hands-on engagement with a series of case studies in early modern text studies, featuring both printed book and manuscript sources.

ENGL G6135x. Renaissance Drama: The Making of Early Modern Tragedy. 3 pts. Prerequisites: Permission of the instructor.

(Seminar). This seminar will consider what the early modern stage understood tragedy to be and the various "inventions" that fueled its power and popularity as a theatrical genre. We will examine plays ranging from Norton and Sackville's Gorboduc to John Ford's 'Tis Pity She's a Whore, including several by Shakespeare.

ENGL G6200y. Shakespeare in 1606. 3 pts.

(Seminar). This course situates the plays Shakespeare wrote in 1606 within their immediate Jacobean cultural contexts, including ongoing outbreaks of plague and the aftermath of the failed Gunpowder Plot. Readings include plays by Shakespeare, Jonson, Middleton, Beaumont, Fletcher, Day, Wilkins, Armin, and Dekker, and well as contemporary social and political history.

ENGL G8202y. Doctoral Seminar: Renaissance. 3 pts.