English 5664—Studies in Graphic Narrative
Mo 9:10 a.m. – 12:10 p.m.
Stories about illness-physical and mental-have emerged as a major focus in contemporary graphic narrative. Meanwhile, we have seen the rise of the relatively new field of narrative medicine, which brings together medical practitioners, patients, storytellers and narratologists to revitalize the increasingly lost art in medicine of engaging with and being moved by patients' stories as a central aspect of what it means to be a physician. The result of these related forces as been the emergence of what is called "graphic medicine," which explores the relationship between the unique affordances of graphic storytelling and the experiences and discourses of healthcare as both patient and caregiver.
We'll be reading graphic memoir and fiction about illness, recovery and the landscapes in between, from Justin Green's BINKY BROWN (1972) to John Porcellino's HOSPITAL SUITE (2014) - as well as readings in comics theory, narrative medicine, and criticism.
Responsibilities will include regular participation, weekly reading journal posts, and two papers.
WeThFr 5:30 – 7:30 p.m.
Alt-Ac Workshop Series Spring 2017
Session Four: Looking for Alt-Ac Jobs
Where do you even start looking for alt-ac jobs? This session will cover the basics of searching for jobs in a number of different industries. Using a computer lab, we'll start by looking at databases and move on to individual searching. To close, we'll discuss some of our more interesting finds and deconstruct the job requirements.
This session will cover:
(1) Job search websites and resources.
(3) Informational Interviews (Part Two)
Session Five: Resumes and Cover Letters
Resumes look nothing like CVs, and transitioning to them can be daunting. In this session, we'll discuss how to translate common academic skills into bullet points. We will also go over the rhetorical moves common to non-academic cover letters.
Session Eight: Seriously, You Aren't Alone
Leaving the academy can be tough - even when you are prepared for it. This session deals with how to cope with inevitable change: how to maintain and rebuild a community, how to find writing and research groups.
English 6716.01 & .02—Introduction to Graduate Study in the Middle Ages
We 1:50 – 4:50 p.m.
In this course you will sample the rich corpus of Middle English literature in light of current critical issues and approaches. We will consider how legends of dragon-slayers, virgin martyrs, and holy transvestites variously enforced and repudiated norms of gender and sexuality. We will examine the eccentric "autobiographies" of London bureaucrat Thomas Hoccleve and Norfolk wife and visionary Margery Kempe. We will consider experiments in narrative form and voice in Malory's Morte Darthur and the eruption of social tensions into Salvation History in the Mystery Plays. We will reflect on how the Middle Ages, reincarnated in poetry, novels, movies, TV series, and video games, continues to capture our imagination and shape the ways we think about our present.
Requirements include three short response papers and a final project that you develop in consultation with me. That project may well take the form of a seminar paper, but alternatives options are available, depending on your interests and expertise. For more information, email Winstead.firstname.lastname@example.org.
English 6755.01 & .02—Introduction to Graduate Study in American Literature, Origins to 1840
Th 9:10 a.m. – 12:10 p.m.
This class explores how postcolonial theory has revitalized and expanded the field of early American studies. As a historical moment when the boundaries of the nation were either non-existent or still very much under debate, understanding the literature and culture of the colonial and early national period requires us as scholars to rely on critical modes focused on changing conceptions of race; hegemonic imperial relationships; the climate, environment, and ecology as agents; and new pressures on gender and sexuality. Because of this, in many ways early American studies connects to work on contemporary literature and culture more powerfully than with studies grounded in the 19th and 20th centuries - tracing global networks, making multiple languages and ethnicities speak to one another, and centering indigenous peoples.
Our readings will be hemispheric, from Spanish texts by Guaman Poma and Cabeza de Vaca to some of the earliest Caribbean literature by Richard Ligon; from Puritan poetry and captivity narratives to the founders of autobiography, Benjamin Franklin and Olaudah Equiano; from a foundational text of Native American literature by Samson Occom to early American naturalists like Thomas Jefferson and St. John de Crevecoeur; and the first U.S. fiction from the novel A Secret History, about Americans in Haiti, to Washington Irving's stories.
Collectively, we will ask, how does a grounding in early American studies equip us to decolonize literary studies? How do studies of this period force us think in terms of the Americas in the plural? This class is designed for graduate students working on any period of American studies who would benefit from a grounding in colonial and early national literature; for students of the early modern period (from the sixteenth to the nineteenth century) who seek to understand transatlantic trends in their field of study; and to early Americanists in History, French, Spanish, or other departments developing expertise in hemispheric and interdisciplinary approaches.
Course requirements include presentations and a choice between two short papers or one longer final research project.
English 6758.01 & .02—Introduction to Graduate Study in U.S. Ethnic Literature and Culture
Tu 9:10 a.m. – 12:10 p.m.
The Ethics of Ethnics: Comparative Racialization, Cultural Studies, and the Post-Racial Era
What is the ethics of ethnic studies? What is critical ethnic studies and how does it intersect with queer of color critique and women of color feminism? What are the ethics of comparative racialization and multiracial feminism in the contemporary moment?
This course will provide an introduction to and be driven by two trajectories: on one hand, tracing the theoretical and historical gender, sexual and racial formations of the "posts": post-civil rights, post-9/11, and post-racial eras; on the other, the ethical projects developing within comparative race, ethnic, feminist, and queer studies.
- To examine how academics, artists, filmmakers, and writers theorize the material conditions of racialized and gendered inequality and a more democratic future;
- To explore how to write and writing about the intersections between culture and politics
- To develop and refine scholarly argumentation to the level of publication quality.
English 6763.01—Graduate Workshop in Poetry
Tu 12:40 – 3:40 p.m.
Graduate Poetry Workshop for MFA Poets (.02 is for MFA prose writers wanting to write poems; .01 is for the poets)
We'll focus on your poems as the primary texts, looking at model poems for guidance. Prompts will be available. This course is primarily designed for first and second year MFA poets, but recommended for third year MFA poets desiring a weekly commitment to production and feedback, and open to those MFA prose writers who have already taken one .02 workshop in poetry with the instructor.
English 6764—Graduate Workshop in Screenwriting
Mo 4:20 – 7:20 p.m.
The purpose of this course is to use the skills you have developed in your graduate fiction, poetry, and creative non-fiction classes to write your first television pilot or feature-length screenplay. You'll begin by bringing in three of your favorite artworks from any medium-dramatic or non-dramatic, narrative or non-narrative, visual or non-visual-and you will analyze them to determine their core aesthetic logic: what formal structures and effects do they have in common? Once you have determined this logic, you will then apply it to writing your own original screenplay draft. Finally, after a round of peer-review, you will submit your finished piece to Sundance Lab, the Nicholl, the Fox Writers Intensive, or another major screenwriting fellowship.
English 6765.01—Graduate Workshop in Fiction
We 4:20 – 7:20 p.m.
This is the workshop for MFA students in fiction (MFA poets and nonfiction writers with experience writing fiction may register for it as well; those with no experience will probably do better to enroll in a section of 6765.02, the workshop in fiction specifically designed for MFA student beginners).
English 6765.02—Graduate Workshop in Fiction
We 4:20 – 7:20 p.m.
A graduate-level workshop in the writing of fiction for MFA students in poetry or creative non-fiction with limited experience as fiction writers.
Prereq: Grad standing, or permission of instructor. Not open to students with 20 qtr hrs for 765 or equivalent. Repeatable to a maximum of 12 cr hrs.
For the first weeks of workshop we will share pieces of short prose that will require us to look more closely at the language of fiction. Then, we will move on to longer works. We will look closely at narrative structure, complex and intriguing characterization, vivid and detailed setting, scenes and summary, and so on, discussing specific craft issues as they arise. We will sometimes turn to essays on the art and craft of fiction by practitioners of the form and model stories, which you will be able to find on Canvas.
English 6767.01 & .02—Introduction to Graduate Study in 20th Century Literature, 1945-Present
We 1:50 – 4:50 p.m.
What was postmodernism? As the verb's past tense implies, here at the beginning of the twenty-first century we may have emerged at the other end of the postmodern period. Whether or not that is actually the case, we are certainly now in a better position than ever before to reflect on postmodernism as a period. Looking back on the postmodern period, we will read Anglophone texts in several genres - novel, short fiction, lyric poem, long poem, drama - from the Fifties (Beckett, Ellison, Hughes) through the new millennium (Diaz, Rankine). Each primary literary text will be juxtaposed with a theoretical text, or one colored by theory or with theoretical implications.
Each week we will try to put the two kinds of texts, literary and theoretical, into dialogue with one another. Each student will be responsible for leading a class discussion of one of the literary texts and one of the theoretical texts (not on the same day!), and will submit a brief (5-page) summary of the discussions they led. Each student will also develop and submit a conference-length paper (10-12 pages) on a relevant topic of his or her choice that you could not have written without having taken this course.
The final paper is due no later than the last day of exam week, May 2. Students will prepare an abstract for their final paper and bring copies to class on April 12 for workshopping and feedback. Each class discussion you lead, together with your written summary of it, will count for 30% of your final grade; the final paper will count for 40%. (The abstract is ungraded.)
Texts. You should obtain copies of the following texts:
o Kathy Acker, Empire of the Senseless.
o Samuel Beckett, Endgame.
o Leonard Cohen, Beautiful Losers.
o Junot Diaz: The Brief, Wondrous Life of Oscar Wao
o Ralph Ellison, Invisible Man.
o Lynn Hejinian, My Life.
o Michael Herr, Dispatches.
o Langston Hughes, Montage of a Dream Deferred
o Tony Kushner, Angels in America.
o Brian McHale, The Cambridge Introduction to Postmodernism (Cambridge University Press, 2015)
o Toni Morrison, Song of Solomon.
o Sylvia Plath, Ariel: The Restored Edition.
o Thomas Pynchon, The Crying of Lot 49.
o Claudia Rankine, Citizen.
o Ishmael Reed, Mumbo Jumbo.
o Salman Rushdie, The Satanic Verses.
Other readings will be available online through the course web-site.
English 6768—Graduate Workshop in Creative Nonfiction
Mo 12:40 – 3:40 p.m.
Nonfiction Workshop: A graduate-level course in nonfiction writing through workshops and discussion of student work within the larger scope of genre itself.
English 6780.01 & .02—Current Theory and Practice in the Teaching of Writing
Tu 9:10 a.m. – 12:10 p.m.
Students in English 6780 will examine the ways that the discipline - both in its contemporary form and historically - has defined itself through key terms and (more recently) threshold concepts and then investigate collaboratively how those definitions inform, complicate, compromise, or enrich writing pedagogies. The inquiry will engage multiple and various debates that define the discipline over time and address matters of pedagogical practice, theory, labor, gender, identity, and race. The course seeks not to mediate the differences articulated in the scholarly conversation around these terms and concepts but to situate those differences and come to understand them within (and as products of) their cultural, socio-political, educational, and disciplinary contexts as critical debates informed by ideological differences.
In the final weeks of the course, the class will focus attention on identifying and advocating for alternative terms and concepts integral to our own orientations to and interests in the field, creating alternative spaces for conceptualizing the discipline.
Through reading, discussion, and collaborative engagement, students will
- Acquire a broad understanding of the defining terms and concepts that inform composition studies and its pedagogies both historically and in contemporary scholarship
- Conceive of and frame alternative terms and concepts to address gaps in the disciplinary conversation
- Be able to articulate to others in the discipline their own understanding and interpretation of those terms, concepts, and pedagogies and their implications for the future of the discipline.
Keywords in Writing Studies, Heilker and Vandenberg (2015)
Keywords in Composition, Heilker and Vandenberg (1996)
Naming What We Know, Adler-Kassner and Wardle (2015)
Additional readings available on Carmen
- Short historical project investigating a key term, theory, or threshold concept accompanied by a class presentation on the project
- Blog or discussion post(s) identifying and advocating for alternative or new key terms, theories, or threshold concepts
- Proposal in response to a call for a professional conference presentation, journal article, or book collection; proposals will be workshopped by RCL faculty
- Scholarly project-in-progress and presentation at the 6780 colloquium
English 7818.01—Seminar in Later Medieval Literature
Th 1:50 – 4:50 p.m.
What is allegory? This question has haunted medieval literary criticism and sparked theoretical revolutions across a range of modern critics from Coleridge to Walter Benjamin. We will study allegory in this class both as a historical tradition and as a series of theoretical challenges. The seminar will be organized into three sections: first, a selection of some important theoretical statements on the nature of allegory; second, an overview of continental European models; and third, a set of Middle English texts.
Allegory is a topic of perennial interest because it models our own interpretive activity - the translation of concrete narrative into critical discourse. Moreover, part of the richness of the allegorical tradition lies in the fact that it was here that medieval culture most directly addressed a number of issues that animate current cultural studies, such as the relation between the human and non-human, the construction of gender and sexuality, and the dislocations of a rapidly changing economy. Students interested in any of these problems will find a rich archive of materials in these texts.
I'm hoping that this topic will be of use to both medievalists and early-modernists (as well as those from later periods interested in either allegory or the ideas of the Frankfurt School), so the selection of primary texts will be negotiated based on the interests of those who sign up, but it will certainly include some Boethius, Dante, Langland, Christine de Pisan and Skelton, among other possibilities. We will be similarly flexible with our theorists, but here we will begin with some early commentators such as Augustine and Boethius, and also spend a good deal of time with post-Romantic ideas and criticism of allegory, here including Coleridge, Paul DeMan, Walter Benjamin and Fredric Jameson. It should be an exciting mix.
English 7820.01 & .02—Seminar in Shakespeare
Fr 9:10 a.m. – 12:10 p.m.
This course will explore recent developments in and new critical approaches to the study of Shakespeare, his theater, and his world. Some of the critical perspectives considered might include: book history; environmental and ecological studies; cultural geography; phenomenology; sexuality studies; disability studies.
We will read a different Shakespeare play each week alongside works of criticism. I also want to organize the course around the critical approaches that students are most interested in (whatever their field of special interest). The syllabus will thus be a collaboration between teacher and students. Students will be responsible for several in-class reports, for leading class discussions, and for a major research project.
English 7837.01 & .02—Studies in 18th Century Genre
Tu 1:50 – 4:50 p.m.
Characters, Personae, and Other Fictional Beings
This seminar will investigate the emergence, in the long eighteenth century, of most of our standard ideas regarding literary characters (e.g., that they're fictional, but akin to actual human beings; that they have inner lives available for exploration; that they're suitable objects for sympathy or other emotional investment, etc.). In so doing, however, we will try to position these modern-seeming characters and ideas about character within the wider range of fictional beings who populated the eighteenth century: literary personae, personifications, celebrities, social types (like the fop or coquette), fraudulent impersonations, animated objects, discredited supernatural creatures.
Our goal throughout will be to defamiliarize our stock ways of talking about fictional beings in order to think more rigorously and creatively about how they actually work in various forms and media. Our focus will be on the eighteenth century (though not just on texts and images produced in the eighteenth century; we'll also consider what the period did with older fictional beings -e.g., those of Homer and Shakespeare). However, the theoretical and methodological issues that emerge should prove of intense interest to scholars of other periods as well, along with anyone interested in narrative theory or "thing theory."
Course requirements include regular posing of questions for us to consider in our discussions, active participation in those discussions, a willingness to be "game" as we pursue ways of thinking that may not line up with what you're used to, and - for those of you in the .01 version - a final project to be negotiated.
English 7861.01 & .02—Studies in Narrative and Narrative Theory
Tu 12:40 – 3:40 p.m.
Issues in the Rhetorical Theory of Narrative
The course will explore the powers (and limits) of the rhetorical approach to narrative, one that views narrative less as a structure of meanings and more as an action, a way of doing something in the world. Thus, the approach finds the essence of narrative not in the elements of narrative and their combination but in how authors deploy those resources in order to affect audiences in some ways rather than others. We'll look at the following deployments: character-character dialogue, reliable and unreliable narration, we-narration, the affordances of fiction v. non-fiction and fictionality more generally, occasions of narration, and narrative across the media.
Primary texts will include a dialogue novel (Higgins's The Friends of Eddie Coyle), a we-narrative (Ferrris's Then We Came to the End), a network novel (Egan's A Visit from the Goon Squad), an example of New Journalism (Wolfe's The Right Stuff), a cluster of memoir/autofiction (Didion's The Year of Magical Thinking, Chast's Why Can't We Talk about Something More Pleasant? [a graphic memoir), Coetzee's Boyhood), and the first several episodes of Breaking Bad. We'll pair the primary narratives with different short works of narrative theory.
English 7871.01—Seminar in the Forms of Literature
Th 12:40 – 3:40 p.m.
Forms of Literature: Poetry
This is a verse forms course for MFA students. While we will primarily focus on free verse, we will do so through the lens of traditional verse forms, moving quickly forward to look at what constitutes an effectively crafted contemporary poem. We will practice writing many of the forms we study.
English 7872.01 & .02—Studies in the English Language
We 9:10 a.m. – 12:10 p.m.
Discourse Analysis: Social Contexts
For students interested in using discourse analysis as part of a folklore, linguistics, literature, or other humanities or social science research project, this course will give you the tools to investigate how language shapes perceptions, values, social interaction, and power struggles. The course provides an overview of the major approaches to analyzing spoken and written discourse used in sociolinguistics and linguistic anthropology, including interactional sociolinguistics, conversation analysis, ethnography of communication, pragmatics, and critical discourse analysis. The approach that we will take to analyzing texts is a micro-level one, focusing on the details of linguistic structure and how those details connect to more macro spheres of social and political engagement. Students will collect examples of spoken and written texts, and analyze them in short paper assignments.
There are no prerequisites.
REQUIREMENTS: transcription assignment, 3 short papers, one 15-page final paper.
If you have any questions or would like some more information about the course, please feel free to email me at email@example.com.
English 7878.01 & .02—Seminar in Film & Media Studies
Th 1:50 – 4:50 p.m.
African American Film, 1960-Present
This course examines the history of African American film since the 1960s, a transformative period both within the American film industry and society at large. We will trace the recurring themes in African American cinema from that period through our present moment and familiarize ourselves with the diverse approaches to film artistry (narrative form, composition, genre, miss-en-scene) developed by African American filmmakers working both independently and in Hollywood. (These filmmakers will likely include: Gordon Parks, Charles Burnett, Spike Lee, Julie Dash, Ryan Coogler, Dee Rees, and Ava DuVernay.) We will read relevant critical and theoretical texts in order to contextualize the visual materials, paying particular attention to how black film artists interrogate racist conventions of screen representation, negotiate questions of authorship and cultural authority, and reflect upon social injustices (like extra-legal violence directed against African Americans). Readings will be available electronically through Carmen, and we will rely on the campus Secured Media Library to screen videos.
English 7884.01 & .02—History of Literacy/Literacy Past and Present
Tu 1:50 – 4:50 p.m.
In recent years our understanding of literacy and its relationships to ongoing societies and social change has been challenged and revised. The challenge came from many directions. The "new literacy studies," as they are often called, together attest to transformations of approaches and knowledge and a search for new understandings. Many traditional notions about literacy and its presumed importance no longer influence scholarly and critical conceptions. The gap that too often exists between scholarly and more popular and applied conceptions is one of the topics we will consider.
Among a number of important currents, historical scholarship and critical theories stand out, both by themselves and together. Historical research on literacy has been unusually important in encouraging a reconstruction of the fields that contribute to literacy studies, the design and conduct of research, the role of theory and generalization in efforts to comprehend literacy and, as we say increasingly, literacies (plural). It has insisted on new understandings of "literacy in context," including historical context, as a requirement for making general statements about literacy, and for testing them, and carries great implications for new critical theories relating to literacy.
This seminar investigates these and related changes. Taking a historical approach, we will seek a general understanding of the history of literacy primarily but not exclusively in the West since classical antiquity but with an emphasis on the early modern and modern eras. At the same time, we examine critically literacy's contributions to the shaping of the modern world and the impacts on literacy from fundamental historical social changes. Among many topics, we will explore communications, language, family and demographic behavior, economic development, urbanization, institutions, literacy campaigns, both political and personal changes, and the uses of reading and writing. A new understanding of the place of literacy and literacies in social development is our overarching goal.
David Barton, Literacy; William V. Harris, Ancient Literacy; Michael T Clanchy, From Memory to Written Record: England, 1066-1307; Carlo Ginzburg, The Cheese and the Worms; Harvey J. Graff, The Literacy Myth; Carl Kaestle, et al, Literacy in the United States: Readers and Reading Since 1880; Deborah Brandt, Literacy in American Lives, and articles on Canvas
Regular reading, attendance, and preparation for each class meeting; brief commentary papers; leadership of one or more seminar sessions, two short essays. There may also be opportunities to work on Graff's LiteracyStudies a@OSU "initiative"
This course meets a core course requirement for the GIS in Literacy Studies.
English 7891.01 & .02—Seminar in Disability Studies in Language and Literature
Fr 9:10 a.m. – 12:10 p.m.
Recognizing Disability Studies
This course asks, "What does it mean to recognize disability studies?" In asking this question, we will first explore the history of disability studies: how it emerged and was established as a field; its trajectory through the 80s, 90s, and early 2000s; and finally, what newer questions are re-shaping it. We will then turn to the challenges that have faced disability studies through shifting theoretical and cultural times--especially challenges having to do with areas that it has historically neglected, including critical race theory, mental disability, chronic illness, and the inhuman.
Finally, we will take up the (deliberately provocative) binary offered by Simi Linton in her 1998 book "Claiming Disability", in which she declared some fields of study "Not Disability Studies" and another "Disability Studies." We'll ask about the role of adjacent fields--including narrative medicine, disability justice, bioethics, science studies, medical rhetoric, and health humanities--and inquire into the ways that "disability" might signify into the future.
Seminar members will work together in small teams to choose a suggested text and give a presentation about it to the class. Each person taking the course for a grade will also complete a seminar paper or project on a topic of their choosing. All seminar members will participate in a course blog that captures our reading and discussion reflections.
The texts listed here may be assigned as required or suggested; in some cases, individual chapters rather than full texts will be assigned.
Elizabeth Elcessor, Restricted Access: Media, Disability, and the Politics of Participation
Christopher Bell (ed.), Blackness and Disability
Kim Q. Hall (ed.), Feminist Disability Studies
Christine Kelly, Disability Politics and Care
Sunaura Taylor, Beasts of Burden: Disability Studies and Animal Rights
Mel Chen, Animacies: Biopolitics, Queer Mattering, and Racial Affect
Julie Avril Minich, Accessible Citizenships
Patricia Berne, "Disability Justice: A Working Draft"
Mia Mingus, selections from "Leaving Evidence"
Julie Passanante Elman, Chronic Youth: Disability, Sexuality, and U.S. Media Cultures of Rehabilitation
Robert McRuer, Crip Theory
Michael Gill, Already Doing It: Intellectual Disability and Sexual Agency
Rosemarie Garland Thomson, "Misfitting: A Feminist Material Disability Concept"
Carrie Sandahl, "Queering the Crip or Cripping the Queer?"
Nirmala Erevelles, Disability and Difference in Global Contexts
Alison Kafer, Feminist Queer Crip
Jay Dolmage, Disability Rhetoric
Simi Linton, Claiming Disability
Sharon Snyder, Brenda Jo Brueggemann, and Rosemarie Garland Thomson (eds)., Disability Studies: Enabling the Humanities
Special issue on disability in Hypatia; special issue on cripistemologies in the Journal of Cultural and Literary Disability Studies